Most philosophers agree that an argument's presentation is relevant to its philosophical merit. This paper explains why David Hume considered presentation philosophically important. On Hume's epistemology, presentation is closely connected with two principal aims of philosophical arguments: persuasion and epistemic justification. Hume's views imply that presentation is a factor determining an argument's persuasiveness and that, by philosophical standards of justification, presentation is also a factor determining the extent to which an argument's conclusion is justified.

Although the implications of Hume's distinction between philosophical anatomy and painting have been the subject of lively scholarly debates, it is a puzzling fact that the details of the distinction itself have largely been a matter of interpretive presumption rather than debate. This would be unproblematic if Hume's views about these two species of philosophy were obvious, or if there were a rich standard interpretation of the distinction that we had little reason to doubt. But a careful review of the (...) literature shows neither to be the case. We are far from scholarly consensus about Hume's vision of philosophical anatomy and painting, and what unity there is rests on extremely unsteady ground and leaves important questions unanswered. In this article, my aim is three-fold: first, to show that the appearance of well-grounded scholarly unity about Humes distinction is illusory; second, to dispose of those misinterpretations of Hume's distinction that are sufficiently at odds with the text that they can be demonstrated to be false in this context; and third, to explore in sufficient detail the numerous questions one might raise about the content of Hume's distinction so that the stage might at last be properly set for a truly full account of Hume's distinction between philosophical anatomy and painting. (shrink)

Hume consideredAn Enquiry Concerning the Principles of Morals(1751) incomparably the best of all his writings. In the argument advanced here, I propose that Hume's preference for theEnquirymay be linked to his admiration of Cicero, and his work,De Officiis.Cicero's attempt to discover thehonestumof morality inDe Officiishad a particular relevance and appeal for philosophers of the early eighteenth century who were seeking to establish what they called the foundation of morality. One of those philosophers was Francis Hutcheson; his differences with his contemporaries (...) and with Hume are reviewed in the second and third parts of the essay. In the fourth and final section, I examine Hume's attempt to reconcile the foundation of morality, as he under-stood it, the sentiment of humanity, with the principles of utility and agreeableness. And an attempt is made, finally, to explain why Hume's critics (James Balfour, Thomas Reid) perceived Hume'sEnquiryto be the work of an Epicurean and a sceptic. (shrink)

Disappointed by the indifferent reception of his 1739 Treatise of Human Nature, particularly in view of his commitment to vividness and convincingness as epistemological criteria, Hume recast crucial arguments from his Treatise in “The Epicurean,” “The Stoic,” “The Platonist,” and “The Sceptic,” four pieces from his 1741–2 Essays Moral and Political. Locating these texts within both the dialogue and essay genres, I demonstrate how Hume continues the project of the Treatise by showing, rather than telling, his views: he blends rhetoric (...) and reasoned argument to show that they are in many cases indistinguishable; he depicts his speakers' conclusions as consequences of their personalities to show his skepticism about human freedom; and he concludes, in a moment strongly reminiscent of the famous end of Book I of the Treatise, by showing the limits of philosophy itself. (shrink)

At several key moments in his works, Hume draws our attention to the differences between two conceptions of philosophy. Deploying what were already then well‐worn metaphors, he calls these two “species” of philosophy “anatomy” and “painting.” Hume’s remarks about philosophical anatomy and painting have recently given rise to a number of scholarly debates. I focus here on just one of these debates: did Hume intend to combine anatomy and painting in some of his later works? Through an examination of the (...) evidence that has to date been adduced, I argue that we have at least one very good reason to think that such were Hume’s intentions, and no good reason to suppose otherwise. (shrink)

This essay offers cautionary considerations on what has come to be called “public philosophy.” A conception of philosophy is set forth using Socrates as the paradigm of relentless philosophical questioning. The essay then outlines three types of public philosophy: a philosophy situated in a public setting, a philosophy whose content is modified for a varied public, and a philosophy that functions as normative consensus. The most important of these three is the philosophy modified for the public. The discussion notes examples (...) of public philosophy from the history of philosophy, and examines the contribution of eighteenth‐century philosophers (such as David Hume) to a version of public philosophy. The risks of public philosophy are noted—in particular, that a modified philosophy may substitute the inculcation of belief over the modeling of philosophy. The essay concludes by noting that the university classroom remains an important but forgotten venue of public philosophy. (shrink)

Hume’s Dialogues give one of the most elegant presentations of the Problem of Evil ever written. But often overlooked is that Hume’s problematic takes the form of a dilemma, with the traditional Problem representing only one horn. The other is what Hume calls “mysticism,” a position that avoids the Problem of Evil by maintaining that God is wholly other, and that God is therefore good in a fashion that mere humans simply cannot fathom. Mysticism is not the denial of God’s (...) moral perfection defended by Philo’s positing of an indifferent deity. Nor is it an ad hoc final theistic entrenchment meant to stave off the Problem of Evil at any cost. Mysticism is, in fact, a position that Hume takes quite seriously and helped shape theism as it was practiced in Hume’s day. This paper studies Hume’s relationship with mysticism. First, it will recast the Problem of Evil as Hume intended, as only part of the larger theistic dilemma of choosing between anthropomorphism and mysticism. Once this polarization is understood and the respective consequences of the adopting either of the two opposites is traced out, I locate Hume’s “genuine theism” as significantly lying between these two extremes. (shrink)

When Giambattista Vico wrote and rewrote the Scienza Nuova between 1725 and 1744, he all but completely occluded his own discipline – rhetoric. Professor of Latin Eloquence at the University of Nap...

John Rawls famously holds that the basic structure is the 'primary subject of justice.'1 By this, he means that his two principles of justice apply only to a society's major political and social institutions, including chiefly the constitution, the economic and legal systems, and (more contentiously) the family structure.2 This thesis — call it the basic structure restriction — entails that the celebrated difference principle has a narrower scope than one might have expected. It doesn't apply directly to choices that (...) individuals make within the basic structure. Individuals can live up to the demands of justice simply by obeying whatever rules are set by, and by doing what is necessary to sustain, the basic .. (shrink)

Originally published as one of the Four Dissertations and then included in the 1758 edition of the Essays, the 1757 paper “Of the Standard of Taste” qualifies as David Hume’s official contribution to criticism.1 A few exceptions aside, no real or thorough effort has been taken by its critics to place the essay in the overall context of Hume’s science of human nature.2 Hume has certainly his share of responsibility in this: “Most of these essays were wrote with a View (...) of being published as WEEKLY-PAPERS, and were intended to comprehend the Design both of the SPECTATORS & CRAFTSMEN. But having dropped that Undertaking, partly from LAZINESS, partly from WANT OF LEISURE, and being willing to make Trial of my .. (shrink)