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Harlequin (Arlecchino in Italian, Arlequin in French) is the most popular of the zanni or comic servant characters from the Italian Commedia dell'Arte.

Alichino and other demons handling souls from the pitch for Dante and Virgil (Giovanni di Paolo, 15th century).

Although illustrations of Arlecchino have only been dated as far back as 1572, the character had existed prior to this date. The origins of the name are uncertain: some say it comes from Dante's Inferno, XXI, XXII and XXIII; one of the devils in Hell having the name Alichino.

Others maintain that the name comes come from Harlenkoenig, a Scandinavian hero.^{[citation needed]} Another hypothesis states that the name is derived from Harlay, an English gentleman of the court of Henri III, who had protected an Italian actor.^{[citation needed]} Still another unproveable theory states that it came from Old High German Karalchin (little man), similar to the name Mannekin or Manneken.^{[citation needed]}

Popular theories suggest that he may have emerged from France, Africa, or Italy.^[1]

Harlequin, year 1761 by Maurice Sand

The notion that the Harlequin motif grew out of France is evidenced by Hellequin, a stock character in French passion plays. Hellequin, a black-faced emissary of the devil, is said to have roamed the countryside with a group of demons chasing the damned souls of evil people to Hell. The physical appearance of Hellequin offers an explanation for the traditional colours of Harlequin's mask (red and black).^[1]

A third potential origin for the Harlequin is that he simply evolved from a Zanni archetype who, although a slow thinker, was acrobatic and nimble.^[2] Interpreted thus, Harlequin's distinctive motley costume may be a stylized variant of Zanni's plain white garb, designed to reflect the ad-hoc patching necessary to prevent the garment's degradation.

The primary aspect of Arlecchino was his physical agility.^[1][2] While generally depicted as stupid and gluttonous, he was very nimble and agile, and performed the sort of acrobatics the audience expected to see. The character would never perform a simple action when the addition of a cartwheel or backflip would spice up the movement.

Within these restrictions the character was tremendously elastic. Various troupes and actors would alter his behavior to suit style, personal preferences, or even the particular scenario being performed. Some of the most famous actors were Tomaso Visentini ("Thomassin"), who performed with the Comédie Italienne in 18th century France, and Tristano Martinelli.^[2]

He is typically cast as the servant of an innamorato or vecchio much to the detriment of the plans of his master. Arlecchino often had a love interest in the person of Columbina, or in older plays any of the Soubrette roles, and his lust for her was only superseded by his desire for food and fear of his master. Occasionally, Arlecchino would pursue the inamorata, though rarely with success, as in the Recueil Fossard of the 16th century where he is shown trying to woo Donna Lucia for himself by masquerading as a foreign nobleman. He also is known to try to win any given lady for himself if he chances upon anyone else trying to woo her, by interrupting or ridiculing the new competitor.

Despite Arlecchino's agility of body, his mind does not entertain the same capacities. He is a slow thinker, with some versions portraying him as able to entertain only one thought at a time ^[2] - and he is often capable of confusing that. This leads to a range of situations, including Lazzi where Arlecchino is tricked into thinking he himself is dead, when other more wily characters of the Commedia dell'Arte point out a range of unlikely symptoms. Pierre Louis Duchartre says that Arlecchino desperately tries to hide his lack of brains, to the point of seeming malicious in so doing; as in one scenario where Arlecchino is diguised as a doctor and prescribes ridiculous "remedies" that would certainly prove fatal if undergone.

He eventually became something more of a romantic hero around the 18th century, when his popularity provoked the Harlequinade.

Duchartre lists the following as variations on the Harlequin role:

Trivelino or Trivelin. Name is said to mean "Tatterdemalion." One of the oldest versions of Harlequin, dating to the 15th century. Costume almost identical to Harlequin's, but had a variation of the 17th century where the triangular patches were replaced with moons, stars and triangles.

Truffa, Truffaldin or Truffaldino. Popular characters with Gozzi and Goldoni, but said to be best when used for improvisations. By the 18th century was a Bergamask caricature.

Guazetto. Costume like the old Zanni's but accessorized with a sort of poncho, or otherwise a giant three-tiered collar. Known for his dancing.

Zaccagnino. Character dating to the 15th century.

Bagatino. A juggler.

Harlequin dancing with Columbina.

In today's culture, harlequins are seen quite often, especially in the New Orleans Mardi Gras celebrations. Harlequins frequently appear in pop culture, such as Harley Quinn from the Batman series and Harle from Square Enix's game Chrono Cross.

The main character of Neil Gaiman's "Harlequin Valentine" (based on the ticket seller of Lisa Snellings-Clark's sculpture Crowded After Hours), invokes the spirit of Harlequin as he pursues his Columbina.

Harlequin type ichthyosis, a congenital skin condition, was named after the characteristic costume of this character.

Marlow, in Joseph Conrad's Heart of Darkness compares the Russian to a Harlequin, because his clothes resemble the traditional Harlequin costume. (Conrad, Joseph., "Heart of Darkness," (1902) Dover Thrift, New-York, 1990)

Agatha Christie wrote a number of short stories about The Mysterious Mr. Quin, an almost-supernatural figure who helps the elderly Mr. Satterthwaite to solve mysteries.

Dorothy L. Sayers has Lord Peter Wimsey investigate a murder, while masquerading as a harlequin in the book, Murder Must Advertise.

Philip Sparke is a composer who wrote "Harlequin" for concert band, a piece which takes its inspiration from the happy and sad faces from the Italian Comedia Dell'Arte. It is a work in two movements; a slow ballad followed by a frenetic faster movement. The piece was dedicated to and had a solo for David Childs. David and Steven Mead are both euphonium virtuoso willingly head by a broad audience.

In the movie Moulin Rouge! there is a harlequin can can dancer.

Death Metal band Opeth has a song entitled "Harlequin Forest" on their 2005 album Ghost Reveries.

In the tabletop strategy game Warhammer 40,000, the Harlequins are an enigmatic group of the Eldar known for using misdirection and confusion when they fight. Their clothing is a stylized version of the original harlequin costume.

In Tim Burton's The Nightmare Before Christmas, one of the residents of Halloween town is the Harlequin Demon, a tentacle-headed monster with a pattern on its skin similar to the original harlequin costume.

Harlequins are mentioned in the song Lying Is The Most Fun A Girl Can Have Without Taking Her Clothes Off by Panic! At The Disco. "Testosterone boys & Harlequin girls: will you dance to this beat- and hold a lover close?"

In Bernard Cornwell´s The Grail Quest trilogy, the leading character, Thomas of Hookton, searchs for revenge after the murder of his father, and follows the track of a misterious man called the Harlequin. He discovers that this man is in fact his cousin, Guy Vexille, who is working with powerful figures within the Catholics to find out the Holy Grail itself. The trilogy ends with the final battle between the two cousins.

• Pierre Louis Ducharte, The Italian Comedy