Scientific Paradigm: Its' Parallels and Correspondences

Embedded in this line is a aesthesia of inexorable progress, of a moral maturation arising as inevitably as a natural one. In other words, to speak of Darwinism is non to speak of biological nonice but of the transformation of biology into sociology and, as we shall see, into humanistic theory. The sensibility was absorbed decisively in both Europe and America. As Loewenberg (1941, p. 339) notes of the American experience, "Darwinism challenged older ways of thinking; the transformed physical environment challenged older ways of living and doing." He continues:

The infringe mirrored a larger struggle of orientation to the facts of urban-industrial change. In retrospect, both reflected the perennial clash in the midst of an old and a new order, but while the physical rphylogenesiss jarred attitudes and institutions, Darwinism attacked the whole American Weltanschauung" (Loewenberg, 1941, p. 339).

The popularization of Darwinism, Loewenberg notes, saw a husbandry in which the "ascent of man was substituted for the fall, and the duty to improve mankind was regarded as an injunction of natural law certified by evolution" (Loewenberg, 1941, p. 352). It is but a step from this observation to the injunction of fond reform as a scientific imperative.

The literary culture of England and America took account of the new scientism and sought to explain it in various ways. Some viewed the encounter between science and wile as a tension-filled collision. Matth

exclusively good science and bad writing will not guarantee good fiction, which means that the authentic critique of the parallels between science and literary form is chiefly literary and unexpectedly scientific. As Langer puts it, "The artistic productionist's work is the reservation of the emotive symbol; this making involves varying degrees of craftsmanship, or technique . . . Because every artist essential master his craft in his own way, for his own purposes of mean ideas of subjective reality, there may be poor art . . . and to be confronted with a wrong symbol can change by reversal an inward vision . . . sincere enough, but confused and thwart by recalcitrance of the medium of sheer lack of adept freedom (Langer, Feeling, 1953, pp. 387-8).

Loewenberg, Bert James.

(1941, December). Darwinism Comes to America, 1859-1900. The Mississippi Valley Historical Review, 28: 1941, pp. 339-68.

Allen's analysis of Naturalism holds that the French, not the English or Americans, are the aline masters of the form. The analysis also demonstrates that the patterns of connection between the scientific world view and the form that the contemporary novel took were not always steadfast. "Yet," says Allen, "when the attributes [of Naturalism] are borne in mind, it still has its value to categorise a certain kind of fiction, a kind that, a great deal in an impure state, more or less henpecked the writing of the novel throughout Europe and America from the mid-eighties to about 1914" (Allen, 1954, p. 351). Allen continues:

Ibsen, Henrik. Ghosts. Masters of Modern Drama. Ed. Haskell M. Block and Robert G. Shedd. New York: hit-or-miss House, 1966.

In the post dashrn, postwar era, too, there are references to the inexorable ring of science and social progress, though by the time of Faulkner the mode of narrative presentation is not discursive but in a stream disjointed thoughts and perceptions, notably in Jason Compson's squalid, progress-obsessed consciousness. confessedly rural and agrarian in emphasi
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