Pantalone i Brigela

Pantalone [pantalone], spelled Pantaloon in English,[1] is one of the most important principal characters found
in commedia dell'arte. With his exceptional greed and status at the top of the social order, Pantalone is "money" in the
commedia world. His full name, including family name, is Pantalon de' Bisognosi, Italian for 'Pantalone of the Needy'.[2]

Contents
[hide]

1Character
o 1.1Stance
o 1.2Costume
2Related
3References
4External links

Character[edit]
Pantalone originated as part of a master/servant duo and was the original il Magnifico stock character.[3][4] Goldoni, in
his memoirs, named Pantalone as one of the four primary Commedia dell'Arte characters.[5] Among other
things, Pantalone is a character of Venetians; one theory of where his name derives from Saint
Pantaleon (San Pantalone), a popular saint in Venice.[6] The other theory of where his name derives is from Ventian
merchants who were called Piantaleoni.[4] While the theories of the St Pantaleone and the lion of St Mark are common,
they are both now considered unlikely origins, and the true origin is unknown. [7] The name Pantaloon generally means
"old fool" or "dotard".[8] The role of Pantalone is usually spoken entirely in the Venetian dialect.[9] The character
of Pantalone is entirely based on currency and ego, for he has the highest regards for his intelligence, "but at every
step he becomes the butt for every conceivable kind of trick". [10] With little else to occupy his thoughts after a life as a
tradesman or merchant, Pantalone is the metaphorical representation of money in the commedia world. While the
social standing of merchants may have changed throughout the centuries, the intent for Pantalone was to ensure that
he had the status that allowed him to meddle in the affairs of others.[11] Pantalone is usually the father to one of
the innamorati (the lovers), another stock character found in commedia.[12] He is driven to keep his child and their
respective lover apart. Pantalone is presented either as a widower or bachelor, and despite his age, makes numerous
passes at the women within the commedia world, "though he is always rejected". [10] Pantalone never forgets a deal
and his merit is based on actions, not words.[13] He is also described as being petty, and he never forgets or forgives
even the smallest things.[14]
Pantalone is characterized as loving his money and having emotional extremes.[15] With his sinister and often
inhumane treatment towards his fellows, Pantalone is perceived to be a pivotal part of commedia. His importance is
represented in almost every commedia production; often placing him at the beginning of the comedy. [10] In a commedia
comedy, many zanni or lazzi routines will begin by an action delivered by Pantalone himself. Pantalone is described
as being too self-absorbed to notice and interact much with the audience, but he is so obvious that it serves the same
purpose.[14]

Stance[edit]
The traditional Pantalone stance is that of a hunch-backed old man. While it would generally be assumed the hunch-
backed position may be one of an elderly old man, it is really for the protection of his money bag that generates his
apparent frailty.[16] He walks with his hips forward, allowing him to make larger strides when he walks. [15] The hunched
shape restricts his legs, which are bent and turned out at the knees. The feet have the heels together with the toes
facing apart.[17] His hands and feet move quickly, though his body is stiff, and his head is constantly moving. [15] When
he walks, his feet should be picked up more than would occur naturally. [18] Pantalone is slow moving, and he has bouts
of agility when there is high emotion, but it is followed by asthmatic breathing and panting. [15][19] Pantalone is often short
and skinny.[12] A lot of Pantalone's comedy stems from the fact that his excitable actions greatly contradict the senile
position that the actor takes.[4] He often falls backwards, generally to bad news related in some way or another to his
financials. When this occurs, he is often amusingly "turtle-like" and is often stuck in that position until
assisted.[15] Pantalone can do all of the movements of the other characters, but they are greatly hindered because of
his old age.[15] None of Pantalone's physical actions should look easy, for his is truly "the oldest of the old." In the well-
known "all the world's a stage" speech in Shakespeare's As You Like It (II, vii), Jaques describes the second-last
stage of life as "the lean and slippered pantaloon."

