70. To David Hartley, 22 July 1799

Author(s):  
Joseph Johnson
Keyword(s):  
Unfelt ◽  
2020 ◽  
pp. 24-68
Author(s):  
James Noggle

This chapter examines how the late seventeenth-century British philosophy of sensation, feeling, and selfhood responded to the challenges of mechanism with the idiom of the insensible. It shows how this idiom carries forward from John Locke and Robert Boyle to philosophers of the mid-eighteenth century, the age of sensibility, who use it to address a variety of problems. The consistent, Lockean element in these usages by David Hartley, Étienne Bonnet de Condillac and David Hume, Eliza Haywood and Adam Smith, is that they do not refer to mental contents. One does not hear of “insensible perceptions.” There are no “unconscious thoughts” or “unfelt sensations” in the British tradition surveyed here. Writers in this tradition rather describe insensible powers that affect the mind without themselves being mental. They are nonconscious, not unconscious. This is an implication carried by the idiom into articulations of quite a wide variety of other ideas. All of them indicate the persistent usefulness in philosophies of feeling of a stylistic gesture toward something beyond the reach of both feeling and philosophy.


1959 ◽  
Vol 52 (2) ◽  
pp. 85-118 ◽  
Author(s):  
Lucyle Werkmeister

In 1791, when he was eighteen years of age, Coleridge came across Burke's A Philosophical Inquiry into the Origin of our Ideas of the Sublime and Beautiful. Although he was sufficiently interested to read the essay, he was not impressed by it. In fact, if one is to judge his reaction by the jeu d'esprit, “Mathematical Problem,” it was chiefly one of amusement. Although he went on to read Burke's other essays, he was attracted by the character of the author and the style of his writing rather than by his point of view; for, certainly a young man who was an avowed disciple of David Hartley, a champion of the French Revolution, and the originator of Pantisocracy could find little comfort in the works of Edmund Burke. But the zeal for Hartley, the French Revolution, and Pantisocracy was short-lived; and by 1796 Coleridge had turned, a “thought-bewilder'd man,” to a reading of Bishop Berkeley.The influence of Berkeley, especially of the later Platonic Berkeley, began to show in his work almost at once; the influence of Burke continued to lag. Out of his reflections on Berkeley, however, came a new admiration for Burke, particularly for his Philosophical Inquiry; and, from the combined teachings of the two, Coleridge ultimately derived suggestions for a theology broad enough to account for and to give meaning and purpose to all human activities. I should like here to indicate briefly the use he made of these suggestions with respect to science, philosophy, and poetry. I do not mean to imply that there were no other influences at work in the formulation of his views; but I do submit that these two influences are basic and that Coleridge's position can be adequately understood only in terms of them.


1981 ◽  
Vol 19 (2) ◽  
pp. 173-189 ◽  
Author(s):  
Stephen Ferg
Keyword(s):  

2020 ◽  
Vol 27 (2) ◽  
pp. 101-114
Author(s):  
Alice Rhodes

This essay investigates Romantic-era treatments of bird calls as “unpremeditated”, spontaneous, and involuntary. Looking at parrots, starlings, mockingbirds, gamecocks, and skylarks in the work of writers including John Thelwall, Percy Shelley, Thomas Beddoes, and Helen Maria Williams, I explore the way in which talking and singing birds are often understood through reference to materialist philosophy and the associationism of David Hartley. Taking Thelwall’s King Chaunticlere and John Gilpin’s Ghost, and Shelley’s ‘To a Sky-Lark’ and A Defence of Poetry as my main focus, I argue that these writers use materialist metaphors of unconscious avian utterance to make nuanced claims about the seemingly ambiguous role of the will in political speech.


1876 ◽  
Vol s5-VI (141) ◽  
pp. 217-217
Author(s):  
Kingston
Keyword(s):  

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