Would that the concept of Bosom Friend were more widely known and practiced in the hyper-individualized culture of the world today. A Bosom Friend will lay down his life for you at the drop of a hat, and is indeed connected to you by that ingenious contrivance the Monkey Rope, so that yours and his fates are swirlingly combined.
At the end of a journey, who among you played the truest? Who was it never stole or played to their own advantage, or even felt the grief of a fellow player brought low?
A cooperative/competitive game system must account for both a paragon moral player and a trickster. Indeed, this character spectrum is found in many myths—Loki duping the moral Thor, Dionysus laughing at Apollo’s rigid time-keeping. Stubb labels Gabriel as a ‘scaramouch’, his colloquial reference to an archetypical clown (Scaramuccia or Scaramouche) known from Commedia Dell’Arte, an Italian theatrical form developed in the 16th century. By Stubb’s usage as well as the typical traits of Scaramuccia, a Scaramouch is a devious coward, whose powerful manipulations of language and general scheming are put to use to satisfy the yearning of his craven heart.
Inclusion of this term is intended to give the wronged player an accusatory verbal ejaculation: ‘Scaramouch!’ See ‘Bohemian Rhapsody’ (Queen, 1975) for more on this.