
44 Maximilian Haas
“proderit hoc olim, quod non mansura futuris ardua marmoreo surrexit pon-
dere moles. pulveris exigui sparget non longa vetustas congeriem, bustum cadet,
mortisque peribunt argumenta tuae. veniet felicior aetas, qua sit nulla des saxum
monstrantibus illud;” (8, 865-870)
“One day it will prove a gain that no loy pile of massive marble was raised here
to last for ever. For a short space of time will scatter the little heap of dust; and the
grave will fall in; and all proof of Pompey’s death will be lost. A happier age will
come, when those who point out that stone will be disbelieved, […]”
In these passages, we nd emerging two contrasting perceptions of the relation-
ship between the past and the present.3 Whereas the rst quotation conveys
the strong feeling that Pompey’s present circumstances are heavily conditioned,
if not determined, by his past, the second one entertains the idea that present
events can condition, or even change, the past. e rst of the two propositions
is common sense and immediately perspicuous to everyone, the second, how-
ever, is in need of some further elaboration.
Pragmatically speaking, what else is the past, if not all of which our
memory comprises? Hence, from a pragmatic point of view, the past can change
if our memory is corrupted. Since we are analysing an epos – i.e. the “bearer of
cultural messages”4 , a “totalizing form”5 , in brief, a
Weltgedicht
– we are, tran-
scending the personal and private sphere, primarily interested in cultural past,
in the (ocial) past of a nation. On this level, past is constituted by the sum
of
monumenta
, which can serve the cultural memory as
argumenta
. I use the
word
monumentum
with the full semantic breadth this Latin word carries, not
distinguishing, as yet, between dierent kinds of
monumenta
: they can be made
out of stone or out of words.
According to this train of thought, cultural past can vanish if
monumenta
perish, and the present will never become past if
monumenta
happen not to
be produced or, as the case may be, if their formation is suppressed. In the
novel
1984
, one of the slogans of the Party runs: “
He who controls the present,
controls the past. He who controls the past, controls the future.
” Now we can
understand why this discussion lies at the heart of Lucan’s work: he is, as both a
poet for as well as a subject, and eventually in a very dramatic sense a victim, of
a totalitarian system, well acquainted with the functioning of both the creation
and the corruption of past.
Before we can delve into a closer analysis of book eight, it is important rst
to make some further distinctions. So far, I have used the word “past” in a very
general way, not dening at all what type of past, or “whose” past I was referring
to: Pompey’s past? Lucan’s past? Or perhaps the past of a literary tradition? In
Civil War VIII
, edit. with a commentary, Warmister, Wiltshire: Aris & Phillips, 1981.
3 To be precise, the rst passage deals with the relationship between a „past past“ or a
plus-quam
-past, as the verbs are found in a graphic historical present, while the second
quotation deals with the relationship between a future past and a future present. In this
essay, I shall use the terms “past” and “present” as purely relational terms.
4 John Henderson, “Lucan. the word at war.” In
Fighting for Rome
(Cambridge: Cam-
bridge University Press, 1998) 165-211.
5 Philipp Hardie,
Vergil’s
Aeneid:
Cosmos and Imperium
(Oxford: Clarendon, 1986) 3.