It is in keeping with the isolated and independent position which Lucretius occupies in literature, that so little is known of his life. The two kinds of information available for literary biography,—that afforded by the author himself, and that derived from contemporaries, or from later writers who had access to contemporary testimony,—almost entirely fail us in his case. The form of poetry adopted by him prevented his speaking of himself and telling his own history as Catullus, Horace, Ovid, etc., have done in their lyrical, elegiac, and familiar writings. His work appears to have been first published after his death: nor is there any reason to believe that he attracted the attention of the world in his lifetime. To judge from the silence of his contemporaries, and from the attitude of mind indicated in his poem, the words 'moriens natusque fefellit' might almost be written as his epitaph. Had he been prominent in the social or literary circles of Rome during the years in which he was engaged on the composition of his poem, some traces of him must have been found in the correspondence of Cicero or in the poems of Catullus, which bring the personal life of those years so close to modern readers. It is thus impossible to ascertain on what original authority the sole traditional account of him preserved in the Chronicle of Jerome was based. That account, like similar notices of other Roman writers, came to Jerome in all probability from the lost work of Suetonius, 'de viris illustribus.' But as to the channels through which it passed to Suetonius, we have no information.

The well-known statement of Jerome is to this effect,—'The poet Lucretius was born in the year 94 B.C. He became mad from the administration of a love-philtre, and after composing, in his lucid intervals, several books which were afterwards corrected by Cicero, he died by his own hand in his forty-fourth year.' The date of his death would thus be 50 B.C. But this date is contradicted by the statement of Donatus in his life of Virgil, that Lucretius died (he says nothing of his supposed suicide) on the day on which Virgil assumed the 'toga virilis,' viz. October 15, 55 B.C. And this date derives confirmation from the fact that the first notice of the poem appears in a letter of Cicero to his brother, written in the beginning of 54 B.C. As the condition in which the poem has reached us confirms the statement that it was left by the author in an unfinished state, it must have been given to the world by some other hand after the poet's death; and, as Mr. Munro observes, we should expect to find that it first attracted notice some three or four months after that event. We must accordingly conclude that here, as in many other cases, Jerome has been careless in his dates, and that Lucretius was either born some years before 94 B.C., or that he died before his forty-fourth year. His most recent Editors, accordingly, assign his birth to the end of the year 99 B.C. or the beginning of 98 B.C. He would thus be some seven or eight years younger than Cicero, a year or two younger than Julius Caesar, and from about twelve to fifteen years older than Catullus and the younger poets of that generation.

But is this story of the poet's liability to fits of derangement, of the cause assigned for these, of his suicide, and of the correction of his poem by Cicero, to be accepted as a meagre and, perhaps, distorted account of certain facts in his history transmitted through some trustworthy channels, or is it to be rejected as an idle fiction which may have assumed shape before the time of Suetonius, and been accepted by him on no other evidence than that of a vague tradition? Though no certain answer can be given to this question, yet some reasons may be assigned for according a hesitating acceptance to the main outlines of the story, or at least for not rejecting it as a transparent fiction.

It may indeed be urged that if this strange and tragical history had been known to the Augustan poets, who, in greater or less degree, acknowledge the spell exercised upon them by the genius of Lucretius, some sympathetic allusion to it would probably have been found in their writings, such as that in Ovid to the early death of Catullus and Calvus. It would seem remarkable that in the only personal reference which Virgil, who had studied his poem profoundly, seems to make to his predecessor, he characterises him merely as 'fortunate in his triumph over supernatural terrors.' But, not to press an argument based on the silence of those who lived near the poet's time, and who, from their recognition of his genius might have been expected to be interested in his fate, the sensational character of the story justifies some suspicion of its authenticity. The mysterious efficacy attributed to a love-philtre is more in accordance with vulgar credulity than with the facts of nature. The supposition that the poem, or any considerable portion of it, was written in the lucid intervals of derangement seems hardly consistent with the evidence of the supreme control of reason through all its processes of thought. The impression both of impiety and melancholy which the poem was likely to produce on ordinary minds, especially after the religious reaction of the Augustan age, might easily have suggested this tale of madness and suicide as a natural consequence of, or fitting retribution for, such absolute separation from the common hopes and fears of mankind[341].

