In our theatres to-day the part of the lover may be the great leading rôle, or it may fall to the lot of the juvenile lead, or even to that of the comedian. But in the old Italian comedy the lover was just the lover; as it happened, however, that he almost invariably found himself in a comic situation he was nearly always what to-day we should call the comic lover. The endowments required were a fine figure, a handsome face, an agreeable voice, and the elegant manners of a gentleman of the great world. The portraits which have survived show us handsome men dressed in the latest mode of their day.
But the lover, playing sometimes in two different styles of piece, was a serious comedian. Ordinarily this part was undertaken by the chief of the troupe, like Flaminio Scala, who, under the name of Flavio, was an illustrious comedian.
Flavio was a name that had already served to qualify lovers on the Italian stage before Flaminio Scala.
The young Flavio of Ruzzante in La Vaccaria (1533) is thus described by his rival, the rich Polidoro:
“Because he is beautiful, gallant, fecund in sonnets, because he knows music and takes his manners from the court, Flavio imagines that he will be able to hold the love of Fiorinetta! But what will he do when he perceives that money conquers everything? He will curse the contrariness of Fate and the mercilessness of Heaven.”
Polidoro represents the rich, discourteous and overbearing lover. But the beautiful, the elegant gentleman of this epoch, he who, without money, pleases women, who is the mirror of fashion and the flower of wit, is not without being ridiculous upon occasion, and we suspect Ruzzante of having designedly shown him under an effeminate aspect in his comedy Anconitana.
Two young gallants of the epoch, sons of a good Sicilian family, are reduced by romantic vicissitudes to the necessity of earning their living, and all that they are capable of doing is to seek service with some noble lady. One of them does so in the capacity of a poet, promising to praise her eternally in prose and in verse:
“I shall study how to sing the praises of her charms in choice rhymes, and I shall laud, I shall extol adoringly, now her enchanting eyes, now her blond tresses, now her lovely neck, now her white hand, now her soft glance, her words, her gestures, her grace, her virtues, her garments, her movements; and that in various manners, in chapters, in epistles, in epilogues, in eclogues, in songs, in impromptus, in sonnets, in madrigals, in stanzas, in odes, and in ballads.”
The other brother, contemning the frivolity of such employment, offers himself in the capacity of a valet and perfumer:
“The ladies to whom I shall give my services need not fear those pomades and unguents which are plastered on to the lips of their husbands when they kiss them. I know how to distil perfumes from plants and trees which not only beautify the face and neck, but further steep the flesh in sweet odours; I can distil waters to render tresses curly and golden, waters to smooth the brow, waters to darken the eyebrows, waters to tint the cheeks, waters to render the lips rosy, the teeth dazzling, the neck white, the hands soft. Their virtues, employed on the different parts of the body, will last three days and three nights, and they will not be succeeded, as is the case with vulgar unguents, by that pallor mottled with various colours which disfigures the countenance on the morrow. I have scents of musk, of ambergris, of lavender, of styrax, with which I mingle the juices of certain other herbs or flowers, producing essences so sweet that I consider these aromas capable of preserving body and soul. Waters of jasmine, of orange flowers, of citron, I repute of no account because I shall distil essences from unknown plants which will be infinitely preferred to all those that are considered most admirable and most precious to-day.”
In 1576 Flaminio Scala (Flavio), comico acceso (impassioned comic, or lover), being then in the prime of youth and the fulness of his talent, placed himself at the head of the Gelosi troupe and, for twenty-eight years, was able to command the applause of Italy and France. This troupe, reconstituted in Venice in 1576, went to Blois in 1577 to perform before King Henry III.; later the company was seen at the Hôtel de Bourbon, which at the time was no more than a chapel with a gallery where a theatre was set up upon occasion for the court fêtes. The ordinary headquarters of the Gelosi company were in Florence. Thence it went out to tour the principal cities of Italy and of France.
From 1576 to 1604 the actors playing the rôles of lover in this remarkable troupe were: Flavio (Flaminio Scala), Oratio (Orazio Nobili, born at Padua), Cinthio (Cintio Fidenzi), Fabrizio, and Aurelio (Adriano Valerini, a Veronese gentleman, doctor of law and a fairly good Latin poet). Valerini left the Gelosi troupe in 1579 to undertake the direction of the Comici uniti. At the head of this troupe he was received in 1583 by Cardinal Carlo Borromeo in Milan.
The leading ladies (or amoureuses) in the Gelosi during that period were: Isabella (Isabella Andreini), Flaminia, Ardelia, Lidia (second wife of G. B. Andreini) and Laura.
