{"id":45,"date":"2026-06-12T15:56:01","date_gmt":"2026-06-12T14:56:01","guid":{"rendered":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/chapter\/oer-pressbooks-module-lucretius-de-rerum-natura-book-iii-1-93\/"},"modified":"2026-06-17T14:34:28","modified_gmt":"2026-06-17T13:34:28","slug":"oer-pressbooks-module-lucretius-de-rerum-natura-book-iii-1-93","status":"publish","type":"chapter","link":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/chapter\/oer-pressbooks-module-lucretius-de-rerum-natura-book-iii-1-93\/","title":{"raw":"Lucretius, De Rerum Natura, Book III, 1\u201393","rendered":"Lucretius, De Rerum Natura, Book III, 1\u201393"},"content":{"raw":"

1. Module Introduction: The Intellectual Magic and Aesthetic Legacy of Lucretius<\/h2>\nThe legacy of Titus Lucretius Carus and his didactic epic, De rerum natura<\/i>, offers a profound intellectual \"magic\" to those who engage with it across the centuries. Albert Einstein, in his 1924 foreword to Hermann Diels' authoritative edition, reflected that the poem possesses a unique power for anyone who does not feel \"completely submerged in the spirit of our age.\" For Einstein, Lucretius appeals most to the individual who \"feels like a spectator\" of the world and the intellectual attitudes of his contemporaries. He observed that Lucretius presents an independent mind imagining the world through lively senses and speculative curiosity, unburdened by the scientific results we are taught in childhood. Einstein specifically praised Diels' edition because the verses \"read so naturally that one forgets it is a translation,\" a standard this module seeks to uphold.\n\nBeyond its philosophical weight, the poem is a landmark of aesthetic history. Broadcaster and naturalist David Attenborough identifies the 1515 Aldine edition of Lucretius, printed by Aldus Manutius, as one of his \"most precious books.\" Attenborough highlights the \"wonderfully elegant italic script\" of this Venetian publication, which popularized the \"portable\" book format. For Attenborough, such books are essential \"memes\"\u2014vessels of human experience where knowledge is embedded and handed down across generations, preserving wisdom that would otherwise have been lost before the electronic age. This module invites students to enter that lineage, beginning with the famous proem to Book III.\n

