The Essays of Adam Smith — Reading Companion
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on did not think it unworthy of his gentle and modest character to set himself at the head of a little cabal of the same kind, in order to keep down the rising reputation of Mr. Pope. Mr. Fontenelle, in writing the lives and characters of the members of the academy of sciences, a society of mathematicians and natural philosophers, has frequent opportunities of celebrating the amiable simplicity of their manners; a quality which, he observes, was so universal among them as to be characteristical, rather of that whole class of men of letters, than of any individual. Mr. D'Alembert, in writing the lives and characters of the members of the French Academy, a society of poets and fine writers, or of those who are supposed to be such, seems not to have had such frequent opportunities of making any remark of this kind, and no where pretends to represent this amiable quality as characteristical of that class of men of letters whom he celebrates.
{113} Our uncertainty concerning our own merit, and our anxiety to think favourably of it, should together naturally enough make us desirous to know the opinion of other people concerning it; to be more than ordinarily elevated when that opinion is favourable, and to be more than ordinarily mortified when it is otherwise: but they should not make us desirous either of obtaining the favourable, or of avoiding the unfavourable opinion, by intrigue and cabal. When a man has bribed all the judges, the most unanimous decision of the court, though it may gain him his law-suit, cannot give him any assurance that he was in the right: and had he carried on his law-suit merely to satisfy himself that he was in the right, he never would have bribed the judges. But though he wished to find himself in the right, he wished likewise to gain his law-suit; and therefore he bribed the judges. If praise were of no consequence to us, but as a proof of our own praise-worthiness, we never should endeavour to obtain it by unfair means. But, though to wise men it is, at least in doubtful cases, of principal consequence upon this account; it is likewise of some consequence upon its own account: and therefore (we cannot, indeed, upon such occasions, call them wise men), but men very much above the common level have sometimes attempted both to obtain praise, and to avoid blame, by very unfair means.
Praise and blame express what actually are, praise-worthiness and blame-worthiness what naturally ought to be, the sentiments of other people with regard to our character and conduct. The love of praise is the desire of obtaining the favourable sentiments of our brethren. The love of praise-worthiness is the desire of rendering ourselves the proper objects of those sentiments. So far those two principles resemble and are akin to one another. The like affinity and resemblance take place between dread of blame and that of blame-worthiness.
The man who desires to do, or who actually does, a praise-worthy action, may likewise desire the praise which is due to it, and sometimes, perhaps, more than is due to it. The two principles are in this case blended together. How far his conduct may have been influenced by the one, and how far by the other, may frequently be unknown even to himself. It must almost always be so to other people. They who are disposed to lessen the merit of his conduct, impute it chiefly or altogether to the mere love of praise, or to what they call mere vanity. They who are disposed to think more favourably of it, impute it chiefly or altogether to the love of praise-worthiness; to the love of what is really honourable and noble in human conduct; to the desire, not merely of obtaining, but of deserving the approbation and applause of his brethren. The imagination of the spectator throws upon it either the one colour or the other, according either to his habits of thinking, or to the favour or dislike which he may bear to the person whose conduct he is considering.
{114} Some splenetic philosophers, in judging of human nature, have done as peevish individuals are apt to do in judging of the conduct of one another, and have imputed to the love of praise, or to what they call vanity, every action which ought to be ascribed to that of praise-worthiness. I shall hereafter have occasion to give an account of some of their systems, and shall not at present stop to examine them.
The Essays of Adam Smith opens with a biographical notice that traces the author's early life—his birth at Kirkaldy in 1723, a sickly childhood, and a famous episode of being carried off by tinkers—before moving into the philosophical essays themselves. The collection's structure is immediately striking: nine distinct essays ranging from moral sentiments to astronomy, language, and the imitative arts, each treated with Smith's characteristic method of moving from general principles to specific illustrations. The editor's note explains that the text is based on materials from the Internet Archive and Hathi Trust, with footnotes numbered and placed at paragraph ends, and Greek text marked by orange underlining.
Recurring Structural Patterns
Across the essays, Smith repeatedly employs a tripartite structure: he first states a general proposition, then examines it through historical or comparative examples, and finally refines it with distinctions. In the essay on moral sentiments, for instance, he discusses Plato's account of virtue as each faculty confining itself to its proper sphere, then immediately compares it to Aristotle's habit of mediocrity, and concludes by noting how both coincide with his own notion of propriety. This pattern recurs in the astronomical inquiries, where he moves from abstract principles of scientific explanation to specific ancient systems. The effect is a cumulative argument that builds through layered comparisons rather than linear deduction.
Movement Between Abstract and Concrete
Smith's prose frequently shifts between abstract philosophical categories and concrete, almost anecdotal illustrations. In the discussion of virtue, he distinguishes between the quality of an action and the quality of a person, using the example of an occasional fit of generosity versus a habitual generous character. This movement from the general to the particular is not merely rhetorical; it reflects his method of grounding moral philosophy in observable human behavior. Similarly, in the essay on the imitative arts, he likely draws on specific examples from music, dancing, and poetry to illuminate broader principles of representation. The reader is thus constantly shuttled between theoretical frameworks and tangible instances.
Recurring Images and Terminology
Certain images and terms recur throughout the excerpts: propriety, habit, moderation, and middle appear repeatedly in the moral essays. Smith describes virtue as lying in a middle between opposite vices—cowardice and rashness, avarice and profusion, arrogance and pusillanimity. This spatial language of extremes and a mean is not confined to ethics; it echoes in his discussions of scientific systems, where he contrasts excess and defect in explanatory power. The term habit is particularly important: he insists that virtue consists not in occasional right actions but in a habitual disposition, a point he illustrates with the distinction between a generous act and a generous person. This emphasis on stability and repetition suggests a mind concerned with the enduring structures of character and knowledge.
The Role of Historical Comparison
Smith consistently situates his arguments within a historical framework, comparing ancient and modern thinkers. In the excerpts, he juxtaposes Plato and Aristotle on virtue, noting that Plato's account of justice as each faculty performing its proper office coincides with Smith's own view of propriety, while Aristotle's doctrine of the mean corresponds to his account of propriety and impropriety. This comparative method is not merely scholarly; it serves to demonstrate how philosophical problems recur across time and how different solutions illuminate each other. The essays on ancient physics and logic likely continue this pattern, showing how earlier systems of thought prefigure or contrast with modern ones. The reader is thus invited to see Smith's own work as part of a continuous intellectual tradition.
Readers approaching this collection should attend to the way Smith weaves together multiple disciplines under a consistent method. The essays reward careful attention to his use of examples and his habit of returning to key terms like propriety and habit. Because the excerpts are incomplete, the full arc of each essay—especially the later ones on the imitative arts and external senses—remains to be discovered. The editorial apparatus, including footnotes and cross-references, provides useful guidance for tracing Smith's sources and influences.
Reading his patient movement from astronomy to moral sentiments, I remembered sitting on my grandmother’s porch, turning pages of an old clothbound volume while bees worked the lavender—how some books feel like listening to one calm voice noticing patterns everywhere. We Moderns: Enigmas and Guesses — Reading Companion stirred that same quiet wonder, a sense of being gently shown the shape hiding inside chaos.
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