Nothing reveals the unfortunate break in Humanities more clearly than the treatment of the greatest nature-poet in literature, a man who had "gazed on Nature's naked loveliness" unabashed, the man who united, as no one else has ever done, the "functions and temper and achievement of science and poetry" (Herford). The golden work of Lucretius is indeed recognized, and in Honour Moderations, Books I to III and V are set as one of seven alternatives in section D; and scattered through the "Greats" papers are set translations and snippets here and there; but anything like adequate consideration from the scientific side is to be sought in vain. Unmatched among the ancients or moderns is the vision by Lucretius of continuity in the workings of Nature--not less of _le silence éternel de ces espaces infinis_ which so affrighted Pascal, than of "the long, limitless age of days, the age of all time that has gone by"-- "... longa diei infinita ætas anteacti temporis omnis." And it is in a Latin poet that we find up-to-date views of the origin of the world and of the origin of man. The description of the wild discordant storm of atoms (Book V) which led to the birth of the world might be transferred verbatim to the accounts of Poincaré or of Arrhenius of the growth of new celestial bodies in the Milky Way. What an insight into primitive man and the beginnings of civilization! He might have been a contemporary and friend, and doubtless was a tutor, of Tylor. Book II, a manual of atomic physics with its marvellous conception of "... the flaring atom streams And torrents of her myriad universe," can only be read appreciatively by pupils of Roentgen or of J. J. Thomson. The ring theory of magnetism advanced in Book VI has been reproduced of late by Parsons, whose magnetons rotating as rings at high speed have the form and effect with which this disciple of Democritus clothes his magnetic physics. And may I here enter a protest? Of love-philtres that produce insanity we may read the truth in a chapter of that most pleasant manual of erotology, the "Anatomy of Melancholy." Of insanity of any type that leaves a mind capable in lucid intervals of writing such verses as _"De Rerum Natura"_ we know nothing. The sole value of the myth is its causal association with the poem of Tennyson. Only exsuccous dons who have never known the wiles and ways of the younger Aphrodite would take the intensity of the feeling in Book IV as witness to anything but an accident which may happen to the wisest of the wise, when enthralled by Vivien or some dark lady of the Sonnets!