This beauty and deformity which characters appear to derive from their usefulness or inconveniency, are apt to strike, in a peculiar manner, those who consider, in an abstract and philosophical light, the actions and conduct of mankind. When a philosopher goes to examine why humanity is approved of, or cruelty condemned, he does not always form to himself, in a very clear and distinct manner, the conception of any one particular action either of cruelty or of humanity, but is commonly contented with the vague and indeterminate idea which the general names of those qualities suggest to him. But it is in particular instances only that the propriety or impropriety, the merit or demerit of actions is very obvious and discernible. It is only when particular examples are given that we perceive distinctly either the concord or disagreement between our two affections and those of the agent, or feel a social gratitude arise towards him in the one case, or a sympathetic resentment in the other. When we consider virtue and vice in an abstract and general manner, the qualities by which they excite these several sentiments seem in a great measure to disappear, and the sentiments themselves become less obvious and discernible. On the contrary, the happy effects of the one and the fatal consequences of the other seem then to rise up to the view, and as it were to stand out and distinguish themselves from all the other qualities of either.
The same ingenious and agreeable author who first explained why utility pleases, has been so struck with this view of things, as to resolve our whole approbation of virtue into a perception of this species of beauty which results from the appearance of utility. No qualities of the mind, he observes, are approved of as virtuous, but such as are useful or agreeable either to the person himself or to others; and no qualities are disapproved of as vicious but such as have a contrary tendency. And Nature, indeed, seems to have so happily adjusted our sentiments of approbation and disapprobation, to the conveniency both of the individual and of the society, that after the strictest examination it will be found, I believe, that this is universally the case. But still I affirm, that it is not the view of this utility or hurtfulness which is either the first or principal source of our approbation and disapprobation. These sentiments are no doubt enhanced and enlivened by the perception of the beauty or deformity which results from this utility or hurtfulness. But still, I say, that they were originally and essentially different from this perception.
For first of all, it seems impossible that the approbation of virtue should be a sentiment of the same kind with that by which we approve of a convenient and well-contrived building; or that we should have no other reason for praising a man than that for which we commend a chest of drawers.
{167} And secondly, it will be found, upon examination, that the usefulness of any disposition of mind is seldom the first ground of our approbation; and that the sentiment of approbation always involves in it a sense of propriety quite distinct from the perception of utility. We may observe this with regard to all the qualities which are approved of as virtuous, both those which, according to this system, are originally valued as useful to ourselves, as well as those which are esteemed on account of their usefulness to others.
The qualities most useful to ourselves are, first of all, superior reason and understanding, by which we are capable of discerning the remote consequences of all our actions, and of fore-seeing the advantage or detriment which is likely to result from them: and secondly, self-command, by which we are enabled to abstain from present pleasure or to endure present pain, in order to obtain a greater pleasure, or to avoid a greater pain in some future time. In the union of those two qualities consists the virtue of prudence, of all the virtues that which is the most useful to the individual.
With regard to the first of those qualities, it has been observed on a former occasion, that superior reason and understanding are originally approved of as just and right and accurate, and not merely as useful or advantageous. It is in the abstruser sciences, particularly in the higher parts of mathematics, that the greatest and most admired exertions of human reason have been displayed. But the utility of those sciences, either to the individual or to the public, is not very obvious, and to prove it, requires a discussion which is not always very easily comprehended. It was not, therefore, their utility which first recommended them to the public admiration. This quality was but little insisted upon, till it became necessary to make some reply to the reproaches of those, who, having themselves no taste for such sublime discoveries, endeavoured to depreciate them as useless.
That self-command, in the same manner, by which we restrain our present appetites, in order to gratify them more fully upon another occasion, is approved of, as much under the aspect of propriety, as under that of utility. When we act in this manner, the sentiments which influence our conduct seem exactly to coincide with those of the spectator. The spectator, however, does not feel the solicitations of our present appetites.
