,,the ,,history ,,of ,,the ,,harlequinade ,illustration ,,the ,,history ,,of ,,the ,,harlequinade ,,by ,,maurice ,,sand ,,volume ,,two ,,london3 ,,martin ,,secker ,,number ,,five ,,john ,,street ,,adelphi ,first ,published #aiae ,,contents ,,page ,,viii4 ,,pantaloon #i ,,ix4 ,,the ,,cantatrice #ec ,x4 ,,the ,,ballerina #ge ,,xi4 ,,stenterello #hi ,,xii4 ,,isabelle #aba ,,xiii4 ,,scapino #afa ,,xiv4 ,,scaramouche #bjg ,,xv4 ,,coviello #bca ,,xvi4 ,,tartaglia #bei ,,xvii4 ,,some ,,carnival ,,masks #bge ,,xviii4 ,,carlo ,,gozzi ,,and ,,carlo ,,goldoni #bha ,,list ,,of ,,illustrations ,,pantaloon ,frontispiece ,,facing ,,page ,,the ,,doctor #dh ,,stenterello #if ,,isabelle #abh ,,scapino #agf ,,scaramouche #bjh ,,coviello #bdj ,,the ,,apothecary #bgb ,,the ,,history ,,of ,,the ,,harlequinade ,,viii ,,pantaloon ,from the ,greek comedies down to our own modern vaudevilles1 from the old satyr besmeared with grape-juice down to ,cassandre besmeared with snuff1 at the hands of ,aristophanes1 ,plautus1 ,terence1 ,macchiavelli1 ,beolco1 ,molire and ,goldoni1 the old man of the comedy1 like the old man of the farce1 has always been more or less niggardly1 credulous1 libertine1 duped and mocked1 afflicted with rheum and coughs1 and1 above all1 unhappy4 ,whether he is called ,strepsiades1 ,philacleo or ,blephirus1 in the comedies of ,aristophanes2 ,theuropides1 ,euclio1 ,demipho1 ,demnetus1 ,stalino or ,nicobulus1 in those of ,plautus2 ,messer ,andronico1 ,pasquale1 ,placido1 ,cornelio or ,tomaso1 in those of ,beolco2 ,pantalone1 ,zanobio1 ,facanappa1 ,bernardone1 the ,doctor1 the ,baron1 ,cassandro or the ,biscegliese1 in the ,commedia dell' ,arte2 ,collofonio1 ,pandolfo1 ,diomede1 ,demetrio1 ,coccolin1 ,gerontio or ,bartolo1 in the ,italian commedia sostenuta2 ,gaultier ,garguille1 or ,jacquemin ,jadot1 in the ,french farce2 or yet ,orgon1 ,gorgibus1 ,arpagon or ,sganarelle1 in the pieces of ,molire--fundamentally he is always1 under whatever of these names we find him1 the ,pappus or the ,casnar of the ,atellan4 8,pappus0 7says ,m4 ,ferdinand ,fouque71 8whom the ,greeks called 1 is sometimes a miserly1 libidinous1 finicking and astute old man1 sometimes a simple old fellow of good faith2 and he is always a dupe1 be it of a mistress1 a rival1 a son1 a lackey or some other intriguer4 ,he corresponds to the ,doctor of the ,bolognese and the ,pantaloon of the ,venetians4 ,a cornaline shows us his bearded mask4444 ,he is dressed in purple4 ,the ,osci had another old man called ,casnar1 who nowise differed from ,pappus40 ,in the ,mostellaria of ,plautus the son of ,theuropides1 an old ,athenian merchant1 falls madly in love with a musician during the absence of his father2 he purchases her and takes her to his father's house1 where in the company of several friends he abandons himself to all manner of orgies4 ,one day1 when our gay revellers had drunk la grecque--that is to say1 until they could not stand--old ,theuropides arrives4 ,tranio1 a veritable ,scapin1 the young man's devoted slave1 invents a ruse to keep the old man from the house4 ,he orders the principal door to be closed and bolted1 and then concealing himself near at hand he firmly awaits ,theuropides4 ,,theuropides4 ,what is the meaning of this8 ,my house shut up in broad daylight8 7,he knocks47 ,hola6 ,someone6 ,open the door6 ,,tranio 7approaching and pretending not to recognise him74 ,who is this man who comes so close to the house8 ,,theuropides4 ,no one answers1 but it seems to me1 unless ,i have lost my senses1 that here comes ,tranio1 my slave4 ,,tranio4 ,oh1 my lord ,theuropides1 my good master1 what happiness6 ,is it possible that it is you8 ,permit me to salute you and to wish you a good day4 ,has your health always been good in those far lands1 my lord8 ,,theuropides4 ,i have always been in the health in which you see me now4 ,,tranio4 ,you could not be in better4 ,,theuropides4 ,and you others8 ,have your brains become addled in my absence8 ,,tranio4 ,but why1 pray1 should you ask that1 my lord8 ,,theuropides4 ,why8 ,because you all leave the house at once and none remains to take care of it4 ,i was on the point of kicking down the door4 ,,tranio4 ,oh1 oh1 sir6 ,did you really touch the door8 ,,theuropides4 ,and why should ,i not touch it8 ,not only have ,i touched it1 but1 as ,i tell you1 ,i have almost broken it down4 ,,tranio4 ,you overwhelm me with dismay4 ,yet again ,i ask you1 have you touched this house8 ,,theuropides4 ,what now8 ,do you take me for a liar8 ,am ,i not telling you that ,i not only touched1 but that ,i knocked as loudly as ,i could8 ,,tranio4 ,oh1 gods6 ,,theuropides4 ,what's the matter8 ,,tranio4 ,by ,hercules1 you are wrong4 ,,theuropides4 ,what are you telling me8 ,,tranio4 ,it is impossible to tell you all the ill that you have done4 ,it is atrocious1 irreparable4 ,you have committed a frightful sacrilege4 ,,theuropides4 ,how8 ,,tranio4 ,oh1 sir1 withdraw at once1 ,i beg of you1 and quit this fatal house4 ,at least come over here4 ,but1 in reality1 now1 did you touch the door8 ,,theuropides4 ,of course4 ,of necessity ,i must have touched it1 since ,i knocked4 ,it is impossible to do the one without the other4 ,,tranio4 ,alack1 you are lost1 you and yours4 ,,theuropides4 ,may the gods cause you to perish by your augury1 for you are also mine4 ,but whatever do you mean8 ,,tranio4 ,learn1 sir1 that some seven months ago we all abandoned that house1 and that since then no one has set foot within it4 ,,theuropides4 ,the reason1 quickly6 ,,tranio4 ,i implore you1 sir1 look well about you to see that no one is listening4 ,,theuropides4 ,there is no one2 you may speak with confidence4 ,,tranio4 ,take the trouble to look yet again4 ,,theuropides4 ,i tell you there is no one4 ,you may speak your secret without fear4 ,,tranio4 ,a horrible crime must have been committed in that house4 ,,theuropides4 ,if you wish me to understand you1 speak more clearly4 ,,tranio4 ,i mean that long ago1 in your house1 a crime of the blackest must have taken place4 ,we discovered it but lately4 ,,theuropides4 ,what crime do you mean8 ,who can have been the author8 ,speak1 wretch6 ,do not leave me longer in suspense4 ,,tranio4 ,the ancient proprietor of the house1 he who sold it to you1 had stabbed a guest with his own hand4 ,,theuropides4 ,and killed him8 ,,tranio4 ,still worse4 ,after robbing him1 he buried him in the house itself4 ,one evening when my lord your son had supped abroad1 he went to bed upon returning home4 ,we others did the same4 ,suddenly--,i was sleeping profoundly at the time1 and ,i had even forgotten to extinguish the lamp--suddenly1 then1 ,i heard my young master crying out4 ,i ran to him and he assured me that the dead man had appeared to him whilst he was sleeping4 ,,theuropides4 ,but that was a dream1 since he slept4 ,,tranio4 ,you are right4 ,but listen4 ,my young master related that the ghost had told him this---- ,,theuropides4 ,still whilst he was asleep8 ,,tranio4 ,that is true4 ,the ghost behaved ill4 ,i am astonished to think that a soul which for sixty years had been separated from its body should not have thought of choosing a moment in which your son was awake to pay his visit4 ,i regret to point it out1 sir1 but you have at times a certain absence of mind which does little honour to your judgment4 ,,theuropides4 ,i am silent4 ,,tranio4 ,here then word for word is what the old spectre said3 8,i am a stranger from beyond the seas1 the guest of ,diapontius4 ,this is my dwelling1 and this house is in my power4 ,orcus would have none of me in ,acheron4 ,he dismissed me brutally because1 although my body has been buried1 it received no honours of sepulture4 ,i was tricked by my host1 who drew me hither and murdered me for my money4 ,he barely covered me with earth1 and ,i remained hidden in this house4 ,none but myself knows who ,i am1 and ,i demand of you that you quit this house at once40 ,these were his words1 my lord4 ,the house is accursed1 given over to divine vengeance4 ,i dare not speak to you of all the apparitions to be seen there every night4 ,sh6 ,sh6 ,listen1 do you hear8 ,,theuropides 7scared74 ,what is it8 ,oh1 my poor ,tranio1 ,i implore you1 by ,hercules1 tell me what you heard4 ,,tranio4 ,the door moved4 ,nevertheless ,i am certain that no one pushed it4 ,,theuropides4 ,i am stricken with fear4 ,there is not a drop of blood left in my body4 ,who knows but that the dead may come to drag me living into hell8 ,,tranio 7aside1 hearing movements in the house74 ,i am lost4 ,they will ruin my comedy of phantoms and spectres by their folly4 7,to ,,theuropides47 ,i am trembling with fear4 ,go1 my lord1 go from that door4 ,flee1 in the name of ,hercules1 flee1 ,i implore you4 ,,theuropides4 ,tranio6 ,,tranio 7pretending to mistake his master for a phantom74 ,sir ,spectre1 do not call me6 ,i have done nothing6 ,i assure you that it was not ,i who knocked at the door4 ,,theuropides 7trembling74 ,what ails you8 ,with whom are you talking8 ,,tranio4 ,how1 sir8 ,was it you who called me8 ,in truth1 ,i thought that it was the dead man who complained of the noise that you had made4 ,but how do you happen to be still here8 ,begone1 cover your head2 go1 and on no account look behind you4 ,,theuropides 7fleeing74 ,great and mighty ,hercules1 protect me against these rascally phantoms6 7,exit47 ,pantaloon and ,cassandre are no less credulous and poltroon than their ancestor ,theuropides the ,athenian4 ,angelo ,beolco presents two old men in one of his comedies 7written circa #aecj74 ,one of these is ,messer ,demetrio1 a doctor1 who swears by the learned doctors of antiquity1 ,asclepiades1 ,hippocrates1 sculapius and ,galen2 the other is ,ser ,cornelio1#a a ,venetian advocate1 enamoured1 notwithstanding his years and his infirmities1 constantly spitting ,latin and expressing himself pretentiously when in the society of ,messer ,demetrio1 but employing the common dialect with a certain ,prudentia1 whose offices he desires with ,beatrice1 the lady with whom he is in love4 ,,cornelio 7alone74 ,never since ,i first drew breath and was cast naked upon this world have ,i been so truly destitute of ideas1 so reduced 7as if ,i had been shut up without eating or drinking1 in the cave of some horrid monster1 or as if ,i were taken in some colossal spider-web7 as ,i am ever since ,i have been here1 ita et taliter quotiens4 ,i seem as one abandoned in an empty boat and left alone at the tiller on a storm-swept sea4 ,but if ,hope will only open me her window a little1 ,i shall get myself out of this embarrassment1 and ,i shall so contrive1 by means of money1 presents1 and my natural gifts1 that ,i shall win the favour of this beautiful woman1 worthy of the chisel of ,sansovino4 ,i will go find ,prudentia1 the world-chart of gallantry4444 ,but here she comes1 most opportunely4 ,good day to you4 ,where are you going1 my charming ,prudentia8 ,,prudentia4 ,you will do well not to trouble me if your head is full of fantastic notions2 ,i have not the time to be bothered with them4 ,you are but a thief grown fat on the miseries of this poor world1 for you would give nothing to a beggar4 ,,cornelio4 ,prudentia1 ,i do not wish to boast1 but if you knew the alms ,i give1 you would be astonished4 ,amongst other things ,i treat all the hospitals of this country to my old discarded clothes1 and never a day of ,lent passes but that ,i myself give the poor all my old liards4 ,,prudentia4 ,in this fashion you won't deprive yourself of much1 and you behave in the same way in your love affairs4 ,to procure assistance1 you offer more than you have got1 but1 when the obstacle is overcome1 you look the other way1 you refuse to know those who have befriended you1 and we find that we have served you for the love of ,heaven4 ,,cornelio4 ,aid me1 ,prudentia2 you know that ,i am tender in the stomach and soft in the lungs4 ,wait6 ,i shall give you full proof of my friendship4 ,if you will promise me your assistance ,i promise you on my side to give you a pair of red stockings which ,i have worn only four times1 and a quartern of excellent beans2 this on condition that you will speak to that young girl1 beautiful as a parrot by ,aldo1#b white as linen1 light as a rabbit2 ,i think that her name is ,beatrice1 and her mother's ,sofronia2 at least1 so ,i have been told1 for ,i do not know them otherwise1 being a stranger4 ,,prudentia4 ,i think ,i know them4 ,i will do what ,i can to speak to them2 and ,i will tell them so many little nothings about you that ,i am sure the lady will be yours at your pleasure4 ,but how shall you contrive with all the infirmities that afflict you8 ,,cornelio4 ,get along4 ,you are a giraffe6 for ever mocking4 ,do you think ,i am so deteriorated that ,i don't know how to set a horse to a gallop when ,i wish8 ,get along1 you don't know me4 ,,prudentia4 ,no need to glorify yourself4 ,i know your great and venerable stupidity4 ,when you are with her1 best not tell her your age4 ,do you understand8 ,,cornelio4 ,but for my illnesses1 ,i could tell you some pretty things1 and1 thin as ,i am1 ,i could turn twenty somersaults upon one hand1 and1 fatigued as ,i am1 you should see how swiftly ,i could race4 ,,prudentia4 ,very well1 ,messer ,cornelio1 since you are so hot upon this affair1 trust me1 ,i will so act that you shall be satisfied4 ,whilst waiting1 ,i beg you to let me have four bolognini 7four halfpence71 which ,i shall be able to repay you only by saying a deal of good of you4 ,,cornelio4 ,may you sole my shoes if ,i have more than four quattrini 7a halfpenny74 ,my wife refuses to let me carry money because1 she says1 ,i sow it in the earth4 ,but ,i promise you that if you bring me a favourable answer ,i shall without haggling give you three bolognini in old coin2 they have a hole through the middle1 so as to string them round the neck of a cat4 ,now ,i must go2 ,i have been with you too long4 ,enough6 ,you understand me4 7,exit47 ,,prudentia 7alone74 ,go6 ,go to the devil6 you will have no trouble to get there4 ,now just consider me that old ill-accoutred beast4 ,admire with me1 ,i implore you1 the gallant adventure that has fallen into my hands4 ,i am to serve him for money1 this gouty1 unclean1 catarrhal old thing1 who has taken it into his head to fall in love with such a beautiful and virtuous child6 ,further on1 ,cornelio meets ,truffa1 and1 following ever his amorous idea1 he desires to seek the aid of sorcery1 and makes offers to her so as to obtain the favours of the girl4 8,look10 says he1 8if ,i may have this dove by means of grimoires and incantations without employing that rascally ,prudentia1 who is for ever hanging about me1 ,i promise to give you my hat2 you know the one ,i mean2 the one which you bought from me some time ago1 and which ,i still am wearing to restore its shape40 ii ,,pantaloon1 who gives his name to the breeches made all in one piece1 is one of the masks of the ,commedia dell' ,arte4 8,in ,venice0 7says ,m4 ,paul de ,musset71 8four improvising masks occurred in every piece3 ,tartaglia1 a jabberer2 ,truffaldino1 a ,bergamese caricature2 ,brighella1 representing public orators1 and several popular types2 and finally1 the famous ,pantaloon1 personifying the ,venetian bourgeois in all his absurdity1 and bearing a name whose etymology is worthy of a commentary4 ,the word is derived from pianta-leone 7plant-the-lion74 ,the old ,venetian merchants1 in their fury to acquire territory in the name of the ,republic1 planted the lion banner of ,st ,mark wherever possible on the islands of the ,mediterranean2 and when they returned to boast of their conquests1 the people mocked them by calling them pianta-leoni40 ,according to other authors ,pantaloon derives his name simply from ,san ,pantaleone1 the ancient patron of ,venice4 ,pantaloon is sometimes a father1 sometimes a husband2 sometimes a widower or an old bachelor1 still ambitious to please1 and consequently very ridiculous2 sometimes he is rich1 sometimes poor1 sometimes miserly and sometimes prodigal4 ,but he is always a man of ripe age4 ,a native of ,venice1 he ordinarily represents the merchant1 the tradesman1 the father of two daughters who are extremely difficult to guard4 ,these are ,isabella and ,rosaura1 or ,camilla and ,smeraldina1 and they are in league with their soubrettes1 ,fiametta1 ,zerbinetta1 ,olivetta or ,catta1 to deceive the impotent vigilance of their senile parent4 ,in this situation he is always very avaricious1 and very mistrustful4 ,one may apply to him what the slave ,strobilus says of his master ,euclio in the ,aulularia of ,plautus3 8,pumice is not as dry as this old man4 ,he is so miserly that when he goes to bed he takes the trouble to tie up the mouth of the bellows1 so that they may not lose their wind during the night4 ,when he washes himself he weeps the water which he is compelled to use4 ,some time ago the barber cut his nails4 ,he carefully gathered up the parings and took them with him lest he should be a loser40 ,the by-names of starveling1 skinflint1 niggard1 ,pantaloon the needy1 ,pantaloon cagh' in aqua1 fit him perfectly4 ,the ,bolognese and the ,venetians deride the avarice of ,pantaloon and of ,doctor ,balanzoni4 8,they represent him0 7says ,m4 ,frdric ,mercey7 8in the act of embarking upon a debauch1 sitting at an empty table1 eating hare soup1 drinking claret diluted at the fountain in the corner1 regaling themselves upon a duck-egg--of which they keep the yolk for themselves and give the white to their wives--and providing watered milk for their children2 a meal which1 as they assure us1 occasions them no gastric overburdenings40 ,but ,pantaloon is not always quite so mean4 ,occasionally he confines himself to being ridiculous4 ,dressed in his red pantaloons and dressing-gown1 wearing upon his head his woollen cap1 and shod in his ,turkish slippers1 he fully represents the ancient ,venetian merchant running about his business1 buying and selling1 with a deal of talk1 oaths and gestures4 ,he is for ever pledging his honour for the truth of what he says4 ,his ancient probity is well known1 and if he hears any dispute arising1 he runs to witness it4 ,should the discussion degenerate into a quarrel1 he thrusts himself in1 anxious to intervene as a mediator4 ,but ,pantaloon was born under an evil star4 ,he so contrives that it is seldom indeed that blows do not result from his pacific intervention1 and he stands his chance of receiving most of them4 ,whether in ,venice or on the mainland he is always unlucky4 ,having one day hired a horse to go riding1 he took with him his lackey ,harlequin4 ,the old screw coming abruptly to a halt1 ,harlequin delivers a shower of blows to urge it onwards4 ,the poor beast1 in return1 kicks him in the stomach4 ,harlequin1 in a fury1 picks up a paving stone to heave it at the horse2 but his aim is so bad that the stone heavily strikes ,pantaloon1 who had retained his saddle4 ,pantaloon turns and perceives ,harlequin holding his stomach and roaring4 8,what an ill beast they have given us60 says he piteously to his lackey4 8,can you believe that at the same time that it hit you in the stomach1 it fetched me a kick in the middle of my back80 ,pantaloon is always exploited by someone1 and ,harlequin's duty is1 as we have seen in the instance cited1 to cause him to swallow the most fantastic shams4 ,harlequin1 perceiving him so nave1 disguises himself as a merchant and is taken with the conceit to present him such a memoir as the following3-- 8,two dozen chairs of ,holland linen2 fourteen tables of marzipan2 six faence mattresses full of scrapings of hay-cocks2 a semolina bed-cover2 six truffled cushions2 two pavilions of spider-web trimmed with tassels made from the moustaches of ,swiss doorkeepers2 a syringe of the tail of a pig1 with a handle in pile velvet40 ,each of the articles is quoted at a fabulous price1 but ,pantaloon consigns the false merchant and his memoir to the devil4 ,his avarice sometimes gives ,pantaloon a certain wit4 ,one day he hears ,harlequin speaking to himself1 and saying in the course of casting up his accounts and writing down the figures3 8,you have no tail1 but you shall have one60 and thus all the noughts become nines4 ,pantaloon takes the note1 examines it in the presence of his lackey1 and says1 8,you1 you have a tail and you shall not have one10 and thus he converts all the nines into noughts1 to the great mortification of ,harlequin4 ,after that1 ,harlequin presents him with a more exact memoir3 thus3 ,to one quarter of roast veal1 and one plaster of unguent for the scurvy #c livres #aj sols4 ,to one capon and one belt for ,master ,pantaloon #ab livres ,to one pasty for ,harlequin and two bundles of hay for the master #a livre #aj sols4 ,to one pound of fresh butter and to sweeping the chimney #ab sols4 ,to tripe and a mouse-trap #aj sols4 ,to three sausages and the re-soling of a pair of old shoes #ae sols4 ,to shaving the master and to mending sundry commodities #a livre #aj sols4 ------------------- ,total1 #bj livres #g sols4 ,pantaloon has nothing to say to the figures1 but he affects to take offence at seeing the various articles so ridiculously associated and in his anger throws the paper in the face of ,harlequin instead of paying him4 ,in ,pantalone ,spezier 7,pantaloon the ,apothecary71 of ,giovanni ,bonicelli1 ,pantaloon argues with his friend the ,doctor1 a learned man of law1 upon the excellence of their respective professions4 ,the argument ends in mutual insult4 ,presently1 however1 they desire to become reconciled4 ,the ,doctor makes the first advances and sends his gossip a basket containing two partridges4 ,his servant ,harlequin is despatched with it4 ,pantaloon is flattered by this courtesy1 and gives ,harlequin a gratuity of a quarter-ducat4 ,the latter overwhelms him with blessings1 makes a false exit1 returns and relates that in his zeal he came so quickly that he has torn his breeches4 ,pantaloon is in the mood to be munificent4 ,he gives him another quarter-ducat1 saying3 8,observe1 my lad1 ,i do not lend it to you1 ,i give it to you absolutely40 ,harlequin blesses ,pantaloon all over again1 makes shift to go1 and returns once more4 ,he owes a little to the tailor who is to mend his breeches2 this tailor1 who is miserly and cruel1 has threatened him that if he does not bring him a quarter-ducat he will on the very next occasion that he meets him deprive him of his pretty little hat 7suo gentil capellino74 ,can ,pantaloon possibly suffer that such an injury should be done to his old friend the ,doctor through the person of his servant8 ,pantaloon yields once more4 ,but ,harlequin returns yet again1 and now craves the wherewithal to satisfy a sempstress from whom his mother has bought a gown for which she cannot pay4 ,the sempstress threatens to withhold the cloth1 which would be an infamous thing4 ,pantaloon gives yet again1 but with the declaration that this time it is no more than a loan4 ,harlequin accepts the condition and departs in earnest4 ,pantaloon opens the basket1 and instead of partridges finds it to contain a ram's head with horns4 ,he calls ,harlequin back4 8,i am afraid10 says he1 8that some of the money ,i gave you was bad2 return it to me1 and ,i may give you a good ducat instead40 ,harlequin1 as credulous as he is astute1 returns all the money1 whereupon ,pantaloon throws the ram's head at him1 telling him to be off with the head of his father1 and threatening to beat him if he reappears4 8,in his shop1 the apothecary ,pantaloon plays the most villainous tricks upon his customers1 whilst his servants1 ,nane and ,mantecha1 whom he starves1 devour his inoffensive drugs upon the ground that they have the merit of being filling4 ,he argues with his workmen concerning a minute of time which he claims they owe him4 ,when it is a question of paying them1 he never has a halfpenny2 he cannot even give them the wherewithal to dine4 ,at last1 when they come to threats1 he authorises them to go and fetch on his behalf something from the inn in a little iron mortar as big as the hollow of his hand1 recommending them to take great care not to break it4 ,he drives out his little apprentice ,mantecha at the hour of dinner4 ,tofolo1 the father of ,mantecha1 comes to plead on behalf of his son4 ,pantaloon consents to take him back1 but on condition that he shall go home to dinner40 ,he does not forget the practical jokes of which he has been made the butt1 for when his will is opened it is found to read3 8,i bequeath to my servant ,harlequin twenty-five strokes of a whip well laid on40 ,sometimes1 however1 ,pantaloon is in high and brilliant circumstances4 ,he is then so rich and so noble that he might well become a doge4 ,he has magnificent villas and millions in his coffers1 and he is then ,don ,pantaleone4 ,he is dressed in velvets1 silks and satins1 his garments conforming always to the mode of ,venice of the sixteenth century4 ,he is the confidant of princes1 the counsellor of doges1 perhaps a member of the ,ten4 ,it is then that he flaunts his erudition1 that he enlightens by his advice the most illustrious marquises of ,italy4 ,he is summoned to settle their differences1 but1 whether he is noble or simple1 he so thoroughly shuffles the cards that swords are drawn in the end and1 being reduced to employ force to settle quarrels1 he plies his ,damascene poniard to right and left4 ,pantaloon is always very much in vogue in ,venice1 in the ,bolognese and in ,tuscany4 8,a surprising thing0 7says ,m4 ,frdric ,mercey7 8is that our century1 which1 if it has not destroyed everything1 has at least altered everything1 has been unable to strip the mask from any of the ,italian buffoons4 ,they have braved the inconstancy of the public1 the tyranny of fashion1 the caprice of authors2 they have witnessed the death of that ,venetian aristocracy which despised them2 they have survived the ,republic and the ,council of ,ten2 ,pantaloon1 ,harlequin and ,brighella1 the three masks of ,venice1 have buried the three ,inquisitors of ,state4 ,who is it1 what is it1 that has saved them from these revolutions and these catastrophes8 ,their popularity40 ,pantaloon has been served up in every sauce in ,italy1 particularly towards the end of the eighteenth century4 ,he has been given every shade of character1 and every social condition1 like the ,neapolitan ,pulcinella4 ,he has been played with and without his brown mask with its grey moustaches1 although tradition exacts that he should always wear it4 ,riccoboni writes as follows concerning the type of ,pantaloon at the beginning of the eighteenth century3-- 8,as regards the character of ,pantaloon1 he was represented at first as a merchant1 a simple fellow of good faith1 but always in love1 and for ever the dupe of a rival1 a son1 a lackey1 or a serving woman2 sometimes1 and particularly within the last hundred years1 he has been seen as a kindly father of a family1 a man of honour1 tenacious to his word and severe towards his children4 ,always has it been doomed that he should be the dupe of those who surround him1 either with a view to extracting money from his pocket notwithstanding his parsimony1 or to reduce him to surrender his daughter in marriage to a lover notwithstanding other engagements which he had made4 ,in short1 the character of ,pantaloon has done the service intended by fable2 whenever it has been necessary to make of him a virtuous man1 he has been an example to age in the matter of discretion2 when the intention of fable has carried the poet to invest him with weaknesses he has been the very type of a vicious old rake4 ,for all this there exists the precedent set by ,plautus1 who presents in his comedies old men sometimes virtuous and sometimes vicious1 according to the intentions of the story which is developed4 ,in the last fifty years there has been a notion in ,venice to correct certain customs of the country and apply them to the personage of ,pantaloon4 ,to carry out this idea he has been represented sometimes as a husband or an extremely jealous lover1 sometimes as a debauchee1 and sometimes as a ruffler40 ,in #agaf the costume of ,pantaloon had undergone some change4 ,he no longer wore his long caleon1 but replaced them by breeches and stockings2 he preserved the traditional colours1 but often he played in his long gaberdine1 which originally had been red1 and later black4 ,it was when the ,republic of ,venice lost the kingdom of ,negropont that the whole city put on mourning4 ,pantaloon1 like a good citizen1 could not wish to run counter to the laws and customs of his country4 ,he adopted the black gaberdine1 and he has worn it ever since4 ,nevertheless1 in the nineteenth century1 ,pantaloon gave up his ,venetian dress2 he became modernised4 ,he assumed a powdered wig and dressed himself like ,cassandre--that is to say1 in the fashion of the time of ,louis ,,xiv4 ,in #aegh ,giulio ,pasquati1 born in ,padua1 was engaged by the ,gelosi troupe1 then in ,florence1 to play the parts of ,pantaloon and ,magnifico4 ,in #aehj these rles were being played in the ,uniti troupe by an actor named ,il ,braga4 ,in #afcj1 in the ,fedeli troupe1 we find them played by ,luigi ,benotti1 a native of ,vicenza2 in #afde by ,cialace ,arrighi in the troupe of ,mazarin4 ,in #afec1 at the ,petit ,bourbon1 a ,modenese named ,turi was playing them1 and continued to play until his death in #afgj4 ,in #afgj1 this troupe having no one to take ,turi's place1 ,louis ,,xiv4 desired that an actor should be requested from the ,duke of ,modena4 ,this prince chose ,antonio ,riccoboni1 father of ,luigi ,riccoboni1 known as ,lelio1 who went to ,france in #agaf4 ,but ,antonio refused1 preferring to remain in the service of the ,duke of ,modena4 ,it was then that these rles underwent a change of name on the ,italian stage in ,paris1 and the character was undertaken by ,romagnesi 7,cinthio74 ,in the scenarii of ,gherardi there was not a single ,pantaloon4 ,this type became ,gronte1 ,oronte1 ,gaufichon1 ,trafiquet1 ,persillet1 ,sotinet1 ,brocantin1 ,tortillon1 ,goguet1 ,grognard1 ,jacquemart1 ,boquillard1 ,prudent4 ,here is a scene from ,gherardi between ,brocantin and his daughters4 ,,brocantin4 ,what is that work you are doing8 ,,columbine4 ,it is a valance1 but ,i am afraid that ,i am making it too small1 for if by good luck ,i should come to be married---- ,,brocantin 7in a rage74 ,if by good luck or ill luck you should come to be married6 ,i know your ways4 ,you are not always to be seen with a needle and a piece of embroidery in your hand1 and you can sometimes wield the pen4 ,but that is not what ,i want to talk about now4 ,leave your work and listen to me4 7,they sit down47 ,marriage---- 7,to ,,columbine47 ,oh1 you are laughing already1 are you8 ,faith1 there is no need to shake your bridle4444 ,marriage1 ,i say1 being a custom as ancient as the world1 for there were marriages before you1 and there will still be marriages after you---- ,,columbine4 ,i know1 papa4 ,i heard that ever so long ago4 ,,brocantin4 ,i have resolved1 so as to perpetuate the family of ,brocantin---- ,you perceive what ,i am coming to8 ,i have resolved1 in short1 to get married4 ,,isabella and ,,columbine 7together74 ,oh1 father6 ,,brocantin4 ,ah1 my daughters1 you are very astonished6 ,yet can it be denied that ,i am still a fine figure of a man8 ,consider my air1 my shape1 my lightness 7he leaps and stumbles74 ,,isabella4 ,you are going to be married1 then1 father8 ,,brocantin4 ,yes1 if you think it good1 my child4 ,,columbine4 ,to a woman8 ,,brocantin4 ,no4 ,to an organ pipe4 ,what a question6 ,,isabella4 ,you are marrying a woman8 ,,brocantin4 ,i think that each of you has her wits in a sling4 ,am ,i beyond the age8 ,do you not know that one is never older than one seems8 ,and ,monsieur ,visautrou1 my apothecary1 was telling me only this morning1 whilst giving me some medicine1 that ,i look less than forty-five4 ,,columbine4 ,oh1 my father1 that was because he was not looking you in the face4 ,,brocantin4 ,i am as ,i am1 but ,i feel that ,i need a wife4 ,i am bursting with health1 and ,i have found a young woman such as ,i could desire1 beautiful1 young1 respectable1 rich--in short1 a chance in a thousand4 ,,isabella4 ,another than ,i would tell you1 my father1 what you risk in marrying4 ,but ,i1 who know the respect which ,i owe you1 will only tell you that since you are in such good health you are very wise to take a wife4 ,,brocantin4 ,ah1 you take the thing in a proper spirit4 ,since you are so reasonable1 learn that ,i am in treaty about a marriage for you4 ,,isabella and ,,columbine 7together74 ,oh1 my father6 ,,brocantin4 ,oh1 my daughters6 ,in #agab the ,pantaloon of the forain troup of ,ottavio was named ,luigi ,berlucci4 ,his reputation was eclipsed by that of ,giovanni ,crevilli1 who1 after having long played in ,italy1 appeared in the ,french forain theatres and became known as the ,venetian ,pantaloon4 ,alborghetti1 born in ,venice1 who performed under the mask for a long time in ,italy the parts of fathers1 jealous husbands and tutors1 always under the name of ,pantaloon1 went to ,france with the ,regent's company in #agaf4 ,he was a man of means1 and he added to his talent for the theatre the most irreproachable morals1 but his rather severe character caused him at times to treat an estimable wife too harshly4 ,alborghetti died on the #dth ,january #agca1 at the age of fifty-five4 ,in #agcb ,fabio ,sticotti took up this line4 ,he had been in the company since #agaf1 and he had followed his wife1 ,ursula ,astori1 the ,cantatrice of the troupe4 8,sticotti1 a gentleman of ,friuli1 in the territories of the ,republic of ,venice1 was of a good appearance1 and no less in request in society on account of his extreme joviality than well received in the theatre for his talent4 ,he had two sons1 ,antonio and ,micalo ,sticotti1 who played at the ,comdie-,italienne1 and a daughter1 ,agatha ,sticotti1 who appeared a few times in the theatre1 but who became better known for her estimable qualities1 and for the invincible attachment of a man of merit1 who married her notwithstanding the persecution of an irritated family40 ,fabio ,sticotti died at the age of sixty-five1 in ,paris1 on the #agth ,december #agda4 ,carlo ,veronese1 father of ,coraline1 and of ,camilla1 was also seen in the rles of ,pantaloon4 ,he was himself a good actor1 but his reputation was eclipsed by that of his daughters1 for whom he wrote a great number of pieces4 ,he filled the rles of ,pantaloon from #agdd until his death in #agei4 ,colalto made his dbut in ,paris in #agei1 but he was not accepted by the public until the following year4 ,grimm speaks as follows of his talent3-- 8,on the #agth ,december #agdd1 the ,italian comedians gave the first performance of ,i ,tre ,fratelli ,gemelli ,veneziani1 an ,italian piece in prose by the ,sieur ,colalto 7,pantaloon74 ,the idea is taken from the story of #8,the ,three ,hunchbacks4' ,the resemblance which it offers to the ,menechme of ,goldoni detracts nothing from the merit of the author1 who has surpassed his models4 ,but the point upon which it would be difficult to over-praise him is the incredible perfection with which himself he plays the three rles of the three brothers ,zanetto4 ,the changes in his appearance1 his voice and his character1 which he varies from scene to scene according to which of the three he represents1 is a thing unbelievable that leaves nothing to be desired4 ,this piece1 which is not written1 which is no more than a scenario1 is perfectly played by almost all the actors1 but especially by the ,sieur ,colalto1 by ,madame ,bacelli1 in the rle of ,eleonore1 and by the ,sieur ,marignan1 who plays the ,commissary with a truth and comicality very much above that of ,prville4 ,they have1 moreover1 the advantage of varying their business and their dialogue at every performance1 and the continued intoxication of the public for this piece of itself nourishes the wit of the actors40 ,colalto died in ,september of #aggg4 8,his personal character was of a modesty and a simplicity little common in his class4 ,he knew no other happiness than that of living peacefully in the bosom of his family1 and doing good to the unfortunates whom chance brought to the notice of his generosity4 ,he died of a very protracted and very painful disease4 ,his children1 who never quitted his bedside1 beheld him expiring in their arms4 ,he appreciated all their care1 and his last words were the expression of his gratitude4 ,his eyes had fallen upon a print of ,the ,paralytic ,served by his ,children4 ,the following lines are inscribed at the foot of the picture3 8#8,if the truth of a picture is the truth of the object1 how wise was the artist to place this scene in a village6' 8#8,my children1' said the moribund in a feeble voice1 #8the author of those lines did not know you4'0 ,in ,italy towards #agej ,darbs became noteworthy as a good ,pantaloon4 ,darbs was the director of an ,italian company4 ,he went one day to ,goldoni to procure a play from his pen2 he obtained1 not without considerable trouble1 the comedy ,tonin1 ,belia ,gracia4 ,he played in it the part of ,pantaloon1 and as the character of this father was serious1 ,darbs thought well to perform without a mask4 ,goldoni's piece fell flat4 ,to what was this due8 ,was it the fault of the piece or of the actor8 ,goldoni wrote another play for ,darbs1 who then resumed the traditional mask4 ,this piece succeeded beyond the hopes of the author and of the leader of the troupe4 ,thereafter ,darbs never again put aside the mask and challenged1 with ,goldoni for his author1 all the ,pantaloons of ,italy3 ,francesco ,rubini at ,san ,luca1 ,corrini at ,san ,samuele of ,venice1 ,ferramonti at ,bologna1 ,pasini in ,milan1 ,luigi ,benotti in ,florence1 ,golinetti and ,garelli1 ,giuseppe ,franceschini1 and others4 iii ,such as he still remained in the nineteenth century1 although somewhat out of fashion in ,italy1 ,,the ,,doctor was first presented on the stage in #aefj by ,lucio ,burchiella4 ,sometimes he is very learned1 a man of law1 a jurisconsult2 more rarely he is a physician4 ,doctor ,graziano or ,baloardo ,grazian1 is a native of ,bologna4 ,he is a member of the ,accademia della ,crusca1 a philosopher1 an astronomer1 a grammarian1 a rhetorician1 a cabalist and a diplomatist4 ,he can talk upon any subject1 pronounce upon any subject1 but notwithstanding that his studies were abnormally prolonged he knows absolutely nothing1 which1 however1 does not hinder him from citing inappropriately 8the ,latin tags which he garbles10 says ,m4 ,f4 ,mercey1 8often culled from fables which he denaturalises1 changing ,cyparissus into a fountain1 and ,biblis into a cypress1 causing the three ,graces to sever the thread of our destinies whilst the ,fates preside over the toilet of ,venus2 and this with an unrivalled aplomb and all the intrepidity of foolishness40 ,when he is a lawyer he is clear-sighted only in those affairs with which he is not entrusted1 and his pleadings are so interesting that the court falls asleep and the public departs1 thereby compelling him regretfully to cut short his address4 ,frequently he is the father of a family1 and it is usual then for his daughter1 ,columbine or ,isabella1 to denounce the avarice which has earned him the nickname of ,doctor ,scrapedish4 ,often he uses all his endeavours to please the ladies1 and sometimes even he is the sighing lover1 notwithstanding his advanced years and great belly1 both of which should give him ample matter for reflection4 ,ponderous and ridiculous in his manners as in his speech1 he is played upon by his lackeys1 saving on those rare occasions when they are more stupid than himself4 ,if he inclines to pleasantries such pleasantries invariably have their roots in ill-will4 ,from #aefj to the middle of the seventeenth century the ,doctor was always dressed from head to foot in black1 arrayed in the robe usual to men of science1 professors and lawyers of the sixteenth century2 under this long robe he wore another shorter one reaching to the knees2 his shoes were black4 ,it was only with the coming of the ,italian company to ,paris in #afec that ,agostino ,lolli assumed the short breeches1 the wide soft ruff1 cut his doublet after the fashion of that of the days of ,louis ,,xiv41 and replaced the bonnet1 which presented too much analogy with that of the lackeys1 by a felt hat with an extravagant brim4 8,the city of ,bologna1 which is the very home of sciences and letters1 and where there is a famous university and a number of foreign colleges1 has always supplied us with a great number of learned men1 and particularly of doctors1 who occupied the public chairs of that university4 ,these doctors had a robe which they wore at lectures and in the town4 ,the notion was very wisely conceived to transform the ,bolognese ,doctor into another old man who might play side by side with ,pantaloon1 and their two costumes became extremely comical when seen together4 ,the ,doctor is a never-ending babbler1 a man who finds it impossible to open his mouth without spouting forth sententiousness and scraps of ,latin4 ,it is not impossible that this character may have been copied from nature4 ,to this day we may see pedants and doctors doing the like4 ,many comedians have held different views on the subject of the ,doctor's character4 ,some have thought well to speak in a sensible manner and to make lengthy declamations manifesting the greatest possible erudition1 adorning their sentences by ,latin quotations taken from the gravest authors4 ,others have preferred to render the character more comical3 instead of presenting a learned ,doctor they have presented an ignorant one1 who spoke the macaronic ,latin of ,merlin ,coccae1 or something like it4 ,the first were perforce compelled to know something so as to avoid true solecisms in good faith4 ,the others were under the same obligation of knowledge1 but they needed genius in addition2 for ,i am persuaded that more wit is required to misapply a sentence than to apply it in its true sense0 7,l4 ,,riccoboni74 ,the black mask which covers no more than the forehead and the nose of the ,doctor1 together with the exaggerated colour of his cheeks1 are directly derived from the ,bolognese jurisconsult of the sixteenth century1 who had a large port-wine mark over part of his face4 ,doctor ,balanzoni ,lombarda 7a surname applied to this personage because ,bernardino ,lombardi and ,roderigo ,lombardi played the part in ,italy1 the first during the sixteenth century and the second during the eighteenth7 wears1 like ,basilio1 a great hat turned up on both sides4 ,like the other ,doctor already mentioned1 he is from ,bologna4 ,there is a deal of analogy between the two1 or perhaps they are the same personage in different social strata4 ,this ,doctor is particularly a man of medicine1 which1 however1 does not hinder him from practising alchemy and the occult sciences4 ,he is avaricious1 egotistical and very weak in resisting his coarse and sensual appetites4 ,when he goes to see a patient he chatters of anything but that patient's illness4 ,he is interested in a thousand nothings1 he touches everything1 breaks vessels1 feels the pulse of his patient as a matter of conscience1 whilst discussing the talents of ,columbine or the figure of ,violetta4 ,the dying man ends by falling asleep1 worn out by the amorous exploits which form the subject of the chatter of this ignorant ,doctor1 with his rubicund nose1 his inflamed cheeks and his gleaming eye4 ,the patient having fallen asleep1 the ,doctor makes love to the waiting-woman1 or plays the gallant towards the daughter or even the mistress of the house4 ,there is no evidence that he has ever cured anybody with the exception of ,polichinelle1 who cannot die1 and who once pretended to be ill so as to draw the ,doctor to his house and there administer a sharp correction on the subject of a little rivalry in an affair of love or gluttony1 the details of which have never been ascertained4 ,this type of ridiculous man of medicine has in all ages been a butt for satire4 ,thus in ,athens long before ,aristophanes1 the ,doric comedians1 as we have said in our introduction1 attracted the crowd by the farces they performed on their trestles1 and subsequently it was the character of the ,doctor which afforded the greatest amusement by his gibberish1 his muddles and his interminable periods1 usually interrupted by the kicks of some other mime4 ,in ,arlequin ,empereur dans la ,lune 7#afhd7 we are introduced into a garden where there is an enormous telescope employed by the ,doctor to consult the stars4 ,he leaves his instrument1 and speaking the twofold language proper to him1 he bids ,pierrot be silent3 8,e possibile1 ,pier1 che tu non voglia chetarti8 ,tais-toi1 je t'en prie60 ,,pierrot4 ,but1 sir1 how is it possible that ,i should be silent8 ,i am not allowed a moment's rest4 ,as long as the day lasts ,i am made to run after your daughter1 your niece and your waiting-woman2 whilst at night ,i am made to run after you8 ,no sooner am ,i in bed than you begin3 8,pierrot6 ,pierrot6 ,quick6 ,get up4 ,light the candle and give me my telescope4 ,i want to go and observe the stars60 ,and you want me to believe that the moon is a world like ours6 ,the moon6 ,hah6 ,you'll drive me mad4 ,,the ,,doctor4 ,hold your tongue1 ,pierrot1 or ,i will beat you4 ,,pierrot4 ,although you should kill me ,i must vent my feelings6 ,i could never be such a fool as to agree that the moon is a world4 ,the moon1 the moon6 ,morbleu6 ,and the moon no bigger than an omelette of eight eggs6 ,,the ,,doctor4 ,you impertinent fellow6 ,if you had ever so little understanding ,i should condescend to reason with you1 but you are a fool1 an ignorant animal1 and you only know you have a head because you can feel it2 so hold your tongue4 ,yet again ,i tell you1 be silent6 ,tell me1 have you noticed those clouds that are to be seen round the moon8 ,those clouds are called crepuscules4 ,now it is those which ,i argue---- ,,pierrot4 ,let us hear4 ,,the ,,doctor4 ,now if there are crepuscules in the moon1 it follows that there must be a generation and a corruption2 if there is corruption and generation1 it follows that there must be animals and vegetables2 ergo1 the moon is an inhabited world like this4 ,,pierrot4 ,ergo1 as much as you like6 ,but as far as ,i am concerned1 nego2 and this is how ,i prove it4 ,you say that in the moon there are tres 444 cus 444 tres 444 pus 444 les trois pousse-culs4 ,,the ,,doctor4 ,crepuscules1 and not pousse-culs1 fool6 ,,pierrot4 ,anyhow1 the three--you know what ,i mean2 and you say that if there are three puscuscules it follows that there must be a generation and a corruption4 ,,the ,,doctor4 ,most certainly4 ,,pierrot4 ,now listen to ,pierrot4 ,,the ,,doctor4 ,let us hear4 ,,pierrot4 ,if there is a generation and a corruption in the moon it must follow that worms are born there4 ,now is it possible that the moon is worm-eaten8 ,what do you say to that8 ,heh8 ,by heaven it is unanswerable4 ,,the ,,doctor 7laughing74 ,oh1 assuredly not4 ,tell me1 ,pierrot1 are not worms born in this world of ours8 ,,pierrot4 ,yes1 sir4 ,,the ,,doctor4 ,does it follow thence that our world is worm-eaten8 ,,pierrot4 ,there is something in that4 ,after this discussion on the moon1 the ,doctor informs ,pierrot of his matrimonial plans for his daughter4 ,harlequin appears and so plagues ,pierrot with questions that the latter answers the ,doctor upon the matters raised by ,harlequin4 ,the ,doctor1 exasperated by the seeming impertinences of his servant1 lets fly a buffet fit to break his teeth4 ,pierrot falls down1 picks himself up and goes off saying3 8,that is an effect of the moon40 ,in the ,gelosi troupe1 which went to ,france in #aegb1 the part of ,doctor ,graziano was played by ,lucio ,burchiella1 an actor of great wit and liveliness1 who was replaced in #aegh by ,lodovico1 of ,bologna4 ,in the same year1 #aegb1 ,bernardino ,lombardi went to ,france to play the rles of ,doctors in the ,confidenti troupe4 ,a clever poet as well as a distinguished actor1 he published in ,ferrara in #aehc ,l',alchemista1 a five-act comedy which was several times reprinted4 ,you will find in it1 as in most of the pieces of those days1 various ,italian dialects1 ,venetian1 ,bolognese and others4 ,doctor ,graziano ,baloardo was played in the company of #afce by ,angelo ,agostino ,lolli1 of ,bologna4 ,de ,tralage speaks with praise of his manners4 ,his comrades called him the angel1 no doubt in consequence of his name of ,angelo4 ,he married the ,signorina ,adami1 who played soubrettes in the same company4 ,he died at an advanced age on the #bith ,august #afid4 ,in #afid ,marco-,antonio ,romagnesi 7,cinthio71 having undertaken to perform old men1 sometimes played ,doctor under such ,gallicized names as ,bassinet4 ,in #afij1 ,giovanni ,paghetti and ,galeazzo ,savorini were playing ,doctors in ,italy4 ,paghetti was also seen in ,france in the forain theatres4 ,in #agaf ,francesco ,matterazzi filled these rles in the ,regent's company1 and at the same time ,ganzachi and ,luzi1 of ,venice1 were performing them in the ,german improvising troupe of ,vienna4 ,other famous exponents of the character were ,bonaventura ,benozzi1 brother of the celebrated ,silvia1 in #agcb2 and ,pietro ,antonio ,veronese1 son of ,carlo ,veronese 7,pantaloon71 in #aged4 iv ,in the ,neapolitan theatre there was a type which very greatly resembled in character and in costume the old men of the old ,italian comedy in ,france1 such as ,pandolfo and ,gerontio1 who wore the same dress as the old men in the comedies of ,molire4 ,this type was called ,,pangrazio ,,il ,,biscegliese1 so named because he was a native of ,bisceglia4 8,it is necessary to know0 7says ,m4 ,paul de ,musset7 8that ,bisceglia is a little town of ,apulia where a dialect is spoken which has the privilege of amusing ,neapolitans however vaguely they may discern the accent4 ,from time immemorial the character of ,don ,pangrazio in the theatre of ,san ,carlino has been played by natives of ,bisceglia or else by ,neapolitans who know how to reproduce to perfection the speech of ,apulia4 ,their succs-de-ridicule depends as much upon the accent as upon the talent of the actors1 who1 for the rest1 are incomparable comedians4 ,the public laughs with confidence from the moment that ,pangrazio makes his appearance4 ,the bills of the play never fail to add to the title of the piece these words1 which constitute a particular attraction to the crowd3 ,con ,pangrazio biscegliese 7with ,pangrazio of ,bisceglia74 ,the effect produced in our theatres by the dialects of our peasants cannot approach the wild laughter excited by this ,pangrazio2 it would be necessary to go back to the days of ,gros-,guillaume and the ,gascon ,gentlemen to find an equivalent to this personage1 who still sustains with the illustrious ,pulcinella the national ,commedia dell' ,arte1 that precious and charming tradition of which the booth of ,san ,carlino is the last asylum4 ,this feature of the popular taste is1 however1 a source of bitter and cruel injustice3 the native of ,bisceglia cannot show himself in ,naples but that all the world bursts into laughter as soon as he utters a word2 the tyranny of custom and of prejudice condemns him to the profession of buffoon2 it were idle for him to become angry1 for the only result would be that the laughter would grow still more unrestrained before an access of choler in a ,biscegliese40 ,the particular merit of ,pangrazio ,biscegliese lies in the whining intonation of the dialect of his locality1 and in the exhibition of the usual absurdities which provincials bring into a capital4 ,the life of the great cities1 the luxury1 the costumes1 the somewhat relaxed morals1 cause him at every step to break into ejaculations of surprise4 8,we don't do that sort of thing at home10 he says at every moment2 or else3 8,at home there is not so much noise1 there are not so many people to elbow us as here1 but at least everybody knows everybody4 ,nor is your ,naples as beautiful4 ,i would that you could have seen ,bisceglia built upon her rock4 ,that now is a lovely country covered with rich villas and famous for her grapes and wines4 ,you cannot say as much4 ,and then in ,bisceglia you don't see all this filth that is everywhere to be met in ,naples4 ,if ,i could but finish my business ,i should not be long in getting away from your noise1 your fleas1 your lazzaroni and your abandoned women40 ,the native of ,bisceglia is very often right1 but his criticisms under the gis of his absurdities and his comical language pass for mere stupidity on his part4 ,like ,pantaloon he represents several provincial types1 tradesmen1 burgesses or old peasants2 but fundamentally his character is always the same3 rather miserly1 credulous and easy to deceive4 ,his black velvet doublet and breeches are old fashioned4 ,the sleeves of his coat and his cap are of red cloth1 his stockings of red cotton4 ,to-day ,il ,biscegliese whom the ,neapolitans also call ,pangrazio ,cucuzziello 7,pangrazio the ,cuckold71 has undergone a change of costume like most of the other ,italian masks4 ,he wears a red wig with a queue en salsifis1 and an embroidered waistcoat of the days of ,louis ,,xv4 which looks like a piece of tapestry4 ,his coat and breeches are black1 his stockings red and his shoes buckled4 ,le ,jettaturi1 con ,pangrazio ,biscegliese is the title of a piece in which ,m4 ,paul de ,musset shows us ,il ,biscegliese as he was to be seen on the stage of the ,san ,carlino in ,naples4 8,the three knocks have been sounded4 ,the little orchestra is playing the overture4 ,at last the curtain rises and we see ,don ,pangrazio arriving laden with all his preservatives against ill-luck3 the horns of a bull1 coral hands1 a rat made out of ,vesuvian lava1 a heart1 the forks and the serpent4 ,a burst of laughter greets his entrance according to custom4 ,whereupon he advances with a piteous air to the edge of the stage to take the public into his confidence on the score of his superstitious terrors4 8#8,sirs1' he says1 #8if ,i have forgotten anything let me know1 of your charity4 ,these big horns which ,i carry1 one under each arm1 preserve my brow from a similar decoration4 ,that1 however1 is not what most torments me2 for ,dame ,pangrazio is incapable of wanting in fidelity to me4 ,by turning this coral hand1 whose index and little finger are extended towards folk of a suspicious countenance1 ,i shall avoid pernicious influences4 ,my outfit is complete1 and ,i have been told that ,i might thus venture to show myself even in the streets of ,toledo4 ,i see with satisfaction that one is safe in ,naples 444 a prudent man never runs any risks in this capital2 nevertheless ,i am not quite easy4 ,i have had an evil dream1 and ,i am very anxious to return to ,bisceglia4' 8,thereupon ,don ,pangrazio relates his dream1 from which he draws all manner of prognostications4 ,in fact all possible accidents happen in the one day to poor ,pangrazio4 ,whilst he is rubbing up his amulets a thief steals his handkerchief1 another his snuffbox1 a third his watch4 ,pulcinella disguises himself as an usher to relate to him a false exploit4 ,a wily girl pretends to mistake him for her lover who was carried off to ,barbary by ,corsairs2 she embraces him and overwhelms him with her caresses4 ,pangrazio attempts to escape1 when a cart knocks him over into the mud4 ,he gets up furiously1 cursing clumsy folk1 thieves and the abandoned girls of ,naples1 whereupon two charming young men in yellow waistcoats with seals1 gold chains and quizzing-glasses politely accost him1 and assist him to cleanse himself of the mud4 ,this happy encounter charms ,il ,biscegliese1 who is in ecstasy with the fine manners and the politeness of the gentlemen of ,naples4 ,with their canes they knock upon the table of the inn and command the waiter to serve ,signor ,pangrazio with the best and the most expensive in the house3 sweetbreads and peas1 ,milanese fried cutlets1 boiled eggs1 beetroots and cucumber salad4 ,to all this ,pangrazio prefers the classical macaroni2 he is served with a rotolo1 which he consumes1 eating it with his fingers4 ,meanwhile the two fashionable fellows dine and consume the more refined dishes which ,il ,biscegliese has declined2 then they exchange a signal2 they rise1 take up their hats1 overwhelm the other in salutations and depart4 ,the old man finds it impossible to believe that he should again have fallen a victim to his credulity4 ,with his bizarre conjectures upon the cause of the absence of the young men he amuses the public1 and ends by paying the bill1 not1 of course1 without a deal of haggling40 v ,an old yellow wig showing the weft2 and surmounted by a nightcap with a greasy ribbon1 upon a bald head1 whose red ears they barely conceal2 two eyebrows shaggy and grey shading the little eyes so suspicious and mistrustful in their glances2 a rubicund nose smeared with snuff2 coarse fleshy lips gaping stupidly when their owner listens or watches what is happening about him2 a short thick neck denoting a choleric irascible temperament2 a prominent abdomen encased in a waistcoat that was erstwhile embroidered1 and a pair of old red breeches2 the whole enveloped in a make-believe dressing-gown1 a soiled yellow rag which fifty years ago was plush2 a pair of thick legs in woollen stockings1 ending in feet of an abominable size and length1 these thrust into shoes which remind us of charcoal boats2 a ponderous gait and a continual grumbling2 and there you have ,,cassandro4 ,no one has risen yet2 it is hardly day1 and already ,cassandro is complaining of the laziness of his servant and his daughter4 ,so much the better1 when all is said6 ,he will have time in which to contemplate his money4 ,having taken a discreet pinch of snuff1 from a box that creaks like a wheel in need of greasing1 he slyly opens a hiding place known to himself alone2 but a startled fly is on the wing1 and ,cassandro prudently shuts up his treasure once more4 ,next it is his servant1 ,pierrot1 asleep on his feet1 who blind and yawning comes to strike his head against his master1 crushing underfoot ,cassandro's corns and bunions ill-protected by the enormous shoes4 ,a splendid kick administered to ,pierrot1 who responds at hazard by a buffet which never misses the face of his master1 is the affair of a moment4 ,pierrot recognises his mistake and repents his precipitancy4 ,he begs pardon of his good master and all is forgotten4 8,it is already light10 says ,cassandro1 8and ,i must go out2 bring me my things and particularly my spectacles which ,i left in my room4 ,be quick60 ,cassandro is no longer alone1 therefore he must pretend in the presence of others to be deaf and short-sighted--an old ruse1 but an unfailing one4 ,whilst recommending his servant not to cook anything for breakfast and to lock the door upon his daughter1 he assumes his fine coat4 ,he takes his looped hat1 his cane with its ivory head1 his green gloves1 his colossal watch1 which himself he has mended to avoid useless expenditure4 ,the movement of this watch of his makes such a tic-toc that when he passes in the street the neighbours1 attracted by the noise1 come to the thresholds of their shops and say3 8,there is ,messer ,cassandro4 ,where is he going80 8,to see his mistress10 reply the wits4 ,to behold him as he comes adown the street you might be moved1 notwithstanding his dashing toilet1 to give him alms2 and1 what is worse1 he would accept them4 ,nevertheless he is the richest man in this parish1 just as he is the most miserly4 ,there is nothing that he will not do for money4 ,he would even give his daughter to ,polichinelle4 ,he considers him1 however1 somewhat debauched1 and prefers ,leandro1 the hidalgo1 the man of wealth1 the pretty fellow4 ,it is at the house of this prospective son-in-law that he goes to seek a breakfast1 to avoid1 so he says1 giving trouble to his servants4 8,and then10 he adds1 8we shall be better able to talk over our little affairs at table40 ,meanwhile what is happening at his home8 ,his daughter ,columbine has employed her charms to corrupt ,pierrot2 she has added to them a venison pasty and a bottle of old wine which have put to sleep all the scruples of her gaoler1 and she abandons herself to mirth and dancing with her lover1 ,harlequin4 ,it rarely happens that ,cassandro does not return at this moment1 accompanied by his amphitryon1 who struts like a cock and is laden with gifts for the seductive ,columbine4 ,thereupon the lovers take flight4 ,columbine is to be sacrificed2 but ,harlequin1 protected by a fairy whose talisman he saved1 holds his own against ,cassandro1 and battles in point of wealth with ,leandro4 ,cassandro does not hesitate4 ,the richer of the twain shall have his daughter1 his little doll2 and as the treasures of fairies are inexhaustible1 ,leandro defeated1 retires in a fury1 reproaching the old man with his lack of faith4 ,cassandro shrugs his shoulders1 laughs in his sleeve1 and blesses the lovers4 ,the character of ,cassandro was created in #aehj1 in the ,gelosi company1 under the name of ,cassandro da ,sienna4 ,his were the parts of the serious fathers1 whilst ,pantaloon1 in the same complicated intrigues1 presented1 together with the ,doctor1 the absurd personages1 the jealous husband1 betrayed1 beaten and contented4 ,this character of ,cassandro disappeared from the ,italian scenarii for more than a century1 and it was only in #agcb that ,prier revived the name to perform under it the rles of ridiculous father in the forain theatres4 ,he was imitated by ,desjardins1 in #agcf1 and ,garnier1 in #agci4 ,on the ,franco-,italian scene1 ,robert des ,brosses1 a native of ,bonn1 in ,germany1 who had joined the theatre as a musician in the orchestra1 made his first appearance on the stage in #agdd in this rle4 ,this actor1 estimable for his character and his talents1 added musical composition to his other gifts4 ,he wrote the music of a great number of ballets and comic operas4 ,in #aghj1 ,rozire was playing the same parts in the ,thtre-,italien4 ,but the most famous of all ,cassandri was ,chapelle1 whose credulity and navet were proverbial in the theatre4 ,chapelle was short and fat2 his eyes1 which were continually blinking1 were crowned by thick1 black eyebrows2 his mouth1 always agape1 lent him a stupid air4 ,his legs resembled those of an elephant4 ,if you will add to all this a clumsy1 heavy shape1 you will have some notion of ,chapelle4 ,one might imagine that ,nature1 beholding him after she had made him1 said to him3 8,i aimed at making you a man1 ,i have made you a ,cassandro2 forgive me1 ,chapelle40 ,it was to ,chapelle that the elder ,seveste related on his return from a tour in ,normandy the story of how1 during his sojourn in ,rouen1 he had educated a carp1 which followed him everywhere like a dog1 but that unfortunately he had just lost it1 at which he was very much troubled4 8,and how did you lose this carp80 inquired ,chapelle4 8,mon ,dieu60 said ,seveste1 8,i was so imprudent as to take it with me one night to the theatre4 ,a terrible storm came on after the show4 ,my carp followed me without trouble down to the street1 but there the poor beast was drowned in attempting to leap across the gutter40 8,how unfortunate10 said ,chapelle2 8,i thought that carp were able to swim like fish40 ,people had made him believe so many things that during the last years of his life he had become so mistrustful and sceptical that when one of the theatre boys would say to him3 8,you are to play to-morrow10 he would reply3 8,be off with you2 ,i am not to be taken in60 ,whenever he was asked how he fared1 he would turn his back upon the inquirer1 saying3 8,that is not true40 ,chapelle1 who added the trade of grocer to the profession of actor1 retired in #ahaf1 and went to live with an uncle1 who was a canon in ,versailles4 ,he died at ,chartres in ,january1 #ahbd4 vi ,the ,romans have a type called ,,cassandrino1 who is the same as their ,pasquale4 ,he is a worthy citizen of ,rome1 of a ripening age of some fifty years or so1 but still young in his ways3 agile1 sedulously curled and powdered1 his linen always irreproachable1 his white stockings immaculate1 his silver-buckled shoes well lacquered4 ,he wears a light three-cornered hat2 his coat and breeches are of fine red cloth which throws into relief his spangled white satin waistcoat1 with its ample skirts4 ,in character he is charming2 he is never angry whatever betide1 and he turns a deaf ear upon all jests at his expense4 ,courteous1 well-bred1 astute and witty1 it is not difficult to perceive in this type the personification of one of the handsome curial ,monsignori4 8,yesterday1 towards nine o'clock0 7says the author of the ,chartreuse de ,parme71 8,i was issuing from those magnificent rooms overlooking a garden full of orange-trees1 known as the ,caf ,rospoli1 opposite the ,fiano ,palace4 ,a man at the door of a sort of cave was saying3 #8,entrate1 o signori6 ,enter1 sirs1 we are about to begin4' ,i obtained admission to this little theatre for the sum of twenty-eight centisimi1 a price which made me fear low company and fleas4 ,i was soon reassured4 ,i had for neighbours some worthy citizens of ,rome4444 ,the ,romans are1 perhaps1 of all the people of ,europe1 those who most love and are quickest to perceive fine shades of satire4 ,the theatrical censorship in ,rome is more meticulous than in ,paris1 and consequently nothing can be more flat than the comedies performed there4 ,laughter has been driven to seek refuge with the marionettes1 where pieces more or less improvised are presented4 ,i spent an extremely pleasant evening at the ,fiano ,palace4 ,the theatre upon which the actors parade their little persons may be some ten feet wide and some four feet high4 ,the mounting is excellent1 and carefully calculated to suit actors who are twelve inches tall4 ,the fashionable personage among the people of ,rome is ,cassandrino1 a coquettish old gentleman of some fifty-five to sixty years of age1 quick1 agile1 his white hair very carefully powdered1 well groomed1 and in general more or less like a cardinal4 ,moreover ,cassandrino is trained in affairs and polished by rubbing shoulders with the great world2 he would in truth be an accomplished man but for his weakness of falling regularly in love with all the women whom he meets4 ,you will agree that such a character is extremely well invented in a country governed by an oligarchic court1 composed of celibates1 where the power is in the hands of age4 ,it goes without saying that ,cassandrino is secular2 but ,i will wager that in all the auditorium there is not a single spectator who does not in his mind invest him with the red skull-cap of a cardinal1 or at least with the violet stockings of a monsignore4 ,the monsignori are1 as is known1 young men of the pope's court1 the auditors of this country2 their rank is a step which leads to all the others4 ,rome is full of monsignori of the age of ,cassandrino1 who have failed to make their fortune1 and who seek what consolation they can find whilst awaiting the red hat40 ,m4 ,frdric ,mercey gives us in his ,thtre en ,italie several accounts of the pieces which were performed at the ,fiano ,theatre3 ,il ,viaggio a ,civita-,vecchia1 ,cassandrino ,dilettante1 ,cassandrino ,impresario1 etc4 ,in #ahdj this theatre was directed and worked by a jeweller of the ,corso who1 by a curious chance1 was homonymous with the hero of his improvisations--,signor ,cassandro4 ,illustration vii ,the spirit of ,venetian mischief and ,venetian quaintness appears to be personified in the mask of ,,facanappa1 the leading character in the marionette troupes4 ,his success in ,venice is equal to that of the ,biscegliese in ,naples4 ,the bills never fail to indicate that he is included in the piece2 it is ,harlequin the ,bankrupt1 with ,facanappa2 ,pantaloon the ,grocer1 with ,facanappa1 etc41 etc4 ,his every entrance is greeted with applause and anticipatory thrills of mirth4 ,it is he who comes to notify the public of changes made during the performance1 and who at the final curtain comes forward again to announce the pieces of the morrow1 which1 as usual1 are with ,facanappa4 ,his is the privilege of saying everything he pleases1 and he is not backward in making numerous allusions1 employing the most current words in his ,venetian dialect1 and manufacturing new ones when the need arises4 ,a long parakeet nose1 surmounted by a pair of green spectacles like those of ,tartaglia1 a flat wide-brimmed hat1 a red cravat1 an enormous waistcoat with tinsel buttons and a long white coat1 the tails of which trail along the ground--such is the appearance of this personage1 whose offices are very varied1 but whose character at bottom seems to be that of a sort of ,venetian ,monsieur ,prud'homme4 ,in the beginning of the eighteenth century this type bore the name of ,bernardone4 ,in #agje1 the actor ,leinhaus played in the improvising company of ,venice the rles of ridiculous parents under this name1 with a ,venetian accent1 so as to be as reminiscent as possible of the classical ,pantaloon4 ,zanobio is another type of old man of the same sort1 but dating back to the fifteenth century4 ,this personage parodied the citizens of ,piombino1 and his rle was extremely characteristic4 ,in the ,gelosi troupe1 which played in ,florence in #aegh1 ,girolamo ,salimbeni1 a ,florentine1 was engaged by ,flaminio ,scala exclusively for this character4 viii ,there existed once in ,palermo a national theatre1 like that of ,naples1 but with types that were entirely different4 ,thus the father of the family1 the ,baron 7,,il ,,barone71 a ,sicilian lord1 the dupe of his servants and his daughter1 was the personification of the nobility of the land1 and of the bourgeoisie aiming at aristocratic distinctions4 ,it is not known whether ,lappaio and his successor ,pasquinio1 two famous ,sicilian actors1 preserved this type1 but down to the latter half of the nineteenth century there were still no ,sicilian marionette pieces that did not include the ,baron4 ix ,under the name of ,fleschelles in serious rles1 and under that of ,gaultier-,garguille in farces1 ,hugues ,guru1 who was born in ,normandy1 played the parts of father and of old man1 at first in the ,thtre du ,marais in #aehh1 and later at the ,htel de ,bourgogne4 ,his name1 ,,gaultier-,,garguille1 is derived from gaultier1 meaning bon vivant1 from the old ,french verb gaudir 7to rejoice or to enjoy7 and from garguille which means gargoyle or wide-throat4 ,guru married the daughter of ,tabarin somewhere about #afbj4 ,he must then have been at least fifty years of age 7he was of the same age as his father-in-law71 whilst his wife was very young and very wealthy4 ,after the death of ,gaultier-,garguille she was able1 through her own wealth and that bequeathed her by her husband1 to marry a gentleman of ,normandy4 ,gaultier was a good and worthy husband1 and in fine weather he would leave his house in the ,rue ,pave-,saint-,sauveur to repair to his country villa1 near the ,porte ,montmartre1 there to live as a franc bourgeois4 ,he was lean of body1 long of leg1 and broad of face4 ,he wore a greenish demi-mask with a long nose and cat's whiskers2 his hair was stiff and white1 his beard pointed like that of ,pantaloon1 his breeches and shoes were black1 and he wore a black doublet with red sleeves2 he was equipped with a pouch1 a dagger and a cane4 ,in #afbb1 the ,htel de ,bourgogne was in the apogee of its success4 ,the best farces performed were1 according to the critics of the day3 ,la ,malle de ,gaultier1 ,le ,cadet de ,champagne1 ,tire la ,corde1 ,j'ai la ,carpe1 ,mieux que ,devant1 ,la ,farce ,joyeuse de ,maistre ,mimin1 etc4 ,gaultier-,garguille enjoyed in particular a great reputation as a singer of absurdities1 and somewhere about #afcj a collection of songs was published1 mostly of an obscene character1 approved by ,turlupin and ,gros-,guillaume4 ,hugues ,guru died in #afcc4 ,he was replaced after his death by ,jacquemin ,jadot1 who1 however1 never reached the level of ,gaultier-,garguille4 x ,in the ,french company at the theatre of the ,htel de ,bourgogne in #afcd1 ,,guillot-,,gorju was the personification of the ,doctor4 ,the part was played by ,bertrand ,haudouin de ,saint-,jacques who1 according to ,guy-,patin1 had been dean of the faculty of medicine4 ,he played for eight years at the ,htel de ,bourgogne1 then withdrew and went to ,melun1 where he resumed his medical profession4 ,but1 seized with melancholy1 he returned to the ,htel de ,bourgogne4 8,he was a big man1 dark and very ugly3 his eyes were sunken and his nose resembled a trumpet1 and although in general appearance he was not unlike an ape and there was absolutely no necessity for him to wear a mask in the theatre1 he nevertheless never appeared without one40 ,doctor ,guillot-,gorju was dressed from head to foot in black4 ,he wore the ancient costume of the time of ,henri ,,iv4 ,the doublet buttoned to the chin1 trunks like a pair of melons and tight stockings2 he wore two garters on his left leg1 one above and the other below the knee4 ,he died in #afdc at the age of fifty4 ,,ix ,,the ,,cantatrice ,it was the custom of the ,greeks to sing all their poetry and they gave no theatrical pieces that were not sung and accompanied by instruments4 8,in ,homeric days10 says ,m4 ,charles ,magnin1 8the singers went about like the troubadours in the ,middle ,ages1 celebrating the exploits of heroes in festivals1 in public assemblies and in the palaces of kings1 and always preferring the very latest songs40 ,thespis1 in the scenarii which he composed1 caused his songs to be sung by a chorus2 this1 for instance1 was the case with the songs to ,bacchus and ,silenus in the scenarii entitled ,the ,vintage4 ,thereafter the actors would declaim4 ,he was the first to draw from the chorus a solo singer who was known as a corypheus4 schylus added a second singer1 and when ,terpander had introduced lyre accompaniments for the songs the foundations of opera were laid4 ,the ,latins failed to develop that taste and fashion for music which had characterised the ,greeks4 ,with them songs and accompaniments were things apart from poetry4 ,we know that the ,atellan were composed of farces1 pantomimes1 dances and music4 ,many of their plays must greatly have resembled our modern comic operas or1 rather perhaps1 those pieces which once were called interludes in ,italy1 and are known to-day as opera buffa4 ,in antiquity this name of interlude was given to all pieces that were played or sung during the intervals in the main performance4 ,the tragic or comic chori would come upon the proscenium between every two acts4 ,little by little these chori were replaced by mimes1 buffoons or dancers1 and then by short pieces mingled with songs to sustain the patience of the spectators during the wait4 8,after the fashion of the ancients10 says ,m4 ,castil-,blaze1 in his ,histoire de l',opra ,italienne1 8who brought on the chorus during the entr'actes of their dramas1 the ,italians gave madrigals and songs to fill up the same spaces4 ,these interludes1 unconnected by any dialogue1 did not long retain the suffrages of the public4 ,la ,flora by ,alamanni1 ,il ,granchio by ,salviati1 and ,la ,cofanaria by ,ambra1 which were performed and published in ,florence in #aeff1 with the concert interludes written by ,lori1 ,nerli and ,cini for these gay comedies1 led the public to exact something better4 ,il ,mogliazzo and ,la ,cattrina 7atto scenico rusticale71 by ,francesco ,berni1 produced in ,florence in #aeff were extremely successful because a remarkable dramatic action with two or three characters was unfolded in these harmonious interludes4 ,this was the dawn of the opera buffa1 a happy prelude to the ,gallina ,perduta of ,francesco ,escolani1 which soon took ,italy by storm1 and to ,la ,serva ,padrona which was greeted with enthusiasm1 by the whole of ,europe40 ,the ,prsident de ,brosses1 writing of this little masterpiece of ,pergolese's1 says3 8,there are a male and a female buffoon who play a farce in the entr'actes in a manner so natural1 and with an expression so comical1 that it is impossible to conceive the like4 ,it is not true that it is possible to die of laughter1 for if so ,i should now be dead1 notwithstanding that the pain ,i experienced in the expansion of my spleen hindered me from hearing as well as ,i desired the celestial music of this farce40 ,in the nineteenth century1 between the lowering and raising of the curtain1 the entr'acte existed in all its tiresomeness4 ,the boredom begotten of these long waits was frequently a source of ill-will on the part of the public1 who spent half the evening yawning4 ,it was necessary that a piece should be very good to survive these entr'actes4 ,it was generally deplored in ,france that the custom of filling these gaps as in the eighteenth century should have passed from fashion4 ,it was in these interludes that the ,italians showed1 more even than in their dramas and tragedies1 how great they are as composers1 as actors1 as mimes and as singers4 8,the ,italians0 7says the ,prsident de ,brosses7 8have cultivated a taste for the theatre which is above that of any other nation2 and as they are no less gifted in the matter of music1 they never divorce the one from the other2 thus most often tragedy1 comedy and farce are all opera in ,italy40 ,the first opera buffa was performed in ,rome at the beginning of the sixteenth century on the occasion of the ftes given by ,giuliano de' ,medici1 the brother of ,leo ,x4 ,the comedy of ,plautus1 ,pnulus1 was set to music and performed on two consecutive days in an immense theatre expressly built in the square of the ,capitol4 ,in the sixteenth and seventeenth centuries1 there were no pieces1 whether scenarii for improvisors or fully written plays1 that did not conclude with dancing or singing1 either of a popular character or else drawn from tragedies set to music by such famous composers as ,peri1 ,crosi1 ,monteverde1 ,soriano1 ,emilio del ,cavaliere1 ,marco ,antonio ,cesti and ,giovanelli1 ,cavalli2 these did then for the theatre what was done in the following century by ,scarlatti1 ,pergolese1 ,jomelli1 ,piccinni1 ,paesiello1 ,cimarosa1 and1 in the nineteenth century1 by ,cherubini1 ,rossini1 etc4 ,in the beginning of the sixteenth century--in #aebf--,la ,barbera created a sensation in ,italy4 ,she was a ,florentine1 and she travelled from city to city at her own charges1 accompanied by a chorus1 with the support of which she gave those interludes1 for which the taste amounted then to a veritable passion4 ,macchiavelli has a deal to say of her in his letters4 8,la ,barbera should be at this moment in ,modena10 he writes to ,guicciardini1 at the end of a long political letter1 8and if you can serve her in any way ,i recommend her to you1 for she engages my thoughts a deal more than does the emperor40 ,florence1 ,turin1 ,venice1 ,bologna1 ,rome and ,naples were the first cities in which the ,italian opera was established1 and in which fame was achieved for the beauty of their voices by the ,signore ,catarina ,martinella1 ,franceschina ,caccini1 ,giulia and ,vittoria ,lulle1 ,la ,moretti1 ,adriana ,baroni1 ,checca della ,laguna1 ,margherita ,costa1 ,petronilla ,massimi1 and ,francesca ,manzoni4 ,all these virtuose1 in addition to being singers1 were actresses and performers upon several instruments3 for in the ,farsa or ,festa ,teatrale of ,jacopo ,sannazaro1 performed in ,naples at the palace of the ,prince of ,calabria1 in #adib1 an actress representing ,joy sang1 to her own accompaniment on a viol1 whilst her three followers played the flute1 the fiddle and the pipe4 ,this custom of combining talents and of a singer's sometimes being his or her own accompanist1 continued in ,italy down to the end of the eighteenth century4 ,the greater part of these operas were intermingled with improvised scenes1 and farces performed by the characters of the ,commedia dell',arte4 ,in ,l',anfiparnasso--a harmonic opera by ,orazio ,vecchi1 performed in ,modena in #aeid--;,brighella1 ,pantaloon1 a lackey named ,pirolino1 and the ,captain1 move as freely as in their own improvised farces4 8,pantaloon calls ,pirolino4 ,the greedy servant answers him from afar with his mouth full4 ,pantaloon cries3 #8,holla1 ,pirolino6 ,where are you then8 ,pirolino6 ,pirolino6 ,ah6 thief1 what are you doing in the kitchen8' #8,i am filling my stomach with birds1' says ,pirolino1 #8with birds which used to sing3 ,pipiripi6 cucurucu6'0 ,on the #adth ,december #afde1 ,cardinal ,mazarin commanded a performance to be given in ,paris at the ,petit-,bourbon ,theatre1 of ,la ,finta ,pazza of ,giulio ,strozzi1 with music by ,francesco ,socrati1 and machinery by ,torelli4 ,margarita ,bartolazzi was the ,,cantatrice in this troupe4 ,her voice1 says a contemporary author1 was so charming that it would be impossible worthily to praise her4 ,luigia ,gabriella ,locatelli and ,giulia ,gabrielli were also included as ,cantatrices in this same company1 which continued its performances down to #afeb4 ,in #afeh1 at the ,petit-,bourbon1 a great performance was held of ,la ,rosaura1 a lyric tragedy by ,antonio ,arcoleo1 with music by ,antonio ,perti1 originally given in ,venice4 ,the interludes were filled by ,fiurelli 7,scaramouche74 ,the word opera was then used in its true sense of 8work40 ,it was customary to say opera musicale1 opera tragica1 sacra1 comica1 scenica1 armonica1 etc4 ,works such as ,la ,rosaura1 ,orfeo1 ,ercole ,amante and ,serse were announced with the word ,machines at the head of the bill1 and the room in the ,louvre where these ,italian operas were performed bore the name of the ,salle des ,machines4 ,the opera ,serse 7,xerxes71 first given in ,november1 #affj1 was so long that it took more than eight hours to perform4 ,the players in this piece were ,signora ,anna ,bergerotti1 ,signor ,melone1 who was an abb1 and who played feminine rles1 ,bordignone1 ,atto1 ,tagliavacca1 ,zanetto1 ,chiarini1 ,piccinni1 ,assalone1 ,rivani and ,augustino4 ,in the interludes1 8,scaramouche 7,tiberio ,fiurelli7 appeared in disguise1 and danced between two ,doctors2 he was recognised by his companions1 ,trivelino and ,pulcinella1 who stripped and beat him40 ,to the company of ,italian singers ,louis ,,xiv4 united for these performances that of the ,italian buffoons as well as the ,french dancers and musical performers4 ,of these royal fantasies were soon born the ,french opera and the permanent installations of the ,french and ,italian comedies4 ,after the demolition of the ,petit-,bourbon1 ,louis ,,xiv4 lent the hall of the ,palais-,royal to ,molire and to the troupe of ,italian comedians who also sang1 but whose singing was confined to couplets4 ,in ,gherardi's collection we see that at the end of the seventeenth century some of the airs fitted to the comedies are ,italian and others ,french4 ,they are mostly melodies drawn from the old ,italian operas of the beginning of the century1 and from ,french rigadoons and ,italian couplets1 many of which have a deal of maestria4 ,in the case of some pieces1 however1 like ,les ,originaux 7#afic71 the music of which was written by ,m4 ,masse1 the airs were specially composed for the occasion4 ,the rle of ,la ,chanteuse or ,cantatrice was really a very limited one and demanded no more than a pretty voice and a pretty face4 ,such attributes were supplied by ,elisabeth ,danneret1 known then under the name of ,babet la ,chanteuse1 who made her dbut at the ,italian comedy on #hth ,july #afid1 in ,la ,fontaine de ,sapience4 ,she was short of stature1 but extremely well made and very pretty4 ,her duties consisted in appearing dressed as a shepherdess--as shepherdesses were dreamed of in those days--to proffer a cup of a miraculous water whilst singing3 8,qui gote de ces eaux ne peut pas plus se mprendre ,quand l'amour lui demande un choix2 ,buvons-en mille et mille fois2 ,quand on prend de l'amour1 on n'en saurait trop prendre40 ,and1 at the end of the piece1 when shepherds and shepherdesses have chosen one another with sapience and are dancing together1 the cantatrice shepherdess returns1 and sings3 8,amanti1 ci vuole costanza in amor'1 ,amando1 ,penando1 ,si speri1 si1 si2 ,che basta sol un di1 ,un' hor'1 un momento1 ,per render contento ,un misero cuor'40 ,in ,le ,dpart des ,comdiens 7#afid71 ,gherardi1 as ,harlequin1 says to the ,doctor3 8,as for you1 sir1 you are going to live on your rents4 ,i should like to associate myself with you1 but it is forbidden to an ,italian comedian to go into retirement before the age of a hundred and twenty1 and it was only out of kindness that ,scaramouche was permitted to retire at ninety-four40 ,then1 turning to ,babet3 8,and you1 mademoiselle1 what are you going to do80 he would inquire4 ,babet answered him in song3 8,quand une fille1 ,jeune et gentille1 ,voudra1 ,bientt elle parviendra4 ,j'en connais une1 ,que la fortune ,jusques aux cieux lvera 444 ,dans un nuage1 l',opra40 ,babet hardly realised the truth of the fiction which she sang4 ,after the death of ,gherardi1 with whom she had lived as a wife1 and by whom she had had a son1 she did indeed join the opera4 ,sometimes ,babet was dressed as a sibyl1 as an ancient priestess1 as ,bellona1 the goddess of war1 as a ,naad1 as an ,egyptian1 etc4 ,some wits on the subject of the ,cantatrice announced that an abb formed part of the new company in the capacity of almoner4 8,they have a ,cantatrice1 a ,doctor and an ,almoner2 therefore the company is complete40 ,we do not know whether an abb did indeed accompany the comedians1 but if so that would not have been the first case of its kind in an ,italian troupe4 ,the ,italians frequently mingled religious practices with the most profane things4 ,the first register of the new troupe was conceived as follows3-- 8,in the name of ,god1 of the ,virgin ,mary1 of ,saint ,francis1 of ,paul1 and of the souls in ,purgatory1 we start our performances on this eighteenth of ,may1 #agaf1 with ,l',inganno ,fortunato40 ,a story related by the ,prsident de ,brosses1 in speaking of a performance in the amphitheatre of ,verona1 in #agdj1 is no less curious4 8,let me not forget to tell you of a singular surprise ,i experienced at the comedy1 on the first occasion that ,i went there4 ,a bell in the city having sounded1 there was so sudden a movement about me that ,i thought the amphitheatre was tumbling into ruins1 particularly as ,i saw that the actresses were running away1 and one of them notwithstanding that at the moment1 in accordance with the prescriptions of her rle1 she was in a swoon4 ,the real cause of all this was that the ,angelus had just sounded1 and that the whole assembly had knelt down facing the ,east1 whilst the actors vanished into the wings and an ,ave ,maria was sung4 ,after this1 the swooning actress returned1 very properly performed the usual obeisance after the ,angelus1 resumed her condition of unconsciousness1 and the piece continued40 ,in the performance of the company of #agaf we find ,les ,stratagmes1 music by ,plagliardi 7#agaf72 ,alcyone1 a parody 7#agda71 music by ,m4 ,blaise2 ,la ,serva ,padrona 7#agef71 music by ,pergolese4 ,other musical composers of the ,italian comedy were3 ,tarade1 ,kohot1 ,philidor1 ,gibert1 ,sodi1 ,monsigni1 ,chardini1 ,lamette1 ,duni1 ,clment1 ,grtry1 ,le ,chevalier d',herbain1 ,bambini1 ,gossec1 ,garnier1 ,desbrosses1 etc4 ,rosalia ,astraudi made her dbut on the #cjth ,april #agdd4 ,she was eleven years of age at the time1 and she was engaged to sing in parodies and interludes1 to play lovers and soubrettes and to dance in the ballet4 ,she discharged all these offices to the satisfaction of the public1 married a nobleman1 and left the theatre in #agee4 ,justine-,benote du ,ronceray1 known as ,mademoiselle ,chantilly1 born at ,avignon in #agbg1 was the daughter of ,du ,ronceray1 sometime musician of the chapel of the ,king of ,france1 and later choir-master to ,stanislas1 ,king of ,poland4 ,in #agdd she was a dancer in the service of this monarch1 when she obtained leave to visit ,france1 accompanied by her mother1 ,claudine ,bied1 who was also in the employ of the ,king of ,poland as a musician4 ,she made her dbut in the theatre of the ,opra-,comique at the fair of ,saint-,laurent1 under the management of ,favart4 ,favart fell seriously in love with her1 and married her at the end of that year4 ,he was summoned later on by the ,marchal de ,saxe1 to undertake the management of the theatre which was to follow the ,french army into the ,low ,countries4 ,the marshal's camp was never without its comic opera4 ,it was from its stage that the battle orders were issued4 ,in the interval between two pieces the principal actress--a part long filled by ,madame ,favart--would come to make such an announcement as3 8,gentlemen1 there will be no performance to-morrow as ,m4 le ,marchal is delivering battle4 ,on the next day we shall give ,le ,coq du ,village1 ,les ,amours ,grivois40 ,from principles both of taste and of system1 the ,marchal de ,saxe insisted upon gaiety in his armies4 ,he said that the ,french never conducted themselves so well as when they were gaily led1 and that what they most feared in time of war was boredom4 ,mademoiselle ,chantilly1 therefore1 followed her husband to headquarters in ,brussels4 ,it was there that the ,marchal de ,saxe fell in love with her 7#agdf74 8,mademoiselle de ,chantilly0 7he wrote one day71 8,i take my leave of you4 ,you are a more dangerous enchantress than the lady ,armida4 ,now as ,pierrot1 now as ,love1 now as a simple shepherdess1 you bear yourself so charmingly that you enchant us all4 ,i1 too1 have beheld myself at the point of succumbing1 ,i whose sinister art affrights the universe4 ,what a triumph for you had you been able to subject me to your laws6 ,i am grateful to you for not having exerted all your arts4 ,for a young sorceress you contrive very well with your crook1 which is no less1 ,i think1 than the wand by which that poor ,prince ,renaud was stricken4 ,already ,i have beheld myself surrounded by blossoms and petals1 sinister equipment for a favourite of ,mars4 ,i tremble to think of it4 ,and what would the ,king of ,france and ,navarre have said if he had found me grasping a garland instead of the torch of vengeance8 ,notwithstanding the danger to which you have exposed me1 ,i cannot bear you any grudge for my error2 it is charming6 ,but it is only by flight that so great a peril is to be eluded3 8,adieu1 divinit du parterre adore2 ,faites le bien d'un seul et les dsirs de tous2 ,et puissent vos amours galer la dure ,de la tendre amiti que mon cur a pour vous60 8,forgive1 ,mademoiselle1 this rhymed prose which your talents inspire from the lingering remains of my intoxication2 the liquor ,i have drunk lasts1 it is said1 often longer than we think4 8,,maurice ,,de ,,saxe40 ,madame ,favart made her dbut at the ,comdie-,italienne on the #eth ,august #agdi4 8,there is no other instance of so great a success40 ,grimm says that her celebrity was the result of the passion she had inspired in the hero of ,fontenoy4 ,her talents were variously appreciated4 ,she had1 we are assured1 a frank and natural gaiety1 an agreeable and piquant manner4 ,fitted for any character1 she rendered all with a surprising truth3 soubrettes1 leading ladies1 peasant girls1 nave parts1 character parts1 she made them all her own2 in a word1 she could multiply herself without end1 and audiences were amazed to see her play on the same day1 in four several pieces1 four entirely different rles4 ,she was able so perfectly to imitate the various dialects that people whose accent she borrowed imagined her their compatriot4 8,we emphatically assert10 wrote the brothers ,parfait1 in #agfi1 8notwithstanding the sentiments of those who are always greedy of novelty1 that this amiable actress has not yet been equalled in these rles2 and to convince all who might doubt it there is no need to do more than to send them to witness the first performance of ,la ,fe ,urgle1 which is about to be given40 ,in ,june of #agga the first symptoms of the disease that was to kill her made their appearance2 and although she was well aware of her desperate case she continued to play until the end of the same year1 out of interest for her comrades4 ,of her death in #aggb ,grimm wrote as follows1 very harshly disparaging her talents3-- 8,the theatre of the ,comdie-,italienne has just lost a celebrated actress in ,madame ,favart4 ,throughout all her protracted sufferings she showed a great deal of fortitude and patience4 ,upon recovering one day from a long swoon she perceived1 among those whom her danger had hastily brought about her1 one of her neighbours in grotesque accoutrements4 ,she smiled1 and said that she had thought to behold the ,clown of ,death 7le ,paillasse de la ,mort7--a jest full of character from the lips of a dying actress4 ,the priests were never able to induce her to renounce the theatre4 ,she said that she would not be forsworn2 that the theatre was her state2 that if she were to recover she would be compelled to play again1 and that consequently it was impossible for her to renounce her profession in good faith2 she preferred to die without the sacraments4 ,when1 however1 she felt herself to be expiring she exclaimed3 #8,oh6 pour le coup1 j'y renonce4' ,those were her last words4 ,madame ,favart was somewhere about fifty years of age4 ,she was a bad actress4 ,her voice was harsh and her manner coarse and ignoble4 ,she was only endurable in exaggerated characters and not long in those2 she was very superior in the part of the ,savoyard ,montrant la ,marmotte3 that was her great talent1 and it made her fortune in the theatre at the time of her dbut in #agdi4 ,she was then called ,mademoiselle de ,chantilly2 she danced and sang and her dancing sabots turned the head of all ,paris40 ,between ,august #ageb and ,march #aged1 ,monelli1 ,guerrieri1 ,lazzari and the ,signore ,anna ,tonelli1 ,catarina ,tonelli and ,rosa ,lazzari were seen as singers on the stage of the ,comdie-,italienne4 ,they presented ,pergolese's ,la ,serva ,padrona1 ,il ,maestro di ,musica by ,scarlatti1 ,serpilla et ,bajocco by ,ristorini1 and other interludes set to music by ,cocchi1 ,selleti1 ,rinaldo di ,capua1 ,latilla1 ,jomelli1 ,ciampi and ,leo4 ,as these ,italians sang only in opera buffa1 the name of buffoons came to be given them4 ,hence it is that still to-day we speak of buffi in the ,italian companies1 although there is usually nothing of the buffoon in their performances4 ,in the middle of the eighteenth century war was declared between ,french music and ,italian music4 ,french music1 with the ,king and ,madame de ,pompadour at its head1 carried the day4 ,the ,italian singers quitted ,paris1 but the ,comdie-,italienne seized upon their repertory1 appropriated subjects and music1 and translated all their pieces1 such1 for instance1 as ,la ,serva ,padrona1 which became a ,french comic opera under the title of ,la ,servante ,maitresse4 ,laruette1 ,rochard1 ,bouret1 ,mesdames ,favart1 ,rosalie ,astraudi1 ,foulquier 7,catinon71 and ,superville sang in ,french1 and bolstered up the weakness of their singing by the liveliness and dash of their performances4 ,this was the true cause of the failure in ,paris of the ,signora ,deamicis on the #bjth ,june #ageh1 when she made an attempt to restore to the esteem of the ,french public the ,italian music which five years before had yielded so many comic operas4 ,after only one performance lasting four hours1 and consisting of ,la ,serva ,padrona and ,gli ,raggieri della ,femina ,scaltra1 the ,signora ,deamicis and her father understood that further efforts would be useless4 ,she crossed to ,england1 where she abandoned the line of prima comica and took up the serious music of ,bach4 ,mademoiselle ,foulquier made her first appearance in #agec1 in the rles of ,anglique1 and was seen later on in those of ,silvia4 ,she added to circumspection of behaviour and natural graces in singing and in declamation1 a superlative degree of talent as a dancer4 ,her elder sister1 ,madame ,bognoli1 was seen as ,silvia in #ageh4 ,on the #fth ,may #agfa1 ,mademoiselle ,piccinelli made her dbut as an ,italian ,cantatrice4 ,favart1 in a letter to the ,count of ,durazzo1 relates as follows the history of ,mademoiselle ,piccinelli3-- 8,here is what is said3 ,one day a poor village woman found a new-born child abandoned in a field2 this was our ,signora4 ,the peasant woman took charge of her out of charity1 fostered her1 and brought her up as best she could as her own child until the age of eight4 ,then one of those women who seek in the youth and beauty of members of their own sex a means to their own fortunes chanced to pass through the village1 saw the little one1 was impressed by her natural graces1 and proposed her purchase for a moderate sum4 ,the bargain was concluded4 ,this third mother spared nothing to give her adopted daughter an education suitable to the state of life which she had in view for her4 ,the child profited beyond all the hopes that had been entertained4 ,already the matrone entertained visions of fortune2 she caused the girl to enter the theatre2 she arranged to procure for her an opulent protector2 but the young actress1 whose tastes did not incline to these dispositions1 decided to choose for herself4 ,this of course was opposed4 ,to the end that she might have peace1 the girl then left her third mother and voluntarily placed herself under the protection of another adoptive one1 so that she might appear becomingly in the world2 this last conducted her to ,paris4 ,there ,mademoiselle ,piccinelli was well received at the ,comdie-,italienne1 and her success was everywhere proclaimed4 ,thereupon the various mothers of the cantatrice sought her out and each one claimed her4 ,the first one said3 #8,she is mine1 ,i gave her life4' ,the second one said3 #8,i saved that life2 ,i fostered her2 she belongs to me4' ,the third one3 #8,i bought her2 ,i educated her2 who can dispute my rights8' ,the fourth one added3 #8,she gave herself freely to me1 and ,i am working daily to make her fortune1 which is the best claim of all4 ,i will tear out the eyes of any one of you that disputes her with me4' ,our ,cantatrice1 to make the peace amongst them1 gave an equal sum of money to each4 ,the first three withdrew2 the fourth remained with her as her counsellor4 ,la ,piccinelli1 fatigued by these little family vexations1 ended by renouncing all her mothers1 and placed herself under the authority of a husband4 ,she chose ,m4 ,vezian1 the brother of a very pretty girl who was with us at the ,comdie-,italienne1 and to whom he owes the considerable position which he fills40 ,mademoiselle ,piccinelli added to a charming presence 8a voice of great range and flexibility1 of a silvery and pleasant timbre4 ,she was able to please ,french ears4 ,with this gift she combined that of playing comedy with great nobility40 ,mademoiselle ,collet made her dbut on the #bast ,january #agba1 in ,la ,fille ,mal ,garde4 8,her infantile performances obtained her the applause of the public1 which was redoubled when she was seen in the rle of ,betzi in ,le ,roi et le ,fermier4 ,these are about the only characters in which she achieved distinction4 ,her voice was poor1 and she replaced by mannerisms what she lacked in expression40 ,in #agfb1 ,signorina ,colomba1 a ,venetian1 successfully made her dbut at the ,comdie-,italienne in ,paris4 ,an ,englishman fell in love with her and attempted to carry her off4 ,she left the theatre to escape from him1 and did not return to it until #aggb4 8,her dbut was of the most brilliant10 says ,grimm in his correspondence4 8,she is no longer in her first youth2 at least she has the air of being about thirty years of age4 ,her only fault is that she is invested with too much nobility and too much beauty for the rles of comic opera2 her carriage1 her walk1 her air1 are those of a queen4 ,her glance is august1 noble and tender2 her great eyes1 the most beautiful in the world1 seem to suggest that the proper place for her is tragedy4 ,her play is not without mannerisms1 but they are mannerisms that are pleasing4444 ,she has a charming voice1 and an excellent way of singing1 full of that grace1 sweetness and facility which ,french singers can never achieve4 ,speaking for myself1 this is the first1 and perhaps the last time that ,i have heard anyone sing in a ,parisian theatre with such ravishing charm and grace40 ,the ,italian comedians1 to repair the loss which they suffered in the retirement of ,mademoiselle ,piccinelli1 and the death of ,madame ,savi--who had made her dbut in #agfj in the parts of leading lady--charged ,colalto1 who played ,pantaloon parts1 to go to ,italy to find two actresses4 ,he left in ,april of #agff and returned in ,august with the ,signore ,zanarini and ,bacelli1 mother and daughter4 ,they made their dbut as first and second ladies in ,gli ,amori d',arlequino of ,goldoni4 ,those who understood ,italian applauded them heartily1 especially the mother2 the others withdrew but indifferently satisfied4 ,madame ,zanarini was engaged to play leading rles1 and her daughter1 ,mademoiselle ,bacelli1 for those of soubrettes4 ,in #aggj ,paris received ,mademoiselle ,mesnard1 a young and pretty ,cantatrice1 who had begun life as a shopkeeper and then entered the theatre under the protection of the ,duke of ,chaulnes1 who had her portrait painted by ,greuze4 ,it was she who was the mistress of ,beaumarchais1 and the cause of that scandalous rough-and-tumble between the 8duc et pair crocheteur0 and the author of ,figaro4 ,we know that1 as a consequence of this affair1 ,beaumarchais1 although acquitted by the tribunal of the ,marshals of ,france1 which had sent ,m4 de ,chaulnes to the prison of ,vincennes under a lettre de cachet1 was sent to ,fort-l',evque by ,m4 de la ,vrillire for the sole reason that it was impossible for the son of a clockmaker to be in the right in a quarrel with a duke and peer4 ,of ,madame ,ruette1 ,grimm writes on the occasion of her retirement in #aggg3 8,this charming actress united to the most engaging of voices and the finest of countenances1 a tact that is infinitely rare1 and a most nave and delicate sensibility4 ,it is hopeless to expect to see again the rles of ,isabella and ,columbine played as they were played by her4 ,the delightful scene of the ,rose in ,le ,magnifique was entirely her own work2 she diffused into it a mixture of propriety and interest whose magic is inexplicable4 ,a singular saying1 perhaps1 but one full of truth1 was that of ,madame d',houdetot when she declared that1 #8in that moment ,madame ,la ,ruette expressed modesty even in her back4'0 ,the theatres of the fair of ,saint-,laurent took possession of the types1 the pieces and the music of the ,italians4 ,they played and sang ,french recitatives with ,italian music1 ,french dance music and ,french romances4 ,down to #agba we can find only couplets upon ancient airs1 or those which already had been sung elsewhere4 ,in #agcg1 ,monsigny wrote the music of ,on ,ne ,s',avise ,jamais de ,tout1 and of several other comic operas4 ,in #agei1 ,duni composed ,la ,veuve ,indcise1 and ,laruette wrote ,le ,boulevard in #agec4 ,other composers of music for the ,opra-,comique were ,,mm4 ,lacoste1 ,gillier1 ,aubert1 ,delacroix1 etc4 ,since the ,opra-,comique manifested too great a development1 and the ,italian troupe fell short of what was necessary1 the two companies united their forces in #agfa4 ,the troupe of the ,opra-,comique was then composed of ,mesdemoiselles ,deschamps1 ,rosaline1 ,nessel1 ,luzi1 ,arnoult1 ,dezzi1 ,florigny4 ,the men were ,laruette1 ,bourette1 ,delisle1 ,audinot1 ,parau1 ,saint-,aubert1 ,clairval and ,guignes4 ,in the forain theatres the principal actresses singing in comic opera or in parodies were3 ,mademoiselle ,maillard1 the daughter of a cook and a lace-mender4 ,she began in #afif with ,bertrand1 who perceived her talent and gave her an engagement in his company1 in which she remained for eight years4 ,she married a young man named ,cav1 at ,besanon4 ,he took the name of ,maillard and became an actor 7see ,scaramouche74 ,she retired when ,mademoiselle de ,lisle entered the theatre in #agaf4 ,on the point of being confined1 she was accidentally wounded1 and died in ,september1 #agba4 ,mademoiselle de ,lisle1 born in #afhd1 was barely eleven years of age when she made her first appearance as a soubrette at the ,opra-,comique4 ,she reappeared in #agaf1 played until #agdj1 and died in #ageh4 ,mademoiselle ,bastolet1 born in ,paris1 joined the ,jeu de ,bertrand in #afih1 on a salary at the rate of tenpence a day4 ,afterwards she played with ,dolet1 with the ,sieur ,saint-,edme1 with ,lalauze in #agba1 and with ,honor in #agbd1 and she married an ,italian doctor in #agce4 ,later1 in the company of the ,sieur ,pontau1 she scored considerable success in the rles of mothers4 ,mademoiselle ,lambert played leading parts and sang in vaudevilles2 she married ,dolet1 who1 before being a manager of the theatres at the fairs of ,saint-,laurent and ,saint-,germain1 had filled an engagement in the ,italian company of ,constantini1 and afterwards in that of ,tortoretti4 ,she left the theatre in #agji1 became a modiste at the fairs of ,saint-,germain and ,saint-,laurent1 but1 failing to make a success of this business1 she induced her husband to give up the theatre1 and jointly with him opened a lemonade shop4 ,in #agjj1 ,mademoiselle ,babron1 the daughter of a box opener at the ,comdie-,italienne1 sister of ,babron 7the forain ,harlequin71 appeared in rles of ,columbine and of women disguised as men1 in ,bertrand's company4 ,in #agjg she married the actor ,prevost1 and went with him into the country4 ,in #agaj1 ,mademoiselle d',aigremont1 known under the name of ,camuson1 left her modiste shop to join the ,opra-,comique4 ,she remained there until #agbc4 ,x ,,the ,,ballerina ,the art of dancing is inseparable from the art theatrical1 and especially from pantomime4 ,xenophon relates that on the occasion of the return of the ten thousand ,greeks sent to assist ,cyrus in his campaign against ,artaxerxes1 after they had performed their celebrated retreat1 dilated upon by all historians1 the ,greeks instituted the public games and festivals4 8,thracians were the first to appear1 full-armed1 and leaping to the sound of flutes4 ,they sprang so high and dropped again with so much force1 that the spectators seem to have been frightened4 8,next came a ,mysian who held a shield in either hand4 ,he span rapidly round and performed dangerous leaps whilst retaining these shields4 ,he ended by striking them one against the other1 after the fashion of the ,persians1 and by executing to the sound of this novel instrument a delightful dance-step4 8,after him came a company of ,arcadians4 ,they were in brilliant armour and advanced rhythmically1 hand in hand1 whilst a warlike march was being played by flutes4 ,some detached themselves from the company1 others joined it1 and they concluded by dancing in a ring1 but with so much rapidity and unanimity that the movement of a wheel is neither swifter nor more equal4 8,finally came two women arrayed in the most elegant garments4 ,one of these performed the ,pyrrhic dance1 a shield in her hand2 the other went through the dance of ,ariane1 waving a kerchief1 and she moved with so much lightness and grace that she delighted the spectators and was greeted at the conclusion of her ballet by the applause of all40 ,pindar refers to a dance executed by a troupe of ,lacedemonian virgins4 ,the greater part of the ,laconian dances were common to boys and to girls4 ,in ,hormus young men and maidens formed by their interlacings the figure of a collar4 ,the young corypheus advanced with the vigour of his sex1 striking male and bellicose attitudes1 whilst the girl who led the choir advanced on her side with graceful and modest steps4 8,at the beginning10 says ,lucian1 8the same person danced and sang at the same time2 but as it was perceived that the effort of the dance was troubling to the breathing1 it was considered well to appoint some to sing and others to dance40 ,among the dancers of antiquity there were those who imitated the form and the movements of beasts4 8,from the imitation of animals the dancers passed on to the imitation of men1 selecting those whose professions or vices rendered their movements more nearly akin to those of animals4 ,as the ,emmelie was the imitation of the most graceful and healthy bodies1 the ,cordace1 or comic dance1 was the imitation of bodies ill-made or deformed as a consequence of sensuality and low passions0 7,magnin1 ,origines du ,thtre ,moderne74 ,pliny speaks of the famous ,lucceia1 who to a talent for dancing added that of declamation1 and who reappeared on the stage in her hundredth year1 to recite some verses4 ,he speaks also of an actress1 ,galeria ,copiola1 mime and dancer1 who had made her dbut in ,rome in #fga1 and who reappeared in the time of ,augustus4 ,she had then reached the age of a hundred and four4 ,phbe ,vocontia and the famous ,dionysia1 who received two hundred thousand sesterces 7about two thousand pounds sterling per annum7 were also saltatricul 7dancing mimes74 ,these two types are to be found in the ,renaissance4 ,the animal1 the imitative and the burlesque is to be seen as much in the classical masques of the ,italian comedy as in the grotesque ones of ,leonardo da ,vinci2 whilst we find the graceful1 the noble and the beautiful in the person of the ballerina4 ,pietro ,maria ,cecchini 7,fritellino7 says1 in his discourses on comedy published in #afad but written at the end of the sixteenth century3 8,it is more than fifty years since the custom arose of introducing women into the theatre40 ,he means by that1 without doubt1 that the women were entrusted with rles holding an important place in the plot1 and supplanting the boys to whom such parts had been entrusted until then4 ,from the fifteenth century 7#adid71 in ,italy1 we find women in the theatre1 performing concurrently with young men1 and very often licentious in word and deed1 the rles of goddesses1 nymphs or of allegorical and mythological characters4 ,these early actresses in the comedy of the sixteenth century1 notwithstanding the great liberty of customs and of language1 contrived to maintain some of the reserve proper to their sex4 ,in his ,supplica1 ,n4 ,barbieri 7,beltrame7 says3 8,i shall never bow to the custom of having the rles of women or of young girls performed by boys1 especially after having seen the disadvantages which result from this in certain troupes4 ,to begin with these young people do not know how to dress themselves in the garments which do not belong to their sex1 and they get themselves dressed at home by their women or their brainless servants1 who sometimes amuse themselves by trifling with them1 so that he whose senses have not been calmed by age or by serious care may easily become vain and fatuous2 being thus disguised as women1 these youngsters show themselves about the town1 talking and fooling one with another2 they come dishevelled to the theatre1 and it is then necessary that their friends or preceptors should dress their heads again1 renew their paint and rearrange their garments4 ,we are to be thankful if they but come in time1 and then it is necessary to flatter them and to cajole them so to give them courage2 there is more than enough in all this to weary the patience of those entrusted with such matters4 ,it is more natural that women should fill the rles that are proper to them2 they know how to dress themselves and1 as they lead decent lives1 far from being a source of scandal1 they set none but good examples4 ,but1 one will exclaim1 ,i have successfully paid my court to an actress4 ,that is possible2 but all women are not so accommodating1 nor all men so fortunate4 ,here is a man who for years has pursued an actress and fruitlessly spent treasures upon her4 ,it must be remembered that actresses are women with the same nature as their sister women4 ,they may not fall but all the world knows it2 and1 apart from the fear of ,god1 they are compelled to live with more care and virtue than those who are in a position to cover their faults with the mantle of hypocrisy40 8,for the rest10 says ,m4 ,h4 ,a4 ,soleirol1 in an interesting work on ,molire and his troupe1 8the appearance of women on the boards seems to go back to very remote ages1 as may be seen in ancient drawings4 ,according to these pictures1 which give the names of actors and indicate the rles which they filled1 we see that in the fifteenth century many women performed in the mystery plays rles either of females or of angels4 ,many other old portraits show us that in the sixteenth century women performed on the trestles in the public places2 and lastly we know the costumes of the women who took part in the comedies of ,marguerite of ,navarre in #aedj40 ,if in the fifteenth century in ,france women were permitted to appear and to take part in the mystery plays1 there is every reason to suppose that they were performing long before then in the theatres of ,italy1 a nation which always led the way in artists of all kinds4 ,it is very certain that throughout the ,middle ,ages there was no lack of ,bohemiennes and joculatores on the trestles4 ,they came to enliven the sumptuous repasts of the great lords by performing comedy-scenes like those of ,le ,berger et la ,bergre1 ,courtois1 ,mariage and ,plerin4 ,the performances of these plays were intermingled with dances and songs4 ,the earliest actresses derived a great deal from these ballerine4 ,the rles which they performed1 however1 were very short ones in scenarii that were very simple1 and one woman in a troupe would often be sufficient to discharge all the female parts4 ,we know that down to the end of the seventeenth century the broader female rles 7such as those of gossips7 were invariably performed by men1 by ,scaramouche1 ,harlequin and ,pierrot4 ,later on it became necessary that all ,italian actresses should be able to dance2 that was part of their primary education4 ,for many celebrated actresses1 indeed1 it was the essential factor in their admission into the theatre2 and even in the eighteenth century it was necessary for the immortal tragic actress ,hippolyte ,clairon to be able to dance and sing so as to be accepted into the ,thtre-,italien4 ,coraline and ,camille1 the famous daughters of the actor ,veronese1 owed their chief success to their dancing4 ,this applies also to ,madame ,favart1 whose village dance in sabots took ,paris by storm4 ,in the plays of ,angelo ,beolco 7,ruzzante1 #aecj71 the young woman does not take up more than two or three scenes1 somewhere about the middle of the piece1 leaving it to other characters to continue and work out the story4 ,we find her still the object of the plot2 but1 contrary to our modern theatrical rules1 she disappears sometimes in the very moment when the interest of which she is the pivot reaches its climax4 ,the reason for the slight development of these rles was without doubt the insufficiency and inexperience of the actresses entrusted with them1 and perhaps also their obligation to go and change their dress for the final ballet4 ,in ,la ,mandragora1 of ,macchiavelli1 ,lucretia appears for the first time in the third act1 and does not reappear thereafter until the end of the fifth4 ,with the ,italians1 the dance was in such high repute that in the sixteenth century young ,frenchwomen 8would go beyond the ,alps to learn it40 ,no spectacles were given in ,italy that did not include dances and music1 and to this day there are interludes in ,norma and ,semiramide of ballets imitating village dances4 ,in the seventeenth century the court of ,savoy set the fashion to all other courts of ,europe by its ballets and fairy scenes1 under the direction of the famous ,comte d',agli1 a fertile genius in the matter of theatrical invention4 ,the scenario of one of his ballets1 given on the occasion of the birth of the ,cardinal of ,savoy in #afcd1 is extremely curious by virtue of the singular allegorical personages introduced into it4 ,the title of this ballet is3 ,la ,verit nemica della ,apparenza sollevata dal ,tempo4 8,at rise of curtain a choir of ,false-,reports and of ,suspicions is discovered1 preceding ,appearance and ,falsehood4 ,the back of the stage is opened4 ,upon a great cloud borne by the ,winds ,appearance is seen dressed in a garment of changing colours sewn with mirrors1 and equipped with the wings and tail of a peacock2 she is in a sort of nest whence issue a crowd of ,pernicious ,falsehoods1 ,frauds and ,cheats2 ,pleasant ,falsehoods1 ,flatteries and ,intrigues2 ,comical ,falsehoods1 ,pleasantries and ,pretty little ,stories4 8,these characters had their various entrances until the advent of ,time4 ,he drove out ,appearance1 and caused the cloud upon which she had been enthroned to be opened4 ,within it was then discovered a huge hour-glass from which came ,truth and the ,hours4 ,these last characters1 after various speeches analogous to the subject1 formed the great ballet40 ,it was then the custom for great personages1 even sovereigns themselves1 to take part in ftes of this brilliant kind4 ,thus1 ,louis ,,xiv41 desiring in his pleasures as in other things to be the first of his century1 danced in the ballets of his court1 and received the applause of the comedians for his performance as actor1 singer and dancer4 8,the ,king has twice rehearsed the ballet which he intends to dance before the ,queen of ,england0 7,guy ,patin1 #affa74 ,it was in this same year that the great monarch created a dancing academy1 8because10 he says in his letters patent1 8the art of dancing has always been recognised as one of the most virtuous and necessary to adapt the body to exercise1 and consequently one of the most useful to our nobility1 not only in time of war in our armies1 but also in time of peace in our ballets40 ,louis ,,xiv4 loved the rle of the ,sun in these splendid ballets1 for the production of one of which no less than nine hundred new costumes were prepared4 ,sometimes1 however1 he did not disdain to be seen in a comic part4 ,in the ballet of the ,seasons he represented the golden-headed ,ceres surrounded by the reapers1 which were played by ,messeigneurs de ,saint-,aignan and de ,vertpr1 ,,mm4 ,lulli and ,bruneau1 the ,sieurs ,beauchamp1 ,raynal1 ,lecomte and ,lapierre4 ,in the ,triumph of ,bacchus1 he performed the part of a sort of good-for-nothing cutpurse and bully1 and even sang a couplet in favour of the fair sex4 ,in ,les ,amants ,magnifiques1 a comedy-ballet by ,molire 7#afgj71 he not only co-operated in the preparation of the scenery and in the production1 but mimed1 danced1 sang and played the flute and the guitar4 ,let us cite amongst the most famous dancers ,gertrude ,boon1 called la belle ,tourneuse2 a surname derived from the style of dance which she performed4 ,she appeared and obtained the greatest possible success in the theatre of ,dame ,baron1 at the fair of ,saint-,germain4 ,gertrude ,boon was young1 beautiful and extremely gracious in the performance of her bizarre evolutions4 ,she was no less virtuous than gifted and turned a deaf ear upon the sighs of her numerous suitors4 ,amongst these was a ,sieur ,gervais who had amassed a considerable fortune at play and who1 to prove to this austere maiden how sincerely he loved her1 offered her his fortune and his name4 ,gertrude accepted him for her husband1 not on account of his fortune1 but believing in the genuineness of his affection4 ,the marriage however was not a happy one1 and ,gertrude was driven to seek a dissolution of it4 ,but she failed in this1 the validity of the marriage being confirmed by a judgment of the #dth ,march #agae4 ,violente1 a famous rope dancer1 was an ,italian4 ,she made her first appearance at the fair of ,saint-,laurent in #agag1 and she was there seen dancing at the ,folies d',espagne upon a balanced plank1 eight inches wide1 with as much grace as security4 ,mademoiselle ,hamoche1 the wife of ,hamoche1 the ,pierrot of the fairs1 united1 in #agba1 the capacities of tragic actress and premire danseuse in the forain theatres4 ,in #agbd1 ,mademoiselle ,grognet was dancing at the ,opra-,comique2 she passed into the service of the ,duke of ,modena in #agcf1 and married the ,marquis d',argens1 at ,berlin4 ,mademoiselle ,cuppi de ,camargo1 born in ,brussels in #agaj1 made her first appearance at the ,opra in #agbf at the age of sixteen1 and did not leave it until #agea4 ,voltaire compares her to ,mademoiselle ,sall1 another dancer quite as famous3 8,ah6 ,camargo1 que vous tes brillante6 ,mais que ,sall1 grands dieux6 est ravissante6 ,que vos pas sont lgers1 et que les siens sont doux6 ,elle est inimitable1 et vous tes nouvelle3 ,les ,nymphes sautent comme vous1 ,et les ,grces dansent comme elle40 ,she was received with enthusiasm1 her name became so popular that fashions assumed it4 ,there were ,camargo bonnets1 ,camargo corsets1 ,camargo head-dresses1 ,camargo cakes1 etc41 etc42 never had such a vogue been known4 ,compelled1 notwithstanding her brilliant dbut1 to remain among the supernumeraries in consequence of the jealousy of ,mademoiselle ,prvot1 ,camargo contrived to issue in a brilliant manner from those ranks4 8,a dance of ,demons was being done4 ,the principal actor misses his entrance and whilst the orchestra1 nevertheless1 plays the air of the solo1 murmurs rise from the groundlings2 they become noisy and the actor is embarrassed1 when the young dbutante1 seized with a happy inspiration1 leaps to the middle of the stage1 and improvises with spirit a ,spanish step which delights the dissatisfied spectators1 and transports them with admiration40 ,camargo was chiefly distinguished for her extraordinary lightness and her wild gaiety4 ,in a letter written from ,italy in #agci by the ,prsident de ,brosses1 the following passage occurs3-- 8,there is nothing better to do when one arrives than to go to the comedy to seek amusement2 this is what we did at ,verona4 ,i cannot get accustomed to the cheapness of the prices2 the first places do not cost ten sous2 but the ,italian nation is imbued with the taste for spectacles so that the quantity of people who attend fully compensates for this4 ,thanks be to ,god there is no trouble to find room at the comedy in ,verona4 ,it is performed right in the middle of the ancient amphitheatre of the ,romans1 and there are no other places provided for the spectators but those on the steps of the amphitheatre1 where all sit together and where some thirty thousand persons can be accommodated4 ,the companies of the country itself are1 in my view1 better than those which are transplanted to ,paris and to our provinces1 but the object of my ever-increasing surprise1 although ,i have seen her every day1 is a young dancer who leaps at least as high as ,javilliers who can make twenty successive capers without once repeating herself1 and perform every one of the steps that are so admired in our dancing masters2 so that on the score of lightness ,camargo1 by comparison with her1 is a dancer of stone4 ,in general the dancers of this country are very much stronger and cleverer than our own40 ,favart1 in a letter of the #bjth ,june #agfb1 proposed to the ,count of ,durazzo the engagement of ,baletti the elder1 a son of ,silvia and he spoke at the same time of ,mademoiselle ,dumalg3 8,baletti is young1 no more than thirty to thirty-three years of age4 ,he has with him a young dancer1 ,mademoiselle ,dumalg1 of sixteen to seventeen years old2 she is very shapely1 though perhaps a little high in the shoulders1 which is but a trivial fault4 ,after ,catinon and ,camille1 she is the very best of our first dancers at the ,thtre-,italien4 ,she will follow the fortunes of ,baletti1 who has1 it is said1 secretly married her40 ,the dance has changed like the fashions1 and yet when we look at the ancient figures1 statues1 painting and ,etruscan1 ,greek and ,roman bas-reliefs which preserve for us numerous types of dancers of both sexes1 we are impressed by the fact that the grace of the human body is above and beyond all transient conventions1 and that it has remained the same throughout the ages in which the art of dancing has been spreading through the world4 ,one might compare the ,ballerina of the ,renaissance with the dancer with the timbrel of ,herculaneum1 and discover the same movement of body and the same simplicity of garments4 ,in other paintings the manner of holding up a corner of the gown1 of draping the body in the tarentina or of raising cymbals or a veil above the head1 might have been created yesterday by the latest brilliant choregrapher from ,italy--,taglioni1 ,carlotta ,grisi1 ,la ,rosati or ,la ,ferraris4 ,the famous ,bigottini1 the greatest mime of the nineteenth century in the serious manner1 who could draw tears from her audience in her pathetic scenes1 was ,french4 ,in her day 7#ahji71 ,france was infatuated with ,italian artists to such an extent that several of our composers gave the first performances of their compositions as if they were the work of ultramontane artists2 an instance of this is afforded by ,mohul1 with his comic opera ,l',irato4 ,,xi ,,stenterello ,,stenterello1 ,,meneghino and ,,gianduja are what the ,italians call caratterista--that is to say1 they are character parts interposed2 in other words1 they are rles which1 whilst frequently being of no value to the action of the piece1 are nevertheless introduced so as to throw1 even into the darkest melodrama1 a little mirth by jests and pleasantries that are frequently incoherent and quite irrelevant4 ,whatever the piece that is performed1 the caratterista comes to discharge his own peculiar part in it--speaking his own dialect1 and dressed in his own traditional costume--among other actors who speak ,italian and are dressed according to the exigencies of the situation and the piece4 ,stenterello in ,tuscany1 ,meneghino in the ,milanese1 and ,gianduja in ,piedmont are all of them the same type1 modified to suit the particular taste of each province4 ,each of these three masks is to-day the sole representative mask of his country4 ,they have dethroned and replaced throughout northern ,italy ,harlequin and ,brighella1 who survive merely as puppets in the marionette shows4 8,the gentlemen of ,la ,crusca10 says ,m4 ,frdric ,mercey1 8and the purists of ,florence in general1 are the avowed enemies of poor ,stenterello4 ,they cannot bring themselves to speak of him without scorn and anger1 and it is less his conduct than the incorrectness of his language and his weakness for dialect which provokes their hatred4 ,stenterello1 in effect1 is ,tuscan rather than ,florentine4 ,you will find him at ,perugia1 at ,arezzo1 at ,pistoia1 and at ,siena2 he is even naturalised in ,lucca1 in ,pisa and in ,bologna1 and he speaks perfectly the accented language of the people of these towns1 of which you would believe him to be a native4 ,but if his language varies his actions are always the same4 ,in ,bologna ,stenterello took some time ago the ways of his companions of ,venice1 ,milan and ,turin1 ,harlequin1 ,meneghino and ,girolamo1 between whom and himself it is not to be doubted that certain bonds of relationship exist4 ,the fact is that all these are mere variants of the same type1 various countenances of the same character1 modified by environment and climate40 ,the ,florentines claim that their ,stenterello1 a very fantastic personage1 was created in the late eighteenth century by an extremely popular actor named ,il ,buono4 ,the cut of this character's costume1 however1 does not tend to prove him of so recent a creation4 ,the showy and variegated colours of the garb of ,stenterello1 the three deep parallel lines at each corner of the mouth--derived from the ancient rictus worn by all the masks of the ,renaissance--seem to us to belong to a sixteenth-century type1 a type no doubt forgotten1 but strikingly resuscitated by the actor ,buono4 ,this opinion that types are no longer improvised1 but merely transformed1 is that of ,m4 ,frdric ,mercey4 8,in the days of the republic of ,florence10 he says1 speaking of ,stenterello1 8he dwelt in palaces2 he was then in the very prime of life1 and in the fine vigour of his spirit2 he was called ,macchiavelli1 ,boccaccio1 ,l',aretino or ,poggio4 ,stenterello is the rather vulgarised descendant of these fine wits1 and he has inherited in particular their vices and their meannesses4 ,i am surprised that instead of taking the name of ,stenterello he should not have retained that of ,poggio4 ,but the name of ,stenterello--derived from the verb stentare1 to endure--prevailed40 ,stenterello does not deliberately aim either at wit or at malice2 when he achieves one or the other he does so unconsciously1 as a result of his natural ingenuousness4 ,like all the types of the ,italian comedy1 he is a faithful reflection of the people who created him4 ,during the carnival of ,florence1 great sheets1 upon which were painted the acts and gesta of ,stenterello1 were wont to drape the corners of every street4 ,his performances were held in the little theatres of the ,piazza ,vecchia and the ,borgo ,ogni ,santo4 ,the lower orders of ,florence encumbered the pit and the aristocracy filled the boxes4 ,twopence was the price of a seat in the pit1 and the best boxes were to be had for a florin4 ,at these same prices admission was to be gained also throughout the remainder of the year when the entertainment consisted of operas sung by worn-out tenors and young creatures who had discarded the needle for the pursuit of art4 ,nevertheless everybody attended when the great theatres were closed1 and one even heard in these places the music of ,cimarosa1 of ,rossini and of ,meyerbeer4 ,no piece was possible in ,florence without ,stenterello4 ,he was sometimes the servant1 sometimes the master2 sometimes he parodied the hero of drama1 of comedy or of a fashionable romance4 ,sometimes he personified passions and political caricatures of a palpitating actuality1 and his popularity was heightened when1 under the anger of the censors1 he was sent to spend some days in prison in the person of the actor who performed him1 or even of the impresario who admitted him to the stage4 ,apart from the special pieces of which he is the hero1 he is to be seen in a great number of others into which he is introduced even if he has to be dragged in by the ears2 thus1 for instance1 we have ,robert the ,devil1 with ,stenterello2 ,don ,giovanni1 with ,stenterello1 etc4 ,tragedy1 drama and serious opera1 all make room for him4 ,from choice he undertakes in them the rle of a cowardly and comical servant4 ,he is very amusing when he is seduced by the nuns in ,robert the ,devil or when he receives the statue of the commander to supper in ,don ,giovanni4 ,he changes his costume freely1 according to the exigencies of the piece1 but he preserves immutably his triumphant black wig1 which terminates in a long red queue after the ,prussian fashion1 his black eyebrows either in the form of corkscrews or else terminating at the ears like those of certain ancient masks1 his three deep parallel lines at the corners of his mouth1 and finally his white-painted cheeks1 on which he sometimes plasters a daub of rouge1 shaped like a cart-wheel4 ,but his chief characteristic1 the seal without which ,stenterello's existence would be impossible1 is the absence of the handsomest of his front teeth4 ,the actor who is to devote himself to the reproduction of this amusing character must1 to begin with1 undergo this sacrifice4 ,the more marked is the black gap thus made in his upper jaw1 the more sure is his success4 ,moreover the absence of this middle tooth is of enormous assistance to the actor in the imitation of the dialect of the ,tuscan folk4 ,stenterello is addicted to violent colours4 ,he wears a pale blue coat and a yellow waistcoat1 a pair of breeches that are black1 or of which one leg is sometimes of an apple-green4 ,his cotton stockings1 one of which is red1 the other striped blue and white1 are stretched upon slightly knock-kneed legs1 which bear witness to his ,florentine origin4 ,he leaves high heels to the gentlemen of the court of ,louis ,,xiv42 he parades his great feet in stout shoes adorned with enormous tin buckles4 ,stenterello has neither the malice nor the coarseness of most of the ,italian buffoons4 ,we feel that he belongs to a people whose prime requirement is a black coat1 and whose greatest desire is to be addressed in the third person4 ,the lively pleasantries of ,stenterello are never indecent4 ,his appearance is always in harmony with the proprieties1 and he has a certain navet proper to the ,tuscan people4 ,he is not brave1 he never wants to kill anyone1 but he lives in great fear of being killed himself4 ,lean and active1 he is always ready to run for it at the first sign of danger4 ,extremely susceptible1 he is gallant towards all women1 but it does not amuse him to pay them a protracted court2 he lacks the necessary patience4 ,he does not eschew manners which frequently lead to his being cuffed4 ,after women1 life's chief attraction for him lies in the table4 ,greediness will lead him to forget love2 to obtain a good dinner he will perform a thousand knaveries1 he will even submit1 perhaps1 to be beaten1 although he has no love for blows1 and is greatly in dread for their effect upon his health4 ,his laziness is proverbial1 and there is no doubt that if he were possessed of a few halfpence he would be as avaricious as he is gluttonous2 but since he possesses nothing of his own1 he contents himself with coveting the wives and the dinners of his neighbours1 and he loves to lie in the sun like a lizard1 dozing1 with one eye on the watch4 ,he is happy if he can find an indulgent ear into which to speak ill of this person and that2 he will then forget that his belly is empty1 and will himself be more amused by his own quips than will others4 ,m4 ,frdric ,mercey1 in his ,thtre en ,italie1 speaks of several scenarii in which ,stenterello plays the protagonist part1 the entire action of the piece turning about him4 ,he is the lover of a princess1 and desires to declare to her his passion after having performed an exaggerated toilet1 with his wig nicely curled4 ,he has even borrowed the travelling satchel of an ,englishman of his acquaintance1 so as to be irreproachable in his personability4 8,this satchel contains a multitude of objects whose purposes he cannot even guess1 besides fourteen nail-brushes of various patterns4 ,the implied criticism of the meticulous cleanliness of the ,english is entirely ,italian and very droll4 ,stenterello is astonished by the contents of the satchel1 and1 after examining each object at length1 he attempts to use it4 ,his embarrassment and his commentaries are extremely amusing4 ,finally1 after a hundred futile endeavours appropriately to employ this complicated machinery1 he ends by depilating his nose with the corn-razor1 and by brushing his teeth with a soap-box full of soap1 which distorts his countenance into horrible grimaces40 ,here is an episode from the misfortunes of ,stenterello1 from which it will be seen that the author has had no scruples about pillaging the adventures of ,falstaff3 ,a prince surprises ,stenterello at the feet of the princess his wife4 ,stenterello thinks to escape by pretending that he is seeking a bracelet which the lady has dropped4 ,the princess1 in agreement with her husband1 gives ,stenterello an assignation4 ,intoxicated with fatuity1 he forgets all prudence1 and goes1 to be flouted in the chamber of the princess4 ,the prince arrives1 ,stenterello hides in a coffer4 ,the husband pretends to have heard a noise in his wife's room4 ,he feigns jealousy1 and beats with his sword on the coffer4 ,stenterello1 enclosed in it1 bounds with fear4 ,the princess explains that the noise is made by rats4 ,the prince orders the coffer to be thrown into the ,river ,arno4 ,stenterello1 who is in terror1 and wants to raise the lid1 which is crushing his fingers1 cries out and is discovered4 ,the princess pretends to swoon4 ,four men arrive1 and they seize ,stenterello1 who leaves his wig in their hands4 ,he begs for mercy4 ,he says that he was but preparing a surprise for the princess in the hope of amusing her1 8and ,i mistook this coffer for the door when ,i attempted to leave the room40 8,no1 no6 ,don ,stenterello10 says the prince4 8,you are an old debauchee1 and you are going to be punished40 ,the prince draws an enormous hunting knife sharp as a razor1 and threatens him by a terrible gesture1 to the great applause of the public4 ,stenterello begs again for mercy1 and swears that he is not guilty4 8,and if ,i were to forgive you1 and to restore you to liberty1 what should you do now80 8,i am of agreeable appearance10 says ,stenterello1 lifting up his bald scarred head1 8and have a voice as lovely as a flute2 the impresario of the theatre of the ,borgo ,ogni ,santo would1 ,i am sure1 give me an engagement as soprano40 ,sometimes he imitates the boasts of the captains or of ,scaramouche4 ,he then assumes a military costume1 causes his spurs to jingle1 and trails a great sword after him4 ,he swears by bombs and cannons1 and he relates how1 at a single sword-stroke1 he split in twain a cavalier and his horse4 ,after having engaged in all professions1 after having been a doctor1 a lawyer1 a brigand1 a porter1 without ever making a success of anything1 he returns to ,florence4 ,he had left his wife there in misery in a hovel4 ,he finds her now dressed with great elegance1 and occupying a handsome house4 8,am ,i really at home80 he inquires4 ,upon receiving an affirmative reply from his wife1 and having made the discovery that she is more beautiful than he had ever suspected1 he asks her whence proceeds all this wealth4 8,my friend10 says she1 8you recommended me to ,providence when you departed1 and ,providence has not forgotten me40 ,stenterello is enchanted4 ,after he has eaten and drunk1 and as he is reposing in one of the arm-chairs of ,providence1 his wife enters with three children who throw themselves upon his neck4 ,thereupon he protests3 8,per ,bacco6 ,i did not leave a single child in ,florence4 ,is it ,providence again that has undertaken to make me a father80 8,without a doubt10 says ,madame ,stenterello1 8and you shall lose nothing by it40 ,stenterello accepts his position with an air of comical resignation4 ,no sooner has he become accustomed to his house and his furniture than he grows miserly4 ,he will not consent to cut an egg into four1 deeming it wasteful4 8,at breakfast10 he says1 8an egg ought to be pricked at one of its ends with a pin4 ,through this puncture half the contents is sucked1 the rest being left for dinner4 ,in this fashion taste is satisfied1 the pleasure of eating is long-drawn and the purse does not grow empty4 ,moreover the egg is not lost1 the shell may be taken back to the poultry-keeper1 so that with it she may invite the hens to lay further4 ,that is what ,i call eating an egg in a profitable manner40 ,having turned avaricious1 he becomes a speculator1 and1 seeking quickly to double his capital1 he so contrives that he loses everything4 ,but ,stenterello is growing old and his wife with him2 with age she can no longer hope for anything from ,providence4 ,stenterello drives her out1 with reproaches upon her evil conduct1 and sends the children to the devil1 calling them bastards4 ,stenterello is often oppressed in his home life4 ,in an ,italian farce which shows him as a musician1 he has for wife a virago who constantly scolds and shouts4 ,he decides never to answer her in dangerous moments1 save by a funereal note1 drawn from the depths of an enormous hunting horn1 very much larger than himself4 ,a sound and no more2 but what a sound6 ,illustration ,this idea of replying only by a sound is reminiscent of the scene of ,arzigogolo1 a ,florentine peasant of the sixteenth century1 an ancestor of the more modern ,stenterello4 ,charged with theft1 ,arzigogolo repairs to ,alesso1 a lawyer1 to undertake his defence4 ,the affair being explained1 ,ser ,alesso sees only one way out of it for ,arzigogolo1 and that is to feign insanity4 ,,arzigogolo4 ,oh6 uh6 ,i don't know how to do it4 ,it is difficult4 ,if ,i were wise ,i should do this4 7,he strikes him with his stick47 ,,alesso4 ,may the devil take you1 wretch6 ,you have nearly broken my shoulder2 you will be a fool indeed if you caress the judge in that fashion4 ,,arzigogolo4 ,i have heard tell that fools always strike2 ,i had a brother whose brain was deranged who always behaved like that to me4 7,he advances to strike again47 ,,alesso4 ,be quiet1 animal6 ,can you think of no other way to play the fool8 ,,arzigogolo4 ,i have heard tell that fools throw stones4 ,i will go and find one and throw it at your head4 ,the lawyer1 having prevailed upon him to be quiet1 advises him to answer all the judge's questions by a whistle4 ,arzigogolo appears before the judge1 who asks him3 8,what is your name1 peasant8 ,where do you live80 etc4 ,arzigogolo answers each of these questions by a sharp whistle4 ,the judge dismisses him acquitted1 greatly pitying him4 ,comes the lawyer to claim his fee1 and he receives from the peasant no other answer but the same whistle4 ,the ,stenterello of ,bologna does not play parts of an importance equal to those of the ,florentine ,stenterello4 ,he is usually a servant1 wearing his livery with negligence and dressed awry4 ,like his ,florentine namesake he wears stockings of different colours1 which is1 as we have said1 a tradition of the variegated costumes of the sixteenth century4 ,he is a poltroon and a dolt1 but his most distinctive trait is his preoccupation1 so profound that it sometimes amounts to imbecility4 ,in ,bologna ,stenterello is a rather fantastic being4 ,his continual absent-mindedness1 his mania for relating stories which never come to an end1 and which he interrupts at the most interesting point1 his jests and his grimaces are all accepted as drolleries and impertinences by the public4 ,the manner in which he turns to crave his master's pardon for having committed a fresh stupidity disarms the anger of old ,tabarino himself1 who laughs and takes the public to witness1 with an air of resignation1 exclaiming3 8,what would you8 ,it is ,stenterello60 ,it has been said that there never have been1 and never will be1 two ,stenterelli who resemble one another4 ,he is the most difficult personage to present of all the masks of the ,italian comedy4 ,he is a type full of fantasy in his jests1 and of spontaneity in his improvisation4 ,stenterello1 having angered his master1 who has withdrawn so as not to be driven to beat him1 takes the public into his confidence3 8,conceive now---- ,but then you saw him for yourselves1 didn't you8 ,my master had given me a letter to get mended and a watch to put in the post1 into that big hole with which you are perfectly acquainted1 like the mouth of ,gina1 who is a pretty girl with eyes bigger than my nose4 ,well then1 it happened that ,i met ,signor ,birrichino1 who said to me3 #8,stenterello6' 444 a droll of a name that1 which comes to me from my father1 who married my mother1 so that my mother1 who was the daughter of my grandfather1 who was the father of my father1 who was the father of his son1 who was the father of my mother1 had a husband who was the son of my grandmother4 ,oh6 no1 no60 7,he turns a pirouette and is on the point of going out47 8,where is my master8 ,what a droll master6 ,he is so absent-minded that he has forgotten to give me a new pair of stockings40 7,he thrusts out his leg1 loses his balance1 stumbles over his foot and pretends to fall2 but he recovers1 and carefully seeks the thing that may have tripped him4 ,he picks up a hair47 8,i am losing them all40 7,he takes off his wig and shows his bald head1 a disclosure which never fails to amuse the public4 ,taking the hair1 he replaces it on his head with care1 whereafter he puts on his wig back to front1 and seeks to continue his discourse2 but the long queue which hangs down over his nose1 and which he thrusts aside at every moment1 causes him horribly to squint47 8,my hair1 which was the son of my wig1 which was the grandmother of the watch which ,i took to the post4444 ,but what the devil's this80 7,and he pulls at the end of the long queue1 which gradually comes undone2 he continues to pull1 and draws off so many yards of ribbon that he becomes entangled in it1 and ends by running off shouting3 8,the devil1 the devil60 leaving the public in suspense on the score of the explanation which he had to offer of the way in which he had discharged his errand47 ,it is quite impossible to convey any adequate notion of his utterance of all these inconsequent ideas1 interrupted by poses and grimaces2 the performance must be witnessed if the success of such a type is to be understood4 8,harlequin is made1 but ,stenterello is born10 said one who still laughed twenty years afterwards in relating the jests and postures of ,dominicone1 a comic actor of great gifts4 ,he played the parts of father with ,stenterello for his servant4 ,the troupe of ,bon and ,romagnoli1 which was in the service of the ,king of ,sardinia in #ahcc1 still possessed a very remarkable ,stenterello1 who was the cause of a deal of laughter1 particularly when ,gattinelli played the rle of master at the theatre of the ,corso1 at ,bologna4 ,in ,florence1 ,ricci was the most famous of the modern ,stenterelli4 ,he was an actor of endowments greatly above those of the buffoon4 ,he played with great spirit and taste the rles of ,bouff and ,arnal1 intermingling them with ,stenterellic jests4 ,in #ahec1 at the theatre of ,san ,carlino in ,naples1 ,altavilla was still a remarkable caratterista in every sense1 using always the ,neapolitan dialect4 ,what an extraordinary verve of improvisation must have been necessary to enable an actor to create a fresh rle every second or third day6 ii ,the modero ,,meneghino1 a character sometimes servant1 sometimes master and sometimes peasant1 speaking the dialect of ,lombardy1 descends in fairly direct line from the ,menego of ,ruzzante1 and the ,menghino of ,la ,lena of ,ariosto4 ,whilst it is true that his garments1 of a rather modern cut1 are reminiscent of those of ,stenterello1 but more sober in the matter of colour1 they do not at all resemble those of his ancestor ,menego4 ,but why should ,meneghino more than any other mask have been faithful to tradition in the matter of costume8 ,the modern ,brighella1 for instance1 resembles but faintly the ,brighella of the sixteenth century1 whilst about the ,pantaloon of to-day very little remains of the erstwhile ,venetian ,pantalone4 ,meneghino1 the ,milanese1 wears a short coat and breeches of green cloth with red buttons and lacings2 his waistcoat is flowered1 and his stockings striped4 ,his countenance1 jovial of expression with its tip-tilted nose1 is framed in a wig of flat hair gathered into a queue wrapped in red2 and his hat1 laced in red1 is far more like one of those enormous castors worn by the sixteenth-century buffoon than a tricorne4 ,menego and ,menato are1 under two different names1 one and the same personage1 created by ,marco ,aurelio ,alvarotto1 an actor in the ,paduan troupe of ,ruzzante4 ,he is a comic type1 a sort of simple and poltroon peasant and sometimes a servant4 ,under his apparent stupidity1 ,menego 7,domenico71 thinking and speaking in the manner of the peasants1 frequently complains of the customs and vices of the day4 ,here is a 8very facetious and very comical0 dialogue from the plays of ,ruzzante1 declaimed at ,fossone during the hunt in #aebh4 7,recitato a ,fosson alla caccia47 ,,menego4 ,january1 ,february1 ,march1 ,april1 ,may1 and ,june--the month of wheat2 to the devil with the others6 ,the year is too long4 ,provided that wheat becomes bread through the sickle1 that is all that matters4 ,but who is this that comes8 ,is it not my gossip ,duozzo8 ,it is he4 ,gossip1 how goes the harvest8 ,,duozzo4 ,badly1 gossip4 ,whoever seeks misery this year will find it without a signpost to guide him4 ,,menego4 ,as for me1 ,i seek a means to eat as little as possible4 ,these cursed beetroots have so enlarged me that ,i take a deal of filling4 ,,duozzo4 ,to tell you the truth1 gossip1 ,i think you ought to eat sorb-apples so as to reduce your poor stomach2 that is my opinion4 ,,menego4 ,what ,i seek1 gossip1 is to render myself ill1 because when ,i am ill ,i have no appetite2 and to have no appetite is all that ,i can desire4 ,do you understand1 gossip8 ,,duozzo4 ,you speak very wisely1 gossip4 ,,menego4 ,the usurers will neither sell wheat nor even display it1 so that there is nothing to be done4 ,i am inclined to think that there will be quite enough even should they sell it at a large profit4 ,but they hunger after the blood of the poor more than a lean horse hungers after new grass4 ,,duozzo4 ,that is very true1 gossip1 and we may shout1 curse1 or grow as rabid as dogs before wheat will be harvested for the common weal2 but judging from the month of ,january1 ,i think that there will be abundance and all men will rejoice4 ,,menego4 ,but for that hope1 gossip1 we should be in bad case4 ,and as for me1 ,i fear lest the highway robbers and the gentry may eat the harvest before it is ripe4 ,,duozzo4 ,i share your fears1 but they cannot carry off everything4 ,,menego4 ,ay6 ,we'll get what they leave1 and we shall grow so fat on it that we shall look like hanged men1 and so light that the wind will blow us away4 ,,duozzo4 ,so that1 gossip1 you are afraid8 ,,menego4 ,i8 ,i am afraid of nothing but fear4 ,i am a man1 and if any are going to survive1 ,i should like to be one of them4 ,,duozzo4 ,as for me ,i am troubled by neither wife nor child4 ,i live like a thief4 ,and now1 gossip1 let us speak of more pleasing things4 ,how go your love affairs8 ,,menego4 ,eh1 gossip1 how shall love affairs progress when one possesses nothing8 ,how shall a man take home a wife when there is only a single piece of bread in the house8 ,if she has a good appetite she will not be able to live on words4 ,you understand8 ,,duozzo4 ,of course2 it is quite clear4 ,the conversation continues on these lines4 ,menego announces that he is awaiting the harvest to marry a certain ,gnva4 ,duozzo tells him1 little by little1 that he knows a quidam who will not await the new harvest to find food for ,gnva1 and that in fact he carried her off three days ago4 8,i don't believe it10 says ,menego2 8nevertheless let us go and find her and hear the truth from her40 ,duozzo begs leave to go and fetch his weapons1 saying that there are wolves in the forest1 and that he does not care to quarrel with ,nale1 who is ,menego's rival4 ,menego replies that there is no need for weapons on a visit to ,gnva1 that he has his knife1 which is sufficient4 7,here follow some very equivocal pleasantries and puns47 ,he winds up by saying that he did not know his gossip for a coward1 but now that he sees that he is1 he will go alone4 ,gnva1 however1 solves the matter by arriving in person4 ,,menego4 ,good-morrow1 my dear ,gnva1 how are you8 ,,gnva4 ,i should be better if ,i had bread4 ,this is a very evil year4 ,,menego4 ,i have brought you a large piece which1 on my honour1 ,i shall give you if you will answer me on certain matters which my gossip here has told me4 ,before replying ,gnva wants to sing4 ,they sing1 and1 as they are finishing1 ,nale1 ,menego's rival1 enters and leaps upon him1 sword in hand1 shouting3 8,i have got you1 traitor6 ,surrender60 ,menego attempts to escape without answering2 he darts this way and that1 receiving so many blows that in the end he falls down4 ,nale carries off ,gnva1 and ,menego is left on the ground4 8,am ,i unfortunate enough80 he cries4 8,one hundred against one6 ,he has pierced me through and through2 there are more holes in me than in a sieve4 ,what a beautiful life awaited me6 ,i think of it now that ,i am on the point of death4 ,confession6 confession6 ,i am covered with blood4 ,duozzo1 my gossip1 go and find me a doctor2 but then he lives too far away2 and perhaps he wouldn't come2 and even if he came perhaps he wouldn't be able to heal my wounds4 ,i am certain that ,i shall never get well again1 ,i shall be crippled for life1 that is sure4 ,woe me6 ,must ,i die then in such a moment as this8 ,something told me that ,i should die this year1 if not from wounds then from hunger in this devastated country4 ,and so that you die1 ,menego1 what does it matter whether you die thus or of hunger8 ,and ,i shall never see my ,gnva again6 ,yet my heart tells me that perhaps ,i shall get well6 ,shall ,i allow myself to die or not8 ,what am ,i to do1 or what am ,i not to do8 ,what if ,i were to take vengeance upon this dog of a traitor who has just slashed me into ribbons8 ,yes1 ,i shall be avenged6 ,i shall let it be known everywhere that he has killed me4 ,may the plague stifle him1 the coward6 ,i shall send him to the galleys6 ,i shall kill myself4 ,it shall be said everywhere that he is my assassin4 ,but how shall ,i kill myself8 ,that is the trouble4 ,there are so many ways1 yet now that ,i come to seek one ,i cannot find any6 ,where is the knife8 ,now that ,i need it ,i no longer have it4 ,but ,i shall find a way4 ,i shall eat myself4 ,that will begin by satisfying my hunger4 ,none but myself will know it1 and it will be said that this wretch murdered me and that dogs ate my body1 and in this fashion he will be sent to the galleys4 ,ah yes1 you shall go to the galleys2 yes1 to the galleys6 ,don't grow impatient1 gossip1 ,i shall bequeath you my knife and my shoes4 ,yet it is a pity to die so young6 ,farewell1 ,gnva1 ,i shall never see you again4 ,yet1 wait6 ,i don't want to eat myself1 ,i should suffer too much4 ,i shall strangle myself40 ,a magician arrives4 ,duozzo tells him that ,menego has gone mad4 ,the magician1 half-priest1 half-doctor1 cures him1 and fortifies him with fresh hope4 ,he assures him that he shall see his ,gnva as much as he desires1 and that he shall have abundance of bread4 ,menego1 comforted1 thanks him and announces that he never felt so well4 ,then follow predictions3 8,you shall not die of hunger this year1 although you may have to live on very meagre fare4 ,there will be great wars1 and after them there will be peace4 ,after famine there will be abundance1 and wealthy men will live happily in the world4 ,thereupon ,i leave you1 ,i must go4 ,i shall come again on ,sunday or some other day40 ,the piece ends in excuses offered to ,menego by his rival4 ,menego takes the hand of ,gnva1 who swears for ever after to be faithful to him1 whereupon they abandon themselves to joy1 dancing and singing4 ,the character of the modern ,meneghino is the same1 with few differences1 as that of ,stenterello2 the same costume1 the same parts1 the same buffoonery1 and therefore the same reception from the ,milanese public4 8,meneghino10 says ,m4 ,frdric ,mercey1 8has taken the place of ,harlequin and ,brighella4 ,meneghino is the spoilt child of the ,milanese1 the hero of the theatre of la ,stadera2 his talent consists particularly in a sort of adroit awkwardness1 in the amusing manner in which he knocks against walls and trips upon the pavement without ever falling1 and without ever losing his nonchalance40 ,in absent-mindedness and navet he surpasses ,pierrot4 ,meeting in the streets of ,milan a painter who is carrying two portraits on his shoulders1 ,meneghino returns to his master1 refusing to go the errand upon which he was sent3 8,i shall not go out again to-day10 he says2 8disaster would befall me2 ,i met a man with three heads1 and that is not natural40 ,on another occasion1 coming home at night1 ,meneghino wishes to light his candle1 and seeks to strike a light in the darkness4 ,he hurts his fingers and drops flint and steel4 ,how is he to find them again8 ,his ideas work quickly4 ,he gropes about for the candle1 finds it1 and runs to his next-door neighbour for a light1 with which he returns to look for his flint and steel4 8,i knew ,i should find them like this10 he says1 and you behold him striking them once more4 ,a spark flies1 the tinder ignites1 and he applies it to the candle which has lighted his labours4 8,behold10 he cries1 8it is lighted60 ,a very common absent-mindedness with him is to array himself in his master's dressing-gown and slippers1 and to lie down in his master's bed4 ,the numerous cuffs he has received have never cured him of this abstractedness4 ,you should see him waiting at table1 putting sugar into the soup as though it were salt1 pouring wine on to the heads of the guests1 and then taking off their wigs to dry them by the fire2 he mistakes the candle for the vinegar bottle1 and scatters tallow into the salad4 ,he is often to be seen throwing the garments of his master through the window1 which he has mistaken for the wardrobe1 and doing a thousand other things of a like nature4 ,pantaloon1 seeing him with a button in his ear1 comments upon it4 8,i wear it10 he replies1 8because without it ,i should be sure to hear something dirty40 ,that is the wittiest thing he ever uttered4 iii ,,gianduja and ,,girolamo are one and the same character4 ,at the ,fiano theatre in ,milan1 he was existing still in the nineteenth century under the name of ,girolamo1 and was performing1 in the dialect of ,lombardy1 the same rles of talkative1 poltroon and greedy peasant as the ,gianduja of ,turin and ,genoa4 ,the ,piedmontese1 fearing in #ahjb that in the name of ,girolamo 7,jrme71 borne by the king1 some political allusion might be suspected1 he was rebaptized1 and renamed ,gianduja4 ,he is a native of ,caglianetto1 near ,asti1 as his dialect shows4 ,he is an astute peasant1 who simulates stupidity1 either a pretended dolt or else a cunning dolt4 ,his is the style of wit which the ,english attribute to the ,irish4 ,he is very much less fantastic than ,stenterello1 and when he became ,gianduja he ceased to show any of the absent-mindedness of ,meneghino and ,girolamo4 ,of this last the following is related3-- 8,a farmer from the neighbourhood of ,bergamo had taken his servant1 ,girolamo1 to market to bring home the cattle which he intended to purchase4 ,this cattle turned out to consist of seven donkeys4 ,having made his purchase1 the farmer called ,girolamo1 and after counting the animals in his presence he bids him drive them home4 ,girolamo offers no comment3 #8,seven1' he says2 #8very well4' ,he bestrides one and drives the others before him4 ,three hours later he arrives at his master's gate1 and counts the donkeys without dismounting4 ,after having counted them thrice he still can find only six4 #8,what a misfortune6 ,what a misfortune6' he exclaims in his despair4 #8,if only it were my own property6 ,but since it is the property of another1 however honest ,i may be1 ,i shall be charged with negligence6 ,it is absolutely necessary that ,i should find the seventh4' ,he spurs his mount and goes back1 searching everywhere and making inquiries from everyone he meets4 ,it is all in vain4 ,indefatigable1 he continues this course for three days and nights1 without even pausing to give himself time to eat4 ,in the end the poor beast he is riding falls from fatigue and exhaustion4 ,girolamo rolls into the dust1 picks himself up1 and suddenly finds what he was seeking4 #8,the seventh6 ,i have found it1' he cries4 #8,where the devil was it lost8' ,and he goes back to his master1 leaving the poor donkey dead of exhaustion40 ,in the history of the marionettes1 ,m4 ,ch4 ,magnin says3 8,in ,milan ,girolamo fills the principal part in all the farces1 in all the parodies1 in all the little pieces made up of satirical allusions1 the triple source whence flows the fortune of the ,fantoccini4 ,we have seen ,girolamo play ,pirithos1 in a parody of ,alceste1 powdered white1 wearing the wings of a pigeon and a purse4 ,in this farce he accompanies ,hercules into hell1 and his terrors on the way are somewhat reminiscent of the poltrooneries which1 under similar circumstances1 ,aristophanes attributes to ,xanthias in ,the ,frogs4 ,in #ahda1 ,m4 ,bourquelot found ,girolamo very amusing in a five-act piece3 ,il ,terribile ,maino1 ,capo di ,briganti1 a melodrama to the accompaniment of daggers1 swoons and pistol shots4 ,let us add that the common butt of ,girolamo's pleasantries is a ,piedmontese1 represented as perfectly stupid1 a graciousness and neighbourliness which the ,fantoccini of ,turin did not fail to reciprocate to their little colleagues of ,milan40 ,gianduja wears a maroon coat and a yellow waistcoat1 both trimmed with red1 a pair of green or maroon breeches1 red stockings and a black wig with a trumpet-shaped queue in red4 ,his physiognomy is a mixture of coarseness and cunning4 ,his large eyes1 his arched and heavy eyebrows1 his flat nose1 his thick lips1 his fat chin and his fleshy cheeks remind us of the countenance of the ancient ,silenus4 ,he was to be seen in ,genoa at the ,delle-,vigne theatre1 playing in his own costume the part of a servant of ,ugolino and coming with his quips1 to throw a little gaiety into the midst of a black melodrama1 in which ,ugolino1 in his tower1 before perishing of hunger1 watched his children expiring about him4 ,during these critical moments1 ,gianduja would enter the sombre dungeon from time to time2 it is not clear why he should have had the liberty to do this1 for1 far from bringing the least nourishment to the dying man1 he came to jest in his patois upon this horrible situation4 ,he was to be seen again at ,cuneo at the foot of the ,alps4 ,the theatre was more or less open to the sky and admission was not expensive3 a penny for the front seats and a halfpenny for the others1 and an audience that ate apples and nuts throughout the performance4 ,the piece was ,la ,principessa ,mirabella1 and to one who inquired whether it was written and learned by heart or improvised1 the impresario replied3 8,improvisato tutto1 e sempre2 ,gianduja talks like a peasant40 ,it was an affair of primitive marionettes like those of the ,guignol of the ,champs-,elyses4 ,first came a prince dressed in sky-blue satin slashed with white1 a cloak of yellow velvet1 a cap with white feathers1 laced with gold4 ,he was accompanied by ,gianduja in his classic costume1 and both were lost in a blue forest1 and were devising some means of finding food4 ,gianduja has several notions1 such as to repair to the baker at the corner1 or the pastrycook opposite4 ,but his master draws his attention to the fact that they are lost in a vast solitude1 that their horses are worn out1 with weariness and hunger1 and that for himself he desires only one thing1 death1 since the ,princess ,mirabella will never consent to see him again unless he shall have accomplished her thirty-seven wishes4 ,gianduja is not disposed to die2 he says that he imagined himself at ,cuneo1 which is entirely outside of the subject1 and which shakes the audience with laughter4 ,after having sought for a little while1 ,gianduja discovers a spring of pure and limpid water4 ,thus both are saved from certain death4 ,but ,gianduja can think of nothing but dying4 ,this marvellous water has quickened his appetite4 ,he has not eaten since morning1 he says1 since when he has done nothing but walk1 which is to treat his body very treacherously4 8,it is all very well for my master1 who at the end of his travels will find ,mirabella4 ,but ,i would very gladly possess a loaf surrounded with sausages40 ,thereupon he is taken ill1 and believes himself to be dying4 ,he implores his master to bury him after he has expired1 and whether it be so as not to die under his eyes1 whether from other causes1 he goes off1 followed by the laughter of the spectators4 ,the action continues thus through four or five scenes1 which repeat always the same situation4 ,in each scene the amorous cavalier recommences his trials until the moment in which the ,princess ,mirabella--a very beautiful marionette1 in cloth-of-gold and velvet1 who always makes the same gesture by means of a cord pulled by the impresario--informs her cavalier that she accepts him in marriage1 8because he has performed all her wishes1 and since nothing pleases women so much as the obedience of men40 ,after this ,gianduja demands the hand of the first lady of the court4 ,without ,gianduja no performance would have been possible4 ,the indulgent public yawned through the scenes of love and rivalry1 for there was a traitor in the piece--a traitor dressed like ,buridan1 with a terrible beard and squinting eyes4 ,did the impresario perceive that his public was languishing1 he never hesitated to cut short the scene and to introduce ,gianduja1 who abandoned himself to amorous incoherencies4 ,gianduja enjoyed his greatest favour in ,turin during the nineteenth century4 ,in ,the ,taking of ,delhi1 a long1 terrible and spectacular melodrama1 ,gianduja1 disguised as the aide-de-camp of an ,indian chief1 amused the audience by his reflections1 his sallies and his witticisms1 always in ,piedmontese4 ,he would come and go amidst ,english soldiers in red coats and white trousers1 or amidst kilted ,highlanders as freely as among ,brahmins dressed like the ,turks to be seen at fancy-dress balls4 ,gianduja crosses the battlefields1 enters the besieged garrison or leaves it1 is present at war councils1 and listens to the enumeration of the dead and wounded without the least discomposure4 ,he is afraid everywhere and of everything1 although no one1 with the exception of the public1 takes the least notice of him4 iv ,zacometo1 which is ,venetian for ,giacometto1 who1 down to the eighteenth century1 was called ,momolo 7diminutive of ,girolamo7 is the ,venetian caratterista4 ,usually dressed in white calico1 he whitens his face like ,pierrot save for a large blood-red stain1 placed brutally upon one cheek only1 and one red stocking as worn by the ,venetians in the fifteenth century4 ,zacometo1 whatever costume he may assume1 preserves always this red stocking4 ,there is something of ,scapin1 something of ,harlequin and something of ,stenterello in the character1 so that his doings and his ways are very varied4 ,when he plays with ,brighella1 who is sharp1 astute and very witty1 ,zacometo is a dolt1 a clown4 ,in ,le ,baruffe ,chiozzotte of ,goldoni1 ,zacometo's rle is that of the fool2 dressed like a fisherman of ,chioggia he still preserves his distinctive cheek and stocking4 ,this character comes to ,venice to fling athwart no matter what piece his amusing reflections and his fantastic interludes4 ,he is akin to the absent-minded ,stenterello2 he says very cunning things with the air of not knowing what he is saying2 he begins a sentence to finish it in another act1 or not to finish it at all1 and he stares at the public1 and even addresses it1 always with the air of not perceiving its presence4 ,it may be said that when the actor entrusted with this rle is equipped with talent and wit1 he gives ,zacometo a countenance proper to the people of the lagoons4 ,he is more of an epicure than a glutton1 more of a talker than a gallant with women2 he is superbly lazy1 yet capable of great vivacity1 displaying alternations between dreamy somnolence and sudden awakenings2 in short1 he displays the petulance and the agility of the cat4 ,he fully portrays the nature of the barcarolo1 who passes so promptly from slumber1 his body dangling over the sleepy waters of the lagoon1 to laughter1 to jests and above all to the derision of strangers4 ,zacometo has never quitted ,venice1 and if at times he is absent from the theatres of ,san ,samuele or ,san ,gallo1 it is that he may go as a marionette to amuse the merchants and fishermen on the quay of the ,schiavoni4 v ,the character of ,,jeannot1 a rustic and stupid servant1 who destroys by his transposition of words the sense of what he wishes to say to us1 although believed to have been created in #aggi in the forain theatres by the actor ,volange1 is nevertheless a very ancient type4 ,from ,zanni the ,florentine authors of the sixteenth century have created ,gianni1 ,giannino1 and ,giannico1 comedy servants4 ,from these come ,jeannin1 ,janin1 ,jennicot1 ,janicot1 ,janot1 comics of the ,french farces1 who amused the public in the sixteenth century being coeval with ,jean-de-l',epine4 ,jeannot 7,giannino7 reappears in the scenarii and pieces of the ,comdie-,italienne at the end of the seventeenth century1 and in the plays of ,gherardi in which he performs several old man parts 7#afid74 ,all the world knows his nonsense 7janotismes73 he has sold more than a hundred trusses to a man of straw2 he buys a loaf from a butter merchant3 8,moi1 pour leur montrer mon adresse1 ,je renversai les assiettes et les plats1 ,je fis une tache sur ma veste1 de graisse1 ,sur ma culotte et mes jambes1 de drap4 ,et sur les bas que mon grand-pre1 de laine1 ,m'avait donns avant d' mourir1 violet4 ,le pauv' cher homme est mort d'une migraine1 ,tenant une cuisse dans sa bouche1 de poulet40 ,this type scored its triumphs in the eighteenth century4 ,grimm writes of him as follows3-- 87,may #aggi47 ,a new spectacle1 set up last year at the fair of ,saint-,laurent1 has been drawing for the past two months both the city and the court in consequence of the prodigious success of a sort of dramatic proverb whose subject it is not easy to expound4 ,but it is impossible to forgo speaking of a work which has delighted all ,paris1 for which the masterpieces of ,molire and ,racine have been abandoned1 and which1 having reached its hundred-and-twelfth performance1 is still drawing more than ever4 ,the object of so great an enthusiasm1 the idol of so rare and sustained an admiration1 the man1 in short1 whom at this moment we may call the man of the nation1 is a certain ,m4 ,jeannot who plays1 it must be confessed1 with the greatest truth1 the part of a dolt1 who is watered from a window like ,don ,japhet d',armnie1 who1 upon the advice of his friends1 goes to complain to the clerk of the commissary1 who dupes him and who1 after having fought with a view to avenging himself1 is caught in the street by the watch1 and finds himself in the end stripped of the little that he possessed2 all of which goes to prove very clearly without doubt that it is always les battus qui payent l'amende4 ,this proverb which serves as a moral to the piece is also its title4 ,the author to whom we are indebted for so noble a production is ,m4 ,dorvigny4 ,he has assembled into the rle of ,jeannot many features which1 if already known1 are none the less truly comical4 ,as for the actor 7le ,sieur ,volange71 who has performed this rle with so much success1 he gives us more than hope4 ,it is impossible to have a countenance more mobile and natural1 inflexions of voice more varied and more exact1 movements more simple and easy1 or a gait more frank and nave4 ,the gentlemen of the chamber have already taken steps to bring about his appearance in a theatre more worthy of his glory40 ,in ,january of #aghj1 ,grimm speaks again of ,jeannot3 8,jeannot1 or ,m4 de ,volange1 that actor so famous on the boulevards1 that unique man who throughout the whole of last summer was the admiration and delight of city and court1 whose portrait was engraved in twenty different manners1 and was to be found in ,sevres china1 on the overmantels of all our pretty women1 or in wax modelled in the study of the ,sieur ,curtius1 between ,m4 de ,voltaire and ,m4 le ,comte d',estaing--this man in short1 so rare and so honoured1 has thought fit to develop his great talents in the theatre more worthy of his glory than the trestles of the ,varits ,amusantes4 ,he made his dbut on the #bbnd ,february #aghj1 a date for ever memorable1 on the stage of the ,comdie-,italienne1 in the rles of the triplets of ,colalto40 7,the three hunchbacks of ,tabarin47 8,although on that day there were several other interesting spectacles1 and notably the first performance of ,atys1 we cannot remember ever to have seen in any of our theatres on the most remarkable occasions1 even during the triumph of ,m4 de ,voltaire1 such a concourse of spectators4 ,there were as many people in the wings and in the corridors as in the pit and boxes1 and it was necessary to turn away at the door a number far in excess of that which was admitted4 ,what then was the success of a first appearance which attracted such extraordinary attention8 ,upon what depends the most brilliant of renowns8 ,the object of so fine an enthusiasm1 the idol of the boulevards1 transported into this new temple1 beholds there his honours tumbling about him and his glory eclipsed4 ,it was in vain that the crowd of his adorers whom he had dragged after him never ceased to applaud him and to shout with emotion1 #8,courage1 ,jeannot1 courage6' 8,the illusion was dissipated4 ,the ,roscius of the fair seemed here confounded in a crowd of the most ordinary actors4 ,he was found to be out of countenance1 his voice was harsh1 his play not only common and trivial1 but further1 cold and destitute of humour4 ,it would seem that his countenance and voice cannot lend themselves save to expressions of the lowest and most stupid2 such a character he was able to portray with a very arresting naturalness1 but it is the only character that fits him2 in other rles he has not even the merit of being a good caricature4 ,although this judgment was passed upon him at that first performance yet all ,paris flocked to see him1 and his mere dbut alone was the source of greater profit to the ,comdie-,italienne than all the other novelties of the year put together4 ,oh1 ,athenians6 ,this is not the first of your follies2 and if the gods are propitious to you it will not be the last40 8,i am not acquainted0 7says ,mademoiselle ,clairon in her memoirs7 8with an actor in the forain shows known as ,volange2 but all ,paris is unanimous on the subject of the perfection of his talent at the ,varits ,amusantes4 ,he was induced to appear at the ,comdie-,italienne1 where the work and the talent may perhaps not be compared with those of the ,comdie-,franaise2 but in that setting1 this ,volange1 elsewhere so famous1 was unable to sustain comparison with the least of the comedians40 vi ,the modern ,,jocrisse1 whom the ,piedmontese and the ,milanese seem to have copied from their ,gianduja1 and who seems to be a very recent personage1 dates nevertheless from the seventeenth century1 for in #afbe we see him parading the trestles in all his traditional stupidity4 ,the same is the case with ,gringalet who1 in #afcd1 at the ,htel de ,bourgogne1 played the parts of servant and served as interlocutor to ,guillot-,gorju when the latter desired to address the public4 ,lajingeole1 so well known in the marionette theatres1 and in the nineteenth century restored to the proper stage in ,l',ours and ,le ,pacha1 also dates from the commencement of the reign of ,louis ,,xiii4 ,at the beginning of the nineteenth century the ,boulevard du ,temple had two famous dolts1 ,bobche and ,galimafr4 ,under his red coat and his grey three-cornered hat1 surmounted by a butterfly1 ,bobche was the king of farce4 ,his reputation was colossal and his successes were very often due to coarse truths and to malicious allusions which several times earned him a reprimand from the police4 ,bobche would frequently perform at the houses of great lords1 of ministers and of bankers4 ,he toured the provinces and in the end undertook the management of a theatre at ,rouen4 ,galimafr never enjoyed the fame of ,bobche2 he was rather a sort of ,pagliaccio1 and his talent was more appreciated by the lower orders1 who preferred his heavy stupidities to the subtler malice of ,bobche4 ,galimafr left the theatre without1 however1 leaving the stage4 ,he became a stage-hand at the ,opra-,comique4 ,in that office he was frequently treated with disdain by those who did not know that this man who turned a frame or set up a wing had held a crowd in ecstasy before him4 ,,xii ,,isabelle ,we have seen that in the company of the very famous ,ruzzante there existed an actress of the name of ,fiorina1 which may have been her own or assumed for the purposes of the theatre4 ,this name was often bestowed by ,ruzzante and many subsequent authors--such as ,tarabosco in #aefj and ,calmo in #aeec--upon the leading lady4 ,now it is ,fiora1 the sweet village girl1 so beautiful that ,ruzzante is dying of love for her in his piece ,la ,fiorina2 now it is ,fiorinetta1 the courtesan apprentice whom love preserves from vice1 and renders worthy of pardon4 ,this ,,fiorinetta is the ,philenium of ,demophilus and of ,plautus1 brought to light for the second time in the sixteenth century and transformed to suit the tastes of the ,renaissance4 ,it is very interesting to follow the transformation of this type4 ,in the ancient theatre ,philenium is no more than a courtesan in love4 ,argyrippus is certainly not her first lover1 and probably will not be her last4 ,she resigns herself to a division of her favours between father and son1 after having lowered herself to flatter and to caress two slaves4 ,she submits to all this vileness out of love for the young man4 ,fiorinetta is interesting in a very different fashion1 and ,ruzzante's piece is better than that of ,plautus4 ,all the world knows the ,asinaria1 whilst ,ruzzante's ,vaccaria is almost unknown4 ,we will give an outline of it4 ,like ,demnetus1 ,placido is a gentleman married to a rich wife who has kept the administration of her fortune1 and who causes her revenues to be governed by a steward1 modelled upon the dotal slave of the ,asinaria4 ,placido complains to his servant ,truffo 7the ,libanus of ,plautus7 that he has spent his life in tutelage1 and that he is still a uomo fresco--that is to say1 a dashing fellow1 addicted to pleasure1 who in the midst of opulence has never been able to enjoy anything4 ,madonna ,rospina deprived him of everything1 and1 through the authority of her virtue1 becomes the torment of the house and the family4 8,i am not ignorant10 he says1 8of the fact that my son ,flavio is in love with ,fiorinetta1 and that he has been living with her for a year4 ,i am not at all perturbed2 it is the best possible liaison4 ,he is too young to marry4 ,i want him to settle down as late as possible4 ,may ,god preserve him from such an existence as mine4 ,let him profit by his youth4 ,fiorinetta is not1 thank ,god1 a woman of religious inclinations1 the most dangerous form of mistress that exists2 nor is she a married woman1 which again is a source of danger when the husband is jealous2 she is a child who loves him tenderly and who will admit no other lovers4 ,but her mother is a procuress who wants to sell her daughter to the rich ,polidoro because my son has no more money to give her4 ,myself1 ,i have no money4 ,my wife keeps everything under lock and key1 and her steward is incorruptible4 ,it is necessary1 my dear ,truffo1 that you should exercise your arts to rob me--that is to say1 to purloin from my wife the sum necessary to my son so that for a year to come he may not be troubled in the exclusive possession of his mistress4 8,go1 then1 my dear ,truffo4 ,you have my authority for any knavery4 ,i am not one of those grumbling and turbulent old men who proceed in such a way as to cause their death to be desired4 ,i wish to be my son's best friend and to do for him what in other days my father did for me40 ,fiorinetta loves ,flavio4 ,she loves him ingenuously and with all her soul4 ,she does not say1 like ,philenium to ,cleretu3 8,permit me to prefer him to all my lovers40 ,she says3 8,i want no lover other than himself40 ,,fiorinetta4 ,what do you want of me1 mother8 ,,celega4 ,you have again1 to my misfortune1 allowed ,flavio to enter the house by the garden gate4 ,i did not wish to say anything to you in his presence4 ,but answer me now3 ,is it possible that you do not wish to believe what ,i have told you8 ,you know nevertheless that what ,i tell you is always true4 ,when for the first time you received the caresses of ,flavio of which you were afraid1 having never received those of any man1 ,i told you not to fear4 ,did ,i deceive you1 seeing that you find yourself so much in love with him8 ,,fiorinetta4 ,it is more than true1 my mother4 ,,celega4 ,very well1 then1 why do you not heed me now when ,i tell you not to allow him to come again8 ,since he has nothing more to give us he will ruin you4 ,,fiorinetta4 ,because ,i am unable to send him away in this fashion4 ,because loving him ,i do not wish to hurt him by leaving him4 ,it is as if someone were to bid me to cease loving you as my mother4 ,that were impossible4 ,,celega4 ,it is a fine thing if you contrast the affection you bear your mother to that of a lover4 ,i shall be compelled1 until you become a great lady1 to go and beg1 for the simple reason that your lover will not turn his steps elsewhere4 ,you think he loves you8 ,it is the pleasure that you give him that he loves and not yourself6 ,with me it is different4 ,,fiorinetta4 ,he would weep too much1 he would sigh too much4 ,he has so often sworn to love me4 ,he has spoken so many promises4 ,,celega4 ,tears and sighs are very light proofs of love1 and oaths are always on the lips of lovers4 ,i have never known tears and sighs and oaths to proceed from any but those who have nothing to give4 ,those who spend do not weep4 ,you wish to please ,flavio and to belong to him alone4 ,it is all very well1 my daughter1 for a rich woman to have one only lover2 but you are not in such case4 ,,fiorinetta4 ,since he has been good to me in the past must ,i be ungrateful to him8 ,,celega4 ,the past is as nothing4 ,but let us suppose then that ,flavio loves you4 ,do you think1 perchance1 that things will always remain as they are8 ,you are deceived4 ,as soon as your countenance begins to change so will his ideas change4 ,,fiorinetta4 ,oh6 ,i have no fear of that4 ,,celega4 ,that which we do not fear comes more quickly than that which we do fear4 ,consider now3 what do you find lacking in ,messer ,polidoro that a rich man should have8 ,,fiorinetta4 ,he is ugly and unpleasant4 ,i have never seen a more hideous face4 ,,celega4 ,he is so rich that his wealth conceals all his faults4 ,i can think of nothing uglier and more unpleasant than a man without money4 ,,fiorinetta4 ,he is diseased4 ,,celega4 ,now there's a misfortune6 ,when a young man is seen to be a little pale1 with a scratch in his leg or a lump on his arm one cries at once3 ,he is ill6 ,but ,i shall not say another word4 ,do as you please and you shall always be a poor unfortunate2 do as ,i tell you and you shall soon be rich and a great lady4 ,look at ,nina1 who a little time ago was going barefoot and in rags through taverns and other disreputable places1 and who to-day is the owner of so many silken gowns and so many collars of pearls1 and has so many servants to do her will4 ,,fiorinetta4 ,have patience4 ,the next time that ,flavio comes ,i will talk of it with him4 ,,celega4 ,fool6 ,know that if you persist in loving him who has nothing to give you1 all the others will be equally close4 ,our future lies in competition4 ,i have already told you a hundred times what you should do4 ,should anyone present you with a necklace1 a ring or anything else1 show it immediately to all1 so that another1 not desiring to seem less rich1 shall make you a present of greater value4 ,it is necessary to know how to receive each and how to talk with everyone so as to lead all to suppose that you are in love with them4 ,,fiorinetta4 ,you want me to love all the world as ,i love ,flavio8 ,,celega4 ,i did not say love all1 but pretend to do so4 ,,fiorinetta4 ,my mother1 that were too painful a life4 ,i could never pretend the contrary of what ,i feel and of what is in my heart4 ,i think that it is better to marry1 and ,i wish to lead a purer existence than that which you suggest4 ,in a later scene between ,fiorinetta and her lover1 she shows herself as passionate as she was meek and gentle with her mother4 ,,flavio4 ,why do you not let me go1 dear heart8 ,why do you retain me8 ,is it so as to increase the pain which ,i must experience when ,i leave you8 ,,fiorinetta4 ,can you believe that ,i am anxious to let my soul depart from me8 ,,flavio4 ,mine will remain with you1 for you are the asylum of all its joys and all its happiness4 ,,fiorinetta4 ,how can it remain with me since ,i no longer exist without ,flavio8 ,,flavio4 ,nevertheless your mother wishes to separate us4 ,,fiorinetta4 ,i may occasion grief to my mother1 but nothing shall separate me from you4 ,,flavio4 ,when this new lover stands before you with all his money your sentiments will change1 perhaps4 ,,fiorinetta4 ,flavio1 you must not say such things to me4 ,not all the gold in the world could suffice to change my sentiments towards you4 ,my heart is not for sale like merchandise in the open market1 and if the love which ,i bear you were not sufficient to cause me to persevere in my purpose1 my mother's project would be4 ,she wishes to separate me from you--from you1 the only thing in all the world that ,i love6 ,she shall not long rejoice in the possession of me1 ,i shall stab myself to the heart or otherwise rid myself of life4 ,,flavio4 ,no1 you must live4 ,let me die1 for if ,i were deprived of you ,i should be deprived of life's greatest happiness4 ,joys and pleasures shall never be wanting in your life4 ,,fiorinetta4 ,you want me to live1 but existence without you would be worse than death4 ,tell me what pleasure could be a pleasure for me without ,flavio8 ,what joy could be a joy1 what delight could be a delight for me without you8 ,,flavio4 ,if in my death there were not the death of every hope of seeing you again1 which is the greatest good of all1 know1 my heart1 that no one would die more gladly than ,i1 able to glorify himself in dying of love for the most beautiful woman nature ever created4 ,,fiorinetta4 ,if ,i should ever happen to survive you1 ,flavio1 know that my life would be so bitter and full of torments that death must seem a sweet thing by comparison4 ,but1 so that it shall not be said that ,i should ever experience any other pleasure after your death1 ,i should make an effort to live and to prolong this miserable existence so that my sufferings should compensate me a little for the loss of a lover as dear as you4 ,listen1 ,flavio1 render me the most pious service in your power1 take your sword and pass it through my heart4 ,life is dear to me only on your account1 it belongs to you1 it is your thing3 if you want to die1 bear it with you4 ,,flavio4 ,oh6 beloved lady1 if rather ,i could but join my soul to yours so as to make but one6 ,gladly would ,i strip myself of life to give it to you4 ,would not that be the best use to which it could be put8 ,,fiorinetta4 ,you increase my happiness and my life by attaching your lips to mine4 ,,flavio4 ,delicious lips6 ,am ,i unfortunate enough8 ,,fiorinetta4 ,hold your ,fiorinetta in your arms1 my ,flavio6444 ,flavio1 ,i am dying4444 ,help6 ,vezzo and ,truffo run on to assist in restoring her to consciousness2 but ,vezzo says that he has no rose-water1 and ,truffo1 who has sold his shoes to keep ,celega quiet with the money1 is unable to buy any4 ,,flavio4 ,listen1 ,fiorinetta1 my beloved3 is this a proof of the love you say you bear me1 this desire to be the first to die8 ,why do you not open your loving eyes8 ,do not conceal from me the light of my life4 ,is it not enough already that ,i should have to weep for my own misfortunes without your increasing them8 ,fiorinetta6 ,you do not answer your ,flavio6 ,answer me6 ,truffo and ,vezzo run from side to side seeking something by means of which to restore her to consciousness4 ,truffo suddenly shouts3 8,return to life1 we have the money60 ,flavio1 happy to know that they have been able to purloin from the steward the money which is to appease ,celega and render them both happy1 says3 8,we have no further reason to be sorrowful--do you hear8 ,they have brought the money40 ,,fiorinetta4 ,beautiful heaven6 ,where am ,i8 ,,flavio4 ,in the arms of your ,flavio4 ,,fiorinetta4 ,flavio1 why do you not let me die8 ,i should die so happily in your arms6 ,truffo and ,vezzo reflect upon the fact that money is more potent than rose-water to conquer swoons4 ,,flavio 7to ,,fiorinetta74 ,take courage1 my life1 my love4 ,in spite of adverse fortune we shall be happier than ever4 7,to the servants47 ,but which of you two has the money8 ,in ,plautus's play1 ,libanus and ,leonida1 the two cunning slaves1 compelled the young couple to desire the money for some time4 ,the result is a burlesque scene of an incredible coarseness1 in which the master is compelled to embrace the knees of one of his slaves and to bear the other on his shoulders4 ,philenium is condemned to caress them1 which does not seem to cost her any very great effort1 for she herself offers them her kisses1 and is spontaneously prodigal of the most tender epithets4 ,fiorinetta is too chaste1 and ,flavio too seriously enamoured to admit of this4 ,the scene is no less comical in consequence of a long and very humorous story related in dialect and as a duet by ,vezzo and ,truffo1 whose only purpose is to render the two lovers impatient4 ,in the end1 after having appeared to doubt the word of his young master1 ,vezzo exacts that he shall tenderly embrace his mistress by way of an inviolable oath4 ,thereafter he considers himself assured of his master's protection in the dangers he has incurred to serve him4 ,in the ,asinaria1 ,demnetus1 the father of the lover1 demands and obtains the favours of ,philenium as the price of his complacence4 ,the young man consents to it to ensure the continuance of his pleasures4 ,the old man's cross-grained wife surprises this orgy1 trounces the son and threatens the father1 whilst driving him off with blows4 ,it is a scene of gross realism4 ,ruzzante is also a realist4 ,he calls things by their names and does not cloak the brutal and licentious morals of his day4 ,but he belongs to the ,renaissance2 his spirit tends to the ideal1 and he completes the destiny of the courtesan by a fifth act of his own creation1 which is certainly the best of the piece4 ,illustration ,after having ably softened the monstrosities of the ancient text so as to preserve that which is comical--as for instance turning the old man's desire for the courtesan into a simple pleasantry1 so that it may serve as a lesson to his son1 and making the son's submission no more than a feint1 with the mental reservation to withdraw ,fiorinetta in time from this opprobrium--,ruzzante enters into romantic developments4 ,the mother of ,flavio1 ,madonna ,rospina1 pauses on the threshold of the house of ,celega at the moment of blazing out4 ,she recovers her self-possession1 and with great prudence and dignity accuses herself of being the cause of all the evil4 ,she has been wanting in indulgence and liberality2 she has driven her son to despair1 her husband to vice and her servants to theft4 ,she goes to ,celega1 and shows her so much gentleness and pity that this miserable woman repents her1 and withdraws to a convent1 after having confessed that ,fiorinetta is not her daughter1 but a child fallen into her hands during the fortunes and turmoil of war4 ,the wars to which she alludes are those of ,charles ,,viii4 and ,louis ,,xii4 ,thus we behold ,fiorina purged of this sordid relationship with ,celega1 and the effect of her constancy is to bear good fruit in the forgiveness of the mother of her lover and the repentance of her own supposed mother4 ,the manner in which ,celega excuses herself for her evil designs is arresting3 ,,celega4 ,know1 lady1 that under pressure of the miseries of life good thoughts frequently disappear4 ,that is the fault of fortune which with reason is said to be blind4 ,i say this for myself1 who1 not that ,i might become rich1 but so that ,i might avoid the horrors of want1 have done what has been seen4 ,nevertheless when this child fell into my hands1 ,i had nothing but good will for her4 ,but the little care shown by the great and powerful for the poor in the world wrought a change in me4 ,and then the might of the great misleads us2 we don't know how to refuse them what they exact4 ,what could ,i do to preserve this child from a cavalier as great and as noble as your son8 ,celega disappears and ,madonna ,rospina calls her son3 8,it would be impossible10 she says1 8for me not to be anxious whilst knowing you to be wandering about in this carnival time4 ,go seek your mistress1 and conduct her to our house4 ,later on you shall learn the good intentions that ,i have in mind40 ,,flavio4 ,i know now that there is no love like that of a mother4 ,oh1 mother6 mother6 in what language1 in what words should ,i be able to please you as you deserve6 ,here follows an excellent scene1 in the highest degree amusing1 between ,placido and ,rospina1 the father and mother of ,flavio4 ,the husband rejoices in the happy change which has taken place in his wife4 ,he says that the most favourable things are those which are least expected4 ,,rospina4 ,you are right1 ,placido2 for who could have foreseen a thousand years ago that ,flavio would have married a wife to-day8 ,,placido4 ,what are you saying8 ,,rospina4 ,very soon you shall see ,fiorinetta here to celebrate the wedding4 ,,placido4 ,and you would consent to such a thing8 ,,rospina4 ,why not8 ,,placido4 ,do you consider her a suitable wife for our son8 ,,rospina4 ,i have heard you say that given that a woman were suited to rejoice the soul of her husband1 she should be chosen without regard to her birth4 ,,placido4 ,but this girl has no dowry4 ,,rospina4 ,how often have ,i not heard you curse those who seek a great dowry1 and who thereby bind themselves in cords that deprive them of their liberty8 ,,placido4 ,that was said only in jest4 ,,rospina4 ,but ,flavio has taken it seriously4 ,,placido4 ,and will you suffer this8 ,,rospina4 ,i shall do by him as ,i have seen you do4 ,,placido4 ,do so then2 but as for me1 ,i shall never give my consent to it4 ,,rospina4 ,you will1 and you will even go so far as to open the nuptial ball if necessary4 ,,placido4 ,not so4 ,i shall withdraw to the country during the event4 ,,rospina4 ,come1 put a good face on the matter1 and rejoice in the thought of the happy days that are to come4 ,,placido4 ,you will have it so8 ,very well then1 so be it6 ,a great ball is given1 and the piece concludes with songs and dances4 ,this ,vaccaria of ,ruzzante is extremely remarkable1 especially since discarding all the ancient grossness of the ,asinaria he has been able to extract from it a romantic and amusing piece invested with a humour more nave and more natural than that of the original4 ,in the story of ,fiorinetta brought up in evil by ,celega and becoming1 by virtue of her sentiments1 her constancy and sincerity1 the legitimate wife of the handsome ,flavio1 one might perceive the rehabilitation of the courtesan4 ,but one would be at fault4 ,fiorinetta is not1 and never has been1 a courtesan1 especially a courtesan of that epoch4 ,she has neither the ways nor the sentiments of one4 ,a trafficker contrives that in spite of herself she shall make the acquaintance of a man4 ,he was young1 handsome1 lovable and sincerely enamoured4 ,she becomes attached to him2 she would have died rather than belong to another4 ,madonna ,rospina1 in marrying her to her son1 did no more than restore the honour which her son had taken from the girl4 ,the mother of ,flavio would never have received the ancient courtesan ,philenium into her house4 ,the costume of ,fiorinetta must have been very beautiful and in the best of taste4 ,it was an age in which refinements of toilet filled the most important place in the life of a woman4 8,i know perfectly10 says ,isotta in ,l',anconitana of ,ruzzante1 8how to embroider collars in gold and silk4 ,i know how to dress a lady1 and what colours are more advantageous to dark women and to blondes2 also what garments are best attuned to go with liveries and devices4 ,i know what colours signify love1 hope1 jealousy and other things of the same kind4 ,i know how the faldigie are to be worn1 how the fringed head-dress suits best1 whether it conceals all the hair1 whether it leaves an inch or two displayed2 ,i know what women are enhanced by earrings1 and whether it is better to wear pearls or plain gold in girdles and rings1 as well as the different kinds of corset to render the appearance of the throat more delicate1 or more or less to display the breast4 ,i know what collars1 carcanets1 gold chains and strands of pearls render a woman more imposing4 ,i also know the kinds of rings to adorn the fingers2 how a woman should walk1 how she should laugh1 turn her eyes1 drop a curtsy1 and what movements denote grace and modesty2 how to adorn the dress of the woman of fashion1 how to combine fabrics of different colours so as to obtain the richest effect4 ,some women wear their hair hidden1 or combed in so level a manner that each hair lies beside its fellow2 others wear it in a sort of disorder which renders them more graceful and more beautiful1 etc40 ,the taste of the ,renaissance was1 more than that of any other age1 based upon an imitation of the ,greeks and the ,romans4 ,the actresses did not wear the dresses of their own time save under pressure in contemporary pieces4 ,all comedies which were a few years old became ancient1 and were represented in the ancient manner--that is to say1 in fancy costumes such as are to be seen in the pictures by painters of this epoch4 ,rabelais relates1 in his ,sciomachie1 that in ,rome1 in #aefi1 amid the noblemen1 the men-at-arms and the footmen and horsemen who took part in a tournament1 ,diana and her nymphs suddenly make their appearance to play a little scene which concludes in the pretended abduction of a nymph by some soldiers4 ,diana claims her from the soldiers2 enclosed in a cardboard citadel1 these refuse2 thereupon ,diana and her nymphs go to demand the assistance and vengeance of the knights4 ,the assault is given1 and the spectacle commences4 8,diana bore upon her head a silver crescent2 her golden hair hung about her shoulders and some of it dressed round her head with a laurel garland #8introphiated' with roses1 violets and other flowers4 ,she was dressed in crimson damask1 richly embroidered1 with a fine ,cyprian fabric of beaten gold1 curiously pleated like the rochet of a cardinal1 descending to the middle of her leg1 and over this a rare and precious leopard skin attached by golden buttons to her left shoulder4 ,her golden boots were cut la nymphale and tied with silver cord4 ,her ivory horn hung upon her left arm4 ,her quiver1 preciously adorned with pearls1 was suspended from her right shoulder by a thick cord in strands of white and scarlet silk4 ,in her right hand she carried a silver javelin4 ,the other nymphs differed but little from her in accoutrements save that they had no silver crescent on their brows4 ,each one carried a very beautiful ,turkish bow in her hands1 and a quiver like ,diana's4 ,some wore upon their shoulders ,african skins of lynx and marten1 others led greyhounds in leash or blew their horns4 ,it was a lovely sight40 ,in the troupe of the ,intronati 7#aecj to #aefj71 the leading ladies1 whose real names we ignore1 appeared under the names of ,lelia1 ,beatrice and ,isabella4 ,in #aegj1 the beautiful ,armiani1 born at ,vicenza1 a poetess1 a musician and a comedienne of talent1 was becoming celebrated throughout ,italy4 ,the ,confidenti troupe1 which went to ,france in #aegb1 had for leading lady an actress of beauty and endowed with great literary talents4 ,this was ,celia1 whose real name was ,maria ,malloni4 ,the ,cavaliere ,marino surnames her in ,l',adone 8a fourth ,grace10 and ,pietro ,pinelli composed in remembrance of her an entire volume of poems3 ,corona di lodi alla ,signora ,maria ,malloni1 detta ,celia1 comica4 ,she played equally well in the ,commedia dell' ,arte and in commedia sostenuta1 in tragedy and in pastoral4 ,she was chiefly remarkable1 according to ,count ,ridolfo1 in the rle of ,silvia in ,l',aminta4 ,at about the same time1 the ,gelosi troupe possessed for leading lady 8the beautiful and too tender ,lidia di ,bagnacavallo10 says ,m4 ,charles ,magnin4 8,her jealous and but little disguised passion for her fellow-actor ,adriano ,valerini caused some little scandal1 a rare thing at this time when actresses prided themselves upon nothing so much as their virtue40 ii ,in #aegh1 ,flaminio ,scala engaged in the troupe of the ,gelosi1 then in ,florence1 a young girl born in ,padua in #aefb1 named ,,isabella1 then barely sixteen years of age1 beautiful1 full of talent and very virtuous4 ,francesco ,andreini1 who was playing ,captains in the same company1 fell in love with her and married her4 ,in the following year 7#aegi71 ,isabella gave birth to a son1 ,giovanni-,battista ,andreini 7,lelio74 ,it was first under the name of ,accesa that ,isabella was admired and applauded when she made her dbut and was elected a member of the academy of the ,intenti of ,pavia4 ,she was the most celebrated actress of her time1 and honoured by the most illustrious approbation1 such as that of ,tasso1 ,ciabrera1 and ,marino1 not to mention cardinals1 princes and sovereigns4 ,a crowned portrait of ,isabella was placed between those of ,petrarch and ,tasso in a fte given in her honour in ,rome by one of her greatest admirers1 the ,cardinal ,aldobrandini4 ,isabella was the soul1 the honour1 the pillar of the ,gelosi company4 ,she went to ,france with the troupe in #aehd1 and there1 as in ,italy1 ,isabella1 then in her twenty-second year1 achieved the same degree of distinction by her modest and reserved conduct as by the versatility of her talents1 and the same was again the case when she revisited ,france1 summoned thither by ,henri ,,iv4 in #afjj4 ,thomas ,garzon says in his ,place ,universelle3 8,the graceful ,isabella ,andreini1 the most brilliant ornament of the stage and the theatre1 as praiseworthy for her virtue as for her beauty1 has rendered so illustrious her profession that as long as the world shall last1 and down to the end of time1 the name of the famous ,isabella ,andreini will be held in veneration40 ,notwithstanding the most flattering attempts to detain her1 ,isabella left ,paris4 ,compelled by an accident to interrupt her journey at ,lyons1 she died there in childbirth on the #ajth ,july #afjd4 ,the greatest honours were paid her4 ,pierre ,mathieu relates the event in his ,histoire de ,france sous le ,regne de ,henri ,,iii4 7,paris1 #afji72 and ,niccolo ,barbieri 7,beltrame71 who was a member of the company1 tells us that the municipality of the city of ,lyons honoured the funeral of the comedienne with marks of distinction4 8,the aldermen10 says ,m4 ,charles ,magnin1 8sent the banners of the city and the mace-bearers to the obsequies of this great actress1 and the guild of merchants followed the procession with torches4 ,francesco ,andreini1 the husband of this famous woman1 caused an epitaph to be engraved upon her tomb which is to be read in ,mazuchelli1 and which may yet exist in ,lyons1 where it was still to be seen at the end of the eighteenth century4 ,this epitaph concludes in the following terms3--#8,religiosa1 pia1 musis amica et artis scenic caput1 hic resurrectionem exspectat4444'0 ,a beautiful medal was struck1 bearing the effigy of ,isabella ,andreini1 her name being followed by the letters ,c4,g41 which stand for ,comica ,gelosa 7comedienne of the ,gelosi troupe71 and bearing on the obverse the figure of ,fame with the words 8terna ,fama40 ,she had deserved all these distinctions not only by the wealth of imagination which she displayed in the ,commedia dell' ,arte1 but by various publications from her pen1 some in verse and some in prose4 ,during her various sojourns in ,paris1 the last of which was in #afjc1 she conquered the admiration of both court and city1 and enjoyed a very particular favour with ,marie de' ,mdicis and ,henri ,,iv4 ,she has left us some sonnets1 madrigals and songs1 ,la ,pastorale de ,myrtille1 printed at ,verona in #aehh1 and a ,canzonniere printed in ,milan in #afja4 ,with her died the ,gelosi troupe4 ,at the beginning of the seventeenth century1 the leading ladies of the various ,italian troupes were ,renemia1 ,lucia1 ,pandolfina1 ,lucrezia and ,virginia4 ,lavinia1 whose real name was ,diana ,ponti1 comica desiosa1 an actress and poetess 7#aehj71 discovered1 according to ,riccoboni1 among the effects inherited from her father--a comedian like herself--a large number of scenarii bearing the precious autograph signature of ,saint ,charles ,borromeo4 ,the explanation of this curious fact is as follows3--,adriano ,valerini had been called to ,milan4 ,notwithstanding the tolerance shown to comedians by the ,italian clergy1 the governor of the city1 having fallen a prey to some scruple of conscience1 ordered the suspension of the performances by the troupe under ,valerini's management4 ,valerini protested4 ,the governor submitted the matter to the decision of the archbishop1 who was ,charles ,borromeo4 ,the good prelate summoned the comedian into his presence1 questioned him1 heard him and permitted him to reopen his theatre on condition that he would submit to him his scenarii4 ,those which he approved he signed with his own hand4 ,one of the greatest saints of the church reading and approving the scenarii of the ,commedia dell',arte is a fact as significant as it is striking4 ,niccolo ,barbieri 7,beltrame7 says in his ,discorso that ,braga1 the ,pantaloon of the company of ,valerini1 as well as the ,pedrolino1 still possessed in his day 7#afcd7 manuscripts approved and signed by ,saint ,charles ,borromeo4 ,in #afja1 ,virginia ,ramponi filled the rles of leading lady in the ,gelosi troupe4 ,g4 ,b4 ,andreini fell in love with her and married her in #afja4 ,he wrote for her his first piece under the title of ,florinda in consequence of the name which she bore in the theatre4 ,she died somewhere about #afcd4 ,in the ,french company at the ,htel de ,bourgogne1 an ,italian actress was playing in #afag1 under the ,gallicised name of ,florentine1 the rles of leading lady1 and the daughters of ,gros-,guillaume4 ,in the ,fedeli troupe1 in #afbd1 ,margarita ,luciani1 the wife of ,girolamo ,gavarini 7,captain ,rhinoceros71 died a few days after her husband1 and as devoutly as he4 ,in #afce1 ,lidia1 an actress of great merit1 was the second wife of ,g4 ,b4 ,andreini1 the director of the company4 ,in #afeb1 ,eularia ,coris1 a young and charming comedienne1 was one of the last actresses to sustain by her talent the weakening vogue of the ,fedeli troupe4 ,she contributed1 with ,lidia1 to the success of a devout dramatic piece entitled ,la ,maddalena ,lasciva e ,penitente1 performed for the first time in #afjg4 8,the list of characters is curious10 says ,m4 ,charles ,magnin2 8beside ,magdalen1 ,martha and ,lazarus1 the principal parts are those of the ,archangel ,michael1 several angels1 ,divine ,grace1 three lovers of ,magdalen1 her page1 her waiting-woman1 her seneschal1 her cook1 two dwarfs and three old women of ill repute4 ,in the first three acts there is no question of anything but gallantry and merry-making4 ,magdalen1 abandoned absolutely to her senses1 closes her ears to the wise counsels of ,martha her sister4 ,in the third act1 penitent and contrite1 she renounces pleasure1 assumes a hair-shirt1 is favoured by ecstatic visions1 and finally ascends to heaven1 borne in the arms of five cherubims1 whilst the ,archangel ,michael and ,divine ,grace exhort the audience to follow the example of this reconciled sinner40 ,agata ,calderoni1 known under the name of ,flaminia in ,italy1 was the grandmother of ,virginia ,baletti1 the wife of ,riccoboni 7,lelio71 and she took the theatre name of ,flaminia1 which had become hereditary in the family4 iii 8,is it you1 ,,aurelia--beautiful ,aurelia8--you1 whose riches are your least attraction1 and heaven alone knows how rich you are6 ,you1 whose beauty and goodness match your wealth and generosity1 deign to answer me1 ,o my hope1 my future6 ,deign to accept my services6 ,permit me to follow you that ,i may read in your eyes your least desire6 ,command of me all that it is humanly possible to do6 ,i deliver myself up to you1 body and soul2 ,i am your slave40 ,aurelia replies3 8,are you ,horace8 ,no6 ,you are not the man ,i love1 who will be my slave only in becoming my master4 ,withdraw1 ,i must not listen to you6 ,if you are come to demand of me nothing but my love1 ,i answer you that you may claim of me any other alms but not that of my heart40 ,whilst in ,italy the rles of leading lady were being interpreted by ,orsola ,bianchi1 born in ,venice1 they were being filled in ,france by her sister1 ,brigida ,bianchi1 known by the name of ,aurelia4 ,she went to ,paris in #afdj with ,tiberio ,fiurelli1 left it in the following year1 to return again in #afde1 with her father1 ,giuseppe ,bianchi1 the director of the troupe1 her sisters ,luigia and ,orsola and her husband1 ,marco ,romagnesi4 ,in #afei ,aurelia wrote a piece1 ,l',inganno ,fortunato1 which she dedicated to the queen-mother4 ,the queen-mother found the piece to her taste and conveyed her thanks to ,aurelia in the shape of a present consisting of a pair of diamond earrings of exquisite workmanship1 said by ,loret to be worth three hundred pistoles4 ,aurelia left ,paris at the end of ,june of #afei1 but was absent only a year4 ,upon learning of the death of ,romagnesi1 her husband1 she returned there in #affj1 re-entered the theatre and did not retire until #afhc4 ,she remained in ,paris after going into retirement2 she resided in the ,rue ,saint-,denis1 near the convent of the great ,saint-,chaumont1 where she passed away at the age of ninety1 in #agjc4 ,she was a very beautiful woman1 with great taste in dress1 and passionately addicted to her toilet4 ,mademoiselle ,belmont1 the wife of ,romagnesi de ,belmont 7,landre71 her grandson1 says that she found her upon her deathbed beautifully dressed in the very latest mode4 ,aurelia had been very much beloved by ,anne of ,austria2 like ,scaramouche she was admitted to the intimacy of the queen4 ,orsola ,corteze1 known in the theatre under the name of ,eularia1 made her dbut in ,paris in #affj at the age of twenty-three4 ,her mother1 ,barbara ,corteze1 known under the name of ,florinda1 claimed for her husband descent from ,hernando ,cortez1 the conqueror of ,mexico4 ,orsolo ,corteze married ,giuseppe-,domenico ,biancolelli 7,harlequin71 at ,saint-,germain l',auxerrois1 and bore him twelve children4 8,she was tall and well made without being beautiful2 and of an extremely amiable disposition40 ,she undertook the parts of leading lady after the retirement of ,aurelia1 and remained in the theatre until #afhj4 ,in #agjd she withdrew to ,montargis1 to the convent of the ,sisters of the ,visitation of ,mary1 and died there in #agah at the age of eighty-six4 iv ,franoise-,marie-,apolline ,biancolelli1 the daughter of the famous ,harlequin ,domenico ,biancolelli and of ,orsola ,corteze1 was born in ,paris in #affd1 and made her first appearance there in #afhc in the rles of leading lady1 under the nom de guerre of ,,isabelle4 ,at the same time her younger sister undertook the parts of soubrette under the name of ,columbine4 8,never0 7says ,deviz7 8was the ,comdie-,italienne so applauded as it is now4 ,if ,harlequin is inimitable in the various rles in which he is to be seen performing1 his two daughters are no less so2 the various characters which they play are so admirably rendered that they have earned the applause of all ,paris1 which never wearies of admiring them4 ,never has one beheld so much intelligence for comedy combined with so much youth4 ,there is no part undertaken by them of which they do not acquit themselves with such a grace that when they appear upon the stage it almost seems that they must have been born solely for the character which they represent40 ,the following monologue from ,gherardi presents a resum of the dominant character of the ,isabella type3 8,sirs1 in the deplorable state into which gallantry has fallen1 it is not surprising that a woman should be compelled to uphold the cause of all her sisters4 ,our sex might wait long and in vain for the other to undertake the task of avenging it4 ,since taverns and tobacco-shops have become so fashionable women have ceased to please2 and love1 powerful though he be1 is unable in the minds of young men to offer adequate compensation for the fatuous and brutal pleasure of a debauch at l',alliance or la ,galre4 8,where are the days when the fair sex beheld the flower of youth assiduously at its feet8--those days which might rightly be called the golden age of tenderness1 when hearts came in squadrons to reconnoitre our power6 ,in those happy days none was sure of conquering us1 and banishment followed quickly upon the least wrong that should be done us4 ,but the face of things is changed4 ,we no longer behold at this time of day a thousand indefatigable adventurers ready to sustain our cause against all the world2 and love1 which in other times was a source of riches to our sex1 is to-day no more than a source of ruin4 8,it is not in our century that you must seek those magnificent heroines who came forward to repair1 at the price of their jewels1 the most cruel desolations of war1 and thus to place themselves side by side with the most famous conquerors4 ,gallantry to-day is no longer recognisable1 or else it haggles even in the matter of little favours2 and far from stripping oneself of everything in the service of love1 one's heart is given only with reservations4 ,but that which has most contributed to decry gallantry is the unworthy profanation of our attractions by uniting us daily to imbecile old men1 members of a nation which in all times has been contemned by the kingdom of love4 ,these bizarre matches1 which avarice suggests to our parents1 open the door to innumerable abuses4 ,they constitute a nursery for separations1 and a clear source of profit to so many coquettish abbs who are everlastingly lying in wait for marriages of this description4 8,is it credible that there should be girls so innocent as to accept without vexation these changes in the matter of marriage8 ,and is not the sweet idea of matrimony which we form for ourselves incompatible with the austerities to which bespectacled husbands would subject us8 ,are we not aware that ,hymen's is a sort of warfare from which old men and children are disqualified8 ,what sort of a figure can an old dodderer be expected to cut under the banner of ,hymen1 or rather what sort of a figure can a young girl be expected to cut beside a husband who catechises her at every hour1 who counts the steps she takes1 who does not open his lips save to contradict her or to beguile her with tales of his bygone prowess8 a sour-faced fellow who accounts the addition of a ribbon to his wife's head-dress as a crime1 and who sets questions to his servants on the score of the most innocent movements of his better half8 ,i do not even touch upon that legion of infirmities of which old age is the prey1 nor the unbearable cough which is the music to which an old man invariably treats his young wife4 ,you are not to suppose that ,i do not see something heroic in the sad fidelity of which a woman has the courage to pride herself towards husbands of this kind1 but it is necessary that ,i should frankly confess my own weakness4 ,in a similar extremity ,i could answer only for a stony inflexibility never to depart from the hatred which at the outset ,i must conceive for any old man who should dare to attempt my liberty40 ,when she is in love she recoils before nothing to disembarrass herself of the fetters imposed upon her by the paternal will3 ,,isabelle 7dressed as a man1 before the mirror adjusting her cravat74 ,give me that hat1 ,pierrot4 ,do you find in me a cavalier to your taste8 ,,pierrot4 ,pardi1 mademoiselle1 you are charming4 ,you might be mistaken for me4 ,yet there is a little difference4 ,are you going to raise a company of infantry8 ,,isabelle4 ,do not think to mock me4 ,i should not tremble more than another under fire4 ,,pierrot4 ,if all captains were of your kind they might save enlisting expenses and produce their own soldiers4 ,,isabelle4 ,i do not assume this costume without reason4 ,you know that my father wants me to marry ,m4 ,bassinet4 ,,pierrot4 ,your father8 ,good6 ,he is a drivelling old fool1 as ,i have told him4 ,,isabelle4 ,i am making use of this disguise to avoid that marriage4 ,m4 ,bassinet has never seen me4 ,he is coming to pay me a visit1 and ,i shall await him in this apparel4 ,i am going to give him news of ,isabelle1 and--by heaven6--,i shall quench his desire to marry her4 ,,pierrot4 ,mordi1 now1 there's a daring girl6 ,i have always told your father that ,i never believed he was your mother's husband when you were born4 ,you have too much spirit4 ,don't you think so8 ,,isabelle4 ,oh1 as for me1 ,pierrot1 that does not trouble me4 ,i am concerned only to put an end1 if ,i can1 to this impertinent marriage by which ,i am threatened4 ,but here comes1 ,i think1 ,m4 ,bassinet4 ,leave me with him2 ,i shall play my part4 ,,pierrot 7going off74 ,pardi1 it is the man himself4 ,he looks like an old boar4 ,,isabelle 7seats herself nonchalantly in an arm-chair4 ,the ,doctor enters74 ,your servant1 sir2 your servant4 ,,the ,,doctor 7perceiving ,,isabelle1 and mistaking her for a man74 ,sir1 ,i beg your pardon4 ,i was told that ,mademoiselle ,isabelle was in her chamber4 7,aside47 ,what the devil's this coxcomb doing here8 ,,isabelle4 ,sir1 she is not here1 and ,i am awaiting her4 ,but you1 sir1 what do you seek8 ,is mademoiselle ill8 ,from your countenance ,i take you to be a doctor1 and you have all the appearances of a member of the faculty4 ,,the ,,doctor4 ,you are not mistaken1 sir4 ,i am a nursling of ,hippocrates4 ,but ,i am not here to feel the pulse of ,isabelle4 ,my pretensions are quite otherwise4 ,,isabelle4 ,indeed4 ,and of what nature1 pray1 are the pretensions of a doctor towards a young girl8 ,,the ,,doctor4 ,i seek to marry her4 ,,isabelle 7laughing74 ,ah6 ah6 ah6 ,,the ,,doctor4 ,you find it droll8 ,,isabelle4 ,not at all2 but it is that 444 ah6 ah6 ah6 ,i laugh like that sometimes1 ah6 ah6 ah6 ,,the ,,doctor 7considering himself in a mirror74 ,is my face dirty8 ,,isabelle4 ,no1 ,i am just laughing4 ,ah6 ah6 ah6444 ,tell me1 sir1 in determining to take so perilous a leap1 ,i hope that you have properly sounded yourself8 ,you have not1 perchance1 discovered any little headache1 eh8 ,you understand me8 ,,the ,,doctor4 ,not at all1 sir4 ,i am very well4 ,i am not subject to headaches4 ,,isabelle 7placing her hand upon his brow74 ,my faith6 ,you will be able to wear them very well1 and ,i would as soon that you should marry that girl as another4 ,,the ,,doctor4 ,and so would ,i4 ,,isabelle4 ,but when she is your wife do not spoil her by your ridiculous manners4 ,we have had a good deal of trouble to bring her to her present state4 ,i shall be accounted among your friends1 and ,i intend when you are married to come to you without ceremony to eat your capon4 ,,the ,,doctor4 ,sir1 you do me too much honour1 but ,i never eat poultry4 ,from what ,i hear1 you are perfectly acquainted with the lady in question8 ,,isabelle4 ,our acquaintance does not date from yesterday1 and if you are discreet ,i can tell you something concerning her which ,i am sure you do not know4 ,,the ,,doctor4 ,oh1 you can tell me everything and depend upon my discretion4 ,you know that doctors---- ,,isabelle4 ,i spend 444 but ,i must take care that no one overhears us4444 ,i spend every night in her chamber4 ,,the ,,doctor 7stupefied74 ,in her chamber8 ,,isabelle4 ,in her chamber1 and ,i could even tell you---- ,but you are sure to talk8 ,,the ,,doctor4 ,no1 no1 ,i swear it6 ,,isabelle4 ,last night my head reposed upon the same pillow4 ,draw your own conclusions from that4 ,,the ,,doctor4 ,on the same pillow8 ,,isabelle4 ,and it will be the same again to-morrow4 ,still1 what ,i have told you should not hinder you from carrying through the affair4 ,a real lover is not to be put off by trifles4 ,,the ,,doctor4 ,trifles6 ,fine trifles6 ,after all1 nothing presses yet in the matter of this marriage4 ,farewell1 sir4 ,heaven has befriended me4 ,here is a young man who loves me4 7,exit47 ,,isabelle4 ,i think that his vapours of love for ,isabelle are over now4 ,in the quarter of an hour during which ,i have played the man1 ,i have been a fairly complete rascal4 ,the rles of ,isabelle are usually purely comedy ones4 ,it is no part of her business to affect her audience or even to engross it4 ,she is concerned to enliven the stage with her satires1 her fantasies and her wit4 ,she speaks like a man1 and she has the knowledge1 the audacity and the self-assertion of one4 ,,isabelle4 ,do you not know1 ,columbine1 that prose is the very offal of wit1 and that a single madrigal can infuse more tenderness into a heart than thirty of the best-balanced periods8 ,it is only the very base who do not love poets to the point of folly4 ,ah1 ,columbine6 how charming is a man when he offers us his vows after having passed them through the sieve of the ,muses4 ,how is one to resist the declaration when it strikes the ear in rhythm1 and when its imagery forces sensibility into the wildest and most rebellious soul8 ,what joy1 ,columbine1 to rejoice the heart with these ingenious novelties that enclose a deal of passion in very little space4 ,oh1 the happy talent to be able to restrict your movements and thoughts to the feet and measures prescribed by poetry6 ,,columbine4 ,do you realise1 mademoiselle1 that such feet might lead you straight to the ,petites-,maisons6 ,wit is all very well1 but something else is needed in marriage4 ,waiting-woman though ,i be1 ,i would not take a poet either to lover or to husband4 ,what profit is there in being the wife of a rhymer8 ,is a room to be furnished with epigrams8 ,is a butcher to be paid with sonnets8 ,my faith6 if ,i were in your place ,i should throw myself at some good financier1 who would cause my merit to roll in a coach1 and who---- ,,isabelle4 ,a financier6 ,horror6 ,franoise ,biancolelli1 although not endowed with great beauty1 had a 8gift of pleasing spread over all her person40 ,she was full of grace1 very well made and had a physiognomy that was sweet and charming4 ,m4 de ,turgis1 an officer in the ,gardes-,franaises1 fell madly in love with her and married her in #afia4 ,she was twenty-seven years of age and her husband was twenty-one4 ,the father and mother of ,m4 de ,turgis entered in #afic a plaint against their daughter-in-law1 accusing her of the subornation of their son4 ,the mother of ,franoise ,biancolelli1 in her ignorance of the laws of ,france and to defeat the parents of her daughter's husband in their plaint1 announced to them that between her daughter and their son there existed no convention1 treaty or celebration of marriage4 ,in #afid1 the father and mother of ,m4 de ,turgis made a will disinheriting their son 8to punish him for his shameful alliance with ,franoise-,marie-,apolline ,biancolelli1 protesting1 for the rest1 to declare null the marriage which he might have contracted with her did they come to discover it40 ,coming into possession of proofs of the marriage1 they had their son removed to ,angers1 and they enjoined upon him to declare that he had been abused and suborned4 ,of a weak character1 he gave way and signed this declaration4 ,nevertheless he repaired immediately to a notary to protest against the step he had just taken4 ,the ,parliament gave judgment on the #aath ,february #afie1 declaring the marriage null1 and forbidding the ,sieur de ,turgis and ,mademoiselle ,franoise ,biancolelli 8to cohabit1 under pain of corporal punishment1 or to enter into a fresh contract of marriage1 under pain of its nullity40 ,and this 8whether during the lifetime or after the death of his father and mother40 ,against this ,constantin de ,turgis lodged a yearly protest with his notary--there are seven of them in existence4 ,franoise ,biancolelli had left the theatre in #afie4 ,the father of ,m4 de ,turgis died in the same year1 but the fate of the young couple was not ameliorated until #agja4 ,they were then remarried under a dispensation from the ,cardinal of ,noailles1 and they declared that 8there had been born of them under faith of marriage two children then living1 namely3 ,charles-,dominique de ,turgis des ,chaises1 born in #afib1 and a daughter who later on became ,madame ,millin de ,tressolles40 8,from that time onwards1 ,m4 de ,turgis went publicly to visit his wife1 and even appeared with her in public places40 ,although he continued to make use of rooms at his mother's house1 he lived with his wife in the ,rue des ,petits-,pres1 received there1 and spent there most of his time1 whilst ,franoise ,biancolelli publicly bore his name4 ,the mother of ,m4 de ,turgis died on the #bnd ,february #agjd1 and renewed in her will the two acts of disinheritance should her son remarry ,mademoiselle ,biancolelli1 as if she were in ignorance of the fact that they were already remarried1 an ignorance hardly possible considering that they lived in the same parish4 ,m4 de ,turgis died on the #bith ,april #agjf4 ,perceiving that his end was approaching1 he sent for his nephew1 de ,turgis de ,canteleu1 then in his fourteenth year4 ,he represented to him in a touching manner the sad position of his wife and children1 caused him to embrace them and recommended them to him4 ,young ,canteleu promised that he would never abandon his aunt and cousins4 ,he kept his word for1 dying at the age of twenty-one1 he left to ,charles-,dominique1 his cousin1 an income of eight thousand livres to sustain his name1 and an income of four thousand to the sister4 ,after the death of her husband1 who left nothing but debts1 seeing that he died disinherited1 ,franoise ,biancolelli was reduced to seek assistance1 having spent her own possessions to support her husband in military service4 ,the courts pronounced a judgment in #agji1 granting her a pension of a thousand livres for herself and her children1 and in #agac the king1 desiring to recompense the services of ,constantin de ,turgis in the person of his widow1 awarded her a further pension of three hundred livres4 ,madame de ,turgis left two children1 ,charles-,dominique de ,turgis1 chevalier of ,saint-,louis and an officer in the royal navy1 and ,marie-,anne-,reine de ,turgis1 the wife of the ,sieur ,millin de ,tressolles4 v ,giovanna ,rosa ,benozzi1 celebrated under the name of ,,silvia1 went to ,paris with the troupe summoned by the ,regent in #agaf4 ,she played for forty-two years the parts of leading lady with the same vivacity1 the same shrewdness1 and always producing the same illusion4 ,the inconstant public never cooled towards her4 ,she enjoyed applause until the hour of her death1 and was mourned with the liveliest regrets4 ,she excelled especially in the plays of ,m4 de ,marivaux1 of whose fine and witty dialogue she had a perfect grasp4 ,a volume would hardly suffice to contain all the praise which she received in prose and verse4 ,the rles of ,silvia were very diverse4 ,in the plays of ,marivaux1 like ,le ,jeu de l',amour et du ,hasard1 she is at once mistress and soubrette4 ,in other pieces she is just a soubrette1 sometimes a simple nave peasant girl1 or an innocent shepherdess1 as in ,arlequin ,poli par l',amour1 the first play which ,marivaux produced at the ,comdie-,italienne4 ,harlequin enters1 playing with a battledore and shuttlecock1 and in this fashion advances to the feet of ,silvia4 ,there1 still playing1 he lets the shuttlecock fall1 and in stooping to pick it up he perceives ,silvia2 astonished1 he remains arrested in his stooping attitude2 little by little he comes jerkily erect again2 then he looks at her4 ,she1 in an access of shyness1 attempts to withdraw2 he arrests her with the words3 8,you are in a hurry then80 ,,silvia4 ,i withdraw because ,i do not know you4 ,,harlequin4 ,you do not know me8 ,so much the worse4 ,let us make acquaintance1 shall we8 ,,silvia 7shyly74 ,certainly4 ,,harlequin 7approaching her1 and signifying his joy in little bursts of laughter74 ,you are very pretty6 ,,silvia4 ,you are very amiable4 ,,harlequin4 ,not at all1 ,i speak the truth4 ,,silvia 7laughing a little in her turn74 ,you are very pretty too4 ,,harlequin4 ,so much the better4 ,where do you live8 ,i shall come and see you4 ,silvia tells him that she is beloved of a shepherd who might spy upon them1 which afflicts ,harlequin2 but she assures him that she does not love the shepherd1 and ,harlequin is consoled4 ,he informs her in his turn that he lodges with the ,fairy1 which arouses jealousy in ,silvia because1 she says1 the fairy is more beautiful than she4 ,harlequin reassures her4 ,soon ,silvia has no uneasiness other than that occasioned her by her sheep2 they are straying and she is obliged to follow them4 ,harlequin takes her hand and kisses it1 saying3 8,oh6 the pretty little fingers6 ,i never had sweetmeats as good as these60 ,and thus they separate4 ,in another scene ,silvia returns with a cousin1 another shepherdess1 whose advice she asks4 8,harlequin has already kissed my hand10 she says1 8and he will want to kiss it again4 ,advise me1 you who have had so many lovers4 ,shall ,i allow him80 8,beware of doing so10 replies the cousin4 8,be very severe1 for that ferments the affection of a lover1 and beware of telling him that you love him40 8,but how can ,i help it80 asks ,silvia4 ,harlequin returns2 tendernesses between the two lovers2 jealousy of the fairy1 who causes the disappearance of ,silvia2 then ruses of ,harlequin1 to whom love has given so much spirit that he purloins the magic wand of the fairy1 leaving her impotent2 he presents it to ,silvia1 who employs it to evoke spirits and devils1 which are beaten by ,harlequin4 ,in ,l',amante ,romanesque 7#agah7 ,silvia confesses to her waiting-woman1 ,spinette1 that she is still in ignorance of what love may mean notwithstanding that she has been married2 but1 in the solitude in which her husband left her1 she spent her time in reading romances which have turned her head4 ,she detests all men1 she says1 and she is to take into her service a certain ,marinette who speaks1 perhaps1 more ill of the male sex than she does herself4 ,this ,marinette is no other than ,mario1 who1 in the disguise of a waiting-woman1 seeks to gain the presence of ,silvia whom he loves4 ,spinette opposes herself at first1 but1 after many promises from ,mario1 and after he has sworn that he has no design beyond that of seeing ,silvia1 ,spinette presents him to her mistress and he is engaged as a waiting-woman4 ,wishing1 however1 to be faithful to his word to ,spinette1 ,marinette 7,mario7 excuses himself from entering the service of ,silvia1 saying that he has just come into an inheritance from an aunt1 who has left him an income of twelve thousand livres4 8,that10 he says1 8is the wherewithal to seek a husband40 ,,silvia4 ,i am charmed by what you tell me1 and you are not to doubt that it was my aim to care for your fortune by attaching you to myself4 ,,marinette 7,mario74 ,madame1 ,i am already more attached to you than you think4 ,,silvia4 ,but you speak already of seeking a husband1 and you hated men so bitterly4 ,,marinette4 ,nevertheless one always ends that way4 ,still1 ,i shall hold back as much as possible and perhaps all my life2 ,i am very difficult to please4 ,,silvia4 ,what is your taste8 ,let us hear4 ,,marinette4 ,i desire one who has the heart of an ,italian and the manners of a ,frenchman4 ,silvia approves these ideas1 nevertheless she continues to denounce all men4 ,spinette and ,marinette in an even greater degree follow her example4 ,in the end ,marinette says so much ill of them that ,silvia embraces him with fervour4 ,,silvia4 ,come1 my dear ,marinette1 let me embrace you4 ,i love you with all my heart4 ,i find in you my own thoughts1 my sentiments1 my humour4 7,to ,,spinette1 who attempts to check her47 ,stand aside1 ,spinette4 ,i want to kiss her a thousand times4 ,,spinette4 ,madame1 spare me the sight of it4 ,,silvia4 ,why should you oppose it8 ,,spinette4 ,i'm jealous4 ,,silvia4 ,withdraw1 silly4 ,approach1 my heroine1 let me stifle you with caresses4 7,to ,,spinette47 ,what does that mean8 ,why do you tear her from my arms8 ,release me1 ,i tell you1 and stand aside4 ,,spinette4 ,but1 madame1 you have read romances2 do you not remember ,cladon who disguised himself as a girl to approach his mistress ,astr8 ,,silvia4 ,what then8 ,,spinette4 ,if perchance ,marinette were a boy who had had the same idea1 should ,i be right to allow you to continue as you are doing8 ,,silvia4 ,ha1 ha6 ,you are still making fun of my romances4 ,if ,marinette1 with the spirit and the sentiments which are hers1 were a boy1 that boy to-morrow would be my husband4 ,mario goes down upon his knees and declares himself4 ,silvia forgives1 and accepts him for her cavalier pending that he shall become her husband4 ,in ,the ,portrait 7#agbg71 a play by ,m4 ,beauchamp1 ,silvia has assumed the garments of her soubrette ,columbine1 and passes herself off as ,columbine4 ,she gives a very bad reception to ,valerius1 the future husband destined her by her father4 ,valerius is not duped2 but he pretends to mistake her for her waiting-woman1 and thus discloses to her his sentiments in a more delicate manner4 ,but the more ,valerius displays his submission to the orders of the beautiful ,silvia1 the more does she1 believing him to be indifferent1 attempt to turn him aside4 ,with this aim in view1 she herself sketches her portrait for him3 8,first of all she is neither tall nor short1 neither well made nor ill made4 ,she is fat rather than thin1 and notwithstanding all that1 a rare thing to-day1 she has a figure1 and she has a little air of recklessness and youth that is arresting4 ,it is perhaps neither wit nor brilliance1 yet it partakes of both4 ,she is white and rosy2 she has eyes and teeth2 she dances passably2 in a word she is like a thousand others4 ,on the subject of her conduct there is nothing to tell you4 ,she lives as all girls live to-day4 ,as for her temper1 faith1 it is not easy to define it4 ,she is gentle by reflection1 sharp by temperament1 timid in the things which she knows1 decided in those of which she is ignorant1 imperious with those who owe her nothing1 exigent without friendship1 jealous without passion1 absent-minded to the point of forgetfulness1 and unequal to the point of brusqueness2 in short it is so difficult to live with her that ,i cannot bear to be with her most of the time4 ,do you know who is the master1 the guide1 the director of all her actions and of all her sayings8 ,it is ,caprice40 ,valerius pretends to attach faith to this portrait1 which he knows does not at all resemble her since he has the original under his eyes2 to pique her he says that he will renounce ,silvia1 an announcement which angers her4 ,silvia was the subject of many madrigals1 sonnets and epistles composed in her honour4 ,she was born in ,toulouse1 of ,italian parents4 ,she was married in ,paris1 in #agbj1 to ,giuseppe ,baletti1 known by the name of ,mario4 ,of this marriage was born ,antoine-,louis ,baletti 7,lelio71 who entered the ,thtre-,italien in #agdb1 ,louis ,baletti1 who became a dancer1 and ,jeanne ,baletti1 who married ,blondel1 the royal architect4 ,silvia died in #agei4 vi ,at the time that the famous ,silvia was undertaking rles which demanded such versatility1 ,,flaminia1 the wife of ,louis ,riccoboni 7,lelio71 was playing the parts of leading lady4 ,elena-,virginia ,baletti was born at ,ferrara in #afhf4 ,she visited in her childhood the various theatres of ,italy4 ,her parents1 although poor1 gave her an education calculated to place her above the majority of her class4 ,from her most tender youth she passed for one of the best actresses of her country4 ,louis ,riccoboni1 already at the age of twenty-two the director of a company1 perceived in the talents of ,mademoiselle ,baletti a means of reintroducing to the ,italian stage the qualities that it had lost4 ,he sought and obtained her in marriage4 ,she went to ,paris with her husband in #agaf to contribute with him to the academic reformation of the theatre1 after having vainly attempted it in ,italy1 where the masks had remained masters of the field2 but the ,french public also loved ,harlequin and ,scaramouche1 and the performances of ,italian masterpieces could never have sufficed for the success of this new company4 ,it was necessary to give way to the demand for the masks4 ,flaminia retired with ,riccoboni in #agcb4 ,justice was done to her talents1 and she was esteemed not only as an excellent actress but also as a very learned woman4 ,she spoke ,spanish and ,french quite as well as her mother tongue1 and made considerable progress in a serious study of ,latin4 ,flaminia drew from the ,rudens of ,plautus the subject for her comedy ,naufrage1 which was not a success4 ,her play ,abdilly1 ,roi de ,grenade1 a tragi-comedy written in collaboration with ,delisle1 was also not a success4 ,out of conceit with the theatre she left it entirely in #agcc and dwelt in retirement until #agga1 the epoch of her death4 ,marie ,laboras de ,mzires1 born in ,paris in #agac1 made her first appearance on the #bcrd ,august #agcd1 in the rle of ,lucile1 in ,la ,surprise de l',amour4 ,she married ,franois ,riccoboni the son1 and withdrew from the ,thtre-,italien in #agfa4 ,she wrote various ,french scenes to be introduced into the ,italian scenarii1 but it is as a ,french novelist that ,madame ,riccoboni earned the durable celebrity of her name3 ,lettres de ,fanny ,butler1 ,ernestine1 ,histoire du ,marquis de ,catesby1 were her principal works4 ,she also translated several ,english pieces3 ,la ,faon de se ,fixer1 ,la ,femme ,jalouse1 ,la ,fausse ,dlicatesse and ,il ,est ,possd4 ,she was one of the greatest wits of her day4 ,she died in #agib4 ,on the #crd ,may #agcj1 ,anna-,elisabeth ,constantini1 the daughter of ,giovanni-,battista ,constantini 7the ,ottavio of the old company71 made her dbut at the ,comdie-,italienne to play such characters as ,isabelle and ,silvia4 vii ,giacometta-,antonia ,veronese1 known under the name of ,,camille1 was born in ,venice in #agce4 ,she went to ,france in #agdd with her father ,veronese 7,pantaloon7 and her sister ,anna ,veronese 7,coraline71 being then no more than nine years of age4 ,camille made her dbut as a dancer on the #bast ,may #agdd1 at the same time that her sister and father were making their first appearance in ,coraline1 ,esprit ,follet1 a piece which enjoyed a great vogue4 ,subsequently she was seen in the rles of leading lady1 in #agdg1 at the age of twelve1 in a scenario 7,les ,surs ,rivales7 written expressly for her by her father4 8,camille10 says an author of that time1 8had a gesture of an expressiveness such as is not to be learned before a mirror1 and an accent of a naturalness such as art can never yield1 but such as the heart may prompt when it is moved4 ,free from ambition and jealousy1 she was innocent of those rivalries which nearly always spring up among women of her condition4 ,her character was in her face1 and one saw imprinted there nobility1 frankness1 wit and gaiety2 no woman of her state ever carried disinterestedness further1 nor did ingratitude succeed in turning her aside from beneficence4 ,with a beneficent soul it is almost impossible not to have a tender heart2 these qualities are nearly always inseparable1 and if her sensibility permitted her some weaknesses she knew how to earn pardon for them by the constancy of her attachment40 8,the ,sieur ,billioni has just produced at the ,thtre-,italien the ballet ,pygmalion with success4 ,the subject is so well known that it is unnecessary for me to enter into details of it4 ,i will remark only that the ,demoiselle ,camille1 who plays the part of the statue1 renders it with the most singular truth4 ,nothing can equal the delicacy of her pantomime1 particularly in the scene when the statue gradually becomes animate2 she depicts her surprise1 her curiosity1 her nascent love1 and all the sudden or graduated movements of her soul1 with an expression such as has never yet been equalled4 ,i think that the art of the ancient ,greek and ,roman mimes could not surpass the talents of ,camille in this style of work0 7,letter of ,,favart to ,m4 de ,durazzo1 #bgth ,december #agfj74 8#8,thmire ,dlivre1 such is the title of the ballet-pantomime performed by ,billon1' says ,biglioni1 the erstwhile ballet-master of the ,opra-,comique4 ,thmire 7,mademoiselle ,camille71 amidst a troop of hunters1 delivers her orders1 departs with them to beat the countryside1 and leaves the stage empty 7a gross fault74 ,two woodcutters and the wife of one of them dance a pas de trois4 ,they go off as they came on without explaining the reason of their appearance4 ,thmire reappears2 she has been involuntarily separated from the hunt4 ,she finds herself alone and expresses her fears4 ,a savage perceives her from the height of a hill1 comes abruptly down and seizes her2 she swoons in terror2 the savage binds her with slender branches of willow and drags her into his cave4 ,at this critical moment the hunters arrive and perceive the danger of ,thmire2 they charge up the hill2 savages armed with clubs hurl themselves upon them4 ,ah6 what is happening during this time to poor ,thmire8 ,finally1 luckily or unluckily1 the savages are routed and ,thmire is delivered4 ,were they in time or were they not in time8 ,that is what remains to be explained4 ,be it as it may ,thmire is brought on in triumph to the sound of cymbals4 7,why cymbals87 ,there are rejoicings on the deliverance of ,thmire4 ,the conquered savages also rejoice4 7,wherefore87 8,notwithstanding these absurdities the ballet gives great pleasure4 ,that is because it is perfectly executed4 ,it is because ,camille1 who represents ,thmire1 is an excellent comedienne0 7,,favart1 #ast ,august #agfj74 ,camille died in #agfh at the age of thirty-three4 ,among other actresses of fame who played in ,italy during the seventeenth and eighteenth centuries let us cite those who played under the names of ,clarice1 ,angela1 ,graziosa1 ,rosaura1 ,eleonora1 ,diana1 ,beatrice or ,isabella1 the ,signore ,alborghezzi1 #afjj2 ,armelini1 #afjj2 ,andreoletti1 #afjb2 ,garziani1 #afaj2 ,aspontini1 #afcj2 ,pazzighetti1 #affa2 ,teresa-,corona ,sabolini1 who played in #afhh under the name of ,ottavia ,diana2 ,giovanna ,amatis1 #afie2 ,anziani1 #agae2 ,malatesta1 #agbj2 ,albertini1 #agjf2 ,antonia ,albani1 #agfj2 ,teodora ,ricci of ,padua1 who exercised so great an influence on the talent of ,carlo ,gozzi1 #agfj2 ,felicita and ,rosalie ,bonami1 #agge2 ,marianna ,bassi1 #agej2 etc4 ,,xiii ,,scapino ,endowed with honeyed language1 engaging manners and a sycophantic politeness1 ,,brighella is the most infamous rascal that ever drew breath4 ,he does not even display the brutal frankness of ,polichinelle to counterbalance the baseness of his sentiments4 ,he is a smirking cat concealing vicious claws in pads of velvet4 ,lively and insolent with women1 braggart and boastful with old men and cowards1 he decamps on the approach of any of those who do not fear him4 ,there is a great deal to be dreaded from him2 the more you have frightened him the less disposed is he to forgive you1 and if you should receive a stab in the dark1 be sure that his was the hand that dealt it4 ,a singer1 a dancer and a musician1 when he desires to do anyone an evil turn there is no house into which he is not able to insinuate himself4 ,he is a valuable servant to the man who knows how to employ his talents4 ,as his needs are many1 he requires a deal of money1 and if you know how to flatter his self-love and to pay him well1 there is neither girl nor woman in ,italy whom he is not able to wheedle for you4 ,he has discharged all kinds of offices2 he has been a soldier1 an attorney's clerk1 and he has