Evolution, Old & New Part 1

Evolution, Old & New.

by Samuel Butler.

PREFACE.

Contrary to the advice of my friends, who caution me to avoid all appearance of singularity, I venture upon introducing a practice, the expediency of which I will submit to the judgment of the reader. It is one which has been adopted by musicians for more than a century--to the great convenience of all who are fond of music--and I observe that within the last few years two such distinguished painters as Mr.

Alma-Tadema and Mr. Hubert Herkomer have taken to it. It is a matter for regret that the practice should not have been general at an earlier date, not only among painters and musicians, but also among the people who write books. It consists in signifying the number of a piece of music, picture, or book by the abbreviation "Op." and the number whatever it may happen to be.

No work can be judged intelligently unless not only the author's relations to his surroundings, but also the relation in which the work stands to the life and other works of the author, is understood and borne in mind; nor do I know any way of conveying this information at a glance, comparable to that which I now borrow from musicians. When we see the number against a work of Beethoven, we need ask no further to be informed concerning the general character of the music. The same holds good more or less with all composers. Handel's works were not numbered--not at least his operas and oratorios. Had they been so, the significance of the numbers on Susanna and Theodora would have been at once apparent, connected as they would have been with the number on Jephthah, Handel's next and last work, in which he emphatically repudiates the influence which, perhaps in a time of self-distrust, he had allowed contemporary German music to exert over him. Many painters have dated their works, but still more have neglected doing so, and some of these have been not a little misconceived in consequence. As for authors, it is unnecessary to go farther back than Lord Beaconsfield, Thackeray, d.i.c.kens, and Scott, to feel how much obliged we should have been to any custom that should have compelled them to number their works in the order in which they were written. When we think of Shakespeare, any doubt which might remain as to the advantage of the proposed innovation is felt to disappear.

My friends, to whom I urged all the above, and more, met me by saying that the practice was doubtless a very good one in the abstract, but that no one was particularly likely to want to know in what order my books had been written. To which I answered that even a bad book which introduced so good a custom would not be without value, though the value might lie in the custom, and not in the book itself; whereon, seeing that I was obstinate, they left me, and interpreting their doing so into at any rate a modified approbation of my design, I have carried it into practice.

The edition of the 'Philosophie Zoologique' referred to in the following volume, is that edited by M. Chas. Martins, Paris, Librairie F. Savy, 24, Rue de Hautefeuille, 1873.

The edition of the 'Origin of Species' is that of 1876, unless another edition be especially named.

The italics throughout the book are generally mine, except in the quotations from Miss Seward, where they are all her own.

I am anxious also to take the present opportunity of acknowledging the obligations I am under to my friend Mr. H. F. Jones, and to other friends (who will not allow me to mention their names, lest more errors should be discovered than they or I yet know of), for the invaluable a.s.sistance they have given me while this work was going through the press. If I am able to let it go before the public with any comfort or peace of mind, I owe it entirely to the carefulness of their supervision.

I am also greatly indebted to Mr. Garnett, of the British Museum, for having called my attention to many works and pa.s.sages of which otherwise I should have known nothing.

_March 31, 1879._

EVOLUTION, OLD AND NEW

CHAPTER I.

STATEMENT OF THE QUESTION. CURRENT OPINION ADVERSE TO TELEOLOGY.

Of all the questions now engaging the attention of those whose destiny has commanded them to take more or less exercise of mind, I know of none more interesting than that which deals with what is called teleology--that is to say, with design or purpose, as evidenced by the different parts of animals and plants.

The question may be briefly stated thus:--

Can we or can we not see signs in the structure of animals and plants, of something which carries with it the idea of contrivance so strongly that it is impossible for us to think of the structure, without at the same time thinking of contrivance, or design, in connection with it?

It is my object in the present work to answer this question in the affirmative, and to lead my reader to agree with me, perhaps mainly, by following the history of that opinion which is now supposed to be fatal to a purposive view of animal and vegetable organs. I refer to the theory of evolution or descent with modification.

Let me state the question more at large.

When we see organs, or living tools--for there is no well-developed organ of any living being which is not used by its possessor as an instrument or tool for the effecting of some purpose which he considers or has considered for his advantage--when we see living tools which are as admirably fitted for the work required of them, as is the carpenter's plane for planing, or the blacksmith's hammer and anvil for the hammering of iron, or the tailor's needle for sewing, what conclusion shall we adopt concerning them?

