Published in The Medieval Aesthetics

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Satire was genuinely expressed as the disruptive and irritating power against the status quo of medieval and Renaissance society. A unique rhetorical and poetic element, loaded with critical expressions of a political, moral and pedagogical nature, associated with a hedonistic and impulsive vision of vitality. Consequently, related to the common and happy sense of the vulgar, the plebe “estulta” or “foolish” in front of the ascetic, the reflection and the mortified and rationalistic experience of the wise or solitary scholar. A biblical sentence illustrates it: Stultorum infinitus est numerus (“The number of fools is infinite”). Satire presents the world upside down, society upside down, the world revolutionized, happiness as foolishness. Finally, it shows us another perspective in which the pleasure and the hedonistic expression of the body have their privileged place in front of the rule and the monastic and ecclesiastical moral regulations. The writings Praise of the Madness of Erasmus of Rotterdam and Gargantúa and Pantagruel by François Rabelais (sixteenth century), mark important antecedents of satire (and its grotesque derivation) in philosophy and literature, where it is expressed in the first work a recovery of the epicurean philosophy and in the second the extreme hedonism in its grotesque character. The aim of our work is to indicate the carnivalesque-hedonistic vision and moral criticism expressed in such works.