Pancocojams Editor's Note: I'm added this version because it is undoubtedly a folk processed form of the rhyme "Punchinella."] Many regional variants of Pulcinella were developed as the character diffused across Europe. From its east to west coasts, Europeans strongly identified with the tired, witty "everyman" that Pulcinella represented. In later adaptations, Pulcinella was often portrayed as a puppet, as commedia dell'arte-style theatre did not continue to be popular throughout all of the continent over time. This puppet evolved into "Mr. Punch" in England. As half of Punch and Judy, he is recognized as one of the most important British icons in history. [21] Duchartre, Pierre Louis (1966). The Italian Comedy. United States of America: Dover Publications, Inc. pp. 212. ISBN 978-0486216799.

A Baltimore version of this American singing game was collected from 20th century Baltimore, MD. Baltimore has its own Little Italy. The Baltimore version of the game was called "Punch and Netta." (One could speculate that meant it could have derived from American Baltimore children misunderstanding another version of the name, "Pulcinella," as "Punch 'n Nella.")" The most famous Neapolitan interpreter of the role in the 19th century was Michele Barone, who worked in the Molo neighbourhood. In the early 20th century, Antonio Zampella was a notable performer. His son Nunzio carried on the tradition until the 1980s; his repertoire was safeguarded by Bruno Leone, who directed some productions and wrote some texts for La Guaratella: burattini e burattinai a Napoli (Bologna, 1986). In this way some scenarios were preserved, including La Mappata di panni (The Clothes Bundle), Il Cane (The Dog), Il Fidanzamento di Pulcinella (The Betrothal of Pulcinella), La Morte (Death), L’Arresto (The Arrest), La Confessione (The Confession), L’Impiccagione (The Hanging).

I used to wonder how the tree and shoe were connected. At some point, I figured to myself that perhaps, some people used to start growing a Poinciana tree in an old shoe, inside the house (vs. in an old "tin" can), and then would transplant it outside once it grew to a certain size. In thinking about it now... haha... it would have to be a large shoe.

Rudlin, John (1994). Commedia Dell'Arte: An Actor's Handbook. London, England: Routledge. p.139. ISBN 978-0415047708. Rudlin, John (1994). Commedia dell'Arte: An Actor's Handbook. London, England: Routledge, an imprint of Taylor & Francis Group. p.141. ISBN 978-0415047708. Punch and Judy is a traditional, popular puppet show featuring Mr. Punch and his wife, Judy. The performance consists of a sequence of short scenes, each depicting an interaction between two characters, most typically the violent Punch and one other character... Although the original "Pulcinello" was always a male, and "Punch" in Punch & Judy shows was always a male, the center person in the "Punchinello"/"Punchinella" singing game can be either male or female. Note the words to an early version of that game - "What can you do Punchinello, funny fellow." Oreglia, Giacomo (1968). The Commedia dell'Arte. Translated by Edwards, Lovett F. New York: Hill and Wang. p.94. ISBN 978-0809005451.The complete lyrics for each of these songs can be found at http://www.mudcat.org/thread.cfm?threadid=68881 While commedia dell’arte was beginning to fade away by the end of the 18th century, the character was preserved thanks to the puppeteers. In Naples, he performed in public squares such as the Largo di Castello, and became the star of the San Carlino theatre between 1822 and 1876. In Rome, he appeared primarily as a glove puppet in Piazza Navona before relocating to the Pincio gardens; he also, however, was presented as a string puppet in private puppet theatres and at the Teatro Fiano in Rome, and even as a comic interlude within plays of chivalric tales based on the works of Ludovico Ariosto (1474-1533) and Matteo Maria Boiardo (1434/41-1494). The puppet repertoire nonetheless privileged love stories where Pulcinella often appeared in the role of the suitor or the unfortunate lover, condemned to death and then saved by Colombina whom he succeeded in marrying in the end. He could also become much more aggressive and vindictive, taking on the role of avenger or righter of wrongs in violent duels. Pulcinella's closing couplet translates to "I am Prince of everything, Lord of land and main. Except for my public whose faithful servant I remain." [8] However, because his status is often that of a servant, he has no real investment in preserving the socio-political world of his master. [9] He is always on the side of the winner, though he often does not decide this until after they have won. No matter his initial intent, Pulcinella always manages to win. If something ends poorly, another thing is successful. If he is put out in one sense, he is rewarded in another. [10] This often accidental triumph is his norm. Polichinelle, [6] ca. 1680 by French artist Nicolas Bonnart. The first of a set of five etching entitled Five Characters from the Commedia dell'arte. Etching with hand coloring on laid paper. Verse #4: During the fourth verse, the center person remains in the middle of the circle. She (or he) closes her eyes, puts her right hand over her eyes, and stretching out her left arm, puts at the people forming the circle while slowly turning around in a circle. The center person stops turning around at the end of that rendition of the song.