academies: Apatisti, 39
Intronati, 227
acting troupes, Accesi, Confidenti, Desiosi, Uniti, 8, Gelosi, 281
selection of scenarios, 169, 281n4
usual characters in, 12–13
actors: improvisation by, 62, 96, 99, 243
in night scenes, 11
particular words used by, 64, 93–4
Petrarch love lyrics spoken by, 40
actresses: cross-dressing by, 84, 198
disguises worn by, 85
increasing importance of roles in Scala scenarios, 86
bed trick, 280n35
as crime, 142
cuckolds, 38, 52, 79, 114, 128, 143, 147, 148
Day 6, 130–1, 133, 134, 137, 141, 142, 146, 149
Day 39, 105
divorce on grounds of, 23
handkerchief exchange and, 42
lower-class 38
in novelle, 278n9
as source of humour, 142, 280n25, 281n39
by upper-class wives, 38–9, 105
Alamanni, Lodovico, 55
Alberti, Leon Battista: on copiousness and variety in aesthetic pleasure, 62, 88
on woman’s nature, 135. See also Family in Renaissance Florence, The
Alessandro (Piccolomini), 185
Allegrini, Romolo, 52
amore costante, L’ (Corsini manuscript), 64
Anatomy of Melancholy (Burton), 156
Andreini, Francesco: as Capitano Spavento, 281n4
enslavement of, 53
on honour accruing to Scala collection, 8
praise for Scala’s scenarios, 95, 274n37
preface to Scala collection, 6, 8
on Scala and the actual words spoken, 94
on Scala collection as for both readers and performers, 6
on Scala’s scenarios as plays without dialogue, 15, 242
on sets, 63–4
Andreini, Giovanni Battista, 8–9, 95
mad speech, 155, 282n16; malmartita, 126
use of Petrarch, 40
Andrews, Richard: on bad disguise
trick, 275n49
on bed tricks in English and Italian drama, 280n34
on borrowing in Scala’s works, 96
on city names in scenarios, 11
on commedia dell’arte limited to domestic encounters, 7
on direct address in learned comedy, 223
on dropped handkerchief in Day 31, 262n156
on fathers opposing love matches, 262n143
on fixed street settings, 60–1
on ghosts in Scala, 72, 269n40
on Jealous Isabella and Gl’ingannati, 181, 196, 206
on performance of Isabella [the] Astrologer, 212
on Renaissance rhetoric and dramaturgy, 213–14
on Scala’s Il teatro delle favole rappresentative, 4–5
on scenarios as making do to fit circumstances, 95
on servants’
cunning, 51
on third-act scenarios, 163, 263n156
translation of Isabella [the] Astrologer, 217, 218
androgyny: of adolescents 84, 195, 258n63, 272n128
Angelico, Fra, 128
as debate topic, 39
Day 25, 183, 184, 186, 192, 193, 194, 204, 209
Day 36, 234. See also rage
Aretino, Pietro, 67, 155, 213, 268n17, 285n18
Argument: defined, 6
for each scenario, 10, 52, 68, 82
style, 10
Ariosto, Ludovico, 67, 70, 156, 267n10, 280n25
Aristotle, 13, 19, 97, 218, 253n33
Arlecchino: bastone of, 82
as Capitano’s servant, 56–7
hunger and
representations of, 58
laziness of, 48
marriage to Franceschina, 37
peasant origins of, 69, 265n206
Arnold, Thomas, 272n123
assiuolo, L’ (Cecché), 279n23, 280n25, 281n39
Astarita, Tommaso, 53, 265n223
astrology: banned by the church, 215–16; 287nl0
Isabella as astrologer, 225, 227, 231, 234, 238
audience: direct address to, 104, 222–3, 225, 276n59
double awareness of, 62, 98–100
expectations and awareness of artifice, 97–100
Bakhtin, Mikhail, 151
Banchieri, Adriano, 280n28
Bandello, Matteo, 10
banquets, 58
feasting, 141
Bargagli, Girolamo, 281n6
Bargarigo, Andre, 132
Bartoli, Adolfo, 254n49
Basile, Giambattista, 110
battaglia, La (Corsini manuscript), 64
Beckett, Samuel, 267n7
bed-tricks, 38, 79, 98, 113–14, 280n34
in English comedy, 280n34
in novella, 280n35
Bell, Rudolph M., 260n96
bella figura, disguise, eavesdropping, 75–6
Bernardino of Siena, 133
Bernstein, Charles, 93
Bibbiena, Bernardo Dovizi da, 70, 79, 280n35
Biow, Douglas, 173
Black, Christopher, 285n10
Boccaccio, Giovanni, 9–10, 90, 101, 110, 130, 146, 280n35, 280n36
Book of the Courtier (Castiglione), 43, 56, 75, 79, 113, 146, 165, 209
bravura performance (difficultá), 99, 155, 168–9, 197
