Carolyn Kunin: ...There
is a book (The Triump of Pierrot; the Commedia dell'Arte and the Modern
Imagination by Martin Green and John Swan) ...Seven pages are devoted to
discussing Nabokov's use of this theme throughout his work [...] quote:
"In Lolita we have a remarkable version of Columbine in the girl herself and in
Humbert Humbert we have an equally remarkable combination or alternation of
Pierrot and Harlequin. (We also have a showier, more expressionist pairing of
Humbert and Quilty as Pierrot and Harlequin.)"
EDNOTE:
Susan Elizabeth Sweeney, “Looking at Harlequins: Nabokov, the World of Art, and
the Ballets Russes.” Nabokov’s World. Ed. Jane Grayson, Arnold
McMillin, and Priscilla Meyer. 2 vols. London: Palgrave, 2002.
Volume 2 (Reading Nabokov):
73-95.
JM: Perfect indication, Carolyn. An external
source making explicit what seems to have been merely indicated "in between the
lines" qua Harlequin and Pierrot. For a clear
reference inside the text we also have editor Beth Sweeney's other article,
"Ballet Attitudes", Nabokov's Lolita and Petipa's The Sleeping Beauty ( Vladimir
Nabokov's Lolita, A Case Study, Ed. E. Pifer, 2003, Oxford University Press,
pages 121 and 134).
I quote from SES:
"Nabokov's novel alludes to various modes of
theatrical production, from pantomime, puppetry, commedia dell'arte, opera and
cinema..."; "The title of another book that Humbert brings Lolita,
Clowns and Columbine, alludes to two stock characters in classical ballet (242);
indeed, Harlequin, Columbine, Pierrot, and Pierrete are the first storybook
charaters to greet the newly married prince and princes in the Ballet Russes'
1921 production of The Sleeping Beauty (Beaumont 472)"
My original questions, though, remains: why did
Nabokov twice mention the commedia dell' arte as "low Italian comedy"? In
this case, Harlequin is not an agile conjurer, but a servant (zanni)*.
..................................................................................................................................................................................................................
Items about the commedia actors, including a
reference to "Gratiano" ( Cf. AL,p 248:Dr. Gratiano
Forbeson, Mirandola, NY. Its Italian Comedy connotations), thereby inviting Nabokov's readers to pay
attention to servants, faux savants, tumblers and even his recurrent theme
concerning cinderella, doves ,ie: columb(a/bines), dove-gray and blue
flowers. www.bbc.co.uk/dna/h2g2/A593589 -
Il Dottore or Gratiano
('The Doctor'): either a doctor or lawyer etc; poorer than the merchant and
driven by aspiration to riches...The Doctor is invariably a 'Renaissance man'
...He is frequently portrayed as a 'cuckolded' husband.
Arlecchino
('Harlequin')
The sharpest and wittiest of the Zanni, Harlequin can
frequently be a main character in a Commedia plot, or have his own
storyline...The name Arlecchino is thought to be derived from the Italian for
'Little Devil5. Normally Harlequin is accompanied by Pedrolino as either a
fellow servant or companion...Like Franceschina, Harlequin speaks directly to
the audience at times.Harlequin is both hedonistic and insatiable...He forms the
head of the eternal triangle with Pedrolino and Columbina. Pedrolino loves
Columbina, who in turn loves Harlequin. Harlequin either loves Columbina - but
frequently strays - or merely lusts after her.In some troupes, the Harlequin is
the typical 'clown' or buffoon whose antics include 'slapstick' routines, visual
comedy, 'pratfalls' and other simple comedic forms. In this role Harlequin is
invariably hampered by some impediment, whether it is his inability to read and
write, or his being a foreigner.. Many Commedia plots rely on Harlequin causing
or making an error, which he then spends the entire performance putting to
rights...
Pedrolino
('Pierrot')
Typically seen as the straight-man for Harlequin, this
image cheapens the character of Pedrolino. Were the world as it should be,
Pedrolino would be the 'lover'. Typically Pedrolino would be portrayed as the
lowest of the low, either a street urchin, or the youngest son of the
family...Good natured if lacking in intelligence, Pedrolino is constantly put
down by the other characters, but never sinks for long...The only time Columbina
bothers with him is to get him to tell her about Harlequin, or convey a message
to him. Buttons from Cinderella, Baldrick from 'Blackadder' and Harpo Marx are
all derived from the Pedrolino character.
Columbina ('Columbine')
Usually a maidservant of one
of the Vecchi, or a companion to the female Amorata. Columbina's name means
'little dove'. She typically loves, or eventually falls for, Harlequin; she can
see through him, but believes she can change him in time. She is flirtatious,
spirited yet sensitive, interfering and above all a gossip, nosy and an
intriguer. She is essentially lazy and dreamy, but believes she is overworked
and indispensable to her master or mistress. Like Franceschina she is
promiscuous, but uses her wiles to get information or service, rather than for
monetary gain; she draws the lines at actually 'delivering the goods'
though.