Yet indications in the poem itself have been pointed out which might incline us to accept the story rather as a meagre tradition of some tragic circumstances in the poet's history, than as the idle invention of an uncritical age. The unrelieved intensity of thought and feeling, by which more almost than any other work of literature it is characterised, seems indicative of an overstrain of power, which may well have caused the loss or eclipse of what to the poet was the sustaining light and joy of his life[342]. Under such a calamity it would have been quite in accordance with the principles of his philosophy to seek refuge in self-destruction, and to imitate an example which he notes in the case of another speculative thinker, on becoming conscious of failing intellectual power[343]. But this general sense of overstrained tension of thought and feeling is, as was first pointed out by his English Editor, much intensified by references in the poem (as at i. 32; iv. 33, etc.), to the horror produced on the mind by apparitions seen in dreams and waking visions[344]. 'The emphatic repetition,' says Mr. Munro, 'of these horrid visions seen in sickness might seem to confirm what is related of the poet being subject to fits of delirium or disordering sickness of some sort.' He further shows by quotation from Suetonius' 'Life of Caligula,' that such mental conditions were attributed to the administration of a love-philtre. The coincidence in these recorded cases may imply nothing more than the credulity of Suetonius, or of the authorities whom he followed: but it is conceivable that Lucretius may have himself attributed what was either a disorder of his own constitution, or the result of a prolonged overstrain of mind, to the effects of some powerful drug taken by him in ignorance[345].

Thus, while the statement of Jerome admits neither of verification nor refutation, it may be admitted that there are indications in the poem of a great tension of mind, of an extreme vividness of sensibility, of an indifference to life, and, in the later books, of some failure in the power of organising his materials, which incline us rather to accept the story as a meagre and distorted record of tragical events in the poet's life, than as a literary myth which took shape out of the feelings excited by the poem in a later age. Yet this qualified acquiescence in the tradition does not involve the belief that any considerable portion of the poem was written 'per intervalla insaniae,' or that the disorder from which the poet suffered was actually the effect of a love-philtre.

The statement involved in the words 'quos Cicero emendavit,' has also been the subject of much criticism. No one can read the poem without recognising the truth of the conclusion established by Lachmann, and accepted by the most competent Editors of the poem since his time, that the work must have been left by the author in an unfinished state and given to the world by some friend or some person to whom the task of editing it had been entrusted. But there is some difficulty in accepting the statement that this editor was Cicero. His silence on the subject of his editorial labours, when contrasted with the frank communicativeness of his Epistles in regard to anything which for the time interested him, and the slight esteem with which he seems to have regarded the poem and the philosophy which it embodied, justify some hesitation in accepting the authority of Jerome on this point also. He only once mentions the poem in a letter to his brother Quintus, and in passages of his philosophical works in which he seems to allude to it he expresses himself slightingly and somewhat contemptuously[346]. In the disparaging references to the Latin writers on Greek philosophy before the appearance of his own Tusculan Questions and Academics, he makes no exception in favour of Lucretius. The words in his letter to his brother Quintus are these, 'Lucretii poemata, ut scribis, ita sunt, [non] multis luminibus ingenii, multae tamen artis: sed cum veneris, virum te putabo, si Salustii Empedoclea legeris, hominem non putabo.' In the MS. the non, seemingly required by the antithesis, is found neither before the multis, nor the multae: we are thus left in doubt whether it was the genius or the art of the poem that Cicero denied. A correction of the passage has been suggested[347], in accordance with which Cicero's discernment is vindicated, and the impression that the poem was deficient in art is attributed to Q. Cicero. Those who hesitate to accept this correction may yet agree with the view that if the non must be inserted, it is better to insert it before the multae than the multis. Even as the passage stands, it may be a short summing up of a more detailed criticism of the younger brother[348], to this effect. 'I agree with you that there is much genius in the poem of Lucretius, and (though this is less apparent) much art.' Cicero certainly admits either the genius or the art of the poem; perhaps both. It is a truer criticism, and more in accordance with Cicero's expressed opinion of all the Epicurean writings, to admit the exceptional genius of the poem while denying its artistic excellence, than to deny the first and admit the last. Thus if his notice of the poem is slight, it is not markedly deficient in appreciation. Mr. Munro succeeds in explaining Cicero's silence on the subject in his other correspondence. It is in his Letters to his oldest and most intimate correspondent, the Epicurean Atticus, that we should expect to find notices of his editorial labours. It was a task on which Atticus might have given most valuable help from his large employment of educated slaves in the copying of manuscripts. Cicero's silence on the subject in the Letters to Atticus is fully explained by the fact that they were both in Rome during the greater part of the time between the death of Lucretius and the publication of his poem. Again, Cicero's strong opposition to the Epicurean doctrines was not incompatible with the closest friendship with many who professed them; and this opposition was not conspicuously declared till some years after this time. Lucretius may have regarded him, as being the greatest master of Latin style who had yet appeared, with an admiration similar to that expressed by Catullus, though about him too Cicero is absolutely silent. There is thus no great difficulty in supposing that the work of even so uncompromising a partisan as Lucretius should have been placed, either by his own request or by the wish of his friends, in the hands of one who was not attracted to it either by strong poetical or philosophical sympathy. The energetic kindliness of Cicero's nature, and his active interest in literature, would have prompted him not to decline the service if he were asked to render it. Thus, although on this point too our judgment may well be suspended, we may think with pleasure of the good-will and kindly offices of the most humane and energetic among Roman writers, as exercised in behalf of Lucretius after his untimely death, just as his name is inseparably associated with that of Catullus, owing to some service rendered in life, which called forth the lively expression of the young poet's gratitude.

