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Date of publication: 2017-08-31 16:15

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Texts - Four Dissertations (1757, 1777) - David Hume

Salas, Jo. Playback Theatre: A Frame for Healing. In Current Approaches in Drama Therapy , Penny Lewis & David Read Johnson, Eds. Springfield, IL: Charles C Thomas, 7555.

DISSERTATIONS - University of Massachusetts Amherst

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Theses and Dissertations Available from ProQuest | Theses

Lord Clarendon , when he approaches towards the catastrophe of the royal party, supposes, that his narration must then become infinitely disagreeable and he hurries over the king’s death, without giving us one circumstance of it. He considers it as too horrid a scene to be contemplated with any satisfaction, or even without the utmost pain and aversion. He himself, as well as the readers of that age, were too deeply concerned in the events, and felt a pain from subjects, which

Evils, which are certain , have sometimes the same effect as the possible or impossible. A man, in a strong prison, without the least means of escape, trembles at the thoughts of the rack, to which he is sentenced. The evil is here fixed in itself but the mind has not courage to fix upon it and this fluctuation gives rise to a passion of a similar appearance with fear.

It more easily attains that calm situation, when the same event is of a mixed nature, and contains something adverse and something prosperous in its different circumstances. For in that case, both the passions, mingling with each other by means of the relation, often become mutually destructive, and leave the mind in perfect tranquillity.

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I answer: This extraordinary effect proceeds from that very eloquence, with which the melancholy scene is represented. The genius required to paint objects in a lively manner, the art employed in collecting all the pathetic circumstances, the judgment displayed in disposing them: the exercise, I say, of these noble talents, together with the force of expression, and

7. Beauty of all kinds gives us a peculiar delight and satisfaction as deformity produces pain, upon whatever subject it may be placed, and whether surveyed in an animate or inanimate object. If the beauty or deformity belong to our own face, shape, or person, this pleasure or uneasiness is converted into pride or humility as having in this case all the circumstances requisite to produce a perfect transition, according to the present theory.

We often find, amongst barbarous nations, and even sometimes amongst civilized, that, when every strain of flattery has been exhausted towards arbitrary princes, when every human quality has been applauded to the utmost their servile courtiers represent them, at last, as real divinities, and point them out to the people as objects of adoration. How much more natural, therefore, is it, that a limited deity, who at first is supposed only the immediate author of the particular goods and ills in life, should in the end be represented as sovereign maker and modifier of the universe?

The universal propensity to believe in invisible, intelligent power, if not an original instinct, being at least a general attendant of human nature, may be considered as a kind of mark or stamp, which the divine workman has set upon his work and nothing surely can more dignify mankind, than to be thus selected from all other parts of the creation, and to bear the image or impression of the universal Creator. But consult this image, as it appears in the popular religions of the world. How is the deity disfigured in our representations of him! What caprice, absurdity, and immorality are attributed to him! How much is he degraded even below the character, which we should naturally, in common life, ascribe to a man of sense and virtue!

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