Harlequin (/ˈhɑːrləkwɪn/,Italian:Arlecchino,Italian:[arlekˈkiːno];Lombard:Arlechin,Lombard:[arleˈki]) is the best-known of the comic servant characters (Zanni) from the Italiancommedia dell'arte, associated with the city ofBergamo. The role is traditionally believed to have been introduced by the Italian actor-managerZan Ganassa in the late 16th century,[2] was definitively popularized by the Italian actorTristano Martinelli inParis in 1584–1585,[3] and became astock character after Martinelli's death in 1630.
The Harlequin is characterised by his checkered costume. His role is that of a light-hearted, nimble, andastute servant, often acting to thwart the plans of his master, and pursuing his own love interest,Columbine, with wit and resourcefulness, often competing with the sterner and melancholicPierrot. He later develops into a prototype of theromantic hero. Harlequin inherits his physical agility and histrickster qualities, as well as his name, from a mischievous "devil" character in medievalPassion Plays.
The Harlequin character first appeared in Bergamo, Italy, early in the 17th century and took centre stage in the derived genre of theHarlequinade, developed in the early 18th century byJohn Rich.[4] As the Harlequinade portion of the English dramatic genrepantomime developed, Harlequin was routinely paired with the characterClown. As developed byJoseph Grimaldi around 1800, Clown became the mischievous and brutish foil for the more sophisticated Harlequin, who became more of a romantic character. The most influential portrayers of the Harlequin character inVictorian England wereWilliam Payne and his sons thePayne Brothers, the latter active during the 1860s and 1870s.
The name Harlequin is taken from that of a mischievous "devil" or "demon" character in popular FrenchPassion Plays. It originates with anOld French termherlequin,hellequin, first attested in the 11th century, by the chroniclerOrderic Vitalis, who recounts a story of a monk who was pursued by a troop of demons when wandering on the coast ofNormandy, France, at night.[5][6] These demons were led by a masked, club-wielding giant and they were known asfamilia herlequin (var.familia herlethingi). This medieval French version of the GermanicWild Hunt,Mesnée d'Hellequin, has been connected to the English figure ofHerla cyning ('host-king'; German:Erlkönig).[7] Hellequin was depicted as a black-faced emissary of the devil, roaming the countryside with a group of demons chasing the damned souls of evil people to Hell. The physical appearance of Hellequin offers an explanation for the traditional colours of Harlequin's red-and-black mask.[8][9] The name's origin could also be traced to a knight from the 9th century, Hellequin of Boulogne, who died fighting the Normans and originated a legend of devils.[10] In Cantos XXI and XXII fromDante'sInferno there is a devil by the name of Alichino.[5][11] The similarities between the devil in Dante'sInferno and the Arlecchino are more than cosmetic. The prank-like antics of the devils in the aforementioned antics reflect some carnivalesque aspects.[11]
The first known appearance on stage of Hellequin is dated to 1262, the character of a masked and hooded devil inJeu da la Feuillière byAdam de la Halle, and it became astock character in French passion plays.[12]
The re-interpretation of the "devil" stock character as aZanni character of thecommedia dell'arte took place in the 16th century in France.[15]Zan Ganassa, whose troupe is first mentioned inMantua in the late 1560s, is one of the earliest known actors suggested to have performed the part,[4] although there is "little hard evidence to support [it]".[16] Ganassa performed in France in 1571, and if he did play the part there, he left the field open for another actor to take up the role, when he took his troupe to Spain permanently in 1574.[17]
Among the earliest depictions of the character are a Flemish painting (c. 1571–1572) in the Museum ofBayeux[13][14] and several woodblock prints probably dating from the 1580s in the Fossard collection, discovered by Agne Beijer in the 1920s among uncatalogued items in theNationalmuseum, inStockholm.[18]