Shall we hold that they must have been designed or contrived, not perhaps by mental processes indistinguishable from those by which the carpenter's saw or the watch has been designed, but still by processes so closely resembling these that no word can be found to express the facts of the case so nearly as the word "design"? That is to say, shall we imagine that they were arrived at by a living mind as the result of scheming and contriving, and thinking (not without occasional mistakes) which of the courses open to it seemed best fitted for the occasion, or are we to regard the apparent connection between such an organ, we will say, as the eye, and the sight which is affected by it, as in no way due to the design or plan of a living intelligent being, but as caused simply by the acc.u.mulation, one upon another, of an almost infinite series of small pieces of good fortune?

In other words, shall we see something for which, as Professor Mivart has well said, "to us the word 'mind' is the least inadequate and misleading symbol," as having given to the eagle an eyesight which can pierce the sun, but which, in the night is powerless; while to the owl it has given eyes which shun even the full moon, but find a soft brilliancy in darkness? Or shall we deny that there has been any purpose or design in the fas.h.i.+oning of these different kinds of eyes, and see nothing to make us believe that any living being made the eagle's eye out of something which was not an eye nor anything like one, or that this living being implanted this particular eye of all others in the eagle's head, as being most in accordance with the habits of the creature, and as therefore most likely to enable it to live contentedly and leave plenitude of offspring? And shall we then go on to maintain that the eagle's eye was formed little by little by a series of accidental variations, each one of which was thrown for, as it were, with dice?

We shall most of us feel that there must have been a little cheating somewhere with these accidental variations before the eagle could have become so great a winner.

I believe I have now stated the question at issue so plainly that there can be no mistake about its nature, I will therefore proceed to show as briefly as possible what have been the positions taken in regard to it by our forefathers, by the leaders of opinion now living, and what I believe will be the next conclusion that will be adopted for any length of time by any considerable number of people.

In the times of the ancients the preponderance of opinion was in favour of teleology, though impugners were not wanting. Aristotle[1] leant towards a denial of purpose, while Plato[2] was a firm believer in design. From the days of Plato to our own times, there have been but few objectors to the teleological or purposive view of nature. If an animal had an eye, that eye was regarded as something which had been designed in order to enable its owner to see after such fas.h.i.+on as should be most to its advantage.

This, however, is now no longer the prevailing opinion either in this country or in Germany.

Professor Haeckel holds a high place among the leaders of German philosophy at the present day. He declares a belief in evolution and in purposiveness to be incompatible, and denies purpose in language which holds out little prospect of a compromise.

"As soon, in fact," he writes, "as we acknowledge the exclusive activity of the physico-chemical causes in living (organic) bodies as well as in so-called inanimate (inorganic) nature,"--and this is what Professor Haeckel holds we are bound to do if we accept the theory of descent with modification--"we concede exclusive dominion to that view of the universe, which we may designate as _mechanical_, and which is opposed to the teleological conception. If we compare all the ideas of the universe prevalent among different nations at different times, we can divide them all into two sharply contrasted groups--a _causal_ or _mechanical_, and a _teleological_ or _vitalistic_. The latter has prevailed generally in biology until now, and accordingly the animal and vegetable kingdoms have been considered as the products of a creative power, acting for a definite purpose. In the contemplation of every organism, the unavoidable conviction seemed to press itself upon us, that such a wonderful machine, so complicated an apparatus for motion as exists in the organism, could only be produced by a power a.n.a.logous to, but infinitely more powerful than the power of man in the construction of his machines."[3]

A little lower down he continues:--

"_I maintain with regard to_" this "_much talked of 'purpose in nature'

that it has no existence but for those persons who observe phenomena in plants and animals in the most superficial manner_. Without going more deeply into the matter, we can see at once that the rudimentary organs are a formidable obstacle to this theory. And, indeed, anyone who makes a really close study of the organization and mode of life of the various animals and plants, ... must necessarily come to the conclusion, that this 'purposiveness' no more exists than the much talked of 'beneficence' of the Creator."[4]

Professor Haeckel justly sees no alternative between, upon the one hand, the creation of independent species by a Personal G.o.d--by a "Creator,"

in fact, who "becomes an organism, who designs a plan, reflects upon and varies this plan, and finally forms creatures according to it, as a human architect would construct his building,"[5]--and the denial of all plan or purpose whatever. There can be no question but that he is right here. To talk of a "designer" who has no tangible existence, no organism with which to think, no bodily mechanism with which to carry his purposes into effect; whose design is not design inasmuch as it has to contend with no impediments from ignorance or impotence, and who thus contrives but by a sort of make-believe in which there is no contrivance; who has a familiar name, but nothing beyond a name which any human sense has ever been able to perceive--this is an abuse of words--an attempt to palm off a shadow upon our understandings as though it were a substance. It is plain therefore that there must either be a designer who "becomes an organism, designs a plan, &c.," or that there can be no designer at all and hence no design.

