[227] The pseudo-classical hybrid I have attempted to describe is analogous in its fixity of outline to the conventional framework of the Sacre Rappresentazioni, which allowed a playwright the same subordinate liberty of action and saved him the trouble of invention to a like extent. It may here be noticed that the Italians in general adopted stereotyped forms for dramatic representation. Harlequin, Columbine, and Pantaloon, the Bolognese doctor, the Stenterello of Florence, the Meneghino of Milan, and many other dramatic types, recognized as stationary, yet admitting of infinite variety in treatment by author or actor, are notable examples. In estimating the dramatic genius of Italy this tendency to move within defined and conventional limits of art, whether popular or literary, must never be forgotten.

[228] Cinthio's conduct towards Emilia in the Negromante is a good instance.

[229] See above, [p. 163], [note], for Cleandro in the Mandragola; and compare Alamanno's conversation with his uncle Lapo, his robbery of his mother's money-box, and his reflections on the loss he should sustain by her re-marriage, in Gelli's La Sporta (act iii. 5; ii. 2). Camillo's allusions to his father's folly in Gelli's Errore (act iv. 2) are no less selfish and heartless. Alamanno's plot to raise a dower by fraud (La Sporta, iv. 1) may be compared with Fabio's trick upon his stepmother in Cecchi's Martello. In the latter his father takes a hand.

[230] Ghirigoro in Gelli's Sporta, Gherardo in Gelli's Errore, Girolamo in Cecchi's Martello. It is needless to multiply examples. The analyses of Machiavelli's comedies will suffice.

[231] It would be easy to illustrate each of these points from the comedies of Ariosto, Cecchi, Machiavelli, Lorenzino de' Medici; to which the reader may be referred passim for proof.

[232] Opere di Gio. Battista Gelli (Milano, 1807), vol. iii.

[233] Commedie di Giovan Maria Cecchi, 2 vols., Lemonnier.

[234] Opere di Messer Agnolo Firenzuola (Milano, 1802), vol. v.

[235]

E 'l divino Ariosto anco, a chi cedono
Greci, Latini e Toscan, tutti i comici.
Prologue to I Rivali.