在《物性論》裡邊,對伊比鳩魯學派頌歌成為一種具有強烈視覺衝擊的詩歌,是因為當時的拉丁文尚缺乏相應哲學詞彙,作者通過形象化描寫把一種極為複雜的內容提供給讀者。本文試圖分析盧克萊修對大自然的描寫法,換言之,研究他對自然環境各個方面的感知。我首先會提到盧克萊修翻譯希臘文關鍵詞“原子”(原意為“不可分割”)的方法(“萬物的始基”,“ 產生事物的物體 ”,“ 原處物體 ”,等)都強調同一個概念:我們所看到的萬物都是被它們創造與養育的。再來我會分析盧克萊修和文學上影響他的主要人物(恩培多克勒與恩紐斯)差別。這樣一來,我們會發現《物性論》中作者描寫大自然的獨創方式是基於一種特殊的寫法:通過明智地選擇詞語,作者不斷突出一些以規模大、力量強和速度快為主的形象,表明他對大自然的衝突性觀點。因此,我們會更正確地看到史詩裡的一些熟悉的場景,比如大風肆虐森林將高大的樹木連根拔起或河流因大雨暴漲而沖走橋樑。這種描寫方式是因盧克萊修想要證明的 “ 原子論 ” 而出現,將理論跟例子結合在一起,也證明在《物性論》裡邊根本無法像克羅齊做的那樣把哲學跟詩意分開。
In the De rerum natura the song of Epicurean faith is translated into a poem that has strong visual impact, which presents a very complex topic to the reader through direct images, thus compensating for the lack of an adequate philosophical vocabulary in the Latin of its time. In this study I shall deal with the sense of nature in Lucretius, or rather I will try to highlight the sensitivity that he demonstrates in his poem towards the various aspects of the natural environment. Having underlined how in the Latin translation of the Greek term atomoi, expressions are favored that – aimed at emphasizing their generative force – position atoms as the creators of reality, I shall examine how the principal Lucretian poetic models, primarily Empedocles and Ennius, positioned themselves in relation to the spectacle of nature. Thus it will be seen that the absolute originality that characterizes the descriptions of nature in the poem is based mostly on a constant use of the poetic technique of amplification. Through a skillful choice of words, the poem highlights images of strength and greatness, in an essentially antinomic view of reality achieved through a continuous clash between elements in constant movement. Scenes such as those of the wind which rages through the forest, tearing up tall trees from their deepest roots, or rivers which, swollen by the rains, launch themselves at the pillars of bridges, overwhelming them and carrying them along in their run, will thus reveal themselves in their proper perspective. The atomic theory itself, on which these images are based, will be seen to have determined this descriptive mode, in an intimate union between the proposition to be demonstrated and the images that demonstrate it, thus indicating the inseparability of poetry and philosophy in Lucretius, beyond the now outdated definition of Croce.