Ship of Fools
Trithemius calls it “Divina Satira,” and doubts whether anything could have been written more suited to the spirit of the age; Locher compares Brandt with Dante, and Hutten styles him the new law-giver of German poetry. It is noted that Sir Edward Coke spoke of Francis Bacon’s Great Instauration as “it deserves not to be read in schools, but to be freighted in the Ship of Fools.”
Of the Greek authors, Plutarch only is used, and he evidently by means of a Latin translation. But from the Latin large draughts of inspiration are taken, direct from the fountainhead. Ovid, Juvenal, Persius, Catullus, and Seneca, are largely drawn from, while, strangely enough, Cicero, Boethius, and Virgil are quoted but seldom, the latter, indeed, only twice, though his commentators, especially Servetus, are frequently employed. The Bible, of course, is a never-failing source of illustration, and, as was to be expected, the Old Testament much more frequently than the New, most use being made of the Proverbs of Solomon, while Ecclesiastes, Ecclesiasticus, and the Sapientia follow at no great distance.
“The Ship of Fools was received with almost unexampled applause by high and low, learned and unlearned, in Germany, Switzerland, and France, and was made the common property of the greatest part of literary Europe, through Latin, French, English, and Dutch translations. For upwards of a century it was in Germany a book of the people in the noblest and widest sense of the word, alike appreciated by an Erasmus and a Reuchlin, and by the mechanics of Strassburg, Basel, and Augsburg; and it was assumed to be so familiar to all classes, that even during Brandt’s lifetime, the German preacher Gailer von Kaiserberg went so far as to deliver public lectures from the pulpit on his friend’s poem as if it had been a scriptural text.
"As to the poetical and humorous character of Brandt’s poem, its whole conception does not display any extraordinary power of imagination, nor does it present in its details any very striking sallies of wit and humour, even when compared with older German works of a similar kind, such as that of Renner. The fundamental idea of the poem consists in the shipping off of several shiploads of fools of all kinds for their native country, which, however, is visible at a distance only; and one would have expected the poet to have given poetical consistency to his work by fully carrying out this idea of a ship’s crew, and sailing to the Land of Fools. It is, however, at intervals only that Brandt reminds us of the allegory; the fools who are carefully divided into classes and introduced to us in succession, instead of being ridiculed or derided, are reproved in a liberal spirit, with noble earnestness, true moral feeling, and practical common sense.
"It was the straightforward, the bold and liberal spirit of the poet which so powerfully addressed his contemporaries from the Ship of the Fools; and to us it is valuable as a product of the piety and morality of the century which paved the way for the Reformation. Brandt’s fools are represented as contemptible and loathsome rather than foolish, and what he calls follies might be more correctly described as sins and vices.
"The Ship of Fools is written in the dialect of Swabia, and consists of vigorous, resonant, and rhyming iambic quadrameters. It is divided into 113 sections, each of which, with the exception of a short introduction and two concluding pieces, treats independently of a certain class of fools or vicious persons; and we are only occasionally reminded of the fundamental idea by an allusion to the ship. No folly of the century is left uncensored. The poet attacks with noble zeal the failings and extravagances of his age, and applies his lash unsparingly even to the dreaded Hydra of popery and monasticism, to combat which the Hercules of Wittenberg had not yet kindled his firebrands.
" But the poet’s object was not merely to reprove and to animadvert; he instructs also, and shows the fools the way to the land of wisdom; and so far is he from assuming the arrogant air of the commonplace moralist, that he reckons himself among the number of fools. The style of the poem is lively, bold, and simple, and often remarkably terse, especially in his moral sayings, and renders it apparent that the author was a classical scholar, without however losing anything of his German character.” 1
The precise amount of Brandt’s workmanship in them has not been ascertained, but it is agreed that “most of them, if not actually drawn, were at least suggested by him.” Zarncke remarks regarding their artistic worth, “not all of the cuts are of equal value. One can easily distinguish five different workers, and more practised eyes would probably be able to increase the number. In some one can see how the outlines, heads, hands, and other principal parts are cut with the fine stroke of the master, and the details and shading left to the scholars. The woodcuts of the most superior master, which can be recognized at once, and are about a third of the whole, belong to the finest, if they are not, indeed, the finest, which were executed in the fifteenth century, a worthy school of Holbein. According to the opinion of Herr Rudolph Weigel, they might possibly be the work of Martin Schon of Colmar. The composition in the better ones is genuinely Hogarth-like, and the longer one looks at these little pictures, the more is one astonished at the fullness of the humour, the fineness of the characterisation and the almost dramatic talent of the grouping.” Green, in his recent work on emblems, characterizes them as marking an epoch in that kind of literature.
Whether it were the racy cleverness of the pictures or the unprecedented boldness of the text, the book stirred Europe of the fifteenth century in a way and with a rapidity it had never been stirred before. In the German actual acquaintance with it could then be but limited, though it ran through seventeen editions within a century; the Latin version brought it to the knowledge of the educated class throughout Europe but expressing as it did mainly, the feelings of the common people, to have it in the learned language was not enough. Translations into various vernaculars were immediately called for, and the Latin edition having lightened the translator’s labours, they were speedily supplied.
England, however, was all but last in the field but when she did appear, it was in force, with a version in each hand, the one in prose and the other in verse.
Brant’s Ship of Fools, is not only important as a picture of the English life and popular feeling of his
time, it is, both in style and vocabulary, a most valuable and remarkable monument of the English language. Written midway between Chaucer and Spenser, it is infinitely more easy to read than either.
Page after page, even in the antique spelling of Pynson’s edition, may be read by the ordinary reader of today without reference to a dictionary, and when reference is required it will be found in nine cases out of ten that the archaism is Saxon, not Latin.
1 Ersch and Gruber’s Encyclopadie
