This is a statement about church furnishing; but not, as I think you may have noticed, a scientific statement—that is to say, a merely informative and unimpassioned statement. Milton, it is clear, designed to communicate, along with the facts about altars, certain biological feelings of his own—as hatred of priests and sympathy for an exploited laity. Thanks to the skilful use of a number of technical literary devices—devices which, unfortunately, I have no time to describe and analyse—the passage also gives us a lively feeling of aesthetic satisfaction. Milton communicates what he has to say with art; that is to say, he communicates it successfully. He really makes us feel, at any rate while we are reading him, some of his own indignation.
Huxley, as I shall show in due course, was an artist in both these kinds of literature—an artist in pure scientific statement, and also, on occasion, an artist in the communication of what I have called the biological feelings. Both his pure scientific and his emotive statements arouse aesthetic feelings; in other words, each kind of statement is, in its own way, beautiful.
Huxley realized very well the importance of being an artist. Of the Germans he writes: ‘As men of research in positive science they are magnificently laborious and accurate. But most of them have no notion of style, and seem to compose their books with a pitchfork.’ Determined that his own books should not justify a similar reproach, he cultivated his literary gifts with conscientious industry. ‘It constantly becomes more and more difficult for me to finish things satisfactorily,’ he writes to Hooker in 1860. The reason for this was that his standard of literary excellence was constantly becoming higher. Let me quote in this context a letter to his French translator, de Varigny. ‘I am quite conscious that the condensed and idiomatic English into which I always try to put my thoughts must present many difficulties to a translator. . . . The fact is that I have a great love and respect for my native tongue, and take great pains to use it properly. Sometimes I write essays half a dozen times before I can get them into the proper shape; and I believe I become more fastidious as I grow older.’ It was an effective fastidiousness; Huxley undoubtedly wrote better as he grew older.
What were his artistic principles and ideals? The following passage from a letter to the Pall Mall Gazette in 1886 is illuminating:
‘That a young Englishman may be turned out of one of our universities, “epopt and perfect,” as far as their system takes him, and yet ignorant of the noble literature which has grown up in these islands during the last three centuries, no less than of the philosophical and political ideas which have most profoundly influenced modern civilization, is a fact in the history of the nineteenth century which the twentieth will find hard to believe; though perhaps it is not more incredible than our current superstition that whoso wishes to write and speak English well should mould his style after the models furnished by classical antiquity. For my part, I venture to doubt the wisdom of attempting to mould one’s style by any other process than that of striving after the clear and forcible expression of definite conceptions; in which process the Glassian precept, “first catch your definite conceptions,” is probably the most difficult to obey. But still I mark among distinguished contemporary speakers and writers of English, saturated with antiquity, not a few to whom, it seems to me, the study of Hobbes might have taught dignity, of Swift, concision and clearness, of Goldsmith and Defoe, simplicity.
‘Well, among a hundred young men whose university career is finished, is there one whose attention has ever been directed by his literary instructors to a page of Hobbes, or Swift, or Goldsmith, or Defoe? In my boyhood we were familiar with Robinson Crusoe, The Vicar of Wakefield and Gulliver’s Travels; and though the treasures of “Middle English” were hidden from us, my impression is that we ran less chance of learning to write and speak the “middling English” of popular orators and head masters than if we had been perfect in such mysteries and ignorant of those three masterpieces. It has been the fashion to decry the eighteenth century, as young fops laugh at their fathers. But we were there in germ; and a “Professor of Eighteenth-Century History and Literature” who knew his business might tell young Englishmen more of that which it is profoundly important that they should know, but which at present remains hidden from them, than any other instructor: and, incidentally, they would learn to know good English when they see or hear it—perhaps even to distinguish between slipshod copiousness and true eloquence, and that alone would be a great gain.’
To literary beginners, Huxley’s advice was: ‘Say that which has to be said in such language that you can stand cross-examination on each word.’ And again: ‘Be clear, though you may be convicted of error. If you are clearly wrong, you will run up against a fact sometime and get set right. If you shuffle with your subject and study chiefly to use language which will give you a loophole of escape either way, there is no hope for you.’ ‘Veracity,’ he said on another occasion, ‘is the heart of morality.’ It was also the heart of his literary style. For all those rhetorical devices by means of which the sophist and the politician seek to make the worse appear the better cause Huxley felt an almost passionate disapproval. ‘When some chieftain,’ he wrote, ‘famous in political warfare, ventures into the region of letters or of science, in full confidence that the methods which have brought fame and honour in his own province will answer there, he is apt to forget that he will be judged by those people on whom rhetorical artifices have long since ceased to take effect; and to whom mere dexterity in putting together cleverly ambiguous phrases, and even the great art of offensive misrepresentation, are unspeakably wearisome.’
The chieftain in question was Mr. Gladstone, with whom, in 1891, Huxley was having the Gadarene swine controversy. Four years later, in the last year of his life, Huxley was to remark, in a conversation recorded by Mr. Wilfrid Ward, on the philosophical methods of another eminent politician, Mr. Arthur Balfour. ‘No human being holds the opinion he (Balfour) speaks of as Naturalism. He is a good debater. He knows the value of a word. The word “Naturalism” has a bad sound and unpleasant associations. It would tell against us in the House of Commons, and so it will with his readers.’ Huxley was also a good debater; he also knew the value of a word. But his passion for veracity always kept him from taking any unfair rhetorical advantages of an opponent. The candour with which he acknowledged a weakness in his own case was always complete, and though he made full use of a rich variety of literary devices to bring home what he wanted to say, he never abused his great rhetorical powers. Truth was more important to him than personal triumph, and he relied more on a forceful clarity to convince his readers than on the brilliant and exciting ambiguities of propagandist eloquence.
For the purposes of literary analysis, Huxley’s writings may be divided into three classes: first, the purely descriptive; secondly, the philosophical and sociological; and thirdly, the controversial and (to use once more a repellant, but irreplaceable, word) the emotive. To the first of these classes belong the technical scientific papers; to the second, the studies of Hume and Berkeley and a number of essays on metaphysical, ethical and educational subjects; and to the third, certain of the essays on Christian and Hebrew tradition and the essays containing criticisms of other people’s ideas or a defence of his own. It is hardly necessary to say that, in reality, the three classes overlap. The descriptive papers contain philosophical matter in the form of generalizations and scientific hypotheses.
The philosophical and sociological essays have their controversial and their emotionally moving passages; and as most of the controversies are on philosophical subjects, the controversial essays are to a considerable extent purely philosophical. Still, imperfect as it is, the classification is none the less useful. The writings of the first two classes are strictly scientific writings; that is to say, they are meant to communicate facts and ideas, not passions. They are of the same kind as the passage from the Encyclopaedia quoted at an earlier stage in this lecture. The writings of the third class belong to the same genus as my quotation from Milton. They are intended to communicate feelings as well as information—and biological feeling as well as pure aesthetic feeling. I propose now to deal with these three classes of Huxley’s writings in order.
To describe with precision even the simplest object is extremely difficult. Just how difficult only those who have attempted the task professionally can realize. Let me ask you to imagine yourselves suddenly called upon to explain to some Martian visitor the exact form, function and mode of operation of, say, a corkscrew. The thing seems simple enough; and yet I suspect that, after a few minutes of stammering hesitations, most of us would find ourselves reduced to making spiral gestures with a forefinger and going through a pantomime of bottle-opening. The difficulties of describing in a clear and intelligible way
