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
Pierrot French Patois, when those dialects were common currency—as he circulates through the crowds. Around the mid-twentieth century, he traveled about in pairs or larger groups, contending for supremacy among his companions, but by the dawn of the twenty-first century, he had become rather solitary, a vestige of his former gregarious self. Pierrot Pierrot (, ; ) is a stock character of pantomime and "commedia dell'arte" whose origins are in the late seventeenth-century Italian troupe of players performing in Paris and known as the Comédie-Italienne; the name is a diminutive of "Pierre" (Peter), via the suffix "-ot." His character in contemporary