C. S. Lewis Essay Collection: Faith, Christianity and the Church. C. S. Lewis

poetry and the arts, and so finally percolating to the mass of the people. In fact, however, we find something quite different. The clearest and finest poetical expressions of the Myth come before the Origin of Species was published (1859) and long before it had established itself as scientific orthodoxy. There had, to be sure, been hints and germs of the theory in scientific circles before 1859. But if the mythopoeic poets were at all infected by those germs they must have been very up-to-date indeed, very predisposed to catch the infection. Almost before the scientists spoke, certainly before they spoke clearly, imagination was ripe for it.

      The finest expression of the Myth in English does not come from Bridges, nor from Shaw, nor from Wells, nor from Olaf Stapledon. It is this:

       As Heaven and Earth are fairer, fairer far

       Than Chaos and blank Darkness, though once chiefs;

       And as we show beyond that Heaven and Earth

       Inform and shape compact and beautiful,

       In will, in action free, companionship,

       And thousand other signs of purer life;

       So on our heels a fresh perfection treads,

       A power more strong in beauty, born of us,

       And fated to excel us, as we pass

       In glory that old Darkness. (II, 206–15)

      Thus Oceanus, in Keats’s Hyperion, nearly forty years before the Origin of Species. And on the continent we have the Nibelung’s Ring. Coming, as I do, to bury but also to praise the receding age, I will by no means join in the modern depreciation of Wagner. He may, for all I know, have been a bad man. He may (though I shall never believe it) have been a bad musician. But as a mythopoeic poet he is incomparable. The tragedy of the Evolutionary Myth has never been more nobly expressed than in his Wotan: its heady raptures never more irresistibly than in Siegfried. That he himself knew quite well what he was writing about can be seen from his letter to August Rockel in 1854. ‘The progress of the whole drama shows the necessity of recognizing and submitting to the change, the diversity, the multiplicity, the eternal novelty, of the Real. Wotan rises to the tragic height of willing his own downfall. This is all we have to learn from the history of Man–to will the necessary and ourselves to bring it to pass.’

      If Shaw’s Back to Methuselah were really, as he supposed, the work of a prophet or a pioneer ushering in the reign of a new Myth, its predominantly comic tone and its generally low emotional temperature would be inexplicable. It is admirable fun: but not thus are new epochs brought to birth. The ease with which he plays with the Myth shows that the Myth is fully digested and already senile. Shaw is the Lucian or the Snorri of this mythology: to find its Aeschylus or its Elder Edda you must go back to Keats and Wagner.

      That, then, is the first proof that popular Evolution is a Myth. In making it Imagination runs ahead of scientific evidence. ‘The prophetic soul of the big world’ was already pregnant with the Myth: if science had not met the imaginative need, science would not have been so popular. But probably every age gets, within certain limits, the science it desires.

      In the second place we have internal evidence. Popular Evolutionism or Developmentalism differs in content from the Evolution of the real biologists. To the biologist Evolution is a hypothesis. It covers more of the facts than any other hypothesis at present on the market and is therefore to be accepted unless, or until, some new supposal can be shown to cover still more facts with even fewer assumptions. At least, that is what I think most biologists would say. Professor D.M.S. Watson, it is true, would not go so far. According to him Evolution ‘is accepted by zoologists not because it has been observed to occur or…can be proved by logically coherent evidence to be true, but because the only alternative, special creation, is clearly incredible.’¹ This would mean that the sole ground for believing it is not empirical but metaphysical–the dogma of an amateur metaphysician who finds ‘special creation’ incredible. But I do not think it has really come to that. Most biologists have a more robust belief in Evolution than Professor Watson. But it is certainly a hypothesis. In the Myth, however, there is nothing hypothetical about it: it is basic fact: or, to speak more strictly, such distinctions do not exist on the mythical level at all. There are more important differences to follow.

      In the science, Evolution is a theory about changes: in the Myth it is a fact about improvements. Thus a real scientist like Professor J.B.S. Haldane is at pains to point out that popular ideas of Evolution lay a wholly unjustified emphasis on those changes which have rendered creatures (by human standards) ‘better’ or more interesting. He adds: ‘We are therefore inclined to regard progress as the rule in evolution. Actually it is the exception, and for every case of it there are ten of degeneration.’² But the Myth simply expurgates the ten cases of degeneration. In the popular mind the word ‘Evolution’ conjures up a picture of things moving ‘onwards and upwards’, and of nothing else whatsoever. And it might have been predicted that it would do so. Already, before science had spoken, the mythical imagination knew the kind of ‘Evolution’ it wanted. It wanted the Keatsian and Wagnerian kind: the gods superseding the Titans, and the young, joyous, careless, amorous Siegfried superseding the care-worn, anxious, treaty-entangled Wotan. If science offers any instances to satisfy that demand, they will be eagerly accepted. If it offers any instances that frustrate it, they will simply be ignored.

      Again, for the scientist Evolution is a purely biological theorem. It takes over organic life on this planet as a going concern and tries to explain certain changes within that field. It makes no cosmic statements, no metaphysical statements, no eschatological statements. Granted that we now have minds we can trust, granted that organic life came to exist, it tries to explain, say, how a species that once had wings came to lose them. It explains this by the negative effect of environment operating on small variations. It does not in itself explain the origin of organic life, nor of the variations, nor does it discuss the origin and validity of reason. It may well tell you how the brain, through which reason now operates, arose, but that is a different matter. Still less does it even attempt to tell you how the universe as a whole arose, or what it is, or whither it is tending. But the Myth knows none of these reticences. Having turned what was a theory of change into a theory of improvement, it then makes this a cosmic theory. Not merely terrestrial organisms but everything is moving ‘upwards and onwards’. Reason has ‘evolved’ out of instinct, virtue out of complexes, poetry out of erotic howls and grunts, civilisation out of savagery, the organic out of inorganic, the solar system out of some sidereal soup or traffic block. And conversely, reason, virtue, art and civilization as we now know them are only the crude or embryonic beginnings of far better things–perhaps Deity itself- in the remote future. For in the Myth, ‘Evolution’ (as the Myth understands it) is the formula of all existence. To exist means to be moving from the status of ‘almost zero’ to the status of ‘almost infinity’. To those brought up on the Myth nothing seems more normal, more natural, more plausible, than that chaos should turn into order, death into life, ignorance into knowledge. And with this we reach the full-blown Myth. It is one of the most moving and satisfying world dramas which have ever been imagined.

      The drama proper is preceded (do not forget the Rhinegold here) by the most austere of all preludes; the infinite void and matter endlessly, aimlessly moving to bring forth it knows not what. Then by some millionth, millionth chance–what tragic irony!–the conditions at one point of space and time bubble up into that tiny fermentation which we call organic life. At first everything seems to be against the infant hero of our drama; just as everything always was against the seventh son or ill-used step-daughter in a fairy tale. But life somehow wins through. With incalculable sufferings (the Sorrows of the Volsungs were nothing to it), against all but insuperable obstacles, it spreads, it breeds, it complicates itself; from the amoeba up to the reptile, up to the mammal. Life (here comes our first climax) ‘wantons as in her prime’. This is the age of monsters: dragons prowl the earth, devour one another, and