La donna vendicativa di Carlo Goldoni (Italian Edition)

Carlo Goldoni

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Because of the knight's misogyny, a different strategy must be used. She makes the knight fall in love with her and ensures that the other two notice it, thereby raising her market value all around. It is sport for the sake of sport. Each character is finished in every detail. Each father arranges for his son or daughter without dreaming of asking their approval; each father exalts the qualities of his offspring More minor works from Goldoni include "The hypochondriac" and "A curious accident" In "The hypochondriac", Rosaura, shows a great variety of symptoms, which worries her father, Pantalone.

However, her friend, Beatrice, suspects that the disease is due to love of her physician, Onesti, who considers her a hypochondriac. When Dr Onesti gives her a placebo solution to drink, she immediately improves, but then worsens when her father suggests marriage to his choice as her husband, Lelio. Beatrice informs Onesti that Rosaura loves him, but, as her attending physician, he has scruples in asking for her hand. However, after Beatrice pushes Rosaura to speak up and Pantalone is convinced that the doctor did not manipulate his patient, he accepts the match.

In "A curious accident", a soldier, De La Cotterie, recuperates from war wounds at the house of Filiberto. When Filiberto seeks a match between the soldier and Costanza, her father, Riccardo, disapproves as much as he did. To avenge himself on Riccardo, Filiberto gives De La Cotterie a substantial sum of money to escape with Costanza, only he marries Giannina with it. Mirandolina, mistress of an inn, is loved by two noblemen: In contrast, her charms find no favor with Ripafratta, a knight. The count has a major advantage over the marquis in being richer and never hesitating to use his money to court Mirandolina.

When the count offers her diamond earrings, she at first resists but then accepts them. Unable to compete at that level, the marquis comments that this is a wasteful use of money. To compete more effectively, he successfully asks the knight for a loan. The knight enters her inn indisposed towards Mirandolina as well as women in general.

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This does not bother her at all, as she finds ways to flatter him, softening him up with specially prepared sheets and food. She even says she likes him, because above everything, she cultivates, as he does, liberty. Thanks to the knight's money, the marquis offers her an expensive handkerchief.

As was the case with the previous rival, she at first resists but then accepts. The count congratulates him on his gift, then offers Mirandolina an even richer one: As always, she at first resists but then accepts the gift. The knight is beginning to be charmed by Mirandolina. He offers her a glass of wine.

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Not to be outdone, the marquis also offers her a glass of wine, which he considers excellent, though it is of poorer quality than the knight's, who is also richer than he is. The knight's unusually tender feelings start to alarm himself, so that he asks for the bill and is surprised at the modest amount. The knight then changes his mind and stays. Mirandolina bewitches him all the more after pretending to faint under the influence of the wine.

To help her recuperate, the knight sends her a balm in a golden flagon. Later, while ironing clothes, feeling he is getting to be far too captivated by her, she says to him she will never again enter his room, burns him with the iron, negligently throws the flagon among a basket of clothes, and asks him what does he want of her. The marquis is irritated at the knight because in a fit of anger he stained his clothes.

Sensing another rival, the marquis challenges him to a duel but then backs off.

History of Western Theatre: 17th Century to Now/Late Italian 18th

For the same reason, the count also challenges the knight to a duel. For this purpose, the count takes out with difficulty the marquis' sword from the scabbard and is surprised to find only a half-sized one. He fights him with it nevertheless. The battle is interrupted by Mirandolina, who, to quiet down all three rivals and to compromise her sense of liberty as little as possible, announces her upcoming marriage with Fabricio. Accepting her decision, the count offers her money and the marquis his protection, but the knight leaves angrily.

He declares concerning all women in general: Margarita and her stepdaughter Lucietta rarely go out to amuse themselves because Margarita's husband, the grouchy Lunardo, refuses to consent. Although he sometimes invites friends over to his house, they are as boorish as he is. Lunardo announces to his wife that he has found a husband for his daughter: Filippetto, son to his boorish friend, Maurizio.

Since his father is unlikely to allow him even to see his intended before marriage, Filippetto asks for help from his aunt, Marina. Before they get a chance to plot together, her husband, Simone, interrupts them, conducting himself most boorishly towards Filippetto, because he does not like to see anyone in his house.

Marina's friend, Felice, arrives with her husband Canciano, a boor like the others but a more timid one, especially submissive towards his wife. Felice is astonished at Maurizio's attitude and promises to help Filippetto and Lucietta at least see each other. Before a party in his house, Lunardo complains about Margarita's and Lucietta's clothes, too frivolous and gaudy to his taste.

He insists that they change. Although Lucietta submits, Margarita resists. After the women leave, Lunardo and Simone amuse themselves by complaining about their wives. When Lucietta learns of the marriage being prepared, she is overjoyed. Felice introduces the masked Filippetto secretly inside the house. He and Lucietta confer and are pleased with each other.

A worried Maurizio arrives to say he cannot find his son anywhere. After hearing his father's voice, Filippetto comes out of hiding, which so angers Lunardo that he disallows the marriage contract. However, Felice intervenes favorably, finding the right words to calm down all the boors so that the two lovers may marry.

