This was, on the one
hand, licentious to the last degree, and on the other, aimed at certain
classes in society, which, after the middle of the sixteenth century,
ceased to afford a ground for public attacks. If in the 'Sofonisba' the
portrayal of character gave place to brilliant declamation, the latter,
with its half-sister, caricature, was used far too freely in comedy
also.
The writing of tragedies and comedies, and the practice of putting both
ancient and modern plays on the stage, continued without intermission;
but they served only as occasions for display. The national genius
turned elsewhere for living interest. When the opera and the pastoral
fable came up, these attempts were at length wholly abandoned.
One form of comedy only was and remained national--the unwritten,
improvised 'Commedia dell' Arte.' It was of no great service in the
delineation of character, since the masks used were few in number and
familiar to everybody. But the talent of the nation had such an
affinity for this style, that often in the middle of written comedies
the actors would throw themselves on their own inspiration, so that a
new mixed form of comedy came into existence in some places. The plays
given in Venice by Burchiello, and afterwards by the company of
Armonio, Val. Zuccato, Lod. Dolce, and others, were perhaps of this
character.
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