ABSTRACT The phrase “Enlightenment rhetoric” typically denotes discourses bent on rejecting classical oratorical styles in favor of purportedly scientific ones. Likewise, scholars often associate Enlightenment rhetorical styles with the scientific epistemologies that emerged in the seventeenth and eighteenth centuries. This article reconsiders Enlightenment rhetoric by analyzing David Hume’s 1742 essay “Of Eloquence.” More specifically, the article argues that the Scottish Enlightenment context necessitated a rhetoric that compensated for the discursive limitations of new scientific worldviews. In so doing, the article argues (...) that Hume verbalizes the transcendent dimension of classical eloquence in ways commensurate with the emphasis on perspicuity emerging in English culture, a rhetorical maneuver that the author calls discursive transcendence. Hume’s “Of Eloquence” thus serves as a case study demonstrating how an Enlightenment writer advanced a rhetoric that both rejects and pulls from prior rhetorical traditions, constituting a new understanding of Enlightenment rhetoric. (shrink)

Collection of papers presented at the First Budapest Seminar in Early Modern Philosophy.

By placing Hume’s account of communication in the context of some less known seventeenth- and eighteenth-century French resources on rhetoric and language, this essay argues that Hume based his und...

The concept of “humanity” is integral to David Hume's Enquiry Concerning the Principles of Morals, but barely appears in his earlier Treatise. Many consider the later “humanity” theory superior, permitting a more “extensive” sympathy not limited by proximate associations. This paper argues for Hume's consistency on humanity by surveying The History of England. Hume's History discussions lend support to the associative, and thus limited, Treatise conception. Humanity is opposed to religious enthusiasm; its positive effects are local and particular. Moreover, Hume's (...) historiography involves a hesitation on the content of “humane” judgments, which cannot fulfill the cosmopolitan function envisioned by many present-day interpreters. (shrink)

Adam Smith’s Theory of Moral Sentiments has long been recognized as importantly influenced by, and in part responding to, David Hume’s earlier ethical theory. With regard to Smith’s account of the foundations of morals in particular, recent scholarly attention has focused on Smith’s differences with Hume over the question of sympathy. Whilst this is certainly important, disagreement over sympathy in fact represents only the starting point of Smith’s engagement with – and eventual attempted rejection of – Hume’s core moral theory. (...) We can see this by recognizing the TMS’s account of moral foundations as predicated upon a rejection of Hume’s distinction between the natural and artificial virtues. Smith is in turn revealed as generating a major break with Hume – a break which, if based on a superior theory of moral foundations has important consequences for how we treat Smith and Hume in both the history of philosophy and contemporary moral theory. (shrink)

There is an ongoing debate as to whether there is a major difference between Hume's accounts of morality in the Treatise and the second Enquiry. This has tended to focus on the role of sympathy in each case, but more recently the greater emphasis on humanity in the Enquiry as compared with the Treatise has been used to support a non-reconciliation view of the relation between these accounts. So far as humanity's role in relation to the moral sentiments is concerned, (...) I question whether it can provide the moral point of view associated with moral approval and disapproval. Considered as a motive to action, I question whether humanity always results in the kinds of action which would meet with general approbation. I also stress the limitations of humanity when viewed from the impartial perspective associated with the moral point of view. I further attempt to show that there is no real contradiction between Hume's claim in the Treatise that sympathy is ‘the chief source of moral distinctions’ and his claim in the Enquiry that the sentiments dependent on humanity ‘are the origin of morals’. I therefore conclude in favour of a reconciliatory view of the two accounts. (shrink)

We read Adam Smith's Theory of Moral Sentiments as a critical response to David Hume's moral theory. While both share a commitment to moral sentimentalism, they propose different ways of meeting its main challenge, that is, explaining how judgments informed by (partial) sentiments can nevertheless have a justified claim to general authority. This difference is particularly manifest in their respective accounts of ‘moral optics’, or the way they rely on the analogy between perceptual and moral judgments. According to Hume, making (...) perceptual and moral judgments requires focusing on frequently co-occurring impressions (perceptions of objects or reactive sentiments) for tracking an existing object with its perceptual properties or an agent's character traits. Smith uses visual perception for the purpose of illustrating one source of the partiality of the sentiments people feel in response to actions. Before making a moral judgment, people have to disregard this partiality and accept that they are all equally important. Smith and Hume's different ways of relying on the same analogy reveals the still-overlooked and yet profound differences between their moral theories. (shrink)

Resumen Los filósofos sentimentalistas escoceses David Hume y Adam Smith proponen dos estrategias distintas para restringir las tendencias egoístas de la naturaleza humana. A pesar de las evidentes similitudes de sus propuestas morales, Smith encuentra dentro del ser humano la capacidad para transformar sus pasiones parciales y aspirar hacia ideales de perfección. El sentimentalismo de Hume, en cambio, no permite la autotransformación de la persona, y debe apoyarse en convenciones sociales para manipular y redirigir los impulsos egoístas desde fuera. Ambos (...) logran su objetivo. Pero mientras Hume se conforma con una moral funcional para la vida social, Smith abre una nueva dimensión de desarrollo para el ser humano.The Scottish sentimentalist philosophers David Hume and Adam Smith suggest different strategies for restricting and accommodating human selfish tendencies. In spite of the obvious similarities of their moral proposals, Smith finds within the human being the capacity to transform his partial passions and to aspire to ideals of perfection. In contrast, Hume's sentimentalism does not allow for self-transformation, and must rely on social conventions to manipulate and redirect selfish impulses from without. Both attempts achieve their goal. However, while for Hume peaceful social interaction seems to be the only aim of morality; for Smith morality also opens a new dimension of development for the human being. (shrink)

