Sometimes, as in _La Coqueluche_, the author becomes a simple chronicler describing incidents of his time. Indeed it would hardly be an exaggeration to describe Gringore's work as the result of a kind of groping after journalism condemned by the circumstances of the time to the most awkward and inappropriate form. In his definitely dramatic work the same practical tendency reappears. The tetralogy is of a directly politico-social kind. The _cry_, a summons in ironical terms to _sots_ of all kinds to come and hear their lesson; the sotie, an audacious satire on the state of things; the morality, in which the very names of the personages--Peuple Francois, Peuple Italique, Divine Pungnicion, etc.--speak for themselves, all show this tendency; and even the _bonne bouche_ at the end, the farce (which is altogether too Rabelaisian in subject for description here), seems to illustrate the motto--a very practical one--'Il faut cultiver son jardin.' Less directly the same purpose can be traced in the _Mystere de Monseigneur Saint Loys_. This is a picture of the ideal patriot king doing judgment and justice, and serving God by his voyages over sea, and his punishments of blasphemers and loose livers at home. [Sidenote: The last Age of the Mediaeval Theatre.] The first two quarters, and especially the first quarter, of the century contributed plentifully to the list of mysteries, moralities, and farces. The dates of the latter are not easy to ascertain, and it is probable that most of them are older than the present period. The taste for very lengthy mysteries and moralities, however, had by no means died out, and some of the mysteries, notably those of Antoine Chevallet, are of considerable merit. To the sixteenth century too belongs what is probably the longest of all moralities, that on _The Just and Unjust Man_, which contains 36,000 lines, besides the _Mundus_, _Caro_, _et Daemonia_, and the _Condamnation de Banquet_ already described.