tinued: many living can remember the introduction of "snatches of old songs," and parodies of popular ballads by Punch. Steele makes mention of Powell's "books;" but, in all likelihood, they were not books of his performances, which in our day, and for our purpose, would be great curiosities.
At all events, there is certain ground for concluding that the adventures of Punch, as represented in this country, did not by any means always consist of that series in which they are now usually performed; and although we are not in a condition to adduce distinct proof upon the point, we cannot help thinking that the introduction and popularity of "Don Juan" contributed mainly to the arrangement of the performance as it is now daily exhibited.[1] We have consulted some persons whose age is sufficiently advanced to enable them to supply the information, and they agree that about that period the character of Punch certainly underwent a material change. Although we are inclined to favour this hypothesis, we must allow that the story, as displayed on some parts of the continent at the present moment, bears many features of strong resemblance to the fable of the piece as shewn in Great Britain.[2] We here advert to Punch in the puppet-show, and not on the stage in Italy.
The original of "Don Juan" is generally allowed to be Spanish: in that language, it is called Il Convidado di Pietra, and its author was Tirso de Molina. It was played- ↑ Hone, in his account of the "Mysteries," &c. draws a parallel between the two; but, in order to render it more obvious, he a little perverts the story of Punch, particularly in the catastrophe.
- ↑ It seems hardly likely that this change was earliest effected in Italy; for when Goldoni brought out his "Don Juan," he for the first time left out Harlequin, and introduced other comic characters in his place, as he himself informs us in his Memoirs (vol. 1, p. 311, edit. Paris, 1787.) In the Convidado di Pietra, to which the Italians had been accustomed, Harlequin on one occasion saves himself by swimming, with the aid of a couple of bladders. Sacchi was the most famous Harlequin of his day, and is highly extolled by Goldoni, who wrote several pieces expressly for him.
