David Hume "Of the Standard of rhetoricians and philO! 1711-1776 Hume's philosophy. T matter of preference co judgments not only ab, David Hume, the most important and influential British philosopher of his day, what is virtuous. Taste was born in Edinburgh, Scotland. Shunning the Jaw, for which he had begun to and morals and is the study, Hume pursued his own course of reading (he cites Cicero and Virgil as fa Hume who seeks to un vorites), which Jed in I 739 to the publication of A Treatise of Human Nature. In this noting the diversity of work, Hume sought lo combine Lockean empiricism and Newtonian experimental people use terms equi ism in a new and thoroughgoing study of the operations of the human mind. He held things by them (as Loe to Locke's principle that our ideas come only from sense impressions and our men versity. Hume consider tal operations upon them. He further argued that genuine knowledge can come only this matter . But his pur by this path and not from pure reasoning, testimony, or revelation. set a standard. The Treatise sold poorly and was generally reviewed negatively. Disappointed Rules or standards , by its poor reception, Hurne sought a wider public by publishing an abstract and Jonathan Friday helpfu then several revised versions. The revisions developed ultimately into separate works, to rules, following the r the Enquiry Concerning Human Understanding(1748) and the Enquil)' Concerning others at midcentury (r the Principles of Morals (1751). These efforts, too, met with little success. However, jects this view, noting t Hume derived real satisfaction from writing and publishing a series of essays that sponse and that devial were quite well received. In his brief autobiography, "My Own Life" (composed Hume discards the rule shortly before his death and published the next year, 1777), Hume delights in his role relativism. One is that : as a man of letters, writing that "almost all my life has been spent in literary pursuits about which nobody w and occupations" and that "Jove of literary fame" was "my ruling passion." 1 Except other is that although t among other philosophers-such as Thomas Reid, James Beattie, and George others, people who are Campbell, who counted Hume their favorite adversary-Hume was well known for make superior decision. his essays and his History of E11gla11d,not for his philosophical works. Hume's famous opposition to religion is based upon his rejection of knowledge people can provide us "' These two theories derived from either testimony or revelation. His book The Natural Histol)' of Religion cal, based on experienc ( 1758), and a chapter on miracles in the Enquiry Concerning Human Understand deeply to the public se1 ing (arguing that testimony about a breach of nature was far more likely to be false contemporary and one , than true), made him a target of religious pamphleteers. Hume steadfastly refused to on Rhetoric and Belles reply to such attacks, which had the happy side effect of increasing the sales of his year Hume's essay was books. Upon his deathbed, Hume was visited by Boswell, who wished to see if the out Hume's program in famous atheist had changed his views as he contemplated his demise. Boswell was ceptive art of criticism, disappointed. Hume looked terrible but cheerfully maintained his unbelief in the pend on good taste-pr face of Boswell's importuning. Boswell observes, interestingly, that upon his visit ature and by demonstra Hume was reading Campbell's just-published Philosophy of Rhetoric. Blair enacts Hume's ar! Two of Hume's essays address rhetorical concerns. "Of Eloquence" (1742) is a learned. rather slight piece that laments the British public's tolerance for poor oratory. The absence of good models (rather than a positive preference for poor speaking) is the cause. Hume recommends the ancient orators, particularly Cicero and Demosthenes, Selected Bibliography as models. He also urges greater use of pathetic appeals and of histrionic gesture. "Of the Standard of Taste' in the 1758 edition of Ess 1"My Own Lire," in Da1•idHume, Essays: Moral, Political, and Uterary, ed. Eugene F. Miller(lndi anapolis:Liberty Classics, 1985), pp. xxxi. xi. Political, and litera ry, ed.
ENLIGHTENMENT RHETORIC -:r.~v I iJ.k-ki
l,l)11\,I.(, !Wt>I.<"' ~ ~ ¼i's "~ of "Of the Standard of Taste " (1757) takes up an issue of abiding concern to both f-,e..Sk,,I 11-J1'~ rhetoricians and philosophers in this period and of considerable consequence for CAVtAts or(.bt,.4rH. ... }-lume's philosophy. Taste, for Hume and many of his contemporaries, is no mere rnatter of preference concerning purely personal matters. Rather, taste is the basis of -fi,\~... rs judgments not only about what is beautiful (or personally pleasing) but also about tish ph~losopher of his day, VtJA.t ' what is virtuous . Taste , in this way of thinking, supersedes reasoning in aesthetics for which he had begun to ~~ and morals and is therefore of profound importance, especially to someone like tes Cicero and Virgil as fa. c;~~ Hume who seeks to understand the operations of mind. Hume begins the essay by ~S\k.~ :se of Huma11Na111re. In this 1d Newtonian experimental. noting the diversity of taste, even within a single society . Furthermore, though all cP-~ people use tenns equivalent to virtuous or elegant, they do not mean the same of the human mind. He held ~,s~ .e impressions and our men. things by them (as Locke had claimed), so careful definition does not reduce the di e knowledge can come only versity. Hume considers the possibility that there is, indeed, complete relativism in revelation . this matter. But his purpose is to find ways to reduce or eliminate disagreement, to ed negatively. Disappointed set a standard . Rules or standards of art are attempts to specify what is good or beautiful. As · publishing an abstract and timately into separate works, Jonathan Friday helpfully points out, eighteenth -century neoclassicism held firmly and the Enquiry Concerning to rules, following the newly revived Aristotle. But Hume, like Samuel Johnson and others at midcentury (moving, Friday says, toward the also-revived Longinus) , re with little success. However, shing a series of essays that jects this view, noting that rigid adherence to rules does not guarantee favorable re "My Own Life" (composed sponse and that deviating from rules often produces wonderful results . Though Hume discards the rule standard, he seems to favor two other positions that reduce 17), Hume delights in his role >eenspent in literary pursuits relativism. One is that some works of art are clearly better than others, a judgment 'my ruling passion."' Except about which nobody would disagree , These works can serve as touchstones. The James Beattie, and George other is that although taste is personal, clearly some people have better taste than -Hume was well known for others, people who are more sensitive and knowledgeable, and who therefore can ophical works. make superior decisions regarding matters of taste in their areas of expertise. Such n his rejection of knowledge people can provide us with the standards for criticism. !e Natural His10,yof Religion These two theories - touchstones and ideal critics - are fundamentally empiri ~IMf';r\•c...it \= ceming Huma11U11ders1and cal, based on experience rather than a priori ideals or abstract rules. They appealed e,;t,.?'"'~(..,L..., as far more likely to be false deeply to the public sensibility. In particular, they impressed Hugh Blair, Hume's .J.. (.A,.-. ','-ID r-ll. W / . Hume steadfastly refused to contemporary and one of his chief defenders from clerical attack. Blair 's l ectllres (published in I but first composed in the of increasing the sales of his on Rheroric and Belles Leu res 783, 1758, -\-h\i \µll\ ,\ a r- ,ell, who wished to see if the year Hume's essay was first published) focus on the importance of taste and carry C..'-"'-t' 'n.t..Lt IM.; - lted his demise. Boswell was out Hume's program in a remarkable way (see Blair, p. 947). For Blair links the re t,.c,<,,tj; S oe,r~.j aintained his unbelief in the ceptive art of criticism with the productive arts of rhetoric - both of which thus de !restingly, that upon his visit pend on good taste-precisely by providing many touchstone s of oratory and liter C.{j('A,.,_~"r,41-. ~,.,., ature and by demonstrating his own superior taste in his commentaries. Moreover, 1/iyof Rlte1oric. Blair enacts Hume's argument that good taste, based as it is on experience , can be . "Of Eloquence" (1742) is a c.wJ-~~ learned. lerance for poor oratory. The :nee for poor speaking) is the ll'ly Cicero and Demosthenes, SelectedBibliograplty ; and of histrionic gesture. '.'Of the Standard of Taste " first appeared in Four Dissertatio11s(1757), which was included in the 1758 edition of Essays and Treatises. Our te,ct is David Hume, Essays: Moral, Literary,ed. Eugene F. Miller (lndi- from Political,and Literary, ed. Eugene F. Miller ( 1985). Modem editions of Hume• s other major
