1607.] 
twaworthy the Augustan age; and that the 
attention of the reader will be repaid by 
the study of an irregular genius, who, in 
“ maturer age, and in better times, might 
have equalled the reputation of Virgil 
himself, 
Lhe subject of the Pharsalia presents 
the most dreadful picture exhibited of the 
miseries of civil war. It inculcates the 
same moral as the Iliad, but in another 
point of view, and under a different form. 
it is more particularly intended to convey 
this useful lesson to the people, that in 
domestic contentions they are only the 
instruments of the great; for the vratifi- 
' cation of whose ambition they madly shed 
their blood, and forge their own fetters. 
But the subject has two defects. -Civil 
wars, especially when so fierce and_vio- 
Jent as those of the Romans, present ob- 
jects too shocking for the Epopcea, and 
give odious and disgusting views of hu- 
man nature. Gallant and honourable 
achievements are much more proper 
themes for the Epic Muse. But the ge- 
nius of Lucan seemed to delight in scenes 
of biood. Not content with those which 
his plan abundantly furnished, he intro- 
guces, by way of episode, a long detail of 
the proscriptions of Marius and Sylla, 
which present all the forms of ingenious 
and systematic cruelty. The other de- 
‘fect of the subject is, that it is too near 
the times in whichthe poet lived. In the 
introductory essay on the Epopea, we 
have already observed that this is a cir- 
cumstance always unfortunate for a po- 
et, as it in a great measure deprives him 
of the assistance of fiction and imagery, 
which add a degree of splendour, as well 
@s amusement, to his work. Lucan ap- 
pears to have submitted to this disadvan- 
tage of his subject ; with what propriety, 
has been often considered doubtful. 
That he himself thought it susceptible of 
such embellishment is evident, from the 
<ircumstance of his having once, though 
“only once, employed it. It is true that 
_ the fables of the Odyssey would ill agree 
with the serious conversations of Cato 
and Brutus; but it was possible for a man 
of genius and taste to select a species of 
machinery more suitable to the subject. 
The gods and the Romans might have 
been made to act together in the same 
stage, as well as the gods and the heroes 
of Homer. Destiny itself might have in- 
terfered in so great a quarrel, during 
which the safety and repose of the world 
hung in trembling suspense. That beau- 
‘giful fiction, unfortuvately the only one 
that is tobe found in the Pharsalia, of 
Lyceum of Ancient Literature—The Pharsalia 
237 
the appearance to Cesar of his weeping 
country, on the borders of the Rubicon, 
sufficiently proves what assistance Lucan 
might have derived from fable, without 
injuring the interest of his subject, or 
the dignity of history. 
The characters in the Pharsalia are not 
numerous, ‘There are but three distinct- 
ly marked, those of Pompey, Cato, and 
Cesar: but itisin the exposition of these 
different characters, in the contrast of 
their virtues and their vices, that the exe 
cellence of Lucan peculiarly displays it- 
self. They are drawn with spirit and 
energy. Pompey is the nominal hero of 
the poem ; but whether considered as des 
lineated by the pen of history, or painted 
by the imagination of the poet, he ap- 
pears little deserving of this distinction. 
We seldom discover in him either magna- 
himity in sentiment, or bravery in action. 
He is rash, arrogant, and weak. Cor- 
rupted by flattery, enervated by prospe- 
rity, he seems contentedly to repose un- 
der the shade of a mighty name. Stat 
magni nominis umbra. When opposed to 
the spirit and perseverance of Cesar, he 
is eclipsed by the superior abilities of 
his rival. He is rash in his designs, but 
cowardly in the execution; and, in the 
very crisis of his fate, he seems to lose 
all presence of mind,* and without fur- 
ther struggle, surrenders the world to 
Cesar. The simple manners and austere 
virtues of Cato, however venerable in 
history, would seem to be little adapted 
to make any forcible impression m ant 
epic poem. But he is a. favourite per- 
sonage with Lucan, who, in the deline- 
ation of, his character, appears to rise 
above himself. It has been remarked, 
that the most stmking passages in the 
Pharsalia for beauty and energy are re 
ferred to Cato, either in speeches which 
he is made to utter, or im descriptions of 
his behaviour. Such are, his nuptials 
with Marcia, his march over the sands of 
Africa, and his neble auswer to the 
speech of Labienus on the oracle of Ju~ 
piter Ammon, (Book 9, |. 564.) 
Quid queri, Labiene, jubes? an liber in are 
mis 
Cccubuisse velim potitts, quam regna videre? 
An sit vita nihil, vel longa? an differet 
zetas ? 
An noceat vis ulla bono? Fortunaque perdat 
Opposita virtute minas? laudandaque velle 
Sit satis, et nunquam successu crescat hoe 
nestum ? , 
* ¢¢ Mentem diis adimentibus.” 
App. de 
Bel. Civ. lib. 2. 
Scimusy 
