A Treatise of Human Nature by David Hume - HTML preview

We may, therefore, infer, that benevolence and anger are passions different from love and hatred, and only conjoined with them, by the original constitution of the mind. As nature has given to the body certain appetites and inclinations, which she encreases, diminishes, or changes according to the situation of the fluids or solids; she has proceeded in the same manner with the mind. According as we are possessed with love or hatred, the correspondent desire of the happiness or misery of the person, who is the object of these passions, arises in the mind, and varies with each variation of these opposite passions. This order of things, abstractedly considered, is not necessary. Love and hatred might have been unattended with any such desires, or their particular connexion might have been entirely reversed. If nature had so pleased, love might have had the same effect as hatred, and hatred as love. I see no contradiction in supposing a desire of producing misery annexed to love, and of happiness to hatred. If the sensation of the passion and desire be opposite, nature coued have altered the sensation without altering the tendency of the desire, and by that means made them compatible with each other.

But though the desire of the happiness or misery of others, according to the love or hatred we bear them, be an arbitrary and original instinct implanted in our nature, we find it may be counterfeited on many occasions, and may arise from secondary principles. Pity is a concern for, and malice a joy in the misery of others, without any friendship or enmity to occasion this concern or joy. We pity even strangers, and such as are perfectly indifferent to us: And if our ill-will to another proceed from any harm or injury, it is not, properly speaking, malice, but revenge. But if we examine these affections of pity and malice we shall find them to be secondary ones, arising from original affections, which are varied by some particular turn of thought and imagination.

It will be easy to explain the passion of pity, from the precedent reasoning concerning sympathy. We have a lively idea of every thing related to us. All human creatures are related to us by resemblance. Their persons, therefore, their interests, their passions, their pains and pleasures must strike upon us in a lively manner, and produce an emotion similar to the original one; since a lively idea is easily converted into an impression. If this be true in general, it must be more so of affliction and sorrow. These have always a stronger and more lasting influence than any pleasure or enjoyment.

A spectator of a tragedy passes through a long train of grief, terror, indignation, and other affections, which the poet represents in the persons he introduces. As many tragedies end happily, and no excellent one can be composed without some reverses of fortune, the spectator must sympathize with all these changes, and receive the fictitious joy as well as every other passion. Unless, therefore, it be asserted, that every distinct passion is communicated by a distinct original quality, and is not derived from the general principle of sympathy above-explained, it must be allowed, that all of them arise from that principle. To except any one in particular must appear highly unreasonable. As they are all first present in the mind of one person, and afterwards appear in the mind of another; and as the manner of their appearance, first as an idea, then as an impression, is in every case the same, the transition must arise from the same principle. I am at least sure, that this method of reasoning would be considered as certain, either in natural philosophy or common life.

Add to this, that pity depends, in a great measure, on the contiguity, and even sight of the object; which is a proof, that it is derived from the imagination. Not to mention that women and children are most subject to pity, as being most guided by that faculty. The same infirmity, which makes them faint at the sight of a naked sword, though in the hands of their best friend, makes them pity extremely those, whom they find in any grief or affliction. Those philosophers, who derive this passion from I know not what subtile reflections on the instability of fortune, and our being liable to the same miseries we behold, will find this observation contrary to them among a great many others, which it were easy to produce.
There remains only to take notice of a pretty remarkable phaenomenon of this passion; which is, that the communicated passion of sympathy sometimes acquires strength from the weakness of its original, and even arises by a transition from affections, which have no existence. Thus when a person obtains any honourable office, or inherits a great fortune, we are always the more rejoiced for his prosperity, the less sense he seems to have of it, and the greater equanimity and indifference he shews in its enjoyment. In like manner a man, who is not dejected by misfortunes, is the more lamented on account of his patience; and if that virtue extends so far as utterly to remove all sense of uneasiness, it still farther encreases our compassion. When a person of merit falls into what is vulgarly esteemed a great misfortune, we form a notion of his condition; and carrying our fancy from the cause to the usual effect, first conceive a lively idea of his sorrow, and then feel an impression of it, entirely over-looking that greatness of mind, which elevates him above such emotions, or only considering it so far as to encrease our admiration, love and tenderness for him. We find from experience, that such a degree of passion is usually connected with such a misfortune; and though there be an exception in the present case, yet the imagination is affected by the general rule, and makes us conceive a lively idea of the passion, or rather feel the passion itself, in the same manner, as if the person were really actuated by it. From the same principles we blush for the conduct of those, who behave themselves foolishly before us; and that though they shew no sense of shame, nor seem in the least conscious of their folly. All this proceeds from sympathy; but it is of a partial kind, and views its objects only on one side, without considering the other, which has a contrary effect, and would entirely destroy that emotion, which arises from the first appearance.

