{"id":21,"date":"2026-06-11T16:20:07","date_gmt":"2026-06-11T15:20:07","guid":{"rendered":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/chapter\/lucretius-de-rerum-natura-book-i-lines-1-43-oer-module\/"},"modified":"2026-06-17T14:34:27","modified_gmt":"2026-06-17T13:34:27","slug":"lucretius-de-rerum-natura-book-i-lines-1-43-oer-module","status":"publish","type":"chapter","link":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/chapter\/lucretius-de-rerum-natura-book-i-lines-1-43-oer-module\/","title":{"raw":"Lucretius: De Rerum Natura, Book I, Lines 1\u201343","rendered":"Lucretius: De Rerum Natura, Book I, Lines 1\u201343"},"content":{"raw":"

1. Introduction: Historical and Scientific Context<\/h3>\nThe study of Lucretius\u2019 De Rerum Natura<\/i> offers a unique intersection of classical poetry and the foundational logic of the natural sciences. For the modern student, Lucretius serves as a bridge between ancient speculative curiosity and the rigorous causal frameworks of contemporary physics.\n\nThe Scientist\u2019s Perspective<\/b> Albert Einstein, in his 1924 foreword to the Diels edition, noted that Lucretius\u2019 poem exerts a particular \"magic\" upon those who feel like \"spectators\" of their own age. As a physicist, Einstein was drawn to Lucretius not merely for his verse, but for his \"atomistic-mechanical worldview.\" He admired Lucretius\u2019 \"firm confidence\" in the \"casual connectedness\" of all world events\u2014the idea that the universe is governed by the regular motion of immutable atoms possessing only geometric-mechanical qualities. Regarding the poem's social and psychological utility, Einstein wrote:\n\n\"He states as the primary objective of his work the liberation of humanity from the slavish fear, induced by religion and superstition, that he sees as nourished and exploited by priests for their own purposes.\"\n\nThe Naturalist\u2019s Perspective<\/b> The physical preservation of this wisdom is as significant as the text itself. Naturalist David Attenborough highlights the 1515 Aldine edition by Aldus Manutius as one of the most \"precious\" artifacts of human history. Attenborough describes the edition\u2019s \"wonderfully elegant italic script\" and, invoking Richard Dawkins' concept of \"memes,\" identifies the printed book as a vehicle through which human experience, knowledge, and wisdom are embedded and handed down across generations, preserved long before the electronic age.\n

2. Parallel Text: The Hymn to Venus (Book I, 1\u201343)<\/h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Latin Text (Diels, 1923)<\/td>\nThematic English Context (Synthesis)<\/td>\n<\/tr>\n
1<\/b> Aeneadum genetrix, hominum diuomque uoluptas,<\/td>\nThe Invocation (1\u20139):<\/b> The poem opens with a \"hymn\" structure addressed to Venus, the alma<\/i> (nurturing) force of nature. She is the \"pleasure of gods and men\" (uoluptas<\/i>).<\/td>\n<\/tr>\n
2<\/b> alma Venus, caeli subter labentia signa<\/td>\nVenus represents the \"casual connectedness\" Einstein observed; she permeates the mare nauigerum<\/i> (ship-bearing seas) and the terras frugiferentis<\/i> (fruit-bearing lands).<\/td>\n<\/tr>\n
3<\/b> quae mare nauigerum, quae terras frugiferentis<\/td>\nThrough her, every kind of living thing is conceived to visit the lumina solis<\/i> (lights of the sun).<\/td>\n<\/tr>\n
4<\/b> concelebras, per te quoniam genus omne animantum<\/td>\n<\/td>\n<\/tr>\n
5<\/b> concipitur uisitque exortum lumina solis<\/td>\nThe Power of Nature:<\/b> Nature responds to her arrival; the winds flee, and the daedala tellus<\/i> (skilful earth) puts forth sweet flowers. This \"skilful\" nature reflects a world of intelligible, mechanical causes.<\/td>\n<\/tr>\n