Costume[edit]
Pantalone's costume was designed with the inappropriateness intended to comically entertain. [20] The costume
for Pantalone is characterized by the use of red for almost the entire costume. The characteristics of the costume also
include a Greek style hat, a jacket, a pair of long trousers or breeches with stockings, a tight jacket, a woolen skullcap
and a robe or cape; it also includes a prominent codpiece or strategically placed coin purse. [12][19] It also includes a
black and red robe and yellow Turkish slippers.[12] During the sixteenth and seventeenth centuries, a sword or dagger
and gold medallion often accompanied the purse.[17][19] The Pantalone mask is a half-mask with accents on bony
structure, big, bushy eyebrows, a long, hooked nose, a mustache, and a long, pointed or forked beard. [17][19][21] He
occasionally is noted as having horn spectacles.[22] He occasionally carries a walking stick, but it is used more as an
aggravating weapon than an actual walking tool.[18] Because of his skinny legs, Pantalone is often portrayed wearing
trousers rather than knee-breeches (which Jaques refers to as "his youthful hose, well sav'd, a world too wide/For his
shrunk shank"). He therefore became the origin of the name of a type of trouser called "pantaloons," which was later
shortened to "pants."[6]

Related[edit]
Angela Carter's The Bloody Chamber (in the short story "Puss in Boots") gives another representation of Pantalone.
The interpretation uses the spelling 'Pantaloon', but he follows a very similar description and ends up dead.

PANTALONE (Pantaloon)
We see here the mask of Pantaloon(Pantalone in the original Italian name), the venetian
merchant, rich, greedy and nave. From merchant to nobleman, always having to deal with people
trying to take his gold from him, always losing against wit and improvisation, at times even
pleasant for the trust he feels for the others, that on the other hand don't care for anything
different than his money. e Pantalone paga!!! (and Pantaloon has to pay!!) image of the Italian
people been subject to the state's squeezing tax system
Old but athletic, Pantaloon plays the ideal counterpart of an Harlequin always without money, the
Zanni, poor immigrant always hungry, Brighella (the name comes from briga, fight), and countless
other characters.

BRIGHELLA
As much as Harlequin and the Zanni, Brighella is from Bergamo too (somebody had some
resentment toward the Bergamascos? Who knows), with some resemblance in the basic character
to the Zanni. But if not smarter, Brighella's arrogance surely pays off as he gets a little more
respect than the Zanni himself.
The name by itself (briga, brigare is Italian for quarrel, trouble, intrigue) explains this mask well
enough: Brighella is colleric, violent, exaggerated in his behavior, womanizer.
Catlike and sordid in his quest for food, confirmed liar and persuasive in his love pursuits, always
ready for intrigue, always in search for the next fight.
Brighella is a mask used to play different roles, kind of the perfect substitute villain, thus leading
to a good deal of variants: Buffet, Flautino, Bagatino, Gandolino, Mezzettino, Fenocchio, Scapino
and Beltrame da Milano the most known.
Pantaloon, Italian Pantalone, stock character of the 16th-century Italian commedia
dellartea cunning and rapacious yet often deceived Venetian merchant.
Pantaloon dressed in a tight-fitting red vest, red breeches and stockings, a pleated black
cassock, slippers, and a soft brimless hat. Later versions of the character sometimes wore
long trousers(pantaloons). His mask was gaunt and swarthy with a large hooked nose, and
he had a disorderly gray goatee.
The humour of the role stemmed from Pantaloons avarice and his amorous entanglements.
An abjectslave to money, he would starve his servant until he barely cast a shadow. If he
discharged him, he made certain to do so before dinner. If married, he was a foil for his wife,
who was young, pretty, disrespectful, and completely untrustworthy, and he was also a foil
for the intrigues and deceits of his daughters and servant girls. Although anxious about his
reputation, he engaged in flirtations with young girls who openly mocked him.
In the Italian commedia, Pantaloon was frequently paired with Dottore as a parent or
guardian of one of the lovers. The French variant evolved from Pantalone when
the commedia dellarte companies played in France. In Elizabethan England, Pantaloon
came to mean simply an old man. In 18th-century London, Pantaloon, minus his long coat,
was one of the characters of the harlequinade, the English pantomime version of the
commedia dellarte.

