C. S. Lewis Essay Collection: Faith, Christianity and the Church. C. S. Lewis

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СКАЧАТЬ Humanists like Sir Thomas More) felt for medieval philosophy or Romantics (even good Romantics like Keats) felt for eighteenth-century poetry. Each time all this ‘reaction’ and resentment has to be punished and unsaid; it is a wasteful performance. It is tempting to try whether we, at least, cannot avoid it. Why should we not give our predecessors a fair and filial dismissal?

      Such, at all events, is the attempt I am going to make in this paper. I come to bury the great Myth of the nineteenth and early twentieth century; but also to praise it. I am going to pronounce a funeral oration.

      By this great Myth I mean that picture of reality which resulted during the period under consideration, not logically but imaginatively, from some of the more striking and (so to speak) marketable theories of the real scientists. I have heard this Myth called ‘Wellsianity’. The name is a good one in so far as it does justice to the share which a great imaginative writer bore in building it up. But it is not satisfactory. It suggests, as we shall see, an error about the date at which the Myth became dominant; and it also suggests that the Myth affected only the ‘middle-brow’ mind. In fact it is as much behind Bridge’s Testament of Beauty as it is behind the work of Wells. It dominates minds as different as those of Professor Alexander and Walt Disney. It is implicit in nearly every modern article on politics, sociology, and ethics.

      I call it a Myth because it is, as I have said, the imaginative and not the logical result of what is vaguely called ‘modern science’. Strictly speaking, there is, I confess, no such thing as ‘modern science’. There are only particular sciences, all in a stage of rapid change, and sometimes inconsistent with one another. What the Myth uses is a selection from the scientific theories–a selection made at first, and modified afterwards, in obedience to imaginative and emotional needs. It is the work of the folk imagination, moved by its natural appetite for an impressive unity. It therefore treats its data with great freedom–selecting, slurring, expurgating, and adding at will.

      The central idea of the Myth is what its believers would call ‘Evolution’ or ‘Development’ or ‘Emergence’, just as the central idea in the myth of Adonis is Death and Re-birth. I do not mean that the doctrine of Evolution as held by practising biologists is a Myth. It may be shown, by later biologists, to be a less satisfactory hypothesis than was hoped fifty years ago. But that does not amount to being a Myth. It is a genuine scientific hypothesis. But we must sharply distinguish between Evolution as a biological theorem and popular Evolutionism or Developmentalism which is certainly a Myth. Before proceeding to describe it and (which is my chief business) to pronounce its eulogy, I had better make clear its mythical character.

      We have, first of all, the evidence of chronology. If popular Evolutionism were (as it imagines itself to be) not a Myth but the intellectually legitimate result of the scientific theorem on the public mind, it would arise after that theorem had become widely known. We should have the theorem known first of all to a few, then adopted by all the scientists, then spreading to all men of general education, then beginning to affect poetry and the arts, and so finally percolating to the mass of the people. In fact, however, we find something quite different. The clearest and finest poetical expressions of the Myth come before the Origin of Species was published (1859) and long before it had established itself as scientific orthodoxy. There had, to be sure, been hints and germs of the theory in scientific circles before 1859. But if the mythopoeic poets were at all infected by those germs they must have been very up-to-date indeed, very predisposed to catch the infection. Almost before the scientists spoke, certainly before they spoke clearly, imagination was ripe for it.

      The finest expression of the Myth in English does not come from Bridges, nor from Shaw, nor from Wells, nor from Olaf Stapledon. It is this:

       As Heaven and Earth are fairer, fairer far

       Than Chaos and blank Darkness, though once chiefs;

       And as we show beyond that Heaven and Earth

       Inform and shape compact and beautiful,

       In will, in action free, companionship,

       And thousand other signs of purer life;

       So on our heels a fresh perfection treads,

       A power more strong in beauty, born of us,

       And fated to excel us, as we pass

       In glory that old Darkness. (II, 206–15)

      Thus Oceanus, in Keats’s Hyperion, nearly forty years before the Origin of Species. And on the continent we have the Nibelung’s Ring. Coming, as I do, to bury but also to praise the receding age, I will by no means join in the modern depreciation of Wagner. He may, for all I know, have been a bad man. He may (though I shall never believe it) have been a bad musician. But as a mythopoeic poet he is incomparable. The tragedy of the Evolutionary Myth has never been more nobly expressed than in his Wotan: its heady raptures never more irresistibly than in Siegfried. That he himself knew quite well what he was writing about can be seen from his letter to August Rockel in 1854. ‘The progress of the whole drama shows the necessity of recognizing and submitting to the change, the diversity, the multiplicity, the eternal novelty, of the Real. Wotan rises to the tragic height of willing his own downfall. This is all we have to learn from the history of Man–to will the necessary and ourselves to bring it to pass.’

      If Shaw’s Back to Methuselah were really, as he supposed, the work of a prophet or a pioneer ushering in the reign of a new Myth, its predominantly comic tone and its generally low emotional temperature would be inexplicable. It is admirable fun: but not thus are new epochs brought to birth. The ease with which he plays with the Myth shows that the Myth is fully digested and already senile. Shaw is the Lucian or the Snorri of this mythology: to find its Aeschylus or its Elder Edda you must go back to Keats and Wagner.

      That, then, is the first proof that popular Evolution is a Myth. In making it Imagination runs ahead of scientific evidence. ‘The prophetic soul of the big world’ was already pregnant with the Myth: if science had not met the imaginative need, science would not have been so popular. But probably every age gets, within certain limits, the science it desires.

      In the second place we have internal evidence. Popular Evolutionism or Developmentalism differs in content from the Evolution of the real biologists. To the biologist Evolution is a hypothesis. It covers more of the facts than any other hypothesis at present on the market and is therefore to be accepted unless, or until, some new supposal can be shown to cover still more facts with even fewer assumptions. At least, that is what I think most biologists would say. Professor D.M.S. Watson, it is true, would not go so far. According to him Evolution ‘is accepted by zoologists not because it has been observed to occur or…can be proved by logically coherent evidence to be true, but because the only alternative, special creation, is clearly incredible.’¹ This would mean that the sole ground for believing it is not empirical but metaphysical–the dogma of an amateur metaphysician who finds ‘special creation’ incredible. But I do not think it has really come to that. Most biologists have a more robust belief in Evolution than Professor Watson. But it is certainly a hypothesis. In the Myth, however, there is nothing hypothetical about it: it is basic fact: or, to speak more strictly, such distinctions do not exist on the mythical level at all. There are more important differences to follow.

      In the science, Evolution is a theory about changes: in the Myth it is a fact about improvements. Thus a real scientist like Professor J.B.S. Haldane is at pains to point out that popular ideas of Evolution lay a wholly unjustified emphasis on those changes which have rendered creatures (by human standards) СКАЧАТЬ