CARNEVALE. – A period of revelry and entertainment before the start of Lent. The most common etymology derives the term *c.* from *carnem levare* ("to remove meat"), alluding to the abstinence from meat imposed during Lent. The starting date of *c.* varies according to local tradition. In some parts of France, it begins at Christmas, in others at New Year, and in others still—such as Sicily—at Epiphany ("*doppu li Tri-Re, tutti olè*"). More commonly in Italy, it begins on January 17 (St. Anthony’s Day), though in some places it starts at Candlemas (February 2). The height of festivities, however, is concentrated around Fat Thursday (*"berlingaccio"*), the last Sunday of Carnival, and Fat Monday and Tuesday. At midnight on the final day, a bell (called *"la lova"* in Romagna) announces its end. The Ambrosian rite even extends the celebration to the following Sunday.
Numerous and varied are the manifestations that Carnival gives rise to in the folklore of different countries, as ancient rites and customs have converged into this festival—which is considered primarily a Christian transformation of the Saturnalia. Yet its fundamental character and meaning can be understood if we consider that Carnival was originally a New Year’s festival. Ancient propitiatory ritual forms for agricultural fertility and communal well-being are easily recognizable in II. The revelry of Carnival is not merely a temporary loosening of social constraints but also serves a protreptic purpose, encouraging the joy of all to inaugurate a new seasonal cycle.
Thus, the death of Carnival—a puppet that, after making a will and a mock funeral procession, is burned, drowned, or otherwise destroyed—can be situated within the broader context of New Year’s expiatory rites. Similar explanations apply to customs such as the killing of a turkey (Piedmont), a rooster (Abruzzo), or a goose (France, Rome, Sicily, etc.). In Monferrato, for example, before dying, the *"pitò"* (turkey) reveals, through the mouth of a reveler, the misdeeds of the townspeople. The practice of public denunciation of vices and flaws within the community—even in jest or parody—is widespread and takes various forms. Sometimes it is Harlequin who, before being killed, confesses his sins and those of others.
Also related to these customs and beliefs is the King of Carnival, who for three days assumes command of the city, ordering feasts and revelry, and is then deposed. This tradition is still well-preserved, for example, in the valleys of Bormio, though echoes and reflections of it appear elsewhere in figures such as the General of Carnival or the Abbot of the Fools—youth groups that organize and direct Carnival festivities.
Another ritual custom is the *"cadda al ‘Salvanei’"*, which takes place in the mountains of Trentino. Alongside the Carnival puppet, there is often one representing Lent—a gaunt, ugly old woman—since the two symbolic figures are closely tied to the very idea that gave Carnival its name. One of the popular dramatic forms is the contrast between Carnival and Lent, a theme already represented in ottava rima in the 15th century.
Carnival holds great significance for the origins of our comic theater. Carnival performances include farces (*"farse di c."*), *"bruscelli"*, and *"mariazi"* or *"mogliazzi"*, whose basic plot revolves around the rivalry of two young men for a girl’s hand, ultimately awarded to one of them. During Carnival, representations of the months are also staged, symbolized by twelve figures, sometimes with a thirteenth representing New Year. Yet masks hold even greater importance. Some derive from monks, such as Harlequin in France and Zanni in Italy, and traces of this origin can be seen in the *"moresche"*, armed dances performed during Carnival. Masks depicting animals or female impersonations also date back to ancient times. Each era and region, however, has contributed its own distinctive masks to the tradition.
Processions with floats and the throwing of oranges and confetti also likely had an original propitiatory character. In Sicily and Apulia, oranges are offered to ladies by masked companies using collapsible ladders.
Carnival songs and dances are an indispensable complement to the festival, as are competitions, jousts, races, and palios. Alms collections and fireworks are also characteristic. In cities where civic life has flourished over the centuries, these manifestations have taken on a lavish and picturesque character. In the past, famous Carnivals were held in Venice, Milan, Turin, Ivrea, Florence, and Rome.
Folco Toschi
The Church’s Attitude. – Regarding Carnival, the Church’s stance is essentially the same as its position on entertainment in general, which may remain within proper bounds or, more often, degenerate into vice and moral ruin. Thus, the Church does not a priori condemn the joys and revelry of Carnival—even when accompanied by feasts and banquets—because the body needs rest and renewal for new labors and for the mortifications of Lent. However, since Carnival so often becomes a kind of orgiastic outburst—*"semel in anno licet insanire"* (as evidenced by the rich collections of Carnival songs in our literature since the Renaissance)—and strays into bold license, more or less overt violations of morality, and unseemly excesses, facilitated by masks and the interchange of men’s and women’s clothing, the Church has always reacted and continues to do so. It does so in two ways: first, by warning against the dangers, urging a sense of inner and outer responsibility and the higher aims of human life, in contrast to naturalistic, humanistic, or, better, pagan conceptions; second, by inviting the faithful to repair, through prayer, the offenses against God caused by Carnival’s excesses—for example, through the Forty Hours’ Adoration, especially during the three days preceding the start of Lent.