Farce

Farce (Ital. farsa, from Lat. farcere, 'to stuff'), a dramatic piece of a broad comic character. The difference between it and comedy proper is one of degree and not of kind. The aim of both is to excite mirth; but, while the latter does so by a comparatively faithful adherence to nature and truth, the former assumes to itself a much greater license, and does not scruple to make use of any extravagance or improbability that may serve its purpose. It does not therefore exhibit, in general, a refined wit or humour, but contents itself with grotesque rencontres and dialogues provocative of fun and jollity. The beginnings of Greek and Roman comedy consist of rustic farces or pantomimes (see ATELLANÆ); the first farces, in the modern sense, were composed by the fraternity of the Bazoche (q.v.) in Paris, as a contrast to the ecclesiastical plays performed by the religious orders. The most widely celebrated and most important of early farces is that of the advocate Maître Pierre Patelin, which was acted in the 15th century, and quickly spread itself over Italy and Germany. It is full of genuine comic quality, and its dialogue has brightness and reality. See L. E. Chevaldin, La Farce de Patelin et ses Imitations (Paris, 1889), from the work by Dr K. Schaumburg. Subsequently Molière elevated and refined the farce into his wonderful series of comedies of character. In England the origin of the modern farce dates from about the commencement of the 18th century. Of all the numerous farces which have been performed before English audiences only those of Samuel Foote, who reverted, however, to the abuse of personal mimicry which characterised the earliest farces, have kept a place in literature. See DRAMA.