6<\/b> (te, dea, te fugiunt uenti, te nubila caeli<\/td>\n<\/td>\n<\/tr>\n
7<\/b> aduentumque tuum, tibi suauis daedala tellus<\/td>\n<\/td>\n<\/tr>\n
8<\/b> summittit flores, tibi rident aequora ponti<\/td>\n<\/td>\n<\/tr>\n
9<\/b> placatumque nitet diffuso lumine caelum;<\/td>\n<\/td>\n<\/tr>\n
10<\/b> nam simul ac species patefactast uerna diei<\/td>\nSpring and Vitality (10\u201320):<\/b> As spring unfolds and the fauoni<\/i> (west wind) is unbolted, the birds and wild cattle are struck by her power (perculsae corda tua ui<\/i>).<\/td>\n<\/tr>\n
11<\/b> et reserata uiget genitabilis aura fauoni,<\/td>\n<\/td>\n<\/tr>\n
12<\/b> aeriae primum uolucris te, diua, tuumque<\/td>\n<\/td>\n<\/tr>\n
13<\/b> significant initum perculsae corda tua ui;<\/td>\n<\/td>\n<\/tr>\n
15<\/b> inde ferae pecudes persultant pabula laeta<\/td>\nEditorial Note:<\/b> Line 14 is transposed after 15 as per Codex L to maintain the logical progression of the animals' response.<\/i><\/td>\n<\/tr>\n
14<\/b> et rapidos tranant amnis: ita capta lepore<\/td>\n<\/td>\n<\/tr>\n
16<\/b> te sequitur cupide quo quamque inducere pergis;<\/td>\n<\/td>\n<\/tr>\n
18<\/b> denique per maria ac montis fluuiosque rapacis<\/td>\n<\/td>\n<\/tr>\n
19<\/b> frondiferasque domos auium camposque uirentis<\/td>\n<\/td>\n<\/tr>\n
20<\/b> omnibus incutiens blandum per pectora amorem<\/td>\n<\/td>\n<\/tr>\n
21<\/b> efficis ut cupide generatim saecla propagent),<\/td>\n<\/td>\n<\/tr>\n
22<\/b> quae quoniam rerum naturam sola gubernas,<\/td>\nThe Purpose of the Poem (21\u201328):<\/b> Because Venus alone governs the nature of things, the poet seeks her as a socia<\/i> (partner) in writing these verses for Memmius.<\/td>\n<\/tr>\n
23<\/b> nec sine te quicquam dias in luminis oras<\/td>\n<\/td>\n<\/tr>\n
24<\/b> exoritur neque fit laetum neque amabile quicquam,<\/td>\n<\/td>\n<\/tr>\n
25<\/b> te sociam studeo scribendis uersibus esse,<\/td>\n<\/td>\n<\/tr>\n
26<\/b> quos ego de rerum natura pangere conor<\/td>\n<\/td>\n<\/tr>\n
27<\/b> Memmiadae nostro, quem tu, dea, tempore in omni<\/td>\n<\/td>\n<\/tr>\n
28<\/b> omnibus ornatum uoluisti excellere rebus.<\/td>\n<\/td>\n<\/tr>\n
29<\/b> quo magis aeternum da dictis, diua, leporem,<\/td>\nPlea for Peace (29\u201343):<\/b> To facilitate the study of the \"atomistic-mechanical worldview,\" the poet asks Venus for placidam pacem<\/i> (tranquil peace).<\/td>\n<\/tr>\n
30<\/b> effice ut interea fera moenera militiai<\/td>\n<\/td>\n<\/tr>\n
31<\/b> per maria ac terras omnis sopita quiescant;<\/td>\n<\/td>\n<\/tr>\n
32<\/b> nam tu sola potes tranquilla pace iuuare<\/td>\nThe poet appeals to Mars (Mauors<\/i>), who is conquered by the \"eternal wound of love\" (aeterno deuictus uolnere amoris<\/i>), to quiet the fera moenera militiai<\/i> (wild works of war).<\/td>\n<\/tr>\n
33<\/b> mortalis, quoniam belli fera moenera Mauors<\/td>\n<\/td>\n<\/tr>\n
34<\/b> armipotens regit, in gremium qui saepe tuum se<\/td>\n<\/td>\n<\/tr>\n
35<\/b> reiicit aeterno deuictus uolnere amoris,<\/td>\n<\/td>\n<\/tr>\n
36<\/b> atque ita suspiciens, tereti ceruice reposta,<\/td>\n<\/td>\n<\/tr>\n
37<\/b> pascit amore auidos, inhians in te, dea, uisus,<\/td>\n<\/td>\n<\/tr>\n
38<\/b> eque tuo pendet resupini spiritus ore.<\/td>\n<\/td>\n<\/tr>\n
39<\/b> hunc tu, diua, tuo recubantem corpore sancto<\/td>\n<\/td>\n<\/tr>\n
40<\/b> circum fusa super, suauis ex ore loqueilas<\/td>\n<\/td>\n<\/tr>\n
41<\/b> funde petens placidam Romanis, incluta, pacem;<\/td>\n<\/td>\n<\/tr>\n