We have also instances, wherein an indifference and insensibility under misfortune encreases our concern for the misfortunate, even though the indifference proceed not from any virtue and magnanimity. It is an aggravation of a murder, that it was committed upon persons asleep and in perfect security; as historians readily observe of any infant prince, who is captive in the hands of his enemies, that he is the more worthy of compassion the less sensible he is of his miserable condition. As we ourselves are here acquainted with the wretched situation of the person, it gives us a lively idea and sensation of sorrow, which is the passion that generally attends it; and this idea becomes still more lively, and the sensation more violent by a contrast with that security and indifference, which we observe in the person himself. A contrast of any kind never fails to affect the imagination, especially when presented by the subject; and it is on the imagination that pity entirely depends.

[Footnote 11. To prevent all ambiguity, I must observe, that where I oppose the imagination to the memory, I mean in general the faculty that presents our fainter ideas. In all other places, and particularly when it is opposed to the understanding, I understand the same faculty, excluding only our demonstrative and probable reasonings.]

SECT. VIII OF MALICE AND ENVY We must now proceed to account for the passion of malice, which imitates the effects of hatred, as pity does those of love; and gives us a joy in the sufferings and miseries of others, without any offence or injury on their part.

So little are men governed by reason in their sentiments and opinions, that they always judge more of objects by comparison than from their intrinsic worth and value. When the mind considers, or is accustomed to, any degree of. perfection, whatever falls short of it, though really esteemable, has notwithstanding the same effect upon the passions; as what is defective and ill. This is an original quality of the soul, and similar to what we have every day experience of in our bodies. Let a man heat one band and cool the other; the same water will, at the same time, seem both hot and cold, according to the disposition of the different organs. A small degree of any quality, succeeding a greater, produces the same sensation, as if less than it really is, and even sometimes as the opposite quality. Any gentle pain, that follows a violent one, seems as nothing, or rather becomes a pleasure; as on the other hand a violent pain, succeeding a gentle one, is doubly grievous and uneasy.

This no one can doubt of with regard to our passions and sensations. But there may arise some difficulty with regard to our ideas and objects. When an object augments or diminishes to the eye or imagination from a comparison with others, the image and idea of the object are still the same, and are equally extended in the retina, and in the brain or organ of perception. The eyes refract the rays of light, and the optic nerves convey the images to the brain in the very same manner, whether a great or small object has preceded; nor does even the imagination alter the dimensions of its object on account of a comparison with others. The question then is, how from the same impression and the same idea we can form such different judgments concerning the same object, and at one time admire its bulk, and at another despise its littleness. This variation in our judgments must certainly proceed from a variation in some perception; but as the variation lies not in the immediate impression or idea of the object, it must lie in some other impression, that accompanies it.

