Abstract
Abstract: Edward Lear was in the vanguard of cultural assimilation of evolutionary theory. In what amounts to a gestalt relationship, some of his published "nonsense" figures against, and largely derives its meaning from, innovation in the natural sciences. Certain of his works, some not previously interpreted, are specific in their engagement with evolutionists, including Erasmus and Charles Darwin, Étienne Geoffroy Saint-Hilaire, and Robert Grant. Before and after the appearance of On the Origin of Species (1859), Lear backs one side against another in public debates sparked by evolutionary theory. His implicit engagement with the new biology becomes evident in close attention to the drawings, which are essential components of Lear's innovative hybridization of visual and literary artforms.
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