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Updated: June 18, 2025
The two pieces above mentioned, which obtained an unmerited reputation on their first appearance, have long since received their due appreciation. On the Fils Naturel Lessing has pronounced a severe sentence, without, however, censuring the scandalous plagiarism from Goldoni. But the Pere de Famille he calls an excellent piece, but has forgotten, however, to assign any grounds for his opinion.
"Very true," said Madame, with a sigh; "but the tragedy is, after all, only suited to our nation we alone carry it to perfection." "Yet," said I, "Goldoni wrote a few fine tragedies." "Eh bien!" said Madame, "one rose does not constitute a garden!" And satisfied with this remark, la femme savante turned to a celebrated traveller to discuss with him the chance of discovering the North Pole.
Even Goldoni could not retain his hold on minds which, if they knew it not, needed a more satisfying nourishment than the uninspiring, material rendering of characters overcharged with vices or virtues inharmoniously collocated.
I suppose I have not been a great reader of the drama, and I do not know that I have ever greatly relished any plays but those of Shakespeare and Goldoni, and two or three of Beaumont and Fletcher, and one or so of Marlow's, and all of Ibsen's and Maeterlinck's. The taste for the old English dramatists I believe I have never formed.
GOLDONI, with all the simplicity of his feelings and habits, in reviewing his life, tells us how he was always relapsing into his old propensity of comic writing; "but the thought of this does not disturb me," says he; "for though in any other situation I might have been in easier circumstances, I should never have been so happy."
Pierre, their Condorcet, their Parny, their Necker, who had not even the decent feeling to know Italian, and who bowed and smiled and doubtless mixed him up with Metastasio and Goldoni when introduced by the Countess to so odd a piece of provincialism as an Italian poet. "Does Monsieur write comedies or tragedies?"
In the eighteenth century Goldoni appeared and gave to the world his graceful comedies, which were followed by the lyric dramas of Metastasio and the lofty tragedies of Alfieri. Since then there has been a succession of able dramatists Monti, Gozzi, Manzoni, Pellico, Ippolito d'Asti, etc.; and as the class of plays acted was elevated, so the character of the performers was also improved.
In 1758 he produced at Rome his "Alessandro nell' Indie," whose success surpassed all that had preceded it, and two years later a still finer masterpiece, "La Buona Figluola," written to a text furnished by the poet Goldoni, and founded on the story of Richardson's "Pamela." This opera was produced at every playhouse on the Italian peninsula in the course of a few years.
Walking in Venice The late Colonel Douglas Shops The Merceria clock S. Zulian S. Salvatore Sansovino Carlo Goldoni the Campo Bartolommeo and Mr.
Other biographies may be as interesting and amusing. None show in a more marked manner two distinct natures endowed with genius for one art, and yet designed in every possible particular for different branches of that art. Alfieri embodies Tragedy; Goldoni is the spirit of Comedy.
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