This is all the direct external evidence available for the personal history of Lucretius. It is remarkable, when compared with the information given in his other notices, that the record of Jerome does not even mention the poet's birth-place. This may be explained on the supposition either that the authorities followed by Jerome knew very little about him, or that, if he were born at Rome, there would not be the same motive for giving prominence to the place of his birth, as in the case of poets and men of letters who brought honour to the less famous districts of Italy. While Lucretius applies the word patria to the Roman State ('patriai tempore iniquo'), and the adjective patrius to the Latin language, these words are used by other Roman poets,—Ennius and Virgil for instance,—in reference to their own provincial homes. The Gentile name Lucretius was one eminently Roman, nor is there ground for believing that, like the equally ancient and noble name borne by the other great poet of the age, it had become common in other parts of Italy. The name suggests the inference that Lucretius was descended from one of the most ancient patrician houses of Rome, but one, as is pointed out by Mr. Munro, more famous in the legendary than in the later annals of the Republic. Some members of the same house are mentioned in the letters of Cicero among the partisans of Pompey: and possibly the Lucretius Ofella, who was one of the victims of Sulla's tyranny, may have been connected with the poet. As the position indicated by the whole tone of the poem is that of a man living in easy circumstances, and of one, who, though repelled by it, was yet familiar with the life of pleasure and luxury, he must have belonged either to a senatorian family, or to one of the richer equestrian families, the members of which, if not engaged in financial and commercial affairs, often lived the life of country gentlemen on their estates and employed their leisure in the cultivation of literature. The tone of the dedication to Memmius, a member of a noble plebeian house, and of the occasional addresses to him in the body of the poem, is not that of a client to a patron, but of an equal to an equal:—

While Lucretius pays the tribute of admiration to the literary accomplishment of his friend, and to the active part which he played in politics, he yet addresses him with the authority of a master. In a society constituted as that of Rome was in the last age of the Republic this tone could only be assumed to a member of the governing class by a social equal. Memmius combined the pursuits of a politician, a man of letters, and a man of pleasure; and in none of these capacities does he seem to have been worthy of the affection and admiration of Lucretius. But as he filled the office of Praetor in the year 58 B.C.[349] it may be inferred that he and the poet were about the same age, and thus the original bond between them may probably have been that of early education and literary sympathies. That Memmius retained a taste for poetry amid the pursuits and pleasures of his profligate career is shown by the fact that he was the author of a volume of amatory poems, and also by his taking with him, in the year 57 B.C., the poets Helvius Cinna and Catullus, on his staff to Bithynia. The keen discernment of the younger poet, sharpened by personal animosity, formed a truer estimate of his chief, than that expressed by the philosophic enthusiast. But at the time in which the words—

were written, even Cicero regarded him as one of the bulwarks of the senatorian cause against Clodius and his influential supporters. And neither the scandal of his private or of his public life prevented his being in later years among the orator's correspondents.

