Gordon Graham

This paper aims to show how philosophical debates about the nature of music as an art can throw light on one of the problems raised by Plato’s Euthryphro—how can human beings serve the gods?—and applies this to the use of music in worship. The paper gives a broad overview of expressivist, representationalist and formalist philosophies of music. Drawing in part on Hanslick, Nietzsche and Schleiermacher, it argues that formalism as a philosophy of sacred music can generate an answer to Plato’s problem

This paper argues that a recurrent mistake is made about Scottish moral philosophy in the 18th century with respect to its account of the relation between morality and feeling. This mistake arises because Hume is taken to be the main, as opposed to the best known, exponent of a version of moral sense theory. In fact, far from occupying common ground, the other main philosophers of the period—Hutcheson, Reid, Beattie—understood themselves to be engaged in refuting Hume. Despite striking surface similarities, closer examination reveals a deep difference between Hume's and Reid's conception of ‘the science mind’ which marked the philosophy of the period. Properly understood, this difference shows that mainstream Scottish moral philosophy, far from subscribing to Hume's dictum about morality being ‘more properly felt than judged of’, held that morality is ‘more properly judged than felt of’

Can human history as a whole be interpreted in any meaningful way? Has there been real progress between stone age and space age? Does history repeat itself? Is there evidence of divine providence? Questions such as these have fascinated thinkers, and some of the greatest philosophers, notably Kant and Hegel, have turned their minds to philosophical history. As a branch of philosophy, however, it has received little attention in the analytical tradition. This pioneering work aims to bring the methods of analytical philosophy to the critical examination of some of these questions. The ideas of historical progress, cultural cycles, historical rupture, and God in history are all subjected to careful analysis. Gordon Graham argues that, although unfashionable, the claim that history is the story of progress under the guidance of providence is one of the most plausible accounts of the shape of the past.

James Beattie was appointed professor of moral philosophy and logic at Marischal College, Aberdeen, Scotland at the age of twenty-five. Though more fond of poetry than philosophy, he became part of the Scottish 'Common Sense' school of philosophy that included Thomas Reid and George Campbell. In 1770 Beattie published the work for which he is best known, An Essay on Truth, an abrasive attack on 'modern scepticism' in general, and on David Hume in particular, subsequently and despite Beattie's attack, Scotland's most famous philosopher. The Essay was a great success, earning its author an honorary degree from Oxford and an audience with George III. Samuel Johnson declared in 1772 that 'We all love Beattie'. Hume, on the other hand, described the Essay as 'a horrible large lie in octavo', and dismissed its author as a 'bigotted silly Fellow'. Although Beattie is no match for Hume as a philosopher, the success of the Essay suggests that, unlike Hume, Beattie voices the characteristic assumptions, and anxieties, of his age. The first part of this selection—the first ever made from Beattie's prose writings—includes several key chapters from the Essay on Truth, along with extracts from all of Beattie's other works on moral philosophy. The topics treated include memory, the existence of God, the nature of virtue, and slavery. The second part of the selection is devoted to Beattie's contributions to literary criticism and aesthetics. Beattie's studies of poetry, music, taste, and the sublime are vital to the understanding of the literary culture out of which developed the early Romanticism of Wordsworth and Coleridge.

It is well known that we owe the term ‘aesthetics’ in its philosophical sense to the 18th century German philosopher Alexander Baumgarten. The eighteenth century's interest in aesthetics, however, pre-dated the invention of the term. In 1725, Francis Hutcheson published an Inquiry into the Original of Our Idea of Beauty and Virtue. This may be said to be the first sustained and significant work in philosophical aesthetics as we now know it. Hutcheson's volume preceded Baumgarten's by 10 years, and within Scotland it inaugurated a series of philosophical writings on taste and beauty that continued for almost a century. Contributors included major philosophical figures like David Hume, Thomas Reid and Adam Smith, as well as influential figures less well known today such as Alexander Gerard, George Turnbull and Lord Kames.