LUCRETIUS
There is perhaps no important poem the antecedents of which can be traced so exhaustively as can those of the work of Lucretius, De Rerum Natura. These antecedents, however, do not lie in the poet himself. If they did, we should not be able to trace them, since we know nothing, or next to nothing, about Lucretius the man. In a chronicon, compiled by St. Jerome largely out of Suetonius, in which miscellaneous events are noted which occurred in each successive year, we read for the year 94 B.C.: “Titus Lucretius, poet, is born. After a love-philtre had turned him mad, and he had written, in the intervals of his insanity, several books which Cicero revised, he killed himself by his own hand in the forty-fourth year of his age.”
The love-philtre in this report sounds apocryphal; and the story of the madness and suicide attributes too edifying an end to an atheist and Epicurean not to be suspected. If anything lends colour to the story it is a certain consonance which we may feel between its tragic incidents and the genius of the poet as revealed in his work, where we find a strange scorn of love, a strange vehemence, and a high melancholy. It is by no means incredible that the author of such a poem should have been at some time the slave of a pathological passion, that his vehemence and inspiration should have passed into mania, and that he should have taken his own life. But the untrustworthy authority of St. Jerome cannot assure us whether what he repeats is a tradition founded on fact or an ingenious fiction.
Our ignorance of the life of Lucretius is not, I think, much to be regretted. His work preserves that part of him which he himself would have wished to preserve. Perfect conviction ignores itself, proclaiming the public truth. To reach this no doubt requires a peculiar genius which is called intelligence; for intelligence is quickness in seeing things as they are. But where intelligence is attained, the rest of a man, like the scaffolding to a finished building, becomes irrelevant. We do not wish it to intercept our view of the solid structure, which alone was intended by the artist—if he was building for others, and was not a coxcomb. It is his intellectual vision that the naturalist in particular wishes to hand down to posterity, not the shabby incidents that preceded that vision in his own person. These incidents, even if they were by chance interesting, could not be repeated in us; but the vision into which the thinker poured his faculties, and to which he devoted his vigils, is communicable to us also, and may become a part of ourselves.
Since Lucretius is thus identical for us with his poem, and is lost in his philosophy, the antecedents of Lucretius are simply the stages by which his conception of nature first shaped itself in the human mind. To retrace these stages is easy; some of them are only too familiar; yet the very triteness of the subject may blind us to the grandeur and audacity of the intellectual feat involved. A naturalistic conception of things is a great work of imagination,—greater, I think, than any dramatic or moral mythology: it is a conception fit to inspire great poetry, and in the end, perhaps, it will prove the only conception able to inspire it.
We are told of the old Xenophanes that he looked up into the round heaven and cried, “The All is One.” What is logically a truism may often be, imaginatively, a great discovery, because no one before may have thought of the obvious analogy which the truism registers. So, in this case, the unity of all things is logically an evident, if barren, truth; for the most disparate and unrelated worlds would still be a multitude, and so an aggregate, and so, in some sense, a unity. Yet it was a great imaginative feat to cast the eye deliberately round the entire horizon, and to draw mentally the sum of all reality, discovering that reality makes such a sum, and may be called one; as any stone or animal, though composed of many parts, is yet called one in common parlance. It was doubtless some prehistoric man of genius, long before Xenophanes, who first applied in this way to all things together that notion of unity and wholeness which everybody had gained by observation of things singly, and who first ventured to speak of “the world.” To do so is to set the problem for all natural philosophy, and in a certain measure to anticipate the solution of that problem; for it is to ask how things hang together, and to assume that they do hang together in one way or another.
To cry “The All is One,” and to perceive that all things are in one landscape and form a system by their juxtaposition, is the rude beginning of wisdom in natural philosophy. But it is easy to go farther, and to see that things form a unity in a far deeper and more mysterious way. One of the first things, for instance, that impresses the poet, the man of feeling and reflection, is that these objects that people the world all pass away, and that the place there-of knows them no more. Yet, when they vanish, nothingness does not succeed; other things arise in their stead. Nature remains always young and whole in spite of death at work everywhere; and what takes the place of what continually disappears is often remarkably like it in character. Universal instability is not incompatible with a great monotony in things; so that while Heraclitus lamented that everything was in flux, Ecclesiastes, who was also entirely convinced of that truth, could lament that there was nothing new under the sun.
This double experience of mutation and recurrence, an experience at once sentimental and scientific, soon brought with it a very great thought, perhaps the greatest thought that mankind has ever hit upon, and which was the chief inspiration of Lucretius. It is that all we observe about us, and ourselves also, may be so many passing forms of a permanent substance. This substance, while remaining the same in quantity and in inward quality, is constantly redistributed; in its redistribution it forms those aggregates which we call things, and which we find constantly disappearing and reappearing. All things are dust, and to dust they return; a dust, however, eternally fertile, and destined to fall perpetually into new, and doubtless beautiful, forms. This notion of substance lends a much greater unity to the outspread world; it persuades us that all things pass into one another, and have a common ground from which they spring successively, and to which they return.
The spectacle of inexorable change, the triumph of time, or whatever we may call it, has always been a favourite theme for lyric and tragic poetry, and for religious meditation. To perceive universal mutation, to feel the vanity of life, has always been the beginning of seriousness. It is the condition for any beautiful, measured, or tender philosophy. Prior to that, everything is barbarous, both in morals and in poetry; for until then mankind has not learned to renounce anything, has not outgrown the instinctive egotism and optimism of the young animal, and has not removed the centre of its being, or of its faith, from the will to the imagination.
To discover substance, then, is a great step in the life of reason, even if substance be conceived quite negatively as a term that serves merely to mark, by contrast, the unsubstantiality, the vanity, of all particular moments and things. That is the way in which Indian poetry and philosophy conceived substance. But the step taken by Greek physics, and by the poetry of Lucretius, passes beyond. Lucretius and the Greeks, in observing universal mutation and the vanity of life, conceived behind appearance a great intelligible process, an evolution in nature. The reality became interesting, as well as the illusion. Physics became scientific, which had previously been merely spectacular.