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Tristano Martinelli is the first actor definitely known to have used the name "Harlequin" (or "Arlequin") from French folklore and adapted it for the comicsecondo Zanni role, and he probably first performed the part in France in (or just before) 1584 and only later did he bring the character to Italy, where he became known as Arlecchino.[19] The motley costume is sometimes attributed to Martinelli, who wore a linen costume of colourful patches, and a hare-tail on his cap to indicate cowardice. Martinelli's Harlequin also had a black leatherhalf-mask, a moustache and a pointed beard. He was very successful, even playing at court and becoming a favourite ofHenry IV of France, to whom he addressed insolent monologues (Compositions de Rhetorique de Mr. Don Arlequin, 1601).[20]Martinelli's great success contributed to the perpetuation of his interpretation of the Zanni role, along with the name of his character, after his death in 1630, among others, byNicolò Zecca, activec. 1630 inBologna as well asTurin andMantua.[21]
The character was also performed in Paris at theComédie-Italienne in Italian byGiambattista Andreini andAngelo Costantini (c. 1654–1729) and in French asArlequin in the 1660s byDominique Biancolelli [it] (1636–1688), who combined the Zanni types, "making his Arlecchino witty, neat, and fluent in a croaking voice, which became as traditional as the squawk ofPunch".[4] The Italians were expelled from France in 1697 for satirizingKing Louis XIV's second wife,Madame de Maintenon,[22] but returned in 1716 (after his death), whenTommaso Antonio Vicentini ("Thomassin", 1682–1739) became famous in the part.[23] The rhombus shape of the patches arose by adaptation to the Paris fashion of the 17th century by Biancolelli.
The primary aspect of Arlecchino was his physical agility.[5][8][24] He was very nimble and performed the sort of acrobatics the audience expected to see. The character would never perform a simple action when the addition of acartwheel, somersault, orflip would spice up the movement.[10]
By contrast with the "first" Zanni Harlequin takes little or no part in the development of the plot. He has the more arduous task of maintaining the even rhythm of the comedy as a whole. He is therefore always on the go, very agile and more acrobatic than any of the other Masks.
— Oreglia, Giacomo[25]
Early characteristics of Arlecchino paint the character as a "second" Zanni servant from northern Italy with the paradoxical attributes of a dimwitted fool and an intelligent trickster.[5][11] Arlecchino is sometimes referred to as putting on a show of stupidity in a metatheatrical attempt to create chaos within the play.[11] Physically, Arlecchino is described as wearing a costume covered in irregular patches, a hat outfitted with either a rabbit or fox's tail, and a red and black mask.[5] The mask itself is identified by carbuncles on the forehead, small eyes, a snub nose, hollow cheeks, and sometimes bushy brows with facial hair.[5] Arlecchino is often depicted as having a wooden sword hanging from a leather belt on his person,[5] and sometimes holding amarotte (fool's scepter).[26]Aside from his acrobatics, Arlecchino is also known for having several specific traits such as:
and several other techniques.[5]
One of the major distinctions ofcommedia dell'arte is the use of regional languages.[11] Arlecchino's speech evolved with the character. Originally speaking in aBergamo dialect ofLombard language, the character adopted a mixture of French, Lombard and Italian dialects when the character became more of a fixture in France so as to help the performers connect to the common masses.[5][11]
Various troupes and actors would alter his behaviour to suit style, personal preferences, or even the particularscenario being performed. He is typically cast as the servant of aninnamorato orvecchio much to the detriment of the plans of his master. Harleqin often had a love interest in the person ofColumbine, or in older plays any of thesoubrette roles, and his lust for her was only superseded by his desire for food and fear of his master. Occasionally, Harlequin would pursue theinnamorata, although rarely with success, as in theRecueil Fossard of the 16th century where he is shown trying to woo Donna Lucia for himself by masquerading as a foreign nobleman. He also is known to try to win any given lady for himself if he chances upon anyone else trying to woo her, by interrupting or ridiculing the new competitor. His sexual appetite is essentially immediate, and can be applied to any passing woman.[27]
