An Introduction to a Biology 



see in them many of the things which I nov/ hear in Beetho- 

 ven's music. Rushes, complexities, antagonisms, prodigious 

 effort, elemental fmi ; many of them cast in definite form 

 or design. [Drawings exhibited.] I expressed m-vself in 

 drawings because I could not in music ; similarly I think 

 those w^ho cannot go the whole length of obtaining satis- 

 faction from music obtain it from poetry, which is music 

 cagt in words instead of notes. That is why those who 

 really make use of music do not read poetry, and that is 

 why Browning, the least sonorous of poets, was a great 

 lover of music, and Tennyson, the most musical in his 

 poetry, didn't know a note. 



And at last — here is my point— science itself is used as 

 a means of creative utterance ; the joy a man of science 

 experiences in reaching his conclusions.^ . . . 



[From lectures on Evolution, delivered at the Royal 

 College of Science.] 



Evolution cannot be studied out of relation with, and 

 isolated from, the objects of human interest which surround 

 it. I can conceive of no more barren exercise than a study 

 of evolution which is not also a study of life. The two 

 studies cannot be conducted separately. In the future a 

 theory of life, like that of Coleridge, which is not also a 

 theory of evolution, will be of as little value as a theor}^ of 

 evolution like that of de Vries, which is not also a theory 

 of life. 



... A theory of life is a much bigger thing than a 

 theory of evolution. Evolution is only one of the numerous 

 manifestations of vital activity ; but it is that manifesta- 

 tion the study of which will help us most in attaining to 

 a true theory of hfe. Those of you who have read my 

 paper entitled, " Some Tables for Illustrating Statistical 



1 The MS. breaks off here. 

 Ill 