even turned hangman's assistant so as to abstract himself from the attentions of justice4 ,the service he prefers to all others is that of lovers1 and it is rather from inclination than from necessity that he loves what he calls his estate4 ,for if there is no one to serve he will work for his own account to keep himself in practice1 and then woe betide the young girls who fall under his claws6 ,they are for ever lost if they lend an ear to his proposals and his sophisms4 ,brighella believes absolutely in nothing but the rope which is one day to hang him2 hence a glimpse of a watchman will reduce him to a condition which it is impossible to describe4 ,such was the old ,brighella2 but in the course of centuries and of civilisation he has improved a little4 ,he is still imbued with the same instincts1 but he does not assassinate quite so freely4 ,to-day many women are able to look him in the face without trembling and to listen to him without believing4 ,he is far more terrible to the purses of old men1 which he purloins with incredible dexterity4 ,his dreams are of nothing but thefts like the ,epidicus of ,plautus1 from whom he descends in direct line4 8,as for me10 says ,epidicus1 8,i am going to assemble the ,senate of my mind to deliberate upon what ,i shall do4 ,for it is upon money 7however much it may be our best friend7 that ,i am going to declare war4 ,what source shall ,i tap8 ,i must neither fall asleep nor draw back4 ,i am resolved to make a fresh attempt upon my old master4 ,i have procured a sharp knife to disembowel the old man's purse4 ,but what do ,i see8 ,two old men at once6 ,what a capture6 ,i shall transform myself into a leech and suck their blood44440 ,later1 when he is content with his misdeeds3 8,i do not believe that in all ,attica there is a soil more fruitful than my old master4 ,i take all the money ,i want from his cupboard1 however locked and sealed he may leave it4 ,but should the old man come to perceive it1 'ware the rod60 ,brighella1 whose name signifies intriguer1 is as old as ,harlequin1 his compatriot4 ,we have already said that both were natives of ,bergamo4 ,the ,slaver of ,la ,piovana of ,angelo ,beolco is a true ,brighella4 8,as for me10 he says1 8,i find nothing difficult2 ,i am accustomed to despise things4 ,i want two young girls1 and if it be not sufficient to kill one man ,i shall kill two4 ,do you not remember that dispute in which ,i stabbed a man as easily as you prick a bladder1 and of that other fellow whose bones ,i broke as you squelch a bean80 ,elsewhere we hear him declaring3 8,i am now going to seek ,sittono1 into whose hands the girl must have fallen by now4 ,i shall so contrive with amiable words that he shall give me the fifty livres promised me so that ,i may get me hence4 ,and should anyone suggest that ,i have acted badly1 ,i shall throw the entire fault of it upon my gossip40 ,slaver recks nothing of being a perjurer like ,brighella4 ,a purse has been stolen1 and ,bertevello1 the fisherman1 knows who has it4 ,,bertevello4 ,good-morrow1 comrade4 ,what is your name8 ,,slaver4 ,my name is ,slaver4 ,,bertevello4 ,slaver4 ,very good4 ,i am resolved to conceal nothing from you because ,i have no desire to go to prison4 ,since you say that the purse is yours1 swear to me that if ,i tell you who has it you will give me what you promised4 ,,slaver4 ,on the faith of an honest man4 ,,bertevello4 ,swear it on your soul4 ,,slaver4 ,since ,i give you my assurance1 why should you require an oath8 ,,bertevello4 ,swear as ,i shall bid you4 ,,slaver4 ,very well4 ,,bertevello4 ,say3 ,i1 ,slaver1 ,i swear---- ,,slaver4 ,i1 ,slaver1 ,i swear---- ,,bertevello4 --that ,i will give you what ,i have promised you---- ,,slaver4 --that ,i will give you what ,i have promised you---- ,,bertevello4 --of whatever is in the purse---- ,,slaver4 --of whatever is in the purse---- ,,bertevello4 --in livres1 sous and deniers---- ,,slaver4 --in livres1 sous and deniers---- ,,bertevello4 --upon burning coals---- ,,slaver4 --upon burning coals---- ,,bertevello4 --burning and scorching me at once---- ,,slaver4 --burning and scorching me at once---- ,,bertevello4 --that by a miracle may the living and the dead---- ,,slaver4 --that by a miracle may the living and the dead---- ,,bertevello4 --leap at my eyes1 tear them out1 and burn them1 and wither my hands4 ,,slaver4 --leap at my eyes1 tear them out and burn them1 and wither my hands4 ,,bertevello4 ,and that the devil himself may bear me off---- ,,slaver4 ,and that the devil himself may bear me off---- ,,bertevello4 --into the depths of misfortune---- ,,slaver4 --into the depths of misfortune---- ,,bertevello4 --so that not a fragment of my person shall survive4 ,,slaver4 --so that not a fragment of my person shall survive4 ,,bertevello4 ,very good4 ,await me here and ,i will bring the man with the purse to you4 ,,slaver4 ,i shall wait4 ,ah1 purse6 ,you see how strongly ,i desire you4 ,have no fear1 we shall depart together4 ,otherwise ,i should not have sworn as ,i have done4 ,and ,i do not consider myself under any obligation of giving what ,i promised to this fellow for having sworn what ,i swore4 ,moreover ,i swore with my tongue and not with my conscience4 ,is not my tongue free8 ,can ,i dispose of it8 ,my tongue can say what it pleases4 ,in a more modern ,italian scenario which has done duty in various forms1 always with success1 8some young ,venetian gentlemen are in a villa on the banks of the ,brenta4 ,to amuse themselves and to dispel the sadness which might result from the death of their butler1 ,meneghino1 they take it into their heads to make fun of three poltroons who are in their service3 ,pantaloon1 ,harlequin and ,brighella4 ,they make the pretence to believe in the boastful valour of ,pantaloon1 and they beg of him to spend the night watching over the body of the dead butler4 ,pantaloon consents against his will2 but it is ,harlequin who has been put to bed on the bier instead of ,meneghino4 ,they have covered him with a sheet and painted his face white4 ,harlequin is no more at ease than he who watches over him4 ,he fears lest this farce should bring some misfortune2 nevertheless he makes merry at the expense of his comrade1 performs a somersault on his bed1 and heaves great sighs4 ,soon1 however1 his laughter ceases1 and he thinks only of following the example of ,pantaloon1 who has gone into hiding1 for ,brighella appears1 dressed as a devil1 and pursues them with a torch4 ,brighella1 however1 imagined that he would have to do only with ,pantaloon1 and did not expect to find ,harlequin in the place of the dead man1 still less to find a corpse running in this scared fashion about the chamber4 ,in his fright he falls down1 and we behold the three of them rolling on the ground possessed by terror ineffable4 ,finally the entrance of their masters1 who come to mock them1 brings about their return to reason1 at the end of a long series of jests which the public receives ever with uproarious laughter40 ,the costume of ,brighella in the sixteenth and seventeenth centuries consisted of a sort of jacket and a wide pantaloon in white linen to suggest his rustic origin1 a cap laced in green1 and a cloak2 the coat and pantaloons were laced at the seams with green cloth so as to make the costume represent a sort of livery4 ,his olive-tinted and bearded mask conforms1 like that of ,harlequin1 with the tradition of the ancient ,sanniones4 ,in the nineteenth century his costume became a bizarre combination of old and new fashions4 ,his jacket took the form of a riding-coat made of wool or white flannel with three collars2 further he wore a waistcoat and pantaloons of the same material laced with green4 ,he preserved his traditional white cap trimmed with green and his brown half-mask1 whose beard was arranged so as to imitate heavy whiskers and a slight moustache4 ,the chin was shaven4 ,in this costume he looks very much like a negro arrayed in a ridiculous livery4 ,brighella is the stock from which are sprung ,beltrame1 ,scapino1 ,mezzetin1 ,flautino1 ,gradelino1 ,truccagnino1 ,fenocchio1 ,bagolino1 and all the shrewd and intriguing lackeys of the ,comdie-,franaise1 from ,sbrigani 7a variant of the name of ,brighella71 ,sganarelle1 ,mascarille and ,la ,montagne to ,frontin and ,labranche2 the livery only has changed2 the character is always that of ,brighella1 and from ,pseudolus1 the ,greek slave1 down to ,figaro1 the factotum1 the type has always been a liar1 a drunkard1 a thief1 a debauchee and more or less a murderer4 ,an ,italian comedian1 known under the name of ,briguelle1 appeared in #afga on the stage of the ,comdie-,italienne to replace ,locatelli 7,trivelin71 lately dead1 in the parts of first ,zani4 ,according to ,robinet1 this character became the rage1 and1 after his portrayer's death1 ,louis ,,xiv41 seeking to replace him1 requested another actor from the ,duke of ,modena4 ,the duke sent him ,giuseppe ,cimadori1 who played under the name of ,fenocchio the same rles as those of ,brighella4 ,this actor1 however1 died on the journey4 ,the two most famous players of ,brighella during the eighteenth century in the ,italian troupes were ,giuseppe ,angeleri1 who from #agjd to #ageb undertook the improvised parts in the comedies of ,goldoni1 and ,atanasio ,zanoni of ,ferrara1 who was one of the best comedians of the eighteenth century4 8,zanoni received a very good education1 but his taste for declamation having urged him to embrace a theatrical career1 he joined the troupe of the famous ,antonio ,sacchi1 whose sister he married4 ,zanoni was unrivalled in the grace of his enunciation and the vivacity and wit of his repartees4 ,to the qualities natural to his state he added those of a lofty character4 ,on the #bbnd ,february #agib1 on his way home from a splendid supper1 he fell into a deep canal and died soon afterwards40 ,in #aghg a collection was published in ,venice of the mordant1 allegorical and satirical ,brigelleschi witticisms4 ,we will cite some fragments4 8,one should not say #8a thief1' but #8an ingenious mathematician who finds a thing before its owner has lost it4' ,appropriated objects are the things which we inherit before the death of those who possess them4 ,to conduct a theft with propriety it is necessary to be assisted by three devils3 one who will teach you how to purloin adroitly1 one who will show you how to conceal effectively1 and a third who will persuade you never to make restitution4 ,when ,i am compelled to travel--that is to say1 to decamp--,i console widowed hens by adopting their chickens4 ,i deliver purses and watches from captivity4 ,i am very talkative because my father was dumb and he left behind him a capital of new words which had never been used4 ,for the rest1 ,i am a bastard4 ,out of charity ,i was once given a bowl of soup1 but so extremely limpid that the beautiful ,narcissus might have seen himself mirrored in it more clearly than in his fountain4 ,my shirt is become a romance2 it is full of knights-errant and the washerwoman refuses to wash it for fear of poisoning the river4 ,my supper is the supper of ,bertoldo3 a plate of peas ventosissimi1 with some boiled hope1 a ragout of desires and a piece of roast expectation4 ,my debts have transformed me into a star that is seen only at night40 ii ,,fenocchio1 a variant of the type of ,brighella1 made his appearance on the ,italian stage as early as #aefj4 ,like ,brighella1 he finds employment in amorous intrigues1 and he acts in these not only on behalf of ,celio1 ,leandro or ,zerbino1 but also on his own4 ,we behold him in a ,venetian play of the seventeenth century1 written in dialogue upon an old scenario1 as the lover of ,olivette1 the servant of ,pantaloon's daughter ,beatrice4 ,harlequin1 another lackey in the piece1 is so nave as to take him into his confidence1 never suspecting that ,fenocchio is his rival4 ,from that moment ,fenocchio swears to be avenged upon ,harlequin1 and seeks for means to be rid of him4 ,he begins by playing nasty tricks upon him4 ,harlequin is bearing ,olivette two birds alive in a basket2 ,fenocchio takes possession of it1 and replaces the birds by a cat4 ,he is present at the compliments by which ,harlequin accompanies his gift and those returned him by ,olivette1 who adores birds1 and he is the sniggering witness of her disappointment when she beholds a furious tabby escaping from the basket1 after having scratched her4 ,the anger of ,olivette and the tears of ,harlequin rejoice the heart of ,fenocchio4 ,harlequin1 wondering who can have done him such an evil turn1 suspects his confidant4 ,but ,fenocchio swears by all that there is most sacred 7in which he does not compromise himself1 seeing that he believes in nothing7 that he is incapable of a farce which could result in spilling the blood of the beautiful ,olivette4 ,by force of circumstances ,harlequin is unable to continue to see ,olivette1 whom ,pantaloon keeps in duress with his daughter4 ,he has recourse to the expedients of ,fenocchio4 ,the latter takes advantage of the situation to rid himself of his preferred rival4 8,pretend to be dead10 he advises him4 8,i shall put you in a coffin and take you to ,pantaloon the apothecary upon the pretext of getting him to make your autopsy4 ,during the night1 when everyone is asleep1 you can go and seek ,olivette40 ,credulous ,harlequin consents4 ,fenocchio carries him to ,pantaloon's house1 and1 after having related to the latter an unlikely story1 which ,pantaloon readily believes1 he withdraws1 hoping that the apothecary will deprive ,harlequin perhaps of a leg or an arm4 ,but ,harlequin1 being alone with ,pantaloon1 who is admiring the beautiful body which has been brought him for dissection1 cannot resist the need to scratch himself4 ,this occasions some surprise to the apothecary1 who has never seen the like4 ,trembling1 he seizes a scalpel1 and is about to make a large incision in ,harlequin1 when the latter leaps up in his alarm1 and1 shouting for help1 throws himself upon ,pantaloon1 who swoons in terror4 ,harlequin goes to ,fenocchio to discover a fresh expedient4 ,fenocchio reproaches him with his lack of patience4 8,you should have let the apothecary bleed you a little10 he says1 8and thus you would have seen ,olivette4 ,however ,i have found a better way3 you shall disguise yourself as a pig1 and ,i shall take you to ,pantaloon as a present from the doctor40 ,harlequin again consents4 ,fenocchio disguises him1 and leads his pig to ,pantaloon1 who admires this beautiful animal4 8,it is a pity to kill it10 he says4 ,again ,harlequin is taken with the need to scratch himself1 and he does this in a fashion so singular in a pig that ,pantaloon is surprised4 ,fenocchio explains that this is a trained pig1 and he makes ,harlequin go through several performances1 such as that of walking upright1 of taking snuff from the apothecary's box1 and replying by signs to questions that are addressed him4 ,pantaloon exclaims3 8,what an admirable pig6 ,what a rare animal6 ,i shall not have him killed until to-morrow morning10 and he causes ,harlequin to be shut up in a sty1 whilst ,fenocchio slips into the house in quest of ,olivette1 certain that this time he is rid of his rival1 and confident that he will see him disembowelled on the morrow4 ,during the night ,harlequin finds a way out of the place where he has been imprisoned4 ,always in his bizarre disguise1 he wanders forth in quest of ,olivette's chamber4 ,but he gets into the apothecary's shop1 where ,pantaloon sleeps on his camp bed4 ,whilst groping his way about1 ,harlequin knocks over some vessels1 which are broken in their fall4 ,,pantaloon 7waking with a start74 ,nane6 ,nane6 ,drive out the cats that have got into my shop6 ,,harlequin 7aside74 ,he takes me for a cat1 ,i am lost if he recognises me4 ,oh1 poor ,harlequin6 who could have foretold you that to see ,olivette it would be necessary for you to play the pig8 ,the worst of it is that ,i do not know where ,i am going4 ,he hurtles against a pile of bottles and breaks the lot4 ,pantaloon laments3 8,there goes my oil of frogs6 ,my balsam of oysters is all lost6 ,my electuary of sepia is broken1 ,i am sure60 ,he gets up1 lights his candle and looks about him2 meanwhile ,harlequin has slipped under the bed4 ,pantaloon1 after having deplored the loss of his drugs1 which he admits1 however1 will not be difficult to replace1 seeing that in reality they consist of no more than earth and water1 returns to bed and puts out the light4 ,harlequin attempts to rise1 and in doing so lifts up the bed4 ,pantaloon rolls along the ground with him1 gets up and strikes out haphazard1 shouting3 8,the pig6 ,the pig is strangling me6 ,help60 ,when ,fenocchio finds that he has not succeeded in disembarrassing himself of ,harlequin by this means1 he suggests to him a third expedient2 this is to procure a deal of money with which to bribe ,pantaloon1 who will then allow him to see ,olivette4 ,he announces that he knows a way to get the money4 8,the ,doctor is a collector of curiosities4 ,we will go and sell him one40 ,he dresses up ,harlequin as a clock1 with a dial in the middle of his belly1 and carries him off to the ,doctor1 who admires this beautiful and very curious piece of horology4 8,this10 says ,fenocchio to the ,doctor1 8represents1 as you see1 a man1 and it tells the minutes1 the hours1 the days1 the months1 the years and the centuries2 also it can predict the past1 and it can say ,papa and ,mamma1 and it chimes40 ,so saying1 ,fenocchio takes up a hammer and shows the ,doctor that all that is necessary to make it chime is to strike the head of the figure4 ,but ,harlequin ducks his head and threatens to discover everything if he is touched4 ,fortunately the ,doctor has not perceived this movement4 ,fenocchio1 who loves money better than vengeance1 begins to haggle with the ,doctor4 ,but at this point a servant enters with the ,doctor's soup4 ,harlequin is unable to resist the temptation1 and throws himself upon the soup1 which he swallows greedily4 ,the ,doctor turns round1 and cries3 8,ho6 ho6 ho6 ,a clock that eats6 ,help6 murder6 thieves60 iii ,louis ,riccoboni says1 in speaking of the costume of ,,beltrame3 8,his dress is not extraordinary1 and ,i think that it is proper to his day1 or perhaps a little earlier4 ,he wears a mask which is the same as that of ,scapin4444 ,beltrame1 who was a ,milanese1 and who spoke the language of his country1 wore also the costume of it40 ,his dress is that of a servant of the end of the sixteenth century4 ,this type1 more modern than ,brighella1 had no other employments in the ,gelosi troupe than that of an astute and cunning gossip2 but1 like ,mezzetin1 and the ,french ,sganarelle later on1 he played all the husband parts1 pretending at times to believe the stories that were told him4 ,in the middle of the nineteenth century1 at ,bologna1 this personage1 which by then had passed into the marionettes1 still represented the burgher1 the merchant or the old ,jew1 and shared the parentage of ,columbine with old ,tabarino4 ,niccolo ,barbieri was the first actor to render the ,french acquainted with this shade of ,brighella4 ,under the name of ,beltrame da ,milano1 he went with ,flaminio ,scala and ,isabella ,andreini to play in ,paris before ,henri ,,iv41 in #afjj4 ,after the ,gelosi troupe was dispersed1 ,beltrame returned to ,italy1 and joined the ,fedeli company4 ,in #afac he was back again in ,paris with this company under the management of ,g4 ,b4 ,andreini4 ,he remained until #afah1 returned yet again in #afbc and continued in the ,french capital until #afbe1 when he himself became the head of the troupe1 and rendered himself famous in ,italy and in ,france1 not only as an actor but also as a writer4 ,his work3 8,la ,supplica3 a tract for all men of merit who have not set up as critics and who are not entirely foolish10 is no more than a piece of pleading in favour of the comedians and the comedy of his day2 it is1 however1 extremely interesting for the anecdotes included in it1 which give an idea of the manners of the time4 8,all the authors who have written against comedy0 7he says7 8have not always been equipped with knowledge of this art4 ,the science of all things is to be found among all men1 but no single man has the gift of knowing everything4 ,sacred and profane authors cannot judge us4 ,saint ,bonaventura draws such a picture of comedians1 that if you were to believe him you must consider us all damned4 ,let me relate a little anecdote which proceeds directly out of what ,i am saying4 8,when ,i left ,vercelli1 my birthplace1 in the year #aeif1 ,i joined a mountebank known by the surname of ,monteferrin4 ,we visited ,aosta 7anciently ,augusta71 a city of ,savoy1 and ,monteferrin begged the chief magistrate's permission to set up his trestles there4 ,but1 as this perhaps was not the custom in that city1 the magistrate1 not knowing what to decide1 went to seek counsel of his spiritual superior1 who plainly refused this permission1 saying that he did not desire the admission of magicians into that country4 ,the stupefied ,monteferrin replied that1 being unable so much as to read1 it was impossible for him to work magic4 ,the superior bade him be silent3 #8,i know all about that1' he said4 #8,i have seen in ,italy charlatans who took a ball in one hand and caused it to pass into the other1 or who threw a leaden bullet into one eye1 and caused it to come out of the other2 who swallowed burning tow1 ejecting the fire from their mouths in a thousand sparks2 who pierced their arms with a knife and were instantly cured of the wound2 and all that by magic and other works of the devil4' ,thereupon the superior dismissed ,monteferrin without waiting for his reply1 and threatening him with imprisonment4 8,this superior was a theologian1 but he knew nothing of human adroitness1 and in that he greatly resembled those blessed saints who have spoken so ardently against the art of comedy1 having never witnessed more than some stray farce or some obscene nonsense performed by the marionettes of mountebanks and charlatans4 8,many ignorant folk1 who do not know the etymology of the word istrio1 nor its derivation1 believe that by istrioni 7histrions7 stregoni 7warlocks7 is meant1 magicians and men abandoned to the devil2 and it is as a result of this that in some parts of ,italy the ignorant people hold the belief that comedians can command rain or summon a tempest at their will4 ,as a matter of fact they are very poor enchanters and magicians1 and very hungry ones1 who have a deal of trouble to command a little money to rain upon them so that they may live2 besides1 if they had the power to summon rain they would be careful not to exercise it1 for when it rains no one comes to their performances40 ,to prove that comedy is not a vile and contemptible art1 ,beltrame cites a large number of comedians who were honoured and held in high esteem1 mentioning among actors of antiquity ,roscius1 the friend of ,cicero1 ,aliturus and sop1 and among actors of his own day ,isabella ,andreini1 ,pietro-,maria ,cecchini 7,fritellino71 ,giovanni-,battista ,andreini 7,lelio71 ,cintio ,fidenzi1 ,maria ,malloni 7,celia71 ,nicol ,zeccha 7,bertolino71 and himself4 8,myself10 he says1 8the least of all these1 ,i was appointed by ,king ,louis the ,just--a very good and very ,christian monarch--a soldier in his guard of honour1 and ,i was jealous to show myself worthy of that honour1 as my captain1 the illustrious ,duc de la ,valette1 will bear witness4 ,the eminent ,cardinal ,ubaldini can also tell how much ,his ,very ,christian ,majesty was disposed to overwhelm me with favours4 ,i will not mention the princes1 princesses1 kings1 queens and emperors who have held the children of comedians at the baptismal font and have called their parents gossip1 both in speaking and in writing to them1 nor how1 upon occasion1 they have made them participate in their ftes1 drive with them in their court carriages1 gratified them with presents from their own hands1 regaled them with sumptuous banquets1 and invited them to participate in their amusements4 ,many princes and great lords have played in comedies before their relatives and friends1 and have been eager to interpret in the best possible manner the characters entrusted to them1 and this entirely for their amusement4 ,are they on that account to be deemed infamous and contemptible8 ,no4 ,therefore1 it follows that comedy is not vile4 8,how many princes1 kings and emperors have played in public in their own theatres8 ,in my own day ,i have seen the ,dukes of ,mantua1 ,francesco1 ,fernando and ,vincenzo performing with our comedians1 as well as the ,prince of ,urbino and so many others whom ,i do not mention4 ,if the great lord may tread the stage for his amusement without derogating from his nobility1 why should honest folk be lost in reputation if they do the same for their livelihood8 ,since the nobles are not ashamed of performing in comedy1 the art cannot be contemptible4 8,i compare the efforts made to condemn comedy and comedians to those butterfly hunts engaged in by children1 who run furiously through fields1 heedlessly crushing plants and flowers under their feet1 coming and going and striking the air with their arms1 holding the very wind in their hands1 and perspiring even unto blood4 ,in their despair we see them sometimes throwing stones or their hats into the air1 and then precipitating themselves upon their prey1 without recking how they tear their garments or perhaps even break a limb4 ,and all this to what purpose8 ,to seize a thing which1 living1 is of little use and dead of none4 ,in short1 the efforts of our denouncers resemble the prowesses of ,don ,quixote of ,la ,mancha4 ,illustration 8,comedians study printed libretti with the permission of their superiors2 it is true that they themselves invent a deal1 but this without departing from the subject4 ,the authors of subjects or scenarii seek the most likely stories and arrange them according to the rules of humour1 just as the dramatic authors arrange their subjects according to the rules of poetry4 ,thereafter the actors undergo the necessary degree of study so as to interpret as aptly as possible the characters which they are to represent4 ,lovers and women study history1 fable1 rhymes and prose so that they may exploit the wealth of the language4 ,those whose aim it is to excite laughter ransack their brains to discover new jests1 not out of any desire to sin or to lead others into sin1 not to extol vice or error with obscene words1 but that they may provoke laughter by the employment of equivocal and bizarre inventions in the exploitation of the characters entrusted to them4 ,the ,captain excites hilarity by his hyperbolic extravagances2 ,doctor ,graziano does the same by his garbled quotations2 the first lackey by his intrigues1 his astuteness and his lively rejoinders2 the second lackey by his stupidity2 ,harlequin by his tumblings2 the ,covielli by their grimaces and their macaronic language2 the old men by their ponderous manners and their old-fashioned idioms4 8,i have read that in the time of the ,emperor ,marcus ,aurelius a certain ,fulvius1 pronounced lost by the doctors in consequence of an abscess in the breast1 determined in his despair to go and get himself killed in war4 ,in battle he received a lance-thrust exactly in the middle of his abscess1 and this wound cured him immediately of his alleged incurable ill4 ,the very contrary happened to the consul ,cneus ,ruffinus1 an old warrior1 who died in consequence of a comb's tooth penetrating his head whilst he was combing himself4 ,are we to argue from these events that he who wishes to be well should go to war1 and that none should ever comb himself under pain of death8 ,i have seen sick men despaired of by their doctors1 drink wine and recover health4 ,shall we therefore give wine to all sick men that they may be cured8 ,a cripple who could never walk without crutches1 slipped and fell2 a passing vehicle ran over his legs at that moment and broke them both1 as a consequence he was so thoroughly cured that thereafter he could walk without crutches4 ,is it therefore necessary that he who is crippled or lame should go and throw himself under vehicles so as to recover8 ,it is very possible that some undesirable events may have taken place in the theatre4 ,but is that a reason why one should not visit them8 ,two or three trees do not make a forest1 and a man may die as becomingly in the theatre as elsewhere4 8,in ,italy the customs of one town are very different from those of another4 ,in ,naples a woman will call a man familiarly #8my treasure' or #8my handsome fellow' and other similar names1 whilst in ,lombardy such terms are not uttered save between lovers1 or else are employed only by courtesans4 ,to kiss a married woman in ,naples is an insult to be washed out in blood1 whilst in ,piedmont it is considered a very trivial matter1 and is deemed between acquaintances a proof of friendship or a mark of reverence4 ,in some countries it is customary for women to salute strangers in this fashion2 in others it were an impoliteness4 ,in certain parts of the ,marches the women seem almost hostile to the male sex1 and they envelop themselves in their garments almost to the point of concealing their countenances4 ,in ,venice young girls are dressed entirely in white and widows entirely in black1 and in such a fashion as not to allow one to see their faces1 which are beautiful1 for there the handsomest women are to be found4 ,in other countries it is fashionable for ladies to display the throat and part of the breast1 whilst in others again they are covered to the neck2 and yet all alike are honourable women4 ,a fisherman will go half naked through the streets1 as will also a wool-worker4 ,what in some would be licentious is rendered by custom perfectly becoming in others4 ,to see the naked feet and a little of the leg of a beautiful lady seems to be a great affair1 whilst washerwomen and poor peasant girls display naked feet and legs without exciting the least comment4 ,nevertheless a woman's honour is everywhere the same4 ,why should the one give scandal and not the other8 ,custom is answerable4 ,thus is it with women who play in comedy2 we know that the love speeches which they utter are no more than fictions1 which cannot be held to corrupt the soul1 since in uttering them an actress but conforms with the custom of her art40 iv 8,here come the coaches of ,ferrara and ,bologna6 ,this way1 sirs6 ,this way1 illustrious gentlemen6 ,where are the baggages8 ,i will take charge of everything4 ,will your ,excellencies lodge at the ,three ,moors1 at the ,golden ,shield1 at the ,royal ,hostelry1 at the ,pelican1 or elsewhere8 ,i will conduct you where you will4 ,i am a faithful and dependable man4 ,shall ,i carry your saddle bags8 ,mind that pool of water6 ,this way1 my lords6 ,ficchueto6 ,fenocchio6 ,come and fetch the trunks1 portmantles1 baggages1 cloaks1 swords and all the effects 7tutta la roba7 of these gentlemen6 ,do you require a pleasant agreeable valet who understands all things1 or perhaps a cicerone8 ,here ,i am1 my masters6 ,my services are at your disposal4 ,i ask nothing but the honour of being your servant1 and you shall pay me what you please4 ,will your ,excellencies dine forthwith8 ,or perhaps you would prefer to whet the appetite before supper8 ,here1 sir host6 ,put all your dishes in the oven1 ,i am bringing you travellers of quality60 7,and in a whisper37 8,i am to have half your profits or ,i shall proclaim your inn the hovel of a poisoner40 ,thus ,,scapino4 ,sometimes travellers will have none of him1 telling him that they are not making a stay1 and giving him perhaps a few coppers to be rid of him and his speeches4 ,in such case he will set down the baggages and cloaks in the middle of a brook1 and walk off shrugging his shoulders in contempt and pity4 8,what misers6 7,che cacastechi67 ,what needy fellows6 7,che bisognosi670 ,nevertheless ,scapino is less of a rascal than his father ,brighella4 ,where ,brighella would freely ply his dagger1 ,scapino will but ply hands and feet1 and more often still no more than his legs1 for he is a thorough coward1 and he will not give the lie to the etymology of his name ,scappino1 which is derived from scappare1 to escape4 ,always a valet1 he frequently changes his master2 he is an intriguer1 a wit1 a garrulous fellow and a fluent liar4 ,he bears a very evil reputation4 ,he is a humbug 7un imbroglione71 a beggar and more or less of a thief1 but greatly in favour with soubrettes4 ,these young ladies find it impossible to amuse themselves without him4 ,scapin is a character that has been treated in a masterly manner by the hand of ,molire4 ,his name is the ,french equivalent of ,brighella4 ,they are one and the same personage1 wearing the same costume and endowed with the same natures4 ,in ,france ,brighella lost his original name and modified his costume in the early part of the seventeenth century4 ,fundamentally1 however1 he remained unchanged in all but the label4 ,caillot1 in his ,petits ,danseurs1 represents the ,italian ,scapino of his day1 dressed like ,fritellino1 in ample garments with mask and beard1 plumed hat1 cloak and wooden sword4 ,it was in such raiment that ,dionis of ,milan1 the director of a troupe1 played the parts of lackey in #afcj4 ,but1 upon being introduced to the ,french stage by ,molire and ,regnard1 ,scapin's costume became mixed with that of ,beltrame1 ,turlupin and ,jodelet4 ,he discarded the mask1 assumed garments striped green and white1 his traditional colours1 and became ,gros-,ren1 with powdered face1 ,mascarille1 ,la ,violette1 ,sganarelle1 etc4 ,molire1 upon being reproached with the follies of ,scapin1 replied3 8,i saw the public quit ,le ,misanthrope for ,scaramouche2 ,i entrusted ,scapin with the task of bringing them back again40 ,the ,italian ,scapino1 who appeared on the ,italian stage in ,paris in #agaf1 resumed the costume of ,brighella1 slightly modernised1 and he perpetuated the rles created by the ancient ,briguelle and by ,mezzetin4 ,giovanni ,bissoni played these parts in the troupe of #agaf4 ,born in ,bologna1 he became an actor at the age of fifteen4 ,he was engaged as a clown in a small troupe under the management of a certain ,girolamo1 a charlatan who sold his unguents by the aid of his farces1 in #afha4 ,after a short while ,bissoni found himself as wise as his master4 ,he became first his partner and afterwards his competitor4 ,he set out to sell his unguents in ,milan2 but1 finding himself forestalled there by another1 and being in danger of starving1 he bethought him of a stratagem which was successful4 ,he set up his trestles in an open place near that in which his rival was operating4 ,he boasted with emphasis the efficacy of his drugs4 8,but why should ,i boast of them80 he asked the crowd4 8,you know all my remedies2 they are the same as those of the operator1 my neighbour here1 for ,i am his son40 ,thereupon he proceeded to invent a very likely story4 ,he related that this rigorous parent had cursed him1 on account of certain youthful follies1 had driven him from home and refused to recognise him4 ,this speech was reported to the other operator4 ,bissoni1 profiting by the emotion of the crowd1 went with a penitent air and a countenance bathed in tears1 to throw himself on his knees before his pretended father and to implore pardon for his faults4 ,the other maintained the fictitious character imposed on him far beyond all hopes that ,bissoni could have entertained3 he called him fool and rogue1 and protested that1 far from being his father1 he did not even know him4 ,the higher rose the anger of that operator against the swindle perpetrated by ,bissoni1 the more did the people become concerned in the fate of this poor youngster1 until in the end they were so deeply moved that they not only purchased all his drugs1 but made him presents in addition4 ,bissoni1 satisfied with his success1 and fearing lest the truth should come to light1 hastened to depart from ,milan4 ,soon afterwards he abandoned the trade of charlatan and joined an itinerant troupe in which he played the parts of ,scapin4 ,later he entered the service of ,m4 ,albergotti1 as matre d'htel1 travelled in ,france with him1 and then returned to ,italy4 ,it was there that ,riccoboni found him when he was assembling the company for the ,regent of ,france1 and he engaged him for the ,comdie-,italienne to play ,zanni parts4 ,his talent was mediocre but he continued in this employment until his death1 in ,may of #agbc1 at the early age of forty-five4 ,he bequeathed all of which he died possessed to ,riccoboni1 who had frequently rendered him good service4 ,on the #bnd ,september #agci ,alessandro ,ciavarelli1 born in ,naples1 made his dbut at the ,comdie-,italienne in the part of ,scapino4 8,ciavarelli met tant de grces ,quand il reprsente ,scapin1 ,qu' ses lazzi1 ses grimaces1 ,on le prendrait pour ,arlequin40 ,in #agfi1 ,camerani1 a very mediocre actor1 enjoyed nevertheless a sort of celebrity for his singular capers1 and his gluttony1 which was the cause of his death4 ,he succumbed to an indigestion of pt de foie gras4 ,the principal authors had entered into an agreement to obtain from the ,thtre-,italien an increased remuneration for their rights4 ,camerani pronounced himself against them at the meeting held by the actors1 delivering himself on that occasion of the following witticism3--8,sirs1 take care4 ,i have already been telling you for some time that as long as there are authors comedy will never thrive40 v ,giovanni ,gherardi1 of ,prato in ,tuscany1 went to ,paris in #afge to replace1 under the name of ,,flautino1 the ,brighella of the ,italian troupe4 ,he made his dbut in ,arlecchino ,pastore di ,lemnos4 ,giovanni ,gherardi was a good actor2 he was extremely comical1 he played the guitar perfectly and imitated various wind instruments with his throat4 ,he was in himself a whole orchestra4 ,he remained a very short time in the theatre4 ,his depraved morals led him into trouble4 ,he was imprisoned and upon his liberation immediately quitted ,france4 ,he left one son1 ,evaristo ,gherardi1 the famous ,harlequin4 vi ,,gradelino is another variant of the type of ,brighella4 ,it was under this name1 already known in ,italy1 that ,constantino ,constantini went to play in ,paris in #afhg4 ,constantino ,constantini was a member of a good family of ,verona2 he had set up a factory and was a discoverer of several chemical secrets for the dyeing of cloth4 ,having fallen in love with a comedienne1 not only did he quit his country and his business to follow her1 but further induced his legitimate wife and children to accompany him4 ,thus in the wake of that actress he wandered through ,italy under the name of ,gradelino1 accompanied by his two sons1 ,angelo ,constantini 7,mezzetin7 and ,gian-,battista ,constantini 7,ottavia74 ,when his mistress died1 ,constantini went to ,paris to display there his accomplishments1 which were very real1 and had already earned him the greatest success in ,italy4 ,he conceived the unfortunate notion to sing on the ,parisian stage a song composed in ,italy against the ,french4 ,he was so thoroughly booed and hooted1 notwithstanding his talent1 that he never dared to show himself again4 vii ,the earliest ,,mezzetini date from the end of the sixteenth century1 and had their birth in the ,gelosi company4 ,they then wore white linen garments1 a mask1 a hat1 a cloak and the wooden sabre of the ancient ,zanni4 ,thus they are depicted by ,caillot4 ,they were then no more than simple variants of ,scapino and ,brighella2 their costume was the same1 their name only was different4 ,but when1 at the beginning of the seventeenth century1 the rles of ,zanni assumed a greater importance1 the actors who played them adapted their costumes to the tastes of their day1 both when they preserved the original type intact and when they modified it4 ,angelo ,constantini was the first to dress the character of ,mezzetin in the striped red and white garments which became characteristic of him4 ,he had been received into the old troupe in #afhb to double ,domenico ,biancolelli in the rle of ,harlequin2 perceiving that the troupe had no second ,zanni1 no ,brighella1 he took up that character1 and borrowed from the ,italian and ,french buffoons1 his predecessors1 this striped costume traditional of the ,sannionnes of antiquity4 ,he discarded the mask which had been worn by ,brighella1 ,beltrame1 ,scapin and all the earlier ,zanni1 both ,italian and ,french4 ,we know that ,molire himself long played lackey parts under a mask4 ,constantini fashioned the cut of his garments after the mode of his day1 whilst preserving the striped fabric4 ,after the death of ,domenico1 ,mezzetin wore the lozenges of ,harlequin and played the same rles until the arrival of ,evaristo ,gherardi4 ,mezzetin then resumed his livery and his character of shrewd lackey1 acting sometimes on his own account1 playing the parts of deceived or deceiving husbands such as ,sganarelle1 sometimes appearing as the servant of ,ottavio or of ,cinthio4 ,angelo ,constantini1 the son of ,constantino ,constantini1 after spending his youth playing in ,italy1 went to ,paris in #afhb1 and made his first appearance there in ,arlequin ,prote1 in the rle of ,glaucus-,mezzetin1 whilst ,domenico played ,prote-,arlequin4 ,when it fell to his lot to replace ,domenico1 ,constantini received from the hands of ,columbine1 in a scene prepared ad hoc1 the garments and the mask of ,harlequin4 ,he retained this rle for a very long time1 but he always played it under his own name of ,mezzetin4 ,as his countenance1 despite its great swarthiness1 was comely and mobile1 and as he was beloved of the public1 the entire audience rose1 and1 by way of manifesting its esteem for him1 shouted3 8,no mask6 ,no mask60 ,as a consequence ,constantini performed without mask until ,evaristo ,gherardi came to make his dbut as ,harlequin1 and to appropriate the character on his first appearance4 ,constantini then returned to his rles of ,mezzetin and continued in them until the theatre was closed in #afig4 ,the brothers ,parfait tell the following story of ,constantini3--8,it is worth while to relate a thing that happened to him at the house of ,m4 le ,duc de ,saint-,agnan4 ,he had dedicated a play to this nobleman1 who was in the habit of paying generously for such dedications2 with the object of receiving the recompense he hoped for1 he presented himself one morning at the duke's house2 but the porter1 suspecting the object of his visit1 refused to allow him to enter4 ,mezzetin1 to overcome this refusal1 offered him a third of such recompense as he might receive from his master1 and out of consideration for this promise was allowed to pass4 ,on the stairs he met the head lackey1 who proved no less intractable than the porter4 ,mezzetin promised him another third1 and was thus introduced into the ducal apartments4 ,there he found the duke's valet1 who showed himself still more inflexible than the other two1 and was with difficulty overcome by a promise of the last remaining third4 ,in this fashion nothing was left for poor ,mezzetin who1 upon beholding the duke1 ran to him and cried3 #8,my lord6 here is a theatrical piece which ,i take the liberty of presenting to you1 and for which ,i beg that you will compensate me by ordering that ,i be given a hundred lashes4' ,this extraordinary request amazed the duke1 who demanded to know the reason of it4 #8,it is1 my lord1' said ,mezzetin1 #8that to contrive to reach your presence ,i have been compelled to promise to your porter1 to your lackey and to your valet each one third of whatever you may have the goodness to give me4' ,the duke severely reprimanded his servants1 and sent a hundred louis to the wife of ,mezzetin1 who had entered into no promises40 ,the ,mezzetin of the plays of ,gherardi1 although generally softened in his ways1 is often the real ,brighella of other days1 with all his villainy4 ,,mezzetin 7to ,,isabelle74 ,come now1 my beauty1 tell the truth4 ,is it not true that you would very willingly become my better half8 ,look now1 consider me--my air1 my carriage6 ,eh8 ,i grow angry when ,i observe these little embryos attempting to enter into competition with me4 ,,isabelle4 ,they must indeed have lost their wits4 ,they are very amusing marionettes4 ,,mezzetin4 ,no matter for that4 ,let us speak of the happiness in store for us4 ,,isabelle4 ,these are calculations in which we are sometimes mistaken1 and it is not often that we find in marriage all the happiness that we had expected4 ,,mezzetin4 ,i am gentle1 peaceful1 easy to live with1 my humour is silk and velvet4 ,i lived six years with my first wife without ever having the slightest dispute4 ,,isabelle4 ,that is very extraordinary4 ,,mezzetin4 ,i quarrelled with her only once4 ,i had taken snuff and ,i wanted to sneeze2 she caused me to miss my stroke4 ,in my anger ,i took up a candlestick and broke her head4 ,she died a quarter of an hour afterwards4 ,,isabelle4 ,heavens6 ,is it possible8 ,,mezzetin4 ,that was the only difference we ever had1 and it didn't last very long as you can see4 ,if a woman is to die it is better that she should die at the hands of her husband than at those of a doctor1 who charges heavy fees1 and who may keep her languishing perhaps for six months or a year4 ,i cannot bear to see people languishing4 ,,isabelle4 ,and can you think without horror of having committed as black a crime as that8 ,,mezzetin4 ,i8 ,not at all4 ,i am used to blood from my youth4 ,my father had a thousand affairs in his life1 and he invariably killed his man4 ,he served the king for thirty-two years4 ,,isabelle4 ,on land or sea8 ,,mezzetin4 ,in the air4 ,,isabelle4 ,how in the air8 ,i never heard of such employment4 ,,mezzetin4 ,it is that as he was of an extremely charitable disposition1 and whenever he happened to meet a doomed man on his way to the gallows1 he would get into the cart with him and assist him to die in the best possible manner4 ,,isabelle4 ,oh6 ,horror6 ,,mezzetin4 ,if you had but seen him at work you would have been inclined to get yourself hanged4 ,,isabelle4 ,as these are perhaps family talents1 you should have taken up your father's office4 ,,mezzetin4 ,i inclined considerably towards it2 but1 as you know1 it is necessary that a gentleman should travel4 ,,isabelle4 ,i perceive only one slight difficulty to our marriage2 it is that ,i am married already4 ,,mezzetin4 ,married8 ,pooh6 ,what of that8 ,shall that embarrass you8 ,i am also married1 but there is nothing easier than to be widowed2 twopennyworth of rat-poison will do the business4 ,in other scenes of the same repertory1 ,mezzetin shines only in his clownishness and cowardice4 ,,isabelle 7as an inn servant1 receiving ,,mezzetin dressed as a traveller and followed by ,,harlequin1 his lackey74 ,good-morning1 gentlemen1 what do you lack8 ,,harlequin4 ,come along1 my girl2 a chamber1 a fire and the best food4 ,i always put up willingly at a house where the wine is good and the waiting-woman pretty4 ,,isabelle4 ,sirs1 you shall have all that you seek1 nothing is wanting here4 ,,mezzetin 7presenting his booted leg to ,,isabelle74 ,now then1 my girl1 off with my boots4 ,,isabelle4 ,draw off your boots6 ,indeed1 sir1 that is not my business4 ,,mezzetin4 ,are you not also the ostler8 ,,harlequin 7to ,,mezzetin74 ,now that seems a resolute girl4 ,but ,i think that she is ogling you a little4 ,,mezzetin4 ,the little rogue is pretty1 faith4 ,come here1 my girl2 are you married8 ,,isabelle4 ,no1 sir1 thank ,god4 ,i have not that honour2 it is not a good year for girls4 ,all the young men are at the war4 ,,mezzetin 7becoming mincing74 ,if you would but repose me a little from my warlike exploits8 ,i have money4 ,,isabelle4 ,good6 ,i am very fortunate1 ,i have never been tempted by money4 ,i prefer a man whom ,i like to all the treasures of the world1 and if you want me to speak frankly1 ,i like your valet better than yourself4 7,she strikes ,,harlequin in the stomach with all her strength47 ,,harlequin4 ,ouf6 ,faith1 the rogue has good taste4 ,come1 sir1 withdraw4 ,this is not meat for your birds4 7,pushing ,,mezzetin away47 ,,mezzetin 7approaching her74 ,the little rogue does not appreciate my merit4 ,,isabelle4 ,i beg you1 sir1 again to be quiet4 ,i do not like to be mauled4 ,if you wish to put up at the inn the door is open4 ,otherwise--your very humble servant4 7,she attempts to enter the inn1 ,,mezzetin arrests her1 seizing one of her arms2 ,,cinthio1 who has seen this1 comes out of the inn and rudely thrusts ,,mezzetin aside47 ,,cinthio4 ,by virtue of what1 sir1 if you please1 do you permit yourself liberties with this girl8 ,,mezzetin4 ,by virtue of what8 ,by virtue of my good pleasure4 ,,cinthio4 ,your pleasure6 ,listen to me1 my ugly little fellow4 ,don't warm my ears for me because ,i might find my pleasure in something that would not please you4 ,,mezzetin4 ,sir1 that is not the way to address a ,parisian gentleman who returns from ,flanders4 ,,cinthio4 ,you from ,flanders8 ,,harlequin 7who has been hiding round the corner out of fear1 approaching74 ,may the devil take us if we are not6 ,,mezzetin 7standing squarely74 ,oh no1 we were not there when our general issued his summons to the enemies2 they did not appear on the last day of ,july to plead on the battlefield4 ,the case was called and it lasted for eight hours1 but by virtue of good pieces of cannon which we carried we very quickly routed the enemy4 ,they attempted two or three times to appeal1 but they were always dislodged from their opposition and condemned to pay expenses1 damages1 interests and costs4 ,ah6 and costs6 ,well then1 were we there8 ,oh no6 ,i am but jesting6 ,,cinthio4 ,as far as ,i can see1 sir1 you have observed the battle in some lawyer's office4 ,but ,i recommend you to go your ways and not to look behind you4 ,,mezzetin4 ,sir1 have a care what you do4 ,should you insult me4444 7,he draws his sword1 ,,cinthio carries his hand to his own hilt47 ,,cinthio4 ,well8 ,,mezzetin 7hiding behind ,,harlequin74 ,you will have to deal with my lackey4 ,,harlequin 7running off74 ,i am not obliged to get myself killed in your place4 ,,cinthio4 ,begone6 ,i don't deign to answer you4 ,but if you come ogling this girl again ,i'll beat you to death4 7,he flicks ,,mezzetin',s nose with his gloves and departs47 ,,mezzetin 7after ,,cinthio has gone74 ,but he is going for all that6 7,to ,,harlequin47 ,heh6 ,what do you think of it8 ,i nailed him all right1 didn't ,i8 ,sometimes ,mezzetin would sing in parodies1 accompanying himself on the guitar4 ,watteau painted him playing this instrument amid the various actors of the ,comdie-,italienne3 ,isabelle1 ,ottavio1 ,columbine1 and the rest4 ,he also sang and danced in allegorical costumes in the ballets which concluded most of the plays1 or1 after having played the rle of the servant of ,ottavio throughout the piece1 he would disappear in the last act to go and make up as an ,american ,indian4 ,after the suppression of the theatre and the company in #afig1 ,constantini set out for ,germany to seek employment4 ,he had found an engagement in a company at ,brunswick1 when ,augustus ,i41 ,king of ,poland1 who had heard of him1 made him a proposal4 ,constantini accepted it1 and found himself charged by this prince with the formation of a company which was alternately to play ,italian comedy and sing ,italian opera4 ,he went to ,france in #afih to recruit his company1 and discharged his mission so well that in the following year ,augustus ,i4 named him chamberlain and treasurer of his entertainments1 and ennobled him4 ,such brilliant fortune1 however1 could not endure4 ,the daring and enterprising ,mezzetin fell in love with the king's mistress1 and declared himself4 ,nor did he stop there2 he set himself to depreciate the king in the spirit of this lady4 ,the lady1 it is said1 was indignant at the insolence of the comedian4 ,the king was informed of what had passed and concealed himself in the lady's chamber1 where an assignation had been given to ,constantini4 ,what happened no one knows beyond the fact that ,augustus came forth in a fury1 sword in hand1 threatening the comedian's death4 8,but probably he felt that it was not fitting that he should soil his hands in the blood of a man who had betrayed him so unworthily40 ,he ordered his arrest1 and had him imprisoned in the castle of ,knigstein4 ,mezzetin remained for twenty years in this fortress4 ,at last another lady of the court1 who then enjoyed some influence over the heart of ,augustus1 induced the ,king of ,poland to visit his fortress-prison of state4 ,there she summoned ,constantini1 who appeared 8with a beard which he had allowed to grow ever since his arrest40 ,he flung himself at the king's feet1 but notwithstanding that the lady added her supplications to the actor's1 ,augustus remained inexorable and refused the solicited mercy4 ,this lady1 however1 continued her efforts with such good result that a few months later ,constantini was restored to liberty4 8,all his property was restored to him1 but he was commanded to quit ,dresden and the state of ,saxony40 ,mezzetin set out for ,verona1 but he remained there only a little while4 ,anxious to revisit ,paris and to return to the stage where so long he had played with success1 he joined the new company of the ,regent1 and was received into it with joy and surprise4 ,he made arrangements with his old comrades to perform in five or six pieces for the payment of a thousand crowns1 and he reappeared on the stage on the #eth ,february #agbi4 ,in the ,mercure de ,france for the month of ,february #agbi you may read3 8,the ,sieur ,angelo ,constantini1 a native of ,verona1 known heretofore by the name of ,mezzetin1 a comedian of the old ,htel de ,bourgogne1 played in the same theatre1 and made his dbut in the rles which he had erstwhile performed in the comedy entitled ,la ,foire ,saint-,germain1 originally presented in #afie4 8,this piece was preceded by a prologue by the ,sieur ,lelio1 the son1 of which the following is the subject3-- 8,momus and ,harlequin first make their appearance4 ,momus complains that his place should so long have been abandoned4 ,he inquires of ,harlequin the cause1 and ,harlequin imputes it to the extreme love of the ,french for novelty4 ,momus promises to remedy this difficulty by a novelty which shall surpass all others4 ,by his orders a venerable old man comes forward2 he explains that this is the ,mezzetin of the old ,italian theatre4 ,at a further order from the god who introduces him1 and who takes him under his protection1 he casts aside his old man's robe1 and appears in the garb of ,mezzetin4 ,momus recites a fable on the subject of old age4 ,this fable does not at first seem favourable to an old man of seventy-five1 but ,momus consoles him with a tap from his bauble1 thereby shedding upon this beloved disciple a pleasant folly which is to take the place of youth40 ,mezzetin then relates a dream which he has just had4 ,he dreamed himself1 he says1 in ,paris1 on the ,italian stage2 he beheld a guitar issuing from the boards and he was singing again notwithstanding his great age4 ,whilst he is relating this a guitar is1 in fact1 thrust upwards4 ,he takes it1 tunes it and sings to his own accompaniment1 addressing the groundlings3 8,mezzetin1 par d'heureux talens1 ,voudroit vous satisfaire2 ,quoiqu'il soit dupuis trs long-temps ,presque sexagnaire2 ,il rajeunira de trente ans ,s'il peut encor vous plaire40 ,there was such a concourse of spectators that1 notwithstanding that the prices of admission had been doubled1 as many people had to be turned away as it was found possible to admit4 ,he gave five performances1 and a few days later set out for ,verona1 leaving in ,paris 8more creditors than reputation10 according to one of his detractors4 ,he died in ,italy at the end of that same year1 #agbi4 ,angelo ,constantini had married in ,italy ,auretta1 the daughter of ,dorsi and of the famous actress ,angiola4 ,auretta was seen in ,paris at the ,italian theatre of the ,htel de ,bourgogne2 but she was not a success4 ,her talents and appearance were only mediocre4 ,thence she went to ,germany4 ,of this marriage were born a daughter who became a nun at ,chaumont1 and a son named ,gabriele ,constantini who played ,harlequin in ,italy4 viii ,,narcisino is a native of the town of ,malalbergo1 between ,bologna and ,ferrara4 ,the ,bolognese1 having already in the ,doctor a character which spoke the dialect of the educated classes1 the actor ,ricconi created1 towards the middle of the seventeenth century1 another personage speaking that of the lower orders--a dialect which is almost a different language from that which is spoken still to-day4 ,this character was1 in the seventeenth century1 sometimes a stupid servant1 sometimes a master2 further he would very often play the rles of fathers and of guardians usually imbecile1 stupid1 and as obstinate and malicious as possible4 ,he shared these duties with ,tabarino and ,fitoncello1 rles which1 like those of ,beltrame and ,sganarelle1 served two purposes1 and were created--or rather reconstructed--by the actor ,bigher1 in ,bologna4 ,narcisino was still held in great esteem and enjoyed a great vogue in ,bologna at the beginning of the nineteenth century4 ,his part was then a singular one4 ,he scarcely appeared at all in the course of the actual plays1 coming upon the stage merely to utter or perform some buffoonery which had no connection with the scenic action4 ,wearing a straw hat1 his hair long like that of the peasants1 dressed in extremely wide coat and breeches1 in red and green stripes1 sometimes with a cloak on his arm or a basket of fruit in his hand1 he would come during the entr'acte to perform an interlude and to chat with the audience1 criticising the manners of his day1 and relating amusing adventures of the suburbs and the country4 ,he was a sort of ,pasquino or ,bruscambille4 ,he was accorded the right to say anything he chose1 but he was obliged to confine himself to generalisations1 avoiding personalities that were too pointed4 8,sirs6 ,it must be confessed1 and you will confess it with me ,i am sure1 that falsehood is a curious thing4 ,should there be any liars in the theatre ,i beg them to have the goodness to depart so that they may not hear what ,i am going to say40 7,he pauses a moment47 8,well1 then6 ,does no one depart8 ,i see1 sirs1 that we are all men of sincerity4 ,i may tell you then between men4444 ,ah6 but ,i perceive some women yonder6 ,all sincere and frank ladies are entreated to remain2 those who are addicted to falsehood may return home to see whether the wine is turning sour in their cellars40 7,a pause47 8,not a lady departs4 ,well done1 ladies6 ,i see that ,i have round me nothing but frankness and loyalty40 7,he goes to one side of the stage1 stoops1 and1 with his hand to his mouth1 as if he were speaking secretly in the ear of each37 8,i don't believe it for a moment1 but they wish to be taken for something that they are not6 ,now1 since frankness and truth reign here1 ,i will tell you in confidence that women must imagine men to be far more stupid than they are1 to relate to them a heap of inventions which they have the air of believing and of accepting as current coin until one day when1 weary of this tissue of diabolic invention1 they dismiss the lies together with the women who utter them4 8,i ask you now1 ladies 7yes1 it is to you in particular that ,i address myself71 is it not true that when you don't even so much as stir your tongues you still indulge in falsehood by means of your raiment8 ,i ask you whether it is not the greatest falsehood that a woman could invent to lead us to believe in the existence of that which she does not possess4 ,i see it every day4 ,the thinnest women parade themselves in petticoats of the rotundity of the cupola of ,saint-,mark in ,venice4 ,the streets of ,bologna are now too narrow1 for our ladies are compelled to go afoot--there are no carriages capable of containing them4 ,i ask you what is the result of all this8 ,under these mendacious cruppers what is there8 ,nothing60 ,in another interlude he says3 8,sirs1 let all misers depart quickly1 lest they might employ their ears in listening to me6 ,since no one budges ,i may speak freely4 ,how foolish are those people who spend some forty years of their lives in piling farthing upon farthing to make halfpence1 and halfpence upon halfpence to make livres1 and livres upon livres to make louis6 ,by the time that they have amassed sufficient for enjoyment they can no longer make use of their fortune2 old age has exhausted them4 ,let the exhausted ones depart1 ,i am going to address young people in the prime of life4 ,oh1 you young fools1 who think but of eating1 drinking and making love6 ,is that the aim of existence8 ,i pause1 sirs2 we are in the theatre and not at a sermon40 ,and1 with a pirouette like that of ,stenterello1 he disappears4 ix ,there