Aristotle and Phyllis
The most popular example of the fatal power of love was the ancient Greek philosopher Aristotle, who could not resist the charms of the beautiful Phyllis and, to prove his passion, permitted Phyllis to ride him. While Samson from the Old Testament symbolizes the physical strength of a man, Aristotle was regarded as the father of logic in the early medieval times and by the 13th century had become the embodiment of worldly wisdom for any medieval person. From the perspective of the church, there was no better warning.
The Story of Aristotle and Phyllis
The story of Aristotle and Phyllis became well-known in the 13th century mainly through the poems of the French troubadour Henri d’Andeli (or Henri de Valenciennes). At the same time, the story of Aristotle was also presented to the German public, and for the first time the woman who had seduced Aristotle appeared under the name of Phyllis. The story originates from India and Arabia, where the philosophic works of Aristotle were translated and studied vigorously before being brought back to Europe in the 13th century. In the Arabic tale, the sultan´s vizier let a beautiful woman seduce and ride him. In the European version, the vizier was replaced by the tutor of Alexander the Great – the father of science and wisdom, Aristotle.
In different versions of the story, Phyllis is represented either as Alexander´s lover or wife, who demands so much time and attention from the ruler that he neglects state affairs he has to deal with. Aristotle brings Alexander to order, warning him against the dangerous influence of love and women, and the young ruler follows his advice. The beautiful Phyllis understands that Alexander´s teacher Aristotle is to blame for her lover´s new coldness. The woman decides to take revenge on the old philosopher by seducing him. She lets her hair down, comes under the windows of Aristotle’s study, and starts dancing lasciviously. Aristotle sees the seductive woman, and sexual desire wakes in him. He confesses his emotions to Phyllis and invites her to his place. Phyllis promises to fulfil his desires, but first he must prove his love for her: the old man must stand on his knees and be Phyllis´s horse. Aristotle was ready for anything to satisfy his desire. So Phyllis saddles up the philosopher, puts the bridle on and sits on his back. She grabs the reins and rides Aristotle in circles in the garden. Phyllis´s singing prompts Alexander to come out and observe this strange situation. How can the teacher´s actions contradict his teaching so much? The explanation Aristotle provides is the moral of the story: if an old and wise philosopher cannot resist love and the charms of a woman, how dangerous can women be for younger men?
"A Wise Man and a Stupid Woman" in Medieval Art
It is common knowledge that the story was popular in the Christian sermons as an example of submission of worldly wisdom to earthly love. The philosopher Aristotle, a symbol of earthly reason and wisdom, becomes a slave of his animal instincts. The image of Aristotle and Phyllis is especially popular in churches: on column capitals (Lyon Cathedral and Cadouin Monastery in France), choir stalls (the church of Montbenoit Abbey) and on misericords (Rouen Cathedral in France, Plasencia Cathedral in Spain, Hoogstraten Church in Belgium), and also on hangings (the Dominican nunnery in Freiburg).
The story becomes even juicier when considering that Aristotle regarded women as physically underdeveloped creatures, who lack capacity for analytical thinking. According to Aristotle, woman was created to submit, while man was created to rule. The story of Phyllis turns this hierarchy upside down both in a direct and indirect sense. Riding someone implies power and rule – in French, chevalier, or knight, means a horseman or rider. An athletic knight on horseback, holding a sword and a spear, is also an allegory of the physical and sexual capabilities of a man as a ruler and a leader. In addition to gender roles that were turned upside down, this story also mocks the submission of a silver-haired scholar to an erotic fantasy which is unsuitable for his age. This is why it is no wonder that the images of Aristotle and Phyllis can be seen in abundance on the ivory jewellery boxes of noble ladies, concealing the secret of their owners about who truly holds power and how to subdue men.
The image of Aristotle and Phyllis (just like Samson with the lion) was also used for forming aquamaniles or vessels for handwashing in the 14th-15th century.
The images of Aristotle and Phyllis in town halls (e.g. the hanging in the Town Hall of Regensburg) warned the councillors, the rulers of cities from falling in love and its consequences, since even the oldest, cleverest, and most dignified men are not immune to it. On the tapestry from the Town Hall of Regensburg (Germany), there is a medallion with an image of Aristotle and Phyllis and a verse in German: “Hie reit ein tumes weip eines weisen manes leip”, translation: a stupid woman is riding a clever man.
In addition to Aristotle, another popular example from ancient history was the Roman poet Vergil, who, according to the legend, wanting to climb a tower to meet a beautiful lady, got into a basket which the lady was supposed to pull up. But she left him hanging in the basket halfway between the ground and the top of the tower. The woodcarving depicting this scene can be seen on the choir bench in the Holy Spirit Church in Tallinn, which was the chapel of the town council and a place where the council held its regular meetings in medieval times.
