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Pedrolino
Pedrolino is a ''primo zanni'', or comic servant, of the ''Commedia dell'Arte''; the name is a hypocorism of ''Pedro'' (Peter), via the suffix ''-lino''. The character made its first appearance in the last quarter of the 16th century, apparently as the invention of the actor with whom the role was to be long identified, Giovanni Pellesini. Contemporary illustrations suggest that his white blouse and trousers constituted "a variant of the typical ''zanni'' suit",〔Katritzky, p. 248.〕 and his Bergamasque dialect marked him as a member of the "low" rustic class.〔So asserted Bartolomeo Rossi in the foreword to his 1584 pastoral play ''Fiamella'', (p. 3 ). See also Andrews, p. xxiv.〕 But if his costume and social station were without distinction, his dramatic role was certainly not: as a multifaceted "first" ''zanni'', his character was—and still is—rich in comic incongruities. Many Commedia historians make a connection between the Italian Pedrolino and the later Pierrot of the French Comédie-Italienne, and, although a link between the two is possible, it remains unproven and seems unlikely, based on the scant evidence of early Italian scenario texts.〔Andrews, pp. xxv–xvi.〕
==Type, plot-function, and character==
Pedrolino appears in forty-nine of the fifty scenarios of Flaminio Scala's ''Il teatro delle favole rappresentative'' (1611) and in three (undated) pieces of the "Corsini" collection of manuscripts;〔The Scala scenarios have been translated by Salerno; the plots of the "Corsini" pieces have been summarized by Pandolfi (V, 252-76). As Storey (1978) notes, at least one of Pandolfi's summaries "gives indication that () may enjoy here different nuances of character from those of Scala's ''zanni'': in ''Il Granchio'' (Crab ) he appears to be a father on equal footing with Pantalone" (p. 15, n. 23).〕 he also appears (as "Pedrolin") in a 1587 scripted comedy by Luigi Groto, (''La Alteria'' ). All of these provide evidence of how he was conceived and played. He is obviously a type of what Robert Storey calls the "social wit", usually incarnated as "the go-between, the willing servant, the wily slave" who "survives in serving others".〔Storey (1996), pp. 170, 171.〕 In the Scala scenarios, which offer the most revealing showcase of his character, he is invariably cast as the "first" ''zanni'', a type to be distinguished from the "second" ''zanni'' by his or her function in the plot. The Commedia critic and historian Constant Mic clarifies the distinctions when he notes that the first ''zanni''
instigates confusion quite voluntarily, () the second creates disturbance through his blundering. The second ''zanni'' is a perfect dunce; but the first sometimes gives indication of a certain instruction. ... ''The first'' zanni ''incarnates the dynamic, comic element of the play, the second its static element''.〔Mic, p. 47; tr. Storey (1978), p. 13 (emphasis Storey's).〕
Since his function is "to keep the play moving",〔Storey (1978), p. 13.〕 Pedrolino seems to betray, in Storey's words, "a Janus-faced aspect": "He may work cleverly in the interests of the Lovers in one play—''Li Quattro finti spiritati'' (Four Fake Spirits ), for example—by disguising himself as a magician and making Pantalone believe that the 'madness' of Isabella and Oratio can be cured only by their coupling together; then, in ''Gli avvenimenti comici, pastorali e tragici'' (Pastoral, and Tragic Events ), indulge his capricious sense of fun by compounding the young persons' misfortunes."〔Storey (1978), pp. 15-16.〕 So multiform is his character that his cleverness can often give way to credulity (as when he is tricked into believing that he was drunk when he learned of his wife's infidelity and so merely imagined the whole affair) and his calculation can sometimes be routed by grotesque sentimentality (as when he, Arlecchino, and Burratino share a bowl of macaroni, the three blubbering all the while).〔The parenthetical examples are from two plays in the Scala collection, (''La Fortunata Isabella'' (Lucky Isabella) ) and ''Il Pedante'' (The Pedant).〕 Despite such inconsistencies in character and behavior, he has (or at least had, for his Renaissance audiences) an "instantly recognizable" identity. "The recognizability came," as Richard Andrews writes, "from his costume; from his body language; and most of all from his style of speech, which for Italian audiences was based on a regional dialect as well as more personal idiosyncrasies."〔Andrews, pp. xix, xx.〕 That recognizability also arose from his puckish love of mischief: "He takes a child-like delight in practical jokes and pranks," as a modern-day practitioner of the Commedia writes, "but otherwise his intrigues are on behalf of his master. ... At times, however, the best he can scheme for is to escape the punishment others have in store for him."〔Rudlin, p. 136.〕 Naively volatile, he can be moved to violence when angry, but, in obedience to the conventions of comedy, his pugnaciousness is usually deflected or foiled.
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