If only to judge from its influence on later periods, the Middle Ages clearly produced a striking wealth of both comic and obscene material. Some measure of the power and impact of these traditions can be gleaned from Geoffrey Chaucer's clear sense that the Canterbury Tales would be incomplete without either tortuously contrived, French-inspired arse-kissing or episodes lifted wholesale from the Roman de Renart. Likewise, Molière clearly regarded French fabliaux (verse comic narratives) and their medieval stage cousins, the farces and sotties, as sure-fire plotline blueprints (Le Médecin malgré lui, for example, deriving from ‘Le Vilain mire’), these texts also forming the basis of compilations such as Les Cent Nouvelles Nouvelles and the Decameron. In addition, there survive parody love lyrics, whether in the langue d'oc or d'oïl, alongside more extended works.