The Theory of Moral Sentiments: Or, an Essay Towards an Analysis of the Principles by Which Men Naturally Judge Concerning the Conduct and Character, First of Their Neighbours, and Afterwards of Themselves. to Which Is Added, a Dissertation on the Origin of Languages.Smith, Adam
Philosophy
The Theory of Moral Sentiments: Or, an Essay Towards an Analysis of the Principles by Which Men Naturally Judge Concerning the Conduct and Character, First of Their Neighbours, and Afterwards of Themselves. to Which Is Added, a Dissertation on the Origin of Languages.
Smith, Adam
Ethics -- Early works to 1800; Language and languages -- Early works to 1800
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.
Public-domain text, read in full here on John Shaqi.
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