The Theory of Moral Sentiments · Adam Smith
CONSISTING OF ONE SECTION.
CHAP. I. _Of the influence of custom and fashion upon our notions of beauty and deformity._ There are other principles besides those already enumerated, which have a considerable influence upon the moral sentiments of mankind, and are the chief causes of the many irregular and discordant opinions which prevail in different ages and nations concerning what is blameable or praise-worthy. These principles are custom and faction, principles which extend their dominion over our judgments concerning beauty of every kind. When two objects have frequently been seen together, the imagination acquires a habit of passing easily from the one to the other. If the first appear, we lay our account that the second is to follow. Of their own accord they put us in mind of one another, and the attention glides easily along them. Though, independent of custom, there should be no real beauty in their union, yet when custom has thus connected them together, we feel an impropriety in their reparation. The one we think is awkward when it appears without its usual companion. We miss something which we expected to find, and the habitual arrangement of our ideas is disturbed by the disappointment. A suit of clothes, for example, seems to want something if they are without the most insignificant ornament which usually accompanies them, and we find a meanness or awkwardness in the absence even of a haunch button. When there is any natural propriety in the union, custom increases our sense of it, and makes a different arrangement appear still more disagreeable than it would otherwise seem to be. Those who have been accustomed to see things in a good taste, are more disgusted by whatever is clumsy or awkward. Where the conjunction is improper, custom either diminishes, or takes away altogether, our sense of the impropriety. Those who have been accustomed to slovenly disorder lose all sense of neatness or elegance. The modes of furniture or dress which seem ridiculous to strangers, give no offence to the people who are used to them.
Fashion is different from custom, or rather is a particular species of it. That is not the fashion which every body wears, but which those wear who are of a high rank, or character. The graceful, the easy, and commanding manners of the great, joined to the usual richness and magnificence of their dress, give a grace to the very form which they happen to bestow upon it. As long as they continue to use this form, it is connected in our imaginations with the idea of something that is genteel and magnificent, and though in itself it should be indifferent, it seems, on account of this relation, to have something about it that is genteel and magnificent too. As soon as they drop it, it loses all the grace, which it had appeared to possess before, and being now used only by the inferior ranks of people, seems to have something of their meanness and awkwardness.
Dress and furniture are allowed by all the world to be entirely under the dominion of custom and fashion. The influence of those principles, however, is by no means confined to so narrow a sphere, but extends itself to whatever is in any respect the object of taste, to music, to poetry, to architecture. The modes of dress and furniture are continually changing, and that fashion appearing ridiculous to-day which was admired five years ago, we are experimentally convinced that it owed its vogue chiefly or entirely to custom and fashion. Clothes and furniture are not made of very durable materials. A well fancied coat is done in a twelve-month, and cannot continue longer to propagate, as the fashion, that form according to which it was made. The modes of furniture change less rapidly than those of dress; because furniture is commonly more durable. In five or six years, however, it generally undergoes an entire revolution, and every man in his own time sees the fashion in this respect change many different ways. The productions of the other arts are much more lasting, and, when happily imagined, may continue to propagate the fashion of their make for a much longer time.
A well contrived building may endure many centuries: a beautiful air may be delivered down by a sort of tradition, through many successive generations: a well written poem may last as long as the world; and all of them continue for ages together, to give the vogue to that particular style, to that particular taste or manner, according to which each of them was composed. Few men have an opportunity of seeing in their own times the fashion in any of these arts change very considerably. Few men have so much experience and acquaintance with the different modes which have obtained in remote ages and nations, as to be thoroughly reconciled to them, or to judge with impartiality between them, and what takes place in their own age and country. Few men therefore are willing to allow that custom or fashion have much influence upon their judgments concerning what is beautiful, or otherwise, in the productions of any of those arts; but imagine, that all the rules, which they think ought to be observed in each of them, are founded upon reason and nature, not upon habit or prejudice. A very little attention, however, may convince them of the contrary, and satisfy them, that the influence of custom and fashion over dress and furniture, is not more absolute than over architecture, poetry, and music.