Pantalone also known as Pantaloon and also referred to as a veechi, meaning old menis a Commedia Dell
Arte stock character. He was not named after St. Pantaleone. He is also known fully as Pantalone de Bisognosi,
literally "of the needy (Shane). Pantalone is the most constantand important character in the plot of commedia
dellarte.Pantalone is described as a Venetian merchant that controls finance in the character world of Commedia,
because of his status his orders are usually obeyed (Ducharte 179).
Character TraitsPantalones actions are described more negative than
positive; he is always the obstacle for the lovers. He is an arrogant and
cowardly bully. Ducharte describes Pantalones personality as old as
mankind and acknowledges that it was Venice who individualized him
with the stamp of her own particular color and picturesqueness (179).
Pantalones character is always from Venice and his wardrobe also
represents his Venetian background. Pantalones character is always old
and retired. Pantalones character can be rich, poor, the father of a
family, and an old bachelor. The actor that portrays Pantalone should be
able to play a decrepit old man who tries to pass himself off as a youth
(Ducharte 181). Pantalone believes that everything can be bought and
sold. He also loves money. He always wants to marry his daughter to a
wealthy man. When things do not go his way he quickly slips into
emotional extremes, particularly enraged petty tyranny (Shane).
Pantalone is described as having a long memory and being
unforgiveable. Winifred Smith describes Pantalones speech as
alternately macaronic Latin nonsense and Bolognese riddles or gnomic
sayings of evident folk ancestry, often indecent in their double meaning
(8). Pantalones speech reflects his trickery behavior.

Physical Appearance and Stance

Pantalone is lean and skinny, often short in stature with straying hair.
His arms widely outspread and his cloak flies out behind him (Nicoll
44). He is often in a formal stance or in violent action. Pantalone
appears to be fragile and old but is very quick and sly.John Rudlin
describes Pantalones back bending the other way to the Zannis,
giving him an old mans stoop, protecting his purse and his penis and
effectively restricting the motion of his legs(93). His feet are together,
toes separate; knees are bent and facing apart creating a focus on his
groin. However there are early illustrations that show Pantalone with a
vertical posture. Pantalones stance is beneficial, because it allows him
to make large strides and allows him to be constantly watchful. When
he is not standing, he is in energetic movement.Pantalone cannot keep
his hands to himself so they, move continuously. His constant hand
movement allows him to effortlessly defend himself.
 The only way he can stop his hand
movement is to hold them behind his
back, underneath his cloak. He walks
forward with his right foot bent and
his left foot stretched out behind. In
crouched attitude he circles, with
almost animal ferocity, around the
abject figure of a servant; he displays the grace of a dancer as he
leans sideways from a pointing companion or sweeps in a courtly bow
towards the object of his affection(Nicoll 44). Pantalones posture is
also described as an upside down Ubow-legged, and toes pointing out
and upper body leaning forward. When he is talking to someone, he
leans forward, when he is listening to something, or getting bad news,
he lens back.

Costume
Pantalone is always in costume and wears dark colors of red, gray and
black. John Rudin identifies Pantalones clothes as the Venetian style of
the sixteenth century. His tights or stockings and jacket are red. His
clothes are tight fitting. At his belt are usually his dagger or a sword
and a handkerchief. He wears a brimless Greek cap or a toque with
rolled edges sometimes red or black; he always wears a zimarra or a
long gown and Turkish sandals or slippers (Ducharte 188). Several
illustrations depict Pantalone in different colored costumes; John Rudlin
states he changed the color of his tights and/or cloak to black as a
sign of mourning when Negroponte was captured by the Turks from the
Venetians (92). Overall his costume style has remained the same.