42<\/b> nam neque nos agere hoc patriai tempore iniquo<\/td>\n<\/td>\n<\/tr>\n
43<\/b> possumus aequo animo nec Memmi clara propago<\/td>\n<\/td>\n<\/tr>\n
43a<\/b> [TO MAKAPION KAI A\u03a6\u0398APTON]<\/td>\nThe Greek title line preserved in the Diels edition.<\/i><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

3. Critical Apparatus: Testimonia and Codices<\/h3>\n
3.1 TESTIMONIA\n1 Priscian. Inst. VII 9\n4 Priscian. Inst. VII 9 (I 292,18 Hertz) 4 concelebras] Non. p. 274,31\n7 daedala tellus] Macrob. Sat. VI 4,20; Paul. ex Festo p. 59,26 Lindsay\n10 sqq. Serv. ad Georg. II 329\n12 Schol. Bern. ad Verg. Georg. 1 375\n18 Serv. Georg. II 372\n27 Prisc. VIII 96, X 36\n29 Prisc. VII 3\n31-34 Lactant. Plac. in Stat. Theb. III 296\n\n3.2 CODICES (CRITICAL NOTES)\nTitulum de rervm natvra exhibet Probus de ultima syll. (Gramm. lat. ed. Keil IV 225,29) \net subscriptiones librorum O: om. hoc loco OG: T \/\/\/\/\/\/\/\/\/\/ de phisica rervm origine \nvel kffectv liber primvs incipit f. Q\n1 Aneduu G\n5 lumina L: lumine OQG\n7 dedela Q\n14 post 15 transp. L\n16 om. G pergis O1: tergis O*QG\n18 frondiferosque Q* G\n24 studio O\n27 ornatum Prisc., OH^G1: oralatum O*Q* G*\n29 moenera Prisc. OQG: munera Q'Gl militiai Prisc., GO'Ql: militia ut paene semper O*Q*\n30 sospita O*\n32 fera moenera Lambin: feramonera OQG: fera moenia Lact. Plac.\n33 regit Lact. Plac.: regium OQG qui Lact. Plac., Ou. que (compendio) O*QG\n34 reiicit Lact. Plac. (L Pb): reficit O: reicit Lact. Plac. (M Pa), QG deuinctus Lact. Plac.\n35 suscipiens G\n35 tereti L\n36 te Q: om. O* (add. O8)\n43 desse L: idesse O*QG: deesse Ol\n<\/code><\/pre>\n
4. Philological Commentary: The Diels Influence<\/h3>\nThe edition presented here relies on the monumental scholarship of Hermann Diels, whose work transformed the modern understanding of Lucretius.\n
    \n \t
  • Naturalness of Expression:<\/b> Diels\u2019 reconstruction of the verses is highly regarded in academia; his verses read \"so naturally that one forgets it is a translation.\"<\/li>\n \t
  • Epicurean Affinity:<\/b> Diels was a definitive \"friend of Epicurean Philosophy.\" This personal affinity informed the \"colorful and powerful\" nature of his writing, especially in the hymns to Epicurus.<\/li>\n \t
  • Academic Standard:<\/b> The Diels edition remains a primary standard due to its meticulous handling of the manuscript tradition (codices O, Q, G<\/i>).<\/li>\n \t
  • Posthumous Publication:<\/b> Hermann Diels passed away on June 4, 1922, before the final publication. The work was brought to completion and edited by his colleague, Johannes Mewaldt, in 1923\/1924.<\/li>\n<\/ul>\n
    5. Bibliographic Grounding<\/h3>\n
      \n \t
    • Lucretius Carus, T. De rerum natura<\/i>. Vol. 1 (Latin Text) & Vol. 2 (Translation\/Foreword). Edited by Hermann Diels; completed by Johannes Mewaldt. Berlin: Weidmannsche Buchhandlung, 1923\/1924.<\/li>\n \t
    • Einstein, Albert. \"Foreword to Lucretius.\" In De rerum natura<\/i>, Vol. 2, edited by Hermann Diels. Berlin: Weidmannsche Buchhandlung, 1924.<\/li>\n \t
    • Manutius, Aldus. Lucretius<\/i>. Venice Edition, 1515. (As referenced in Attenborough, Folio Society Interview, 2014\/2025).<\/li>\n<\/ul>","rendered":"
      1. Introduction: Historical and Scientific Context<\/h3>\n
      The study of Lucretius\u2019 De Rerum Natura<\/i> offers a unique intersection of classical poetry and the foundational logic of the natural sciences. For the modern student, Lucretius serves as a bridge between ancient speculative curiosity and the rigorous causal frameworks of contemporary physics.<\/p>\n
