Crosland, Jessie. "Lucan in the Middle Ages: With Special Reference to the Old French Epic." The Modern Language Review: XXV, No. I (January, 1930): 255-77.

Examines the profound influence of Lucan on Mediaeval authors.

Dilke, 0. A. W. "Latin and English Literature." Neronians and Flavians: Silver Latin I, pp. 83-112. Edited by D. R. Dudley. London: Routledge and Kegan Paul, 1972. Explores the influence of Lucan on English literature.

Due, Otto Steen. "An Essay on Lucan." Classica et Mediaevalia XXIII (1962): 68-132.

Overview of Lucan that includes analysis of his techniques and literary reputation.

Lapidge, Michael. "Lucan's Imagery of Cosmic Dissolution." Hermes 107 (1979): 344-70.

Discusses Lucan's debt to Stoic cosmological theory.

Lintott, A. W. "Lucan and the History of the Civil War." The Classical Quarterly XXI, No. 2 (November 1971): 488-505.

Discusses Lucan's view of the origins of the civil war and his interpretation of its events.

Martindale, Charles. "Paradox, Hyperbole, and Literary Novelty in Lucan's De Bello Civili." Institute of Classical Studies (1976): 45-54.

Defends Lucan's literary style, explaining Lucan's choices and the resulting effects.

——. "The Politician Lucan." Greece & Rome XXXI, No. I (April 1984): 64-79.

Explains difficulties in accurately determining Lucan's political views and positions.

Masters, Jamie. Poetry and Civil War in Lucan's "Bellum Civile." Cambridge: Cambridge University Press, 1992,271 p.

Study of Lucan's major work.

Newmyer, Stephen. "Imagery As a Means of Character Portrayal in Lucan." Studies in Latin Literature and Roman History III (1983): 226-52.

Contends that Lucan's use of imagery plays an integral part in the development of his epic.

Sell, Rainer. "The Comedy of Hyperbolic Horror: Seneca, Lucan and 20th Century Grotesque." Neohelicon XI, No. 1 (1984): 277-300.

Contends that Lucan's break with tradition in having a negative protagonist dominate his work and in having Fate as an evil force anticipates the development of twentieth-century grotesque.