Sect. LXXII. Answer to the Objection of the Epicureans, Who Ascribe All to Chance
What would one say of a man who should set up for a subtle philosopher, or, to use the modern expression, a free-thinker, and who entering a house should maintain it was made by chance, and that art had not in the least contributed to render it commodious to men, because there are caves somewhat like that house, which yet were never dug by the art of man? One should show to such a reasoner all the parts of the house, and tell him for instance:—Do you see this great court-gate? It is larger than any door, that coaches may enter it. This court has sufficient space for coaches to turn in it. This staircase is made up of low steps, that one may ascend it with ease; and turns according to the apartments and stories it is to serve. The windows, opened at certain distances, light the whole building. They are glazed, lest the wind should enter with the light; but they may be opened at pleasure, in order to breathe a sweet air when the weather is fair. The roof is contrived to defend the whole house from the injuries of the air. The timber-work is laid slanting and pointed at the top, that the rain and snow may easily slide down on both sides. The tiles bear one upon another, that they may cover the timber-work. The divers floors serve to make different stories, in order to multiply lodgings within a small space. The chimneys are contrived to light fire in winter without setting the house on fire, and to let out the smoke, lest it should offend those that warm themselves. The apartments are distributed in such a manner that they be disengaged from one another; that a numerous family may lodge in the house, and the one not be obliged to pass through another’s room; and that the master’s apartment be the principal. There are kitchens, offices, stables, and coach-houses. The rooms are furnished with beds to lie in, chairs to sit on, and tables to write and eat on. Sure, should one urge to that philosopher, this work must have been directed by some skilful architect; for everything in it is agreeable, pleasant, proportioned, and commodious; and besides, he must needs have had excellent artists under him. “Not at all,” would such a philosopher answer; “you are ingenious in deceiving yourself. It is true this house is pleasant, agreeable, proportioned, and commodious; but yet it made itself with all its proportions. Chance put together all the stones in this excellent order; it raised the walls, jointed and laid the timber-work, cut open the casements, and placed the staircase: do not believe any human hand had anything to do with it. Men only made the best of this piece of work when they found it ready made. They fancy it was made for them, because they observe things in it which they know how to improve to their own conveniency; but all they ascribe to the design and contrivance of an imaginary architect, is but the effect of their preposterous imaginations. This so regular, and so well-contrived house, was made in just the same manner as a cave, and men finding it ready made to their hands made use of it, as they would in a storm, of a cave they should find under a rock in a desert.”
What thoughts could a man entertain of such a fantastic philosopher, if he should persist seriously to assert that such a house displays no art? When we read the fabulous story of Amphion, who by a miraculous effect of harmony caused the stones to rise, and placed themselves, with order and symmetry, one on the top of another, in order to form the walls of Thebes, we laugh and sport with that poetical fiction: but yet this very fiction is not so incredible as that which the free-thinking philosopher we contend with would dare to maintain. We might, at least, imagine that harmony, which consists in a local motion of certain bodies, might (by some of those secret virtues, which we admire in nature, without being acquainted with them) shake and move the stones into a certain order and in a sort of cadence, which might occasion some regularity in the building. I own this explanation both shocks and clashes with reason; but yet it is less extravagant than what I have supposed a philosopher should say. What, indeed, can be more absurd, than to imagine stones that hew themselves, that go out of the quarry, that get one on the top of another, without leaving any empty space; that carry with them mortar to cement one another; that place themselves in different ranks for the contrivance of apartments; and who admit on the top of all the timber-roof, with the tiles, in order to cover the whole work? The very children, that cannot yet speak plain, would laugh, if they were seriously told such a ridiculous story.
SECT. LXXIII. Comparison of the World with a Regular House. A Continuation of the Answer to the Objection of the Epicureans.
But why should it appear less ridiculous to hear one say that the world made itself, as well as that fabulous house? The question is not to compare the world with a cave without form, which is supposed to be made by chance: but to compare it with a house in which the most perfect architecture should be conspicuous. For the structure and frame of the least living creature is infinitely more artful and admirable than the finest house that ever was built.
Suppose a traveller entering Saida, the country where the ancient Thebes, with a hundred gates, stood formerly, and which is now a desert, should find there columns, pyramids, obelisks, and inscriptions in unknown characters. Would he presently say: men never inhabited this place; no human hand had anything to do here; it is chance that formed these columns, that placed them on their pedestals, and crowned them with their capitals, with such just proportions; it is chance that so firmly jointed the pieces that make up these pyramids; it is chance that cut the obelisks in one single stone, and engraved in them these characters? Would he not, on the contrary, say, with all the certainty the mind of man is capable of: these magnificent ruins are the remains of a noble and majestical architecture that flourished in ancient Egypt? This is what plain reason suggests, at the first cast of the eye, or first sight, and without reasoning. It is the same with the bare prospect of the universe. A man may by vain, long-winded, preposterous reasonings confound his own reason and obscure the clearest notions: but the single cast of the eye is decisive. Such a work as the world is never makes itself of its own accord. There is more art and proportion in the bones, tendons, veins, arteries, nerves, and muscles, that compose man’s body, than in all the architecture of the ancient Greeks and Egyptians. The single eye of the least of living creatures surpasses the mechanics of all the most skilful artificers. If a man should find a watch in the sands of Africa, he would never have the assurance seriously to affirm, that chance formed it in that wild place; and yet some men do not blush to say that the bodies of animals, to the artful framing of which no watch can ever be compared, are the effects of the caprices of chance.