THE HISTORY OF THE HARLEQUINADE [Illustration] THE HISTORY OF THE HARLEQUINADE BY MAURICE SAND VOLUME TWO LONDON: MARTIN SECKER NUMBER FIVE JOHN STREET ADELPHI _First Published 1915_ CONTENTS PAGE VIII. PANTALOON 9 IX. THE CANTATRICE 53 X. THE BALLERINA 75 XI. STENTERELLO 89 XII. ISABELLE 121 XIII. SCAPINO 161 XIV. SCARAMOUCHE 207 XV. COVIELLO 231 XVI. TARTAGLIA 259 XVII. SOME CARNIVAL MASKS 275 XVIII. CARLO GOZZI AND CARLO GOLDONI 281 LIST OF ILLUSTRATIONS PANTALOON _Frontispiece_ FACING PAGE THE DOCTOR 48 STENTERELLO 96 ISABELLE 128 SCAPINO 176 SCARAMOUCHE 208 COVIELLO 240 THE APOTHECARY 272 THE HISTORY OF THE HARLEQUINADE VIII PANTALOON From the Greek comedies down to our own modern vaudevilles, from the old satyr besmeared with grape-juice down to Cassandre besmeared with snuff, at the hands of Aristophanes, Plautus, Terence, Macchiavelli, Beolco, Molière and Goldoni, the old man of the comedy, like the old man of the farce, has always been more or less niggardly, credulous, libertine, duped and mocked, afflicted with rheum and coughs, and, above all, unhappy. Whether he is called Strepsiades, Philacleo or Blephirus, in the comedies of Aristophanes; Theuropides, Euclio, Demipho, Demænetus, Stalino or Nicobulus, in those of Plautus; Messer Andronico, Pasquale, Placido, Cornelio or Tomaso, in those of Beolco; Pantalone, Zanobio, Facanappa, Bernardone, the Doctor, the Baron, Cassandro or the Biscegliese, in the Commedia dell’ Arte; Collofonio, Pandolfo, Diomede, Demetrio, Coccolin, Gerontio or Bartolo, in the Italian _commedia sostenuta_; Gaultier Garguille, or Jacquemin Jadot, in the French farce; or yet Orgon, Gorgibus, Arpagon or Sganarelle, in the pieces of Molière—fundamentally he is always, under whatever of these names we find him, the Pappus or the Casnar of the Atellanæ.