The _Jus de la Feuillie_ ("the booths"), otherwise _Li Jus Adam_, or Adam's play, is more ambitious and more complicated, but also more chaotic. It is, as has been said, an early sketch of a comedy of manners; but upon this is grafted in the most curious way a fairy interlude, or rather after-piece. Adam himself opens the piece and informs his friends with much coolness that he has tried married life, but intends to go back to "clergy" and then set out for Paris, leaving his father to take care of his wife. He even replies to the neighbours' remonstrances by enlarging in the most glowing terms on the passion he has felt for his wife and on her beauty, adding, with a crude brutality which has hardly a ghost of atoning fun in it, that this is all over-- "Car mes fains en est apaies." His father then appears, and Adam shows himself not more dutiful as a son than he is grateful as a husband. But old Henri de la Halle, an easy-going father, has not much reproach for him. The piece, however, has hardly begun before it goes off into a medley of unconnected scenes, though each has a sort of _fabliau_ interest of its own. A doctor is consulted by his clients; a monk demands alms and offerings in the name of Monseigneur Saint Acaire, promising miracles; a madman succeeds him; and in the midst enters the _Mainie Hellequin_, "troop of Hellequin" (a sort of Oberon or fairy king), with Morgue la fee among them. The fairies end with a song, and the miscellaneous conversation of the men of Arras resumes and continues for some time, reaching, in fact, no formal termination. [Sidenote: _Comparison of them._]