Abstract

More than a matter confined to Mandevillean thought, the discourse on the relationship between imagination and sensibility is a significant theoretical framework of eighteenth-century philosophical thought. Sensibility and imagination appear in Bernard Mandeville's The Fable of the Bees as antithetical concepts, because they are fully articulated according to a natural and deterministic criterion of the expression of passions. Such a materialist understanding of the passions places a premium upon the proximity of stimulus and accordingly problematizes the responsive role of imagination. I intend to show in this paper that the primacy of expression takes place, at first instance, regarding the imagination, which, as we can detect in all Mandeville's oeuvre, is well exemplified by the mimetic function that art itself earns.