INTRODUCTION
David Hume (1711-1776), a Scottish philosopher and historian, is regarded as a significant figure of the empiricist tradition, which emphasizes that knowledge is derived from experience rather than innate ideas. Hume later adopted radical skepticism, asserting that absolute knowledge is unattainable, and individuals can only rely on their limited experiences. Hume's major works, such as A Treatise of Human Nature (1739-40) and An Enquiry Concerning Human Understanding (1748), reflect his intellectual legacy.
The essay “Of the Standard of Taste,” published in Four Dissertations (1757), explores whether a universal standard of taste exists to evaluate and judge works of art. Hume addresses critical questions that remain relevant to contemporary debates in art and literary criticism, such as whether certain qualities in art transcend cultural and temporal boundaries.
LEARNING OBJECTIVES
By engaging with this text, readers will:
- Understand Hume’s views on the possibility of a universal standard of taste.
- Examine foundational questions of literary criticism and theory.
- Relate Hume’s arguments to contemporary debates in the field of literary criticism.
ANALYTICAL SUMMARY
The Diversity of Taste and the Quest for a Universal Standard (Pages 486-490)
Hume begins by acknowledging the immense variety of tastes among individuals. People’s preferences often arise from subjective sentiments rather than rational analysis, leading to the question of whether a universal standard of taste can be established. Hume recognizes the natural human desire for such a standard to validate judgments of beauty and value.
A prominent philosophical view argues that judgments are objective, whereas sentiments are inherently subjective. According to this perspective, sentiments, being personal perceptions, cannot be disputed, leading to the proverb: “in matters of taste, there can be no disputes.” Since individuals perceive beauty differently, an object may appear beautiful to one person and unappealing to another.
Hume challenges this position. He points out that certain works of art, like those of Homer, have achieved universal acclaim across time and cultures. For instance, the superiority of John Milton over John Ogilby or Joseph Addison over John Bunyan is widely acknowledged. Hume argues that these shared evaluations contradict the principle of the “natural equality of tastes,” suggesting that universal standards do exist.
General Principles and the Capacity for True Taste (Pages 490-492)
Hume asserts that despite the variety of tastes, general principles of approbation and blame can be identified. Some qualities in works of art universally evoke pleasure or displeasure, and discerning these qualities requires a refined capacity for judgment.
Using the metaphor of bodily taste, Hume argues that just as a jaundiced eye cannot perceive true colors, a defective sense of discernment cannot recognize true beauty. A person’s mental faculties must be in a sound state to possess a “true standard of taste.”
The most significant factor influencing taste is the “delicacy of imagination.” Someone with this quality can perceive subtle elements in a work of art, akin to how a refined palate discerns intricate flavors. Hume contends that beauty and ugliness are inherent in objects, but only individuals with delicacy of taste can fully appreciate them.
Developing and Refining Good Taste (Pages 492-495)
Hume explores how one can develop good taste:
- Practice and Contemplation: By regularly engaging with works of art, individuals gain experience to compare and evaluate beauty effectively.
- Freedom from Prejudice: Critics must eliminate personal biases and emotions to form objective judgments. Hume emphasizes that reason, although distinct from taste, helps in overcoming prejudice and refining judgment.
The ideal critic, according to Hume, possesses “strong sense, united to delicate sentiment, improved by practice, perfected by comparison, and cleared of all prejudice.” Such individuals are rare but exemplify the standard of taste that others can strive toward.
Variations in Taste and Exceptions to the Standard (Pages 495-499)
Hume acknowledges that tastes can vary due to:
- Personal Humors: Individual inclinations and emotions affect aesthetic preferences.
- Cultural Differences: Customs and manners unique to regions influence how people judge art.
Despite these variations, Hume argues that universal qualities of beauty can still be identified. A work of art that reflects moral decency and virtue will always be superior to one that promotes vice. He also addresses religious sentiment, arguing that while it is usually excusable, it can become ridiculous when applied inappropriately, as seen in Petrarch’s comparison of his beloved Laura to Jesus Christ.
SUMMING UP
Hume’s essay is rooted in empiricism, emphasizing that perceptions of beauty and ugliness arise from experience rather than innate qualities of objects. While taste is subjective, Hume argues that universal standards of beauty can be cultivated through practice, delicacy of imagination, and freedom from prejudice.
Hume’s work is exploratory, often presenting conflicting ideas to examine multiple possibilities. However, the essay is not without its limitations. Hume’s dismissal of certain works, such as the Koran, reflects biases that contradict his call for impartial criticism. Moreover, some of his judgments, such as preferring Addison to Bunyan, appear rooted more in common sense than critical analysis.
Nevertheless, Hume’s essay remains a foundational text in literary criticism, offering valuable insights into the subjective and universal dimensions of taste and beauty.