By Leslie Ellen Brown
Through the Scottish Enlightenment the connection among aesthetics and ethics turned deeply ingrained: attractiveness used to be the practical manifestation of advantage; the high-quality arts represented the activities of a virtuous brain; to deeply comprehend crafty and traditional good looks used to be to spot with ethical good looks; and the classy event used to be crucial in making price judgments. This ebook finds the background of ways the Scots utilized the big panorama of ethical philosophy to the categorical territories of good looks - in nature, aesthetics and ethics - within the eighteenth century. the writer explores a wide selection of resources, from educational lectures and institutional checklist, to extra well known texts corresponding to newspapers and pamphlets, to teach how the concept that attractiveness and artwork made contributors and society extra virtuous was once increased and understood in Scottish society.
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Additional info for Artful Virtue: The Interplay of the Beautiful and the Good in the Scottish Enlightenment
62 Like Reid, Beattie gives extraordinary effort to the practice of attending to our sensations. So it is that morals and aesthetics reside within the territory of internal sensations in which the mind reflects on itself, attending to its own thoughts and operations. It is obvious that with Reid and the Aberdonians, understanding of and attitudes towards the senses of beauty and morals had broadened to take into account current thought on the operations of the mind. Alexander Gerard (1728-95), professor and curricular reformer at Marischal and the first moralist identified as an association theorist, acknowledged some aspects of the moral and aesthetic senses as they had been explained by an earlier generation.
The imagination is boundless when Henry Home, Lord Kames, Elements of Criticism (1762; ed. Peter Jones, 2 vols, Indianapolis: Liberty Fund, 2005), 1: 11-12. , 1: 233. , 2: 729n. , 2: 730. , 2: 732. 69 The Senses 25 it comes to magnitude and variety of beauty in objects and actions. It allows for ideas that are exceptionally refined or exaggerated. 74 Imagination, to Kames, is both an artful and ethical faculty. Kames’s sparse comment on an innate internal sense of beauty in both aesthetics and morals suggests that sense theory at this point in the eighteenth century was merely one way of regarding art cum ethics.
Reid does indeed adopt a portion of Hutcheson’s sense theory, and he carries through with the analogies among the various internal senses, while recognizing the relationship of these with the external sensory processes. Beauty is a secondary perception that depends on an external sense. ”46 The substance of the senses are beauties, of both the aesthetic sort and the ethical sort, and he lists them: “Of the objects of sense, we find beauty in colour, in sound, in form, in motion. ”47 Even though these beauties are vastly different one from another, Reid does declare that they share the avenue of inherent powers of perception.