DAVID HUME ~ sc"i t....w~ r"' of e,1o... h .•~ hw
works arc A Treatise of Human Nature, ed . L.A. Selby-Bigge (1978); A,1 Enquiry Co11cem of them. Every voice is t i11gHuman U11dersta11di11g,ed. Charles Hendel (1955); A11Enquiry Co11cemi11gthe Prin· gance, propriety, simplic ciples of Morals, ed. J.B. Schneewind ( 1983); and The Nawral History of Religion, ed. H. E. in blaming fustian, aff e Root(1957) . false brilliancy: But whe Adam Polkay, in The Fate of Eloque11ce ill the Ace of Hume (1994), uses "Of Eloquence" Jars, this seeming unani as the running anchor for his perceptive analysis of the political fortunes of eloquence in the found, that they had i eighteenth century. To Potkay, Hume is in the midst of a conflict between ancient eloquence meaning to their exprei and modem politeness as standards of style. Potkay also devotes a substantial chapter to the opinion and science, th sources of Hume's views in A Treatile of H11ma11Na111re and to Hume's theory of the polis in 1 difference among men his Natural History of Religion. Barbara Warnick discusses the main clements of belletristic lie in generals than in p rhetoric - taste, propriety, and the sublime-in The Sixth Ca11011:Belletristic Rhetorical in reality than in apperu Theory and Its French A111ecede111s(1993). Warnick covers Hume's essay and discusses its the terms commonly e1 influence on Blair and other contemporaries in some detail. John Richetti , in Philosophical .. the disputants are surpri Writing: Locke, Berkeley, Hume, looks al philosophy as a form of rhetoric. been quarrelling, while A lively critical debate focuses on the apparent circularity of Hume's argument for identi their judgment. fying the ideal critic by his sensitivity to good an while recognizing good an through the of Those who found me fices of the ideal critic. Peter Kivy describes the problem and offers some solutions in than on reason, are incli "Hume's Standard of Taste: Breaking the Circle" in the British Journal of Aesthetics 7:1 under the former obse1 (1967), pp. 1- 57. James R. Shelley summarizes and comments on a related debate over the that, in all questions, \I standard of the judge and the problem of the key in the wine in "Hume and the Nature of manners. the differenc Taste," The Jo11mal of Aesthetics and Art Criticism 56 (winter 1998): 29-38 . David greater than at first sig Marshall explains the key .in-the-wine story as the metaphor that drives Hume's argument for obvious, that writers o an analogy between aesthetic taste and physiological taste, in "Arguing by Analogy: Hume's concur in applauding j Standard of Taste," Eightee111h-Ce11111ryS111dies 28.3 ( 1995): 32 3-43. Jonathan Friday leases nimity, prudence, vera out the four standards of taste (not, as Hume claims, one) in "Hume's Sceptical Standard of opposite qualities. Eve1 Taste," Jouma/ of the History of Philosophy 364 (October 1998): 545-66 . whose compositions i See also the bibliography on Campbell (p. 901) for a number of works that treat Hume's please the imaginatio influence on Campbell. Ho.MER down to FENEl moral precepts, and to blame on the same vir unanimity is usually m plain reason; which, in Of the Standard of Taste similar sentiments in a controversies, to whicl so much exposed. So f The great variety of Taste, as well as of opin retorted on us. And the highest arrogance and this account may be ad ion, which prevails in the world, is too obvious self•conceit is at last startled, on observing an we must also allow tha not to have fallen under every one's observation. equal assurance on all sides, and scruples, amidst harmony in morals m Men of the most confined knowledge are able to such a contest of sentiment, to pronounce posi· the very nature of Im remark a difference of taste in the narrow circle tively in its own favour. with its equivalent i of their acquaintance, even where the persons , As this variety of taste is obvious to the most praise; as that of l'i ce have been educated under the same government, careless enquirer; so will it be found, on exami without the most obvi• and have early imbibed the same prejudices . But nation, to be still greater in reality than in appear· ety, could affix reproa• those, who can enlarge their view to contemplate ance. The sentiments of men often differ with re· eral acceptation is und distant nations and remote ages, are still more gard to beauty and deformity of all kinds, even bestow applause, wher surprized at the great inconsistence and contrari while their general discourse is the same . There probation . HOMER'S g ety. We are apt to call barbarous whatever de are certain terms in every language, which import delivers any such, will parts widely from our own taste and apprehen • blame, and others praise; and all men, who use it is obvious, that, wh sion: But soon find the epithet of reproach the same tongue, must agree in their application tures of manners , a,
830 ENLIGHTENMENT RHETORIC i,..... $&.l; o ....L- .{l..... r"""'t..... c,f tA..,.h~M k,4,'IM.S
8); A11E11qui ry Coucem of them. Every voice is united in applauding ele ACHILLESand prudence in ULYSSES,he inter ry Co11cemi11g the Priti gance, propriety, simplicity, spirit in writing; and mixes a much greater degree of ferocity in the ory of Religion, ed . H, E. in blaming fustian, affectation, coldness, and a former, and of cunning and fraud in the Iauer, false brilliancy: But when critics come to particu than FENELONwould admit of. The sage ULYSSES )4), uses "Of Eloquence " lars, this seeming unanimity vanishes; and it is in the GREEKpoet seems to delight in lies and fic tunes of eloquence in the found, that they had affixed a very different tions, and often employs them without any neces :tween ancient eloquence meaning to their expressions. In all matters of sity or even advantage: But his more scrupulous substantial chapter to the opinion and science, the case is opposite: The son, in the FRENCHepic writer, exposes himself 1e's theory of the polis in difference among men is there oftener found to to the most imminent perils, rather than depart n elements of be \letristic lie in generals than in particulars; and to be less from the most exact line of truth and veracity. 