The Braggart in Italian Renaissance Comedy
The chief purpose of this paper is to describe one phase of the domestication of Latin drama on the Renaissance stage, specifically to show how a conventional type made famous by the Roman comedians, the miles gloriosus, was fashioned by the academic playwrights of sixteenth-century Italy into an instrument of contemporary satire. A secondary aim is to provide a fuller literary background for the study of the braggart in Elizabethan drama. Such analysis requires a summary of themes, situations, and attitudes that have enriched the comic tradition of Europe, and demands also a definition of the comic spirit that exposes and derides the vainglorious folly of the alazon or boaster who struts and brags of his merits in utter disregard of truth. Menander and his disciples in Latin comedy developed a satiric method which the Italians borrowed for the ridicule of modern representatives of the alazon. Any consideration of the commedia erudita must also be prefaced by a review of the political conditions in Italy that brought to prominence such hated types as the Spaniard and other mercenary soldiers. This paper describes the rôle of the Spaniard and traces the evolution of the braggart from the imitations of Plautus and Terence, through the modifications of conventional themes, and finally to the new elements inspired by the changed domestic conditions of the peninsula.