Darwin

by Gamaliel Bradford

II

With artistic and general æsthetic matters, Darwin, at any rate in later years, was even more indifferent than with political. It is true that his scientific investigations sometimes involved the abstract analysis of æsthetics: ‘I agree with what you say about beauty. I formerly thought a good deal on the subject, and was led quite to repudiate the doctrine of beauty being created for beauty’s sake.’[330] The theory of sexual selection, as presented in ‘The Descent of Man,’ necessitated a good deal of discussion of the susceptibility to color and form and to music. But such æsthetic discussion has nothing whatever to do with æsthetic enjoyment.

One thing may be said in regard to Darwin; with art as with everything else, he was absolutely free from pretense. He says of one writer, ‘The pretentiousness of her style is extremely disagreeable, not to say nauseous to many persons.’[331] Anything artificial, anything affected, was peculiarly repugnant to him, and never under any circumstances would he have pretended to admire or to appreciate a work of art that really left him cold. Indeed it was partly his intense wish not to appear to feel what he did not feel that made him inclined to underestimate his artistic pleasure as compared with the raptures of those who exclaimed conventionally over what they neither understood nor enjoyed.

Nevertheless, it seems unquestionable that art in its varied forms hardly afforded Darwin the delight and solace that it brings to many persons. The theater he cared little for at any period of his life. The effort, fatigue, and constraint outweighed the charm. Mrs. Darwin, who was a lover of average plays, though she found Shakespeare tedious and said so with something of her husband’s candor, is quite anxious on the subject: ‘The real crook in my lot I have withheld from you, but I must own it to you sooner or later. It is that he has a great dislike of going to the play, so that I am afraid we shall have some domestic dissensions on that head.’[332] Later she takes him to see Macready in ‘Richelieu’ and hopes that he is getting converted, but there are no signs that the hopes were finally realized.

With the plastic arts the case is somewhat better. There is little reference to architecture. One passage in a letter seems to suggest the feeling of cathedral grandeur, but the æsthetic quickly turns into the scientific bearing: ‘Possibly the sense of sublimity excited by a grand cathedral may have some connection with the vague feelings of terror and superstition in our savage ancestors, when they entered a great cavern or gloomy forest.’[333] As regards pictures, his son thinks that he did keep up his love of them to a certain extent.[334] His biographer remarks: ‘His love of pictures as a young man is almost a proof that he must have had an appreciation of a portrait as a work of art, not as a likeness.’[335] And the biographer adds, with entire justice: ‘This way of looking at himself as an ignoramus in all matters of art, was strengthened by the absence of pretence, which was part of his character.’[336] The immediate recognition of a Salvator Rosa scene in one of the Beagle experiences shows an acquaintance with painting in its different forms and periods.[337] Yet pictures make a different showing in Darwin’s letters from what they have in Edward FitzGerald’s, for instance.

The form of art which meant most to Darwin and into which he seemed to enter with the nearest approach to ecstasy was music. Here again, there is a good deal of theoretical discussion, which at times appears of a nature to dampen emotional enjoyment. But there can be no question that with Darwin as a young man the emotional enjoyment was there, and sincere, and profound, even at times overmastering. He does indeed confess that his musical ear was not fine or perfect: ‘I am so utterly destitute of an ear, that I cannot perceive a discord, or keep time and hum a tune correctly; and it is a mystery how I could possibly have derived pleasure from music.’[338] But it is manifest that he did derive such pleasure, and went out of his way to seek it: ‘I also got into a musical set.... From associating with these men, and hearing them play I acquired a strong taste for music, and used very often to time my walks so as to hear on week days the anthem in King’s College Chapel.’[339]

The love was for good music, too, not by any means for what was trashy or cheap. He liked Beethoven and Händel, had the natural instinct for the high and fine, in this as in other matters. Mrs. Darwin took him to classical concerts and he responded much more heartily than to the theater. He liked to have his wife and his sisters play to him, and when he was absent with the Beagle, he wrote: ‘I hope your musical tastes continue in due force. I shall be ravenous for the pianoforte.’[340]

And the enjoyment was not merely perfunctory, but went deep, and took hold of the nerves. ‘At the end of one of the parts, which was exceedingly impressive, he turned round to me and said, with a deep sigh, “How’s your backbone?” He often spoke of coldness or shivering in his back on hearing beautiful music.’[341] The references to this thrill, this tension of nervous musical excitement, occur occasionally even in Darwin’s more scientific works.

And then there is the recurring doubt, the mistrust of one’s sincerity, the desperate dread of sentimental convention in these artistic matters: ‘This gave me intense pleasure, so that my backbone would sometimes shiver. I am sure that there was no affectation or mere imitation in this taste, for I used generally to go by myself to King’s College, and I sometimes hired the chorister boys to sing in my rooms.’[342]

But, affectation or not, the musical enthusiasm vanished, and the encroaching, all-absorbing growth of the scientific preoccupation crowded it out. Indeed, any one who is susceptible to musical delight, appreciates how elusive it is, how much it depends upon favorable conditions and surroundings, and how peculiarly its delicate and subtle quality is subject to erasure by distractions of a different order. And Darwin’s comment on the disappearance of his pleasure in music is: ‘I have said that formerly pictures gave me considerable, and music very great delight.... I have also almost lost my taste for pictures or music. Music generally sets me thinking too energetically on what I have been at work on, instead of giving me pleasure.’[343]

With the enjoyment of beauty in literary forms, Darwin’s sense of loss was quite as keen as with music. Of the higher and finer elements of style and imagination there is little evidence that he was conscious. Such consciousness would not seem very compatible with his remark about Buckle: ‘To my taste he is the very best writer of the English language that ever lived, let the other be who he may.’[344]