1: Belletristic Rhetorical in reality than in appearance. An explanation of The admirers and followers of the ALCORAN s essay and discusses its the tenns commonly ends the controversy; and insist on the excellent moral precepts inter tichetti, in Philosophical , the disputants are surprized to find, that they had spersed throughout that wild and absurd perfor etoric. been quarrelling, while at bottom they agreed in mance. But it is to be supposed, that the ARABIC ne's argument for identi their judgment. words, which correspond to the ENGLISH,equity, ; good art through the of• Those who found morality on sentiment, more justice, temperance, meekness, charity, were >ffers some solutions in than on reason, are inclined to comprehend ethics such as, from the constant use of that tongue, 'oumal of Aesthetics 7:1 under the former observation, and to maintain, must always be taken in a good sense; and it a related debate over the that, in all questions, which regard conduct and would have argued the greatest ignorance, not of Hume and the Nature of manners, the difference among men is really morals, but of language, to have mentioned them !r 1998): 29- 38. David greater than at first sight it appears. It is indeed with any epithets, besides those of applause and ves Hume's argument for obvious, that writers of all nations and all ages approbation. But would we know, whether the ing by Analogy: Hume's concur in applauding justice, humanity, magna pretended prophet had really attained a just senti 3. Jonathan Friday teases nimity, prudence, veracity; and in blaming the ment of morals? Let us attend to his narration; e's Sceptical Standard of opposite qualities. Even poets and other authors, and we shall soon find, that he bestows praise on , 45- 66. whose compositions are chiefly calculated to such instancesof treachery,inhumanity. cruelty, ~ ·' ! · works that treat Hume's please the imagination, are yet found from revenge, bigotry, as are utterly incompatible with HOMER down to FENELON,to inculcate the same civilized society. No steady rule of right seems ;,t...... , moral precepts, and to bestow their applause and there to be attended to; and every action is / fh..iI blame on the same virtues and vices. This great blamed or praised, so far only as it is beneficial {1,,6~(' unanimity is usually ascribed to the influence of or hurtful to the true believers. \\s~ plain reason; which, in all these cases, maintains The merit of delivering true general precepts a..bc,~ similar sentiments in all men, and prevents those in ethics is indeed very small. Whoever recom- ~\- '· controversies, to which the abstract sciences are mends any moral virtues, really does no more so much exposed. So far as the unanimity is real:f than is implied in the terms themselves. That ~ ~ highest arrogance and this account may be admitted as satisfactory: But people, who invented the word charity, and used ~~"' t..-1 tied, on observing an we must also allow that some part of the seeming it in a good sense, inculcated more clearly and 'n ,-he.v.1t s, and scruples, amidst hannony in morals may be accounted for from much more efficaciously, the precept, be chari- nt, to pronounce posi - the very nature of language. The word virtue, table, than any pretended legislator or prophet, with its equivalent in every tongue, implies who should insert such a maxim in his writings. is obvious to the most praise; as that of vice does blame: And no one, Of all expressions, those, which, together with it be found, on exami - without the most obvious and grossest impropri their other meaning, imply a degree either of reality than in appear ety, could affix reproach to a term, which in gen blame or approbation, are the least liable to be en often differ with re• eral acceptation is understood in a good sense; or perverted or mistaken. nity of all kinds, even bestow applause, where the idiom requires disap It is natural for us to seek a Standard ofTa.ste; rse is the same. There probation. HOMER'S general precepts, where he a rule, by which the various sentiments of men anguage, which import delivers any such, will never be controverted; but may be reconciled; at least, a decision, afforded, and all men, who use it is obvious, that, when he draws particular pic confirming one sentiment, and condemning an- s~ ·ee in their application tures of manners, and represents heroism in other. v~
C.a~-..-4-..\., \I,~~ $(."'-Sl.o.S ~k,1.-~ HUME I OF THE STANDARD OF TASTE 831 There is a species of philosophy, which cuts OGILBYand MILTON,or BUNYANand ADDISON, ration. He charms b off all hopes of success in such an attempt, and would be thought to defend no less an extrava ~is ex~ression, by th represents the impossibility of ever attaining any gance, than if he had maintained a mole-hill to be 1~vent10ns,and by h standard of taste. The difference, it is said, is as high as TE."IERIFFE,or a pond as extensive as s1_ons,especially the very wide between judgment and sentiment. All the ocean. Though there may be found persons, kind: And however h.\S wo..-t! sentiment is right; because sentiment has a refer who give the preference to the former authors; no satisfaction, they are ~!-be. .• ence to nothing beyond itself, and is always real, one pays attention to such a taste; and we pro it. Did our pleasure 1 iu.ht-1...i wherever a man is conscious of it. But all deter nounce without scruple the sentiment of these of his poem, which 11~:;.l""'- minations of the understanding are not right; be pretended critics to be absurd and ridiculous. The would be no objectic cause they have a reference to something beyond principle of the natural equality of tastes is then would only be an 0 themselves, to wit, real matter of fact; and are not totally forgot, and while we admit it on some oc rules of criticism \\. always conformable to that standard. Among a casions, where the objects seem near an equality, circumstances to be ; thousand different opinions which different men it appears an extravagant paradox, or rather a pal , them as universally b may entertain of the same subject, there is one, pable absurdity, where objects so dispropor to please, they cannoi and but one, that is just and true; and the only tioned are compared together. • which they produce, difficulty is to fix and ascertain it. On the con It is evident that none of the rules of composi- 1 l unaccountable. ~\~ trary, a thousand different sentiments, excited by tion are fixed by reasonings a priori, or can be I I But though all th, -t"'""\l\JJ-'the same object, are all right: Because no senti esteemed abstract conclusions of the understand ~oundcdonly on expe -r\;<-:1- ment represents what is really in the object. It ing, from comparing those habitudes and rela t10n of the common se ·~ only marks a certain conformity or relation be tions of ideas, which are eternal and immutable. we must not imagine t tween the object and the organs or faculties of the Their foundation is the same with that of all the feelings of men wiil mind; and if that conformity did not really exist, practical sciences, experience; nor are they any rules. Those finer emo the sentiment could never possibly have being. thing but general observations, concerning what very tender and delica ~let\- Beauty is no quality in things themselves: It ex has been universally found to please in all coun •LS\M.- concurrence of many ists merely in the mind which contemplates tries and in all ages. Many of the beauties of po to make them play wi -'"•Ii$...,, them; and each mind perceives a different etry and even of eloquence are founded on false a~cording to their gen, beauty. One person may even perceive defor hood and fiction, on hyperboles, metaphors, and c1ples.The least exteric mity, where another is sensible of beauty; and an abuse or perversion of terms from their natural springs, or the least i1 every individual ought to acquiesce in his own meaning. To check the sallies of the imagination, their motion, and confo sentiment, without pretending to regulate those and to reduce every expression to geometrical whole machine. When \ of others. To seek the real beauty, or real defor truth and exactness, would be the most contrary ment of this nature, an mity, is as fruitless an enquiry, as to pretend to to the laws of criticism; because it would produce any beauty or deformit ascertain the real sweet or real bitter. According a work, which, by universal experience, has been care a ~roper time and i: to the disposition of the organs, the same object found the most insipid and disagreeable. But to a suitable situation 31 may be both sweet and bitter; and the proverb has though poetry can never submit to exact truth, it serenity of mind, a rccol justly delermined it to be fruitless to dispute con must be confined by rules of art, discovered to attention to the object; cerning tastes. It is very natural, and even quite