The Capitano talked a mixture of Neapolitan and Spanish. His part, which required to be sustained at a high pitch of burlesque upon a single note of bragging insolence, was not unfrequently written, and none of these fixed characters assumed more stereotyped outlines. The _Miles Gloriosus_ of Latin comedy reappeared in him, and helped to mould the modern type. The ramifications of this character were innumerable. A celebrated actor, Francesco Andreini (born at Pistoja in 1548), helped to create its form. He called himself "Capitan Spavento da Valle Inferna." Then followed Ariararche, Diacatolicon, Leucopigo and Melampigo (white and black buttocks), Coccodrillo, Matamoros, Scaramuccia (created by Tiberio Fiorelli of Naples), Fracassa, Rinoceronte, Giangiurgolo, Bombardon, Meo Squaquara, Spezzaferro, Terremoto. The list might be prolonged until the page was filled. Every variety of the burlesque son of Mars, from a delicate Adonis to a fire-eater, obtained impersonation from one or other able sustainer of the part. And a host of minor bastard braggarts, like the Trasteverine Meo Patacco, perpetuated the fun long after the great Capitano had quitted the public stage. Some of these types survive in literature. Scaramouche is known to us, and Gautier has immortalised Fracasse.
In the rabble which follows this noisy band of warriors we discern several buffoons of the long-robed tribe--Neapolitan Pancrazio, Biscegliese, and Cucuzzietto, Sienese Cassandro and Roman Cassandrino--who have more or less affinity with the Dottore. Il Pedante walks apart, and attracts attention by his Maccaronic Latin and eccentric morals. He has the poems of Fidenzio Glottogrysio in his hands, which he presses on the attention of a smooth-chinned pupil.[41] Don Fastidio distinguishes himself from the vulgar herd by his enormous nose, and lantern jaws, and long lean figure, and preposterous citations from the law reports of Naples. Cavicchio tells silly tales and sings his Norcian songs. Il Desávedo burlesques the "dude" of Parma, and Narcisino plays the "masher" of Bologna to the life. Burattino comes upon the stage in a score of disguises, now gardener, now shopkeeper, now valet, always the fool and knave combined, impostor and imposed on.[42] The Notajo, with huge spectacles upon his nose and swan's quill stuck behind his spreading ears, murmuring a nasal drawl, and tripping himself up at every step in his long skirts, leads up the rear. Rope-dancers, ballerini, Pasquarielli, Pierrots, conclude the show, dancing and pirouetting after their more vocal comrades.