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Updated: August 24, 2024


"O Dio, no!" cries poor Brighella. "I know what brothers and sisters do. I love Colombina and she me, but we don't kiss and hug in a corner. That is what the contessa taught me to do I thought it very beautiful. It was our secret, do you see? But she seems to have taught the marchese and it is a secret no more, and not beautiful at all."

The first time that Mercutio fell upon the English stage, there fell with him a gay and hardly human figure; it fell, perhaps finally, for English drama. That manner of man Arlecchino, or Harlequin had outlived his playmates, Pantaleone, Brighella, Colombina, and the Clown.

Ariel fulfils his office, and is not of one kind with those he serves. Is there a memory of Harlequin in that delicate figure? Something of the subservient immortality, of the light indignity, proper to Pantaleone, Brighella, Arlecchino, Colombina, and the Clown, hovers away from the stage when Ariel is released from the trouble of human things. Immortality, did I say?

Ariel fulfils his office, and is not of one kind with those he serves. Is there a memory of Harlequin in that delicate figure? Something of the subservient immortality, of the light indignity, proper to Pantaleone, Brighella, Arlecchino, Colombina, and the Clown, hovers away from the stage when Ariel is released from the trouble of human things. Immortality, did I say?

Fresh confusion; increased despair of Isabella; suddenly from the background comes the burlesque cry of Brighella for help, who, himself suffering from the pangs of jealousy, has by mistake arrested the masked Regent, and thus led to the latter's discovery. Friedrich is recognised, and Marianne, trembling on his breast, is also unmasked. Amazement, indignation!

Willingly would he have abolished masks altogether, but he could hardly have compensated for them out of his own resources; however, he retained only a few of them, as Harlequin, Brighella, and Pantaloon, and limited their parts.

Pantalon dei Bisognosi, and Brighella. The reader is at first puzzled by their constant recurrence, but never weary of Goldoni's witty management of them. They are the chief persons of the obsolete commedia a braccio, and have their nationality and peculiarities marked by immemorial attribution.

The Donne Furlane was the piece, a comedy of art as they call it here or, as we say, a comedy of masks wherein the stock characters of Harlequin, Columbine, Brighella and Pantalone are given a rag of a plot, and are expected to embroider that with follies, drolleries and obscenities according as their humour of the moment may dictate.

Of Burchiello we know expressly that he used to heighten the comic effect by mixing Greek and Slavonic words with the Venetian dialect. Gradually all the famous local masks made their appearance, whose remains still delight the Italian populace in our day: Pantalone, the Doctor, Brighella, Pulcinella, Arlecchino, and the rest.

This has been preserved in its entirety, together with the author's preface, from which valuable information may be gathered. The work is an attempt to turn into a lyric form the "Commedia dell' Arte," enacted in early times at village fairs in northern Italy. The characters are Arlecchino, Pantalone, Doctor Graziano, Brighella, Isabella, Lelio and others.

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