Carlo Gozzi

“ Pray reflect that old Sacchi has a viper for his wife, with two daughters, who hate and vilify and slander you. Do you imagine that you will conceal your intrigues from their curious eyes? No indeed. They will assail you with their tongues, and having caught you in so vile an act, will spare nothing to cast the truth in your teeth, as previously they spread abroad their lies behind your back. I am speaking far more for you than for myself. I can always save my honour by quitting you without an open scandal. ”

“ Should she find herself in need, through the failure of her monthly salary to meet expenses, she might count upon my purse. If, in spite of my good counsels, she increased her reputation for light conduct, I should be obliged to break with her at once and for ever. On the other hand, if my principles were distasteful to her, she had only to speak the word, and I would leave her absolutely at liberty. So long as I supported her in public and championed her honour as a woman and her fame as an artist, I had the right to expect conduct from her conformable to my avowed philosophy of life. ”

“ Always dreaming about Paris, Venice had become a kind of sewer in her opinion. The Venetians and Italians in general were a race of stupid mediocrities, unenlightened and insupportable. "I am dying to get to Paris!" she exclaimed; "there the rich financiers fling purses full of louis d'or at actresses with as little regard as one flings a pear in Italy." And then to show how well she had got rid of prejudices: "Ah! blessed power of making love without the checks of a misguided education! To make love through our lifetime is the supreme happiness of mortals!" ”

“ Admitting me to be susceptible of justice, humane feeling, religion, honour, magnanimity, and a host of other virtues, Gratarol laid it down as an axiom that "I was able and that I ought to stop the performance of the comedy upon the evening of the 17th, and so long as the world lasted." "Able and ought," exclaimed I to myself; "when I have made it clear to Maffei that I cannot stir a finger to prevent the play, and have already been rebuked by a respectable magistrate for attempting to do so!" I perceived that Maffei had omitted to inform Gratarol of my powerlessness. ”

“ Sacchi is spiteful, vicious, brutal, corrupt in his opinions upon human nature, and—a player. What is worse, he is in love. He does not believe you capable of giving up this satin or of paying for it. He will scent the truth that I have been at work here, because he knows my principles of conduct. Shame, rage, and spite will make a demon of the man. ”

“ I am only jealous for your honour and for mine. I shall certainly do what I have often threatened, and shall do it without breaking my heart, although 'tis true I have a warm affection for you. What right have I to lay the law down and to preach to you? None. But you have no right to imagine that a man like me, your gossip and your friend, will play the part of screen to your disgraceful traffic. My remedy is to leave you absolute mistress of yourself by withdrawing from your intimacy. ”

“ But Apollo protect a poet from being reduced to serve a troop of our comedians at wages! There is not a galley-slave more abjectly condemned to servitude than he. There is not a stevedore who carries half the weight that he does; not an ass who gets more blows and fouler language, if his drama fails to draw the whole world in a fever of excitement to the theatre. ”

“ This man announced one day, with the air of frank and sturdy self-conceit, that he had arrived at composing his oratorical masterpieces upon sacred themes by the unremitting study of Goldoni's comedies.
I ought to render a candid account here of the impression made upon me by those two deluges of ink, Goldoni and Chiari. To begin with Goldoni. I recognised in him an abundance of comic motives, truth, and naturalness. Yet I detected a poverty and meanness of intrigue; nature copied from the fact, not imitated; virtues and vices ill-adjusted, vice too frequently triumphant ”

“ In all this Goldoni resembles him, except only that Goldoni had a rich vein of cheerful humour. It would be therefore more just to call Longhi the Goldoni of painting than the Venetian Hogarth.
Longhi's portrait, unlike that of Goldoni, betrays no sensuousness. He seems to have had a long, refined face, with bright, benignant black eyes, a pleasantly smiling mouth, thin lips, and a look of gently subrisive appreciation rather than of irony or sarcasm. ”

“ The knavery of the comedians had furnished him with clothes cut and trimmed exactly on the pattern of those worn by Gratarol. He had been taught to imitate his mincing walk and other gestures. The caricature was complete; and I had to confess that Signor Gratarol had actually been parodied upon the stage in my comedy of the Droghe d'Amore. Innocent as I was of any wish to play the part of Aristophanes in modern Venice, the fact was obvious; and the audience greeted Vitalba with a storm of applause and rounds of clapping which deafened our ears. ”

“ But our new-fangled philosophers have dubbed all these things the prejudices of intellects enfeebled and intimidated by seductive superstition. Consequently, religion, that salutary curb on human passion, has languished and become a laughing-stock.
I am bound to believe that the gallows is beneficial to society, being an instrument for punishing crime and deterring would-be criminals. But our new-fangled philosophers have denounced the gallows as a tyrannical prejudice, and by so doing have multiplied murders on the highway, robberies and acts of sacrilege, a hundred-fold. ”