breathless entrance, 52, 94, 101, 131, 177, 193, 194
Bristol, Michael, 165
Bruni, Domenico, 18
Burattino, range of character, 117
Burke, Kenneth, 151
Burke, Peter, 74, 75, 269n49, 284n50
Burton, Robert, 156
caccia, La (Striggio), 107
Caccini, Giulio (Giulio Romano), 144
Caggio, Paolo, 32
calandra, La, (Bibbiena), 70, 268n17, 280n35
Callois, Roger, 151
Calmo, Andrea, 280n28
Camporesi, Piero, 27, 58, 163, 166, 257n53, 267n251
Capitano: audience expectations of, 97
as condottiere (mercenary soldier), 54–7, 255n13, 266n243
entering a city, 67
as figure of mockery, 81
long speeches of, 101
as misrepresentation personified, 112
as perpetually in search of a woman, 56
as Spaniard, 54
tricks played on, 113
as unmarried, 271n85
Caravaggio, 80
bodily orifices emphasized in, 169
cross-dressing during, 84, 197
Day 21, 151, 154, 159, 163–5, 167, 169, 170, 171, 172, 174, 180
Day 25, 185, 187, 190, 199, 207
disguises worn during, 75, 80, 84, 173
grotesque body associated with, 151
Gl’ingannati written for, 185
reversals characteristic of, 185
street violence during, 80
unlimited consumption encouraged during, 165
Carruthers, Mary, 89–90, 91, 92
carrying-off, 94–5, 103, 202–3, 205, 232
Casamarciano collection, 9
Castello, Giovanni Battista, 108
Castiglione, Baldesar, 43, 56, 75, 79, 90, 113, 146, 165, 209
Castiglione, Caroline, 36
Castiglione, Sabba, 71
Cecché, Giovanni Maria, 279n23, 280n25, 281n39
characters: audience expectations and, 97
characteristics worked out, not character, 13
decorum required of, 18–19
dialects of Graziano, Bolegnese, 24,
Pantalone, Venetian, 26,
lovers, Tuscan, 40,
servants Bergamesque, 50, 51, 98, 275n48,
Capitano sometimes Spanish accent, 54
initial motivations of, 111
as interactional, 17–59, 75–87
lists in Scala’s scenarios, 10–11
masks for, 13
not listed, 153
panoply of in street, 61–2
parallelism in, 102;
range of roles of, 116–17
self-consistency of, 118, 277n83
transformation and development, 30, 209
in usual commedia dell’arte troupe, 12–13
variety among, 116–18
chastity: Day 25, 185
exchanged for promise of marriage, 43, 213
insults to women in terms of, 79
Petrarch’s love for Laura and, 40
prostitution as complement to female, 224
risked by cross-dressed females, 86
the streets as threat to, 61, 78, 185
woman’s honour as dependent on, 31, 47, 77, 209, 232
young girls’
sexual passion and loss of, 33, 259n81. See also virginity
Chojnacki, Stanley, 33
Cicero, 18, 24–5, 90, 105, 109
cities: as confederations of villages, 73, 221
inns in, 183
Italian 68–9
locales in Scala’s scenarios, 67
panoply of characters in, 62
as performance site, 11, 67, 100
population of, 68–9
sets as metaphors for, 67
specified in scenarios, 11, 67, 68
as stage, 269n49
citizens: definition of, 20
exile of, 52
social order preserved by, 20. See also patriarchy and patriarchs
civil conversazione, La (Guazzo), 14
popularity of, 264n187
class consciousness, 22, 184, 228
classical myth: Mars, 57
Mercury, 175, 178, 179, 284n60
popularization of, 176
Clubb, Louise George, 4, 92–3, 239, 254n45, 282n12
commedia dell’arte: actresses in, 85
fears and fantasies of audience in, 59
importance of 4, private viewings of, 169
Scala scenarios as central to our understanding of, 4, 242;
commedia dell’arte, La (Molinari), 16
commedia erudita (learned comedy), 9, 23, 34, 67, 69–70, 85, 86, 93
commedia grave, 12, 115–16, 211, 231, 239
definition of, 212
concubines, 261–62nl32
Confidenti troupe, 8
conjugal rights, 149,
contrasti (verbal conflicts), 101
contrasts, 101–9
convents, 31, 33, 198, 261n119, 285n20,
conversation, 77
copiousness, 96–110
coheres in unified action, 109
compression enhances, 101
contemporary view of, 88
double-consciousness adds to, 97–102
Erasmus on, 96–7
Lopez on, 276n68
repetitions and contrasts enhance, 101–9
Cordara, Giulio Cesare, 71–2
cortigiana, La (Aretino), 67, 155, 268n17
Coryat, Thomas, 288n27
