David Hume’s legal theory has normally been interpreted as bearing close affinities to the English common law theory of jurisprudence. I argue that this is not accurate. For Hume, it is the nature and functioning of a country’s legal system, not the provenance of that system, that provides the foundation of its authority. He judges government by its ability to protect property in a reliable and equitable way. His positions on the role of equity in the law, on artificial reason (...) and the esoteric nature of the law, and on the role of judges in the legal system are all at odds with those of the common lawyers. (shrink)

The love of fame is a common theme in republican thought. But few, historically or now, have examined with rigor this sentiment's nature, purpose, and worth. The work of David Hume is an exception. Hume, this paper argues, dialectically took up not only all the classic reasons for loving fame--as spur to useful effort, motivator of virtue, consolation to virtue unrewarded, and safe harbor in the midst of historical flux--but the skeptical reasons for doubting that fame is attainable or that, (...) even if it is attainable, its pursuit motivates good actions. The theme pervades not only his systematic moral works but his essays and letters, his autobiography, and "History of England." Hume's subtle, ambivalent arguments suggest reasons to value the love of fame in spite of modern, or postmodern, doubts regarding the nature of true fame or even its existence--and perhaps to regard such love as unavoidable. (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)

Hume claims that education is ‘disclaimed by philosophy, as a fallacious ground of assent to any opinion’ (T 1.3.10.1) and that it is ‘never... recogniz'd by philosophers’ (T 1.3.9.19). He is usually taken to be referring here to indoctrination. I argue, however, that his main concern is with association and those philosophers who emphasize the epistemic dangers of the imagination. These include Locke, Hutcheson and Descartes, but not Hume himself. Hume praises education, highlighting its role in the formation of general (...) rules, and in fostering social conditions that encourage the growth of knowledge and moral virtue. (shrink)

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)

Abstract Differing interpretations of the political thought of David Hume have tended to emphasize either conservative, gradualist elements similar to Burke or rationalist aspects similar to Hobbes. The concept of indirect utility as used by Hume reconciles these two approaches. Indirect utility is best illustrated by Hume's conception of justice, in contrast to his conception of benevolence, which yields direct benefits. This understanding of Hume's consequentialism also helps underscore certain egalitarian aspects of Hume's thought.

"The Federalist" is commonly read as an exemplar of political realism. However, alongside Publius' arguments against the enthusiastic imagination --its tendency to inflame the passions, betray the intellect, and subvert political authority--are formative appeals to the imagination 's role in reconstituting the public authority shaken during the postrevolutionary years. This essay explores three central aspects of Publius' restorative appeal to the imagination : the appeal to the public veneration required for sustaining political authority across time; the strategies for shifting citizen (...) loyalty from the state and local level to that of a newly energized federal government; and the rhetorical elicitation of the public's imagination in aestheticized portrayals of Providential nationality. These aspects of Publius' argument make up the core of "The Federalist's aesthetics of rule. In each instance, Publius invokes the imagination as a heteronomic support to navigate familiar dilemmas of democratic self-authorization. (shrink)

This essay examines Hume’s treatment of money in light of his view of the imagination. It begins with his claim that money is distinct from wealth, the latter arising, according to vulgar reasoning, from the power of acquisition that it represents, or, understood philosophically, from the labor that produces it. The salient features that Hume identifies with the imagination are then put forth, namely its power to combine ideas creatively and the principle of easy transition that characterizes its movement among (...) them. Two issues that these features explain are then discussed: first, why people take value to lie in the material of which money is made, and, second, why they assign value to what they take money to represent, namely, wealth. In both cases, the imagination creates a new relation, an illusion or fiction, that cannot be traced directly to experience. In the case of money, the faculty conjoins what is intangible (the power of acquisition) with the physical qualities of specie; in the case of property it produces a causal relation that connects persons with objects to constitute stable possession that constitutes ownership. Hume also appeals to the imagination to explain the rules of property that subsequently develop (present possession, occupation, prescription, and transference). The essay concludes by emphasizing that being based on the imagination is not in itself indicative of any instability in either money or property and the practices they enshrine, a feature they share with other phenomena (such as the self and continued existence) that Hume also traces to the same faculty. (shrink)