The dominant form of in Britain during the eighteenth century was pantomime, a confection of music, spectacle, and dance, which outgrew its origins in the medley of afterpieces attached to regular drama to become the theater's most viable commercial form. Despite fierce resistance from the Augustan literary establishment, pantomime's freedom from traditional critical rules made it the vehicle of choice for many of the most important innovators of the period. Central to its success was the figure of Harlequin, a lord of misrule derived from the continental commedia dell'arte tradition, whose talismanic magic sword and priapic desire for his mistress Columbine provided a flexible template for a variety of different kinds of dramatic narrative from tragedy to farce to oriental tale. Appropriately for such an irrepressible character, Harlequin has undergone something of a renaissance in recent years and now finds himself lending his name to the titles of two recent books dealing with eighteenth-century popular British drama. John O'Brien's Harlequin Britain: Pantomime and Entertainment, 1690-1760 explores the origins of pantomime in the entertainment of the first half of the eighteenth century, taking a fine comb to its shifting cultural meanings and its gradual emergence from early controversy into a legitimate form patronized by the polite and tolerated by the literary. If O'Brien's focus is necessarily limited to the squabbles of a London elite coming to terms with the mass culture that the later Enlightenment took for granted, David Worrall's Harlequin Empire: Race, Ethnicity and the Drama of the Popular Enlightenment plots the wider results of this struggle for authority as its effects ripple out via the Anglophone world's theatrical network into provincial market towns and the former colonies in America. Resisting recent accounts that have emphasized the ideological content of Romantic-period drama, Worrall describes a transatlantic stage that is often wrong-headed and contradictory in its engagement with the wider world, but that also articulates surprisingly diverse and unpredictable attitudes to racial and national difference.