Astralscapes of the Emotions: Planets, Seasons, Passions, Actions
Dr. Diane Thompson, NVCC, ELI
Adapted from: "Human Responsibility and the Fall of
Troy," Diane P. Thompson, DIS., CUNY, 1981.
The Historia Destructionis Troiae,1
a Latin prose narrative completed in 1287 by Guido de Columnis, was based
on a twelfth century French metrical romance, Benoit de Sainte Maure's
Roman de Troie. Guido reworked Benoit's text from the idiom of
twelfth century France into that of thirteenth century Sicily, reshaping
his inherited materials to express an understanding of why Troy fell that
was significantly different from Benoit's.
One factor among many that
differentiates the Historia from the Roman de Troie is
Guido's use of the new learning that was flooding into Europe during his
lifetime. Guido was associated with the Sicilian court of Frederick II,
where Arabs, Jews and Christians mingled freely, creating a ferment of
ideas including Arab astronomy/astrology and Aristotelian science along
with the more familiar traditions of the European Middle Ages. Astrology
created problems for theologians in the thirteenth century, because it was
inextricably linked to determinism, but in Guido's time and place
astrological determinism could coexist with Christian free will without
creating too much of a stir, and while Guido asserts that people ought to
resist the essentially astrological fates, he never shows anyone actually
able to do so.
The Historia is generally lacking
in descriptive passages, but noteworthy among the few are several
astralscapes which serve as settings for significant events. These
descriptions are organized around the sun, moon, and stars, rather than
ponds, trees, and hills. They are rhetorical, of course, but rooted
in Guido's interest in the "new" learning of the Greco‑Arab physical
sciences. These astralscapes are descriptions of persons and events that
begin with the positions of the sun, moon and stars and then work down to
the seasons or the passions of human beings, and only then to the actions
taken.
Guido establishes a definite
relationship between the sun, the moon, and Medea's passion for Iason. Medea's
love for Iason is literally at first sight, and they arrange to meet
secretly. She awaits the meeting with great eagerness which Guido describes
as being measured by the slow and much desired setting of the sun: "At
last, as it drew on toward evening, the sun's descent beneath the horizon
brought on the complete darkness of night, while the shadow of earth
interposed itself between the faces of man and the sun. Therefore, as the
twilight of that night grew deeper, the agitated heart of Medea was in a
turmoil of varying emotions, and she, bent on watching the least movement
of the sun until it should set, watched with even greater anxiety and
yearned for nightfall with the concomitant rising of the moon, since on
that night it was to rise at about the first hour of sleep" (Meek 21).2
The passage of the sun is both
astrological and psychological, since the heavenly bodies act by affecting
people's emotions and judgment. Darkness makes people more vulnerable to
the malicious effects of the stars, as does a state of intense emotion,
such as love or anger. Not only will the setting of the sun and rising of
the moon provide an opportunity, the specific time when Iason will come,
but Medea's passion will become more powerful and more vulnerable to being
influenced by the stars when it is dark. Medea participates willingly in
her experience, because she yearns for that darkness which will allow her
passion full rein. This fits Guido's often repeated warnings that people
ought to resist the influences of the stars (although he is aware that they
rarely do). Guido plainly intends to associate the setting of the sun with
the increase in the powers of lust and unreason, and is not merely giving
us a poetic technique for telling time and expressing Medea's eagerness
for her meeting with Iason. The setting of the sun is technically
described, as a natural scientist or astrologer might write: "the shadow of
earth interposed itself between the faces of man and the sun."
The Judgment of Paris and the death of
Paris, two critical events in the Trojan War, both occur at the summer
solstice, and these are, I believe, the only two mentions of that solstice
in the Historia. When Paris tells of his dream vision, he
begins with the pertinent astronomical data. He was in Minor India: "When
the summer sun was at its solstice, and when the sun was running its course
near the beginning of Cancer.... The sun was already standing at the
meridian and was not far from sinking toward evening" (Meek 59). After
this introduction, Paris tells his dream. The position of the sun in the
zodiac, and then the position of the sun in the sky are significant
ordering points for Guido when he describes an event.
