In recent years, much work has been done on the role of images in Hobbes. But there is an unsolved riddle with regard to the famous frontispiece of Leviathan (1651). Why is there nothing monstrous in the sovereign body depicted, despite the fact that it is named for a Biblical sea monster? In this article it is argued that there is a monster just barely hidden in the image and that the iconographical tradition helps us rediscover this creature. We argue that this monstrosity serves a theoretical and political purpose pertaining to fear and imagery within Hobbes’s overall project and in the political context of his time. Moreover, we argue that the discovery of the hitherto unknown monster should make political theory and intellectual history sensitive to the role played by physical images in Hobbes as well as in political thought at large.
It has often been argued that, notwithstanding his commitment to the authoritarian state, Thomas Hobbes is a champion of the “minimal” version of liberty of conscience: namely, the freedom of citizens to think whatever they like as long as they obey the law. Such an interpretation renders Hobbes’s philosophy more palatable to contemporary society. Yet the claim is incorrect. Alongside his notion of “private” conscience, namely, Hobbes develops a conception of conscience as a public phenomenon. In the following, it is argued that this inconsistency serves the purpose of deception: it holds out the possibility of dissent while making it impossible to utilise. Arguably, moreover, this is the proper hermeneutical approach to take to Hobbes’s inconsistencies in general. Indeed, said inconsistencies ought to alert contemporary normative theorists to the instability of the “minimal” version of liberty of conscience attributed to Hobbes: Hobbes himself, namely, shows that it is insufficient.
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