Signature Props

Pantalone always carried a big dagger and a purse at his belt that was
suspended in front of his genitals, to suggest his phallus. Pantalone
would occasionally have a cane.
Mask
Pantalone wore a dark brown mask with a protruding hooked nose,
and, occasionally round spectacles. His eyebrows were also gray and
bushy. The moustache was gray, thin and pointy. His beard was white
and stretched from ear to ear, and came to one or two points well in
advance of the chin, as if it was meeting his nose. This was so that
the tufts shook ludicrously as soon as Pantalone began to talk
(Ducharte 188). There are different variations of Pantalones mask,
some include the beard and others do not.
Relationships
If Pantalone is married his wife is usually young. She makes fun of him
because he is old. His daughters are sometimes Isabella and Rosaura
or Camille and Smeraldine. His servant girls are Fiametta and Olivette
or Zerbinette and Catte. His servant boys are either Grillo, Nane,
Mantecha or Harlequin. Pantalone is known to be mean to his servants,
narrow-mindedly proscriptive to his children, fawning to Il Dottore,
scheming with Il Capitano, lecherous with Colombina and indulgent to
himself (Ducharte 182). When Pantalone owes his servants or anyone
money, he pretends to faint and is declared dead by Dottore, he does
this so that he can hear what is being said about him from the people
he owes money, and he wakes up like a ghost and frightens them
away.
Brighella (Frenchis: Brighelle) is a comic, masked character from the Commedia dell'arte. His
early costume consisted of loosely fitting, white smock and pants with green trim and was often equipped with
a batocio (also batacchio or battacio, depending on region) or slap stick, or else with a wooden sword. Later he took to
wearing a sort of livery with a matching cape. He wore a greenish half-mask (traditionally olive-green) displaying a
look of preternatural lust and greed. It is distinguished by a hook nose and thick lips, along with a thick twirled
mustache to give him an offensive characteristic.[1] He evolved out of the general Zanni, as evidenced by his costume,
and came into his own around the start of the 16th century.[2]
 He is loosely categorized as one of the zanni or servant characters though he often was portrayed as a member of
the middle class such as a tavern owner: his character could be adapted to whatever the needs to the scenario might
be, just as Brighella himself is adaptable to any circumstance. He is essentially Arlecchino's smarter and much more
vindictive older brother. They both share the same traditional birthplace: Bergamo, a city in Northern Italy. As in a
stereotype of those who have risen from poverty, he is often most cruel to those beneath him on the social ladder; he
even goes so far as to kill on occasion.[3] In later versions of his character these violent and malicious traits were
lessened substantially. Pierre Louis Duchartre, in his The Italian Comedy, theorizes that in France, the
gentilified Brighella eventually culminated in the character of Figaro, known from the plays and operas.
Brighella is a masterful liar, and can make up a spur-of-the moment lie for any situation. He is an inveterate schemer,
and he is good at what he does. If his plans failed, it was almost always out of luck on behalf of the other characters.
When he's a servant, he will either serve his master devotedly or look for every opportunity to ruin and take advantage
of him as he happens to see fitwhatever will gain the greatest advantage for himself and himself alone. He is fond of
money, but spends it rapidly, and tends to be especially fond of the drink. In fact, he has few good qualities save for
his ability to entertain the audience.[1]
His walk is distinguishable from the traditional Zanni movement by the torso bending from side to side while the head
stays vertical. The knees stay open and the elbows bend down with each movement of the leg.[4]
His character is usually from uptown Milano or Bergamo, and in the original Italian would often speak with the local
accent. He could be very witty and fond of wordplay. He is also an accomplished singer, dancer and musician, and
sometimes would play the guitar on stage.
His name comes from an Italian word which can mean "bother" or "contention" in Italian; Florio's 1611 Italian-English
Dictionary defines briga as meaning "a brable, a braule, a contention". Brighella in English would be therefore
something like "Fighty" or "Brawly". The other Italian word attaccabrighe ("hellraiser") utilizes the same element.

