Theory of Moral Sentiments

Consisting of one section

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 seem ridiculous to strangers, give no offence to the people who are used to them.

Fashion is different from custom, or rather is a particular species of it. That is not the fashion which everybody 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 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 today 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