Evolution, Old & New: Or, the Theories of Buffon, Dr. Erasmus Darwin and Lamarck,; as compared with that of Charles Darwin — John Shaqi
Evolution, Old & New: Or, the Theories of Buffon, Dr. Erasmus Darwin and Lamarck,; as compared with that of Charles DarwinButler, Samuel
Philosophy
Evolution, Old & New: Or, the Theories of Buffon, Dr. Erasmus Darwin and Lamarck,; as compared with that of Charles Darwin
Butler, Samuel
Evolution (Biology) -- History
I have insisted in each of my three books on Evolution upon the
immensity of the service which Mr. Darwin rendered to that
transcendently important theory. In "Life and Habit," I said: "To the
end of time, if the question be asked, 'Who taught people to believe in
Evolution?' the answer must be that it was Mr. Darwin." This is true;
and it is hard to see what palm of higher praise can be awarded to any
philosopher.
I have always admitted myself to be under the deepest obligations to Mr.
Darwin's works; and it was with the greatest reluctance, not to say
repugnance, that I became one of his opponents. I have partaken of his
hospitality, and have had too much experience of the charming simplicity
of his manner not to be among the readiest to at once admire and envy
it. It is unfortunately true that I believe Mr. Darwin to have behaved
badly to me; this is too notorious to be denied; but at the same time I
cannot be blind to the fact that no man can be judge in his own case,
and that after all Mr. Darwin may have been right, and I wrong.
At the present moment, let me impress this latter alternative upon my
mind as far as possible, and dwell only upon that side of Mr. Darwin's
work and character, about which there is no difference of opinion among
either his admirers or his opponents.
_April 21, 1882._
PREFACE.
Contrary to the advice of my friends, who caution me to avoid all
appearance of singularity, I venture upon introducing a practice, the
expediency of which I will submit to the judgment of the reader. It is
one which has been adopted by musicians for more than a century--to the
great convenience of all who are fond of music--and I observe that
within the last few years two such distinguished painters as Mr.
Alma-Tadema and Mr. Hubert Herkomer have taken to it. It is a matter for
regret that the practice should not have been general at an earlier
date, not only among painters and musicians, but also among the people
who write books. It consists in signifying the number of a piece of
music, picture, or book by the abbreviation "Op." and the number
whatever it may happen to be.
Public-domain text, read in full here on John Shaqi.
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