Treatment of the supernatural Pharsalia

in book six, erichtho (pictured) performs necromantic rite, many contend 1 of pharsalia s best-known sequences.

lucan breaks epic tradition minimizing, , in cases, ignoring (and argue, denying) existence of traditional roman deities. in marked contrast predecessors, vergil , ovid, used anthropomorphized gods , goddesses major players in works. according susanna braund, choosing not focus on gods, lucan emphasizes , underscores human role in atrocities of roman civil war. james duff duff, on other hand, argues [lucan] dealing roman history , recent events; , introduction of gods actors must have been grotesque.

this, however, not pharsalia devoid of supernatural phenomenon; in fact, quite opposite true, , braund argues supernatural in manifestations played highly significant part in structuring of epic. braund sees supernatural falling 2 categories: dreams , visions , portents, prophecies, , consultations of supernatural powers . in regards first category, poem features 4 explicit , important dream , vision sequences: caesar s vision of roma cross rubicon, ghost of julia appearing pompey, pompey s dream of happy past, , caesar , troops dream of battle , destruction 4 of these dream-visions placed strategically throughout poem, provide balance , contrast. in regards second category, lucan describes number portents, 2 oracular episodes, , perhaps famously erichtho s necromantic rite. manifestation of supernatural more public, , serves many purposes, including reflect rome s turmoil on supernatural plane , contribute atmosphere of sinster foreboding describing disturbing rituals.