the author either by genius or observation. If s!ances be wanting, our necessary, to extend this axiom to mental, as well some negligent or irregular writers have pleased, c10us, and we shall be as bodily taste; and thus common sense, which is they have not pleased by their transgressions of catholic and universal so often at variance with philosophy, especially rule or order, but in spite of these transgressions: which nature has placec with the sceptical kind, is found, in one instance They have possessed other beauties, which were the sentiment, will at lea at least, to agree in pronouncing the same deci conformable to just criticism; and the force of it will require greater ac, sion. these beauties has been able to overpower cen cem it. We shall be able 1 But though this axiom, by passing into a sure, and give the mind a satisfaction superior to not so much from the ope proverb, seems to have attained the sanction of the disgust arising from the blemishes. ARIOSTO beauty, as from the durab common sense; there is certainly a species of pleases; but not by his monstrous and improbable tend~ Ihose works, that common sense which opposes it, at least serves fictions, by his bizarre mixture of the serious and capnces of mode and fast to modify and restrain it. Whoever would assert comic styles, by the want of coherence in his sto ignorance and envy. an equality of genius and elegance between ries, or by the continual interruptions of his nar- The same HOMER,who
832 ENLIGHTENMENTRHETORIC BUNYANand ADDISON, ration. He charms by the force and clearness of RO:'>IEtwo thousand years ago, is still admired at end no less an extrava his expression, by the readiness and variety of his PARISand at LONDON.All the changes of climate, ntained a mole-hill to be inventions, and by his natural pictures of the pas government, religion, and language, have not a pond as extensive as sions, especially those of the gay and amorous be7n able to _obscure his glory. Authority or prej- may be found persons, kind: And however his faults may diminish our u81ce may give_a temporary vogue to a bad poet .o the former authors; no satisfaction, they are not able entirely to destroy or orator; but his reputation will never be durable ch a taste; and we pro • it. Did our pleasure really arise from those parts or general. When his compositions are examined the sentiment of these of his poem, which we denominate faults, this by posterity or by foreigners, the enchantment is surd and ridiculous. The would be no objection lo criticism in general: It dissipated, and his faults appear in their true :quality of tastes is then would only be an objection to those particular c?lours. On the contrary, a real genius, the longer ...... we admit it on some oc rules of criticism, which would establish such his works endure, and the more wide they are c.-""1A .sseem near an equality, circumstances to be faults, and would represent spread, the more sincere is the admiration which paradox, or rather a pal- them as universally blameable. If they are found he me~ls with. Envy and jealousy have too much objects so dispropor II to please, they cannot be faults; let the pleasure, place m a narrow circle; and even familiar ac :ther. which they produce, be ever so unexpected and quaintance with his person may diminish the ap- .or the rul~s ?f composi- \I unaccountable . plause due to his performances: But when these mgs a prwr1, or can be But though all the general rules of art are obstructions are removed, the beauties, which are .sions of the understand founded only on experience and on the observa naturally fitted to excite agreeable sentiments, ose habitudes and rela- tion of the common sentiments of human nature, immediately display their energy; and while the : eternal and immutable. we must not imagine, that, on every occasion, the world endures, they maintain their authority over ;ame with that of all the feelings of men will be conformable to these the minds of men. ience; nor are they any rules. Those finer emotions of the mind are of a It_appears then, that, amidst all the variety and ·ations, concerning what very tender and delicate nature, and require the c~pnce of taste, !here are certain general prin nd to please in all coun concurrence of many favourable circumstances ciples of approbat10n or blame, whose influence a ny of the beauties of po to make them play with facility and exactness, careful eye may trace in all operations of the ice are founded on false according to their general and established prin mind .. s?me particular forms or qualities, from ,erboles, metaphors, and ciples. The least exterior hindrance to such small the ongmal structure of the internal fabric are f terms from their natural springs, or the least internal disorder, disturbs ~alculated_to pleas~, and others to displease; and allies of the imagination, their motion, and confounds the operation of the 1f they fail of their effect in any particular in .pression to geometrical whole machine. When we would make an experi stan_ce,~t is from some apparent defect or imper- Jld be the most contrary ment of this nature, and would try the force of fection m the organ. A man in a fever would not ""-~ 3 1ecause it would produce any beauty or deformity, we must choose with insist on his palate as able to decide concerning -.+,. rsal experience, has been care a proper time and place, and bring the fancy fl~vours; nor woul~ one, affected with the jaun- .S~ 1 and disagreeable. But to a suitable situation and disposition. A perfect dice, pretend to give a verdict with regard to ~~ · submit to exact truth, it serenity of mind, a recollection of thought, a due colours. In each creature, there is a sound and a Jes of art, discovered to attention to the object; if any of these circum defective state; and the former alone can be sup- !nius or observation. If stances be wanting, our experiment will be falla posed to afford us a true standard of taste and 1lar writers have pleased, cious, and we shall be unable to judge of the sentiment. If, in the sound state of the organ, y their transgressions of catholic and uni versa! beauty. The relation, then~ be an entire or a considerable uniformity of :! of these transgressions: which nature has placed between the form and sentiment among men, we may thence derive an her beauties, which were the sentiment, will at least be more obscure; and idea of the perfect beauty; in like manner as the ticism; and the force of it will require greater accuracy to trace and dis appearance of objects in day-light, to the eye of a able to overpower cen cern it. We shall be able to ascertain its influence man in health, is denominated their true and real a satisfaction superior to not so much from the operation of each particular colour, even while colour is allowed to be merely the blemishes. ARIOSTO beauty, as from the durable admiration, which at a phantasm of the senses. 1onstrous and improbable tends those works, that have survived all the Many and frequent are the defects in the inter 1ixture of the serious and caprices of mode and fashion, all the mistakes of nal organs, which prevent or weaken the influ 1t of coherence in his sto· ignorance and envy. ence of those general principles, on which de- interruptions of his nar· The same HOMER,who pleased at ATHENSand pends our sentiment of beauty or deformity. ·· ·
,,' . I:. HUME I OF THE STANDARD OF TASTE 833 ~ ~ M,..o ..... ~"\.~~ ,, l,o-,.~ C..01'1.~,o~f i.~p•t4c. ...~-t
~ ~""~