Contents
[hide]

1Famous Brighellas
2Variants
3References
4Sources
5External links

Famous Brighellas[edit]
17th Century:

Domenico Boroncini[5]
18th Century:

Giuseppe Antonio Angeleri

Tommaso Fortunati
Pietro Gandini
Carlo Campi
Atanasio Zanoni[5]

Variants[edit]
A list of variations of the character, according to Duchartre, are:

Beltrame: from the 17th century, a "wilfully blind husband and rascal as crafty as Brighella." He was Milanese
and spoke the local dialect. As part of his costume he apparently wore a distinctive large tunic.
Scapin, or Scapino: A much more nervous and cowardly version of Brighella.
Truccagnino: See Fenocchio.
 Mezzetino: A gentler version of Brighella, fond of the ladies even if they were not fond of him.
Fenocchio: More prone to playing pranks than committing serious intrigues, he otherwise shared Brighella's
fondness for malice.
Flautino: A musical Brighella, often singing a cappella. Actor Giovanni Gherard, in this role, was able to perform
the part of an entire orchestra with his voice alone.
Sbrigani: Sometimes the exact opposite of Brighella, otherwise an identical character; like twins. Frequently
appeared alongside Brighella onstage.
Franca Trippa, Francatrippa or Francatrippe: created in the late 16th century, spoke a mixture of Bolognese
and Tuscan dialects. An upper-class Brighella. Could be capable of gymnastic or other physical feats.
Turlupin or Tirelupin: A French Brighella created by Henri Legrand. The name means, according to Duchartre,
"unlucky". However, the Oxford English Dictionary mentions an etymology relating to a cult that modelled
themselves on the Cynics and lived off of lupins that they gathered (tiraient). The character was reputedy fond of
vulgar wordplay.
Gandolin: A French Brighella, very fond of wordplay and puns. Sometimes wears a fur-lined plumed hat.
Fritellino or Fristelin: see Francatrippa.
Sgnarelle: A chronic drunk.
Bagatino
Gradelino
Pasquariel
Buffet
Gian Fritello
Narcisino
Grattelard
Mascarille
La Montagne
Frontin
Labranche
Figaro: as created by Beaumarchais. See Le Barbier de Sville.
STATUS
Brighella is the boss of Zanni and
Arlecchino. Usually a proprietor of a
shop, he is never wealthy but is better
off than the others. He offers, and is
asked to give advice to The Lovers.
Brighella is good at and pretends to be
many things. He can be a servant,
magician, fortune teller -- most anything
that is asked of him. He is never a
victim, so his status, albeit low, is
always secure.
COSTUME
Brighella wears a white shirt, black pants with a green tassle
hanging from the side, a white cap, a belt with a purse, and a
dagger.
MASK
 Brighella's mask should convey the intelligent and malicious
spirit in him. The mask is accented with a hooked nose, fleshy
cheeks, and large eyebrows. He conveys a cynical-mawkish
appearance.
MOVEMENT
Brighella's weight is placed on a bent leg. The other is
extended, lightly touching the ground. His elbows are up with
his hands spread out. Whether or not he is moving, his feet are
constantly moving, dancing back and forth. Like Arlecchino, his
back is curved at the lumbar region. When Brighella walks, his
head stays in place, but his legs come up to the side and his
torso sways from side to side. It is a very soft walk, similar to
tip-toeing, the difference being that his legs are spread.
PLOT FUNCTION
Brighella is a very cynical and sarcastic character. For the
audience, he is witty, humorous and deceitful. He will do
anything to turn a quick buck, even if it requires him selling his
sister. He is a cunning liar on occasion bursting out in angry
rants when something doesn't go
his way. This is a volatile
characer! I have had friends who
have turned into mean people
after playing Brighella.

