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In the seventeenth century, when the Spanish theatre flourished in all its glory, the Italians seem to have borrowed frequently from it; but not without misemploying and disfiguring whatever they so acquired. The neglect of the regular stage increased with the all-absorbing passion for the opera, and with the growing taste of the multitude for improvisatory farces with standing masks.
But what is more immediately connected with our present purpose is the conjecture that in these Mimes and Atellane Fables we have perhaps the first germ of the Commedia dell' arte, the improvisatory farce with standing masks. A striking affinity between the latter and the Atellanae consists in the employment of dialects to produce a ludicrous effect.
The occasional remarks of the tinker, during the course of the representation of the comedy, might have been improvisatory, but it is hardly credible that Shakspeare should have trusted to the momentary suggestions of the players, whom he did not hold in high estimation, the conclusion, however short, of a work which he had so carefully commenced.
Without travelling out of France, he had opportunities of becoming acquainted with the lazzis of the Italian comic masks on the Italian theatre at Paris, where improvisatory dialogues were intermixed with scenes written in French: in the Spanish comedies he studied the ingenious complications of intrigue: Plautus and Terence taught him the salt of the Attic wit, the genuine tone of comic maxims, and the nicer shades of character.
Leaving to antiquarians to sift the stories about the waggon of the strolling Thespis, the contests for the prize of a he-goat, from which the name of tragedy is said to be derived, and the lees of wine with which the first improvisatory actors smeared over their visages, from which rude beginnings, it is pretended, Aeschylus, by one gigantic stride, gave to tragedy that dignified form under which it appears in his works, we shall proceed immediately to the consideration of the poets themselves.
After this action, more blood being shed than usual in an Icelandic engagement, Thorarin returned to Mahfahlida, and, being questioned by his mother concerning the events of the skirmish, he answered in the improvisatory and enigmatical poetry of his age and country To which effusion Geirrida answered "Do these verses imply the death of Thorbiorn?"
Yes, thus it is: somewhere by me Unheard, by me unfelt, unknown, The laughing, rippling notes of thee Are sounding still; while I alone Am left to sit and sigh and say Music unheard is sweet as they. This is no momentary mood, and no light bubble-breath of improvisatory verse.
Here Gozzi had fallen almost accidentally on a fund of whose value he was not, perhaps, fully aware: his prosaical, and for the most part improvisatory, masks, forming altogether of themselves the irony on the poetical part.
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