To him the pleasure which we are to enjoy a week hence, or a year hence, is just as interesting as that which we are to enjoy this moment. When for the sake of the present, therefore, we sacrifice the future, our conduct appears to him absurd and extravagant in the highest degree, and he cannot enter into the principles which influence it. On the contrary, when we abstain from present pleasure, in order to secure greater pleasure to come, when we act as if the remote object interested us as much as that which immediately presses upon the senses, as our {168} affections exactly correspond with his own, he cannot fail to approve of our behaviour: and as he knows from experience, how few are capable of this self-command, he looks upon our conduct with a considerable degree of wonder and admiration. Hence arises that eminent esteem with which all men naturally regard a steady perseverance in the practice of frugality, industry, and application, though directed to no other purpose than the acquisition of fortune. The resolute firmness of the person who acts in this manner, and in order to obtain a great though remote advantage, not only gives up all present pleasures, but endures the greatest labour both of mind and body, necessarily commands our approbation. That view of his interest and happiness which appears to regulate his conduct, exactly tallies with the idea which we naturally form of it. There is the most perfect correspondence between his sentiments and our own, and at the same time, from our experience of the common weakness of human nature, it is a correspondence which we could not reasonably have expected. We not only approve, therefore, but in some measure admire his conduct, and think it worthy of a considerable degree of applause. It is the consciousness of this merited approbation and esteem which is alone capable of supporting the agent in this tenor of conduct. The pleasure which we are to enjoy ten years hence interests us so little in comparison with that which we may enjoy today, the passion which the first excites, is naturally so weak in comparison with that violent emotion which the second is apt to give occasion to, that the one could never be any balance to the other, unless it was supported by the sense of propriety, by the consciousness that we merited the esteem and approbation of every body, by acting in the one way, and that we became the proper objects of their contempt and derision by behaving in the other.
Humanity, justice, generosity, and public spirit, are the qualities most useful to others. Wherein consists the propriety of humanity and justice has been explained upon a former occasion, where it was shown how much our esteem and approbation of those qualities depended upon the concord between the affections of the agent and those of the spectators.
The propriety of generosity and public spirit is founded upon the same principle with that of justice. Generosity is different from humanity.
Those two qualities, which at first sight seem so nearly allied, do not always belong to the same person. Humanity is the virtue of a woman, generosity of a man. The fair sex, who have commonly much more tenderness than ours, have seldom so much generosity. That women rarely make considerable donations, is an observation of the civil law. (Raro mulieres donare solent.) Humanity consists merely in the exquisite fellow-feeling which the spectator entertains with the sentiments of the persons principally concerned, so as to grieve for their sufferings, to resent their injuries, and to rejoice at their good {169} fortune. The most humane actions require no self-denial, no self-command, no great exertion of the sense of propriety. They consist only in doing what this exquisite sympathy would of its own accord prompt us to do. But it is otherwise with generosity. We never are generous except when in some respect we prefer some other person to ourselves, and sacrifice some great and important interest of our own to an equal interest of a friend or of a superior. The man who gives up his pretensions to an office that was the great object of his ambition, because he imagines that the services of another are better entitled to it; the man who exposes his life to defend that of his friend, which he judges to be of more importance, neither of them act from humanity, or because they feel more exquisitely what concerns that other person that what concerns themselves. They both consider those opposite interests, not in the light in which they naturally appear to themselves, but in that in which they appear to others. To every bystander, the success or preservation of this other person may justly be more interesting than their own; but it cannot be so to themselves. When to the interest of this other person, therefore, they sacrifice their own, they accommodate themselves to the sentiments of the spectator, and by an effort of magnanimity act according to those views of things which they feel must naturally occur to any third person. The soldier who throws away his life in order to defend that of his officer, would perhaps be but little affected by the death of that officer, if it should happen without any fault of his own; and a very small disaster which had befallen himself might excite a much more lively sorrow. But when he endeavours to act so as to deserve applause, and to make the impartial spectator enter into the principles of his conduct, he feels, that to every body but himself, his own life is a trifle compared with that of his officer, and that when he sacrifices the one to the other, he acts quite properly and agreeably to what would be the natural apprehensions of every impartial bystander.
It is the same case with the greater exertions of public spirit. When a young officer exposes his life to acquire some inconsiderable addition to the dominions of his sovereign, it is not because the acquisition of the new territory is, to himself, an object more desirable than the preservation of his own life. To him his own life is of infinitely more value than the conquest of a whole kingdom for the state which he serves. But when he compares those two objects with one another, he does not view them in the light in which they naturally appear to himself, but in that in which they appear to the nation he fights for. To them the success of the war is of the highest importance; the life of a private person of scarce any consequence.
