362 Wisconsin Academy of Sciences, Arts, and Letters. 
not to distrub him. The draper is at first insistent, but when 
Pathelin gets out of bed and plays the part of the delirious 
patient, the draper is so non-plussed that he fears he has made 
a mistake and returns to his shop, Pathelin and Guillemette 
exult over their success, but the draper returns and insists once 
more on payment. This time Pathelin goes into a perfect 
tantrum, playing the witch, impersonating a priest, and talk¬ 
ing a gibberish of Breton, Limousin, Picardy, Norman French, 
etc. Completely worn out, he is put to bed by the draper and 
Guillemette, and the draper leaves, hoodwinked for good. 
Here the resemblance to the Mak farce ends, for the ensuing 
story of the draper’s shepherd, who retains Pathelin to defend 
him against the draper and who beats Pathelin out of his fee 
by implicitly following the lawyer’s injunction always to say 
‘^baa” to any question asked of him by anyone whatsoever, 
finds no place in the English masterpiece. A tabular view of 
the contents of the two plays will show the extent of the parallel 
more clearly, particularly the absence from Secunda Pastorum 
of the entire second part of Pathelin: 
Secunda Pastorum 
11. 1-171—Laments of three 
shepherds 
172-189—Preparation for song 
Pathelin 
190-628—The Mak farce 
1-1006—First part of Pathelin 
1006-1600—Second part of Pathelin 
629-637—Preparation for sleep 
687-754—The angel’s announce¬ 
ment and the adoration 
