Paley here appreciates the difference between natural physical objects like stones, and designed and manufactured objects like watches. He goes on to expound the precision with which the cogs and springs of a watch are fashioned, and the intricacy with which they are put together. If we found an object such as a watch upon a heath, even if we didn’t know how it had come into existence, its own precision and intricacy of design would force us to conclude that the watch must have had a maker: that there must have existed, at some time, and at some place or other, an artificer or artificers, who formed it for the purpose which we find it actually to answer; who comprehended its construction, and designed its use. Nobody could reasonably dissent from this conclusion, Paley insists, yet that is just what the atheist, in effect, does when he contemplates the works of nature, 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 or more, and that in a degree which exceeds all computation. Paley drives his point home with beautiful and reverent descriptions of the dissected machinery of life, beginning with the human eye, a favourite example which Darwin was later to use and which will reappear throughout this book. Paley compares the eye with a designed instrument such as a telescope, and concludes that ‘there is precisely the same proof that the eye was made for vision, as there is that the telescope was made for assisting it’. The eye must have had a designer, just as the telescope had. Paley’s argument is made with passionate sincerity and is informed by the best biological scholarship of his day, but it is wrong, gloriously and utterly wrong. The analogy between telescope and eye, between watch and living organism, is false. All appearances to the contrary, the only watchmaker in nature is the blind forces of physics, albeit deployed in a very special way. A true watchmaker has foresight: he designs his cogs and springs, and plans their interconnections, with a future purpose in his mind’s eye. Natural selection, the blind, unconscious, automatic process which Darwin discovered, and which we now know is the explanation for the existence and apparently purposeful form of all life, has no purpose in mind. It has no mind and no mind’s eye. It does not plan for the future. It has no vision, no foresight, no sight at all. If it can be said to play the role of watchmaker in nature, it is the blind watchmaker. I shall explain all this, and much else besides. But one thing I shall not do is belittle the wonder of the living ‘watches’ that so inspired Paley. On the contrary, I shall try to illustrate my feeling that here Paley could have gone even further. When it comes to feeling awe over living ‘watches’ I yield to nobody. I feel more in common with the Reverend William Paley than I do with the distinguished modern philosopher, a well-known atheist, with whom I once discussed the matter at dinner. I said that I could not imagine being an atheist at any time before 1859, when Darwin’s Origin of Species was published. ‘What about Hume?’, replied the philosopher. ‘How did Hume explain the organized complexity of the living world?’, I asked. ‘He didn’t’, said the philosopher. ‘Why does it need any special explanation?’ Paley knew that it needed a special explanation; Darwin knew it, and I suspect that in his heart of hearts my philosopher companion knew it too. In any case it will be my business to show it here. As for David Hume himself, it is sometimes said that that great Scottish philosopher disposed of the Argument from Design a century before Darwin. But what Hume did was criticize the logic of using apparent design in nature as positive evidence for the existence of a God. He did not offer any alternative explanation for apparent design, but left the question open. An atheist before Darwin could have said, following Hume: ‘I have no explanation for complex biological design. All I know is that God isn’t a good explanation, so we must wait and hope that somebody comes up with a better one.’ I can’t help feeling that such a position, though logically sound, would have left one feeling pretty unsatisfied, and that although atheism might have been logically tenable before Darwin, Darwin made it possible to be an intellectually fulfilled atheist. I like to think that Hume would agree, but some of his writings suggest that he underestimated the complexity and beauty of biological design. The boy naturalist Charles Darwin could have shown him a thing or two about that, but Hume had been dead 40 years when Darwin enrolled in Hume’s university of Edinburgh. I have talked glibly of complexity, and of apparent design, as though it were obvious what these words mean. In a sense it is obvious — most people have an intuitive idea of what complexity means. But these notions, complexity and design, are so pivotal to this book that I must try to capture a little more precisely, in words, our feeling that there is something special about complex, and apparently designed things. So, what is a complex thing? How should we recognize it? In what sense is it true to say that a watch or an airliner or an earwig or a person is complex, but the moon is simple? The first point that might occur to us, as a necessary attribute of a complex thing, is that it has a heterogeneous structure. A pink milk pudding or blancmange is simple in the sense that, if we slice it in two, the two portions will have the same internal constitution: a blancmange is homogeneous. A car is heterogeneous: unlike a blancmange, almost any portion of the car is different from other portions. Two times half a car does not make a car. This will often amount to saying that a complex object, as opposed to a simple one, has many parts, these parts being of more than one kind. Such heterogeneity, or ‘many-partedness’, may be a necessary condition, but it is not sufficient. Plenty of objects are many-parted and heterogeneous in internal structure, without being complex in the sense in which I want to use the term. Mont Blanc, for instance, consists of many different kinds of rock, all jumbled together in such a way that, if you sliced the mountain anywhere, the two portions would differ from each other in their internal constitution. Mont Blanc has a heterogeneity of structure not possessed by a blancmange, but it is still not complex in the sense in which a biologist uses the term. Let us try another tack in our quest for a definition of complexity, and make use of the mathematical idea of probability. Suppose we try out the following definition: a complex thing is something whose constituent parts are arranged in a way that is unlikely to have arisen by chance alone. To borrow an analogy from an eminent astronomer, if you take the parts of an airliner and jumble them up at random, the likelihood that you would happen to assemble a working Boeing is vanishingly small. There are billions of possible ways of putting together the bits of an airliner, and only one, or very few, of them would actually be an airliner. There are even more ways of putting together the scrambled parts of a human. This approach to a definition of complexity is promising, but something more is still needed. There are billions of ways of throwing together the bits of Mont Blanc, it might be said, and only one of them is Mont Blanc. So what is it that makes the airliner and the human complicated, if Mont Blanc is simple? Any old jumbled collection of parts is unique and, with hindsight, is as improbable as any other. The scrap-heap at an aircraft breaker’s yard is unique. No two scrap-heaps are the same. If you start throwing fragments of aeroplanes into heaps, the odds of your happening to hit upon exactly the same arrangement of junk twice are just about as low as the odds of your throwing together a working airliner. So, why don’t we say that a rubbish dump, or Mont Blanc, or the moon, is just as complex as an aeroplane or a dog, because in all these cases the arrangement of atoms is ‘improbable’? The combination lock on my bicycle has 4,096 different positions. Every one of these is equally ‘improbable’ in the sense that, if you spin the wheels at random, every one of the 4,096 positions is equally unlikely to turn up. I can spin the wheels at random, look at whatever number is displayed and exclaim with hindsight: ‘How amazing. The odds against that number appearing are 4,096:1. A minor miracle!’ That is equivalent to regarding the particular arrangement of rocks in a mountain, or of bits of metal in a scrap-heap, as ‘complex’. But one of those 4,096 wheel positions really is interestingly unique: the combination 1207 is the only one that opens the lock. The uniqueness of 1207 has nothing to do with hindsight: it is specified in advance by the manufacturer.