of matter. They have only shown these to exist, where they always existed, as much before our analysis as after it, – unmarked indeed, but unmarked, only because our senses alone were not capable of making the nice discrimination. If man had been able to perceive, with his mere organs of sense, the different particles that form together the atmospheric air – if he had at all times seen the portion of these which unites with the fuel that warms him, enter into this union, as distinctly as he sees the mass of fuel itself, which he flings into his furnace, he could not have thought it a very great intellectual achievement, to state in words so common and familiar a fact, – the mere well-known change of place of a few well-known particles; and yet this is what, in the imperfect state of his perceptive organs, he so proudly terms his Theory of Combustion, the developement of which was hailed by a wondering world, and in these circumstances justly hailed by it, as a scientific era. To beings, capable of perceiving and distinguishing the different particles, that form by their aggregation, those small masses, which, after the minutest mechanical division of which we are capable, appear atoms to us, the pride which we feel, in our chemical analyses, must seem as ludicrous, as to us would seem the pride of the blind, if one, who had never enjoyed the opportunity of beholding the sun, were to boast of having discovered, by a nice comparison of the changing temperature of bodies, that, during certain hours of the day, there passed over our earth some great source of heat. The addition of one new sense to us, who have already the inestimable advantages which vision affords, might probably, in a few hours, communicate more instruction, with respect to matter, than all which is ever to repay and consummate the physical labours of mankind, – giving, perhaps, to a single glance, those slow revelations of nature, which, one by one, at intervals of many centuries, are to immortalize the future sages of our race.
“All philosophy,” says an acute foreign writer, “is founded on these two things, – that we have a great deal of curiosity, and very bad eyes. In astronomy, for example, if our eyes were better, we should then see distinctly, whether the stars really are, or are not, so many suns, illuminating worlds of their own; and if, on the other hand, we had less curiosity, we should then care a very little about this knowledge, which would come pretty nearly to the same thing. But we wish to know more than we see, and there lies the difficulty. Even if we saw well the little which we do see, this would at least be some small knowledge gained. But we observe it different from what it is; and thus it happens, that a true philosopher passes his life, in not believing what he sees, and in labouring to guess what is altogether beyond his sight. I cannot help figuring to myself,” continues the same lively writer, “that nature is a great public spectacle, which resembles that of the opera. From the place at which we sit in the theatre, we do not see the stage quite as it is. The scenes and machinery are arranged, so as to produce a pleasing effect at a distance; and the weights and pullies, on which the different movements depend, are hid from us. We therefore do not trouble our heads with guessing, how this mechanical part of the performance is carried on. It is perhaps only some mechanician, concealed amid the crowd of the pit, who racks his brain about a flight through the air, which appears to him extraordinary, and who is seriously bent on discovering by what means it has been executed. This mechanic, gazing, and wondering, and tormenting himself, in the pit of the opera, is in a situation very like that of the philosopher in the theatre of the world. But what augments the difficulty to the philosopher, is, that, in the machinery which nature presents, the cords are completely concealed from him, – so completely indeed, that the constant puzzle has been to guess, what that secret contrivance is, which produces the visible motions in the frame of the universe. Let us imagine all the sages collected at an opera, – the Pythagorases, Platos, Aristotles, and all those great names, which now-a-days make so much noise in our ears. Let us suppose, that they see the flight of Phaeton, as he is represented carried off by the winds; that they cannot perceive the cords to which he is attached; and that they are quite ignorant of every thing behind the scenes. It is a secret virtue, says one of them, that carries off Phaeton. Phaeton, says another, is composed of certain numbers, which cause him to ascend. A third says, Phaeton has a certain affection for the top of the stage. He does not feel at his ease, when he is not there. Phaeton, says a fourth, is not formed to fly; but he likes better to fly, than to leave the top of the stage empty, – and a hundred other absurdities of the kind, that might have ruined the reputation of antiquity, if the reputation of antiquity, for wisdom could have been ruined. At last, come Descartes, and some other moderns, who say, Phaeton ascends, because he is drawn by cords, and because a weight, more heavy than he, is descending as a counterpoise. Accordingly, we now no longer believe, that a body will stir, unless it be drawn or impelled by some other body, or that it will ascend, or descend, unless by the operation of some spring or counterpoise; and thus to see nature, such as it really is, is to see the back of the stage at the opera.”24
In this exposition of the phenomena of the universe, and of those strange “follies of the wise,” which have been gravely propounded in the systems of philosophers concerning them, there is much truth, as well as happy pleasantry. As far, at least, as relates to matter, considered merely as existing in space, – the first of the two lights in which it may be physically viewed, – there can be no question, that philosophy is nothing more than an endeavour to repair, by art, the badness of our eyes, that we may be able to see what is actually before us at every moment. To be fairly behind the scenes of the great spectacle of nature, however, is something more than this. It is not merely to know, at any one moment, that there are many objects existing on the stage, which are invisible where the spectators sit, but to know them as pieces of machinery, and to observe them operating in all the wonders of the drama. It is, in short, to have that second view of nature, as existing in time as well as space, to the consideration of which I am to proceed in my next Lecture.
LECTURE VI
THE SAME SUBJECT CONTINUED
In my last Lecture, Gentlemen, I considered, at some length, the nature of Physical Inquiry in general, and stated to you, in particular, the two lights, in which objects may be physically viewed, as existing simply in space, or as existing in time, – the inquiries, with respect to the one, having regard to the composition of bodies; the inquiries, with respect to the other, having regard to the changes, of which they are either the subjects or occasions, and consequently to their susceptibilities or their powers – their susceptibilities of being affected by other substances, their powers of affecting other substances. I use the word susceptibility, you will perceive, as, in this case, synonymous with what Mr Locke, and some other writers, have denominated passive power, to avoid the apparent verbal contradiction, or at least the ambiguity, which may arise from annexing the term passive to a word, which is generally employed to signify, not the subject of change, but the cause or occasion of change.
Of these two points of view, then, in which an object may be regarded, when the question is put, What is it? we have seen, I hope, sufficiently distinctly, the nature of one. If, in answering the question, we regard the object merely as it exists in space, and say, that it is a compound of certain substances, we mean nothing more, than that, in the portion of space, which we conceive to be occupied by this one imaginary aggregate, there is truly a plurality of bodies, which, though seemingly contiguous, have an existence, as separate and independent of each other, as if they were at the most remote distance; the one aggregate being nothing more than a name for these separate bodies, to which ourselves give all the unity which they have, merely by considering them as one.
The necessity of inquiring into the nature of these separate elementary bodies, – which constitutes one of the two great departments of physical investigation, – we found to arise from the imperfection of our senses, that are not sufficiently acute to discover, of themselves, the component parts of the masses, which nature everywhere presents to us. We are thus obliged to form to ourselves an art of analysis, merely that we may perceive what is constantly before our eyes, in the same manner, as we are obliged to have recourse to the contrivances of the optician, to perceive stars and planets, that are incessantly shedding on us their light.
There is, indeed, something
Fontenelle, Pluralité des Mondes, Conversat. 1.
