The value of the poem to us consists not in its contributions to science but in its intensity of poetic feeling. None but a student will read through the disquisitions on atoms and void. All who love poetry will feel the charm of the digressions and introductions. These, which are sufficiently numerous, are either resting-places in the process of proof, when the writer pauses to reflect, or bursts of eloquent appeal which his earnestness cannot repress. Of the first kind are the account of spring in Book I. and the enumeration of female attractions in Book IV.; of the second, are the sacrifice of Iphigenia, [68] the tribute to Empedocles and Epicurus, [69] the description of himself as a solitary wanderer among trackless haunts of the Muses, [70] the attack on ambition and luxury, [71] the pathetic description of the cow bereft of her calf, [72] the indignant remonstrance with the man who fears to die. [73] In these, as in innumerable single touches, the poet of original genius is revealed. Virgil often works by allusion: Lucretius never does. All his effects are gained by the direct presentation of a distinct image. He has in a high degree the "seeing eye," which needs only a steady hand to body forth its visions. Take the picture of Mars in love, yielding to Venus's prayer for peace. [74] What can be more truly statuesque?
"Belli fera moenera Mavors Armipotens regit, in gremium qui saepe tuum se Reiicit aeterno devictus volnere amoris: Atque ita suspiciens tereti cervice reposta Pascit amore avidos inhians in te, dea, visus, Eque tuo pendet resupini spiritus ore. Hunc tu diva tuo recubantem corpore sancto Circumfusa super suavis ex ore loquellas Funde petens placidam Romanis, incluta, pacem."
"Libera continuo dominis privata superbis."
Who can fail in this to catch the tones of the Republic? Again, take his description of the transmission of existence,
"Et quasi cursores vitai; lampada tradunt;"
or of the helplessness of medicine in time of plague,
These are a few examples of a power present throughout, filling his reasonings with a vivid reality far removed from the conventional rhetoric of most philosopher poets. [75] His language is Thucydidean in its chiselled outline, its quarried strength, its living expressiveness. Nor is his moral earnestness inferior. The end of life is indeed nominally pleasure, [76] "_dux vitae dia voluptas_;" but really it is a pure heart, "_At bene non poterat sine puro pectore vivi_." [77] He who first showed the way to this was the true deity. [78] The contemplation of eternal law will produce, not as the strict Epicureans say, _indifference_, [79] but resignation. [80] This happiness is in our own power, and neither gods nor men can take it away. The ties of family life are depicted with enthusiasm, and though the active duties of a citizen are not recommended, they are certainly not discouraged. But the knowledge of nature alone can satisfy man's spirit, or enable him to lead a life worthy of the immortals, and see with his mind's eye their mansions of eternal rest. [81] Nothing can be further from the light treatment of deep problems current among Epicureans than the solemn earnestness of Lucretius. He cannot leave the world to its vanity and enjoy himself. He seeks to bring men to his views, but at the same time he sees how hopeless is the task. He becomes a pessimist: in Roman language, _he despairs of the Republic_. He is a lonely spirit, religious even in his anti-religionism, full of reverence, but ignorant what to worship; a splendid poet, feeding his spirit on the husks of mechanical causation.