This relation to Memmius is the only additional fact which an examination of the poem brings into light. Nothing is learned from it of the poet's parentage, his education, his favourite places of residence, of his career, of his good or evil fortune. There were eminent Epicurean teachers at Athens and Rome (Patro, Phaedrus, Philodemus, etc.) during his youth and manhood, but it is useless to ask what influence of teachers or personal experience induced him to become so passionate a devotee of the doctrines of Epicurus. Yet though no direct reference to his circumstances is found in his writings, we may yet mark indirect traces of the impression produced upon him by the age in which his youth and manhood were passed; we seem to catch some glimpses of his habitual pursuits and tastes, to gain some real insight into his being, to apprehend the attitude in which he stood to the great teachers of the past, and to know the man by knowing the objects in life which most deeply interested him. Nothing, we may well believe, was further from his wish or intention than to leave behind him any record of himself. No Roman poet has so entirely sunk himself and the remembrance of his own fortunes in absorption in his subject. But his strong personal force and individuality have penetrated deeply into all his representation, his reasoning, and his exhortation. From the beginning to the end of the poem we feel that we are listening to a living voice speaking to us with the direct impressiveness of personal experience and conviction. No writer ever used words more clearly or more sincerely: no one shows a greater scorn for the rhetorical artifices which disguise the lack of meaning or insinuate a false conclusion by fine-sounding phrases:—

The union of an original and independent personality with the utmost sincerity of thought and speech is a characteristic in which Lucretius resembles Thucydides. It is this which gives to the works of both, notwithstanding their studied self-suppression, the vivid interest of a direct personal revelation.

The tone of many passages in the poem clearly indicates that Lucretius, though taking no personal part in the active politics of his age, was profoundly moved by the effects which they produced on human happiness and character. Thus the lines at iii. 70-74—

recall the thought and spectacle of crime and bloodshed vividly presented to him in the impressible years of his youth[351]. Other passages are an immediate reflexion of the anarchy and alarm of the times in which the poem was written. Thus the opening lines of the second book, which contrast the security of the contemplative life with the strife of political and military ambition, seem to be suggested by the action of what is sometimes called the first triumvirate. The lines—

have been noted[352] as a probable allusion to the position actually taken up by Julius Caesar outside of Rome in the opening months of the year 58 B.C. Some earlier lines of the same passage—

have a resemblance to words directly applied by Cicero to Caesar[353], and are certainly more applicable to him than to any other of the poet's contemporaries. The political reflexions in the poem, as for instance that at v. 1123, seem, in almost all cases, to be forced from him by the memory of the first civil war, or the vague dread of that which was impending. It is not from any effeminate recoil from danger, but rather from horror of the turbulence, disorder, and crimes against the sanctities of human life, involved in the strife of ambition, that Lucretius preaches the lessons of political quietism. And while his humanity of feeling makes him shrink from the prospect of evil days, like those which he well remembered, again awaiting his country, his capacity for pure and simple pleasures makes him equally shrink from the spectacle of prodigal luxury which Rome then presented in a degree never before witnessed in the world.

Thus the first general impression of Lucretius which we form from his poem is that of one who, from a strong distaste to the life of action and social pleasure, deliberately chose the life of contemplation,—the 'fallentis semita vitae.' Some illustrations of his argument—as, for instance, a description of the state of mental tension produced by witnessing public games and spectacles for many days in succession[354], of the reflexion of the colours cast on the stage by the awnings of the theatre[355], of the works of art adorning the houses of the great[356], etc.—imply that he had not always been a stranger to the enjoyments of city life, and that they attracted him by a certain fascination of pomp and novelty. His pictures of the follies of the 'jeunesse dorÉe,' (at iv. 1121, etc.), and of sated luxury (at iii. 1060, etc.), show that he had been a witness of the conditions of life out of which they were engendered. At iv. 784, in speaking of the power of the mind to call up images, he specifies 'conventus hominum, pompam, convivia, pugnas.' But such illustrations are rare when compared with those which speak of a life passed in the open air, and of intimate familiarity with many aspects of Nature. The vivid minuteness with which outward things are described, as well as the occasional use of such words as vidi[357], show that though a few of the sights observed by him may have been drawn from the physics of Epicurus[358], the great mass of them had either been originally observed by himself or at least had been verified in his own experience. He was endowed not only with the poet's susceptibility to the beauty and movement of the outward world, but also with the observing faculty and curiosity of a naturalist: and by both impulses he was more attracted to the solitudes of Nature than to the haunts of men. Many bright illustrations of his argument tell of hours spent by the sea shore. Thus he notes minutely the effect of the exhalations from the salt water in wearing away rocks and walls (i. 336; iv. 220), the invisible influence of the sea-air in producing moisture in clothes (i. 305; vi. 472), or a salt taste in the mouth (iv. 222), the varied forms of shells paving the shore (ii. 374), the sudden change of colour when the winds raise the white crest of the waves (ii. 765), the appearance of sky and water produced by a black storm-cloud passing over the sea (vi. 256). Other passages show his familiarity with inland scenes,—with the violent rush of rivers in flood (i. 280, etc.), or their stately flow through fresh meadows (ii. 362), or their ceaseless unperceived action in eating away their banks (v. 256);—or again, with all the processes of husbandry, the growth of plants and trees, the ways of flocks and herds in their pastures, and the sounds and sights of the pathless woods. While he anticipates Virgil in his Italian love of peaceful landscape, he shows some foretaste of the modern passion for the mountains,—as (at ii. 331) where he speaks of 'some spot among the lofty hills,' commanding a distant view of a wide expanse of plain, and (at iv. 575) where he recalls the memory of wanderings among mountain solitudes—