“ Dear gossip, it is impossible that an old man of eighty can have gone so far without encouragement from you. I have often noticed that he ran away and hid himself on my approach. What reason had he for doing this? You are sowing the seeds of dissension between me and an associate of more than twenty years standing. You are painting me in false colours to that man; and this is your return for a thousand kindnesses. I have stood by you in your profession, and declared myself the champion of your honour. Now, for a satin gown, you are going to destroy the work of years. ”

“ These words of the poor deserted woman enlightened me as to the expectation of the public. Yet why was the whole house so intoxicated? why did a wife look forward to the spectacle of her husband's caricature? I can only explain this phenomenon by remembering the corruption of our age. Women seduced and left to shift for themselves, rivals supplanted in their love-affairs, jealous husbands, wives abandoned and heart-broken, form an inflammable audience for such a piece as the Droghe d'Amore under the notorious circumstances of its first appearance. ”

“ I have never sapped the principles of a sound education. I have never exposed the duties and obligations of their sex to ridicule, by clothing license with the name of liberty. I have never stigmatised the bonds of religion, the conjugal tie, modesty, chastity, decent self-respect, with the title of prejudice—reversing the real meaning of that word, as is the wont of self-styled philosophers, who are a very source of infection to the age we live in. ”

“ Some are entering in Carnival costume, with masks and long mantles. Others wear the gala dress of the last century. Elderly ladies are draped in the black zendado of Venetian aristocracy. Grave senators bend their courtly heads beneath the weight of snowy periwigs. Lacqueys in livery and running footmen in Albanian costume wait upon the guests, handing chocolate or wines on silver trays. This scene of fashionable life is depicted with vivacity; the studies of face and attitude are true to nature; an agreeable air of good tone and sober animation pervades the whole society. ”

“ This type of drama, as I have said above, Goldoni and Chiari, under the mask of zeal for culture, but really with an eager eye to gain, had set themselves to ruin and abolish.
Antonio Sacchi, Agostino Fiorelli, Atanagio Zannoni, and Cesare Derbes, all of them excellent players in their several lines, represented the four masks, Truffaldino, Tartaglia, Brighella, and Pantalone. Each of these men could boast of perfect practice in their art, readiness of wit, grace, fertility of ideas, variety of sallies, bye-play, drollery, naturalness, and some philosophy. ”

“ His draughtsmanship displays an agreeable sketchiness; his colouring a graceful gemmy brightness and a glow of sunny gold. But what has mainly served to win for Guardi popularity is the attention he paid to contemporary costume and manners. Canaletti filled large canvasses with mathematical perspectives of city and water. At the same time he omitted life and incident. There is little to remind us that the Venice he so laboriously depicted was the Venice of perukes and bag-wigs, of masks and hoops and Carnival disguises. Guardi had an eye for local colour and for fashionable humours. ”

“ It is clear that Longhi thought "the proper study of mankind is man;" and man as a clothed, sociable, well-behaved animal.
His sketches are remarkable for their strenuous sincerity—their search after the right attitude, their serious effort to hit the precise line wanted, their suggested movement and seizure of life in the superficies. They have a sustained air of good-breeding, refined intelligence, and genial sympathy with the prose of human nature. Landscape might never have existed so far as Longhi was concerned. ”

“ I ought, however, to declare that the actresses of Sacchi's company carried on their love-affairs with prudence and without indecency. The ideal of severity which prevailed there bore at least these fruits of goodness; and the ideal of honesty produced notably different results from those which other systems in the trade of love elicited elsewhere. How many actresses lay siege deliberately and in cold blood to their lovers, despoil them of their property, and do their very best to suck them dry! ”

“ Two days after the arrival of the company, Coralli came to see me, and made the following confidences. "Sacchi," said he, "is dying of love for Teodora Ricci. I do not conceal my affection for the young woman; I frequent her house, attend her in public, and make myself as useful as I can to her. He is brutally jealous of me, and I have had to put up with a thousand outrages and insults. Finally, he has forbidden me to visit at her house, alleging that if Count Gozzi came to remark our intimacy, he would retire from the company in disgust." ”

“ Being a man, I felt the sympathy for women which all men feel. As soon as I could comprehend the difference between the sexes—and one arrives betimes at such discretion—women appeared to me a kind of earthly goddesses. I far preferred the society of a woman to that of a man. It happened, however, that education and religious principles were so deeply rooted in my nature, and acted on me so powerfully as checks to inclination, that they made me in those salad days extremely modest and reserved. ”

