The Aeneid Revisited: The Journey of Pompey in Lucan's Pharsalia

Abstract

Andromaque, je pense à vous! Ce petit fleuve, Pauvre et triste miroir où jadis resplendit L'immense majesté de vos douleurs de veuve, Ce Simoïs menteur qui par vos pleurs grandit, A fécondé soudain ma mémoire fertile, Comme je traversais le nouveau Carrousel. Le vieux Paris n'est plus (la forme d'une ville Change plus vite, hélas! que le coeur d'un mortel) --Baudelaire, "Le Cygne" THE AENEID MAY BE DEFINED, among many other things, as the tale of a journey from the East to the West that becomes, at the same time, a journey from capitulation to foundation. 1 This idea is well summarized in the structure of the proem of the poem: Arma uirumque cano, Troiae qui primus ab oris Italiam fato profugus Lauiniaque uenit litora, multum ille et terris iactatus et alto ui superum, saeuae memorem Iunonis ob iram, multa quoque et bello passus, dum conderet urbem inferretque deos Latio; genus unde Latinum Albanique patres atque altae moenia Romae. (Virg. Aen. 1.1-7) I sing of arms and of a man: his fate had made him fugitive; he was the first to journey from the coasts of Troy as far as Italy and the Lavinian shores. Across the lands and waters he was battered beneath the violence of High Ones, for the savage Juno's unforgetting anger; [End Page 571] and many sufferings were his in war-- until he brought a city into being and carried in his gods to Latium; from this have come the Latin race, the lords of Alba, and the ramparts of high Rome. 2 Troy, the point of departure for this journey, is in a conspicuous position in the opening hexameter of the proem; the city of Rome, the point of arrival, brings the proem to its closure. True enough, the foundation of the city of Rome lies outside the primary temporal setting of the poem. Its foundation, nevertheless, is anticipated in the various external prolepses that bring the narration beyond the limit of the temporal field of the first narrative. 3 Moreover, in the poem, Aeneas himself will be the founder of a new set of moenia in Latium, starting the process of city foundation that will culminate in the construction of the ramparts of high Rome. That Virgil's Aeneid is in its basic structure a poem of journey and foundation did not go unnoticed by the long line of his literary successors. As Hardie (1993, xi) has shown, Virgil's successors were all sharp and informed readers of the Aeneid, and their epic works should be read and interpreted as a creative rewriting and continuation, at once respectful and at times rebellious, of the Aeneid. Following this line of interpretation, I will argue that Lucan's Pharsalia, the so-called anti-Aeneid, 4 presents itself in the journey of Pompey as a critical, almost antiphrastic revisitation of Aeneas' journey. 5 The stages of Pompey's journey retrace some crucial stages of Aeneas' in the Aeneid, both [End Page 572] thematically and geographically. But Pompey's journey is "reversed"; it is turned "upside down." 6 It moves symmetrically backward, bringing the journey of the Aeneid back to its point of departure: from the West back to the East, from Rome back to Troy. In a comprehensive work on Lucan's Pharsalia, Ahl points out that among the many characters of the Pharsalia, Pompey is the one most closely modeled on Aeneas. 7 The first appearance of Pompey in the poem is symptomatic. At the beginning of the Pharsalia, Pompey is compared to an oak tree (like Aeneas in Aeneid 4). 8 But unlike Aeneas' firmly rooted mature tree, Pompey's tree is decayed and rootless. 9 Aeneas' roots are established in the very bowels of the earth, unshakable and immovable, and allow him to withstand the storm (Aen. 4.445- 46, ipsa haeret scopulis et quantum uertice ad auras / aetherias...