King Croesus of Lydia, faulty interpreter
I had a vivid and disturbing dream
last night. It was of the kind I call “episodic”,
as it was punctuated by a brief period of urological wakefulness, put on pause,
so to speak, until I should fall back asleep.
This is a not uncommon experience for me, and the pattern is invariable. During the wakeful “intermission” the dream’s
details seem to me so vivid, so important, so clearly delineated in all their
minute variety that I shall surely remember them clearly in the morning. Then morning comes and—nothing, or so close
to nothing as to make little difference.
Of this particular dream I retain only one feature beyond a general feeling
of its menace: it had within it some important element of the tripartite. I have a vague sense of three “bullet
points”, three neutral graphic marks out of a typecase, but without the
explication of intelligible language.
Great poets have often compared the
insubstantiality, no less than the brevity, of dreams with human mortality
itself. “We are such stuff as
dreams are made on” says Prospero in a speech justly famous; “and our little
life is rounded with a sleep.” This same
thought finds a more explicitly Christian expression in a well-known hymn of
Isaac Watts:
Time, like an ever-rolling stream,
Bears
all its sons away;
They fly forgotten, as a dream
Dies
at the opening day.
The
subject of my doctoral dissertation was the huge thirteenth-century French poem
called the Romance of the Rose, a poem that has a claim to be called the most popular work of secular poetry to
be produced in the European Middle Ages.
It is a “dream vision”, that is a fiction pretending to be the account
of the poet’s dream. It was neither the
first nor the last of its genre, but it was undoubtedly one of the most
influential, and the circumstances of its composition made it also a literary
critic’s dream. It has two authors. The first of them, Guillaume de Lorris, was
probably working in the 1230s or 1240s—if
he ever existed, that is. For absolutely
everything we “know” about him comes from a man named Jean de Meun, who
continued and vastly enlarged Guillaume’s work “forty years” after he died,
leaving his fragmentary vision unfinished.
Concerning Jean de Meun, a solidly historical figure who was in effect
the writer in residence at the court of Phillip the Fair, we know a good
deal. He was for his day a major
humanist scholar, the translator of several important Latin works.
Guillaume
himself was no slouch when it came to dream-lore, the problematical nature of
which is summarized in the opening lines of his poem, beginning thus: “Some
people say that in dreams there is nothing but fables and lies…” The suspicion is underscored in the French by
the power of rhyme. The word for dreams
is songes, that for lies, mensonges: two concepts similar to eye
and ear and, by implication, in their essence.
This negative view of dreams,
however, is not uncontested, and in the following lines Guillaume cites a
learned Latin authority, Macrobius, the author of a book called a Commentary on [Cicero’s] “Dream of Scipio”,
who maintains that dreams can be
reliable conveyors of truth. In fact the
most important part of his widely read Commentary
is a system of classification distinguishing between significant and
insignificant dreams.
Modern dream-lore—such as that in
Freud’s Interpretation of Dreams and
to a large extent also in Jung—is based in a modernist concept of the
individual personality unknown in classical and medieval times. That is, the old dream theory held that
dreams communicated through a socially shared and objective vocabulary of images
rather than by the operations of a unique personal psychology. There is a pretty large “dream literature” in
ancient Greek and Latin, typified by the popular Onirocriticon or Dream
Interpretation of Artemidorus in the second century. This is mainly a catalogue or dictionary of
the meaning of various dream images—an eagle, an arrow, a snowfall, and so
forth.
Macrobius inherited and refined a
substantial “scientific” tradition. He
admitted that many dreams were philosophically meaningless manifestations of
gross passion, bad digestion, or other moral or physical disturbances. But other dreams were literally or
allegorically significant. When the god Mercury appears in a dream of
the hero Aeneas, instructing him that he must sail from Carthage forthwith, the
command is to be taken as a literal oracle.
Far more interesting and difficult are symbolic or allegorical dreams, since the
correct understanding of allegory requires not merely interpretation but
morally sound interpretation.
There is a famous literary dream in
the Romance of the Rose that
exemplifies the difficulty. Jean de
Meun—and following Jean, Geoffrey Chaucer—used it as an admonition to their
readers. The dream was one experienced
by Croesus, King of Lydia. He was a man
of enormous wealth—hence the phrase “rich as Croesus”—but crucially lacking in
hermeneutical self-knowledge. He dreamed
that the god Jupiter Pluvius bathed him and the god Phoebus Apollo dried him. To be waited upon so intimately by such
Olympians seemed to the king a positive portent of the most unequivocal
sort. But the explication of his
daughter Phania, a more profound if unwelcome interpreter of the school of
Cassandra, rather rained on his parade.
The meaning of the dream was as follows.
Croesus would be hanged upon a gibbet.
The rain would pelt down upon his dangling corpse.
Then the blazing sun would desiccate it.
Unfortunately it was Phania’s interpretation that proved true. Perhaps I am fortunate that the only dreams I
can remember are those I read about in old books.