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Updated: May 18, 2025
In the evening I made all haste to get to the Italian comedy again. I grew very fond of it, and found it had installed itself here in the tiny Teatro Re for the benefit of a small audience of the lower orders. The Italians of to-day unfortunately despise it heartily. Here, too, the comedies of Goldoni were played with, as it seemed to me, considerable and ingenious skill.
Austin and Rousseau disclose the secrets of the human heart; the commentaries of the learned Huet have survived his evangelical demonstration; and the memoirs of Goldoni are more truly dramatic than his Italian comedies.
The Italians Pastoral Dramas of Tasso and Guarini Small progress in Tragedy Metastasio and Alfieri Character of both Comedies of Ariosto, Aretin, Porta Improvisatore Masks Goldoni Gozzi Latest state. Leaving now the productions of Classical Antiquity, we proceed to the dramatic literature of the moderns.
Certainly I, for one, should never dream of trying. But I don't feel as if I could co-operate," "I never asked you to." "No, you certainly never did. You are perfectly capable of doing it alone. I think, with your leave, if you have quite done with your prize-fighter, we will drive back to London. I would not for the world miss Goldoni in the Opera."
This sonnet to Goldoni also deserves to be more widely known, both for itself and for the manner of its production. Mr. Browning had forgotten, or not understood, how soon the promise concerning it must be fulfilled, and it was actually scribbled off while a messenger, sent by Signor Molmenti, waited for it.
I do not insist upon this possibility, and I am far from defending myself for liking the comedies of Goldoni better than the comedies of Moliere, upon purely aesthetic grounds, where there is no question as to the artistic quality.
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.
The names of Alfieri, Metastasio, and Goldoni, demonstrate that modern Italy has successfully cultivated the dramatic as well as the epic muse; the tragedies of the first are worthy the country of Tasso, the operas of the second rival the charms of Petrarch.
This was Carlo Goldoni, one of the first of the realists, but antedating conscious realism so long as to have been born at Venice early in the eighteenth century, and to have come to his hand-to-hand fight with the romanticism of his day almost before that century had reached its noon.
Again, Lope De Vega, Moliere, Regnard, Goldoni worry us with frequent trifling. Holberg drags us down into the mire.
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