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As leisurely intellectual work increasingly came to occupy a category apart from physical labor, so too the imagination was to be cordoned off within a cul-de-sac of literary criticism and good taste. Chapter 2, “‘Tumultuous Combinations’: The Transindividual from Adam Smith to Spinoza,” takes sympathy as the logical starting point of Smith’s discussion of morality. It can fulfill this function, however, only to the extent that Smith empties the affective relations that necessarily constitute sympathy of any content or significance that would exceed the boundary of the individual.

Achieving] order and good discipline” (OU 137). While Pope’s notes on Homer signified for Turnbull a true model for criticism, the ends and rules of criticism were fundamentally connected “with natural or moral philosophy” (OU 397). For Hugh Blair, who effectively inherited the more refined institutional mantle of literary critic that Smith was only beginning to develop, true criticism was a matter of the speculative application of taste, which meant valuing artistic production insofar as it could be said to ascend “from particular instances .

The EPS thus takes its place among so much other would-be ephemera—in particular, the Lectures on Rhetoric and Belles Lettres (LRBL) from 1748. 3 This curios- 28 C HA P T E R 1 ity contains within it a historical puzzle about the distinctions of value that we now want to trace between this or that genus of eighteenth-century knowledge and, implicitly, about how such distinctions of value emerge within and between Smith’s so-called minor and major texts. Stewart remarked about Smith’s breadth of interest that he “tended to generalize a little too much” (“AL” 306).

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