The history of the harlequinade, volume 2 (of 2)

LEGHORN

BRIGHELLA enters the stage, sees no one and calls.

PANTALOON enters, simulates fear.

BRIGHELLA wants to leave his service.

PANTALOON recommends himself to him.

BRIGHELLA is touched, and promises him his assistance.

PANTALOON says that his creditors demand payment, especially Truffaldino, and that this is the last day allowed him, etc.

BRIGHELLA pacifies him.

At this moment:

TRUFFALDINO. Scene in which he demands payment.

BRIGHELLA finds a way to fend him off.

PANTALOON and BRIGHELLA remain.

At this moment:

TARTAGLIA, at the window, listens.

BRIGHELLA perceives this. Plays a scene with Pantaloon pretending wealth.

TARTAGLIA comes down into the street to pretend to beg alms of Pantaloon. In the end they agree upon the marriage of the daughter of Tartaglia and the son of Pantaloon.

At this moment:

TRUFFALDINO says that he wants his money.

BRIGHELLA pretends that Pantaloon gives it to him. When this has happened three times all go off.

FLORINDO speaks of his love for Rosaura and of the hunger that torments him. He knocks.

ROSAURA listens to his protestations, wants to put him to the test, and asks for a present.

FLORINDO says this is not possible at the moment as he has no means.

ROSAURA bids him wait, telling him that she will make him a present, and goes off.

FLORINDO remains.

At this moment:

SMERALDINA, with a basket which she gives to Florindo, and goes off.

FLORINDO eats.

BRIGHELLA, having heard that Rosaura has sent this basket, steals it and escapes.

FLORINDO follows him.

LEANDRO speaks of his love for Rosaura. He seeks to deceive Pantaloon.

At this moment:

TARTAGLIA comes on, speaking to himself of the great wealth of Pantaloon.

LEANDRO asks for the hand of his daughter.

TARTAGLIA replies that she is affianced to the son of Pantaloon.

LEANDRO is astonished; he makes a scene, etc., etc.

“From this textually rendered sheet” (says Gozzi) “comes the comedy _I Contratti Rotti_, and from more than four hundred other formulæ as concise as this come all our Commedia dell’ Arte. Such plays as these are not at the mercy of the sudden illness of an actor, or the fact that another has been recently recruited; a simple arrangement, broadly made, concerning the basis of the scenic action, suffices for a successful performance. At the moment of taking up the curtain it often happens that the description of the rôles is changed according to circumstances, the relative importance or the ability of the actors. Nevertheless the comedy marches happily and gaily to its conclusion. Not a year passes but that some scenes are added or subtracted from the argument, and a simple announcement made to the company is all that is needed for the change to be ably executed. It will be seen that these clever actors work upon the very basis of their subjects, establishing always their scenes upon different foundations, and filling in the dialogue with so much variety that they are always new and perdurable. I have frequently heard these improvisors reproach themselves with having badly established (_mal piantato_) some scene or other, and proceed to re-establish it at once by excellent arguments in such a way as to prepare their companions for a fresh attempt.

“It is very true that in this style of comedy some serious actors, and more particularly some actresses, have a very arsenal of premeditated material committed to memory, material which serves for intercessions, for reproaches, for threats, for the expression of despair and for sentiments of jealousy; but it is none the less surprising to see that, face to face with the public and improvising with other improvisors, they are able to hold this material in readiness, and to select from the mass with which their brains are stored, that which is suitable to the occasion, expressing it with energy, and earning the applause of the spectators.

“Such is the system of our improvised comedy, a glorious art which our nation alone can claim for its own, and one that, in the course of three centuries, has by no means exhausted its wit.

“It would take too long to enumerate the four hundred and more subjects which are continually being renewed in the dialogues. The clever actors who succeed the clever actors who die suffice to give an eternal aspect of novelty to these subjects. We see Roderigo Lombardi, an excellent Doctor, replaced by Agostino Fiorilli, a clever Tartaglia, renewing each subject merely by the differences that lie between their respective talents. A single new original personage suffices to revive the originality of the entire company.”

Gozzi informs us, however, that the authors of his day, and notably Goldoni, wrote their dialogue after the first performance, and published the scenarii which had been successful in the hands of improvising comedians. For the rest, the majority of Italian comic authors have proceeded thus. 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 list. He cites among others: “The famous Domenico Biancolelli, who has caused to be performed in dialogue a very large number of improvised Italian scenarii. His comedies are printed, but they have remained unfruitful, whilst the very same subjects, treated by improvisation, are still greatly appreciated in the theatre.” He further tells us that comedies written and recited by comedians who memorise them, which had never succeeded in bringing together sixty spectators, would attract a crowd from the moment that the improvisors took possession of the subject to embroider it in their own manner.

Many plays written up after the first performance, and published in the _sostenuta_ form, have served none but reading purposes. The comedians _dell’ arte_ took no notice of them, preferring their old dry and succinct résumés, which left their wit very much more free and untrammelled.

But whatever Gozzi may say, he has followed, like Goldoni, the extremely felicitous mixed style, half-memorised, half-improvised. It remains, however, that this mixed style could only be treated successfully by an original spirit, and one sufficiently in sympathy with his actors to leave them a free hand. It was a style that ended with himself. 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 performances.

Carlo Goldoni began, like Gozzi, and before Gozzi, by writing scenarii for the Commedia dell’ Arte. Numerous traces of this must remain in Italy, but Goldoni himself refused to edit these skeletons, of which he was unjustly ashamed, until he had written them anew with full dialogue, and thereby changed and converted them into complete plays. We have seen Gozzi reproach him with having ruined, by means of this cold work, many felicitous subjects in which the improvisors shone, subjects which, for the rest, were of no use to the comedians of his day in their new form, or else (according to Gozzi) were of use only for performance at banquets.

The quarrel between these two authors and their adherents was a very lively one. Both had a deal of merit; Goldoni’s was the greater wisdom, observation and reality, Gozzi’s the better invention, wit and originality. Both began in the same way by leaving an open field to improvisation. Little by little each felt the need to write up the rôles, and to substitute his own personality for those of the comedians. Both followed for some time the mixed style—that is to say, writing up the serious rôles, and leaving the rôles of the masks to improvisation. In the end both brought about the disappearance of the latter, Gozzi in spite of himself, and with infinite regret for his beloved Sacchi company; Goldoni, on the other hand, with the deliberate resolve to suppress masks and dialects, or to relegate them to a place of secondary importance. Thus he no longer permits them to improvise, but himself writes their dialogues for them. It was upon this ground that Gozzi was able victoriously to attack him. That which is written for improvisors is of necessity pale, cold and heavy, and it would be far better not to see Truffaldino or Tartaglia at all than to see them gagged by the logic of the author.

The sentence of death which Goldoni attempted to pronounce against the Commedia dell’ Arte is fully set forth in his piece entitled _Il Teatro Comico_, which he himself has placed at the head of his collection (edition of Turin, 1756), declaring it to be a sort of preface to his work. There is very little that is amusing in this comedy; it is rather to be considered a critical piece; but it is of interest to students of the history of this style.

A theatrical director is rehearsing some new actors in a fresh piece, and dissertating at length upon the subject:

Orazio. (_the manager of the company_) You see that it is very necessary to procure actors who are united by a literary convention; without that they will usually fall into the trite or the unnatural.

Eugenio. (_the second lover in the company_) Then it becomes necessary entirely to suppress the improvised comedy?

Orazio. Entirely, no! It is as well that Italians should continue masters of an art which other nations had not the courage to create. The French are in the habit of saying that Italian comedians are very daring to risk making impromptu speeches to the public; but that which may be called temerity on the part of ignorant comedians is a fine quality with comedians of ability, and, to the honour of Italy and the glory of our art be it said, 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 writing.

Eugenio. But usually the masks are at a loss when they utter what is premeditated.

