FORE:The keynote of the whole poem is struck in its opening lines. When Venus is addressed as Nature��s sole guide and ruler, this, from the poet��s own point of view, is not true of Nature as a whole, but it is eminently true of life, whether we identify Venus with the passion through which living things are continually regenerated, or with the pleasure which is their perpetual motive and their only good. And it is equally appropriate, equally characteristic of a consummate artist, that the interest of the work should culminate in a description of107 this same passion, no longer as the source of life, but as its last outcome and full flower, yet also, when pushed to excess, the illusion by which it is most utterly disappointed and undone; and that the whole should conclude with a description of death, not as exemplified in any individual tragedy, but in such havoc as was wrought by the famous plague at Athens on man and beast alike. Again, it is by the orderly sequence of vital phenomena that Lucretius proves his first great principle, the everlasting duration and changelessness of matter. If something can come out of nothing, he asks us, why is the production of all living things attached to certain conditions of place and season and parentage, according to their several kinds? Or if a decrease in the total sum of existence be possible, whence comes the inexhaustible supply of materials needed for the continual regeneration, growth, and nourishment of animal life? It is because our senses cannot detect the particles of matter by whose withdrawal visible objects gradually waste away that the existence of extremely minute atoms is assumed; and, so far, there is also a reference to inorganic bodies; but the porosity of matter is proved by the interstitial absorption of food and the searching penetration of cold; while the necessity of a vacuum is established by the ability of fish to move through the opposing stream. The generic differences supposed to exist among the atoms are inferred from the distinctions separating not only one animal species from another, but each individual from all others of the same species. The deflection of the atoms from the line of perpendicular descent is established by the existence of human free-will. So also, the analysis which distinguishes three determinate elements in the composition of the soul finds its justification in the diverse characters of animals��the fierceness of the lion, the placidity of the ox, and the timorousness of the deer��qualities arising from the preponderance of a fiery, an a?rial, and a windy ingredient in the animating principle of each respectively. Finally, by another organic108 illustration, the atoms in general are spoken of as semina rerum��seeds of things.195

Published Aug 30.

FORE:But the enthusiasm for science, however noble in itself, would not alone have sufficed to mould the Epicurean philosophy into a true work of art. The De Rerum Natura is the greatest of all didactic poems, because it is something more than didactic. Far more truly than any of its Latin successors, it may claim comparison with the epic and dramatic masterpieces of Greece and Christian Europe; and that too not by virtue of any detached passages, however splendid, but by virtue of its composition as a whole. The explanation of this extraordinary success is to be sought in the circumstance that the central interest whence Lucretius works out in all directions is vital rather than merely scientific. The true heroine of his epic is not Nature but universal life��human life in the first instance, then the life of all the lower animals, and even of plants as well. Not only does he bring before us every stage of man��s existence from its first to its last hour106 with a comprehensiveness, a fidelity, and a daring unparalleled in literature; but he exhibits with equal power of portrayal the towered elephants carrying confusion into the ranks of war, or girdling their own native India with a rampart of ivory tusks; the horse with an eagerness for the race that outruns even the impulse of his own swift limbs, or fiercely neighing with distended nostrils on the battlefield; the dog snuffing an imaginary scent, or barking at strange faces in his dreams; the cow sorrowing after her lost heifer; the placid and laborious ox; the flock of pasturing sheep seen far off, like a white spot on some green hill; the tremulous kids and sportive lambs; the new-fledged birds filling all the grove with their fresh songs; the dove with her neck-feathers shifting from ruby-red to sky-blue and emerald-green; the rookery clamouring for wind or rain; the sea birds screaming over the salt waves in search of prey; the snake sloughing its skin; the scaly fishes cleaving their way through the yielding stream; the bee winging its flight from flower to flower; the gnat whose light touch on our faces passes unperceived; the grass refreshed with dew; the trees bursting into sudden life from the young earth, or growing, flourishing, and covering themselves with fruit, dependent, like animals, on heat and moisture for their increase, and glad like them:��all these helping to illustrate with unequalled variety, movement, and picturesqueness the central idea which Lucretius carries always in his mind.

Published Aug 28.