WORKS BY THE SAME AUTHOR. Sixth edition, crown 8vo, cloth, 5s. EREWHON; or, Over the Range. Op. 1. Second edition, demy 8vo, cloth, 7s. 6d. THE FAIR HAVEN. Op. 2. A work in Defence of the Miraculous Element in Our Lord's Ministry upon earth, both as against Rationalistic impugners and certain Orthodox defenders. Written under the pseudonym of JOHN PICKARD OWEN, with a Memoir by his supposed brother, WILLIAM BICKERSTETH OWEN. Crown 8vo, cloth, 7s. 6d. LIFE AND HABIT. Op. 3. An Essay after a completer view of Evolution. Crown 8vo, cloth, 7s. 6d. UNCONSCIOUS MEMORY. Op. 5. A comparison between the Theory of Dr. Ewald Hering, Professor of Physiology at the University of Prague, and the Philosophy of the Unconscious of Dr. Edward Von Hartmann; with Translations from these Authors, and preliminary chapters bearing on "Life and Habit,'' "Evolution, Old and New," and Mr. Charles Darwin's edition of Dr. Krause's "Erasmus Darwin." Pott quarto, cloth gilt, 215. ALPS AND SANCTUARIES of Piedmont and the Canton Ticino. Op. 6. Profusely illustrated by CHARLES GOGIN, H. F. JONES, and the author. LONDON: DAVID BOGUE, 3, ST. MARTIN'S PLACE, W.C. PREFACE ΤΟ THE SECOND EDITION. SINCE the proof-sheets of the Appendix to this book. left my hands, finally corrected, and too late for me to be able to recast the first of the two chapters that compose it, I hear, with the most profound regret, of the death of Mr. Charles Darwin. It being still possible for me to refer to this event in a preface, I hasten to say how much it grates upon me to appear to renew my attack upon Mr. Darwin under the present circumstances. 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. No work can be judged intelligently unless not only the author's relations to his surroundings, but also the relation in which the work stands to the life and other works of the author, is understood and borne in mind; nor do I know any way of conveying this information at a glance, comparable to that which I now borrow from musicians. When we see the number against a work of Beethoven, we need ask no further to be informed concerning the general character of the music. The same holds good more or less with all composers. Handel's works were not numbered-not at least his operas and oratorios. Had they been so, the significance of the numbers on Susanna and Theodora would have been at once apparent, connected as they would have been with the number on Jephthah, Handel's next and last work, in which he emphatically repudiates the influence which, perhaps in a time of self-distrust, he had allowed contemporary German music to exert over him. Many painters have dated their works, but still more have neglected doing so, and some of these have been not a little misconceived in consequence. As for authors, it is unnecessary to go farther back than Lord Beaconsfield, Thackeray, Dickens, and Scott, to feel how much obliged we should have been to any custom that should have compelled them to number their works in the order in which they were written. When we think of Shakespeare, any doubt which might remain as to the advantage of the proposed innovation is felt to disappear. My friends, to whom I urged all the above, and more, met me by saying that the practice was doubtless a very good one in the abstract, but that no one was particularly likely to want to know in what order my books had been written. To which I answered that even a bad book which introduced so good a custom would not be without value, though the value might lie in the custom, and not in the book itself; whereon, seeing that I was obstinate, they left me, and interpreting their doing so into at any rate a modified approbation of my design, I have carried it into practice. |