Chapter 6 looks at three prominent consequentialist strategies that have been employed more recently to justify different forms of the legislative perspective as well as a fourth option that is Kantian. The first option, exemplified by Robert Goodin, Conrad Johnson, and Frederick Schauer, is to restrict legislative consequentialism’s scope to the design of rules, policies, and institutions. The second option, pursued by Katarzyna de Lazari-Radek and Peter Singer, is to follow Sidgwick and accept a disjunction between moral rules and moral right (or between decision rules and the standard of right). The third option, used by Brad Hooker, seeks to justify a consequentialist legislative perspective based on its fit with our moral judgments using something akin to a reflective equilibrium approach rather than having consequentialism itself be the foundation. The chapter then considers a very different fourth option where the shift to a legislative point of view depends on Kantian claims as seen in the work of Thomas Hill, Jr. and Derek Parfit. Each of these approaches, however, includes serious drawbacks.

The boom in arrangements in the early nineteenth century was partly a function of the enthusiasm of the publishers themselves, who recognised their sales potential, especially that of small-scale arrangements of large-scale works by increasingly well-known composers. But while publishers capitalised on the popularity of arrangements, they also helped fuel that popularity by making otherwise relatively inaccessible works readily available in comparably cheap editions, in this way helping with canon formation. This chapter studies four important publishers of early nineteenth-century arrangements, from Bonn (Simrock), Leipzig (Breitkopf and Härtel), and London (Lavenu and Monzani and Hill), considering the types of arrangements that they made or commissioned, how the arrangements of Beethoven’s symphonies they published fit into the market, and how they functioned in canon formation. Studying these publishers’ catalogues reveals the popularity of arrangements for varied chamber ensembles, alongside the highly popular piano transcriptions. Indeed, arrangements for chamber ensembles make up a substantial portion of published chamber music at this point.

Pre-modern acting theory was framed around emotion, not character, and in this chapter I explore what ‘emotion’ is. There is growing recognition today that emotions have a history, and neurology has suggested new ways of thinking about the mind–body connection. The assumption that humankind has distinct fundamental emotions remains a widely held position today. Passions and emotions: the question of terminology: in addition to the distinction between passions and emotions, I interrogate notions of mind and soul, complicated by questions of translation. Early Modern England: Hamlet seen through the lens of the contemporary Jesuit Thomas Wright, who negotiated competing theories of emotion. The Cartesian turn: I consider Mondory as a pre-Cartesian actor, and the fundamental influence of Charles Le Brun on acting as well as paining. David Hume and English acting theory in the Enlightenment: the multiplication and refinement of emotions as reflected in the theories of Aaron Hill. Two examples of playing the passions: Lekain’s Herod and Nossiter’s Juliet: I draw on Lekain’s manuscript notes and on Morgan’s account of Nossiter’s performance. Rousseau and the ideal of emotional authenticity: Rousseau’s Pygmalion attempted to reconcile the needs of rhetorical delivery with a new sense of emotional truth.