Note 227 — Chapter XI · (continued 2)

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.