THREE:His analysis of individuality was the first step in this direction. We have seen that he treats definition as a process of gradual specification, beginning with the most general notions, and working down by successive differentiations to the most particular. Now, the completed conception is itself the integration of all these differences, the bond of union holding them together. Turning to an antithetical order of ideas, to the material substance of which bodies are composed, and its various transformations, we find him working out the same vein of thought. According to the Aristotelian chemistry, an ultimate indeterminate unknowable something clothes itself with one or other of the opposing attributes, dry and moist, hot and cold; and when two of these are combined, manifests itself to our senses as one of the four elements. The elements combine in a particular manner to form homogeneous animal tissues, and these again are united into heterogeneous organs, which together constitute the living body. Here, then, we have two analogous series of specifications��one conceptual and leading down from the abstract to the concrete, the other physical, and leading up from the vague, the simple, and the homogeneous, to the definite, the complex, and the heterogeneous. Aristotle embraces both processes under a single comprehensive generalisation. He describes each of them as the continuous conversion of a346 possibility into an actuality. For the sake of greater clearness, let us take the liberty of substituting modern scientific terms for his cumbrous and obsolete classifications. We shall then say that the general notion, living thing, contains under it the two less general notions��plant and animal. If we only know of any given object that it has life, there is implied the possibility of its being either the one or the other, but not both together. On determining it to be (say) an animal, we actualise one of the possibilities. But the actualisation is only relative, and immediately becomes the possibility of being either a vertebrate or an invertebrate animal. The actuality vertebrate becomes the possibility of viviparous or oviparous, and so on through successive differentiations until we come (say) to a man. Now let us begin at the material end. Here are a mass of molecules, which, in their actual state are only carbon, nitrogen, and so forth. But they are potential starch, gluten, water, or any other article of food that might be named; for under favourable conditions they will combine to form it. Once actualised as such, they are possible blood-cells; these are possible tissues; these, again, possible organs, and lastly we come to the consensus of vital functions, which is a man. What the raw material is to the finished product, that are the parts to the entire organism, the elements to the compound, the genus to the species, and such in its very widest sense is potency to realisation, δ?ναμι? to ?ντελ?χεια, throughout the universe of growth and decay.246"I acquaint the inhabitants of Li��ge of this, that they may understand what fate threatens them if they should assume a similar attitude.

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THREE:Light at last. The blinds were up, but that did not matter. Leona turned and looked round the room. A man, seated in a chair, a dark and gloomy man with brooding eyes, rose and confronted her.

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THREE: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.

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