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Famae petitor. Lucan’s Portrayal of Pompey.

100%

Pypłacz J.

tom 24

nr 2

97-118

In spite of the fact that Lucan’s sympathies are apparently with the Republicans, his attitude to Pompey, which emerges from the Pharsalia, turns out to be rather critical. Moreover, this criticism actually comes very close to ridicule. Lucan depicts Pompey as a senile and narcissistic leader who dwells on his past success and lives in the world of his own fantasies. Trapped in the vicious circle of his delusions of grandeur, he is rather grotesque than majestic. The harder he tries to enhance his public image, the more pathetic he becomes both in the eyes of his friends and in those of his enemies. The effects of his efforts are, therefore, quite contrary to their purpose. On the one hand, the figure of the senile and deluded Pompey is the caricature of the decaying Roman Republic, whose degeneracy it obviously mirrors. On the other hand, however, Lucan’s grotesque anti-hero is the exact opposite of archetypal epic characters such as Virgil’s Aeneas. Willing yet unable to emulate his literary predecessors, he functions as the caricature of the literary paradigm of a standard epic hero.

Crassorum umbrae. Pamięć o Marku Licyniuszu Krassusie w Farsalii Lukana

100%

Babnis T.

nr 20

7-25

Marcus Licinius Crassus is hardly one of the main characters in Lucan’s Pharsalia. However, it is him whom the poet mentions first by name in his work. A dozen of so references to the triumvir himself and his son Publius (particularly frequent in Book VIII of the poem) render an image that is fairly consistent. It contain, most importantly, the Parthian expedition and the death of Crassus in the Battle of Carrhae (53 BC). Thereafter Crassus became the symbol of external war set against civil war which Lucan castigates. Lucan also utilises the political idea of revenge for Crassus. This idea was created at the end of the Republican Age and therefore Augustan poets reached out for it frequently. References to the fallen Crassus shed light on other characters of Pharsalia, such as Pompeius, Lentulus, and Cornelia. Thereby, although not being an autonomous character, Crassus plays his modest part in the structure of Lucan’s epic.

Triumwir Marek Licyniusz Krassus nie należy z pewnością do najważniejszych bohaterów Farsalii Lukana. To jednak on jest pierwszą w utworze postacią wymienioną z nazwiska, a kilkanaście wzmianek na temat jego i jego syna Publiusza (szczególnie wiele jest ich w ks. VIII poematu) tworzy dość spójny obraz, którego najważniejszym punktem jest wyprawa partyjska Krassusa i jego śmierć w bitwie pod Carrhae w 53 roku p.n.e. Z tego powodu Krassus staje się symbolem wojny zewnętrznej przeciwstawionej w poemacie - stanowczo przez Lukana krytykowanej - wojnie domowej. Jednocześnie jednak poeta odwołuje się do politycznej koncepcji zemsty za śmierć Krassusa wypracowanej u schyłku Republiki i często wykorzystywanej także w poezji augustowskiej. Odniesienia do poległego triumwira rzucają światło na inne postacie Farsalii, takie jak Pompejusz,Lentulus czy Kornelia. Dzięki temu Krassus, choć nie jest postacią autonomiczną, odgrywa pewną rolę w strukturze eposu Lukana.

Kilka uwag na temat mitu Romulusa w Farsalii Lukana

70%

Pypłacz J.

tom 63

231-238

Although scholars have noted the presence of the myth of Romulus in the Pharsalia, it would seem that its role in Lucan’s epic is much more significant than has hitherto been thought, for — firstly — the strong association of Caesar with Romulus unveils the dark side of the ancient legend, and — secondly – it links those scenes in which Caesar plays the part of a “Neo-Romulus”. The scene in the seventh book of the poem — in which the corpses of the Pompeian soldiers killed at Pharsalus are torn to pieces by wild animals and in which vultures bespatter Caesar with the battle gore that drops from their wings — possibly alludes to the apocryphal version of the myth of Romulus — mentioned by Livy (Liv. 1, 16, 4) — according to which the founder of Rome was himself eventually torn to pieces by furious senators. It is therefore quite probable that this scene functions as an oraculum mortis foreshadowing the Ides of March, which Lucan may well have planned to include in his Pharsalia.