Why then are the arts and sciences important? I suppose with the sciences we could say that the answer is obvious: we have radium, penicillin, televi… - Anthony Burgess

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Why then are the arts and sciences important? I suppose with the sciences we could say that the answer is obvious: we have radium, penicillin, television and recorded sound, motor-cars and aircraft, air-conditioning and central heating. But these achievements have never been the primary intention of science; they are a sort of by-product, the things that emerge only when the scientist has performed his main task. That task is simply stated: to be curious, to keep on asking the question 'Why?' and not to be satisfied till an answer has been found. The scientist is curious about the universe: he wants to know why water boils at one temperature and freezes at another; why cheese is different from chalk; why one person behaves differently from another. Not only 'Why?' but ‘What?' What is salt made of? What are the stars? What is the constitution of all matter? The answers to these questions do not necessarily malke our lives any easier. The answer to one question—'Can the atom be split?' - has made our lives somewhat harder. But the questions have to be asked. It is man's job to be curious; it is man's job to try to find out the truth about the world about us, to answer the big question 'What is the world really like?'

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About Anthony Burgess

Anthony Burgess (25 February 1917 – 22 November 1993) was an English writer and composer whose novels include the Malayan trilogy, A Clockwork Orange, the Enderby cycle, Nothing Like The Sun, Earthly Powers and The Kingdom Of The Wicked. He also produced critical works on Joyce, Lawrence, Hemingway and Shakespeare, and studies of language and of pornography.

Biography information from Wikiquote

Also Known As

Birth Name: John Anthony Burgess Wilson
Alternative Names: John Burgess Wilson Joseph Kell
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He seemed to lose interest in the subject of his daughter, glooming at a yellow card of ancient railway regulations on the wall. But when the harbingers of the coming train were audible – porters trundling, a scrambled gabble from the station announcer, frantic blowing on hot tea – he became eager again and was out swiftly on to the platform. I followed him. The train slid in. I saw the driver look down disdainful from his cosy hell, sharing – like soldier and auxiliary – a mystique with the tea-room woman. Passengers, disillusioned with arrival, got out greyly amid grey steam; passengers, hungry for the illusion of getting somewhere, jostled their way on.

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