The Vecchi of Seville
... is it a coincidence that Bartolo in Beaumarchais' Barber of Seville resembles the doctor type in traditional commedia dell'arte ...
Barber of Seville Doctor Character
It is not a coincidence that Dr. Bartolo in Beaumarchais' "The Barber of Seville" resembles the doctor type in traditional commedia dell'arte. Beaumarchais was clearly influenced by the commedia dell'arte theatrical form, since many of his characters are modeled after these character archetypes. Dr. Bartolo, in particular, is a combination of two types of vecchi characters: Il Dottore, a venal and silly old professional, and Pantalone, a sinister interloper. The commedia dell'arte character type of Il Dottore is portrayed as a pompous, elderly doctor who is venal and silly, opposite Pantalone, who is typically a miserly, avaricious speculator. Dr. Bartolo in "The Barber of Seville" embodies the miserly guardian who plans to marry his ward Rosina to gain her dowry and satisfy his lust. This connection to traditional commedia dell'arte characters highlights the influence of the theatrical tradition on Beaumarchais' work and the way in which he adapted these archetypes for his play
... if the characters in Beaumarchais' Barber of Seville correspond to commedia dell'arte characters then Figaro is Zanni and Rosina is Columbine ...
Figaro and Rosina Characters
In Beaumarchais' play "The Barber of Seville," the character Figaro corresponds to the Zanni character type from commedia dell'arte. Zanni characters are known for being wily, inventive, and outsmarting everyone else Rosina, on the other hand, can be compared to the Columbine character, who is typically flirtatious and lively Both characters play crucial roles in the plot, with Figaro devising schemes to help the young lovers and Rosina being the object of the Count's affection.
Figaro: A clever and calculating servant who uses his wit to aid the lovers.
Rosina: A lively and flirtatious ward of Doctor Bartolo, who is pursued by Count Almaviva.
... and Almaviva the count corresponds to pantalone or scapin ...
In the context of commedia dell'arte, the character of Count Almaviva from The Barber of Seville can be seen as an equivalent to the Innamorato type. The Innamorati are young lovers who are often the central figures in the plots of commedia dell'arte plays. They are typically idealized and romantic, and their love stories are the focus of the action.
Count Almaviva, in The Barber of Seville, is a young and wealthy Spanish nobleman who falls in love with Rosina. He uses various disguises and schemes to win her heart, often with the help of the clever servant Figaro. This aligns with the Innamorato character, who is often resourceful and determined to overcome obstacles to be with their beloved.
While Count Almaviva is a specific character in a particular play, his role and behavior are consistent with the Innamorato type found in commedia dell'arte, where young lovers are central to the comedic and romantic plots.
... the term innamorato for the count is related to the word enamored in English ...
Yes, the term Innamorato is indeed related to the word "enamored" in English. The word Innamorato comes from the Italian verb innamorare, which means "to fall in love" or "to be in love." In the context of commedia dell'arte, Innamorato (or Innamorati in the plural form) refers to young lovers who are the central characters in the play. These characters are typically idealistic and are passionately in love, often facing various obstacles that they must overcome to be together.
In "The Barber of Seville," Count Almaviva fits the Innamorato type because he is a young, passionate, and resourceful nobleman who is deeply in love with Rosina. His efforts to win her heart and the schemes he devises to overcome the obstacles set by Doctor Bartolo and Don Bazile are characteristic of the Innamorato role.
So, the term Innamorato captures the essence of being "enamored" and is used to describe the young, romantic leads in commedia dell'arte and similar theatrical traditions.
... being enamored accounts for the count's impetuous role playing that by it's exaggeration is comical ...
Absolutely, being enamored is a key factor in Count Almaviva's impetuous and comical role-playing. His deep love for Rosina drives him to take on various disguises and engage in elaborate schemes, which often lead to humorous and exaggerated situations. Here are a few ways in which his enamored state contributes to the comedy:
1. Impetuous Actions: Count Almaviva's love for Rosina makes him act quickly and sometimes without fully thinking through his plans. This impulsiveness leads to comical missteps and misunderstandings.
2. Multiple Disguises: To win Rosina's affection and outmaneuver her guardians, Count Almaviva adopts multiple personas, such as the poor student Lindor and the drunken soldier. These disguises often lead to comedic situations, especially when he must maintain his cover in the face of unexpected challenges.
3. Exaggerated Emotions: His deep love for Rosina causes him to express his feelings in exaggerated ways, which can be both endearing and amusing. His passionate declarations and dramatic gestures add to the play's comedic tone.
4. Interaction with Other Characters: The Count's enamored state influences his interactions with other characters, such as Figaro and Berta. His desperate attempts to communicate with Rosina and the comedic misunderstandings that ensue contribute to the play's humor.
In essence, Count Almaviva's being enamored is a central element of his character, driving his actions and contributing significantly to the play's comical and romantic plot.
... "desperate" very effectively captures the count's role -bravo ...
Thank you! 'Desperate' is indeed a fitting description for Count Almaviva's role in "The Barber of Seville." His desperate efforts to win Rosina's heart and overcome the obstacles set by Doctor Bartolo and Don Bazile are a key source of the play's comedy and drama. Here’s a concise summary of how his desperation drives the plot and creates comedy:
1. Impetuous Actions: Count Almaviva's desperation leads him to act quickly and impulsively. He doesn't hesitate to take risks and engage in daring schemes, which often result in humorous situations.
2. Multiple Disguises: To outsmart Doctor Bartolo and Don Bazile, he adopts various disguises, such as the poor student Lindoro and the drunken soldier. These disguises lead to comedic misunderstandings and slapstick moments.
3. Exaggerated Emotions: His deep and desperate love for Rosina causes him to express his feelings in exaggerated and passionate ways. His dramatic gestures and declarations of love add to the play's comedic and romantic elements.
4. Resourcefulness and Ingenuity: Desperation also makes him more resourceful and ingenious. He relies on the clever Figaro to help him navigate the complex and often absurd situations he finds himself in.
5. Interaction with Other Characters: His desperation influences his interactions with other characters, leading to funny and tense moments. His interactions with Figaro, Rosina, and even the housekeeper Berta are colored by his urgent need to win Rosina's heart.
In summary, Count Almaviva's desperation is a central and effective element of his character, driving the plot and providing much of the play's comic and romantic appeal.