Part 17

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.”

[Illustration]

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_

“THE WILES OF ISABELLA”

_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_

PANTALONE, a Venetian. PEDROLINO, his lackey. FLAVIO, the lover of FLAMINIA. ORAZIO, the brother of ISABELLA. ISABELLA, a widow, sister to ORAZIO, in love with CAPTAIN SPAVENTO. ARLECCHINO, servant to ORAZIO and ISABELLA. CAPTAIN SPAVENTO, ISABELLA’S lover. FLAMINIA, sister to SPAVENTO, in love with FLAVIO. BURATTINO, an innkeeper. FRANCESCHINA, his wife. Two rogues, friends of PEDROLINO. Two thieves, acting on their own account.

_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_

ACT I

_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.

ACT II

_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.

ACT III

_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_