Can any reason, for example, be assigned why the Doric capital should be appropriated to a pillar, whose height is equal to eight diameters; the Ionic volute to one of nine; and the Corinthian foliage to one of ten? The propriety of each of those appropriations can be founded upon nothing but habit and custom. The eye having been used to see a particular proportion connected with a particular ornament, would be offended if they were not joined together. Each of the five orders has its peculiar ornaments, which cannot be changed for any other, without giving offence to all those who know any thing of the rules of architecture. According to some architects, indeed, such is the exquisite judgment with which the ancients have assigned to each order its proper ornaments, that no others can be found which are equally suitable. It seems, however, a little difficult to be conceived that these forms, though, no doubt, extremely agreeable, should be the only forms which can suit those proportions, or that there should not be five hundred others which, antecedent to established custom, would have fitted them equally well. When custom, however, has established particular rules of building, provided they are not absolutely unreasonable, it is absurd to think of altering them for others which are only equally good, or even for others which, in point of elegance and beauty, have naturally some little advantage over them. A man would be ridiculous who should appear in public with a suit of clothes quite different from those which are commonly worn, though the new dress should in itself be ever so graceful or convenient. And there seems to be an absurdity of the same kind in ornamenting a house after a quite different manner from that which custom and fashion have prescribed; though the new ornaments should in themselves be somewhat superior to the common ones.
According to the ancient rhetoricians, a certain measure or verse was by nature appropriated to each particular species of writing, as being naturally expressive of that character, sentiment, or passion, which ought to predominate in it. One verse, they said, was fit for grave and another for gay works, which could not, they thought, be interchanged without the greatest impropriety. The experience of modern times, however, seems to contradict this principle, though in itself it would appear to be extremely probable. What is the burlesque verse in English is the heroic verse in French. The tragedies of Racine and the Henriad of Voltaire, are in the same verse with, _Thus said to my lady the knight full of care._ The burlesque verse in French, on the contrary, is pretty much the same with the heroic verse of ten syllables in English. Custom has made the one nation associate the ideas of gravity, sublimity, and seriousness, to that measure which the other has connected with whatever is gay, flippant, and ludicrous. Nothing would appear more absurd in English than a tragedy written in the Alexandrine verses of the French, or in French, than a work of the same kind in verses of ten syllables.
An eminent artist will bring about a considerable change in the established modes of each of those arts, and introduce a new fashion of writing, music, or architecture. As the dress of an agreeable man of high rank recommends itself, and how peculiar and fantastical soever, comes soon to be admired and imitated; so the excellencies of an eminent matter recommend his peculiarities, and his manner becomes the fashionable style in the art which he practises. The taste of the Italians in music and architecture, has, within these fifty years, undergone a considerable change, from imitating the peculiarities of some eminent masters in each of those arts. Seneca is accused by Quintilian of having corrupted the taste of the Romans, and of having introduced a frivolous prettiness in the room of majestic reason and masculine eloquence. Sallust and Tacitus have by others been charged with the same accusation, tho’ in a different manner. They gave reputation, it is pretended, to a style, which though in the highest degree concise, elegant, expressive, and even poetical, wanted, however, ease, simplicity, and nature, and was evidently the production of the most laboured and studied affectation. How many great qualities must that writer possess who can thus render his very faults agreeable? After the praise of refining the taste of a nation, the highest eulogy, perhaps, which can be bestowed upon any author is to say, that he corrupted it. In our own language, Mr. Pope and Dr. Swift have each of them introduced a manner different from what was practised before, into all works that are written in rhyme, the one in long verses, the other in short. The quaintness of Butler has given place to the plainness of Swift. The rambling freedom of Dryden, and the correct but often tedious and prosaic languor of Addison, are no longer the objects of imitation, but all long verses are now written after the manner of the nervous precision of Mr. Pope.
Neither is it only over the productions of the arts, that custom and fashion exert their dominion. They influence our judgments, in the same manner, with regard to the beauty of natural objects. What various and opposite forms are deemed beautiful in different species of things? The proportions which are admired in one animal, are altogether different from those which are esteemed in another. Every class of things has its own peculiar conformation, which is approved of, and has a beauty of its own, distinct from that of every other species. It is upon this account that a learned Jesuit, father Buffier, has determined that the beauty of every object consists in that form and colour, which is most usual among things of that particular sort to which it belongs. Thus, in the human form, the beauty of each feature lies in a certain middle equally removed from a variety of other forms that are ugly. A beautiful nose, for example, is one that is neither very long, nor very short, neither very straight, nor very crooked, but a sort of middle among all these extremes, and less different from any one of them, than all of them are from one another.
It is the form which Nature seems to have aimed at in them all, which, however, she deviates from in a great variety of ways, and very seldom hits exactly; but to which all those deviations still bear a very strong resemblance. When a number of drawings are made after one pattern, though they may all miss it in some respects, yet they will all resemble it more than they resemble one another; the general character of the pattern will run through them all; the most singular and odd will be those which are most wide of it; and though very few will copy it exactly, yet the most accurate delineations will bear a greater resemblance to the most careless, than the careless ones will bear to one another. In the same manner, in each species of creatures, what is most beautiful bears the strongest characters of the general fabric of the species, and has the strongest resemblance to the greater part of the individuals with which it is classed. Monsters, on the contrary, or what is perfectly deformed, are always most singular and odd, and have the least resemblance to the generality of that species to which they belong.
