and again [62]—
"Victurosque dei celant, ut vivere durent,
Felix esse mori."
So in cursing Crastinus, Caesar's fierce centurion, he wishes him not to die, but to retain sensibility after death, in other words to be immortal. The sentiment occurs, not once but a hundred times, that of all pleasures death is the greatest. He even plays upon the word, using it in senses which it will hardly bear. Libycae mortes are serpents; Accessit morti Libye, "Libya added to the mortality of the army;" nulla cruentae tantum mortis habet; "no other reptile causes a death so bloody." To one so unhealthily familiar with the idea, the reality, when it came, seems to have brought unusual terrors.
The learning of Lucan has been much extolled, and in some respects not without reason. It is complex, varied, and allusive, but its extreme obscurity makes us suspect even when we cannot prove, inaccuracy. He is proud of his manifold acquirements. Nothing pleases him more than to have an excuse for showing his information on some abstruse subject. The causes of the climate of Africa, the meteorological conditions of Spain, the theory of the globes, the geography of the southern part of our hemisphere, the wonders of Egypt and the views about the source of the Nile, are descanted on with diffuse erudition. But it is evidently impossible that so mere a youth could have had a deep knowledge of so many subjects, especially as his literary productiveness had already been very great. He had written an Iliacon according to Statius, [63] a book of Saturnalia, ten books of Silvae, a Catachthonion, an unfinished tragedy called Medea, fourteen Salticae fabulae (no doubt out of compliment to Nero), a prose essay against Octavius Sagitta, another in favour of him, a poem De Incendio Urbis, in which Nero was satirised, a katakausmos (which is perhaps different from the latter, but may be only the same under another title), a series of letters from Campania, and an address to his wife, Polla Argentaria.
A peculiar, and to us offensive, exhibition of learning consists in those tirades on common-place themes, embodying all the stock current of instances, of which the earliest example is found in the catalogue of the dead in Virgil's Culex. Lucan, as may be supposed, delights in dressing up these well-worn themes, painting them with novel splendour if they are descriptive, thundering in fiery epigrams, if they are moral. Of the former class are two of the most effective scenes in the poem. The first is Caesar's night voyage in a skiff over a stormy sea. The fisherman to whom he applies is unwilling to set sail. The night, he says, shows many threatening signs, and, by way of deterring Caesar, he enumerates the entire list of prognostics to be found in Aratus, Hesiod, and Virgil, with great piquancy of touch, but without the least reference to the propriety of the situation. [64] Nothing can be more amusing, or more out of place, than the old man's sudden erudition. The second is the death of Scaeva, who for a time defended Caesar's camp single-handed. The poet first remarks that valour in a bad cause is a crime, and then depicts that of Scaeva in such colossal proportions as almost pass the limits of burlesque. After describing him as pierced with so many spears that they served him as armour, he adds: [65]
"Nec quicquam nudis vitalibus obstat
Iam, praeter stantes in summis ossibus hastas."
This is grotesque enough; the banquet of birds and beasts who feed on the skin of Pharsalia is even worse. [66] The details are too loathsome to quote. Suffice it to say that the list includes every carrion-feeder among flesh and fowl who assemble in immense flocks:
"Nunquam tanto se vulture caelum Induit, aut plures presserunt aethere pennae."
We have, however, dwelt too long on points like these. We must now notice a few features of his style which mark him as the representative of an epoch. First, his extreme cleverness. In splendid extravagance of expression no Latin author comes near him. The miniature painting of Statius, the point of Martial, are both feeble in comparison; for Lucan's language, though often tasteless, is always strong. Some of his lines embody a condensed trenchant vigour which has made them proverbs. Phrases like Trahimur sub nomine pacis—Momentumque fuit mutatus Curio rerum, recall the pen of Tacitus. Others are finer still Caesar's energy is rivalled by the line—
"Nil actum credens dum quid superesset agendum."