is only the auxiliary. He might be lover and bridegroom on the primitive
stage, in the comedy of these few and unaltered types; but when
Pantaloon, Clown, and Harlequin play with really human beings, then
Harlequin can be no more than a friend of the hero, the friend of the
bridegroom. The five figures of the old stage dance attendance; they
play around the business of those who have the dignity of mortality;
they, poor immortals--a clown who does not die, a pantaloon never far
from death, who yet does not die, a Columbine who never attains
Desdemona's death of innocence or Juliet's death of rectitude and
passion--flit in the backward places of the stage.

Ariel fulfils his office, and is not of one kind with those he serves. Is
there a memory of Harlequin in that delicate figure? Something of the
subservient immortality, of the light indignity, proper to Pantaleone,
Brighella, Arlecchino, Colombina, and the Clown, hovers away from the
stage when Ariel is released from the trouble of human things.

Immortality, did I say? It was immortality until Mercutio fell. And if
some claim be made to it still because Harlequin has transformed so many
scenes for the pleasure of so many thousand children, since Mercutio
died, I must reply that our modern Harlequin is no more than a
_marionnette_; he has returned whence he came. A man may play him, but
he is--as he was first of all--a doll. From doll-hood Arlecchino took
life, and, so promoted, flitted through a thousand comedies, only to be
again what he first was; save that, as once a doll played the man, so now
a man plays the doll. It is but a memory of Arlecchino that our children
see, a poor statue or image endowed with mobility rather than with life.

With Mercutio, vanished the light heart that had given to the serious
ages of the world an hour's refuge from the unforgotten burden of