Blessings in Disguise
Insulting Natural Defects
Put Yourselves in Others' Places
A Parable against Democracy : The Serpent's Tail and its Head .
Insulting Natural Defects
Put Yourselves in Others' Places
A Parable against Democracy : The Serpent's Tail and its Head .
Universal Anthology - v07
The Universal anthology : a collection of the best literature, ancient mediaeval and modern, with biographical and explanatory notes
/ edited by Richard Garnett, Leon Vallée, Alois Brandl.
London : Clarke Co. , 1899.
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Commentaries on St. Paul's Epistle to the Romans illuminated by Guilio Clovio, in the Soane Museum. (Sixteenth Century. )
The volume from which they are taken forms the chief ornament
of the library of the Soane Museum. It was purchased with two smaller
manuscripts of the late Duke of Buckingham, for the sum of one thousand guineas.
Commentaries on St. Paul's Epistle to the Romans. {Fourteenth Century. )
Illuminated by Guilio Clovio, in the Soane Museum. It was purchased with two smaller manuscripts of the late Duke of Buckingham for the sum of one thousand guineas. At this period, and even previously, it became customary only to ornament the first two pages of the works, and sometimes only a single first page, for the more artistic quality of the orna ments rendered the former profusion impossible, except in very rare cases.
THK UNIVERSAL
ANTHOLOGY
t/} Collection of the ""Best Literature, ^Ancient, {Mediaeval and Modern, with Biographical and Explanatory Notes,
Edited by
RICHARD GARNETT
Keeper of Printed Books at the British Museum London, 1851 to 1899
LEON VALLEE
Librarian at the Bibliotheque Nationale Paris, Since 1871
ALOIS BRANDL
Protestor of Literature in the Imperial University of Berlin
VOLUME SEVEN
PUBLISHED BY
THE CLARKE COMPANY, Limited, London
MERRILL & BAKER, New York EMILE TERQUEM, Paris
Entered at Stationers' Hall London, 1899
Droits de reproduction et de traduction reserve* Paris, 1S99
Alle recnte, lnsbosonderc das dcr TJbersetznng, vorbchalten Berlin, 1899
Proprleta Letleraria, Rlservate tutti i divittl Rome, 1899
Copyright, 1899 by
Richard Garnett
The Apocolocyntosis
Why Astrology cannot be True An Ancient Gulliver
Imaginary Correspondence
. 25 Aid us Oellius . . 39
63 68 63 64 65 66 66 66 66 67
TABLE OF CONTENTS. volume m
. . . .
45
The Literature of Science : Introduction by Hekrt Smith Williams
Seneca . .
Lucian Alciphron
. . . . . .
run . 13
V ^J*v
The Neglected Wife
Country Maiden and Prince Charming The Dog in the Manger
The Senile Gallant
The Unsentimental Mistress
Hen and Duck-Child
Th* Envious Fellow- Workers
The Curious Country Boy
The Losing Winner
The Barber's Practical Joke
The Fate of a Meddler
At the End of His Rope
A Literary Banquet
Thoughts
Marcus Aurelius at Home
The Roman Empire on the Edge of Decline .
The World at Auction
3 Arminius destroys Varus's Army . .
. . . 67 68 68 69 Marcus Aurelius . 85 Walter Pater . . 96 Charles Merivale . . 106 Michael Field . . 112 Dion Cassius . . 119 Calpurnius Siculus . 123 TP. B. Yeats . . 127 " Hermas" . . . 129 134 . 140 . 147 . 153 170 . 177
. 190
. #' Eclogue on the Accession of a Young Emperor .
King GoU
True Fasting, and Purity of Body The Conservatism of Heathendom On Free Will
To the Martyrs
The Fall of Palmyra
A Roman Triumph vi The Art of Composition
^"Epistle to a Friend
. .
. .
. .
Clement of Alexandria
ix
680133
.
Athenatus
Origen . Tertullian . William Ware
. . .
. .
Longinus Ausonius
. .
X TABLE OF CONTENTS.
Julian, Constantius, and the Persian War . . Ammianus Marcellinus 194
Capture of Ainida and Escape of Ammianus How Julian was Forced into Revolt
Death and Character of Constantius
PAGE
194 201 206
. 211 . 231 . 244 . 261 . 275 . 283
The Caesars
How Daphnis and Chloe Fell in Love . Arsace's Love and Chariclea's Escape . Clitopho and Leucippe
The Art of Government
The Clay Cart
The Lost Ring
Vikram and the Vampire
Stories and Observations from the Talmud
. .
Emperor Julian .
Longus . .
Blessings in Disguise
Insulting Natural Defects
Put Yourselves in Others' Places
A Parable against Democracy : The Serpent's Tail and its Head .
Do Not Profit by Others' Ignorance : Rabbi Simon and the Jewels ;
Blossom-Gatherings Stilicho and Alaric
The Ruins of Rome
The Passing of Humanity Poems of Prudentius
The Martyrdom of St. Eulalia
.
.
On a Baptismal Font The Greek Slave
from St Augustine
Alfred the Great . Thomas Hodgkin
385 . 385 . 386 386 387 Roman and Provincial Life in the Fifth Century . Sidonius Apollinaris . 391 Hero and Leander Musxus . . . 401
Poems of Claudian
The Old Man of Verona
Fescennine Verses on the Nuptials of Honorius
Claudian
. .
.
. Heliodorus . .
Achilles Tatius .
Mencius . . (? )King Sudraka .
Kalidasa . . . 301 Tr. Sir B. F. Burton . 315 325 325 326 327 . 328
329 330 331 333 334
Rabbi Saphra and the Buyer Folly of Idolatry
No Point of Pride where Good can be Wrought The Lawful Heir
A Parable of Life
The Inhospitable Jester
Miscellaneous Observations Confessions of St. Augustine
An Account of His Youth
His Living Idle at Home Contributed to His Sins
He Confesses a Theft of His Youth
That Men Sin not without Some Appearance or Pretence of Good
Lord Byron . P. B. Shelley Prudentius .
. . .
. . . . 336 344 . 345 . 346 . 353 . 377 . 381 . 383
E. B. Browning .
336 341 341 341
383
LIST OF ILLUSTRATIONS. VOLUME VII.
COMMENTARIES ON ST. PAUL'S EPISTLE TO THE ROMANS.
. . . . . .
(Illuminated Mahubcript)
HENRY SMITH WILLIAMS 18 NOONDAY IN THE FIELDS 67 GATHERING FUEL 129 DAPHNIS AND CHLOE 241 ST. AUGUSTINE AND HIS MOTHER 341 UPON THE RUINS 377 A GREEK SLAVE 385 INTERIOR OF A ROMAN S HOUSE 397
Frmtltpiece PAGE
Henry Smith Williams.
THE LITEEATUEE OF SCIENCE
By Henry Smith Williams
If we accept Buffon's famous dictum, that the style is the man, it might be expected that the writings of men of science would be as ruggedly fact-bound, as unimaginative, as inartistic as science is usually supposed to be. Yet Buffon himself, famed as a writer a century ago, and remembered to-day chiefly for his mastery of literary style, was by profession a naturalist. His greater contem porary, Voltaire, the master litterateur of France, did not hesitate to pose as a master in science as welL Again, Dante, the one world- classic of the Italian language, was learned in every phase of the known science of his time. Keats, one of [the few writers of English whom critics have ventured to name in the same breath with Shakespeare, was trained to the profession of medicine. Goldsmith, famed for the lucidity of his verse and prose alike, was a practising physician. So was Schiller, the second poet of Germany ; while his one master in that tongue, the incomparable Goethe, whose genius " raised the German language to a new plane as a medium of literary expression," would be remembered as a discoverer in science had he never penned a page that could be called literature. Turning to America we find that Franklin, the one man who attained distinction as a writer in Colonial days, was equally distinguished as a scientist ; and everyone will recall that in a later day the most genial of poets, Holmes, made literature only a staff, to quote his own happy phrase, his " crutch " being medicine, and his specialty anatomy, the veritable dry bones of medicine at that.