      The Scientist\u2019s Perspective<\/b> Albert Einstein, in his 1924 foreword to the Diels edition, noted that Lucretius\u2019 poem exerts a particular “magic” upon those who feel like “spectators” of their own age. As a physicist, Einstein was drawn to Lucretius not merely for his verse, but for his “atomistic-mechanical worldview.” He admired Lucretius\u2019 “firm confidence” in the “casual connectedness” of all world events\u2014the idea that the universe is governed by the regular motion of immutable atoms possessing only geometric-mechanical qualities. Regarding the poem’s social and psychological utility, Einstein wrote:<\/p>\n
      “He states as the primary objective of his work the liberation of humanity from the slavish fear, induced by religion and superstition, that he sees as nourished and exploited by priests for their own purposes.”<\/p>\n
      The Naturalist\u2019s Perspective<\/b> The physical preservation of this wisdom is as significant as the text itself. Naturalist David Attenborough highlights the 1515 Aldine edition by Aldus Manutius as one of the most “precious” artifacts of human history. Attenborough describes the edition\u2019s “wonderfully elegant italic script” and, invoking Richard Dawkins’ concept of “memes,” identifies the printed book as a vehicle through which human experience, knowledge, and wisdom are embedded and handed down across generations, preserved long before the electronic age.<\/p>\n
      2. Parallel Text: The Hymn to Venus (Book I, 1\u201343)<\/h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
      Latin Text (Diels, 1923)<\/td>\nThematic English Context (Synthesis)<\/td>\n<\/tr>\n
      1<\/b> Aeneadum genetrix, hominum diuomque uoluptas,<\/td>\nThe Invocation (1\u20139):<\/b> The poem opens with a “hymn” structure addressed to Venus, the alma<\/i> (nurturing) force of nature. She is the “pleasure of gods and men” (uoluptas<\/i>).<\/td>\n<\/tr>\n
      2<\/b> alma Venus, caeli subter labentia signa<\/td>\nVenus represents the “casual connectedness” Einstein observed; she permeates the mare nauigerum<\/i> (ship-bearing seas) and the terras frugiferentis<\/i> (fruit-bearing lands).<\/td>\n<\/tr>\n
      3<\/b> quae mare nauigerum, quae terras frugiferentis<\/td>\nThrough her, every kind of living thing is conceived to visit the lumina solis<\/i> (lights of the sun).<\/td>\n<\/tr>\n
      4<\/b> concelebras, per te quoniam genus omne animantum<\/td>\n<\/td>\n<\/tr>\n
      5<\/b> concipitur uisitque exortum lumina solis<\/td>\nThe Power of Nature:<\/b> Nature responds to her arrival; the winds flee, and the daedala tellus<\/i> (skilful earth) puts forth sweet flowers. This “skilful” nature reflects a world of intelligible, mechanical causes.<\/td>\n<\/tr>\n
      6<\/b> (te, dea, te fugiunt uenti, te nubila caeli<\/td>\n<\/td>\n<\/tr>\n
      7<\/b> aduentumque tuum, tibi suauis daedala tellus<\/td>\n<\/td>\n<\/tr>\n
      8<\/b> summittit flores, tibi rident aequora ponti<\/td>\n<\/td>\n<\/tr>\n
      9<\/b> placatumque nitet diffuso lumine caelum;<\/td>\n<\/td>\n<\/tr>\n
      10<\/b> nam simul ac species patefactast uerna diei<\/td>\nSpring and Vitality (10\u201320):<\/b> As spring unfolds and the fauoni<\/i> (west wind) is unbolted, the birds and wild cattle are struck by her power (perculsae corda tua ui<\/i>).<\/td>\n<\/tr>\n
      11<\/b> et reserata uiget genitabilis aura fauoni,<\/td>\n<\/td>\n<\/tr>\n
      12<\/b> aeriae primum uolucris te, diua, tuumque<\/td>\n<\/td>\n<\/tr>\n
      13<\/b> significant initum perculsae corda tua ui;<\/td>\n<\/td>\n<\/tr>\n
