HARLEQUIN  , in See also:

• MODERN

modern See also:

• PANTOMIME

pantomime, the posturing and acrobatic See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character who gives his name to the " harlequinade," attired in See also:

• MASK (Fr. masque, apparently from med. Lat. mascus, masca, spectre, through Ital. maschera, Span. mascara)

mask and parti-coloured and spangled tights, and provided with a See also:

• SWORD (0. Eng. sweord; ultimately from an Indo-European root meaning to wound)

sword like a See also:

• BAT

bat, by which, himself invisible, he See also:

• WORKS

works wonders . It has generally been assumed that Harlequin was transferred to See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France from the "Arlecchino" of See also:

• ITALIAN

Italian See also:

• MEDIEVAL

medieval and See also:

• RENAISSANCE, THE

Renaissance popular See also:

• COMEDY

comedy; but Dr Driesen in his Ursprung See also:

• DES

des Harlekins (See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, 1904) shows that this is incorrect . An old See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French " Harlekin " (Herlekin, Hellequin and other variants) is found in folk-literature as See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early as 1100; he had already become proverbial as a ragamuffin of a demoniacal See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance and character; in 1262 a number of harlekins appear in a See also:

• PLAY

play by See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam de la See also:

• HALLE (known as HALLE-AN-DER-SAALE, t0 distinguish it from the small town of Halle in Westphalia)
• HALLE, SIR CHARLES (originally KARL HALLE) (1819-1895)

Halle as the intermediaries of See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King Hellekin, See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

prince of Fairyland, in courting See also:

• MORGAN
• MORGAN, DANIEL (1736-1802)
• MORGAN, EDWIN DENNISON (1811-1883)
• MORGAN, JOHN HUNT (1825-1864)
• MORGAN, JOHN PIERPONT (1837–1913)
• MORGAN, LEWIS HENRY (1818-1881)
• MORGAN, SYDNEY, LADY (c. 1783-1859)
• MORGAN, THOMAS (d. 1743)

Morgan le See also:

• FAY, ANDRAS (1786–1864)

Fay; and it was not till much later that the French Harlekin was transformed into the Italian Arlecchino . In his typical French See also:

• FORM (Lat. forma)

form down to the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time of See also:

• GOTTSCHED, JOHANN CHRISTOPH (1700-1766)

Gottsched, he was a spirit of the See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air, deriving thence his invisibility and his characteristically See also:

• LIGHT

light and aery whirlings . Subsequently he returned from the Italian to the French See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage, being imported by See also:

• MARIVAUX, PIERRE CARLET DE CHAMBLAIN DE (1688-1763)

Marivaux into light comedy; and his various attributes gradually became amalgamated into the latter form taken in pantomime .