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THREE:But the enthusiasm for science, however noble in itself, would not alone have sufficed to mould the Epicurean philosophy into a true work of art. The De Rerum Natura is the greatest of all didactic poems, because it is something more than didactic. Far more truly than any of its Latin successors, it may claim comparison with the epic and dramatic masterpieces of Greece and Christian Europe; and that too not by virtue of any detached passages, however splendid, but by virtue of its composition as a whole. The explanation of this extraordinary success is to be sought in the circumstance that the central interest whence Lucretius works out in all directions is vital rather than merely scientific. The true heroine of his epic is not Nature but universal life��human life in the first instance, then the life of all the lower animals, and even of plants as well. Not only does he bring before us every stage of man��s existence from its first to its last hour106 with a comprehensiveness, a fidelity, and a daring unparalleled in literature; but he exhibits with equal power of portrayal the towered elephants carrying confusion into the ranks of war, or girdling their own native India with a rampart of ivory tusks; the horse with an eagerness for the race that outruns even the impulse of his own swift limbs, or fiercely neighing with distended nostrils on the battlefield; the dog snuffing an imaginary scent, or barking at strange faces in his dreams; the cow sorrowing after her lost heifer; the placid and laborious ox; the flock of pasturing sheep seen far off, like a white spot on some green hill; the tremulous kids and sportive lambs; the new-fledged birds filling all the grove with their fresh songs; the dove with her neck-feathers shifting from ruby-red to sky-blue and emerald-green; the rookery clamouring for wind or rain; the sea birds screaming over the salt waves in search of prey; the snake sloughing its skin; the scaly fishes cleaving their way through the yielding stream; the bee winging its flight from flower to flower; the gnat whose light touch on our faces passes unperceived; the grass refreshed with dew; the trees bursting into sudden life from the young earth, or growing, flourishing, and covering themselves with fruit, dependent, like animals, on heat and moisture for their increase, and glad like them:��all these helping to illustrate with unequalled variety, movement, and picturesqueness the central idea which Lucretius carries always in his mind."PROCLAMATION

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THREE:

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introduction

THREE:"But ... but ...! May I go there?""Have you been there already? I am going there too. How are things there?"

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FORE:III.

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FORE:Daemonism, however, does not fill a very great place in the creed of Plutarch; and a comparison of him with his successors shows that the saner traditions of Greek thought only gradually gave way to the rising flood of ignorance and unreason. It is true that, as a moralist, the philosopher of Chaeronea considered religion of inestimable importance to human virtue and human happiness; while, as a historian, he accepted stories of supernatural occurrences with a credulity recalling that of Livy and falling little short of Dion Cassius. Nor did his own Platonistic monotheism prevent him from extending a very generous intellectual toleration to the different forms of polytheism which he found everywhere prevailing.395 In this respect, he and probably all the philosophers of that and the succeeding age, the Epicureans, the Sceptics, and some of the Cynics alone excepted, offer a striking contradiction to one of Gibbon��s most celebrated epigrams. To them the popular religions were not equally false but equally true, and, to a certain extent, equally useful. Where Plutarch drew the line was at what he called Deisidaimonia, the frightful mental malady which, as already mentioned, began to afflict Greece soon after the conquests of Alexander. It is generally translated superstition, but has a much narrower meaning. It expresses the beliefs and feelings of one who lives in perpetual dread of provoking supernatural vengeance, not254 by wrongful behaviour towards his fellow-men, nor even by intentional disrespect towards a higher power, but by the neglect of certain ceremonial observances; and who is constantly on the look-out for heaven-sent prognostications of calamities, which, when they come, will apparently be inflicted from sheer ill-will, Plutarch has devoted one of his most famous essays to the castigation of this weakness. He deliberately prefers atheism to it, showing by an elaborate comparison of instances that the former��with which, however, he has no sympathy at all��is much less injurious to human happiness, and involves much less real impiety, than such a constant attribution of meaningless malice to the gods. One example of Deisidaimonia adduced by Plutarch is Sabbatarianism, especially when carried, as it had recently been by the Jews during the siege of Jerusalem, to the point of entirely suspending military operations on the day of rest.396 That the belief in daemons, some of whom passed for being malevolent powers, might yield a fruitful crop of new superstitions, does not seem to have occurred to Plutarch; still less that the doctrine of future torments of which, following Plato��s example, he was a firm upholder, might prove a terror to others besides offenders against the moral law,��especially when manipulated by a class whose interest it was to stimulate the feeling in question to the utmost possible intensity.

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FORE:The faces of the dies remain parallel, no matter how large the piece may be that is operated upon, while with a trip-hammer, the top die moves in an arc described from the trunnions of the helve, and the faces of the dies can only be parallel when in one position, or when operating on pieces of a certain depth. This feature of parallel movement with the dies of crank-hammers is of great importance on some kinds of work, and especially so for machine-forgings where the size or depth of the work is continually being varied.

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