Other editions of book Scaramouche: a romance of the French revolution

A romantic adventure, Scaramouche tells the story of a young lawyer during the French Revolution. In the course of his adventures he becomes an actor portraying "Scaramouche" (a roguish buffoon character in the commedia dell'arte). He also becomes a revolutionary, politician, and fencing-master, confounding his enemies with his powerful orations and swordsmanship. He is forced by circumstances to change sides several times. The book also depicts his transformation from cynic to idealist...

Dressed in the close-fitting suit of a bygone age, all black, from flat velvet cap to rosetted shoes, his face whitened and a slight up-curled moustache glued to his upper lip, a small-sword at his side and a guitar slung behind him, Scaramouche surveyed himself in a mirror, and was disposed to be sardonic—which was the proper mood for the part. He reflected that his life, which until lately had been of a stagnant, contemplative quality, had suddenly become excessively active. In the course of one week he had been lawyer, mob-orator, outlaw, property-man, and finally buffoon. Last Wednesday he had been engaged in moving an audience of Rennes to anger; on this Wednesday he was to move an audience of Guichen to mirth. Then he had been concerned to draw tears; to-day it was his business to provoke laughter. There was a difference, and yet there was a parallel. Then as now he had been a comedian; and the part that he had played then was, when you came to think of it, akin to the part he was to play this evening. For what had he been at Rennes but a sort of Scaramouche—the little skirmisher, the astute intriguer, spattering the seed of trouble with a sly hand? The only difference lay in the fact that to-day he went forth under the name that properly described his type, whereas last week he had been disguised as a respectable young provincial attorney. He bowed to his reflection in the mirror. "Buffoon!" he apostrophized it. "At last you have found yourself. At last you have come into your heritage. You should be a great success." Hearing his new name called out by M. Binet, he went below to find the company assembled, and waiting in the entrance corridor of the inn. He was, of course, an object of great interest to all the company. Most critically was he conned by M. Binet and mademoiselle; by the former with gravely searching eyes, by the latter with a curl of scornful lip. "You'll do," M. Binet commended his make-up. "At least you look the part." "Unfortunately men are not always what they look," said Climene, acidly. "That is a truth that does not at present apply to me," said Andre-Louis. "For it is the first time in my life that I look what I am." Mademoiselle curled her lip a little further, and turned her shoulder to him. But the others thought him very witty—probably because he was obscure. Columbine encouraged him with a friendly smile that displayed her large white teeth, and M. Binet swore yet once again that he would be a great success, since he threw himself with such spirit into the undertaking. Then in a voice that for the moment he appeared to have borrowed from the roaring captain, M. Binet marshalled them for the short parade across to the market-hall. The new Scaramouche fell into place beside Rhodomont. The old one, hobbling on a crutch, had departed an hour ago to take the place of doorkeeper, vacated of necessity by Andre-Louis. So that the exchange between those two was a complete one. Headed by Polichinelle banging his great drum and Pierrot blowing his trumpet, they set out, and were duly passed in review by the ragamuffins drawn up in files to enjoy so much of the spectacle as was to be obtained for nothing. Ten minutes later the three knocks sounded, and the curtains were drawn aside to reveal a battered set that was partly garden, partly forest, in which Climene feverishly looked for the coming of Leandre. In the wings stood the beautiful, melancholy lover, awaiting his cue, and immediately behind him the unfledged Scaramouche, who was anon to follow him.

