Page 6 of 113
But, supposing this hypothesis of moral philosophy should be allowed to be false, 'tis still evident that pain and pleasure, if not the causes of vice and virtue, are at least inseparable from them. A generous and[Pg 29] noble character affords a satisfaction even in the survey; and when presented to us, though only in a poem or fable, never fails to charm and delight us. On the other hand, cruelty and treachery displease from their very nature; nor is it possible ever to reconcile us to these qualities, either in ourselves or others. Thus, one hypothesis of morality is an undeniable proof of the foregoing system, and the other at worst agrees with it.
But pride and humility arise not from these qualities alone of the mind, which, according to the vulgar systems of ethicks, have been comprehended as parts of moral duty, but from any other that has a connexion with pleasure and uneasiness. Nothing flatters our vanity more than the talent of pleasing by our wit, good humour, or any other accomplishment; and nothing gives us a more sensible mortification than a disappointment in any attempt of that nature. No one has ever been able to tell what wit is, and to show why such a system of thought must be received under that denomination, and such another rejected. 'Tis only by taste we can decide concerning it, nor are we possessed of any other standard, upon which we can form a judgment of this kind. Now, what is this taste, from which true and false wit in a manner receive their being, and without which no thought can have a title to either of these denominations? 'Tis plainly nothing but a sensation of pleasure from true wit, and of uneasiness from false, without our being able to tell the reasons of that pleasure or uneasiness. The power of bestowing these opposite sensations is, therefore, the very essence of true and false wit, and consequently the cause of that pride or humility which arises from them.
There may perhaps be some, who, being accustomed[Pg 30] to the style of the schools and pulpit, and having never considered human nature in any other light, than that in which they place it, may here be surprised to hear me talk of virtue as exciting pride, which they look upon as a vice; and of vice as producing humility, which they have been taught to consider as a virtue. But not to dispute about words, I observe, that by pride I understand that agreeable impression, which arises in the mind, when the view either of our virtue, beauty, riches or power, makes us satisfied with ourselves; and that by humility I mean the opposite impression. 'Tis evident the former impression is not always vicious, nor the latter virtuous. The most rigid morality allows us to receive a pleasure from reflecting on a generous action; and 'tis by none esteemed a virtue to feel any fruitless remorses upon the thoughts of past villany and baseness. Let us, therefore, examine these impressions, considered in themselves; and inquire into their causes, whether placed on the mind or body, without troubling ourselves at present with that merit or blame, which may attend them.
Whether we consider the body as a part of ourselves, or assent to those philosophers, who regard it as something external, it must still be allowed to be near enough connected with us to form one of these double relations, which I have asserted to be necessary[Pg 31] to the causes of pride and humility. Wherever, therefore, we can find the other relation of impressions to join to this of ideas, we may expect with assurance either of these passions, according as the impression is pleasant or uneasy. But beauty of all kinds gives us a peculiar delight and satisfaction; as deformity produces pain, upon whatever subject it may be placed, and whether surveyed in an animate or inanimate object. If the beauty or deformity, therefore, be placed upon our own bodies, this pleasure or uneasiness must be converted into pride or humility, as having in this case all the circumstances requisite to produce a perfect transition of impressions and ideas. These opposite sensations are related to the opposite passions. The beauty or deformity is closely related to self, the object of both these passions. No wonder, then, our own beauty becomes an object of pride, and deformity of humility.
But this effect of personal and bodily qualities is not only a proof of the present system, by showing that the passions arise not in this case without all the circumstances I have required, but may be employed as a stronger and more convincing argument. If we consider all the hypotheses which have been formed either by philosophy or common reason, to explain the difference betwixt beauty and deformity, we shall find that all of them resolve into this, that beauty is such an order and construction of parts, as, either by the primary constitution of our nature, by custom, or by caprice, is fitted to give a pleasure and satisfaction to the soul. This is the distinguishing character of beauty, and forms all the difference betwixt it and deformity, whose natural tendency is to produce uneasiness. Pleasure and pain, therefore, are not only necessary[Pg 32] attendants of beauty and deformity, but constitute their very essence. And, indeed, if we consider that a great part of the beauty which we admire either in animals or in other objects is derived from the idea of convenience and utility, we shall make no scruple to assent to this opinion. That shape which produces strength is beautiful in one animal; and that which is a sign of agility, in another. The order and convenience of a palace are no less essential to its beauty than its mere figure and appearance. In like manner the rules of architecture require, that the top of a pillar should be more slender than its base, and that because such a figure conveys to us the idea of security, which is pleasant; whereas the contrary form gives us the apprehension of danger, which is uneasy. From innumerable instances of this kind, as well as from considering that beauty, like wit, cannot be defined, but is discerned only by a taste or sensation, we may conclude that beauty is nothing but a form, which produces pleasure, as deformity is a structure of parts which conveys pain; and since the power of producing pain and pleasure make in this manner the essence of beauty and deformity, all the effects of these qualities must be derived from the sensation; and among the rest pride and humility, which of all their effects are the most common and remarkable.
This argument I esteem just and decisive; but in order to give greater authority to the present reasoning, let us suppose it false for a moment, and see what will follow. 'Tis certain, then, that if the power of producing pleasure and pain forms not the essence of beauty and deformity, the sensations are at least inseparable from the qualities, and 'tis even difficult to consider them apart. Now, there is nothing common[Pg 33] to natural and moral beauty (both of which are the causes of pride), but this power of producing pleasure; and as a common effect always supposes a common cause, 'tis plain that pleasure must in both cases be the real and influencing cause of the passion. Again, there is nothing originally different betwixt the beauty of our bodies and the beauty of external and foreign objects, but that the one has a near relation to ourselves, which is waiting in the other. This original difference, therefore, must be the cause of all their other differences, and, among the rest, of their different influence upon the passion of pride, which is excited by the beauty of our person, but is not affected in the least by that of foreign and external objects. Placing then these two conclusions together, we find they compose the preceding system betwixt them, viz. that pleasure, as a related or resembling impression, when placed on a related object, by a natural transition produces pride, and its contrary, humility. This system, then, seems already sufficiently confirmed by experience, though we have not yet exhausted all our arguments.
