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Rh filled by the various characters of Pulcinella, Harlequin, Scaramouch, the Doctor, and others, were exhibited only before the rabble of the community: the contrary might be satisfactorily established. The most dignified and the gravest not infrequently laid aside their dignity and their gravity; and, like Leo X., rejoiced in the broadest representations of the buffoons. Dr. Moore, who wrote his "View of Society in Italy," 8vo., 1781, confesses that he and the Duke of Hamilton, going to the performance with all possible prejudices against it, were delighted: he especially dwells upon a most ludicrous scene, in which Harlequin made a stammerer bring out a word which had been sticking in his throat for a quarter of an hour, by striking him on the back, as nurses strike a choking infant. We have since seen a refined French auditory laugh heartily at the very same incident, the only difference being, that Potier was not dressed as Harlequin, nor Brunet as Pulcinella.

At various periods, the adventures of Punch have been differently represented and misrepresented, and innovations have been introduced, to suit the taste and to meet the events of the day. One attempt of this sort was made in Fielding's time, in consequence of the extreme popularity of "the Provoked Husband." He complains ("Tom Jones," Book 12, chap. 5,) that a puppet-show, witnessed by his hero, included "the fine and serious part" of the comedy we have named. He then proceeds, from the mouth of Jones, to shew its inferiority to the old exhibition of Punch and his wife, (whom he miscalls Joan, by some strange forgetfulness,