Though some objects, by the struclure of the degree, or may be mixed and confounded with It is acknowled1 mind, be naturally calculated lo give pleasure, it each other, it often happens, that the taste is not every sense or facul is not lo be expected, that in every individual the affected with such minute qualities, or is not able its most minute objt pleasure will be equally felt. Particular incidents to distinguish all the particular flavours, amidst cape its notice and and situations occur, which either throw a false the disorder, in which they are presented. Where objects are, which light on the objects, or hinder the true from con the organs arc so fine, as to allow nothing to es the finer is that orgi veying to the imagination the proper sentiment cape them; and at the same time so exact as to make and compositi and perception. perceive every ingredient in the composition: -j by strong flavours; One obvious cause, why many feel not the This we call delicacy of taste, whether we em 0 gredients, where \\ :u·· proper sentiment of beauty, is the want of that ploy these terms in the literal or metaphorical ~ part, nolwithstandin .,. delicacy of imagination, which is requisite to sense. Here then the general rules of beauty are \....,fusion with the rest '-t · convey a sensibility of those fl ner emotions. This of use; being drawn from established models, and acute perception of ~ delicacy every one pretends to: Every one talks from the observation of what pleases or dis the perfection of ou ~~ of it; and would reduce every kind of taste or pleases, when presented singly and in a high de be satisfied with hi r• W.... sentiment to its standard. But as our intention in gree: And if the same qualities, in a continued any excellence or this essay is lo mingle some light of the under composition and in a smaller degree, affect not passed him unobse1 standing with the feelings of sentiment, it will be the organs with a sensible delight or uneasiness, tion of the man, anc proper to give a more accurate definition of deli we exclude the person from all pretensions to this feeling, are found 1 cacy, than has hitherto been attempted. And not delicacy. To produce these general rules or palate, on many occ lo draw our philosophy from too profound a avowed patterns of composition is like finding venience both to source, we shall have recourse lo a noted story in the key with the leathern thong; which justified friends: But a delic; DON QUIXOTE. the verdict of SANCHO'S kinsmen, and con always be a desira It is with good reason, says SANCHO to the founded those pretended judges who had con source of all the fir squire with the great nose, that I pretend lo have demned them. Though the hogshead had never ments, of which ht a judgment in wine: This is a quality hereditary been emptied, the taste of the one was still this decision the s1 in our family. Two of my kinsmen were once equally delicate, and that of the other equally dull agreed. Wherever} called lo give their opinion of a hogshead, which and languid: But it would have been more diffi taste, it is sure to rr was supposed to be excellent, being old and of a cult to have proved the superiority of the former, best way of ascerti good vintage. One of them tastes it; considers it; to the conviction of every by-stander. In like models and princi] and after mature reflection pronounces the wine manner, though the beauties of writing had never lished by the unifo to be good, were it not for a small taste of leather, been methodized, or reduced to general prin nations and ages. which he perceived in it. The other, after using ciples; though no excellent models had ever been But though thet the same precautions, gives also his verdict in acknowledged; the different degrees of taste ence in point of del favour of the wine; but with the reserve of a taste would still have subsisted, and the judgment of another, nothing t, of iron, which he could easily distinguish. You one man been preferable to that of another; but it improve this talenl cannot imagine how much they were both would not have been so easy to silence the bad art, and the frequen ridiculed for their judgment. But who laughed in critic, who might always insist upon his particu particular species c the end? On emptying the hogshead, there was lar sentiment, and refuse lo submit to his antago kind are first prese1 found at the bottom, an old key with a leathern nist. But when we show him an avowed principle the sentiment, whic thong tied to it. of art; when we illustrate this principle by ex confused; and the r The great resemblance between mental and amples, whose operation, from his own particular capable of pronou bodily taste will easily teach us to apply this taste, he acknowledges to be conformable to the or defects. The tas story. Though it be certain, that beauty and defor principle; when we prove, that the same principle excellencies of the mity, more than sweet and bitter, are not qualities may be applied to the present case, where he did tinguish the partic in objects, but belong entirely to the sentiment, not perceive or feel its influence: 'He must con !ency, and ascerta 1 internal or external; it must be allowed, that there clude, upon the whole, that the fault lies in him· pronounce the whc are certain qualities in objects, which are fitted self, and that he wants the delicacy, which is req deformed, it is the ;f- H UME I OF THE STANDARD OF TASTE 835 -h.,h.. LL~\~ ..... , £.~c.J- coarsesl daubing contains a certain lustre of era!, forget, if possible, my individual being and composition, even ti colours and exactness of imitation, which are so my peculiar circumstances. A person influenced but a chain of prop1 far beauties, and would affect lhe mind of a peas by prejudice, complies not with this condition; always, indeed, the ant or Indian with the highest admiration. The but obstinately maintains his natural position, still plausible and s mosl vulgar ballads are not entirely destitute of without placing himself in that point of view, by the colouring of t harmony or nature; and none but a person, famil which the performance supposes. If the work be introduced in tragcd iarized to superior beaulies, would pronounce addressed to persons of a different age or nation, represented as reaso their numbers harsh, or narration uninteresting. A he makes no allowance for their peculiar views eluding, and acting. great inferiority of beauty gives pain to a person and prejudices; but, full of the manners of his ~ and circumstances; .... conversant in the highest excellence of the kind, -, own age and country, rashly condemns what • well as taste and inv, and is for that reason pronounced a deformity: As seemed admirable in the eyes of those for whom -" to succeed in so del w • the most finished objecl, with which we are ac alone the discourse was calculated. If the work mention, that the s. quainted, is naturally supposed to have reached be executed for the public, he never sufficiently which contributes to the pinnacle of perfection, and to be entitled lo enlarges his comprehension, or forgets his inter the same clearness o the highest applause. One accustomed to see, and est as a friend or enemy, as a rival or commenta ness of distinction, examine, and weigh the several performances, tor. By this means, his sentiments are perverted; hension, are essenti admired in different ages and nations, can alone nor have the same beauties and blemishes the taste, and are its in i... • rate the merits of a work exhibited to his view, same influence upon him, as if he had imposed a 15 dom, or never happe \> and assign its proper rank among the productions ~ proper violence on his imagination, and had for has experience in r -~~l':"'"" of genius. gotten himself for a moment. So far his taste evi beauty; and it is no ...._1.