Lucan's scepticism has this further disadvantage that it precludes him from the use of the supernatural. To introduce the council of Olympus as Virgil does would in him be sheer mockery, and he is far too honest to attempt it. But as no great poet can dispense with some reference to the unseen, Lucan is driven to its lower and less poetic spheres. Ghosts, witches, dreams, visions, and portents, fill with their grisly catalogue a disproportionate space of the poem. The sibyl is introduced as in Virgil, but instead of giving her oracle with solemn dignity, she first refuses to speak at all, then under threats of cruel punishment she submits to the influence of the god, but in the midst of the prophetic impulse, Apollo, for some unexplained reason, compels her to stop short and conceal the gist of her message. [46] Even more unpleasant is the description of Sextus Pompeius's consultation of the witch Erichtho; [47] horror upon horror is piled up until the blood curdles at the sickening details, which even Southey's Thalaba does not approach—and, after all, the feeling produced is not horror but disgust.
It is pleasant to turn from his irreligion to his philosophy. Here he appears as an uncertain but yet ardent disciple of the Porch. His uncertainty is shown by his inability to answer many grave doubts, as: Why is the future revealed by presages? [48] why are the oracles, once so vocal, now silent? [49] his enthusiasm by his portraiture of Cato, who was regarded by the Stoics as coming nearest of all men to their ideal Wise Man. Cato is to him a peg on which to hang the virtues and paradoxes of the school. But none the less is the sketch he gives a truly noble one: [50]
"Hi mores, haec duri immota Catonis
Secta fuit, servare modum finemque tenere,
Naturamque sequi, patriaeque impendere vitam,
Nec sibi sed toti genitum se credere mundo."
Nothing in all Latin poetry reaches a higher pitch of ethical sublimity than Cato's reply to Labienus when entreated to consult the oracle of Jupiter Ammon: [51] "What would you have me ask? whether I ought to die rather than become a slave? whether life begins here or after death? whether evil can hurt the good man? whether it be enough to will what is good? whether virtue is made greater by success? All this I know already, and Hammon's voice will not make it more sure. We all depend on Heaven, and though oracles be silent we cannot act without the will of God. Deity needs no witness: once for all at our birth he has given us all needful knowledge, nor has he chosen barren sands accessible to few, or buried truth in a desert. Where earth, sea, sky, and virtue exist, there is God. Why seek we Heaven outside?" These, and similar other sentiments scattered throughout the poem, redeem it from the charge of wanton disbelief, and show a largeness of soul that only needed experience to make it truly great.
In discussing political and social questions Lucan shows considerable insight. He could not, any more than his contemporaries, understand that the old oligarchy was an anachronism; that the stubborn pride of its votaries needed the sword to break it. But the influence of individual genius is well pourtrayed by him, and he seizes character with a vigorous grasp. As a partisan of the senate, he felt bound to exalt Pompey; but if we judge by his own actions and his own words, not by the encomiums heaped on him by the poet, Lucan's Pompey comes very near the genuine historical man. So the Caesar sketched by Lucan, though meant to be a villain of the blackest dye—if we except some blood-thirsty speeches—stands out as a true giant of energy, neither meaner nor more unscrupulous than the Caesar of history. Domitius, Curio, and Lentulus, are vigorous though somewhat defective portraits. Cornelia is the only female character that calls for notice. She is drawn with breadth and sympathy, and bears all the traits of a great Roman matron. The degradation of the people is a constant theme of lamentation. It is wealth, luxury, and the effeminacy that comes with them that have softened the fibre of Rome, and made her willing to bear a master. This is indeed a common-place of the schools, but it is none the less a gloomy truth, and Lucan would have been no Roman had he omitted to complain of it. Equally characteristic is his contempt for the lower orders [52] and the influx of foreigners, of whom Rome had become the common sink. Juvenal, who evidently studied Lucan, drew from him the picture of the Tiber soiled by Orontes's foul stream, and of the Bithynian, Galatian, and Cappadocian knights. [53]
With regard to the artistic side of the poem the first and most obvious criticism is that it has no hero. But if this be a fault, it is one which it shares with the Divina Commedia and Paradise Lost. As Satan has been called the hero of the latter poem, so Caesar, if not the hero, is the protagonist of the Pharsalia. But Cato, Pompey, and the senate as a body, have all competed for this honour. The fact is this: that while the primitive epic is altogether personal, the poem whose interest is national or human cannot always find a single hero. It is after all a narrow criticism that confines the poet's art within such strict limits. A great poet can hardly avoid changing or at least modifying the existing canons of art, and Lucan should at least be judged with the same liberality as the old annalists who celebrated the wars of the Republic.