2. Parallel Text: Book III, Lines 1\u201393<\/h2>\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\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\n\n\n\n
Latin Text (Hermann Diels, 1923)<\/td>\nEnglish Translation (Modern Style)<\/td>\n<\/tr>\n
1<\/b> E tenebris tantis tam clarum extollere lumen<\/td>\n1<\/b> Out of such deep darkness, to raise such a bright light,<\/td>\n<\/tr>\n
qui primus potuisti inlustrans commoda uitae,<\/td>\nyou were the first who could illuminate the joys of life;<\/td>\n<\/tr>\n
te sequor, o Graiae gentis decus, inque tuis nunc<\/td>\nI follow you, O glory of the Greek race, and now<\/td>\n<\/tr>\n
ficta pedum pono pressis uestigia signis,<\/td>\nI set my feet in the prints you have already made,<\/td>\n<\/tr>\n
5<\/b> non ita certandi cupidus quam propter amorem<\/td>\n5<\/b> not so much to compete, as because love<\/td>\n<\/tr>\n
quod te imitari aueo; quid enim contendat hirundo<\/td>\nmakes me crave to copy you. For how can the swallow<\/td>\n<\/tr>\n
cycnis, aut quidnam tremulis facere artubus haedi<\/td>\ncontend with the swan, or what can a kid with trembling limbs<\/td>\n<\/tr>\n
consimile in cursu possint et fortis equi uis?<\/td>\ndo in the race to match the strength of a powerful horse?<\/td>\n<\/tr>\n
tu, pater, es rerum inuentor, tu patria nobis<\/td>\nYou, father, are the discoverer of truth; you give us<\/td>\n<\/tr>\n
10<\/b> praecepta expromis tuisque ex, inclute, chartis,<\/td>\n10<\/b> a father\u2019s precepts, and from your pages, illustrious man,<\/td>\n<\/tr>\n
floriferis ut apes in saltibus omnia libant,<\/td>\njust as bees in the flowery glades sip every blossom,<\/td>\n<\/tr>\n
omnia nos itidem depascimur aurea dicta,<\/td>\nwe likewise feed upon all your golden words\u2014<\/td>\n<\/tr>\n
aurea, ad perpetua semper dignissima uita.<\/td>\ngolden, and always most worthy of eternal life.<\/td>\n<\/tr>\n
nam simul ac ratio tua coepit uociferari<\/td>\nFor as soon as your reasoning begins to proclaim<\/td>\n<\/tr>\n
15<\/b> naturam rerum, diuina mente coortam,<\/td>\n15<\/b> the nature of things, sprung from your divine mind,<\/td>\n<\/tr>\n
diffugiunt animi terrores, moenia mundi<\/td>\nthe terrors of the mind fly away, the walls of the world<\/td>\n<\/tr>\n
discedunt, totum uideo per inane geri res.<\/td>\npart asunder, and I see things happening through the whole void.<\/td>\n<\/tr>\n
apparet diuum numen sedesque quietae<\/td>\nThe majesty of the gods appears and their quiet dwellings,<\/td>\n<\/tr>\n
quas neque concutiunt uenti nec nubila nimbis<\/td>\nwhich neither the winds shake nor clouds sprinkle with rain,<\/td>\n<\/tr>\n
20<\/b> aspergunt neque nix acri concreta pruina<\/td>\n20<\/b> nor does the snow, hardened by sharp frost,<\/td>\n<\/tr>\n
cana cadens uiolat semperque innubilus aether<\/td>\nwhite and falling, violate them; an ever cloudless sky<\/td>\n<\/tr>\n
integit, et large diffuso lumine rident.<\/td>\ncovers them, and they smile in the broadly diffused light.<\/td>\n<\/tr>\n
omnia suppeditat porro natura neque ulla<\/td>\nNature supplies their every need, and at no time<\/td>\n<\/tr>\n
res animi pacem delibat tempore in ullo.<\/td>\ndoes anything detract from their peace of mind.<\/td>\n<\/tr>\n
25<\/b> at contra nusquam apparent Acherusia templa<\/td>\n25<\/b> But on the other hand, the halls of Acheron appear nowhere,<\/td>\n<\/tr>\n
nec tellus obstat quin omnia despiciantur,<\/td>\nnor does the earth prevent us from looking down into all<\/td>\n<\/tr>\n
sub pedibus quaecumque infra per inane geruntur.<\/td>\nthat passes in the void beneath our feet.<\/td>\n<\/tr>\n
his ibi me rebus quaedam diuina uoluptas<\/td>\nAt these sights, a kind of divine pleasure and<\/td>\n<\/tr>\n
percipit atque horror, quod sic natura tua ui<\/td>\nawe takes hold of me, because by your power nature<\/td>\n<\/tr>\n
30<\/b> tam manifesta patens ex omni parte retecta est.<\/td>\n30<\/b> has been so manifestly opened and uncovered on every side.<\/td>\n<\/tr>\n
Et quoniam docui, cunctorum exordia rerum<\/td>\nAnd since I have taught the nature of the beginnings of all things,<\/td>\n<\/tr>\n
qualia sint et quam uariis distantia formis<\/td>\nwhat they are like, how they differ in their various shapes<\/td>\n<\/tr>\n
sponte sua uolitent aeterno percita motu<\/td>\nas they fly of their own accord, driven by eternal motion,<\/td>\n<\/tr>\n
quoue modo possint ex his res quaeque creari,<\/td>\nand in what way every thing can be created from them,<\/td>\n<\/tr>\n
35<\/b> hasce secundum res animi natura uidetur<\/td>\n35<\/b> following these matters, the nature of the mind<\/td>\n<\/tr>\n
atque animae claranda meis iam uersibus esse<\/td>\nand of the soul must now be made clear in my verses,<\/td>\n<\/tr>\n
et metus ille foras praeceps Acheruntis agendus,<\/td>\nand that fear of Acheron must be driven out headlong,<\/td>\n<\/tr>\n
funditus humanam qui uitam turbat ab imo<\/td>\nwhich troubles human life from its deepest depths,<\/td>\n<\/tr>\n
omnia suffundens mortis nigrore neque ullam<\/td>\npouring over all things the blackness of death, leaving<\/td>\n<\/tr>\n
40<\/b> esse uoluptatem liquidam puramque relinquit.<\/td>\n40<\/b> no pleasure to be clear and pure.<\/td>\n<\/tr>\n
nam quod saepe homines ferunt, magis esse timendas<\/td>\nFor as to the fact that men often claim that disease<\/td>\n<\/tr>\n
morborum causas et uitam turpem ac sine honore<\/td>\nand a life of infamy are more to be feared<\/td>\n<\/tr>\n
quam Tartari loca et se scire animi naturam<\/td>\nthan the regions of Tartarus, and that they know the mind's nature<\/td>\n<\/tr>\n
sanguinis esse aut etiam si fert ita forte uenti,<\/td>\nto be made of blood, or perhaps even of wind,<\/td>\n<\/tr>\n
45<\/b> nec radicitus id fieri rationis egestas,<\/td>\n45<\/b> and that they have no need of our reasoning\u2014<\/td>\n<\/tr>\n
hinc licet aduertas magis in re talia dici<\/td>\nyou may notice that such things are said more for the sake of<\/td>\n<\/tr>\n
