Parallel Paths: A Study in Biology, Ethics, and Art — Text and Context
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_All Rights Reserved_
A STUDY IN BIOLOGY, ETHICS, AND ART
“Il faudrait, en un mot, suivre la grande route si profondément creusée ... mais il serait nécessaire aussi de tracer en l’air un chemin parallele, une autre route, d’atteindre les en deça et les après, de faire, en un mot, un naturalisme spiritualiste; ce serait autrement fier, autrement complet, autrement fort.”
LONDON DUCKWORTH & CO.
3, HENRIETTA STREET, COVENT GARDEN 1908
In a recent work by an eminent man of science, Dr. J. Reinke, Professor of Botany at the University of Kiel, there occurs a passage which I cannot do better than place in the forefront of this book as an indication of its aim.
“Physiology,” writes Professor Reinke, “has become the study of the movements which, taken together, make up life. There is no manner of doubt that nourishment, metabolism,[1] reproduction, development, and sensation rest on processes of movement which depend on material systems of peculiar molecular conformation. For the bodies of plants and of animals are material systems whose conformation is of a most intricate character.
“So far as physiology has at present advanced in the analysis of these phenomena of movement, their problems have fallen naturally into two groups. The first of these groups of phenomena is comparatively transparent, and stands in agreement with the general processes of the material world; it can be investigated by observation and experiment. We may, therefore, hope to decipher it completely, and to reduce it, in the end, to chemico-physical processes. Of this kind are the phenomena of nutrition, taking that word in its widest sense. But behind these processes there stand the facts of development and of reproduction, and here, in all investigations, and in spite of every attempt to demonstrate a basis of physical energy, research finds itself confronted by an _X_, a factor which mocks every effort to explain it by physics or chemistry. And this _X_ which lurks in all the phenomena of development takes a part in the nutritive processes also; so essential a factor does it appear in all the processes of life that chemical and physical forces alone would not suffice to keep alive even the most rudimentary of organisms, not to mention creating such an organism out of non-living chemical constituents.”[2]
If this _X_ force exists and can be established, it will give us the clue, I believe, to much more than the operations of physical nature. The following pages are an attempt to establish it, to define its character, and to indicate the lines on which this unknown factor in evolution seems to bring into a rational unity the phenomena of the physical world and the moral and æsthetic faculties of man. The time appears to have come for such an attempt. The fermentation of mind produced by Darwin’s massive and victorious promulgation of the evolution theory is beginning to subside; it is now possible in some measure to take stock of what has been destroyed, of what has been left intact, by the immense tidal wave of new thought which then swept over the world. Some conceptions which were thought to have been submerged for ever are reappearing in more or less altered shapes, and science is called on to reconstruct a universe less one-sided, less aridly simple, than that which Darwinism, as at first understood, appeared to have left us. The result, so far as it is successful, will be the establishment of a spiritual view of the universe on a natural basis. It is an attempt which is at present occupying many minds, and which will doubtless have to occupy many more before complete success is attained.
I propose, in the following pages, to take the reader over the most material and significant part of the ground by which I have myself travelled towards certain conclusions. Much of this ground lies in the region of biological science. No doubt to readers acquainted with that science I shall often seem to delay too long in well-trodden and familiar paths. But I have had to consider the fact that English education is still very much specialized. It is either literary or it is scientific. In the great majority of cases it is literary. And though scientific problems and theories are understood by every educated man and woman to be of deep importance and interest, and though questions like those discussed in the present work are questions on which all such persons are well entitled, and many feel themselves bound, to have an opinion, very few, comparatively, have even the elementary knowledge of science and its terminology necessary to enable them to take up the discussion at an advanced point. When it is announced from time to time that some chemist has again succeeded in forming an organic compound out of inorganic chemical constituents in his laboratory,[3] how many readers are there out of the small circle of trained chemists who would not be far more impressed if they heard that he had made a diamond? It is for these persons—the layman and the lay-woman in point of science—that I mainly write, and my own training having been philosophical and literary rather than scientific I think I understand most of their difficulties. I have, therefore, tried to ‘begin at the beginning’; and I hope that this book, besides whatever value its conclusions may have, will prove useful to some readers by putting them in a position to appreciate the extraordinarily interesting and fruitful discoveries of biology in recent years.
