Thus everything in the universe—the heavens, the earth, plants, animals, and, above all, men—bears the stamp of a Deity. Everything shows and proclaims a set design, and a series and concatenation of subordinate causes, over-ruled and directed with order by a superior cause.
It is preposterous and foolish to criticise upon this great work. The defects that happen to be in it proceed either from the free and disorderly will of man, which produces them by its disorder, or from the ever holy and just will of God, who sometimes has a mind to punish impious men, and at other times by the wicked to exercise and improve the good. Nay, it happens oftentimes that what appears a defect to our narrow judgment in a place separate from the work is an ornament with respect to the general design, which we are not able to consider with views sufficiently extended and simple to know the perfection of the whole. Does not daily experience show that we rashly censure certain parts of men’s works for want of being thoroughly acquainted with the whole extent of their designs and schemes? This happens, in particular, every day with respect to the works of painters and architects. If writing characters were of an immense bigness, each character at close view would take up a man’s whole sight, so that it would not be possible for him to see above one at once; and, therefore, he would not be able to read—that is, put different letters together, and discover the sense of all those characters put together. It is the same with the great strokes of Providence in the conduct of the whole world during a long succession of ages. There is nothing but the whole that is intelligible; and the whole is too vast and immense to be seen at close view. Every event is like a particular character that is too large for our narrow organs, and which signifies nothing of itself and separate from the rest. When, at the consummation of ages, we shall see in God—that is, in the true point and centre of perspective—the total of human events, from the first to the last day of the universe, together with their proportions with regard to the designs of God, we shall cry out, “Lord, Thou alone art just and wise!” We cannot rightly judge of the works of men but by examining the whole. Every part ought not to have every perfection, but only such as becomes it according to the order and proportion of the different parts that compose the whole. In a human body, for instance, all the members must not be eyes, for there must be hands, feet, &c. So in the universe, there must be a sun for the day, but there must be also a moon for the night. Nec tibi occurrit perfecta universitas, nisi ubi majora sic præsto sunt, ut minora non desint. This is the judgment we ought to make of every part with respect to the whole. Any other view is narrow and deceitful. But what are the weak and puny designs of men, if compared to that of the creation and government of the universe? “As much as the heavens are above the earth, as much,” says God in the Holy Writ, “are My ways and My thoughts above yours.” Let, therefore, man admire what he understands, and be silent about what he does not comprehend. But, after all, even the real defects of this work are only imperfections which God was pleased to leave in it, to put us in mind that He drew and made it from nothing. There is not anything in the universe but what does and ought equally to bear these two opposite characters: on the one side, the seal or stamp of the artificer upon his work, and, on the other, the mark of its original nothing, into which it may relapse and dwindle every moment. It is an incomprehensible mixture of low and great; of frailty in the matter, and of art in the maker? The hand of God is conspicuous in everything, even in a worm that crawls on earth. Nothingness, on the other hand, appears everywhere, even in the most vast and most sublime genius. Whatever is not God, can have but a stinted perfection; and what has but a stinted perfection, always remains imperfect on the side where the boundary is sensible, and denotes that it might be improved. If the creature wanted nothing, it would be the Creator Himself; for it would have the fulness of perfection, which is the Deity itself. Since it cannot be infinite, it must be limited in perfection, that is, it must be imperfect on one side or other. It may have more or less imperfection, but still it must be imperfect. We must ever be able to point out the very place where it is defective, and to say, upon a critical examination, “This is what it might have had, what it has not.”
SECT. LXXXIX. The Defects of the Universe compared with those of a Picture.
Do we conclude that a piece of painting is made by chance when we see in it either shades, or even some careless touches? The painter, we say, might have better finished those carnations, those draperies, those prospects. It is true, this picture is not perfect according to the nicest rules of art. But how extravagant would it be to say, “This picture is not absolutely perfect; therefore it is only a collection of colours formed by chance, nor did the hand of any painter meddle with it!” Now, what a man would blush to say of an indifferent and almost artless picture he is not ashamed to affirm of the universe, in which a crowd of incomprehensible wonders, with excellent order and proportion, are conspicuous. Let a man study the world as much as he pleases; let him descend into the minutest details; dissect the vilest of animals; narrowly consider the least grain of corn sown in the ground, and the manner in which it germinates and multiplies; attentively observe with what precautions a rose-bud blows and opens in the sun, and closes again at night; and he will find in all these more design, conduct, and industry than in all the works of art. Nay, what is called the art of men is but a faint imitation of the great art called the laws of Nature, and which the impious did not blush to call blind chance. Is it therefore a wonder that poets animated the whole universe, bestowed wings upon the winds, and arrows on the sun, and described great rivers impetuously running to precipitate themselves into the sea, and trees shooting up to heaven to repel the rays of the sun by their thick shades? These images and figures have also been received in the language of the vulgar, so natural it is for men to be sensible of the wonderful art that fills all nature. Poetry did only ascribe to inanimate creatures the art and design of the Creator, who does everything in them. From the figurative language of the poets those notions passed into the theology of the heathens, whose divines were the poets. They supposed an art, a power, or a wisdom, which they called numen, in creatures the most destitute of understanding. With them great rivers were gods; and springs, naiads. Woods and mountains had their particular deities; flowers had their Flora; and fruits, Pomona. After all, the more a man contemplates Nature, the more he discovers in it an inexhaustible stock of wisdom, which is, as it were, the soul of the universe.
SECT. XC. We must necessarily conclude that there is a First Being that created the Universe.
What must we infer from thence? The consequence flows of itself. “If so much wisdom and penetration,” says Minutius Felix, “are required to observe the wonderful order and design of the structure of the world, how much more were necessary to form it!” If men so much admire philosophers, because they discover a small part of the wisdom that made all things, they must be stark blind not to admire that wisdom itself.
SECT. XCI. Reasons why Men do not acknowledge God in the Universe, wherein He shows Himself to them, as in a faithful glass.
This is the great object of the universe, wherein God, as it were in a glass, shows Himself to mankind. But some (I mean, the philosophers) were bewildered in their own thoughts. Everything with them turned into vanity. By their subtle reasonings some of them overshot and lost a truth which a man finds naturally and simply in himself without the help of philosophy.
Others, intoxicated by their passions, live in a perpetual avocation of thought. To perceive God in His works a man must, at least, consider them with attention. But passions cast such a mist before the eyes, not only of wild savages, but even of nations that seem to be most civilised and polite, that they do not so much as see the light that lights them. In this respect the Egyptians, Grecians, and Romans were no less blind or less brutish than the rudest and most ignorant Americans. Like these, they lay, as it were, buried within sensible things without going up higher; and they cultivated their wit, only to tickle themselves with softer sensations, without observing from what spring they proceeded. In this manner the generality of men pass away their lives upon earth. Say nothing to them, and they will think on nothing except what flatters either their brutish passions or vanity. Their souls grow so heavy and unwieldy that they cannot raise their thoughts to any incorporeal object. Whatever is not palpable and cannot be seen, tasted, heard, felt, or told, appears chimerical to them. This weakness of the soul, turning into unbelief, appears strength of mind to them; and their vanity glories in opposing what naturally strikes and affects the rest of mankind, just as if a monster prided in not being formed according to the common rules of Nature, or as if one born blind boasted of his unbelief with respect to light and colours, which other men perceive and discern.