Julian Huxley’s eclipse of Darwinism narrative has cast a long shadow over the historiography of evolutionary theory around the turn of the nineteenth century. It has done so by limiting who could be thought of as Darwinian. Peter Bowler used the eclipse to draw attention to previously understudied alternatives to Darwinism, but maintained the same flaw. In his research on the Non-Darwinian Revolution, he extended this problematic element even further back in time. This paper explores how late nineteenth-century neo-Darwinian conceptualizations (...) of Darwinism were later utilized by several advocates and detractors of the Modern Synthesis. John Beatty has shown how this continuity hinges at least partly on the perceived importance of the creativity of natural selection. The paper provides a more thorough look at Darwin’s two conflicting accounts of variation, ascribed to struggles in explaining quantitative versus qualitative characters. In doing so, it suggests that other forms of Darwinism persisted, in both the non-Darwinian revolution and eclipse periods, because of tension between contingency and creativity in Darwin’s own work. This tension is traced out from Darwin’s conceptions of variation into the work of Alfred Russel Wallace, Hugo de Vries, and Thomas Henry Huxley. Based on this, the eclipse narrative is criticized for not considering the meaning of Darwinism in different geographical locations. Britain and the United States showed few signs of an eclipse. Rather, the rise of German debates about Haeckel’s vision of Darwinism have been mistaken for a universal decline in support. (shrink)

This body of work is motivated by an apparent contradiction between, on the one hand, Darwin’s testimony in his autobiographical text about a supposed perceptual colour blindness before the aesthetic magnificence of natural landscapes, and, on the other hand, the last paragraph of On the Origin of Species, where he claims to perceive the forms of nature as beautiful and wonderful. My aim is to delve into the essence of the Darwinian perception of beauty in the context of the Weberian (...) concept of “disenchantment of the world”, assumed as a possible conceptual axis that enables the unravelling of the core of this contrast of perceptions. In acknowledging the theory of evolution as one of the most prominent scientific theories likely to have contributed to disenchantment, a number of questions arise: Is disenchantment compatible with aesthetic experience and sensibility before natural beauty? Was it Darwin’s disenchanted conception of the world that led him to believe he was colour blind? To answer these questions, a computer-assisted semantic analysis of lexical frequency and variability, most especially focused on aesthetic-emotional and religious or spiritual adverbs and adjectives, has been undertaken across the six editions of The Origin. The semantic analysis demonstrates that, although disenchanted, Darwin’s descriptions of, mainly, the adaptational excellence of living beings, reflect an aesthetically enriched perception of nature. It is concluded that Darwin’s perceptual colour blindness, then, might be based on a confusion rooted in the equation of equality between aesthetic sensibility in nature and the perception of its beauty as part of the vestigia Dei. (shrink)