When he puts himself in their situation, he immediately feels that he cannot be too prodigal of his blood, if, by shedding it, he can promote so valuable a purpose. In thus thwarting, from a sense of duty and propriety, the strongest of {170} all natural propensities, consists the heroism of his conduct. There is many an honest Englishman, who, in his private station, would be more seriously disturbed by the loss of a guinea, than by the national loss of Minorca, who yet, had it been in his power to defend that fortress, would have sacrificed his life a thousand times rather than, through his fault, have let it fall into the hands of the enemy. When the first Brutus led forth his own sons to a capital punishment, because they had conspired against the rising liberty of Rome, he sacrificed what, if he had consulted his own breast only, would appear to be the stronger to the weaker affection. Brutus ought naturally to have felt much more for the death of his own sons, than for all that probably Rome could have suffered from the want of so great an example. But he viewed them, not with the eyes of a father, but with those of a Roman citizen. He entered so thoroughly into the sentiments of this last character, that he paid no regard to that tie, by which he himself was connected with them; and to a Roman citizen, the sons even of Brutus seemed contemptible, when put into the balance with the smallest interest of Rome. In these and in all other cases of this kind, our admiration is not so much founded upon the utility, as upon the unexpected, and on that account the great, the noble, and exalted propriety of such actions. This utility, when we come to view it, bestows upon them, undoubtedly a new beauty, and upon that account still further recommends them to our approbation. This new beauty, however, is chiefly perceived by men of reflection and speculation, and it is by no means the quality which first recommends such actions to the natural sentiments of the bulk of mankind.
It is to be observed, that so far as the sentiment of approbation arises from the perception of this beauty of utility, it has no reference of any kind to the sentiments of others. If it was possible, therefore, that a person should grow up to manhood without any communication with society, his own actions might, notwithstanding, be agreeable or disagreeable to him on account of their tendency to his happiness or disadvantage. He might perceive a beauty of this kind in prudence, temperance, and good conduct, and a deformity in the opposite behaviour: he might view his own temper and character with that sort of satisfaction with which we consider a well-contrived machine, in the one case: or with that sort of distaste and dissatisfaction with which we regard a very awkward and clumsy contrivance, in the other. As these perceptions, however, are merely a matter of taste, and have all the feebleness and delicacy of that species of perceptions, upon the justness of which what is properly called taste is founded, they probably would not be much attended to by one in his solitary and miserable condition. Even though they should occur to him, they would by no means have the same effect upon him, antecedent to his connexion with society, which they would have in consequence of that connexion. He {171} would not be cast down with inward shame at the thought of this deformity; nor would he be elevated with secret triumph of mind from the consciousness of the contrary beauty. He would not exult from the notion of deserving reward in the one case, nor tremble from the suspicion of meriting punishment in the other. All such sentiments suppose the idea of some other being, who is the natural judge of the person that feels them; and it is only by sympathy with the decisions of this arbiter of his conduct, that he can conceive, either the triumph of self-applause, or the shame of self-condemnation.
----- _Part V.--Of the Influence of Custom and Fashion upon the Sentiments of Moral Approbation and Disapprobation._ CHAP. I.--_Of the Influence of Custom and Fashion upon our notions of Beauty and Deformity._ THERE are other principles besides those already enumerated, which have a considerable influence upon the moral sentiments of mankind, and are the chief causes of the many irregular and discordant opinions which prevail in different ages and nations concerning what is blamable or praise-worthy. These principles are custom and fashion, principles which extend their dominion over our judgments concerning beauty of every kind.
When two objects have frequently been seen together, the imagination acquires a habit of passing easily from the one to the other. If the first appear, we lay our account that the second is to follow. Of their own accord they put us in mind of one another, and the attention glides easily along them. Though, independent of custom, there should be no real beauty in their union, yet when custom has thus connected them together, we feel an impropriety in their separation. The one we think is awkward when it appears without its usual companion. We miss something which we expected to find, and the habitual arrangement of our ideas is disturbed by the disappointment. A suit of clothes, for example, seems to want something if they are without the most insignificant ornament which usually accompanies them, and we find a meanness or awkwardness in the absence even of a haunch button. When there is any natural propriety in the union, custom increases our sense of it, and makes a different arrangement appear still more disagreeable than it would otherwise seem to be. Those who have been accustomed to see things in a good taste, are more disgusted by whatever is clumsy or awkward. Where the conjunction is improper, custom either diminishes, or takes away altogether, our sense of the impropriety. Those who have been accustomed to slovenly disorder lose all sense of neatness or elegance. The modes of furniture or dress which {172} seem ridiculous to strangers, give no offence to the people who have been used to them.
