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as a famous portrait by Antoine Watteau attests (note title of image at right).

And subsequent artistic/cultural movements found him equally amenable to their cause: the Decadents turned him, like themselves, into a disillusioned disciple of Schopenhauer, a foe of Woman and of callow idealism; the Symbolists saw him as a lonely fellow-sufferer, crucified upon the rood of soulful sensitivity, his only friend the distant moon; the Modernists converted him into a Whistlerian subject for canvases devoted to form and color and line.1639-1697), until the troupe was banished by royal decree in 1697.Among the French dramatists who wrote for the Italians and who gave Pierrot life on their stage were Jean Palaprat, Claude-Ignace Brugière de Barante, Antoine Houdar de la Motte, and the most sensitive of his early interpreters, Jean-François Regnard.There he appeared in the marionette theaters and in the motley entertainments—featuring song, dance, audience participation, and acrobatics—that were calculated to draw a crowd while sidestepping the regulations that ensured the Théâtre-Français a monopoly on "regular" dramas in Paris.The result, far from "regular" drama, tended to put a strain on his character, and, as a consequence, the early Pierrot of the fairgrounds is a much less nuanced and rounded type than we find in the older repertoire. Besides making him a valet, a roasting specialist, a chef, a hash-house cook, an adventurer, [Lesage] just as frequently dresses him up as someone else." In not a few of the early Foire plays, Pierrot's character is therefore "quite badly defined." (For a typical farce by Lesage during these years, see his Harlequin, King of Serendib of 1713.) In the main, Pierrot's inaugural years at the Foires were rather degenerate ones.

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