In order to explain this matter, I shall just touch upon two principles, one of which shall be more fully explained in the progress of this treatise; the other has been already accounted for. I believe it may safely be established for a general maxim, that no object is presented to the senses, nor image formed in the fancy, but what is accompanyed with some emotion or movement of spirits proportioned to it; and however custom may make us insensible of this sensation and cause us to confound it with the object or idea, it will be easy, by careful and exact experiments, to separate and distinguish them. For to instance only in the cases of extension and number; it is evident, that any very bulky object, such as the ocean, an extended plain, a vast chain of mountains, a wide forest: or any very numerous collection of objects, such as an army, a fleet, a crowd, excite in the mind a sensible emotion; and that the admiration, which arises on the appearance of such objects, is one of the most lively pleasures, which human nature is capable of enjoying. Now as this admiration encreases or diminishes by the encrease or diminution of the objects, we may conclude, according to our foregoing [Book I. Part III. Sect. 15.] principles, that it is a compound effect, proceeding from the conjunction of the several effects, which arise from each part of the cause. Every part, then, of extension, and every unite of number has a separate emotion attending it; and though that emotion be not always agreeable, yet by its conjunction with others, and by its agitating the spirits to a just pitch, it contributes to the production of admiration, which is always agreeable. If this be allowed with respect to extension and number, we can make no difficulty with respect to virtue and vice, wit and folly, riches and poverty, happiness and misery, and other objects of that kind, which are always attended with an evident emotion.

The second principle I shall take notice of is that of our adherence to general rules; which has such a mighty influence on the actions and understanding, and is able to impose on the very senses. When an object is found by-experience to be always accompanyed with another; whenever the first object appears, though changed in very material circumstances; we naturally fly to the conception of the second, and form an idea of it in as lively and strong a manner, as if we had infered its existence by the justest and most authentic conclusion of our understanding. Nothing can undeceive us, not even our senses, which, instead of correcting this false judgment, are often perverted by it, and seem to authorize its errors.

The conclusion I draw from these two principles, joined to the influence of comparison above-mentioned, is very short and decisive. Every object is attended with some emotion proportioned to it; a great object with a great emotion, a small object with a small emotion. A great object, therefore, succeeding a small one makes a great emotion succeed a small one. Now a great emotion succeeding a small one becomes still greater, and rises beyond its ordinary proportion. But as there is a certain degree of an emotion, which commonly attends every magnitude of a-n object; when the emotion encreases, we naturally imagine that the object has likewise encreased. The effect conveys our view to its usual cause, a certain degree of emotion to a certain magnitude of the object; nor do we consider, that comparison may change the emotion without changing anything in the object. Those who are acquainted with the metaphysical part of optics and know how we transfer the judgments and conclusions of the understanding to the senses, will easily conceive this whole operation.

But leaving this new discovery of an impression, that secretly attends every idea; we must at least allow of that principle, from whence the discovery arose, that objects appear greater or less by a comparison with others. We have so many instances of this, that it is impossible we can dispute its veracity; and it is from this principle I derive the passions of malice and envy.

It is evident we must receive a greater or less satisfaction or uneasiness from reflecting on our own condition and circumstances, in proportion as they appear more or less fortunate or unhappy, in proportion to the degrees of riches, and power, and merit, and reputation, which we think ourselves possest of. Now as we seldom judge of objects from their intrinsic value, but form our notions of them from a comparison with other objects; it follows, that according as we observe a greater or less share of happiness or misery in others, we must make an estimate of our own, and feel a consequent pain or pleasure. The misery of another gives us a more lively idea of our happiness, and his happiness of our misery. The former, therefore, produces delight; and the latter uneasiness.

Here then is a kind of pity reverst, or contrary sensations arising in the beholder, from those which are felt by the person, whom he considers. In general we may observe, that in all kinds of comparison an object makes us always receive from another, to which it is compared, a sensation contrary to what arises from itself in its direct and immediate survey. A small object makes a great one appear still greater. A great object makes a little one appear less. Deformity of itself produces uneasiness; but makes us receive new pleasure by its contrast with a beautiful object, whose beauty is augmented by it; as on the other hand, beauty, which of itself produces pleasure, makes us receive a new pain by the contrast with any thing ugiy, whose deformity it augments. The case, therefore, must be the same with happiness and misery. The direct survey of another's pleasure naturally gives us plcasure, and therefore produces pain when cornpared with our own. His pain, considered in itself, is painful to us, but augments the idea of our own happiness, and gives us pleasure.

