.bp
\f8Repetition and Anaphora\f6 abound in the \f7Bellum Ciuile\f6.
Anaphora is the principal feature of the first few verses of the poem,
emphasizing the extent of Rome's command by the repetition of \f7qua\f6
(v.2), and the variation \f7si quis/si qua\f6 (vv.\ 4–5).
This is followed by a section filled with the repetition and variation
of terms for gold, purple, and price, emphasizing Rome's costly decadence.\c
.f "\f7aurum\f6, vv. 5, 14, 29, 44; \f7aurata\f6, v. 17; \f7ostrum\f6, vv. 10, 28, 35; \
\f7conchylia\f6, v. 35; \f7opes\f6, vv. 7, 43, 57; \f7aes\f6, vv. 9, 52; \
\f7pretio\f6, v. 42;  \f7pretiosa\f6, v. 16; \f7praemia\f6, v. 32; \
\f7praeda\f6, vv. 40, 50; \f7uenalis … uenalis\f6, v. 41; \f7merces\f6, v. 50."
The spread and relation of some of these come under the criticism of Baldwin,
that ``a particular weakness [of Eumolpus' style]
is the repetition of a word within a few lines
but in a different connection, and where nothing is to gain by it.''\|\c
.f "Baldwin (1911) 47."
She cites the repetition of \f7eruta\f6 eight lines apart (vv. 27, 35),
but surely in both places that word is used in just the same connection,
namely to emphasize the suffering inflicted by the rape of exotic delicacies.
Baldwin likewise claims that the use of \f7moles\f6 at v. 91
differs from that at vv. 83 and 109,
but the structures which the Romans build
from the materials excavated from the earth
are exactly those which contribute to ``the unwieldy bulk of Rome''.\c
.f "Baldwin (1911) 47."
That both the \f7tecta\f6 and the \f7pectora\f6 of those fleeing Rome
are \f7maerentia\f6 is similarly not incongruous:
on the one hand, \f7maerentia tecta\f6 is a case of transferred epithet
referring to the sadness of those fleeing their houses,
and on the other hand, the subtle variation emphasizes the totality of the fear
which makes not only the people of Rome grieve
but the very buildings of the city itself.
Baldwin is correct that repetition is at its most effective
when it occurs in the same or consecutive lines,
but another effect can be achieved by spreading repeated words across the work,
emphasizing the pervading influence of the connotations of those words.
Baldwin seems to suffer from the conviction
that repetition is a defect unless it is very pointed,
but this is a modern way of thinking:
the device was highly regarded by Latin writers, in rhetoric, but also in poetry.
.p
Besides the opening of the poem,
one of the most concentrated uses of a repeated word is in the following passage:
.bl

.nf
uicta\f7 erat ingenti tellus niue \f6uicta\f7que caeli
sidera, \f6uicta\f7 suis haerentia flumina ripis:
.fi
nondum\ Caesar\ erat\ [\f6uictus\f7].\f6 (vv.\ 201–3)\p
.ck
The repetition is highly rhetorical.
Eumolpus deliberately phrases his description
of the freezing of the earth, sky, and water
in terms of those elements being conquered, \f7uicta\f6,
so that the contrast with Caesar's being unconquered is heightened,
especially when the word \f7uictus\f6 is then left as understood.
.p
The remaining instances of repetition occur in the speeches.
That this should be the case is not surprising:
eloquent speeches are a stock element of epic poetry,
and, especially for the poets of the post-Augustan era,
a chance to show off the composer's rhetorical skill.
It is important to note that by indulging in the techniques of oratory
Eumolpus does somewhat undercut the distaste
which he has expressed for the would-be lawyer-poet (118.1).
But the speeches in the \f7Bellum Ciuile\f6
nevertheless make up some of the finest sections of the work, and in several cases
that is enhanced by the use of repetition or anaphora.
Dis' repetition of \f7potestas\f6 in consecutive lines (vv. 79, 80)
is admittedly an example of the type of nonsensical repetition
to which Baldwin alludes,\c
.f "Baldwin (1911) 47, discussed above."
for in the first instance the word refers to Fortuna's supernatural powers
and in the second instance to the power of man and state.\c
.f "Schmeling (2011) \f7ad loc.\f6 suggests an emendation to avoid this ugly effect."
But Fortuna's repetition of \f7cerno\f6 (vv. 111, 114),
Caesar's of \f7ite\f6 (vv. 168, 169),
and Discordia's of both \f7sumite\f6 (vv. 283, 284) and \f7tu\f6
(five times in as many lines, vv. 288–292) are all most effective,
especially in the case of Discordia's \f7sumite\f6
which is placed emphatically at the beginning of consecutive verses.
The technique known as polyptoton,
whereby a word is repeated but the form of its ending varied,
can also be effective.
Caesar uses it in his speech in the course of a rhetorical question:
.bl

.nf
		\f7quamquam \f6quos\f7 gloria terret
aut \f6qui\f7 sunt \f6qui\f7 bella uident?  mercedibus emptae
.fi
ac\ uiles\ operae\ \f6quorum\f7\ est\ mea\ Roma\ nouerca.\f6 (vv.\ 164–6)\p

.ck
and also in calling his men to the cause:
.bl

\f7iamque \f6omnes\f7 unum crimen uocat, \f6omnibus\f7 una
.br
impendet\ clades.\f6 (vv.\ 170–1)\p

.ck
In the same speech there is much variation on similar terms for victory
(\f7uincendo\f6, v. 162; \f7uindice\f6, v. 167; \f7uictores\f6, v. 168;
\f7uici\f6, v. 172; \f7uictoria\f6, v. 173; \f7uinci\f6, v. 176).
This technique, where the poet steadily refuses to use the same word twice,
nevertheless produces an effect similar to that of repetition:
it is clear that the overwhelming theme of Caesar's intent is victory.
While the plethora of repeated words in the \f7Bellum Ciuile\f6
may indeed betray a limited vocabulary and lend itself to monotony,
it can also produce useful poetic effects.
It is the combination of repetitiveness in both rhythm and diction
that leads commentators to decry the ``mediocrity'' of Eumolpus' style
and compare it to Lucan's,\c
.f "Walsh (1970) 49."
but it ought not to go unnoticed that such a style
has its benefits, especially when deployed in rhetorical set pieces
such as the speeches of historical epic.