Fools of The 16th Century

## Overview

During the 16th century, individuals who ranked highest in royalty within a noble family would hire or be the caretaker of their jester. Modernization has managed to morph the original meaning and understandings as to what being a jester in the 16th century was all about. As modern day people, we look upon medieval jesters as constantly being silly and having no direction. Although being silly and providing entertainment are the commonly known roles of the jester, there is much more than meets the eye to early jesters.

The jesters of the time period were referred to as 'court fools', for they were the fools who served the king by performing in the Tudor Court. During the era of the Tudor Court fools were known as 'natural fools', which in todays terminology translates to people with learning disabilities - further explaining the characteristics of an individual deemed as a fool. They were characterized as being incapable or insensible of their actions. While being faced with minor mental illnesses, fools were credited for having spoken quotable remarks and being diligent in their actions.

## Fools in Serpent of Venice

In Christopher Moore's novel, the main character, Pocket, is a fool. Although he is a fool, pocket is justified as to being diligent and intelligent. Towards the antagonists of the novel, Pocket comes off with a lot of sarcasm and witty humor, which in turn annoys them greatly and gives Pocket the upper-hand in many disputes he faces throughout the novel. Pocket is shown to not be afraid of many things, such as back talking and arguing with those whom are of higher power than he. Pocket also adds an abundance of comedic relief through the ways he insults and mocks individuals that he may be in a dispute with. Overall, Pocket is a protagonist fool who is respected, but also is not afraid to do what he must do.

## Fools in Othello

The fool in *Othello* first appears to be simply a clown as he is introduced in the first scene of act three. He has no known name to the audience, but serves importance in vital situations at the beginning and end of act three. The fools first appearance symbolizes the transition of the play from comedic to tragic. At the beginning of scene three, the fool orders the band to leave the building in which they were playing in. As the company of the musicians symbolizes comedy is in the air, the exit of the musicians symbolizes the absence of comedy, therefore the welcoming of tragedy. It is as if this fool has the power to control the emotion and tone of the events that surround him. When the fool reenters the play, towards the end of act three, he continuous to prove himself to be wise without revealing anything all the way. For example, the fool indirectly forebodes the death of Desdemona by stating "for me to devise a lodging and say he lies here, or he lies there, were to lie in my own throat" (3.4.11-3). Through the use of the repetition of "lie" and the ironic scenario explained, the fool proves to know more than what lies on the surface.

## Fools in The Merchant of Venice

Launcelot Gobbo is the fool in Shakespeare's *The Merchant of Venice.* Launcelot is a more deceiving fool that is good natured and witty, but uses his cleverness to get what he wants. First introduced, Launcelot is shown to be Shylock's servant, but soon wants to runaway and become Bassanio's servant - regardless of him being less wealthy than Shylock. In order to secure his spot as Bassanio's servant, Launcelot executes a plan to bring him success. Launcelot uses his blind father, after teasing him with his disability, to aid him in winning over Bassanio with a gift that Old Gobbo initially intended to give Shylock. Through Launcelot's foolishness and sneakiness, he was able to gain what he wanted.

## Sources

Moore, Christopher. The Serpent of Venice. New York: Harper Collins, 2014. Print.

Shakespeare, William. Othello. Ed. Edward Pechter. New York: Norton, 2006. Print.

Shakespeare, William. Merchant of Venice. Ed. Leah S. Marcus. Norton Critical Edition ed. N.p.:W.W. Norton, 2005. Print