mixtos vagitibus aegris
Ploratus mortis comites et funeris atri.[546]
His tone can, indeed, be stern and indignant, as well as tender and melancholy: it is never morbid or effeminate. His tenderness is that of a thoroughly masculine nature. Some signs of the same mood may be discovered in the fragments of Ennius; but the feeling of Lucretius springs from a more sympathetic heart and a more contemplative imagination.
His imagination, which depicts so forcibly the intimations of experience, is able to bear him beyond the known and familiar regions of life. As it enables him to pass—
extra flammantia moenia mundi—
and to behold the dawn of creation, and even the blank desolation which will follow on the overthrow of our system, so it has enabled him to realise with vivid feeling the primeval condition of man upon the world. Yet even in these daring enterprises of his fancy he adheres strictly to the conclusions of his philosophical system, and shows that sincerity and truthful adherence to fact are as inseparable from the operations of his creative faculty as of his understanding and moral nature.
His excellencies are so different from those of Virgil that the question need not be entertained, whether the rank of the greatest of Roman poets is or is not to be awarded to him. If each nation must be considered the best judge of its own poets, it will be admitted that Lucretius would have found few Roman voices to support his claim to the first or even the second place. The strongest support which he could have received would have been Virgil's willing acknowledgment of the powerful spell which the genius of his predecessor had exercised over him. Both the artistic defects and the profound feeling and imaginative originality of his work were calculated to alienate both popular favour and critical opinion in the Rome of the Empire. The poem has a much deeper significance for modern than it had for ancient times. Lucretius stands alone as the great contemplative poet of antiquity. He has proclaimed with more power than any other the majesty of Nature's laws, and has interpreted with a truer and deeper insight the meaning of her manifold life. Few, if any among his countrymen, felt so strongly the mystery of man's being, or have indicated so passionate a sympathy with the real sorrows of life, and so ardent a desire to raise man to his proper dignity, and to support him in bearing his inevitable burden. If he has, in large measure, the antique simplicity and grandeur of character, he has much also in common with the spirit and genius of modern times. He contemplates human life with a profound feeling, like that of Pascal, and with a speculative elevation like that of Spinoza. The loftier tones of his poetry and the sustained effort of mind which bears him through his long argument remind us of Milton. His sympathy with Nature, at once fresh and large, is more in harmony with the feeling of the great poets of the present century than with the general sentiment of ancient poetry. In the union of poetical feeling with scientific passion he has anticipated the most elevated mode of the study of Nature, of which the world has as yet seen only a few great examples. His powers of observation, thought, feeling, and imagination, are characterised by a remarkable vitality and sincerity. His strong intellectual and poetical faculty is united with some of the rarest moral qualities,—fortitude, seriousness of spirit, love of truth, manly tenderness of heart. And if it seems that his great powers of heart, understanding, and genius led him to accept and to teach a philosophy, paralysing to the highest human hope and energy, it is to be remembered that he lived at a time when the truest minds may well have despaired of the Divine government of the world, and must have honestly felt that it was well to be rid, at any cost, of the burden of Pagan superstition.
[497] i. 943-45.
[498] 'And they placed the dwelling-places and mansions of the gods in the heavens, because it is through the heavens that the night and the moon are seen to sweep—the moon, the day, and night, and the stern constellations of night, the torches of heaven wandering through the night, and flying meteors, the clouds, the sun, the rains, the snow, the winds, lightning, hail, the rapid rattle, the threatening peals and murmurs of the thunder.'—v. 1188-93.
[499] Cf. Munro, Introduction, ii. pp. 311, etc.