The soubrettes were Franceschina (Silvia Roncagli), Vittoria (Antonella Bajardi), Ricciolina (Maria Antonazzoni), Olivetta, Ortensia, and Nespola. The old women were played under the name of Pasquella.
The lackeys were Pedrolino, Arlecchino, Burattino, Grillo, Mezzetino, Cavicchio (a peasant), Ciccialboncio (a peasant), Bigolo, Memmei, Piombino.
The old men were Doctor Graziano, Pantalone, Zanobio, Cassandro, Cornelio, Tosano, Adorne, Claudio and Cataldo. Captain Spavento was played by Francesco Andreini and Sireno was one of the first parts played by Domenico Bruni (Fulvio), who joined the company in 1594.
Bruni, who was the son of an old comedian, was then fourteen years of age; he was starved and almost naked when given shelter by Scala and engaged to improvise odd parts until he should reach an age that would permit him to play lovers. A few years later he passed into the service of the Princess of Piedmont.
The two most remarkable appearances made in France by Flaminio Scala and his company seem to be those of 1588 and 1600, when he was accompanied by the famous Isabella Andreini, her husband and her son. After the death of Isabella, Flaminio Scala, weary of the theatre, gave up the direction of the troupe, which was disbanded. He occupied himself then with the publication of his dramatic works, which amount to over fifty, and further he assisted his friend Francesco Andreini to publish the manuscripts which Isabella had left.
Flaminio Scala’s collection is entitled: “Theatre of performable fables, or of comic, rustic and tragic recreation; divided into 50 days. All composed by Flaminio Scala, named Flavio, comedian to the Most Serene Lord Duke of Mantua. In Venice 1611.”[7]
In the scenarii of this collection the scenes are given in great detail but absolutely without dialogue. Nevertheless no one before Scala had ever taken the same degree of pains. Until then, nothing had ever been prearranged beyond mere fragments of detached scenes, business that might be termed classic, traditions of the Atellanæ, interposed more or less suitably into the scenarii for free improvisations.
Flaminio Scala was the first to produce scenarii displaying lucidity and continuity of theme; they deserve indeed to be recognised as his own work. He performed them all over Italy as well as the comedies of Groto, of Lasca, of Cecchi, and of Beolco, and even some tragedies and some opera-ballets. This method of playing in the two styles, the impromptu and the academic, was continued until the eighteenth century by the companies that travelled in Italy, France and Germany.
Flaminio Scala’s collection is prefaced by an interesting speech “to courteous readers” written by Francesco Andreini (known as Capitan Spavento), in which there is proof that Flaminio Scala was the first serious author and editor of scenarii properly so called.
“The man who is born into this world must, in his youth, apply himself to ways of merit that he may live honourably, content himself and please others; for an ignorant man is vicious and evil to himself and noxious to his neighbour. Thus he who would arrive at any sort of perfection must make choice of one of the seven liberal arts and practise it. I shall not speak of Lysippus and Roscius, of Socrates, of Titus, of Varro, nor of many others who, from coarse and ignorant that they were, rendered themselves great and immortal by means of knowledge and of virtue.... I will confine myself to saying that the Signor Flaminio Scala, known as Flavio in the theatre, conforming to these maxims of conduct, devoted himself from his youth to the noble exercises of comedy (a thing not degrading to his noble birth) and in this practice he made such progress that he deserved to be placed in the front rank of good comedians.... That is why the Signor Flavio, after long years consecrated to playing in comedy, wishes to bequeath to the world not his beautiful words, not his magnificent conceits, but his comedies, which in all seasons and in all places have brought him the greatest honour. The Signor Flavio might have elaborated his works (his talent being ample for such a task) and written them word for word, as authors are in the habit of doing. But as to-day too many comedies are seen printed with different versions, thereby undermining all good rules, he desired, by this his new invention, to publish only the scenarii of his comedies, leaving to the actors’ wit the care of supplying suitable dialogue.”
Francesco Andreini adds that, to facilitate the performance and the production of his pieces, Scala has supplied an argument for each, has named and described the characters, and has prepared the list of costumes and properties necessary under the designation of robbe per la commedia.
