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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.
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So far as he can be said to have studied science at all, the motive of Epicurus was hatred for religion far more than love for natural law. He seems, indeed, to have preserved that aversion for Nature which is so characteristic of the earlier Greek Humanists. He seems to have imagined that by refusing to tie himself down to any one explanation of external phenomena, he could diminish their hold over the mind of man. For when he departs from his usual attitude of suspense and reserve, it is to declare dogmatically that the heavenly bodies are no larger than they appear to our senses, and perhaps smaller than they sometimes appear.170 The only88 arguments adduced on behalf of this outrageous assertion were that if their superficial extension was altered by transmission, their colour would be altered to a still greater degree; and the alleged fact that flames look the same size at all distances.171 It is evident that neither Epicurus nor Lucretius, who, as usual, transcribes him with perfect good faith, could ever have looked at one lamp-flame through another, or they would have seen that the laws of linear perspective are not suspended in the case of self-luminous bodiesa fact which does not tell much for that accurate observation supposed to have been fostered by their philosophy.172 The truth is, that Epicurus disliked the oppressive notion of a sun several times larger than the earth, and was determined not to tolerate it, be the consequences to fact and logic what they might.My poor informants had not yet made up their mind where to go, fearing that they might not be permitted to enter The Netherlands as they were without means of subsistence. I assured them, however, that our conception of neighbourly love and charity was different, and that they would be hospitably received.On examining the apologue of Prodicus, we find it characterised by a somewhat similar style of reasoning. There is, it is true, no reference to physical phenomena, but Virtue dwells strongly on the truth that nothing can be had for nothing, and that pleasure must either be purchased by toil or atoned for by languor, satiety, and premature decay.81 We know also that the Cynical school, as represented by Antisthens, rejected all pleasure on the ground that it was always paid for by an equal amount of pain; and Heracls, the Prodicean type of a youth who follows virtue in preference to vice disguised as happiness, was also the favourite hero of the Cynics. Again, Plato alludes, in the Philbus, to certain thinkers, reputed to be great on the subject of physics, who deny the very existence of pleasure. Critics have been at a loss to identify these persons, and rather reluctantly put up with the explanation that Antisthens and his school are referred to. Antisthens was a friend of Prodicus, and may at one time have shared in his scientific studies, thus giving occasion to the association touched on by Plato. But is it not equally possible that Prodicus left behind disciples who, like him, combined moral with physical teaching; and, going a little further, may we not conjecture that their opposition to Hedonism was inherited from the master himself, who, like the Stoics afterwards, may have based it on an application of physical reasoning to ethics?I still dont see how we can help! Sandy spoke again.
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