“ Italy lacks noblemen, to play the part of Mecænas, and to protect men of letters and the theatre. Had there been such, and had they thought me worthy of their munificence, I should not have blushed to receive it. Knowing my country, however, and Venice in particular, I never allowed myself to indulge flattering dreams of any such honourable patronage. ”

“ When they left Venice for the customary six months, [30] I ran no risk of not receiving letters from them, written in rivalry with one another—sometimes real love-letters—arriving by each post from Milan, Turin, Genoa, Parma, Mantua, Bologna, all the cities where they stopped to act. Nor were answers wanting upon my side; playful, affectionate, threatening, derisive; taking any tone which I judged capable of keeping these young creatures wide-awake. It seemed to me that such an active correspondence and exchange of sentiments was the most appropriate and profitable school for a comedian. ”

“ These rivals, both of them dramatic poets, and each the critic of the other, were strong enough to heat the brains of our Venetian folk to boiling-point, so that the public formed two stormy parties, which came well-nigh to fisticuffs over the sublimities of their respective idols.
A whirlwind of comedies, tragi-comedies, and tragedies, composts of imperfections, occupied the public stage; the one genius of inculture vying with the other in the quantity he could produce. ”

“ In the course of our playful and airy polemics—polemics which had more the form of witty squibs{113} than formal criticisms—polemics which we Granelleschi never deigned to aim directly, in due form of siege, against the outpoured torrents of Goldoni and Chiari, but which we meant to act as sinapisms on the minds of sluggish youths, besotted by that trash and froth of ignorance—I once defied the whole world to point out a single play of Goldoni's which could be styled perfect. ”

“ I feigned that the Granelleschi were assembled one day during Carnival, to dine at the tavern of the Pellegrino, which looks out upon the Piazza di San Marco. My comrades gathered round the windows to observe the passing masqueraders, when a monstrous creature, wearing a mask of four strongly-marked and different faces, entered the inn. They entreated it to come up into our room, in order that they might examine it at leisure. This mask of the the four faces and four mouths represented the Comic Theatre of Goldoni, personified by me in the way I shall explain. ”

“ The managers of the troupe, governed exclusively by calculations of interest, would have felt themselves{187} compelled to curry favour with me by indulging her in all her whims, demands, breaches of discipline, and a thousand feminine caprices. Nothing could be more alien to my real character than to make myself the proud and domineering protector of one actress to the injury of her companions. Besides, her views and mine were so fundamentally at variance upon some elementary points of conduct, that I doubted whether a liaison between us could ever be of long duration. ”

“ I enjoyed the acquaintance of many women in private life, and of many actresses, remarkable for charm and beauty. Holding the principles I have described, I found them well contented with my manners of behaviour. They showed themselves capable of honourable, grateful, and constant friendship through a long course of years. In truth, it is in the main to men—to men who flatter and caress the innate foibles of women, their vanity, their tenderness, their levity, that we must ascribe the frequency of female frailties. ”

“ Though I am gay by nature, as appears from my published writings, yet the innumerable thoughts which kept my brains in a turmoil, through anxieties about our family, lawsuits, schemes of economy, literary plans,{3} and so forth, bred in me a trick of contracting my forehead and frowning, which, combined with my slow gait, taciturnity, and preference for solitary places, won me the reputation among those who were not my familiar friends of being a surly, sullen, unapproachable fellow, perhaps even an enemy of mankind. ”

“ They ascribed the crowds which filled the theatre to the attraction of stage decorations and their own spirited performance. Not unlike the fly in Æsop's fable, they exclaimed: "Look at the dust which we are raising!" By artfully reckoning the cost of putting my fables on the stage, and by insinuating calumnies against the managers, they brought some of the sharers into a state of mutiny, made them depreciate my services, and stirred up anger and suspicion against Sacchi. ”

“ Between comrades there ought to be perfect confidence; and you insult me by making a mystery of such trifles." "I can boast of no intimacy whatever with that respectable lady," I replied; "but in order to prove my sincerity toward my friend, I will inform you that even if I enjoyed such an intimacy as you suspect, I would rather cut my tongue out than reveal it to any man alive. For me the honour of women is like a sanctuary. ”

“ Bettinelli, a man not destitute of parts, fecundity, and eloquence, began by preaching to our youth that it was a prejudice to stand at gaze and slumber over our old authors. What good could the study of Dante, Petrarch, and Boccaccio do us now? How could the imitation of their successors in Italian poetry and prose be profitable to us in the middle of the eighteenth century? ”

“ It is true that there has been no question whatever of love; but after all, what is love save a mere desire that people chose to exaggerate, a physical sentiment of which men, in their vanity, chose to make a virtue? Nowadays the desire alone exists, and if people, in their mutual relations, speak of love, it is not because they really believe in it, but because it is a politer way of obtaining what they reciprocally wish for. ”