= "wing-case"]) all contribute to the ambiguous black comedy of the poem. Synopsis In a familiar dichotomy of the Symbolists, Pierrot lunaire occupies a divided space: a public realm, over which the sun presides, and a private realm, dominated by the moon. The waking, sunlit world, populated by Pierrot's Commedia dell'Arte companions, is marked by deformity, degeneracy, avarice, and lust. Its Crispins are "ugly", and its Columbine "arches her back", apparently in expectation of sexual pleasure (1: "Theater"). The meretriciously multicolored Harlequin—"shining like a solar spectrum" (11: "Harlequin")—is an "artificial serpent" whose "essential goal" is "falsehood and deceit" (8: "Harlequinade"). An old serving-woman connives in his scheming by accepting a bribe to procure Columbine's favors (11: "Harlequin"). These puppets live under a sky swarming with "sinister black butterflies" that "seek blood to drink", having "extinguished the sun's glory" with their wings (19: "Black Butterflies"). The sun itself is nearing the end of that glory: at its setting it seems like a Roman reveler, "full of disgust", who slits his wrists and empties his blood into "filthy sewers" (20: "Sunset"). It is a "great sun of despair" (33: "The Storks"). Pierrot is of the dreaming, moonlit world. His is an enchanted interior space, in which sequestered violins are caressed by moonbeams, thereby setting their souls, "full of silence and harmony", thrumming (32: "Lunar Violin"). He lives there as an aloof isolato, encountering in a "sparkling polar icicle" a "Pierrot in disguise" (9: "Polar Pierrot") and seeking, "all along the Lethe", not Columbine the fickle woman but her ethereal floral namesakes—"pale flowers of moonbeams/Like roses of light" (10: "To Columbine"). The moon is, aptly, a "pale washerwoman" (5: "Moon over the Wash-House") whose ablutions minister chiefly to the mind. For Pierrot has lost the happy enchantments of the past: the moribund pantomimic world seems "absurd and sweet, like a lie" (37: "Pantomime"), and the "soul" of its old comedies, to which he sometimes mentally propels himself, with an imaginary oar of moonlight (36: "Pierrot's Departure"), is "like a soft crystal sigh" bemoaning its own extinction (34: "Nostalgia"). Now, at the end of the century, Pierrot resides in a "sad mental desert" (34: "Nostalgia"). He is bored and splenetic: "His strange, mad gaiety/Has flown away, like a white bird" (15: "Spleen"). Too often the moon seems like a "nocturnal consumptive" tossing about on the "black pillow of the skies", deceiving the "carefree lover