--., ir But lo enable a critic the more fully to execute dently departs from the true standard; and of con who has a just taste ._, ~ this undertaking, he must preserve his mind free sequence loses all credit and authority . ing. from all and allow nothing to enter ~~ ~ prejudice, It is well known, that in all questions, submit Thus, though the ~~t>tL. into his consideration, but the very object which ted to the understanding, prejudice is destructive sat, and nearly, if 1 is submitted to his examination. We may ob of sound judgment, and perverts all operations of men; yet few arc qt serve, that every work of art, in order to produce the intellectual faculties: It is no Jess contrary to any work of art, or < its due effect on the mind, must be surveyed in a good taste; nor has it less influence to corrupt our as the standard of bi certain point of view, and cannot be fully rel sentiment of beauty. It belongs to good sense to sensation arc seldor ished by persons, whose situation, real or imagi check its influence in both cases; and in this re general principles d nary, is not conformable to that which is required spect, as well as in many others, reason, if not an feeling corresponde by lhe performance. An orator addresses himself essential part of taste, is at least requisite to the either labour under to a particular audience, and must have a regard operations of this latter faculty. In all the nobler by some disorder; , to their particular genius, interests, opinions, pas• productions of genius, there is a mutual relation sentiment, which m: sions, and prejudices; otherwise he hopes in vain and correspondence of parts; nor can either the When the critic has to govern their resolutions, and inflame their af beauties or blemishes be perceived by him, out any distinction, fections. Should they even have entertained some whose thought is not capacious enough to com· grosser and more pa prepossessions against him, however unreason prehend all those parts, and compare them with The finer touches able, he must not overlook this disadvantage; but, each other, in order to perceive the consistence garded. Where he i before he enters upon the subject, must endeav and uniformity of the whole. Every work of art verdict is attended v our to conciliate their affection, and acquire lheir has also a certain end or purpose, for which it is Where no compari~ good graces. A critic of a different age or nation, calculated; and is to be deemed more or Jess per most frivolous beau who should peruse this discourse, must have all fect, or it is more or less fitted to attain this end. name of defects, are these circumstances in his eye, and must place t.C'1 · The object of eloquence is to persuade, of history Where he lies unde ~t-<[ himself in the same situation as the audience, in to instruct, of poetry to please by means of the all his natural senti order to form a true judgmenl of the oration. In passions and the imagination. These ends we good sense is wanti like manner, when any work is addressed to the must carry constantly in our view, when we pe cern the beauties of public, though I should have a friendship or en ruse any performance; and we must be able to are the highest and mity with the author, I must depart from this situ judge how far the means employed are adapted to or other of these im ation; and considering myself as a man in gen- their respective purposes. Besides, every kind of men labour; and he ENLIGHTENMENT RHETORIC my individual being and composition, even the most poetical, is nothing arts is observed, even during the most polished ·es. A person influenced but a chain of propositions and reasonings; not ages, to be so rare a character: Strong sense, not with this condition· always, indeed, the justest and most exact, but united to delicate sentiment, improved by prac os his natural position'. still plausible and specious, however disguised tice, perfected by comparison, and cleared of all · in that point of view, by the colouring of the imagination. The persons prejudice, can alone entitle critics to this valuable ;upposes. If the work be introduced in tragedy and epic poetry, must be character; and the joint verdict of such, wherever 1 different age or nation, represented as reasoning, and thinking, and con - they arc to be found, is the true standard of taste for their peculiar views eluding, and acting, suitably to their character and beauty. I of the manners of his l. and circumstances; and without judgment, as But where arc such critics to be found? By rashly condemns what ~ well as taste and invention, a poet can never hope I what marks arc they to be known? How distin eyes of those for whom ';z, to succeed in so delicate an undertaking. Not to guish them from prelenders? These questions are calculated. If the work mention, that the same excellence of faculties embarrassing; and seem to throw us back inlo lhe lie, he never sufficiently which contributes to the improvement of reason, same uncertainty, from which, during the course ,ion, or forgets his inter- the same clearness of conception, the same exact - of this essay, we have endeavoured to extricate as a rival or commenta ness of distinction, the same vivacity of appre· ourselves. ,entiments are perverted; hension, are essential to the operations of true But if we consider the matter aright, these are uties and blemishes the taste, and are its infallible concomitants . It sel- questions of fact, not of sentiment. Whether any 1, as if he had imposed a dom, or never happens, that a man of sense, who particular person be endowed with good sense 11agination, and had for has experience in any art, cannot judge of its and a delicate imagination, free from prejudice, oent. So far his taste evi beauty; and it is no less rare to meet with a man may often be the subject of dispute, and be liable . ( rue standard; and of con who has a just taste without a sound understand r to great discussion and enquiry: But that such a and authority. ing. character is valuable and estimable will be in all questions, submit Thus, though the principles of taste be univer- agreed in by all mankind. Where these doubts , prejudice is destructive sat, and nearly, if not entirely the same in all occur, men can do no more than in other dis perverts all operations of men; yet few are qualified to give judgment on putable questions, which are submitted to the un• : It is no less contrary to any work of art, or establish their own sentiment derstanding: They must produce the best arguT 5 influence to corrupt our as the standard of beauty. The organs of internal ments, that their invention suggests to them; they ~c.-··· ,elongs to good sense to sensation are seldom so perfect as to allow the must acknowledge a true and decisive standard to 1th cases; and in this re general principles their full play, and produce a exist somewhere, to wit, real existence and mat• , others, reason, if not an feeling correspondent to those principles. They ter of fact; and they must have indulgence to such ; at least requisite to the either labour under some defect, or are vitiated as differ from them in their appeals to this stanA faculty. In all the nobler by some disorder; and by that means, excite a dard. It is sufficient for our present purpose, if we here is a mutual relation sentiment, which may be pronounced erroneous. have proved, that the taste of all individuals is parts; nor can either the When the critic has no delicacy, he judges with- not upon an equal footing, and that some men in be perceived by him, out any distinction, and is only affected by the general, however difficult to be particularly ,pacious enough to com grosser and more palpable qualities of the object: pitched upon, will be acknowledged by universal and compare them with The finer touches pass unnoticed and disre- sentiment to have a preference above others. perceive the consistence garded. Where he is not aided by practice, his But in reality the difficulty of finding, even in ,hole. Every work of art verdict is attended with confusion and hesitation. particulars, the standard of taste, is not so great as r purpose, for which it is Where no comparison has been employed, the it is represented. Though in speculation, we may Jeemed more or less per most frivolous beauties, such as rather merit the readily avow a certain criterion in science and s fitted to attain this end. name of defects, are the object of his admiration. deny it in sentiment, the matter is found in prac is to persuade, of history Where he lies under the influence of prejudice, tice to be much more hard to ascertain in the for please by means of the all his natural sentiments are perverted. Where mer case than in the latter. Theories of abstract ination. These ends we good sense is wanting, he is not qualified to dis- philosophy, systems of profound theology, have t our view, when we pe~ cem the beauties of design and reasoning, which prevailed during one age: In a successive period, and we must be able to are the highest and most excellent. Under some these have been universally exploded: Their ab employed are adapted to or other of these imperfections, the generality of surdity has been detected: Other theories and sys s. Besides, every kind of men labour; and hence a true judge in the finer terns have supplied their place, which again gave HUME I OF THE STANDARD OF TASTE 837 \...t.lS ~l;. 