The aim of this paper is to show that Shaftesbury’s thinking about liberty is best understood in terms of self-mastery. To examine his understanding of liberty, I turn to a painting that he commissioned on the ancient theme of the choice of Hercules and the notes that he prepared for the artist. Questions of human choice are also present in the so-called story of an amour, which addresses the difficulties of controlling human passions. Jaffro distinguishes three notions of self-control that (...) are present in the story of an amour. Although I agree with many aspects of Jaffro’s interpretation, I question his conclusion that self- control in the Stoic sense is best reserved for ‘moral heroes.’ I propose an alternative developmental interpretation, according to which all human beings are on an intellectual journey aimed at personal and moral improvement. My interpretation takes seriously that for Shaftesbury philosophy is meant to be practical and help improve our lives. I end by arguing that rather than trying to situate Shaftesbury’s concept of liberty within debates among compatibilists and incompatibilists it is more promising to understand it in terms of self- mastery and thus regard it as a version of positive liberty. (shrink)

This paper argues that Shaftesbury differs from other moral sentimentalists (Hutcheson, Hume, Smith) because he conceives of the moral sentiments as partial and first-personal, rather than impartial and spectatorial. This difference is grounded in Shaftesbury’s distinctive notion that moral self-governance consists in the self-examination of soliloquy. Breaking with his Stoic influences, Shaftesbury holds that the moral sentiments play the role of directing and guiding soliloquy. Because soliloquy is first-personal reflection that is directed to achieving happiness, claiming that the moral sentiments (...) direct soliloquy leads Shaftesbury to conceive of the moral sentiments as arising from the internal perspective of an agent focused on her own happiness. This provides Shaftesbury with a stronger framework for understanding moral sentiments, for it avoids the difficulty of explaining why the sentiments of others or those arising from an imagined spectator’s perspective are motivating or authoritative for us. (shrink)

The dissertation traces the development of what I call “the problem of partiality” through the work of certain key figures in the British Moralist tradition: John Locke, Catharine Trotter Cockburn, Anthony Ashley Cooper (the Third Earl of Shaftesbury), Francis Hutcheson, John Gay, David Hume, Joseph Butler, and Adam Smith. On the one hand, we are committed to impartiality as a constitutive norm of moral judgment and conduct. On the other hand, we are committed to the idea that it is permissible, (...) or even obligatory, to expend disproportionate resources promoting the good of our loved ones over the good of strangers. However, these two commitments conflict with one another. This problem challenges us to provide an account of the scope and limits of reasonable partiality that does justice to both commitments. I argue that confronting this tension is a central project of early modern ethics. I offer a rereading of the British Moralist tradition, centered on debates about partiality, and thereby shift discussion of the tradition away from concerns about meta-ethics and moral epistemology, to issues of practical ethics. The topic of partiality remains central in contemporary ethics, as is evident in ongoing debates about the place of empathy in moral judgment, and the role of love in shaping our moral commitments. Though the aim of the dissertation is not to settle questions about the scope and limits of reasonable partiality, the focus here remains fixed on how the concept of partiality was problematized in our ethical thought, and how it informs our discussions in normative ethics and moral psychology. Alongside building a bridge between early modern scholarship and recent work in ethics, the dissertation casts light on two understudied figures in the British Moralist tradition – Cockburn and Gay – who contributed greatly to debates about partiality. By examining their contributions, I reconsider their place in the history of modern ethics and therefore provide a more contextualized account of philosophical thought in the period. (shrink)

Laughter is a significant topic for Renaissance and seventeenth‐century philosophers. Still, the latter rarely approved of laughter but endorsed it as useful mockery for theological or philosophical purposes. Benedict Spinoza’s view of laughter stands out as an exception to this attitude as well as to previous and later ones. Spinoza differentiates between mockery and laughter, denounces the former as evil, and characterizes the latter as “pure joy”: laughter is about oneself rather than another and originates in noticing something good, rather (...) than base or ugly. In contrast to melancholy, cheerfulness is “always good” and is a precondition of our liberation as it furthers the use of reason. Not only is Spinoza’s view original, but it is an important source of the eighteenth‐century notions of good‐natured laughter and good humor through a more than probable influence on their proponent, the Earl of Shaftesbury. Whilst Spinoza’s view of cheerfulness is briefly addressed in recent studies, his view of laughter goes unnoticed in most commentaries and is misrepresented in humor studies. Contrary to what is assumed in the philosophy of laughter, I argue that the most important defense of laughter comes not from a British Enlightenment thinker, but from the Dutch Jewish seventeenth‐century philosopher. (shrink)

This article takes a further step towards recovering the Stoic dimension of Shaftesbury's philosophical project and contributes to recent scholarly work uncovering the Stoic elements that specifically shape his poetics and aesthetics. I propose that Shaftesbury's famous rehabilitation of enthusiasm may be further reconsidered in light of his strong reliance on late Roman Stoic philosophical exercises for managing impressions and training the imagination. I begin by surveying the main imaginative exercises exemplified in Shaftesbury's writings and foreground his specific understanding of (...) affective harmony, with the purpose of highlighting his hospitable views around imagination and extravagant passion. My main argument is that, in light of these features, enthusiasm becomes an essential ingredient in various practical exercises that Shaftesbury proposes towards the ethical transformation of the self, particularly the well-known Stoic exercise seeking alignment with the point of view of the cosmos. Not only is reasonable enthusiasm a sign of the inner harmony needed to grasp the perfect and orderly design of the cosmos, but it allows the contemplative mind to redirect attention from partial beauty to the beauty of nature as a whole, thus exercising the right Stoic perspective required in order to accept the will of the universe. (shrink)