Daniel Pick
political thought will have to await the next volume of this series.
43
Freud
famously declared that Copernicus and Darwin had struck the first two
great blows against human narcissism; psychoanalysis, he suggested, had
provided the third, showing that even the ego was not master in its own
house. Let man visit the orang-utang in captivity, Darwin had declared in
one of his private notebooks much earlier, let him see its expressive whine,
its intelligence, its affection, passion, rage, sulkiness and despair and then
‘let him dare to boast of his proud preeminence’.
44
In these years, new understandings of the ‘unconscious’ were emerg ing,
often poised between a kind of ‘ape in man’ post-Darwinian trepidation
and intuitions of unconscious meaning, whose exploration went beyond
biological concerns with ‘selection’, struggle and survival. Novels such as
Stevenson’s Strange Case of Dr Jekyll and Hyde (1886), Du Maurier’s Tr i l by
(1894) or Bram Stoker’s Dracula (1897), entangled in the nomenclature
of apish spite, racial endowments or criminal brains, were also able to
popularise a new shadowy language of dream and desire. Shaw’s theatrical
work, Man and Superman (1903) illustrates the difficulty in hunting out
straightforward Darwinian influences and beliefs in the work of novelists or
dramatists. The title itself played on a very contemporary nerve and Darwin
himself was cited in the preface. But in solemnly cataloguing references,
we may fail to see the comedy, the intellectual ferment, the ‘playing with’,
rather than simply endorsing of, the author of The Origin,or,forthatmatter,
in this playwright’s case, Nietzsche, Wagner and Ibsen, not to mention Don
Juan himself upon whose myth he aimed, without concessions to prudery
or stultifying convention, to cast a new and open light. The fin-de-si
`
ecle
creative thinkers and artists whose work has survived to be appreciated by
later generations surely displaced and hybridised, as much as they absorbed
and condensed, the familiar Darwinian debates of their day.
I will leave aside here the question of whether the ‘two culture’ division
implied immediately above between scientists and artists is quite tenable for
this period, and merely note that a concern with limitations and misappli-
cations of natural selection were to haunt no small number of the theorists
of evolution itself. Thus Darwin’s supposed one-time intellectual bedfel-
low, Alfred Russel Wallace, turned increasingly away from the theme of
natural selection, in search of other forms of knowledge and explanation.
A preoccupation with the invisible and the ineffable, the eter nal and the
43 Hughes 1979a. On Freud’s relationship to Darwin, see Ritvo 1990.
44 ‘C Notebook’, line ref. C79,Grubar1974,p.449.
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