“The lotus of physics,” as Schopenhauer says, “is rooted in the soil of metaphysics,” and if these studies pretended to offer a complete explanation of the riddle of existence, the metaphysical basis for the speculations contained in them would have to be elaborated at considerable length. But, after all, the conclusions reached would only be those which most people are willing to accept as a necessary assumption, if all thought on the constitution of the universe is not to be a pure futility. Suffice it to say Man is here regarded as an organic part of Nature, and his consciousness as Nature’s way of mirroring herself to herself. Since, like other natural things, the soul is not a complete and unalterable entity, but is part of the eternal Becoming, it never can be claimed that its reflection of the world is absolutely pure and complete, yet some reality, some significance this reflection must surely have. The fact that man is not something different from the world, observing it from outside, but is vitally related to it, would alone entitle us to believe that, however much his observations may need to be purified and corrected, and however false may be the argumentative deductions sometimes drawn from them, he is still capable of a real and fruitful apprehension of the phenomena by which he is surrounded, and of their relations to each other and to himself. All sincere thought must therefore tend to brighten a little the mirror of the human soul. If this book should do so in any degree, were it merely by provoking other minds to more successful labours, the writer will thankfully say, like Apollo’s temple-sweeper in the play of Euripides, Fair is the service of Light.
Glenealy, Co. Wicklow.
_I have to thank The Macmillan Co. for permission to reproduce two illustrations (Figs. 1 and 2) from Wilson’s_ The Cell in Development and Inheritance, _and Mr. Edward Arnold for a similar favour in regard to Fig. 3 from Weismann’s_ The Evolution Theory.
The Argument from Design
Paley and the Watch 1
The Analogy Inapplicable 4
Paley’s Conception of Design 8
The Evolutionary Conception 11
Conquest of Nature by the Evolution Theory 16
The Philosophic Basis of Nature-study 17
Continuity of Animal, Vegetable, and Mineral Life 21
Characters of Organic Life 23
Living Matter: Its Functions 24
Growth and Development 32
Development a Cell-problem 33
The Mechanical Conception of Life 34
The Cell and its Structure 38
Cell-division and Heredity 40
Reproductive Cells and Body-cells 45
The Origin of Conjugation 46
The Mechanism of Conjugation 51
Significance of Elementary Vital Processes 59
Adaptability, a Fundamental Character of Life 63
The Mechanical Theory of Evolution: the Darwin-Lamarck Explanation
The Fixity of Species, how Maintained 66
The Mutability of Species 67
Lamarck’s Explanation of the Origin of Species 68
Natural Selection of Innate Variations 72
Difficulties of Lamarckism 77
Need of a deeper Explanation 89
The Mechanical Theory of Evolution: the Darwin-Weismann Explanation
Lamarck, or ‘Metaphysics’? 91
The Struggle among the Determinants 95
Chance-Variations and Co-adaptation 97
Other Difficulties of the Chance-Variation Theory 99
Natural Selection 103
Impossible before Competition Existed 104
Co-operation and Competition 104
Protective Mimicry, Inexplicable by Chance-Variations and Natural Selection 106
Innate Capacities of Life 109
Outline of Preceding Arguments 111
The Directive Theory of Evolution
Nature’s Power of Response 115
Reinke’s Theory of Dominants 120
Cases of their Action in Evolution 123
Law and Directivity 128
Intelligence and Directivity 130
The Analogy of Social Evolution 131
The Analogy of Language 133
Synthetic Movement of the Cosmic Reason 137
Objections from Imperfect Adaptations and Regressive Forms Stated 143
Mechanical and Psychic Agencies, how Distinguished 146
Science versus ‘Mysticism’ 150
Reply to Objection from Imperfect Adaptations, etc. 152
Man, the Growing-point of Earthly Life 154
Immanence or Transcendence of the Cosmic Reason? 155
Man’s Relations to the Whole 157
Law, Free Will, Personality
Free Will and Determinism 161
The Determinist Position 163
The Free Will Position 164
Conditions necessary for Free Will 168
Has the Will an Ethical Bias? 169
Limitations of Free Will 172
Evolution of the Will 174
Free Will and Monism 176
Free Will and Brain-structure 177
Relations of Mind and Matter 186
The Ethical Criterion
The Visible and the Invisible Worlds 194
Dualism and Monism 195
Monism and the Moral Law 198
The Hedonistic Basis of Morals 200
The Natural Basis of Morals 203
The Individual and the Whole 208
A Scale of Motives 210
Conscience and its Commands, how respectively Derived 211
Results of Duty and of Self-indulgence Compared 212
The False and the True Asceticism 214
Ethics for Life: Implications of this Doctrine 220
Is Life Dependent on Matter? 222
The Cosmic Life gives Immortality to the Individual 225
And Demands his Allegiance 226
Ethics Originates in the Visible Order, but does not end there 228
Hence, Ethics is for Death as well as Life 229
The Martyrdoms of Socrates and of Christ 230
Outline of the Conclusions arrived at 233
Tolstoy’s Account of the Nature of Art 236
Of the Standard of Art 241
Of the Purpose of Art 241
Criticism of his Conclusions 245
Art, Man’s expression of Life 246
Order and Change as Principles of Life and Art 253
Classification of the Arts 254
Examples of the Presentative Arts—(_a_) Architecture 256
The Representative Arts—(_a_) The Plastic Arts 265
The Evocative Art: Literature 271
The Union of Music and Poetry 272
_Sum ergo Cogito_ 275
Co-operation and Competition 279
Is Life worth Living? 282
St. Francis the Poet 285
Isabella and Claudio 288
THE ARGUMENT FROM DESIGN
“The wisdom of the divine rule is apparent not in the perfection but in the improvement of the world.”—Lord Acton.
