Moreover, in the way your case is stated, it seems to concede the most important half of the question, and so affords a presumption for the rest, on the side of design. For you seem to assume an actor, a designer, accomplishing his design in the first instance. You--a bystander--infer that the player effected his design in sending the first ball to the pocket before him. You infer this from observation alone. Must you not from a continuance of the same observation equally infer a common design of the two players in the complex result, or a design of one of them to frustrate the design of the other? If you grant a designing actor, the presumption of design is as strong, or upon continued observation of instances soon becomes as strong, in regard to the deflection of the balls, or variation of the species, as it was for the result of the first impulse or for the production of the original animal, etc. But, in the case to be illustrated, we do not see the player. We see only the movement of the balls. Now, if the contrivances and adaptations referred to really do "prove a designer as much as the palace or the watch proves an architect or a watchmaker"--as Paley and Bell argue, and as your skeptic admits, while the alternative is between design and chance--then they prove it with all the proof the case is susceptible of, and with complete conviction. For we cannot doubt that the watch had a watchmaker. And if they prove it on the supposition that the unseen operator acted immediately--i.e., that the player directly impelled the balls in the directions we see them moving, I insist that this proof is not impaired by our ascertaining that he acted mediately--i.e., that the present state or form of the plants or animals, like the present position of the billiard-balls, resulted from the collision of the individuals with one another, or with the surroundings. The original impulse, which we once supposed was in the line of the observed movement, only proves to have been in a different direction; but the series of movements took place with a series of results, each and all of them none the less determined, none the less designed. Wherefore, when, at the close, you quote Laplace, that "the discoveries of science throw final causes farther back," the most you can mean is, that they constrain us to look farther back for the impulse. They do not at all throw the argument for design farther back, in the sense of furnishing evidence or presumption that only the primary impulse was designed, and that all the rest followed from chance or necessity. Evidence of design, I think you will allow, everywhere is drawn from the observation of adaptations and of results, and has really nothing to do with anything else, except where you can take the word for the will. And in that case you have not argument for design, but testimony. In Nature we have no testimony; but the argument is overwhelming.