Hume, Hegel and Human Nature, 1st Edition by Christopher J. Berry (auth.)

By Christopher J. Berry (auth.)

This is either a modest and a presumptuous paintings. it really is presumptuous simply because, given the titanic literature on only one of its subject matters, it makes an attempt to debate not just the philosophies of either Hume and Hegel but additionally whatever in their highbrow milieu. additionally, even though the research has a delimiting standpoint within the relation­ send among a concept of human nature and an account of a few of the elements that make up social event, this itself is so crucial and protean that it has necessitated a dialogue of, among others, theories of background, language, aesthetics, legislations and politics. but it's a modest paintings in that, even supposing I do imagine i've got a few clean issues to assert, the research doesn't suggest any innovative new examining of the fabric. it's not that i am right here attracted to the relative validity of the theories recommend - i don't 'take sides'. however is a part of the modest purpose that recourse to Hume and Hegel in arguments referring to human nature could be higher tell­ ed and extra discriminating by reason of this examine. also, a few differences herein made additionally make clear a few assumptions made in contem­ porary debates within the philosophy of social technology, specially these in regards to the figuring out of alien belief-systems.

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3 What is important here is not only the organic imagery, which was to become a focal point in later thought, but the connexion between originality and genius. Genius is "from Heaven" and Shakespeare was thus "inspired". Shakespeare was a problem for neo-classical theory. To Voltaire, for example, He is precisely to my mind like Lope de Vega, the Spaniard, and like Calderon. He is a fine but barbarous nature: he has neither regularity, nor propriety, nor art: in the midst of his sublimity he sometimes descends to grossness, and in the most impressive scenes, to buffoonery: his tragedy is chaos, illuminated by a hundred rays of light.

J. Nadler, Vol. III, p. 32). From this perspective it was held to follow that "since the instruments of language at least are a present from the alma mater Nature ... and since, in accordance with the highest philosophical probability, the Creator of these artificial (kunstlichen) instruments desired and had to establish the use of them as well, then certainly the origin of human language is divine" (Smith, p. 247: Werke III, p. 27). Though Herder rejected this theory his writings (generally and on language in particular) owe much to Hamann's preoccupations.

IdM, 178 (slightly amended): SW XIV, 105 "If then we cannot be Greeks ourselves, let us at least rejoice that there once were Greeks and that like other flowers of human thought (Den kart) this also found a time and a place to put forth its loveliest growth". Also cf. M. Butler, "'Imitate the Greeks' commanded Winckelmann and Lessing. 'Impossible to do so' came Herder's mournful reply" The Tyranny of Greece over Germany, p. 77. 30 language should be cherished and utilised; it has a tradition and a vitality of its own (which Herder tried to demonstrate through his collection of folk-songs).

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