A System of Logic: Ratiocinative and Inductive, 7th Edition, Vol. II

by John Stuart Mill

This is the habitual error of many of the political speculators whom I have characterized as the geometrical school; especially in France, where ratiocination from rules of practice forms the staple commodity of journalism and political oratory; a misapprehension of the functions of Deduction which has brought much discredit, in the estimation of other countries, upon the spirit of generalization so honourably characteristic of the French mind. The common-places of politics, in France, are large and sweeping practical maxims, from which, as ultimate premises, men reason downwards to particular applications, and this they call being logical and consistent. For instance, they are perpetually arguing that such and such a measure ought to be adopted, because it is a consequence of the principle on which the form of government is founded; of the principle of legitimacy, or the principle of the sovereignty of the people. To which it may be answered, that if these be really practical principles, they must rest on speculative grounds; the sovereignty of the people (for example) must be a right foundation for government, because a government thus constituted tends to produce certain beneficial effects. Inasmuch, however, as no government produces all possible beneficial effects, but all are attended with more or fewer inconveniences; and since these cannot usually be combated by means drawn from the very causes which produce them; it would be often a much stronger recommendation of some practical arrangement, that it does not follow from what is called the general principle of the government, than that it does. Under a government of legitimacy, the presumption is far rather in favour of institutions of popular origin; and in a democracy, in favour of arrangements tending to check the impetus of popular will. The line of argumentation so commonly mistaken in France for political philosophy, tends to the practical conclusion that we should exert our utmost efforts to aggravate, instead of alleviating, whatever are the characteristic imperfections of the system of institutions which we prefer, or under which we happen to live.

[§ 5.] The grounds, then, of every rule of art, are to be found in the theorems of science. An art, or a body of art, consists of the rules, together with as much of the speculative propositions as comprises the justification of those rules. The complete art of any matter, includes a selection of such a portion from the science, as is necessary to show on what conditions the effects, which the art aims at producing, depend. And Art in general, consists of the truths of Science, arranged in the most convenient order for practice, instead of the order which is the most convenient for thought. Science groups and arranges its truths, so as to enable us to take in at one view as much as possible of the general order of the universe. Art, though it must assume the same general laws, follows them only into such of their detailed consequences as have led to the formation of rules of conduct; and brings together from parts of the field of science most remote from one another, the truths relating to the production of the different and heterogeneous conditions necessary to each effect which the exigencies of practical life require to be produced.

Science, therefore, following one cause to its various effects, while art traces one effect to its multiplied and diversified causes and conditions; there is need of a set of intermediate scientific truths, derived from the higher generalities of science, and destined to serve as the generalia or first principles of the various arts. The scientific operation of framing these intermediate principles, M. Comte characterizes as one of those results of philosophy which are reserved for futurity. The only complete example which he points out as actually realized, and which can be held up as a type to be imitated in more important matters, is the general theory of the art of Descriptive Geometry, as conceived by M. Monge. It is not, however, difficult to understand what the nature of these intermediate principles must generally be. After framing the most comprehensive possible conception of the end to be aimed at, that is, of the effect to be produced, and determining in the same comprehensive manner the set of conditions on which that effect depends; there remains to be taken, a general survey of the resources which can be commanded for realizing this set of conditions; and when the result of this survey has been embodied in the fewest and most extensive propositions possible, those propositions will express the general relation between the available means and the end, and will constitute the general scientific theory of the art; from which its practical methods will follow as corollaries.

[§ 6.] But though the reasonings which connect the end or purpose of every art with its means, belong to the domain of Science, the definition of the end itself belongs exclusively to Art, and forms its peculiar province. Every art has one first principle, or general major premise, not borrowed from science; that which enunciates the object aimed at, and affirms it to be a desirable object. The builder's art assumes that it is desirable to have buildings; architecture (as one of the fine arts), that it is desirable to have them beautiful or imposing. The hygienic and medical arts assume, the one that the preservation of health, the other that the cure of disease, are fitting and desirable ends. These are not propositions of science. Propositions of science assert a matter of fact: an existence, a coexistence, a succession, or a resemblance. The propositions now spoken of do not assert that anything is, but enjoin or recommend that something should be. They are a class by themselves. A proposition of which the predicate is expressed, by the words ought or should be, is generically different from one which is expressed by is, or will be. It is true that, in the largest sense of the words, even these propositions assert something as a matter of fact. The fact affirmed in them is, that the conduct recommended excites in the speaker's mind the feeling of approbation. This, however, does not go to the bottom of the matter; for the speaker's approbation is no sufficient reason why other people should approve; nor ought it to be a conclusive reason even with himself. For the purposes of practice, every one must be required to justify his approbation: and for this there is need of general premises, determining what are the proper objects of approbation, and what the proper order of precedence among those objects.