And thus the beauty of each species, though in one sense the rarest of all things, because few individuals hit this middle form exactly, yet in another, is the most common, because all the deviations from it resemble it more than they resemble one another. The most customary form, therefore, is in each species of things, according to him, the most beautiful. And hence it is that a certain practice and experience in contemplating each species of objects is requisite, before we can judge of its beauty, or know wherein the middle and most usual form consists. The nicest judgment concerning the beauty of the human species, will not help us to judge of that of flowers, or horses, or any other species of things. It is for the same reason that in different climates and where different customs and ways of living take place, as the generality of any species receives a different conformation from those circumstances, so different ideas of its beauty prevail. The beauty of a Moorish is not exactly the same with that of an English horse. What different ideas are formed in different nations concerning the beauty of the human shape and countenance? A fair complexion is a shocking deformity upon the coast of Guinea. Thick lips and a flat nose are a beauty.
In some nations long ears that hang down upon the shoulders are the objects of universal admiration. In China if a lady’s foot is so large as to be fit to walk upon, she is regarded as a monster of ugliness. Some of the savage nations in North America tie four boards round the heads of their children, and thus squeeze them, while the bones are tender and gristly, into a form that is almost perfectly square. Europeans are astonished at the absurd barbarity of this practice, to which some missionaries have imputed the singular stupidity of those nations among whom it prevails. But, when they condemn those savages, they do not reflect that the ladies in Europe had, till within these very few years, been endeavouring, for near a century past, to squeeze the beautiful roundness of their natural shape into a square form of the same kind. And that notwithstanding the many distortions and diseases which this practice was known to occasion, custom had rendered it agreeable among some of the most civilized nations, which, perhaps, the world ever beheld.
Such is the system of this learned and ingenious father, concerning the nature of beauty; of which the whole charm, according to him, would thus seem to arise from its falling in with the habits which custom had impressed upon the imagination, with regard to things of each particular kind. I cannot, however, be induced to believe that our sense even of external beauty is founded altogether on custom. The utility of any form, its fitness for the useful purposes for which it was intended, evidently recommends it, and renders it agreeable to us independent of custom. Certain colours are more agreeable than others, and give more delight to the eye the first time it ever beholds them. A smooth surface is more agreeable than a rough one. Variety is more pleasing than a tedious undiversified uniformity. Connected variety, in which each new appearance seems to be introduced by what went before it, and in which all the adjoining parts seem to have some natural relation to one another, is more agreeable than a disjointed and disorderly assemblage of unconnected objects. But though I cannot admit that custom is the sole principle of beauty, yet I can so far allow the truth of this ingenious system as to grant, that there is scarce any one external form so beautiful as to please, if quite contrary to custom and unlike whatever we have been used to in that particular species of things: or so deformed as not to be agreeable, if custom uniformly supports it, and habituates us to see it in every single individual of the kind.
CHAP. II. _Of the influence of custom and fashion upon moral sentiments._ Since our sentiments concerning beauty of every kind are so much influenced by custom and fashion, it cannot be expected, that those, concerning the beauty, of conduct, should be entirely exempted from the dominion of those principles. Their influence here, however, seems to be much less than it is every where else. There is, perhaps, no form of external objects, how absurd and fantastical soever, to which custom will not reconcile us, or which fashion will not render even agreeable. But the characters and conduct of a Nero, or a Claudius, are what no custom will ever reconcile us to, what no fashion will ever render agreeable; but the one will always be the object of dread and hatred; the other of scorn and derision. The principles of the imagination, upon which our sense of beauty depends, are of a very nice and delicate nature, and may easily be altered by habit and education: but the sentiments of moral approbation and disapprobation, are founded on the strongest and most vigorous passions of human nature; and though they may be somewhat warpt, cannot be entirely perverted.
But though the influence of custom and fashion, upon moral sentiments, is not altogether so great, it is however perfectly similar to what it is every where else. When custom and fashion coincide with the natural principles of right and wrong, they heighten the delicacy of our sentiments, and increase our abhorrence for every thing which approaches to evil. Those who have been educated in what is really good company, not in what is commonly called such, who have been accustomed to see nothing in the persons whom they esteemed and lived with, but justice, modesty, humanity, and good order, are more shocked with whatever seems to be inconsistent with the rules which those virtues prescribe. Those, on the contrary, who have had the misfortune to be brought up amidst violence, licentiousness, falsehood, and injustice, lose, though not all sense of the impropriety of such conduct, yet all sense of its dreadful enormity, or of the vengeance and punishment due to it. They have been familiarized with it from their infancy, custom has rendered it habitual to them, and they are very apt to regard it as, what is called the way of the world, something which either may, or must be practised, to hinder us from being the dupes of our own integrity.
