Characters
The characters in The Servant of Two Masters are drawn from the
commedia dell’arte, an improvised form of theatre that was popular in
Italy during the Renaissance. Commedia performances were highly
structured improvisations with stock plot devices and stock characters. Goldoni
added dimensions to the characters, but still retained their dominant traits.
Clarice and Silvio are based on the innamorati, or lovers, who are defined
largely by their romantic desires. The lovers are in love with being in love,
yet their passions can turn to anger at the smallest slight. In the play,
Silvio goes from loving Clarice to utterly rejecting her. Conversely, once
Beatrice reveals her disguise, Clarice goes to great lengths to make Silvio beg
for her to return his affections. Both characters are portrayed as innocently
petulant; they do not deliberately hurt anyone except each other. Their
all-consuming love is reflected in the play’s structure as well. Clarice
appears in less than half of the play’s scenes and all of her stage time is
devoted to her relationship with Silvio. Though Silvio’s role is marginally
larger, his character’s focus is still restricted to his love of Clarice.
Beatrice and Florindo represent an interesting counterpoint to Silvio and
Clarice. They are likewise focused on their relationship, yet they display more
depth of character. Goldoni gives both characters larger roles as well as
numerous monologues. In these scenes and speeches, both are able to express
their depth of feeling for each other, which extends far beyond the
love-you/hate-you game playing of Silvio and Clarice. As commedia
evolved, new characters developed to meet the changing needs of the form. For
female actors who achieved a certain level of respect, it was particularly
important to develop characters befitting their reputations. Furthermore, the
commedia performances heroic lovers to help anchor the insanity.
Beatrice and Florindo’s characters represent more mature love and the stakes
are much higher for their relationship. Despite their largely serious nature,
they reveal their connection to lovers like Silvio and Clarice in their
over-the-top suicide attempts. Goldoni uses this comic scene to make sure that
the characters fit into the play.
Dr. Lombardi and Pantalone also parallel each other in The Servant of Two
Masters. The Doctor is father to the impassioned Silvio, while Pantalone
is the father to the spoiled Clarice. In commedia, both characters
wore masks to emphasize their ridiculous natures. In Italian improvisatory
theatre, doctor characters fell into two large categories: medical quacks or
lawyers. In either case, the character was always pompous and long-winded, with
a sizeable belly. In the play, Dr. Lombardi is legally minded, and frequently
quotes Latin to support his ideas and display his knowledge. To soften the
character, Goldoni makes him more thoughtful than his rash son. Dr. Lombardi
repeatedly tries to prevent Silvio’s outbursts and quell his anger. Pantalone
is an even milder version of the improvised character from which he derives his
name. In commedia, Pantalone was very miserly and often lecherous,
despite numerous physical maladies. In the play, Pantalone is far more generous
of spirit, not to mention understanding of his daughter’s tantrums. He also
gladly welcomes back Silvio and Dr. Lombardi at the end of the play when
Beatrice reveals herself.
Truffaldino is based on Arlecchino, who is perhaps one of the farthest-reaching
characters of the commedia dell’arte (his name is often translated as Harlequin). He comes from a long tradition of wily servant characters that were the foundations of improvised Italian farce. What makes the character unique, both in improvisations and in the play, is his duality. Truffaldino is able to be...
(This entire section contains 821 words.)
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both clever and stupid when the plot calls for it. Throughout the play, he is able to come up with lies on the spot to cover up his misdeeds; yet, he is illiterate and cannot separate his two masters when questioned by other characters in the play. The play also retains another key character trait: insatiable hunger. Servants incommedia were frequently ruled by the
unquenched appetites and, in the play, Truffaldino is no different. He spends
the entire first half of the play complaining that his masters will not order
lunch and let him eat. When he has to serve the both at the same time, he
cannot resist tasting all of the food himself. In one of the play’s most famous
sequences, he keeps swallowing bread that he intends to use for resealing a
letter. Truffaldino often functions as a kind of id, unable to control his
desires. In the opening scene, he flirts with Smeraldina repeatedly while
ignoring Pantalone. Florindo likens him to a child, and thus his beating scene
is framed as a spanking for a child who has misbehaved. Goldoni develops the
character over the course of the play, and the final monologue displays a bit
of maturity and allows him to artfully sidestep the repercussions of his
confession.