Part 22

Comedians, their degraded social position, i. 70.

Comedy, Italian-- Its origin during the Renaissance, i. 26. its dependence on Latin models, i. 26, 28. the _Commedia Erudita_, i. 27, 39. the first attempts at National Italian comedy, i. 28. its stock characters, i. 28. _Commedia dell'Arte all'Improviso_, its causes, and its distinctive features, i. 30-32. its great antiquity, i. 32. its relation to the _Commedia Erudita_, i. 32, 55. farces in relation to the _Commedia dell'Arte_, i. 33. the _Commedia dell'Arte_ trusted to the improvisatory talent of the actors, i. 34. the actors in it wore masks, i. 34. the principal masks--Pantalone, Il Dottore, Arlecchino, Brighella, i. 34. description of the masks, i. 43-54. the less important masks, i. 52. relation of the _Commedia dell'Arte_ to the old Latin comedy of mimes and _exodia_, i. 36-40. Lombard, Neapolitan, and Florentine ingredients in it, i. 40. its culmination and decay, i. 43. modifications introduced into the fixed characters of the _Commedia dell'Arte_ by celebrated actors, i. 53. the plots and subjects of improvised comedies, i. 54. its indecency and buffoonery, i. 56. description of the _scenari_ of the comedies, i. 56. how they were arranged or rehearsed, i. 58. qualifications of the actors, i. 61. stock speeches, which were not left to the inspiration of the comedians, but were written, i. 62. _lazzi_ (sallies of buffoonery), i. 63. its tendency to degenerate, i. 64, 69. the widespread popularity of the _Commedia dell'Arte_, i. 65. its success in Paris, Spain, Portugal, and London, i. 65, 67. probably the model on which Tarleton and Wilson formed their Drolls, i. 68. Gozzi's praise of it, i. 68. its decadence, i. 69, 87. the degraded social position of the actors, i. 70. Garzoni's description of the strolling comedians, i. 73-80. superseded by the _Comedie Larmoyante_, i. 87. Gozzi's "Fiabe Teatrali," an attempt to rehabilitate the impromptu comedy, i. 109. translation of Gozzi's first "Fiaba," i. 112-146. character of the actors in Italian Comedy, ii. 137.

_Commedia dell'Arte._ _See_ Comedy, Italian.

Comparetti, Doctor Andrea, ii. 300.

Contarini, Francesco, Gratarol's uncle, ii. 292, 293.

Coralli, actor, ii. 201, 208, 214, 216.

Cornaro, Giorgio, physician, ii. 327.

Cortigiani, the Venetian, or Men of the World, i. 294 _note_ 1.

Coviello, a mask in the _Commedia dell'Arte_, i. 50.

Crespi, Giuseppe Maria, ii. 342.

Dalmatia, the character of the natives of, i. 238. the women of, i. 242. the nature of the country, i. 243.

Danieli, chief physician to the Provveditore di Dalmazia, i. 222.

Da Ponte, Lorenzo, i. 4.

Darbes, Cesare, comedian, i. 95, 112 _note_ 1; ii. 131, 169.

Della Bona, Professor, ii. 310. his skilful treatment of Gasparo Gozzi's illness, ii. 316.

Desperiers, Bonaventura, ii. 7 _note_ 1.

Dialects, different, spoken in the _Commedia dell'Arte_, i. 35.

Dolfin-Tron, Caterina, i. 11; ii. 264, 287, 312, 319. her character and influence, i. 9. her enmity towards Gratarol, i. 9. ruins Gratarol, i. 12, 13. Gratarol's "Narrazione" bitterly attacks her, i. 13. Gozzi's relations with, ii. 266 _note_ 1. Gozzi intercedes with her to have "Le Droghe d'Amore" stopped, ii. 288. her refusal, ii. 290. Gozzi shows her how he has been insulted by Gratarol, ii. 208. her interest in Gasparo Gozzi, ii. 308.

_Doti_--stock passages in the _Commedia dell'Arte_ which were not left to improvisation, i. 62; ii. 144.

Dottore, the, a character in the _Commedia dell'Arte_, i. 34. description of, i. 45.

"Droghe d'Amore, Le," Gozzi's comedy which caused the quarrel between Gratarol and Gozzi, i. 10; ii. 225, 252, 258. licensed for the stage, ii. 259. the cast changed by the actors in order to attack Gratarol, ii. 260, 269. read to the actors, ii. 260. Gratarol's foolish conduct forces the piece on the stage, and makes all Venice talk of it, ii. 263. its production, ii. 270. the excitement it causes, ii. 274. Gratarol's distress at its success, ii. 277. Gozzi's efforts to have it stopped, ii. 286-294.

Drousiano, an Italian comedian in London in 1577-8, i. 67.

"Esop in the Town," a play in which Gozzi and the Countess Balbi were attacked, i. 356.

Farces, popular during the Renaissance, i. 33.

Farsetti, Daniele, Gozzi dedicates his "Tartana degl'influssi" to, ii. 116.

Farsetti, Giuseppe, ii. 124.

