FORE: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.The dialectic theory, considered in its relation to physics, tended to substitute the study of uniformity for the study of mechanical causation. But the general conceptions established by science were a kind of soul in Nature; they were immaterial, they could not be perceived by sense, and yet, remaining as they did unchanged in a world of change, they were far truer, far more real, than the phenomena to which they gave unity and definition. Now these self-existent ideas, being subjective in their origin, readily reacted on239 mind, and communicated to it those attributes of fixedness and eternal duration which had in truth been borrowed by them from Nature, not by Nature from them. Plato argued that the soul was in possession of ideas too pure to have been derived from the suggestions of sense, and therefore traceable to the reminiscences of an ante-natal experience. But we can see that the reminiscence was all on the side of the ideas; it was they that betrayed their human origin by the birthmark of abstraction and finalitybetokening the limitation of mans faculties and the interest of his desireswhich still clung to them when from a temporary law of thought they were erected into an everlasting law of things. As Comte would say, Plato was taking out of his conceptions what he had first put into them himself. And, if this consideration applies to all his reasonings on the subject of immortality, it applies especially to what he regards as the most convincing demonstration of any. There is one idea, he tells us, with which the soul is inseparably and essentially associatednamely, the idea of life. Without this, soul can no more be conceived than snow without cold or fire without heat; nor can death approach it without involving a logical contradiction. To assume that the soul is separable from the body, and that life is inseparable from the soul, was certainly an expeditious method of proof. To a modern, it would have the further disadvantage of proving too much. For, by parity of reasoning, every living thing must have an immortal soul, and every soul must have existed from all eternity. Plato frankly accepted both conclusions, and even incorporated them with his ethical system. He looked on the lower animals as so many stages in a progressive degradation to which human beings had descended through their own violence or sensuality, but from which it was possible for them to return after a certain period of penitence and probation. At other times he describes a hell, a purgatory, and a heaven, not unlike what we read of in240 Dante, without apparently being conscious of any inconsistency between the two representations. It was, indeed, an inconsistency such as we find in the highest order of intellects, the inconsistency of one who mediated between two worlds, between naturalistic metempsychosis on the one side, and ethical individualism on the other.
