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Published by Samuel French. About this Item: Samuel French. Condition: Good. Signed Copy. Seller Inventory Q16K More information about this seller Contact this seller Published by Pranava Books About this Item: Pranava Books, Reprinted from edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this reprint is from very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible.
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Seller Inventory LJ1. Published by Samuel French About this Item: Samuel French, Seller Inventory SKU From: Libreria Fernandez srl Viterbo, Italy. Condition: come-nuovo. 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.
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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. Such characters were common enough in Italy.
Goldoni was born in Venice in , the son of Margherita and Giulio Goldoni.
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In his memoirs, Goldoni describes his father as a physician, and claims that he was introduced to theatre by his grandfather Carlo Alessandro. 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 since his earliest years, and all attempts to direct his activity into other channels were of no avail: 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 Modena. He was employed as law clerk at Chioggia and Feltre, after which he returned to his native city and began practicing.
Educated as a lawyer, and holding lucrative positions as secretary and councillor, 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 He entered the Italian theatre scene with a tragedy , Amalasunta , produced at 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 to the rules of Aristotle and Horace , but not according to those laid down for the Italian drama. 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.
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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. During his many wanderings and adventures in Italy, he was constantly at work and when, at Livorno, he became acquainted with the manager Medebac, he determined to pursue the profession of playwriting in order to make a living.
He was employed by Medebac to write plays for his theater in Venice. As with his comedies, Goldoni's opera buffa integrate elements of the commedia dell'arte with recognisable local and middle-class realities.