and (at vi. 469) where he notices the more powerful action of the wind on the movements of the clouds at high altitudes—

Even some of the metaphorical phrases in which he figures forth the pursuit of truth seem to be taken from mountain adventure[359]. The mention of companionship in some of these wanderings, and in other scenes in which the charm of Nature is represented as enhancing the enjoyment of a simple meal—

enable us to think of him as, although isolated in his thoughts from other men, yet not separated from them in the daily intercourse of life by any unsocial austerity. Such separation would have been quite opposed both to the teaching and the example of his master. Some remembrance of active adventure is suggested by illustrations of his philosophy drawn from the experience of a sea-voyage (iv. 387, etc., 432), of riding through a rapid stream (iv. 420), of watching the action of dogs tracking their game through woods and over mountains (i. 404), or renewing the memories of the chase in their dreams (v. 991, etc.). The lines (at ii. 40, etc., and 323, etc.) show that his imagination had been moved by witnessing the evolutions of armies, not indeed in actual warfare, but in the pomp and pageantry of martial spectacles,—'belli simulacra cientes.' These and many other indirect indications afford some glimpses of his habitual manner of life and of the pursuits that gave him most lively pleasure: but they do not give us any special knowledge of the particular districts of Italy in which he lived; or of the scenes in foreign lands which he may have visited. The poem tells us nothing immediately of the trials or passions of his life, though of both he seems to bear the scars. But as passages in which he reveals the deep secrets of human passion and suffering prove him to have been a man of strong, ardent, and vividly susceptible temperament, so the numerous illustrations drawn from the repertory of his personal observation tell of an eye trained to take delight in the outward face of Nature as well as of a mind unwearied in its search into her hidden laws. One great charm of his work is that it breathes of the open air more than of the library. If, in dealing with the problems of human life, his strain—

yet to him too might be applied the lines written of one who, though not comparable to him in intellectual and imaginative power, yet, in his spiritual isolation from the world, seems almost like his modern counterpart—

But we may trust with even more confidence to the indications of his inner than of his outward life. The spirit and purpose which impelled Lucretius to expound his philosophy can be understood without any collateral knowledge of his history. The dominant impulse of his being is the ardent desire to emancipate human life from the fears and passions by which it is marred and degraded. He has more of the zeal of a religious reformer than any other ancient thinker, except one who in all his ways of life was most unlike him, the Athenian Socrates. The speculative enthusiasm which bears him along through his argument is altogether subsidiary to the furtherance of his practical purpose. Even the poetical power to which the work owes its immortality was valued chiefly as a pleasing means of instilling the unpalatable medicine of his philosophy[361] into the minds and hearts of unwilling hearers. It is the constant presence of this practical purpose, and the profound sense which he has of the actual misery and degradation of human life, and of the peace and dignity which are attainable by man, that impart to his words the peculiar tone of impassioned earnestness to which there is no parallel in ancient literature.

Among his personal characteristics none is more prominent than his consciousness both of the greatness of the work on which he was engaged, and of his own power to cope with it. The passage in which his high self-confidence is most powerfully proclaimed (i. 920, etc.), has been imitated both by Virgil and Milton. The sense of novelty, adventure, and high aspiration expressed in the lines—

moved Virgil less powerfully in speaking of his humbler theme—

and inspired the English poet in his great invocation:—

The sense of difficulty and the joy of overcoming it meet us with a keen bracing effect in many passages of the poem. He speaks disdainfully of those enquirers who fall into error by shrinking from the more adventurous paths that lead to truth—

