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ONE:A similar vein of thought runs through the moral and religious philosophy of Lucretius. If we look on him as a reformer, we shall say that his object was to free life from the delusions with which it had been disfigured by ignorance and passion. If we look on him as an artist, we shall say that he instinctively sought to represent life in the pure and perfect beauty of its naked form. If we look on him as a poet, we shall say that he exhibits all the objects of false belief no longer in the independence of their fancied reality, but in their place among other vital phenomena, and in due subordination112 to the human consciousness whose power, even when it is bound by them, they reveal. But while the first alternative leaves him in the position of a mere imitator or expositor who brings home no lessons that Epicurus had not already enforced with far greater success, the other two, and above all the last, restore him to the position of an original genius, who, instead of deriving his intuitions from the Epicurean system, adopts just so much of that system as is necessary to give them coherence and shape. It may, no doubt, be urged, that were life reduced to the simple expression, the state of almost vegetative repose, demanded by Lucretius, denuded of love, of ambition, of artistic luxury, of that aspiration towards belief in and union with some central soul of things, which all religions, more or less distinctly embody, its value for imaginative purposes would be destroyed; and that the deepest lesson taught by his poem would not be how to enjoy existence with the greatest intensity, but how to abandon it with the least regret. Now it is just here that the wonderful power of poetry comes in, and does for once, under the form of a general exposition, what it has to do again and again under the easier conditions of individual presentation. For poetry is essentially tragic, and almost always excites the activity of our imagination, not by giving it the assured possession of realities, but by the strain resulting from their actual or their expected eclipse. If Homer and the Attic tragedians show us what is life, and what are the goods of life, it is not through experience of the things themselves, but through the form of the void and the outline of the shadow which their removal or obscuration has produced. So also in the universal tragedy of the Roman poet, where the actors are not persons, but ideas. Every belief is felt with more poignant intensity at the moment of its overthrow, and the world of illusion is compensated for intellectual extinction by imaginative persistence as a conscious creation, a memory, or a dream. There is no mythological picture so splendidly painted as those in which Lucretius has shown us Mavors113 pillowed on the lap of Venus, or led before us the Idaean mother in her triumphal car. No redeemer, credited with supernatural powers, has ever enjoyed such an apotheosis as that bestowed by his worshipper on the apostle of unbelief. Nowhere have the terrible and mysterious suggestions of mortality been marshalled with such effect as in the argument showing that death no more admits of experience than of escape. What love-inspired poet has ever followed the storm and stress of passion with such tenderness of sympathy or such audacity of disclosure, as he to whom its objects were disrobed of their divinity, for whom its fancied satisfaction was but the kindling to insaner effort of a fatally unquenchable desire? Instead of being ��compelled to teach a truth he would not learn,�� Lucretius was enabled by the spirit of his own incomparable art to seize and fix for ever, in bold reversal of light and shade, those visions on which the killing light of truth had long before him already dawned. TWO:With a powerful voice, in order to drown the239 roar of the guns, a German parson delivered the funeral oration, in which he spoke of the heroic conduct of the fallen men, who had sacrificed their lives for God, Kaiser, and Fatherland, and who, by God's inscrutable decree, were not destined to witness the final victory of the powerful German armies. The marines put their instruments to their mouths and played a slow funeral march. It was really very touching, and all the spectators came under the impression.CHAPTER LIII. FACE TO FACE.THREE:These are but a few of many influences which tend to irregular cooling, and are described with a view of giving a clue from which other causes may be traced out. The want of uniformity in sections which tends to irregular cooling can often be avoided without much loss by a disposition of the metal with reference to cooling strains. This, so far as the extra metal required to give uniformity to or to balance the different sides of a casting, is a waste which engineers are sometimes loth to consent to, and often neglect in designs for moulded parts; yet, as before said, the difficulty of irregular cooling can in a great degree be counteracted by a proper distribution of the metal, without wasting, if the matter is properly understood. No one is prepared to make designs for castings who has not studied the subject of cooling strains as thoroughly as possible, from practical examples as well as by theoretical deductions.Beppo crept to the door. He came back presently followed by two men. The latter one was dressed in superior fashion to the rest. With a yell Lalage flew across the room and turned the key in the lock.