The day on which Paris is killed is also
described in astronomical terms: "It was the time when the sun had
already progressed so far in its course beneath the celestial circle of
the zodiac that in that year it had entered the sign of Cancer, in which,
according to the divine arrangement of stars, the summer solstice takes
place" (Meek 200). Paris' dream vision on the day of the summer solstice
was a critical cause of the Trojan War, since his choice of Venus led him
to seize Helen, the proximate cause of the Fall of Troy. On the other
summer solstice, when Paris is killed, Ajax, the man who will kill him, is
evidently affected in his mind by the times: "Then Ajax, carried away by
some mad impulse, marched to battle without armor, and with uncovered head,
and he carried only a sword in his hand, thus indeed being without
protection" (Meek 200‑201). Ajax and Paris kill one another on this
fateful day. The first solstice influenced Paris' mind and passions,
through his dream vision; the second solstice contributed to Ajax'
madness. The influences of the two solstices interact ultimately to cause
the deaths of both men.
Guido develops three other extended
astralscapes in the Historia. They all affirm the dependent
relationship between the position of the sun in the zodiac, the seasons on
earth, and the actions of men.3 These descriptions are based on
time, not place. They are certainly related to the rhetorical tradition,
which Otto Weinreich calls the "epischen Zeitangabe." 4
However, the consistent use of the zodiacal position of the sun is peculiar
to Guido, as is his use of these set pieces when he uses so little
descriptive material, indicating that he considers these broad astralscapes
which relate the zodiac to the seasons to human affairs to be significant.
Guido's use of the relationship of time,
the heavens, and men's actions is clear in his description of the time when
the Greek leaders gather to plot the death of Hector: "Accordingly when
twilight came before the faces of men, and when everywhere in the space of
the sky could be seen the stars that night, which impairs the eyes of those
looking at the appearances of the rest of things, displays openly on
account of the shadows of its darkness" (Meek 146). Just as darkness
released Medea's passion, here darkness impairs men's understanding. When
it is dark enough to see the stars, you cannot see (e.g. know) anything
else. The stars are real, and therefore in a sense knowable, but they
affect men's minds which are better able to control their passions by the
clear light of the sun.
The dominant power of Agamemnon's army
is emphasized by the fires they light after they have established the siege
at Troy: "That night, at the decision of Agamemnon, they made the siege
permanent with great ease, when with many fires and blazing torches they
scorned the shadows of night. And it appeared to the army that the
artificial glow was no less than if the brightness of day were shining"
(Meek 122‑3). Although this artificial glow is definitely preferable to
the darkness of night, daylight is welcomed: "The shadows of that night
were removed when they were put to flight in the morning by the rising
dawn, and the sun lit up the surface of the earth with its rays" (Meek
123). Guido's darkness at night is not simply the absence of street lamps;
the powers of the stars to confuse and influence human behavior are
greatest in the absence of daylight.
Night and day, the sun and moon, the
seasons. These are the basic descriptive elements that Guido uses to
locate events in the Historia. They are used in a technical and
scientific way that, although it may also be rhetorical, is definitely
astronomical, that is to say, astrological, for at that time, and for many
years thereafter, they were practically the same.
Works Cited:
1. Guido de Columnis, Historia
Destructionis Troiae, ed. by Nathaniel Edward Griffin (1936; rpt. New
York: Kraus Reprint Co., 1970). This edition is cited as Historia.
2. English translations of quotations
from Guido are taken from the Historia Destructionis Troiae by Guido
delle Colonne, translated by Mary Elizabeth Meek (Bloomington: Indiana
University Press, 1974), cited as Meek.
3. Historia
VII, p. 67; VIIII, pp. 87-88; and
XXXIII, pp. 253-54.
4. Otto Weinreich, Phöbus,
Aurora, Kalender und Uhr: Über eine Doppelform der epischen Zeitbestimmung
in der Erzählkunst der Antike und Neuzeit. (Stuttgart: Verlag von W.
Kohnhammer, 1937), p. 2.
© Diane
Thompson: 11/10/1998
update: 02/16/2011