Audiences have admired the plays of Goldoni for their ingenious mix of wit and honesty. His plays offered his contemporaries images of themselves, often dramatizing the lives, values, and conflicts of the emerging middle classes. Though he wrote in French and Italian, his plays make rich use of the Venetian language, regional vernacular, and colloquialisms.
Goldoni also wrote under the pen name and title "Polisseno Fegeio, Pastor Arcade," which he claimed in his memoirs the "Arcadians of Rome" bestowed on him. One of his best known works is the comic play Servant of Two Masters , which has been translated and adapted internationally numerous times. Its popularity led to a transfer to the West End and in to Broadway. There is an abundance of autobiographical information on Goldoni, most of which comes from the introductions to his plays and from his Memoirs. However, these memoirs are known to contain many errors of fact, especially about his earlier years.
In these memoirs, he paints himself as a born comedian, careless, light-hearted and with a happy temperament, proof against all strokes of fate, yet thoroughly respectable and honorable. Goldoni was born in Venice in , the son of Margherita and Giulio Goldoni. In his memoirs, Goldoni describes his father as a physician, and claims that he was introduced to theatre by his grandfather Carlo Alessandro Goldoni. In reality, it seems that Giulio was an apothecary; as for the grandfather, he had died four years before Carlo's birth.
In any case, Goldoni was deeply interested in theatre from his earliest years, and all attempts to direct his activity into other channels were of no avail; his toys were puppets, and his books, plays. His father placed him under the care of the philosopher Caldini at Rimini but the youth soon ran away with a company of strolling players and returned to Venice. In his father matriculated him into the stern Collegio Ghislieri in Pavia, which imposed the tonsure and monastic habits on its students.
However, he relates in his Memoirs that a considerable part of his time was spent in reading Greek and Latin comedies. He had already begun writing at this time and, in his third year, he composed a libellous poem Il colosso in which he ridiculed the daughters of certain Pavian families. He studied law at Udine, and eventually took his degree at University of Modena. He was employed as a law clerk at Chioggia and Feltre, after which he returned to his native city and began practicing.
il filosofo di carlo goldoni italian edition Manual
Educated as a lawyer, and holding lucrative positions as secretary and counsellor, he seemed, indeed, at one time to have settled down to the practice of law, but following an unexpected summons to Venice, after an absence of several years, he changed his career, and thenceforth he devoted himself to writing plays and managing theatres. His father died in In , to avoid an unwanted marriage, he left the town for Milan and then for Verona where the theatre manager Giuseppe Imer helped him on his way to becoming a comical poet as well as introducing him to his future wife, Nicoletta Conio.
Goldoni returned with her to Venice, where he stayed until Goldoni entered the Italian theatre scene with a tragedy, Amalasunta , produced in Milan. The play was a critical and financial failure. Submitting it to Count Prata, director of the opera, he was told that his piece "was composed with due regard for the rules of Aristotle and Horace, but not according to those laid down for the Italian drama.
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Everything must be done according to a certain form which I will explain to you. Goldoni thanked his critic, went back to his inn and ordered a fire, into which he threw the manuscript of his Amalasunta. His next play, Belisario , written in , was more successful, though of its success he afterward professed himself ashamed. During this period he also wrote librettos for opera seria and served for a time as literary director of the San Giovanni Grisostomo, Venice's most distinguished opera house. He wrote other tragedies for a time, but he was not long in discovering that his bent was for comedy.
He had come to realize that the Italian stage needed reforming; adopting Moliere as his model, he went to work in earnest and in produced his first real comedy, L'uomo di mondo "The Man of the World". I morbinosi and Le morbinose I couldn't find these two ancient words males and females on my dictionary. Chi la fa l'aspetti. This is a typical Italian proverb, I tried to translate in my best way.
It means that, when someone does something as a joke , he has to wait for a returning one. Il genio buono e il genio cattivo.
The word "genio" means "genious", but, in ancient Italian, it was reffered also to charachter, so I agree with the first translater. In his edit summary, DionysosProteus correctly points out that Goldoni wrote libretti. This is not in the article. Can DP put his information there? The article should maybe mention if any such relationship existed betweeen Goldoni and the Freemasons.
Croce was rather patronising about him. The Italian Wikipedia provides a more useful introductory sentence: Carlo Goldoni Venice, 25 February — Paris, 6 February was a dramatist, writer and librettist. Goldoni is considered one of the fathers of Italian comedy… —Preceding unsigned comment added by I have just added archive links to one external link on Carlo Goldoni.
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If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. From Wikipedia, the free encyclopedia. This is the talk page for discussing improvements to the Carlo Goldoni article. This is not a forum for general discussion of the article's subject. Put new text under old text. Click here to start a new topic. New to Wikipedia? Ask questions, get answers. Goldoni took to himself the task of superseding the comedy of masks and the comedy of intrigue by representations of actual life and manners through the characters and their behaviors.
He rightly maintained that Italian life and manners were susceptible of artistic treatment such as had not been given them before. His works are a lasting monument to the changes that he initiated: a dramatic revolution that had been attempted but not achieved before. Goldoni's importance lay in providing good examples rather than precepts. It was this very success that was the object of harsh critiques by Carlo Gozzi , who accused Goldoni of having deprived the Italian theatre of the charms of poetry and imagination.
The great success of Gozzi's fairy dramas so irritated Goldoni that it led to his self-exile to France. Goldoni gave to his country a classical form, which, though it has since been cultivated, has yet to be cultivated by a master.
Goldoni's plays that were written while he was still in Italy ignore religious and ecclesiastical subjects. This may be surprising, considering his staunch Catholic upbringing. No thoughts are expressed about death or repentance in his memoirs or in his comedies. After his move to France, his position became clearer, as his plays took on a clear anti-clerical tone and often satirized the hypocrisy of monks and of the Church. Goldoni was inspired by his love of humanity and the admiration he had for his fellow men.
He wrote, and was obsessed with, the relationships that humans establish with one another, their cities and homes, the Humanist movement, and the study of philosophy. The moral and civil values that Goldoni promotes in his plays are those of rationality, civility, humanism, the importance of the rising middle-class, a progressive stance to state affairs, honor and honesty. Goldoni had a dislike for arrogance, intolerance and the abuse of power.
Goldoni's main characters are no abstract examples of human virtue, nor monstrous examples of human vice. They occupy the middle ground of human temperament.
Goldoni maintains an acute sensibility for the differences in social classes between his characters as well as environmental and generational changes. Goldoni pokes fun at the arrogant nobility and the pauper who lacks dignity. As in other theatrical works of the time and place, the characters in Goldoni's Italian comedies spoke originally either the literary Tuscan variety which became modern Italian or the Venetian dialect , depending on their station in life. However, in some printed editions of his plays he often turned the Venetian texts into Tuscan, too.
From Wikipedia, the free encyclopedia. For the tractor manufacturer, see Goldoni company. Anonymous portrait, Museo Teatrale alla Scala. Playwright librettist. Main article: List of works by Carlo Goldoni. Merriam-Webster Dictionary. Retrieved 25 July Boston: Houghton Mifflin Harcourt.