THREE:Scepticism, as a philosophical principle, is alien from early Greek thought; but it is pervaded by a negative tendency exhibited in four different directions, all converging towards the later attitude of suspensive doubt. There are sharp criticisms on the popular mythology; there are protests against the ascription of reality to sensible appearances; there are contemptuous references on the part of some philosophers to the opinions held by others; and there are occasional lamentations over the difficulty of getting at any truth at all. The importance, however, of these last utterances has been considerably exaggerated both in ancient and modern times. For, in some instances, they are attributable solely to the distrust of sense-perception, and in others they seem to express nothing more than a passing mood against which we must set the dogmatic conclusions elsewhere enunciated with perfect confidence by the same thinkers.219 At the same time, we have to note, as an illustration of the standing connexion between theological belief and that kind of scepticism which is shown by distrust in mans power of discovering the truth for himself, that the strongest expressions of such a distrust are to be found in the two most religious of the pre-Socratic thinkers, Xenophanes and Empedocles.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 lifehuman 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 mans 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.