We have seen which of these alternatives Professor Haeckel has adopted.

He holds that those who accept evolution are bound to reject all "purposiveness." And here, as I have intimated, I differ from him, for reasons which will appear presently. I believe in an organic and tangible designer of every complex structure, for so long a time past, as that reasonable people will be incurious about all that occurred at any earlier time.

Professor Clifford, again, is a fair representative of opinions which are finding favour with the majority of our own thinkers. He writes:--

"There are here some words, however, which require careful definition.

And first the word purpose. A thing serves a purpose when it is adapted for some end; thus a corkscrew is adapted to the end of extracting corks from bottles, and our lungs are adapted to the end of respiration. We may say that the extraction of corks is the purpose of the corkscrew, and that respiration is the purpose of the lungs, but here we shall have used the word in two different senses. A man made the corkscrew with a purpose in his mind, and he knew and intended that it should be used for pulling out corks. _But n.o.body made our lungs with a purpose in his mind and intended that they should be used for breathing._ The respiratory apparatus was adapted to its purpose by natural selection, namely, by the gradual preservation of better and better adaptations, and by the killing-off of the worse and imperfect adaptations."[6]

No denial of anything like design could be more explicit. For Professor Clifford is well aware that the very essence of the "Natural Selection"

theory, is that the variations shall have been mainly accidental and without design of any sort, but that the adaptations of structure to need shall have come about by the acc.u.mulation, through natural selection, of any variation that _happened_ to be favourable.

It will be my business on a later page not only to show that the lungs are as purposive as the corkscrew, but furthermore that if drawing corks had been a matter of as much importance to us as breathing is, the list of our organs would have been found to comprise one corkscrew at the least, and possibly two, twenty, or ten thousand; even as we see that the trowel without which the beaver cannot plaster its habitation in such fas.h.i.+on as alone satisfies it, is incorporate into the beaver's own body by way of a tail, the like of which is to be found in no other animal.

To take a name which carries with it a far greater authority, that of Mr. Charles Darwin. He writes:--

"It is scarcely possible to avoid comparing the eye with a telescope. We know that this instrument has been perfected by the long-continued efforts of the highest human intellects; and we naturally infer that the eye has been formed by a somewhat a.n.a.logous process. But may not this inference be presumptuous? Have we any right to declare that the Creator works by intellectual powers like those of man?"[7]

Here purposiveness is not indeed denied point-blank, but the intention of the author is unmistakable, it is to refer the wonderful result to the gradual acc.u.mulation of small accidental improvements which were not due as a rule, if at all, to anything "a.n.a.logous" to design.

"Variation," he says, "will cause the slight alterations;" that is to say, the slight successive variations whose acc.u.mulation results in such a marvellous structure as the eye, are caused by--variation; or in other words, they are indefinite, due to nothing that we can lay our hands upon, and therefore certainly not due to design. "Generation," continues Mr. Darwin, "will multiply them almost infinitely, and natural selection will pick out with unerring skill each improvement. Let this process go on for millions of years, and during each year on millions of individuals of many kinds; and may we not believe that a living optical instrument might be thus formed as superior to one of gla.s.s, as the works of the Creator are to those of man?"[8]

The reader will observe that the only skill--and this involves design--supposed by Mr. Darwin to be exercised in the foregoing process, is the "unerring skill" of natural selection. Natural selection, however, is, as he himself tells us, a synonym for the survival of the fittest, which last he declares to be the "more accurate" expression, and to be "sometimes" equally convenient.[9] It is clear then that he only speaks metaphorically when he here a.s.signs "unerring skill" to the fact that the fittest individuals commonly live longest and transmit most offspring, and that he sees no evidence of design in the numerous slight successive "alterations"--or variations--which are "caused by variation."

It were easy to multiply quotations which should prove that the denial of "purposiveness" is commonly conceived to be the inevitable accompaniment of a belief in evolution. I will, however, content myself with but one more--from Isidore Geoffroy St. Hilaire.

"Whoever," says this author, "holds the doctrine of final causes, will, if he is consistent, hold also that of the immutability of species; and again, the opponent of the one doctrine will oppose the other also."[10]