laudis adfectari causa quam quod res ita uera,<\/td>\nseeking praise than because the belief is true.<\/td>\n<\/tr>\n
extorres idem patria longeque remoti<\/td>\nThese same men, exiled from their country and far removed<\/td>\n<\/tr>\n
ab conspectu hominum, foedati crimine turpi,<\/td>\nfrom the sight of men, stained by some foul crime,<\/td>\n<\/tr>\n
50<\/b> omnibus aerumnis adfecti denique uiuunt,<\/td>\n50<\/b> and afflicted with every kind of misery, still live;<\/td>\n<\/tr>\n
et quocumque tamen miseri uenere, parentant<\/td>\nand wherever the poor wretches go, they still offer sacrifices<\/td>\n<\/tr>\n
et nigras mactant pecudes et manibus diuis<\/td>\nand slaughter black cattle and to the divine spirits of the dead<\/td>\n<\/tr>\n
inferias mittunt multoque in rebus acerbis<\/td>\nsend offerings; and in their bitter circumstances<\/td>\n<\/tr>\n
acrius aduortunt animos ad religionem.<\/td>\nthey turn their minds much more sharply toward religion.<\/td>\n<\/tr>\n
55<\/b> quo magis in dubiis hominem spectare periclis<\/td>\n55<\/b> Thus it is more useful to observe a man in doubtful perils,<\/td>\n<\/tr>\n
conuenit aduorsisque in rebus noscere qui sit;<\/td>\nand to learn what he is in times of adversity;<\/td>\n<\/tr>\n
nam uerae uoces tum demum pectore ab imo<\/td>\nfor then at last the words of truth are drawn from the deep<\/td>\n<\/tr>\n
eliciuntur et eripitur persona, manet res.<\/td>\nheart, the mask is torn away, and the reality remains.<\/td>\n<\/tr>\n
denique auarities et honorum caeca cupido<\/td>\nFurthermore, avarice and the blind lust for honors,<\/td>\n<\/tr>\n
60<\/b> quae miseros homines cogunt transcendere fines<\/td>\n60<\/b> which drive wretched men to overstep the bounds<\/td>\n<\/tr>\n
iuris et interdum socios scelerum atque ministros<\/td>\nof right and sometimes, as partners and servants of crimes,<\/td>\n<\/tr>\n
noctes atque dies niti praestante labore<\/td>\nto strive night and day with extraordinary labor<\/td>\n<\/tr>\n
ad summas emergere opes, haec uulnera uitae<\/td>\nto rise to the heights of wealth\u2014these wounds of life<\/td>\n<\/tr>\n
non minimam partem mortis formidine aluntur.<\/td>\nare fed in no small part by the dread of death.<\/td>\n<\/tr>\n
65<\/b> turpis enim ferme contemptus et acris egestas<\/td>\n65<\/b> For foul contempt and bitter poverty generally seem<\/td>\n<\/tr>\n
semota ab dulci uita stabilique uidetur<\/td>\nto be far removed from a sweet and stable life,<\/td>\n<\/tr>\n
et ueluti ante portas tandem cunctarier leti;<\/td>\nand seem to linger, as it were, at the very gates of death;<\/td>\n<\/tr>\n
unde homines dum se falso terrore coacti<\/td>\nfrom which men, driven by false terror,<\/td>\n<\/tr>\n
effugisse uolunt longe longeque remosse,<\/td>\nwishing to flee and to remove themselves far, far away,<\/td>\n<\/tr>\n
70<\/b> sanguine ciuili rem conflant diuitiasque<\/td>\n70<\/b> amass wealth through the shedding of civil blood<\/td>\n<\/tr>\n
conduplicant auidi, caedem caede accumulantes;<\/td>\nand greedily double their riches, piling murder upon murder;<\/td>\n<\/tr>\n
crudeles gaudent in tristi funere fratris<\/td>\ncruel, they rejoice in the sad funeral of a brother,<\/td>\n<\/tr>\n
et consanguineum mensas odere timentque.<\/td>\nand they hate and fear the tables of their own kin.<\/td>\n<\/tr>\n
consimili ratione ab eodem saepe timore<\/td>\nIn like manner, from that same fear,<\/td>\n<\/tr>\n
75<\/b> macerat inuidia, ante oculos illum esse potentem,<\/td>\n75<\/b> envy often wastes them away\u2014that another man,<\/td>\n<\/tr>\n
illum aspectari, claro qui incedit honore,<\/td>\nbefore their very eyes, is powerful, or that one is gazed upon<\/td>\n<\/tr>\n
ipsi se in tenebris uolui caenoque queruntur.<\/td>\nwho walks in distinguished honor, while they complain<\/td>\n<\/tr>\n
intereunt partim statuarum et nominis ergo.<\/td>\nthat they themselves wallow in darkness and filth.<\/td>\n<\/tr>\n
et saepe usque adeo, mortis formidine, uitae<\/td>\nSome perish for the sake of statues and a name.<\/td>\n<\/tr>\n
80<\/b> percipit humanos odium lucisque uidendae,<\/td>\n80<\/b> And often, from the dread of death, such a hatred of life<\/td>\n<\/tr>\n
ut sibi consciscant maerenti pectore letum<\/td>\nand of seeing the light takes hold of human beings<\/td>\n<\/tr>\n
obliti fontem curarum hunc esse timorem;<\/td>\nthat with a mourning heart they bring death upon themselves,<\/td>\n<\/tr>\n
hunc uexare pudorem, hunc uincula amicitiai<\/td>\nforgetting that this fear is the very fountain of their cares;<\/td>\n<\/tr>\n
rumpere et in summa pietatem euertere suadet.<\/td>\nthat this fear harries their shame, breaks the bonds of friendship,<\/td>\n<\/tr>\n
85<\/b> nam iam saepe homines patriam carosque parentes<\/td>\n85<\/b> and bids them, in short, to overthrow all sense of duty.<\/td>\n<\/tr>\n
prodiderunt, uitare Acherusia templa petentes.<\/td>\nFor often men have betrayed their country and dear parents,<\/td>\n<\/tr>\n
nam ueluti pueri trepidant atque omnia caecis<\/td>\nseeking to avoid the halls of Acheron.<\/td>\n<\/tr>\n
in tenebris metuunt, sic nos in luce timemus<\/td>\nFor just as children tremble and fear everything in<\/td>\n<\/tr>\n
interdum, nilo quae sunt metuenda magis quam<\/td>\nthe blind darkness, so we in the light sometimes fear things<\/td>\n<\/tr>\n
90<\/b> quae pueri in tenebris pauitant finguntque futura.<\/td>\n90<\/b> that are no more to be dreaded than what children<\/td>\n<\/tr>\n
hunc igitur terrorem animi tenebrasque necessest<\/td>\nshudder at in the dark and imagine are about to happen.<\/td>\n<\/tr>\n
non radii solis neque lucida tela diei<\/td>\nThis terror of the mind and these shadows must be scattered,<\/td>\n<\/tr>\n
discutiant, sed naturae species ratioque.<\/td>\nnot by the rays of the sun or the bright shafts of day,<\/td>\n<\/tr>\n
93<\/b><\/td>\n93<\/b> but by the outward view and inner law of nature.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

