
One of the most valuable pieces of knowledge that natal astrology can give us is an understanding of others’ motivations. Yes, we can get a good feeling for how one’s personality manifests, but this is but a robe over the basic shape of the personality. To illustrate how this can be found, we will look at the horoscope of Maria Callas, a woman famous for both her intense dedication to her art, and her tumultuous, colorful personality. Her performances in La Traviata are renowned, as well as her spectacular singing in Medea.
Her renowned temperament and dramatic flair were a major attraction of her larger-than-life public persona, but what motivated her? This is where we get a sense of the level at which a person lives. Maria Callas’s horoscope is below:

If we examine the temperament, we get sanguine (airy)/choleric (fiery) blend, with the former slightly predominating. This combination would give us an outwardly-focused, dynamic, ambitious, warm personality, someone very much living for the public, but emotionally self-contained.
Still, these are just adjectives. They are meaningless without us understanding the essential quality that they describe. For this, we turn to what William Lilly (and other traditional astrologers) calls the significator of manner. I will not give the complete method here, as that is easily available in William Lilly’s writings. It is more interesting to see the principle in action. The first step is to determine whether any planets occupy the first house, particularly around the Ascendant. These are our prime candidates for the significator of manner.
In Callas’s horoscope, we have the Sun in Sagittarius (on the royal star Antares) right on the Ascendant. Ptolemy says that the involvement of the Sun adds probity, industry, and honor to the native’s inherent motivations. Certainly, with the Sun in its triplicity on the Ascendant, a major motivation is going to be for glory, recognition, and honor. Lilly and Ptolemy say that the luminaries can only participate, rather than determine, manner. So we must look at Mercury, also in the first house. Mercury is the planet most influenced by others, so we also examine its dispositor, Jupiter in Sagittarius.
Ptolemy writes that a strong Jupiter connected with Mercury “will render men fit for much business, fond of learning, and of geometry and the mathematics; poetical, public orators, acute, temperate, well-disposed, skilful in counsel, politic, beneficent, able in government, pious, religious, valuable in all useful professions, benevolent, affectionate in their families, ready in acquiring knowledge, philosophical, and dignified.” The problem is that Mercury is in its detriment in Sagittarius, so it will make one inconstant, foolish, and frivolous. Mercury is angular, compared to Jupiter’s cadent 12th house placement, and so the negative characteristics will come through more easily.
How does this square with what we know of Callas? She was known to be temperamental and divaesque, which matches the Mercury in mutable, fiery Sagittarius, combined with the Sun on the Ascendant. However, the real power of the significator of manner is to help us understand what drives and motivates the native. Mercury (especially when debilitated) gives the love of change for its own sake, combined with the Sun’s need for glory and fame. Still, the Sun’s and Jupiter’s essential strength and lack of serious afflictions help ensure that the native lives out her life at a high-functioning, positive level. Morinus tells us that strong benefics in the malefic houses (here, Jupiter in the 12th house of self-sabotage and secret enemies) prevent the worst that those houses might ordinarily bring. So we can say that Callas’s changeability and need for acclaim caused her repeated problems (she famously walked out of many contracts with the world’s top opera companies), but her career did not suffer long term. Rather, her artistic career ended prematurely due to her vocal deterioration, perhaps also indicated by the weak Mercury, ruler of the voice.