Fashion is different from custom, or rather is a particular species of it. That is not the fashion which every body wears, but which those wear who are of a high rank, or character. The graceful, the easy, and commanding manners of the great, joined to the usual richness and magnificence of their dress, give a grace to the very form which they happen to bestow upon it. As long as they continue to use this form, it is connected in our imaginations with the idea of something that is genteel and magnificent, and though in itself it should be indifferent, it seems, on account of this relation, to have something about it that is genteel and magnificent too. As soon as they drop it, it loses all the grace, which it had appeared to possess before, and being now used only by the inferior ranks of people, seems to have something of their meanness and their awkwardness.
Dress and furniture are allowed by all the world to be entirely under the dominion of custom and fashion. The influence of those principles, however, is by no means confined to so narrow a sphere, but extends itself to whatever is in any respect the object of taste, to music, to poetry, to architecture. The modes of dress and furniture are continually changing, and that fashion appearing ridiculous to-day which was admired five years ago, we are experimentally convinced that it owed its vogue chiefly or entirely to custom and fashion. Clothes and furniture are not made of very durable materials. A well-fancied coat is done in a twelve-month, and cannot continue longer to propagate, as the fashion, that form according to which it was made.
The modes of furniture change less rapidly than those of dress; because furniture is commonly more durable. In five or six years, however, it generally undergoes an entire revolution, and every man in his own time sees the fashion in this respect change many different ways. The productions of the other arts are much more lasting, and, when happily imagined, may continue to propagate the fashion of their make for a much longer time. A well-contrived building may endure many centuries: a beautiful air may be delivered down by a sort of tradition, through many successive generations: a well-written poem may last as long as the world; and all of them continue for ages together, to give the vogue to that particular style, to that particular taste or manner, according to which each of them was composed. Few men have an opportunity of seeing in their own times the fashion in any of these arts change very considerably. Few men have so much experience and acquaintance with the different modes which have obtained in remote ages and nations, as to be thoroughly reconciled to them, or to judge with impartiality between them and what takes place in their own age and country. Few men therefore are willing to allow, that custom or fashion have much influence upon their judgments concerning what is beautiful {173} or otherwise, in the productions of any of those arts; but imagine that all the rules, which they think ought to be observed in each of them, are founded upon reason and nature, not upon habit or prejudice. A very little attention may convince them of the contrary, and satisfy them, that the influence of custom and fashion over dress and furniture, is not more absolute than over architecture, poetry, and music.
Can any reason, for example, be assigned why the Doric capital should be appropriated to a pillar, whose height is equal to eight diameters; the Ionic volute to one of nine; and the Corinthian foliage to one of ten? The propriety of each of those appropriations can be founded upon nothing but habit and custom. The eye having been used to see a particular proportion connected with a particular ornament, would be offended if they were not joined together. Each of the five orders has its peculiar ornaments, which cannot be changed for any other, without giving offence to all those who know any thing of the rules of architecture. According to some architects, indeed, such is the exquisite judgment with which the ancients have assigned to each order its proper ornaments, that no others can be found which are equally suitable. It seems, however, a little difficult to be conceived that these forms, though, no doubt, extremely agreeable, should be the only forms which can suit those proportions, or that there should not be five hundred others which, antecedent to established custom, would have fitted them equally well. When custom, however, has established particular rules of building, provided they are not absolutely unreasonable, it is absurd to think of altering them for others which are only equally good, or even for others which, in point of elegance and beauty, have naturally some little advantage over them. A man would be ridiculous who should appear in public with a suit of clothes quite different from those which are commonly worn, though the new dress should in itself be ever so graceful or convenient. And there seems to be an absurdity of the same kind in ornamenting a house after a quite different manner from that which custom and fashion have prescribed; though the new ornaments should in themselves be somewhat superior to the common ones in use.
According to the ancient rhetoricians, a certain measure or verse was by nature appropriated to each particular species of writing, as being naturally expressive of that character, sentiment, or passion, which ought to predominate in it. One verse, they said, was fit for grave and another for gay works, which could not, they thought, be interchanged without the greatest impropriety. The experience of modern times, however, seems to contradict this principle, though in itself it would appear to be extremely probable. What is the burlesque verse in English, is the heroic verse in French. The tragedies of Racine and the Henriad of Voltaire, are nearly in the same verse with, Let me have your advice in a weighty affair.