Orazio. When what is premeditated is brilliant, graceful, well suited to the character of the personage which is to utter it, all good masks will learn it gladly.

Eugenio. Would it not be possible to suppress masks in character comedies?

Orazio. Woe to us were we to attempt such an innovation! It is not yet time to risk it. In all things we must not offend universal taste. In other times the public attended comedy only to laugh, and they desired to see no other actors on the stage but the masks. Did the serious characters render the dialogue a little too long, at once they grew weary; to-day they have learned to listen to serious rôles, to enjoy words, to be interested by events, to favour the moral, to laugh at the sallies and altercations derived from the serious itself. But the masks are still beheld with pleasure, and it is not necessary to withdraw them altogether. Rather let us seek to limit their conventions and to bridle their ridiculous characters.

Eugenio. But this is a very difficult way of composing.

Orazio. It is a way that has lately been rediscovered, and to which we devote ourselves. Very soon we shall see the most fertile wits rising to improve it, as is desired with all his heart by him who invented it.

Notwithstanding this naïvely perfidious attitude, Goldoni did not dare until very late entirely to suppress the masks; but he had so completely transformed them that they might well look upon him as their assassin. Success abandoned him in a measure as he denaturalised the national taste in the speeches of these personages, who, thanks to him, came to utter dialogues in the French fashion—that is to say, like lackeys and soubrettes imitating their masters. He acknowledged himself beaten, became a Frenchman, and produced in France _Le Bourru Bienfaisant_; that, after all, was his real genre.

It is none the less true, and Gozzi himself recognised it, that Goldoni had worked for the Italian theatre, especially at the beginning, in a felicitous and amusing manner. His Venetian pieces are still quite charming, notwithstanding the narrower and heavier garb which he gave them in redressing them for his readers. Compelled to leave the Venetian dialect to his principal comic personages, he has contrived to produce some real characters for the comedy of manners. Nevertheless the sum total of his theatrical work does not sufficiently justify the title awarded him of the _Italian Molière_. If any Italian genius deserves such a comparison it is the genius of Ruzzante, who at once actor and author was, like our great Poquelin, nourished upon Plautus and Terence, upon whom, like him again, he improved considerably.

FOOTNOTES

[1] The names of Demetrio and Cornelio continued to be adopted in the theatre for old men’s rôles, particularly in memorised comedies, such as _La Vedova, comedia facetissima_ by Nicolò Buonaparte, a citizen of Florence, 1643.

[2] Aldo Manuzio, the famous Venetian printer of the fifteenth century (_sta zovene bella à muo un papagà in stampa d’Aldo_).

[3] _Les Bigarrures et touches du seigneur des Accords_, _Les Apophthegmes du sieur Gaulard_ and _Les Escraignes dijonnoises_ (1560), as well as the _Vaillans faits d’armes de Bolorospe_ (1633), must have supplied Turlupin with matter to be embroidered and amplified into texts of the style of the following:—

“... Habillé de vert (de gris), parfumé (comme un jambon) d’odeur (de sainteté), et enveloppé d’un manteau (de cheminée). Il rencontre une dame parée d’une belle robe (d’avocat), d’une fine fraise (de veau) et d’une riche côte (de melon), bordée, d’un filet (de vinaigre).” Then follows the description of his hero: “Il a un corps (de garde), une tête (d’épingle), un cou (de tonnerre), des épaules (de mouton), des bras (de mer), une main (de papier), un pied (de cochon), un dos (d’âne), une langue (étrangère), une haleine (de savetier). Il était fort bien vêtu, il avait de belles chemises de toile (d’araignée), un rabat de point (du jour), une culotte (de bœuf).... Sa maison était bâtie de pierres (philosophales), soutenue de piliers (de cabaret), et on y entrait par deux cours (de chimie), d’où on montait vingt-cinq degrés (de chaleur), et on se trouvait dans une grande chambre (de justice).... Il courait à la chasse suivi d’une meute de chiens (-dent), de quatre valets (de pique), montés sur des chevaux (de frise) portant des lacs (d’amour) et des filets (de canards).... Il visitait souvent ses châteaux (en Espagne), ses terres et ses champs (de bataille) ... et mourut d’une chute (d’eau), etc., etc.”

[4] The site of the gallows.

[5] In the _Collier de Perles_, performed in 1672, Harlequin, who plays the part of a certain Marchese di Sbrofadel, having swallowed a medicine, imagines himself at the point of death. He summons a notary to make his will. The Doctor goes out and returns with Tartaglia, who plays the notary.

Tartaglia. Ser ... ser ... servant illustri ... tri ... tri ... trious.

Harlequin. This notary is from Tripoli.

Tartaglia. (_sits down, draws pen and paper and begins to write_) L’an ... an ... an ... an....

Harlequin. Que l’on mène cet âne à l’écurie!...

Tartaglia. _I ... i ... i ... io son ... son ... sono presto._

Harlequin. _Va, bene!_ I leave this house to the Doctor.

The Doctor. But the house is mine!

Harlequin. I know, that is why I am leaving it to you: if it were not yours I should not leave it to you. I leave my cabinet to my cousin.

Tartaglia. (_writing_) My ca ... ca ... ca....

Harlequin. Faites vite retirer ce notaire, il va salir tous les meubles.

Tartaglia. ... binet! à mon cou ... cou ...

Harlequin. I leave sixty-five acres of broadcloth to dress my family in mourning.

The Doctor. You are making a mistake. Cloth is not measured by the acre.

Harlequin. It seems to me that a man may measure his own property as best he pleases.

Tartaglia. Pou ... pou ... pou ... pour habiller ma famille en feuille.

Harlequin. Je laisse à _Lallemand_, mon valet de chambre....

Tartaglia. Un lavement à mon valet de chambre.

Harlequin. Lallemand! et non lavement.

Tartaglia. (_writing always under the dictation of HARLEQUIN_) _Si si ... si ... si ... signor_, il y a bien lavement ... ent ... ent ... ent.

Harlequin. Je laisse toutes mes vielles nippes à la fripière, ma voisine.

Tartaglia. (_repeating_) Tou ... tou ... toutes mes vieilles tri ... tri ... tripes, à la tri ... tri ... tripière, ma voisine.

Harlequin. _Ohimé!_ ce notaire-là n’en peut plus; il faudrait lui donner une médecine pour lui faire évacuer les paroles...! Je laisse vingt écus à mon cuisinier, à condition qu’il dépendra de mon frère cadet.

Tartaglia. Qu’il pend ... pendra mon frère cadet.

Harlequin. Enfin, je laisse au notaire ci-présent, une langue de pore pour mettre à la place de la sienne.

Tartaglia. Po ... po ... po ... porc toi-même!

Harlequin gives him a kick which sends him flying, together with his pens, paper, portfolio and ink-horns. Tartaglia gets up, his face covered with ink, and goes off in such a rage that he is unable to articulate intelligible sounds.

[6] On this score Gozzi is absolutely mistaken, so far at least as Ruzzante is concerned, whom evidently he had never read. Ruzzante’s pieces, as we have said, are never licentious, and virtuous women attended their performance. “_Ad audiendas eas hominum tam mulierum concursus_,” says B. Scardeon. This is further proved by the prologues which Beolco himself recited, and in which he frequently addressed himself to the good and beautiful ladies of the audience, sometimes rebuking them upon the exaggerated fashions of their toilettes, sometimes speaking to them of faithful love and of conjugal love in the most naïve, and at the same time the most idealistic manner. In the _Gelosia_, of Lasca (1581), there is a prologue addressed entirely to ladies, as is also the case with _Il Granchio_, of Salviati (1566) and several other comedies of the sixteenth century.

