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Updated: June 18, 2025
Though few of his allusions were clear to Odo, the glimpse they gave of the motley theatrical life of the north Italian cities the quarrels between Goldoni and the supporters of the expiring commedia dell' arte the rivalries of the prime donne and the arrogance of the popular comedians all these peeps into a tinsel world of mirth, cabal and folly, enlivened by the recurring names of the Four Masks, those lingering gods of the older dispensation, so lured the boy's fancy and set free his vagrant wonder, that he was almost sorry to see the keep of Donnaz reddening in the second evening's sunset.
Alfieri learned nothing, wrote nothing, in his youth, and heard his parents say 'A nobleman need never strive to be a doctor of the faculties. Goldoni had a little medicine and much law thrust upon him. At eight he wrote a comedy, and ere long began to read the plays of Plautus, Terence, Aristophanes, and Machiavelli.
I am highly satisfied with the manner in which you have fulfilled your functions as deputies." Mademoiselle Genet's education was the object of her father's particular attention. Her progress in the study of music and of foreign languages was surprising; Albaneze instructed her in singing, and Goldoni taught her Italian. Tasso, Milton, Dante, and even Shakespeare, soon became familiar to her.
Goldoni good, gay, sunniest of souls Glassing half Venice in that verse of thine What though it just reflect the shade and shine Of common life, nor render, as it rolls, Grandeur and gloom? Sufficient for thy shoals Was Carnival: Parini's depths enshrine Secrets unsuited to that opaline Surface of things which laughs along thy scrolls.
If his comedies display little resemblance to nature, they at least preserve the kind of probability which is looked for in a fairy tale. Many years elapsed after Goldoni and Gozzi disappeared from the arena before there was any successor to rival their compositions. He exhibits a faithful picture of Italian society, and applies the scourge of satire to its most prevalent faults and follies.
Perhaps it is because I came to Moliere's comedies later, and with my taste formed for those of Goldoni; but again, it is here a matter of affection; I find Goldoni for me more sympathetic, and because he is more sympathetic I cannot do otherwise than find him more natural, more true. I will allow that this is vulnerable, and as I say, I do not defend it.
If, after reading the autobiographies of Alfieri and Goldoni, we turn to the perusal of their plays, we shall perceive that there is no better commentary on the works of an artist than his life, and no better life than one written by himself.
His numerous pieces seem formed upon the general model of dramatic works, and not copied from real life. The true character of Italian gaiety is not satire, but imagination; not delineation of manners, but poetical exaggeration. It is Ariosto, and not Molière, who can amuse Italy. Gozzi, the rival of Goldoni, has more originality in his compositions; they bear less resemblance to regular comedy.
Padua was immortalized by the works of Cesarotti, Belzoni, and Stratico; Venice by Goldoni; Verona by Maffei, the critic and the antiquarian, as well as the first reformer of Italian tragedy. Tuscany took the lead of the intellectual movement of the country under Leopold and his successor Ferdinand, when Florence, Pisa, and Siena again became seats of learning and of poetry and the arts.
There is of course that poignant little drama entitled "In a Gondola," but not much else, and for some reason the collected works omit the sonnet in honour of Goldoni which was written for the ceremonies attaching to the erection of the dramatist's statue near the Rialto. Mrs.
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