This list is curious as revealing a somewhat complicated mise en scène: thus: “One head resembling that of a prince of Morocco; one fine valise of leather; one cudgel for beating; one plate of figs and several lanterns; four lighted white candles; two Hungarian vests; one live cat and one live cock; two fires with smoke; several shirts in which to dress up Harlequin as a woman; four hunting dogs and a grotesque hunting-dress for Harlequin; one casket of jewels, one chemise and one dagger for Isabella; two boxes of bonbons; one packet of candles and one piece of cheese; two identical rings; a large cheval-glass and a good deal of coin; six lanterns; two coats and two false beards with which to dress up two notaries; a composition to imitate blood from a wound; a basket with a packet of letters inside; one miniature of a woman; one beard similar to that of Pantaloon; one travelling suit—i.e. one felt hat, boots and spurs; one shirt, soiled and wet, for the Captain; one practicable moon; two rockets; one large tree, in which one may sit; four fine costumes for nymphs; several painted trees; two live babies; one beautiful ship; one earthquake; etc., etc.”
It may throw a useful light upon a theatrical epoch of which but little is known to translate as a specimen one of the scenarii or days (giornate) of Flaminio Scala, not as a work of any value to-day, but as a proof of the relative ability already attained by the authors and the comedians of the Commedia dell’ Arte.
THIRD DAY
Argument
A pretty widow of quality persuades her own brother to conduct her lover to her upon the pretext that she wishes to marry him to a young girl whom he has betrayed and abandoned. The brother, discovering the ruse, and knowing the lover to be worthy of his sister, consents to their marriage.
Characters in the Comedy
Properties for the Comedy
A good deal of coin; costumes for three beggars; a sign for an inn; a pair of shoes; a knife to cut; a basket with edible victuals; a lantern; a kitchen spit; a long stick.
Scene: Perugia
Captain Spavento, Flavio and later Flaminia
Spavento relates to his friend Flavio that he is in love with Isabella, a widow of quality and Orazio’s sister. Knowing him to be a friend of Orazio’s, he begs him to speak to the latter and to endeavour to obtain for him the hand of his sister Isabella. Flavio promises to do his best and in his turn discovers to the Captain that he too is in love and that he has just written a love letter. Flaminia shows herself at her window, calls her brother the Captain and bids him come inside, telling him that letters have just arrived for him; thereupon she withdraws. Flavio, having observed that she had a book in her hand, asks the Captain what it is that his sister studies so assiduously. The Captain replies that from morning till night she does nothing but read romances of chivalry and histories of love. Flavio begs the Captain to correct the letter, which he has written, before despatching it to his beloved. The Captain takes it, saying that he will give it for correction to his sister Flaminia, who is better educated than himself. He goes indoors after reminding Flavio of his promise to speak of him to Orazio. Flavio rejoices at the good fortune which thus places his letter in the hands of his adored Flaminia. (He goes off.)
Pantaloon and Pedrolino
Pantaloon confesses to his lackey that he is in love with Isabella and asks his advice as to how to go about making her his wife. “The way would be to marry her,” replies Pedrolino. Pantaloon then relates how, after having betrayed his waiting-woman Franceschina, he married her to Burattino the innkeeper with a dowry of 500 livres and that further he has promised to present her with 1000 ducats on the birthday of her first boy. Pedrolino highly praises such a work of charity and extols the generosity of his master. Knowing him so munificent, he will gladly assist him in his endeavours to obtain Isabella in marriage. Whereupon they go off.
Franceschina, Burattino, and then Isabella and the Captain
They enter chatting of their little household affairs, of their position, which is none too brilliant, but which would be greatly improved if Franceschina were to give birth to a boy, since Pantaloon has promised to pay her 1000 ducats on that day. Burattino tells his wife that this depends upon herself. Franceschina replies that the fault is his, etc. They mutually reproach each other and end by quarrelling. The noise they make brings Isabella to her window. She rebukes Franceschina for quarrelling thus with her husband. But Burattino answers her insolently, bidding her to mind her own business. The Captain, entering at this moment, takes up the defence of his adored Isabella and threatens to strike Burattino. Isabella implores mercy for Burattino and sends him away together with Franceschina after giving them money so that they shall cease quarrelling.
The Captain, Isabella, then Harlequin and Flavio
The Captain, after extravagantly saluting Isabella, craves news of her brother and of Flavio. Isabella replies that she has not seen them and receives the homage of the Captain, who is extremely gallant, and utters a thousand honeyed phrases. But the amorous interview is interrupted by Harlequin, the servant of the house, who becomes angry with Isabella and compels her to go with him, threatening to divulge everything to her brother Orazio, who cannot tolerate the Captain. The Captain in a rage threatens Harlequin, who strikes him. Flavio separates them, dismissing Harlequin, who goes off hurling frightful threats at the Captain. The Captain in a furious rage runs after him.
