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An essay by Isaac Disraeli |
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The Pantomimical Characters |
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Title: The Pantomimical Characters Author: Isaac Disraeli [More Titles by Disraeli] Il est des gens de qui l'esprit guinde People there are who never smile; Cervantes, in the person of his hero, has confessed the delight he received from amusements which disturb the gravity of some, who are apt, however, to be more entertained by them than they choose to acknowledge. Don Quixote thus dismisses a troop of merry strollers--"_Andad con Dios, buena gente, y hazad vuestra fiesta, porque desde muchacho fui aficionado a la_ Caratula, _y en mi mocedad se ne ivan los ojos tras la_ Farandula." In a literal version the passage may run thus:--"Go, good people, God be with you, and keep your merry making! for from childhood I was in love with the _Caratula_, and in my youth my eyes would lose themselves amidst the _Farandula_." According to Pineda, _La Caratula_ is an actor masked, and _La Farandula_ is a kind of farce.[1] Even the studious Bayle, wrapping himself in his cloak, and hurrying to the market-place to Punchinello, would laugh when the fellow had humour in him, as was usually the case; and I believe the pleasure some still find in pantomimes, to the annoyance of their gravity, is a very natural one, and only wants a little more understanding in the actors and the spectators.[2] The truth is, that here our Harlequin and all his lifeless family are condemned to perpetual silence. They came to us from the genial hilarity of the Italian theatre, and were all the grotesque children of wit, and whim, and satire. Why is this burlesque race here privileged to cost so much, to do so little, and to repeat that little so often? Our own pantomime may, indeed, boast of two inventions of its own growth: we have turned Harlequin into a magician, and this produces the surprise of sudden changes of scenery, whose splendour and curious correctness have rarely been equalled: while in the metamorphosis of the scene, a certain sort of wit to the eye, "mechanic wit," as it has been termed, has originated; as when a surgeon's shop is turned into a laundry, with the inscription "Mangling done here;" or counsellors at the bar changed into fish-women. Every one of this grotesque family were the creatures of national genius, chosen by the people for themselves. Italy, both ancient and modern, exhibits a gesticulating people of comedians, and the same comic genius characterised the nation through all its revolutions, as well as the individual through all his fortunes. The lower classes still betray their aptitude in that vivid humour, where the action is suited to the word--silent gestures sometimes expressing whole sentences. They can tell a story, and even raise the passions, without opening their lips. No nation in modern Europe possesses so keen a relish for the _burlesque_, insomuch as to show a class of unrivalled poems, which are distinguished by the very title; and perhaps there never was an Italian in a foreign country, however deep in trouble, but would drop all remembrance of his sorrows, should one of his countrymen present himself with the paraphernalia of Punch at the corner of a street. I was acquainted with an Italian, a philosopher and a man of fortune, residing in this country, who found so lively a pleasure in performing Punchinello's little comedy, that, for this purpose, with considerable expense and curiosity, he had his wooden company, in all their costume, sent over from his native place. The shrill squeak of the tin whistle had the same comic effect on him as the notes of the _Ranz des Vaches_ have in awakening the tenderness of domestic emotions in the wandering Swiss--the national genius is dramatic. Lady Wortley Montagu, when she resided at a villa near Brescia, was applied to by the villagers for leave to erect a theatre in her saloon: they had been accustomed to turn the stables into a playhouse every carnival. She complied, and, as she tells us, was "surprised at the beauty of their scenes, though painted by a country painter. The performance was yet more surprising, the actors being all peasants; but the Italians have so natural a genius for comedy, they acted as well as if they had been brought up to nothing else, particularly the _Arlequino_, who far surpassed any of our English, though only the tailor of our village, and I am assured never saw a play in any other place." Italy is the mother, and the nurse, of the whole Harlequin race. Hence it is that no scholars in Europe but the most learned Italians, smit by the national genius, could have devoted their vigils to narrate the revolutions of pantomime, to compile the annals of Harlequin, to unrol the genealogy of Punch, and to discover even the most secret anecdotes of the obscurer branches of that grotesque family, amidst their changeful fortunes, during a period of two thousand years! Nor is this all; princes have ranked them among the Rosciuses; and Harlequins and Scaramouches have been ennobled. Even Harlequins themselves have written elaborate treatises on the almost insurmountable