As a collection of methods oriented toward the artefacts of human expression and the minds that shaped those expressions, intellectual history seems well placed to mobilize the category of the aesthetic, yet the aesthetic is rarely a focus on methodological discussions. The special forum that this article introduces explores what an “aesthetic approach” to intellectual history might look like. It focuses on the work of leading twentieth-century liberal Isaiah Berlin (1909–97), whose amorphous role in the history of intellectual history means that his work offers a parallax view on important questions of method and approach. In introducing this special forum, this article situates Isaiah Berlin’s distinctive approach and varied work as a historian of ideas and defender of liberalism within several larger contexts. One is Berlin’s response to tendencies in post-World War II British philosophy, and his turn to the history of ideas—an understanding of this area of study as requiring essentially aesthetic qualities of judgment, imagination, pattern recognition, and empathetic entry into the perspectives of others. A second is the development of other, more influential approaches to the history of ideas, to which Berlin’s approach is briefly contrasted. A third is the ideological struggles of the Cold War; in this last connection, we explore the affinities between Berlin’s awareness, and affirmation, of the aesthetic and the ethical in his articulation of liberalism.

This article aims to contribute to recent discussions about the status of the “aesthetic” in the history of liberalism, by considering the ways in which ideas about music—specifically a “love of music [that is] both aesthetic and ethical”—has shaped liberal thought. Focusing on the work of the prominent twentieth-century liberal Isaiah Berlin (1909–97), and drawing from unpublished correspondence and neglected published writings, it introduces music as a form through which Berlin approached thinking about the tension between sensation and idea, or feeling and thinking, thereby shaping his approach to intellectual history.

Among many conundrums in Isaiah Berlin's thought are the apparent tension between a strongly “personalist” approach to ideas and appreciation for Romanticism, and his warnings against the identification of freedom with human perfection and of politics with aesthetic projects, and aversion to any form of excessive “zeal,” as potentially oppressive, callous, and cruel. Berlin the moderate, skeptical liberal coexisted with Berlin the enthusiast and hero-worshipper. This article argues that, over the course of his writing career—both in early, largely unknown writings on contemporary musicians, and in better-known work on the history of ideas and “personal impressions” of contemporaries—Berlin brought these disparate elements of his outlook together through an aesthetizing of heroism, and a close identification of the aesthetic with the ethical. It concludes by suggesting that Berlin's way of understanding heroism may have something to tell us about how commitment to liberalism and appreciation for heroism may coexist and intertwine in ways that contribute to a greater appreciation, and more compelling defense, of liberalism.

Of the various topics that have occupied readers of Isaiah Berlin—liberty, pluralism, nationalism, Marxism, romanticism, to name just a few—very few have focused on the role of judgment in his philosophy.1 One possible reason for this is that the concept of judgment, unlike other concepts in the political-theory lexicon, seems too indistinct to permit careful analysis.2 Judgment often seems too circumstantial, too contextual, to have a theory of. What is good judgment in one situation will not be so in another. It consists, to a large degree, in our capacity to read the times, and I do not mean the New York Times. The concept of judgment is invariably connected to character, but good character seems as elusive as good judgment. Do certain kinds of people simply have good judgment and, if so, what are the characteristics that produce it? We seem to be caught in a vicious—or, should I say, virtuous—circle.

The conventional approach to Isaiah Berlin's writings has been to treat them discursively, as philosophical texts. While such approaches are insightful, there is more to Berlin's writings than his arguments. Among his literary strategies is a comparative approach that involves the use of metaphors, similes, and analogies. As I will argue, Berlin's use of metaphor constitutes a core component of his work, where his meaning is often suggestive more than precise. Berlin's intention seems to be to exhibit those aspects of experience reflective of uncertainty, where our choices are not determined by necessity. Such an intention ostensibly exhibits his value pluralism, as well as an oft-neglected sensitivity to the forms of language. By resorting to metaphors Berlin accomplishes several things: he shows how the intelligibility of experience is partially imagistic, he illustrates how meaning can be structured comparatively but nondiscursively, and he exemplifies the importance of these things for decision making.

This article clarifies the relationship between Isaiah Berlin’s liberalism, pluralism, humanism, and “aestheticism” by analyzing his unique approach to, and stories about, the history of ideas. I argue that Berlin should be understood as a reformer of liberalism, who understood his intervention in intellectual-historical terms. Reacting against what he saw as threats to human liberty and dignity rooted in the monist rational–scientific aspirations and expectations of Enlightenment-influenced political ideologies, Berlin responded by reinterpreting liberalism’s commitment to negative liberty through an aesthetic conception of the human being and a pluralist way of thinking about politics. In addition to reconstructing how Berlin’s writings on the history of ideas enact this liberal reformation, and clarifying the ways in which his resulting liberalism is and is not aesthetic, I also evaluate the potential implications of Berlin’s work for thinking about liberal politics in the present.