Without looking further, these familiar illustrations suffice to xiii
xiv THE LITERATURE OF SCIENCE
indicate that there is no necessary incompatibility between the so- called scientific cast of mind and the capacity for artistic expression in words. Yet the argument must not be carried too far. The great mass of the literature of science, using the term in the broader sense, is matter which cannot by any elasticity of definition be brought within the narrower ken of literature at alL In the main, men of science write as one would expect them to write. The style is the man, and the man of science is as a rule a dry-as-dust fact-hunter. Here and there, men of literary capacity have been devotees of science; but this cannot hide the fact that most scientists have hardly a spark of artistic sensibility, and that the great mass of scientific writing is painfully devoid of literary merit. More than that, most of the great classics of scientific literature owe their position, in the nature of the case, to their matter rather than their manner, and hence are not, properly speaking, works of art. They constitute what De Quincey appropriately termed the " literature of knowledge. "
There is a long list of this character which, without regard to their varying degrees of artistic merit, must be counted among the world's great books, because of the enormous influence they have had on the progress of thought, and of civilisation itself. Thus the varied scientific writings of Aristotle furnished what seemed the last word on almost every department of knowledge, undis puted and indisputable, for something like a hundred generations of his followers. The Almagest and the Geographia of Ptolemy, and the Natural History of the elder Pliny, in so far as they did not conflict with Aristotle, were accepted as final authorities in their respective fields for a thousand years.
Blessings in Disguise
Insulting Natural Defects
Put Yourselves in Others' Places
A Parable against Democracy : The Serpent's Tail and its Head .
Do Not Profit by Others' Ignorance : Rabbi Simon and the Jewels ;
Blossom-Gatherings Stilicho and Alaric
The Ruins of Rome
The Passing of Humanity Poems of Prudentius
The Martyrdom of St. Eulalia
.
.
On a Baptismal Font The Greek Slave
from St Augustine
Alfred the Great . Thomas Hodgkin
385 . 385 . 386 386 387 Roman and Provincial Life in the Fifth Century . Sidonius Apollinaris . 391 Hero and Leander Musxus . . . 401
Poems of Claudian
The Old Man of Verona
Fescennine Verses on the Nuptials of Honorius
Claudian
. .
.
. Heliodorus . .
Achilles Tatius .
Mencius . . (? )King Sudraka .
Kalidasa . . . 301 Tr. Sir B. F. Burton . 315 325 325 326 327 . 328
329 330 331 333 334
Rabbi Saphra and the Buyer Folly of Idolatry
No Point of Pride where Good can be Wrought The Lawful Heir
A Parable of Life
The Inhospitable Jester
Miscellaneous Observations Confessions of St. Augustine
An Account of His Youth
His Living Idle at Home Contributed to His Sins
He Confesses a Theft of His Youth
That Men Sin not without Some Appearance or Pretence of Good
Lord Byron . P. B. Shelley Prudentius .
. . .
. . . . 336 344 . 345 . 346 . 353 . 377 . 381 . 383
E. B. Browning .
336 341 341 341
383
LIST OF ILLUSTRATIONS. VOLUME VII.
COMMENTARIES ON ST. PAUL'S EPISTLE TO THE ROMANS.
. . . . . .
(Illuminated Mahubcript)
HENRY SMITH WILLIAMS 18 NOONDAY IN THE FIELDS 67 GATHERING FUEL 129 DAPHNIS AND CHLOE 241 ST. AUGUSTINE AND HIS MOTHER 341 UPON THE RUINS 377 A GREEK SLAVE 385 INTERIOR OF A ROMAN S HOUSE 397
Frmtltpiece PAGE
Henry Smith Williams.
THE LITEEATUEE OF SCIENCE
By Henry Smith Williams
If we accept Buffon's famous dictum, that the style is the man, it might be expected that the writings of men of science would be as ruggedly fact-bound, as unimaginative, as inartistic as science is usually supposed to be. Yet Buffon himself, famed as a writer a century ago, and remembered to-day chiefly for his mastery of literary style, was by profession a naturalist. His greater contem porary, Voltaire, the master litterateur of France, did not hesitate to pose as a master in science as welL Again, Dante, the one world- classic of the Italian language, was learned in every phase of the known science of his time. Keats, one of [the few writers of English whom critics have ventured to name in the same breath with Shakespeare, was trained to the profession of medicine. Goldsmith, famed for the lucidity of his verse and prose alike, was a practising physician. So was Schiller, the second poet of Germany ; while his one master in that tongue, the incomparable Goethe, whose genius " raised the German language to a new plane as a medium of literary expression," would be remembered as a discoverer in science had he never penned a page that could be called literature. Turning to America we find that Franklin, the one man who attained distinction as a writer in Colonial days, was equally distinguished as a scientist ; and everyone will recall that in a later day the most genial of poets, Holmes, made literature only a staff, to quote his own happy phrase, his " crutch " being medicine, and his specialty anatomy, the veritable dry bones of medicine at that.
Without looking further, these familiar illustrations suffice to xiii
xiv THE LITERATURE OF SCIENCE
indicate that there is no necessary incompatibility between the so- called scientific cast of mind and the capacity for artistic expression in words. Yet the argument must not be carried too far. The great mass of the literature of science, using the term in the broader sense, is matter which cannot by any elasticity of definition be brought within the narrower ken of literature at alL In the main, men of science write as one would expect them to write. The style is the man, and the man of science is as a rule a dry-as-dust fact-hunter. Here and there, men of literary capacity have been devotees of science; but this cannot hide the fact that most scientists have hardly a spark of artistic sensibility, and that the great mass of scientific writing is painfully devoid of literary merit. More than that, most of the great classics of scientific literature owe their position, in the nature of the case, to their matter rather than their manner, and hence are not, properly speaking, works of art. They constitute what De Quincey appropriately termed the " literature of knowledge. "
There is a long list of this character which, without regard to their varying degrees of artistic merit, must be counted among the world's great books, because of the enormous influence they have had on the progress of thought, and of civilisation itself. Thus the varied scientific writings of Aristotle furnished what seemed the last word on almost every department of knowledge, undis puted and indisputable, for something like a hundred generations of his followers. The Almagest and the Geographia of Ptolemy, and the Natural History of the elder Pliny, in so far as they did not conflict with Aristotle, were accepted as final authorities in their respective fields for a thousand years. The Bevolutionibus Orbium Coelestium, of Copernicus, was instrumental in working a veritable revolution in the accepted conception of the scheme of the universe, and of the earth's relative importance in that scheme. Newton's Principia explained the mechanics of the heavenly bodies to the wonderment of mankind.
The Mechanique Celeste and the Systeme du Mbnd of Laplace, expounding the nebular hypothesis, first cleared up the mystery of the creation of the world itself.
THE LITERATURE OF SCIENCE xv
The origin of the strata of the earth's crust was never even vaguely understood till James Hutton wrote his Revolutions of the Globe; the theories he put forward, involving the complete over throw of the accepted notions as to the age of our planet, extended and developed by Lyell, found full expression in the latter writer's Principles of Geology.
A vision of the successive' populations of beings that have peopled our globe, and have left no trace of their existence except in the form of random fossils, was first given in the Ossementa Fossiles of Cuvier. The origin of these successive populations of creatures, tentatively explained by Lamarck in 1809, was satis factorily accounted for just half a century later in the Origin of Species of Darwin.