are several ,french characters derived from the type of ,scapino1 among which the principal ones are ,turlupin1 ,gandolin1 ,grattelard and ,jodelet4 ,,turlupin 7unlucky1 unfortunate7 was created at the end of the sixteenth century at the ,htel de ,bourgogne1 by ,henri ,legrand4 ,he played the rle for more than fifty years in a costume greatly resembling that of ,brighella in point of shape1 and somewhat derived from that of ,harlequin in point of colour4 ,turlupin was of great fecundity in quips1 puns1 cock-and-bull tales and gibberish1 and in that style of jests which derived from him the name of turlupinades4 ,like most of the ,french comedians of his day he helped himself to what he found available2 but the most prolific source was undoubtedly ,rabelais4#c 8,he was an excellent comedian10 says ,sauval2 8his sallies were full of wit1 fire and judgment2 in a word1 he was short of nothing but a little navet2 and notwithstanding this1 everyone confesses never to have seen his like4 ,although florid he was a handsome well-made man1 with a pleasing countenance4 ,he was astute1 witty and amusing in conversation40 ,he entered the theatre in #aehc and spent his life there1 quitting it only for the grave which was accorded him in the church of ,saint-,sauveur in #afcg4 ,in the ,french troupe at the ,htel de ,bourgogne1 8,gros-,guillaume10 says ,tallemant1 8was le farin1 ,gaultier the old man1 and ,turlupin the rogue4 ,the latter also played the part of ,zanni1 who was regarded as the facetious one of the company1 and in that character he wore a costume similar to that of ,brighella1 with the little cloak and pantaloon40 ,turlupin was a man of well-ordered life1 a husband who would not suffer his wife to enter the theatre1 and who lived after the fashion of a bourgeois4 ,he devoted long hours to learning his rles4 8,he studied his trade assiduously1 and it would happen sometimes that when a man of quality who esteemed him invited him to dinner he would answer that he must study40 ,louis ,legrand1 his son1 upheld the celebrity of his father4 ,he made his dbut1 under the same name of ,turlupin1 in ,december1 #afbj1 and lived until #afee4 x ,,grattelard 7#afbj71 a ,french buffoon of the tabarinic farces1 surnamed by derision the ,baron ,grattelard1 is another type of cunning lackey4 ,his costume is very similar to that of ,trivelino4 ,like ,trivelino he wears a doublet and pantaloon in the ,italian fashion1 very wide and embroidered with deep-coloured triangular designs upon a pale ground4 ,he wears also the half mask1 the chin-piece and the skull cap1 the wide pleated collar1 the lath and the light coloured shoes1 a cap like ,brighella's but no cloak4 ,above a portrait of this character lately discovered in the ,bibliothque des ,estampes the following distich is to be read3-- 8,ma mime n'est belle ny bonne1 ,et je vous jure sur ma foy ,qu'on peut bien se fier moy1 ,car je ne me fie personne40 ,the same engraving presents two other characters of the same epoch--,jasmin 7a sort of ,crispin7 and ,jean ,broche or ,boche1 who is somewhat related to the ,italian ,doctors4 ,already before ,grattelard1 other ,french buffoons had attached to their theatre-names titles borrowed derisively from the nobility3 ,le ,comte de ,salles1 ,le ,marquis d',argencourt1 ,le ,baron de ,plancy and ,le ,comte de ,permission4 ,the most brilliant rle of ,grattelard is in the farce of ,the ,three ,hunchbacks1 a story drawn from the ,factieuses ,nuits of ,straparole1 who himself derived it from an ,eastern source4 ,the ,farce of the ,hunchbacks 8,trostolle the hunchback has three hunchback brothers1 the sight of whom he cannot bear4 ,he is filled with horror of misshapen people4 ,one day1 being compelled to leave home1 he enjoins his wife to lock up after dinner and not to allow anyone to enter4 ,he does not wish to find his brothers there1 in which case he would lay the stick across ,madame's back4 ,thereupon he departs4 ,madame ,trostolle has a love intrigue with a certain ,horace1 who sends her his servant ,grattelard with a love letter4 8,the husband being gone1 the three hunchbacks arrive with stomachs as hollow as wells and teeth as sharp as wolves'4 8#8,it is a long time since we have eaten1' says the first hunchback1 #8and at need my belly might serve as a lantern4' 8#8,here is the house of my brother1' says the second1 #8let us go in4' 8,the third knocks at the door4 ,but ,madame ,trostolle recognises them from their humps4 ,nevertheless she permits herself to be moved by their entreaties1 admits them and sets food before them4 ,but ,trostolle returns and she hides the three brothers4 ,trostolle1 whilst suspecting the presence of the hunchbacks1 departs again upon receiving his wife's assurances that no one has entered the house4 ,she runs then to her brothers-in-law and finds them drunk4 8#8,i think1' she says1 #8that they have a reservoir on their backs1 for they have emptied a hogshead4 ,however1 they must be got out of this4' 8,grattelard arrives with his letter3 #8,consider my trouble1' says ,madame ,trostolle4 #8,a hunchback has dropped dead on my threshold4 ,you must take him to the river4' 8#8,what will you give me8' 8#8,twenty crowns4' 8#8,very good4 ,let us get to business4' 8#8,very well2 here is the fellow4' 8#8,he is very heavy1' says ,grattelard1 and thereupon shoulders the hunchback and departs to throw him into the water4 8#8,i have made a bargain to get him to carry one away2 ,i must contrive that he shall carry away all three1' says ,madame4 8,grattelard returns4 #8,i have thrown him into the water1' he announces4 #8,but he was very heavy6' 8#8,you are mocking me1' replies the woman4 #8,you must have thrown him in very badly1 for he has come back again4 ,look6 ,here he is6' 8#8,to the devil with the hunchback6 ,i will load my shoulders with him again and carry him back to the river4' 8,he goes and returns1 but still he finds a hunchback4 8#8,don't you understand that he will always come back8' says ,madame ,trostolle2 #8you don't know how to go about it4' 8#8,mordienne6' says ,grattelard4 #8,i shall end by getting angry6 ,i shall take him back again1 but if he makes another appearance ,i shall put a stone round his neck4' ,and for the third time he carries off the hunchback1 whilst ,madame goes off on the other side4 8,trostolle returns2 he has discharged his affairs and wishes to assure himself that his brothers have not been to his house4 8#8,how now6 ,death of my life6' cries ,grattelard1 who has returned for the third time1 and perceives ,trostolle1 #8there is my hunchback again6 ,to the river1 my hunchback6 ,to the river6' 8,he seizes the husband1 and carries him off like the others4 ,that done he returns to receive the promised twenty crowns4 8#8,well1 have you thrown him into the river8' inquires ,madame ,trostolle4 8#8,i had to carry him there four times6' answers ,grattelard2 #8he persisted in coming back1 but this time----' 8#8,four times6 ,has he by chance put my husband with the others8' 8#8,faith1 the last one at least could talk6' 8#8,oh6 what have you done8' cries the woman4 #8,you have thrown my husband into the water6' 8#8,there's no great harm done6 ,he was a hunchback who could never have been straight4 ,here1 this is a letter from ,master ,horace4' 8#8,is he far from here8' she asks4 8#8,since your husband is dead1' is the answer1 #8you had best marry him4 ,lo1 here he comes6' 8#8,madame1' says ,horace1 #8if the affection which ,i bear you may serve as a warrant to permit me to present to you my vows1 you may believe that ,i am the most faithful of your subjects4'0 xi ,,jodelet1 a clownish lackey1 ingenuous and stupid of appearance1 was played in the ,french troupe of the ,htel de ,bourgogne by ,julien ,geoffrin1 from #afaj to #affj4 ,in shape his costume is that of ,beltrame2 as to its colour1 he wears a black cap1 striped doublet1 trunk and hose1 the mask of ,brighella and the black chin-piece1 the cloak1 purse and wooden sabre of all similar types4 ,it was for the character of this personage that ,scarron wrote ,jodelet ,duelliste and ,jodelet ,matre et ,valet in #afde4 ,we have also ,jodelet ,astrologue1 a comedy by d',ouville1 #afdf2 and ,la ,feinte ,mort de ,jodelet1 a comedy by ,brcourt1 #affj4 ,julien ,geoffrin was the last to play la farce in ,france4 8,for one who plays the nave with his face plastered with flour0 7says ,tallemant7 8he is a good actor4 ,farce is no longer played save at the ,marais1 where he is1 and it is on his account that it is played there4 ,jodelet speaks through his nose in consequence of not having been properly treated 444 and that lends him a certain quaintness40 ,jodelet played also sometimes with the ,italian troupe4 ,gilotin1 ,tripotin and ,filipin played in farces at the ,french theatre of the ,htel de ,bourgogne 7#afee74 ,filipin1 whose real name was ,villiers1 played the same rles as ,jodelet4 ,scarron wrote for him ,le ,gardien de ,soi-,mme4 ,he wore the black mask of the ,italian lackeys1 and a red cap adorned by two feathers4 7#afce7 ,goguelu was a ,french mask who appears to have attempted to replace ,gros-,guillaume at the theatre of the ,htel de ,bourgogne4 ,he wore wide pantaloons1 a doublet like that of ,brighella1 the cloak1 skull cap and exaggerated moustache of the ,italian buffoons4 ,bruscambille1 another type of the ,htel de ,bourgogne1 was created by ,deslauriers4 ,he was a native of ,champagne1 an actor and an author1 and he made his first appearance in #aeih1 on the trestles of ,jean ,farine1 joining the company of the ,htel de ,bourgogne in #afcd4 ,,xiv ,,scaramouche ,,scaramouche is the son or the grandson of ,matamoros4 ,his name1 which signifies 8little fighter0 or 8skirmisher10 and his primitive ,neapolitan type1 would place him in the category of ,captains1 if ,tiberio ,fiurelli had not endowed him in ,france with every shade of character4 ,the costume of ,scaramouche has never varied in point of colour2 he has always been dressed in black from head to foot4 ,riccoboni says that 8in point of cut it is an imitation of the ,spanish dress1 which1 in the city of ,naples1 had long been the dress of courtiers1 of magistrates and men of war4 ,towards #afhj the ,spanish ,captains came to an end in ,italy1 and the old ,italian ,captain having long been forgotten1 it became necessary to find in the companies of ,neapolitan comedians an actor to replace the ,spanish ,captain2 thus ,scaramuccia was created4 ,in ,italy this personage has never had any character other than that of the ,captain2 he is at once a boaster and a coward40 ,originally he wore a mask1 like all the types that date back to this epoch4 ,in his ,petits ,danseurs1 ,callot represents the ,scaramuccia of the ,fedeli company 7whose real name was ,goldoni7 wearing a mask and brandishing a sword4 ,his costume differs but little from what it afterwards became with ,fiurelli1 excepting the slashings in his doublet and in his plumed cap1 which suggest that the date of the creation of this type is the end of the sixteenth century4 ,tiberio ,fiurelli1 the most famous of all ,scaramouches1 discarded the mask1 floured his countenance and1 by his facial play1 8was the greatest mime in the world40 ,the breeches that he wore at first were wide1 afterwards he assumed those which remained traditional to the type4 ,the girdle has sometimes been of cloth like the costume1 sometimes of leather4 ,trimmings and buttons were always of the colour of the dress4 ,scaramouche proclaims himself marquis1 prince or lord of several countries which have never existed in any geographical chart4 ,he was1 he says1 abandoned in his early youth by his illustrious father1 and reared at the expense of some king or other1 who caused him to spend his early years at the oar of a royal galley4 ,it is not to be doubted that he found his way to the galleys later on1 for he is the greatest thief that ever breathed4 ,he inherits all the boast and brag and poltroonery of his father the ,captain4 ,like him he is in love with all women2 but his pale countenance and evil reputation afford him few chances with the fair sex4 ,he avenges himself for his rebuffs by boasting of illusory favours and by maligning the women whom he pretends to have jilted4 ,notwithstanding his pretensions to nobility1 for he claims to be as noble as ,charlemagne1 and as rich as another ancestor of his named ,crsus1 he is nearly always the servant of a very minor gentleman1 or of a poor bourgeois1 who employs him in the conduct of his love affairs4 ,but instead of doing his duty he prefers to amuse himself by beating the watch and thieving from passers-by4 ,in short1 ,scaramouche is a good-for-nothing who finds delight only in disorder4 ,if there are any blows to be received in payment for his rascalities1 he is sly enough to procure for some neighbour the windfall that was destined for himself4 ,there is a perfect understanding between him and ,pulcinella1 who is another rogue of his kidney4 ,it is thus that1 arm-in-arm1 the one shouting and gesticulating brutally1 the other bellowing1 leaping and wheeling his sword about the ears of peaceful citizens1 they sweep the pavement1 ogling the same women and thirsting for the same bottles4 ,it is rarely that the matter does not end in a dispute between these two gossips4 ,pulcinella becomes angry1 and ,scaramouche vanishes4 ,illustration 8,where is that poltroon1 that coward80 cries ,pulcinella1 pounding the tables with his great knotted cudgel4 ,when the formidable fellow's anger is spent ,scaramouche returns to reprimand his friend upon his evil inclinations1 his irascibility1 drunkenness and egoism2 it is a speech full of good sense and morality1 to which ,pulcinella listens absent-mindedly rubbing his hump4 ,most of the time he does not listen at all1 for he has no esteem whatever for this poltroon4 ,the matter1 however1 ends invariably in libations1 and it is glass in hand and his brain a little heated that ,scaramouche gives a free rein to his brilliant imagination4 ,he will thus relate all his exploits of gallantry to ,pulcinella1 who does not interrupt him save by occasional exclamations of admiring astonishment1 or by little mocking laughs1 which indicate his incredulity4 ,suddenly1 however1 pots1 glasses and bottles fly into fragments4 ,pulcinella1 wearied by all this chatter of ,scaramouche1 swings his devastating club to put an end to the conversation2 then he gets up and1 without paying his share1 departs sneering4 ,scaramouche has gone into hiding at the crash1 and does not show himself again until his comrade is far away4 8,what an ass60 he exclaims4 8,what an animal6 ,what rude1 unmannerly ways6 ,next time ,i shall correct him thoroughly2 ,i shall pull his ears40 ,upon the remark of a third party1 who accuses him of having been afraid1 he replies like ,panurge3 8,afraid8 ,i8 ,i have a deal of courage4 ,i do not mean the courage of the lamb1 but the courage of the wolf1 and even more the courage of the slayer40 ,scaramouche is like the bowman of ,bagnolet1 8he fears nothing but danger40 ,tiberio ,fiurelli was born in ,naples on the #gth ,november #afjh4 ,although the son of a cavalry captain1 he was1 at the age of twenty-five1 employed as a servant by the leading lady of a company that then enjoyed a good repute in ,naples4 ,he was a utility man1 and played small parts from time to time4 ,one day the laundress of the comedienne who employed him told ,fiurelli that her daughter's best friend was about to be married and that her daughter was to be one of the bridesmaids2 she invited him to the nuptials1 knowing him for a young man of jovial humour4 ,the marriage was a brilliant affair2 there was a deal of drinking and dancing2 ,fiurelli distinguished himself by eating as much as two and drinking as much as four4 ,as a result1 in the course of the dance1 driven no doubt largely by the wine into an amorous transport1 he kissed the bridesmaid notwithstanding her resistance4 ,the insult was considered of a grave character1 particularly as it had been offered in public1 and it was judged to be reparable only by marriage4 ,on the morrow the laundress1 having assembled witnesses and the members of her family1 came to demand justice from the mistress of ,fiurelli4 ,the accused appeared1 but had nothing to say4 ,he could remember nothing of what had happened yesterday4 ,the laundress1 having reminded him of everything1 threatened to lay a plaint before the magistrates if he did not repair his fault and make the amend demanded by the honour of the family4 ,having taken counsel with the actress whom he served1 ,fiurelli decided to marry the young laundress1 who was very pretty4 ,some time after their nuptials1 ,fiurelli and his wife joined a company of comedians4 ,madame ,fiurelli took the name of ,marinette1 which was probably her own1 for she was the first soubrette to bear it4 ,fiurelli himself assumed the name of ,scaramouche4 ,angelo ,constantini1 the author of ,the ,life1 ,loves and ,deeds of ,scaramouche1 says that ,fiurelli was the creator of this type2 but he is at fault in this statement as in several others in his biography4 ,evaristo ,gherardi severely trounces this work of ,constantini's3 8,if those10 he says1 8who have spoken so unworthily of ,fiurelli1 and who have made use of his name to produce an infinity of wretched quips and bad jests are capable of shame1 let them come candle in hand to make reparation to the manes of so great a man1 that they may avoid the punishment which impostors deserve before ,god and humanity4 ,there is nothing more impious than to exhume a man for the purpose of covering him with calumny40 ,nature had marvellously endowed ,fiurelli1 and his name very quickly became famous throughout all ,italy as that of the most perfect and witty mime that had ever existed4 ,after having visited most of the great cities of ,italy1 he went to ,paris in the reign of ,louis ,,xiii41 in #afdj1 and enjoyed there an equal degree of success4 ,the queen took great pleasure in his mimicries4 ,one day1 when he and ,brigida ,bianchi 7an actress known--as we have seen--under the name of ,aurelia7 were in the chamber of the dauphin 7afterwards ,louis ,,xiv471 the prince1 who was then but two years old1 was in such evil temper that nothing could appease his rage and his cries4 ,scaramouche told the queen that if she would permit him to take the royal child in his arms he would undertake to calm him4 ,the queen having permitted this1 he made so many grimaces1 performed so many apish tricks1 that not only did the child cease to cry1 but he was seized with a hilarity whose results ruined the garments of ,scaramouche1 to the great bursts of laughter of all the ladies and gentlemen present at this scene4 ,from that day ,scaramouche received the order to visit the dauphin every evening to amuse him1 together with his dog1 his cat1 his monkey1 his guitar and his parrot4 ,scaramouche would then be about thirty-three years of age4 ,he was invariably summoned to ,paris whenever any ,italian troupe was commanded to appear there4 ,many years later ,louis ,,xiv4 used to take pleasure in reminding ,fiurelli of their first interview1 and the great king would laugh heartily when ,fiurelli mimed the story of that adventure4 ,on the subject of ,scaramouche1 ,gherardi writes as follows in the scenario of ,colombine ,avocat ,pour et ,contre3-- 8,after having mended everything that is in the chamber1 he takes his guitar1 drops into an arm-chair and plays whilst awaiting the arrival of his master4 ,pasquariello comes up softly behind him and beats the time of his music on his shoulders1 which terribly frightens ,scaramouche4 ,in a word it is now that this incomparable ,scaramuccia1 who was the ornament of the theatre and the model of the most illustrious comedians of his day--having taught them that art so difficult and so necessary to persons of their character1 how to stir up passions and to depict them--it is now1 ,i say1 that for a long quarter of an hour he could shake the audience with laughter at a scene of terror in which he did not utter a single word4 ,it must also be agreed that this excellent actor possessed this marvellous gift in so high a degree that he could move the hearts of his audience by the simplicity and naturalness of his mimicry far more than they are ordinarily to be moved by the most able orators or by the charms of the most persuasive rhetoric4 ,a great prince1 seeing him play once in ,rome1 said of him3 #8,without speaking ,scaramouche says the most beautiful things in the world4' ,and to mark the esteem conceived for him1 the prince sent for him when the comedy was ended1 and made him a present of the coach and six horses in which he had had him fetched4 ,he was always the delight of all the princes who knew him1 and our invincible monarch never wearied of heaping favours upon him4 ,i dare even to persuade myself that if he were not dead the company would still be in existence40 ,in #afei a rumour was abroad that in the course of journeying into ,italy ,fiurelli had been shipwrecked and drowned whilst crossing the ,rhone1 an adventure which was celebrated in verse by ,loret4 ,fiurelli made frequent journeys into ,italy to visit his wife ,marinette4 ,his last visit was a very protracted one2 he remained with her for seven years1 and returned to ,paris only after her death4 ,he established himself there permanently1 and remained on the stage until the age of eighty-three4 ,having then retired1 he fell in love with a young girl named ,mademoiselle ,duval1 who was tall1 well made and very beautiful1 the daughter of a servant of the ,prsident de ,harlay4 ,he sought her in marriage and obtained her4 ,the first months of the honeymoon were spent peacefully2 but soon ,fiurelli's jealous and avaricious nature was revealed4 ,after all1 he was perhaps right to suspect and to complain4 ,there was too great a difference in age between them and the young woman was coquettish4 ,scaramouche sought to enforce his rights and his authority2 but his young wife refused to endure lessons and corrections2 she sought shelter with her parents and took proceedings against him to obtain a separation4 ,fiurelli on his side accused her of infidelity1 and demanded that her hair be cut and she be sent to a convent4 ,the affair made a deal of noise1 and four years were spent in preparing the case for the courts4 ,before it was completed ,fiurelli died1 on the #eth ,december #afif1 at the age of eighty-eight4 ,at eighty-three he still displayed such agility that in his pantomime scenes he could box the ears of a fellow-actor with his foot4 ,with a slight and supple body he combined a strength and litheness that were extraordinary4 ,we know that ,molire testified ever for ,fiurelli an unlimited admiration4 ,it has been said1 and there is reason to believe it1 that it was the incomparable ,scaramouche who determined the vocation of this illustrious child when he was taken by his grandfather to witness ,fiurelli's performances4 ,it was by these that ,molire was inspired to embrace the profession of the theatre4 ,it has also been said that as a comic actor ,molire always sought to imitate the ,italians1 ,trivelino in particular1 but ,scaramouche above all4 ,it is well known that ,molire was ,italian rather than ,french in his ways1 both as author and comedian2 that for his first essays1 not only for his scenarii but still more for his written pieces1 he tapped the sources afforded by the ,italian repertory1 and that the two companies played in his day the same subjects in the same theatre1 whilst the ,italians made no affectations of claiming priority1 and ,molire did not dream of contesting it them4 ,for the rest these borrowings became reciprocal1 as may be gathered from the fact that ,scaramouche ,ermite scored a success at court1 whilst ,tartuffe gave rise there to indignation4 ,at the foot of a portrait of ,fiurelli in the dress of ,scaramouche is the legend3 ,tibre ,fiorilli1 dit ,scaramouche1 le grand original des thtres modernes4 8,cet illustre comdien ,atteignit de son art l'agrable manire3 ,il fut le matre de ,molire1 ,et la nature fut le sien40 ,let us take a glimpse of him at work in some entirely ,italian scenes preserved in ,gherardi's collection4 8,ottavio1 having given ,anglique an assignation in the ,tuileries1 desires that a gallant collation shall be prepared so as to afford her a pleasant surprise4 ,he begs ,scaramouche to attend to it and departs4 ,scaramouche1 left on the stage1 falls into a reverie4 ,harlequin enters and ,scaramouche begs of him to think of a way but without telling him what is the subject4 ,thereupon the two of them walk up and down the stage1 their heads in their hands1 and from time to time one turns to the other exclaiming3 #8,faith1 ,i have it6' to add afterwards3 #8,no1 that idea is worth nothing1' and to recommence their goings and comings in silence4 ,suddenly they meet1 and ,scaramouche exclaims3 #8,ah1 this is sure to succeed6' ,whereupon they depart without any further explanations40 ,in another scene3 ,,cinthio 7approaching ,,scaramouche74 ,come vi chiamate8 7,what is your name87 ,,scaramouche4 ,what is my name8 ,,cinthio4 ,si1 il vostro nome1 qual 8 7,yes1 what is your name87 ,,scaramouche4 ,il mio nome1 signor1 7,my name1 sir1 is7 ,scaramuzza1 ,memeo ,squaquara1 ,tammera1 ,catambera1 e figlio di 7a son of7 ,cocumaro and of ,madonna ,papara ,trent'ova1 e ,iunze1 e ,dunze1 e ,tiracarunze1 per servire a vossignoria 7to serve your lordship74 ,,cinthio4 ,o che bel nom6 in verit1 non si puo far de pi6 7,what a beautiful name6 ,a better were impossible67 7,he pulls out his purse47 ,here1 this is for ,scaramouche4 ,this is for ,memeo ,squaquara4 ,this is for ,tammera and ,catambera4 7,at each name he gives him a coin47 ,and the rest of the purse for the rest of your name4 ,,scaramouche 7aside74 ,this fellow must be a collector of names4 7,to ,,cinthio47 ,sir1 ,i have still several other names in my family as beautiful and as long as my own4 ,if you want them you have but to mention it4 ,scaramouche1 having heard of the issue of a warrant for the arrest of ,harlequin1 his master1 under his assumed name of the ,marquis of ,sbrufadelli1 dresses himself as a woman so as to escape4 ,,harlequin4 ,ha6 ,ha6 here is some demoiselle from the ,pont ,neuf4 ,good-morning1 madam4 ,your servant4 ,,scaramouche4 ,sir1 indicate to me1 if you please1 the way to ,la ,grve8#d ,,harlequin 7mockingly74 ,you have but to go on as you have started4 ,stick to your present ways and you will go straight there4 ,,scaramouche4 ,i will hurry then1 for ,i fear lest ,i should not find room4 ,,harlequin4 ,there is no need to hurry1 there will always be room for you4 ,,scaramouche4 ,the truth is1 sir1 that they are going to hang the ,marquis of ,sbrufadelli1 and he will be1 they say1 the most comical corpse in the world1 so that everyone is hurrying to see him4 ,,harlequin 7angrily74 ,those who told you that are ill-informed4 ,the ,marquis of ,sbrufadelli is a man of honour and he will not be hanged4 ,do you understand8 ,,scaramouche4 ,but ,i tell you that he will be4 ,that it is absolutely necessary that he should be1 since all the windows are already let4 ,,harlequin4 ,that is a fine necessity--to hang a man because the windows are let4 ,go your ways1 madam1 you don't know what you are saying4 ,,scaramouche4 ,it will be a very pretty show4 ,i am dying to see it4 ,he married two wives and they are going to hang two petticoats beside him4 ,oh1 what a pretty show to see6 ,oh1 how droll it will be6 ,,harlequin4 ,i shall end by losing my temper4 ,i tell you again that ,i know the ,marquis of ,sbrufadelli1 and---- ,,scaramouche 7revealing himself74 ,yes1 and ,i know him too4 ,,harlequin4 ,scaramouche8 ,,scaramouche4 ,yes1 sir4 ,i have disguised myself in this fashion because ,i know that the ,doctor is seeking you to have you put in prison4 ,he is at the head of twenty archers1 and ,i should be sorry if they compelled me to keep you company4 ,you know very well that ,i have had nothing to do with your affairs1 and that this would never have happened to you if you had followed my advice4 ,,harlequin4 ,this is not a time to be moralising---- ,,scaramouche4 ,oh1 sir1 you have waited too long1 we are lost4 ,here comes the ,doctor4 ,the archers arrive with the ,doctor4 ,harlequin1 not knowing where to conceal himself1 dives under the petticoats of ,scaramouche4 ,the ,doctor is furious4 ,he seeks ,harlequin and comes face to face with ,scaramouche4 ,he gives him good-day with a mocking air1 and1 observing that he is holding his sides and groaning1 asks him what is the matter4 ,,scaramouche4 ,i beg you to let me go1 sir4 ,i am pregnant and in pain4 ,,the ,,doctor4 ,this is very distressing6 ,but we must see about getting you away from here because ,i am looking for a certain man whom ,i am going to arrest1 and if he should come this way the archers might hurt you in the tumult4 ,,scaramouche4 ,and what is the name1 sir1 of him you are seeking to arrest8 ,,the ,,doctor4 ,he is called the ,marquis of ,sbrufadelli4 ,,harlequin 7thrusting his head from under the petticoat74 ,the ,marquis of ,sbrufadelli1 sir8 ,the ,marquis of ,sbrufadelli is gone6 ,,the ,,doctor 7hearing a voice but seeing no one74 ,who spoke then8 ,,scaramouche4 ,it is my unborn child1 sir4 7,aside to ,,harlequin37 ,be quiet1 animal1 or you will be discovered4 ,,the ,,doctor 7suspiciously74 ,your unborn child1 is it8 ,he is a well-nourished child4 ,,scaramouche4 ,indeed yes1 sir4 ,i have never spared my children anything4 ,,the ,,doctor4 ,so ,i perceive1 since they talk before birth4 7,leaning over ,,scaramouche47 ,master child1 you say then that the ,marquis of ,sbrufadelli is gone8 ,,harlequin 7thrusting out his head74 ,yes1 sir1 he departed by the mail coach4 ,it should suffice you to be told once4 ,,the ,,doctor4 ,that is very true1 sir4 ,i beg your pardon for my importunity4 7,to the archers47 ,corporal ,simon6 ,take me that child and put him in prison at once4 ,he is a little debauchee at much too early an age1 and must be sent to a reformatory4 ,the archers seize ,harlequin and bear him off2 ,scaramouche escapes crying3 8,salvo6 salvo60 ,when ,tiberio ,fiurelli withdrew from the ,thtre-,italien in #afid1 the rles of ,scaramouche were filled by ,giuseppe ,tortoretti1 who had been playing ,pasquariello until then4 ii 8,on the day of ,,pasquariello',s birth1 the cat stole the roast meat1 the candle turned pale thrice1 the wine turned sour in the cellar1 and--incredible prodigy6--the stock-pot emptied itself into the ashes4 ,evil prognostications6 ,faithful to them ,pasquariello was ever a glutton1 a drunkard and a devastator1 the ruin and the terror of kitchens40 ,this name of ,pascariel1 or ,pasquariel as it is written by ,gherardi1 is no doubt a diminutive of ,pasquino1 the ,roman emblem of satire4 ,in the sixteenth century ,pasquariello was a dancer and a mountebank like ,meo ,squaquara1 from whom ,scaramouche claims descent4 ,these personages are depicted by ,callot4 ,they are dressed in tight garments1 with hawk-bells on their legs1 they carry sabre and cloak1 and wear a mask with a fantastical long nose1 but they appear to be without head-dress4 ,meo ,squaquara in particular seems to be bald-headed4 ,pasquariello bears the surname of ,truonno--that is to say1 the ,terrible4 ,it is a type that was not seen in ,france until #afhe1 when it was borne thither by ,giuseppe ,tortoretti4 ,like its ancestors1 his ,pasquariello was particularly a dancer and a very clever equilibrist4 ,the rle is always that of a servant4 ,the ,mercure ,galant for ,march of #afhe says3 8,the ,italian company has been increased by a new actor who earns the applause of all ,paris1 and who has given similar pleasure at court4 ,he is of a surprising agility and admirably supports the incomparable ,harlequin40 ,notwithstanding1 however1 the felicitous dbuts of ,pasquariello1 this actor was never more than mediocre1 and his talents lay largely in the suppleness of his limbs4 ,his type is a variant of ,scaramouche1 whom--as we have mentioned--he came to replace in the ,italian company after the death of ,tiberio ,fiurelli in #afid4 ,after the suppression of the ,thtre-,italien 7#afig71 ,giuseppe ,tortoretti 7,pasquariello7 obtained from the king the privilege of performing the plays of his repertory throughout ,france1 but with the reservation that he was not to bring his company within thirty leagues of ,paris4 ,thereupon he engaged a company and toured the provinces1 but did such poor business that he died in want4 ,giuseppe ,tortoretti had married in ,italy ,angelica ,toscano1 who was known at the ,thtre-,italien under the name of ,marinetta2 she went with him into the provinces and shared his ill luck4 ,pasquariello is dressed more or less like ,scaramouche1 saving that he does not always wear the cap and cloak2 he replaces cloth by black velvet1 and sometimes wears red stockings4 ,his simple and severe appearance permits him to play the same parts as ,scaramouche1 and to replace ,scapin under the name of ,pasquin4 ,it is chiefly in ,l',avocat ,pour et ,contre that ,pasquariello has an important part2 it is he who develops the plot of the piece2 he enters at every instant to terrify ,harlequin1 who has become a great lord1 and his servant ,scaramouche4 ,now he appears as a ,captain1 to compel ,harlequin to marry ,columbine whom he has betrayed2 at other times he is seen as a dancer1 a ,moor1 a devil and even as a painter1 for ,harlequin has demanded a painter to paint his portrait4 ,pasquariello enters4 ,he has donned a waistcoat splashed and smeared with paint2 he walks clumsily by the aid of crutches1 and his eyes are almost hidden under a green visor4 8,what is this80 demands ,harlequin4 8,a painter of invalids8 ,he is paralysed and he will paint me upside down40 ,pasquariello attempts to doff his hat to salute the ,marquis ,arlecchino1 but he trembles to such an extent that1 at his movement1 the crutches1 being unable to support him1 one slips forward and the other backward and he tumbles upon ,harlequin1 who also falls4 ,in the very act of falling this courteous painter greets ,harlequin1 wishing him good-morning1 and announces himself his servant4 ,harlequin1 bruised and crippled1 enlists the assistance of ,pierrot to pick up the painter1 and then says to him3 8,without ceremony1 sir1 go and do your dying first1 and then come back to paint my picture40 ,but ,pasquariello1 or rather the painter1 evidently adds deafness to his other infirmities2 for without being at all disconcerted he sits down1 places an enormous pair of spectacles on his nose1 and1 after having mixed some colours on his palette with a brush that is something like a broom1 he daubs the face of ,pierrot1 who was standing open-mouthed before him1 watching him mix his red and black4 ,pierrot departs in tears4 ,harlequin becomes angry4 ,the painter makes no answer2 he considers ,harlequin1 and1 brush in one hand and palette in the other1 he drags himself on his knees to ,harlequin1 who1 scared1 asks him what he is going to do4 8,i am going to paint your lordship10 replies ,pasquariel4 ,but ,harlequin draws his attention to the fact that his canvas is on the other side of the stage4 ,the painter gets up1 attempts to turn towards his canvas1 but misses his step1 and falls full length upon the stage4 ,harlequin exclaims3 8,oh1 here is a broken painter6 ,i shall have to pay for a painter60 ,but ,pasquariel is up again1 and is taking his leave preliminary to departing4 ,he balances himself upon his feet1 then lets himself hurtle against ,harlequin1 who1 being pushed thus unexpectedly1 falls once more4 ,pasquariello falls on top of him as heavily as possible4 ,he then gets up and departs1 pursued by ,harlequin's imprecations4 ,in another scenario1 ,la ,precaution ,inutile1 ,pasquariello is a lackey4 ,he has been placed on duty together with ,pierrot at ,isabella's door1 and they have been expressly commanded not to allow any love letters to pass in4 ,a butterfly flutters towards them4 ,pasquariel lifts up his nose and observes to ,pierrot that perhaps this is a love messenger4 ,pierrot is absolutely of the same opinion4 ,thereupon a chase is set on foot1 their object being to seize the papers which the butterfly no doubt carries4 ,we have bounds and leaps1 and we see one climbing upon the shoulders of the other to reach the butterfly1 but the butterfly rises ever higher and higher4 ,both of them1 nose in the air1 fling up their hats1 and end by colliding with each other so violently that both are knocked over and roll on the ground4 ,in ,le ,grand ,sophy1 ,pasquariello1 the valet of ,ottavio1 says to ,mezzetin3 8,become but a captain of dragoons1 and pleasure and good living will follow you everywhere4 ,no troubles1 no sorrows1 nothing but joy4 ,what happiness6 ,you receive an order to join the army4 ,immediately you take the coach1 and all along the road you have partridges and quails and ortolans for your everyday food4 ,just taste me this wine40 7,he pretends to uncork a bottle and to pour wine into a glass4 ,,mezzetin opens his mouth to receive the wine47 8,well1 what do you think of it8 ,that is the least of all the wines that you will drink on the way4 ,then you arrive in camp4 ,to begin with you are given very handsome apartments on one floor40 ,,mezzetin4 ,so much the better1 for ,i do not care about going upstairs1 ,i think it is a bad omen4 ,,pasquariello4 ,a number of officers will come to visit you4 ,you play1 you smoke1 you sing1 you drink liqueurs4 ,,mezzetin4 ,the devil6 ,that is the life of a prelate6 ,and people say that there are evils in war6 ,,pasquariello4 ,well1 well6 ,it is only people who have never been there who speak ill of it4 ,meanwhile the enemy advances1 and the captain of dragoons is ordered to go and reconnoitre--that is1 to ascertain where the enemy is encamped1 what movements they are making1 and the number of the troops that compose their army4 ,there is nothing easier4 ,first of all you will march in fine order at the head of your company4 ,oh6 ,i can see you on horseback1 what a heroic air6 ,what majesty6 ,do you dream of it8 ,do you shake your ears8 ,,mezzetin4 ,ay4 ,i know how it hurts me to go on horseback1 and yet ,i have never mounted anything more than a donkey4 ,it makes my shoulders ache4 ,couldn't we cut that out8 ,,pasquariello4 ,indeed no1 it is an honour4 ,you advance thus upon the enemy4 ,as soon as they see you appear1 they detach a company of carabineers to come and meet you4 ,when you are within range of one another you begin to exchange salutes in pistol shots1 zin6 zan6 ,the captain of the carabineers draws his sword1 runs upon you and--tac6 ,,mezzetin4 ,woe me6 ,,pasquariello4 ,oh6 that is nothing1 only an arm lopped off4 ,,mezzetin4 ,and you call that nothing6 ,i think it is something myself6 ,,pasquariello4 ,pooh6 pooh6 a mere trifle4 ,the action is reported to the court1 and you become a colonel in another regiment4 ,the general orders his army to deliver battle1 and to come to blows2 the enemy are firing like all the devils1 zi6 zi6 pi6 pa6 bon6 ban6 tac6 ,,mezzetin4 ,heavens1 ,i am lost6 ,another tac6 ,,pasquariello4 ,it is a grenade shot1 which carries away one of our colonel's legs4 ,but that is a trifle4 ,,mezzetin4 ,devil take me if ,i didn't suspect it when ,i heard that tac of yours6 ,,pasquariello4 ,what would you8 ,these are the fruits of war4 ,your wound will be treated4 ,your name will be published in the gazette1 and you will become a brigadier4 ,,mezzetin4 ,a still greater charge8 ,,pasquariello4 ,faith1 ,i should think so6 ,all the officers will come to compliment you upon your new rank1 and they will envy your good fortune4 ,the enemy rallies and returns to the charge4 ,first of all our brigadier runs from side to side1 issuing the necessary orders4 ,the fight becomes obstinate1 then the enemy is routed1 victory is shouted1 the fugitives are pursued sword in hand4 ,at that moment a battery of twelve pieces of cannon1 which the enemy had mounted on a little prominence1 is discharged1 bon6 don6 don6 tac6 tac6 ,,mezzetin4 ,mercy6 ,ah6 ,i am dead1 there were two tacs6 ,,pasquariello4 ,you were very unfortunate4 ,what a pity6 ,our poor brigadier has had his remaining arm and leg carried away by a cannon shot4 ,,mezzetin4 ,i am not in the least surprised1 tacs have always been fatal to me4 7,kneeling down with his two arms behind him47 ,now here is a pretty man6 ,,pasquariello4 ,you must be patient1 my friend4 ,these are marks of your valour4 ,you will have appeared again in the gazette1 and you will be made a general1 the highest rank of all4 ,,mezzetin4 ,there is one thing ,i notice3 the more my rank increases1 the more my limbs diminish4 ,,pasquariello4 ,from the moment that you are a general you mount on horseback4 ,,mezzetin4 ,a moment1 please4 ,how am ,i to mount on horseback if ,i have neither legs nor arms8 ,,pasquariello4 ,you are afforded a fresh occasion on which to cover yourself with glory4 ,the enemy is badly placed1 you have closed round them1 and1 after issuing your orders for the fight1 you run hither and thither1 giving courage to your soldiers4 ,,mezzetin4 ,good6 ,i shall be giving courage to others whilst myself ,i am dying of fright4 ,,pasquariello4 ,the battle is over3 turn what way you will there is nothing but carnage2 grenades1 bombs1 carcasses1 cannon balls1 all come hailing down4 ,pif6 paf6 zin6 zan6 bon6 don6 don6 tac6 ,,mezzetin4 ,ah me6 ,we have come to it again6 ,,pasquariello4 ,it is a bullet that has carried away the general's head4 ,,mezzetin4 ,trivial1 eh8 ,,pasquariello4 ,exactly4 ,,mezzetin4 ,i shall be happy to know what rank you will give me now4 ,,pasquariello4 ,oh1 as soon as your wounds are healed1 peace will be made1 and you will go and serve in ,hungary against the ,turks4 ,,mezzetin4 ,i am to go and serve in ,hungary without arms1 legs or head4 ,oh1 go to the devil with your company6 ,if ever ,i become a captain of dragoons may all the tacs in the world strike me at once6 ,in ,la ,fausse ,coquette1 ,pasquariello is again a servant1 and in the service of ,i know not what ,polish prince1 who is none other than ,ottavio4 8,he comes on with a lighted torch followed by one of his friends who carries a bottle and a glass4 ,and as ,pasquariello's entire attention is engaged by the bottle1 he thinks only of emptying it1 without paying attention to what his master is saying4 ,hence it follows that he never returns proper answers to the questions of the prince who1 wearied by his impertinences1 looks at him closely1 and1 surprising him glass in hand1 delivers him a kick in the stomach and goes off4 ,pasquariello falls backward1 turns a somersault without upsetting his glass1 gets up1 drains it1 and goes off saying3 ,gran sventura di servire un giovane senza cervello6 7,what a misfortune to serve a witless young man670 ,in the ,regent's troupe 7#agaf7 ,giacopo ,rauzzini was entrusted with the rles of ,scaramouche4 ,according to the brothers ,parfait1 8,he was an intruder in the troupe of the ,italian comedians4 ,a hundred pistoles presented by him to the man who had been charged by ,riccoboni 7,lelio7 to find a good ,scaramouche obtained him the position4 ,he had been an usher in ,naples before taking to the stage1 and he was but a very mediocre comedian4 ,he was addicted to gambling1 ostentation and extravagance2 he set up a coach1 kept open house1 and in consequence made many debts4 ,riccoboni the elder was obliged to apply to the court for an order to inhibit his comrade's creditors to stop persecuting him1 and1 being himself an honest man1 he compelled ,rauzzini to pay three-quarters of his debts4 ,this state of things continued down to the death of this comedian1 who was stricken by an apoplexy in the church of ,saint-,eustache1 where he died on the #bdth ,october #agca4 ,he was buried on the morrow at the expense of the troupe40 ,in #agaa1 ,cav1 known as ,maillard1 made his dbut at the fair of ,saint-,germain in the rles of ,scaramouche4 ,he toured the provinces but was never seen at the ,thtre-,italien4 ,one day at the fair of ,saint-,laurent1 ,maillard was in the shop of ,dubois1 the lemonade vendor2 his wife1 who was playing ,columbine1 happened to pass by on her way to the theatre1 and gave him good-day in a friendly and coquettish manner4 8,do you by chance know that lovely comedienne80 ,maillard was asked by one who happened to be in the shop at the same time4 8,eh6 ,cadedis10 he replied1 affecting a ,gascon accent1 8if ,i know her8 8444 ,au gr de mes dsirs1 ,j'ai got dans ses bras mille et mille plaisirs40 8,shake hands10 said the other1 8for ,i can say the same40 ,maillard abandoned his tone of raillery to inform this indiscreet fellow that he was the husband of the calumniated ,columbine4 8,faith10 replied the other1 8,i am sorry to have been so frank2 but ,i cannot possibly retract a statement of fact40 ,it was then that ,maillard became really angry and demanded satisfaction4 ,swords were drawn4 ,maillard was wounded and disarmed4 ,his adversary himself conducted him to a surgeon in whose care he left him1 taking his leave in the terms of the following mocking allusion from ,la ,fontaine upon deceived husbands3 8,quand on le sait1 c'est peu de chose3 ,quand on l'ignore1 ce n'est rien40 ,in #agde ,gandini made his dbut at the ,thtre-,italien in ,la ,vengeance de ,scaramouche and was very well received4 ,other famous players of the part were ,carlo ,agati and ,bertinelli1 who achieved a deal of success in ,italy somewhere about #agae4 iii ,,pasquino is an intriguing lackey1 who talks a deal and lies as much4 ,his reputation is detestable4 ,he is a nincompoop who makes a ruin of everything to which he sets his hands1 including his own affairs1 for he spends far too much time in chattering with the waiting-women4 ,nevertheless he is concerned with only one thing in the world--his own interest4 ,pasquino is no more than a pale shadow of ,brighella1 or perhaps he is the same type as ,pasquariello4 ,,pasquino 7as a traveller74 ,ah1 ,fortune1 ,fortune6 will you always turn a pirouette at the pasquinades of the unfortunate ,pasquino8 ,and will you never steer the wheel of your inconstancy into the rut of my merit8 ,driven from ,rome by kicks1 ,i have trailed my shoes from hostelry to hostelry1 having no other payment to offer for my lodging than that of liberally maligning those who give me food4 ,at last ,i arrive here without money1 with the hunger of a dog1 and unable to appease the starving murmurs of my languishing inside4 ,oh1 sweet ,olivetta1 my dear mistress1 whose pretty and coquettish ways so often contrived that ,i should find credit in the hostelries1 you should have mended my fortunes4 ,but1 since all things are mutable1 and since your beauty could but grow pale before the inhumanity of innkeepers1 ,i was compelled to leave you4 ,what should you say1 ,o beautiful forsaken one1 if you could see your tender ,pasquino1 his stomach as hollow as his purse1 you who found me a hundred times lying gorged with wine upon your door-sill1 as upon a feather bed8 ,it was then that in assisting me to rise you were able with such charming discrimination to distinguish between the hiccoughs of my vinous plenitude and the sighs of my burning love4 ,oh1 ,kitchen6 enchanting and delicious retreat6 ,thou erstwhile favourable asylum for my appetite1 thou1 the usual sojourn of my charming ,olivetta6 ,happy the peaceful stew-pans that are scoured by her lovely hands6 ,grills1 cauldrons1 pots and frying pans1 warlike ministers to the jaws1 you that are the usual trophies of my lovely mistress4 ,alas6--for pity's sake revolt against all the roasts and the ragouts of which you are the secondary causes and by a general and harmoniously funereal rattle inform my dear ,olivetta that a desperate hunger is about to break the springs of the turnspit of her love6 iv ,the costume of ,,crispin1 of the ,french comedy1 created by ,raymond ,poisson in the middle of the seventeenth century1 is borrowed from that of ,scaramouche1 and particularly from that of the ,neapolitan ,scaramouche1 who1 in imitation of the ,captains1 wears a long rapier and displays all the arrogance and cowardice of that character4 ,this type1 which is that of a lackey1 more or less faithful according to the wages which he earns1 a flatterer1 a drunkard1 a liar and a thief like ,brighella1 is none the less an entirely ,french creation which we owe to ,poisson4 ,we mention the character as a transformation of that of ,scaramouche1 by which it was inspired4 ,crispin was very quickly admitted to the forain theatres1 and was seen in the same pieces as ,mezzetin1 ,harlequin1 ,polichinelle1 ,scaramouche1 ,pantaloon and the other ,italian types4 ,being of a more modern creation1 he wears no mask2 he is dressed in black1 with boots or shoes1 ruffle1 gloves1 a wide leather belt and a rapier4 ,poisson was a tall and well-made man4 ,some say that to the costume of ,crispin he added boots to conceal the excessive thinness of his legs1 but it is more likely that he appeared thus upon the stage because1 in his youth1 the streets of ,paris1 of which not more than one half were paved1 compelled footmen and servants to go booted4 ,,xv ,,coviello ,,callot has left us engravings of the principal dancers1 buffoons1 mimes and masks of the ancient ,italian comedy1 in his series known as ,les ,petits ,danseurs1 but whose real title is ,i ,balli di ,sfessania 7,the ,dances of ,fescennia74 ,all the world knows that the inhabitants of ,fescennia1 whose ruins are still to be seen a quarter of a league from ,galesa in ,piedmont1 invented a style of verse which enjoyed a great vogue in ,rome1 in which satire1 allied with a primitive coarseness1 called things by their proper names4 ,these verses were laden with raillery1 jests and buffooneries2 they were accompanied by grotesque dances and improvised scenes1 absolutely like the ,atellan1 but of a more trivial humour4 ,in a letter addressed to ,augustus1 ,horace writes3 8,fescennina per hunc inventa licentia morem ,versibus alternis1 opprobria rustica fudit40 8,the people of ,fescennia10 says the ,chevalier de ,jaucourt1 8accompanied their ftes and public rejoicings by pastoral performances in which comedians declaimed an extremely licentious sort of verse1 and went through a thousand buffooneries in the same taste4 ,these verses were imported into the theatre1 and held the place of regular drama for over a hundred years with the ,romans4 ,the biting satire for which they were employed1 discredited them still more than did their primitive coarseness1 so that they became really formidable4 8,catullus1 seeing that the ,fescennian verses were proscribed by the public authorities1 and that their coarseness was no longer in the taste of his century1 perfected and chastened them in appearance4 ,in their meaning1 however1 they remained no less obscene1 and they became far more dangerous to morals4 ,the frank1 rude terms of a soldier are less hurtful to the heart than the fine1 ingenious and delicately turned speeches of the man who follows the trade of a gallant40 ,the ,fescennian actors were still called in ,rome ,mimi septentrionis4 ,they were either naked or dressed in very tight garments1 their waists girt with a scarf whose ends floated in the wind4 ,they danced1 accompanying themselves upon castanets very similar to those that are in use to-day4 ,it is1 then1 under this title of ,i ,balli di ,sfessania that ,callot reproduced some fifty actors1 dancers and buffoons of the end of the sixteenth and the beginning of the seventeenth centuries4 ,in the main he represents actual personages1 derived haphazard from the various ,italian troupes1 such as the ,gelosi1 the ,accesi1 and the ,fedeli1 who visited ,florence when ,callot was a student there4 ,these personages may be divided into two classes1 rendered very distinct one from the other by the garments worn by each3 that of the jugglers and tumblers1 who were exclusively dancers or mimes1 and that of the buffoons1 zanni and comedians playing given parts4 ,the members of the former class wear skull caps like the ancient mimes1 or else caps decked with long feathers1 the half mask with a very long bottle nose1 without beard1 and tight garments1 adorned by a line of large buttons2 they recall the costumes in fashion for court fools and buffoons of the fourteenth and fifteenth centuries4 ,in the main they are merely tumblers1 addicted to contortionistic poses and wild dances1 equilibrists1 sword swallowers and strong men4 ,they are the descendants of the real funambuli and acrobates of the ancients1 and like them they are phallophores4 ,thanks to ,callot1 we find among these the following types that would otherwise be lost to us3 ,ciurlo in an extravagant posture1 inviting ,gian-,fritello1 who disdains him1 to the dance2 ,ratsa-di-,boio1 abandoning himself to a picturesque dance1 whilst several kindred fellows1 holding hands1 form a ring about a ,smaraolo-,cornuto1 perched upon stilts1 beating a drum2 ,pasquariello ,truonno and ,meo-,squaquara imitating by their gestures a sort of cancan2 ,esgangarato and ,cocodrillo as well as ,bello-,sguardo1 wearing bracelets and hawk-bells on their arms and legs2 ,razullo scratching1 as his name suggests1 his guitar1 to the sound of which ,cucurucu1 in fine spectacles1 is striking a modest pose4 ,cicho-,sgarra threatens ,collo-,francisco1 who trembles before him2 ,babeo is seen with his friend ,cucuba2 ,cardoni pursued by ,maramao2 ,grillo1 a crippled1 misshapen fellow2 ,cucorongna and ,pernovalla1 each going through contortions2 and lastly ,coviello1 famous for his grimaces and his confused language4 ,this personage1 according to ,salvator ,rosa1 was one of the seven masks of the ancient ,commedia dell',arte4 ,the description which he affords us proves that already in his day the costume of this buffoon had been transformed1 and probably by himself1 for we know that1 under the mask of ,coviello1 ,salvator ,rosa earned the applause of all ,rome in a character of his own creation1 ,il ,signor ,formica4 ,in ,hoffman's tale entitled ,salvator ,rosa1 a pleasant fiction is intermingled with the details of historic reality on the subject of the transformations and disguises of ,salvator ,rosa4 ,according to ,salvator ,rosa1 ,coviello is a native of ,calabria2 8his wit is sharp and subtle2 he is shrewd1 adroit1 supple and vain4 ,his accent and dress are those of his country--doublet and breeches of black velvet laced with silver4 ,he wears a mask with encarnadined cheeks and black brow and nose40 ,apart from the mask there is nothing resembling this description in the personage engraved by ,callot1 nor in all his collection of dancers in extravagant poses1 their tight-fitting and ridiculous garments adorned by a row of enormous buttons running the whole length of the body1 their hats heavily plumed1 their limbs charged with hawk-bells to render the dance noisy as that of savages1 each mask adorned by a nose like an elephant's trunk1 some jumping and leaping1 some playing the guitar or mandolin1 some threatening invisible enemies with their wooden sabres4 8,c' un ,coviello0 7,he is a ,coviello7 is an old ,italian saying applicable to a boastful fool4 ,molire1 in his ,bourgeois gentilhomme1 has made of his ,coviello a lackey after the fashion of ,scapin1 who repeats everything said by his master1 if not word for word at least idea for idea4 ,according to some ,coviello is a nincompoop who affects to be valiant2 according to others he is an astute observer4 ,in reality he is a type that has already passed from fashion4 ,in the early years of the nineteenth century he still appeared from time to time in some marionette scenario to discharge a rle similar to that of the ,captain4 ,his costume also had undergone considerable change3 his black hat was adorned by three red feathers1 his doublet was slashed with red1 his shoes were black1 his breeches red and yellow1 his cloak red1 he wore gloves1 cannon boots and the baldric and sword of the ,captains4 ,even his bizarre mask was gone and replaced by a flesh-coloured mask adorned with moustachios4 ii ,the dancers in ,callot's second class above mentioned consist of those comedians and buffoons who bring to mind ,pulcinella by their simple and ample garments--a wide pantaloon and a sort of blouse1 gripped at the waist by a girdle--carrying the wooden sabre and wearing the incomparable plumed hat which takes the form of an enormous cap like that of ,,fritellino4 ,also they have beards and masks4 ,in this fashion does ,callot show us1 at the beginning of the seventeenth century1 ,pulcinello talking with ,lucretia2 ,mezzetin playing the guitar to ,riciulina 7a soubrette of the ,gelosi troupe72 ,guatsetto 7a lackey in the ,fedeli troupe7 and ,mestolino grimacing at each other2 ,fricasso in rags1 seeking sword in hand his adversary whilst taking care to turn his back upon him4 ,bagattino mocking ,spezza-,monti1 who is furiously endeavouring to draw a sword which has rusted in its scabbard2 ,fracasso1 sword in hand1 and very different from the ,french ,fracasse2 ,gian-,farina1 wielding his bat whilst dancing with ,franceschina 7the famous ,silvia ,roncagli72 ,bernovalla1 a dancer and tambourine player2 ,trastullo making a declaration to ,lucia1 who is commanding him to kiss her slipper2 ,scapino wrangling about a bottle with ,zerbino2 ,franca-,trippa and ,fritellino dancing1 the first accompanying himself upon his sabre1 the second upon a mandolin4 ,franca-,trippa1 whose real name was ,gabriello di ,bologna1 was engaged in the ,gelosi troupe in #aegf for the parts of ,zanni4 ,he went to ,france in #aegg and played in the scenarii which were the delight of the court of ,henri ,,iii4 at ,blois4 ,the type of ,fritellino1 or ,gian-,fritello1 scored in ,italy in the sixteenth century a success equal to that enjoyed by ,harlequin in the century following4 ,in #aefj1 ,pietro-,maria ,cecchini1 known by the name of ,fritellino1 was playing in the ,accesi troupe rles identical with those that were being filled by ,harlequin in the company of the ,gelosi2 thus1 in the scenarii of ,arlequin ,matre d',amour and ,arlequin ,valet ,etourdi1 the character of ,harlequin is played by ,fritellino4 ,towards #afab1 ,cecchini was summoned to the court of ,matthias1 ,emperor of ,germany4 ,he scored there so great a success that the emperor ennobled him4 ,he published in ,venice in #afad a small treatise3 ,discorso intorno alle commedie1 commedianti e spettatori1 which he dedicated to the ,marquis ,clemente ,sanezio1 and issued a second edition in #afaf dedicated to the ,cardinal ,borghesi4 ,some years later1 in ,france1 the character of ,fritellino1 then called ,fritelin and ,fristelin1 was entrusted with the rles of lackey in the ,tabarinic farces4 ,fritellino is dressed in ample garments1 and wears the extraordinary hat which1 in the hands of ,tabarin1 assumed--as we shall see--a great variety of forms4 ,he wears the brown mask of the ,bergamese mimes and the mantle traditional to all the ,zanni of the sixteenth century1 as well as the wooden sabre and purse1 which last1 always empty1 plays so great a part in his existence4 iii ,in #aegj an ,italian troupe toured in ,france and even went to ,paris to play farces and comedies half in ,french and half in ,italian1 and sometimes partly in ,spanish4 ,this was the company of ,juan ,ganassa4 ,in it were to be seen the ,doctor in his black robe1 ,pantaloon with his red shoes1 ,harlequin in his rags1 and the ,captain on his long legs4 ,pagliaccio played the leading part and ,,tabarino was the ,zanni4 ,but this ,tabarino was not yet the famous ,tabarin who1 some fifty years later1 with his master ,mondor1 was to draw such crowds to witness his farces on the ,place ,dauphine4 ,the ,tabarino of #aegj was probably entrusted to double rles1 such as that of servant with that of father or husband1 like many other masks of the ,italian comedy4 ,there existed in the nineteenth century in ,bologna a type which1 like all the others1 entered the realm of marionettes1 representing the old man under the name of ,tabarino or ,ser ,tabarin4 ,he was nearly always a retired and ignorant merchant1 who began all his sentences in ,italian but1 for want of practice in this language1 invariably concluded them in the ,bolognese dialect4 ,usually he was the father of ,columbine1 and allied with the ,doctor4 ,he is the ,bolognese ,cassandre or ,pantaloon4 ,he wears a powdered bag wig2 his coat1 waistcoat and breeches are snuff-coloured1 his stockings red1 coming above the knee and over the breeches2 he is shod in buckled shoes and crowned by a round hat4 ,he is always an old man of sixty4 ,the most famous of the ,tabarins1 the associate of the ,italian ,mondor1 who from #afah to #afcj attracted all ,paris was1 according to some1 of ,italian origin and born in ,milan1 whilst according to others he proceeded from ,lorraine4 ,his real name1 however1 has remained unknown1 eclipsed by the glory of his patronymic4 ,was it by chance that he assumed that of ,tabarino1 as he might have assumed that of ,burattino or ,cavicchio--two other types greatly in vogue in the sixteenth century8 ,or did he deliberately choose a name that was already known throughout ,france from a member of ,juan ,ganassa's company who had toured there under it8 ,another itinerant troupe under the name of the ,comdiens de ,tabarin1 and managed by a certain ,tabarini1 also toured part of ,france and of ,germany in #afei1 and ended by establishing itself at ,vienna4 ,tabarin1 whose name is derived from tabaro 7a mantle or a tabard71 went1 as we have said1 to ,paris in #afah1 and became associated with the charlatan ,mondor1 who1 after the fashion of all charlatans of the sixteenth century1 set up his stage under the open skies4 ,upon this farces were played with the object of attracting the crowd2 that object achieved1 the merchandise to be sold was put forward with quips and witticisms4 ,it was in this fashion that the ,italian ,cabotino 7the probable source of the word cabotin1 meaning an itinerant actor7 acquired so great a reputation in the sixteenth century as a nomadic operator4 ,he played farce from a scenario1 sold his drugs during the interludes1 and drew teeth at the end of the performance1 all to the accompaniment of flutes and violins4 ,the number of these charlatan directors of theatres is considerable2 the most famous were ,scarniccia in the eighteenth century1 in ,italy1 ,armando ,niasi1 on the ,place du ,chtelet1 in ,paris1 and ,mondor who came in #afah to replace1 on the ,place ,dauphine1 ,jacques ,may and ,dulignac1 whose improvisatory wit had been amusing the gay people of ,paris ever since #aeih4 ,tabarin reached the zenith of his glory in #afbb4 ,the ,place ,dauphine1 the scene of his exploits1 became too small to contain the spectators who flocked thither1 far less for the purpose of buying his unguents than to procure a preservative against melancholy4 8,the ,pont ,neuf in the seventeenth century10 writes ,m4 ,paul de ,saint-,victor1 8was the caravanserai of ,paris4 ,there you would find encamped beggars1 gypsies and comedians2 the seven deadly sins kept open fair there2 you would behold swarms of those eccentric figures of which the satires and prints of the times have left us such lively portraits1 raffins twirling their moustachios1 courtesans in chairs1 quacks upon their mules4 ,it was there that you would meet the muddy poet with his owlish eyes and his beard like an artichoke leaf4 8,what a pantomime in the manner of ,callot6 ,here two duellists are engaged upon the pavement1 there a tooth extractor gropes with his butcher's forceps in the jaw of a screaming peasant1 yonder a hawker of hunting dogs beats his pack1 further on a pickpocket appropriates the purse of a passer-by1 and beggars1 dragging their crutches along the unpaved ground1 cling to the doors of heavy coaches and to the poles of chairs4 8,but the king of this new ,cour des ,miracles was ,tabarin1 the servant of the charlatan ,mondor4 ,their glorious stage was erected on the ,place ,dauphine1 and for more than ten years the people of ,paris stood ranged about it1 a thousand mouths gaping to consume the nostrums of the empiric and the jests of the buffoon4 ,it had an attendance1 a vogue1 a success of which some idea may be gathered from the jeremiad which a pamphleteer puts into the mouths of the women of the ,rue ,dauphine1 furious to see their husbands waste their time upon this comedian4 #8,my husband does not budge from ,tabarin4 ,i spend my days without seeing him2 first to this beautiful farce2 then to play with other debauched fellows like himself2 after playing they must go to the tavern4 ,all the evil proceeds from that dog ,tabarin4 ,and whence do you suppose came last year's illness but from this fine buffoon8 ,such was the heat on the ,place ,dauphine that the air was corrupted by it4 ,and that was the reason why the king remained out of ,paris for so long1 and why we suffered so much poverty4'0 ,illustration ,in #afbe ,tabarin went to tour the provinces1 and retired in #afcj1 peacefully to enjoy the fortune which he had amassed4 ,he bought a feudal estate near ,paris1 and died there a very short time after having acquired it4 ,there are two versions of the manner of his death3 one has it that he succumbed in a drinking bout1 the result of a tavern wager2 the other that he was killed whilst hunting4 ,the fact is reported in a book entitled ,parlement nouveau1 ou centurie interlinaire de devis factieusement srieux et srieusement factieux1 by ,daniel ,martin1 #afcg1 from which the following is an interesting passage on the subject3-- 8,could you tell me the reason why the name of charlatan is given to all vendors of theriacs1 distillers1 tooth-drawers1 vendors of powdered serpents1 of unguents and balsams in the market places1 of comedians on a table1 bench or scaffold4 8,indeed1 sirs1 this word charlatan means a man who by fine words sells bad merchandise2 a cajoler such as was seen in ,paris in the year #afbc1 in a man named ,tabarin and an ,italian named ,mondor1 who1 having set up a scaffold in l',isle du ,palais1 assembled the people by the music of their violins and the farces which they played1 whereafter they set about praising their drugs1 and said so much good of them that the silly and stupid folk1 believing them capable of curing all ills1 would strive with one another as to who should be the first to throw his money knotted in the corner of a handkerchief or in a glove on to the scaffold so as to obtain a little box of unguent wrapped in a printed bill1 setting forth the virtues of it and the manner of using it4 8,i have been told that this buffoon became in a few years so rich with the money of fools that he bought a lordship near ,paris1 which1 however1 he did not very long enjoy4 8,why so8 8,because his neighbours1 who were gentlemen of good and ancient houses1 being unable to endure for their companion a pantaloon1 a fool who with his hat metamorphosed into a thousand shapes had made so many others laugh1 killed him one day while hunting1 it is said4 8,his master had not sufficiently impressed upon him a proverb of his native land3 #8,a cader va chi troppo sale4'0 8,tabarin had a tragic end10 says ,m4 de ,saint-,victor4 8,his trestles had enriched him2 the jests which throughout ten years he had flung to the crowd had come back to him in a shower of doubloons4 ,pride tempted him4 ,he purchased a feudal estate and set up there as a lord4 ,the gentlefolk thereabouts1 indignant of such a neighbour1 killed the buffoon one day at the hunt1 as though he had been a hare4 ,poor ,yorick60 ,mondor and ,tabarin had several competitors1 amongst whom were the ,sieur ,hieronimo and his comedian ,galinette la ,galina2 and ,desiderio de ,combes and his servant ,grattelard1 who set up their theatre at the entrance to the ,pont ,neuf4 ,desiderio was ugly and misshapen1 and his jests were ponderous4 8,as for ,combes1 he is coarse and rustic1 he cannot read or write or speak1 and the little audience accorded him accounts him what he is1 an ignorant charlatan1 and the most brazen liar that ever mounted a bench40 ,the populace admired ,tabarin1 who possessed in so high a degree the genius of farce1 whilst people of condition were no less amused by him4 ,it is conceived that some habitus of his entertainment1 observing the attention which he excited1 had the idea to collect his farces and impromptu jests4 ,but they did not disclose themselves4 ,one only1 a certain ,guillaume1 has issued from obscurity4 8,there are five or six rascals0 7it is ,hortensius who speaks1 in the ,vraye histoire comique de ,francion1 #affh7 8who earn their living by writing romances2 and there was even a college scout1 who was in the service of the ,jesuits after me1 who amused himself by spoiling paper4 ,his first attempt was a ,collection of ,tabarinic ,farces 444 a book so successful that twenty thousand copies were sold1 whilst it is impossible to sell six hundred of a worthy work4444 ,the name of this scout was ,guillaume4444 ,he contrived to get some other works printed4 ,but all his books are fit for nothing but to wrap up pounds of butter40 ,so that ,the ,complete ,works of ,tabarin did not contain a single line written by ,tabarin or by ,mondor1 whose entire repertory was improvised2 nevertheless1 they were collected from the inspirations of ,tabarin4 ,neither the comedians of the ,htel de ,bourgogne nor ,gaultier-,garguille assisted by ,gros-,guillaume and ,dame ,perrine1 who played the most famous farces that one could desire1 were able1 for the five sous which they charged each spectator1 to afford their audiences the amusement and laughter afforded by ,tabarin alone1 gratis and with only his hat4 ,for be it noted that his was a master hat which assumed all conceivable shapes2 it was a veritable first matter1 indifferens ad omnes formas4 ,it was the chief property of an entire shop1 the very foundation stone of his theatre4 8,this venerable and wonderful grey felt came to ,tabarin in direct succession from ,saturn4 ,this god was the first to wear it1 not as wide as it is now1 but in a lengthened shape4 ,he wore it when he came to ,italy1 fleeing before the choler of ,jupiter1 and gave it then its pointed shape that he might disguise himself4 ,until then there had been no hats but round ones like that of ,mercury4 ,it was from that time forward that pointed hats were worn in the ,spanish fashion4 ,saturn presented it to ,tabaron1 an ancestor of ,tabarin's1 who until then had gone bareheaded4 ,he was glad to find this expedient to protect him from the heat of the sun2 it was from this felt hat the invention of the parasol was derived4 ,this hat was handed down from father to son with respect and reverence like a holy reliquary1 in memory of ,saturn who wore it on weekdays4 ,but some member or other of the ,tabarinian race1 through negligence or absent-mindedness1 permitted it to be lost4 ,it was found and carried to ,jupiter1 who1 unable to conceive of a better present for his ,mercury1 gave it to him as becoming the only god who wore a hat4 ,mercury1 vain and foolish1 had its shape altered1 transformed it into a pyramid and attached wings to it4 ,unfortunately1 however1 on the first occasion that he wore it1 upon taking flight from heaven1 the wind got inside it and it was lost4 ,it is said that he would never afterwards wear a high-crowned hat4 ,janus1 who1 we are told1 was living at that time1 was so glad to find it that he put it on1 but1 having two faces and an enormous head1 he so deformed it that it became then as wide as it is now on the head of ,tabarin4 ,janus concealed it under ,mount ,aventine4 ,romulus discovered it in the course of building ,rome1 and it was long preserved at the ,capitol4 ,it never issued thence but to figure in the triumphs of the emperors1 when they entered ,rome laden with spoils and trophies4 ,the high priests were charged with the care of this precious hat1 but a member of the ,tabarinic race secretly abstracted it1 and it was transmitted again from male to male through the ,tabarin family4 ,at the time of the expedition of ,franois ,i4 into ,italy1 the grandfather of the grandfather of ,tabarin gave it to a ,french soldier who was returning home4 ,desiring to buy a drug which was a sure cure for an ill with which he was afflicted1 and having nothing with which to pay for it but this hat1 the soldier exchanged it for a medicine to an apothecary of the ,place ,maubert1 who made use of it for filtering honey4 8,tabarin1 upon his arrival in ,paris1 recognised this hat which had been held in such high esteem by his family4 ,indignant to discover the use that was being made of the head-gear of ,saturn1 he repurchased it1 and if he is the last to own it he can boast that he is the first to have invented how to give it new shapes4 ,with this lunatic and fantastic hat he can represent all manner of hats1 and present himself to the eyes of the admiring crowd now as a soldier1 now as a courtier1 now as a coal-heaver1 now as a ,dutchman1 now as a bear-leader1 now as a slinger1 now as a servant lately from the wars1 etc4 8,in brief1 ,tabarin's hat1 assisted by him who bore it1 has caused more people to laugh in one day than ever the comedians of the ,htel de ,bourgogne were able to do with their comedies1 tragi-comedies and pastorals40 ,the farces of ,tabarin are the source of all the trestle repertories of yesterday4 8,it is rare to find a pearl amongst these0 7says ,m4 ,paul de ,saint-,victor71 8but on the other hand there is no lack of salt4 ,one is overcome with surprise when prowling through this rubbish-heap to come suddenly nose to nose with ,molire or ,la ,fontaine4 ,here a scene of ,poquelin1 there an apologue from the ,bonhomme have been taken from the farces of ,tabarin as a pearl is taken from the oyster4 ,the sack in which ,scapin encloses ,gronte plays its part in three or four of the farces of the booth on the ,pont ,neuf40 ,tabarin proposes to his master a burlesque question2 his master proceeds to resolve it by a doctoral explanation which ,tabarin interrupts with his foolery4 ,question3 ,how to make fifty pairs of shoes in half-an-hour ,,tabarin4 ,it is a great secret4 ,i do not think there is any man in the world who has ever put this invention into practice4 ,,the ,,master4 ,in truth1 ,tabarin1 the solution of this secret must be very ardently sought4 ,it is one of the most clever inventions seen for a very long time4 ,as for me ,i am constrained to acknowledge my ignorance save that to arrive at this end ,i should take a hundred cobblers and ,i should entrust to each the making of one shoe2 then ,i think that in a very short while ,i should arrive at what is desired4 ,,tabarin4 ,that is not what ,i mean4 ,i mean one man who alone1 in less than half-an-hour1 should make fifty pairs of shoes4 ,there is nothing easier4 ,you will yourself confess when you shall have learned the secret that it is one of the finest conceivable2 cobblers should be able to extract great profit from it4 ,to begin with you must take fifty pairs of new boots 7if you desire that your shoes shall be new71 and cut them all equally across along the line of the ankle2 by this means1 instead of fifty pairs of boots which we had before you will find in less than half-an-hour fifty pairs of shoes ready made4 ,is it not a fine invention8 ,who are those who desire to be one-eyed8 ,,tabarin4 ,my master1 the other day ,i heard a certain fellow say that he would give a hundred crowns to be one-eyed4 ,who are those that may be considered entitled to express such a wish8 ,,the ,,master4 ,a man must be quite beside himself to have so great a cupidity in his soul4 ,sight is one of the first organs of the body1 and the most delicate part of it1 being of an incredible and admirable construction1 in which the ,author of the ,universe has enclosed all that is rarest and most excellent in this world2 for whether we consider the two pairs of nerves which have their sources in the brain1 and by which sight is conducted1 one of them being stronger to supply movement1 the other more delicate to supply sight2 or whether we consider the crystalline humour that is in the centre of the eye1 and its enveloping tunic which resembles a spider's web1 or the other two humours that surround it and in which the eye seems to swim2 if afterwards we come to the consideration and contemplation of the admirable retina and the films which surround the whole body of the eye1 the muscles which raise and lower the eyelids1 and all the artifice employed by ,nature in this admirable construction1 we shall conclude that a man is highly imprudent to desire the inestimable loss of the finest part of him4 ,,tabarin4 ,the men who desire to be one-eyed are the blind4 ,if you do not believe me go to the monastery of the ,quinze-,vingts1 and ,i can assure you that you will not find there a single one who would not be delighted to see you hanged4 ,who are those who deride doctors and apothecaries8 ,,tabarin4 ,in your opinion1 who are those who deride doctors and apothecaries8 ,,the ,,master4 ,some very ill-advised people who1 believing that they will never need their services1 deride their recipes2 they are people of nothing1 ignorant of the fact that medicine is an entirely celestial and divine art1 which restores and reintegrates ,nature in her perfection and her apogee4 ,medicine is the science of natural sciences1 and ignorant are those who despise it4 ,altissimus de coelo creavit medicinam1 et vir prudens non abhorrebit eam4 ,,tabarin4 ,i said the same thing lately to a tailor who was making me a pair of breeches3 ,homerus et vir prudens non abhorrebet eam4 ,,the ,,master4 ,for my part ,i think that those who malign doctors are the ignorant1 and such folk as think never to need their assistance4 ,,tabarin4 ,you are wrong1 for those who mock them are those who most desire their aid1 the people who are ill4 ,,the ,,master4 ,the people who are ill1 ,tabarin6 ,how can it happen that a patient should mock a doctor1 since he is so sorely in need of one8 ,,tabarin4 ,is it not a piece of mockery to put out your tongue half-a-foot to him who comes to visit you8 ,,the ,,master4 ,indeed to put out the tongue is a sign of derision4 ,,tabarin4 ,very well1 when a doctor goes to see a patient to ascertain his ailment1 the sick man always puts out his tongue at him4 ,that is pure mockery4 ,dialogue between ,mondor and ,tabarin ,,tabarin4 ,my master1 let us consider things for once3 it is high time that ,i should become the master4 ,i have been the servant far too long4 ,,the ,,master4 ,get along1 you rascal1 you gallows bird6 ,do you want to become the master1 scullion that you are8 ,you want to give me orders1 do you8 ,and what then am ,i to become8 ,your servant8 ,really1 it would be a fine sight6 ,,tabarin4 ,yes1 indeed1 ,i should be a fine sight4 ,am ,i not as much a man as you1 and as great a master8 ,,the ,,master4 ,what is one to say to a man who is persuaded of something1 and who gets some insolent notion into his mind8 ,come here1 rogue2 who keeps you8 who nourishes you8 who supplies you with all your necessaries8 ,,tabarin4 ,it was but wanting that you should boast of feeding me6 ,a fine master you6 ,when ,i came to see you1 you made an agreement with me1 and you promised to dress me and to nourish me4 ,the devil take me if you've observed the hundredth part of that6 ,every time that ,i have risen ,i have been compelled to dress myself4 ,when it was necessary to dine1 did you feed me8 ,i have been constrained myself to go to the trouble of putting my fingers in the dish and carrying them to my mouth4 ,i have endured far too much at your hands1 but henceforward ,i shall teach you what it means to be master4 ,,the ,,master4 ,is your brain so troubled and your judgment so distorted that you do not know that ,i am your master8 ,,tabarin4 ,not at all1 ,i maintain that ,i am as great a master as you4 ,tell me1 pray1 how you can distinguish between master and servant8 ,,the ,,master4 ,it is easy to recognise the one from the other1 whether at rising or going to bed or even in the street3 the master always goes ahead4 ,,tabarin4 ,i have got you4 ,now listen4 ,you say that the master is always to be recognised because he walks ahead2 tell me now1 every time you go to sup in town and that you return after dark by torchlight1 which of us two walks ahead8 ,,the ,,master4 ,it is you1 ,tabarin1 since bearing the torch it is your duty to light my way4 ,,tabarin4 ,it follows then that ,i am the master1 for ,i walk ahead4 ,oh6 the fine lackey that follows me then6 ,the most daring animal ,,tabarin4 ,since you have some slight knowledge of the nature of animals1 will you kindly tell me which is the most daring animal1 and which the most generous8 ,,the ,,master4 ,that is a matter beyond all doubt1 ,tabarin2 it is the lion2 for just as he is the most furious of all so is he the most daring4 ,the daring and generosity of anything is to be recognised by the heights of the enterprises which it undertakes4 ,now among all species of animals1 of which the number is almost infinite1 there is none that shows so great generosity and daring as the lion4 ,he is equipped with a male courage which distinguishes all his actions4 ,there is no other beast1 however furious it may be1 that dares to stand before his face4 ,in short1 to be brief1 he is the most daring of all animals4 ,,tabarin4 ,you are wrong1 my master4 ,i do not go so far as to say that you are lying1 but it really amounts to no less4 ,the most daring animal on earth is the miller's donkey1 my master1 because every day of his life he is amid robbers and knows no fear4 ,a collection attributed to ,tabarin is entitled3 8,jardin1 rcueil1 trsor1 abrg de secrets1 jeux1 facties1 gausseries1 passe-tems1 compozz1 fabriquz1 experimentz1 et mis en lumire par votre serviteur ,tabarin de ,valburlesque1 plaisirs et contentements des esprits curieux40 ,here are some brief extracts from it3 ,to contrive that all those who are at a ball or other assembly shall sneeze at once ,take spurge1 pirtre and white hellebore1 in equal quantities of each4 ,reduce the whole to finest powder and blow it through a quill about the room where people are assembled and watch the result4 ,to contrive that meat brought to table shall seem full of worms ,take a lute cord1 cut it into little pieces and put these upon the meat while it is still hot1 and the heat will set these pieces jumping and moving as if they were worms4 ,this is followed by several jests and secrets to amuse the company1 such as3 8,recipe to prevent a pot from boiling40 8,how to make an egg run through the room without anyone touching it40 8,how to kill and pluck a bird all in one stroke40 8,how to cut a string into several pieces and immediately to make it whole again40 8,admirable secret for cutting an apple in four1 eight or more pieces without damaging the skin40 8,how to contrive that he or she whom you appoint in drying the face with a cloth shall become black4 ,a very amusing secret10 etc41 etc4 ,even a prophetic almanac for #afbc appeared under the name of ,tabarin with admirable predictions for every month of the year4 ,it is a collection of sentences and predictions after the manner of ,la ,palisse4 8,first of all should no timber or faggots arrive in port we shall be in danger of paying high prices for fuel1 etc4 ,the month of ,march will commence immediately after the last day of ,february1 and the weather will be very variable4 ,the month of ,april will follow after1 etc4 ,in the month of ,june the grass will be cut4 ,in ,july there will be a great war between dogs and hares4 ,bulls will be twice as big as sheep and donkeys will be as stupid as usual1 whilst diminishing nothing in the length of their ears4 ,in the month of ,october the ,normans will be busy in their orchards4 ,the month of ,december will be the last month of the year4 ,in this year no rustics will be ennobled10 etc41 etc4 ,all such prognostications1 like many others of ,tabarin1 come in direct line from ,rabelais1 who himself imitated in his ,pantagrueline prognostication the collection of facties of ,henri ,bebelius4 8,this year the blind will see very little1 the deaf will hear very badly and the dumb will not speak at all4 ,many sheep1 bulls1 pigs1 geese1 pullets and ducks will die4 ,fleas will mostly be black4 ,there will be horrible sedition between dogs and hares1 between cats and rats1 between moles and eggs4 ,in all this year there will be but one moon1 and it will not be a new one4 ,in winter1 according to my little judgment1 those who sell their furs to buy wood will not be wise4 ,should it rain do not be melancholy1 for there will be the less dust on the roads4 ,keep yourselves warm1 avoid catarrhs and drink the best40 ,the costume of ,tabarin was composed of his mirific hat1 of a felt which was red rather than grey1 of a short cloak in old green serge1 and jacket and trousers of linen4 iv ,,burattino is a famous mask of the ,gelosi troupe4 ,it was somewhere about #aehj that this personage appeared in ,florence and scored so great a success that very soon he passed into the marionette theatres1 and his name became the denomination of all marionettes1 ,fantoccini1 ,puppi1 ,pupazzi and ,bamboccie4 ,in #afbh a piece was even written about this personage by ,francesco ,gattici1 entitled ,le ,disgrazie di ,burattino 7,the ,misfortunes of ,burattino74 ,in the scenarii of ,flaminio ,scala1 ,burattino is a comical character1 addicted to tears1 a glutton1 a coward and always a dupe4 ,he is a servant1 sometimes of ,captain ,spavento1 sometimes of ,isabella and sometimes of ,pantaloon4 ,in fairy plays he intrudes upon the action to deliver his jests1 which have absolutely no connection with the plot4 ,he is a sort of ancient ,stenterello4 ,in ,l',innocente ,persiana1 ,burattino is the servant of the ,prince of ,egypt1 and his rle consists of losing and finding his master4 ,in some plays he is a courier bearing letters1 booted1 wearing a wide felt hat1 and carrying a whip2 he loses his letters1 or permits them to be stolen from him1 which disheartens him1 and1 crossing his legs1 he refuses thereafter to be entrusted with any commission4 ,at other times he is a gardener1 the father of ,olivetta1 an indolent girl1 little given to work4 ,he reproaches her with being unable to do anything4 8,how10 he cries1 8at your age and as big as you are1 and1 my faith1 fit to be married1 you still do not know how to use a mattock or how to plant a cabbage60 ,thereupon he submits her to a course of burlesque horticulture1 naming to her one after another the garden implements1 and telling her how to use them4 ,very often he is an innkeeper1 and married to ,franceschina1 who leads him by the nose4 ,the ,captain1 having dined at his inn1 departs after having paid4 ,burattino is so surprised that he takes up a spade1 shoulders it1 and thus escorts the ,captain home to do him honour2 but he is careful to take with him ,grillo1 the pot-boy1 so that he shall not be compelled to return alone4 ,when he gets back he perceives ,pantaloon whispering with his servant ,pedrolino2 the latter1 perceiving ,burattino1 with whose wife he is in love1 raises his voice and reproaches ,pantaloon with attempting to betray the wife of that poor fellow ,burattino4 ,pantaloon beats his servant for having disclosed his intentions before the husband and departs4 ,burattino comforts ,pedrolino who has suffered for the sake of the honour of his friend the innkeeper2 he takes him inside1 feeds him1 and then1 with the greatest confidence1 entrusts him with the vigilance of his wife during his absence4 ,no sooner has our innkeeper departed than ,madame ,franceschina makes unmistakable advances to ,pedrolino4 ,it is ,pantaloon who seeks to convince ,burattino of the treachery of his friend and of his wife4 ,furious1 the innkeeper demands an explanation of ,franceschina1 who assures him mockingly that he is mistaken4 ,he believes her and returns to his affairs1 but ,pantaloon1 grown jealous on his own account1 returns to the assault1 and compels the husband to surprise the two lovers4 ,burattino seeks various ways of vengeance2 he decides for poison and spends half the piece seeking a suitable one2 being unable to find any1 he decides to call the watch1 and it is before the justice that he demands explanations of his wife and ,pedrolino4 ,the result is that ,burattino is persuaded that he misunderstood what he heard and what he saw1 which was no more than a pleasantry4 ,he believes and begs forgiveness of his wife1 whom he continues to account virtuous4 ,the actor who played the rle of ,burattino in the ,gelosi troupe must very long have been absent from it1 for he is not found to be included in a whole series of scenarii which must cover a space of some six to eight years4 v ,,cavicchio was in the ,gelosi troupe in the sixteenth century1 a sort of imbecile and rustic servant4 ,his rles are short1 and they consist mainly in his coming on to sing and to relate some story after the fashion of the peasants4 ,in ,gli ,avvenimenti ,comici1 ,cavicchio is carrying soup to the harvesters when he pauses before ,mezzetin and ,harlequin1 who1 dressed as labourers1 are making love to ,lisetta1 a young shepherdess4 ,he mocks them1 and from injurious expressions they come to blows4 ,but the shepherdess and her friends1 who arrive at the noise1 separate the brawlers1 and compel them to make friends4 ,lisetta1 desiring to cement the harmony between ,mezzetin and ,harlequin1 exacts from them a promise that1 for love of her1 they will eat ,cavicchio's soup in the position that she shall indicate4 ,lisetta then places them back to back and ties their arms4 ,she then places the bowl on the ground1 bidding them eat1 and departs1 enjoining ,cavicchio to give them drink after they have finished the soup4 ,mezzetin and ,harlequin then attempt to pick up the soup1 but each of them1 every time that he stoops1 lifts his companion upon his shoulders1 which is a source of jests for ,cavicchio1 who looks on with bursts of laughter4 ,harlequin ends by picking up the bowl and runs off eating1 carrying ,mezzetin on his back4 ,in the third act it is night2 ,cavicchio is in his hut with his children who are weaving baskets whilst he sings to the accompaniment of a hornpipe1 so as to maintain the family gaiety4 ,hearing a noise without1 he takes up a lamp and goes outside1 to find himself face to face with a military patrol4 ,he cries out and calls his wife to his aid1 but the captain having reassured him1 ,cavicchio takes up his hornpipe and sets them all dancing1 his wife1 his children1 the soldiers and even the captain4 vi ,,ficcheto is a simpleton who wearies his master1 the innkeeper1 and his customers by gross proverbial comparisons and ponderous quotations4 ,to listen to him you would suppose that he had been in the ,doctor's service1 and that he had profited by his lessons4 ,extremely timid1 he goes greatly in fear of thieves1 and so as to deceive them he never sleeps in the same part of the house on two consecutive occasions2 every evening he is engaged in removing his bed4 ,his master1 intrigued by these nightly removals1 inquires the reason4 8,it is on account of thieves10 replied ,ficcheto4 8,they will be finely trapped----0 8,i hope so indeed10 replies his master1 a man of sense4 8,i say that they will be finely trapped4 ,a rolling carcass gathers no flies1 as my father was wont to say4444 ,and then again ,i like to sleep as far from you as possible1 for1 as the proverb has it3 ,who lies down with dogs gets up with fleas1 and then----0 8,that will do60 says his master1 pushing him rudely aside4 8,sleep where you will40 ,and thereupon ,ficcheto begins once more to transport his mattress4 ,among the less known ,italian buffoons may be cited ,gian ,manente and ,martino d',amelia4 ,in ,la ,calandra of the ,cardinal of ,bibbiena1 the servant ,fessenio compares ,calandro1 the ridiculous and deceived husband1 to these two buffoons4 8,the thing that above all others makes me laugh at the expense of ,calandro10 he says1 8is that he believes himself to be so beautiful and lovable that all the women that see him are immediately enamoured of him1 as if the world did not possess such another model of perfection4 ,in short1 as a popular proverb runs1 if he ate hay he would be a bull2 in his own way he is almost as good as ,martino d',amelia or ,giovanni ,manente40 8,he is more simple than ,calandrino10 is a proverb based upon the two models of ,boccaccio in which the simplicity of the painter ,calandrino impinges upon imbecility4 ,far ,calandrino qualcheduno means to make a fool of someone4 ,bibbiena gives this popular name to the old man of his comedy ,la ,calandra4 ,cortavoce1 also called ,courtavoz1 was one of the first ,italian mimes to go to ,france in #aedj4 ,his costume with its grey hood and his long cardboard nose earned him the surname of the pilgrim4 ,rabelais1 describing in his ,sciomachie 7#aefi7 the ftes held in ,rome on the occasion of the birth of a dauphin of ,france1 speaks of 8,bergamese mimes and other matachins1 who came to perform their jests and somersaults0 before the court of ,rome4 ,among others he cites ,il ,moretto1 the archbuffoon of ,italy4 ,il ,moretto is also cited several times by ,ludovico ,domenichi in his collection of ,factie1 #aefe1 as a famous utterer of witticisms and a master of his art4 ,,xvi ,,tartaglia ,,il ,,tartaglia 7the stutterer7 is a mask of ,neapolitan origin4 ,sometimes he is a gossiping servant who1 unable to complete the articulation of his words so as to convey his ideas1 flies into perpetual rages with himself and with others4 ,nevertheless he is fat4 ,enormous spectacles conceal three-quarters of his countenance1 to suggest that he is short-sighted1 and that he has no desire to be surprised by danger2 for however ready he may boast himself to brave anything1 from an elephant downwards1 he will usually conceal himself behind a hayrick if he hears a cock crow4 ,the type is one that was but little seen out of ,italy4 ,he filled utility rles and had never more than one scene in a scenario4 ,he would play moreover the parts of notary1 of constable1 of advocate1 of judge1 and sometimes of apothecary2 but he was invariably a ridiculous and ridiculed personage4 ,favart writes in #agfa3 8,the farce ,i ,tre ,gobbi 70,the ,three ,hunchbacks871 translated into ,french by ,lelio ,riccoboni1 is being repeated at the ,thtre2 this farce develops badly2 but if it succeeds1 that at least will be a good development4 ,i fear in this factie1 the character of ,tartaglia4 ,one of the three hunchbacks is a stammerer who always halts upon indecent syllables4 ,that is to venture a great deal in a nation whose ears are as chaste as their morals are corrupt40#e ,tartaglia's characteristic costume has always presented a great deal of analogy with that of the ,zanni4 ,created1 it is said1 by ,beltrani da ,verona in #afcj1 an epoch in which lackeys such as ,scapino and ,mezzetino began to discard the mask1 ,tartaglia assumed as his characteristic device no more than the enormous blue spectacles1 without which he cannot play4 ,his face is beardless1 his head bald and covered by a round grey hat2 he wears an enormous linen collar2 his cloak1 coat and pantaloon are green1 striped transversely with yellow2 his stockings are white and his shoes are of black or brown leather4 ,such at first was ,tartaglia4 ,but like all the others he underwent modifications suggested by changing fashions4 ,in #agej1 ,fiorilli1 a very talented ,neapolitan actor1 a member of ,sacchi's troupe1 played this type in short breeches and cap2 by giving the garments of ,tartaglia the form proper to ,scapin he eliminated the yellow stripes1 and embroidered his green livery with silver frogs4 ,in the nineteenth century in ,naples this personage1 whose character is to be nothing in particular so that it may be anything he chooses according to the actor undertaking it1 wore the white wig1 the three-cornered hat and the green coat in the ,louis ,,xv4 fashion2 he was the modern ,tartaglia1 stammering the emphatic dialect of ,naples4 ,he delivers himself of the most outspoken and buffoon sayings1 with a nonchalance and calm that are imperturbable4 ,it is also a very common thing for the actor who plays ,tartaglia to go and spend a night1 or perhaps four or five days1 in prison4 ,it is a state of things accepted by the actors and the public1 and no one troubles about it4 ,at every undesirable word he stops as if to seek the proper one1 and when he has found it he falls upon it heavily1 as it were4 ,it is difficult to give a specimen of the excessively free subjects which lead to his arrest4 ,there was one which assumed the importance of a political fact4 ,in the piece in which it was delivered ,tartaglia was returning from ,spain1 and attempted to inform the audience that the queen had just opened the ,cortes1 being attended by the leaders of all political opinions4 ,the manner in which he garbled the word ,cortes and several others remained stamped upon the memory of those present1 and the jest created some sensation1 seeing that the ,queen of ,spain was then the beautiful ,christina1 sister to the ,king of ,naples4 ,tartaglia was sent to prison for a week1 and deprived of his favourite spectacles for a month4 ,the latter was the most cruel punishment possible to inflict upon the actor and the public2 for without his enormous spectacles ,tartaglia is paralysed4 ,tartaglia is not always a fat fellow4 ,sometimes he is so dry1 so long and so lean1 and adorned with so prominent a nose1 that he resembles a walking-stick4 ,he then enjoys a singular prerogative2 he is a jettatore1 he has the evil eye1 or rather he has two evil eyes1 for he can see nothing behind his great spectacles4 8,tartaglia10 says ,m4 ,paul de ,musset1 8is a ,neapolitan1 enjoying as great a favour as ,pancrace4 ,he represents the southerner worn out by the climate1 suffering from chronic ophthalmia1 and in a condition bordering upon cretinism4 ,his hollow cheeks1 his long nose surmounted by enormous blue spectacles1 his sickly air and his vice of pronunciation make up the particular signs of a jettatore whom it is dangerous to encounter40 ,in the comedy ,il ,re ,cervo of ,carlo ,gozzi1 ,tartaglia1 his stammering and stupidity notwithstanding1 is the prime minister of the kingdom of ,serendippe4 ,he desires to marry his daughter to the king1 his master4 ,the king1 however1 loves another1 the beautiful ,angela4 ,he marries her and becomes jealous4 ,to satisfy his desire to test the sentiments of his wife1 the magician ,durandarto gives him a formula by means of which his soul can introduce itself into any dead body that he desires to resurrect4 ,the imprudent monarch confides this important secret to ,tartaglia1 who is not only furious at the marriage of the king1 but further has permitted himself to fall in love with the queen4 ,we behold the injudicious king and his perfidious minister in a forest4 ,a hunted stag falls dead at their feet4 ,tartaglia persuades his master to put his magic formula to the test upon this animal4 ,the formula is terribly efficacious1 for1 simultaneously with the passage of the soul of the king into the body of the stag1 the body of the king falls dead4 ,so far the evil is of little account1 for the king1 who has become a stag1 may return his soul into his discarded inanimate body4 ,but ,tartaglia has been made aware of the formula4 ,he makes use of it immediately to cause his unworthy soul to pass into the body of the king1 and1 whilst the latter bounds away though the forest1 ,tartaglia returns to the palace and orders the massacre of all stags1 young and old1 in the kingdom of ,serendippe4 ,the scene in which ,angela beholds the return of her husband1 now stammering and unbearable in his behaviour1 is extremely amusing4 ,she drives him from her chamber1 and finds herself at the door face to face with a poor beggar whom1 by force of instinct1 she immediately begins to love4 ,this mendicant1 of course1 is none other than her real husband4 ,the king had found in the forest a poor devil dead of cold1 and he had taken possession of his body1 thinking it but little suitable to reappear before his better half in the shape of a stag4 ,explanations follow1 and ,angela1 to be rid of the odious ,tartaglia1 promises him her caresses if he will consent to resurrect the little dog which she has just lost4 ,tartaglia submits to this caprice1 but scarcely has he left his body than the legitimate king resumes it by means of the formula1 whilst ,tartaglia yelps and whines in the body of the dog4 ,that is the last effort of his eloquence1 for the king immediately strangles him1 and thus ends the comedy4 ,in ,bologna the office of ,tartaglia is to provoke laughter at the expense of the law4 ,it is sometimes the commissary himself1 sometimes merely the police agent who is held up to ridicule4 ,but the ,corporal of the sbirri is his triumph4 ,if he goes to arrest a guilty man his stammering renders him so ridiculous that everybody falls to mocking him4 ,his choler rises to heights of fury when he perceives that the more he speaks the more the laughter increases4 ,we hear then inarticulate cries and unearthly roars issuing from his throat4 ,at last he departs1 consigning everybody to the devil1 and from a distance we still hear his bizarre ejaculations which it would be idle to attempt to reproduce4 ii ,can we dispense with ,,the ,,notary8 ,impossible4 ,does not love play its part--the principal part--in every piece8 ,and if love is to be succeeded by ,hymen must not ,hymen be preceded by a notary8 ,it is necessary1 therefore1 to the end that the scenario of a gay piece shall satisfy the public1 that when the dnouement is reached ,ottavio shall wed ,isabella1 and his servant shall wed the soubrette4 ,the notary comes to prepare the contract and to marry these young people4 ,the old men never marry1 and all their needs are to be satisfied by the apothecary4 ,should the notary by chance arrive in answer to their summons1 it is for the purpose of drawing up their wills4 ,a wig with eight curls1 a black gown1 a bourgeoning nose pinched by enormous spectacles1 an empty belly1 a great foot1 a cane in one hand to sustain this ponderous individual1 and a portfolio in the other to balance him1 shaking his head1 smiling at everyone1 he enters--the desired1 the indispensable1 the triumphant notary6 ,he salutes the company1 blows his nose and mops his brow1 for he is a man of importance4 ,after the customary pinch of snuff proffered him by ,cassandro1 he takes a chair1 extracts his papers from his portfolio1 seeks for a long time his pen which is behind his ear1 and on the score of which he disturbs the entire household4 ,it is ,columbine who eventually finds it1 thrust into his wig4 ,the company sits2 a circle is made1 whilst the ,notary cuts his pen1 plucked1 he says1 from the right wing of ,eros1 and destined to cement the happiness of the future spouses4 ,finally1 after testing the point upon his nail1 and then trimming and retrimming it a little1 after having taken off and replaced his spectacles a dozen times1 as if to test the patience of his clients1 he makes up his mind to receive the names1 patronymics and qualities of the one part and the other part4 ,the actual business is speedily despatched1 particularly if he has been primed beforehand4 ,sometimes1 it is true1 discussions arise1 and everything is on the point of being broken off4 ,throughout these he remains impassive4 ,sometimes he comes to draw up the contract of the guardian1 and it is signed by the lover4 ,this may enrage others1 but it matters not at all to him4 ,all that concerns him is to have two signatures4 ,with these he will depart quite satisfied1 particularly if he has been well paid4 ,having pocketed his fee he will discuss the weather1 he will yawn more than is polite1 and he will sometimes permit himself to accept refreshment1 and even to caress the chin of the soubrette1 throwing her a roguish glance over the top of his spectacles4 ,he never refuses to join the nuptial banquet1 and he is capable of remaining at table for three days and three nights without weariness2 he will never fail at each dessert to sing in a falsetto voice some old and playful couplet upon the charms and graces of the bride4 ,thereafter1 pleased with his alleged witticisms1 he will resume his eating4 ,there is1 however1 no company so good but that in the end it must be quitted4 ,a nuptial banquet cannot last six years4 ,the ,notary will return home1 supported by some of his clients1 for his desire to return to his wife has been left in some of the bottles he has emptied4 ,not always1 however1 does it happen that he is so hospitably treated4 ,in those houses into which he comes to contravene by his ministry the desires of the true lovers1 if he dares to rise from his chair to make a bow he will invariably sit down again upon nothing1 to the great satisfaction and hilarity of the servants4 ,sometimes also his fee is laid across his back for him1 after which he will not be seen again until the storm is over4 ,at bottom he is always a good fellow1 fearing his wife and the king1 without any real evil in him1 and residing at the corner of a street in all the cities of the world4 ,in the ,intronati company1 the ,notary was sometimes called ,ser ,neri1 sometimes ,ser ,ghello1 ,ser ,agapito or ,ser ,ciappelletto4 iii ,in many ,italian pieces the ,podest or the ,bargello plays his part in the dnouement4 ,neither is ever loaded with a long or a difficult rle4 ,their dress is severe1 their manners insignificant1 they represent the law in all its rigidity4 ,,the ,,commissary1 being of an inferior order1 is treated more cavalierly in the ,italian scenarii1 as in the farces of ,polichinelle4 ,,the ,,commissary 7to his clerk74 ,come1 let us make haste1 open your desk1 shut the door1 drive away the dogs1 take a chair1 blow your nose1 leave a wide margin and write a large hand4 ,,the ,,clerk 7producing a large pen and a very small ink-horn74 ,sir1 let us get on if you please4 ,,the ,,commissary4 ,i shall soon be done4 ,accused1 what is your name1 surname1 quality1 birthplace1 street1 parish and lodging8 ,have you a father1 a mother1 brothers or relations8 ,what are you doing in this town8 ,have you been here long8 ,whom do you visit8 ,where do you go8 ,whence are you come8 ,set it down1 scribe4 7,he strikes the shoulder of his clerk47 ,,the ,,clerk 7dropping his ink-horn74 ,oh1 my shoulder is broken6 ,behold a crippled clerk6 ,,the ,,commissary4 ,that is punctum interrogationis1 you ignorant devil6 ,and you1 accused1 are you going to answer8 ,set it down that he has said nothing4 ,,the ,,accused4 ,how could ,i1 sir1 when---- ,,the ,,commissary4 ,enough6 ,do you think ,i have time to listen to all your idiocies8 ,don't you know that ,i have to see three rascals hanged to-day without counting you8 ,send word that the gang is not yet to set out4 ,i have something here by which to increase it4 ,,the ,,clerk4 ,sir1 the gang will not start until you join it4 7,collection of ,gherardi47 iv 8,avocats1 procureurs and gens de chicane10 as the song has it1 received fairly sharp treatment in the ,italian buffooneries and the ,french farces alike4 ,in these the man of the robe is represented as more grasping and thieving than his clients4 ,they were always mocked1 ridiculed and presented with malice by the actors1 to the delight of the audiences that witnessed their scenic misfortunes4 8,the ,chicanoux earned their living by being beaten10 says ,rabelais4 8,the manner of it is as follows3 ,when a monk1 a priest1 a usurer or a lawyer is ill-disposed towards a gentleman of his country1 he sends him one of his ,chicanoux4 ,chicanou will cite him to appear1 will outrage him and utter impudent injuries against him according to his resources and instructions1 until the gentleman1 if he be not paralysed of wit and more stupid than a frog1 is compelled to answer him with blows and sword-thrusts1 or1 better still1 to fling him through a window or from the ramparts of his castle4 ,that done1 ,chicanou becomes rich for four months1 as if beatings were his proper harvests4 ,for he will receive sound compensation from the monk1 the usurer or the lawyer1 and from the gentleman a reparation sometimes so excessive that the latter will lose all his property in it1 with danger of perishing miserably in prison1 as if he had struck the king40 ,many a spectator1 after applauding the shower of blows with which ,polichinelle rewarded this ,grippeminaud or that ,grapignan1 would return home1 considering with rage that a real ,grippeminaud would come to summon him on the morrow4 ,in ,italy the nave public would still to-day applaud the prowess of the 8,seigneur de ,basch daulbant sur ,chicanoux10 especially in certain remote districts1 where law and justice are no better loved or respected than they were of old2 and in such places it is not always without danger for the manager or for the actor himself when a gentlemen in black comes to parade his venality and absurdities upon the boards4 ,on the ,italian stage in ,paris these caricatures of men of the robe were usually played by ,harlequin or ,mezzetin1 and ,louis ,,xiv41 far from having any notion of reprimanding their satirical allusions1 laughed at them and applauded them heartily4 ,in the following scene ,grapignan is played by ,harlequin4 ,,the ,,thief4 ,is ,master ,grapignan at home8 ,,grapignan4 ,yes1 sir4 ,i am he4 ,,the ,,thief4 ,sir1 ,i am your servant4 ,,grapignan4 ,sir1 ,i am yours4 ,,the ,,thief4 ,knowing you to be the most honest advocate amongst advocates1 ,i come to beg you to enlighten me by your advice on a little matter which has just happened to me4 ,,grapignan4 ,what is the question8 ,,the ,,thief4 ,sir1 ,i was walking along the highway1 when ,i was very roughly struck by a merchant1 mounted on an old screw4 ,when ,i asked him what he meant by it1 he sided with his horse1 got down and told me that the animal was not an old screw and that it was ,i myself who was that4 ,thereupon we quarrelled1 and we came to blows1 and as he did not happen to be the stronger ,i knocked him down4 ,he got up and ran away4 ,i ought to add that as we rolled along the ground some twenty-five or thirty pistoles fell from his pocket4 ,,grapignan4 ,ho6 ho6 ,,the ,,thief4 ,i picked these up1 and seeing that he had already run away ,i got on to his horse1 and ,i rode on as if nothing had happened4 ,presently ,i learn1 sir1 that this rascal has been lodging a complaint against me1 charging me with being a highway robber4 ,i beg you to tell me whether there is about my action the least appearance of such a thing6 ,inform me1 ,i beg of you1 whither this affair is likely to lead me8 ,,grapignan4 ,faith6 ,if the affair is conducted with heat it may very well lead you to the hangman4 ,we must get you out of it4 ,did anybody see you8 ,,the ,,thief4 ,no1 sir4 ,,grapignan4 ,so much the better4 ,to begin with we must lock up the horse4 ,for if the merchant came to discover it1 seeing that he has no other witness1 he would not fail to have it interrogated upon the facts1 and then you would be lost4 ,,the ,,thief4 ,there is nothing to be feared on that score4 ,the old screw is incapable of unlocking its teeth4 ,,grapignan4 ,do not trust to that4 ,every day we behold dumb witnesses bringing about the downfall of the accused4 ,,the ,,thief4 ,the devil6 ,,grapignan4 ,we must lose no time4 ,we must begin by procuring witnesses at any price4 ,,the ,,thief4 ,but there was no one on the highway at that moment4 ,,grapignan4 ,never mind1 never mind4 ,we will discover someone who was there4444 ,i have in mind a couple of ,normans who sometimes work for me2 but they will not undertake the matter save at a good price1 for they have just issued from an affair in which without me 444 you understand4 7,he puts his hand on his neck in a gesture suggestive of hanging47 ,also it is a fact that witnesses are very dear this year4 ,,the ,,thief4 ,how does that happen8 ,,grapignan4 ,it is because no quarter is given them1 they hang as many of them as they can discover4 ,,the ,,thief4 ,if it is only a matter of money1 sir1 here is my purse with twenty-four pistoles4 ,,grapignan4 ,heh6 ,heh6 ,that may suffice for one witness1 but there are two of them4 ,haven't you anything else1 any jewellery1 any old diamond8 ,on occasions like this1 it is necessary to know how to bleed oneself4 ,,the ,,thief4 ,here is a diamond worth another twenty pistoles1 and here a watch1 which may be worth twelve4 ,,grapignan4 ,well1 well1 out of love of you ,i might advance five or six pistoles myself4 ,after that we'll make our accounts4 ,,the ,,thief4 ,do so1 sir4 ,i place myself in your hands1 and ,i trust myself to your discretion4 ,,grapignan4 ,very well1 then4 ,it will be an extraordinary thing if1 with my two witnesses1 ,i do not have your accuser sent to the galleys4 7,the thief departs47 ,twenty-four pistoles on the one hand1 a watch and a diamond on the other3 is it not better that ,i should profit by these things than the provost8 ,for this poor devil will undoubtedly be sent to the wheel without delay6 ,such is ,m4 ,grapignan1 who succeeds in robbing even highway robbers4 v ,,il ,,sbirro 7the ,constable7 was ever a type greatly in vogue in the ,italian comedy4 ,he is the same personage as the ,sergent du ,guet of the booth of ,polichinelle1 under the names of ,corporal ,rogantino1 ,corporal ,simone1 ,capo de gli ,sbirri1 etc4 ,like the ,podest 7chief magistrate71 this terrific personage appears but little in the course of the plot's development4 ,illustration ,a vast felt hat1 an enormous cloak1 great strong boots1 a long sword1 enormous moustachios and a cardboard nose1 and there you have the elements out of which to construct a constable4 ,this raiment was always hung upon a nail behind the first wing4 ,the whole could be put on like a dressing-gown1 for it is often ,harlequin1 ,mezzetin1 ,scapin or some other lackey who passes himself off as something that he is not4 ,but let them have a care6 ,for often at the moment when they least expect it there appears on the other side of the stage a real ,sbirro1 who moves silently in the shadow1 wrapped to the eyes in his great cloak4 ,but his heavy boots alone make so much noise that it would be necessary to be as deaf as ,pandolfe not to hear him4 ,what are the uses of this sombre personage8 ,to execute justice upon the traitors and evildoers of the comedy4 ,he was born anywhere4 ,he is of any age1 or rather he is so old that he is of none4 ,he lives everywhere4 ,he is1 he has been1 and he will be4 ,he is as ancient as comedy4 ,but his spirit is obtuse1 and unpardonable mistakes are common with him4 ,being strong of hand and tight of grip1 he is feared by all4 ,harlequin flees before him as though he were the plague4 ,mezzetin fears him more than fire1 and the same is the case with the good ,pierrot1 although he has done nothing to draw upon himself the constable's attention4 ,polichinelle alone is not afraid of him4 ,he is his greatest enemy4 ,on no single occasion have they met but that sound blows have been exchanged1 and the ,sbirro has not always issued in triumph from the contest4 ,but what matter8 ,he is strong in his conscience and the support of the law1 and knows nothing but his duty4 vi ,if the doctor was ridiculed on the ,italian stage and in the comedies of ,molire1 the ,,apothecary was not spared4 ,but this worthy corps of science triumphs in the person of ,m4 de ,pourceaugnac2 he knows how to keep his place1 and never in the slightest degree does he impinge upon the rights of the medical faculty4 8,no1 ,i am not a doctor10 says the apothecary to ,eraste1 8mine is not that honour1 and ,i am but an apothecary1 an unworthy apothecary1 your servant40 ,in ,le ,malade ,imaginaire ,m4 ,fleurant is the model apothecary2 he is fully conscious of his worth1 and does not jest on the subject of his drugs4 ,he is no longer the simple ,matassin who1 to introduce his merchandise1 seeks to deafen his client by bellowing its virtues in his ear4 ,in the plays of ,gherardi he bears the most ridiculous names1 like those of ,viseautrou1 ,cussiffle and ,clistorel1 and other kindred ones4 ,callot calls him ,maramao1 and dresses him in a manner but little different from the apothecaries to be seen in the comedies of ,molire4 ,he presents him with a cap on his head1 an apron about his body1 armed with his favourite weapon1 which is as long as a culverin1 and levelling it with precision at ,cardoni4 ,in the ,italian comedy the apothecary is treated still better than in the comedy-ballets of ,molire4 ,he plays a part1 comes to mingle in the plot1 and alludes to his art in metaphors and symbols4 8,i am persuaded1 sir0 7he says1 addressing the ,doctor1 whose daughter he seeks in marriage71 8that a pierced chair would more aptly denote an apothecary than a sedan chair40 7,he has been brought on in a sedan chair47 8,but as such a vehicle would not put me in good odour with my mistress1 ,i have had myself borne to your house in an elegant manner1 to present you my respects and all the submission which pharmacy owes to medicine4 ,i bring you a desperate patient1 with whom simples are of no effect1 and whose cure in itself will shed the highest credit upon your faculty4 8,it is ,i1 sir1 who am both the patient and the illness2 it is ,i who am diseased to my very marrow by this terrible ailment4 ,it is ,i who am corroded by the perfections of ,columbine4 ,it is ,i who desire to marry her1 and finally it is ,i who implore you to prescribe it me as a savoury decoction1 which ,i shall swallow with delight4 ,to the ,doctor all the honour1 and to the apothecary all the pleasure of it40 ,,xvii ,,some ,,carnival ,,masks ,when it is considered that the greater part of the jests and the types of ,molire are to be found grossly but energetically sketched in the ,commedia dell' ,arte--that is to say1 in the farces and parodies which1 without announcement of author and without printed publication1 assembled audiences for so many centuries before the appearance of the great ,poquelin--there can be no doubt that the interest of our researches will be recognised just as it will be seen that they are without any pretensions to raise the subject above its exact literary value4 ,for us it has been primarily an exploration in the archives of the eternal comedy4 ,other lights will come in the course of time to complete this work and to prove that the greatest comedian in the world is the people that inhabit it4 ,apart from their types of comedy the ,italians possess a crowd of other masks to be seen in the streets and public places during the last three consecutive days of ,carnival4 ,a great number of these masks had their birth in the theatres from which they have long since disappeared2 but the majority are no more than the products of fancy or fashion3 of these are the ,quacqueri1 who correspond to the ,french ,chicards1 and whose costume is a medley of ancient and modern fashions2 the ,matti 7fools71 arrayed in long white shirts1 wearing a nightcap and a white mask1 the neck smothered in an enormous collar4 ,men and women dressed thus run with the crowd1 performing a thousand follies1 some with tambourines1 some with baubles1 but most of them armed with sticks from the end of which hangs a bladder or a wet sponge1 with which they strike all the other masks they meet4 ,the costume of ,bajaccio or ,pagliaccio is still very much in favour during carnival1 as is that of ,pulcinella1 both for men and women4 ,the ,maghi 7sorcerers7 is a character adopted by graver folk1 as is that of the ,abbatacci1 who1 dressed entirely in black1 saving for one white stocking1 go aping the ways of advocates and other men of the robe4 ,le ,poverelle 7female mendicants2 a disguise for women7 cover their faces with a white mask1 release their hair1 and let it fall upon their shoulders and dress entirely in white2 the ,poverelle form into troupes and go in quest of alms1 which consist of flowers1 fruits and sweetmeats4 ,other disguises greatly in vogue are those of ,marinari and ,pescatori 7sailors and fishermen71 of ,giardinieri and ,giardiniere 7male and female gardeners71 ,cascherini 7topers71 ,scopetti 7sweeps71 etc4 ,in a collection entitled ,trattato su la comedia dell' arte1 ossia improvisa1 a title but little justified by the reproduction of five masks of the ,italian comedy1 ,francesco ,valentini published in ,berlin in #ahbf a volume containing a large quantity of these carnival costumes4 ,it would be impossible to give a better idea of the scenes that were to be witnessed during ,carnival than by translating some passages from ,valentini's sketch3 8,i am now compelled0 7he writes71 8so as to render my little treatise as little incomplete as possible1 to present some little scenes which take place in the streets of ,rome4 ,and that ,i may succeed in this1 ,i beg that in imagination you will transport yourselves with me to some place in the neighbourhood of the ,corso1 where our theatre is set up4 8,it is the twentieth hour 7in other words1 two o'clock in the afternoon71 and no one is yet to be seen4 ,the sky is overcast1 but the weather will be safe2 it will not snow4 8,behold6 here already is a ,pulcinella1 playing a trumpet1 leaping and talking4 ,let us listen4 ,he complains of the indolence of the masks2 it is after two o'clock1 and they are not yet ready2 a very little more would induce him to beat them4 ,he departs quite angrily1 protecting his better half1 who leans upon his arm4 8,suddenly there is a great noise2 a ,harlequin1 walking on tiptoe1 lantern in hand1 leads the way for a ,quacquero and his lady1 the ,quacqueressa2 with him comes a ,bajaccio under an open sunshade4 ,what the devil's this1 my friend1 a sunshade and a lantern8 ,night and sunshine8 ,yonder our desolate ,pulcinella is returning1 and he who lately was lamenting is now at the very summit of hilarity2 he has just met another ,pulcinella1 to whom he relinquishes his wife4 ,reciprocal joy4 ,here comes an ,abbataccio and