By Marilyn Deegan
The new discoveries of the Mars rover Curiosity have greatly excited the world in the last few weeks, and speculation was rife about whether some evidence of life has been found. (In actuality, Curiosity discovered complex chemistry, including organic compounds, in a Martian soil analysis.)
Why the excitement? Well, astronomy, cosmology, astrology, and all matters to do with the stars, the planets, the universe, and space have always fascinated humankind. Scientists, astrologers, soothsayers, and ordinary people look up to the heavenly bodies and wonder what is up there, how far away, whether there is life out there, and what influence these bodies have upon our lives and our fortunes. Were we born under a lucky star? Will our horoscope this week reveal our future? What is the composition of the planets?
Astronomy is one of the oldest natural sciences, but it was the invention of the telescope in the early 17th century that advanced astronomy into a science in the modern sense of the word. Throughout the course of the 16th and 17th centuries, Copernicus, Galileo, Kepler, and others challenged the established Ptolemeic cosmology, and put forth the theory of a heliocentric solar system. The Church found a heliocentric universe impossible to accept because medieval Christian cosmology placed earth at the centre of the universe with the Empyrean sphere or Paradise at the outer edge of the circle; in this model, the moral universe and the physical universe are inextricably linked. (This is a model that is typified in Dante’s Divine Comedy.)
Authors from John Skelton (1460-1529) to John Evelyn (1620-1706) lived in this same period of great change and discovery, and we find a great deal of evidence in Renaissance writings to show that the myths, legends, and scientific discoveries around astronomy were a significant source of inspiration.
The planets are of course not just planets: they are also personifications of the Greek and Roman gods; Mars is a warlike planet, named after the god of war. Because of its red colour the Babylonians saw it as an aggressive planet and had special ceremonies on a Tuesday (Mars’ day; mardi in French) to ward off its baleful influence. We find much evidence of the warlike nature of Mars in writers of the period: Thomas Stanley’s 1646 translation Love Triumphant from A Dialogue Written in Italian by Girolamo Preti (1582-1626) is a verbal battle between Venus and her accompanying personifications (Love, Beauty, Adonis) and Mars (who was one of her lovers) and his cohort concerning the superior powers of love and war. Venus wins out over the warlike Mars: a familiar image of the period.
John Lyly’s play The Woman in the Moon (c.1590-1595) also personifies the planets and plays on the traditional notion that there is a man in the moon. Lyly’s use of the planets is thought to reflect the Elizabethan penchant for horoscope casting. The warlike Mars versus Venus trope is common throughout the period, and it appears in the works of Shakespeare, Marlowe, Middleton, Gascoigne, and most of their contemporaries. A search in the current Oxford Scholarly Editions Online collection for Mars and Venus reveals almost 300 examples. Many writers of the period also refer to astrological predictions; Shakespeare in Sonnet 14 says:
Not from the stars do I my judgement pluck,
And yet methinks I have astronomy,
But not to tell of good or evil luck,
Of plagues, of dearths, or seasons’ quality;
Who oft fore-judge my after-following race,
By only those two starres in Stella’s face.
Thomas Powell (1608-1660) suggests astrological allusions in his poem ‘Olor Iscanus’:
What Planet rul’d your birth? what wittie star?
That you so like in Souls as Bodies are!
Teach the Star-gazers, and delight their Eyes,
Being fixt a Constellation in the Skyes.
While there is still much myth and metaphor pertaining to heavenly bodies in 17th century literature, there is increasing scientific discussion of the positions of the planets and their motions. To give just a few examples, Robert Burton’s 1620 Anatomy of Melancholy discusses the new heliocentric theories of the planets and suggests that the period of revolution of Mars around the sun is around three years (in actuality it is two years).
Why Venus starre onely doth cast a Shadowe?
Is it because it is neerer the earth? But they whose profession it is to see that nothing bee donne in heaven without theyr consent (as Kepler sayes in himselfe of all Astrologers) have bidd Mercury to bee nearer.
The editor’s note suggests that Donne is following the Ptolemaic geocentric system rather than the recently proposed heliocentric system. In his Devotions upon Emergent Occasions of 1623 Donne castigates those who imagine that there are other peopled worlds, saying:
Men that inhere upon Nature only, are so far from thinking, that there is anything singular in this world, as that they will scarce thinke, that this world it selfe is singular, but that every Planet, and every Starre, is another world like this; They finde reason to conceive, not onely a pluralitie in every Species in the world, but a pluralitie of worlds;
There are also a number of letters written in the 1650s and 1660s between Thomas Hobbes and Claude Mylon, Francois de Verdus, and Samuel Sorbière concerning the geometry of planetary motion.
William Lilly’s chapter on Mars in his Christian Astrology (1647), is a blend of the scientific and the metaphoric. He is correct that Mars orbits the sun in around two years ‘one yeer 321 dayes, or thereabouts’, and he lists in great detail the attributes of Mars: the plants, sicknesses, qualities associated with the planet. And he states that among the other planets, Venus is his only friend.
There are few areas of knowledge where myth, metaphor, and science are as continuously connected as that pertaining to space and the universe. Our origins, our meaning systems, and our destinies — whatever our religious beliefs — are bound up with this unimaginably large emptiness, furnished with distant bodies that show us their lights, lights which may have been extinguished in actuality millenia ago. Only death is more mysterious, and many of our beliefs about life and death are also bound up with the mysteries of the universe. That is why we remain so fascinated with Mars.
Marilyn Deegan is Professor Emerita in the Department of Digital Humanities at King’s College, University of London. She has published widely on textual editing and digital imaging. Her book publications include Digital Futures: Strategies for the Information Age (with Simon Tanner, 2002), Digital Preservation (edited volume, with Simon Tanner, 2006), Text Editing, Print and the Digital World (edited volume, with Kathryn Sutherland, 2008), and Transferred Illusions: Digital Technology and the Forms of Print (with Kathryn Sutherland, 2009). She is editor of the journal Literary and Linguistics Computing and has worked on numerous digitization projects in the arts and humanities. Read Marilyn’s blog post where she looks at the evolution of electronic publishing.
Oxford Scholarly Editions Online (OSEO) is a major new publishing initiative from Oxford University Press. The launch content (as at September 2012) includes the complete text of more than 170 scholarly editions of material written between 1485 and 1660, including all of Shakespeare’s plays and the poetry of John Donne, opening up exciting new possibilities for research and comparison. The collection is set to grow into a massive virtual library, ultimately including the entirety of Oxford’s distinguished list of authoritative scholarly editions.
Oxford University Press’ annual Place of the Year, celebrating geographically interesting and inspiring places, coincides with its publication of Atlas of the World — the only atlas published annually — now in its 19th Edition. The Nineteenth Edition includes new census information, dozens of city maps, gorgeous satellite images of Earth, and a geographical glossary, once again offering exceptional value at a reasonable price. Read previous blog posts in our Place of the Year series.