Science & Education: Essays

by Thomas Henry Huxley

The last point I have referred to is the question of the sufficiency of time. And here comes the rub. The teaching of science needs time, as any other subject; but it needs more time proportionally than other subjects, for the amount of work obviously done, if the teaching is to be, as I have said, practical. Work done in a laboratory involves a good deal of expenditure of time without always an obvious result, because we do not see anything of that quiet process of soaking the facts into the mind, which takes place through the organs of the senses. On this ground there must be ample time given to science teaching. What that amount of time should be is a point which I need not discuss now; in fact, it is a point which cannot be settled until one has made up one's mind about various other questions.

All, then, that I have to ask for, on behalf of the scientific people, if I may venture to speak for more than myself, is that you should put scientific teaching into what statesmen call the condition of "the most favoured nation"; that is to say, that it shall have as large a share of the time given to education as any other principal subject. You may say that that is a very vague statement, because the value of the allotment of time, under those circumstances, depends upon the number of principal subjects. It is x the time, and an unknown quantity of principal subjects dividing that, and science taking shares with the rest. That shows that we cannot deal with this question fully until we have made up our minds as to what the principal subjects of education ought to be.

I know quite well that launching myself into this discussion is a very dangerous operation; that it is a very large subject, and one which is difficult to deal with, however much I may trespass upon your patience in the time allotted to me. But the discussion is so fundamental, it is so completely impossible to make up one's mind on these matters until one has settled the question, that I will even venture to make the experiment. A great lawyer-statesman and philosopher of a former age--I mean Francis Bacon--said that truth came out of error much more rapidly than it came out of confusion. There is a wonderful truth in that saying. Next to being right in this world, the best of all things is to be clearly and definitely wrong, because you will come out somewhere. If you go buzzing about between right and wrong, vibrating and fluctuating, you come out nowhere; but if you are absolutely and thoroughly and persistently wrong, you must, some of these days, have the extreme good fortune of knocking your head against a fact, and that sets you all straight again. So I will not trouble myself as to whether I may be right or wrong in what I am about to say, but at any rate I hope to be clear and definite; and then you will be able to judge for yourselves whether, in following out the train of thought I have to introduce, you knock your heads against facts or not.

I take it that the whole object of education is, in the first place, to train the faculties of the young in such a manner as to give their possessors the best chance of being happy and useful in their generation; and, in the second place, to furnish them with the most important portions of that immense capitalised experience of the human race which we call knowledge of various kinds. I am using the term knowledge in its widest possible sense; and the question is, what subjects to select by training and discipline, in which the object I have just defined may be best attained.

I must call your attention further to this fact, that all the subjects of our thoughts--all feelings and propositions (leaving aside our sensations as the mere materials and occasions of thinking and feeling), all our mental furniture--may be classified under one of two heads--as either within the province of the intellect, something that can be put into propositions and affirmed or denied; or as within the province of feeling, or that which, before the name was defiled, was called the aesthetic side of our nature, and which can neither be proved nor disproved, but only felt and known.

According to the classification which I have put before you, then, the subjects of all knowledge are divisible into the two groups, matters of science and matters of art; for all things with which the reasoning faculty alone is occupied, come under the province of science; and in the broadest sense, and not in the narrow and technical sense in which we are now accustomed to use the word art, all things feelable, all things which stir our emotions, come under the term of art, in the sense of the subject-matter of the aesthetic faculty. So that we are shut up to this--that the business of education is, in the first place, to provide the young with the means and the habit of observation; and, secondly, to supply the subject-matter of knowledge either in the shape of science or of art, or of both combined.