This is but listing off-hand the names of a few of the more important classics of the literature of fact, in what may be con sidered a single line of thought. Each of these works was epochal, and is assured permanency of fame because of its influence on the advance of knowledge. Yet the very nature of the questions treated, necessarily removes some of them from the ken of the vast majority even of educated people. The Principia and the Mechanique Cdeste, for example, are in effect treatises on mathematics, and as such are necessarily repugnant, and indeed unintelligible, to all but a small coterie of readers. On the other hand, such topics as the origin of the earth's crust and the development of organic forms lend themselves much more readily to artistic treatment, and the history of some of the classics that treat of these topics points a very clear moral concerning the value of literary skill as an aid even to the most technical of scientists. Thus the book of Hutton, despite the startling, not to say sensational, character of its subject, found very few readers, chiefly because of its heavy, intricate style. Its data remained little known till Playfair practically re-wrote the book some years after its author's death. When Lyell took the subject in hand, the world had moved on a generation, to be sure, yet it was not so much this progress as the masterly exposition and lucid style of the Principles which forced the new geology upon the popular
xvi THE LITERATURE OF SCIENCE
attention. Lyell avowedly recognised both the difficulties and the desirability of attaining a popular style, and thanks to the success of his efforts at clear writing, the revolutionary doctrines of which he was the herald received in his own generation an acceptance which might otherwise have been long withheld from them.
The Origin of Species also owed much to the form of its presentation. Purporting to be only an abstract of the voluminous records which the author had spent twenty years in collecting, it necessarily bristled with technical facts, and hence could not be expected to make " easy reading. " Professor Huxley used to say that he never took it up afresh without finding something new that he had overlooked in previous readings ; and if Darwin's greatest disciple could make such a statement, it is hardly to be hoped that anyone else has ever fully mastered all the mere facts of the Origin. Yet these facts are arranged and presented in such fashion as to carry the reader forward, if not easily, at least clearly and unequivocally, to the conclusions at which the author aimed.
Nevertheless, it must be admitted that a greater artist might have marshalled the data of the Origin of Species in a still more convincing array, for it chances that a greater artist did so marshal its essentials with telling effect very soon after the book appeared. Much as Galileo, in his Dialogues, had given artistic expression to the revolutionary doctrines of Copernicus, Huxley, in his Man's Place in Nature, and in a score of other essays, brought all the resources of a marvellously flexible literary style to the aid of the equally revolutionary doctrines that Darwin had inaugurated. Nor was Huxley alone in this work. There came to his aid, from another field of science, a man of perhaps even greater literary skill ; a man who has probably had no peer as a master of English among the scientific writers of our generation. I mean, of course, Professor Tyndall. His writings and those of Huxley, not merely on this topic, but all along the lines of their varied scientific interests, are perhaps the best illustrations that have been given in our time of the extent to which literary art may triumph over difficulties of subject. Many of their essays stand as models of luminous exposition, lifting the reader over
THE LITERATURE OF SCIENCE xvii
every difficulty, and visualising the subject before ^him in enticing forms. Not all that they wrote is of equal value. Much of their most incisive work was of a controversial character, the interest of which cannot be other than ephemeral. Most of those well-aimed blows that were levelled in the cause of Darwinism spent their full force on the generation that called them forth. The cause triumphant, the means that led to victory, will be in the main forgotten. But fortunately there remains a fair residuum of writings of these masters that can claim a more lasting regard ; in particular, such masterpieces as Tyndall's "beautiful book"—as Lord Kelvin calls it—Heat as a Mode of Motion, and the various popular lectures of Huxley
It would be futile, however, to hope that even these can claim perennial popularity, or can have anything more than historical interest after the lapse of two or three generations. They are classics of scientific literature in their day, and classics they will remain, but their interest must wane as their facts lose novelty. The history of similar works in the past leaves no doubt as to this. Who to-day reads, for example, the discourses of the poet- scientist, Davy, which so captivated the English-speaking world at the beginning of the century ; or the equally lucid expositions of Arago, which set the French capital in a flutter a generation ago. Once so popular, these works have already become fossils on library shelves.
So it must be with all writings, however artistic their drapery, that depend fundamentally upon a skeleton of scientific facts for their interest. The creative literature of poem, of drama, of story, revolving ever about a few central human passions which time has little modified, may appeal to generation after generation, but the literature of fact is doomed to obsolescence by its own success.
There are certain other departments of the literature of science, however, which may claim a certain degree of immunity from this preordained fate. Histories^ of science, e. g. , stand on no different plane, intrinsically, from other histories. Thus Whewell's History of the Inductive Sciences, Cuvier's History of the Advance of Science
in his Generation, Draper's History of the Conflict between Religion VOL. VII. — 2
xviii THE LITERATUKE OF SCIENCE
and Science, White's recent work of similar title, and the numerous historical essays by other writers, including Arago, Huxley, and Tyndall among the number, must be judged on their literary merits according to the same standards by which one judges Gibbon or Mommsen. Again, there is a quite different field of scientific literature, of a lighter kind, yet perhaps most permanent of all, because of its introduction of the personal element, added to the universality of the interests to which it appeals. I refer now to the descriptive writers on natural history and allied topics, who have studied nature at first hand, and whose accounts of their dis coveries have the interest of personal narratives quite aside from the exact character of the facts which they record. There is a long list of such writings, of varying degrees of scientific accuracy, as of literary merit. Perhaps the most famous of them is the Compleate Angler of Isaac Walton, a work inconsequential enough in a scientific way, to be sure, yet falling clearly within our present category, and having a security of literary position that can be claimed by few other works to be found there. Next in point of time come the charming letters of Gilbert White, gossipping about the birds and beasts and reptiles and insects of his parish, and gathered into a soon-to-be-famous volume, under title of the Natural History of Selborne. Then in our own century there are the books of the hermit of Walden, Thoreau, the friend of Emerson, lover of Nature in her every phase, and diviner of many of her secrets ; and the essays of John Muir, the poet of the Sierra Nevadas, whom Emerson pronounced more wonderful even than Thoreau; and a small library of strictly contemporary writings in the same vein, with the works of John Borroughs at their head.
The authors of these works are delightful essayists, prose-poets if you will, whose inspiration is drawn directly from nature, and who breathe into their pages something of the freshness and novelty of Nature herself. They take the reader with them to the woods, and make him feel that their discoveries are his discoveries. What they have seen has the charm of personal experience ; the interest of the specific over the generic fact. One may know well
THE LITERATURE OF SCIENCE xix
enough that the cuckoo and the cow-bird lay their eggs in the nest of other birds ; but when, with the eyes of White or Burroughs, one spys upon the individual cuckoo or cow-bird, and watches its stealthy imposture upon yellow-hammer or warbler, one has the feeling of the discoverer, and the old story is ever new. There is something of this same element of personal interest, too, in the writings of several of the naturalists of more serious purpose. The Natural History of Buffon, and the Ornithologies of Wilson and Audubon, for example, will for this reason retain a certain interest long after the mere facts they recorded, considered as scientific data, are worn thread-bare with repetition.
Such writings as these, then, have a certain permanent value as literature. Owing their value to form rather than to matter, they are true works of art. But, on the other hand, no one would claim for them more than a minor place in art. However perfect of their kind, they are not of the most important kind. They are works for the leisure hour, far removed from the heights or the depths of the profound emotions. The really important share of science in building up the great literature of the world has not been attained through such means as this, nor indeed through any direct means. Its true power has been shown rather through the indirect channels of its influence upon literature that in itself is not scientific.
