
Contents
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6.1. The features of lament in Homeric poetry 6.1. The features of lament in Homeric poetry
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6.2. The epic cry of the goos echoes on 6.2. The epic cry of the goos echoes on
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6.3. Lucan’s Cornelia in the lament tradition 6.3. Lucan’s Cornelia in the lament tradition
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6.4. Antiphonal lament in the Pharsalia 6.4. Antiphonal lament in the Pharsalia
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6.5. The inclusion of the narrator in the antiphony of lament for Pompey 6.5. The inclusion of the narrator in the antiphony of lament for Pompey
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6.6. The Pharsalia as a lament 6.6. The Pharsalia as a lament
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6.7. The common fate of the first-person plural and the power to weep 6.7. The common fate of the first-person plural and the power to weep
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6.8. The completion of the epic song of sorrow 6.8. The completion of the epic song of sorrow
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6.9. “What you weep for is what you loved” 6.9. “What you weep for is what you loved”
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Cite
Abstract
This chapter argues that Lucan follows Homer in his use of the common stylistic and thematic components of speeches of lament (gooi) and in his incorporation of an antiphony of commiserating voices; but that he also exercises aemulatio by forcefully moving the voice of lament from epic’s margins to its center, creating an antiphony that includes not only communal voices in the poem, but also the voice of the narrator himself, and even the inclusive “we” of the poem’s readers living under the reign of the Caesars. The sweeping nature of Lucan’s use of the master trope of lament leads to a reading of the poem itself as a grand lament and thus a completion of Homeric epic. The chapter concludes by focusing on the way lament in the Pharsalia communicates greatness, and thus has the capacity to sound—and celebrate—the end of epic’s song of sorrow.
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