INDEX

A

Achæus, i. 9

Acrobates, i. 10

Actresses, in ancient Rome, i. 14; in fourth and fifth centuries, 22; in sixteenth century, 29; morals of, 180; admitted to the Italian stage, ii. 77; admitted to the French stage, 79; dancing essential to, 80; in Beolco’s plays, 80; in the Renaissance, 133

Adami, Patricia, plays soubrette parts, i. 44; in Paris, 162; marries Agostino Lolli, 163

_Adamo, L’_, described, i. 254

Adelphi Theatre, Legrand plays at, i. 230

Æschylus, i. 9; ii. 53

Aigremont, Mlle d’, cantatrice, ii. 73

Alborghetti, pantaloon, i. 49

Alvarotto, Marco, Beolco’s letter to, i. 303; plays Menego, ii. 101

_Amante Romanesque, L’_, scene from, ii. 152

_Amants Magnifiques, Les_, Louis XIV. plays in, ii. 83

Amelia, Martino d’, i. 25; ii. 256

_Amour des Trois Oranges, L’_, produced, i. 100

_Anconitana, La_, quotations from, i. 236; ii. 132

Andreini, Francesco, in Scala’s company, i. 37; his career, 149; as author, 150; his preface to Scala’s collection, 240

Andreini, Giovanni-Battista, heads the Uniti Company, i. 89; his birth, 149; plays Lelio, 150; biographical note of, 254; his _L’Adamo_, 254; his _Teatro Celeste_, 255; other works by, 256

Andreini, Isabella, i. 38; her marriage, 149; plays Isabella, 162; in France, 239; her distinguished career, ii. 135

_Anfiparnasso, L’_, ii. 57

Angeleri, Giuseppe, plays Brighella, ii. 167

Apothecary, the, described, ii. 273

Apuleius quoted, i. 60

Argens, Marquis d’, on morals of actresses, i. 180

Argieri plays Pulcinella, i. 113

Aristophanes, i. 10

Arlecchino. _See_ Harlequin

Arlequine, i. 173

_Arlequin Esprit Follet_, i. 95

_Arlequino Proteo_, i. 164

_Arlequin Poli par l’Amour_ quoted, ii. 151

_Artémire Délivrée_ quoted, i. 97

Arzigogolo, scene of, ii. 97

_Asinaria_ contrasted with Beolco’s _La Vaccaria_, ii. 128

Atella, theatre at, i. 11

Atellanæ, comedies so called, i. 11; licentious, 12; the source of the Commedia dell’ Arte, 32, 107

Augustus I. of Poland and Angelo Constantini, ii. 192 _et seq._

_Aulularia_ quoted, ii. 18

Aulus Gellius on ancient masks, i. 16

Aurelia, i. 41; described, ii. 139; played by B. Bianchi, 140

Aurelio. _See_ B. Ranieri

_Avocat Pour et Contre, L’_, scene from, ii. 221

B

Babron, Mlle, cantatrice, ii. 73

Bacelli, La, cantatrice, ii. 70

Bagnacavallo, Lidia di, i. 35; and A. Valerini, ii. 134

Baletti, Elena-Virginia, plays Flaminia, i. 149; in _The Wiles of Isabella_, 242; marries L. Riccoboni, 265; her career, ii. 165

Baletti, Giuseppe, goes to France, i. 268; married to La Dumalgé, ii. 86

Baletti, Luigi, plays Lelio, i. 50; at the Théâtre-Italien, 272; accidentally shot, 273

BALLERINA, THE, chapter on, ii. 75; Gertrude Boon, Violente and Mlle Hamoche, 83; La Camargo, 84; La Dumalgé, 86

Ballets, scenario of _La Verità_, ii. 81; Louis XIV. in, 82

Balli, Celesi, plays Pulcinella, i. 129

_Banqueroutier, Le_, scene from, i. 166

Barbançois plays Pulcinella, i. 113, 153

Barbera, La, success of, ii. 56

Barbieri, Niccolo, quoted, i. 152; on Zeccha, 192; on boys playing feminine rôles, ii. 78; on Isabella Andreini, 136; plays, 173; his _Supplica_, 173 _et seq._

Baron, the, of Sicilian origin, i. 28; a variant of Pantaloon, ii. 50

Bartolazzi, Margarita, i. 41; in _La Finta Pazza_, ii. 157

Bastolet, Mlle, cantatrice, ii. 72

Bathyllus, mime of the first century, i. 19

Beaumarchais and Mlle Mesnard, ii. 70

Begot, Anne, wife of Tabarin, i. 162

Belloni plays Pierrot, i. 212

Beltrame, of Milanese origin, i. 29; costume of, ii. 172; played by Barbieri, 173

Benozzi, Giovanna-Rosa, plays Silvia, i. 49; married to G. Baletti, 268; presents her son to the public, 272; her career, ii. 150; in _Arlequin Poli_, etc., 151; in _L’Amante Romanesque_, 152; in _The Portrait_, 154; her marriage, 155

Beolco, Angelo (Ruzzante), opens a career to Italian dialects, i. 26; his _La Rhodiana_ quoted, 99; Il Sitonno created by, 134; names of his soubrettes, 161; _La Vaccaria_ quoted, 235; _L’Anconitana_ quoted, 236; creates the modern theatre, 254; dialogue of, 276; chapter on, 279; compared with his predecessors, 280; his epitaph, 281; his stage companions, 282; his use of dialects, 283; his realism, 286; his letters, 287; his times, 288; dialogues quoted, 289 _et seq._; his letter to Alvarotto, 303; his methods, 308; his works, 309; characters introduced by, 311; dialogue quoted, ii. 14; women in his plays, 80; dialogue of, 102; _La Fiorina_ quoted, 121; _La Piovana_ quoted, 163; never licentious, 285 _f.n._

Bergerac, Cyrano de, boastfulness of, i. 145; quoted, 146

Berneri, Giuseppe, poem by, on Meo Patacca, i. 129; Marco Pepe, 132

Bertinazzi, Carlo, plays Harlequin, i. 49; succeeds Thomassin, 88; his début, 90; his talents, 91; his death, 93; Collé’s criticism of, 94; Grimm’s criticism of, 95

Bertoldino, _The Life of_, i. 183 _et seq._; on the stage, 191

Bertoldo, _The Life of_, i. 183 _et seq._; on the stage, 191

Bianchi, Brigida (Aurelia), i. 43, 44, 153; goes to France, 257; writes _L’Inganno Fortunato_, ii. 140

Bianchi, Giuseppe, plays Spezzafer, i. 153; ii. 140

Bianchi, Orsola, ii. 140

Biancolelli, Catarina, plays Columbine, i. 44, 67, 163; her début, 164; quotations from her rôles, 165 _et seq._; in Paris, 173

Biancolelli, Françoise-Marie-Apolline, plays Isabelle, i. 67; at the Comédie Italienne, ii. 141; her marriage with M. de Turgis, 147; pensioned, 150

Biancolelli, Giuseppe-Domenico (Domenico), Gherardi on, i. 77; defect in his voice, 84; melancholy character of, 91; father of Catarina, 163; Fournier on, 204; married to Orsola Corteze, ii. 141

Biancolelli, Pierre-François, plays under name of Dominique, i. 68; plays Trivelino, 98

Biancolelli, Teresa, plays Columbine, i. 49, 163

Biancolelli, Teresa (the younger), i. 163

Bibbiena, Cardinal of, his _La Calandra_, i. 280

Bigottini plays Harlequin, i. 95

Biologues, i. 90

Birrichino, rôle described, i. 134 _et seq._

Biscegliese, Il, of Neapolitan origin, i. 28; described by Musset, ii. 38; ejaculations of, 39; costume of, 40; in _Le Jettaturi_, 40

Bissoni, Giovanni, plays Scapino, i. 49; career of, ii. 182

Bobèche, ii. 118

Boon, Gertrude, ballerina, ii. 83

Borromeo, Cardinal Charles, i. 238; scenarii bearing his autograph, ii. 137

Bos, Abbé du, quoted, i. 13

Bosse, Abraham, plays Matamoros, i. 152

Boxwell, the English clown, i. 232

Brazier quoted, i. 196

Brighella, origin of, i. 27; Bergamese, 28, 45; contrasted with Harlequin, 64; in Venice, ii. 17; described, 161; descended from Epidicus, 163; costume of, 166; played by Angeleri and Zanoni, 167; witticisms of, 167

