Love, at all periods of time, has served as an inexhaustible subject of analysis and observation, not only to poets and novelists, but also to moralists, and especially physicians. Psychologists have always considered love, when excessive, as an evidence of insanity. Esquirol says that “love has lost its empire in France, indifference having captivated the hearts of our people, who, given over to amorous passions, having neither purity nor exhaltation, engender attacks of erotic lunacy.” This learned alienist has also discovered that out of 323 cases of insanity among the poor, love figured as a cause in forty-six cases; and out of 167 cases among the rich, twenty-five persons went insane on account of love. These close relations between “Lunacy and Love,” admitted since mankind _entered into society_, have served as a text for the Middle Ages, as is witnessed by the title of the play we have mentioned; a work the more curious, for reason of its _finesse_, notwithstanding the jests employed by its author as the following analysis will witness. Love and Lunacy arrive at the same moment at a festival to which Jupiter has convened all the Gods. Lunacy, full of arrogance, wishes to enter the banquet-hall before Love, and in order to do so turns everything topsy-turvy to secure his end. The vindictive Love, in order to be avenged, discharges a flight of arrows from the historical quiver; but Lunacy avoids these by becoming invisible, and in his wrath pulls out Love’s eyes, but afterwards skilfully puts them back in place with a bandage.