Without disowning the passion for fame,—'laudis spes magna,'—so powerful an incentive to the Roman temperament, he is more inspired or supported in his arduous task by 'the sweet love of the Muses.' The delight in the exercise of his art and the joyful energy sustained through the long processes of gathering and arranging his materials appear in such passages as iii. 419-20:—

and again at ii. 730—

The thoroughness and devotion of a student tell their own tale in such expressions as the 'studio disposta fideli,' and the 'noctes vigilare serenas' in the dedication to Memmius, and in the more enthusiastic acknowledgment of the source from which he drew his philosophy at iii. 29, etc.—

The absorbing interest with which he carried on the work of enquiry and of composition appears in illustrations of his argument drawn from his own pursuits; as where (ii. 979) in arguing that, if the atoms have the properties of sense, those of which man is compounded must have the intellectual attributes of man, he says,—

and, again (at iv. 969), in explaining how men in their dreams seem to carry on the pursuits to which they are most devoted, how lawyers seem to plead their causes, generals to fight their battles over again, sailors to battle with the elements, he adds these lines:—

His frequent use of the sacrificial phrase 'Hoc age,' affords evidence of the religious earnestness with which he had devoted himself to his task.

The feeling animating him through all his great adventure,—through the wastest flats as well as the most commanding heights over which it leads him,—is something different from the delight of a poet in his art, of a scholar in his books, of a philosopher in his thought, of a naturalist in his observation. All of these modes of feeling are combined with the passion of his whole moral and intellectual being, aroused by the contemplation of the greatest of all themes—'maiestas cognita rerum'—and concentrated on the greatest of practical ends, the emancipation and elevation of human life. The life of contemplation which he alone among the Romans deliberately chose and realised he carried out with Roman energy and fortitude. It was with him no life of indolent musing, but one of thought and study, varied and braced by original observation. It was a life, also, of strenuous literary effort employed in giving clearness to obscure materials, and in eliciting poetical charm from a language to which the musical cadences of verse had been hitherto almost unknown. Above all, it was the life of one who, while feeling the spell of Nature more profoundly than any poet who had gone before him, did not in that new rapture forget

His high intellectual confidence, based on his firm trust in his master, shows itself in a spirit of intolerance towards the school which was the chief antagonist of Epicureanism at Rome. His argument is a vigorous protest against philosophical error and scepticism, as well as against popular ignorance and superstition. His polemical attitude is seen in the frequent use of such expressions as 'vinco,' 'dede manus,' etc., addressed to an imaginary opponent. Discussion of topics, not apparently necessary to his main argument, is raised with the object of carrying the war into the enemy's camp. Such frequently recurring expressions as 'ut quidam fingunt,' 'perdelirum esse videtur,' etc., are invariably aimed at the Stoics[364]. Of other early philosophers, even when dissenting from their opinions, he speaks in terms of admiration and reverence: but Heraclitus, whose physical explanation of the universe was adopted by the Stoics, is described in terms of disparagement, levelled as much against his later followers as against himself, as—

The traditional opposition between Democritus and Heraclitus lived after them. Adherence to the doctrine of 'atoms and the void,' and to that of 'the pure fiery element,' became the symbol of a radical divergence in the whole view of human life.

While there is frequent allusion to the Stoics in the poem, there is no direct mention either of them or of their chief teachers, Zeno, Chrysippus, or Cleanthes. Neither do the greater names of Socrates, Plato, or Aristotle appear in it, though one or two passages clearly imply some familiarity with the writings of Plato[365]. But among the moral teachers of antiquity he acknowledges Epicurus only. The whole enthusiasm of his temperament breaks out in admiration of him. He alone is the true interpreter of Nature and conqueror of superstition (i. 75); the reformer 'who has made pure the human heart' (vi. 24); the 'guide out of the storms and darkness of life into calm and light' (iii. 1; v. 11, 12); the 'sun who at his rising extinguished all the lesser stars' (iii. 1044). He is to be ranked even as a God on account of his great services to man, in teaching him the mastery over his fears and passions:—

He speaks of his master throughout not only with the affection of a disciple, but with an emotion akin to religious ecstasy[367]. His admiration for him springs from a deeper source of spiritual sentiment than that of Ennius for Scipio, or of Virgil for Augustus. Though Epicurus inspired much affection in his lifetime, and though other great writers after Lucretius,—such as Seneca, Juvenal, and Lucian,—vindicate his name from the dishonour which the perversion of his doctrines brought upon it, yet even the most favourable criticism of his life and teaching must find it difficult to sympathise with the idolatry of Lucretius. Yet his error, if it be one, springs from a generous source. He attributes his own imaginative interest in Nature to a philosopher who examined the phenomena of the outward world merely to find a basis for the destruction of all religious belief. He saturates with his own deep human feeling a moral system which professes to secure human happiness by emptying life of its most sacred associations, most passionate longings, and profoundest affections.

