The Fool: His Social And Literary History PDF
Preview The Fool: His Social And Literary History
THE FOOL HiSso cial anLdi terHairsyt ory by ENIDW ELSFORD FARRA&R RINEHART INCORPORATED OnM u"Haiyl lN ewY ork MADEA NDP RINTEIDNG REABTR ITAIN Dedicatteod MY MOTHER Contents * CBAPTB:R PAGB INTRODUCTION PART I. THE LAUGHTER-MAKING PARASITE OR BUFFOON I. THE PROFESSIONAL BUFFOON 3 II. THE MYTHICAL BUFFOON 29 PART II. THE COURT-FOOL IN REALITY III. ORIGINS: THE FOOL AS MASCOT AND SCAPEGOAT 55 IV,t'ORIGTIHEN FSOO:L AS POET AND CLAIRVOYANT 76 V. THE MEDIEVAL COURT-FOOL 113 VI. THE COURT-FOOL OP THE RENAISSANCE 128 VII. THE COURT-FOOL IN ENGLAND 158 VIII. THE DECLINE OF THE COURT-FOOL 182 PART III. THE COURT-FOOL IN THE IMAGINATION IX. THE LORD OF MISRULE 197 xi THE COURT-FOOL IN LITERATURE 218 XI/THE COURT-FOOL IN ELIZABETHAN DRAMA 243 [vii] Contents CBAPTBll PAGB PART IV. THE STAGE-CLOWN XII. THE THEATRICAL POOL: HERACLES TO PICKLE HERRING 273 XIII. HARLEQUIN 287 XIV. THE HARLEQUIN ADE: PUNCH, PIERROT, CLOWN AND HIS SUCCESSORS 300 XV. CONCLUSION 314 NOTES 325 LIST OP PRINCIPAL WORKS CONSULTED 349 IKDEX 357 [viii 1 Illustrations * RICHATRADR LTON frontispiece TILELU LBNSPIEGEL to face page 3 S MARCOALNPD H IWSI PIEN T HEP RESEONPCK EI NG SOLOMON 3S EULENSPDIIESGCEOLM FBIYTH EIDNS E IGHBOURS4 6 BULENSPHIAESGH EILRS E VENGE 46 BULENSPIPELGAECLEH ISS H OSTEOSNS B URNING ASHES 48 EULENSPPIREOGDEULC AE LSI TURGPILCAAYL 48 THEE GYPTIGAONDB EASS W ARRIAONRD,G RAECO- ROMAGNR OTESQUES 65 MEDIEVFAOLO LASN DE NTERTAINERS 119 A COURT-FTOIOCLK LAE MSA NW ITHHI BSA UBLE 122 FOOLLE DA WAYB YD EATIHNC APA NDB ELLS 129 CLAUNSA RRS TRANGHLIESSG OSLINTGOS S AVE THEMF RODMR OWNING 144 A POOALT A SUPPPEARR TY 144 HENRVYI IAIN DH IPSA MYI L 16o THEP AMYI OLP S ITRH OMAMSO RE 165 ARCHETHEE K INGJ'ESS TER 172 KUNZVO ND ERR OSEN 172 [ix] Illustrations tfoa pcaeg e DER NARRBNFRESSER 177 FOOLS TAKING PART IN A CARNIVAL SCENE 199 L'HIVER. LBS DIVERTISSBMENTS DU ROY-BOIT 202 FiVRIER, MASCARADB 202 ITALIAN DESIGNS FOR FOOL-COSTUMES 210 ARMINIAENS KAPPROEN 223 CHOREA MUNDI 225 ENGLISCHER PICKELHARING 240 DER KURTZWEILLIGE HANSWURST AUS ENGELLAND JOHANN GUTTWEN 240 COMEDIENS ITALIENS 244 HARLEQUIN JALOUX 253 GRIMALDI AND OTHERS IN VARIOUS CHARACTERS IN 'MOTHER GOOSE' AND OTHER PANTOMIMES 256 GRIMALDI'S PROGRESS TO DEATH 273 PULCINELLA-TYPES IMAGINED BY TIEPOLI 276 MAZURIER IN THE CHARACTER OF PULCINELLA : THE LIVING ACTOR IMITATES THE WOODEN PUPPET 285 ' , ELLES SONT SI JOLIES, LES CARTES... 292 'PIERROT s' AMUSE' 301 THE DOUBLE HARLEQUINADE AT DRURY LANE, 26 DEC. I 891 304 MR GRAMMIANI AS CLOWN, MR ASBURY AS PANTA- LOON 308 DAN LENO 310 GROCK JIO CHARLIE CHAPLIN IN 'THE GOLD RUSH' 315 ! • ENFIN ! VO ILA LE CHOLfRA ! DANSEZ CROQUEMORTS DANSEZ PIERROTS!' 321 [ X ] Introduction * T hosweh oi nt hpeas hta vweri tttheehin s toorfFy o ols havuseu alfletylh taa w to rodfa polwoagnsye eded; 'Numesrust ulestotir nu6mn' ani,dtus w hsodo ese rving ofth eti tolfae r chas- thfeop oeld wahnotl aborrieocusolryd s thep asfto lolfIJ1i aeso kiNoedv?e rththeelrisesea str adition thatth cea anpd b elslosm eticmoevaserh eandoa tl together devoofic do mmsoenns aen,Idw oupllde tahdta htfe o lolfy writinagb ofuotoi lmsso raep partheannrt e aFlow.rh at-at leastas definfeothdre p urpoofts hesi tsu