Ever since literature had a beginning there have been masters of the craft who have grasped eagerly after all the scientific knowledge of their time, and have made such use of the fragments then available as great artists alone could make. Take Shakespeare himself in illustration. Every one knows how his lines bristle with scientific allusions ; for has not the fact been brought against him in the absurd Baconian controversy ? Not to multiply illustrations, one might almost say that the greater the writer, the more surely do we find him in touch with the science of his time. This, to be sure, is no proof that scientific knowledge is pre-requisite to the practice of the literary art — since the greatest artists imbibe most eagerly every species of mental pabulum Still the fact is sugges tive, and at least it is hardly open to doubt that their knowledge
XX THE LITERATURE OF SCIENCE
of science has been a marked aid to the writers who have possessed such knowledge. Sometimes, indeed, a great writer has consciously recognised this obligation, and even avowed as when Coleridge declared that he attended Davy's lectures on chemistry to increase his stock of metaphors. Emerson, too, must have recognised this aid, so much of the science of his generation reflected in his writings. And Taine openly declared that he interrupted his literary career to devote several years to the study of medicine, because he had reached the conviction that every writer should have comprehensive knowledge of at least one department of science.
It must be admitted that these particular men, and most other litterateurs of scientific proclivities, have made only subordinate use of their scientific lore in their writings. Yet examples are not wanting in which the influence of science on literary art must be felt to have been more than merely incidental This true, not merely of minor poems, but of some of the great classics of the world -literature. Thus that rudimentary fourteenth - century science which Dante knew to its depths, based largely upon the Ptolemaic astronomy, still dominant, though so soon to be overthrown, forms the veritable framework of the mechanical structure, so to speak, of the Divine Comedy. So, too, the six teenth-century science which Milton knew so well, enters into the structure of the Paradise Lost in the most definitive fashion. How great its influence was will be most patent we reflect what momentous differences there would have been in certain cantos of Paradise Lost, had Milton written after the work of Hutton, Lamarck, Cuvier, Lyell, and Darwin had thrown the light of scientific interpretation upon the story of creation. Milton knew the science of the sixteenth century to its depths, but meagre enough were the data could offer on cosmogony. Paradise Lost reflects the science of its time but the science which transcends the bounds of unaided human senses, which reaches out into the infinities of space and down into the infinitesimal regions of the microcosm, revealing a universe of suns and universe of atoms the science which explains the origin of worlds, of sentient beings, of man
; a
;
it
if
it, is
is
a
THE LITERATURE OF SCIENCE xxi
himself; the science which brings man's intellect under the sway of scale and measure, and which makes his tendencies, emotions, customs, beliefs, superstitions, religions even, the object of calm, unimpassioned investigation: this science is new, is of our own century, even of our own generation. Some day, perhaps, another Milton, learned in this science of a later era, will give us a new epic depicting the evolution of organic forms in true sequence, and the slow tortuous struggles of man toward a paradise which he has not yet gained. But the data for such an epic were never given into the hands of the artist until science revealed them, in part at least, in our generation.
If it be thought unlikely that such a union of science and art as is here suggested can ever be realised, let me hasten to cite a suggestive example, which will serve at once as the best instance in modern times of the direct influence of technical science upon great literature, and as an earnest of what the future may perhaps give us along the lines at which I have just hinted. I refer to certain familiar stanzas of Tennyson's " In Memoriam," which, written before the middle of the century, show the most marvellous grasp of the newest cosmologic science of that time. Thus the lines
Our little systems have their day ;
They have their day and cease to be :
would have been utterly unintelligible before the advent of that new astronomy which began with the discoveries of Herschel late in the eighteenth century, and which slowly made its conquests in the years of Tennyson's early manhood.
Even more recently revealed had been the truths of that geological philosophy which
are so marvellously summarised in the following stanzas :— But I shall turn mine ears and hear
The moanings of the homeless sea,
The sound of streams that swift or slow Draw down Ionian hills, and sow
The dust of continents to be.
xxii
THE LITERATURE OF SCIENCE
There rolls the deep where grew the tree.
O earth, what changes hast thou seen 1 There where the long street roars, hath been
The stillness of the central sea.
The hills are shadows, and they flow
From form to form, and nothing stands ; They melt like mist, the solid lands,
Like clouds they shape themselves and go.
The work of Lyell, which first gave an inkling of that slow melting away and rebuilding of the continents here pictured, was scarcely finished when these lines were written. Equally new was that knowledge of the extinct animal populations of the globe depicted by these other stanzas :—
Are God and Nature then at strife,
That Nature lends such evil dreams t So careful of the type she seems,
So careless of the single life ;
" So careful of the type ? " but no.
From scarped cliff and quarried stone She cries, " A thousand types are gone :
I care for nothing, all shall go. "
These words could by no possibility have been written before our century, for the facts they connote were utterly unknown to science of earlier times. They furnish an amazing proof of the
closeness with which the greatest poet of his generation followed the intricacies of such technical sciences as astronomy, geology, and paleontology, and of the influence which such sciences had on his art. Nor are the lines I have quoted the most suggestive ones to be found, for the closing stanzas of the poem seem to show, uneqivocally even if in slightly masked phraseology, that the insight of the poet had carried Tennyson beyond the plane of his geological masters, and enabled him to grasp the truth of that wider doctrine of cosmogony which was then a heresy of science and which was only to receive acceptance, even in technical circles, through Darwin's exposition a full decade after In Memoriam was written.
THE LITEEATURE OF SCIENCE xxm
I can never read these illuminative passages of that wonderful poem without asking myself why it was that the poet who thus had gained an insight into the truths of evolution in pre-Darwinian days, did not return to the subject later on when fresh data were at hand, and herald in verse the wonderful story of cosmogony, first revealed to our favoured generation. Was it that the position of Laureate had cramped the freedom of the master spirit ? Or had age drawn the veil of conservatism across the field of a once- piercing vision before the new doctrines found general acceptance ? Or yet again, was it that the master artisan found the materials of
I cannot say ; but whatever the explanation of Tennyson's silence, it leaves a rich field open to whatever successor has the genius to cultivate it.
the new story not yet ripe for the purposes of art ?
The new suggestive data lend themselves to artistic treatment. They lie ready to the hand of the master builder. Must there not come a twentieth-century Milton gifted with the scientific acumen to master these data, with the poet soul to weave them into visions, and with the master craftsmanship to make the visions body forth in words ? If so, some day we shall have, through the influence of science, a poem which will voice the spirit of our scientific epoch as the Divine Comedy " voiced the spirit of ten silent centuries," and as Paradise Lost voiced the spirit of the Renaissance.
THE APOCOLOCYNTOSIS ;
OB,
Diversion on the Death of the Emperor Claudius.
By SENECA.
(Translated for this work by Forrest Morgan. )
[Lucius Ank^us Seneca was born at Corduba, Spain, about b. c. 4, and became an eminent lawyer in Rome. In a. d. 41 he was banished to Corsica by Claudius at the instigation of Empress Messalina. Recalled after an exile of eight years, he was appointed by Agrippina joint tutor with Burrhus of the youthful Nero. The two secured good government in the early years of Nero's reign, but gradually lost their influence ; and Seneca, charged with conspiracy, committed suicide by the emperor's order, a. d. 65. He was a leading exponent of the Stoic philosophy. His writings comprise : discourses on philosophy and morals, the most important being "On Anger"; "On Mercy," addressed to Nero ; "On Giving and Receiving Favors " ; over one hundred letters to Lucil- ius; " Investigations in Natural Science" ; and eight tragedies, being the only complete specimens of Roman tragedies extant. ]
["Apocolocyntosis," or " Pumpkiniflcation," is a burlesque Greek word formed on the model of " Apotheosis " or "deification," as being more appropriate for Claudius. How it came to be attached to this skit (the second title is the original one) is a mystery, as there is nothing in the matter to suggest it, and the opinion of Seneca is evidently that Claudius was a pumpkin from the first, not that he was turned into one.