Brocantin, variant of Pantaloon, ii. 26

_Broken Contracts, The_, scenario of, ii. 287

Brosses, Président de, on improvisation, i. 32; on Meo Patacca, 131; on _La Serva Padrona_, ii. 54; on Italian opera, 55; on a performance at Verona, 61, 85

Bucco, i. 107; character of, 108

Buffoon, etymology of, i. 19

Burattino, gives his name to marionettes, i. 21; in Scala’s scenarii, 29; and Pedrolino, 202; in _The Wiles of Isabella_, 242 _et seq._; character described, ii. 252; and Pantaloon, 253

Burchiella, Lucio, plays the Doctor, ii. 31, 37

C

Cabotino, ii. 238

Cacasenno, _Life of_, i. 184 _et seq._; on the stage, 191

_Calandra, La_, performed at Lyons, i. 33; written, 286; quoted, ii. 256

Calcese, Andrea, plays Pulcinella, i. 112

Callot, his _Les Petits Danseurs_, i. 27, 63; engravings of Captains, 148; of Scaramouche, ii. 207; his engravings, 231, 235

Camargo, La, Ballerina, ii. 84

Camerani plays Scapino, ii. 183

Camille. _See_ Antonia Veronese

CANTATRICE, THE, i. 28; Elizabeth Danneret, 45; chapter on, ii. 52; some early singers, 56; rôle of, 59; Mlle Chantilly, 62; Deamicis, 66; La Piccinelli, 67; Mlle Collet, 69; La Colomba, 69; Bacelli, Zanarini, Mesnard and Ruette, 70; others, 72 and 73

CAPTAIN, THE, i. 26; of Neapolitan origin, 28; Spavento, 29; Cocodrillo, 35, 45; chapter on, 137; _The Braggart Captain_ quoted, 138; his bearing, 142; Matamoros, 143; European success of the type, 147; costumes of, 147; names of, 148; Spavento, 149; Rodomonte, 150; Rinoceronte, 152; Spezzafer, 152; costume of, in the eighteenth century, 155; Giangurgolo, 155; Il Vappo, 156; Rogantino, 157

Carlin. _See_ Carlo Bertinazzi

Carnival masks, ii. 275 _et seq._

Carpentier, plays Gillies, i. 213; his drunkenness, 215; his last appearance, 216

Casnar, i. 27, 107; the ancient Pantaloon, ii. 10

Casperle supplants Hanswurst, i. 128

_Cassandre aux Indes_ quoted, i. 275

Cassandrino, of Roman origin, i. 28; described, ii. 46

Cassandro, origin of, i. 27; in dialogue with Paillasse, 197; with Pierrot, 209; described, ii. 42; character created and developed, 45

Castil-Blaze quoted, ii. 54

Cavé, plays Scaramouche, ii. 227; his duel, 228

Cavicchio, in Scala’s scenarii, i. 29; described, ii. 254

Cecchini, Pietro-Maria, on comedy, ii. 77; plays Fritellino, 236

Celega in _La Vaccaria_, ii. 123

_Centaura, La_, described, i. 40

Champfleury, scenarii by, i. 125; on Deburau, 226; on the English Clown, 232

Chantilly, Mlle de. _See_ Madame Favart

Chapelle, famous Cassandro, ii. 45; anecdotes of, 46

Charlatans, in Athens and Sparta, i. 10; Istomachus, 18; Mondor, 41; ii. 238; in Italy and France, 239; Martin’s description of, 240

Chicanoux described, ii. 268

Ciavarelli, Alessandro, plays Scapino, ii. 183

Cicero, his friendship for Roscius, i. 18; quoted, 60

_Cid, Le_, i. 145

_Clizia, La_, played in Rome, i. 280

Cinedologues, i. 80

Cinthio, in dialogue with Pierrot, i. 210; played by M. A. Romagnesi, 259; costume of, 260; in _Colombine Avocat_, 260; and Mezzetin, ii. 190

Clairon, Hippolyte, ii. 80; on Volange’s failure, 118

Cleon, Roman mime, i. 18

Clown, the English version of Pierrot, i. 231; descendant of the Clowns of Shakespeare, 233; played by Giuseppe Grimaldi, 233; played by Joe Grimaldi, 234

Cocodrillo, Captain, played by Fornaris, i. 150

Colalto plays Pantaloon, ii. 29; his death, 30

Collé, his criticism of Bertinazzi, i. 94; his criticism of Deshayes, 178; of the sisters Veronese, ii. 177

Collet, Mlle, cantatrice, ii. 69

Colomba, La, her début, ii. 69

_Colombine Avocat_, dialogue from, i. 260

COLUMBINE, i. 41; Catarina Biancolelli, 44; Teresa Biancolelli, 49; in _L’Empereur dans la Lune_, 82 _et seq._; chapter on, 159; a soubrette, 162; Catarina Biancolelli, 163; speeches of, 164 _et seq._; in _Le Banqueroutier_, 166; in _L’Homme à Bonnes Fortunes_, 169; and Harlequin, 171; costume of, 173; Violette, 174; Coraline, 175; in scene from Gherardi, ii. 26; the daughter of Cassandro, 44; in dialogue with Isabella, 147

Comédie-Française makes war upon the forain theatres, i. 46

Comédie-Italienne, the “New” and the “Old,” i. 50; amalgamated with the Opéra-Comique, 52; styled “Théâtre des Italiens,” 53; Bertoldo at, 192

Comedy, ancient, i. 11 _et seq._

Comædiæ Planipediæ, i. 12

Commedia dell’ Arte, developed in Italy, i. 26; continuation of the Atellanæ, 28, 32; improvisation in, 30; Riccoboni’s hostility to, 267; Gozzi and Goldoni on, ii. 281

Commedia Sostenuta, i. 26

Commissary, the, ii. 267

Confidenti Troupe, i. 34, 37, 150

Constantini, Angelo, plays Mezzetino, i. 44; his career, ii. 185; succeeds Domenico, 186; anecdote of, 187; and Augustus I. of Poland, 192; his reappearance, 193; his death, 194

Constantini, Anna, plays Isabelle, ii. 157

Constantini, Antonio, plays Harlequin, i. 89

Constantini, Constantino, plays Gradelino, i. 45; career of, ii. 184

Constantini, Giovanni-Battista, plays Ottavio, i. 45; in Paris, 262; his services to France, 263; his character and death, 264

Coraline. _See_ Anna Veronese

Corneille, i. 145

Cornelio, Aloysio, patron of Beolco, i. 281 _et seq._

Corteze, Orsola, plays Eularia, i. 44; wife of Domenico, 67; her début, ii. 140

Corypheus created by Thespis, i. 9

Cotta Pietro, Riccoboni on, i. 266; endeavours to uplift comedy, 267

COVIELLO, i. 27; of Calabrese origin, 28; chapter on, ii. 231; in Callot’s engravings, 233; played by Salvator Rosa, 234; Fritellino, 235; Tabarino, 237; Burattino, 252; Cavicchio, 254; Ficcheto, 255

Crispin, costume of, i. 152; described, ii. 229

Croce, Giulio Cesare (Della Lira), i. 183; his poem, 185

D

Dancing. _See_ Ballerina

Danneret, Elizabeth, cantatrice, i. 45; ii. 59; in _Le Départ des Comédiens_, 60

Darbés, plays Pantaloon, ii. 30; Gozzi’s praise of, 282

Deamicis, cantatrice, ii. 66

Deburau, Jean-Baptiste, i. 53; contrasted with Père Rousseau, 196; transforms character of Pierrot, 219; Théophile Gautier on, 220; Janin’s biography of, 221; his agreement with Bertrand, 222; plays in which performed, 223; his last appearance, 226; his death, 227; and George Sand, 228; his character, 229; his son, 230

