QUOTES BY Peter Medawar

The bells which toll for mankind are—most of them, anyway—like the bells of Alpine cattle; they are attached to our own necks, and it must be our fault if they do not make a cheerful and harmonious sound.

The similarity between them is not the taxonomic key to some other, deeper, affinity, and our recognizing its existence marks the end, not the inauguration, of a train of thought.

Simultaneous discovery is utterly commonplace, and it was only the rarity of scientists, not the inherent improbability of the phenomenon, that made it remarkable in the past. Scientists on the same road may be expected to arrive at the same destination, often not far apart.

If politics is the art of the possible, research is surely the art of the soluble. Both are immensely practical-minded affairs.

The human mind treats a new idea the same way the body treats a strange protein; it rejects it.

Yet the greater part of it, I shall show, is nonsense, tricked out with a variety of metaphysical conceits, and its author can be excused of dishonesty only on the grounds that before deceiving others he has taken great pains to deceive himself.

In no sense other than an utterly trivial one is reproduction the inverse of chemical disintegration. It is a misunderstanding of genetics to suppose that reproduction is only 'intended' to make facsimiles, for parasexual processes of genetical exchange are to be found in the simplest living things.

There is much else in the literary idiom of nature-philosophy: nothing-buttery, for example, always part of the minor symptomatology of the bogus.

The Phenomenon of Man stands square in the tradition of Naturphilosophie, a philosophical indoor pastime of German origin which does not seem even by accident (though there is a great deal of it) to have contributed anything of permanent value to the storehouse of human thought.

I do not propose to criticize the fatuous argument I have just outlined; here, to expound is to expose.

It is written in an all but totally unintelligible style, and this is construed as prima-facie evidence of profundity.

French is not a language that lends itself naturally to the opaque and ponderous idiom of nature-philosophy, and Teilhard has according resorted to the use of that tipsy, euphoristic prose-poetry which is one of the more tiresome manifestations of the French spirit.