Pierrot [1883]; "The Painter Aman-Jean as Pierrot" [1883]), Léon Comerre ("Pierrot" [1884]), Henri Rousseau ("A Carnival Night" [1886]), Paul Cézanne ("Mardi gras [Pierrot and Harlequin]" [1888]), Fernand Pelez ("Grimaces and Miseries" a.k.a. "The Saltimbanques" [1888]), Pablo Picasso ("Pierrot and Columbine" [1900]), Guillaume Seignac ("Pierrot's Embrace" [1900]), and Édouard Vuillard ("The Black Pierrot" [c. 1890]). The mime "Tombre" of Jean Richepin's novel "Nice People" ("Braves Gens" [1886]) turned him into a pathetic and alcoholic "phantom"; Paul Verlaine imagined him as a gormandizing naïf in "Pantomime" (1869), then, like Tombre, as a lightning-lit specter in "Pierrot" (1868, pub. 1882). Laforgue put three of
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