Lectures on the Philosophy of the Human Mind (Vol. 1 of 3). Brown Thomas

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 truly worthy of our astonishment, in the sort of knowledge of the qualities of matter, which, with our very imperfect senses, we are still able to attain. What we conceive ourselves to know is an aggregate of many bodies, of each of which, individually, we may be said, in the strictest sense of the term, to be absolutely ignorant; and yet the aggregate, which we know, has no real existence, but as that very multitude of bodies, of which we are ignorant. When water was regarded as a simple substance, every one who looked upon a lake or river, conceived that he knew as well what the liquid was which flowed in it, as the chemist, who now considers it as compound; and the chemist, who has learned to regard it as compound, is perhaps as ignorant of the true nature of the separate bodies that exist in it, as those who formerly regarded it as simple; since one additional discovery may prove the very elements, which he now regards as the ultimate constituents of water, to be truly compounded of other elements, still more minute, and now altogether unknown to him.

      That our only knowledge of matter should be of a multitude of bodies, of the nature of each of which, individually, we are in absolute ignorance, may seem, at first sight, to justify many of the most extravagant doubts of the sceptic: and yet there is really no ground for such scepticism, since, though the coexisting bodies be separately unknown, the effect, which they produce when coexisting in the circumstances observed by us, is not the less certain and definite; and it is this joint effect of the whole, thus certain and definite, which is the true object of our knowledge; not the uncertain effect, which the minuter elements might produce, if they existed alone. The same aggregates, whatever their elementary nature may be, operate on our senses, as often as they recur, in the same manner; the unknown elements which constitute an oak, or a tower, or the ivy that clings around it, exciting in the mind those particular sensations, to the external causes of which we continue to give the name of oak or tower or ivy; and exciting these, as precisely and uniformly, as if we were acquainted with each minute element of the objects without. Our knowledge of nature must in this way, indeed, be confined to the mixed effects of the masses which it exhibits; but it is not on that account less valuable, nor less sure; for to the certainty of this limited knowledge all which is necessary is uniformity of the mixed effects, whatever their unknown coexisting causes may be. It is with masses only, not with elements that we are concerned, in all the important purposes