costumes: for Carnival, 173
as motif, 106
standard characters have identifiable, 13, 117
Cotticelli, Francesco, 16
Council of Trent, 23, 83, 149, 180, 215, 281n6
courtesans: cross-dressing by, 84, 198
Day 36, 223
Piccolomini on portrayal of, 19
in Venice, 288n27
courtship exchanges, 42–3
Cowan, Alexander, 75
Croce, Giulio Cesare, 27, 257n53
cross-dressing: Day 25, 196, 197–8, 200, 203, 209
sumptuary law and, 84
by women, 84–6, 179, 198 275n56
cross-purposes, speaking at, 112, 204
cuckolds, 38, 79, 114, 128, 143, 147, 148, 279n24
Day 6, 125, 128, 130, 137, 138, 140, 141, 142, 146, 147, 149, 150, 279n21
Day 25, 209
daughters: arranging marriages for, 22
in patriarchy, 32–4
relationship with parents, 33, 260n96
Davis, Robert C., 53, 56, 261n128
death: faked, 33, 34, 47, 50, 98, 101, 118, 230, 234
presumed, 27, 29, 104, 105, 111, 112, 114, 116, 119, 212, 221, 224, 230, 234, 235, 238, 240
debate topics, 39, 41, 106, 161, 209, 263
Altman on, 276n61
Decameron, The (Boccaccio), 9–10, 90, 101, 130, 146, 280n35, 280n36
De copia (Erasmus), 96–7
décor simultane, 118
decorum, 13, 18, 46, 118, 133, 135, 149, 184. See also imitation of nature; modestia
Dekker, Rudolf M., 84, 272n127
Day 36, 229, 231, 233. See also speed
Della Porta, Giambattista, 211, 216
Desiosi troupe, 8
despair: bravura performance and, 155
Divine Providence and, 239
of the old, 74, 124, 166, 195, 200, 203, 208, 286n26
of the young, 98, 117, 134, 175, 194, 195, 200, 228, 234
deus ex machina, 98, 111, 114, 178, 275n47
direct address, 104, 191, 222–3, 225
audience awareness of, 100
bad disguise trick, 275n49
of buildings, 270n61
Day 25, 181
Day 36, 216, 221, 222, 225, 227, 236
gender or class mistakes caused by, 98–9
masks, 13, 75–6, 80, 99, 116, 117
misrepresentation through, 112
night as, 71
as non-illusory convention, 96
sumptuary law and, 257n249, 282n18
theatricalism of, 99
variety of, 118
women’s use of, 71, 84–6, 112, 179. See also cross-dressing; death, faked
dishonour. See honour
dispositio, 109–10
dissimulation, 76
divisio, 94
divorce, 23
Dolce, Lodovico, 31, 89, 259n81
closed, locked, 3, 69, 71, 206, 220
group exit and, 210
as hiding space, 167
knocking on, 118, 165, 189, 199, 233, 268n14
as liminal space, 69, 70, 84, 190, 208, 268n14
serial exit from, 107–9
Doran, Madeleine, 30, 44, 255n8, 275n47
double entendres, 101, 133, 226
doubling of roles, 115, 254n39
Day 21, 164
Dovizi da Bibbiena, Bernardo, 70, 79, 280n35
dowries, 34
handkerchiefs in, 42
inflation, 272n85
drunkenness: during Carnival, 80, 165, 185
Day 21, 95, 163, 166, 171, 172, 173, 178
due commedia in commedia, Le (Francesco Andreini), 8–9
fencing, 81
street setting fit for, 61
Dursteler, Eric, 75
Edmondson, Mark, 6
education: of the doctor, 24–5
Latin schools, 32
of nobility, 160
of servants, 160
vernacular schools, 26
Eisenach, Verona, 261n132, 269n27
Eisenstein, Sergei, 149
endings of scenarios: abbreviated or prolonged, 22, 115, 149, 241
amassing characters on stage for, 103, 238
character development and transformation, 30, 118, 209
dancing, singing, acrobatics, 210
Day 36, 241; deus ex machina, 98, 111, 180
without full disclosure, 115, 196, 210
exile, 111
friendship restored, 44
happy, 23, 152, 180, 197, 241, 259n24
marriage of servants, 37, 134, 169, 209
as novella, 125
success of arranged marriage, 112
tricks as, 49, 98, 113, 115, 178–80
entrances and exits: characters arrive on the scene to suit the story, 166, 172, 204
Day 36, 219
Day 37, 107
sense of speed enhanced by, 62, 101, 123
Erasmus, Desiderius, 25, 34, 96–7, 110, 190
Evanthius, 210
exiles, 52
exits. See entrances and exits
family, the, 7
friendship based on model of, 44
the house and, 69
life lived in the street and piazza, 72
as moral entity, 29
republic as family writ large, 19. See also daughters; fathers; marriage; sons; wives
Family in Renaissance Florence, The (I libri della famiglia) (Alberti): on fathers and sons, 28–9, 258n67
