Journal of the History of Ideas

Discussions of the background of Hume’s Dialogues Concerning Natural Religion (1779) tend to focus more on scientific, philosophical, and theological sources than on literary ones, which is only natural given that the work is a philosophical dialogue. Yet the epistolary-dialogue form, a departure from Hume’s usual expository philosophical style, encourages exploring the Dialogues as a work of literature independently of its contribution to the history of philosophy. ¹ Newton, Clarke, and the French skeptics are crucial background figures in understanding the importance of Hume’s criticism of natural theology, and the influence of classical writers such as Cicero and Lucretius is equally obvious; but it is not sufficiently appreciated that more recent literary figures such as Milton, Dryden, and Pope also inform the Dialogues. Their influence is not as great as that of those others named, perhaps, but it represents a significant substratum, illuminating in many ways Hume’s conceptualization of the cosmological and philosophical principles to which he responds. The Restoration and Augustan poets, essayists, and even novelists contribute images evoked and examples raised by the disputants in Hume’s dialogue, and an understanding of how these images are used in the Dialogues contributes toward a broader understanding of the conceptual foundations of Hume’s philosophy in relation to the intellectual mainstream of the Enlightenment in general.

Among the various works Hume quotes in the Dialogues, including those of Dryden, Lord Bacon, and Lucretius, Paradise Lost provides the longest quotation and is the only source quoted more than once. In the opening pages of the Dialogues (D 134) Philo quotes five lines from Book 2 of Paradise Lost (PL, 565–69), in which the fallen angels, emerging from their great pandemonic council, [End Page 257] take to philosophical speculation. ² He cites the passage out of context, to demonstrate that skepticism, if forced, is not meaningless and that “Vain Wisdom all and false Philosophy” may yet “charm Pain” and “arm the obdurate breast / With stubborn Patience.” Thus Philo defends against Cleanthes’ charge that skepticism amounts to empty raillery and can have no practical consequences in one’s behavior. The image of the demonic council, confounded in meandering speculation, is an appropriate lead-in for the work as a whole: like the characters in the Dialogues, Milton’s devils “reasoned high.... And found no end, in wandering mazes lost” (PL, 2.558–61).

The second of the three quotations from Paradise Lost occurs a third of the way through the Dialogues, when Philo notes in Part V, “The two great sexes of male and female, says MILTON, animate the world” (D, 168; PL, 8.151). Here the innocent adage of Edenic proliferation becomes twisted into an impertinent analogy concerning the sexuality of deities: “Why must this circumstance [sexual reproduction], so universal, so essential, be excluded from those numerous and limited Deities?” (D, 168). ³ It is among the insolent analogies that Philo claims must follow from Cleanthes’ principles. In Part X (D, 195–96) Demea offers a third quotation from Paradise Lost, the longest in the Dialogues, in his attempt to portray the misery of the human condition in this world. The nine lines from Book 11 of Paradise Lost he cites express the wretchedness of the human condition rather morbidly. ⁴ Thus, the three quotations from Paradise Lost are either distorted for an insalutary effect or are unwholesome to begin with, and they loosely mark the beginning, middle, and latter part of the Dialogues (just as they are taken from the beginning, middle, and latter part of Paradise Lost).

The world of Paradise Lost is very much one of counsel and debate, discourse and dialogue: the heavenly and hellish councils of books 2 and 3 give way to the more pastoral conversations within the garden, where Adam and Eve struggle to understand their condition, Raphael and Michael offer wisdom, and Satan tempts. Although the backdrop is the entire cosmos rather than Cleanthes’ library, Milton’s epic no less than Hume’s Dialogues progresses through its stages by the primary vehicle of dialogue rather than action. Paradise Lost affirms the very role of dialectical (as opposed to intuitive) reasoning...