DE ANIMI ET ANIMAE NATVRA SENSVQVE (93a)<\/h2>\n

3. Critical Apparatus: Testimonia<\/h2>\nThe reputation of Lucretius as a master of both ingenium<\/i> (natural genius) and ars<\/i> (technical skill) is established through the following ancient witnesses. These selections highlight the high esteem in which he was held by the Roman literary elite:\n\nLucreti poemata, ut scribis, ita sunt: multis luminibus ingeni, multae tamen artis...<\/i> \u2014 Cicero<\/b>, Ad Quintum fratrem<\/i> (II 9, 3) Synthesis:<\/b> Cicero\u2019s early judgment (54 BCE) is the locus classicus for Lucretian criticism, suggesting that the poet managed to balance the \"lights of genius\" with rigorous \"art,\" a feat many contemporary poets struggled to achieve.\n\ncarmina sublimis tunc sunt peritura Lucreti, \/ exitio terras cum dabit una dies.<\/i> \u2014 Ovid<\/b>, Amores<\/i> (I 15, 23) Synthesis:<\/b> Ovid links the survival of Lucretius\u2019 poetry to the existence of the universe itself, echoing Lucretius\u2019 own prophecy of the world's eventual destruction.\n\nIdem L. Iulium Calidum, quem post Lucretii Catullique mortem multo elegantissimum poetam nostram tulisse aetatem uere uideor posse contendere...<\/i> \u2014 Cornelius Nepos<\/b>, Atticus<\/i> (12, 4) Synthesis:<\/b> Nepos provides a vital chronological and qualitative anchor, grouping Lucretius with Catullus as the standard-bearers of \"elegance\" against which subsequent poets were measured.\n\n...auctoresque carminum Varronem ac Lucretium neque ullo in suscepti operis sui carmine minorem Catullum?<\/i> \u2014 Velleius Paterculus<\/b>, Historiae Romanae<\/i> (II 36, 2) Synthesis:<\/b> Writing in the Imperial period, Velleius maintains the status of Lucretius as a fundamental \"author of poems\" alongside the polymath Varro.\n\nitem plures post nostram memoriam nascentes cum Lucretio uidebuntur uelut coram de rerum natura disputare, de arte uero rhetorica cum Cicerone...<\/i> \u2014 Vitruvius<\/b>, De Architectura<\/i> (IX Praef. 17) Synthesis:<\/b> Vitruvius elevates Lucretius to the status of a scientific authority, placing him on a par with Cicero\u2019s mastery of rhetoric and Varro\u2019s mastery of the Latin language.\n

4. Critical Apparatus: Codices and Textual Notes<\/h2>\nThis technical section defines the primary manuscript evidence used in the reconstruction of Lines 1\u201393, based on Diels\u2019 Praefatio<\/i>.\n

Conspectus Siglorum<\/h3>\n
    \n \t
  • O: Codex Oblongus<\/b> (9th Century). A primary Carolingian manuscript likely from the school of Alcuin at Fulda.<\/li>\n \t
  • Q: Codex Quadratus<\/b> (9th Century). Formerly of the monastery of St. Bertin, this manuscript represents a different family of the archetype.<\/li>\n \t
  • G: Schedas Haunienses.<\/b> 9th-century fragments (Gottorpienses) containing portions of the first two books.<\/li>\n \t
  • V\/U: Schedas Vindobonenses.<\/b> 9th-century fragments (f. 11v contains the snippet for Book III, lines 1\u201366).<\/li>\n<\/ul>\n

    Textual and Paleographical Notes<\/h3>\n
      \n \t
    • Correction O8 (The Saxon Corrector):<\/b> This is a critical 9th-century hand that used an Anglo-Saxon script to provide supplements for obscure passages. Diels notes that this corrector likely had access to the archetype itself or a closely related apograph, allowing for the correction of false readings in the main text of O<\/i>.<\/li>\n \t
    • Line 38 (humanam):<\/b> Diels accepts the reading humanam<\/i> as found in the later corrections, a vital variant for the sense of the passage regarding the \"troubling of human life.\"<\/li>\n \t
    • Line 52 (manibus diuis):<\/b> The text follows the orthography of the codices which often present the full spelling, despite the elision of the final s<\/i> in manibu'<\/i> as practiced by earlier editors like Lachmann.<\/li>\n \t
    • Orthographic Methodology:<\/b> Following Diels, this text retains archaic forms such as quom<\/i> and divom<\/i> to preserve the \"antique vigor and simple sincerity\" of the original Lucretian voice.<\/li>\n<\/ul>\n

      5. Pressbooks Implementation Instructions<\/h2>\nTo ensure the best possible reading experience in the OER Pressbooks environment:\n
        \n \t
      • Editor Choice:<\/b> Always use the \"Text Editor\" (HTML\/Markdown) rather than the Visual Editor to prevent the breaking of the parallel table and blockquote styles.<\/li>\n \t
      • Formatting Constraints:<\/b> Interactive elements (such as H5P) and complex code blocks must be avoided to ensure that the document remains readable and properly formatted when exported to PDF or Ebook (EPUB) formats.<\/li>\n \t
      • Typography:<\/b> The parallel text table utilizes Markdown for high-contrast reading, essential for accessibility in instructional materials.<\/li>\n<\/ul>","rendered":"