If you find yourself playing a servant on a Commedia stage, you had better keep your eyes on Brighella! He is
essentially Arlecchinossmarter and much more vindictive older brother. In fact, he has few good qualities save for his ability to entertain the
audience. Hes a masterful liar, and can make up a spur-of-the moment lie for any situation. He is an inveterate schemer, and is good at what
he does. If his plans fail, it was almost always out of luck on behalf of the other characters. Brighella is loosely categorized as one of the
servant (zanni) characters, although he is often considered a member of the middle class, for instance, the owner of an inn in Servant of Two
Masters. As a servant, he will do whatever he can to put himself in a good light and gain his masters approval. The nobles usually know
Brighella to be trusty, helpful and resourceful. However, the other side of his personality is most cruel to those beneath him on the social
ladder; he even goes so far as to kill on occasion. He will do anything that is to his advantage, no matter what the cost to those below him. Its
probably not stretching the truth to say he would sell his own mother if it would benefit him!
He is an observer, and always keeps his coolfor is something upsets him he will get his revenge later either upon his aggressor or whoever
is unfortunately near. His character is usually from Bergamo, same as our beloved Truffaldino. His name by itself briga, brigare is Italian
for quarrel, trouble, intrigue.
 Brighella mask by Antonio Fava

Brighellas costume consists of a loose-fitting white smock and pants with green stripes and accents. He often carries a knife in his belt

which is useful as he is often in charge of the kitchen in his tavern or innand its a good reminder to other servants who is really in charge.

His mask is a half-mask displaying a look of lust and greed.Traditionally the mask is colored olive green.

Brighella moves like a cat or panthersly, quiet and light on his feet and always on the prowl. His chin and chest are carried forwards in the

manner of a traditional zanni.

(Frenchis: Brighelle) is a comic, masked character from the Commedia dell'arte. His early costume consisted of
loosely fitting, white smock and pants with green trim and was often equipped with a batocio (also batacchio or
battacio, depending on region) or slap stick, or else with a wooden sword. Later he took to wearing a sort of livery with
a matching cape. He wore a greenish half-mask (traditionally olive-green) displaying a look
of preternatural lust and greed. It is distinguished by a hook nose and thick lips, along with a thick twirled mustache to
give him an offensive characteristic.[1] He evolved out of the general Zanni, as evidenced by his costume, and came
into his own around the start of the 16th century.[2]
He is loosely categorized as one of the zanni or servant characters though he often was portrayed as a member of
the middle class such as a tavern owner: his character could be adapted to whatever the needs to the scenario might
be, just as Brighella himself is adaptable to any circumstance. He is essentially Arlecchino's smarter and much more
vindictive older brother. They both share the same traditional birthplace: Bergamo, a city in Northern Italy. As in a
stereotype of those who have risen from poverty, he is often most cruel to those beneath him on the social ladder; he
even goes so far as to kill on occasion.[3] In later versions of his character these violent and malicious traits were
lessened substantially. Pierre Louis Duchartre, in his The Italian Comedy, theorizes that in France, the
gentilified Brighella eventually culminated in the character of Figaro, known from the plays and operas.
Brighella is a masterful liar, and can make up a spur-of-the moment lie for any situation. He is an inveterate schemer,
and he is good at what he does. If his plans failed, it was almost always out of luck on behalf of the other characters.
When he's a servant, he will either serve his master devotedly or look for every opportunity to ruin and take advantage
of him as he happens to see fitwhatever will gain the greatest advantage for himself and himself alone. He is fond of
money, but spends it rapidly, and tends to be especially fond of the drink. In fact, he has few good qualities save for
his ability to entertain the audience.[1]
His walk is distinguishable from the traditional Zanni movement by the torso bending from side to side while the head
stays vertical. The knees stay open and the elbows bend down with each movement of the leg.[4]
His character is usually from uptown Milano or Bergamo, and in the original Italian would often speak with the local
accent. He could be very witty and fond of wordplay. He is also an accomplished singer, dancer and musician, and
sometimes would play the guitar on stage.
His name comes from an Italian word which can mean "bother" or "contention" in Italian; Florio's 1611 Italian-English
Dictionary defines briga as meaning "a brable, a braule, a contention". Brighella in English would be therefore
something like "Fighty" or "Brawly". The other Italian word attaccabrighe ("hellraiser") utilizes the same element.
Famous Brighellas
17th Century:

