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Updated: June 18, 2025
Yet the Italians are rather plain-spoken, and they recognize facts which our company manners at least do not admit the existence of. I should say that Goldoni was almost English, almost American, indeed, in his observance of the proprieties, and I like this in him; though the proprieties are not virtues, they are very good things, and at least are better than the improprieties.
They paint, with an easy and graceful pencil, the absurdities and humours of society; but their pieces are deficient in plot and action. FABRE D'EGLANTINE pourtrayed, in striking colours, those frightful vices which are beyond the reach of the law. His pieces are strongly woven and easily unravelled. PICARD seems to have taken GOLDONI, the celebrated Venetian comic writer, for his model.
It was perfectly like a scene of Goldoni and like many a passage of real life in his native city, and I was rapt in it across fifty years to the Venice I used to know. But the difference in Seville was that there was actively only one combatant in the strife, and the witnesses took no more part in it than the passive resistant.
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.
At first his language was cool; he used an artist's touch, as if painting a picture. Warming up by degrees, he entered into details of personal history, so that of a sudden his own figure appeared in the centre of the canvas, filling it with life. He spoke of his mother, the celebrated actress, for whom her admirer Goldoni had written his admirable comedy, La Pupilla.
Furberia e Puntiglio, which is a second-hand imitation of GOLDONI. The music, by Signor MARCELLO DI CAPUA, is agreeable, particularly a quartetto and a cavatina. RAFFANELLI shines in this piece as a first-rate actor. Il Matrimonio Secreto, the chef-d'oeuvre of CIMAROSA, and of its kind, perhaps, the most charming opera extant.
I have not been to the Fenice, but I once attended a performance of Amleto by "G. Shakespeare" in the Goldoni.
He also calls himself a barrister, though he is such only in his own imagination. Goldoni is a good play writer, and nothing more. Everybody in Venice knows me for his friend, and I can therefore speak of him with authority. He does not shine in society, and in spite of the fine satire of his works he is a man of an extremely gentle disposition." "So I have been told.
"Not to persons who understand play writing; they would be hissed if they were intelligible." "And what do you think of Goldoni?" "I have the highest opinion of him. Goldoni is the Italian Moliere." "Why does he call himself poet to the Duke of Parma?" "No doubt to prove that a wit as well as a fool has his weak points; in all probability the duke knows nothing about it.
The victorious argument by which she subdued my heart was, that at that moment Diderot was in distress. Besides the storm excited against the 'Encyclopedie', he had then another violent one to make head against, relative to his piece, which, notwithstanding the short history he had printed at the head of it, he was accused of having entirely taken from Goldoni.
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