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El motín de la tierra. La « maquinaria divina » ctónica en la „Farsalia”

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Pypłacz J.
Collectanea Philologica
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2015
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vol. 18
EN
The present article discusses the presence and function of chthonic monsters in Lucan’s “Pharsalia”. While two of these, i.e. Antaeus and Medusa, belong to the mythical past and their function is only illustrative, Erichtho, whose name denotes “discord” and “earth”, plays the role of the representative goddess of the chaos and pointlessness of the Civil War. The Thessalian witch impersonates the wrath of the Earth caused by the mutatio solis, mentioned in the invocation, and strongly connected with the Senecan motif of fuga solis. This article has revealed that line 1.49, telluremque nihil mutato sole timentem, which has been the starting point of the whole analysis, anticipates the three chthonic episodes. It has also shown, quite unexpectedly, that this particular line, by equalling rhetorically the results of Nero’s apotheosis and the rise of Caesar, conveys the message that Nero is the moral successor of the same man whose actions Lucan depicts as being the trigger of the chaos described in the “Phrasalia”.
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'Cath Catharda'. Irlandzka wersja 'Bellum Civile' Marka Anneusza Lukana? Wprowadzenie do tematu

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Bartnik A.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2011
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vol. 21
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issue 2
27-40
EN
The Irish literary legacy, as well as the Greek and Roman ones, belongs to one of the oldest legacies in Europe. Among numerous, preserved till nowadays Irish texts, the work Cath Catharda seems to be particularly interesting. The work is about the civil war in Rome, which took place in 49–47 B.C. and seems to be an Irish version of Bellum Civile by Lukanus. The text is divided into twenty one chapters, which quite exactly copy information, which can be fund in Lucanus’ Songs I – VII. Only the first two chapters of the Irish work do not refer to the Roman poem, as they are peculiar introduction to political situation in Rome and a story about Caesar’s Invasion of Britain. The chapters 3–21 are closely connected with Songs included in Bellum Civile. Slight differences which can be noticed in the Irish text are result of the fact that the text is written in prose and specificity of language. In general Cath Catharda is a very precise copy of Bellum Civile.
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The Oeuvre of Jan Alan Bardziński – a Dominican, Preacher and Translator

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Rusnak R.
Tematy i Konteksty
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2020
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issue 1
448-469
EN
The article is devoted to little known and rarely appreciated late-Baroque Dominican Jan Alan Bardziński who was a keen preacher and translator of bothsecular and religious texts. Bardziński’s literary activity is strongly connected to his duties performed in the order as one of the main values he searches for in his texts is of a didactic nature. Simultaneously, he may certainly be perceived as an adapter of some ancient works which puts him among other 17th and 18th-century followers of the culture of Classicism. In the article we briefly discuss his works and provide the readers with their distinctive features. Moreover, we shall take into consideration Bardziński’s notes which allow us to define his goals and priorities and underline the moral values included in his works.
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Famae petitor. Lucan’s Portrayal of Pompey.

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Pypłacz J.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2014
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vol. 24
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issue 2
97-118
PL
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.
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Crassorum umbrae. Pamięć o Marku Licyniuszu Krassusie w Farsalii Lukana

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Babnis T.
Wieki Stare i Nowe
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2020
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vol. 15
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issue 20
7-25
EN
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.
PL
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.
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Kilka uwag na temat mitu Romulusa w Farsalii Lukana

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Pypłacz J.
Biuletyn Biblioteki Jagiellońskiej
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2013
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vol. 63
231-238
EN
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.
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A Macabre Parallel. A Reading of Lucan’s Pharsalia 1, 1–7

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Pypłacz J.
Biuletyn Biblioteki Jagiellońskiej
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2017
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vol. 67
321-335
EN
The present article gives a rough outline of Lucan’s use of alliteration by attempting to discover the most important functions of this particular rhetorical device in the Pharsalia. For the sake of clarity, the instances of alliteration that are found in the Pharsalia are divided into three groups: ‘pure’ (of one and the same consonant), ‘mixed’ (of two or more consonants) and ‘combined’ (accompanied by other rhetorical devices). Lucan’s use of alliteration is shown to extend far beyond the achievement of an instantaneous sound effect at the level of a single line or even a single passage. In several cases, alliteration is used as a means of association in order to allow the poet to connect passages that would seem to have nothing in common. This in turn leads to the conclusion that Lucan’s compositional scheme – based on allusions and association – is present even at the level of the phoneme.
PL
Niniejszy artykuł stanowi analizę pierwszych wersów Farsalii Lukana (1, 1–7) oraz zawartych w nich ewidentnych nawiązań do Agamemnona i Thyestesa Seneki. Autorka dowodzi w nim, że liczne zbieżności leksykalne pomiędzy omawianym passusem a owymi dwiema tragediami nie ograniczają się jedynie do ogólnych nawiązań służących retorycznemu uwypukleniu i tak oczywistego faktu, że podobnie jak mityczny konflikt między Atreusem i Thyestesem, rzymska wojna domowa jest również wojną bratobójczą. Okazuje się bowiem, że aluzje do utworów Seneki na początku Farsalii pełnią bardzo istotną funkcję konstrukcyjną: łączą księgi pierwszą oraz siódmą (centralną dla poematu), jednocześnie ustanawiając subtelną, lecz wyrazistą paralelę pomiędzy nefas dokonanym przez Juliusza Cezara poprzez „uśmiercenie” Republiki, a nefas jako morderstwa popełnionego przez Atreusa na małoletnich bratankach. Dzięki temu zestawieniu bitwa pod Farsalos, przedstawiona przez poetę jako funus mundi, jawi się jako nie mityczna, lecz jak najbardziej rzeczywista „uczta Thyestesa”.
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