Daß Narrenschyff ad Narragoniam

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    download books from your favorite authors on Apple books possesses an enormous vigor and vitalityThe book owes its long life to an imagination, wit, and humor rich with insights into human Daß Narrenschyff ePUB è nature, yet neither bitter nor namby pamby Its commentary on the boasting, pedantry, false learning, gambling, gluttony, medical folly, adultery, greed, envy, hatred, pride and other failings that mark humanity are sharp and telling, and, sadly, as relevant today as they wereyears agoThis translation by Professor Edwin H Zeydel is the only accurate English translation ever published Barclay's version is really a pastiche written in imitation of Brant The form Professor Zeydel uses is verse, like the original, and he even retains the original rhyme scheme and meter The achievement is remarkable, for it captures all the charm and movement of the original German while sacrificing nothing to readability and fluidityPublished now with theoriginal Renaissance woodcuts and with Professor Zeydel's annotations, a biography of Brant, a publishing history, and a survey of the work's influence, this will unquestionably remain the definitive edition of The Ship of Fools in English The illustrations are part of Dover's Pictorial Archive Series and may be used by commercial artists free of charge."/>
  • Paperback
  • 416 pages
  • Daß Narrenschyff ad Narragoniam
  • Sebastian Brant
  • English
  • 14 November 2018
  • 9780486257914

About the Author: Sebastian Brant

Sebastian Brant also Brandt was an Alsatian humanist and satiristHe first attracted attention in humanistic circles by his Latin poetry, and edited many ecclesiastical and legal works; but he is now only known by his famous satire, Das Narrenschiff.


Daß Narrenschyff ad Narragoniam❰Reading❯ ➼ Daß Narrenschyff ad Narragoniam Author Sebastian Brant – Johndore.co.uk Published in in Basel, The Ship of Fools was soon translated into every major European language It provoked a vast number of imitations and remained steadily in print through the eighteenth century w Published inin Basel, The Ship of Fools was soon translated into every major European language It provoked a vast number of imitations and remained steadily in print through the eighteenth century with sporadic reprints after that It still possesses an enormous vigor and vitalityThe book owes its long life to an imagination, wit, and humor rich with insights into human Daß Narrenschyff ePUB è nature, yet neither bitter nor namby pamby Its commentary on the boasting, pedantry, false learning, gambling, gluttony, medical folly, adultery, greed, envy, hatred, pride and other failings that mark humanity are sharp and telling, and, sadly, as relevant today as they wereyears agoThis translation by Professor Edwin H Zeydel is the only accurate English translation ever published Barclay's version is really a pastiche written in imitation of Brant The form Professor Zeydel uses is verse, like the original, and he even retains the original rhyme scheme and meter The achievement is remarkable, for it captures all the charm and movement of the original German while sacrificing nothing to readability and fluidityPublished now with theoriginal Renaissance woodcuts and with Professor Zeydel's annotations, a biography of Brant, a publishing history, and a survey of the work's influence, this will unquestionably remain the definitive edition of The Ship of Fools in English The illustrations are part of Dover's Pictorial Archive Series and may be used by commercial artists free of charge.

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10 thoughts on “Daß Narrenschyff ad Narragoniam

  1. Vit Babenco says:

    I am the firste fole of all the hole nauy
    To kepe the pompe, the helme and eke the sayle
    For this is my mynde, this one pleasoure haue I
    Of bokes to haue grete plenty and aparayle
    I take no wysdome by them: nor yet auayle
    Nor them preceyue nat: And then I them despyse
    Thus am I a foole and all that sewe that guyse…

    Books do furnish a room. Do they?
    There is no end to foolishness, nonsense, stupidity, absurdity, lunacy, silliness, idiocy, imprudence, rashness, imbecility, fatuity and daftness in this world.
    The great scholar Sebastian Brant had sorted out and classified all human follies, gathered all fools together, put them on a ship and set them sailing…
    Ye care for no shame, for heuen nor for hell
    Golde is your god, ryches gotten wrongfully
    Ye dame your soule, and yet lyue in penury.