Domenico Boroncini[5]

18th Century:

Giuseppe Antonio Angeleri

Tommaso Fortunati
Pietro Gandini
Carlo Campi
Atanasio Zanoni[5]

Variants
A list of variations of the character, according to Duchartre, are:

Beltrame: from the 17th century, a "wilfully blind husband and rascal as crafty as Brighella." He was Milanese and
spoke the local dialect. As part of his costume he apparently wore a distinctive large tunic.
Scapin, or Scapino: A much more nervous and cowardly version of Brighella.
Truccagnino: See Fenocchio.
Mezzetino: A gentler version of Brighella, fond of the ladies even if they were not fond of him.
Fenocchio: More prone to playing pranks than committing serious intrigues, he otherwise shared Brighella's
fondness for malice.
Flautino: A musical Brighella, often singing a cappella. Actor Giovanni Gherard, in this role, was able to perform
the part of an entire orchestra with his voice alone.
Sbrigani: Sometimes the exact opposite of Brighella, otherwise an identical character; like twins. Frequently
appeared alongside Brighella onstage.
Franca Trippa, Francatrippa or Francatrippe: created in the late 16th century, spoke a mixture of Bolognese
and Tuscan dialects. An upper-class Brighella. Could be capable of gymnastic or other physical feats.
Turlupin or Tirelupin: A French Brighella created by Henri Legrand. The name means, according to Duchartre,
"unlucky". However, the Oxford English Dictionary mentions an etymology relating to a cult that modelled
themselves on the Cynics and lived off of lupins that they gathered (tiraient). The character was reputedy fond of
vulgar wordplay.
Gandolin: A French Brighella, very fond of wordplay and puns. Sometimes wears a fur-lined plumed hat.
Fritellino or Fristelin: see Francatrippa.
Sgnarelle: A chronic drunk.
Bagatino
Gradelino
Pasquariel
Buffet
Gian Fritello
Narcisino
Grattelard
Mascarille
La Montagne
Frontin
Labranche
Figaro: as created by Beaumarchais. See Le Barbier de Sville.

This is the mask of "Brighella", "first zanni" of Bergamo and one of

the most disturbing of the Commedia characters.
Brighella is a crafty, quick, unscrupulous servant who was often
paired with Arlecchino. He thrives on double dealings, intrigues, and
foul play. Having the highest status of the servants, he is sometimes
depicted as an innkeeper, shop owner, valet, or soldier--cunningly
separating patrons from their cash and possessions. He is a cynical
liar who only looks out for himself, and is never repentant when
caught in wrongdoing. He is sleazy, seductive, dangerous. He
executes his crimes ingeniously. He offers assistance to innocents,
scoping opportunities to steal from the unsuspecting. Money for him
is worth only the pleasure it provides and he loves nothing but his
own pleasure. He is a drunkard and boisterous debaucherer who
readily insults anyone weaker. With stronger men, he fawns on
them or shrewdly slips away.

Physical Characteristics
Brighella is lazy but can move quickly, almost imperceptively. He
slinks without muscular effort, and he stays still, ready to pounce.
He might blithely be cleaning his nails with the knife which will soon
cut a throat. He is very powerful but conserves his energy. He
sleeps with one eye open. He gets very close to people when he
speaks. He can sing and dance, and drink with the best of them. His
costume is usually trimmed in green.

A comparable animal image for Brighella is a rat, snake, or large

cat.