Not least, however, of these works of Venus is the Roman people. Never was the formative power of nature better illustrated than in the vitality of this race, which conquered so many other races, or than in its assimilative power, which civilized and pacified them. Legend had made Venus the mother of Aeneas, and Aeneas the progenitor of the Romans. Lucretius seizes on this happy accident and identifies the Venus of fable with the true Venus, the propitious power in all nature, of which Rome was indeed a crowning work. But the poet’s work, also, if it is to be accomplished worthily, must look to the same propitious movement for its happy issue and for its power to persuade. Venus must be the patron of his art and philosophy. She must keep Memmius from the wars, that he may read, and be weaned from frivolous ambitions; and she must stop the tumult of constant sedition, that Lucretius may lend his undivided mind to the precepts of Epicurus, and his whole heart to a sublime friendship, which prompts him to devote to intense study all the watches of the starry night, plotting the course of each invisible atom, and mounting almost to the seat of the gods.[6] This impersonation in the figure of Venus of whatever makes for life would not be legitimate--it would really contradict a mechanical view of nature--if it were not balanced by a figure representing the opposite tendency, the no less universal tendency towards death. The Mars of the opening passage, subdued for a moment by the blandishments of love, is raging in all the rest of the poem in his irrepressible fury. These are the two sides of every transmutation, that in creating, one thing destroys another; and this transmutation being perpetual,--nothing being durable except the void, the atoms, and their motion,--it follows that the tendency towards death is, for any particular thing, the final and victorious tendency. The names of Venus and Mars, not being essential to the poet’s thought, are allowed to drop out, and the actual processes they stand for are described nakedly; yet, if the poem had ever been finished, and Lucretius had wished to make the end chime with the beginning, and represent, as it were, one great cycle of the world, it is conceivable that he might have placed at the close a mythical passage to match that at the beginning; and we might have seen Mars aroused from his luxurious lethargy, reasserting his immortal nature, and rushing, firebrand in hand, from the palace of love to spread destruction throughout the universe, till all things should burn fiercely, and be consumed together. Yet not quite all; for the goddess herself would remain, more divine and desirable than ever in her averted beauty. Instinctively into her bosom the God of War would sink again, when weary and drunk with slaughter; and a new world would arise from the scattered atoms of the old.