    Avarice doesn’t pay. Fashion is for fools. Bad manners are disgusting and mannerisms are preposterous, scandalmongers are wicked dolts… On and on…
    Howe beit I stoup, and fast declyne
    Dayly to my graue, and sepulture
    And though my lyfe fast do enclyne
    To pay the trybute of nature
    Yet styll remayne I and endure
    In my olde synnes, and them nat hate
    Nought yonge, wors olde, suche is my state.

    There's no fool like an old fool.
    Half a thousand years elapsed. The ship sails on.

  2. Jon Nakapalau says:

    Get on board this ship and head for damnation - adultery, envy, gambling, gluttony, greed, hatred, and other sins - always looking for a crew.

  3. Manybooks says:

    German (well actually Alsatian) Catholic humanist and theologian Sebastian Brant's 1494 satirical allegory Das Narrenschiff (The Ship of Fool in its English translations) basically consists of a prologue, one hundred and twelve brief satirical poems and an epilogue, and is considered by many scholars a classic of so-called Fool's Literature (Narrenliteratur). I had to read Das Narrenschiff for a graduate level reading course, and used both it and Erasmus of Rotterdam's Lob der Torheit (In Praise of Folly), along with Hermann Bote's more secular, often intensely funny, at times even rather scatological masterpiece Till Eulenspiegel for a term paper contrasting and comparing different types of 15th and 16th century satire in Germany (in Europe). And while this comparison and contrast was, indeed, a very enlightening and thought-provoking process, of the three main (and above-mentioned) satires I read for my term paper, Das Narrenschiff was the one I most definitely personally enjoyed the least. For while the individual poetic interludes do read smoothly and easily enough (and especially if they are rendered into standard modern German) and without too much unnecessary description and adornment, there is also an unfortunate repetitiveness of both style and content, and enough so to lead to tedium and annoyance (at least that has always been my personal experience and opinion with regard to Brant's work).

    But much more problematic and in my opinion unfortunately rather symptomatic is that Sebastian Brant really (and herein very much unlike Erasmus of Rotterdam, to whom he is often scholarly compared) has absolutely no or at the very best only a tiny and minuscule sense of humour, whilst also and sadly lacking both humility and humanity, repeatedly and viciously lashing out with an ever increasing holier than thou attitude and iron fist at the perceived weaknesses and vices of his time (but concurrently, while being massively and vigorously critical of even minor peccadilloes, presenting himself in his role as narrator to be somehow sovereignly above and beyond both misbehaviour and criticism, almost as though Brant as narrator were God and God were Brant). And when one then considers the generally gentle, humane and even loving criticism of foolish, of human behaviour in general used by Erasmus in his Lob der Torheit (an almost tender, often intensely funny satire that not only seems to praise folly but shows that everyone, even he himself, is prone to the same), Sebastian Brant really does tend to become, I am sorry to say, increasingly simply a nasty little pedant who strives to only ridicule and chastise, not with gentleness, not with understanding, but with a heavy and powerfully stinging proverbial switch (one that outs Brant, his description and consideration as a humanist notwithstanding, really not as all that humanistic, not as all that humane, but rather as very much much the opposite, and also renders the author's Das Narrenschiff as basically humourless and thus not nearly as enjoyable for pleasure reading as other late Medieval, early Renaissance satiric literature examples).

