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One of his favourite zoological settings, the aquarium, he may have borrowed from Proust. 22 Novelists Thriplow Science in Literature 39 (Barren 360) and Quarles (PCP 403) contemplate setting up an analogy between human behaviour and the fish in an aquarium and in Eyeless in Gaza, an upper-class dinner party is also likened to 'an illuminated aquarium'. For Anthony, 'the aquarium was not only without, it was also, mysteriously, within him. 23 Quarles is particularly struck by the possibilities of an analogy with Angler-fishes: among these creatures, dwarfish males cling parasitically to the females, just as the love-struck Walter clings to Lucy (PCP 403).

For Anthony, 'the aquarium was not only without, it was also, mysteriously, within him. 23 Quarles is particularly struck by the possibilities of an analogy with Angler-fishes: among these creatures, dwarfish males cling parasitically to the females, just as the love-struck Walter clings to Lucy (PCP 403). Similarly, in the novel After Many a Summer, a background of caged apes is used to reflect the behaviour of the homo sapiens who look on and in Eyeless in Gaza (516-18) a museum filled with glass cabinets and primitive figures representing sex and death 'exhibits' the characters' sexual desire and fear of entrapment.

Not long after, such breadth was much less feasible. By the time of the Romantics, the marking of territories was unmistakable. It was in the mid-nineteenth century that the designation of professional'scientist' emerged;19 prior to this, a scientist could just as easily have been included under the general description of 'artist'. Poets such as Blake and (to a lesser extent) Keats were openly hostile to science, although the two sides were not always antagonistic; as Huxley reminds us, William Wordsworth studied mathematics and wrote admiringly of Newton (Literature 37).

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