There was a truer affinity of nature between Lucretius and another philosopher whom he names with the warmest feelings of love and veneration—Empedocles of Agrigentum—the most famous of the early physiological poets of Greece. He flourished during the fifth century B.C., and was the author of a didactic poem on Nature, of which some fragments still remain, sufficient to indicate the nature of the work and the character of the man. These fragments prove that Lucretius had carefully studied the older poem, and adopted it as his model in using a poetical form and diction to expound his philosophical system. He declares, indeed, his opposition to the doctrine of Empedocles, which traced the origin of all things to four original elements; but he adopted into his own system many both of his expressions and of his philosophical ideas. The line in which the Roman poet enunciates his first principle,—

was obviously taken from the lines of the old poem pe?? f?se??—

Speaking of Sicily as a rich and wonderful land, Lucretius pays his tribute of love and admiration to his illustrious predecessor in these lines,—

There is a close agreement between the two poetical philosophers in their imaginative mode of conceiving Nature. They both represented the principle of beauty and life in the universe under the symbol of the Goddess of Love—'??p?? as??e?a;' 'alma Venus, genetrix.' They both explain the unceasing process of decay and renovation in the world by an image drawn from the most impressive spectacle of human life—a mighty battle, waged through all time between opposing forces. The burden and the mystery of life seem to weigh heavily on both, and to mould their very language to a deep, monotonous solemnity of tone. But along with this affinity of temperament there is also a marked difference in their modes of thought and feeling. The view of Nature in the philosophy of Empedocles appears to be just emerging out of the anthropomorphic fancies of an earlier time: the first rays of knowledge are seen trying to pierce through the clouds of the dawn of enquiry: the dreams and sorrows of religious mysticism accompany the awakened energies of the reason. His mournful tone is the voice of the intellectual spirit lamenting its former home, and baffled in its eager desire to comprehend 'the whole.' Lucretius, on the other hand, saw the outward world as it looks in the light of day, neither glorified by the mystic colours of religion, nor concealed by the shadows of mythology. He was moved neither by the passionate longing of the soul, nor by the 'divine despair' of the intellect: but he felt profoundly the sorrows of the heart, and was weighed down by the ever-present consciousness of the misery and wretchedness in the world. The complaint of the first is one which has been uttered from time to time by some solitary thinker in modern as in ancient days:—

The other gives a real and expressive utterance to that 'thought of inexhaustible melancholy,' which has weighed on every human heart:—

Besides Epicurus and Empedocles Lucretius mentions Democritus and Anaxagoras, and speaks even of those whom he confutes as 'making many happy discoveries by divine inspiration,' and as 'uttering their responses from the shrine of their own hearts with more holiness and truth than the Pythia from the tripod and laurel of Apollo.' The reverence which other men felt in presence of the ceremonies of religion he feels in presence of the majesty of Nature; and to the interpreters of her meaning he ascribes the holiness claimed by the ministers of religion. Thus, to a doctrine of Democritus he applies the words 'sancta viri sententia.' The divinest faculty in man is that by which truth is discovered. The highest office of poetry is to clothe the discoveries of thought with the charm of graceful expression and musical verse[371].

Of other Greek authors, Homer and Euripides are those of whom we find most traces in the poem. To the first he awards a high preeminence above all other poets,—

The passages in which Lucretius imitates him show how clearly he recognised his exact vision of outward things, and his true appreciation of the moral strength and dignity of man. The frequent imitations of Euripides[373] show that while he felt the spell of his pathos, he was also attracted by the poetic mould into which the tragic poet has cast the physical speculations of Anaxagoras. Allusion is made in tones of indifference or disparagement to other poets of Greece, as having, in common with the painters of former times, given shape and substance to the superstitious fancies of mankind. It is characteristic of his powerful and independent genius, that, unlike the younger poets of his generation, he adheres to the older writers of the great days of Greece, and acknowledges no debt to the Alexandrine School. Although amply furnished with the knowledge necessary for the performance of his task, he is a poet of original genius much more than of learning and culture: and he is thus more drawn to those who acted on him by a kindred power, than to those who might have served him as models of poetic form or repertories of poetic illustration. The strength of his understanding attracted him to some of the great prose-writers of Greece, by whom that quality is most conspicuously displayed; notably to Thucydides, whom he has closely followed in his account of the 'Plague at Athens,' and, as has been shown by Mr. Munro, to Hippocrates. The kind of attraction which the last of these has for him confirms the criticism of Goethe, that Lucretius shows the observing faculty of a physician, as well as of a poet.