Flavio, then Flaminia, Harlequin, the Captain and Orazio
Monologue of Flavio on his love for Flaminia. She appears at her window. After the customary greetings Flavio asks her if she has received a love letter of which her brother took charge, to the end that she might correct it. Flaminia replies that she has received the letter and that she has not failed to perceive that it is addressed to herself. Flavio confesses the truth and declares his passion, but they are interrupted by the Captain and Harlequin, the latter armed with a cudgel. They make a deal of noise shouting and fighting. Orazio is between them seeking to separate them. Flavio runs to his assistance; and, pushing, shouting and insulting one another, they all go off.
Burattino and then two thieves
Burattino, having gone to buy provisions for the inn, with the money received from Isabella, returns with a basketful of victuals. But he wishes first to eat four mouthfuls before going home. He sits down in mid-stage and begins to eat; two thieves arrive and greet him very politely, seating themselves without ceremony one on each side of him. One of them opens the conversation by stating that he is from Cucagna, a country where the people eat well and copiously. During this time his companion consumes part of Burattino’s provisions. Having finished, he begins to talk, and, attracting the attention of Burattino, who listens to him with gaping mouth, he delivers himself of a speech in three parts upon indelicacy, and the rigorous punishment awaiting thieves. Whilst he is talking the first orator from Cucagna devours the remainder of the basket’s contents. Thereafter they take their leave with extreme politeness, and depart. Burattino, recovering from the bewilderment caused him by their flow of speech, disposes himself to resume his eating; discovering, however, nothing but emptiness, he enters his inn weeping. This closes the first Act.
Flavio, Orazio, Harlequin, and then the Captain
Flavio begs Orazio to put aside all rancour and out of friendship for him to make his peace with the Captain, who is much more friendly disposed than he supposes. Orazio consents. The Captain arrives. At sight of him Harlequin runs away, enters the house and from the window desires to be reassured that his enemy’s choler has abated. Flavio presently reassures him and then, having restored peace between Orazio and the Captain, they all depart rejoicing in this sound friendship.
Pantaloon, Pedrolino, then Isabella and Flaminia
Pantaloon, who has witnessed the departure of the young people, thinks that the moment may be favourable to speak to Isabella. He coughs, scratches the door, and performs other antics to draw attention to his presence. Isabella shows herself at her window and out of coquetry announces that she is going for a walk. At the same time she signs to Flaminia, who is at the window of her house opposite, to join her in the street. Isabella and Flaminia enter the stage and allow Pantaloon and his servant to chat with them. Isabella, pretending to find his eloquence irresistible, confesses herself in love with Pantaloon, and Flaminia does the like by Pedrolino. But Isabella requires a proof of affection, and begs Pantaloon to come and serenade her that same evening. Pantaloon promises three serenades, whereafter each lady re-enters her own house, and Pantaloon, with Pedrolino, both intoxicated with joy, leap and dance like a pair of fools. This brings out Franceschina and Burattino, who deride their singular capers. Pantaloon goes off.
Burattino, Franceschina, Pedrolino
Burattino and his wife continue to jest with Pedrolino. The latter ends by being angry and threatens vengeance. As the innkeeper’s laughter is only increased by this, Pedrolino threatens to make him a cornuto. Burattino laughs at the threat, but Franceschina fetches a broom and falls upon Pedrolino, who runs away. Thereafter the couple re-enter, rejoicing in his discomfiture.
Flavio and Isabella
Flavio enters, complaining of his uncertainty on the score of whether Flaminia loves him or not, and seeking a pretext for addressing her again. The letter which he has written and which is in her hands is a means. Isabella, from her window, has heard the entire monologue, and, to amuse herself, asks him if he has met Orazio and the Captain, who are seeking him to invite him to their nuptials, as Orazio is going to marry Flaminia and the Captain is going to marry herself. This said, she withdraws, laughing in her sleeve. Flavio is overcome by this unexpected news. Burattino, seeing him preoccupied, accosts him and asks him if, by chance, he knows of any means for the getting of male children. Flavio turns and, without uttering a word, goes off. Burattino, distressed at not having received an answer, re-enters his inn.
Pantaloon, Pedrolino, three musicians, Isabella and Flaminia
Pantaloon and Pedrolino station their musicians under the windows of Isabella and Flaminia, commanding them to play and dance. The ladies show themselves and graciously thank the performers of the serenades for their attention. Pedrolino and Pantaloon withdraw joyously with the instrumentalists. Isabella, remaining at her window after their departure, begs Flaminia, who is also at her window, to honour by her presence the marriage which she is about to contract with Flavio, who has long been her lover. The affair, she says, has been arranged and concluded by her brother the Captain. Flaminia, wounded to the heart, declines the invitation and withdraws in tears. Isabella, after this fresh trick, and after having wounded the hearts of Flavio and Flaminia, but knowing full well how to heal them, withdraws well pleased.
