Poisoned Chalice

THE pride of reason frequently acquires a most pernicious ascendency over a mind which is accustomed to find the difficulties of science yield to its persevering enquiries. And there seems to be sometimes a fatal tendency, in a philosophizing spirit, gradually to remove from consideration, and at last to deny, the existence of any final cause.* Now this is an error against which the student of natural philosophy cannot be too much upon his guard.

If scepticism be the fruit of ignorance, the enquiries of an ingenuous mind will soon detect and expose it. If it appear invested with the character of impurity and licentiousness, the very vices and turn of thought, by which it is accompanied, afford sufficient warning of its dangerous nature. But when the insidious poison is infused into the cup of science; when the hand which prepares it is one which has long led the enquirer through the pleasing intricacies of philosophy, and lifted for him the veil which covers the face of nature; it then comes recommended with such authority, that its most noxious ingredients are eagerly imbibed.

From ‘On the Proofs of Divine Power and Wisdom: Derived From the Study of Astronomy’ (1827) by Temple Chevallier (1794-1873).

* A philosopher’s religion-neutral term for God. Technically, a Final Cause is the purpose or aim of an action, or the end towards which a thing naturally develops. Theologically, this is God, the Being that gives purpose, meaning and completeness to everything. Chevallier’s sense of holy wonder was shared by a famous neighbour among the northeast coalfields, the civil engineer George Stephenson: see The Grand Mechanic.

Précis
Chevallier warned that the Enlightenment had made mankind intellectually proud, to the point that it felt it could do without God. Religious doubts that arose from ignorance could easily be cured; those that were an excuse for immorality soon disgraced themselves; but doubts spread by respected men of science were deadly because the public hung on their every word.
Questions for Critics

1. What is the author aiming to achieve in writing this?

2. Note any words, devices or turns of phrase that strike you. How do they help the author communicate his ideas more effectively?

3. What impression does this passage make on you? How might you put that impression into words?

Based on The English Critic (1939) by NL Clay, drawing on The New Criticism: A Lecture Delivered at Columbia University, March 9, 1910, by J. E. Spingarn, Professor of Comparative Literature in Columbia University, USA.

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