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Boccaccio and the Stars: Astrology in the ‘Teseida’
Published online by Cambridge University Press: 17 July 2017
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In Boccaccio's epic, the Teseida, the narrative of events is scattered with references to the rising constellations and positions of the planets. Whether or not Boccaccio actually believed in astrology (as he did to some degree), the zodiac is a set of publicly recognized symbols for various kinds of action and states of mind, and Boccaccio might well have considered poetically correlating the astral positions with his narrative. Numerous scholars have pointed out the meanings of astronomical passages in the writings both of Dante, whom Boccaccio imitated in many ways, and of Chaucer, whose astrology-filled Knight's Tale is based on the Teseida. Quaglio, investigating the extent of Boccaccio's astronomical knowledge, is not concerned with the literary uses of that knowledge. Earlier critics, assuming that the narratives were autobiographical, investigated some of the astronomical passages in search of historical dates for Boccaccio's affair with Fiammetta; but the confusion of calendars and lack of sufficiently detailed information in the texts resulted in a variety of answers and no way to judge among them. At the same time many of the astronomical verses that seemed unrelatable to Boccaccio's own romance were left unmentioned.
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1 Boccaccio does seem to believe in the power of the stars to influence men and events, but only as agents of divine will; moreover, the human will also remains free though only a few wise men can actually overcome the influence of the stars. On the other hand, while granting the usefulness of these ideas to poets, he denies the efficacy of astrology because the subject is too complex for accurate predictions: 'existimandum est ut aliquando dicere consuevit venerabilis Andalo, deum patrem omnipotentem, dum omnis mundi machina ab eo fabrefacta est, nil fecisse superfluum aut commodo carens animalium futurorum. Sic et supercelestia corpora tam grandia, tam lucida, tam ordinate suo se et alieno motu moventia, non solum adornatum, quem nos fere ob crebram ispectionem flocci facimus, condidisse credendum est, sed circa inferiora illis plurimum potestatis dedisse; ad hoc scilicet ut eorum motu atque influentia anni volventis variarentur tempora, gignerentur mortalia, genita nascerentur, et alerentur nata atque in tempore deducerentur in finem. Nec hanc mixtim atque confuse corporibus iniunctam debemus arbitrari potentiam, quin imo unicuique proprium constituisse officium, et circa que eius versaretur autoritas distinxisse, voluisseque omnia se invicem secundum plus et minus coniunctionum atque reliquarum virium pro varietate locorum ad opus in finem deducendum intentum mutuis vicissitudinibus iuvare. Et inter alia concessa pluribus ut testantur effectus, Veneri planete asserebat idem Andalo fuisse concessum quicquid ad amorem, amicitiam. Quo concesso egregie finxere poete Google Scholar
'(Genealogie deorum gentilium libri, ed. Romano, V. [Bari 1951] 3.22). ‘E’ non pare che alcun dubbio sia li cieli, i pianeti e le stelle essere ministri della divina potenza e, secondo la virtu loro attribuita, i corpi inferiori generare, mediante quelle cagioni che dalla natura sono ordinate, e quegli nutrire e nel lor fine menargli. E, per ciò che essi corpi superiori sono in continuo moto e in diversi modi si congiungono e si separano l'uno dall'altro, par di necessità che gli effetti da lor prodotti in diversi tempi e in materie diverse, debbano esser diversi e a diverse cose disposti: e quinci par che seguiti la diversità degli aspetti degli uomini, E questo si dee cognoscere muovere dal divino intelletto, il quale cognosce una università, come è quella dell' umana generazione, non poter consistere in sé, se non avesse diversità d'offici e, quantunque da Dio sia alle nostre anime, le quali esso immediate crea, data la ragione e il libero arbitrio, per lo quale, non ostante la forza de' cieli, ciascun può far quello che più gli agrada, pare che il più seguitin gli uomini quello a che essi sono atti nati' (Esposizioni on Inferno 1 (2.12–15), ed. Padoan, G. [Tutte le opere 6; Milan 1965]). ‘E per ciò che egli non par possible cosa che gli ingegni umani comprendano le particularità infinite di questo universale effetto de’ cieli, sì come noi possiamo comprendere nelle continue fatiche, e le più delle volte vane, degli astrologhi; li quali, quantunque l'arte sia da sé vera e da certi fondamenti fermata, nondimeno non paiono gli ingegni umani essere di tanta capacità che essi possan comprendre ogni particolarità di così gran corpo, come è il cielo, né ancora pienamente le revoluzioni, congiunzioni, mutazioni e aspetti de' corpi de‘ pianeti, e per conseguente cognoscere né quello che il cielo dimostra dover producere né quello che a cio seguire o fuggire’ (Esposizioni on Inferno 7 (1,81–82). Explaining Brunetto Latini's line to Dante in Inferno 15, ‘Se tu segui tua stella,’ Boccaccio notes that Dante's horoscope ‘avesse a significar di lui mirabili e gloriose cose, sì come eccellenzia di scienza e di fama e benivolenzia di signori e altre simili.’ And it was true; Dante did become famous, etc.: ‘Ma che questo gli venga dalle stelle, quantunque Iddio abbia lor data assai di potenzia, nol credo; anzi credo venga da grazia di Dio, il quale esso di sua propria liberalità concede a coloro li quali, faticando e studiando, se ne fanno degni’ (1.32 and 36).Google Scholar