/ edited by Richard Garnett, Leon Vallée, Alois Brandl.
London : Clarke Co. , 1899.
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Commentaries on St. Paul's Epistle to the Romans illuminated by Guilio Clovio, in the Soane Museum. (Sixteenth Century. )
The volume from which they are taken forms the chief ornament
of the library of the Soane Museum. It was purchased with two smaller
manuscripts of the late Duke of Buckingham, for the sum of one thousand guineas.
Commentaries on St. Paul's Epistle to the Romans. {Fourteenth Century. )
Illuminated by Guilio Clovio, in the Soane Museum. It was purchased with two smaller manuscripts of the late Duke of Buckingham for the sum of one thousand guineas. At this period, and even previously, it became customary only to ornament the first two pages of the works, and sometimes only a single first page, for the more artistic quality of the orna ments rendered the former profusion impossible, except in very rare cases.
THK UNIVERSAL
ANTHOLOGY
t/} Collection of the ""Best Literature, ^Ancient, {Mediaeval and Modern, with Biographical and Explanatory Notes,
Edited by
RICHARD GARNETT
Keeper of Printed Books at the British Museum London, 1851 to 1899
LEON VALLEE
Librarian at the Bibliotheque Nationale Paris, Since 1871
ALOIS BRANDL
Protestor of Literature in the Imperial University of Berlin
VOLUME SEVEN
PUBLISHED BY
THE CLARKE COMPANY, Limited, London
MERRILL & BAKER, New York EMILE TERQUEM, Paris
Entered at Stationers' Hall London, 1899
Droits de reproduction et de traduction reserve* Paris, 1S99
Alle recnte, lnsbosonderc das dcr TJbersetznng, vorbchalten Berlin, 1899
Proprleta Letleraria, Rlservate tutti i divittl Rome, 1899
Copyright, 1899 by
Richard Garnett
The Apocolocyntosis
Why Astrology cannot be True An Ancient Gulliver
Imaginary Correspondence
. 25 Aid us Oellius . . 39
63 68 63 64 65 66 66 66 66 67
TABLE OF CONTENTS. volume m
. . . .
45
The Literature of Science : Introduction by Hekrt Smith Williams
Seneca . .
Lucian Alciphron
. . . . . .
run . 13
V ^J*v
The Neglected Wife
Country Maiden and Prince Charming The Dog in the Manger
The Senile Gallant
The Unsentimental Mistress
Hen and Duck-Child
Th* Envious Fellow- Workers
The Curious Country Boy
The Losing Winner
The Barber's Practical Joke
The Fate of a Meddler
At the End of His Rope
A Literary Banquet
Thoughts
Marcus Aurelius at Home
The Roman Empire on the Edge of Decline .
The World at Auction
3 Arminius destroys Varus's Army . .
. . . 67 68 68 69 Marcus Aurelius . 85 Walter Pater . . 96 Charles Merivale . . 106 Michael Field . . 112 Dion Cassius . . 119 Calpurnius Siculus . 123 TP. B. Yeats . . 127 " Hermas" . . . 129 134 . 140 . 147 . 153 170 . 177
. 190
. #' Eclogue on the Accession of a Young Emperor .
King GoU
True Fasting, and Purity of Body The Conservatism of Heathendom On Free Will
To the Martyrs
The Fall of Palmyra
A Roman Triumph vi The Art of Composition
^"Epistle to a Friend
. .
. .
. .
Clement of Alexandria
ix
680133
.
Athenatus
Origen . Tertullian . William Ware
. . .
. .
Longinus Ausonius
. .
X TABLE OF CONTENTS.
Julian, Constantius, and the Persian War . . Ammianus Marcellinus 194
Capture of Ainida and Escape of Ammianus How Julian was Forced into Revolt
Death and Character of Constantius
PAGE
194 201 206
. 211 . 231 . 244 . 261 . 275 . 283
The Caesars
How Daphnis and Chloe Fell in Love . Arsace's Love and Chariclea's Escape . Clitopho and Leucippe
The Art of Government
The Clay Cart
The Lost Ring
Vikram and the Vampire
Stories and Observations from the Talmud
. .
Emperor Julian .
Longus . .
Blessings in Disguise
Insulting Natural Defects
Put Yourselves in Others' Places
A Parable against Democracy : The Serpent's Tail and its Head .
Do Not Profit by Others' Ignorance : Rabbi Simon and the Jewels ;
Blossom-Gatherings Stilicho and Alaric
The Ruins of Rome
The Passing of Humanity Poems of Prudentius
The Martyrdom of St. Eulalia
.
.
On a Baptismal Font The Greek Slave
from St Augustine
Alfred the Great . Thomas Hodgkin
385 . 385 . 386 386 387 Roman and Provincial Life in the Fifth Century . Sidonius Apollinaris . 391 Hero and Leander Musxus . . . 401
Poems of Claudian
The Old Man of Verona
Fescennine Verses on the Nuptials of Honorius
Claudian
. .
.
. Heliodorus . .
Achilles Tatius .
Mencius . . (? )King Sudraka .
Kalidasa . . . 301 Tr. Sir B. F. Burton . 315 325 325 326 327 . 328
329 330 331 333 334
Rabbi Saphra and the Buyer Folly of Idolatry
No Point of Pride where Good can be Wrought The Lawful Heir
A Parable of Life
The Inhospitable Jester
Miscellaneous Observations Confessions of St. Augustine
An Account of His Youth
His Living Idle at Home Contributed to His Sins
He Confesses a Theft of His Youth
That Men Sin not without Some Appearance or Pretence of Good
Lord Byron . P. B. Shelley Prudentius .
. . .
. . . . 336 344 . 345 . 346 . 353 . 377 . 381 . 383
E. B. Browning .
336 341 341 341
383
LIST OF ILLUSTRATIONS. VOLUME VII.
COMMENTARIES ON ST. PAUL'S EPISTLE TO THE ROMANS.
. . . . . .
(Illuminated Mahubcript)
HENRY SMITH WILLIAMS 18 NOONDAY IN THE FIELDS 67 GATHERING FUEL 129 DAPHNIS AND CHLOE 241 ST. AUGUSTINE AND HIS MOTHER 341 UPON THE RUINS 377 A GREEK SLAVE 385 INTERIOR OF A ROMAN S HOUSE 397
Frmtltpiece PAGE
Henry Smith Williams.
THE LITEEATUEE OF SCIENCE
By Henry Smith Williams
If we accept Buffon's famous dictum, that the style is the man, it might be expected that the writings of men of science would be as ruggedly fact-bound, as unimaginative, as inartistic as science is usually supposed to be. Yet Buffon himself, famed as a writer a century ago, and remembered to-day chiefly for his mastery of literary style, was by profession a naturalist. His greater contem porary, Voltaire, the master litterateur of France, did not hesitate to pose as a master in science as welL Again, Dante, the one world- classic of the Italian language, was learned in every phase of the known science of his time. Keats, one of [the few writers of English whom critics have ventured to name in the same breath with Shakespeare, was trained to the profession of medicine. Goldsmith, famed for the lucidity of his verse and prose alike, was a practising physician. So was Schiller, the second poet of Germany ; while his one master in that tongue, the incomparable Goethe, whose genius " raised the German language to a new plane as a medium of literary expression," would be remembered as a discoverer in science had he never penned a page that could be called literature. Turning to America we find that Franklin, the one man who attained distinction as a writer in Colonial days, was equally distinguished as a scientist ; and everyone will recall that in a later day the most genial of poets, Holmes, made literature only a staff, to quote his own happy phrase, his " crutch " being medicine, and his specialty anatomy, the veritable dry bones of medicine at that.
