Moriae Encomium was hugely popular, to Erasmus' astonishment and sometimes his dismay. Even Erasmus' close friends had been initially skeptical, and warned him of possible dangers to himself from thus attacking the established religion. Even Leo X and Cisneros are said to have found it amusing.  Before Erasmus' death it had already passed into numerous editions and had been translated into Czech, French and German. An English edition soon followed. It influenced teaching of rhetoric during the later sixteenth century, and the art of adoxography or praise of worthless subjects became a popular exercise in Elizabethan grammar schools: see Charles O. McDonald, The Rhetoric of Tragedy (Amherst, 1966). A copy of the Basel edition of 1515/16 was illustrated with pen and ink drawings by Hans Holbein the Younger .  These are the most famous illustrations of In Praise of Folly .
Because, as French novelist and essayist Pascal Bruckner explained in his 2006 book, La tyrannie de la pénitence , many Europeans feel deep personal remorse about the trio of imperialism, fascism, and racism, even when they themselves are not implicated in those evils. For some Europeans, white skin itself signals guilt. Accordingly, they feel compelled to show unlimited tolerance and goodwill to non-Westerners. The fact that non-Western peoples also sin does not register – which implies a certain arrogance, even racism: only white sins count.
In 2014, Marcus Roberts’ life and work was featured on a segment of the celebrated CBS News program 60 Minutes, entitled “The Virtuoso”, which traced Roberts’ life to date from his early roots in Jacksonville and at the Florida School for the deaf and blind to his remarkable career as a modern jazz musician. Roberts toured with Wynton Marsalis starting at age 21 when he left to tour with his own band. In addition to being an accomplished composer and classically trained musician, Roberts has also been long dedicated to the training and development of younger musicians.