Pieter Bruegel and the Art of Laughter - AAAARG.ORG

212 notes to pages 113–115
pression occurs several times in the Nyeuwe clucht boeck (ed. 1983, nos. 1,
44 (1), 65, and 147). Guicciardini 1567, p. 39, also reports that the Belgians
like “faire grand chere ensemble” (make good cheer together). For
the English equivalent, “to make (do, give) good cheer,” see Oxford English
Dictionary, s.v., “Cheer,” pars. 5, 6.
47. Andriessoon 2003, no. 42.3.
48. Guicciardini 1567, p. 32. Montano also criticizes the Flemish for their
heavy drinking (Rekers 1972, p. 20). On such excesses, see also Sullivan
1994, pp. 100–105, who distinguishes such behavior from the presumably
more temperate behavior of Ortelius and his circle.
49. Tacitus, Germania 21–230; see The Complete Works of Tacitus, trans. Alfred
John Church and William Jackson Brodribb, ed. Moses Hadas (New York:
Modern Library, 1942), pp. 719–720.
50. Erasmus, Auris Batavia; see Erasmus-Phillips 1967, p. 32. Alison Stewart
reminds me ( personal communication) that the Germans were similarly
accused, a subject she addresses in a forthcoming book.
51. Goldstein 2003, pp. 104–106.
52. See pp. 93–94. These comic banquet plays are surveyed by Pikhaus
1988–89; see 1:100, for their humor.
53. Pikhaus 1988–89, 1:80–85, nos. 27 and 68 respectively. For some fools’
plays, see ibid., nos. 17, 18, and 39, the last titled A Fool Invited to a Wedding.
54. Ibid., 1:145–146.
55. In the De civilitate, Erasmus says that at meals, “continuous eating should
be interrupted now and again with stories”; see Erasmus-McGregor
1985, p. 284.
56. Leon Battista Alberti, Dinner Pieces: A Translation of the “Intercenales,” trans.
David Marsh, Medieval & Renaissance Texts & Studies, vol. 45; The Renaissance
Society of America, Renaissance Texts Series, vol. 9 (Binghamton,
N.Y.: Medieval & Renaissance Texts & Studies in conjunction
with the Renaissance Society of America, 1987), p. 5.
57. Jeanneret 1991, p. 96.
58. Quoted in Bowen 1988, p. 84. See also Heinrich Bebels Facetien. Drei Bücher,
ed. Gustav Bebermeyer (Leipzig: Karl W. Hirschmann, 1931), p. 105. Similarly,
both the French fabliau and the Dutch boerd were very likely primarily
an “after-dinner” genre, as Charles Muscatine characterizes the former,