In 1922 the dance historian Cyril Beaumont contributed to the Dancing Times an article on the history of Harlequin, which as a result of continuous research since that period grew into the present volume. It covers the history of Harlequin, and of the Commedia dell'Arte, from their beginnings in the 16th century through their heydays in the 17th and 18th century and their gradual decline thereafter. The book includes more than 40 illustrations and the complete text of a Harlequinade from 1806, together with a dance for a Harlequin in Feuillet notation.

The commedia dell'arte was an improvised drama performed by masked players. How did the actors react to these demands and limitations? What force kept this form of theatre alive for more than two centuries and made Harlequin such a potent image? In this study of the commedia dell'arte, originally published in 1987, Professor Nicoll's concern is not to provide an historical survey of its origins or to trace the ascent and descent of Harlequin or any or any other character or 'mask', but rather to explore critically the answers to these and related questions. His arguments are based on the evidence of the play scenarios and contemporary documents as far as possible, and are illuminated by many illustrations that are either little-known or had not previously been reproduced.

'They will play with us, then destroy us... They are what we fear in the dark.' The first warning is unexpected, calculated. The second warning is a gift: a plain white mask, carefully wrapped. But white is good - white means we are only being watched. It seems the power that connects me, Anita Blake, with Jean-Claude Vampire Master of the City and Richard, leader of the werewolves, is attracting very unwelcome attention - from creatures so feared no vampire will willingly speak their name. They are known as the Harlequin, and they have the authority to pass judgement upon me. It is forbidden to speak of the Harlequin unless you've been contacted. And to be contacted is to face a sentence of death.

At the end of their rope in the City of Light, two women discover the healing magic of friendship in this heartfelt novel from “a master storyteller” (Booklist). To celebrate their twenty-fifth wedding anniversary, Grace planned a surprise getaway in Paris for her and her husband. But now he has a surprise of his own: he wants a divorce. Reeling from the shock but refusing to be broken, Grace makes the bold decision to go to Paris alone. Audrey, a young woman from London, left behind her own heartache when she arrived in Paris. Working in a bookshop seems like her ticket to freedom, but with no money and terrible French, she may wind up spending the summer wandering the cobbled streets alone . . . until she meets Grace, and everything changes. Grace can’t believe how daring young Audrey is. Audrey can’t believe how cautious newly single Grace is. Living in neighboring apartments, this unlikely pair offer each other just what they’ve both been missing. They came to Paris to find themselves, but finding this unbreakable friendship might be the best thing that’s ever happened to them . . .

Commedia dell'arte is the first modern theater - inspiration to Shakespeare, Moliere, Goldoni, Mozart, and Balanchine and forerunner of the modern stage comedy. This book traces the history of commedia from its beginnings through many transformations to its rediscovery in the experimental theater of today. The depiction of commedia in the visual arts has a rich history. From Tiepolo and Watteau to Beardsley, Picasso, Hockney, and other modern masters, painters have found great resonance and meaning in the clowns and lovers of commedia. Lynne Lawner traces all these threads, unearthing rare texts of commedia plays, discovering myriad versions of the ever-fascinating Harlequin, Pierrot, Columbine, and Pulcinella, relating the gossip of courts and theaters, and revealing the ways in which these figures and their classic stories - the sly servant, the foolish soldier, the clever maid, the quack doctor - have arisen again and again in art.