Literature of antiquity and the Middle Ages - Summary - 2019

Philosopher
Pietro Aretino (1492-1556)

The Comedy of the Flesh: Intellect vs. Instinct

Can a man truly claim the title of philosopher if he remains a slave to his own biology? This is the central, mocking question that drives Pietro Aretino in his provocative work, Philosopher. Rather than presenting a treatise on wisdom, Aretino constructs a farcical mirror where the lofty pretensions of the mind are systematically dismantled by the visceral demands of the body. The work operates on a fundamental paradox: the more the protagonist attempts to elevate himself above the "baseness" of human nature, the more absurdly he falls into the traps set by that very nature.

Architecture of Chaos: Plot and Structure

The structure of the work is built upon a daring parallelism. Aretino employs two distinct plotlines that never intersect physically but are bound together by a shared thematic trajectory: the descent from a position of perceived security into a state of utter humiliation. This dual-track construction allows the author to explore the theme of "the fall" from two different angles—one physical and one intellectual.

The first narrative follows Boccaccio, a wealthy gem merchant. His journey is one of literal descent. He moves from the comfort of a rented room to the filth of a well, and finally to the claustrophobia of a bishop's tomb. This sequence of events is driven by the predatory greed of Tullia, whose manipulation transforms Boccaccio from a man of means into a fugitive terrified of worms and ghosts. The resonance here is clear: wealth and social standing offer no protection against the calculated malice of others or the indifference of fate.

Simultaneously, the second plotline tracks the psychological collapse of Polidoro, the self-proclaimed philosopher. While Boccaccio falls into a hole, Polidoro falls from his pedestal of intellectual superiority. His "turning point" occurs when his attempt to trap his wife, Tessa, and her lover results in him being fooled by a donkey. The ending of this arc—a sudden, opportunistic reconciliation—mirrors the beginning; the philosopher's initial hatred of women is not cured by reason, but by the realization that his own desire is an irresistible force.

Psychological Portraits: Masks and Motivations

Aretino does not create characters in the modern sense of deep, evolving personalities; instead, he crafts archetypes that embody specific social and moral failures. Polidoro is the embodiment of intellectual hypocrisy. He views women as "feeble creatures" and "abominations," yet his rigid philosophy is merely a shield for his own inadequacies. His refusal to change is his defining trait until the moment of total defeat, at which point his "repentance" is revealed to be nothing more than a surrender to lust. He does not become a better man; he simply becomes a more honest animal.

In contrast, Tessa represents the triumph of pragmatic desire over patriarchal control. She is not a passive victim of her husband's philosophy but an active agent of her own pleasure. Her motivation is simple: autonomy and satisfaction. The contradiction in her character lies in her transition from a suppressed wife to a woman who openly mocks her husband's impotence, yet eventually returns to him when he acknowledges the power of the flesh. Her strength is derived from her acceptance of nature, whereas Polidoro's weakness stems from his attempt to deny it.

The supporting cast, particularly the servants Salvadallo and Radiccio, serve as the work's moral compass—albeit a cynical one. They possess a street-level wisdom that renders the philosopher's theories obsolete. While Polidoro debates the erogenicity of planets, the servants simply enjoy the reality of the bedroom. They are the only characters who remain consistent, acting as the bridge between the audience and the absurdity of the upper-class conflicts.

Comparative Analysis of Narrative Tracks

Ideas and Themes: The Sovereignty of Nature

The most pervasive theme is the triumph of nature over artificial constructs. Aretino suggests that philosophy, law, and social etiquette are merely thin veils draped over the raw instincts of humanity. This is most evident in the final scene where Polidoro compares Tessa to Plato's Symposium and Aristotle's Politics. By framing his sexual desire in the language of classical philosophy, he isn't elevating the act; he is admitting that philosophy is ultimately a servant to the body.

Another critical theme is the critique of masculinity. Both men in the primary plots are rendered powerless. Boccaccio is manipulated by Tullia, and Polidoro is outsmarted by his wife and a donkey. Aretino mocks the traditional image of the "learned man" or the "successful merchant," showing them to be fragile and easily displaced. The true power in the text resides with the women and the servants, who operate with a transparency and honesty that the "noble" characters lack.

Style and Technique: The Mechanics of Farce

Aretino utilizes the techniques of the commedia dell'arte, emphasizing pacing, slapstick, and linguistic irony. The narrative manner is fast-paced, mirroring the frantic energy of a stage play. He employs a technique of symmetry—where the physical filth Boccaccio encounters (dung, wells, tombs) balances the intellectual filth of Polidoro's prejudices.

The language is deliberately contrasting. Polidoro speaks in the high-flown, pedantic tone of a scholar, which Aretino systematically undercuts with the coarse, earthy dialogue of the servants. This creates a satirical dissonance; the more Polidoro attempts to sound wise, the more foolish he appears to the reader. The symbolism of the donkey is the crowning touch of this technique, serving as a living metaphor for the philosopher's own stubbornness and ultimate stupidity.

Pedagogical Value: Reading Against the Grain

For a student of literature, Philosopher provides a vital lesson in the subversion of genre. It challenges the reader to look past the bawdy humor to see a sophisticated critique of Renaissance Humanism. The work asks: if the "rebirth" of knowledge leads only to more refined forms of hypocrisy, is the knowledge actually valuable?

When engaging with this text, students should ask themselves: Does Polidoro's final "conversion" represent a genuine growth in character, or is it a cynical admission of defeat? and How does the physical trajectory of Boccaccio's plot mirror the psychological state of the characters in Polidoro's plot? By analyzing these questions, the reader moves beyond the surface-level comedy to understand Aretino's deeper skepticism regarding the ability of the human mind to truly govern the human heart.