difficulties of their art. I despair to convey the sympathy they have inspired me with to my reader; but every _Tramontane_ genius must be informed, that of what he has never seen he must rest content to be told. Of the ancient Italian troop we have retained three or four of the characters, while their origin has nearly escaped our recollection; but of the burlesque comedy, the extempore dialogue, the humorous fable, and its peculiar species of comic acting, all has vanished. Many of the popular pastimes of the Romans unquestionably survived their dominion, for the people will amuse themselves, though their masters may be conquered; and tradition has never proved more faithful than in preserving popular sports. Many of the games of our children were played by Roman boys; the mountebanks, with the dancers and tumblers on their moveable stages, still in our fairs, are Roman; the disorders of the _Bacchanalia_, Italy appears to imitate in her carnivals. Among these Roman diversions certain comic characters have been transmitted to us, along with some of their characteristics, and their dresses. The speaking pantomimes and extemporal comedies which have delighted the Italians for many centuries, are from this ancient source.[3] Of the _Mimi_ and the _Pantomimi_ of the Romans the following notices enter into our present researches: The _Mimi_ were an impudent race of buffoons, who exulted in mimicry, and, like our domestic fools, were admitted into convivial parties to entertain the guests; from them we derive the term _mimetic_ art. Their powers enabled them to perform a more extraordinary office, for they appear to have been introduced into funerals, to mimic the person, and even the language of the deceased. Suetonius describes an _Archimimus_ accompanying the funeral of Vespasian. This Arch-mime performed his part admirably, not only representing the person, but imitating, according to custom, _ut est mos_, the manners and language of the living emperor. He contrived a happy stroke at the prevailing foible of Vespasian, when he inquired the cost of all this funeral pomp--"Ten millions of sesterces!" On this he observed, that if they would give him but a hundred thousand they might throw his body into the Tiber. The _Pantomimi_ were quite of a different class. They were tragic actors, usually mute; they combined with the arts of gesture music and dances of the most impressive character. Their silent language often drew tears by the pathetic emotions which they excited: "Their very nod speaks, their hands talk, and their fingers have a voice," says one of their admirers. Seneca, the father, grave as was his profession, confessed his taste for pantomimes had become a passion;[4] and by the decree of the Senate, that "the Roman knights should not attend the pantomimic players in the streets," it is evident that the performers were greatly honoured. Lucian has composed a curious treatise on pantomimes. We may have some notion of their deep conception of character, and their invention, by an anecdote recorded by Macrobius of two rival pantomimes. When Hylas, dancing a hymn, which closed with the words "The great Agamemnon," to express that idea he took it in its literal meaning, and stood erect, as if measuring his size--Pylades, his rival, exclaimed, "You make him tall, but not great!" The audience obliged Pylades to dance the same hymn; when he came to the words he collected himself in a posture of deep meditation. This silent pantomimic language we ourselves have witnessed carried to singular perfection; when the actor Palmer, after building a theatre, was prohibited the use of his voice by the magistrates. It was then he powerfully affected the audience by the eloquence of his action in the tragic pantomime of Don Juan![5] These pantomimi seem to have been held in great honour; many were children of the Graces and the Virtues! The tragic and the comic masks were among the ornaments of the sepulchral monuments of an archmime and a pantomime. Montfaucon conjectures that they formed a select fraternity.[6] They had such an influence over the Roman people, that when two of them quarrelled, Augustus interfered to renew their friendship. Pylades was one of them; and he observed to the emperor, that nothing could be more useful to him than that the people should be perpetually occupied with the _squabbles_ between him and Bathyllus! The advice was accepted, and the emperor was silenced. The parti-coloured hero, with every part of his dress, has been drawn out of the great wardrobe of antiquity: he was a Roman Mime. HARLEQUIN is described with his shaven head, _rasis capitibus_; his sooty face, _fuligine faciem obducti_; his flat, unshod feet, _planipedes_; and his patched coat of many colours, _Mimi centunculo_.[7] Even _Pullicinella_, whom we familiarly call PUNCH, may receive, like other personages of not greater importance, all his dignity from antiquity; one of his Roman ancestors having appeared to an antiquary's visionary eye in a bronze statue; more than one erudite dissertation authenticates the family likeness; the nose long, prominent, and hooked; the staring goggle eyes; the hump at his back and at his breast; in a word, all the character which so strongly marks the Punch-race, as distinctly as whole dynasties have been featured by the Austrian lip and the Bourbon nose.