Nor will it appear strange, that we may feel a reverst sensation from the happiness and misery of others; since we find the same comparison may give us a kind of malice against ourselves, and make us rejoice for our pains, and grieve for our pleasures. Thus the prospect of past pain is agreeable, when we are satisfyed with our present condition; as on the other hand our past pleasures give us uneasiness, when we enjoy nothing at present equal to them. The comparison being the same, as when we reflect on the sentiments of others, must be attended with the same effects.

Nay a person may extend this malice against himself, even to his present fortune, and carry it so far as designedly to seek affliction, and encrease his pains and sorrows. This may happen upon two occasions. First, Upon the distress and misfortune of a friend, or person dear to him. Secondly, Upon the feeling any remorses for a crime, of which he has been guilty. It is from the principle of comparison that both these irregular appetites for evil arise. A person, who indulges himself in any pleasure, while his friend lies under affliction, feels the reflected uneasiness from his friend more sensibly by a comparison with the original pleasure, which he himself enjoys. This contrast, indeed, ought also to inliven the present pleasure. But as grief is here supposed to be the predominant passion, every addition falls to that side, and is swallowed up in it, without operating in the least upon the contrary affection. It is the same case with those penances, which men inflict on themselves for their past sins and failings. When a. criminal reflects on the punishment he deserves, the idea of it is magnifyed by a comparison with his present ease and satisfaction; which forces him, in a manner, to seek uneasiness, in order to avoid so disagreeable a contrast.

This reasoning will account for the origin of envy as well as of malice. The only difference betwixt these passions lies in this, that envy is excited by some present enjoyment of another, which by comparison diminishes our idea of our own: Whereas malice is the unprovoked desire of producing evil to another, in order to reap a pleasure from the comparison. The enjoyment, which is the object of envy, is commonly superior to our own. A superiority naturally seems to overshade us, and presents a disagreeable comparison. But even in the case of an inferiority, we still desire a greater distance, in order to augment, still more the idea of ourself. When this distance diminishes, the comparison is less to our advantage; and consequently gives us less pleasure, and is even disagreeable. Hence arises that species of envy, which men feel, when they perceive their inferiors approaching or overtaking them in the pursuits of glory or happiness. In this envy we may see the effects of comparison twice repeated. A man, who compares himself to his inferior, receives a pleasure from the comparison: And when the inferiority decreases by the elevation of the inferior, what should only have been a decrease of pleasure, becomes a real pain, by a new comparison with its preceding condition.

It is worthy of observation concerning that envy, which arises from a superiority in others, that it is not the great disproportion betwixt ourself and another, which produces it; but on the contrary, our proximity. A common soldier bears no such envy to his general as to his sergeant or corporal; nor does an eminent writer meet with so great jealousy in common hackney scriblers, as in authors, that more nearly approach him. It may, indeed, be thought, that the greater the disproportion is, the greater must be the uneasiness from the comparison. But we may consider on the other hand, that the great disproportion cuts off the relation, and either keeps us from comparing ourselves with what is remote from us, or diminishes the effects of the comparison. Resemblance and proximity always produce a relation of ideas; and where you destroy these ties, however other accidents may bring two ideas together; as they have no bond or connecting quality to join them in the imagination; it is impossible they can remain long united, or have any considerable influence on each other.

I have observed in considering the nature of ambition, that the great feel a double pleasure in authority from the comparison of their own condition with that of their slaves; and that this comparison has a double influence, because it is natural, and presented by the subject. When the fancy, in the comparison of objects, passes not easily from the one object to the other, the action of the mind is, in a great measure, broke, and the fancy, in considering the second object, begins, as it were, upon a new footing. The impression, which attends every object, seems not greater in that case by succeeding a less of the same kind; but these two impressions are distinct, and produce their distinct effects, without any communication together. The want of relation in the ideas breaks the relation of the impressions, and by such a separation prevents their mutual operation and influence.