Deburau the younger succeeds his father, i. 229

Delaulne, Florentin, his _Arlequiniana_, i. 69

Della Lira. _See_ Croce

_Départ des Comédiens, Le_, quoted, ii. 60

Deshayes, at the Comédie-Italienne, i. 175; Collé’s criticism of, 178

Doctor, the (Il Dottore), i. 26; of Bolognese origin, 28; in Scala’s scenarii, 29, 48; Materazzi, 49; in _L’Empereur dans la Lune_, 80; and ii. 35; and Pedrolino, 201; in _Pantalone Spezier_, ii. 21; described, 31; Riccoboni on, 32; his mask, 33; players of, 37; in dialogue with Isabelle, 144; and Fenocchio, 171; and Scaramouche, 218

Donat, Jean, plays zanies, i. 44

Domenico. _See_ Giuseppe-Domenico Biancolelli

_Double Inconstance, La_, i. 94

Dumalgé, Mlle, Ballerina, ii. 86

E

Ely plays Polichinelle, i. 125

_Empereur dans la Lune, L’_, i. 79; ii. 35

_Épreuves, Les_, sketched, i. 223

Esopus, Roman mime, i. 18

Ethologues, i. 10

Etoile quoted, i. 35 _et seq._

Etruscans, i. 11

F

Fabioni plays Pulcinella, i. 119

Facanappa described, ii. 49

Favart, marries Mlle Chantilly, ii. 62; on La Piccinelli, 67; on La Dumalgé, 86; on Camille, 158 _et seq._

Favart, Madame (Mlle Chantilly), her début, ii. 62; Maréchal de Saxe in love with, 63; her talent, 64; her death, 65; her dancing, 80

Fedeli Troupe, i. 39

Fenocchio, variant of Brighella, ii. 168; and Harlequin, 169

Fescennia, the verses of, ii. 231; actors of, 232

_Festin de Pierre, Le_, i. 205

Ficcheto described, ii. 255

_Finta Pazza, La_, title of, i. 42; performed in Paris, 57

Fiorello, Silvio, introduced Pulcinella, i. 112

Fiorilli, Agostino, plays Tartaglia, ii. 261; Gozzi’s praise of, 281, 290

Fiorina, La, quoted, ii. 121

Fiorinetta in _La Vaccaria_, ii. 121

Fiurelli, Tiberio, Scaramouche, i. 41, 43, 44; in interlude, ii. 58; plays Scaramouche, 208; his marriage, 210; his fame, 211; and Louis XIV., 212; his second marriage, 214; in scenario from Gherardi, 215

Flautino, played by Giovanni Gherardi, ii. 184

Flavio, Flaminio Scala, i. 29; in _La Vaccaria_, 235; and ii. 125; in _The Wiles of Isabella_, i. 242

_Fontaine de Sapience, La_, quoted, ii. 59

Fornaris, Fabrizio di, in Confidenti Troupe, i. 37; plays Cocodrillo, 150

_Fourberies de Scapin, Les_, i. 188

Fournier, Édouard, on Pierrot, i. 204 _et seq._

Fracassano, Michelangelo da, plays Pulcinella, i. 44, 113

Fracasse, Le Capitaine, i. 148

Franca-Trippa, type created, i. 37; a zanni, ii. 236

Franceschina, played by Silvia Roncagli, i. 37, 162; in _The Wiles of Isabella_, 242; wife of Burattino, ii. 253

Fritellino, in Scala’s scenarii, i. 29; described, ii. 235; played by Cecchini, 236

Funambules, Théâtre des, i. 125; Deburau at, 218; Deburau’s agreement, 222

Funambuli, i. 10; in Rome, 15

G

Gabrielli, Giulia, i. 41; cantatrice, ii. 57

Galimafré, ii. 118

Ganassa, Juan, establishes Italian comedy in Paris, i. 34; his company, 192

Garrick, David, on Bertinazzi’s talent, i. 191

Garzon, Thomas, on Isabella Andreini, ii. 135

Gaultier-Garguille, created, i. 41; on boastfulness, 146; etymology of, ii. 50; described, 51

Gautier, Théophile, on pantomime, i. 54; on Deburau, 220

Gavarini Girolamo, plays Captain Rinoceronte, i. 152

Gelosi Troupe, i. 35; at Hôtel de Bourbon, 36; its motto, 37; players in, 238

Genest martyred, i. 19, 255

Gennari, his eulogium of Beolco, i. 280 _f.n._

_Gentilhomme Gascon, Le_, played before Henry IV., i. 198

Geoffrin, Julien, plays Jodelet, ii. 204

Gherardi, Evaristo, on improvisation, i. 39; plays Harlequin, 45; his collection of scenarii, 52; his account of his first appearance, 76; his death, 78; scene by, ii. 26; in _Le Départ des Comédiens_, 60; monologue of Isabella, 142; on Fiurelli, 211

Gherardi, Giovanni, plays Flautino, i. 44; father of Evaristo G., 76; career of, ii. 184

Gianduja, originated in Turin, i. 28; identical with Girolamo, ii. 108; described, 110; in Turin, 112

Gian Farina, i. 193

Giangurgolo, of Calabrese origin, i. 28; one of the captains, 155 _et seq._

Giaratone Giuseppe, plays Pierrot, i. 44, 207; biographical note of, 211

Giglio. _See_ Gilles

Gilles, variant of Pierrot, i. 213; played by Carpentier, 213

Girolamo, identical with Gianduja, ii. 108; in Milan, 109

Goldoni, Carlo, hostile to Commedia dell’ Arte, i. 99; writes play for Darbés, ii. 30; his methods, 290; his quarrel with Gozzi, 292

Golinetti plays Harlequin, i. 95

Gozzi, Carlo, his relations with Sacchi, i. 100; and the Commedia dell’ Arte, ii. 281; his scenarii, 283; and Signora Ricci, 284; on improvisation, 284 _et seq._; his quarrel with Goldoni, 292

Gradelino played by Constantino Constantini, i. 44; ii. 184

Grattelard, described, ii. 200; in _The Three Hunchbacks_, 201; the rival of Tabarin, 242

Grimaldi, Giuseppe, Clown, i. 233

Grimaldi, Joe, Clown, i. 233

Grimm, quoted, i. 47; on dismissal of Italian players, 53; on Bigottini’s Harlequin, 95; on Colalto, ii. 29; on Mlle Chantilly, 64, 65; on La Colomba, 69; on Mme Ruette, 70; on Jeannot, 115

Gringalet, ii. 118

Gros Guillaume, created, i. 41; played by Guérin, 198; costume of, 199

Guaiassa, La, the Neapolitan soubrette, i. 179

Guapo, Il, i. 133 _et seq._

Guérin, Robert, plays Gros Guillaume, i. 198

Guéru, Hugues, creates Gaultier Garguille, ii. 50

Guillot-Gorju, created, i. 41; described, ii. 52

H

Halle, Adam de la, i. 121

Hamoche plays Pierrot, i. 206, 212

Hanswurst, the German Polichinelle, i. 115; Magnin on, 127; played by Prehauser, 128