on honour, 76
on men’s lives lived in public, 74
on merchants, 27
on public action as performance, 75
rationale for use of, 257n51
on servants, 47
on villas, 130
fathers: in children’s marriages, 23—4
daughters as merchandise, 45
and dowries, 34
forgiving their children, 118
houses of, 69
love matches opposed by, 40, 262n143
ruling elite as civic, 19
social order preserved by, 20
sons stealing from, 27–8. See also patriarchy and patriarchs
Ferraro, Joanne, 24
finto marito, Il (Scala): first prologue to, 9, 17, 89, 92, 94, 95, 96, 253n29, 267n250
on imitation, 89
on precepts following from practice, 94
publication of, 8
signals in the dark in, 185
Fitzpatrick, Tim, 5, 252n11, 252n25, 269n44
Fonte, Moderata, 278n2
format of scenarios, 10–12
betrayed, 263n168
Day 25, 193
as initial character motivation, 111
Frye, Northrop, 21
as punishment, 226
Galli, Quirino, 5, 252n11, 252n25
Garzoni, Tommaso, 48
Ghirardo, Dianne, 224
ghosts: Day 21, 151, 172, 173, 175, 178
Lopez on, 269n40
Scala accused of over-using, 269n40
travelling women taken for, 112
Giancarli, Gigio, 280n28
Giannetti, Donato, 63
Giannetti, Laura, 23, 84, 85, 86, 199–200, 206, 227, 252n22, 272n128, 285n16
gifts: as courtship exchanges, 42–3
of food, 173
Giovanni Fiorentino, 110
Gozze, Nicolo, 255n17
Grand Duke of Florence, 169
Graziano (Doctor): love of food and festivities, 136
malapropisms of, 100
misrepresentation by, 112
name fixed by convention, 11
Grendler, Paul, 34
Guazzo, Stefano, 14, 48, 264n187
Guicciardini, Francesco, 22, 51, 55, 82, 256n22, 266n228
Günsberg, Maggie, 62, 69–70, 206, 210
Hale, John, 23, 40, 81, 282n21
Hamlet (Shakespeare), 12, 18, 156
hands, holding of. See holding of hands handshaking, 176, 284n57
Heck, Anne Goodrich, 16
Heck, Thomas, 16
Helgerson, Richard, 252n20
Henke, Robert, 6, 57, 113, 124, 156
Hill, John Walter, 144
holding of hands, 144, 145, 199, 207, 208, 241
arranged marriages serve family, 22
avenging threats to, 214
Day 21, 153
Day 25, 183, 187, 188, 189, 191, 192, 193, 197, 203, 205, 209
female, 232
gossip and insults as challenge to, 78–9
honour killing, 82
illegitimate children bring dishonour, 154, 163, 177
as initial character motivation, 111
as matter of public perception, 147
merchants seek, 26
restoration of, 192
servants as threat to family, 48
slighted, 177
sons defend fathers’, 29
takes precedence over law, 78–9, 81
trust for protecting, 44
violence in defence of, 81–2
wife’s rape results in dishonour, 149
women’s sexuality and family, 20, 84, 86, 132
Horace, 97
household management manuals, 14, 46, 47–8
lack of privacy in, 70
street as extension of, 72, 84, 153, 166–7. See also windows
hunger: and dietary orgies, 166
as ever-present, 58
food crises of sixteenth century, 57, 80
gifts of food and, 173
servants and, 50–1
vagrants and, 137. See also lazzi
hunting, 83, 107, 109, 138, 139–40, 272n123
Hyland, Peter, 267n249
illegitimate children, 154, 160, 161, 163, 177
imitation of models, 88–96
disparaging remarks about, 5, 124, 273n4, 274n30
narratemes, 274n26
in Shakespeare 274n38. See also theatregrams
imitation of nature, 17–19, 52, 88, 89, 91, 242. See also decorum
impotence, 23, 38, 113, 126, 132, 148, 149, 280-1n39;
improvisation: audience awareness of actor, 99
repetition avoided in, 124
street setting and, 62
versus written scripts, 96
incest, fear of, 20–1
ingannati, Gl’, 94, 181, 185, 189, 192, 196, 197, 206, 210, 286n26
insults, 78–9
intermission, 136
invention: and imitation, 89–96
and inventory, 90
plagiarism as failure of, 92
variety of 110
Isabella, range of character, 117
as debate topic, 39
of the old men, 126, 130, 140, 147, 148, 149, 150, 263n148, 278n2;
of the young 33, 41, 117, 185, 186, 187, 209
jokes. See practical jokes
Katritzky, M.A., 85, 277n82, 283n33, 286n33
Kendon, Adam, 73
Kerr, Rosalind, 40
King, Margaret, 31
