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Updated: June 20, 2025


The genial moralising of the latter appears childish by the side of Alfieri's terse philosophy and pregnant remarks on the development of character. What suits the page of Plautus would look poor in 'Oedipus' or 'Agamemnon. Goldoni's memoirs are diffuse and flippant in their light French dress. They seem written to please. Alfieri's Italian style marches with dignity and Latin terseness.

We have seen how Alfieri passed his time at Turin, in a kind of aristocratic prison of educational ignorance. Goldoni's grandfather died when he was five years old, and left his family in great embarrassment. The poet's father went off to practise medicine at Perugia. His son followed him, acquired the rudiments of knowledge in that town, and then proceeded to study philosophy alone at Rimini.

I saw her in her box dressed in blue moire, with a huge ermine cloak about her bare shoulders; he sat opposite. I saw them devour each other with their eyes. For both of them the stage, Goldoni's Pamela, Salvini, Marini, the public, even the entire world, were non-existant to-night. And I what was I at that moment? To-day she is attending the ball at the Greek ambassador's.

With that exception, the people are dressed in much the same manner as is customary over Europe generally. So far as I recollect, not a single veiled or half-veiled lady, sailing in her own gondola, met our eyes while we were in Venice. We have to revert for all such things to Goldoni's plays and the pages of our own Byron.

When I did, I preferred the performances at the Camploi Theatre, where Goldoni's pieces were very well played; but I seldom went to the opera, and when I did go it was merely out of curiosity. More frequently, when bad weather deprived us of our walk, we patronised the popular drama at the Malibran Theatre, where the performances were given in the daytime. The admission cost us six kreuzers.

These writers in Venetian they are named because in no other Italian dialect has work so popular as Goldoni's been done, nor so excellent as Signor Fogazzaro's have left the unlettered local language in which they loved to deal, to its proper limitations. They have not given weighty things into its charge, nor made it heavily responsible.

And they went off and had the wedding feast. A number of these betrothals takes place in the last scene of Goldoni's "Baruffe Chiozzotte," where the belligerent women and their lovers take hands in the public streets, and saluting each other as man and wife, are affianced, and get married as quickly as possible: Take my hand. "Tofolo. Wife! "Checa. Husband! "Tofolo. Hurra!"

Goldoni's grandfather was a native of Modena, who had settled in Venice, and there lived with the prodigality of a rich and ostentatious 'bourgeois. 'Amid riot and luxury did I enter the world, says the poet, after enumerating the banquets and theatrical displays with which the old Goldoni entertained his guests in his Venetian palace and country-house.

To tell the truth, I care little for the plays in which he has no part and I have learned to think a certain trick of his lifting his leg rigidly to a horizontal line, by way of emphasis, and saying, "Capisse la?" or "Sa la?" In nearly all of Goldoni's Venetian comedies, and in many which he wrote in Italian, appear the standard associates of Facanapa, Arlecchino, il Dottore.

It pleased him hugely in his old age to be Italian master to a French princess. Alfieri openly despised the public. Goldoni wrote because he liked to write; Alfieri, for the sake of proving his superior powers. Against Alfieri's hatred of Turin and its trivial solemnities, we have to set Goldoni's love of Venice and its petty pleasures.

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