This paper attempts to give a complete and coherent account of how Hume’s moral psychology can explain the cultivation of moral character. I argue that the outcome of a fully formed moral character is an agent who strengthens her calm moral sentiments into settled principles of action. I then take up the question of how the process of strengthening moral sentiments might occur, rejecting the possibilities of sympathy, “reflection,” and “resolution” because either they are too weak or else they make (...) the passion violent, preventing the essential calm nature of moral sentiments. I next argue that custom and the non-moral motives of pride and the love of fame play the critical roles in character formation. Custom can be considered as both the process of education, whereby certain impressions are habitually and formally inculcated into us by educators, and the process of experience in society and conversation, whereby we learn to associate pleasure with the virtues and pain with the vices. In both these processes, Hume implicitly appeals to certain non-moral motives, especially pride and the love of fame, in order to launch the effects of custom. (shrink)

Moral beliefs and attitudes may vary to great extent across different societies. Even within the same society, the prevailing moral beliefs and attitudes may vary throughout the history of this society. The moral beliefs and attitudes that prevail in a given society, at a given time, constitute the “positive morality” of this society. But can we morally assess the “positive morality”? In this paper I present reasons so as to give this question an affirmative answer. I argue that the moral (...) assessment of the “positive morality” must resort to the general principles of “critical morality”. The conception of “critical morality” that I defend in this paper resumes some aspects of David Hume’s moral philosophy. In the last section of this paper I also argue that formative works of art, such as novels, feature films, and documentary films may participate in the process of rational deliberation required by “critical morality”. (shrink)

Hume's moral epistemology, focusing on the elevation of character tratis, requires what in contemporary terms is a narrative structure. The moral significance of an action can only be understood when considered in relation to an agent's past actions, beliefs, intentions, social environment and situation. Three features of Hume's writings support this claim: his accounts of moral evidence, of the object of moral evaluation, and of the value of history. Without recognizing the role of narrative, the standard view of Hume's moral (...) epistemology is incomplete. Recognizing this, Hume's History of England can be read as an exercise of moral evaluation. (shrink)

In this article I argue that vanity, the desire for and delight in the favorable opinion of others, plays a fundamental role in Hume's account of moral motivation. Hume says that vanity and virtue are inseparable, though he does not explicitly say how or why this should be. I argue that Hume's account of sympathy can explain this alliance. In resting moral sentiment on sympathy, Hume gives a fundamental role to vanity as it becomes either a mediating motive to virtue (...) or else strengthens the otherwise weak motive of moral sentiment. (shrink)

Contrary to the widespread view that Reid and Hume agree that reason, alone, is inert, I argue that they disagree on this point. Both accept that reason plays a role in forming moral sentiments, and that affections are components of moral evaluations. However, I show that for Reid moral evaluations (comprised of moral judgments and moral affections) are different from moral motives (which are not comprised of affections). Moral motives for Reid are mind‐independent states of affairs that are grasped by (...) reason and do not require affections to influence human beings. Reid hence holds a non‐Humean theory in which reason, alone, is not inert. (shrink)