The Bibliotheque of the French Theatre contains a great number of other dramatic compositions, as well as comedies and farces, in which doctors carry principal _roles_, it is true, but more often are introduced for the mere purpose of giving the author a chance for pleasantry at the expense of medicine; and these characters sometimes exceed the limit of license. Some of these works are gems of literary art. We may cite, for instance, the “Farce of the Doctor who Cures all Diseases,” by Nicholas Rousset; the “Discours Facetieux” of Coustellier; “The true Physician, who Cures all Known Diseases;” and several besides, “La Medecine de Maistre Grimache,” “Le Triomphe de treshaulte et tres puissante Dame Verolle,” of Francois Juste; “Mary and the Doctor,” “The Sweetheart of the Family Physician,” as well as some farces by Tabarin—works dating back to the fifteenth, sixteenth and seventeenth centuries. But we shall only take up the study of a few works that have a veritable literary medical interest, and shall confine ourselves to the study of the “Farces de Maitre Pathelin, du Munyer et de la Folie du Monde;” to the moralities of “A’aveugle et du Boiteux, de Folie et d’Amour;” to the comedies of “La Tresoriere et de Lucelle;” to the tragedy “De la Goutte,” and to the book of “Gargantua et de Pantagruel.” This will suffice to give an idea of medicine as portrayed in the literature of the Middle Ages. THE FARCE OF MASTER PATHELIN. The farce of Master Pathelin, whose author was Pierre Blanchet, is certainly the richest jewel in the crown of the old French Theatre; it was what inspired Moliere in several of his works. Represented for the first time in 1480, this celebrated farce is one of the most precious literary monuments for the study of Middle Age morality. It is a _chef d’œuvre_ of spirit, malice, comedy, and _naivete_, in which medicine is found in every scene, either in the simulation of disease, with consultations, with drugs, and, most amusing of all, the eternal ingratitude of the sick. All the educated world knows the subject of Master Pathelin: A lawyer without a case or client; a man living on his wits and expedients, making dupes and yet retaining a certain degree of professional correctness in his language and his artifices. Guillemette, his wife, is his worthy accomplice. It is she who reproaches him with not having more clients and his reputation of earlier days; of starving her to death by famine. It is she who excites him by ironically saying: “Maintenant chascun vous appelle Partout; avocat dessoubz l’orme, Nos robes sont plus qu’estamine Reses.”