is a Pierrot that is often very different from the character thus-far described. "Libidinous and unscrupulous," writes Robert Storey, "often spiteful and cruel, he is redeemed only by his criminal innocence." He steals from a benefactress, takes outrageous advantage of a blind man, kills a peddler to procure the garments in which he presumes to court a duchess. This is the Pierrot described by Charles Nodier as a "naive and clownish Satan." (Only when the pantomime has been written by Deburau himself, such as La Baleine [The Whale] of 1833, do we encounter, predictably, a less devilish Pierrot—one in fact deserving of Columbine's hand.) Examples: Pierrot and His Creditors (1836); Pierrot and the Blind Man (1841). The Pantomimic Fairy-Play: The grandest and most popular class of pantomimes—it occupied a third of the Funambules' repertoire—of which there are three subclasses: The Pantomimic Pierrotique Fairy-Play: Pierrot is the only Commedia Dell'Arte character (except Cassander, who sometimes puts in an appearance). Like the action in the other subclasses, the plot here unfolds in fairyland, which is populated by sorcerers and sorceresses, ogres and magicians, fairies and enchanters. Pierrot is usually sent on a quest, sometimes to achieve an amatory goal (for himself or his master), sometimes to prove his mettle, sometimes to redress an injustice. The settings are fantastic and gothic, the action bizarre and frenetic, and the comedy very broad. Examples: The Sorcerer, or The Demon-Protector (1838); Pierrot and the Bogeyman, or The Ogres and the Brats (1840). The Pantomimic Harlequinesque Fairy-Play: The basis for the pantomimes still performed at Bakken in Denmark. In the landscape described above (and populated by the same warring spirits), Harlequin, the lover, carries Columbine off, triggering a pursuit by her papa, Cassander, and his serving-man Pierrot. The end of their adventures is, of course, their union, reluctantly blessed by their pursuers. Examples: Pierrot Everywhere (1839); The Three Hunchbacks (1842). The Pantomimic Harlequinesque Fairy-Play in the English Style: Borrows the "opening" of early nineteenth-century English pantomime: at the rise of curtain, two suitors are in dispute for the same young lady, and her father, a miser, chooses the richer of the two. A fairy appears to protect the sentimentally more deserving (Harlequin, after his transformation)—and to change all the characters into the Commedia types. Then begins the chase. Examples: The Ordeals (1833); Love and Folly, or The Mystifying Bell (1840). Myths about Deburau The people's Pierrot If