        1. Module Introduction: The Intellectual Magic and Aesthetic Legacy of Lucretius<\/h2>\n

        The legacy of Titus Lucretius Carus and his didactic epic, De rerum natura<\/i>, offers a profound intellectual “magic” to those who engage with it across the centuries. Albert Einstein, in his 1924 foreword to Hermann Diels’ authoritative edition, reflected that the poem possesses a unique power for anyone who does not feel “completely submerged in the spirit of our age.” For Einstein, Lucretius appeals most to the individual who “feels like a spectator” of the world and the intellectual attitudes of his contemporaries. He observed that Lucretius presents an independent mind imagining the world through lively senses and speculative curiosity, unburdened by the scientific results we are taught in childhood. Einstein specifically praised Diels’ edition because the verses “read so naturally that one forgets it is a translation,” a standard this module seeks to uphold.<\/p>\n

        Beyond its philosophical weight, the poem is a landmark of aesthetic history. Broadcaster and naturalist David Attenborough identifies the 1515 Aldine edition of Lucretius, printed by Aldus Manutius, as one of his “most precious books.” Attenborough highlights the “wonderfully elegant italic script” of this Venetian publication, which popularized the “portable” book format. For Attenborough, such books are essential “memes”\u2014vessels of human experience where knowledge is embedded and handed down across generations, preserving wisdom that would otherwise have been lost before the electronic age. This module invites students to enter that lineage, beginning with the famous proem to Book III.<\/p>\n

