“If Shakespeare be considered as a MAN born in a rude age and educated in the lowest manner, without any instruction either from the world or from books, he may be regarded as a prodigy; if represented as a POET capable of furnishing a proper entertainment to a refined or intelligent audience, we must abate much of this eulogy. In his compositions, we regret that many irregularities, and even absurdities, should so frequently disfigure the animated and passionated scenes intermixed with them; and, at the same time, we perhaps admire the more those beauties on account of their being surrounded by such deformities. A striking peculiarity of sentiment, adapted to a single character, he frequently hits, as it were, by inspiration; but a reasonable propriety of thought he cannot for any time uphold. Nervous and picturesque expressions as well as descriptions abound in him; but it is in vain we look either for purity or simplicity of diction. His total ignorance of all theatrical art and conduct, however material a defect, yet, as it affects the spectator rather than the reader, we can more easily excuse than that want of taste which often prevails in his productions, and which gives way only by intervals to the irradiations of genius. [....] And there may even remain a suspicion that we overrate, if possible, the greatness of his genius; in the same manner as bodies often appear more gigantic on account of their being disproportioned and misshapen.”

“If Shakespeare be considered as a MAN born in a rude age and educated in the lowest manner, without any instruction either from the world or from books, he may be regarded as a prodigy; if represented as a POET capable of furnishing a proper entertainment to a refined or intelligent audience, we must abate much of this eulogy. In his compositions, we regret that many irregularities, and even absurdities, should so frequently disfigure the animated and passionated scenes intermixed with them; and, at the same time, we perhaps admire the more those beauties on account of their being surrounded by such deformities. A striking peculiarity of sentiment, adapted to a single character, he frequently hits, as it were, by inspiration; but a reasonable propriety of thought he cannot for any time uphold. Nervous and picturesque expressions as well as descriptions abound in him; but it is in vain we look either for purity or simplicity of diction. His total ignorance of all theatrical art and conduct, however material a defect, yet, as it affects the spectator rather than the reader, we can more easily excuse than that want of taste which often prevails in his productions, and which gives way only by intervals to the irradiations of genius. [....] And there may even remain a suspicion that we overrate, if possible, the greatness of his genius; in the same manner as bodies often appear more gigantic on account of their being disproportioned and misshapen.”

“[On David Hume]Although he never admitted to being an atheist as such, he was clearly and unquestionably the most vividly elegant skeptic of them all.”

“I have always considered David Hume as approaching as nearly the idea of a perfectly wise and virtuous man as perhaps the nature of human frailty will allow.”

“Does a man of sense run after every silly tale of hobgoblins or fairies, and canvass particularly the evidence? I never knew anyone, that examined and deliberated about nonsense who did not believe it before the end of his enquiries.”

“Who gave the decisive deathblow to the argument from design on the basis of biological complexity? Both philosophers and biologists are divided on this point (Oppy 1996; Dawkins 1986; Sober 2008). Some have claimed that the biological design argument did not falter until Darwin provided a proper naturalistic explanation for adaptive complexity; others maintain that David Hume had already shattered the argument to pieces by sheer logical force several decades earlier, in his Dialogues Concerning Natural Religion (Hume 2007 [1779]). Elliott Sober has been among the philosophers who maintain that, as Hume was not in a position to offer a serious alternative explanation of adaptive complexity, it is hardly surprising that 'intelligent people strongly favored the design hypothesis' (Sober 2000, 36). In his most recent book, however, Sober (2008) carefully develops what he thinks is the most charitable reconstruction of the design argument, and proceeds to show why it is defective for intrinsic reasons (for earlier version of this argument, see Sober 1999, 2002). Sober argues that the design argument can be rejected even without the need to consider alternative explanations for adaptive complexity (Sober 2008, 126): 'To see why the design argument is defective, there is no need to have a view as to whether Darwin’s theory of evolution is true' (Sober 2008, 154).”

“Men often act knowingly against their interest.”

“Every wise, just, and mild government, by rendering the condition of its subjects easy and secure, will always abound most in people, as well as in commodities and riches.”

“Belief is nothing but a more vivid, lively, forcible, firm, steady conception of an object, than what the imagination alone is ever able to attain.”

“Beauty, whether moral or natural, is felt, more properly than perceived.”

“Beauty in things exists in the mind which contemplates them.”

“A purpose, an intention, a design, strikes everywhere even the careless, the most stupid thinker.”