ladder trick, 99, 162–3, 283n33
Lawner, Lynne, 285n5
lazzi, 57–8
actors’
Day 6, 129–30
in Il finto marito, 267n250
house doors in, 118
hunger and poverty, 57, 58, 103
integrated into scenarios, 21, 57, 103, 104, 105, 113
for passage of time, 276n58
practical jokes as scene ending, 49, 98, 113, 115
theatricalism of, 99
Lea, Kathleen, 254n49
Lefebvre, Henri, 72
Leslie, Robert, 231
letters, 26–7, 112, 231, 257n50
Day 1, 3
as motif, 106
Li diversi linguaggi (Verucci), 210
life expectancy, 35
Lillie, Amanda, 278n7
Locatelli, Basilio, 254n49
Lopez, Jeremy, 96, 99, 100, 109, 269n40, 276n68
love, 39, 40, 43, 54, 216, 276n56
betrayed, 187
friendship and, 44–5
as initial character motivation, 111;
scenario plots structured around, 111–12
as topic of conversation, 130
lovers, 39–43
courtship exchanges, 42–3
daughters resist arranged marriages in favour of, 33
long speeches made by, 101
metaphorical language of, 100, 183
lower classes: baser instincts govern, 20, 41
premarital sexual intercourse among, 37
rape accusations and, 203
seen as incapable of refined sentiments, 41
women, 37–9. See also servants
Machiavelli, Niccolò, 21–2, 54, 55, 63, 266n230, 280n25
MacNeil, Anne, 155
Maczak, Antoni, 183
madness, 155–6
bodily manifestations of, 156
Burton on, 281n9
cure for, 283n44
Day 21, 155, 156, 157, 158–9, 161
Day 38, 100–1
festive, 151
of Isabella, 117
real versus pretended, 157
magic, 50, 174, 177–8, 179, 180
defined, 284n50
of the mass, 179
Magliabecchiana scenarios, 16, 254n49
Mallet, Michael, 57
mandragola, La (Machiavelli), 63, 280n25
Mantegna, Andrea, 80
Marchi, Lucia, 107
Marinella, Lucrezia, 278n2
Marotti, Ferruccio, 4, 10, 123, 130, 149
marriage, 21—4
age disparity in, 35;
age for males, 183
arranged, 21, 22, 27, 32–4, 37, 39, 112, 189, 199–200, 210
as business relationship, 33
conjugal rights in, 149, 280n39
dowries, 34
expedient, 83
as goal of female characters, 87
for love, 39
manuals, 37
multiple, 102
paintings of that of Joseph and Mary, 128
purpose of, 259n78
as resolution of scenarios, 115
between servants, 37
significance in patriarchy, 97–8, 199
young women seek promise of before intercourse, 153, 262n143. See also adultery; wives; premarital
sexual intercourse
Marriage of the Virgin (Fra Angelico), 128
Martin, John Jeffries, 7, 13, 258n63
masks, 13, 75–6, 80, 116, 117, 218, 254n41, 265n206, 277n82
Masuccio Salernitano, 110
McKee, Kenneth, 251n4
medical examination, 167
mellification, 91–2
meme, 93. See also theatregrams
memory: memoria rerum, memoria ad res, 124;
memoria verborum, 90–2
men: age at marriage for, 183
as natural guardians of women, 82
sense of male identity, 75, 83
sexual entanglements between, 205
slaves, 215
social control by, 77
unmarried, 271n85
weeping by, 75. See also fathers; old men; sons; young men
menstrual regulators, 283n44
mentita, 80
Merchant of Venice, The (Shakespeare), 171
from Alexandria in Day 36, 218, 222–5, 231, 232, 236–41
business success and male honour, 79
conducting their business in public, 74
country retreats of, 130
travel by, 52
Mercury, Day 21, 175, 178, 179
mercury in alchemy, 284n60
methodology, 12–16
Michelangelo, 80
middle elites: in commedia dell’arte, 17, 59
context of poverty and hunger, 57
defined, 255n2
dressing down by, 266n249
houses represented in street setting, 63
marriage and status in, 22
women, 61. See also merchants; professionals
mirrors, Renaissance, 18
relationship to theatre, 18
mistaken identity, 61, 71, 112
misunderstandings, 112–14
Mitchell, Don, 72
Molière, 132
Molinari, Cesare, 16
money, 25, 27–8, 36, 114, 160, 166, 171, 257n53
moral economy of scenarios, 103, 113, 202, 273n7
Morelli, Giovanni, 44
mortality rate, 69
Moulton, Ian, 20
Mowat, Barbara A., 274n38
multiple unity, 101
mundualdus, 259n75
murder, 41, 53, 80, 82, 262n146, 269n37, 279n24
Day 36, 213, 214, 234, 235, 262n146
music, 117, 125, 136, 137, 139, 159, 164, 179. See also singing
