Le Opere Italiane di Giordano Bruno

1 hands behind their backs: and having led them to a more remote part, they joined the hands of the one to the hands of the other back-to-back, and thus they took away their purses and clothes, as seen in the discourse of Scenes 4, 5, 6, 7, and 8; and then in Scene 12, having walked 5 side-by-side to find someone to untie them, they arrived at the end where Giovanni Bernardo and | Carubina were walking [15] further on. Those two, wishing to reach Consalvo by quickening their pace too much, caused Bartholomew to fall, who pulled [Bonifacio] down with him. And they remained thus until Scene 13, when Scaramuré 10 came upon them and untied them, sending them by different paths to their own homes.

In Act One, Scene 5, he begins to thunder in a high-flown style original: "altitonare," a mock-Latinism typical of Mamphurio’s pedantic speech and comes to be known by Sanguino as a "sheep for the pasture," 15 meaning that the rogues marioli; street-wise swindlers or thieves began to form a plan regarding his affairs.
In Act Two, Scene 1, he is mocked by Signor Ottaviano, who at first pretended to marvel at his fine discourses, and afterwards made little account of his poems, in order to see how he behaved when he 20 was praised and how he acted when he was more or less criticized. And after Signor Ottaviano departed, Mamphurio hands a love letter to his [servant] Pollula, sending it to Master Bonifacio, for whose service he had composed it. This epistle is later read and considered by Sanguino and Pollula in Scene 7.
In Act Three, he unsheathes a poem against Signor Ottaviano in 25 revenge for the low esteem he showed for his verses; while he discusses these with his servant Pollula, Master Giovanni Bernardo arrives in Scene 7, with whom he converses until [Giovanni Bernardo] loses his patience. He returns in Scene 11, appearing with Corcovizzo | who acted in such a way that he took the [16] 30 coins scudi; Italian gold or silver currency from his hand. Now, while he laments this and makes a racket in Scene 12, he encounters Barra and Marca, and in Scene 13, Sanguino; these men, giving him hope of finding the thief and recovering the stolen goods, made him change his clothes and led him away.
In Act Four, Scene 2, he returns as poorly dressed as he was, 35 complaining that the second set of swindlers had taken his academic robes original: "vestimenta talari," robes reaching the ankles, signifying his status as a scholar and his precious cap, leaving him alone while passing through a certain room. Because of this, he was ashamed to return home. He waits until later, retreating into a small corner, until in Scene 15 40 he steps into the middle, walking about and discussing what he had heard and seen there. Meanwhile, in Scene 16, Sanguino, Marca, and others arrive in the guise of guards birri; police officers or constables, often portrayed as corrupt, and as Mamphurio wishes to withdraw in secret, they take him prisoner under that and other pretenses and deposit him in the next room.