Harlay, Achille de, i. 62

HARLEQUIN, descended from phallophores, i. 11, 27; Bergamese origin of, 28, 41; played by Domenico, 44; by Gherardi, 45, 76; by Thomassin, 49, 84; by Carlo Bertinazzi, 49; described, 54; chapter on, 57 _et seq._; possible ancestor of, 59; costume of, 60; etymology of name, 62; character transformed by Domenico, 65; in _L’Empereur dans la Lune_, 79; in plays by Marivaux, 85; played by Antonio Constantini, 89; by Bertinazzi, 90; by Bigottini, 95; by Golinetti, 95; in marionettes, 95; actors who played, 96; Trivelino, 96; in _Artémire_, 97; Truffaldino, 98; in _Harlequin Roi Par Hasard_, 153; and Spezzafer, 154; in _Arlequino Proteo_, 164; and Columbine, 171; and Violette, 174; and Pedrolino, 201, 202; in _Les Épreuves_, 224; in _The Wiles of Isabella_, 242; in _Colombine Avocat_, 260; in _Cassandre aux Indes_, 275; Pantaloon’s servant, ii. 19; in _Pantalone Spezier_, 21; in _Le Départ des Comédiens_, 60; in _Arlequin Poli par l’Amour_, 151; and Fenocchio, 169; and Mezzetin, 189; and Scaramouche, 216; in _L’Avocat Pour et Contre_, 221; in _Le Collier de Perles_, 260 _f.n._

Haudouin, Bertrand, plays Guillot-Gorju, ii. 52

Henri III. summons Gelosi Troupe to France, i. 35

Henri IV., anecdote of, i. 198

Herodotus on marionettes, i. 20

Histrion, etymology of, i. 17

_Homme à Bonnes Fortunes, L’_, scene from, i. 169

I

_Illusion Comique, L’_, i. 145

_Inganno Fortunato, L’_, i. 84; announcement of, ii. 61; by Brigida Bianchi, 140

Interludes, origin and development of, ii. 54; filled by Fiurelli, 58

ISABELLE, played by Isabella Andreini, i. 37, 162; in _L’Empereur dans la Lune_, 83; and Columbine, 165; in _Le Banqueroutier_, 167; in _L’Homme à Bonnes Fortunes_, 169; and Pedrolino, 202; in _Les Épreuves_, 223; in _The Wiles of Isabella_, 242; in _Cassandre aux Indes_, 275; in scene from Gherardi, ii. 27; chapter on, 121; Isabella Andreini, 135; some leading ladies, 138; played by Brigida Bianchi, 139; by Françoise Biancolelli, 141; monologue of, 142; in dialogue with the Doctor, 144; with Columbine, 147; Silvia, 150; Flaminia, 156; Lucile, 157; some other variants, 159; and Mezzetin, 188

Istomachus, a charlatan, i. 18

_Italien Marié à Paris, L’_, success of, i. 268

J

Janin, Jules, his biography of Deburau quoted, i. 220

Jan-Klaassen, the Dutch Polichinelle, i. 127

Jeanne of Naples, her history dramatised, i. 24

Jeannot, described, ii. 114; played by Volange, 116

Jocrisse, ii. 118

Jodelet, created, i. 41; described, ii. 209

K

Karagheus, the Eastern Polichinelle, i. 115

L

Lambert, Mlle, cantatrice, ii. 72

Laurent plays Leandro, i. 227

Leandro, played by C. V. Romagnesi, i. 45, 264; in _Les Épreuves_, 223; character transformed, 273; in _Cassandre aux Indes_, 275; played by Laurent, 277; and Cassandro, ii. 44

Legrand, Henri, plays Turlupin, ii. 198

Legrand, Paul, plays Pierrot, i. 230

Legrand, Louis, plays Turlupin, ii. 200

LELIO, played by Luigi Riccoboni, i. 49, 264; in _L’Inganno Fortunato_, 84; in _Le Prince Travesti_, 85; chapter on, 235; Flavio, 235; played by G. B. Andreini, 254; Orazio, 257; Cinthio, 259; Ottavio, 262; played by L. Riccoboni, 264; played by Cotta, 266; in _L’Italien Marié à Paris_, 267; played by G. A. Romagnesi, 268; played by F. Riccoboni, 271; played by A. L. Baletti, 272; Leandro, 273

Lisle, Mlle de, cantatrice, ii. 72

Livius Andronicus, i. 13

Locatelli, Domenico, plays Trivelino, i. 43, 44, 66, 97; play by, 98

Locatelli, Gabriella, i. 41; ii. 57

Lolli, Angelo Agostino Constantino, plays the Doctor, i. 44; marries Patricia Adami, 163; his Doctor, ii. 37

Lombardi, Bernardino, i. 35; plays Doctor, ii. 37

Loret, “The Historic Muse of,” quoted, i. 43

Louis XIII. summons Italian troupe to France, i. 41

Louis XIV., responsible for French opera, ii. 58; dances in ballets, 82

Lucian, quoted, i. 14; on masks, 17; on dancing, ii. 76

Lysiodes, i. 10

M

Macchiavelli, Niccolo, as dramatic author, i. 280; friend of La Barbera, ii. 56

Maccus, i. 26, 107; character of, 108

_Maddalena Lasciva e Penitente, La_, characters in, ii. 138

Magnin, Charles, on pantomime in Rome, i. 13, 14; on marionettes in Rome, 19; on attitude of Church towards histrions, 22; on itinerant troupes, 36, 38; on plebeian drama, 53; on Pulcinella, 120; on Polichinelle, 121, 126; on Punch, 127; on ancient singers, ii. 53; on dancing, 76; on funeral of Isabella Andreini, 136

Maillard, Mlle, Cantatrice, ii. 72

Malloni, Maria, Celia, i. 35; her talent, ii. 134

_Mandragora, La_, i. 280; ii. 81

Manducus, i. 19

Manente, Gian, i. 25; ii. 256

Marco-Pepe, of Roman origin, i. 28; affinity with Polichinelle, 128; costume of, 131; rôle of, described, 132

Marinette, i. 44

Marionettes, in antiquity, i. 19; etymology of, 20; varieties of, 21; gypsies and, 25

Marivaux writes plays for Thomassin, i. 85

Marmontel on Harlequin, i. 59, 64

Mary of Médicis summons Fedeli Troupe to Paris, i. 39

Masks, in Rome, i. 15; worn by Greek mimes, 17; worn by types of the Italian comedy, 27; some carnival masks, ii. 275 _et seq._

Matamore. _See_ Matamoros

Matamoros, Captain, played by Fiorello, i. 112; his Spanish origin, 143; Scarron’s play on, 147; played by Bosses, 152

Matterazzi plays Doctor, i. 49; ii. 27

Mazarin, Cardinal, summons Italian comedians to Paris, i. 41, 51; summons Domenico, 66

Mazurier plays Polichinelle, i. 124

Meneghino, of Milanese origin, i. 28; described, ii. 101; descended from Menego, 102; akin to Stenterello, 106

Menego, dialogue of, ii. 102

Meo-Patacca, of Roman origin, i. 28; variant of Polichinelle, 128; peculiarity of speech of, 129; in Theatre of Palla Corda, 130; costume of, 131

Mercey, Frédéric, on Polichinelle, i. 115; on Meo-Patacca, 129; on the Captain, 143; on Pantaloon, ii. 18; on the Italian masks, 24; on the Doctor, 31; on Stenterello, 89, 94; on Meneghino, 106

Metrobius, i. 18

Mézières, Marie Laboras de, her career, i. 156

Mezzetino, in Scala’s scenarii, i. 29, 41; played by A. Constantini, 44; described, ii. 185; and Isabelle, 188; and Harlequin, 189; and Cinthio, 190; and Pasquariello, 223

Mimes, in Rome, i. 14; their masks, 15; their status, 17

Molière, creates Pierrot, i. 205; his Scapin, ii. 181; plays with mask, 186; his admiration of Fiurelli, 214; inspired by the Italians, 215

Mondor, the charlatan, i. 41; plays Captain Rodomonte, 150; dialogue of, 151; the associate of Tabarin, ii. 238 _et seq._

Montaigne, on Italian comedy, i. 26; on comedians, 193

Musset, Paul de, on the four Venetian masks, ii. 17; on Il Biscegliese, 38, 40; on Tartaglia, 262

Mystery plays, i. 24

N

NARCISINO, the modern planipes, i. 28; of Bolognese origin, 28; character, ii. 195; monologue of, 196

