FARCE (Ital. farsa, from Lat. farcire, "to stufP), a dramatic piece of a broad comic char acter. 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 ad herence to nature and truth, the former assumes a much greater license and does not scruple to make use of any extravagance or improba bility that may serve its purpose. It does not, therefore, exhibit, in general, a refined wit or humor, but consists of ludicrous rencontres, ex aggeration of personal peculiarities and dia logues provocative of fun. The beginnings of Greek and Roman comedy consist of rustic farces or pantomimes (see ATELLAN)E FABUIJE) ; the first farces, in the modern sense, were com posed 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 'Maistre Pierre Patelin,' which was acted in the 15th century and quickly spread itself over Italy and Ger many. It is full of genuine comic quality and
its dialogue has brightness and reality. The commedia dell 'arte of Italy were of a farcical nature. Moliere elevated and refined the farce into his wonderful series of comedies of char acter. In England the origin of the modern farce dates back from the commencement of the 18th century. Few farces have kept a place in literature. (See COMEDY; DRAMA; LITERARY FORMS). Consult Chevaldin, L. E., 'La Farce de Patelin et ses Imitations' (Paris 1889), from the work by Dr. K. Schaumburg; Petit de Julleville, comedie et les mceurs en France au moyen age' (Paris 1886) ; 'Repertoire du Theatre comique en France au moyen age' (ib. 1886) • Inchhald, 'A Collection of Farces and Other 'Afterpieces) (London 1815).