A fallacy of Observation (the first of the three fallacies of Proof) may be either negative or positive. 1. The former, which is called Non-observation, is a case, not of a positive mis-estimate of evidence, or of the proper faculties (whether the senses or reason) not having been employed, but simply of the non-employment of any of the faculties. It arises a ([Greek: a]) from neglect of instances. Sometimes this is The fallacy of Non-observation may occur ([Greek: b]) from neglect, not of the material instances wholly, but of some material facts in them, e.g. in cases of cures by quack remedies (such as Kenelm Digby's 'sympathetic powder'), of some attendant fact (as exclusion of air from a wound, rest, regimen, and the like) which really worked the cure. Sometimes the neglected fact is one ascertainable, not by the senses, but by reasoning, which has been overlooked. Thus, Cousin's argument that, if the sole end of punishment were to prevent crime by intimidating intending criminals, the punishment of the innocent, indiscriminately with the guilty, would have the same effect, ignores the fact that the innocent would then be equally intimidated, and so the punishment would be of no use as an example to criminals. So, in Political Economy, where the effects of a cause often consist of two sets 2. The error in Mal-observation, which is the positive kind of Mis-observation, is not the overlooking facts, but the seeing them wrong. It arises from mistaking what is in fact inference (as much must be, whenever we try to observe or to describe) for perception, which is infallible evidence of what is really perceived. The Anti-Copernicans, when they appealed to common sense, made this mistake. So do untrained persons generally in describing facts, especially natural phenomena (e.g. apothecaries and nurses in stating symptoms), and that, too, in proportion to their ignorance. We might expect this, since usually the actual perceptions of the senses (e.g. the colour and extension) are not of interest, except as marks whence to draw inferences about something else (e.g. about the body, to which these qualities belong). Painters, therefore, to know what the sensation actually was, have to go through a special training. But this confusion of inference with perception is still more likely in highly abstract subjects; and, consequently, in these, mere, and often false inferences, have continually been regarded as intuitive judgments. |