Is Darwin Dead? by G.K. Chesterton

Mr. Ernest Newman, that lively and acute critic, once rebuked the arrogance of those of us who confessed that we knew nothing about music. Why he should suppose we are arrogant about it, if he does think so, I cannot quite understand. I, for one, am fully conscious of my inferiority to him and others through this deficiency; nor is it, alas, the only deficiency. I have sometimes thought it would be wholesome for anybody who has succeeded pretty well by some trick of some trade, to have a huge notice board or diagram hung in front of him all day; showing exactly where he stood in all the other crafts and competitions of mankind. Thus the poet's eye in a fine frenzy rolling, as it rose from the paper on which an entirely new type of villanelle had just sprung into being, would encounter the disconcerting facts and figures about his suitability to be a professional acrobat or a pearl-diver.

On the other hand, the radiant victor in the great International Egg and Spoon Race can see at a glance how very far down he stands, so to speak, in the queue of those waiting for the post of Astronomer Royal. Most of us have at least one or two gaps in our general culture and information; and sometimes whole departments of knowledge are practically hidden from whole generations and classes of mankind. There is something very defective and disproportionate about even the ideal culture of a modern man. It may be that Mr. Newman is deeply read in that medieval theology which is still the subconscious basis of most morality; but it is also possible that he is not. He may have at his fingers' ends that military art which has often turned the fortunes of history; but he may not. He would be none the less a highly cultivated gentleman, if he did not. Yet the mystical and the military mind have been at least as pivotal and practical in history as the musical mind.

I can admire them all, but I have no claim to possess any of them.

But my ignorance of music happens to assist me with a convenient metaphor in the more controversial matter of my ignorance of science. I once made some remarks about the decline of Darwinism, in a review of the Wells "Outline of History. " This aroused rather excited criticism; but one comparatively calm critic challenged what really interests me in the matter: he said that my conundrums about the wing of the bat and similar things "could easily be solved on purely Darwinian lines by any competent zoologist, or even by one so incompetent as myself. " The conundrum in question, of course, concerns the survival value of features in their unfinished state. If a thing can fly it may survive, and if it has a wing it may fly; but if it cannot fly with half a wing, why should it survive with half a wing? Yet Darwinism pre-supposes that numberless generations could survive before one generation could fly.

Now it is quite true that I am not even an incompetent zoologist; and that my critic is more competent than I, if only in the mere fact of being a zoologist at all. Nevertheless, I adhere to my opinion, and do so for a reason that seems to me worthy of some little consideration. I do it because this does happen to be exactly one of those questions on which, as it seems to me, the independent critic has really a right to check the specialist. For it is a larger question of logic, and not a smaller question of fact. It is like the difficulty of believing that a halfpenny can fall head or tail a hundred times running; which has nothing to do with the numismatic value of the coin. It is like the difficulty of believing that a mere tax could make a loaf cheaper, which has nothing to do with the agrarian craft of growing corn.

There is a general tide of reason flowing against such improbabilities, even if they are possibilities; they would still be exceptions, and reason would be on the side of the rule. And whatever the details of natural history, this thing is against the very nature of things.

To explain what I mean I will take this parallel of the technique of music, of which I know even less than of the technique of natural history. To begin with a simple though moving musical instrument, suppose an expert told me that a coach-horn could be blown quite as well if it were only two feet long. I should believe him; partly because it seems probable enough, and partly because I know nothing about the matter. I am not even an incompetent coach-horn blower. But I should certainly not believe him if he told me, as a generalization about all musical instruments, that half a musical instrument was better than no music, or even as good as any music. I should disbelieve it because it is inconsistent with the general nature of a musical instrument, or any instrument. I should disbelieve it long before I had thought of the thousand particular instruments to which it does not apply. I should not primarily need to think of the particular examples, though they are obvious enough.

A stringed instrument cannot even be called stringed without two fixed points to hold both ends of the string. At the stage when the fiddle-strings floated like filaments in the void, feeling their way towards an evolutionary other end of nowhere, there could be nothing serving any purpose of a fiddle. A drum with a hole in is not a drum at all.