AS A theatrical producer with catholic tastes in entertainment, I am
delighted to welcome this exhaustive and entertaining study of the
progress of the down Harlequin from his clumsy beginnings to his
highly developed technical adroitness in Drury Lane spectacle. There
are many--we may sometimes be inclined to think far too many--
books written on Theatre. Yet for the many that need never have been
written, there are always a few that add to our knowledge of the long
history and tradition of drama. These are invaluable, for how else can
we seize upon and preserve for posterity so evanescent a form, that
dies and is reborn with every performance? For me, this book is
among that select few, since it secures within its covers the total history
of one of the most exciting theatrical figures ever conceived. Harle-
quin, and the Italian comedy in which he was generated, had a turbu-
lent history and an immense influence upon drama, and later upon
cinema and ballet, an influence persisting to the present day.

As an old friend, I am delighted that the author has successfully
completed a work I know to be a very real labour of love. Some few
years ago, when we were working together upon our joint study of
Chaplin, we found ourselves discussing Harlequin: for it is impossible
to touch upon the world of great clowns and mimes without finding
Harlequin and Chaplin in juxtaposition. In that sense, it may be said
that our joint effort led to this book; for this biography of Harlequin
sheds light upon the universal kinship and appeal of all clowns.

Harlequin's form changed with the changing years: the coarse
humour and elementary slapstick of his early days became the wit
and acrobatic control of a later age, until he had turned into the
shining dancer of pantomime. Yet throughout he kept in touch with
the common man; Italian yokel, French gallant, English pantomime
hero, he was one with his audiences, as are all great clowns.

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