Paley’s Natural Theology though not by any means an epoch-making may perhaps be called an epoch-marking book. It was the crown of the endeavour of eighteenth-century religious philosophy to found a theology on the evidences of external nature. According to such exact knowledge of Nature’s operations as was then generally available, Paley’s attempt might well be thought to have succeeded. He opens his argument with a striking and effective illustration. He imagines a wayfarer crossing a heath who strikes his foot against a stone, and who asks himself how it came into being. Paley thinks he might be content with vaguely supposing that it was there ‘always.’ But suppose that what he had found at his foot was not a stone but a watch and that he now saw such an instrument for the first time. He would then certainly have not been so easily contented with an answer to the riddle of its existence. He would, if he examined it minutely, have observed that it was a structure intended for a certain purpose, and having all its parts arranged for that object, and mutually interdependent The different substances of which it was composed would be discovered to have each its special appropriateness for the fulfilling of some particular function in the economy of the whole. Though unacquainted with watches he would, if he was a man of sense and cultivation, infallibly conclude that he had before him an instrument intelligently constructed with a certain object in view—the object of measuring the flight of time. He would feel assured of this, even though he should find that the object of the mechanism were not attained with absolute accuracy, and even though there were some parts of it whose functions were not clear to him. The watch would be rightly regarded as a work of design; and the observer would be justified in arguing from it to the existence of a designer, endowed with the faculties of intelligence and conscious purpose, by whom the watch must have been put together.
The rest of Paley’s Natural Theology is an application of this analogy to the question of the origin of the universe. Ranging over the whole field of animate and inanimate nature he points to instance after instance of what appears to be the minute and thoughtful adaptation of means to ends, the co-ordination of part with part in the interest of the whole, and he has no difficulty, from this point of view, in showing the world of nature to be a piece of mechanism far more wonderfully and ingeniously constructed than any watch, and bearing _prima facie_ evidence of the most convincing kind of its construction by a Being possessed of intelligence, purpose and foresight precisely resembling those attributes as displayed by man, but vastly heightened and enlarged. As the watch must have been made by man, so a manlike being, endowed with the necessary powers and faculties, must be postulated as the maker of the material universe. And thus the existence of a God made in the image of man appeared to have been demonstrated to the satisfaction of eighteenth-century theology.