Now, it is a very remarkable fact--but it is true of most things in this world--that there is hardly anything one-sided, or of one nature; and it is not immediately obvious what of the things that interest us may be regarded as pure science, and what may be regarded as pure art. It may be that there are some peculiarly constituted persons who, before they have advanced far into the depths of geometry, find artistic beauty about it; but, taking the generality of mankind, I think it may be said that, when they begin to learn mathematics, their whole souls are absorbed in tracing the connection between the premisses and the conclusion, and that to them geometry is pure science. So I think it may be said that mechanics and osteology are pure science. On the other hand, melody in music is pure art. You cannot reason about it; there is no proposition involved in it. So, again, in the pictorial art, an arabesque, or a "harmony in grey," touches none but the aesthetic faculty. But a great mathematician, and even many persons who are not great mathematicians, will tell you that they derive immense pleasure from geometrical reasonings. Everybody knows mathematicians speak of solutions and problems as "elegant," and they tell you that a certain mass of mystic symbols is "beautiful, quite lovely." Well, you do not see it. They do see it, because the intellectual process, the process of comprehending the reasons symbolised by these figures and these signs, confers upon them a sort of pleasure, such as an artist has in visual symmetry. Take a science of which I may speak with more confidence, and which is the most attractive of those I am concerned with. It is what we call morphology, which consists in tracing out the unity in variety of the infinitely diversified structures of animals and plants. I cannot give you any example of a thorough aesthetic pleasure more intensely real than a pleasure of this kind--the pleasure which arises in one's mind when a whole mass of different structures run into one harmony as the expression of a central law. That is where the province of art overlays and embraces the province of intellect. And, if I may venture to express an opinion on such a subject, the great majority of forms of art are not in the sense what I just now defined them to be--pure art; but they derive much of their quality from simultaneous and even unconscious excitement of the intellect.

When I was a boy, I was very fond of music, and I am so now; and it so happened that I had the opportunity of hearing much good music. Among other things, I had abundant opportunities of hearing that great old master, Sebastian Bach. I remember perfectly well--though I knew nothing about music then, and, I may add, know nothing whatever about it now--the intense satisfaction and delight which I had in listening, by the hour together, to Bach's fugues. It is a pleasure which remains with me, I am glad to think; but, of late years, I have tried to find out the why and wherefore, and it has often occurred to me that the pleasure derived from musical compositions of this kind is essentially of the same nature as that which is derived from pursuits which are commonly regarded as purely intellectual. I mean, that the source of pleasure is exactly the same as in most of my problems in morphology--that you have the theme in one of the old master's works followed out in all its endless variations, always appearing and always reminding you of unity in variety. So in painting; what is called "truth to nature" is the intellectual element coming in, and truth to nature depends entirely upon the intellectual culture of the person to whom art is addressed. If you are in Australia, you may get credit for being a good artist--I mean among the natives--if you can draw a kangaroo after a fashion. But, among men of higher civilisation, the intellectual knowledge we possess brings its criticism into our appreciation of works of art, and we are obliged to satisfy it, as well as the mere sense of beauty in colour and in outline. And so, the higher the culture and information of those whom art addresses, the more exact and precise must be what we call its "truth to nature."

If we turn to literature, the same thing is true, and you find works of literature which may be said to be pure art. A little song of Shakespeare or of Goethe is pure art; it is exquisitely beautiful, although its intellectual content may be nothing. A series of pictures is made to pass before your mind by the meaning of words, and the effect is a melody of ideas. Nevertheless, the great mass of the literature we esteem is valued, not merely because of having artistic form, but because of its intellectual content; and the value is the higher the more precise, distinct, and true is that intellectual content. And, if you will let me for a moment speak of the very highest forms of literature, do we not regard them as highest simply because the more we know the truer they seem, and the more competent we are to appreciate beauty the more beautiful they are? No man ever understands Shakespeare until he is old, though the youngest may admire him, the reason being that he satisfies the artistic instinct of the youngest and harmonises with the ripest and richest experience of the oldest.

I have said this much to draw your attention to what, to my mind, lies at the root of all this matter, and at the understanding of one another by the men of science on the one hand, and the men of literature, and history, and art, on the other. It is not a question whether one order of study or another should predominate. It is a question of what topics of education you shall select which will combine all the needful elements in such due proportion as to give the greatest amount of food, support, and encouragement to those faculties which enable us to appreciate truth, and to profit by those sources of innocent happiness which are open to us, and, at the same time, to avoid that which is bad, and coarse, and ugly, and keep clear of the multitude of pitfalls and dangers which beset those who break through the natural or moral laws.