its aesthetic aspect, or that of its beauty; its sympathetic aspect, or that of its loveableness. The first addresses itself to our reason and conscience; the second to our imagination; the third to our human fellow-feeling. According to the first, we approve or disapprove; according to the second, we admire, or despise; according to the third, we love, pity or dislike. The morality of an action depends on its foreseeable consequences;its beauty, and its loveableness, or the reverse, depend on the qualities which it is evidence of. Thus, a lie is wrong, because its effect is to mislead, and because it tends to destroy the confidence of man in man; it is also mean, because it is cowardly -- because it proceeds from not daring to face the consequences of telling the truth -- or at best is evidence of want of that power to compass our ends by straightforward means, which is conceived as properly belonging to every person not deficient in energy or in understanding. The action of Brutus in sentencing his sons was right, because it was executing a law essential to the ******* of his country, against persons of whose guilt there was no doubt: it was admirable, because it evinced a rare degree of patriotism, courage and self-control; but there was nothing loveable in it; it affords either no presumption in regard to loveable qualities, or a presumption of their deficiency. If one of the sons had engaged in the conspiracy from affection for the other, his action would have been loveable, though neither moral nor admirable. It is not possible for any sophistry to confound these three modes of viewing an action; but it is very possible to adhere to one of them exclusively, and lose sight of the rest.
Sentimentality consists in setting the last two of the three above the first; the error of moralists in general, and of Bentham, is to sink the two latter entirely. This is pre-eminently the case with Bentham: he both wrote and felt as if the moral standard ought not only to be paramount (which it ought), but to be alone; as if it ought to be the sole master of all our actions, and even of all our sentiments; as if either to admire or like, or despise or dislike a person for any action which neither does good nor harm, or which does not do a good or a harm proportioned to the sentiment entertained, were an injustice and a prejudice. He carried this so far, that there were certain phrases which, being expressive of what he considered to be this groundless liking or aversion, he could not bear to hear pronounced in his presence. Among these phrases were those of good and bad taste. He thought it an insolent piece of dogmatism in one person to praise or condemn another in a matter of taste: as if men's likings and dislikings, on things in themselves indifferent, were not full of the most important inferences as to every point of their character; as if a person's tastes did not show him to be wise or a fool, cultivated or ignorant, gentle or rough, sensitive or callous, generous or sordid, benevolent or selfish, conscientious or depraved.
Connected with the same topic are Bentham's peculiar opinions on poetry. Much more has been said than there is any foundation for, about his contempt for the pleasures of imagination, and for the fine arts. Music was throughout life his favourite amusement;painting, sculpture and the other arts addressed to the eye, he was so far from holding in any contempt, that he occasionally recognizes them as means employable for important social ends;though his ignorance of the deeper springs of human character prevented him (as it prevents most Englishmen) from suspecting how profoundly such things enter into the moral nature of man, and into the education both of the individual and of the race.