here two or three ,quacqueri1 ,poverelle1 ,sbirri1 ,micheletti2 and last a ,captain ,fracasso in argument with a ,tartaglia3 8#8,if you don't return at once to the galleys ,i will cut you in two1 piece of a thief6' 8#8,vo 444 i 444 v'in 444 ga 444 gannate1' replies ,tartaglia1 #8io non sono 444 chi 444 chi 444 rcer 444 ca 444 ca 444 cacate' 7,you are mistaken1 ,i am not he whom you are seeking74 8,listen1 listen to the ,harlequins1 crying as they run3 ,chi 444 444 chi 444 chichirichi chic 444 chirichi6 8,turn now to this ,abbataccio1 a book under his arm1 who with the assistance of other masks has just seized upon a poor imbecile of a peasant1 who has come to see the ,roman carnival1 and who certainly never expected to become an actor in this farce3 #8,you are my debtor1' he bellows at him1 #8these last two years1 these last two centuries4 ,your grandfather1 great-grandfather1 great-great-grandfather1 or1 if you prefer it1 your archi-great devil of a father1 who was my man of affairs1 wrote me a bill of exchange4 ,don't you believe it8 ,do you deny the patent truth8 ,i am going to show it to you4' ,with that he opens his book1 which turns out to be nothing but a flour box1 blows into it1 and thus almost blinds the poor peasant1 who was gaping at him4 ,he becomes the butt of the laughter and ridicule of all who are present4 ,a mask in the dress of a groom comes to rub him down2 the sweeps sweep him1 and a fool mystifies him4 ,the peasant attempts to depart1 but at this moment a ,doctor1 an ,apothecary and some ,matassins insist upon offering him their services4 #8,he has turned pale1' cries one1 pointing to his flour-covered face1 #8he is about to die4' ,he gets away at last and darts round a corner of the street1 followed by his mockers1 of whom heaven alone knows when he will succeed in ridding himself4 8,what is this noise8 ,what is happening8 #8,a ,spectre1 a ,spectre6' 7una ,fantasima67 cries someone1 and you behold the ,pulcinelli1 ,arlecchini1 ,brighelli1 ,pantaloni cutting a thousand capers of terror4 ,captain ,ammazzasette 7,rodomont7 puts his hand to his sword and runs to meet the phantom1 which lengthens itself almost indefinitely1 and then disappears1 to the great shouts of the assembly4 8,observe this crowd1 listen to this noise6 ,here comes the cause of it3 a well-harnessed donkey1 bearing the king of the ,polichinelles with two little ,polichinelles1 his sons1 seated in the panniers4 ,his court1 consisting of thirty or forty ,polichinelles1 escorts him1 playing all conceivable instruments4 ,this general masquerade is extraordinary1 capricious and very droll4 ,consider that no two wear the same head-dress2 one wears a huge wig1 another a basket1 some an evil hat1 others go with shaven heads1 and yet another bears a cage with birds in it40 ,this scene is illustrated in the work1 and indeed each ,pulcinella wears a fantastic head-dress4 ,but the remainder of the costume is invariable4 ,it consists of a sort of round skirt in grey linen bordered with red or blue1 descending to the knee2 the front of this blouse1 open upon the breast1 ends in a heart of red cloth4 ,the trousers1 similarly decorated with red or blue1 are wide and do not go below the ankle4 ,these garments are caught to the figure by a cord1 from which hangs a copper bell1 similar to that which mountaineers hang about the necks of their cattle4 ,the mask is black or brown1 the cap traditionally pointed1 whilst the wide ruff and the black shoes complete the costume of the ,pulcinella of carnival1 such as he was in #ahbf4 8,along the ,corso1 from end to end1 the people swarm like ants4 ,there is no window that is not crowded with sightseers4 ,and how varied is the assembly6 ,here ranks1 ages and sexes are all intermingled and confounded4 ,joy1 gaiety and good humour rule2 pleasantries1 practical jokes1 laughter1 nosegays and clouds of flour on this side1 and a rain of flowers on the other1 long queues of carriages filled with masks1 and ancient coaches on which the youthful nobility of ,rome is representing the abduction of ,proserpine4 ,next we see women disguised as officers1 as sailors1 as natives of ,frascati or ,albania4 ,two squadrons of ancient warriors on cardboard horses engage furiously in combat1 and so on4 ,the revels conclude with races of unfettered and unmounted horses down the middle of the ,corso4 ,such is the ,roman carnival until the hour of the ,angelus1 at the sound of which everyone unmasks1 and all go to conclude the day at the theatre1 at a soire1 or at home4 ,shrove ,tuesday being the last day1 the ,angelus bell is impotent to command obedience2 all retain their masks and then begins the scene of the ,moccoli1 too well known to need reporting here40 ,after alluding thus superficially to some of the masks of the ,roman carnival1 we may not pass in silence over several singular fantastic and religious types1 indispensable to all the scenarii of mystery plays performed by the marionettes in ,italy and in a less degree elsewhere4 ,these are ,satana or the ,devil1 ,mago or the ,warlock1 ,l',incantatrice or the ,fairy1 the ,good ,genius1 the ,archangel ,michael and all the spirits who preside over the elements1 over nature1 and so on4 ,these personages1 the last surviving vestiges of the mystery plays1 have marched down the centuries step by step with the masks4 ,the moment that an ,italian scenario departs from absolute reality it invariably falls into the marvellous4 ,the fiabesco1 or fairy style1 reached its highest diapason in the eighteenth century at the hands of ,carlo ,gozzi4 ,,xviii ,,carlo ,,gozzi ,,and ,,carlo ,,goldoni ,at the end of the eighteenth century1 when the ,italian comedy was dying in ,france1 having been fused into comic opera and ,french comedy1 it was also expiring in a literary sense in ,italy1 but not without one last flicker1 perhaps the most brilliant of all since the days of ,ruzzante4 ,carlo ,gozzi did for the ,commedia dell' ,arte the very opposite of that which had been done by ,beolco 7,ruzzante74 ,the latter had protested against the academic language of his day4 ,he had enthroned the dialects upon the stage1 and proved that this rustic speech was the only one suitable to rustic and bourgeois pieces4 ,some two hundred years later1 towards #agej1 ,carlo ,gozzi1 finding the ,italian language softened by the various schools of literature through which it had passed1 considered it a fitting vehicle to convey the ideas of all classes2 and after a stern and derisive fight with the theatre of ,goldoni1 which was imbued with the ,venetian spirit1 he became the exclusive poet1 the absolute master of an excellent company4 ,sacchi1 the principal of this company1 had with him some precious actors1 and he himself was a ,truffaldino of the very first rank4 8,never again10 says ,gozzi himself1 8shall we see a ,truffaldino like ,sacchi1 a ,brighella like ,zanoni or a ,tartaglia like ,fiorilli1 this ,neapolitan full of fire1 and so justly famous throughout ,italy4 ,nor shall we see again such another ,pantaloon as ,darbs1 this comedian self-contained or impetuous at will1 majestic1 stupid and so true to life that the ,venetian citizen thinks to see himself mirrored upon the stage when he beholds this perfect model of his absurdities4 ,la ,smeralda was an angel in grace1 a butterfly in lightness4 ,with three words these people knew how to play a scene so as to make their audiences die of laughter4 ,never would they have suffered a piece to fail on its first performance4 ,sooner would they have manufactured another one on the spot4 ,it was necessary that the spectators should laugh for their money1 for the players were honest1 and not for the devil himself would they have returned the price of the tickets4 ,i lived with them for ten years amid noise1 quarrels1 storms and injuries1 and all with so much pleasure that ,i would not exchange those ten years for all the rest of my life4 ,they would have burned ,venice for me4 ,alas6 everything comes to an end4 ,the extinction and dispersion of the company is one of my greatest sorrows4 ,goldoni placed his trust in imposing and deceptive words2 and words are omnipotent with spirits of narrow limitations2 his pieces will perhaps return to the surface1 whilst my poor fables1 if once forgotten1 will never see the light again40 ,these poor fables1 which indeed are very much forgotten in ,italy1 and very little known elsewhere1 are none the less destined to live in the archives of the ,commedia dell' ,arte4 ,they are not exactly scenarii1 the rles being succinctly and wittily written1 particularly in those parts in which the actors had to express serious or passionate sentiments1 which in the main are difficult to improvise4 8,i flatter myself0 7he says7 8to have been of use to the company and to the art4 ,who could count all that out of complaisance ,i have written for them of prologues and of farewells in verse1 of scenes to be interposed1 of compliments for pretty actresses who were passing through1 of additions to the farces1 of soliloquies1 of despairs1 of menaces1 of reproaches and of prayers80 ,the scenarii of the pieces of ,gozzi might simply be called fairy tales in action1 the fiabesco or1 as it were1 the fabulous4 ,they are very pretty stories1 and their principal scenic merit lies in the alternation of burlesque with dramatic situation4 ,gozzi himself called them nursery tales1 but if so they are written by a very poetical nurse for no less poetical nurslings4 ,hoffmann steeped himself in them to produce his fantastic tales4 ,m4 ,paul de ,musset1 in one of his writings full of grace and good sense1 upon modern ,italy 7,revue des ,deux-,mondes71 has characterised perfectly the bizarre genius of the ,italian librettist and that of the ,german narrator4 ,the principal pieces of ,carlo ,gozzi are3 ,the ,love of the ,three ,oranges1 ,the ,raven1 ,the ,king ,stag1 ,turandot1 ,the ,woman ,serpent1 ,the ,happy ,beggars1 ,the ,blue ,monster1 ,la ,zobide and ,the ,green ,bird4 ,these subjects gave scope to improvisation1 to fancy and to that immense share held by a group of inventive and witty actors in the success of a theatrical work4 ,gozzi was surnamed the ,aristophanes of the ,adriatic4 ,but the ,signora ,teodora ,ricci supervened4 8,amour1 tu perdis ,troie60 ,gozzi1 who until then had allowed himself to be cajoled by all the charming comediennes of the company1 fell in love with the ,signora ,ricci1 who had no talent whatever4 ,sacchi1 the old ,truffaldino1 was the rival of the poet1 his best friend4 ,the other actresses became jealous1 and the men took sides in the contest4 ,the end of it was the dispersal of the company4 ,gozzi found himself compelled to change his style4 ,he followed the example of ,goldoni1 whom he had so consistently mocked1 he wrote and arranged plays in the foreign taste for ,signora ,ricci1 with the result that his dramatic genius was extinguished in compilation4 ,happily the secret fire of his active genius was re-ignited1 and his spirit revealed itself under a different form4 ,he turned to the writing of satires--8the best fruits borne by this fecund tree40 8,the year #agig10 says ,m4 ,paul de ,musset1 8arrived4 ,gozzi witnessed the fall of his country as a result of treachery1 its abandonment by the ,french general1 the entrance of the ,german bayonets and the derisive election of ,doge ,manin1 his friend4 ,heaven alone knows what had become in this conflict of the ,pantaloons and ,truffaldini6 ,the year of ,carlo ,gozzi's death is not even known4 ,nor do we know the year in which he was born4 ,this bizarre genius passed like one of those comets whose course we have not the time to study40 ,it may be well to cite some fragments and reflections of ,carlo ,gozzi on the nature and the history of the ,commedia dell' ,arte1 and particularly of the success scored by this genre in ,germany4 8,the improvised comedy1 known as the ,commedia dell' ,arte1 was in all times the most useful to the troupes of ,italian comedians4 ,it has existed for three hundred years4 ,it has always been attacked but never conquered4 ,it seems impossible that certain men of our day1 who pass for authors1 should not perceive that they are ridiculous when they condescend to step from their importance to an amusing anger against a ,brighella1 a ,pantaloon1 a ,doctor1 a ,tartaglia or a ,truffaldino4 ,this anger1 which appears to be the result of intoxication1 clearly shows that in ,italy the ,commedia dell' ,arte survives in all its vigour the shame of the persecutions exerted against it4 8,i consider sound impromptu comedians as of much greater worth than improvising poets who1 without saying anything of any sense1 captivate the attention of those assemblies gathered to hear them4 8,the improvised ,italian comedy1 called dell' arte1 is very ancient and very much more ancient than the regular and written ,italian comedies4 ,it had its beginnings in ,lombardy1 whence it spread through ,italy and penetrated into ,france1 where it is still to be found4 ,in the sixteenth century it was no more permitted to women to be present at improvised comedies than at written ones4 ,both styles alike had become too licentious4 ,we may judge of the obscenities of the written pieces1 but not of those which were improvised1 and which we know only from tradition4#f ,these two styles were always in rivalry4 8,in the time of the ,austrian emperors ,leopold1 ,joseph and ,charles ,,vi41 the ,french comedians made all possible efforts to keep their place in the two theatres of ,vienna4 ,but they were dismissed by these emperors1 who desired none but ,german and ,italian comedians in their theatres1 and of these they gave preference to those of their own nation4 ,the ,vienna companies of comedians followed the same working methods as those of ,italy1 and the improvised comedy which we call ,commedia dell' ,arte was preferred4 ,weiskern1 ,heindrich1 ,leinhaus1 ,prehauser1 ,kurz1 ,jacquedt1 ,stphanie1 ,muller1 ,breuner1 ,gottlieb1 ,la ,huberin1 ,la ,nutin1 ,la ,elizonin1 and ,la ,schwagerin were clever performers who played improvised comedy in ,german4 8,il ,ganzachi1 an able ,italian comedian of our acquaintance1 who speaks ,german very fluently1 went to reinforce the ,vienna company with the personnel and the material of our own theatre4 ,weiskern and ,heindrich played old men's parts2 ,leinhaus played ,pantaloon in ,german with a ,venetian accent2 ,prehauser played ,hanswurst1 a sort of second ,zanni2 ,kurz played ,bernardone2 ,brenner was seen as ,il ,burlino 7the jester72 ,gottlieb as a village idiot2 ,la ,nutin1 ,la ,elizonin1 and ,la ,schwagerin played the feminine rles1 and all were as much beloved by the public as are ,sacchi1 ,fiorilli1 ,zanoni1 ,darbs1 ,coralina and ,smeraldina by ours4 8,the detractors of this style claimed to have buried it4 ,improvised comedy1 they said1 no longer exists even in ,italy2 everywhere now comedy is recited from memory4 ,but anyone who cares to look at the manuscript which serves as a guide to these excellent comedians will find a single sheet of paper placed near a little lamp1 for the greater convenience of the entire troupe2 upon this sheet is the whole matter from which ten to twelve persons will keep an audience in laughter for three hours1 and conduct to its proper conclusion the story set forth4 8,to give our reader a specimen of the guide which suffices for our improvising comedians1 ,i will transcribe here a subject which ,i read by the light of the little theatre lamp1 without adding or subtracting a single word4 ,it is that of ,the ,broken ,contracts1 which we see performed several times each year1 and always with success4 ,,act ,i ,,leghorn ,,brighella enters the stage1 sees no one and calls4 ,,pantaloon enters1 simulates fear4 ,,brighella wants to leave his service4 ,,pantaloon recommends himself to him4 ,,brighella is touched1 and promises him his assistance4 ,,pantaloon says that his creditors demand payment1 especially ,truffaldino1 and that this is the last day allowed him1 etc4 ,,brighella pacifies him4 ,at this moment3 ,,truffaldino4 ,scene in which he demands payment4 ,,brighella finds a way to fend him off4 ,,pantaloon and ,,brighella remain4 ,at this moment3 ,,tartaglia1 at the window1 listens4 ,,brighella perceives this4 ,plays a scene with ,pantaloon pretending wealth4 ,,tartaglia comes down into the street to pretend to beg alms of ,pantaloon4 ,in the end they agree upon the marriage of the daughter of ,tartaglia and the son of ,pantaloon4 ,at this moment3 ,,truffaldino says that he wants his money4 ,,brighella pretends that ,pantaloon gives it to him4 ,when this has happened three times all go off4 ,,florindo speaks of his love for ,rosaura and of the hunger that torments him4 ,he knocks4 ,,rosaura listens to his protestations1 wants to put him to the test1 and asks for a present4 ,,florindo says this is not possible at the moment as he has no means4 ,,rosaura bids him wait1 telling him that she will make him a present1 and goes off4 ,,florindo remains4 ,at this moment3 ,,smeraldina1 with a basket which she gives to ,florindo1 and goes off4 ,,florindo eats4 ,,brighella1 having heard that ,rosaura has sent this basket1 steals it and escapes4 ,,florindo follows him4 ,,leandro speaks of his love for ,rosaura4 ,he seeks to deceive ,pantaloon4 ,at this moment3 ,,tartaglia comes on1 speaking to himself of the great wealth of ,pantaloon4 ,,leandro asks for the hand of his daughter4 ,,tartaglia replies that she is affianced to the son of ,pantaloon4 ,,leandro is astonished2 he makes a scene1 etc41 etc4 8,from this textually rendered sheet0 7says ,gozzi7 8comes the comedy ,i ,contratti ,rotti1 and from more than four hundred other formul as concise as this come all our ,commedia dell' ,arte4 ,such plays as these are not at the mercy of the sudden illness of an actor1 or the fact that another has been recently recruited2 a simple arrangement1 broadly made1 concerning the basis of the scenic action1 suffices for a successful performance4 ,at the moment of taking up the curtain it often happens that the description of the rles is changed according to circumstances1 the relative importance or the ability of the actors4 ,nevertheless the comedy marches happily and gaily to its conclusion4 ,not a year passes but that some scenes are added or subtracted from the argument1 and a simple announcement made to the company is all that is needed for the change to be ably executed4 ,it will be seen that these clever actors work upon the very basis of their subjects1 establishing always their scenes upon different foundations1 and filling in the dialogue with so much variety that they are always new and perdurable4 ,i have frequently heard these improvisors reproach themselves with having badly established 7mal piantato7 some scene or other1 and proceed to re-establish it at once by excellent arguments in such a way as to prepare their companions for a fresh attempt4 8,it is very true that in this style of comedy some serious actors1 and more particularly some actresses1 have a very arsenal of premeditated material committed to memory1 material which serves for intercessions1 for reproaches1 for threats1 for the expression of despair and for sentiments of jealousy2 but it is none the less surprising to see that1 face to face with the public and improvising with other improvisors1 they are able to hold this material in readiness1 and to select from the mass with which their brains are stored1 that which is suitable to the occasion1 expressing it with energy1 and earning the applause of the spectators4 8,such is the system of our improvised comedy1 a glorious art which our nation alone can claim for its own1 and one that1 in the course of three centuries1 has by no means exhausted its wit4 8,it would take too long to enumerate the four hundred and more subjects which are continually being renewed in the dialogues4 ,the clever actors who succeed the clever actors who die suffice to give an eternal aspect of novelty to these subjects4 ,we see ,roderigo ,lombardi1 an excellent ,doctor1 replaced by ,agostino ,fiorilli1 a clever ,tartaglia1 renewing each subject merely by the differences that lie between their respective talents4 ,a single new original personage suffices to revive the originality of the entire company40 ,gozzi informs us1 however1 that the authors of his day1 and notably ,goldoni1 wrote their dialogue after the first performance1 and published the scenarii which had been successful in the hands of improvising comedians4 ,for the rest1 the majority of ,italian comic authors have proceeded thus4 ,nearly all the comedies of the seventeenth century are extracted from old improvised scenarii of which ,gozzi gives us a very curious although very incomplete list4 ,he cites among others3 8,the famous ,domenico ,biancolelli1 who has caused to be performed in dialogue a very large number of improvised ,italian scenarii4 ,his comedies are printed1 but they have remained unfruitful1 whilst the very same subjects1 treated by improvisation1 are still greatly appreciated in the theatre40 ,he further tells us that comedies written and recited by comedians who memorise them1 which had never succeeded in bringing together sixty spectators1 would attract a crowd from the moment that the improvisors took possession of the subject to embroider it in their own manner4 ,many plays written up after the first performance1 and published in the sostenuta form1 have served none but reading purposes4 ,the comedians dell' arte took no notice of them1 preferring their old dry and succinct rsums1 which left their wit very much more free and untrammelled4 ,but whatever ,gozzi may say1 he has followed1 like ,goldoni1 the extremely felicitous mixed style1 half-memorised1 half-improvised4 ,it remains1 however1 that this mixed style could only be treated successfully by an original spirit1 and one sufficiently in sympathy with his actors to leave them a free hand4 ,it was a style that ended with himself4 ,all that remained of it after him was the custom in ,italy to cause certain comic masks to appear in the course of all sorts of performances4 ,carlo ,goldoni began1 like ,gozzi1 and before ,gozzi1 by writing scenarii for the ,commedia dell' ,arte4 ,numerous traces of this must remain in ,italy1 but ,goldoni himself refused to edit these skeletons1 of which he was unjustly ashamed1 until he had written them anew with full dialogue1 and thereby changed and converted them into complete plays4 ,we have seen ,gozzi reproach him with having ruined1 by means of this cold work1 many felicitous subjects in which the improvisors shone1 subjects which1 for the rest1 were of no use to the comedians of his day in their new form1 or else 7according to ,gozzi7 were of use only for performance at banquets4 ,the quarrel between these two authors and their adherents was a very lively one4 ,both had a deal of merit2 ,goldoni's was the greater wisdom1 observation and reality1 ,gozzi's the better invention1 wit and originality4 ,both began in the same way by leaving an open field to improvisation4 ,little by little each felt the need to write up the rles1 and to substitute his own personality for those of the comedians4 ,both followed for some time the mixed style--that is to say1 writing up the serious rles1 and leaving the rles of the masks to improvisation4 ,in the end both brought about the disappearance of the latter1 ,gozzi in spite of himself1 and with infinite regret for his beloved ,sacchi company2 ,goldoni1 on the other hand1 with the deliberate resolve to suppress masks and dialects1 or to relegate them to a place of secondary importance4 ,thus he no longer permits them to improvise1 but himself writes their dialogues for them4 ,it was upon this ground that ,gozzi was able victoriously to attack him4 ,that which is written for improvisors is of necessity pale1 cold and heavy1 and it would be far better not to see ,truffaldino or ,tartaglia at all than to see them gagged by the logic of the author4 ,the sentence of death which ,goldoni attempted to pronounce against the ,commedia dell' ,arte is fully set forth in his piece entitled ,il ,teatro ,comico1 which he himself has placed at the head of his collection 7edition of ,turin1 #agef71 declaring it to be a sort of preface to his work4 ,there is very little that is amusing in this comedy2 it is rather to be considered a critical piece2 but it is of interest to students of the history of this style4 ,a theatrical director is rehearsing some new actors in a fresh piece1 and dissertating at length upon the subject3 ,,orazio 7the manager of the company74 ,you see that it is very necessary to procure actors who are united by a literary convention2 without that they will usually fall into the trite or the unnatural4 ,,eugenio 7the second lover in the company74 ,then it becomes necessary entirely to suppress the improvised comedy8 ,,orazio4 ,entirely1 no6 ,it is as well that ,italians should continue masters of an art which other nations had not the courage to create4 ,the ,french are in the habit of saying that ,italian comedians are very daring to risk making impromptu speeches to the public2 but that which may be called temerity on the part of ignorant comedians is a fine quality with comedians of ability1 and1 to the honour of ,italy and the glory of our art be it said1 there are still many excellent personages who bear triumphantly and meritoriously the admirable prerogative of speaking impromptu with as much elegance as the poet may achieve in writing4 ,,eugenio4 ,but usually the masks are at a loss when they utter what is premeditated4 ,,orazio4 ,when what is premeditated is brilliant1 graceful1 well suited to the character of the personage which is to utter it1 all good masks will learn it gladly4 ,,eugenio4 ,would it not be possible to suppress masks in character comedies8 ,,orazio4 ,woe to us were we to attempt such an innovation6 ,it is not yet time to risk it4 ,in all things we must not offend universal taste4 ,in other times the public attended comedy only to laugh1 and they desired to see no other actors on the stage but the masks4 ,did the serious characters render the dialogue a little too long1 at once they grew weary2 to-day they have learned to listen to serious rles1 to enjoy words1 to be interested by events1 to favour the moral1 to laugh at the sallies and altercations derived from the serious itself4 ,but the masks are still beheld with pleasure1 and it is not necessary to withdraw them altogether4 ,rather let us seek to limit their conventions and to bridle their ridiculous characters4 ,,eugenio4 ,but this is a very difficult way of composing4 ,,orazio4 ,it is a way that has lately been rediscovered1 and to which we devote ourselves4 ,very soon we shall see the most fertile wits rising to improve it1 as is desired with all his heart by him who invented it4 ,notwithstanding this navely perfidious attitude1 ,goldoni did not dare until very late entirely to suppress the masks2 but he had so completely transformed them that they might well look upon him as their assassin4 ,success abandoned him in a measure as he denaturalised the national taste in the speeches of these personages1 who1 thanks to him1 came to utter dialogues in the ,french fashion--that is to say1 like lackeys and soubrettes imitating their masters4 ,he acknowledged himself beaten1 became a ,frenchman1 and produced in ,france ,le ,bourru ,bienfaisant2 that1 after all1 was his real genre4 ,it is none the less true1 and ,gozzi himself recognised it1 that ,goldoni had worked for the ,italian theatre1 especially at the beginning1 in a felicitous and amusing manner4 ,his ,venetian pieces are still quite charming1 notwithstanding the narrower and heavier garb which he gave them in redressing them for his readers4 ,compelled to leave the ,venetian dialect to his principal comic personages1 he has contrived to produce some real characters for the comedy of manners4 ,nevertheless the sum total of his theatrical work does not sufficiently justify the title awarded him of the ,italian ,molire4 ,if any ,italian genius deserves such a comparison it is the genius of ,ruzzante1 who at once actor and author was1 like our great ,poquelin1 nourished upon ,plautus and ,terence1 upon whom1 like him again1 he improved considerably4 ,,footnotes #a ,the names of ,demetrio and ,cornelio continued to be adopted in the theatre for old men's rles1 particularly in memorised comedies1 such as ,la ,vedova1 comedia facetissima by ,nicol ,buonaparte1 a citizen of ,florence1 #afdc4 #b ,aldo ,manuzio1 the famous ,venetian printer of the fifteenth century 7sta zovene bella muo un papag in stampa d',aldo74 #c ,les ,bigarrures et touches du seigneur des ,accords1 ,les ,apophthegmes du sieur ,gaulard and ,les ,escraignes dijonnoises 7#aefj71 as well as the ,vaillans faits d'armes de ,bolorospe 7#afcc71 must have supplied ,turlupin with matter to be embroidered and amplified into texts of the style of the following3-- 8444 ,habill de vert 7de gris71 parfum 7comme un jambon7 d'odeur 7de saintet71 et envelopp d'un manteau 7de chemine74 ,il rencontre une dame pare d'une belle robe 7d'avocat71 d'une fine fraise 7de veau7 et d'une riche cte 7de melon71 borde1 d'un filet 7de vinaigre740 ,then follows the description of his hero3 8,il a un corps 7de garde71 une tte 7d'pingle71 un cou 7de tonnerre71 des paules 7de mouton71 des bras 7de mer71 une main 7de papier71 un pied 7de cochon71 un dos 7d'ne71 une langue 7trangre71 une haleine 7de savetier74 ,il tait fort bien vtu1 il avait de belles chemises de toile 7d'araigne71 un rabat de point 7du jour71 une culotte 7de buf74444 ,sa maison tait btie de pierres 7philosophales71 soutenue de piliers 7de cabaret71 et on y entrait par deux cours 7de chimie71 d'o on montait vingt-cinq degrs 7de chaleur71 et on se trouvait dans une grande chambre 7de justice74444 ,il courait la chasse suivi d'une meute de chiens 7-dent71 de quatre valets 7de pique71 monts sur des chevaux 7de frise7 portant des lacs 7d'amour7 et des filets 7de canards74444 ,il visitait souvent ses chteaux 7en ,espagne71 ses terres et ses champs 7de bataille7 444 et mourut d'une chute 7d'eau71 etc41 etc40 #d ,the site of the gallows4 #e ,in the ,collier de ,perles1 performed in #afgb1 ,harlequin1 who plays the part of a certain ,marchese di ,sbrofadel1 having swallowed a medicine1 imagines himself at the point of death4 ,he summons a notary to make his will4 ,the ,doctor goes out and returns with ,tartaglia1 who plays the notary4 ,,tartaglia4 ,ser 444 ser 444 servant illustri 444 tri 444 tri 444 trious4 ,,harlequin4 ,this notary is from ,tripoli4 ,,tartaglia 7sits down1 draws pen and paper and begins to write74 ,l'an 444 an 444 an 444 an4444 ,,harlequin4 ,que l'on mne cet ne l'curie6444 ,,tartaglia4 ,i 444 i 444 i 444 io son 444 son 444 sono presto4 ,,harlequin4 ,va1 bene6 ,i leave this house to the ,doctor4 ,,the ,,doctor4 ,but the house is mine6 ,,harlequin4 ,i know1 that is why ,i am leaving it to you3 if it were not yours ,i should not leave it to you4 ,i leave my cabinet to my cousin4 ,,tartaglia 7writing74 ,my ca 444 ca 444 ca4444 ,,harlequin4 ,faites vite retirer ce notaire1 il va salir tous les meubles4 ,,tartaglia4 444 binet6 mon cou 444 cou 444 ,,harlequin4 ,i leave sixty-five acres of broadcloth to dress my family in mourning4 ,,the ,,doctor4 ,you are making a mistake4 ,cloth is not measured by the acre4 ,,harlequin4 ,it seems to me that a man may measure his own property as best he pleases4 ,,tartaglia4 ,pou 444 pou 444 pou 444 pour habiller ma famille en feuille4 ,,harlequin4 ,je laisse ,lallemand1 mon valet de chambre4444 ,,tartaglia4 ,un lavement mon valet de chambre4 ,,harlequin4 ,lallemand6 et non lavement4 ,,tartaglia 7writing always under the dictation of ,,harlequin74 ,si si 444 si 444 si 444 signor1 il y a bien lavement 444 ent 444 ent 444 ent4 ,,harlequin4 ,je laisse toutes mes vielles nippes la fripire1 ma voisine4 ,,tartaglia 7repeating74 ,tou 444 tou 444 toutes mes vieilles tri 444 tri 444 tripes1 la tri 444 tri 444 tripire1 ma voisine4 ,,harlequin4 ,ohim6 ce notaire-l n'en peut plus2 il faudrait lui donner une mdecine pour lui faire vacuer les paroles4446 ,je laisse vingt cus mon cuisinier1 condition qu'il dpendra de mon frre cadet4 ,,tartaglia4 ,qu'il pend 444 pendra mon frre cadet4 ,,harlequin4 ,enfin1 je laisse au notaire ci-prsent1 une langue de pore pour mettre la place de la sienne4 ,,tartaglia4 ,po 444 po 444 po 444 porc toi-mme6 ,harlequin gives him a kick which sends him flying1 together with his pens1 paper1 portfolio and ink-horns4 ,tartaglia gets up1 his face covered with ink1 and goes off in such a rage that he is unable to articulate intelligible sounds4 #f ,on this score ,gozzi is absolutely mistaken1 so far at least as ,ruzzante is concerned1 whom evidently he had never read4 ,ruzzante's pieces1 as we have said1 are never licentious1 and virtuous women attended their performance4 8,ad audiendas eas hominum tam mulierum concursus10 says ,b4 ,scardeon4 ,this is further proved by the prologues which ,beolco himself recited1 and in which he frequently addressed himself to the good and beautiful ladies of the audience1 sometimes rebuking them upon the exaggerated fashions of their toilettes1 sometimes speaking to them of faithful love and of conjugal love in the most nave1 and at the same time the most idealistic manner4 ,in the ,gelosia1 of ,lasca 7#aeha71 there is a prologue addressed entirely to ladies1 as is also the case with ,il ,granchio1 of ,salviati 7#aeff7 and several other comedies of the sixteenth century4 ,,index ,a ,achus1 i4 #i ,acrobates1 i4 #aj ,actresses1 in ancient ,rome1 i4 #ad2 in fourth and fifth centuries1 #bb2 in sixteenth century1 #bi2 morals of1 #ahj2 admitted to the ,italian stage1 ii4 #gg2 admitted to the ,french stage1 #gi2 dancing essential to1 #hj2 in ,beolco's plays1 #hj2 in the ,renaissance1 #acc ,adami1 ,patricia1 plays soubrette parts1 i4 #dd2 in ,paris1 #afb2 marries ,agostino ,lolli1 #afc ,adamo1 ,l'1 described1 i4 #bed ,adelphi ,theatre1 ,legrand plays at1 i4 #bcj schylus1 i4 #i2 ii4 #ec ,aigremont1 ,mlle d'1 cantatrice1 ii4 #gc ,alborghetti1 pantaloon1 i4 #di ,alvarotto1 ,marco1 ,beolco's letter to1 i4 #cjc2 plays ,menego1 ii4 #aja ,amante ,romanesque1 ,l'1 scene from1 ii4 #aeb ,amants ,magnifiques1 ,les1 ,louis ,,xiv4 plays in1 ii4 #hc ,amelia1 ,martino d'1 i4 #be2 ii4 #bef ,amour des ,trois ,oranges1 ,l'1 produced1 i4 #ajj ,anconitana1 ,la1 quotations from1 i4 #bcf2 ii4 #acb ,andreini1 ,francesco1 in ,scala's company1 i4 #cg2 his career1 #adi2 as author1 #aej2 his preface to ,scala's collection1 #bdj ,andreini1 ,giovanni-,battista1 heads the ,uniti ,company1 i4 #hi2 his birth1 #adi2 plays ,lelio1 #aej2 biographical note of1 #bed2 his ,l',adamo1 #bed2 his ,teatro ,celeste1 #bee2 other works by1 #bef ,andreini1 ,isabella1 i4 #ch2 her marriage1 #adi2 plays ,isabella1 #afb2 in ,france1 #bci2 her distinguished career1 ii4 #ace ,anfiparnasso1 ,l'1 ii4 #eg ,angeleri1 ,giuseppe1 plays ,brighella1 ii4 #afg ,apothecary1 the1 described1 ii4 #bgc ,apuleius quoted1 i4 #fj ,argens1 ,marquis d'1 on morals of actresses1 i4 #ahj ,argieri plays ,pulcinella1 i4 #aac ,aristophanes1 i4 #aj ,arlecchino4 ,see ,harlequin ,arlequine1 i4 #agc ,arlequin ,esprit ,follet1 i4 #ie ,arlequino ,proteo1 i4 #afd ,arlequin ,poli par l',amour quoted1 ii4 #aea ,artmire ,dlivre quoted1 i4 #ig ,arzigogolo1 scene of1 ii4 #ig ,asinaria contrasted with ,beolco's ,la ,vaccaria1 ii4 #abh ,atella1 theatre at1 i4 #aa ,atellan1 comedies so called1 i4 #aa2 licentious1 #ab2 the source of the ,commedia dell' ,arte1 #cb1 #ajg ,augustus ,i4 of ,poland and ,angelo ,constantini1 ii4 #aib et seq4 ,aulularia quoted1 ii4 #ah ,aulus ,gellius on ancient masks1 i4 #af ,aurelia1 i4 #da2 described1 ii4 #aci2 played by ,b4 ,bianchi1 #adj ,aurelio4 ,see ,b4 ,ranieri ,avocat ,pour et ,contre1 ,l'1 scene from1 ii4 #bba ,b ,babron1 ,mlle1 cantatrice1 ii4 #gc ,bacelli1 ,la1 cantatrice1 ii4 #gj ,bagnacavallo1 ,lidia di1 i4 #ce2 and ,a4 ,valerini1 ii4 #acd ,baletti1 ,elena-,virginia1 plays ,flaminia1 i4 #adi2 in ,the ,wiles of ,isabella1 #bdb2 marries ,l4 ,riccoboni1 #bfe2 her career1 ii4 #afe ,baletti1 ,giuseppe1 goes to ,france1 i4 #bfh2 married to ,la ,dumalg1 ii4 #hf ,baletti1 ,luigi1 plays ,lelio1 i4 #ej2 at the ,thtre-,italien1 #bgb2 accidentally shot1 #bgc ,,ballerina1 ,,the1 chapter on1 ii4 #ge2 ,gertrude ,boon1 ,violente and ,mlle ,hamoche1 #hc2 ,la ,camargo1 #hd2 ,la ,dumalg1 #hf ,ballets1 scenario of ,la ,verit1 ii4 #ha2 ,louis ,,xiv4 in1 #hb ,balli1 ,celesi1 plays ,pulcinella1 i4 #abi ,banqueroutier1 ,le1 scene from1 i4 #aff ,barbanois plays ,pulcinella1 i4 #aac1 #aec ,barbera1 ,la1 success of1 ii4 #ef ,barbieri1 ,niccolo1 quoted1 i4 #aeb2 on ,zeccha1 #aib2 on boys playing feminine rles1 ii4 #gh2 on ,isabella ,andreini1 #acf2 plays1 #agc2 his ,supplica1 #agc et seq4 ,baron1 the1 of ,sicilian origin1 i4 #bh2 a variant of ,pantaloon1 ii4 #ej ,bartolazzi1 ,margarita1 i4 #da2 in ,la ,finta ,pazza1 ii4 #aeg ,bastolet1 ,mlle1 cantatrice1 ii4 #gb ,bathyllus1 mime of the first century1 i4 #ai ,beaumarchais and ,mlle ,mesnard1 ii4 #gj ,begot1 ,anne1 wife of ,tabarin1 i4 #afb ,belloni plays ,pierrot1 i4 #bab ,beltrame1 of ,milanese origin1 i4 #bi2 costume of1 ii4 #agb2 played by ,barbieri1 #agc ,benozzi1 ,giovanna-,rosa1 plays ,silvia1 i4 #di2 married to ,g4 ,baletti1 #bfh2 presents her son to the public1 #bgb2 her career1 ii4 #aej2 in ,arlequin ,poli1 etc41 #aea2 in ,l',amante ,romanesque1 #aeb2 in ,the ,portrait1 #aed2 her marriage1 #aee ,beolco1 ,angelo 7,ruzzante71 opens a career to ,italian dialects1 i4 #bf2 his ,la ,rhodiana quoted1 #ii2 ,il ,sitonno created by1 #acd2 names of his soubrettes1 #afa2 ,la ,vaccaria quoted1 #bce2 ,l',anconitana quoted1 #bcf2 creates the modern theatre1 #bed2 dialogue of1 #bgf2 chapter on1 #bgi2 compared with his predecessors1 #bhj2 his epitaph1 #bha2 his stage companions1 #bhb2 his use of dialects1 #bhc2 his realism1 #bhf2 his letters1 #bhg2 his times1 #bhh2 dialogues quoted1 #bhi et seq42 his letter to ,alvarotto1 #cjc2 his methods1 #cjh2 his works1 #cji2 characters introduced by1 #caa2 dialogue quoted1 ii4 #ad2 women in his plays1 #hj2 dialogue of1 #ajb2 ,la ,fiorina quoted1 #aba2 ,la ,piovana quoted1 #afc2 never licentious1 #bhe f4n4 ,bergerac1 ,cyrano de1 boastfulness of1 i4 #ade2 quoted1 #adf ,berneri1 ,giuseppe1 poem by1 on ,meo ,patacca1 i4 #abi2 ,marco ,pepe1 #acb ,bertinazzi1 ,carlo1 plays ,harlequin1 i4 #di2 succeeds ,thomassin1 #hh2 his dbut1 #ij2 his talents1 #ia2 his death1 #ic2 ,coll's criticism of1 #id2 ,grimm's criticism of1 #ie ,bertoldino1 ,the ,life of1 i4 #ahc et seq42 on the stage1 #aia ,bertoldo1 ,the ,life of1 i4 #ahc et seq42 on the stage1 #aia ,bianchi1 ,brigida 7,aurelia71 i4 #dc1 #dd1 #aec2 goes to ,france1 #beg2 writes ,l',inganno ,fortunato1 ii4 #adj ,bianchi1 ,giuseppe1 plays ,spezzafer1 i4 #aec2 ii4 #adj ,bianchi1 ,orsola1 ii4 #adj ,biancolelli1 ,catarina1 plays ,columbine1 i4 #dd1 #fg1 #afc2 her dbut1 #afd2 quotations from her rles1 #afe et seq42 in ,paris1 #agc ,biancolelli1 ,franoise-,marie-,apolline1 plays ,isabelle1 i4 #fg2 at the ,comdie ,italienne1 ii4 #ada2 her marriage with ,m4 de ,turgis1 #adg2 pensioned1 #aej ,biancolelli1 ,giuseppe-,domenico 7,domenico71 ,gherardi on1 i4 #gg2 defect in his voice1 #hd2 melancholy character of1 #ia2 father of ,catarina1 #afc2 ,fournier on1 #bjd2 married to ,orsola ,corteze1 ii4 #ada ,biancolelli1 ,pierre-,franois1 plays under name of ,dominique1 i4 #fh2 plays ,trivelino1 #ih ,biancolelli1 ,teresa1 plays ,columbine1 i4 #di1 #afc ,biancolelli1 ,teresa 7the younger71 i4 #afc ,bibbiena1 ,cardinal of1 his ,la ,calandra1 i4 #bhj ,bigottini plays ,harlequin1 i4 #ie ,biologues1 i4 #ij ,birrichino1 rle described1 i4 #acd et seq4 ,biscegliese1 ,il1 of ,neapolitan origin1 i4 #bh2 described by ,musset1 ii4 #ch2 ejaculations of1 #ci2 costume of1 #dj2 in ,le ,jettaturi1 #dj ,bissoni1 ,giovanni1 plays ,scapino1 i4 #di2 career of1 ii4 #ahb ,bobche1 ii4 #aah ,boon1 ,gertrude1 ballerina1 ii4 #hc ,borromeo1 ,cardinal ,charles1 i4 #bch2 scenarii bearing his autograph1 ii4 #acg ,bos1 ,abb du1 quoted1 i4 #ac ,bosse1 ,abraham1 plays ,matamoros1 i4 #aeb ,boxwell1 the ,english clown1 i4 #bcb ,brazier quoted1 i4 #aif ,brighella1 origin of1 i4 #bg2 ,bergamese1 #bh1 #de2 contrasted with ,harlequin1 #fd2 in ,venice1 ii4 #ag2 described1 #afa2 descended from ,epidicus1 #afc2 costume of1 #aff2 played by ,angeleri and ,zanoni1 #afg2 witticisms of1 #afg ,brocantin1 variant of ,pantaloon1 ii4 #bf ,broken ,contracts1 ,the1 scenario of1 ii4 #bhg ,brosses1 ,prsident de1 on improvisation1 i4 #cb2 on ,meo ,patacca1 #aca2 on ,la ,serva ,padrona1 ii4 #ed2 on ,italian opera1 #ee2 on a performance at ,verona1 #fa1 #he ,bucco1 i4 #ajg2 character of1 #ajh ,buffoon1 etymology of1 i4 #ai ,burattino1 gives his name to marionettes1 i4 #ba2 in ,scala's scenarii1 #bi2 and ,pedrolino1 #bjb2 in ,the ,wiles of ,isabella1 #bdb et seq42 character described1 ii4 #beb2 and ,pantaloon1 #bec ,burchiella1 ,lucio1 plays the ,doctor1 ii4 #ca1 #cg ,c ,cabotino1 ii4 #bch ,cacasenno1 ,life of1 i4 #ahd et seq42 on the stage1 #aia ,calandra1 ,la1 performed at ,lyons1 i4 #cc2 written1 #bhf2 quoted1 ii4 #bef ,calcese1 ,andrea1 plays ,pulcinella1 i4 #aab ,callot1 his ,les ,petits ,danseurs1 i4 #bg1 #fc2 engravings of ,captains1 #adh2 of ,scaramouche1 ii4 #bjg2 his engravings1 #bca1 #bce ,camargo1 ,la1 ,ballerina1 ii4 #hd ,camerani plays ,scapino1 ii4 #ahc ,camille4 ,see ,antonia ,veronese ,,cantatrice1 ,,the1 i4 #bh2 ,elizabeth ,danneret1 #de2 chapter on1 ii4 #eb2 some early singers1 #ef2 rle of1 #ei2 ,mlle ,chantilly1 #fb2 ,deamicis1 #ff2 ,la ,piccinelli1 #fg2 ,mlle ,collet1 #fi2 ,la ,colomba1 #fi2 ,bacelli1 ,zanarini1 ,mesnard and ,ruette1 #gj2 others1 #gb and #gc ,,captain1 ,,the1 i4 #bf2 of ,neapolitan origin1 #bh2 ,spavento1 #bi2 ,cocodrillo1 #ce1 #de2 chapter on1 #acg2 ,the ,braggart ,captain quoted1 #ach2 his bearing1 #adb2 ,matamoros1 #adc2 ,european success of the type1 #adg2 costumes of1 #adg2 names of1 #adh2 ,spavento1 #adi2 ,rodomonte1 #aej2 ,rinoceronte1 #aeb2 ,spezzafer1 #aeb2 costume of1 in the eighteenth century1 #aee2 ,giangurgolo1 #aee2 ,il ,vappo1 #aef2 ,rogantino1 #aeg ,carlin4 ,see ,carlo ,bertinazzi ,carnival masks1 ii4 #bge et seq4 ,carpentier1 plays ,gillies1 i4 #bac2 his drunkenness1 #bae2 his last appearance1 #baf ,casnar1 i4 #bg1 #ajg2 the ancient ,pantaloon1 ii4 #aj ,casperle supplants ,hanswurst1 i4 #abh ,cassandre aux ,indes quoted1 i4 #bge ,cassandrino1 of ,roman origin1 i4 #bh2 described1 ii4 #df ,cassandro1 origin of1 i4 #bg2 in dialogue with ,paillasse1 #aig2 with ,pierrot1 #bji2 described1 ii4 #db2 character created and developed1 #de ,castil-,blaze quoted1 ii4 #ed ,cav1 plays ,scaramouche1 ii4 #bbg2 his duel1 #bbh ,cavicchio1 in ,scala's scenarii1 i4 #bi2 described1 ii4 #bed ,cecchini1 ,pietro-,maria1 on comedy1 ii4 #gg2 plays ,fritellino1 #bcf ,celega in ,la ,vaccaria1 ii4 #abc ,centaura1 ,la1 described1 i4 #dj ,champfleury1 scenarii by1 i4 #abe2 on ,deburau1 #bbf2 on the ,english ,clown1 #bcb ,chantilly1 ,mlle de4 ,see ,madame ,favart ,chapelle1 famous ,cassandro1 ii4 #de2 anecdotes of1 #df ,charlatans1 in ,athens and ,sparta1 i4 #aj2 ,istomachus1 #ah2 ,mondor1 #da2 ii4 #bch2 in ,italy and ,france1 #bci2 ,martin's description of1 #bdj ,chicanoux described1 ii4 #bfh ,ciavarelli1 ,alessandro1 plays ,scapino1 ii4 #ahc ,cicero1 his friendship for ,roscius1 i4 #ah2 quoted1 #fj ,cid1 ,le1 i4 #ade ,clizia1 ,la1 played in ,rome1 i4 #bhj ,cinedologues1 i4 #hj ,cinthio1 in dialogue with ,pierrot1 i4 #baj2 played by ,m4 ,a4 ,romagnesi1 #bei2 costume of1 #bfj2 in ,colombine ,avocat1 #bfj2 and ,mezzetin1 ii4 #aij ,clairon1 ,hippolyte1 ii4 #hj2 on ,volange's failure1 #aah ,cleon1 ,roman mime1 i4 #ah ,clown1 the ,english version of ,pierrot1 i4 #bca2 descendant of the ,clowns of ,shakespeare1 #bcc2 played by ,giuseppe ,grimaldi1 #bcc2 played by ,joe ,grimaldi1 #bcd ,cocodrillo1 ,captain1 played by ,fornaris1 i4 #aej ,colalto plays ,pantaloon1 ii4 #bi2 his death1 #cj ,coll1 his criticism of ,bertinazzi1 i4 #id2 his criticism of ,deshayes1 #agh2 of the sisters ,veronese1 ii4 #agg ,collet1 ,mlle1 cantatrice1 ii4 #fi ,colomba1 ,la1 her dbut1 ii4 #fi ,colombine ,avocat1 dialogue from1 i4 #bfj ,,columbine1 i4 #da2 ,catarina ,biancolelli1 #dd2 ,teresa ,biancolelli1 #di2 in ,l',empereur dans la ,lune1 #hb et seq42 chapter on1 #aei2 a soubrette1 #afb2 ,catarina ,biancolelli1 #afc2 speeches of1 #afd et seq42 in ,le ,banqueroutier1 #aff2 in ,l',homme ,bonnes ,fortunes1 #afi2 and ,harlequin1 #aga2 costume of1 #agc2 ,violette1 #agd2 ,coraline1 #age2 in scene from ,gherardi1 ii4 #bf2 the daughter of ,cassandro1 #dd2 in dialogue with ,isabella1 #adg ,comdie-,franaise makes war upon the forain theatres1 i4 #df ,comdie-,italienne1 the 8,new0 and the 8,old10 i4 #ej2 amalgamated with the ,opra-,comique1 #eb2 styled 8,thtre des ,italiens10 #ec2 ,bertoldo at1 #aib ,comedy1 ancient1 i4 #aa et seq4 ,comdi ,planipedi1 i4 #ab ,commedia dell' ,arte1 developed in ,italy1 i4 #bf2 continuation of the ,atellan1 #bh1 #cb2 improvisation in1 #cj2 ,riccoboni's hostility to1 #bfg2 ,gozzi and ,goldoni on1 ii4 #bha ,commedia ,sostenuta1 i4 #bf ,commissary1 the1 ii4 #bfg ,confidenti ,troupe1 i4 #cd1 #cg1 #aej ,constantini1 ,angelo1 plays ,mezzetino1 i4 #dd2 his career1 ii4 #ahe2 succeeds ,domenico1 #ahf2 anecdote of1 #ahg2 and ,augustus ,i4 of ,poland1 #aib2 his reappearance1 #aic2 his death1 #aid ,constantini1 ,anna1 plays ,isabelle1 ii4 #aeg ,constantini1 ,antonio1 plays ,harlequin1 i4 #hi ,constantini1 ,constantino1 plays ,gradelino1 i4 #de2 career of1 ii4 #ahd ,constantini1 ,giovanni-,battista1 plays ,ottavio1 i4 #de2 in ,paris1 #bfb2 his services to ,france1 #bfc2 his character and death1 #bfd ,coraline4 ,see ,anna ,veronese ,corneille1 i4 #ade ,cornelio1 ,aloysio1 patron of ,beolco1 i4 #bha et seq4 ,corteze1 ,orsola1 plays ,eularia1 i4 #dd2 wife of ,domenico1 #fg2 her dbut1 ii4 #adj ,corypheus created by ,thespis1 i4 #i ,cotta ,pietro1 ,riccoboni on1 i4 #bff2 endeavours to uplift comedy1 #bfg ,,coviello1 i4 #bg2 of ,calabrese origin1 #bh2 chapter on1 ii4 #bca2 in ,callot's engravings1 #bcc2 played by ,salvator ,rosa1 #bcd2 ,fritellino1 #bce2 ,tabarino1 #bcg2 ,burattino1 #beb2 ,cavicchio1 #bed2 ,ficcheto1 #bee ,crispin1 costume of1 i4 #aeb2 described1 ii4 #bbi ,croce1 ,giulio ,cesare 7,della ,lira71 i4 #ahc2 his poem1 #ahe ,d ,dancing4 ,see ,ballerina ,danneret1 ,elizabeth1 cantatrice1 i4 #de2 ii4 #ei2 in ,le ,dpart des ,comdiens1 #fj ,darbs1 plays ,pantaloon1 ii4 #cj2 ,gozzi's praise of1 #bhb ,deamicis1 cantatrice1 ii4 #ff ,deburau1 ,jean-,baptiste1 i4 #ec2 contrasted with ,pre ,rousseau1 #aif2 transforms character of ,pierrot1 #bai2 ,thophile ,gautier on1 #bbj2 ,janin's biography of1 #bba2 his agreement with ,bertrand1 #bbb2 plays in which performed1 #bbc2 his last appearance1 #bbf2 his death1 #bbg2 and ,george ,sand1 #bbh2 his character1 #bbi2 his son1 #bcj ,deburau the younger succeeds his father1 i4 #bbi ,delaulne1 ,florentin1 his ,arlequiniana1 i4 #fi ,della ,lira4 ,see ,croce ,dpart des ,comdiens1 ,le1 quoted1 ii4 #fj ,deshayes1 at the ,comdie-,italienne1 i4 #age2 ,coll's criticism of1 #agh ,doctor1 the 7,il ,dottore71 i4 #bf2 of ,bolognese origin1 #bh2 in ,scala's scenarii1 #bi1 #dh2 ,materazzi1 #di2 in ,l',empereur dans la ,lune1 #hj2 and ii4 #ce2 and ,pedrolino1 #bja2 in ,pantalone ,spezier1 ii4 #ba2 described1 #ca2 ,riccoboni on1 #cb2 his mask1 #cc2 players of1 #cg2 in dialogue with ,isabelle1 #add2 and ,fenocchio1 #aga2 and ,scaramouche1 #bah ,donat1 ,jean1 plays zanies1 i4 #dd ,domenico4 ,see ,giuseppe-,domenico ,biancolelli ,double ,inconstance1 ,la1 i4 #id ,dumalg1 ,mlle1 ,ballerina1 ii4 #hf ,e ,ely plays ,polichinelle1 i4 #abe ,empereur dans la ,lune1 ,l'1 i4 #gi2 ii4 #ce preuves1 ,les1 sketched1 i4 #bbc ,esopus1 ,roman mime1 i4 #ah ,ethologues1 i4 #aj ,etoile quoted1 i4 #ce et seq4 ,etruscans1 i4 #aa ,f ,fabioni plays ,pulcinella1 i4 #aai ,facanappa described1 ii4 #di ,favart1 marries ,mlle ,chantilly1 ii4 #fb2 on ,la ,piccinelli1 #fg2 on ,la ,dumalg1 #hf2 on ,camille1 #aeh et seq4 ,favart1 ,madame 7,mlle ,chantilly71 her dbut1 ii4 #fb2 ,marchal de ,saxe in love with1 #fc2 her talent1 #fd2 her death1 #fe2 her dancing1 #hj ,fedeli ,troupe1 i4 #ci ,fenocchio1 variant of ,brighella1 ii4 #afh2 and ,harlequin1 #afi ,fescennia1 the verses of1 ii4 #bca2 actors of1 #bcb ,festin de ,pierre1 ,le1 i4 #bje ,ficcheto described1 ii4 #bee ,finta ,pazza1 ,la1 title of1 i4 #db2 performed in ,paris1 #eg ,fiorello1 ,silvio1 introduced ,pulcinella1 i4 #aab ,fiorilli1 ,agostino1 plays ,tartaglia1 ii4 #bfa2 ,gozzi's praise of1 #bha1 #bij ,fiorina1 ,la1 quoted1 ii4 #aba ,fiorinetta in ,la ,vaccaria1 ii4 #aba ,fiurelli1 ,tiberio1 ,scaramouche1 i4 #da1 #dc1 #dd2 in interlude1 ii4 #eh2 plays ,scaramouche1 #bjh2 his marriage1 #baj2 his fame1 #baa2 and ,louis ,,xiv41 #bab2 his second marriage1 #bad2 in scenario from ,gherardi1 #bae ,flautino1 played by ,giovanni ,gherardi1 ii4 #ahd ,flavio1 ,flaminio ,scala1 i4 #bi2 in ,la ,vaccaria1 #bce2 and ii4 #abe2 in ,the ,wiles of ,isabella1 i4 #bdb ,fontaine de ,sapience1 ,la1 quoted1 ii4 #ei ,fornaris1 ,fabrizio di1 in ,confidenti ,troupe1 i4 #cg2 plays ,cocodrillo1 #aej ,fourberies de ,scapin1 ,les1 i4 #ahh ,fournier1 douard1 on ,pierrot1 i4 #bjd et seq4 ,fracassano1 ,michelangelo da1 plays ,pulcinella1 i4 #dd1 #aac ,fracasse1 ,le ,capitaine1 i4 #adh ,franca-,trippa1 type created1 i4 #cg2 a zanni1 ii4 #bcf ,franceschina1 played by ,silvia ,roncagli1 i4 #cg1 #afb2 in ,the ,wiles of ,isabella1 #bdb2 wife of ,burattino1 ii4 #bec ,fritellino1 in ,scala's scenarii1 i4 #bi2 described1 ii4 #bce2 played by ,cecchini1 #bcf ,funambules1 ,thtre des1 i4 #abe2 ,deburau at1 #bah2 ,deburau's agreement1 #bbb ,funambuli1 i4 #aj2 in ,rome1 #ae ,g ,gabrielli1 ,giulia1 i4 #da2 cantatrice1 ii4 #eg ,galimafr1 ii4 #aah ,ganassa1 ,juan1 establishes ,italian comedy in ,paris1 i4 #cd2 his company1 #aib ,garrick1 ,david1 on ,bertinazzi's talent1 i4 #aia ,garzon1 ,thomas1 on ,isabella ,andreini1 ii4 #ace ,gaultier-,garguille1 created1 i4 #da2 on boastfulness1 #adf2 etymology of1 ii4 #ej2 described1 #ea ,gautier1 ,thophile1 on pantomime1 i4 #ed2 on ,deburau1 #bbj ,gavarini ,girolamo1 plays ,captain ,rinoceronte1 i4 #aeb ,gelosi ,troupe1 i4 #ce2 at ,htel de ,bourbon1 #cf2 its motto1 #cg2 players in1 #bch ,genest martyred1 i4 #ai1 #bee ,gennari1 his eulogium of ,beolco1 i4 #bhj f4n4 ,gentilhomme ,gascon1 ,le1 played before ,henry ,,iv41 i4 #aih ,geoffrin1 ,julien1 plays ,jodelet1 ii4 #bjd ,gherardi1 ,evaristo1 on improvisation1 i4 #ci2 plays ,harlequin1 #de2 his collection of scenarii1 #eb2 his account of his first appearance1 #gf2 his death1 #gh2 scene by1 ii4 #bf2 in ,le ,dpart des ,comdiens1 #fj2 monologue of ,isabella1 #adb2 on ,fiurelli1 #baa ,gherardi1 ,giovanni1 plays ,flautino1 i4 #dd2 father of ,evaristo ,g41 #gf2 career of1 ii4 #ahd ,gianduja1 originated in ,turin1 i4 #bh2 identical with ,girolamo1 ii4 #ajh2 described1 #aaj2 in ,turin1 #aab ,gian ,farina1 i4 #aic ,giangurgolo1 of ,calabrese origin1 i4 #bh2 one of the captains1 #aee et seq4 ,giaratone ,giuseppe1 plays ,pierrot1 i4 #dd1 #bjg2 biographical note of1 #baa ,giglio4 ,see ,gilles ,gilles1 variant of ,pierrot1 i4 #bac2 played by ,carpentier1 #bac ,girolamo1 identical with ,gianduja1 ii4 #ajh2 in ,milan1 #aji ,goldoni1 ,carlo1 hostile to ,commedia dell' ,arte1 i4 #ii2 writes play for ,darbs1 ii4 #cj2 his methods1 #bij2 his quarrel with ,gozzi1 #bib ,golinetti plays ,harlequin1 i4 #ie ,gozzi1 ,carlo1 his relations with ,sacchi1 i4 #ajj2 and the ,commedia dell' ,arte1 ii4 #bha2 his scenarii1 #bhc2 and ,signora ,ricci1 #bhd2 on improvisation1 #bhd et seq42 his quarrel with ,goldoni1 #bib ,gradelino played by ,constantino ,constantini1 i4 #dd2 ii4 #ahd ,grattelard1 described1 ii4 #bjj2 in ,the ,three ,hunchbacks1 #bja2 the rival of ,tabarin1 #bdb ,grimaldi1 ,giuseppe1 ,clown1 i4 #bcc ,grimaldi1 ,joe1 ,clown1 i4 #bcc ,grimm1 quoted1 i4 #dg2 on dismissal of ,italian players1 #ec2 on ,bigottini's ,harlequin1 #ie2 on ,colalto1 ii4 #bi2 on ,mlle ,chantilly1 #fd1 #fe2 on ,la ,colomba1 #fi2 on ,mme ,ruette1 #gj2 on ,jeannot1 #aae ,gringalet1 ii4 #aah ,gros ,guillaume1 created1 i4 #da2 played by ,gurin1 #aih2 costume of1 #aii ,guaiassa1 ,la1 the ,neapolitan soubrette1 i4 #agi ,guapo1 ,il1 i4 #acc et seq4 ,gurin1 ,robert1 plays ,gros ,guillaume1 i4 #aih ,guru1 ,hugues1 creates ,gaultier ,garguille1 ii4 #ej ,guillot-,gorju1 created1 i4 #da2 described1 ii4 #eb ,h ,halle1 ,adam de la1 i4 #aba ,hamoche plays ,pierrot1 i4 #bjf1 #bab ,hanswurst1 the ,german ,polichinelle1 i4 #aae2 ,magnin on1 #abg2 played by ,prehauser1 #abh ,harlay1 ,achille de1 i4 #fb ,,harlequin1 descended from phallophores1 i4 #aa1 #bg2 ,bergamese origin of1 #bh1 #da2 played by ,domenico1 #dd2 by ,gherardi1 #de1 #gf2 by ,thomassin1 #di1 #hd2 by ,carlo ,bertinazzi1 #di2 described1 #ed2 chapter on1 #eg et seq42 possible ancestor of1 #ei2 costume of1 #fj2 etymology of name1 #fb2 character transformed by ,domenico1 #fe2 in ,l',empereur dans la ,lune1 #gi2 in plays by ,marivaux1 #he2 played by ,antonio ,constantini1 #hi2 by ,bertinazzi1 #ij2 by ,bigottini1 #ie2 by ,golinetti1 #ie2 in marionettes1 #ie2 actors who played1 #if2 ,trivelino1 #if2 in ,artmire1 #ig2 ,truffaldino1 #ih2 in ,harlequin ,roi ,par ,hasard1 #aec2 and ,spezzafer1 #aed2 in ,arlequino ,proteo1 #afd2 and ,columbine1 #aga2 and ,violette1 #agd2 and ,pedrolino1 #bja1 #bjb2 in ,les preuves1 #bbd2 in ,the ,wiles of ,isabella1 #bdb2 in ,colombine ,avocat1 #bfj2 in ,cassandre aux ,indes1 #bge2 ,pantaloon's servant1 ii4 #ai2 in ,pantalone ,spezier1 #ba2 in ,le ,dpart des ,comdiens1 #fj2 in ,arlequin ,poli par l',amour1 #aea2 and ,fenocchio1 #afi2 and ,mezzetin1 #ahi2 and ,scaramouche1 #baf2 in ,l',avocat ,pour et ,contre1 #bba2 in ,le ,collier de ,perles1 #bfj f4n4 ,haudouin1 ,bertrand1 plays ,guillot-,gorju1 ii4 #eb ,henri ,,iii4 summons ,gelosi ,troupe to ,france1 i4 #ce ,henri ,,iv41 anecdote of1 i4 #aih ,herodotus on marionettes1 i4 #bj ,histrion1 etymology of1 i4 #ag ,homme ,bonnes ,fortunes1 ,l'1 scene from1 i4 #afi ,i ,illusion ,comique1 ,l'1 i4 #ade ,inganno ,fortunato1 ,l'1 i4 #hd2 announcement of1 ii4 #fa2 by ,brigida ,bianchi1 #adj ,interludes1 origin and development of1 ii4 #ed2 filled by ,fiurelli1 #eh ,,isabelle1 played by ,isabella ,andreini1 i4 #cg1 #afb2 in ,l',empereur dans la ,lune1 #hc2 and ,columbine1 #afe2 in ,le ,banqueroutier1 #afg2 in ,l',homme ,bonnes ,fortunes1 #afi2 and ,pedrolino1 #bjb2 in ,les preuves1 #bbc2 in ,the ,wiles of ,isabella1 #bdb2 in ,cassandre aux ,indes1 #bge2 in scene from ,gherardi1 ii4 #bg2 chapter on1 #aba2 ,isabella ,andreini1 #ace2 some leading ladies1 #ach2 played by ,brigida ,bianchi1 #aci2 by ,franoise ,biancolelli1 #ada2 monologue of1 #adb2 in dialogue with the ,doctor1 #add2 with ,columbine1 #adg2 ,silvia1 #aej2 ,flaminia1 #aef2 ,lucile1 #aeg2 some other variants1 #aei2 and ,mezzetin1 #ahh ,istomachus1 a charlatan1 i4 #ah ,italien ,mari ,paris1 ,l'1 success of1 i4 #bfh ,j ,janin1 ,jules1 his biography of ,deburau quoted1 i4 #bbj ,jan-,klaassen1 the ,dutch ,polichinelle1 i4 #abg ,jeanne of ,naples1 her history dramatised1 i4 #bd ,jeannot1 described1 ii4 #aad2 played by ,volange1 #aaf ,jocrisse1 ii4 #aah ,jodelet1 created1 i4 #da2 described1 ii4 #bji ,k ,karagheus1 the ,eastern ,polichinelle1 i4 #aae ,l ,lambert1 ,mlle1 cantatrice1 ii4 #gb ,laurent plays ,leandro1 i4 #bbg ,leandro1 played by ,c4 ,v4 ,romagnesi1 i4 #de1 #bfd2 in ,les preuves1 #bbc2 character transformed1 #bgc2 in ,cassandre aux ,indes1 #bge2 played by ,laurent1 #bgg2 and ,cassandro1 ii4 #dd ,legrand1 ,henri1 plays ,turlupin1 ii4 #aih ,legrand1 ,paul1 plays ,pierrot1 i4 #bcj ,legrand1 ,louis1 plays ,turlupin1 ii4 #bjj ,,lelio1 played by ,luigi ,riccoboni1 i4 #di1 #bfd2 in ,l',inganno ,fortunato1 #hd2 in ,le ,prince ,travesti1 #he2 chapter on1 #bce2 ,flavio1 #bce2 played by ,g4 ,b4 ,andreini1 #bed2 ,orazio1 #beg2 ,cinthio1 #bei2 ,ottavio1 #bfb2 played by ,l4 ,riccoboni1 #bfd2 played by ,cotta1 #bff2 in ,l',italien ,mari ,paris1 #bfg2 played by ,g4 ,a4 ,romagnesi1 #bfh2 played by ,f4 ,riccoboni1 #bga2 played by ,a4 ,l4 ,baletti1 #bgb2 ,leandro1 #bgc ,lisle1 ,mlle de1 cantatrice1 ii4 #gb ,livius ,andronicus1 i4 #ac ,locatelli1 ,domenico1 plays ,trivelino1 i4 #dc1 #dd1 #ff1 #ig2 play by1 #ih ,locatelli1 ,gabriella1 i4 #da2 ii4 #eg ,lolli1 ,angelo ,agostino ,constantino1 plays the ,doctor1 i4 #dd2 marries ,patricia ,adami1 #afc2 his ,doctor1 ii4 #cg ,lombardi1 ,bernardino1 i4 #ce2 plays ,doctor1 ii4 #cg ,loret1 8,the ,historic ,muse of10 quoted1 i4 #dc ,louis ,,xiii4 summons ,italian troupe to ,france1 i4 #da ,louis ,,xiv41 responsible for ,french opera1 ii4 #eh2 dances in ballets1 #hb ,lucian1 quoted1 i4 #ad2 on masks1 #ag2 on dancing1 ii4 #gf ,lysiodes1 i4 #aj ,m ,macchiavelli1 ,niccolo1 as dramatic author1 i4 #bhj2 friend of ,la ,barbera1 ii4 #ef ,maccus1 i4 #bf1 #ajg2 character of1 #ajh ,maddalena ,lasciva e ,penitente1 ,la1 characters in1 ii4 #ach ,magnin1 ,charles1 on pantomime in ,rome1 i4 #ac1 #ad2 on marionettes in ,rome1 #ai2 on attitude of ,church towards histrions1 #bb2 on itinerant troupes1 #cf1 #ch2 on plebeian drama1 #ec2 on ,pulcinella1 #abj2 on ,polichinelle1 #aba1 #abf2 on ,punch1 #abg2 on ancient singers1 ii4 #ec2 on dancing1 #gf2 on funeral of ,isabella ,andreini1 #acf ,maillard1 ,mlle1 ,cantatrice1 ii4 #gb ,malloni1 ,maria1 ,celia1 i4 #ce2 her talent1 ii4 #acd ,mandragora1 ,la1 i4 #bhj2 ii4 #ha ,manducus1 i4 #ai ,manente1 ,gian1 i4 #be2 ii4 #bef ,marco-,pepe1 of ,roman origin1 i4 #bh2 affinity with ,polichinelle1 #abh2 costume of1 #aca2 rle of1 described1 #acb ,marinette1 i4 #dd ,marionettes1 in antiquity1 i4 #ai2 etymology of1 #bj2 varieties of1 #ba2 gypsies and1 #be ,marivaux writes plays for ,thomassin1 i4 #he ,marmontel on ,harlequin1 i4 #ei1 #fd ,mary of ,mdicis summons ,fedeli ,troupe to ,paris1 i4 #ci ,masks1 in ,rome1 i4 #ae2 worn by ,greek mimes1 #ag2 worn by types of the ,italian comedy1 #bg2 some carnival masks1 ii4 #bge et seq4 ,matamore4 ,see ,matamoros ,matamoros1 ,captain1 played by ,fiorello1 i4 #aab2 his ,spanish origin1 #adc2 ,scarron's play on1 #adg2 played by ,bosses1 #aeb ,matterazzi plays ,doctor1 i4 #di2 ii4 #bg ,mazarin1 ,cardinal1 summons ,italian comedians to ,paris1 i4 #da1 #ea2 summons ,domenico1 #ff ,mazurier plays ,polichinelle1 i4 #abd ,meneghino1 of ,milanese origin1 i4 #bh2 described1 ii4 #aja2 descended from ,menego1 #ajb2 akin to ,stenterello1 #ajf ,menego1 dialogue of1 ii4 #ajb ,meo-,patacca1 of ,roman origin1 i4 #bh2 variant of ,polichinelle1 #abh2 peculiarity of speech of1 #abi2 in ,theatre of ,palla ,corda1 #acj2 costume of1 #aca ,mercey1 ,frdric1 on ,polichinelle1 i4 #aae2 on ,meo-,patacca1 #abi2 on the ,captain1 #adc2 on ,pantaloon1 ii4 #ah2 on the ,italian masks1 #bd2 on the ,doctor1 #ca2 on ,stenterello1 #hi1 #id2 on ,meneghino1 #ajf ,metrobius1 i4 #ah ,mzires1 ,marie ,laboras de1 her career1 i4 #aef ,mezzetino1 in ,scala's scenarii1 i4 #bi1 #da2 played by ,a4 ,constantini1 #dd2 described1 ii4 #ahe2 and ,isabelle1 #ahh2 and ,harlequin1 #ahi2 and ,cinthio1 #aij2 and ,pasquariello1 #bbc ,mimes1 in ,rome1 i4 #ad2 their masks1 #ae2 their status1 #ag ,molire1 creates ,pierrot1 i4 #bje2 his ,scapin1 ii4 #aha2 plays with mask1 #ahf2 his admiration of ,fiurelli1 #bad2 inspired by the ,italians1 #bae ,mondor1 the charlatan1 i4 #da2 plays ,captain ,rodomonte1 #aej2 dialogue of1 #aea2 the associate of ,tabarin1 ii4 #bch et seq4 ,montaigne1 on ,italian comedy1 i4 #bf2 on comedians1 #aic ,musset1 ,paul de1 on the four ,venetian masks1 ii4 #ag2 on ,il ,biscegliese1 #ch1 #dj2 on ,tartaglia1 #bfb ,mystery plays1 i4 #bd ,n ,,narcisino1 the modern planipes1 i4 #bh2 of ,bolognese origin1 #bh2 character1 ii4 #aie2 monologue of1 #aif ,natocelli plays ,pagliaccio1 i4 #aie ,nobili1 ,orazio1 i4 #ce ,noces de ,pierrot1 ,les1 i4 #bbf ,nodier1 ,charles1 on ,polichinelle1 i4 #abe ,nonnus of ,panopolis on pantomime1 i4 #ad ,notary1 the1 described1 ii4 #bfe ,o ,opera ,buffa1 created1 ii4 #ed2 first performed1 #ee ,opra-,comique1 i4 #dg2 amalgamated with the ,comdie-,italienne1 #eb2 composers at the1 ii4 #ga ,orazio1 in ,the ,wiles of ,isabella1 i4 #bdb2 played by ,marco ,romagnesi1 #beh2 character and costume1 #beh ,orlans1 ,duc d' 7,the ,regent71 summons ,italian players to ,paris1 i4 #hd ,orpheus performed in ,paris1 i4 #ea ,ottavio played by ,g4 ,b4 ,constantini1 i4 #bfe ,p ,,pagliaccio1 first appearance of1 i4 #aib2 costume of1 #aic2 actors playing1 #aie ,palais ,royal1 ,italian players at1 i4 #dd1 #hd ,paillasse1 i4 #aie2 played by ,pre ,rousseau1 #aif ,palla-,corda1 ,theatre of1 ,meo-,patacca in1 i4 #acj ,palladio1 theatre by1 at ,vicenza1 i4 #cc ,pangrazio il ,biscegliese4 ,see ,il ,biscegliese ,pantalone4 ,see ,pantaloon ,pantalone ,spezier1 ii4 #ba ,,pantaloon1 origin of1 i4 #bg2 ,venetian1 #bh2 in ,scala's scenarii1 #bi1 #da2 played by ,alborghetti1 #di2 in ,the ,wiles of ,isabella1 #bdb2 chapter on1 ii4 #i2 descended from ,pappus1 #aj2 origin of his name1 #ag2 his character1 #ah2 and ,harlequin1 #ai2 in ,pantalone ,spezier1 #ba2 ,don ,pantaleone1 #bc2 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