To confirm this we may observe, that the proximity in the degree of merit is not alone sufficient to give rise to envy, but must be assisted by other relations. A poet is not apt to envy a philosopher, or a poet of a different kind, of a different nation, or of a different age. All these differences prevent or weaken the comparison, and consequently the passion.

This too is the reason, why all objects appear great or little, merely by a comparison with those of the same species. A mountain neither magnifies nor diminishes a horse in our eyes; but when a Flemish and a Welsh horse are seen together, the one appears greater and the other less, than when viewed apart.

From the same principle we may account for that remark of historians, that any party in a civil war always choose to call in a foreign enemy at any hazard rather than submit to their fellow-citizens. Guicciardin applies this remark to the wars in Italy, where the relations betwixt the different states are, properly speaking, nothing but of name, language, and contiguity. Yet even these relations, when joined with superiority, by making the comparison more natural, make it likewise more grievous, and cause men to search for some other superiority, which may be attended with no relation, and by that means may have a less sensible influence on the imagination. The mind quickly perceives its several advantages and disadvantages; and finding its situation to be most uneasy, where superiority is conjoined with other relations, seeks its repose as much as possible, by their separation, and by breaking that association of ideas, which renders the comparison so much more natural and efficacious. When it cannot break the association, it feels a stronger desire to remove the superiority; and this is the reason why travellers are commonly so lavish of their praises to the Chinese and Persians, at the same time, that they depreciate those neighbouring nations, which may stand upon a foot of rivalship with their native country.

These examples from history and common experience are rich and curious; but we may find parallel ones in the arts, which are no less remarkable. should an author compose a treatise, of which one part was serious and profound, another light and humorous, every one would condemn so strange a mixture, and would accuse him of the neglect of all rules of art and criticism. These rules of art are founded on the qualities of human nature; and the quality of human nature, which requires a consistency in every performance. is that which renders the mind incapable of passing in a moment from one passion and disposition to a quite different one. Yet this makes us not blame Mr Prior for joining his Alma and his Solomon in the same volume; though that admirable poet has succeeded perfectly well in the gaiety of the one, as well as in the melancholy of the other. Even supposing the reader should peruse these two compositions without any interval, he would feel little or no difficulty in the change of passions: Why, but because he considers these performances as entirely different, and by this break in the ideas, breaks the progress of the affections, and hinders the one from influencing or contradicting the other?

An heroic and burlesque design, united in one picture, would be monstrous; though we place two pictures of so opposite a character in the same chamber, and even close by each other, without any scruple or difficulty.

In a word, no ideas can affect each other, either by comparison, or by the passions they separately produce, unless they be united together by some relation, which may cause an easy transition of the ideas, and consequently of the emotions or impressions, attending the ideas; and may preserve the one impression in the passage of the imagination to the object of the other. This principle is very remarkable, because it is analogous to what we have observed both concerning the understanding and the passions. Suppose two objects to be presented to me, which are not connected by any kind of relation. Suppose that each of these objects separately produces a passion; and that these two passions are in themselves contrary: We find from experience, that the want of relation in the objects or ideas hinders the natural contrariety of the passions, and that the break in the transition of the thought removes the affections from each other, and prevents their opposition. It is the same case with comparison; and from both these phaenomena we may safely conclude, that the relation of ideas must forward the transition of impressions; since its absence alone is able to prevent it, and to separate what naturally should have operated upon each other. When the absence of an object or quality re moves any usual or natural effect, we may certalnly conclude that its presence contributes to the production of the effect.