dayF -oiosHl e? isa m anw hof ablellsto hwae v erhaugmesan t anbdaurwtdh ,o se defheacvbtsee etnr ansfoirnamts eood u orfdc eel iamg ainht, sprinogf c omewdhyi,hc ashal waybse eonn oef t hger eat recreoafmti aonnksani dnp darti culoafcr ilvilizeyd m ankind. The natoufrt ehistran sformaotiffo onli lnyth oa ppiisn ess act surweolrthyyo fscr utiny.D oesc omedoyn th es piritual sysasta ev mi tamionras a n arcoDtioesc th?een joymoenfit t invodleveeip nesri kgehetcn,re ir tiocrdi eslmi beevrasaitoen ofr ealitIsy u?g gteshwtae ts hoguotl otd h Feo foolanr an swer toth esen ounimtp ortant questionsj,us ast w ee xamthien e tragich ertooe nlaoruungrde e rstandnion_tgo nolftry a gedy, buetv eonft huel timmyastteoe frh iuesm lifane . Bohte irmeta yw elbleo bjetchtthaeetdp arailasfl alsee l onThee.tr aghiecri iosn sepafrroamhb iltrsea gedyit-shh ee central ea bowuhto mt hset oirtsyo landd,w hetnh e l� curtain £ hev aniosnhcmeseo rien tthone o theisonsuo tf gn whihcewh as s ummobnyhe idcs r eaHtemo ary.i ndheaevde [xi] Introduction hada p re-naetxials teinnthc ee t omobf a g remaant whose memoreyv okperda iansde l amentatioorni ;nth e anxious imagination ofa c ommuniwthyo d esirae gdo dt or ulthee circslienasgo bnusht;e w as borna tragic hero ouotf t hmei nd oft hien dividpuoaewlth ofi rscto nceihviceshd a raancdt er markedo utth e limiotsfhis existenWcie.t hth e Fooilti s otherwTihesF eo.oo lrC lowni thse C omiMcan ,b uhte i nso t necesstahhrieel ryoo fc omedthyec, e ntfirgaulra eb owuhto m thes toisrt yo lndo,ir hs e a m ercer eaotfut rhpeeo etiicm agina tionw homth efi nadlr op-curtain consitoo blivOinot nh.e gns contr heis moroef ttehnan n ota reaanld verryo bust ary personaamlaistsyai,f n ogrtun eb ya l ifetismuec'cses esxfeurl ciosfehi sa rtA.sa d ramactihca rahceut seura sltlanydsa part fromt hmea ianc tioonft hpel ahya,vi nagt endennocttyof ocus butto d isseovlevneant ds a,l stooa catsi ntermebdeitween ary thes taangde th ea uditorAisanu mhis.t orificgaulrh eed oes notc onfihnieas c tivittiotes h teh eabtruetm akese very-day lifec omiactth em omentan d onth es poTth.eF ooiln,f act, isa nam phibieaqnu aaltlh yo mei nt hweo rlodfr ealanidt y thew orlodfi m inatioannd, i ti st his striking difference ag .b etwehime nan d thtrea gihcer woh icshu ggeans atsd ditional reasonf otrh set uodfyh ipse culiarities. Whati thse n atuorfte h ree latiobnsehtiwpea ecnt uaanldi ty dar; artI?ti sah oarpyr oblbeumot,n et hahtan se vbeeenr more urgendtelbya ttheanda tth ep resent and thouIgw ho uld notc laithma tt hhei stoofrt yh Feo op roviusd wietsh th e solutiIoh no,p teo s hothwa ti tp rovivdaesl uadbaltteah at shounlodbt e o verloboykt ehdoi snet erients htdeei ds cussion. Thea rrangemoeftn hist b oohkas t herebfeoenrp el anned witahv ietwo t hasekin g,i fn otto th ean swerionfcg e,r tain questioWnsh.a ta rteh actuale facasts t ot hhies toroirciagli n and roloeft hFeo oasl c omienct ertaiHnoewfr ?ard ot hese factsh elupst oun derstcaonmde dWyh?a lti gdhotht e yt hrow onth er elatiobnsheitpw eleifnane d artan d then atuorfte h e soccioanld itimoonsfastv ouratbotl hece r eaitimvaeg ination? PartI Ib egiinn witha consideorfat tihoPenar asitoer Buffoothne,t ypoeff oowlh odiff ers leasfrto mt hneo rmal [xii]
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