Without looking further, these familiar illustrations suffice to xiii
xiv THE LITERATURE OF SCIENCE
indicate that there is no necessary incompatibility between the so- called scientific cast of mind and the capacity for artistic expression in words. Yet the argument must not be carried too far. The great mass of the literature of science, using the term in the broader sense, is matter which cannot by any elasticity of definition be brought within the narrower ken of literature at alL In the main, men of science write as one would expect them to write. The style is the man, and the man of science is as a rule a dry-as-dust fact-hunter. Here and there, men of literary capacity have been devotees of science; but this cannot hide the fact that most scientists have hardly a spark of artistic sensibility, and that the great mass of scientific writing is painfully devoid of literary merit. More than that, most of the great classics of scientific literature owe their position, in the nature of the case, to their matter rather than their manner, and hence are not, properly speaking, works of art. They constitute what De Quincey appropriately termed the " literature of knowledge. "
There is a long list of this character which, without regard to their varying degrees of artistic merit, must be counted among the world's great books, because of the enormous influence they have had on the progress of thought, and of civilisation itself. Thus the varied scientific writings of Aristotle furnished what seemed the last word on almost every department of knowledge, undis puted and indisputable, for something like a hundred generations of his followers. The Almagest and the Geographia of Ptolemy, and the Natural History of the elder Pliny, in so far as they did not conflict with Aristotle, were accepted as final authorities in their respective fields for a thousand years.
Blessings in Disguise
Insulting Natural Defects
Put Yourselves in Others' Places
A Parable against Democracy : The Serpent's Tail and its Head .
Do Not Profit by Others' Ignorance : Rabbi Simon and the Jewels ;
Blossom-Gatherings Stilicho and Alaric
The Ruins of Rome
The Passing of Humanity Poems of Prudentius
The Martyrdom of St. Eulalia
.
.
On a Baptismal Font The Greek Slave
from St Augustine
Alfred the Great . Thomas Hodgkin
385 . 385 . 386 386 387 Roman and Provincial Life in the Fifth Century . Sidonius Apollinaris . 391 Hero and Leander Musxus . . . 401
Poems of Claudian
The Old Man of Verona
Fescennine Verses on the Nuptials of Honorius
Claudian
. .
.
. Heliodorus . .
Achilles Tatius .
Mencius . . (? )King Sudraka .
Kalidasa . . . 301 Tr. Sir B. F. Burton . 315 325 325 326 327 . 328
329 330 331 333 334
Rabbi Saphra and the Buyer Folly of Idolatry
No Point of Pride where Good can be Wrought The Lawful Heir
A Parable of Life
The Inhospitable Jester
Miscellaneous Observations Confessions of St. Augustine
An Account of His Youth
His Living Idle at Home Contributed to His Sins
He Confesses a Theft of His Youth
That Men Sin not without Some Appearance or Pretence of Good
Lord Byron . P. B. Shelley Prudentius .
. . .
. . . . 336 344 . 345 . 346 . 353 . 377 . 381 . 383
E. B. Browning .
336 341 341 341
383
LIST OF ILLUSTRATIONS. VOLUME VII.
COMMENTARIES ON ST. PAUL'S EPISTLE TO THE ROMANS.
. . . . . .
(Illuminated Mahubcript)
HENRY SMITH WILLIAMS 18 NOONDAY IN THE FIELDS 67 GATHERING FUEL 129 DAPHNIS AND CHLOE 241 ST. AUGUSTINE AND HIS MOTHER 341 UPON THE RUINS 377 A GREEK SLAVE 385 INTERIOR OF A ROMAN S HOUSE 397
Frmtltpiece PAGE
Henry Smith Williams.
THE LITEEATUEE OF SCIENCE
By Henry Smith Williams
If we accept Buffon's famous dictum, that the style is the man, it might be expected that the writings of men of science would be as ruggedly fact-bound, as unimaginative, as inartistic as science is usually supposed to be. Yet Buffon himself, famed as a writer a century ago, and remembered to-day chiefly for his mastery of literary style, was by profession a naturalist. His greater contem porary, Voltaire, the master litterateur of France, did not hesitate to pose as a master in science as welL Again, Dante, the one world- classic of the Italian language, was learned in every phase of the known science of his time. Keats, one of [the few writers of English whom critics have ventured to name in the same breath with Shakespeare, was trained to the profession of medicine. Goldsmith, famed for the lucidity of his verse and prose alike, was a practising physician. So was Schiller, the second poet of Germany ; while his one master in that tongue, the incomparable Goethe, whose genius " raised the German language to a new plane as a medium of literary expression," would be remembered as a discoverer in science had he never penned a page that could be called literature. Turning to America we find that Franklin, the one man who attained distinction as a writer in Colonial days, was equally distinguished as a scientist ; and everyone will recall that in a later day the most genial of poets, Holmes, made literature only a staff, to quote his own happy phrase, his " crutch " being medicine, and his specialty anatomy, the veritable dry bones of medicine at that.
Without looking further, these familiar illustrations suffice to xiii
xiv THE LITERATURE OF SCIENCE
indicate that there is no necessary incompatibility between the so- called scientific cast of mind and the capacity for artistic expression in words. Yet the argument must not be carried too far. The great mass of the literature of science, using the term in the broader sense, is matter which cannot by any elasticity of definition be brought within the narrower ken of literature at alL In the main, men of science write as one would expect them to write. The style is the man, and the man of science is as a rule a dry-as-dust fact-hunter. Here and there, men of literary capacity have been devotees of science; but this cannot hide the fact that most scientists have hardly a spark of artistic sensibility, and that the great mass of scientific writing is painfully devoid of literary merit. More than that, most of the great classics of scientific literature owe their position, in the nature of the case, to their matter rather than their manner, and hence are not, properly speaking, works of art. They constitute what De Quincey appropriately termed the " literature of knowledge. "
There is a long list of this character which, without regard to their varying degrees of artistic merit, must be counted among the world's great books, because of the enormous influence they have had on the progress of thought, and of civilisation itself. Thus the varied scientific writings of Aristotle furnished what seemed the last word on almost every department of knowledge, undis puted and indisputable, for something like a hundred generations of his followers. The Almagest and the Geographia of Ptolemy, and the Natural History of the elder Pliny, in so far as they did not conflict with Aristotle, were accepted as final authorities in their respective fields for a thousand years. The Bevolutionibus Orbium Coelestium, of Copernicus, was instrumental in working a veritable revolution in the accepted conception of the scheme of the universe, and of the earth's relative importance in that scheme. Newton's Principia explained the mechanics of the heavenly bodies to the wonderment of mankind.
The Mechanique Celeste and the Systeme du Mbnd of Laplace, expounding the nebular hypothesis, first cleared up the mystery of the creation of the world itself.
THE LITERATURE OF SCIENCE xv
The origin of the strata of the earth's crust was never even vaguely understood till James Hutton wrote his Revolutions of the Globe; the theories he put forward, involving the complete over throw of the accepted notions as to the age of our planet, extended and developed by Lyell, found full expression in the latter writer's Principles of Geology.
A vision of the successive' populations of beings that have peopled our globe, and have left no trace of their existence except in the form of random fossils, was first given in the Ossementa Fossiles of Cuvier. The origin of these successive populations of creatures, tentatively explained by Lamarck in 1809, was satis factorily accounted for just half a century later in the Origin of Species of Darwin.