Pantaloon, Pedrolino, Burattino
Pantaloon shows Pedrolino a pair of new shoes which he has bought for twelve baiocchi (sixpence). Pedrolino, after having examined them, declares them to be old shoes, and that it is shameful for a man like Pantaloon to buy such things. Burattino, who is on his way to consult a doctor, asks Pantaloon if he will sell him the shoes for the twelve baiocchi he has paid for them. Pantaloon is quite willing. “But on one condition,” says Burattino, “that is that each of you shall stake a halfpenny with me, and that the first to repent shall lose his halfpenny.” This is agreed. Burattino takes a knife and begins to cut through the sole of one shoe, saying, “He who retracts will lose his halfpenny.” Having cut up one shoe, he takes the other one and begins to perform upon it the same operation. Thereupon he asks them, “Which of you two retracts?” and as each replies that he will not retract, Burattino says, “If neither of you retracts then I will retract.” Whereupon, throwing down the two shoes, he continues on his way. Pantaloon and Pedrolino look at each other and perceive that Burattino has fooled them. They go off indignantly, and this ends the second Act.
Isabella, Harlequin, and then Orazio
Isabella tells Harlequin that she is going to talk with her brother Orazio, and should he question Harlequin, Harlequin is to bear out whatever she may say. Orazio arrives. Isabella then relates to him that Flavio has just arrived at her house, bringing with him a young girl from Naples, betrayed and abandoned by the Captain, notwithstanding that he had sworn to marry her. This young lady has trusted the loyalty of Flavio, knowing him to be a friend of the Captain’s; but Flavio, desiring her to obtain reparation, has promised so to contrive that the Captain shall keep his word. To achieve this end he has thought of a trick: it is, of course with Orazio’s permission, to tell the Captain that Isabella is in love with him, and that he should come to visit her at her house; there, however, he will find instead the young girl whom he has abandoned, and thus he shall repair the wrong by marrying her. Orazio consents and inquires, where is this young lady. “She is in my house,” says Isabella. Harlequin, being questioned, answers in the same way. This decides Orazio to go in quest of the Captain, so as to send him immediately. Isabella goes in, followed by Harlequin, who can make nothing of the tales of his mistress and the answers delivered.
Flavio, Flaminia, then Pantaloon
Flavio, in despair from what Isabella has told him, comes to seek explanations from Flaminia. He knocks at her door and Flaminia appears. She is very angry with him. She weeps and complains that he has deceived her, but tells him that he may marry Isabella, and that she would be the last to throw any obstacles in his way. Flavio on the other hand overwhelms her with stern reproaches on the subject of Orazio, whom she wishes to marry. “I have never dreamt of it,” exclaims Flaminia. In the middle of their dispute Pantaloon enters. He seeks to console her and reproaches Flavio for the beautiful tears which he is causing her to shed. He proposes a way out of the difficulty. It is that Flaminia should accept him for her husband and he will renounce Isabella, “whose conquest he had undertaken.” Flaminia, in her vexation, tells Flavio that she will marry Pantaloon, old and ill though he may be, a statement which is but very little flattering to the latter. Flavio goes off angrily. Pantaloon, left alone with his future wife, attempts to caress her. He is rudely repulsed. Burattino goes mockingly to her aid, and Pantaloon, not knowing upon whom to vent his anger, insults Burattino and goes off.
Burattino, Pedrolino, then two rogues and Franceschina
Burattino watches Pantaloon off, deriding his stupidity, when Pedrolino, disguised as a mendicant, with a long false beard, and a patch over one eye, enters begging. Burattino bids him go to the devil, and seek work. Pedrolino replies that it is through having worked too hard that he has been driven out of his own country. At this moment a rogue, a friend of Pedrolino, arrives disguised as a merchant, pretends to perceive him for the first time, salutes him, thanks him and gives him money to recompense him for the great service rendered him in procuring him an heir. The false merchant announces himself delighted at having found him, and departs. Burattino, having overheard this conversation, is anxious to understand the subject of it more clearly, when a second rogue, also in agreement with Pedrolino like the first, comes to announce to him that his secret, whence it results that none but boys are born, has once more been perfectly successful. Thereupon he also departs. Burattino then detains Pedrolino, who pretends to wish to go. He summons his wife, and behold the two of them questioning this mysterious operator. Pedrolino cannot reveal his secret, but tells them that they are free to experience the excellence of his occult knowledge. Husband and wife having consulted together, they draw Pedrolino by cajoleries into the inn.