But minds of real philosophic depth have always shrunk from pressing home deductions of this sort. They have felt that the matter is probably not quite so simple as it might appear on the surface, and they have recognised that if one is allowed to argue from the phenomena of nature to the qualities of the author of nature one cannot draw an arbitrary line including only those facts which testify to wisdom, power and goodness, and excluding from view all those which reveal imperfection of design and execution, or which would convict a man, if he were their author, of inhumanity and injustice. If the universe is really analogous to a watch one is entitled to examine it throughout as one would examine a watch. All watches testify to intelligence and design, but besides good watches there are bad ones, there are those which are made of cheap materials, rudely put together, with showy exteriors and unreliable works. Every watch, if examined by experts in mechanism, in art, and so forth, would reveal the characteristics of its designer and maker, and these characteristics would not always be admirable. They would rarely, in fact, be altogether admirable. If we apply these methods of inquiry to a universe which contains malarial mosquitoes, slave-making ants, snakes, earthquakes, and all the pests which blight and deform life without calling forth any strong or noble qualities to carry on the contest with them, we shall go where Paley certainly never intended to lead us, but we shall go there by Paley’s road. The fact is that these methods are altogether fantastic and inapplicable. The universe is not made like a watch. When we observe a human being or one of the higher animals we say, ‘He has such and such qualities; he is faithful, false, brave, cowardly, diligent, indolent, strong, weak, beautiful or ugly,’ but we do not think of referring his qualities back to certain attributes of an unknown maker of his physical and mental organism. A philosophy worthy of the name has always tended to regard the world as in some sense a vital organism, and has asked ‘What is it?’ rather than ‘What does it prove about some other being?’ “How green must be the maker of all grass” was quite a legitimate satire on all such attempts to deduce the qualities of a hypothetical creator from the phenomena of the universe. Thus the mistake of Paley and his school was fundamental. It was the mistake of seeking God in fragmentary phenomena—the same mistake, essentially, as that rebuked by Christ, by which every calamity or material blessing is regarded as a ‘judgment’ or a reward. His method, if applied with thorough-going consistency, destroys its own basis, for the One and the Many, the Whole and the Parts, cannot be apprehended at one and the same time by one and the same faculty of any human mind. Looking at phenomena alone, and thinking in that sphere, we cannot say that God made the world but rather that the world is becoming divine. Philosophically and religiously, God is all in all—historically, He is not the beginning, He is rather the end, the end in which the whole history is resumed.
Paley’s elaborate argument was felt by the orthodox of his time to be called for, even though at this period his way of thinking was popular. The conception of the world as a vital organism was as yet, indeed, very vague, and unsupported by any detailed, scientific scrutiny of the facts of nature, but it was in the air—it had always been in the air; it always held the minds of cautious students back from a complete surrender to the facile but illusory way of thinking typified by Paley’s famous analogy of the universe and the watch. Bacon knew that species could be transformed by the action of a new environment.[4] Goethe had a clear conception of the evolution theory, based on a study of organic structure. Erasmus Darwin, in 1794, had uttered the great and final word: “The world has been generated rather than created.”[5] Lamarck’s Philosophie Zoologique was not published till 1809, nine years after Paley’s Natural Theology, but his conception of the development of special characteristics by habitual exercise and their transmission by inheritance had been freely mooted in Paley’s day, for Paley frequently takes occasion to combat it. Even the conception of natural selection as an agency in the formation of types of being may be traced in a fantastic form as far back as to Empedocles,[6] while Plato, or whoever composed a striking couplet attributed to him in the Greek Anthology, had divined the plasticity of natural forms. “Time,” he wrote, “sways the whole world; time has power in its prolonged lapse to change the names and shapes, the nature and the destiny of things.”[7]
Fifty years after the appearance of Paley’s work, the grandson of Erasmus Darwin wrote ‘No thoroughfare’ on the entrance to Paley’s line of speculation, and closed it to mankind for ever. He did this in two ways—first by marshalling from his studies of comparative anatomy and of embryology an extraordinary volume of convincing evidence for the _fact_ of the mutability of natural forms, and secondly by his attempt to establish a plausible _method_ by which the change and development of organs and types might actually have taken place. The method, summed up in the phrases ‘natural selection’ and ‘survival of the fittest,’ was what really caught the attention of the world, and gave his doctrine the wings which carried it into almost every sphere of human thought. However we take it, it was certainly an immense contribution to the organization of knowledge, but whether it is really what it first seemed to be, the basic fact at the bottom of all the phenomena of evolution, is coming to look more and more doubtful in the light of later researches.[8]
This question will have to be considered later on in the course of this study, and in relation to its main inquiry, which is this: What precisely was the change in philosophic and religious outlook brought about by the full and final establishment of the doctrine of evolution? Where has evolution left the argument from design? Must we study nature as a mass of unrelated phenomena, or can we discern, through these, any fundamental unity to which they stand in organic relation; and if we can, what is the nature of this unity?
It will be useful in the first place to have before us a typical specimen of Paley’s method. I shall choose as an example the case which he considered so striking that he deemed it almost sufficient in itself to bear the whole weight of his argument In his ninth chapter, ‘On the Muscles,’ he writes:—
Rolleston opens Parallel Paths by quoting botanist J. Reinke on an 'X' factor in development that eludes chemico-physical explanation. This unknown force, Rolleston proposes, may unify biological, ethical, and artistic phenomena. The book's subtitle—'A Study in Biology, Ethics, and Art'—signals a tripartite inquiry, but its method is synthetic: Rolleston treats these domains as parallel expressions of a single underlying principle. The epigraph from Huysmans, calling for a 'spiritualist naturalism,' hints at the author's ambition to reconcile materialist science with moral and aesthetic experience.
