Erasmus dramatizes a well-established political position: that of the fool who claims license to criticize all and sundry without reprisal, since his madness defines him as not fully a person and therefore not a political being with political desires and ambitions. The Praise of Folly, therefore sketches the possibility of a position for the critic of the scene of political rivalry, a position not simply impartial between the rivals but also, by self-definition, off the stage of rivalry altogether.