The Praise of Folly and the Limits of Satiric Licence
In this essay, I reconsider the proposition that Erasmus' The Praise of Folly is a satire—an attribution of genre that has long been treated as a truism. I argue that greater attention to several key sources can adjust our understanding of both the text and its kind. The article examines the e...
| Autor principal: | |
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| Tipo de documento: | Recurso Electrónico Artigo |
| Idioma: | Inglês |
| Verificar disponibilidade: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Publicado em: |
[2019]
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| Em: |
Erasmus studies
Ano: 2019, Volume: 39, Número: 2, Páginas: 217-241 |
| Classificações IxTheo: | CD Cristianismo ; Cultura KAG Reforma |
| Outras palavras-chave: | B
The Praise of Folly
B Sátira B mordax B Reception B Genre B Translado B Juvenal B biting |
| Acesso em linha: |
Volltext (Resolving-System) Volltext (doi) |
| Resumo: | In this essay, I reconsider the proposition that Erasmus' The Praise of Folly is a satire—an attribution of genre that has long been treated as a truism. I argue that greater attention to several key sources can adjust our understanding of both the text and its kind. The article examines the early reception of Folly's speech; a pivotal passage in the text itself; crucial translation choices; and Erasmus' reflections on both his creation and the nature of satire. I investigate the idea of the Praise as a satire not to quibble about generic designations but to bring into relief Erasmus' contribution to questions of creative licence during the Renaissance; in particular, the permissible scope of social critique, or how to approach the darker side of epideixis. |
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| Obras secundárias: | Enthalten in: Erasmus studies
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| Persistent identifiers: | DOI: 10.1163/18749275-03902001 |
