Richard Holmes' magisterial Age of Wonder has worked its magic on me. Having read it over several weeks before Christmas, many of its scenes and images have jostled unforgettably in my mind. This is not simply the account of a great period in the Royal Society's history (although it is that); nor is it a cultural history of the Georgian era in Britain (although that would have been fine be me, since that's easily one of my favourite periods).
It is instead a wonderful window into the relationship between science, the arts and the popular imagination and culture at a very important moment for the modern world. This makes it constantly compelling, regularly provocative and always insightful. I simply couldn't put it down and eagerly anticipated the next 'aha' moment! One myth that Holmes seeks to dispel (and does so expertly) is the common notion that the Romantic era was anti-science. Of course it was more complex than that. Holmes is a renowned biographer of the Romantic poets and so clearly qualified constantly to weave his tale of scientific endeavour with their's.
GIANTS OF THE ROYAL SOCIETY
The book opens in 1769 with a very young Joseph Banks intrepidly setting sights on Tahiti, and ends in the 1840s with the next generation of scientists like Faraday and Babbage. Various names from the British scientific pantheon take turns in Holmes' spotlight (like the William Herschel and his equally gifted sister Caroline, Mungo Park, Sir Humphry Davy), and we see what drove them and inspired their science, as well as the impact on the likes of Coleridge, Percy & Mary Shelley (there's a brilliant chapter on her pioneering novel Frankenstein), Keats and Byron. But a constant thread is the guidance and patronage of Banks, in his capacity as President of the Royal Society.
There are so many things one could say about the book as it is so densely wide-ranging. But while I learned a lot about so many things of which I was previously woefully ignorant, I was especially keen to understand more of the worldview questions, and especially the theological debates which anticipated those of the Darwinian era only a few years later. (In fact, the narrative closes around the time Darwin was setting off on his fateful voyage to the Galapagos). And therefore this story is of huge importance. As Holmes says on the very penultimate page:
It seems to me impossible to understand fully the contemporary debates about the environment, or climate change, or genetic engineering, or alternative medicine, or extraterrestrial life, or the nature of consciousness, or even the existence of God, without knowing how these arose from the opes and anxieties of the Romantic generation. (p468)
THE CHALLENGE FROM THE HEAVENS
Astronomy, more than those later protagonists of botany and biology, was producing the biggest challenge - especially after the discoveries and thoughts of the extraoridnary William Herschel with his revolutionary 40ft telescope at Slough. This was profoundly affecting people's sense of place in the universe - the cosmos was a place of awe and wonder. But notice the shift from Coleridge's more neutral description of star-gazing with his father to that of Shelley's polemical take:
"At all events, Coleridge treasured the memory of (The Reverend John Coleridge) his father's eager demonstration of the stars and planets overhead, and the possibility of other worlds: `I remember that at eight years old I walked with him one evening from a farmer's house, a mile from Ottery - & he told me the names of the stars - and how Jupiter was a thousand times larger than our world - and that the other twinkling stars were Suns that had worlds rolling round them - & when I came home, he showed me how they rolled round. I heard him with profound delight and admiration; but without the least mixture of Wonder or incredulity. For from my early reading of Faery Tales, & Genii etc etc - my mind had been habituated to the Vast.' (pp111-2)"
"Shelley used Herschel's vision of an open-ended solar system, and an unimaginably expanded universe, to attack religious belief. His arguments went as follows. The cosmos as revealed by science must contain many thousands of different nebular systems, and therefore millions of habitable planets, so it was impossible to sustain a narrow, religious concept of one Almighty Christian Redeemer. Since there would be so many other `fallen' worlds to redeem, the idea of God being born and crucified on each planet became absurd. As Shelley put it provokingly, `His Works have borne witness against Him.' He wrote a particularly fierce note `On the Plurality of Worlds' in Queen Mab:
The indefinite immensity of the universe, is the most aweful subject of contemplation... It is impossible to believe that the Spirit that pervades this infinite machine begat a son upon the body of a Jewish woman... The works of His fingers have borne witness against him... Sirius is supposed to be 54 trillion miles from the Earth... Millions and millions of suns are ranged around us, all attended by innumerable worlds, yet calm, regular, and harmonious, all keeping the paths of immutable Necessity. (p391)"
But not everyone shared that view - or saw the direct threats that science would pose to religious belief in the years to come:
"For many Romantic scientists, with a robust intellectual belief in the `argument by Design,' there was no immediate contradiction between religion and science: rather the opposite. Science was a gift of God or Providence to mankind, and its purpose was to reveal the wonders of His design. This indeed was the essence of `natural' religion, as promoted for example by William Paley in his Natural Theology (1802), with its famous analogy with the divine watchmaker. It was the faith that brought Mungo Park back alive from his first Niger expedition. It was the faith that inspired Michael Faraday to become a Deacon in the Sandemanian Church in July 1832. (p450)"
Which is much more nuanced than the vitriol of the anti-religion brigade, let alone the anti-science religious types, would have us believe. They simply ARE compatible - which his why so many cosmologists and 'hard' scientists are perfectly comfortable with their theism.
THE WONDER OF SCIENCE
But in many ways, the background to the apologetic debates that we get ourselves tied up is was not the book's most valuable contribution (helpful thought it undoubtedly is). What most gripped me was the fact that I found myself again and again swept up in the sheer romance of science - the sense of awe at both the cosmic and microscopic, the desire to know, to understand God's thoughts after him, if you like. I was frequently transported to Royal Society lectures, or to the audience of Faraday's Christmas lectures at the Royal Institution, designed specifically to draw in non-scientists.
My appreciation was only deepened, not diminished, when the romantic myths of the noble scientist get dispelled. I was very struck by this point, sadly tucked away in a footnote:
"Michael Hoskin has suggested in his essay `On Writing the History of Modern Astronomy' (1980) that most histories of science continue to be `uninterrupted chronicles', which run along `handing out medals to those who "got it right"'. They ignore the history of error, so central to the scientific process, and fail to illuminate science as a `creative human activity' which involves the whole personality and has a broad social context - Journal for the History of Astronomy 11 (1980). To this one might add that Romanticism introduced three important themes into science biography.
First the `Newton syndrome', the notion of `scientific genius', in which science is largely advanced by a small number of preternaturally gifted (and usually isolated) individuals.
Second, the existence of the `Eureka moment', in which great discoveries are made without warning (or much preparation) in a sudden, blazing instant of revelation and synthesis.
Third, the `Frankenstein nightmare', in which all scientific progress is really a disguised form of destruction. (p94)"
Now, there were one or two moments where I did feel that Holmes' objectivity temporarily deserted him, mainly in his depictions of theistic or Christian worldviews. Too often, Christian morality or theology was implicitly charged as unhelpful or even destructive (e.g. in the interactions between later Christian visitors to Tahiti), or individuals would be described as `fundamentalist', as the painter Benjamin Haydon is on p319 (which was both jarring and anachronistic). But on the whole, I can forgive these as lapses because the narrative is so sweeping in scope and brilliantly told, and they are few and far between.
There is SO much treasure in this book. But I end where Holmes does. I couldn't have agreed more with these, the very last words of the book - inarticulately before reading The Age of Wonder, and passionately since:
"The old, rigid debates and boundaries - science versus religion, science versus the arts, science versus traditional ethics - are no longer enough. We should be impatient with them. We need a wider, more generous, more imaginative perspective. Above all, perhaps we need the three things that a scientific culture can sustain: the sense of individual wonder, the power of hope, and the vivid but questing belief in a future for the globe. And that is how this book might possibly end. (p469)"