Natocelli plays Pagliaccio, i. 195

Nobili, Orazio, i. 35

_Noces de Pierrot, Les_, i. 226

Nodier, Charles, on Polichinelle, i. 125

Nonnus of Panopolis on pantomime, i. 14

Notary, the, described, ii. 265

O

Opera Buffa, created, ii. 54; first performed, 55

Opéra-Comique, i. 47; amalgamated with the Comédie-Italienne, 52; composers at the, ii. 71

Orazio, in _The Wiles of Isabella_, i. 242; played by Marco Romagnesi, 258; character and costume, 258

Orléans, Duc d’ (The Regent), summons Italian players to Paris, i. 84

_Orpheus_ performed in Paris, i. 51

Ottavio played by G. B. Constantini, i. 265

P

PAGLIACCIO, first appearance of, i. 192; costume of, 193; actors playing, 195

Palais Royal, Italian players at, i. 44, 84

Paillasse, i. 195; played by Père Rousseau, 196

Palla-Corda, Theatre of, Meo-Patacca in, i. 130

Palladio, theatre by, at Vicenza, i. 33

Pangrazio il Biscegliese. _See_ Il Biscegliese

Pantalone. _See_ Pantaloon

_Pantalone Spezier_, ii. 21

PANTALOON, origin of, i. 27; Venetian, 28; in Scala’s scenarii, 29, 41; played by Alborghetti, 49; in _The Wiles of Isabella_, 242; chapter on, ii. 9; descended from Pappus, 10; origin of his name, 17; his character, 18; and Harlequin, 19; in _Pantalone Spezier_, 21; Don Pantaleone, 23; of every social condition, 24; change in his costume, 25; variants of name, 26; Brocantin, 26; played by Sticotti, 28; by Colalto, 29; by Darbés, 30; the Doctor, 31; Il Biscegliese, 38; Cassandro, 42; Cassandrino, 46; Facanappa, 49; the Baron, Gaultier-Garguille, 50; Guillot-Gorju, 52

Pantomime in Rome, i. 13, 14

Pappus, i. 27, 107; ancient Pantaloon, ii. 10

Parasolz, his drama on Jeanne of Naples, i. 24

Pasquariello, i. 44; scene with Harlequin, 73; in league with Columbine, 172; and Scaramouche, ii. 212

Pasquino described, ii. 228

Passion, la, Confraternity of, close the Italian theatres in Paris, i. 35; drive out the Confidenti, 38

Pedrolino, character of, i. 200; lackey of Pantaloon, 201; his appetite, 202; his mischievousness, 203; derived from the Italian peasant, 208; in _The Wiles of Isabella_, 242

Peppe-Nappa, of Sicilian origin, i. 28; variant of Pierrot, 216

Personæ, masks so called, i. 12

Phallophores, i. 10; Sycionian, 59; in Rome, 60

Piccinelli, La, her history, ii. 67

Pierò, i. 200. _See_ Pierrot

Pierrette, i. 173

PIERROT, played by Giaratone, i. 44, 207; described, 54; in _L’Homme à Bonnes Fortunes_, 170; chapter on, 183; Pagliaccio, 192; Gros-Guillaume, 198; Pedrolino, 200; derived from Pedrolino, 204; created by Molière, 205; played by Hamoche, 206; derived from French peasant, 208; in dialogue with Cassandre, 209; and Cinthio, 210; his character, 211; players of, 212; Gilles, 213; Peppe Nappa, 216; character transformed by Deburau, 219; in _Les Épreuves_, 223; played by Legrand, 230; the English Clown, 231; in _L’Empereur dans la Lune_, ii. 35; and Cassandro, 43; in dialogue with Isabelle, 44; in _L’Avocat Pour et Contre_, 222

Pindar quoted, ii. 76

Planipes, i. 11, 60

Plautus, _The Braggart Captain_ quoted, i. 138; _Mostellaria_ quoted, 159; _Pœnulus_ set to music, ii. 55

Pliny on actresses, ii. 77

POLICHINELLE. _See_ Pulcinella Chapter on, i. 103; his character, 106; Riccoboni on origin of, 110; Sand on origin of, 111; Riccoboni on, 114; variations of his name, 115; Polliciniella, 118; Magnin on, 121; his song, 122; plays written round, 123; competes with guillotine, 123; Arnault on, 124; Mazurier’s performance, 124; Ély’s performance, 125; Nodier on, 125; Magnin on, 125; Punch, 126; Hanswurst, 127; Meo-Patacca, 128; Marco-Pepe, 132; Il Guapo and Il Sitonno, 133; Birrichino, 134

Polliciniella. _See_ Polichinelle

Polidoro in comedy by Beolco, i. 276

Ponti, Diana, ii. 137

Porbus quoted, i. 34

Prehauser plays Hanswurst, i. 128; ii. 286

_Prince Travesti, Le_, i. 85

Pulcinella, lineal descendant of Maccus, i. 26; Neapolitan, 28; played by Fracassano, 45; origin of, 107; etymology of, 109; introduced by Fiorello, 112. _See_ Polichinelle

Pulcinello, played by Coleson, i. 114. _See_ Polichinelle

Pulliciniello. _See_ Polichinelle

Punch, the English Polichinelle, i. 115, 126; Magnin on, 127

Pylades, mime of the first century, i. 19

Q

Quinault befriends G. A. Romagnesi, i. 269

Quintus Roscius, earnings of, i. 18

R

Rabelais, quoted, i. 20; his _Sciomachie_ quoted, ii. 133; Turlupin and, 198; his _Sciomachie_, 257; on Chicanoux, 268

Ranieri, Bartolomeo, plays Aurelio, i. 44; his career, 261

Rauzzini, Giacopo, plays Scaramouche, i. 49; ii. 226

Réaux, Tallemant des, on Gros Guillaume, i. 198

_Re Cervo, Il_, sketched, ii. 263

Reynie, La, interdicts foreign players in Paris, i. 45

Rhinthonus, i. 12

_Rhodiana, La_, i. 99

Ricci, La, Gozzi’s mistress, i. 100; ii. 284

Riccoboni, Antonio, disregards royal summons to Paris, ii. 26

Riccoboni, Francesco, plays Lelio, i. 49, 271; his career, 272

Riccoboni, Luigi, on F. Scala, i. 29; on improvisation, 31; director of the Regent’s Company, 49; on zanni, 60; on Harlequin, 63; on image of Maccus, 110; on Polichinelle, 114; on the Captain, 147; on G. B. Andreini, 256; plays Lelio, 264; his career, 265; his History of the Italian Theatre, 266; his mania for tragedy, 267; his History criticised, 268; on Ruzzante, 283; on Pantaloon, ii. 24; on the Doctor, 32

Richelieu, Cardinal de, summons Italian players to Paris, i. 51

Rinoceronte, Captain, described, i. 152

Rodomonte, Captain, described, i. 148; played by Mondor, 150; dialogue of, 151

Rogantino described, i. 157

Romagnesi, Carlo Virginio, plays Leandro, i. 45, 264

Romagnesi, Giovanni-Antonio, plays Lelio, i. 49; early adventures of, 268; his début at Strasburg, 270; his success in Paris, 271

Romagnesi, Marco, plays Orazio, i. 44, 257

Romagnesi, Marco Antonio, plays Cinthio, i. 44, 259; his career, 268; plays the Doctor, ii. 37

