expressed as to the origin of the word, but it seems most probable that it is derived from an old French verb, _farcer_, to jest, to make merry, whence the modern word _farceur_ for a joker, and that it thus means merely a drollery or merriment. [89] "Hic transit Noe cum familia sua pro navi, quo exeunte, _locum interludii subintret_ statim Lameth, conductus ab adolescente, et dicens," &c. I have just suggested as a reason for the absence of these interludes, or farces, in the mysteries as they are found in the manuscripts, that they were probably not looked upon as parts of the mysteries themselves, but as separate pieces which might be used at pleasure. When we reach a certain period in their history, we find that not only was this the case, but that these farces were performed separately and altogether independently of the religious plays. It is in France that we find information which enables us to trace the gradual revolution in the mediæval drama. A society was formed towards the close of the fourteenth century under the title of _Confrères de la Passion_, who, in 1398, established a regular theatre at St. Maur-des-Fossés, and subsequently obtained from Charles VI. a privilege to transport their theatre into Paris, and to perform in it mysteries and miracle-plays. They now rented of the monks of Hermières a hall in the hospital of the Trinity, outside of the Porte St. Denis, performing there regularly on Sundays and saints' days, and probably making a good thing of it, for, during a long period, they enjoyed great popularity. Gradually, however, this popularity was so much diminished, that the _confrères_ were obliged to have recourse to expedients for reviving it. Meanwhile other similar societies had arisen into importance. The clerks of the Bazoche, or lawyers' clerks of the Palais de Justice, had thus associated together, it is said, as early as the beginning of the fourteenth century, and they distinguished themselves by composing and performing farces, for which they appear to have obtained a privilege. Towards the close of the fourteenth century, there arose in Paris another society, which took the name of _Enfans sans souci_, or Careless Boys, who elected a president or chief with the title of _Prince des Sots_, or King of the Fools, and who composed a sort of dramatic satires which they called _Sotties_. Jealousies soon arose between these two societies, either because the sotties were made sometimes to resemble too closely the farces, or because each trespassed too often on the territories of the other. Their differences were finally arranged by a compromise, whereby the Bazochians yielded to their rivals the privilege of performing farces, and received in return the permission to perform sotties. The Bazochians, too, had invented a new class of dramatic pieces which they called _Moralities_, and in which allegorical personages were introduced. Thus three