Between the 16th and 17th centuries Harlequin gained some function as a politically aware character. In theComédie-Italienne Harlequin would parody French tragedies as well as comment on current events.[5]
Duchartre lists the following as variations on the Harlequin role:
Trivelino orTrivelin. Name is said to mean "Tatterdemalion". One of the oldest versions of Harlequin, dating to the 15th century. Costume almost identical to Harlequin's, but had a variation of the 17th century where the triangular patches were replaced with moons, stars, circles and triangles. In 18th century France, Trivelino was a distinct character from Harlequin. They appeared together in a number of comedies byPierre de Marivaux includingL'Île des esclaves.[28]
Truffa, Truffaldin or Truffaldino. Popular characters with Gozzi and Goldoni, but said to be best when used for improvisations. By the 18th century was a Bergamask caricature.[28]
Guazzetto. In the seventeenth century, a variety of anonymous engravings show Guazzetto rollicking, similar to Arleqin. He wears a fox's brush, a large three-tiered collarette, wide breeches, and a loose jacket tied tightly by a belt. He also dons a neckerchief dropped over the shoulders like a small cape. Guazzetto's mask is characterised with a hooked nose and a mustache. His bat is shaped like a scimitar-esque sword.[28][29]
Zaccagnino. Character dating to the 15th century.
Bagatino. A juggler.
Pedrolino or Pierotto. A servant or valet clad in mostly white, created by Giovanni Pellesini.[28]
16th century[25]
17th century[31]
18th century[31]
19th century
20th century[31]
21st century[31]
The Harlequin character came to England early in the 17th century and took center stage in the derived genre of theHarlequinade, developed in the early 18th century by the Lincoln's Fields Theatre's actor-managerJohn Rich, who played the role under the name of Lun.[4] He developed the character of Harlequin into a mischievous magician who was easily able to evade Pantaloon and his servants to wooColumbine. Harlequin used his magic batte or "slapstick" to transform the scene from the pantomime into the harlequinade and to magically change the settings to various locations during the chase scene.[32][33] As the Harlequinade portion of Englishpantomime developed, Harlequin was routinely paired with the characterClown.
Two developments in 1800, both involvingJoseph Grimaldi, greatly changed the pantomime characters.[34] Grimaldi starred as Clown inCharles Dibdin's 1800 pantomime,Peter Wilkins: or Harlequin in the Flying World atSadler's Wells Theatre.[35][36] For this elaborate production, Dibdin and Grimaldi introduced new costume designs. Clown's costume was "garishly colourful ... patterned with large diamonds and circles, and fringed with tassels and ruffs", instead of the tatty servant's outfit that had been used for a century. The production was a hit, and the new costume design was copied by others in London.[36] Later the same year, at theTheatre Royal, Drury Lane, inHarlequin Amulet; or, The Magick of Mona. Harlequin was modified to become "romantic and mercurial, instead of mischievous", leaving Grimaldi's mischievous and brutish Clown as the "undisputed agent" of chaos, and the foil for the more sophisticated Harlequin, who retained and developed stylized dance poses during the 19th century.[37] The most influential pair playing Harlequin and Clown inVictorian England were thePayne Brothers, active during the 1860s and 1870s,[38] who contributed to the development of 20th-century "slapstick" comedy.[citation needed]
Representations of or characters based onArlecchino in contemporary popular culture includeHarley Quinn[39][40], an American comic book character originally serving as a sidekick to theJoker, and Arlekin, a puppet from Karabas Barabas' theatre in theSoviet children's film and the novel it was based on,The Adventures of Buratino. Video game representations of the character include the Knave fromGenshin Impact[41], Fourth of the Eleven Fatui Harbingers and Father of the House of the Hearth,Arlecchino, King of Riddles fromLies of P, as part of the "Les Quatre" fromKarakuri Circus andArlecchino fromCall of Duty: Modern Warfare III, aFrench Army soldier from thecommedia della morte.
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