CARLO See also:

• CARLO GOLDONI (1707-1793)

GOLDONI (1707-1793)  , See also:

• ITALIAN

Italian dramatist, the real founder of See also:

• MODERN

modern Italian See also:

• COMEDY

comedy, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice, on the 25th of See also:

• FEBRUARY

February 1707, in a See also:

• FINE

fine See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house near St See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas's See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church . His See also:

• FATHER

father Giulio was a native of See also:

• MODENA (ancient Mutina)

Modena . The first playthings of the future writer were puppets which he made See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

dance; the first books he read were plays,—among others, the comedies of the Florentine Cicognini . Later he received a still stronger impression from the Mandragora of See also:

• MACHIAVELLI, NICCOLO (1469-1527)

Machiavelli, At eight years old he had tried to See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch a See also:

• PLAY

play . His father, meanwhile, had taken his degree in See also:

• MEDICINE

medicine at See also:

• ROME
• ROME (Roma)

Rome and fixed himself at See also:

• PERUGIA (anc. Perusia)

Perugia, where he made his son join him; but, having soon quarrelled with his colleagues in medicine, he departed for See also:

• CHIOGGIA

Chioggia, leaving his son to the care of a philosopher, See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

Professor Caldini of See also:

• RIMINI

Rimini . The See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young See also:

• GOLDONI, CARLO (1707-1793)

Goldoni soon See also:

• GREW, NEHEMIAH (1641-1712)

grew tired of his See also:

• LIFE

life at Rimini, and ran away with a Venetian See also:

• COMPANY

company of players . He began to study See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law at Venice, then went to continue the same pursuit at See also:

• PAVIA (anc. Ticinum, q.v.)

Pavia, but at that See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time he was studying the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek and Latin comic poets much more and much better than books about law . " I have read over again," he writes in his own See also:

• MEMOIRS

Memoirs, "the Greek and Latin poets, and I have told to myself that I should like to imitate them in their See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, their plots, their precision; but I would not be satisfied unless I succeeded in giving more See also:

• INTEREST

interest to my See also:

• WORKS

works, happier issues to my plots, better See also:

• DRAWN

drawn characters and more genuine comedy." For a See also:

• SATIRE (Lat. satira, satura; see below)

satire entitled Il Colosso, which attacked the See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour of several families of Pavia, he was driven from that See also:

• TOWN

town, and went first to study with the jurisconsult See also:

• MORELLI, GIOVANNI (1816-1891)

Morelli at See also:

• UDINE

Udine, then to take his degree in law at Modena . After having worked some time as clerk in the chanceries of Chioggia and See also:

• FELTRE (anc. Feltria)
• FELTRE, MORTO DA

Feltre, his father being dead, he went to Venice, to exercise there his profession as a lawyer . But the wish to write for the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage was always strong in him, and he tried to do so; he made, however, a See also:

• MISTAKE (i.e. take amiss)

mistake in his choice, and began with a tragedy, Amalasunta, which was represented at See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan and proved a failure . In 1734 he wrote another tragedy, Belisario, which, though not much better, chanced nevertheless to please the public . This first success encouraged him to write other tragedies, some of which were well received; but the author himself saw clearly that he had not yet found his proper See also:

• SPHERE (Gr. vclsa?pa, a ball or globe)

sphere, and that a See also:

• RADICAL (Lat. radix, a root)

radical dramatic reform was absolutely necessary for the stage .

He wished to create a characteristic comedy in See also:

• ITALY
• ITALY (Italia)

Italy, to follow the example of See also:

• MOLIERE (1622-1673)

Moliere, and to delineate the realities of social life in as natural a manner as possible . His first See also:

• ESSAY, ESSAYIST (Fr. essai, Late Lat. exagium, a weighing or balance; exigere, to examine; the term in general meaning any trial or effort)

essay of this See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind was Momolo Cortesan (Momolo the Courtier), written in the Venetian See also:

• DIALECT (from Gr. Sia stcror, conversation, manner of speaking, &aXeyec6at, to converse)

dialect, and based on his own experience . Other plays followed—some interesting from their subject, others from the characters; the best of that See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period are—Le Trentadue Disgrazie d' Arlecchino, La Notte critica, La Bancarotta, La Donna di Garbo . Having, while See also:

• CONSUL
• CONSUL (in Gr. generally ihraros,ashortened form of errpavgybs 8hraeos, i.e. praetor maximus)

consul of See also:

• GENOA (anc. Genua, Ital. Genova, Fr. GPnes)

Genoa at Venice, been cheated by a See also:

• CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

captain of See also:

• RAGUSA
• RAGUSA (Serbo-Croatian Dubrovnik)

Ragusa, he founded on this his play L'Impostore . At See also:

• LEGHORN (Ital. Livorno, Fr. Livourne)

Leghorn he made the acquaintance of the comedian Medebac, and followed him to Venice, with his company,for which he began to write his best plays . Once he premised to write sixteen comedies in a See also:

• YEAR

year, and kept his word; among the sixteen are some of his very best, such as Il Cafe, Il Bugiardo, La Pamela . When he See also:

• LEFT

left the company of Medebac, he passed over to that maintained by the patrician Vendramin, continuing to write with the greatest facility . In 1761 he was called to See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, and before leaving Venice he wrote Una delle ultime sere di Carnevale (One of the Last Nights of See also:

• CARNIVAL (Med. Lat. carnelevarium, from taro, tarns, flesh, and levare, to lighten or put aside; the derivation from valere, to say farewell, is unsupported)

Carnival), an allegorical comedy in which he said See also:

• GOOD, JOHN MASON (1764-1827)

good-bye to his See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country . At the end of the See also:

• REPRESENTATION

representation of this play, the See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre resounded with See also:

• APPLAUSE (Lat. applaudere, to strike upon, clap)

applause, and with shouts expressive of good wishes . Goldoni, at this See also:

• PROOF (in M. Eng. preove, proeve, preve, &°c., from O. Fr . prueve, proeve, &c., mod. preuve, Late. Lat. proba, probate, to prove, to test the goodness of anything, probus, good)

proof of public sympathy, wept as a See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

child . At Paris, during two years, he wrote comedies for the Italian actors; then he taught Italian to the royal princesses; and for the See also:

• WEDDING

wedding of See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis XVI. and of See also:

• MARIE

Marie Antoinette he wrote in See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French one of his best comedies, Le Bourru bienfaisant, which was a See also:

• GREAT

great success . When he retired from Paris to See also:

• VERSAILLES

Versailles, the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king made him a See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift of 6000 francs, and fixed on him an See also:

• ANNUAL

annual See also:

• PENSION (Lat. pensio, a payment, from pendere, to weigh, to pay)

pension of 1200 francs .

It was at Versailles he wrote his Memoirs, which occupied him till he reached his eightieth year . The Revolution deprived him all at once of his modest pension, and reduced him to extreme misery; he dragged on his unfortunat& existence till 1793, and died on the 6th of February . The See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day after, on the proposal of See also:

• ANDRE, JOHN (1751-178o)

Andre See also:

• CHENIER
• CHENIER, ANDRE DE (1762-1794)

Chenier, the See also:

• CONVENTION (Lat. conventio, an assembly or agreement, from convenire, to come together)
• CONVENTION, THE NATIONAL

Convention agreed to give the pension back to the poet; and as he had already died, a reduced See also:

• ALLOWANCE (from "allow,' derived through 0. Fr. alouer from the two Lat. origins adlaudare, to praise, and allocare, to assign a place; so that the English word combined the general idea of "assigning with approval")

allowance was granted to his widow . The best comedies of Goldoni are: La Donna di Garbo, La Bottega di Caffe, Pamela nubile, Le Baruffe chiozzotte, I Rusteghi, Todero Bronlolon, Gli Innamorati, Il Ventaglio, Il Bugiardo, La Casa nova, Il Burbero benefico, La Locandiera . A collected edition (Venice, 1788) was republished at See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence in 1827 . See P . G . Molmenti, Carlo Goldoni (Venice, 1875) ; Rabany, Carlo Goldoni (Paris, 1896) . The Memoirs were translated into See also:

• ENGLISH

English by See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

Black (See also:

• BOSTON
• BOSTON, THOMAS (1676-1732)

Boston, 1877), with See also:

• PREFACE (Med. Lat. prefatia, for classical praefatio, praefari, to speak beforehand)

preface by W . D . See also:

• HOWELLS, WILLIAM DEAN (1837– )

Howells .