THE DRAMA. 



5" 



Nicolctte." After the jugglers came various literary and dramatic associa- 

 tions, some of them stationary in Paris or some large city, whilst others 

 travelled through the provinces, who are only known to us by their theatrical 

 Diiiiics, such as the Enfants sans Souci, the Bazochiens, the Enfants de la Mre 

 Sotte, the Mere Folle de Dijon, &c. It has been said, but without sufficient 

 authority, that the Chambers of Rhetoric, which also represented comic pieces, 

 existed in Belgium and Flanders as early as the thirteenth century. What- 

 ever may be the truth as to this assertion, it is certain that Antwerp possessed 

 two Chambers of Rhetoric, and Ghent four ; and the theatrical taste of the 

 Flemish and the Belgians was carried so far that their communal companies 



Fig. 387. Token of Pierre lo Dru, Printer of Gringore's Poetry at the Sign of the " Mere Sotte," 

 near "the End of Nostre-Dame Bridge" (Paris, 1505). 



of archers and crossbow-men sought relaxation from their military exercises 

 in dramatic entertainments, and eventually became regular comedians. 



The festivals of Christmas and Epiphany, the Carnival, and a few local 

 solemnities were annually celebrated in Paris and in the principal French 

 towns by burlesque representations, often degenerating into scandal, given by 

 the Bazoche, which consisted of the law licentiates and all the young men 

 belonging to the courts of justice. The Enfants de la Mere .Sotte and the 

 Enfants sans Souci did not long form two separate and distinct troupes, and 

 several of the best poets of the time amongst others, Franfois Villon and 

 Clement Marot (Fig. 386) were actors in both of these troupes. Another 