        2. Parallel Text: Book III, Lines 1\u201393<\/h2>\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\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\n\n\n\n
        Latin Text (Hermann Diels, 1923)<\/td>\nEnglish Translation (Modern Style)<\/td>\n<\/tr>\n
        1<\/b> E tenebris tantis tam clarum extollere lumen<\/td>\n1<\/b> Out of such deep darkness, to raise such a bright light,<\/td>\n<\/tr>\n
        qui primus potuisti inlustrans commoda uitae,<\/td>\nyou were the first who could illuminate the joys of life;<\/td>\n<\/tr>\n
        te sequor, o Graiae gentis decus, inque tuis nunc<\/td>\nI follow you, O glory of the Greek race, and now<\/td>\n<\/tr>\n
        ficta pedum pono pressis uestigia signis,<\/td>\nI set my feet in the prints you have already made,<\/td>\n<\/tr>\n
        5<\/b> non ita certandi cupidus quam propter amorem<\/td>\n5<\/b> not so much to compete, as because love<\/td>\n<\/tr>\n
        quod te imitari aueo; quid enim contendat hirundo<\/td>\nmakes me crave to copy you. For how can the swallow<\/td>\n<\/tr>\n
        cycnis, aut quidnam tremulis facere artubus haedi<\/td>\ncontend with the swan, or what can a kid with trembling limbs<\/td>\n<\/tr>\n
        consimile in cursu possint et fortis equi uis?<\/td>\ndo in the race to match the strength of a powerful horse?<\/td>\n<\/tr>\n
        tu, pater, es rerum inuentor, tu patria nobis<\/td>\nYou, father, are the discoverer of truth; you give us<\/td>\n<\/tr>\n
        10<\/b> praecepta expromis tuisque ex, inclute, chartis,<\/td>\n10<\/b> a father\u2019s precepts, and from your pages, illustrious man,<\/td>\n<\/tr>\n
        floriferis ut apes in saltibus omnia libant,<\/td>\njust as bees in the flowery glades sip every blossom,<\/td>\n<\/tr>\n
        omnia nos itidem depascimur aurea dicta,<\/td>\nwe likewise feed upon all your golden words\u2014<\/td>\n<\/tr>\n
        aurea, ad perpetua semper dignissima uita.<\/td>\ngolden, and always most worthy of eternal life.<\/td>\n<\/tr>\n
        nam simul ac ratio tua coepit uociferari<\/td>\nFor as soon as your reasoning begins to proclaim<\/td>\n<\/tr>\n
        15<\/b> naturam rerum, diuina mente coortam,<\/td>\n15<\/b> the nature of things, sprung from your divine mind,<\/td>\n<\/tr>\n
        diffugiunt animi terrores, moenia mundi<\/td>\nthe terrors of the mind fly away, the walls of the world<\/td>\n<\/tr>\n
        discedunt, totum uideo per inane geri res.<\/td>\npart asunder, and I see things happening through the whole void.<\/td>\n<\/tr>\n
        apparet diuum numen sedesque quietae<\/td>\nThe majesty of the gods appears and their quiet dwellings,<\/td>\n<\/tr>\n
        quas neque concutiunt uenti nec nubila nimbis<\/td>\nwhich neither the winds shake nor clouds sprinkle with rain,<\/td>\n<\/tr>\n
        20<\/b> aspergunt neque nix acri concreta pruina<\/td>\n20<\/b> nor does the snow, hardened by sharp frost,<\/td>\n<\/tr>\n
        cana cadens uiolat semperque innubilus aether<\/td>\nwhite and falling, violate them; an ever cloudless sky<\/td>\n<\/tr>\n
        integit, et large diffuso lumine rident.<\/td>\ncovers them, and they smile in the broadly diffused light.<\/td>\n<\/tr>\n
        omnia suppeditat porro natura neque ulla<\/td>\nNature supplies their every need, and at no time<\/td>\n<\/tr>\n
        res animi pacem delibat tempore in ullo.<\/td>\ndoes anything detract from their peace of mind.<\/td>\n<\/tr>\n
        25<\/b> at contra nusquam apparent Acherusia templa<\/td>\n25<\/b> But on the other hand, the halls of Acheron appear nowhere,<\/td>\n<\/tr>\n
        nec tellus obstat quin omnia despiciantur,<\/td>\nnor does the earth prevent us from looking down into all<\/td>\n<\/tr>\n
        sub pedibus quaecumque infra per inane geruntur.<\/td>\nthat passes in the void beneath our feet.<\/td>\n<\/tr>\n
        his ibi me rebus quaedam diuina uoluptas<\/td>\nAt these sights, a kind of divine pleasure and<\/td>\n<\/tr>\n
        percipit atque horror, quod sic natura tua ui<\/td>\nawe takes hold of me, because by your power nature<\/td>\n<\/tr>\n
        30<\/b> tam manifesta patens ex omni parte retecta est.<\/td>\n30<\/b> has been so manifestly opened and uncovered on every side.<\/td>\n<\/tr>\n
        Et quoniam docui, cunctorum exordia rerum<\/td>\nAnd since I have taught the nature of the beginnings of all things,<\/td>\n<\/tr>\n
        qualia sint et quam uariis distantia formis<\/td>\nwhat they are like, how they differ in their various shapes<\/td>\n<\/tr>\n
        sponte sua uolitent aeterno percita motu<\/td>\nas they fly of their own accord, driven by eternal motion,<\/td>\n<\/tr>\n
        quoue modo possint ex his res quaeque creari,<\/td>\nand in what way every thing can be created from them,<\/td>\n<\/tr>\n
        35<\/b> hasce secundum res animi natura uidetur<\/td>\n35<\/b> following these matters, the nature of the mind<\/td>\n<\/tr>\n
        atque animae claranda meis iam uersibus esse<\/td>\nand of the soul must now be made clear in my verses,<\/td>\n<\/tr>\n
        et metus ille foras praeceps Acheruntis agendus,<\/td>\nand that fear of Acheron must be driven out headlong,<\/td>\n<\/tr>\n
        funditus humanam qui uitam turbat ab imo<\/td>\nwhich troubles human life from its deepest depths,<\/td>\n<\/tr>\n
        omnia suffundens mortis nigrore neque ullam<\/td>\npouring over all things the blackness of death, leaving<\/td>\n<\/tr>\n
        40<\/b> esse uoluptatem liquidam puramque relinquit.<\/td>\n40<\/b> no pleasure to be clear and pure.<\/td>\n<\/tr>\n
        nam quod saepe homines ferunt, magis esse timendas<\/td>\nFor as to the fact that men often claim that disease<\/td>\n<\/tr>\n
        morborum causas et uitam turpem ac sine honore<\/td>\nand a life of infamy are more to be feared<\/td>\n<\/tr>\n
        quam Tartari loca et se scire animi naturam<\/td>\nthan the regions of Tartarus, and that they know the mind’s nature<\/td>\n<\/tr>\n
        sanguinis esse aut etiam si fert ita forte uenti,<\/td>\nto be made of blood, or perhaps even of wind,<\/td>\n<\/tr>\n
        45<\/b> nec radicitus id fieri rationis egestas,<\/td>\n45<\/b> and that they have no need of our reasoning\u2014<\/td>\n<\/tr>\n
        hinc licet aduertas magis in re talia dici<\/td>\nyou may notice that such things are said more for the sake of<\/td>\n<\/tr>\n
