Fischart, JOHANN, one of the most original German satirists, known also under the name of Huldreich Elloposkleros, was born either at Mainz or Strasburg, about the middle of the 16th century. He was brought up at Worms, studied law at Strasburg, became in 1581 advocate to the Imperial Chamber at Spires, and in 1585 bailiff of Forbach near Saarbrücken, where he died in 1590 or early in 1591. Of the very numerous writings which appeared from 1570 to 1590, partly under his own and partly under fictitious names, about fifty have been proved to be on the whole genuine, though disguised by interpolations. In respect to others, however, the authorship is doubtful. His most celebrated works are based on foreign models, particularly Rabelais, but manifest no servile imitation: a free creative genius everywhere works plastically on the materials. To this class belong his Aller Practick Grossmutter (1572); Affentheureliche Geschichtschrift vom Leben der Helden Grandgusier, Gargantua und Pantagruel (1575); Podagrammisch Trostbüchlein (1577); and Bienenkorb des Heyligen Römischen Imenschwarms (1579). These writings are wholly satirical. With the most inexhaustible humour he lashes, now the corruptions of the clergy, now the astrological fancies, the dull pedantry, or other follies, public and private, of the time. Next to these stands the outrageously comic work of Fischart's—quite original in its conception—entitled Flökhatz, Weibertratz (1573). Essentially different in its homely and simple tone is Das glückhaft Schiff von Zürich, written in verse, and published in 1576. Similar in point of style are his Psalmen und Geistliche Lieder (1576). The rest of Fischart's numerous writings, partly in prose, partly in verse, are of unequal merit, singularly varied in style and contents; but throughout all we find the same rich satirical humour, the same warm and genuine feeling for the moral foundations of all public and private life—religion, fatherland, and the family. His works are, moreover, one of the richest sources for the manners of his time. In his treatment of the language no German author can be compared with Fischart, not even Jean Paul Richter himself. He coins new words and turns of expression without any regard to analogy, but nevertheless displays the greatest fancy, wit, and erudition in his most arbitrary formations.
See Vilm, Zur Litteratur J. Fischarts (2d ed. 1865); Von Muesebach's Fischart-studien (edited by Wendeler, 1879); and Ganghofer, Johann Fischart und seine Verdeutschung des Rabelais (1881).