[8] The genealogy of the whole family is confirmed by the general term, which includes them all; for our _Zany_, in Italian _Zanni_, comes direct from _Sannio_, a buffoon: and a passage in Cicero, _De Oratore_, paints Harlequin and his brother gesticulators after the life; the perpetual trembling motion of their limbs, their ludicrous and flexible gestures, and all the mimicry of their faces:--_Quid enim potest tam ridiculum, quam_ SANNIO _esse? Qui ore, vultu, imitandis motibus, voce, denique corpore ridetur ipso_. Lib. ii. sect. 51. "For what has more of the ludicrous than SANNIO? who, with his mouth, his face, imitating every motion, with his voice, and, indeed, with all his body, provokes laughter."[9] These are the two ancient heroes of pantomime. The other characters are the laughing children of mere modern humour. Each of these chimerical personages, like so many county members, come from different provinces in the gesticulating land of pantomime; in little principalities the rival inhabitants present a contrast in manners and characters which opens a wider field for ridicule and satire than in a kingdom where an uniformity of government will produce an uniformity of manners. An inventor appeared in Ruzzante, an author and actor who flourished about 1530. Till his time they had servilely copied the duped fathers, the wild sons, and the tricking valets, of Plautus and Terence; and, perhaps, not being writers of sufficient skill, but of some invention, were satisfied to sketch the plots of dramas, but boldly trusted to extempore acting and dialogue. Ruzzante peopled the Italian stage with a fresh enlivening crowd of pantomimic characters; the insipid dotards of the ancient comedy were transformed into the Venetian Pantaloon and the Bolognese Doctor; while the hare-brained fellow, the arch knave, and the booby, were furnished from Milan, Bergamo, and Calabria. He gave his newly-created beings new language and a new dress. From Plautus he appears to have taken the hint of introducing all the Italian dialects into one comedy, by making each character use his own; and even the modern Greek, which, it seems, afforded many an unexpected play on words, for the Italian.[10] This new kind of pleasure, like the language of Babel, charmed the national ear; every province would have its dialect introduced on the scene, which often served the purpose both of recreation and a little innocent malice. Their _masks_ and _dresses_ were furnished by the grotesque masqueraders of the carnival, which, doubtless, often contributed many scenes and humours to the quick and fanciful genius of Ruzzante. I possess a little book of Scaramouches, &c. by Callot. Their masks and their costume must have been copied from these carnival scenes. We see their strongly-featured masks; their attitudes, pliant as those of a posture-master; the drollery of their figures; while the grotesque creatures seem to leap, and dance, and gesticulate, and move about so fantastically under his sharp graver, that they form as individualised a race as our fairies and witches; mortals, yet like nothing mortal![11] The first Italian actors wore masks--objections have been raised against their use. Signorelli shows the inferiority of the moderns in deviating from the moveable or rather double masks of antiquity, by which the actor could vary the artificial face at pleasure. The mask has had its advocates, for some advantages it possesses over the naked face; a mask aggravates the features, and gives a more determined expression to the comic character; an important effect among this fantastical group.[12] The HARLEQUIN in the Italian theatre has passed through all the vicissitudes of fortune. At first he was a true representative of the ancient Mime, but afterwards degenerated into a booby and a gourmand, the perpetual butt for a sharp-witted fellow, his companion, called Brighella; the knife and the whetstone. Harlequin, under the reforming hand of Goldoni, became a child of nature, the delight of his country; and he has commemorated the historical character of the great Harlequin Sacchi. It may serve the reader to correct his notions of one, from the absurd pretender with us who has usurped the title. "Sacchi possessed a lively and brilliant imagination. While other Harlequins merely repeated themselves, Sacchi, who always adhered to the essence of the play, contrived to give an air of freshness to the piece by his new sallies and unexpected repartees. His comic traits and his jests were neither taken from the language of the lower orders, nor that of the comedians. He levied contributions on comic authors, on poets, orators, and philosophers; and in his impromptus they often discovered the thoughts of Seneca, Cicero, or Montaigne. He possessed the art of appropriating the remains of these great men to himself, and allying them to the simplicity of the blockhead; so that the same proposition which was admired in a serious author, became highly ridiculous in the mouth of this excellent actor."