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214 W. E. SCOTT : even, in the first edition of his Inquiry, introducing " mathe- matical calculation " in Ethics, by formulating different ethical states as equations, e.g., the "moment of evil" is H H X A. Where H = Hatred and A the ability of the agent ; l thereby showing the special and mathematical meaning he gives to Beauty. Therefore, Arbuckle advances upon both Shaftesbury and Hutcheson in so far as he opens a way to a theory of .^Esthetics, as such. While he thus advances both upon his master and fellow-disciple, he does not follow his own thought far enough to reach its due re- ward in anticipating Schiller's aesthetic morals. The plastic Imagination Arbuckle's " fancy " hints at the free " play " of artistic and aesthetic activity in which Schiller finds the reconciliation of Kant's duality of sensibility and reason. Upon the other hand, Arbuckle loses, by the special in- terpretation of Shaftesbury, all the fruitful germs implied in that side of Shaftesbury's theory which vindicates the right of the Moral Sense to approve of men's tempers and characters, or, in other words, the inner side of action. Arbuckle's aesthetic procedure tends more and more to de- personalise action which, at first, the creative product of a conscious personality, is afterwards projected outward and viewed " as a picture," in fact the agent, as far as possible, turns his back upon his own act, and, as it were, trying to forget it is his own, looks upon its outward side and meets it as a stranger. This train of thought suggests at once a contrast and a parallel to the "Impartial Spectator" of Adam Smith, which the agent temporally projects from himself by putting away from himself his own reason and sympathy and retaining his act with Arbuckle, on the contrary, we have an artistic externalisation of the act, while the rest of the personality is retained as before. The divergent methods of both find a unity in an unconscious groping after the rigour of Kant's Categorical Imperative in Smith's case, by the disinterestedness of the Impartial Spectator ; in Arbuckle's by a disinterestedness which is that of the Esthetic Judgment. Regarding Arbuckle's relation to Hutcheson, it will already have been seen that Arbuckle's work is the natural comple- ment of Hutcheson's early investigations. Though Hutche- son had much to do with the foundation of the study of 1 Inquiry. First edition, p. 178. It has not been noticed that a similar " moral algebra " occurs in the Treatise on the Passions (1728), e.g., L = C x G (p. 304).