Naples, maps of, 287n16
Day 25, 197
Day 36, 213, 219, 222, 223, 225, 226, 236, 240
narrativity, 273n7
negromante, Il (Ariosto), 267n10
neighbourhood, vincinaza, 73, 237
night scenes, 71–2, 161–4, 182–91
actors’
behaviour affected by, 11
copiousness enhanced by, 98
the night as fearful, 162, 163
as non-illusory convention, 96
tone affected by, 115–16
Norcina, singing in style of, 101, 131, 132
novella, 34, 42, 110, 125, 278n9
Oddi, Sforza, 211, 230, 239 off-stage space, 67, 101, 118
Day, 6, 67, 125, 129, 141, 145
Day 9, 67
Day 36, 221 old men: Isabella Andreini on marriage to, 126
Day 6, 125–8
as foolish, 118
impotence, 23, 38, 112, 126, 132, 148, 149
lust after young women, 20, 113–14, 142, 143, 280n28
as obstacles to resolution of action, 111
Oretta on marriage to, 278n2
passionate, 135
rage at servants, 21
standard characteristics of, 117
taking young wives, 106, 135, 142, 149, 199, 210, 278n9. See also patriarchy and patriarchs
“On Comedy and Tragedy” (attributed to Donatus), 18
Oretta, Madonna, 278n2
Orlando Furioso (Ariosto), 156
Orléans, Louis d’, 76
Othello (Shakespeare), 42
outsiders and society, 51–9
Pantalone: anger at his servants, 48
and Jewish stereotype, 171
misrepresentation by, 112
name fixed by convention, 11
as patriarch, 24
rages in the street, 74–5
passion: controlled, 20, 32, 33, 221
as debate topic, 39
detached from character, 30, 44, 105
of old men, 20, 34, 113, 135, 280n28
of the young, 23, 32, 33, 41, 118, 199
patriarchy and patriarchs, 19–30
dishonour of the patriarch, 77
merchants, 25–8
patriarchal ideal, 20
the professional, 24–5
servants and, 46–50
women and, 31—43 See also fathers
patrimony, 37, 183, 261n122, 286n26
pazzia di Doralice, La (Corsini scenario), 156
Pedrolino: cunning of, 51
as disobedient, 48
marries Franceschina, 37
out-of-breath entrances of, 131, 177, 194
as trickster, 113, 148, 150, 194
pellegrina, La (Bargagli), 281n6
Perkins, William, 255n1
perspectival set, 63, 64, 268n14
piantone, Il (dance), 141
piazza, 57, 60, 63, 67, 72, 73, 74, 75, 83, 84, 100, 153
Piccolomini, Alessandro, 19, 33, 142, 185
pimps, 218, 223, 224, 226, 231, 233
plots: complications, 111
late point of attack, 101
repetitions in plotting, 102
titles and, 112
variety in, 111–15
Pollard, Tanya, 260n102
population, 49
of cities, 68–9
of household servants, 285n10
and life expectancy, 35
poverty, 49, 57, 58–9, 265n200
Arlecchino in patches, 58
begging and, 137
as source of violence, 80. See also hunger
practical jokes (beffe), 51, 113
Castiglione’s distinction between, 165
on merchants, 26
as non-illusory convention, 96
on Panta-lone, 27
pregnancy, pregnant, 33, 102, 151, 153, 154, 166–7, 281n7, 281n8
aborifacients, 283n44
premarital sexual intercourse, 37, 40, 208
care of prisoners, 288n29
professionals, 24–5
literacy among, 32
pretensions of, 92
prologue, to scenarios, 153, 221
Propp, Vladimir, 274n26
props: Day 6, 127
not listed in scenarios, 11, 127, 153
repetition of, 106
variation in, 119
prostitution, prostitutes, 183
contradictory aspects of, 224
legality of, 236
in Naples, 224–5
percent in population, 285n5
relationship to chastity, 224
taxes on, 227. See also courtesans
Quintilian, 90, 92, 94, 105, 109, 115
raffaella, La (Piccolomini), 142
rage, 21, 27, 48, 74, 147, 153, 155, 168, 203, 205, 229. See also anger
rape (sexual assault), 114, 149, 203;
of lower-class women, 37, 38, 203;
promise of marriage in cases of, 153
of women in the street, 78
Rasi, Francesco, 144
religious conversions, 53, 54, 236, 240, 265n 223
Renaissance, rediscovery and reuse of the ancients in, 91
repetitions, contrasts and parallels, 101–9, 193, 197
Day 6, 125, 130, 143, 146, 149
Day 25, 205
revenge (avenge), 21, 76, 81, 82, 102, 103, 113, 269n37
rhetoric and drama, 213–14
romance literature, 34
Roman drama, 34, 46, 54, 63, 94, 219
Romano, Dennis, 132
Roman style of singing, 143, 144