        laudis adfectari causa quam quod res ita uera,<\/td>\nseeking praise than because the belief is true.<\/td>\n<\/tr>\n
        extorres idem patria longeque remoti<\/td>\nThese same men, exiled from their country and far removed<\/td>\n<\/tr>\n
        ab conspectu hominum, foedati crimine turpi,<\/td>\nfrom the sight of men, stained by some foul crime,<\/td>\n<\/tr>\n
        50<\/b> omnibus aerumnis adfecti denique uiuunt,<\/td>\n50<\/b> and afflicted with every kind of misery, still live;<\/td>\n<\/tr>\n
        et quocumque tamen miseri uenere, parentant<\/td>\nand wherever the poor wretches go, they still offer sacrifices<\/td>\n<\/tr>\n
        et nigras mactant pecudes et manibus diuis<\/td>\nand slaughter black cattle and to the divine spirits of the dead<\/td>\n<\/tr>\n
        inferias mittunt multoque in rebus acerbis<\/td>\nsend offerings; and in their bitter circumstances<\/td>\n<\/tr>\n
        acrius aduortunt animos ad religionem.<\/td>\nthey turn their minds much more sharply toward religion.<\/td>\n<\/tr>\n
        55<\/b> quo magis in dubiis hominem spectare periclis<\/td>\n55<\/b> Thus it is more useful to observe a man in doubtful perils,<\/td>\n<\/tr>\n
        conuenit aduorsisque in rebus noscere qui sit;<\/td>\nand to learn what he is in times of adversity;<\/td>\n<\/tr>\n
        nam uerae uoces tum demum pectore ab imo<\/td>\nfor then at last the words of truth are drawn from the deep<\/td>\n<\/tr>\n
        eliciuntur et eripitur persona, manet res.<\/td>\nheart, the mask is torn away, and the reality remains.<\/td>\n<\/tr>\n
        denique auarities et honorum caeca cupido<\/td>\nFurthermore, avarice and the blind lust for honors,<\/td>\n<\/tr>\n
        60<\/b> quae miseros homines cogunt transcendere fines<\/td>\n60<\/b> which drive wretched men to overstep the bounds<\/td>\n<\/tr>\n
        iuris et interdum socios scelerum atque ministros<\/td>\nof right and sometimes, as partners and servants of crimes,<\/td>\n<\/tr>\n
        noctes atque dies niti praestante labore<\/td>\nto strive night and day with extraordinary labor<\/td>\n<\/tr>\n
        ad summas emergere opes, haec uulnera uitae<\/td>\nto rise to the heights of wealth\u2014these wounds of life<\/td>\n<\/tr>\n
        non minimam partem mortis formidine aluntur.<\/td>\nare fed in no small part by the dread of death.<\/td>\n<\/tr>\n
        65<\/b> turpis enim ferme contemptus et acris egestas<\/td>\n65<\/b> For foul contempt and bitter poverty generally seem<\/td>\n<\/tr>\n
        semota ab dulci uita stabilique uidetur<\/td>\nto be far removed from a sweet and stable life,<\/td>\n<\/tr>\n
        et ueluti ante portas tandem cunctarier leti;<\/td>\nand seem to linger, as it were, at the very gates of death;<\/td>\n<\/tr>\n
        unde homines dum se falso terrore coacti<\/td>\nfrom which men, driven by false terror,<\/td>\n<\/tr>\n
        effugisse uolunt longe longeque remosse,<\/td>\nwishing to flee and to remove themselves far, far away,<\/td>\n<\/tr>\n
        70<\/b> sanguine ciuili rem conflant diuitiasque<\/td>\n70<\/b> amass wealth through the shedding of civil blood<\/td>\n<\/tr>\n
        conduplicant auidi, caedem caede accumulantes;<\/td>\nand greedily double their riches, piling murder upon murder;<\/td>\n<\/tr>\n
        crudeles gaudent in tristi funere fratris<\/td>\ncruel, they rejoice in the sad funeral of a brother,<\/td>\n<\/tr>\n
        et consanguineum mensas odere timentque.<\/td>\nand they hate and fear the tables of their own kin.<\/td>\n<\/tr>\n
        consimili ratione ab eodem saepe timore<\/td>\nIn like manner, from that same fear,<\/td>\n<\/tr>\n
        75<\/b> macerat inuidia, ante oculos illum esse potentem,<\/td>\n75<\/b> envy often wastes them away\u2014that another man,<\/td>\n<\/tr>\n
        illum aspectari, claro qui incedit honore,<\/td>\nbefore their very eyes, is powerful, or that one is gazed upon<\/td>\n<\/tr>\n
        ipsi se in tenebris uolui caenoque queruntur.<\/td>\nwho walks in distinguished honor, while they complain<\/td>\n<\/tr>\n
        intereunt partim statuarum et nominis ergo.<\/td>\nthat they themselves wallow in darkness and filth.<\/td>\n<\/tr>\n
        et saepe usque adeo, mortis formidine, uitae<\/td>\nSome perish for the sake of statues and a name.<\/td>\n<\/tr>\n
        80<\/b> percipit humanos odium lucisque uidendae,<\/td>\n80<\/b> And often, from the dread of death, such a hatred of life<\/td>\n<\/tr>\n
        ut sibi consciscant maerenti pectore letum<\/td>\nand of seeing the light takes hold of human beings<\/td>\n<\/tr>\n
        obliti fontem curarum hunc esse timorem;<\/td>\nthat with a mourning heart they bring death upon themselves,<\/td>\n<\/tr>\n
        hunc uexare pudorem, hunc uincula amicitiai<\/td>\nforgetting that this fear is the very fountain of their cares;<\/td>\n<\/tr>\n
        rumpere et in summa pietatem euertere suadet.<\/td>\nthat this fear harries their shame, breaks the bonds of friendship,<\/td>\n<\/tr>\n
        85<\/b> nam iam saepe homines patriam carosque parentes<\/td>\n85<\/b> and bids them, in short, to overthrow all sense of duty.<\/td>\n<\/tr>\n
        prodiderunt, uitare Acherusia templa petentes.<\/td>\nFor often men have betrayed their country and dear parents,<\/td>\n<\/tr>\n
        nam ueluti pueri trepidant atque omnia caecis<\/td>\nseeking to avoid the halls of Acheron.<\/td>\n<\/tr>\n
        in tenebris metuunt, sic nos in luce timemus<\/td>\nFor just as children tremble and fear everything in<\/td>\n<\/tr>\n
        interdum, nilo quae sunt metuenda magis quam<\/td>\nthe blind darkness, so we in the light sometimes fear things<\/td>\n<\/tr>\n
        90<\/b> quae pueri in tenebris pauitant finguntque futura.<\/td>\n90<\/b> that are no more to be dreaded than what children<\/td>\n<\/tr>\n
        hunc igitur terrorem animi tenebrasque necessest<\/td>\nshudder at in the dark and imagine are about to happen.<\/td>\n<\/tr>\n
        non radii solis neque lucida tela diei<\/td>\nThis terror of the mind and these shadows must be scattered,<\/td>\n<\/tr>\n
        discutiant, sed naturae species ratioque.<\/td>\nnot by the rays of the sun or the bright shafts of day,<\/td>\n<\/tr>\n
        93<\/b><\/td>\n93<\/b> but by the outward view and inner law of nature.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