{174} The burlesque verse in French, on the contrary, is pretty much the same with the heroic verse of ten syllables in English. Custom has made the one nation associate the ideas of gravity, sublimity, and seriousness, to that measure which the other has connected with whatever is gay, flippant, and ludicrous. Nothing would appear more absurd in English, than a tragedy written in the Alexandrine verses of the French; or in French, than a work of the same kind in hexametery, or verses of ten syllables.
An eminent artist will bring about a considerable change in the established modes of each of those arts, and introduce a new fashion of writing, music, or architecture. As the dress of an agreeable man of high rank recommends itself, and how peculiar and fantastical soever, comes soon to be admired and imitated; so the excellencies of an eminent master recommend his peculiarities, and his manner becomes the fashionable style in the art which he practises. The taste of the Italians in music and architecture has, within these fifty years, undergone a considerable change, from imitating the peculiarities of some eminent masters in each of those arts. Seneca is accused by Quintilian of having corrupted the taste of the Romans, and of having introduced a frivolous prettiness in the room of majestic reason and masculine eloquence. Sallust and Tacitus have by others been charged with the same accusation, though in a different manner. They gave reputation, it is pretended, to a style, which though in the highest degree concise, elegant, expressive, and even poetical, wanted, however, ease, simplicity, and nature, and was evidently the production of the most laboured and studied affectation. How many great qualities must that writer possess, who can thus render his very faults agreeable? After the praise of refining the taste of a nation, the highest eulogy, perhaps, which can be bestowed upon any author, is to say, that he corrupted it. In our own language, Mr. Pope and Dr.
Swift have each of them introduced a manner different from what was practised before, into all works that are written in rhyme, the one in long verses, the other in short. The quaintness of Butler has given place to the plainness of Swift. The rambling freedom of Dryden, and the correct but often tedious and prosaic languor of Addison, are no longer the objects of imitation, but all long verses are now written after the manner of the nervous precision of Mr. Pope.
Neither is it only over the productions of the arts, that custom and fashion exert their dominion. They influence our judgments, in the same manner, with regard to the beauty of natural objects. What various and opposite forms are deemed beautiful in different species of things? The proportions which are admired in one animal, are altogether different from those which are esteemed in another. Every class of things has its own peculiar conformation, which is approved of, and has a beauty of its own, distinct from that of every other species. {175} It is upon this account that a learned Jesuit, Father Buffier, has determined that the beauty of every object consists in that form and colour, which is most usual among things of that particular sort to which it belongs. Thus, in the human form, the beauty of each feature lies in a certain middle, equally removed from a variety of other forms that are ugly. A beautiful nose, for example, is one that is neither very long, nor very short, neither very straight, nor very crooked, but a sort of middle among all these extremes, and less different from any one of them, than all of them are from one another. It is the form which nature seems to have aimed at in them all, which, however, she deviates from in a great variety of ways, and very seldom hits exactly; but to which all those deviations still bear a very strong resemblance. When a number of drawings are made after one pattern, though they may all miss it in some respects, yet they will all resemble it more than they resemble one another; the general character of the pattern will run through them all; the most singular and odd will be those which are most wide of it; and though very few will copy it exactly, yet the most accurate delineations will bear a greater resemblance to the most careless, than the careless ones will bear to one another. In the same manner, in each species of creatures, what is most beautiful bears the strongest characters of the general fabric of the species, and has the strongest resemblance to the greater part of the individuals with which it is classed. Monsters, on the contrary, or what is perfectly deformed, are always most singular and odd, and have the least resemblance to the generality of that species to which they belong.
And thus the beauty of each species, though in one sense the rarest of all things, because few individuals hit this middle form exactly, yet in another, is the most common, because all the deviations from it resemble it more than they resemble one another. The most customary form, therefore, is in each species of things, according to him, the most beautiful. And hence it is that a certain practice and experience in contemplating each species of objects is requisite before we can judge of its beauty, or know wherein the middle and most usual form consists. The nicest judgment concerning the beauty of the human species will not help us to judge of that of flowers, or horses, or any other species of things. It is for the same reason that in different climates, and where different customs and ways of living take place, as the generality of any species receives a different conformation from those circumstances, so different ideas of its beauty prevail. The beauty of a Moorish is not exactly the same with that of an English horse. What different ideas are formed in different nations concerning the beauty of the human shape and countenance? A fair complexion is a shocking deformity upon the coast of Guinea.