The Captain, Orazio, Isabella
Orazio having taken the Captain into his confidence on the subject of Isabella’s love for him, the latter is enchanted and consents gladly to the marriage. Isabella, summoned by her brother, and having manifested her joy in marrying the Captain, conducts him upon Orazio’s permission into the house. She returns to tell her brother that she has had the Captain taken to her own chamber, where he will find the young Neapolitan girl whom he so little expects. Orazio laughs heartily at the farce played upon the Captain, and goes in quest of Flavio, to advise him of the good success of this affair. Isabella, who wishes to kill two birds with one stone, calls Flaminia.
Isabella and Flaminia. (Night)
Flaminia expresses her surprise at finding Isabella in the street at such an hour. “The reason is a very simple one,” replies Isabella. “My poor brother Orazio is there in the house weeping and lamenting because you will not have him for your husband. Be generous, come and console him.” Flaminia, still angry with Flavio, resolves to go. They enter Isabella’s house.
Flavio, then Harlequin and Isabella
Flavio, at the height of his anger against Flaminia, wishes to marry Isabella out of spite; he hopes that Orazio will readily consent to their union. Harlequin, sent by Isabella, comes to beg Flavio to wait a moment for his mistress, who desires to speak to him. Isabella arrives, dismisses her servant and makes false confidences to Flavio. She tells him that she is to marry the Captain against her will, and that she would very much prefer Flavio if he would consent. She is a widow and may marry again as she pleases, whilst Flavio is free, since Flaminia is marrying another. Flavio, persuaded, consents to wed her. They enter the house arm in arm.
Pantaloon, Burattino
Pantaloon, lantern in hand, is seeking his house when Burattino comes on to tell him that he had better prepare the hundred ducats promised to Franceschina, because she is undoubtedly going to give birth to a boy forthwith. Pantaloon, very happily, goes to seek the money. Burattino re-enters his inn.
Orazio, then Harlequin and the Captain
Orazio, becoming impatient at not finding Flavio, makes shift to enter his house, and knocks loudly at the door, which he finds closed. Harlequin appears, carrying an enormous lantern and bids Orazio make less noise, or he will disturb the young married people. “Ah,” he cries, “your sister Isabella is a clever woman, to have known how to get herself a husband and to marry Flaminia at the same time.” The Captain, also lighting himself with a lantern, comes to grasp Orazio’s hand and to thank him for having given him his sister to wife. Orazio understands nothing of all this.
Flavio, Flaminia, Isabella and the preceding ones
Flavio and Flaminia enter hand in hand, having made the peace, and they congratulate Isabella upon having so adroitly carried through this intrigue. Orazio inquires where is the young Neapolitan lady. Isabella confesses that the young Neapolitan lady and herself are the same person, and announces that the story which she invented was no more than a ruse to induce her brother himself to give her to the Captain, whom she loves. Orazio, having conquered his astonishment, finds the Captain of a rank equal to his own and announces his consent. A great noise is heard in the inn.
Pedrolino, Burattino, Franceschina, and the preceding ones
Pedrolino runs on, chased by Burattino, who is armed with the kitchen spit and seeks his life. The others separate them and demand to know the reason of this quarrel. Pedrolino explains that, Burattino having mocked him, he, to avenge himself, had sworn to make a cuckold of him. “That, then,” cries Burattino, “was your fine secret!” Pedrolino adds that he did not wish to execute it lest it should injure his reputation. But Franceschina replies that he lies, and that it was she who repulsed and beat him. Peace being restored, the Captain marries Isabella, Flavio marries Flaminia, and thus the comedy comes to an end.
It will be seen from this long yet succinct scenario, this skeleton or ossatura, as it was then called, that the comedy which was but in its beginnings in France was already an accomplished thing in Italy; that it was as soundly invented and developed as those which French authors began to indite some fifty years later. With the exception of the jests of the shoes of Pantaloon and the supper of Burattino, which have no connection with the action and which would seem to be two of those traditional scenes interposed perforce into all performances to satisfy a certain portion of the public, the scenario of The Wiles of Isabella, like all those of the same collection, is very ably put together and leaves nothing to be desired from the point of view of proportion and logical development. When compared with the contemporary works of such Frenchmen as Jean de la Taille it will readily be seen that the Italians were very much the masters. It is true that the pupils profited fully from the lesson, and that in the seventeenth century they were able to indulge in reprisals. But to Italy must be given the credit due to her of precocity in the arts. It is to be remembered that whilst she culled through the ages the fruits of her ancient civilisation, France strode towards the future, her hands empty of those riches which the past had bequeathed to Italy.
