Sidgwick gives various tests for highest certainty. When he applies these tests to commonsense morality, he finds nothing of highest certainty. In contrast, when he applies these tests to his own axioms, he finds these axioms to have highest certainty. The axioms culminate in Benevolence: “Each one is morally bound to regard the good of any other individual as much as his own, except in so far as he judges it to be less, when impartially viewed, or less certainly knowable (...) or attainable by him.” The axioms face challenges from two sides.First, one test requires that a claim not be denied by someone of whom one has no more reason to suspect of error than oneself. For Sidgwick, then, the egoist must not deny the axioms. But it would seem that an egoist would reject benevolence. Second, Sidgwick thinks he must show that the commonsense moralist agrees to the axioms. Benevolence seems to say that the only reason for departing from being bound to treat others like oneself is that more good would be produced. But the commonsense moralist will not agree that this is the only reason. In reply to the threat of an egoist's disagreement, this essay argues that many of the axioms should be read as having as their antecedent “from the point of view of the universe.” The essay replies to the objection that this makes these axioms analytic. In reply to the threat of a commonsense moralist's disagreement, this essay argues that each axiom states, in effect, a prima facie duty. The argument against the commonsense moralist concerns not benevolence but whether there are further duties that pass the tests. The essay raises the worry that here Sidgwick is unfair since sometimes he criticizes all-things-considered versions of commonsense duties; such criticisms would count against benevolence as well. (shrink)

According to one tradition, the virtues and vices should be understood in terms of their relation to value. But inside this tradition, there are three distinct proposals: virtues are intrinsically valuable; virtues are instrumentally valuable; or a hybrid proposal on which virtues are either intrinsically or instrumentally valuable. In this paper, I offer an alternative proposal inside this tradition. I propose that virtues and vices should be understood in terms of the degreed properties of being virtuous and being vicious, which (...) I analyze in terms of the value and disvalue of actions and attitudes. I defend my proposal as the best inside this tradition by showing how it is immune from standard problems the other three proposals face. (shrink)

The rhetoric of Principia Ethica, as of not a few philosophy books, is that of the clean break. Moore claims that the vast majority of previous writing on ethics has been misguided and that an entirely new start is needed. In its time, however, the book’s claims to novelty were widely disputed. Reviews in Mind, Ethics, and The Journal of Philosophy applauded the clarity of Moore’s criticisms of Mill, Spencer, and others, but said they were “not altogether original,” had for (...) the most part “already been brought out by other critics,” and were even “the standard criticisms.”1 To the Mind reviewer, “The book indicates throughout how strongly the author has been affected by Sidgwick’s views.”2 Hastings Rashdall rejected as historically inaccurate Moore’s claim that only Sidgwick before him had recognized that “good” is indefinable: “To say nothing of writers who (like Mr. Moore and myself) learned the doctrine largely from Sidgwick, I should contend that it was taught with sufficient distinctness by Plato ..., Aristotle, and a host of other writers who have studied in their school.”3 Rashdall also described Moore’s principle of organic unities as just “a new and striking way of stating a very old truth.”4 Some recent commentators have taken a similar line. Bernard Williams has said that much of Principia Ethica comes from Sidgwick,5 while Thomas Baldwin, discussing the book’s substantive values, has said the principle of organic unities “was expressly stated by Bradley,” while “McTaggart had for some years extolled the value of love, and the value of art is a central theme of romanticism.”. (shrink)