Pierrot such anguish, when, in a novella called "Pierrot" by Henri Rivière, the mime-protagonist blames his real-life murder of a treacherous Harlequin on Baptiste's "sinister" cruelties. Among the most celebrated of pantomimes in the latter part of the century would appear sensitive moon-mad souls duped into criminality—usually by love of a fickle Columbine—and so inevitably marked for destruction (Paul Margueritte's "Pierrot, Murderer of His Wife" [1881]; the mime Séverin's "Poor Pierrot" [1891]; Catulle Mendès’ "Ol’ Clo's Man" [1896], modeled on Gautier's "review"). Deburau's son, Jean-Charles (or, as he preferred, "Charles" [1829–1873]), assumed Pierrot's blouse the year after his father's death, and
Charles Deburau a consequence, thrust himself into dramatic territory for which his talents were not altogether suited. Typical of his post-Funambules pantomimes is Champfleury's "Pantomime of the Attorney", which appears as the last piece in the Goby collection. Here we are in that "commonplace setting", an attorney's office, that Despot describes above, confronting a "light, small-scale" adventure. Pierrot is the clerk of Cassander, an attorney, and is in love with Columbine, the office assistant. Since Cassander is away for most of the piece, the lovers can indulge their appetites, and the pantomime turns out to be little more than a vehicle for