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THREE:"Now you can come along with me," he said. "If you like to walk you can, and if you like to pay for a cab I am agreeable. What do you say?"It was natural that one who ranged with such consummate mastery over the whole world of apparent reality, should believe in no other reality; that for him truth should only319 mean the systematisation of sense and language, of opinion, and of thought. The visible order of nature was present to his imagination in such precise determination and fulness of detail that it resisted any attempt he might have made to conceive it under a different form. Each of his conclusions was supported by analogies from every other department of enquiry, because he carried the peculiar limitations of his thinking faculty with him wherever he turned, and unconsciously accommodated every subject to the framework which they imposed. The clearness of his ideas necessitated the use of sharply-drawn distinctions, which prevented the free play of generalisation and fruitful interchange of principles between the different sciences. And we shall have occasion to show hereafter, that, when he attempted to combine rival theories, it was done by placing them in juxtaposition rather than by mutual interpenetration. Again, with his vivid perceptions, it was impossible for him to believe in the justification of any method claiming to supersede, or even to supplement, their authority. Hence he was hardly less opposed to the atomism of Democritus than to the scepticism of Protagoras or the idealism of Plato. Hence, also, his dislike for all explanations which assumed that there were hidden processes at work below the surface of things, even taking surface in its most literal sense. Thus, in discussing the question why the sea is salt, he will not accept the theory that rivers dissolve out the salt from the strata through which they pass, and carry it down to the sea, because river-water tastes fresh; and propounds in its stead the utterly false hypothesis of a dry saline evaporation from the earth’s surface, which he supposes to be swept seawards by the wind.205 Even in his own especial province of natural history the same tendency leads him astray. He asserts that the spider throws off its web from the surface of its body like a skin, instead of evolving it from within, as Democritus had taught.206 The same thinker had320 endeavoured to prove by analogical reasoning that the invertebrate animals must have viscera, and that only their extreme minuteness prevents us from perceiving them; a view which his successor will not admit.207 In fact, wherever the line between the visible and the invisible is crossed, Aristotle’s powers are suddenly paralysed, as if by enchantment.

THREE:

THREE: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.

THREE:Prout was not so sure of that. He had seen too many startling developments in his time to be surprised at anything.

THREE: