Commedia dell'arte the "amorosi". The servants or the clowns are referred to as the "zanni" and include characters such as Arlecchino (also known as Harlequin), Brighella, Scapino and Pedrolino. Some of the better known "commedia dell'arte" characters are Pierrot and Pierrette, Pantalone, Il Dottore, Brighella, Il Capitano, Colombina, the "innamorati", Pedrolino, Pulcinella, Sandrone, Scaramuccia (also known as Scaramouche), La Signora, and Tartaglia. In the 17th century as "commedia" became popular in France, the characters of Pierrot, Columbine and Harlequin were refined and became essentially Parisian, according to Green. Each character in Commedia dell'arte has a distinct costume that helps the audience understand
Pierrot lunaire (book) of the poem. In a familiar dichotomy of the Symbolists, "Pierrot lunaire" occupies a divided space: a public realm, over which the sun presides, and a private realm, dominated by the moon. The waking, sunlit world, populated by Pierrot's Commedia dell'Arte companions, is marked by deformity, degeneracy, avarice, and lust. Its Crispins are "ugly", and its Columbine "arches her back", apparently in expectation of sexual pleasure (1: "Theater"). The meretriciously multicolored Harlequin—"shining like a solar spectrum" (11: "Harlequin")—is an "artificial serpent" whose "essential goal" is "falsehood and deceit" (8: "Harlequinade"). An old serving-woman connives in his scheming by accepting a