I offer a novel two-stage reconstruction of Hume’s general-point-of-view account, modeled in part on his qualified-judges account in ‘Of the Standard of Taste.’ In particular, I argue that the general point of view needs to be jointly constructed by spectators who have sympathized with (at least some of) the agents in (at least some of) the actor’s circles of influence. The upshot of the account is two-fold. First, Hume’s later thought developed in such a way that it can rectify the (...) problems inherent in his Treatise account of the general point of view. Second, the proposed account provides the grounds for an adequate and well-motivated modest ideal observer theory of the standard of virtue. (shrink)

In this paper, I join the so-called voluntarism debate on Descartes’s theory of will and judgment, arguing for an indirect doxastic voluntarism reading of Descartes, as opposed to a classic, or direct doxastic voluntarism. More specifically, I examine the question whether Descartes thinks the will can have a direct and full control over one’s suspension of judgment. Descartes was a doxastic voluntarist, maintaining that the will has some kind of control over one’s doxastic states, such as belief and doubt. According (...) to a long-held reading, the control that the will has over doxastic states in Descartes’s theory is direct; the doxastic states are affected by the mere act of will. This reading is called direct doxastic voluntarism (DDV), or direct voluntarism (DV) for short, and it states that we are capable of assenting, rejecting and suspending a judgment based only on our will to do so. Thus, these actions would be utterly and merely volitional. DV can be divided into two further positions, direct positive voluntarism (+DV) and direct negative voluntarism (-DV). Direct positive voluntarism deals with the act of forming judgments, maintaining that one can accept or deny a proposition wilfully and either merely believe or not believe something voluntarily. Direct negative voluntarism deals with the suspension of judgment, maintaining that it can likewise be accomplished by a simple act of will. However, I support an alternate account of Descartes’s voluntarism, which is called indirect doxastic voluntarism (IDV), or indirect voluntarism (IV) for short. By this account, the will is capable of affecting a doxastic state indirectly by making one concentrate on essential tasks for forming that state, such as gathering up and paying attention to strong reasons and evidence. IV is also possible to divide into indirect positive voluntarism (+IV) and indirect negative voluntarism (-IV). Per indirect positive voluntarism the will needs to pay attention to reasons for accepting or denying some proposition. Likewise, by indirect negative voluntarism, in order to suspend judgment the will needs to direct this attention to the reasons for doubt. By attending to these reasons, the will also comes face-to-face with its own freedom. This feeling of freedom can be described as affectivity of the reasons for belief (assent) and doubt (suspension). (shrink)

Spinoza rarely refers to art. However, there are extensive resources for a Spinozist aesthetics in his discussion of health in the Ethics and of social affects in his political works. There have been recently been a few essays linking Spinoza and art, but this essay additionally fuses Spinoza’s politics to an affective aesthetics. Spinoza’s statements that art makes us healthier (Ethics 4p54Sch; Emendation section 17) form the foundation of an aesthetics. In Spinoza’s definition, “health” is caused by external objects that (...) maintain our power to act in a variety of ways. Humans need such objects because our complex bodies constantly lose or consume many parts necessary to our overall functioning. Notably, Spinoza defines humans’ bodies through this complexity (2p13Sch), so health as maintenance of complexity is a distinctly human endeavor. Further, while art is not the only healthy activity, I argue that art is a particularly potent cure, which explains Spinoza’s otherwise opaque comment that music can cure melancholy (by which he meant a near-total inability to act, akin to death). Rather than only causing frivolous pleasures, art may be as essential to human flourishing as are other human beings in general; other people are “most useful” because of the variety of actions they make possible (4p35Cor & Sch1). Art’s production of a dizzying variety of affects is likewise most useful for health. -/- Having established how art in general affects the individual, I then explain the role of artists in shaping social groups. Artists use vivid and highly charged affective techniques, as do political sovereigns and religious prophets (TTP chapters 1-2 & 15-16). However, sovereigns and prophets are concerned exclusively with “morality,” defined by Spinoza as the use of affects (primarily based on fear and hope) to produce “obedience” in the generic multitude or people at large. An artist, however, rarely causes affects in the whole nation, affecting instead only a smaller niche or “sub-genre” of people. The affects produced in this group are also not identical to those used by sovereigns, since artists do not primarily deploy sad affects of hope and fear but instead use a wide variety of joyful affects. Further, in Spinoza’s analysis of ceremonies (TTP chapter 5), we see how small groups exposed to repeated ceremonies or social practices eventually develop new strengths which they lacked before. Repeated exposure to shared aesthetic “ceremonies” (e.g., live music performances) of the same sub-genre will over time create the capacity of new powers in the sub-genre of people, which distinguishes them from the masses. Spinoza says sovereigns forge a “second nature” for the generic people through affects; we can then affirm that smaller groups exposed to a distinct sub-genre of art can acquire a new “third nature” which will contain unique powers extending beyond healthy maintenance of their existing bodies. That is, art in general is necessary to flourish and remain whole (maintaining health), but it can also occasionally expand what one is to unforeseen heights (through specific artistic sub-genres). (shrink)