Abstract
Lucan's epic depicts the displacement of the elegiac notion of militia amoris by bellum civile through his use of elegiac allusions and topoi. Specifically, Julia's ghost is parallel to Cynthia's ghost in Propertius 4.7; the description of Erictho draws on the thumbnail sketches of witches in elegy; Cleopatra is portrayed as a meretrix who follows Ovid's advice in Ars Amatoria 3; Cornelia is depicted as one of the abandoned heroines; and Pompey is cast as an elegiac lover. In each case, however, Lucan frustrates expectations by negating or inverting the elegiac passage or topos: the civil war thus disturbs even the apolitical world of elegy.
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