Set against the backdrop of the French Revolution, Scaramouche starts off when Andre-Louis Moreau vows revenge after his best friend was killed in a mockery of a duel by an arrogant nobleman, Marquis de la Tour d'Azyr. With his courage, intelligence and quick wit, Moreau excels as a skilled dramatic actor, a scenario writer, a fencing master, a lawyer, a passionate orator and eventually as a politician, and throughout this he keeps on upsetting the aristocratic Marquis de la Tour d'Azyr in his pursuits. During all this time, the expectation towards the final confrontation between these two men builds up until it is finally settled in an unexpected way. However, being a man who can fight equally well with his sword, his mind, his pen, as well as his mouth, Moreau stays true to his morality and does not allow his quest to destroy the nobleman cloud his judgement as the world around him spirals into total chaos, testing his human character and spirit to the utmost. Filled with exciting swashbuckling action and adventure, duels, romance, intrigue and politics, Scaramouche remains one of the most stimulating and engaging historical action-adventure novels ever written.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Scaramouche is an historical novel by Rafael Sabatini, originally published in 1921. A romantic adventure, Scaramouche tells the story of a young lawyer during the French Revolution. In the course of his adventures he becomes an actor portraying "Scaramouche" (a roguish buffoon character in the commedia dell'arte). He also becomes a revolutionary, politician, and fencing-master, confounding his enemies with his powerful orations and swordsmanship. He is forced by circumstances to change sides several times. The book also depicts his transformation from cynic to idealist.The three-part novel opens with the memorable line: "He was born with a gift of laughter and a sense that the world was mad." This line was to become Sabatini's epitaph, on his gravestone in Adelboden, Switzerland.Andre-Louis Moreau, educated as a lawyer, lives in the village of Gavrillac in Brittany with his godfather Quentin de Kercadiou, the Lord of Gavrillac, who refuses to disclose Moreau's parentage. Moreau has grown up alongside Aline, Kercadiou's niece, and their relationship is as cousins. Because he loves her as a cousin, he warns her against marrying the Marquis de la Tour d'Azyr; however, she is ambitious and wishes to marry high, so she ignores him. A peasant, Mabey, is shot by the gamekeeper of the Marquis de la Tour d'Azyr, on the Marquis's instructions, for poaching. The idealistic Philippe de Vilmorin, Moreau's closest friend and seminarian, denounces the act as murder. While pleading for justice with the Marquis, Vilmorin is provoked to a duel with the Marquis and killed for his "gift of eloquence", which the Marquis fears would set the Third Estate against the privileged estates.Moreau then vows to avenge the death by undertaking Vilmorin's work, even though Moreau himself doesn't believe in the cause. He sets off from Gavrillac for Rennes to the King's lieutenant in Brittany to see justice done. After being brushed off by the arrogant official, who refuses to act against a man of the Marquis' status, Moreau discovers a large political gathering where one of the speakers against the nobility's excesses has been assassinated. Much to the surprise of his peers (who thought him on the side of the aristocracy), he delivers convincing rhetoric, using Vilmorin's arguments. Moreau goes on to Nantes and, using the name "Omnes Omnibus", whips up the crowds there. These events set the stage for the French Revolution and make Moreau a wanted man.To hide from the law, Moreau joins a troupe of travelling Commedia dell'Arte actors under M. Binet. He takes on the role of Scaramouche, the scheming rogue. He discovers an aptitude for acting and writing, which propels the troupe from near-poverty to success which eventually takes them to the Feydau theatre in Nantes. Binet, who plays "Pantaloon", grows ever more resentful of Moreau and his influence in the troupe. Moreau becomes engaged to Binet's daughter Climene, but after Andre-Louis' revelation that he is not of noble birth, she (to her father's delight) accepts a proposition from the Marquis to become his mistress.Aline learns of the affair and, furious with La Tour d'Azyr for carrying on with Climene while he is supposed to be wooing her (Aline), breaks off relations with him. The Marquis, now notorious for brutally quelling an uprising in Rennes, is lying low in Nantes. When the Marquis attends a performance, Moreau reveals the latter's presence to the audience and sparks a riot. When Binet, furious for being ruined, attacks him, Moreau shoots him in self-defence. Binet is wounded, and Moreau escapes. It is later learned that during Binet's recovery, his entire troupe deserted him and actually thrived without him, and that both he and his daughter (who had been "dumped" by the Marquis following the riot) are both completely ruined.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Scaramouche is a stock clown character of the Italian commedia dell'arte. The role combined characteristics of the zanni (servant) and the Capitano (masked henchman). Usually attired in black Spanish dress and burlesquing a don, he was often beaten by Harlequin for his boasting and cowardice. Although Tiberio Fiorillo (1608–1694) was not the first to play the role, he greatly developed and popularized it. He removed the mask, used white powder on his face, and employed grimaces.He had a small beard, long mustache, and wore a predominantly black costume with a white ruff. In France he became known as Scaramouche. In the 19th century the English actor Joseph Grimaldi and his son J. S. Grimaldi made numerous appearances as Scaramouche. Scaramouche entertains the audience by his "grimaces and affected language". Salvator Rosa says that Coviello (like Scaramouche) is "sly, adroit, supple, and conceited". In Molière's The Bourgeois Gentleman, Coviello disguises his master as a Turk and pretends to speak Turkish. Both Scaramouche and Coviello can be clever or stupid—as the actor sees fit to portray him.

“Last Wednesday he had been engaged in moving an audience of Rennes to anger; on this Wednesday he was to move an audience of Guichen to mirth....” Once he was André-Louis Moreau, a lawyer raised by nobility, unconcerned with the growing discontent among France’s lower class—until his friend was mercilessly struck down by a member of the aristocracy. Now he is Scaramouche. Speaking out against the unjust French government, he takes refuge with a nomadic band of actors and assumes the role of the clown Scaramouche—a comic figure with a very serious message…. Set during the French Revolution, this novel of swashbuckling romance is also a thought-provoking commentary on class, inequality, and the individual’s role in society—a story that has become Rafael Sabatini’s enduring legacy.