Note 69 — Chapter VII · FALLACIES IN POPULAR ARGUMENTS

Lately much capital has been made out of the following statement appearing in Darwin’s Autobiography: “Up to the age of thirty or beyond it, poetry such as Milton, Byron, Wordsworth, etc., gave me great delight. But now for many years I cannot endure to read a line of poetry. I have lost my taste for pictures and music. My mind seems to have become a kind of machine for grinding general laws out of large collections of facts.” This loss of certain tastes indicated—so the pulpit would have the pew suppose—that that portion of Darwin’s mind which was competent to understand spiritual things had atrophied. Does God reveal Himself, then, only or especially to the æsthetic? The artist—and here I include the poet, painter, sculptor, musician, artistic novelist, and also the man who has created nothing, but who has the artistic temperament—will, if he has a religion, have one of a sort harmonising with his artist soul. It must be a religion which allows scope for the cultivation of the beautiful, without being necessarily too closely associated with a rigid code of ethics. Is the æsthetic mind always perfectly balanced? How does it compare on an average with that of the moral philosopher guiding his life by the light of reason and living up to the standard of his professions? Darwin has assisted in establishing a great truth concerning the development of the world. He has been, according to the Christian evolutionist, the chosen instrument for a fresh revelation of God’s majesty. Yet, in spiritual endowments, every pious Christian, however ignorant and unintellectual, ranks before him! Strange, passing strange. The very qualifications necessary for accomplishing God’s purpose debarred Darwin from fellowship with Him! For such an argument to be worth a moment’s consideration it should at least apply generally. This it most distinctly does not. Preachers, who find Darwin’s candid remark about himself a convenient one upon which to base a homily, have neglected to acquaint themselves with the statements of other agnostic scientists—of Huxley, for instance. “I have yet,” he declared, “to meet with any form of art in which it has not been possible for me to take as acute a pleasure as, I believe, it is possible for men to take.”69