"Of late I have observed sundry cases in which, having found the right, people deliberately desert it for the wrong. . . . A generation ago salt-cellars were made of convenient shapes—either ellipses or elongated parallelograms: the advantage being that the salt-spoon, placed lengthwise, remained in its place. But for some time past, fashion has dictated circular salt-cellars, on the edges of which the salt-spoon will not remain without skilful balancing: it falls on the cloth. In my boyhood a jug was made of a form at once convenient and graceful. . . . Now, however, the almost universal form of jug in use is a frustum of a cone with a miniature spout. It combines all possible defects. When anything like full, it is impossible to pour out a small quantity without part of the liquid trickling down beneath the spout; and a larger quantity cannot be poured out without exceeding the limits of the spout and running over on each side of it. If the jug is half empty, the tilting must be continued a long time before any liquid comes; and then, when it does come, it comes with a rush; because its surface has now become so large that a small inclination delivers a great deal. To all which add that the shape is as ugly a one as can well be hit upon. Still more extraordinary is the folly of a change made in another utensil of daily use"—and Spencer goes on to find fault with the cylindrical form of candle extinguisher, proving by a description of its shape that "it squashes the wick into the melted composition, the result being that when, next day, the extinguisher is taken off, the wick, imbedded in the solidified composition, cannot be lighted without difficulty" (vol. ii, page 238).
The remorseless explicitness, the punctuation, everything, make these specimens of public fault-finding with what probably was the equipment of Mr. Spencer's latest boarding-house, sound like passages from "The Man versus the State." Another example:—
"Playing billiards became 'my custom always of the afternoon.' Those who confess to billiard-playing commonly make some kind of an excuse. . . . It suffices to me that I like billiards, and the attainment of the pleasure given I regard as a sufficient motive. I have for a long time deliberately set my face against that asceticism which makes it an offence to do a thing for the pleasure of doing it; and have habitually contended that, so long as no injury is inflicted on others, nor any ulterior injury on self, and so long as the various duties of life have been discharged, the pursuit of pleasure for its own sake is perfectly legitimate and requires no apology. The opposite view is nothing else than a remote sequence of the old devil worship of the barbarian, who sought to please his god by inflicting pains upon himself, and believed his god would be angry if he made himself happy" (vol. ii, page 263).
The tone of pedantic rectitude in these passages is characteristic. Every smallest thing is either right or wrong, and if wrong, can be articulately proved so by reasoning. Life grows too dry and literal, and loses all aërial perspective at such a rate; and the effect is the more displeasing when the matters in dispute have a rich variety of aspects, and when the aspect from which Mr. Spencer deduces his conclusions is manifestly partial.
For instance, in his art-criticisms. Spencer in his youth did much drawing, both mechanical and artistic. Volume one contains a photo-print of a very creditable bust which he modelled of his uncle. He had a musical ear, and practiced singing. He paid attention to style, and was not wholly insensible to poetry. Yet in all his dealings with the art-products of mankind he manifests the same curious dryness and mechanical literality of judgment—a dryness increased by pride in his non-conformity. He would, for example, rather give a large sum than read to the end of Homer's Iliad,—the ceaseless repetition of battles, speeches, and epithets like well-greaved Greeks, horse-breaking Trojans; the tedious enumeration of details of dresses, arms, and chariots; such absurdities as giving the genealogy of a horse while in the midst of a battle; and the appeals to savage and brutal passions, having soon made the poem intolerable to him (vol. i, page 300). Turner's paintings he finds untrue, in that the earth-region is habitually as bright in tone as the air-region. Moreover, Turner scatters his detail too evenly. In Greek statues the hair is falsely treated. Renaissance painting, even the best, is spoiled by unreal illumination, and non-rendering of reflected light in the shadows. Venetian gothic sins by meaningless ornamentation. St. Mark's Church may be precious archaeologically, but is not aesthetically precious. Of Wagner's music he admires nothing but the skilful specialization of the instruments in the orchestra.
The fault-finding in all these cases rests on observation, true as far as it goes; but the total absence of genial relations with the entirety of the phenomenon discussed, the clutching at some paltry mechanical aspect of it that lends itself to reasoned proof by a plus b, and the practical denial of everything that only appeals to vaguer sentiment, show a mind so oddly limited to ratiocinative and explicit processes, and so wedded to the superficial and flagrantly insufficient, that one begins to wonder whether in the philosophic and scientific spheres the same mind can have wrought out results of extraordinary value.
Both "yes" and "no" are here the answer. Every one who writes books or articles knows how he must flounder until he hits upon the proper opening. Once the right beginning found, everything follows easily and in due order. If a man, however narrow, strikes even by accident, into one of these fertile openings, and pertinaciously follows the lead, he is almost sure to meet truth on his path. Some thoughts act almost like mechanical centres of crystallization; facts cluster of themselves about them. Such a thought was that of the gradual growth of all things, by natural processes, out of natural antecedents. Until the middle of the nineteenth century no one had grasped it wholesale; and the thinker who did so earliest was bound to make discoveries just in proportion to the exclusiveness of his interest in the principle. He who had the keenest eye for instances and illustrations, and was least divertible by casual side-curiosity, would score the quickest triumph.
To Spencer is certainly due the immense credit of having been the first to see in evolution an absolutely universal principle. If any one else had grasped its universality, it failed at any rate to grasp him as it grasped Spencer. For Spencer it instantly became "the guiding conception running through and connecting all the concrete sciences" (vol. ii, page 196). Here at last was "an object at once large and distinct enough" to overcome his "constitutional idleness." "With an important and definite end to achieve, I could work" (vol. i, page 215). He became, in short, the victim of a vivid obsession, and for the first time in his life seems to have grown genuinely ambitious. Every item of his experience, small or great, every idea in his mental storehouse, had now to be considered with reference to its bearing on the new universal principle. On pages 194-199 of volume two he gives an interesting summary of the way in which all his previous and subsequent ideas moved into harmonious coördination and subordination, when once he had this universal key to insight. Applying it wholesale as he did, innumerable truths unobserved till then had to fall into his gamebag. And his peculiar trick, a priggish infirmity in daily intercourse, of treating every smallest thing by abstract law, was here a merit. Add his sleuth-hound scent for what he was after, and his untiring pertinacity, to his priority in perceiving the one great truth and you fully justify the popular estimate of him as one of the world's geniuses, in spite of the fact that the "temperament" of genius, so called, seems to have been so lacking in him.
In one sense, then, Spencer's personal narrowness and dryness were not hindering, but helping conditions of his achievement. Grant that a vast picture quelconque had to be made before the details could be made perfect, and a greater richness and receptivity of mind would have resulted in hesitation. The quality would have been better in spots, but the extensiveness would have suffered.
Spencer is thus the philosopher of vastness. Misprised by many specialists, who carp at his technical imperfections, he has nevertheless enlarged the imagination, and set free the speculative mind of countless doctors, engineers, and lawyers, of many physicists and chemists, and of thoughtful laymen generally. He is the philosopher whom those who have no other philosopher can appreciate. To be able to say this of any man is great praise, and gives the "yes" answer to my recent question.