That which was made for France by her great masters was as the labour of bees; the flowers did not bloom on French soil; the flight of these ingenious and mighty spirits crossed the Alps and the Pyrenees, to gather the precious nectars and return with the honey. France is rightly proud of them, but it is necessary to be just. Before Molière, before Corneille, before Calderon and Lope de Vega, and forty years before the birth of Shakespeare, Angelo Beolco (termed Ruzzante) had—as we shall see—created the modern theatre.
Giovanni-Battista Andreini, the son of Francesco Andreini and the famous Isabella, was born in Florence in 1579. He seems to have been the first actor to bear the name of Lelio in the theatre. In the Gelosi troupe he replaced Domenico Bruni (Fulvio) in the capacity of lover.
After the death of Isabella Andreini in 1604, the Gelosi troupe was disbanded. G. B. Andreini undertook in 1605 the management of the Fedeli troupe, which was recruited by more than one of the old Gelosi. In 1601 G. B. Andreini had married in Milan Virginia Ramponi, a young and beautiful Milanese, known by the name of Florinda. After her death Andreini married in second nuptials the celebrated actress Lidia.
In 1613 Andreini wrote a blank verse piece in five acts dedicated to Marie de Médicis, which was performed in that same year in Milan. This piece, of a religious character (rappresentazione sacra), is entitled, Adamo. The characters in it are Adam and Eve, the Eternal Father, the Archangel Michael, Satan, Lucifer, the elementary Infernal Spirits, the Seven Deadly Sins, the Seraphim, the Angels, Death, Hunger, the Flesh and the Serpent. In short, it is a mystery play of the fifteenth century.
The Milanese edition of 1613 is extremely curious, with its engravings by Procaccini interposed in every scene. Its dedication to the Queen of France stirred in her the curiosity to know the author and the company. He went therefore to Paris in 1613, and remained there, playing several of his pieces, until 1618. He was installed at the Hôtel de Bourgogne from 1621 until 1625. He lost his father in that year and bade farewell to France in a work half theatrical, half mystic, entitled Teatro Celeste.
“Teatro Celeste, in which we see Divine Mercy calling several penitent and martyred comedians to the ranks of the blessed in Paradise, in which those who practise the profession of the theatre are poetically exhorted to follow their art without offending virtue, and not only to leave upon earth an honoured name, but further not to close against themselves by vice the path which leads to Paradise. Dedicated to my most illustrious and most reverend lord and very respected patron the Cardinal de Richelieu. By Gio. Batt. Andreini of Florence, known in the theatre as Lelio.”
In this work Andreini sings the praises of pious comedians. He puts forward his claims in favour of his profession. One of his sonnets is in praise of St Ardélion, a pagan actor, a martyr like St Genest. Another is in honour of Giovanni Buono of Mantua, who, retiring to a cloister, lived in penitence and was considered a saint: “he who so long excited laughter is transformed into a fount of tears.”
Again, it is the beatification of Brother John the sinner, the ancient comedian of Adria, who, in his conventual cell, “affords the angels the spectacle of his mortifications and his piety.”
Further on we have the praise of comedians who lead virtuous lives in the practice of their art. A whole sonnet is consecrated to the memory of his mother, Isabella Andreini. He compares human life such as it is in the world’s theatre to a mad theatrical performance. The poet exhorts actors of disordered life to re-enter the path of good conduct. Then, in his last sonnets, he bids farewell to the theatre and to the world and aspires to do penance. “Deceiving stage, I go! Never again shall I tread thy boards, tricked out and proud. I abandon all that vain lustre even as I withdraw from the lovely land of France.”
Andreini departed, in fact, with his troupe (the Fedeli); but he remained nevertheless their Director until 1652, when at last he retired at the age of seventy-three, “honoured by the favour of princes, appointed master of the hunt of the Duke of Mantua and a member of the society of the Spensierati.” He wrote so great a number of pieces, pastoral plays, comedies and scenarii, that no biography has yet been able to include a complete list.
In the year 1622 he published in Paris La Sultana, L’Amor Nello Specchio, La Ferinda, Li Due Leli Simili, and La Centaura. His pieces are redolent of the taste of the epoch; they are full of obscenities. Riccoboni says of him:
“Giov. Battista Andreini was a man of wit and of letters, and I am sure that had he lived fifty years earlier he would have followed the path trodden by others and would have left us some good comedies; but after all he was both author and comedian, and he could not write anything of a fashion other than that of the wits of his epoch and other than his interest urged him.”