[13] In France Harlequin was improved into a wit, and even converted into a moralist; he is the graceful hero of Florian's charming compositions, which please even in the closet. "This imaginary being, invented by the Italians, and adopted by the French," says the ingenious Goldoni, "has the exclusive right of uniting _naivete_ with _finesse_, and no one ever surpassed Florian in the delineation of this amphibious character. He has even contrived to impart sentiment, passion, and morality to his pieces."[14] Harlequin must be modelled as a national character, the creature of manners; and thus the history of such a Harlequin might be that of the age and of the people, whose genius he ought to represent. The history of a people is often detected in their popular amusements; one of these Italian pantomimic characters shows this. They had a _Capitan_, who probably originated in the _Miles gloriosus_ of Plautus; a brother, at least, of our Ancient Pistol and Bobadil. The ludicrous names of this military poltroon were _Spavento_ (Horrid fright), _Spezza-fer_ (Shiver-spear), and a tremendous recreant was Captain _Spavento de Val inferno_. When Charles V. entered Italy, a Spanish Captain was introduced; a dreadful man he was too, if we are to be frightened by names: _Sanqre e Fuego_! and _Matamoro_! His business was to deal in Spanish rhodomontades, to kick out the native Italian _Capitan_, in compliment to the Spaniards, and then to take a quiet caning from Harlequin, in compliment to themselves. When the Spaniards lost their influence in Italy, the Spanish Captain was turned into Scaramouch, who still wore the Spanish dress, and was perpetually in a panic. The Italians could only avenge themselves on the Spaniards in pantomime! On the same principle the gown of Pantaloon over his red waistcoat and breeches, commemorates a circumstance in Venetian history expressive of the popular feeling; the dress is that of a Venetian citizen, and his speech the dialect; but when the Venetians lost Negropont, they changed their upper dress to black, which before had been red, as a national demonstration of their grief. The characters of the Italian pantomime became so numerous, that every dramatic subject was easily furnished with the necessary personages of comedy. That loquacious pedant the _Dottore_ was taken from the lawyers and the physicians, babbling false Latin in the dialect of learned Bologna. _Scapin_ was a livery servant who spoke the dialect of Bergamo, a province proverbially abounding with rank intriguing knaves, who, like the slaves in Plautus and Terence, were always on the watch to further any wickedness; while Calabria furnished the booby Giangurgello with his grotesque nose. Moliere, it has been ascertained, discovered in the Italian theatre at Paris his "Medecin malgre lui," his "Etourdi," his "L'Avare," and his "Scapin." Milan offered a pimp in the _Brighella_; Florence an ape of fashion in _Gelsomino_. These and other pantomimic characters, and some ludicrous ones, as the _Tartaglia_, a spectacled dotard, a stammerer, and usually in a passion, had been gradually introduced by the inventive powers of an actor of genius, to call forth his own peculiar talents. The Pantomimes, or, as they have been described, the continual Masquerades, of Ruzzante, with all these diversified personages, talking and acting, formed, in truth, a burlesque comedy. Some of the finest geniuses of Italy became the votaries of Harlequin; and the Italian pantomime may be said to form a school of its own. The invention of Ruzzante was one capable of perpetual novelty. Many of these actors have been chronicled either for the invention of some comic character, or for their true imitation of nature in performing some favourite one. One, already immortalised by having lost his real name in that of _Captain Matamoros_, by whose inimitable humours he became the most popular man in Italy, invented the Neapolitan Pullicinello; while another, by deeper study, added new graces to another burlesque rival.[15] One Constantini invented the character of Mezetin, as the Narcissus of pantomime. He acted without a mask, to charm by the beautiful play of his countenance, and display the graces of his figure; the floating drapery of his fanciful dress could be arranged by the changeable humour of the wearer. Crowds followed him in the streets, and a King of Poland ennobled him. The Wit and Harlequin Dominic sometimes dined at the table of Louis XIV.--Tiberio Fiorillo, who invented the character of Scaramouch, had been the amusing companion of the boyhood of Louis XIV.; and from him Moliere learnt much, as appears by the verses under his portrait:--