In description Lucan is excellent, both in action and still life, but more in brilliancy of detail than in broad effects. His defect lies in the tone of exaggeration which he has acquired in the schools, and thinks it right to employ in order not to fall below his subject. He has a true opinion of the importance of the Civil War, which he judges to be the final crisis of Rome's history, and its issues fraught with superhuman grandeur. The innate materialism of his mind, however, leads him to attach outward magnitude to all that is connected with it. Thus Nero, the offspring of its throes, is entreated by the poet to be careful, when he leaves earth to take his place among the immortals, not to seat himself in a quarter where his weight may disturb the just equilibrium of the globe! [54] And, similarly, all the incidents of the Civil War exceed the parallel incidents of every other war in terror and vastness. Do portents presage a combat? they are such as defy all power to conceive. Pindus mounts upon Olympus, [55] and others of a more ordinary but still amazing character follow. [56] Does a naval conflict take place? the horrors of all the elements combine to make it the most hideous that the mind can imagine. Fire and water vie with each other in devising new modes of death, and where these are inactive, it is only because a land-battle with all its carnage is being enacted on the closely-wedged ships. [57] Has the army to march across a desert? the entire race of venomous serpents conspires to torture and if possible extirpate the host! [58] This is a very inartistic mode of heightening effect, and, indeed, borders closely on that pursued in the modern sensation novel. It is beyond question the worst defect of the Pharsalia, and the extraordinary ingenuity with which it is done only intensifies the misconduct of the poet.
Over and above this habitual exaggeration, Lucan has a decided love for the ghastly and revolting. The instances to which allusion has already been made, viz. the Thessalian sorceress and the dreadful casualties of the sea-fight, show it very strikingly, but the account of the serpents in the Libyan desert, if possible, still more. The episode is of great length, over three hundred lines, and contains much mythological knowledge, as well as an appalling power of description. It begins with a discussion of the question, Why is Africa so full of these plagues? After giving various hypotheses he adopts the one which assigns their origin to Medusa's hairs which fell from Perseus's hand as he sailed through the air. In order not to lure people to certain death by appearing in an inhabited country, he chose the trackless wastes of Africa over which to wing his flight. The mythological disquisition ended, one on natural history follows. The peculiar properties of the venom of each species are minutely catalogued, first in abstract terms, then in the concrete by a description of their effects on some of Cato's soldiers. The first bitten was the standard-bearer Aulus, by a dipsas, which afflicted him with intolerable thirst; next Sabellus by a seps, a minute creature whose bite was followed by an instantaneous corruption of the whole body; [59] then Nasidius by a prester which caused his form to swell to an unrecognisable size, and so on through the list of serpents, each episode closing with a brilliant epigram which clenches the effect. [60] Trivialities like these would spoil the greatest poem ever penned. It need not be said that they spoil the Pharsalia.
Another subject on which Lucan rings the changes is death. The word mors has an unwholesome attraction to his ear. Death is to him the greatest gift of heaven; the only one it cannot take away. It is sad indeed to hear the young poet uttering sentiments like this: [61]
"Scire mori sors prima viris, sed proxima cogi,"