There is a close agreement between the two poetical philosophers in their imaginative mode of conceiving Nature. They both represented the principle of beauty and life in the universe under the symbol of the Goddess of Love--'[Greek: Kypri basileia]'; 'alma Venus, genetrix.' They both explain the unceasing process of decay and renovation in the world by an image drawn from the most impressive spectacle of human life--a mighty battle, waged through all time between opposing forces. The burden and the mystery of life seem to weigh heavily on both, and to mould their very language to a deep, monotonous solemnity of tone. But along with this affinity of temperament there is also a marked difference in their modes of thought and feeling. The view of Nature in the philosophy of Empedocles appears to be just emerging out of the anthropomorphic fancies of an earlier time: the first rays of knowledge are seen trying to pierce through the clouds of the dawn of enquiry: the dreams and sorrows of religious mysticism accompany the awakened energies of the reason. His mournful tone is the voice of the intellectual spirit lamenting its former home, and baffled in its eager desire to comprehend 'the whole.' Lucretius, on the other hand, saw the outward world as it looks in the light of day, neither glorified by the mystic colours of religion, nor concealed by the shadows of mythology. He was moved neither by the passionate longing of the soul, nor by the 'divine despair' of the intellect: but he felt profoundly the sorrows of the heart, and was weighed down by the ever-present consciousness of the misery and wretchedness in the world. The complaint of the first is one which has been uttered from time to time by some solitary thinker in modern as in ancient days:-- [Greek: pauron de zoes abiou meros athresantes hokymoroi, kapnoio diken arthentes apeptan, auto monon peisthentes, hoto prosekursen hekastos, pantos' elaunomenoi; to d' oulon epeuchetai heurein autos. out' epiderkta tad' andrasin out' epakousta oute noo perilepta[31].] The other gives a real and expressive utterance to that 'thought of inexhaustible melancholy,' which has weighed on every human heart:-- Miscetur funere vagor Quem pueri tollunt visentis luminis oras: Nec nox ulla diem neque noctem aurora secutast Quae non audierit mixtos vagitibus aegris Ploratus mortis comites et funeris atri[32].