4 .f. ave.tel +k.t. 1 l~ ~\ c..Ll~ w~ ~ ' tti-a""MA."'t- place lo their successors: And nothing has been from want of practice, or want of delicacy; and ters, that resemble ot 4' ... ; ••• experienced more liable to the revolutions of there is just reason for approving one taste, and own age or country. ~.:J.~•"-'', chance and fashion than these pretended deci condemning another. But where there is such a scribe a different set sions of science. The case is not the same with diversity in the internal frame or external situa some effort, that w1 the beauties of eloquence and poetry. Just expres tion as is entirely blameless on both sides, and simplicity of anci1 •••• :. -J. J sions of passion and nature are sure, after a Huie leaves no room to give one the preference above princesses carrying lime, to gain public applause, which they main the other; in that case a certain degree of diver kings and heroes dre tain for ever. ARISTOTI.E,and PLATO,and EPICU sity in judgment is unavoidable, and we seek in may allow in gener. RUS, and DESCARTES,may successively yield to vain for a standard, by which we can reconcile such manners is no f each other: But TERENCEand VIRGILmaintain an the contrary sentiments. mity in the piece; , universal, undisputed empire over the minds of A young man, whose passions are warm, will touched with them. ., h,lhO \ men. The abstract philosophy of CICEROhas lost be more sensibly touched with amorous and ten- not easily transferre isf..k..~ its credit: The vehemence of his oratory is still der images, lhan a man more advanced in years, another. A FRENCHI ~~ the object of our admiration. who takes pleasure in wise, philosophical reflec pleased with the A1' Though men of delicate taste be rare, they are lions concerning lhe conduct of life and modera of MACHIAVEL;whe easily to be distinguished in society, by the tion of the passions. At twenty, Ovm may be the all the play turns, ne soundness of their understanding and the superi favourite author; HORACE at forty; and perhaps tators, but is always ority of their faculties above the rest of mankind. TACITUS at fifty. Vainly would we, in such cases, ably to the reserv The ascendant, which they acquire, gives a endeavour to enter into the sentiments of others, GREEKS and modem prevalence to that lively approbation, with which and divest ourselves of those propensities, which and reflection can n they receive any productions of genius, and ren are natural to us. We choose our favourite author culiarities of manne ders it generally predominant. Many men, when as we do our friend, from a conformity of hu can never divest the left to themselves, have but a faint and dubious mour and disposition. Mirth or passion, senli ideas and sentiment: perception of beauty, who yet are capable of rel ment or reflection; whichever of these most pre no wise resemble th< ishing any fine stroke, which is pointed out to dominates in our temper, it gives us a peculiar But here there oc them. Every convert to the admiration of the real sympathy with the writer who resembles us. perhaps, be useful poet or orator is the cause of some new conver One person is more pleased with the sublime; controversy concer sion. And though prejudices may prevail for a another wilh the tender; a third with raillery. One learning; where we 1 time, they never unite in celebrating any rival to has a strong sensibility to blemishes, and is ex ing any seeming ab the true genius, but yield at last to the force of na tremely studious of correctness: Another has a the manners of the • ture and just sentiment. Thus, though a civilized more lively feeling of beauties, and pardons admit this excuse, o nation may easily be mistaken in the choice of twenty absurdities and defects for one elevated or an apology for the their admired philosopher, they never have been pathetic stroke. The ear of this man is entirely mance. In my opini \..• l. found long lo err, in their affection for a favourite turned towards conciseness and energy; that man this subject have se· epic or tragic author. is delighted with a copious, rich, and harmonious .:.:S"'.:J contending parties., But notwithstanding all our endeavours to fix expression. Simplicity is affected by one; oma- ~ "J. ities of manners ar1 a standard of taste, and reconcile the discordant menl by another. Comedy, tragedy, satire, odes, ~j above mentioned, tt apprehensions of men, there still remain two have each its partizans, who prefer that particular ; . milled; and a man, sources of variation, which are not sufficient in species of writing lo all others. It is plainly an .JI j gives an evident pr, deed to confound all the boundaries of beauty error in a crilic, to confine his approbation to one ~ : finement. The poet and deformity, but will oflen serve to produce a species or style of writing, and condemn all the -1', than brass, must fal difference in the degrees of our approbation or rest. Bul it is almost impossible not to feel a brick or clay, were r blame. The one is the different humours of par predilection for that which suits our particular the continual revol ticular men; the other, the particular manners and turn and disposition. Such preferences are inno- toms, and would ad opinions of our age and country. The general cent and unavoidable, and can never reasonably suitable to the preva principles of taste are uniform in human nature: be the object of dispute, because there is no stan aside the pictures < Where men vary in their judgments, some defect dard, by which they can be decided. their ruffs and fard1 or perversion in the faculties may commonly be For a like reason, we are more pleased, in the of morality and dee< remarked; proceeding either from prejudice, course of our reading, with pictures and charac- other, and where vi ENLIGHTENMENTRHETORIC or want of delicacy; and ters , that resemble objects which are found in our without being marked with the proper characters approving one taste, and own age or country, than with those which de of blame and disapprobation; this must be al lut where there is such a scribe a different set of customs. It is not without lowed to disfigure the poem, and to be a real de I frame or external situa some effort, that we reconcile ourselves to the formity. I cannot, nor is it proper I should, enter teless on both sides, and simplicity of ancient manners, and behold into such sentiments; and however I may excuse one the preference above princesses carrying water from the spring, and the poet, on account of the manners of his age, I 1 certain degree of diver kings and heroes dressing their own victuals . We never can relish the composition. The want of voidable, and we seek in may allow in general, that the representation of humanity and of decency, so conspicuous in the which we can reconcile such manners is no fault in the author, nor defor characters drawn by several of the ancient poets, mity in the piece; but we are not so sensibly even sometimes by HOMERand the GREEKtrage e passions are warm, will touched with them. For this reason, comedy is dians, diminishes considerably the merit of their ;:d with amorous and ten- not easily transferred from one age or nation to noble performances, and gives modem authors more advanced in years, another. A FRENCHMANor ENGLISHMAN is not an advantage over them. We are not interested in vise, philosophical reflec pleased with the ANDRIAof