Over and above this habitual exaggeration, Lucan has a decided love for the ghastly and revolting. The instances to which allusion has already been made, viz. the Thessalian sorceress and the dreadful casualties of the sea-fight, show it very strikingly, but the account of the serpents in the Libyan desert, if possible, still more. The episode is of great length, over three hundred lines, and contains much mythological knowledge, as well as an appalling power of description. It begins with a discussion of the question, Why is Africa so full of these plagues? After giving various hypotheses he adopts the one which assigns their origin to Medusa's hairs which fell from Perseus's hand as he sailed through the air. In order not to lure people to certain death by appearing in an inhabited country, he chose the trackless wastes of Africa over which to wing his flight. The mythological disquisition ended, one on natural history follows. The peculiar properties of the venom of each species are minutely catalogued, first in abstract terms, then in the concrete by a description of their effects on some of Cato's soldiers. The first bitten was the standard-bearer Aulus, by a dipsas, which afflicted him with intolerable thirst; next Sabellus by a seps, a minute creature whose bite was followed by an instantaneous corruption of the whole body; [59] then Nasidius by a prester which caused his form to swell to an unrecognisable size, and so on through the list of serpents, each episode closing with a brilliant epigram which clenches the effect. [60] Trivialities like these would spoil the greatest poem ever penned. It need not be said that they spoil the _Pharsalia_. Another subject on which Lucan rings the changes is death. The word _mors_ has an unwholesome attraction to his ear. Death is to him the greatest gift of heaven; the only one it cannot take away. It is sad indeed to hear the young poet uttering sentiments like this: [61] "Scire mori sors prima viris, sed proxima cogi," and again [62]-- "Victurosque dei celant, ut vivere durent, Felix esse mori." So in cursing Crastinus, Caesar's fierce centurion, he wishes him not to die, but to retain sensibility after death, in other words to be immortal. The sentiment occurs, not once but a hundred times, that of all pleasures death is the greatest. He even plays upon the word, using it in senses which it will hardly bear. _Libycae mortes_ are serpents; _Accessit morti Libye_, "Libya added to the mortality of the army;" _nulla cruentae tantum mortis habet_; "no other reptile causes a death so bloody." To one so unhealthily familiar with the idea, the reality, when it came, seems to have brought unusual terrors.