What was the nature of that perfection to which the Italian pantomime reached; and that prodigality of genius which excited such enthusiasm, not only among the populace, but the studious, and the noble, and the men of genius? The Italian Pantomime had two peculiar features; a species of buffoonery technically termed _Lazzi_, and one of a more extraordinary nature, the _extempore dialogue_ of its comedy. These _Lazzi_ were certain pleasantries of gesticulation, quite national, yet so closely allied to our notions of buffoonery, that a northern critic would not readily detect the separating shade; yet Riccoboni asserts that they formed a critical, and not a trivial art. That these arts of gesticulation had something in them peculiar to Italian humour, we infer from Gherardi, who could not explain the term but by describing it as "_Un Tour_; JEU ITALIEN!" It was so peculiar to them, that he could only call it by their own name. It is difficult to describe that of which the whole magic consists in being seen; and what is more evanescent than the humour which consists in gestures? "_Lazzi_," says Riccoboni, "is a term corrupted from the old Tuscan _Lacci_, which signifies a knot, or something which connects. These pleasantries called _Lazzi_ are certain actions by which the performer breaks into the scene, to paint to the eye his emotions of panic or jocularity; but as such gestures are foreign to the business going on, the nicety of the art consists in not interrupting the scene, and connecting the _Lazzi_ with it; thus to _tie_ the whole together." _Lazzi_, then, seems a kind of mimicry and gesture, corresponding with the passing scene; and we may translate the term by one in our green-room dialect, _side-play_. Riccoboni has ventured to describe some _Lazzi_. When Harlequin and Scapin represent two famished servants of a poor young mistress, among the arts by which they express the state of starvation, Harlequin having murmured, Scapin exhorts him to groan, a music which brings out their young mistress, Scapin explains Harlequin's impatience, and begins a proposal to her which might extricate them all from their misery. While Scapin is talking, Harlequin performs his _Lazzi_--imagining he holds a hatful of cherries, he seems eating them, and gaily flinging the stones at Scapin; or with a rueful countenance he is trying to catch a fly, and with his hand, in comical despair, would chop off the wings before he swallows the chameleon game. These, with similar _Lazzi_, harmonise with the remonstrance of Scapin, and re-animate it; and thus these "_Lazzi_, although they seem to interrupt the progress of the action, yet in cutting it they slide back into it, and connect or tie the whole." These _Lazzi_ are in great danger of degenerating into puerile mimicry or gross buffoonery, unless fancifully conceived and vividly gesticulated. But the Italians seem to possess the arts of gesture before that of speech; and this national characteristic is also Roman. Such, indeed, was the powerful expression of their mimetic art, that when the select troop under Riccoboni, on their first introduction into France only spoke in Italian, the audience, who did not understand the _words_, were made completely masters of the _action_ by their pure and energetic imitations of nature. The Italian theatre has, indeed, recorded some miracles of this sort. A celebrated Scaramouch, without uttering a syllable, kept the audience for a considerable time in a state of suspense by a scene of successive terrors; and exhibited a living picture of a panic-stricken man. Gherardi in his "Theatre Italien," conveys some idea of the scene. Scaramouch, a character usually represented in a fright, is waiting for his master Harlequin in his apartment; having put everything in order, according to his confused notions, he takes the guitar, seats himself in an arm-chair, and plays. Pasquariel comes gently behind him, and taps time on his shoulders--this throws Scaramouch into a panic. "It was then that incomparable model of our most eminent actors," says Gherardi, "displayed the miracles of his art; that art which paints the passions in the face, throws them into every gesture, and through a whole scene of frights upon frights, conveys the most powerful expression of ludicrous terror. This man moved all hearts by the simplicity of nature, more than skilful orators can with all the charms of persuasive rhetoric." On this memorable scene a great prince observed that "_Scaramuccia non parla, e dica gran cosa_:" "He speaks not, but he says many great things." In gesticulation and humour our Rich[16] appears to have been a complete Mime: his genius was entirely confined to Pantomime; and he had the glory of introducing Harlequin on the English stage, which he played under the feigned name of _Lun_. He could describe to the audience by his signs and gestures as intelligibly as others could express by words. There is a large caricature print of the triumph which Rich had obtained over the severe Muses of Tragedy and Comedy, which lasted too long not to excite jealousy and opposition from the _corps dramatique_. Garrick, who once introduced a speaking Harlequin, has celebrated the silent but powerful language of Rich:-- [Footnote 1: [Footnote 2: [Footnote 3: [Footnote 4: [Footnote 5: [Footnote 6: [Footnote 7: [Footnote 8: [Footnote 9: _Sanna_ is in Latin, as Ainsworth elaborately explains, "a mocking by grimaces, mows, a flout, a frump, a gibe, a scoff, a banter;" and _Sannio_ is "a fool in a play." The Italians change the S into Z, for they say Zmyrna and Zambuco, for Smyrna and Sambuco; and thus they turned _Sannio_ into _Zanno_, and then into _Zanni_, and we caught the echo in our _Zany_.] [Footnote 10: [Footnote 11: [Footnote 12: [Footnote 13: [Footnote 14: [Footnote 15: [Footnote 16: The Italian EXTEMPORAL COMEDY is a literary curiosity which claims our attention. [The end] GO TO TOP OF SCREEN |