This is but listing off-hand the names of a few of the more important classics of the literature of fact, in what may be con sidered a single line of thought. Each of these works was epochal, and is assured permanency of fame because of its influence on the advance of knowledge. Yet the very nature of the questions treated, necessarily removes some of them from the ken of the vast majority even of educated people. The Principia and the Mechanique Cdeste, for example, are in effect treatises on mathematics, and as such are necessarily repugnant, and indeed unintelligible, to all but a small coterie of readers. On the other hand, such topics as the origin of the earth's crust and the development of organic forms lend themselves much more readily to artistic treatment, and the history of some of the classics that treat of these topics points a very clear moral concerning the value of literary skill as an aid even to the most technical of scientists. Thus the book of Hutton, despite the startling, not to say sensational, character of its subject, found very few readers, chiefly because of its heavy, intricate style. Its data remained little known till Playfair practically re-wrote the book some years after its author's death. When Lyell took the subject in hand, the world had moved on a generation, to be sure, yet it was not so much this progress as the masterly exposition and lucid style of the Principles which forced the new geology upon the popular
xvi THE LITERATURE OF SCIENCE
attention. Lyell avowedly recognised both the difficulties and the desirability of attaining a popular style, and thanks to the success of his efforts at clear writing, the revolutionary doctrines of which he was the herald received in his own generation an acceptance which might otherwise have been long withheld from them.
The Origin of Species also owed much to the form of its presentation. Purporting to be only an abstract of the voluminous records which the author had spent twenty years in collecting, it necessarily bristled with technical facts, and hence could not be expected to make " easy reading. " Professor Huxley used to say that he never took it up afresh without finding something new that he had overlooked in previous readings ; and if Darwin's greatest disciple could make such a statement, it is hardly to be hoped that anyone else has ever fully mastered all the mere facts of the Origin. Yet these facts are arranged and presented in such fashion as to carry the reader forward, if not easily, at least clearly and unequivocally, to the conclusions at which the author aimed.
Nevertheless, it must be admitted that a greater artist might have marshalled the data of the Origin of Species in a still more convincing array, for it chances that a greater artist did so marshal its essentials with telling effect very soon after the book appeared. Much as Galileo, in his Dialogues, had given artistic expression to the revolutionary doctrines of Copernicus, Huxley, in his Man's Place in Nature, and in a score of other essays, brought all the resources of a marvellously flexible literary style to the aid of the equally revolutionary doctrines that Darwin had inaugurated. Nor was Huxley alone in this work. There came to his aid, from another field of science, a man of perhaps even greater literary skill ; a man who has probably had no peer as a master of English among the scientific writers of our generation. I mean, of course, Professor Tyndall. His writings and those of Huxley, not merely on this topic, but all along the lines of their varied scientific interests, are perhaps the best illustrations that have been given in our time of the extent to which literary art may triumph over difficulties of subject. Many of their essays stand as models of luminous exposition, lifting the reader over
THE LITERATURE OF SCIENCE xvii
every difficulty, and visualising the subject before ^him in enticing forms. Not all that they wrote is of equal value. Much of their most incisive work was of a controversial character, the interest of which cannot be other than ephemeral. Most of those well-aimed blows that were levelled in the cause of Darwinism spent their full force on the generation that called them forth. The cause triumphant, the means that led to victory, will be in the main forgotten. But fortunately there remains a fair residuum of writings of these masters that can claim a more lasting regard ; in particular, such masterpieces as Tyndall's "beautiful book"—as Lord Kelvin calls it—Heat as a Mode of Motion, and the various popular lectures of Huxley
It would be futile, however, to hope that even these can claim perennial popularity, or can have anything more than historical interest after the lapse of two or three generations. They are classics of scientific literature in their day, and classics they will remain, but their interest must wane as their facts lose novelty. The history of similar works in the past leaves no doubt as to this. Who to-day reads, for example, the discourses of the poet- scientist, Davy, which so captivated the English-speaking world at the beginning of the century ; or the equally lucid expositions of Arago, which set the French capital in a flutter a generation ago. Once so popular, these works have already become fossils on library shelves.
So it must be with all writings, however artistic their drapery, that depend fundamentally upon a skeleton of scientific facts for their interest. The creative literature of poem, of drama, of story, revolving ever about a few central human passions which time has little modified, may appeal to generation after generation, but the literature of fact is doomed to obsolescence by its own success.
There are certain other departments of the literature of science, however, which may claim a certain degree of immunity from this preordained fate. Histories^ of science, e. g. , stand on no different plane, intrinsically, from other histories. Thus Whewell's History of the Inductive Sciences, Cuvier's History of the Advance of Science
in his Generation, Draper's History of the Conflict between Religion VOL. VII. — 2
xviii THE LITERATUKE OF SCIENCE
and Science, White's recent work of similar title, and the numerous historical essays by other writers, including Arago, Huxley, and Tyndall among the number, must be judged on their literary merits according to the same standards by which one judges Gibbon or Mommsen. Again, there is a quite different field of scientific literature, of a lighter kind, yet perhaps most permanent of all, because of its introduction of the personal element, added to the universality of the interests to which it appeals. I refer now to the descriptive writers on natural history and allied topics, who have studied nature at first hand, and whose accounts of their dis coveries have the interest of personal narratives quite aside from the exact character of the facts which they record. There is a long list of such writings, of varying degrees of scientific accuracy, as of literary merit. Perhaps the most famous of them is the Compleate Angler of Isaac Walton, a work inconsequential enough in a scientific way, to be sure, yet falling clearly within our present category, and having a security of literary position that can be claimed by few other works to be found there. Next in point of time come the charming letters of Gilbert White, gossipping about the birds and beasts and reptiles and insects of his parish, and gathered into a soon-to-be-famous volume, under title of the Natural History of Selborne. Then in our own century there are the books of the hermit of Walden, Thoreau, the friend of Emerson, lover of Nature in her every phase, and diviner of many of her secrets ; and the essays of John Muir, the poet of the Sierra Nevadas, whom Emerson pronounced more wonderful even than Thoreau; and a small library of strictly contemporary writings in the same vein, with the works of John Borroughs at their head.
The authors of these works are delightful essayists, prose-poets if you will, whose inspiration is drawn directly from nature, and who breathe into their pages something of the freshness and novelty of Nature herself. They take the reader with them to the woods, and make him feel that their discoveries are his discoveries. What they have seen has the charm of personal experience ; the interest of the specific over the generic fact. One may know well
THE LITERATURE OF SCIENCE xix
enough that the cuckoo and the cow-bird lay their eggs in the nest of other birds ; but when, with the eyes of White or Burroughs, one spys upon the individual cuckoo or cow-bird, and watches its stealthy imposture upon yellow-hammer or warbler, one has the feeling of the discoverer, and the old story is ever new. There is something of this same element of personal interest, too, in the writings of several of the naturalists of more serious purpose. The Natural History of Buffon, and the Ornithologies of Wilson and Audubon, for example, will for this reason retain a certain interest long after the mere facts they recorded, considered as scientific data, are worn thread-bare with repetition.
Such writings as these, then, have a certain permanent value as literature. Owing their value to form rather than to matter, they are true works of art. But, on the other hand, no one would claim for them more than a minor place in art. However perfect of their kind, they are not of the most important kind. They are works for the leisure hour, far removed from the heights or the depths of the profound emotions. The really important share of science in building up the great literature of the world has not been attained through such means as this, nor indeed through any direct means. Its true power has been shown rather through the indirect channels of its influence upon literature that in itself is not scientific.
