14th February 2003 at 06:25 AM JohnR7 said this in Post #10
There are two sides to the issue. First you have Archdeacon William Paley's who argues that the universe had to have a Designer. Then you have Charles Darwin, who spent most of his life trying to prove Paley wrong.
There aren't two
valid sides to the issue. One valid side -- common descent and natural seleciton -- versus the invalid side of deity manufacturing organisms retail.
You should be aware, John, that Paley wasn't offering a
scientific theory. Instead, he was offering an argument against atheism. See below since I doubt you have read Paley, either.
Darwin didn't overthrow theism when he discovered that natural selection would give design, but he did remove that particular "proof" for it.
III. Though it be now no longer probable that the individual watch which our observer had found was made immediately by the hand of an artificer, yet doth not this alteration in anywise affect the inference, that an artificer had been originally employed and concerned in the production. The argument from design remains as it was. Marks of design and contrivance are no more accounted for now than they were before. In the same thing, we may ask for the cause of different properties. We may ask for the cause of the color of a body, of its hardness, of its heat; and these causes may be all different. We are now asking for the cause of that subserviency to a use, that relation to an end, which we have remarked in the watch before us. No answer is given to this question, by telling us that a preceding watch produced it. There cannot be design without a designer; contrivance, without a contriver; order, without choice; arrangement, without any thing capable of arranging; subserviency and relation to a purpose, without that which could intend a purpose; means suitable to an end, and executing their office in accomplishing that end, without the end ever having been contemplated, or the means accommodated to it. [emphasis mine] Arrangement, disposition of parts, subserviency of means to an end, relation of instruments to a use, imply the presence of intelligence and mind. No one, therefore, can rationally believe that the insensible, inanimate watch, from which the watch before us issued, was the proper cause of the mechanism we so much admire in it --could be truly said to have constructed the instrument, disposed its parts, assigned their office, determined their order, action, and mutual dependency, combined their several motions into one result, and that also a result connected with the utilities of other beings. All these properties, therefore, are as much unaccounted for as they were before. . .
The conclusion which the first examination of the watch, of its works, construction, and movement, suggested, was, that it must have had, for cause and author of that construction, an artificer who understood its mechanism and designed its use. This conclusion is invincible. A second examination presents us with a new discovery. The watch is found, in the course of its movement, to produce another watch similar to itself; only so, but we perceive in it a system or organization separately calculated for that purpose. What effect would this discovery have or ought it to have, upon our former inference? What, as hath already been said, but to increase beyond measure our admiration of the skill which had been employed in the formation of such a machine? Or shall it, instead of this, all at once turn us round to an opposite conclusion, namely, that no art or skill whatever has been concerned in the business, although all other evidences of art and skill remain as they were, and this last and supreme piece of art be now added to the rest?
Can this be maintained without absurdity? Yet this is atheism.
Application of the Argument
This is atheism; for every indication of contrivance, every manifestation of design which existed in the watch, exists in the works of nature, with the difference on the side of nature of being greater and more, and that in a degree which exceeds all computation. I mean, that the contrivances of nature surpass the contrivances of art, in the complexity, subtelty, and curiosity of the mechanism; and still more, if possible, do they go beyond them in number and variety; yet, in a multitude of cases, are not less evidently mechanical, not less evidently contrivances, not less evidently accommodated to their end or suited to their office, than are the most perfect productions of human ingenuity.