The Natural History of Religion

Four Dissertations is a collection of four essays by the Scottish enlightenment philosopher David Hume, first published in 1757. The four essays are:

In this essay, Hume pioneers a naturalist account of the causes, effects, and historical development of religious belief. Hume locates the origins of religion in emotion, particularly fear and the desire to control the future. He further argues that monotheism arises from competition between religions, as believers seek to distinguish their deities as superior to all rivals. The monotheist drive to dominate other beliefs, and to burnish the primitive, emotional core of religion under a veneer of theology, Hume concludes that this yields intolerance, intellectual dishonesty, and unnatural moral doctrines.

Hume begins the passions by giving a trite example of what Good and Evil are. Good, being pleasure. Evil, being pain. He then begins to analyze emotion as a reasoning faculty of the human mind. He argues that not only can emotions mix, they can also destroy one another. He also argues that our imagination and sentiments combine to create an impression of something/someone. For example, you see your grade on a test and it is good, you then attribute that good grade to having a good teacher, and even maybe an interest in the class as well. Hume tries to exclude religion from our reasoning faculty of right and wrong in that we make our decisions based on the over-riding passion during that moment. Your wife may divorce you, but I bet winning the lottery would make you forget about it. He concludes by saying that this mixture of emotion and sentiments give rise to hope and fear, which gives rise to religion in ancient society.

Of Tragedy, is where Hume considered why we enjoy tragic drama. He was concerned with why spectators find pleasure in the sorrow and anxiety depicted in a tragedy. He decided that this was because the spectator is aware that he is witnessing a dramatic performance. There is pleasure in realizing that the terrible events that are being shown are actually fiction.

Of the Standard of Taste was a seminal essay on aesthetics that is innovative because it requires Hume to address the apparent relativity of taste, a conclusion that appears to follow from his own assumption that the "good" or "beauty" of a good work of art is identical with the positive human responses it generates. The essay's focus on the subject (the viewer, the reader) rather than the object (the painting, the book) is typical of the British "sentimentalists" or moral sense theorists of the eighteenth century. Unlike the French philosophers of the eighteenth century, who sought an objective definition of beauty, the British school tended to look for the connections between taste and aesthetic judgments.

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