Thus we have endeavoured to account for pity and malice. Both these affections arise from the imagination, according to the light, in which it places its object. When our fancy considers directly the sentiments of others, and enters deep into them, it makes us sensible of all the passions it surveys, but in a particular manner of grief or sorrow. On the contrary, when we compare the sentiments of others to our own, we feel a sensation directly opposite to the original one, viz. a joy from the grief of others, and a grief from their joy. But these are only the first foundations of the affections of pity and malice. Other passions are afterwards confounded with them. There is always a mixture of love or tenderness with pity, and of hatred or anger with malice. But it must be confessed, that this mixture seems at first sight to be contradictory to my system. For as pity is an uneasiness, and malice a joy, arising from the misery of others, pity should naturally, as in all other cases, produce hatred; and malice, love. This contradiction I endeavour to reconcile, after the following manner.

In order to cause a transition of passions, there is required a double relation of impressions and ideas, nor is one relation sufficient to produce this effect. But that we may understand the full force of this double relation, we must consider, that it is not the present sensation alone or momentary pain or pleasure, which determines the character of any passion, but the whole bent or tendency of it from the beginning to the end. One impression may be related to another, not only when their sensations are resembling, as we have all along supposed in the preceding cases; but also when their im pulses or directions are similar and correspondent. This cannot take place with regard to pride and humility; because these are only pure sensations, without any direction or tendency to action. We are, therefore, to look for instances of this peculiar relation of impressions only in such affections, as are attended with a certain appetite or desire; such as those of love and hatred,

Benevolence or the appetite, which attends love, is a desire of the happiness of the person beloved, and an aversion to his misery; as anger or the appetite, which attends hatred, is a desire of the misery of the person hated, and an aversion to his happiness. A desire, therefore, of the happiness of another, and aversion to his misery, are similar to benevolence; and a desire of his misery and aversion to his happiness are correspondent to anger. Now pity is a desire of happiness to another, and aversion to his misery; as malice is the contrary appetite. Pity, then, is related to benevolence; and malice to anger: And as benevolence has been already found to be connected with love, by a natural and original quality, and anger with hatred; it is by this chain the passions of pity and malice are connected with love and hatred.

This hypothesis is founded on sufficient experience. A man, who from any motives has entertained a resolution of performing an action, naturally runs into every other view or motive, which may fortify that resolution, and give it authority and influence on the mind. To confirm us in any design, we search for motives drawn from interest, from honour, from duty. What wonder, then, that pity and benevolence, malice, and anger, being the same desires arising from different principles, should so totally mix together as to be undistinguishable? As to the connexion betwixt benevolence and love, anger and hatred, being original and primary, it admits of no difficulty.

We may add to this another experiment, viz, that benevolence and anger, and consequently love and hatred, arise when our happiness or misery have any dependance on the happiness or misery of another person, without any farther relation. I doubt not but this experiment will appear so singular as to excuse us for stopping a moment to consider it.

Suppose, that two persons of the same trade should seek employment in a town, that is not able to maintain both, it is plain the success of one is perfectly incompatible with that of the other, and that whatever is for the interest of either is contrary to that of his rival, and so vice versa. Suppose again, that two merchants, though living in different parts of the world, should enter into co-partnership together, the advantage or loss of one becomes immediately the advantage or loss of his partner, and the same fortune necessarily attends both. Now it is evident, that in the first case, hatred always follows upon the contrariety of interests; as in the second, love arises from their union. Let us consider to what principle we can ascribe these passions.

It is plain they arise not from the double relations of impressions and ideas, if we regard only the present sensation. For takeing the first case of rivalship; though the pleasure and advantage of an antagonist necessarily causes my pain and loss, yet to counter-ballance this, his pain and loss causes my pleasure and advantage; and supposing him to be unsuccessful, I may by this means receive from him a superior degree of satisfaction. In the same manner the success of a partner rejoices me, but then his misfortunes afflict me in an equal proportion; and it is easy to imagine, that the latter sentiment may in many cases preponderate. But whether the fortune of a rival or partner be good or bad, I always hate the former and love the latter.

This love of a partner cannot proceed from the relation or connexion betwixt us; in the same manner as I love a brother or countryman. A rival has almost as close a relation to me as a partner. For as the pleasure of the latter causes my pleasure, and his pain my pain; so the pleasure of the former causes my pain, and his pain my pleasu