This chapter turns from France to Scotland and from natural philosophy to moral philosophy. Through an examination of a number of leading Scots moral philosophers, we examine the impact of experimental philosophy on the project of the science of man in the Scotland of the eighteenth century. While it is incorrect to speak a movement of experimental moral philosophy in eighteenth-century Scotland, the impact of this new approach to natural philosophy is evident in its critique of speculation and hypotheses, in the roles that moral philosophers accorded to experiment and observation, in the rudimentary philosophy of experiment found in the writings of David Hume, and in the attempts by Scottish moral philosophers, such as George Turnbull, to apply the method of natural history and to incorporate analogues of physical laws in their theories. This chapter provides us with ample evidence for the claim that experimental philosophy had a decisive impact on the development of Scottish moral philosophy of the eighteenth century.

This chapter traces the fortunes of Aaron Hill’s English translation (1735) of Voltaire’s tragedy Zaïre (1732), from its first performance under Hill’s direction outside the patent theatres to David Garrick’s reworking of it at Drury Lane. I show that Zara’s scepticism of established religion and her father’s deathbed proselytising are used by Hill to produce what his friend John Dennis called an ‘enthusiastic’ passion and suggest that Voltaire’s work appealed to Hill for its handling of religious material capable of producing extreme sequences of sublime emotions. At the same time, Hill’s Zara is also an exposition of what Hill described as ‘dramatic passions’. Those who read, saw, or performed Zara could witness the outward marks of many passions and trace on stage and on the page their performance through transition to the very instant. Such opportunities made the play perfect for what Hill called an ‘Experiment’ on English tastes and acting. When Garrick came to revive this experiment in the 1750s, its passions become the property of Garrick himself, as he rewrote sections of the play to favour his character of Lusignan.