[166] Colle, _Journal historique_, tome II, p. 288. [167] De La Porte, p. 10. LE JEU DE L'AMOUR ET DU HASARD. [1] SILVIA. The 'ideal type' of Marivaux's women. "Young, alert, lively, yet compliant, already competent, reasonable, and energetic, without her reason, deliberative as it is, excluding for a moment wit, sprightliness, and charm. Give her more reserve, more dignity, more tender kindliness, and also more indulgent experience and you will have, scarcely any older, and already a widow, Araminte of _les Fausses Confidences_" (Henri Lion, in _Histoire de la langue et de la litterature francaise_ Petit de Julleville, tome VI, p. 587). [2] ARLEQUIN. One of the brightest and merriest of roles. In passing to the Comedie-Francaise, this role, which at the Comedie-Italienne was played by Harlequin, was introduced under the name of Pasquin. It is possible that the personage of Harlequin has descended from the Greek plays, in which there appeared an actor filling a similar role and dressed in the skin of a goat or a tiger; but so early an origin, even if it could be proved, would not serve to explain the costume in which he now appears, and which is itself a modification of that worn by Harlequin in the sixteenth century. The part of Harlequin, in the Italian comedy, appears to have originated in the role of the _zanni_, or clown, which comprised several varieties, such as Scapino, Coviello, etc. The costume of the part, whether the _zanni_ represented a stupid lout or a bright and resourceful valet, consisted of a loose jacket, very full trousers, a small cape, a broad-brimmed hat with feathers, and a wooden sword. This dress was varied later for the parts of Sganarelle and Pierrot, and the Harlequin dress itself was changed to a certain extent in the sixteenth century.