If madness drags everyone into a blindness where all bearings are lost, then the madman by contrast brings everyone back to their own truth: in comedy, where everyone deceives someone else and lies to themselves, he is a comedy of the second degree, a deception that is itself deceptive.
The Ship of Fools, Hieronymous Bosch
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The Cure of Folly (the Cure of Madness), Hieronymous Bosch
Mad Meg, Brueghel
The rise of madness on the Renaissance horizon is first noticeable in this decay of Gothic symbolism, as though a network of tightly ordered spiritual significations was beginning to become undone, revealing figures with meanings only perceptible as insane. Gothic forms lived on, but little by little they fell silent, ceasing to speak, to recall or instruct. The forms remained familiar, but all understanding was lost, leaving nothing but a fantastical presence; and freed from the wisdom and morality it was intended to transmit, the image began to gravitate around its own insanity.
All from Michael Foucault.
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