      15<\/b> inde ferae pecudes persultant pabula laeta<\/td>\nEditorial Note:<\/b> Line 14 is transposed after 15 as per Codex L to maintain the logical progression of the animals’ response.<\/i><\/td>\n<\/tr>\n
      14<\/b> et rapidos tranant amnis: ita capta lepore<\/td>\n<\/td>\n<\/tr>\n
      16<\/b> te sequitur cupide quo quamque inducere pergis;<\/td>\n<\/td>\n<\/tr>\n
      18<\/b> denique per maria ac montis fluuiosque rapacis<\/td>\n<\/td>\n<\/tr>\n
      19<\/b> frondiferasque domos auium camposque uirentis<\/td>\n<\/td>\n<\/tr>\n
      20<\/b> omnibus incutiens blandum per pectora amorem<\/td>\n<\/td>\n<\/tr>\n
      21<\/b> efficis ut cupide generatim saecla propagent),<\/td>\n<\/td>\n<\/tr>\n
      22<\/b> quae quoniam rerum naturam sola gubernas,<\/td>\nThe Purpose of the Poem (21\u201328):<\/b> Because Venus alone governs the nature of things, the poet seeks her as a socia<\/i> (partner) in writing these verses for Memmius.<\/td>\n<\/tr>\n
      23<\/b> nec sine te quicquam dias in luminis oras<\/td>\n<\/td>\n<\/tr>\n
      24<\/b> exoritur neque fit laetum neque amabile quicquam,<\/td>\n<\/td>\n<\/tr>\n
      25<\/b> te sociam studeo scribendis uersibus esse,<\/td>\n<\/td>\n<\/tr>\n
      26<\/b> quos ego de rerum natura pangere conor<\/td>\n<\/td>\n<\/tr>\n
      27<\/b> Memmiadae nostro, quem tu, dea, tempore in omni<\/td>\n<\/td>\n<\/tr>\n
      28<\/b> omnibus ornatum uoluisti excellere rebus.<\/td>\n<\/td>\n<\/tr>\n
      29<\/b> quo magis aeternum da dictis, diua, leporem,<\/td>\nPlea for Peace (29\u201343):<\/b> To facilitate the study of the “atomistic-mechanical worldview,” the poet asks Venus for placidam pacem<\/i> (tranquil peace).<\/td>\n<\/tr>\n
      30<\/b> effice ut interea fera moenera militiai<\/td>\n<\/td>\n<\/tr>\n
      31<\/b> per maria ac terras omnis sopita quiescant;<\/td>\n<\/td>\n<\/tr>\n
      32<\/b> nam tu sola potes tranquilla pace iuuare<\/td>\nThe poet appeals to Mars (Mauors<\/i>), who is conquered by the “eternal wound of love” (aeterno deuictus uolnere amoris<\/i>), to quiet the fera moenera militiai<\/i> (wild works of war).<\/td>\n<\/tr>\n
      33<\/b> mortalis, quoniam belli fera moenera Mauors<\/td>\n<\/td>\n<\/tr>\n
      34<\/b> armipotens regit, in gremium qui saepe tuum se<\/td>\n<\/td>\n<\/tr>\n
      35<\/b> reiicit aeterno deuictus uolnere amoris,<\/td>\n<\/td>\n<\/tr>\n
      36<\/b> atque ita suspiciens, tereti ceruice reposta,<\/td>\n<\/td>\n<\/tr>\n
      37<\/b> pascit amore auidos, inhians in te, dea, uisus,<\/td>\n<\/td>\n<\/tr>\n
      38<\/b> eque tuo pendet resupini spiritus ore.<\/td>\n<\/td>\n<\/tr>\n
      39<\/b> hunc tu, diua, tuo recubantem corpore sancto<\/td>\n<\/td>\n<\/tr>\n
      40<\/b> circum fusa super, suauis ex ore loqueilas<\/td>\n<\/td>\n<\/tr>\n
      41<\/b> funde petens placidam Romanis, incluta, pacem;<\/td>\n<\/td>\n<\/tr>\n
      42<\/b> nam neque nos agere hoc patriai tempore iniquo<\/td>\n<\/td>\n<\/tr>\n
      43<\/b> possumus aequo animo nec Memmi clara propago<\/td>\n<\/td>\n<\/tr>\n
      43a<\/b> [TO MAKAPION KAI A\u03a6\u0398APTON]<\/td>\nThe Greek title line preserved in the Diels edition.<\/i><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
      3. Critical Apparatus: Testimonia and Codices<\/h3>\n
