Breaking off the ordinary flow of experience, the passions create a state of exception. In their suddenness and intensity, they map a personal world, fix and qualify our attention, and impel our actions. Outraged anger drives us to write laws that will later be enforced by impersonal justice. Intense grief at the death of someone in our life discloses the contours of that life to us. Wonder spurs scientific inquiry. The strong current of Western thought that idealizes a dispassionate world has ostracized the passions as quaint, even dangerous. Intense states have come to be seen as symptoms of pathology. A fondness for irony along with our civic ideal of tolerance lead us to prefer the diluted emotional life of feelings and moods. Demonstrating enormous intellectual originality and generosity, Philip Fisher meditates on whether this victory is permanent-and how it might diminish us. From Aristotle to Hume to contemporary biology, Fisher finds evidence that the passions have defined a core of human nature no less important than reason or desire. Traversing the Iliad, King Lear, Moby Dick, and other great works, he discerns the properties of the high-spirited states we call the passions. Are vehement states compatible with a culture that values private, selectively shared experiences? How do passions differ from emotions? Does anger have an opposite? Do the passions give scale, shape, and significance to our experience of time? Is a person incapable of anger more dangerous than someone who is irascible? In reintroducing us to our own vehemence, Fisher reminds us that it is only through our strongest passions that we feel the contours of injustice, mortality, loss, and knowledge. It is only through our personal worlds that we can know the world.

"The proper study of mankind," said Alexander Pope, "is man'' -an apt summary of the spirit of his age of rationalism. All of Christian tradition protests against this mockery of the true state of things; divine revelation contradicts it outright; a just philosophy recoils from so limited an approach to reality. That distilled wisdom of Catholicism which is theology knows one subject and one subject only: God. But theology first considers God as he is the cause of all things and their exemplar; in this vision it considers all of reality, which is more true in divine thought than when seen directly in itself. Now the theologian turns to study God as he is the end and perfecting goal of creatures in their return to him from whom they first came forth; in particular he will study the creature who alone holds the reins of his own conduct: man. (from the Introduction) This edition is a scanned facsimile of the original edition published in 1959 by Priory Press

Why pause and study this particular painting among so many others ranged on a gallery wall? Wonder, which Descartes called the first of the passions, is at play; it couples surprise with a wish to know more, the pleasurable promise that what is novel or rare may become familiar. This is a book about the aesthetics of wonder, about wonder as it figures in our relation to the visual world and to rare or new experiences. In three instructive instances--a pair of paintings by Cy Twombly, the famous problem of doubling the area of a square, and the history of attempts to explain rainbows--Philip Fisher examines the experience of wonder as it draws together pleasure, thinking, and the aesthetic features of thought. Through these examples he places wonder in relation to the ordinary and the everyday as well as to its opposite, fear. The remarkable story of how rainbows came to be explained, fraught with errors, half-knowledge, and incomplete understanding, suggests that certain knowledge cannot be what we expect when wonder engages us. Instead, Fisher argues, a detailed familiarity, similar to knowing our way around a building or a painting, is the ultimate meeting point for aesthetic and scientific encounters with novelty, rare experiences, and the genuinely new.

Recovers eighteenth-century appreciation of transition as a critical tool for analysing the expression and reception of emotion in theatre.

Thomas Hobbes was the first great English political philosopher. His work excited intense controversy among his contemporaries and continues to do so in our own time. In this masterly introduction to his work, Bernard Gert provides the first account of Hobbes’s political and moral philosophy that makes it clear why he is regarded as one of the best philosophers of all time in both of these fields. In a succinct and engaging analysis the book illustrates that the commonly accepted view of Hobbes as holding psychological egoism is not only incompatible with his account of human nature but is also incompatible with the moral and political theories that he puts forward. It also explains why Hobbes’s contemporaries did not accept his explicit claim to be providing a natural law account of morality. Gert shows that for Hobbes, civil society is established by a free-gift of their right of nature by the citizens; it does not involve a mutual contract between citizens and sovereign. As injustice involves breaking a contract, the sovereign cannot be unjust; however, the sovereign can be guilty of ingratitude, which is immoral. This distinction between injustice and immorality is part of a sophisticated and nuanced political theory that is in stark contrast to the reading often incorrectly attributed to Hobbes that “might makes right”. It illustrates how Hobbes’s goal of avoiding civil war provides the key to understanding his moral and political philosophy. Hobbes: Prince of Peace is likely to become the classic introduction to the work of Thomas Hobbes and will be a valuable resource for scholars and students seeking to understand the importance and relevance of his work today.

This introductory book on George Campbell discusses details of his life and his intellectual milieu, including his role in the Scottish Enlightenment in Aberdeen. In addition, Arthur E. Walzer provides a thorough examination of Campbell's Philosophy of Rhetoric, the most important work in rhetorical theory of the Enlightenment. Brief analyses of Campbell's Dissertation on Miracles and Lectures on Pulpit Eloquence are also given.

Wittreich demonstrates why Milton may prove to be the poet for the new millennium, in a book of interest to scholars and general readers. It engages the canonical Milton, as well as the Milton of popular culture, and uses the tools of theory- especially affective stylistics and reception history, to read Milton in his historical moment and our own.