Notes on Carlo Goldoni
Illuminismo
Misanropi: Misanthropes
Risi nervose: Nervous laughter
Carlo Goldoni
Chapter 61: Le massère (The Housewives)
Attention is brought to Goldoni’s work, "Le massère".
On his return, Goldoni represents an abstract ideal of the bourgeoisie, showing what it should be. In this second phase, he captures the reality as it is, with its defects and limitations, showing an old and backward world in contrast with modern ideas.
There is a transition from utopia to reality, acknowledging the distance between the real Venetian bourgeoisie and the idealized merchant (modeled after the English and Dutch bourgeoisie).
Literary texts solicit diverse interpretations, an evaluation of which provides a useful tool for sparking critical spirit among students.
Rediscovering the People
Goldoni seeks to escape from the restrictive world with a rediscovery of the common people. "Le Baruffe chiozzotte" (1762) depicts the life of fishermen in Chioggia, drawing from Goldoni's experience as an assistant in the criminal chancery of that city.
The common people retain a vitality, spontaneity of sentiment, and capacity for social connection that the Venetian bourgeoisie, withdrawn into itself, seems to have lost.
Fundamental values survive in their genuine state among the people, contrasting the bourgeoisie where such values have atrophied or been reversed. These include frankness, industriousness, and a sense of family and honor (even while defects are not hidden).
This vivid depiction of popular reality is new in the literary landscape of the century, anticipating the rediscovery of the common people as literary subjects in romantic and realist movements (Manzoni, Verga).
Goldoni does not fully capture the harshness of the lower classes’ condition or the conflicts that tear them apart, staging sentimental skirmishes and petty gossip, viewed with amusement and paternalism.
Despite vivid details and acute observation, the world of "Le Baruffe" remains idyllic, missing the tragic element of daily life within the course of history (which would later be highlighted by "The Betrothed" and "I Malavoglia").
The Venetian Crisis
Motivations to leave Venice for Paris included disillusionment and an intolerance for an environment that had become closed and suffocating.
«Socievolezza», sociability, was what he valued most.
His farewell to Venice and its audience is marked by "Una delle ultime sere di carnovale" (1762), an autobiographical comedy where Anzoleto, a designer of embroidery leaving for Russia, alludes to Goldoni himself.
Goldoni faced difficulties in Paris, needing to revert to the Commedia dell'Arte, which the French public still favored.
Italian National Identity
Goldoni aimed to use a more colloquial “Italian” language and move away from purely literary or dialectal forms.
Italian was mainly a literary tool, used in writing or official communication, while dialects were used more in everyday speech.
Italian was used in daily conversation when people from different regions needed to communicate and would not understand each other’s dialects.
The Italian in Goldoni’s comedies reflects this reality.
Goldoni’s language reveals dialectal residues, not just from Venetian but also from other northern Italian dialects. In the preface to the first edition of his comedies (1750), Goldoni acknowledges using many Lombard phrases and expressions.
Gianfranco Folena's study reveals that Goldoni's Italian syntax is predominantly paratactic, based on coordination, aligning phrases in parallel, contrasting the hypotactic style favored by literary language since the thirteenth century due to Latin influences.
Venetian Dialect
When directly addressing the audience of Venice, Goldoni uses the Venetian dialect.
This dialect is lively, nuanced, and rich in color, possessing a musical grace suitable for Goldoni's world of pleasantness and humor.
Beneath this surface lies a harsher reality, as seen in analyses of "La Locandiera".
Goldoni’s dialect differs from that of the Commedia dell’Arte; instead of grotesque caricatures, he uses it realistically, mimicking daily conversation with a stylistic element.
Commedia dell’Arte was plurilingual, using various dialects to caricature regional stereotypes, while Goldoni maintains a rigorous unilingualism.
Goldoni distinguishes between the parlance of different social strata, from the working class to upper-class people. In "Le Baruffe chiozzotte", there is a dialect of Chioggia spoken by fishermen.
The acquisition of this language is gradual during his work, with the dialect becoming richer and more varied.
The Age of Reason and Enlightenment
Goldoni's plays lacked psychological depth, focusing on intricate plots relying on misunderstandings or switched identities.
Il ventaglio (1765) focuses on misunderstandings related to the object mentioned in the title.
The protagonist is far from the «<rusteghi» and «sior Todero brontolon». There is no organic link between the individual and their social environment.
Mémoires
The later years are occupied by writing Mémoires (1783-87), an autobiography in French, about his life in theatre.
The autobiography is focused on his career in the theatre.
Goldoni recounts his early passion for theater, his readings, fleeing to Chioggia on a boat with actors, early attempts as "poeta di teatro", and the battle to renovate the comedy. Presented later in life, the reformation of comedy appears a straightforward journey.
Despite errors and reconstructions, the Mémoires shows Goldoni's experiences.
The book includes lists and summaries of comedies, as well as lively accounts of his youth, travels, love affairs, and portraits of characters.
The descriptions of the theatrical environment highlight the merits and faults of the actors.
The prefaces to the 17 volumes of Opere (begun in 1761) also tell the story of his life up to 1743.
Colloquial Italian
Goldoni wanted to portray daily reality on stage, speaking to a broad audience and, therefore, needed to use the language of daily conversation instead of traditional language that was literary and rigid.
Given Italy’s political fragmentation, there was no single common language.
Venetian People
Popular comedies such as Le massère (1755), Il campiello (1756), and Le morbinose (1758), observed behaviours and language.
The attention focuses on people that anticipates a relevant contribution to Goldoni (Baruffe chiozzotte (1762).
Venetian Crisis
The psychological crisis of 1753-57 led to a trip to Rome, giving fresh enthusiasm to his new plays.
From 1759 to 1762, some major texts considered the Venetian middle class with a changed perspective.
The loss of overseas possessions had hit the trade of the Serenissima, leading to a focus on agriculture behind protectionist policies based on high tariffs.
Merchants tend to avoid risks and close themselves off in more quiet land investments.
Dynamism has been replaced by inertia, in which virtues transform into vices.
As one character says, «All'avarizia i ghe dise economia, alla superbia i ghe dise punto d'onor, e all'ustinazion parola, pontualità».
Goldoni praises open Pantalone, who counters the nobility - on the other hand, he substitutes the rustego, who is boorish and closed.
Exemplary is I rusteghi (1760) and Sior Todero brontolon (1762).
La Casa nova (1760) and the villeggiatura trilogy (1761) critique the excess of social ostentation of the bourgeoisie.
Hierarchy
Goldoni sides with Venetian leaders (also Enlightenment figures of Milan).
Goldoni doesn't question the existing order, but he accepts it. The merchant attempts to define himself differently by contrasting the aristocratic class, but it does not contrast the social order.
Commedia Evolution
Working for Medebac, Goldoni gradually removes the complicated details while adopting realism.
There is a shift to personal expression, dialogue, and character development, contributing to a new and coherent reform era.
Disorientation
From 1753 to 1758, Goldoni faced multiple difficulties, with a larger venue.
Theatre
The public favored theater and desired plots of romance where Goldoni was forced to experiment.
Theatrical
The figure of the merchant shifts to subjects such as satire and mental illness. All subjects tend to reject relations.