THREE:It is well for the reputation of Aristotle that he could apply himself with such devotion to the arduous and, in his time, inglorious researches of natural history and comparative anatomy, since it was only in those departments that he made any real contributions to physical science. In the studies which were to him the noblest and most entrancing of any, his speculations are one long record of wearisome, hopeless, unqualified delusion. If, in the philosophy of practice and the philosophy of art, he afforded no real guidance at all, in the philosophy of Nature his guidance has312 always led men fatally astray. So far as his means of observation extended, there was nothing that he did not attempt to explain, and in every single instance he was wrong. He has written about the general laws of matter and motion, astronomy, chemistry, meteorology, and physiology, with the result that he has probably made more blunders on those subjects than any human being ever made before or after him. And, if there is one thing more astounding than his unbroken infelicity of speculation, it is the imperturbable self-confidence with which he puts forward his fallacies as demonstrated scientific certainties. Had he been right, it was no slight or partial glimpses of the beloved that would have been vouchsafed him, but the fullest and nearest revelation of her beauties. But the more he looked the less he saw. Instead of drawing aside he only thickened and darkened the veils of sense which obscured her, by mistaking them for the glorious forms that lay concealed beneath.The De Rerum Natura is the greatest of Roman poems, because it is just the one work where the abstract genius of Rome met with a subject combining an abstract form with the interest and inspiration of concrete reality; where negation works with a greater power than assertion; where the satire is directed against follies more wide-spread and enduring than any others; where the teaching in some most essential points can never be superseded; and where dependence on a Greek model left the poet free to contribute from his own imagination those elements to which the poetic value of his work is entirely due. By a curious coincidence, the great poet of mediaeval Italy attained success by the employment of a somewhat similar method. Dante represented, it is true, in their victorious combination, three influences against which Lucretius waged an unrelenting warfarereligion, the idealising love of woman, and the spiritualistic philosophy of Greece. Nevertheless, they resemble each other in this important particular, that both have taken an114 abstract theory of the world as the mould into which the burning metal of their imaginative conceptions is poured. Dante, however, had a power of individual presentation which Lucretius either lacked or had no opportunity of exercising; and therefore he approaches nearer to that supreme creativeness which only two races, the Greek and the English, have hitherto displayed on a very extended scale.
