and of a similar conceit in Molière’s ‘Ecole des Maris.’ There is some buffoonery introduced into the fourteenth of the Coventry plays, as gross as this, but which was adapted to the rude audiences of its time; and the language of the buffoons of the piece, Primus and Secundus Detractator, forms an exception to its general gravity and seriousness. The fifth noël, amongst other things, introduces the adoration and offering of the Three Kings, in the following manner. “Ai lai Nativitati, Chanton, je vo suplie, Troi Roi d’autre contai, Moitre au estrôlôgie, De l’anfan nôvea nai Saivein lai prôfecie. Ai lai Nativitai, Chanton, je vo suplie, De l’etoile guidai Tô troi de compagnie, Patire sans menai, Gran seùte, ni meignie. A lai Nativitai, Chanton, je vo suplie, L’un pris soin d’epotai, De lai myére candie, L’autre d’or efeignai, E’ne bonne poignie. Ai lai Nativitai, Chanton, je vo suplie, Le tier pu macherai, Qu’ein Roi d’Etîôpie, Prezanti po son plai De l’ançan d’Airaibir.“ The thirteenth is a dialogue between a shepherd and his wife, and begins in the following quaint way. “Fanne, coraige, Le Diale á mor, Aipre l’oraige, J’on le beá jor.” The glossary contains, incidentally, some curious particulars. It is stated to be the custom in the provinces, for the master of the family, with his wife and children, to sing noëls; “une très grosse buche,” called _lai suche de noei_, was put on the fire, and the younger children were sent into the corner of the room, to pray that the _suche_ might produce bon-bons; and on their return, packets of sugar-plums, &c., were found near the _suche_, to whom the children implicitly attributed the power of producing them. There was a collection of Noëls Bourguignons, by De la Monnoye, of which a translation into the common language of the country was published in 1735. De la Monnoye was denounced by the priests at Dijon, for his carols; but the translation, though it might have taken off the sting, probably lessened the humour also.