Neapolitans in general, he remarks (p. 231), that, "from a certain national vivacity and disposition, they have been at all times distinguished for their talent in imitating the ridiculous on their stages."[1] Hence more than one of the amusing personages in their impromptu comedies, or commedie à soggetto, inserted by Riccoboni among the plates attached to his work, have had their origin in that lively and luxurious capital.[2]
In order to give a notion of the species of dramatic entertainment in which these various characters, and among them Pulcinella, were engaged, a further short quotation from Signorelli's work will be useful: he is referring to the state of the Italian comedy in the beginning of the seventeenth century. "In general (he says) the public comedians travelled over Italy, representing certain theatrical performances, called comedies of art, in contradistinction to comedies of learning, recited in the academies and in private dwellings by well-bred actors for their pleasure and exercise. The plan or plot of the fables, they call it, à soggetto, was noted down, as well as
- ↑ Rapin, in his "Reflexions on Modern Poetry," says of the Italians generally, that they are "naturellement comediens," and that they "expriment mieux le ridicule des choses," adding that their language was well adapted to the purpose.
- ↑ They are the ancient and modern Harlequin—the ancient and modern Pantaloon—the ancient and modern Doctor—Beltrame di Milano—Scapin—the Italian Capitan—the Spanish Captain—the Neapolitan Scaramouche—Calabrian Giangurgolo—Mezzettin—Tartaglia—the Neapolitan Pulcinella, and Narcisin of Malabergo. In another of his productions, Riccoboni speaks very contemptuously of the "impromptu" comedy, observing that it "ne merite pas un si beau nom, et que l'on devroit plûtót appeller Farce." He afterwards calls it "ancienne et mercenaire," and tells us that it succeeded "la comedie Latine; foible et immodeste dans son origine, mais plus chaste et plus ingenieuse dans la suite.—"Reflexions Historiques et Critiques," &c., 8vo. Paris, 1738.
chez les Espagnols: il signifiait mimus, scurra, joculator, mime, farceur, jongleur. Ménage après Saumaise, le dérive de bocca infiata, boursouflé; et en effet on vent dans un boufon un visage rond et la joue rebondie. Les Italiens disent bufo magro, maigre boufon, pour exprimer un mauvois plaisant que ne vous fait pas rire."