The Will and Moral Choice
Rolleston distinguishes will from reflex by insisting on conscious awareness of alternatives. He writes that 'there can clearly be no Will where there is no distinct consciousness of at least two possible courses of action.' This definition grounds moral responsibility in the capacity to choose among motives. He illustrates with a contrast: an animalcule swimming toward food versus a martyr facing death for faith. The animalcule has no choice; the martyr does. Rolleston then complicates the Platonic idea that evil stems from ignorance, arguing that genuine freedom requires the ability to choose evil. He notes that 'no man can truly choose the good who is unable to choose the evil,' a position that aligns will with moral development rather than automatic virtue.
The X Factor in Biology
Rolleston builds his case on Reinke's observation that development and reproduction resist reduction to physics and chemistry. This 'X' factor, he argues, is not merely a gap in knowledge but a positive force that 'takes a part in the nutritive processes also.' He extends this idea to evolution, suggesting that the same directive principle operates in organic growth and in human consciousness. The language is cautious—'if this X force exists and can be established'—but the trajectory is clear: Rolleston seeks a unified theory that bridges the mechanical and the purposive. His references to 'material systems of peculiar molecular conformation' ground the discussion in contemporary science while leaving room for a teleological dimension.
From Biology to Ethics
The transition from biology to ethics is mediated by the concept of will. Rolleston treats will as an emergent faculty, appearing when consciousness reaches a stage where multiple motives are fully present. He uses the example of a lad raised in a thieves' kitchen who steals a purse: lacking counter-motives, his action is not a true act of will. This leads to a graduated view of moral responsibility, where 'common sense' recognizes that circumstances affect culpability. Rolleston's argument is evolutionary in structure: just as biological complexity arises through stages, so does moral capacity. The ethical realm, for him, is not separate from nature but a higher expression of the same developmental logic.
Art as Parallel Path
Although the excerpts do not detail Rolleston's treatment of art, the book's title and structure imply that aesthetic creation follows the same pattern as biological and ethical development. The epigraph from Huysmans—calling for a 'parallel path' that reaches 'the before and after'—suggests that art, like the X factor, transcends mere materialism. Rolleston likely argues that artistic form embodies the same directive will that shapes organisms and moral choices. Readers should expect a comparative analysis: how the 'spiritualist naturalism' of art mirrors the hidden force in nature. The term 'parallel paths' itself indicates that biology, ethics, and art are not identical but run alongside each other, converging in a common source.
Rolleston's study is best approached as a work of synthesis rather than a specialist treatise. He draws on physiology, philosophy, and literature to argue for a unifying principle behind life, morality, and art. Readers interested in early twentieth-century attempts to reconcile science with spiritual or idealist thought will find here a careful, if speculative, contribution. The book rewards attention to its logical structure and the way Rolleston moves from empirical observation to metaphysical inference.
There’s something humbling about a book that asks why we create, choose, and evolve all at once, and it left me quietly aware of that thread connecting everything. It reminded me of another old friend, Shakspere and Montaigne An Endeavour to Explain the Tendency of 'Hamlet' from Allusions in Contemporary Works — Background and Themes, which lingers the same way—two minds searching for a hidden pattern beneath their age’s surface. Both feel less like arguments and more like gentle, patient company.
John Wright
2 weeks agoScarlett Clark
1 month agoOlivia Nguyen
3 weeks agoBenjamin Jackson
1 month ago-
Tyler Barker - 1 month ago
Parallel Paths masterfully weaves together biology, ethics, and art, revealing their interconnectedness in a way that is both insightful and inspiring. The author's multidisciplinary approach offers a fresh perspective on how these fields influence each other. Each chapter builds a cohesive argument for a unified understanding of human endeavor. Beautifully written and thought-provoking, it's a brilliant read for anyone interested in the humanities and sciences. -
Tina Hughes - 1 month ago
Despite an interesting premise, Parallel Paths fails to deliver a coherent argument. The chapters feel disjointed, and the author jumps between topics without sufficient development. The language is overly flowery, obscuring the core ideas. The promised insights into biology, ethics, and art are never fully realized. Disappointing and lacking focus. -
Nichole Jasmine Gardner - 2 weeks ago
The book presents an intriguing thesis about the parallels between biology, ethics, and art. While some sections are illuminating, the connections sometimes feel forced or overly abstract. The writing is elegant but occasionally meanders. Still, it offers enough interesting ideas to merit a read for those curious about interdisciplinary studies.
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