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When Ottavio finds Florindo alone with Rosaura in her room, he chases her out with a sword until disarmed by her lover. But after settling down, Ottavio finds no reason to refuse Florindo as his son-in-law until Corallina shows up with a piece of paper stipulating that in return for a borrowed sum of money Florindo promised her marriage. Although Florindo says that she forged that stipulation over his signature, neither father not daughter believe him.

Pretending good faith, she tears up the document in front of the father and presents the pieces to the daughter. Nevertheless, to compromise Rosaura with Lelio, the still vindictive servant stashes her in a dark room, but before Lelio arrives, the astonished Ottavio discovers his daughter there. Frustrated at these complications, he threatens to send her to a convent.

Once more Corallina intervenes and stashes her back in the dark room, letting Lelio inside while unaware that Beatrice introduced Florindo there to avoid attracting notice. Enraged, Florindo chases Lelio out with his sword, whereby Lelio swears revenge on Corallina as he goes. Yet Corallina has a new plan. She pushes Florindo back in the room as Ottavio rages against his daughter and then discovers Corallina in the same room with Florindo. Corallina explains that Florindo was guided in the house by Beatrice, acting like a pimp for Rosaura.

Beatrice rushes out, enraged. To delay the wedding, Corallina proposes to Ottavio to arm himself against Lelio. She next leads Rosaura from her room on one hand, promising to lead Florindo to her when she means to lead Lelio and, on the other, doing the same with Florindo whom she wishes to compromise with her own person.

But Ottavio secures Florindo and Rosaura together in the same room. Corallina next leads Lelio towards Rosaura unaware that he is taking Florindo by the hand. He orders her out of his house. The second best dramatist of the period is Carlo Gozzi , whose "La Zobeide" Zobeide, and "L'augellino belverde" The green bird, combine the comic and the tragic, realism and fantasy, in a happy mixture. Lesser fantasy plays include "The crow" , "The stag king" , and "Turandot" In "The crow", a king kills a crow by mistake while hunting and becomes the potential victim of a curse.

Since her hair is as black as the dead crow's, his brother, Jennaro, is forced to abduct a princess of another kingdom and present her as the king's bride. But knowing that a prodigious monster will kill his brother if that happens, he draws suspicions on his behavior till the king condemns him to death. Despite the threat of being transformed into a statue of salt if he reveals the reason of his actions, Jennaro does so and is immediately immobilized. But when the princess stabs herself as being the cause of Jennaro's transformation, the curse is lifted so that brother and bride are restored to the king.

The Comedies of Goldoni by Maggie Gunsberg. A Biography by H. Secret Sharers in Italian Comedy: From Machiavelli to Goldoni by Jackson I. Scroll down to the bottom for a list of Goldoni's plays. The Man of the World.

GOLDONI, Carlo (LITERATURE)

Gozzi criticises Goldoni for having disposed with poetry and imagination in drama. For his service Goldoni receives a pension. It was reserved for Carlo Goldoni to effect the dramatic revolution so frequently attempted by men whose talents were unequal to the task. Goldoni, a native of Venice, was born in , and almost lived out the century, for he died in Paris in In his memoirs, written by himself, is depicted with the utmost liveliness the born comedian, careless, light-hearted and with a happy temperament, proof against all strokes of fate, yet thoroughly respectable and honourable.

Such characters were common enough in Italy, and it is somewhat remarkable that he should have been the only one of his many talented countrymen to win a European reputation as a comic writer. In tragedy other names have appeared since the death of Alfieri, but Goldoni still stands alone. This may be partly explained by the absence in comedy of a literary style which at the same time was national.

Goldoni gave to his country a classical form, which, though it has since been cultivated, has never been cultivated by a master. The son of a physician, Goldoni inherited his dramatic tastes from his grandfather, and all attempts to direct his activity into other channels were of no avail. 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 an unexpected summons to Venice, after an absence of several years, changed his career, and thenceforth he devoted himself to writing plays and managing theatres.

It was his principal aim to supersede the comedy of masks and the comedy of intrigue by representations of actual life and manners, and in this he was entirely successful, though not until after powerful opposition from Carlo Gozzi, who accused him of having deprived the Italian theatre of the charms of poetry and imagination. Gozzi had obtained a wide reputation by his fairy dramas, and this so irritated Goldoni that he removed to Paris, where, receiving a position at court, he passed the latter part of his life in composing plays and writing his memoirs in French.

Notwithstanding that his works became extremely popular in Italy, he could never be induced to revisit his native land. In his last years he was afflicted with blindness, and died in extreme poverty, a pension granted by Louis XVI being withdrawn by the National Convention. Goldoni's first dramatic venture, a melodrama named Amalasunta, was unsuccessful.

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. He then called for a good supper, which he consumed with relish, after which he went to bed and slept tranquilly throughout the night. Goldoni's next attempt was more successful, though of its success he afterward professed himself ashamed. While holding a position as chamberlain in the household of the Venetian ambassador at Milan he made the acquaintance of a quack doctor who went by the name of Antonimo, and was the very prince of charlatans.

Among other devices to attract customers the latter carried with him a company of actors, who, after assisting in selling his wares, gave a performance in his small theatre in a public square.

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