The Sotie is a class of much more idiosyncrasy. Although we have very few Soties (not at present more than a dozen accessible to the student), although the contents of this class are as a rule duller even than those of the moralities, and infinitely inferior in attraction to those of the farces, yet the Sotie has the merit of possessing a much more distinct and peculiar form. It is essentially political comedy, and it has the peculiarity of being played by stock personages, like an Italian comedy of the early kind. The Sotie, at least in its purely political form, was, as might be expected, not very long lived. Its most celebrated author was Gringore, and his Sotie, which forms part of _Le Jeu du Prince des Sots et Mere Sotte_, is still the typical example of the kind. Besides these two characters (who represent, roughly speaking, the temporal and spiritual powers), we have in this piece, Sotte Commune, the common people; Sotte Fiance, false confidence; Sotte Occasion, who explains herself; and a good many other allegorical personages, such as the Seigneur de Gayete, etc. These pieces, however, are for the most part so entirely occasional that their chief literary interest lies in their curious stock personages. It should, however, be observed that of the few Soties which we possess by no means all correspond to this description, some of them being indistinguishable from moralities. A curious detail is that the various pieces we have been mentioning were sometimes, in representation, combined after the fashion of a regular tetralogy. First came a monologue or _cry_ containing a kind of proclamation. This was followed by the Sotie itself; then followed the morality, and lastly a farce. The work of Gringore, just noticed, forms part of such a tetralogy. [Sidenote: Profane Mysteries.] The profane mysteries may be briefly despatched. They were the natural result of the vogue of the mysteries proper, with which they vie in prolixity. Some of them were based on history or romance, such as, for instance, the Mystery of _Troy_. Others corresponded pretty nearly to the history plays of our own dramatists at a later period. Such is the Mystery of the _Siege of Orleans_ which versifies and dramatises, at a date very shortly subsequent to the actual events, the account of them already made public in different chronicles. [Sidenote: Societies of Actors.]