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Updated: June 20, 2025
Having reached Goldoni's statue there are two courses open to us if we are in a mood for walking. One is to cross the Rialto bridge and join the stream which always fills the narrow busy calli that run parallel with the Grand Canal to the Frari.
The Venetian Director Medebach, for whose company many of Goldoni's Comedies were composed, claimed an exclusive right to them.
There is nothing in the modern drama more rhetorically impressive, though spasmodic, than the well-known dialogue between Antigone and Creon: 'Cr. Scegliesti? 'Ant. Ho scelto. 'Cr. Emon? 'Ant. Morte. 'Cr. L'avrai! Goldoni's comedies, again, have not enough of serious thought or of true creative imagination to be works of high art.
She tried to kill the whole boat-load of beasts cats, dogs, monkeys, parrots, pigeons, even the lamb stood in danger of her wrath. A regular quarrel ensued, was somehow set at peace, and all began to laugh again. This is a sample of Goldoni's youth.
But, at any rate, both are associated with the fervors and languors of that first summer in Venice, so that I cannot now take up a book of Goldoni's without a renewed sense of that sunlight and moonlight, and of the sounds and silences of a city that is at once the stillest and shrillest in the world.
As in the days of Italian cecisbei, the early mediæval lover might say with Goldoni's Don Alfonso or Don Roberto, "I serve your wife such or such another serves mine, what harm can there be in it?" Such was the social life in those feudal courts whence first arises the song of mediæval love, and that this is the case is proved by the whole huge body of early mediæval poetry.
Pantalon dei Bisognosi, and Brighella. The reader is at first puzzled by their constant recurrence, but never weary of Goldoni's witty management of them. They are the chief persons of the obsolete commedia a braccio, and have their nationality and peculiarities marked by immemorial attribution.
There was no man-servant or academy in his case. He was far too plebeian and too free. The boy lodged with a merchant, and got some smattering of Thomas Aquinas and the Peripatetics into his small brain, while he contrived to form a friendship with an acting company. They were on the wing for Venice in a coasting boat, which would touch at Chiozza, where Goldoni's mother then resided.
The Father of the Family, written in 1758, and first acted in 1761, is very superior to The Natural Son; it even enjoyed a certain popularity. In Germany it became an established favourite, and in Italy it was only less popular than a piece of Goldoni's. The French were not quite so easy to please. In 1761 its reception was undoubtedly favourable, and it ran for more than a week.
The exhibited autographs include Titian's hand large and forcible; Leopardi's, very neat; Goldoni's, delicate and self-conscious; Galileo's, much in earnest; and a poem by Tasso with myriad afterthoughts. But the one idea of the custodian is to get you to admire the famous Grimani Breviary not alas! in the original, which is not shown, but in a coloured reproduction.
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