Lucretius' primary didactic aim in De Rerum Natura is to teach his readers to interpret the world around them in such a way as to avoid the formation of false beliefs. The price of failure is extremely high. Someone who possesses false beliefs is liable to experience fear, and so will not be able to attain the state of tranquillity that, for Epicureans, constitutes the moral end. Equipping readers with sufficient knowledge always to form true beliefs about the phenomena they (...) encounter thus serves no less a purpose than the enabling of their future happiness. This paper is concerned with how Lucretian intertextuality contributes to this primary didactic aim. For reasons to be explained below, I will focus on Lucretian engagement with the texts of Greek and Roman drama. I will show that allusions to drama in DRN, rather than functioning simply as ‘honey on the rim of the cup’, make a direct contribution to Lucretius' ethical project, teaching readers how to respond rationally to the full variety of their cultural experience. (shrink)

Suave, mari magno turbantibus aequora ventise terra magnum alterius spectare laborem;non quia vexari quemquamst iucunda voluptas,sed quibus ipse malis careas quia cernere suave est.suave etiam belli certamina magna tueri 5per campos instructa tua sine parte pericli.sed nil dulcius est, bene quam munita tenereedita doctrina sapientum templa serena,despicere unde queas alios passimque videreerrare atque viam palantis quaerere vitae, 10certare ingenio, contendere nobilitate,noctes atque dies niti praestante laboread summas emergere opes rerumque potiri.o miseras hominum mentes, o pectora caeca!qualibus in tenebris vitae quantisque (...) periclis 15degitur hoc aevi quodcumquest! nonne viderenil aliud sibi naturam latrare, nisi utquicorpore seiunctus dolor absit, mensque fruaturiucundo sensu cura semota metuque?(Lucr. 2.1–19)It is pleasant, when the winds stir up the waters on the great sea,to watch the great struggle of another from land;not because it is a great pleasure that anyone be troubled,but because it is pleasant to observe the troubles you yourself lack.It is also pleasant to watch the great contests of war 5spread out over the plains without taking any part in the danger.But nothing is more pleasing than to hold lofty yet calm templesthat are well defended by the teachings of wise men,from which you can look down and see others everywherego astray and wander while seeking the path of their life, 10competing in wits and contending over their nobility;throughout nights and days they strive with outstanding labourto come out at the peak of riches and have power over everything.O wretched minds of men, O blind hearts!In what shadows of life and in how many dangers 15is this bit of life, whatever it may be, being spent by you! Do you not seethat nature barks for nothing other than this – thatgrief be separated from the body and far away, and that the mind enjoypleasant feelings cut off from anxiety and fear?Epicurus' advice to his young friend Pythocles to ‘flee all education, raising up the top sail’ (παιδείαν δὲ πᾶσαν, μακάριε, ϕεῦγε τἀκάτιον ἀράμενος, Diog.Laert. 10.6 = Epicurus fr. 163 Us.) contains an allusion to Circe's advice to Odysseus inOdyssey12.37–58. For much of the Greek (and Roman) world, education was based on the Homeric epics, and thus Epicurus' statement represents a complicated position towards Homer in particular and poetry in general. Epicurean philosophy rejects poetry because it is misleading about the gods and the nature of the soul, but Epicurus and his followers, most notably Philodemus and Lucretius, engage in poetic allusion and even the composition of poetry. Much work has been done on allusions to poetry in all three writers, but I hope here to bring out a heretofore unnoticed poetic allusion at the start ofDe rerum naturaBook 2, in which Lucretius makes a programmatic statement about not only his philosophy, but also his poetry and its place in the poetic tradition. (shrink)