        DE ANIMI ET ANIMAE NATVRA SENSVQVE (93a)<\/h2>\n

        3. Critical Apparatus: Testimonia<\/h2>\n

        The reputation of Lucretius as a master of both ingenium<\/i> (natural genius) and ars<\/i> (technical skill) is established through the following ancient witnesses. These selections highlight the high esteem in which he was held by the Roman literary elite:<\/p>\n

        Lucreti poemata, ut scribis, ita sunt: multis luminibus ingeni, multae tamen artis…<\/i> \u2014 Cicero<\/b>, Ad Quintum fratrem<\/i> (II 9, 3) Synthesis:<\/b> Cicero\u2019s early judgment (54 BCE) is the locus classicus for Lucretian criticism, suggesting that the poet managed to balance the “lights of genius” with rigorous “art,” a feat many contemporary poets struggled to achieve.<\/p>\n

        carmina sublimis tunc sunt peritura Lucreti, \/ exitio terras cum dabit una dies.<\/i> \u2014 Ovid<\/b>, Amores<\/i> (I 15, 23) Synthesis:<\/b> Ovid links the survival of Lucretius\u2019 poetry to the existence of the universe itself, echoing Lucretius\u2019 own prophecy of the world’s eventual destruction.<\/p>\n

        Idem L. Iulium Calidum, quem post Lucretii Catullique mortem multo elegantissimum poetam nostram tulisse aetatem uere uideor posse contendere…<\/i> \u2014 Cornelius Nepos<\/b>, Atticus<\/i> (12, 4) Synthesis:<\/b> Nepos provides a vital chronological and qualitative anchor, grouping Lucretius with Catullus as the standard-bearers of “elegance” against which subsequent poets were measured.<\/p>\n

        …auctoresque carminum Varronem ac Lucretium neque ullo in suscepti operis sui carmine minorem Catullum?<\/i> \u2014 Velleius Paterculus<\/b>, Historiae Romanae<\/i> (II 36, 2) Synthesis:<\/b> Writing in the Imperial period, Velleius maintains the status of Lucretius as a fundamental “author of poems” alongside the polymath Varro.<\/p>\n

        item plures post nostram memoriam nascentes cum Lucretio uidebuntur uelut coram de rerum natura disputare, de arte uero rhetorica cum Cicerone…<\/i> \u2014 Vitruvius<\/b>, De Architectura<\/i> (IX Praef. 17) Synthesis:<\/b> Vitruvius elevates Lucretius to the status of a scientific authority, placing him on a par with Cicero\u2019s mastery of rhetoric and Varro\u2019s mastery of the Latin language.<\/p>\n

        4. Critical Apparatus: Codices and Textual Notes<\/h2>\n

        This technical section defines the primary manuscript evidence used in the reconstruction of Lines 1\u201393, based on Diels\u2019 Praefatio<\/i>.<\/p>\n

        Conspectus Siglorum<\/h3>\n
          \n
        • O: Codex Oblongus<\/b> (9th Century). A primary Carolingian manuscript likely from the school of Alcuin at Fulda.<\/li>\n
        • Q: Codex Quadratus<\/b> (9th Century). Formerly of the monastery of St. Bertin, this manuscript represents a different family of the archetype.<\/li>\n
        • G: Schedas Haunienses.<\/b> 9th-century fragments (Gottorpienses) containing portions of the first two books.<\/li>\n
        • V\/U: Schedas Vindobonenses.<\/b> 9th-century fragments (f. 11v contains the snippet for Book III, lines 1\u201366).<\/li>\n<\/ul>\n

          Textual and Paleographical Notes<\/h3>\n
            \n
          • Correction O8 (The Saxon Corrector):<\/b> This is a critical 9th-century hand that used an Anglo-Saxon script to provide supplements for obscure passages. Diels notes that this corrector likely had access to the archetype itself or a closely related apograph, allowing for the correction of false readings in the main text of O<\/i>.<\/li>\n
          • Line 38 (humanam):<\/b> Diels accepts the reading humanam<\/i> as found in the later corrections, a vital variant for the sense of the passage regarding the “troubling of human life.”<\/li>\n
          • Line 52 (manibus diuis):<\/b> The text follows the orthography of the codices which often present the full spelling, despite the elision of the final s<\/i> in manibu’<\/i> as practiced by earlier editors like Lachmann.<\/li>\n
          • Orthographic Methodology:<\/b> Following Diels, this text retains archaic forms such as quom<\/i> and divom<\/i> to preserve the “antique vigor and simple sincerity” of the original Lucretian voice.<\/li>\n<\/ul>\n

            5. Pressbooks Implementation Instructions<\/h2>\n

            To ensure the best possible reading experience in the OER Pressbooks environment:<\/p>\n

              \n
            • Editor Choice:<\/b> Always use the “Text Editor” (HTML\/Markdown) rather than the Visual Editor to prevent the breaking of the parallel table and blockquote styles.<\/li>\n
            • Formatting Constraints:<\/b> Interactive elements (such as H5P) and complex code blocks must be avoided to ensure that the document remains readable and properly formatted when exported to PDF or Ebook (EPUB) formats.<\/li>\n
            • Typography:<\/b> The parallel text table utilizes Markdown for high-contrast reading, essential for accessibility in instructional materials.<\/li>\n<\/ul>\n","protected":false},"author":1,"menu_order":14,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-45","chapter","type-chapter","status-publish","hentry"],"part":18,"_links":{"self":[{"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/pressbooks\/v2\/chapters\/45","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\/45\/revisions"}],"predecessor-version":[{"id":46,"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/pressbooks\/v2\/chapters\/45\/revisions\/46"}],"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\/45\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/wp\/v2\/media?parent=45"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/pressbooks\/v2\/chapter-type?post=45"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/wp\/v2\/contributor?post=45"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.psgaesthetics.uk\/lucretius\/wp-json\/wp\/v2\/license?post=45"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}