Ruggiero, Guido, 7, 153, 252n22, 284n61, 285n16, 287n12
rule of three, 102–4
Sacchetti, Franco, 110
Salutati, Coluccio, 55
Sarpi, Paolo, 75–6
Scala, Flaminio: aesthetics of, 14
biography, reputation, writings, 8–9
defence of commedia dell’arte, 8–9
scholarly views of, 3–8. See also II finto marito;
Il teatro delle favole rappresentative
scenario collections, 16, 254n49
School for Wives, The (Molière), 132
seating, 70, 119, 127, 128, 137, 145, 214, 217, 229
self: changing ideas of, 7, 13, 23, 267n249
presentation of, 75–6
and society, 19
self-reflexivity of scenarios, 100
Sella, Domenico, 56
servants, 46–51
bad, 47–50
in bed-
tricks, 38
cunning of, 51
Day 36, 222, 223, 227, 229, 232, 234–5, 238–40
going about in the streets, 74
good, 47
and hunger, 50–1
as impoverished, 49
in Italian cities, 69
knocking on the door by, 165
manifestation of “natural order”, 50
number of households having, 46, 285n10
as peasants (from Bergamo), 50, 51, 98, 265n206, 275n48
old men’s rage at, 21
relationship to youths, 158
respect and deference expected of, 199
seen as incapable of refined sentiments, 41
as thieving, 163
as threat to family honour, 77
as threat to larger society, 48, 49
tricks carried out by, 113
truckle beds of, 70
in wills of masters, 47, 264n183;
set: fixed 267nl0
variety in, 118–19
set pieces, 124, 193, 195, 279n12
setting, 63–83
and everyday life, 62–3
as metaphor, 268n17
theatrical uses of, 61–2. See also street setting
sexual assault. See rape
sexuality: women’s, 20, 31, 38, 77, 84, 86, 136, 206
of the young, 133
young men’s, 29, 258n63. See also adultery; chastity; passion; rape (sexual assault); virginity
Shakespeare, William, 12, 18, 42, 60, 96, 150, 171, 181, 274n38, 275n49
Shuger, Deborah, 18
singing (songs), 79, 100, 107, 131
Day 6, 131, 132, 136, 138, 141, 143–4, 145, 147, 149
Day 25, 210
Day 36, 225
as metonym for narrative, 144; alla Norcina, 131–2
skeletal, scenarios as, 5, 242
slaves, 38, 47, 53, 54, 94, 111
Christian slavers, 118, 212, 215, 265n221
Day 39, 212, 213, 214, 217, 218, 219, 222, 231
galley slaves, 215
Smarr, Janet, 110;
soldiering, 29
sons: education of, 32
fathers and, 28–30
stealing from fathers, 27–28
Spain: domination by, 214, 219
soldiers, 54
speaking at cross-purposes, 204
specchio, Lo (The Mirror) (Bruni), 18
speed and urgency, 62, 101, 119, 158
and lack of character development, 118
sense of enhanced by, 123
speeding up at the end, 146, 203, 237–8, 240. See also breathless entrances; delay; entrances and exits; time
sprezzatura, defined, 75
status of the scenarios, 8–10
street setting: appropriateness of Scala’s, 14
cities in Italy, 68–9
Day 6, 130
and everyday life, 62–3
honour in, 76–9
houses, 69–70
night scenes, 71–2
sense of speed enhanced by, 101
the setting itself, 63–8
street as extension of house, 84, 153
streetscape, 72–5
theatrical uses of, 61–2
travel and inns, 70–1; variation in, 118–19
violence, 79–83
women in the streets, 61, 70, 78, 83–7
Striggio, Alessandro, 107
Strozzi, Alessandra, 77
students, 52
Styan, J.L., 109
Summers, David, 197
sumptuary law, 84, 267n249, 282n18
suppositi, I (Ariosto), 67, 70
tarantism, 159
Tasso, Torquato, 29, 31, 47, 286n1
Taviani, Ferdinando, 13, 85, 117
teatro delle favole rappresentative, Il (The Theatre of Representative Plots) (Scala): avoids offending the Church, 216
changes in scenarios to accommodate players, 11–12
evidence of a posteriori composition of, 5–6, 11–12, 117, 167, 186, 194, 195, 206
exact words for actors to speak in, 141–2, 241
favole in, 88
format of, 10–12
generous view of humankind in, 135
in process, 12
Telesio, Bernardino, 253n30
Testaverde, Annamaria, 95, 254n49, 274n37, 275n44
theatregrams, 63, 92–3, 95, 254n45
definition of, 14
narratemes, 274n26
theatricalism, 99
theft, thieves, 22, 27–8, 48, 52, 79, 84, 269n37, 284n60
Thorndike, Lynn, 215–16
three, rule of, 102–4