These general premises, together with the principal conclusions which may be deduced from them, form (or rather might form) a body of doctrine, which is properly the Art of Life, in its three departments, Morality, Prudence or Policy, and Æsthetics; the Right, the Expedient, and the Beautiful or Noble, in human conduct and works. To this art, (which, in the main, is unfortunately still to be created,) all other arts are subordinate; since its principles are those which must determine whether the special aim of any particular art is worthy and desirable, and what is its place in the scale of desirable things. Every art is thus a joint result of laws of nature disclosed by science, and of the general principles of what has been called Teleology, or the Doctrine of Ends;[20] which, borrowing the language of the German metaphysicians, may also be termed, not improperly, the Principles of Practical Reason.

A scientific observer or reasoner, merely as such, is not an adviser for practice. His part is only to show that certain consequences follow from certain causes, and that to obtain certain ends, certain means are the most effectual. Whether the ends themselves are such as ought to be pursued, and if so, in what cases and to how great a length, it is no part of his business as a cultivator of science to decide, and science alone will never qualify him for the decision. In purely physical science, there is not much temptation to assume this ulterior office; but those who treat of human nature and society invariably claim it; they always undertake to say, not merely what is, but what ought to be. To entitle them to do this, a complete doctrine of Teleology is indispensable. A scientific theory, however perfect, of the subject matter, considered merely as part of the order of nature, can in no degree serve as a substitute. In this respect the various subordinate arts afford a misleading analogy. In them there is seldom any visible necessity for justifying the end, since in general its desirableness is denied by nobody, and it is only when the question of precedence is to be decided between that end and some other, that the general principles of Teleology have to be called in: but a writer on Morals and Politics requires those principles at every step. The most elaborate and well-digested exposition of the laws of succession and coexistence among mental or social phenomena, and of their relation to one another as causes and effects, will be of no avail towards the art of Life or of Society, if the ends to be aimed at by that art are left to the vague suggestions of the intellectus sibi permissus, or are taken for granted without analysis or questioning.

[§ 7.] There is, then, a Philosophia Prima peculiar to Art, as there is one which belongs to Science. There are not only first principles of Knowledge, but first principles of Conduct. There must be some standard by which to determine the goodness or badness, absolute and comparative, of ends, or objects of desire. And whatever that standard is, there can be but one: for if there were several ultimate principles of conduct, the same conduct might be approved by one of those principles and condemned by another; and there would be needed some more general principle, as umpire between them.

Accordingly, writers on moral philosophy have mostly felt the necessity not only of referring all rules of conduct, and all judgments of praise and blame, to principles, but of referring them to some one principle; some rule, or standard, with which all other rules of conduct were required to be consistent, and from which by ultimate consequence they could all be deduced. Those who have dispensed with the assumption of such an universal standard, have only been enabled to do so by supposing that a moral sense, or instinct, inherent in our constitution, informs us, both what principles of conduct we are bound to observe, and also in what order these should be subordinated to one another.

The theory of the foundations of morality is a subject which it would be out of place, in a work like this, to discuss at large, and which could not to any useful purpose be treated incidentally. I shall content myself therefore with saying, that the doctrine of intuitive moral principles, even if true, would provide only for that portion of the field of conduct which is properly called moral. For the remainder of the practice of life some general principle, or standard, must still be sought; and if that principle be rightly chosen, it will be found, I apprehend, to serve quite as well for the ultimate principle of Morality, as for that of Prudence, Policy, or Taste.