In this connection it is interesting to consider Darwin’s own style, as it appears in the vast mass of his production, running probably, letters and all, to over two million words. In this mass there are occasional passages of appealing beauty or startling effectiveness, for example, the charming sentence, written in age, ‘I should very much like to see you again, but you would find a visit here very dull, for we feel very old and have no amusement, and lead a solitary life,’[345] or the much earlier passage: ‘This letter is a most untidy one, but my mind is untidy with joy.’[346]

But Darwin, in writing, would have bestowed no thought or care on such qualities as these. He had a great discovery to give to the world. His one desire was to give it accurately, lucidly, and in a form that would convince, and it was his despair that he thought nature had not endowed him with the gifts for doing this. He envies the admirable literary skill of Huxley and Spencer and deplores his own inability to get his thoughts and ideas into a shape that would force mankind to read and understand them: ‘I do not believe any man in England naturally writes so vile a style as I do.’[347]

Which is a gross exaggeration and belongs to the humility so manifest in other and more important matters. It is true that there are curious lapses from mere formal correctness, as in the rather attractive misuse of ‘like,’ which occasionally occurs: ‘Few have observed like you have done.’[348] It is true, also, that Darwin had not the swift and eloquent vigor of Huxley, which has sometimes virile energy enough to make force of statement appear like truth of fact. But no one, I think, can read Darwin at all widely without getting to feel a singular charm in the absolute simplicity of his manner of expressing himself. To be sure, Huxley suggests that the very simplicity is sometimes misleading: ‘A somewhat delusive simplicity of style, which tends to disguise the complexity and difficulty of the subject.’[275] But when so many writers make simple subjects difficult, it would surely be ungracious to complain of one who makes a difficult subject simple. As I have before suggested, Darwin’s perfect candor, his absolute sincerity, his intense and obvious effort to have you think with him, seem to take the place of great literary qualities and to give his prose a revealing directness which is quite lacking to some who are more highly skilled.

Especially is this the case with the correspondence, where finish and technical perfection are of less importance than the power of spontaneous spiritual contact. In maintaining this contact there are few letter-writers who can surpass Darwin, and his four solid volumes, technical and scientific as they are, have a singular and persistent appeal to those who have a taste for that kind of writing.

As to his own personal enjoyment of literature, one form of it at least continued to attract him to the very last, and that was fiction. Relief from the strain of his scientific labors was best found in stories which distracted and absorbed: ‘He was extremely fond of novels,’ says his son, ‘and I remember well the way in which he would anticipate the pleasure of having a novel read to him, as he lay down, or lighted his cigarette. He took a vivid interest both in plot and characters, and would on no account know beforehand how a story finished; he considered looking at the end of a novel as a feminine vice.’[276] Darwin himself confirms this statement: ‘Novels, which are works of the imagination, though not of a very high order, have been for years a wonderful relief and pleasure to me, and I often bless all novelists. A surprising number have been read aloud to me, and I like all if moderately good, and if they do not end unhappily—against which a law ought to be passed.’[277] He enjoyed Miss Austen, he adored Scott, and cites the Laird of Redgauntlet’s facial peculiarity in the book on Expression. He did not like realism, even in the mild form practiced by George Eliot, and he wished things and people to be agreeable: ‘A novel, according to my taste, does not come into the first class, unless it contains some person whom one can thoroughly love, and if a pretty woman, all the better.’[197]

But for the higher orders of literature, the loss was indubitable, and Darwin himself makes it very emphatic. He tells us that in his youth he enjoyed poetry. Shakespeare was his favorite reading. He read Thomson and Byron, and he got much pleasure from ‘Paradise Lost’: ‘Formerly Milton’s “Paradise Lost” had been my chief favorite, and in my excursions during the voyage of the Beagle, when I could take only a single volume, I always chose Milton.’[198] The solid evidence of this enjoyment is the frequent reference to poetical reading in Darwin’s books. Even in connection with strictly scientific topics he is apt to introduce some citation from the poets which not only proves his point, but shows his familiarity.

Yet in later years all this poetical interest disappeared, and Darwin bewails the disappearance deeply. Shakespeare, who had touched and stirred him, ceases to awaken any emotion, rings merely hollow and empty: ‘Now for many years I cannot endure to read a line of poetry: I have tried lately to read Shakespeare, and found it so intolerably dull that it nauseated me.’[199]

A clever writer in the Popular Science Monthly some years ago endeavored to prove that here, as in other things, Darwin’s humility much exaggerated his defects, and that his natural poetical sympathy was greater than he recognized. This writer urges Darwin’s early enjoyment and his constant, apt, and accurate quotation to establish the thesis: ‘By his unconscious confession and the evidence of his written works, his mind was leavened with poetic feeling; all through his mature life he is ready with quotation when the occasion calls; and the very poignancy of his regret for the loss of poetry witnesses to his poetic endowment.’[200] But the contention though ingenious, is exaggerated. Darwin’s quick intelligence was interested in the substance of Shakespeare and Milton and other poets and prose writers. But it seems to me impossible that any one who had really felt the high stimulus of the splendor of Shakespeare’s imagination could ever have lost it to any such extent as Darwin deplores with obvious sincerity. Sainte-Beuve had as wide and varied a scientific curiosity as Darwin’s. But he said when he was well over fifty, ‘I rarely write about poetry, precisely because I have loved it so much and because I still love it more than anything else.’[201] Goethe’s old age was filled with scientific preoccupations, yet the glory of poetry was more to him than any possible science.