Elements of Criticism. Henry Home, Lord Kames

      ELEMENTS OF CRITICISM

      NATURAL LAW AND

      ENLIGHTENMENT CLASSICS

      Knud Haakonssen

      General Editor

      This book is published by Liberty Fund, Inc., a foundation established to encourage study of the ideal of a society of free and responsible individuals.

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      Introduction, annotations, index © 2005 by Liberty Fund, Inc.

      Cover (detail): Portrait of Henry Home, Lord Kames, by David Martin. Reproduced with permission of the National Galleries of Scotland.

      This eBook edition published in 2013.

      eBook ISBNs:

      Kindle 978-1-61487-049-4

      E-PUB 978-1-61487-197-2

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      CONTENTS

Introduction

Editor’s Note

Acknowledgments

ELEMENTS OF CRITICISM

The Sixth Edition

Volume 1

       Volume 2

       Index to This Edition

INTRODUCTION

      Henry Home was born in 1696 in the southeastern Scottish parish of Eccles, three miles from the English border; he died in 1782, in Edinburgh. Both of his parents came from prominent families divided by Whig, Presbyterian, and Episcopalian loyalties; Jacobite sympathies were also apparent. Because of his father’s accumulating debts and large family burdens, Home was educated entirely at home; and he acquired the tenacity, energy, and encyclopedic range of many self-educated people. In 1741 Home proudly inherited his seventeenth-century family house, together with mill, brewhouse, and mixed arable farm, and until 1766, when he also took over his wife’s property in Perthshire, delighted in taking friends there.

      Home moved to Edinburgh in 1712, and over the next ten years studied, first, to be a solicitor, and later, an advocate: during that period he joined several clubs, especially those devoted to philosophy and to music. In 1732 he failed to secure the Edinburgh Chair of Civil Law, but by the later 1730s had become an established advocate, and had also attached himself to the political faction and patronage of the second duke of Argyll. Under the patronage of the third duke, he became a Scottish lawlord in 1752, when he was appointed to the supreme civil court, the Court of Session. In 1763 he was appointed to the highest criminal court, the High Court of Justiciary. Earlier, in 1755, he had also been appointed to the main government agencies controlling the Scottish economy after the 1745 Jacobite Rebellion: the Board of Trustees for Fisheries, Manufactures and Improvements in Scotland and the Commission for the Forfeited Estates. By that date, Kames was involved both in extensive farming improvements to his wife’s estate and in patronage of other improvement schemes and artistic activities. For five years after 1737 he was a curator of the Advocates’ Library in Edinburgh, whose keeper, Thomas Ruddiman, helped to establish it as one of the great collections: there, he was able to consult almost any significant ancient or modern work on law or philosophy, history or economics, architecture or rhetoric, the sciences or education.

      From at least 1720 Home had taken an active interest in philosophical discussions, and in the late 1730s he planned a literary and political periodical with his distant cousin, David Hume (who was the first to change the spelling of the family name). In 1741 he became a member of the Philosophical Society of Edinburgh, becoming vice president in 1748 and president from 1769 until his death: through this society he made the valued friendship of Benjamin Franklin, who stayed with him and maintained a fruitful correspondence. Kames was an active founder member of the Select Society from 1755 onward and of two of its practical offshoots, the Edinburgh Society for the Encouragement of Arts, Sciences, Manufactures, and Agriculture, and the Society for Promoting the Reading and Speaking of the English Language in Scotland. Several of the discussions in the present book have their sources, or allude to recorded discussions, in these societies, the full titles of which, including their offshoots and subcommittees, varied, whether by accident or design.

      Unlike Hume and Smith, Kames never lived in France, nor like a few of his richer colleagues did he undertake the Grand Tour. His information about the continent came from conversation, correspondence, and reading. Although he had a vast range of acquaintances, he was probably not a family man, as such: his self-imposed workload would have precluded it. By contemporaries he was held to have done more than anyone else in Scotland for a century to promote philosophy, belles lettres, and the arts.

      The majority of Kames’s works are concerned with the law of Scotland. During his attempts, in the early volumes, to assemble and classify court decisions by reference to the rules being applied, he became acutely aware of the historical evolution of Scots law. He was a pioneer in comparative legal history, and as his inquiries broadened to include property and rights, he was able to develop his long-standing philosophical interests. For Kames, the law is grounded in morality and human nature: on these topics he is an empiricist in the tradition of Shaftesbury and, to some extent, Hutcheson. He shared the hostility toward skepticism of Scottish common-sense philosophers such as Reid, but he drifts toward a form of determinism in which “the benevolent hand of the Creator” [1.351] has left the universe to run on its own. As he makes clear in Elements of Criticism, introspection is the key to understanding the mind, and the first edition of that work (1762) stands at the midpoint of his explicitly philosophical works. Kames believed that in this sphere of inquiry, his own major work was Sketches of the History of Man (1774), which analyzes the individual and social character of men and society, canvasing many insights adopted by later students of sociology, anthropology, social theory, and comparative history.

      Cultural, Physical, and Social Context of Scotland

      The cultural context of Scotland changed dramatically during Kames’s life-time, although two major factors ensured that it lagged behind developments in England generally and those in London and Paris most prominently: economic poverty and the dominating, though declining, influence of the Calvinist church. The latter discouraged all forms of costly display, personal or public, along with any self-indulgence associated with music and theater in general and dancing in particular. The former ensured that only a very few individuals were rich enough to act as patrons in any of the arts, and influential enough to ignore ecclesiastical pressures.

      Nevertheless, at varying rates and with regional differences, by the 1760s much of Britain,