Marco Romagnesi, an actor of talent, known under the name of Orazio—also written Horatio—went to France somewhere about 1645 together with his wife Brighida Bianchi (Aurelia). Loret gives an account of the performances which took place at Vincennes in 1659, in which “the husband of Aurelia did marvels.”
Orazio in dress and manners is a gentleman of the period. He wears a moustache and the royale of 1643—a cut of beard invented by King Louis XIII., who “was one day taken with the fancy to have the beards of all his officers cut in such a fashion as to leave them merely a little tuft on their chins.” A lampoon was written on the subject:
“However ridiculous that may be, all the world appeared presently with a beard à la royale,” and the long love-lock, termed at first moustache, and later cadenette, in commemoration of M. Cadenet de Luynes, who wore the most beautiful love-lock that was ever seen, tied in a coloured ribbon. This fashion, which had already been in vogue for some years, was still considered in good taste, as well as the great felt hat decked with white plumes.
Orazio’s costume consists of a pale green doublet, a colour in the very best of taste; breeches of white satin, laced with silver and decked with ribbons tied into a knot in the place of the old garters, which had now passed out of fashion; silk stockings, and shoes with large pale green rosettes. A white baldric embroidered in silver carried his long rapier; he leaned upon a cane, and was curled, pomaded and perfumed.
There you have Orazio marching to the assault of the heart of Aurelia or Isabella, and, like the lover conceived by Saint Amant in his enumeration of the reformations which he considers to be a lover’s due, he no longer smokes.
Notwithstanding this extreme care of his person, and under this effeminate exterior, Orazio is a cavalier as dangerous to his rivals as to the ladies who have caught his eye. Like Don Juan, fathers, tutors, husbands, brothers and servants cannot turn him aside from his enterprises. He has always a sword-thrust ready for his rivals, a cuff for his lackeys, and flattery that is honeyed, persuasive, and fraught with a dash of raillery, for his mistresses. He is a gentleman of the dernier bien mis, as the phrase ran then; one who knows of life nothing but its luxuries: dress, horses, duels and women. He quits the arms of Aurelia to run and throw himself at the feet of Isabella, and if on the way he meets the soubrettes Beatrix or Diamantine, he forget his latest passion to dally with them, and to betray even his valet. As prodigal of his life as of his purse, he is brave to the point of temerity, and his rivals all give way before him. The type of Orazio is something more than a lover; he is a hero of gallantry whose device is: “Fais ce que veux, advienne que pourra.”
Romagnesi played these parts down to the time of his death in 1660.
In 1653, Turi, born at Modena, a son of the actor who played the parts of Pantaloon, was to be seen in the rôles of second lover under the name of Virginio. After the death of his father he left the theatre at the age of forty and withdrew to Modena, where he took the habit of the order of barefoot Carmelites. A few days after having pronounced his vows he died, and he was interred in the convent (1670).
In 1660, the Italian company being definitely established in Paris, the cardinal summoned from Italy a leading lover (primo innamorato) to make good the loss which the company had just sustained in the person of Marco Romagnesi. An actor whose stage name was Valerio came to take up this position and occupied it until 1667.
Andrea Zanotti of Bologna, known in the theatre under the name of Ottavio, made his début in Paris on the Italian stage in second-lover parts, which he played from 1660 until 1667, when he was promoted to leading lover. Towards 1684 Zanotti retired from the theatre and returned to Italy with his family. He was an excellent comedian. He was surnamed “the old Ottavio,” to distinguish him from Giovanni Battista Constantini, who played in 1668 also under the name of Ottavio.
After the departure of Ottavio, Marco Antonio Romagnesi took up the leading parts, and played them until 1694 under the name of Cinthio, which was already in existence. A lover whose real name we have been unable to ascertain had already borne it in Rome in 1550.
It is under the pompous name of Cinthio del Sole that Marco Antonio Romagnesi, born at Rome, made his first appearance in Paris in 1667. He was the son of Marco Romagnesi and Brighida Bianchi. He succeeded Valerio, whose family name is unknown. We behold him, in the collected plays of Gherardi, dressed after the fashion of a young man of quality at the end of the seventeenth century, with the huge Louis XIV. wig, the pointed lace collar, waistcoat and coat of a long cut, a sash round his middle, a round hat slightly cocked, the crown encircled by feathers. This is the classic costume of the young men of Molière, of Léandre, Ottavio and all lovers.
In Colombine Avocat, Cinthio, passing in front of Harlequin, who, pretending to be a marquis, is richly but grotesquely dressed, surveys him from head to foot and then takes him by the sleeve to ask him, “Is that the fashion?”