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11 ‘The Teseida: Boccaccio's Allegorical Epic,’ Northeastern Modern Language Association Italian Studies, forthcoming. I am using the Teseida ed. by Limentani, A. (Tutte le opere; Milan 1964).Google Scholar
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15 Ed. Jones, 9–10.Google Scholar
16 da Prato, Giovanni, Il Paradiso degli Alberti 1 (Scelta di Curiosità Letterarie inedite o rare dal secolo xiii al xix, 18; Bologna 1968) 20–21.Google Scholar
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18 Some writers spoke of three or four Venuses. Thus, for example, St. Augustine (Civ. Dei 4.10) lists three of them: one a virgin identified with Vesta; one the wife of Vulcan; and one a harlot. But even the married Venus was an adulteress, remarks St. Augustine, refusing to dignify her with the role of legitimate married love. Cicero in De nat. deor. (3.23) describes four different Venuses: ‘Venus prima Caelo et Die nata, altera spuma procreata, ex qua et Mercurio Cupidinem secundum natum accepimus, tertia Iove et Dione, quae nupsit Volcano, sed ex ea et Marte natus Anteros dicitur, quarta quae Astarte vocatur, quam Adonidi nupsisse proditum est.’ Cicero's descriptions are clearly a major source for the sundry Venuses of Boccaccio's Genealogia. Nonetheless, within his works of fiction, Boccaccio tends to work with the twofold rather than the manifold Venus. (See Hollander, R., Boccaccio's Two Venuses.) Google Scholar
19 Andalò refers to Venus as cold rather than warm, following the opinion of Albumasar (cited in Quaglio 197–98); at best, as in the Canones in Almanack Profacii, he writes, ‘frigidus (al. calidus) et humidus.’ But Boccaccio seems to have chosen the other side of the argument. Depending on whether she is hot or cold, Venus is similar to either Jupiter or the moon. Ptolemy (1.4) gives her the Jovian warmth.Google Scholar
20 De universo 15.6 (PL 111.430b): ‘martem quasi effectorem mortium.’ Google Scholar
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22 Microc. ch. 5; Wetherbee 101.Google Scholar
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24 Ibid. 118–19.Google Scholar
25 Curry 103; Aly 5.5 and 15, pp. 230, 266, 271.Google Scholar
26 Genealogia 9.4.Google Scholar
27 Genealogia 9.3.Google Scholar
28 Ed. Gothein, (Zurich 1949).Google Scholar
29 Boccaccio, , Genealogia 3.22.Google Scholar
30 See Teseida 12.34 and the discussion below, pp. 315–17.Google Scholar
31 Ptolemy 1.23.Google Scholar
32 Firmicus 2.11.2 and 2.15ff.: So important is the ascendant position that it is even referred to as the ‘horoscope’ by astrologers. Boccaccio himself describes the process of interpreting a horoscope in his commentary on Inf. 15 (1.30–32): 'e tra le altre cose che essi [astrologhi] più puntualmente riguardano, è l'ascendente, cioê il grado, il quale nella natività predetta sale sopra l'orizonte orientale della regione; e, avuto questo grado, considerano qual de‘ sette pianeti è più potente in esso; e quello dicono essere signore dell'ascendente e significatore della natività. E secondo la natura di quel pianeto e la disposizion buona o malvagia, la quale allora ha nel cielo per congiunzioni or per aspetti o per luogo, giudicano della vita futura di colui.’ Google Scholar
33 Aly, 1.9, p. 26.Google Scholar
34 Ptolemy, , 1.24 and 3.3. ‘Direct’ means that Venus is moving in the direction of her orbit, as opposed to retrograde motion. This is how I interpret ‘facea de’ passai con che sale,' for Boccaccio glosses ‘passi’ as ‘gradi’ or degrees of the ecliptic.Google Scholar
35 Firmicus, , 2.22.4.Google Scholar
36 Aly, , 1.6. I am following the medieval habit of calling the sun a planet.Google Scholar
37 Limentani notes in 3.5 an echo of Dante's lines from Purg. 1.19–21. Venus is in the east; though she is not in Pisces, Pisces is mentioned; and the whole sky ‘rideva.’ Dante, emerging from Hell to Purgatory, sees Venus shining in Pisces. The combination indicates a good kind of love or caritas which graces the road to salvation but was not visible in the hell of cupidinous lusts. The fact that the fish is also a sign for Christ combines with the astrological implications to confirm the meaning, just as Boccaccio's mythological glosses add to the astrological significations of his verses. The echo of Dante's lines suits Boccaccio's epic, where as in the Purgatorio, a long process is beginning which will lead ultimately to the self-government of the soul. Just a few lines earlier Dante invokes his ‘sante muse’ who overcame ‘le Piche’; that is, the bird attributed to Mars. Possibly, then, the baneful influences of Mars are banished while the influence of the Jovian Venus now dominates the scene.Google Scholar