Roncagli, Silvia, in Scala’s company, i. 37; plays Franceschina, 162

Roquelaure, Maréchal de, anecdote of, i. 198

Rosa, Salvator, i. 28; on Pagliaccio, 194; plays Coviello, ii. 233

_Rosaura, La_, performed in Paris, i. 51; ii. 58

Rousseau, Jean-Jacques, and the sisters Veronese, i. 176

Rousseau, Père, plays Paillasse, i. 196; dialogue of, 197

Ruette, Madame, her talent, ii. 71

Ruine di Pompeia, Le, sketched, i. 118

Rusca, Margarita, plays Violette, i. 49, 174

RUZZANTE, chapter on, i. 279. _See_ Angelo Beolco

S

Sacchi, plays Truffaldino, i. 99; his ruin, 100; Gozzi’s praise of, ii. 281

St Victor, Paul de, on Tabarin, ii. 239, 241, 245

San Carlino, Theatre of, i. 115

Sand, George, and Deburau, i. 228

Sanniones, i. 60

San Samuele, Theatre of, i. 99; Anna Veronese at, 176

Sant’ Angelo, Theatre of, i. 100

Saturæ, i. 12

Saxe, Maréchal de, opera in his camp, ii. 62; in love with Mme Favart, 63

Sbirro, Il, described, ii. 272

Scala, Flaminio, his company, i. 29; heads the Gelosi, 35; actors engaged by, 37; retires, 38; Pedrolino in his scenarii, 200; plays lovers, 238; appearances of, in France, 239; his collection of scenarii, 239; his _The Wiles of Isabella_, 242; engages Isabella Andreini, ii. 135

SCAPINO, of Milanese origin, i. 28; played by Bissoni, 49; chapter on, ii. 161; Brighella, 161; Fenocchio, 168; Beltrame, 172; his address to travellers, 179; his character, 180; played by Bissoni, 182; played by Camerani, 183; Flautino and Gradelino, 184; Mezzetino, 185; Narcisino, 195; Turlupin, 198; Grattelard, 200; Jodelet and other variants of, 204

SCARAMOUCHE, i. 26; of Neapolitan origin, 28; played by Rauzzini, 49; and ii. 226; chapter on, ii. 207; and Pulcinella, 209; in scenes from Gherardi’s collection, 215 _et seq._; Pasquariello, 219; played by Cavé, 227; Pasquino, 228; Crispin, 229

Scardeon, Bernardino, on Beolco, i. 279, 281, 282

Scarron quoted, i. 147

Schœnobates, i. 10, 109

Scudéry, i. 145

_Serva Padrona, La_, ii. 54; translated, 66

Shakespeare, the Clowns of, i. 233

Simodes, i. 19

Sitonno, II, rôle of, i. 133; source of, in Ruzzante, 134

Smargiasso, described, i. 156

Soubrettes, i. 161; Columbine, 163; names of, 174; Coraline, 175

Spanish Comedians in Paris, i. 43

Spavento, Captain, i. 148; played by F. Andreini, 149; and Pedrolino, 201; in _The Wiles of Isabella_, 242

Spezzafer, Captain, his dress, i. 152; played by G. Bianchi, 153; dialogue of, 154

Spezza-Monti, Captain, described, i. 148

Spinetta, i. 45

STENTERELLO, of Florentine origin, i. 28; comparable with English Clown, 231; chapter on, ii. 89; appearance of, 90; etymology of, 92; costume of, 92; character of, 93; an episode of, 94; the Bolognese, 98; monologue of, 99; Meneghino, 101; Gianduja and Girolamo, 108; Zacometo, 113; Jeannot, 114; Jocrisse and other variants of, 118

Sticotti, Antonio, plays Pierrot, i. 212

Sticotti, Fabio, plays Pantaloon, ii. 29

Strozzi, Giulio, author, i. 42

Suppositi, I, produced, i. 280

_Surprise de l’Amour, La_, i. 85

Susarion, i. 9

Sycionian phallophores, i. 59

T

Tabarin, i. 41; and Rodomonte, 151; a charlatan, ii. 238; St Victor on, 239; the story of his death, 240; rivals of, 242; complete works of, 243; quoted, 246; prophetic almanac of, 251; costume of, 253

Tabarini, his troupe in Vienna, i. 66; ii. 238

Tabarino described, ii. 237

Tabernariæ, i. 12

_Taking of Delhi, The_, Gianduja in, ii. 112

Tarentum famous for its actors, i. 18

TARTAGLIA, i. 27; of Neapolitan origin, 28; in Venice, ii. 17; chapter on, 259; in _Le Collier de Perles_, 260 _f.n._; costume of, 261; frequent imprisonments of player of, 262; in _Il Re Cervo_, 263; the Notary, 265; Il Sbirro, 272; the Apothecary, 273

Terence on funambuli, i. 15

Terpander introduces the lyre, ii. 53

_Thémire Délivrée_ criticised by Favart, ii. 158

Thespis, i. 9; creates the corypheus, ii. 53

Thomas Aquinas quoted, i. 23

Thomassin. _See_ Antonio Vicentini

_Three Hunchbacks, The_, ii. 201 _et seq._; Tartaglia in, 259

Titus Livy quoted, i. 11, 13

Togatæ, i. 12

Toneelgek, the Dutch Polichinelle, i. 115

Tortoretti, Giuseppe, plays Pasquariello, i. 44; touring, 98; his career, ii. 220

_Triumph of Bacchus, The_, Louis XIV. plays in, ii. 82

Trivelino, i. 41; a variant of Harlequin, 96; in _Artémire_, 97

Truffaldino, a variant of Harlequin, i. 98; played by Sacchi, 99; quotation from rôle of, 101; in Venice, ii. 17

Tude, Hippolyte de la, on her début, i. 175

Turgis, M. de, his marriage with Françoise Biancolelli, ii. 147 _et seq._

Turi, Nicolò, plays Pantaloon, i. 43

Turi, Virginio, plays lovers, i. 44, 259

Turlupin, played by H. Legrand, ii. 198

Tusculum, theatre at, i. 11

U

Uniti Troupe, i. 35, 39

V

_Vaccaria, La_, i. 99; quotation from, 235; outlined, ii. 121; contrasted with _Asinaria_, 128

Valerini, Adriano, plays Aurelio, i. 35; forms the Uniti Troupe, 39; plays lovers, 238; and Lidia di Bagnacavallo, ii. 134; and Charles Borromeo, 137

Vappo, Il, one of the captains, i. 156

Varchi, Benedetto, on Beolco, i. 212

_Verità, La_, scenario of, ii. 81

Veronese, Anna, Coraline, i. 50; a soubrette, 175; Rousseau and, 176; Collé’s criticism of, 177; great vogue of, 178; her dancing, ii. 80

Veronese, Carlo, plays Pantaloon, i. 176; and Rousseau, 176; overshadowed by his daughters, ii. 29

Veronese, Giacometta-Antonia, Camille, i. 50; and Rousseau, 176; Collé’s criticism of, 177; in Sacchi’s company, 178; her dancing, ii. 80; her career, 157

Vicentini, Antonio (Thomassin), plays Harlequin, i. 49; in _L’Inganno Fortunato_, 84; plays for, by Marivaux, 85; his agility, 88; his death, 89; Collé’s criticism of, 94; married to Margarita Rusca, 174

Vicentini, Gioachino, plays Harlequin, i. 89

Vicenza, theatre at, i. 33

Vieux Cordelier quoted, i. 123

Violette, Margarita Rusca, i. 49; a variant of Columbine, 174

Volange, plays Jeannot, ii. 116; his failure, 117

Voltaire, on mystery plays, i. 24; on La Camargo, ii. 84

W

_Wiles of Isabella, The_, Scala’s scenario of, i. 242

X

Xenophon quoted, ii. 175

Z

ZACOMETO, of Venetian origin, i. 28; described, ii. 113

Zanarini, La, a cantatrice, ii. 70

Zanobio, a variant of Pantaloon, ii. 50

Zanoni, Atanasio, plays Brighella, ii. 167; Gozzi’s praise of, 281

Zanotti, Andrea, plays Valerio and Ottavio, i. 44, 259

Zeccha, Nicolò, plays Bertoldino, i. 192

THE RIVERSIDE PRESS LIMITED, EDINBURGH