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Click on the phrases to see them in context. The original texts by Immanuel Kant and David Hume are available from the Gutenberg Projet.
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In like manner we always consider the natural and usual force of the passions, when we determine concerning vice and virtue; and if the passions depart very much from the common measures on either side, they are always disapproved as vicious. Whether we ascribe our esteem of the rich and great to one or all of these causes, we may clearly see the traces of those principles, which give rise to the sense of vice and virtue. But to make the matter still more certain, I alter the object; and instead of vice and virtue, make the trial upon beauty and deformity, riches and poverty, power and servitude. Things are coexistent, when in empirical intuition the perception of the one can follow upon the perception of the other, and vice versa-- which cannot occur in the succession of phenomena, as we have shown in the explanation of the second principle. - But no proposition can be more evident, than that property is perfectly unintelligible without first supposing justice and injustice; and that these virtues and vices are as unintelligible, unless we have motives, independent of the morality, to impel us to just actions, and deter us from unjust ones.
No one will deny, that a negligence in this particular is a fault; and as faults are nothing but smaller vices, and this fault can have no other origin than the uneasy sensation, which it excites in others, we may in this instance, seemingly so trivial, dearly discover the origin of the moral distinction of vice and virtue in other instances. But supposing this hypothesis of moral philosophy should be allowed to be false, it is still evident, that pain and pleasure, if not the causes of vice and virtue, are at least inseparable from them. If any one, therefore, would assert, that justice is a natural virtue, and injustice a natural vice, he must assert, that abstracting from the nations of property, and right and obligation, a certain conduct and train of actions, in certain external relations of objects, has naturally a moral beauty or deformity, and causes an original pleasure or uneasiness. Any great elevation of place communicates a kind of pride or sublimity of imagination, and gives a fancyed superiority over those that lie below; and, vice versa, a sublime and strong imagination conveys the idea of ascent and elevation.