The English Novel and the Principle of its DevelopmentLanier, Sidney
History
The English Novel and the Principle of its Development
Lanier, Sidney
English fiction -- History and criticism
On the other hand, the widest generalizations of science bring us
practically to the same view. Science would seem fairly to have
reduced all this host of phenomena which we call the world into a
congeries of motions in many forms. What we know by our senses is
simply such forms of these motions as our senses have a correlated
capacity for. The atoms of this substance, moving in orbits too narrow
for human vision, impress my sense with a certain property which I
call hardness or resistance, this "hardness" being simply our name for
one form of atom-motion when impressing itself on the human sense. So
color, shape, &c.; these are our names representing a correlation
between certain other forms of motion and our senses. Regarding the
whole universe thus as a great congeries of forms of motion, we may
now go farther and make for ourselves a scientific and useful
generalization, reducing a great number of facts to a convenient
common denominator, by considering that Science is the knowledge of
these forms; that Art is the creation of beautiful forms; that
Religion is the faith in the infinite Form-giver and in that infinity
of forms which many things lead us to believe as existing, but
existing beyond any present correlative capacities of our senses; and
finally that Life is the control of all these forms to the
satisfaction of our human needs.
And now advancing a step: when we remember how all accounts, the
scientific, the religious, the historical, agree that the progress of
things is _from_ chaos or formlessness _to_ form, and, as we saw in
the case of verse and prose, afterwards from the one-formed to the
many-formed, we are not disturbed by any shouts, however stentorian,
of a progress that professes to be winning freedom by substituting
formlessness for form; we know that the ages are rolling the other
way,--who shall stop those wheels? We know that what they really do
who profess to substitute formlessness for form is to substitute a
bad form for a good one, or an ugly form for a beautiful one. Do not
dream of getting rid of form; your most cutting stroke at it but gives
us two forms for one. For, in a sense which adds additional reverence
to the original meaning of those words, we may devoutly say that in
form we live and move and have our being. How strange, then, the
furtive apprehension of danger lying behind too much knowledge of
form, too much technic, which one is amazed to find prevailing so
greatly in our own country.
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