Jean-Jacques Rousseau pushed the approach of Hobbes to an extreme and criticized it at the same time. He was a contemporary and acquaintance of Hume, writing before the French Revolution and long before Darwin and Freud . He shocked Western civilization with his Second Discourse by proposing that humans had once been solitary animals, without reason or language or communities, and had developed these things due to accidents of pre-history. (This proposal was also less famously made by Giambattista Vico.) In other words, Rousseau argued that human nature was not only not fixed, but not even approximately fixed compared to what had been assumed before him. Humans are political, and rational, and have language now, but originally they had none of these things.  This in turn implied that living under the management of human reason might not be a happy way to live at all, and perhaps there is no ideal way to live. Rousseau is also unusual in the extent to which he took the approach of Hobbes, asserting that primitive humans were not even naturally social. A civilized human is therefore not only imbalanced and unhappy because of the mismatch between civilized life and human nature, but unlike Hobbes, Rousseau also became well known for the suggestion that primitive humans had been happier, " noble savages ". 
Take illegal immigration. The Trump administration believed the answer was to persuade people not to come illegally into the United States, and to convince those who are already residing here illegally and who have broken American laws to go home. So his proposed wall on the border with Mexico and beefed-up patrols are a sort of insurance policy in case immigrants do not heed appeals to follow the law. Deportation and even the threat of deportation also serve as deterrents to persuade others not to enter the . illegally, given the likelihood of being sent back home promptly.
In the mid-18th century, the philosopher Edmund Burke hypothesised a connection between aesthetics and fear. In a similar vein, the poet Rainer Maria Rilke proclaimed: ‘beauty is nothing but the beginning of terror’. To put this association to the test, I, together with Kendall Eskine and Natalie Kacinik, psychologists at CUNY, recently conducted another experiment. First, we scared a subset of our respondents by showing them a startling film in which a zombie jumps out on a seemingly peaceful country road. Then we asked all of our subjects to evaluate some abstract, geometric paintings by El Lissitzky. Those subjects who had been startled found the paintings more stirring, inspiring, interesting, and moving. This link between art and fear relates to the spiritual dimension of wonder. Just as people report fear of God, great art can be overwhelming. It stops us in our tracks and demands worshipful attention.