This paper rereads David Hume's Dialogues Concerning Natural Religion as dramatising a distinctive, naturalistic account of toleration. I have two purposes in mind: first, to complete and ground Hume's fragmentary explicit discussion of toleration; second, to unearth a potentially attractive alternative to more recent, Rawlsian approaches to toleration. To make my case, I connect Dialogues and the problem of toleration to the wider themes of naturalism, scepticism and their relation in Hume's thought, before developing a new interpretation of Dialogues part (...) 12 as political drama. Finally, I develop the Humean theory of toleration I have discovered by comparison between Rawls's and Hume's strategies for justification of a tolerant political regime. (shrink)

The purpose of this paper is to establish the importance of what is sometimes called ‘the literary and dramatic character’ of Hume's Dialogues. This importance is such that not taking this specific character of the Dialogues into account leads to conclusions opposite to the ones Hume, in the special form he gave to his work, was trying to impart to his readers. I will offer my analysis in opposition to the one, voiced by, for instance D. W. Harward, in which (...) ‘the apparent philosophical inconsistencies in the Dialogues are resolved without appeal to Hume's commitment to “literary or dramatic balance,” an appeal few of us find convincing or philosophically interesting’. The last part of Harward's statement is of course only of biographical interest; however, the attempt to offer an interpretation of Hume's Dialogues in which the literary character of the work is wilfully set aside, comes to missing a basic understanding for the man and the work. In what follows I will make this explicit by a number of points, each of which shows the importance of this literary and dramatic character of the Dialogues. In each case the result could not be reached without taking this special character into account. (shrink)

In this article, I examine one of the most famous and controversial illustrative analogies in all philosophical literature—the Articulate Voice speaking from the clouds—which is presented by Cleanthes in Part 3 of David Hume’s Dialogues Concerning Natural Religion. Cleanthes holds that this illustration will unprejudice Philo’s mind to the point where the latter will accept the analogical Argument from Design, which Cleanthes presents in Part 2 of the Dialogues. Since Philo offers no direct reply to this illustrative analogy in Part (...) 3, I attempt to locate where, in the Dialogues, he assesses the Articulate Voice illustration. My critical assessment reveals that it is Hume’s/Philo’s considered position in Part 12 that the Articulate Voice fails to strengthen Cleanthes’ position regarding the analogical Design Argument. In Part 3, Cleanthes also makes reference to a natural or irregular argument for inferring an intelligent cause for the Voice heard from the clouds, and for the design of the world. I argue that in Part 12, Philo accepts the natural or irregular argument for the inference to an intelligent cause for the design of the world, but rejects this type of argument in the case of the Articulate Voice heard from the clouds. (shrink)