TERENCE, or CUTIA the fortunes and sentiments of such rough heroes: nduct of life and modera of MACHIAVEL;where the fine lady, upon whom We are displeased to find the limits of vice and twenty, OVID may be the all the play turns, never once appears to the spec virtue so much confounded: And whatever indul CE at forty; and perhaps tators, but is always kept behind the scenes, suit gence we may give to the writer on account of would we, in such cases, ably to the reserved humour of the ancient his prejudices, we cannot prevail on ourselves to the sentiments of others, GREEKSand modem ITALIANS.A man of learning enter into his sentiments, or bear an affection those propensities, which and reflection can make allowance for these pe to characters, which we plainly discover to be oose our favourite author culiarities of manners; but a common audience blameable. um a conformity of hu can never divest themselves so far of their usual The case is not the same with moral prin Mirth or passion, senti ideas and sentiments, as to relish pictures which ciples, as with speculative opinions of any kind. :hever of these most pre no wise resemble them. These are in continual flux and revolution. The :r, it gives us a peculiar But here there occurs a reflection, which may, son embraces a different system from the father. r who resembles us. perhaps, be useful in examining the celebrated Nay, there scarcely is any man, who can boast of >leased with the sublime; controversy concerning ancient and modem great constancy and uniformity in this particular. a third with raillery. One learning; where we often find the one side excus Whatever speculative errors may be found in the to blemishes, and is ex ing any seeming absurdity in the ancients from polite writings of any age or country, they detract Tectness: Another has a the manners of the age, and the other refusing to but Jillie from the value of those compositions. · beauties, and pardons admit this excuse, or at least, admilling it only as There needs but a certain tum of thought or efects for one elevated or an apology for the author, not for the perfor imagination to make us enter into all the opin · of this man is entirely mance. In my opinion, the proper boundaries in ions, which then prevailed, and relish the senti ess and energy; that man this subject have seldom been fixed between the ments or conclusions derived from them. But a us, rich, and hannonious ,...,~ contending parties. Where any innocent peculiar very violent effort is requisite to change our s affected by one; oma - 1i ities of manners are represented, such as those judgment of manners, and excite sentiments of :ly, tragedy, satire, odes, 1 above mentioned, they ought certainly to be ad approbation or blame, love or hatred, different vho prefer that particular j -i mitted; and a man, who is shocked with them, from those to which the mind from long custom l others. It is plainly an .JI l gives an evident proof of false delicacy and re has been familiarized. And where a man is confi 1e his approbation to one ~ ~ finement. The poet's mo1111111e111more durable dent of the rectitude of that moral standard, by 1g, and condemn all the 'Gij. than brass, must fall to the ground like common which he judges, he is justly jealous of it, and npossible not to feel a brick or clay, were men to make no allowance for will not pervert the sentiments of his heart for a 1ich suits our particular the continual revolutions of manners and cus moment, in complaisance to any writer whatso ;h preferences are inno- toms, and would admit of nothing but what was ever. 1d can never reasonably suitable to the prevailing fashion. Must we throw Of all speculative errors, those, which regard because there is no stan~ aside the pictures of our ancestors, because of religion, are the most excusable in compositions ,e decided. their ruffs and fardingales? But where the ideas of genius; nor is it ever permiued to judge of the are more pleased, in the of morality and decency alter from one age to an civility or wisdom of any people, or even of ith pictures and charac - other, and where vicious manners are described, single persons, by the grossness or refinement of HUMEI Of THE STANDARDOF TASTE 839 their theological principles. The same good with all the pomp imaginable, and forms the pre Mary As~ sense, that directs men in the ordinary occur dominant character of the heroes. "What is this," 1666-1731 rences of life, is not hearkened to in religious says the sublime JoAo to JOSABET,finding her in matters, which are supposed to be placed alto discourse with MATHAN, the priest of BAAL, gether above the cognizance of human reason. "Does the daughter of DAVIDspeak to this trai On this account, all the absurdities of the pagan tor? Are you not afraid, lest the earth should open Mary Astell wa system of theology must be overlooked by every and pour forth flames to devour you both? Or lest family possessed a critic, who would pretend to form a just notion of these holy walls should fall and crush you to the local coal indu ancient poetry; and our posterity, in their tum, gether? What is his purpose? Why comes the and Anglican. Mar must have the same indulgence to their forefa enemy of God hither to poison the air, which we his post for alcoho thers. No religious principles can ever be im breathe, with his horrid presence?" Such senti was included in th puted as a fault to any poet, while they remain ments are received with great applause on the read some classics merely principles, and lake not such strong pos theatre of PARIS; but at LONDONthe spectators theology, and prob, session of his heart, as to lay him under the impu would be full as much pleased to hear ACHILLES When Mary wa. tation of bigotry or superstition. Where that hap tell AGAMEMNON,that he was a dog in his fore father died within t pens, they confound the sentiments of morality, head, and a deer in his heart, or JUPITERthreaten sound. What little and alter the natural boundaries of vice and JUNO with a sound drubbing, if she will not be virtue. They are therefore eternal blemishes, ac quiet. while Mary lived cording to the principle abovementioned; nor are RELIGIOUSprinciples are also a blemish in any could be provided the prejudices and false opinions of the age suffi polite composition, when they rise up to supersti Mason Sutherland cient to jusLify them. tion, and intrude themselves into every senti very successful ca. It is essential to the ROMANcatholic religion ment, however remote from any connection with male. 1 Without thii to inspire a violent hatred of every other worship, religion. It is no excuse for the poet, that the cus writer and educatm and to represent all pagans, mahometans, and toms of his country had burthened life with so Astell had expe, heretics as the objects of divine wrath and many religious ceremonies and observances, that Desperate, she a~ vengeance. Such sentiments, though they are in no part of it was exempt from that yoke. It must William Sancroft, reality very blameable, are considered as virtues for ever be ridiculous in PETRARCHto compare cratic female frienc by the zealots of that communion, and are repre his mistress, LAl1RA, to JISllS CHRIST.Nor is it her work. She sett sented in their tragedies and epic poems as a kind less ridiculous in that agreeable libertine, Boc of divine heroism. This bigotry has disfigured CACE, very seriously to give thanks to Goo girls' schools. Fror two very fine tragedies of the FRENCHtheatre, ALMIGHTYand the ladies, for their assistance in Hastings, and also PDLIEUCTEand ATHALIA;where an intemperate defending him against his enemies. Lady Mary Wortlc zeal for particular modes of worship is set off spected her leamin Astell's first bot Their True and G, thor's gender iden foundation of a wo young women cou Anglican Christian lively, without a st this institution to n or they might stay activities to perfon perate the financia male supporters an •Christine Mason S R(!claimi11gRhewrica, t ENLIGHTENMENTRHETORI C