Ever since literature had a beginning there have been masters of the craft who have grasped eagerly after all the scientific knowledge of their time, and have made such use of the fragments then available as great artists alone could make. Take Shakespeare himself in illustration. Every one knows how his lines bristle with scientific allusions ; for has not the fact been brought against him in the absurd Baconian controversy ? Not to multiply illustrations, one might almost say that the greater the writer, the more surely do we find him in touch with the science of his time. This, to be sure, is no proof that scientific knowledge is pre-requisite to the practice of the literary art — since the greatest artists imbibe most eagerly every species of mental pabulum Still the fact is sugges tive, and at least it is hardly open to doubt that their knowledge
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of science has been a marked aid to the writers who have possessed such knowledge. Sometimes, indeed, a great writer has consciously recognised this obligation, and even avowed as when Coleridge declared that he attended Davy's lectures on chemistry to increase his stock of metaphors. Emerson, too, must have recognised this aid, so much of the science of his generation reflected in his writings. And Taine openly declared that he interrupted his literary career to devote several years to the study of medicine, because he had reached the conviction that every writer should have comprehensive knowledge of at least one department of science.
It must be admitted that these particular men, and most other litterateurs of scientific proclivities, have made only subordinate use of their scientific lore in their writings. Yet examples are not wanting in which the influence of science on literary art must be felt to have been more than merely incidental This true, not merely of minor poems, but of some of the great classics of the world -literature. Thus that rudimentary fourteenth - century science which Dante knew to its depths, based largely upon the Ptolemaic astronomy, still dominant, though so soon to be overthrown, forms the veritable framework of the mechanical structure, so to speak, of the Divine Comedy. So, too, the six teenth-century science which Milton knew so well, enters into the structure of the Paradise Lost in the most definitive fashion. How great its influence was will be most patent we reflect what momentous differences there would have been in certain cantos of Paradise Lost, had Milton written after the work of Hutton, Lamarck, Cuvier, Lyell, and Darwin had thrown the light of scientific interpretation upon the story of creation. Milton knew the science of the sixteenth century to its depths, but meagre enough were the data could offer on cosmogony. Paradise Lost reflects the science of its time but the science which transcends the bounds of unaided human senses, which reaches out into the infinities of space and down into the infinitesimal regions of the microcosm, revealing a universe of suns and universe of atoms the science which explains the origin of worlds, of sentient beings, of man
; a
;
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if
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is
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THE LITERATURE OF SCIENCE xxi
himself; the science which brings man's intellect under the sway of scale and measure, and which makes his tendencies, emotions, customs, beliefs, superstitions, religions even, the object of calm, unimpassioned investigation: this science is new, is of our own century, even of our own generation. Some day, perhaps, another Milton, learned in this science of a later era, will give us a new epic depicting the evolution of organic forms in true sequence, and the slow tortuous struggles of man toward a paradise which he has not yet gained. But the data for such an epic were never given into the hands of the artist until science revealed them, in part at least, in our generation.
If it be thought unlikely that such a union of science and art as is here suggested can ever be realised, let me hasten to cite a suggestive example, which will serve at once as the best instance in modern times of the direct influence of technical science upon great literature, and as an earnest of what the future may perhaps give us along the lines at which I have just hinted. I refer to certain familiar stanzas of Tennyson's " In Memoriam," which, written before the middle of the century, show the most marvellous grasp of the newest cosmologic science of that time. Thus the lines
Our little systems have their day ;
They have their day and cease to be :
would have been utterly unintelligible before the advent of that new astronomy which began with the discoveries of Herschel late in the eighteenth century, and which slowly made its conquests in the years of Tennyson's early manhood.
Even more recently revealed had been the truths of that geological philosophy which
are so marvellously summarised in the following stanzas :— But I shall turn mine ears and hear
The moanings of the homeless sea,
The sound of streams that swift or slow Draw down Ionian hills, and sow
The dust of continents to be.
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There rolls the deep where grew the tree.
O earth, what changes hast thou seen 1 There where the long street roars, hath been
The stillness of the central sea.
The hills are shadows, and they flow
From form to form, and nothing stands ; They melt like mist, the solid lands,
Like clouds they shape themselves and go.
The work of Lyell, which first gave an inkling of that slow melting away and rebuilding of the continents here pictured, was scarcely finished when these lines were written. Equally new was that knowledge of the extinct animal populations of the globe depicted by these other stanzas :—
Are God and Nature then at strife,
That Nature lends such evil dreams t So careful of the type she seems,
So careless of the single life ;
" So careful of the type ? " but no.
From scarped cliff and quarried stone She cries, " A thousand types are gone :
I care for nothing, all shall go. "
These words could by no possibility have been written before our century, for the facts they connote were utterly unknown to science of earlier times. They furnish an amazing proof of the
closeness with which the greatest poet of his generation followed the intricacies of such technical sciences as astronomy, geology, and paleontology, and of the influence which such sciences had on his art. Nor are the lines I have quoted the most suggestive ones to be found, for the closing stanzas of the poem seem to show, uneqivocally even if in slightly masked phraseology, that the insight of the poet had carried Tennyson beyond the plane of his geological masters, and enabled him to grasp the truth of that wider doctrine of cosmogony which was then a heresy of science and which was only to receive acceptance, even in technical circles, through Darwin's exposition a full decade after In Memoriam was written.
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I can never read these illuminative passages of that wonderful poem without asking myself why it was that the poet who thus had gained an insight into the truths of evolution in pre-Darwinian days, did not return to the subject later on when fresh data were at hand, and herald in verse the wonderful story of cosmogony, first revealed to our favoured generation. Was it that the position of Laureate had cramped the freedom of the master spirit ? Or had age drawn the veil of conservatism across the field of a once- piercing vision before the new doctrines found general acceptance ? Or yet again, was it that the master artisan found the materials of
I cannot say ; but whatever the explanation of Tennyson's silence, it leaves a rich field open to whatever successor has the genius to cultivate it.
the new story not yet ripe for the purposes of art ?
The new suggestive data lend themselves to artistic treatment. They lie ready to the hand of the master builder. Must there not come a twentieth-century Milton gifted with the scientific acumen to master these data, with the poet soul to weave them into visions, and with the master craftsmanship to make the visions body forth in words ? If so, some day we shall have, through the influence of science, a poem which will voice the spirit of our scientific epoch as the Divine Comedy " voiced the spirit of ten silent centuries," and as Paradise Lost voiced the spirit of the Renaissance.
THE APOCOLOCYNTOSIS ;
OB,
Diversion on the Death of the Emperor Claudius.
By SENECA.
(Translated for this work by Forrest Morgan. )
[Lucius Ank^us Seneca was born at Corduba, Spain, about b. c. 4, and became an eminent lawyer in Rome. In a. d. 41 he was banished to Corsica by Claudius at the instigation of Empress Messalina. Recalled after an exile of eight years, he was appointed by Agrippina joint tutor with Burrhus of the youthful Nero. The two secured good government in the early years of Nero's reign, but gradually lost their influence ; and Seneca, charged with conspiracy, committed suicide by the emperor's order, a. d. 65. He was a leading exponent of the Stoic philosophy. His writings comprise : discourses on philosophy and morals, the most important being "On Anger"; "On Mercy," addressed to Nero ; "On Giving and Receiving Favors " ; over one hundred letters to Lucil- ius; " Investigations in Natural Science" ; and eight tragedies, being the only complete specimens of Roman tragedies extant. ]
["Apocolocyntosis," or " Pumpkiniflcation," is a burlesque Greek word formed on the model of " Apotheosis " or "deification," as being more appropriate for Claudius. How it came to be attached to this skit (the second title is the original one) is a mystery, as there is nothing in the matter to suggest it, and the opinion of Seneca is evidently that Claudius was a pumpkin from the first, not that he was turned into one.