    And while one can thus easily perceive and much appreciate the differences between the on the surface at least somewhat similar satires of Sebastian Brant and Erasmus of Rotterdam, the differences between Sebastian Brant and Hermann Bote, the differences between Das Narrenschiff and Till Eulenspiegel are actually and often in many ways considerably MORE obvious and glaring. For while both of these works are definitely always intensely critical of contemporary society, Herman Bote's satire is generally not only massively and even laugh-out-loud hilarious, it is also often similarly critical of the main character, of Till Eulenspiegel himself, even as the latter exposes and presents a distorted mirror of society and its often decadent, falsifying and hypocritical behaviours and world views (whereas in Das Narrenschiff, Sebastian Brant's anonymous narrator is only ever critical, never really all that funny and also never considers himself as an entity, as a human being, also being possibly guilty of foolishness and blameworthy behaviour). And in and with this here attitude, both Hermann Bote and Erasmus of Rotterdam are actually also very much akin and alike (with their tendency towards universal criticism of everyone, including their main characters, their main narrators, something that I personally have found much if not actually completely missing in action within Das Narrenschiff), although Erasmus' Das Lob der Torheit is of course much less scatological and vulgar than Bote's Till Eulenspiegel often has the tendency to be, but both works do, in my humble opinion, rise far far above and beyond Brant's Das Narrenschiff

    Although Sebastian Brant's Das Narresnschiff is thus interesting and enlightening from a literary history point of view, I cannot and will not really consider recommending it, especially for any type of pleasure reading (although I do admit that the accompanying woodcuts by none other than Albrecht Dürer are spectacular and an amazing visual treat). And while I do in fact have always much enjoyed satire, Sebastian Brant's type of satire is basically just a monotonous, droning, usually inherently dictating and painful, slogging list of human frailties, with not much hope either (and as already mentioned, the implied both implicit and even explicit moral superiority of the narrator is simply not at all my proverbial cup of tea). However, if you are still interested in a perusal of Das Narrenschiff, there do seem to be a rather goodly number of more than adequate English translations available (including some very decent dual language English/German offerings).

  4. Anthony says:

    be sure to read a version with the original woodcuts, they're wonderful! i kept a tally while i read this, and i found that i earn my place aboard das Narrenschiff on at least 29 counts. although brant's catalogue of foolishness is rather comprehensive, after reading a copy borrowed from the library i would like to propose one more measure to the list, namely: Of Penciling Inane Commentary Into the Margins of Library Books -- that ought to pay your fare to monkey land sufficiently.

  5. Chas Bayfield says:

    Read this in German in Germany in 1990. I skipped a lot of it as my 'pub German' wasn't quite up to the intricasies of 15th century Deutsch. The general theme (I think) is that we are all idiots, which is pretty accurate.

  6. Tslyklu says:

    Was worth skimming through for a look at what Western Europeans evaluated as the chief failures of the late Middle Ages, Renaissance ideals emerging, the weirdo pictures are something to look forward to but not a lot surprising, except I would love to know what it was women were saying to their husbands to make them so miserable because judging from this they really seem to have had misandry down to an art.

  7. Aric says:

    I really loved the wood-cuts.

  8. orelia says:

    No one jests of acadamia better than Brant!

  9. Michael Haase says:

    It's too bad that such a witty and hilarious text should have no modern English translation, at least as far as I'm aware. The only English translation I know of is the one done by Alexander Barclay sometime in the mid 15th century, and that I found almost entirely illegible. In fact, I found the modern German translation easier to read, even though English is my mother tongue.

    As far as the writing goes, it had me cracking up a lot of the time. It shares the sense of humor and cynicism towards humanity that pervaded medieval European literature, as in Chaucer's Canterbury Tales or paintings by Hieronymus Bosch, and which I just love to see.

    But like those aforementioned art pieces, Brant's writing also bears an element of conservatism and piety which almost borders on fanaticism at points. One of his fools, for example, is simply a non-Christian.

    Der ist ein Narr, der nicht der Schrift
    Will glauben, die das Heil betrifft

    And there were other features in his text I found distasteful as well, like his approval of physical punishment or his fixation with traditionalist values. In some ways I might place Brant himself as one of the fools in the ship. But all the same, this is, for the most part, a fun and entertaining text, so long as you can read it. If you can't, there's always the woodcuttings.

  10. James Violand says:

    An interesting fable-like composition. Fools come in all shapes and sizes and Brant skewers them all. He points out the failures attained by those bent on securing the good life without a moral compass.