, an eminent modern Italian dramatist, was born at Venice in 1707.
, an eminent modern Italian dramatist, was born at Venice in 1707. In his infancy the
drama was his darling amusement, and all his time was
devoted to the perusing comic writers, among whom was
Cicognini, a Florentine, little known in the dramatic commonwealth. After having well studied these, he ventured
to sketch out the plan of a comedy, even before he went
to school. When he had finished his grammatical studies
at Venice, and his rhetorical studies at the Jesuits’ college
in Perugia, he was sent to a boarding-school at Rimini, to
study philosophy, but he paid far more attention to the
theatres, entered into a familiar acquaintance with the
actors, and when they were to remove to Chiozza, made
his escape in their company. This was the first fault he
committed, which, according to his own confession, drew
a great many others after it. His father had intended him
to be a physician, like himself: the young man, however,
was wholly averse to the study. He proposed afterwards
to make him an advocate, and sent him to be a practitioner
in Modena; but a horrid ceremony of ecclesiastical
jurisdiction, at which he was present, inspired him with a melancholy turn, and he determined to become a Capuchin.
Of this, however, he was cured by a visit to Venice, where
he indulged in all the fashionable dissipation of the place.
He was afterwards prevailed upon by his mother, after the
death of his father, to exercise the profession of a lawyer
in Venice, but by a sudden reverse of fortune he was compelled to quit at once both the bar and Venice. He then
went to Milan, where he was employed by the resident of
Venice in the capacity of secretary, and becoming acquainted with the manager of the theatre, he wrote a farce
entitled “II Gondoliere Veneziano,
” the Venetian Gondolier; which was the first comic production of his that
was performed and printed. Some time after, Goldoni
quitted the Venetian resident, and removed to Verona,
where he got introduced to the manager of the theatre, for
which he composed several pieces. Having removed along
with the players to Genoa, he was for the first time seized
with an ardent passion for a lady, who soon afterwards became his wife. He then returned with the company to
Venice, where he displayed, for the first time, the powers
of his genius, and executed his plan of reforming the Italian stage. He wrote the “Momolo,
” “Courtisan,
” the
“Squanderer,
” and other pieces, which obtained universal admiration. Feeling a strong inclination to reside some
time in Tuscany, he repaired to Florence and Pisa, where
he wrote “The Footman of two Masters,
” and “The Son of
Harlequin lost and found again.
” He returned to Venice,
and set about executing more and more his favourite
scheme of reform. He was now attached to the theatre of
S. Angelo, and employed himself in writing both for the
company, and for his own purposes. The constant toils
he underwent in these engagements impaired his health.
He wrote, in the course of twelve months, sixteen new
comedies, besides forty-two pieces for the theatre; among
these many are considered as the best of his productions.
The first edition of his works was published in 1753, in 10
vols. 8vo. As he wrote afterwards a great number of new
pieces for the theatre of S. Luca, a separate edition of these
was published, under the title of “The New Comic
Theatre:
” among these was the “Terence,
” called by the
author his favourite, and judged to be the master-piece of
his works. He made another journey to Parma, on the
invitation of duke Philip, and from thence he passed t
Rome. He had composed 59 other pieces so late as 1761,
five of which were designed for the particular use of Marque Albergati Capacelli, and consequently adapted to the
theatre of a private company. Here ends the literary life
of Goldoni in Italy, after which he accepted of an engagement of two years in Paris, where he found a select and
numerous company of excellent performers in the Italian
theatre. They were, however, chargeable with the same
faults which he had corrected in Italy; and the French
supported, and even applauded in the Italians, what they
would have reprobated on their own stage. Goldoni wished
to extend, even to that country, his plan of reformation, without considering the extreme difficulty of the undertaking. His first attempt was the piece called “The
Father for Love;
” and its bad success was a sufficient
warning to him to desist from his undertaking. He continued, during the remainder of his engagement, to produce pieces agreeable to the general taste, and published
twenty-four comedies; among which “The Love of Zelinda and Lindor
” is reputed the best. The term of two
years being expired, Goldoni was preparing to return to
Italy, when a lady, reader to the dauphiness, mother to
the late king, introduced him at court, in the capacity of
Italian master to the princesses, aunts to the king. He
did not live in the court, but resorted there, at each summons, in a post-chaise, sent to him for the purpose. These
journeys were the cause of a disorder in the eyes, which
afflicted him the rest of his life; for being accustomed to
read while in the chaise, he lost his sight on a sudden,
and in spite of the most potent remedies, could never afterwards recover it entirely. For about six months lodgings were provided him in the chateau of Versailles. The
death, however, of the dauphin, changed the face of affairs. Goldoni lost his lodgings, and only, at the end of
three years, received a bounty of 100 Louis in a gold box,
and the grant of a pension of four thousand livres a year.
This settlement would not have been sufficient for him, if
he had not gained, by other means, farther sums. He
wrote now and then comedies for the theatres of Italy and
Portugal; and, during these occupations, was desirous to
shew to the French that he merited a high rank among
their dramatic writers. For this purpose, he neglected
nothing which could be of use to render himself master of
the French language. He heard, spoke, and conversed
so much in it, that, in his 62d year, he ventured to write a
comedy in French, and to have it. represented in the court
theatre, on the occasion of the marriage of the king. This
piece was the “Bourru Bienfaisant;
” and it met with so
great success, that the author received a bounty 'of 150
Louis from the king, another gratification from the performers, and considerable sums from the booksellers who
published it. He published soon after, another comedy in
French, called “L'Avare Fastueux.
” After the death of
Lewis XV. Goldoni was appointed Italian teacher to the
princess Clotilde, and after her marriage, he attended the
late unfortunate princess Elizabeth in the same capacity.
His last work was the “Volponi,
” written after he had retired from court. It was nis misfortune to live to see
his pension taken away by the revolution, and, like thousands in a similar situation, he was obliged to pass his old
age in poverty and distress. He died in the beginning of
1793. As a comic poet, Goldoni is reckoned among the
best of the age in which he flourished. His works were
printed at Leghorn in 1788—91, in 31 vols. 8vo. He has
been reckoned the Moliere of Italy, and he is styled by
Voltaire “The Painter of Nature.
” Dr. Burney says that
he is, perhaps, the only author of comic operas in Italy
who has given them a little common sense, by a natural
plot, and natural characters; and his celebrated comic
opera of the “Buona Figliuola,
” set by Piccini, and first
performed in London Dec. 9th, 1766, rendered both the
poet and composer, whose names had scarcely penetrated
into this country before, dear to every lover of the Italian
language and music, in the nation.