38 Jupiter, , two houses away from Venus, is possibly in ‘sextile aspect’ with her, although to be strictly sure of this one would have to know the exact degrees of the planets' positions. An aspect of 180 or 90 degrees was considered unfavorable; 120 or 60 degrees was favorable. Thus two planets could interfere with or support each other.Google Scholar
39 Genealogia 2.2. Cf. Rabanus, , De universo (PL 111.428d–429a): Jupiter ‘quasi juvans pater.’ Cf. also Silvester, Bernard, Cosmographia 2.5, p. 100, and Cicero, , De nat. deor. 2.25,64.Google Scholar
40 Quaglio 93n.Google Scholar
41 1.4, pp. 13–14.Google Scholar
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44 E.g. 11.11: ‘di voler temperar il tristo pianto.’ Furthermore, by persuading Emilia to marry Palemon, he tempers their opposite qualities as the planet Jupiter is said to temper the cold of Saturn and the heat of Mars.Google Scholar
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46 Genealogia 2.63, citing Ovid's Metamorphoses. Google Scholar
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48 The connection between Mars and Venus at this point may also explain why Boccaccio starts the temple of Mars in stanza 30 and the temple of Venus in stanza 50, crossing the usual numerical associations of three for Venus and five for Mars. Thus, for example, the knights fall in love in Book 3 and begin to fight each other in Book 5. If one counts inward from Saturn instead of outward from the moon, Mars is third and Venus fifth; both ways of counting were common. For the uses of threes, fives, and other numbers in the Teseida, I owe thanks to Kirkham, V., ‘The Numerology of Marriage in Boccaccio's Teseida,’ a paper presented at the meeting of the Midwestern Modern Language Association at Chicago in November 1975.Google Scholar
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50 Quaglio, 177 has pointed out that Boccaccio's verses echo Dante's ‘Io sono al punto della rota’ (Rime 100.6–7), which is certainly an astrological poem. But there it is the sun which is in Sagittarius, while the moon is full and directly opposite the sun in Gemini. Dante's heavens, as Durling shows (“‘Io son venuto al punto de la rota”: Seneca, Plato, and the Microcosm’), are a low point for the poet, being nearly a reversal of his native horoscope. Boccaccio is being neither so dramatic nor so personal as far as we can tell; nonetheless, his use of astrological information is clearly in part an imitation of Dante's practice, which we know does refer to historical dates.Google Scholar
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53 Alcabitius 4.Google Scholar
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59 Genealogia 7.41 and gloss to Teseida 9.31.Google Scholar
60 2.23–24.Google Scholar
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63 ‘Profilo biografico’ in Boccaccio, , Tutte le Opere (Milan 1967) I 47.Google Scholar
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65 See above, p. 322, about Mercury's power over Arcita in Books 9 and 10.Google Scholar
66 I am using the Egyptian rather than the Ptolemaic terms, as those are by far the most commonly used; even Ptolemy lists the Egyptian terms before offering his own. For a discussion on the disagreement about terms, see Aly 1.5, p. 19.Google Scholar
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73 Der kosmische Aufbau der Jenseitsreiche Dantes (Graz 1958) 88–89.Google Scholar
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75 Canones in Almanack Profacii. Google Scholar
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79 Ed. cit. 95.Google Scholar
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81 Cf. the debate among Chaucerians as to Troilus' final destination after his ascent to the stars in imitation of Arcita.Google Scholar
82 Aquarius, Saturn's house, is named in the gloss to 9.29. The absence of any mention of Saturn sharply contrasts with the importance of that planet in Chaucer's Knight's Tale. Google Scholar
83 Ed. cit. 648.Google Scholar
84 See Torraca, , Per la biografia di G. B. 16–17; Quaglio, 70–72. The Metamorphoses are also a source for these descriptions; see Quaglio, 170–72.Google Scholar
85 Bernard Silvester quotes this line in his commentary on the Aeneid at the beginning of a discussion on the meanings of Jupiter (p. 109).Google Scholar
86 Microc. ch. 7; Wetherbee, , p. 106.Google Scholar
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88 Ch. 4, p. 98.Google Scholar