time: foreshortened, 62, 145, 155, 157, 161, 164, 201
scenes to allow time for, 197, 203, 205, 208, 223, 228, 235, 276n58
scenes to denote passage of, 105, 137, 189, 197, 203, 239
unity of, 89
wasted, 40. See also night scenes
tone, variations in, 115–16
torneo, Il (Corsini manuscript), 64
travel, 52, 70–1, 84, 112, 183, 197, 221
Trexler, Richard C., 255n13
audience awareness of, 100
bad disguise trick, 275n49
bed-tricks, 38, 79, 98, 113–14, 280n34
Day 21, 180
in final recognition and resolution, 114–15
gender or class mistakes caused by, 98–9
misunderstandings result from, 112–14
Pedrolino as trickster, 113, 148, 150, 194
theatricalism of, 99. See also practical jokes
untrustworthy, 19, 48 “Turks,” 52–4
become Christians, 53, 54, 236, 240, 262n146
as characters in Scala scenarios, 118
Day 36, 214, 218, 222, 225–6, 227, 232, 234, 236–7, 240
as Muslim or from the Ottoman Empire, 227
as slavers, 3, 52, 53, 112. See also street setting; violence
Tuscan language, 9, 36, 40, 91
Twelfth Night (Shakespeare), 181
Testaverde on, 275n44 Tylus, Jane, 83, 84
Uniti troupe, 8
upper classes: in commedia grave, 211;
marriage and status in, 22–3;
passion for leisurely conversation, 130
wives, 34–5
women, 31, 36, 38, 60, 61, 70, 77–8, 83–6, 99, 182
urine, urination, 135, 142, 153, 157, 158
chamber pot contents, 106, 174
uroscopy, 157, 158, 167, 282n21, 282n23
Valier, Giulio, 48–9
Van de Pol, Lotte, 84, 272n127
Van Laan, Thomas F., 150, 266n249
in character, 116–18
contemporary view of, 88
in plotting, 111–15
in setting and props, 118–19
in tone, 115–16
Vecchi, Orazio, 67
vecchio amoroso, Il (Donato Giannetti), 63
Verucchi, Vergilio, 210
violence, 56, 79–83, 130, 165, 261n128
honour today and, 271n109. See also rape (sexual assault)
virginity: danger to, 259n81
Day 25, 194
Day 26, 38
honesty of virgins, 38
marrying daughters off to ensure their, 31
purity, 209
women dressed as men risk their, 84. See also chastity
weeping: contagious, 103
Day 27, 104
Oddi on, 211
White, Hayden, 273n7
widows, 35–7
in love plots, 112
sent to convents, 261n119
windows: for rhythmical or musical effect, 107
variation of, 118–19
women at, 42, 74, 77, 83–4, 106–7, 119, 157, 175
wives, 34–5
husbands’
worries about, 132–3
old men taking young, 106, 135, 142, 149, 199, 210, 278n9
as threat to family honour, 77. See also widows
Wölfflin, Heinrich, 101
women, 31–9
in commedia grave, 211
in convents, 31, 259n74, 271n85
death in childbirth, 35
in disguise, 71, 84–6, 112, 179, 197
figs symbolize genitals of, 134
in forced marriages, 24
friendships between, 44
gossip by, 78
insults against, 78–9
learned, 227
lesbianism, 206–7
as limited in movement, 46
lower-class, 37–9
men as natural guardians of, 82
as more forceful, individuated towards end of Scala collection, 12, 86–8, 115
in nuclear family, 269n27
and patriarchy, 31–43
reading material for, 34
reputations of, 208
servants, 46, 47, 74, 160, 185
sexuality of, 20, 31, 38, 77, 84, 86, 136, 206
as sheltered, 31–2
slaves, 215
in the streets, 61, 70, 78, 83–7
street setting and representations of, 14
tricks carried out by, 113
upper-class, 31, 36, 38, 60, 61, 70, 77–8, 83–6, 99, 182
at the window, 42, 74, 77, 83–4, 106–7, 119, 157, 175. See also actresses; chastity; daughters; dowries; prostitution; virginity; widows; wives
young men: as challenge to civic society, 78
courtship exchanges, 42–3
honour by, 81
lacking qualities of governors, 20
powerlessness of, 29–30
prolonged adolescence of, 29, 78
servants, 50
sexual activity of, 29, 258n63
tricks carried out by, 113
unmarried, 78. See also sons
young women: courtship exchanges, 42–43
education of, 32
marriage promise before intercourse sought by, 153
married to old men, 106, 135, 142, 149, 199, 210, 278n9
old men lust after, 20, 113–14, 142, 143, 280n28
pass as young men, 84
servants, 50
tarantism in, 159. See also daughters
Zambat, Francesco, 48–9