Fashion too will sometimes give reputation to a certain degree of disorder, and on the contrary discountenance qualities which deserve esteem. In the reign of Charles II. a degree of licentiousness was deemed the characteristic of a liberal education. It was connected, according to the notions of those times, with generosity, sincerity, magnanimity, loyalty, and proved that the person who acted in this manner, was a gentleman, and not a puritan; severity of manners, and regularity of conduct, on the other hand, were altogether unfashionable, and were connected, in the imagination of that age, with cant, cunning, hypocrisy, and low manners. To superficial minds, the vices of the great seem at all times agreeable. They connect them, not only with the splendour of fortune, but with many superiour virtues, which they ascribe to their superiors; with the spirit of freedom and independency, with frankness, generosity, humanity, and politeness. The virtues of the inferior ranks of people, on the contrary, their parsimonious frugality, their painful industry, and rigid adherence to rules, seem to them mean and disagreeable. They connect them, both with the meanness of the station to which those qualities commonly belong, and with many great vices, which, they suppose, usually accompany them; such as an abject, cowardly, ill-natured, lying, pilfering disposition.
The objects with which men in the different professions and states of life are conversant, being very different, and habituating them to very different passions, naturally form in them very different characters and manners. We expect in each rank and procession, a degree of those manners, which, experience has taught us, belong to it. But as in each species of things, we are particularly pleased with the middle conformation, which in every part and feature agrees most exactly with the general standard which nature seems to have established for things of that kind; so in each rank, or, if I may say so, in each species of men, we are particularly pleased, if they have neither too much, nor too little of the character which usually accompanies their particular condition and situation. A man, we say, should look like his trade and profession; yet the pedantry of every profession is disagreeable. The different periods of life have, for the same reason, different manners assigned to them. We expect in old age, that gravity and sedateness which its infirmities, its long experience, and its worn-out sensibility seem to render both natural and respectable; and we lay our account to find in youth that sensibility, that gaiety and sprightly vivacity which experience teaches us to expect from the lively impressions that all interesting objects are apt to make upon the tender and unpractised senses of that early period of life. Each of those two ages, however, may easily have too much of these peculiarities which belong to it. The flirting levity of youth, and the immoveable insensibility of old age, are equally disagreeable. The young, according to the common saying, are most agreeable when in their behaviour there is something of the manners of the old, and the old, when they retain something of the gaiety of the young. Either of them, however, may easily have too much of the manners of the other. The extreme coldness, and dull formality, which are pardoned in old age, make youth ridiculous. The levity, the carelessness, and the vanity, which are indulged in youth, render old age contemptible.
The peculiar character and manners which we are led by custom to appropriate to each rank and profession, have sometimes perhaps a propriety independent of custom; and are what we should approve of for their own sakes, if we took into consideration all the different circumstances which naturally affect those in each different state of life. The propriety of a person’s behaviour, depends not upon its suitableness to any one circumstance of his situation, but to all the circumstances, which, when we bring his case home to ourselves we feel, should naturally call upon his attention. If he appears to be so much occupied by any one of them, as entirely to neglect the rest, we disapprove of his conduct, as something which we cannot entirely go along with, because not properly adjusted to all the circumstances of his situation: yet, perhaps, the emotion he expresses for the object which principally interests him, does not exceed what we should entirely sympathize with, and approve of, in one whose attention was not required by any other thing.
A parent in private life might, upon the loss of an only son, express without blame, a degree of grief and tenderness, which would be unpardonable in a general at the head of an army, when glory, and the public safety demanded so great a part of his attention. As different objects ought, upon common occasions, to occupy the attention of men of different professions, so different passions ought, naturally to become habitual to them; and when we bring home to ourselves their situation in this particular respect, we must be sensible, that every occurrence should naturally affect them more or less, according as the emotion which it excites, coincides or disagrees with the fixt habit and temper of their minds. We cannot expect the same sensibility to the gay pleasures and amusements of life in a clergyman which we lay our account with in an officer. The man whose peculiar occupation it is to keep the world in mind of that awful futurity which awaits them, who is to announce what may be the fatal consequences of every deviation from the rules of duty, and who is himself to set the example of the most exact conformity, seems to be the messenger of tidings, which cannot, in propriety, be delivered either with levity or indifference.
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