The diction and rhythm of the poem, as well as the more direct tribute of personal acknowledgment[374], prove that he was an admiring student of his own countryman Ennius, to whom in some qualities of his temperament and genius he bore a certain resemblance. Many lines, phrases, and archaic words in Lucretius, such as—

multa munita virum vi; caerula caeli Templa; Acherusia templa; luminis oras; famul infimus; induperator; Graius homo, etc.—

have a clear ring of the older poet. The few allusions to Roman history in the poem, as, for instance, the line—

the specification at iii. 833 of the second Punic War as a momentous crisis in human affairs,—the description at v. 1226 of a great naval disaster, such as happened in the first Punic War,—the introduction there of elephants into the picture of the pomp and circumstance of war,—suggest the inference that, just as events and personages of the earlier history of England live in the imaginations of many English readers from their representation in the historical plays of Shakspeare, so the past history of his country lived for Lucretius in the representation of Ennius. But of the national pride by which the older poet was animated, the work of Lucretius bears only scanty traces. The feeling which moved him to identify the puissant energy pervading the universe with 'the mother of the Aeneadae,' and the motive of his prayer for peace addressed to that Power,—

seem indeed to spring from sources of patriotic affection, perhaps all the deeper because not too loudly proclaimed. But in the body of the poem his illustrations are taken as frequently from Greek as from Roman story, from the strangeness of foreign lands as from the beauty of Italian scenes. The Georgics of Virgil, in the whole conception of Nature as a living power, and in many special features, owe much to the imaginative thought of Lucretius; but nothing can be more unlike the spirit of the older poet than the episodes in which Virgil pours forth all his Roman feeling and his love of Italy. The height from which Lucretius contemplates all human history, as 'a procession of the nations handing on the torch of life from one to another,' is wide apart from that from which Virgil beholds all the nations of the world doing homage to the majesty of Rome. The poem of Lucretius breathes the spirit of a man, apparently indifferent to the ordinary sources of pleasure and of pride among his countrymen. Living in an era, the most momentous in its action on the future history of the world, he was only repelled by its turbulent activity. The contemplation of the infinite and eternal mass and order of Nature made the issues of that age and the imperial greatness of his country appear to him as transient as the events of the old Trojan and Theban wars. To him, as to the modern poet, whose imagination most nearly resembles his, the thought of more enduring things had

But while by his silence on the subject of national glory and his ardent speculative enthusiasm Lucretius seems to be more of a Greek than of a Roman, yet no Roman writer possessed in larger measure the moral temper of the great Republic. He is a truer type of the strong character and commanding genius of his country than even Virgil or Horace. He has the Roman conquering energy, the Roman reverence for the majesty of law, the Roman gift for introducing order into a confused world, the Roman power of impressing his authority on the minds of men. In his fortitude, his superiority to human weakness, his seriousness of spirit, his dignity of bearing, he seems to embody the great Roman qualities 'constantia' and 'gravitas.' If in the force and sincerity of his own nature he reminds us of the earliest Roman writer of genius, in these last qualities, the acquired and inherited virtues of his race, he reminds us of the last representative writer, whose tone is worthy of the 'Senatus populusque Romanus.' But Lucretius is much more than a type of the strong Roman qualities. He combines a poetic freshness of feeling, a love of simple living, an independence of the world, with a tenderness and breadth of sympathy, and a power of sounding into the depths of human sorrow, such as only a very few among the ancients—Homer, Sophocles, Virgil,—and not many among the poets or thinkers of the modern world have displayed. In no quality does he rise further above the standard of his age than in his absolute sincerity and his unswerving devotion to truth[375]. He combines in himself some of the rarest elements in the Greek and the Roman temperament,—the Greek ardour of speculation, the Roman's firm hold of reality. A poet of the age of Julius CÆsar, he is animated by the spirit of an early Greek enquirer. He unites the speculative passion of the dawn of ancient science with the minute observation of its meridian; and he applies the imaginative conceptions formed in the first application of abstract thought to the universe to interpret the living beauty of the world.

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