Thick lips and a flat nose are a beauty. In some nations long ears that hang down upon the shoulders are the objects of universal admiration. In China if a lady's foot is so {176} large as to be fit to walk upon, she is regarded as a monster of ugliness. Some of the savage nations in North America tie four boards round the heads of their children, and thus squeeze them, while the bones are tender and gristly, into a form that is almost perfectly square. Europeans are astonished at the absurd barbarity of this practice, to which some missionaries have imputed the singular stupidity of those nations among whom it prevails. But when they condemn those savages, they do not reflect that the ladies in Europe had, till within these very few years, been endeavouring, for near a century past, to squeeze the beautiful roundness of their natural shape into a square form of the same kind. And that, notwithstanding the many distortions and diseases which this practice was known to occasion, custom had rendered it agreeable among some of the most civilized nations which, perhaps, the world has ever beheld.
Such is the system of this learned and ingenious father, concerning the nature of beauty; of which the whole charm, according to him, would thus seem to arise from its falling in with the habits which custom had impressed upon the imagination, with regard to things of each particular kind. I cannot, however, be induced to believe that our sense even of external beauty is founded altogether on custom. The utility of any form, its fitness for the useful purposes for which it was intended evidently recommends it, and renders it agreeable to us, independent of custom. Certain colours are more agreeable than others, and give more delight to the eye the first time it ever beholds them. A smooth surface is more agreeable than a rough one.
Variety is more pleasing than a tedious undiversified uniformity.
Connected variety, in which each new appearance seems to be introduced by what went before it, and in which all the adjoining parts seem to have some natural relation to one another, is more agreeable than a disjointed and disorderly assemblage of unconnected objects. But though I cannot admit that custom is the sole principle of beauty, yet I can so far allow the truth of this ingenious system as to grant, that there is scarce any one external form so beautiful as to please, if quite contrary to custom and unlike whatever we have ever been used to in that particular species of things: or so deformed as not to be agreeable, if custom uniformly supports it, and habituates us to see it in every single individual of the kind.
----- CHAP. II.--_Of the Influence of Custom and Fashion upon Moral Sentiments._ SINCE our sentiments concerning beauty of every kind, are so much influenced by custom and fashion, it cannot be expected, that those, concerning the beauty of conduct, should be entirely exempted from {177} the dominion of those principles. Their influence here, however, seems to be much less than it is every where else. There is, perhaps, no form of external objects, how absurd and fantastical soever, to which custom will not reconcile us, or which fashion will not render even agreeable. But the characters and conduct of a Nero, or a Claudius, are what no custom will ever reconcile us to, what no fashion will ever render agreeable; but the one will always be the object of dread and hatred; the other of scorn and derision. The principles of the imagination, upon which our sense of beauty depends, are of a very nice and delicate nature, and may easily be altered by habit and education: but the sentiments of moral approbation and disapprobation, are founded on the strongest and most vigorous passions of human nature; and though they may be warped, cannot be entirely perverted.
But though the influence of custom and fashion upon moral sentiments, is not altogether so great, it is however perfectly similar to what it is every where else. When custom and fashion coincide with the natural principles of right and wrong, they heighten the delicacy of our sentiments, and increase our abhorrence for every thing which approaches to evil. Those who have been educated in what is really good company, not in what is commonly called such, who have been accustomed to see nothing in the persons whom they esteemed and lived with, but justice, modesty, humanity, and good order; are more shocked with whatever seems to be inconsistent with the rules which those virtues prescribe. Those, on the contrary, who have had the misfortune to be brought up amidst violence, licentiousness, falsehood, and injustice, lose, though not all sense of the impropriety of such conduct, yet all sense of its dreadful enormity, or of the vengeance and punishment due to it. They have been familiarized with it from their infancy, custom has rendered it habitual to them, and they are very apt to regard it as, what is called, the way of the world, something which either may, or must be practised, to hinder us from being made the dupes of our own integrity.
Fashion, too, will sometimes give reputation to a certain degree of disorder, and, on the contrary, discountenance qualities which deserve