 ‘Sentiment’ was a particularly popular term in British philosophy of the eighteenth century, as was ‘affection.’ These terms were sometimes used interchangeably with and sometimes in contrast to ‘passions.’ In the latter case, ‘sentiments’ or ‘affections’ specified calm emotions, perhaps tempered by reflection or refined in some other way; whereas, ‘passion’ indicated a raw, uncorrected emotion, which may be ‘violent’ in the sense of either agitating us, or being unresponsive to reason. Bernard Mandeville, for instance, spoke of humans as “a compound of passions” in his Fable of the Bees (1714), emphasizing that our emotions are disorganized, fleeting and not subject to correction. Hutcheson, in contrast, distinguished passions from ‘affections’ in his Essay on the Nature and Conduct of the Passions and Affections (1728), on the grounds that the former are confused and “violent,” while the latter are calm and typically benevolent. Famously, Hume applied ‘sentiment’ to the class of refined and reflective emotions that are the basis for our moral and aesthetic judgments. In doing so, he may have followed the practice of the Abbé Dubos in his 1719 Critical Reflections on Poetry and on Painting  [Réflexions critiques sur la poësie et sur la peinture]. There Dubos argued that we do not judge artworks through applications of reason, but by a kind of internal “sense” [sentiment interieur] comparable to (literal) taste, and which “is commonly called sentiment” [le sentiment] (Vol. 2, sec. 22, 306–313; see Jones 1982, 97). Still, Dubos’s use of the term was casual and often ambiguous, and Hume likewise introduced ‘sentiment’ in Book III of his Treatise of Human Nature (1739–40) with little explanation. Nonetheless, the term entered into philosophical parlance, such that two decades later, Smith titled his major work The Theory of the Moral Sentiments (1759). Indeed, the contrast between passion and sentiment was not confined to philosophy. Sarah Fielding’s novel The Adventures of David Simple, first published in 1744 and wildly popular in its day, frequently used “passions” to describe forceful, idiosyncratic emotions and desires, particularly those that mark the personality of a character, while reserving “sentiment” for calmer, shared affects and judgments. By 1762, Henry Home, Lord Kames, termed “every thought prompted by a passion” a “sentiment” (Elements of Criticism I, chap. xvi).