      3.1 TESTIMONIA\n1 Priscian. Inst. VII 9\n4 Priscian. Inst. VII 9 (I 292,18 Hertz) 4 concelebras] Non. p. 274,31\n7 daedala tellus] Macrob. Sat. VI 4,20; Paul. ex Festo p. 59,26 Lindsay\n10 sqq. Serv. ad Georg. II 329\n12 Schol. Bern. ad Verg. Georg. 1 375\n18 Serv. Georg. II 372\n27 Prisc. VIII 96, X 36\n29 Prisc. VII 3\n31-34 Lactant. Plac. in Stat. Theb. III 296\n\n3.2 CODICES (CRITICAL NOTES)\nTitulum de rervm natvra exhibet Probus de ultima syll. (Gramm. lat. ed. Keil IV 225,29) \net subscriptiones librorum O: om. hoc loco OG: T \/\/\/\/\/\/\/\/\/\/ de phisica rervm origine \nvel kffectv liber primvs incipit f. Q\n1 Aneduu G\n5 lumina L: lumine OQG\n7 dedela Q\n14 post 15 transp. L\n16 om. G pergis O1: tergis O*QG\n18 frondiferosque Q* G\n24 studio O\n27 ornatum Prisc., OH^G1: oralatum O*Q* G*\n29 moenera Prisc. OQG: munera Q'Gl militiai Prisc., GO'Ql: militia ut paene semper O*Q*\n30 sospita O*\n32 fera moenera Lambin: feramonera OQG: fera moenia Lact. Plac.\n33 regit Lact. Plac.: regium OQG qui Lact. Plac., Ou. que (compendio) O*QG\n34 reiicit Lact. Plac. (L Pb): reficit O: reicit Lact. Plac. (M Pa), QG deuinctus Lact. Plac.\n35 suscipiens G\n35 tereti L\n36 te Q: om. O* (add. O8)\n43 desse L: idesse O*QG: deesse Ol\n<\/code><\/pre>\n
      4. Philological Commentary: The Diels Influence<\/h3>\n
      The edition presented here relies on the monumental scholarship of Hermann Diels, whose work transformed the modern understanding of Lucretius.<\/p>\n
        \n
      • Naturalness of Expression:<\/b> Diels\u2019 reconstruction of the verses is highly regarded in academia; his verses read “so naturally that one forgets it is a translation.”<\/li>\n
      • Epicurean Affinity:<\/b> Diels was a definitive “friend of Epicurean Philosophy.” This personal affinity informed the “colorful and powerful” nature of his writing, especially in the hymns to Epicurus.<\/li>\n
      • Academic Standard:<\/b> The Diels edition remains a primary standard due to its meticulous handling of the manuscript tradition (codices O, Q, G<\/i>).<\/li>\n
      • Posthumous Publication:<\/b> Hermann Diels passed away on June 4, 1922, before the final publication. The work was brought to completion and edited by his colleague, Johannes Mewaldt, in 1923\/1924.<\/li>\n<\/ul>\n
        5. Bibliographic Grounding<\/h3>\n
          \n
        • Lucretius Carus, T. De rerum natura<\/i>. Vol. 1 (Latin Text) & Vol. 2 (Translation\/Foreword). Edited by Hermann Diels; completed by Johannes Mewaldt. Berlin: Weidmannsche Buchhandlung, 1923\/1924.<\/li>\n
        • Einstein, Albert. “Foreword to Lucretius.” In De rerum natura<\/i>, Vol. 2, edited by Hermann Diels. Berlin: Weidmannsche Buchhandlung, 1924.<\/li>\n
        • Manutius, Aldus. Lucretius<\/i>. Venice Edition, 1515. (As referenced in Attenborough, Folio Society Interview, 2014\/2025).<\/li>\n<\/ul>\n","protected":false},"author":1,"menu_order":2,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-21","chapter","type-chapter","status-publish","hentry"],"part":18,"_links":{"self":[{"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/pressbooks\/v2\/chapters\/21","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/wp\/v2\/users\/1"}],"version-history":[{"count":1,"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/pressbooks\/v2\/chapters\/21\/revisions"}],"predecessor-version":[{"id":22,"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/pressbooks\/v2\/chapters\/21\/revisions\/22"}],"part":[{"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/pressbooks\/v2\/parts\/18"}],"metadata":[{"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/pressbooks\/v2\/chapters\/21\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/wp\/v2\/media?parent=21"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/pressbooks\/v2\/chapter-type?post=21"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/wp\/v2\/contributor?post=21"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/wp\/v2\/license?post=21"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}