"Fiabe Teatrali," Gozzi's celebrated plays, i. 107; ii. 129-137. an endeavour to rehabilitate the _Commedia dell'Arte_, i. 109. success of his first Fable, i. 146, 147. list of the remaining nine Fables, i. 148. critical account of, i. 148-176. the sources of, i. 162. their success but ephemeral, i. 178.

Fiorelli, Agostino, comedian, i. 112 _note_ 1; ii. 131, 169, 323.

Fiorelli, Tiberio of Naples, the famous Scaramouch, i. 51, 53. his wonderful acting described, i. 66.

Florentine burlesque poets, Gozzi's true ancestors in art, i. 110.

Florentine ingredients in the _Commedia dell'Arte_, i. 40.

Foscarini, Marco, Doge of Venice, i. 337.

Galante, avvocato fiscale dell'Avogaderia, i. 13.

Garzoni, his description of the strolling comedians, in his "Piazza Universale," i. 73-80.

_Generici_--or common-places--in the _Commedia dell'Arte_, i. 62.

Ghellini Balbi, Countess Elisabetta, i. 324, 338, 342, 355, 365. her interest in the Gozzi family, i. 324. Gozzi calls upon her, i. 325. Gozzi reported to be married to her, i. 339, 349. her anxieties about her son, i. 349-352. attacked in a play called "Esop in the Town," i. 356.

Gherardi, his "Theatre Italien," i. 61, 66.

Goethe, his estimate of Goldoni and Gozzi, i. 178.

Goldoni, Carlo, dramatist, i. 2, 4, 87. his severe condemnation of the Italian Comedy, i. 72. his undoubted genius, i. 89. his excellent character, i. 89. his qualities and defects, i. 89-91. sketch of his career, i. 92. his desire to reform Italian Comedy, i. 93. the steps which he took in that direction, i. 93-95. joins the company of Medebac, i. 95. his first comedy of character, as opposed to impromptu comedy, i. 95. the fortunes of his crusade against the _Commedia dell'Arte_, i. 95; ii. 128. his contest with Chiari, i. 97. Gozzi's hatred for him as a corrupter of the language, i. 99. Gozzi's first attack on him, i. 99; ii. 116. his reply to Gozzi, i. 101; ii. 117. the long-continued warfare between him and Gozzi, i. 102; ii. 119-128 Chiari makes common cause with him against Gozzi, i. 106; ii. 127. various satirical allusions to him in Gozzi's first "Fable," i. 112-146. defeated by Gozzi, goes to Paris, i. 177; ii. 155, 156. his ultimate success and fame, i. 178. his popularity in Venice, ii. 110. Gozzi's opinion of him, ii. 111-113. his superiority over Chiari, ii. 114. the various publications in which Gozzi attacked him, ii. 119-128. himself writes a "Fable," ii. 150. his similarity in art with Longhi the painter, ii. 350.

Gozzi family, i. 185; _Cittadini Originari_ of Venice, i. 186.

Gozzi, Almoro, younger brother of Carlo, i. 290, 320, 329, 330, 331, 354; ii. 79, 162, 336.

Gozzi, Angela Tiepolo, mother of Carlo, i. 189, 285, 304. her maladministration of the family affairs, i. 297. her quarrels with Carlo Gozzi, i. 304. her dislike for Carlo, i. 348.

Gozzi, Carlo-- his autobiography, entitled "Memorie inutili della vita di Carlo Gozzi." i. 1. design of his autobiography, i. 3, 19; its value historically, i. 4. his "Droghe d'Amore" supposed to contain a caricature of Gratarol. i. 10. attacked by Gratarol in his "Narrazione Apologetica, i. 14. writes a reply--"Epistola Confutatoria," i. 14; but is not allowed to publish it, i. 15. publishes his memoir and, under provocation, the "Epistola Confutatoria," after the fall of the Venetian republic, i. 16-19. his autobiography, its form, its merits and defects, and its reliability, i. 19-24. his personal characteristics, i. 22. his "Fiabe," i. 43. his eulogy of the _Commedia dell'Arte_, i. 68. his description of the contest between Goldoni and Chiari, i. 98. translation of his first Fable, i. 112-146. its triumphant success, i. 146, 147. his other "Fiabe," i. 148. critical account of his "Fiabe Teatrali, i. 148-176. his use of the Masks, i. 149-154. his mixture of the comic element with the fairy-tale, i. 154. not a great imaginative poet, i. 156. his merits as a playwright, i. 157-160. his conservative philosophy of life, i. 160. the sources of his "Fiabe," i. 162. analysis of "L'Augellino Belverde," i. 164-176. his victory over Goldoni and Chiari, i. 176. his fame ephemeral, i. 178. German translation of his plays, i. 180. his pedigree, i. 2, 185-190. his birth, i. 190 _note_ 1. the exact trustworthiness of his Memoirs, i. 190 _note_ 1.[I?] his brothers and sisters, i. 191. his education, i. 192. injures his health by study, i. 196. his endeavours after a good literary style, i. 197. his moral and physical training, i. 200, 205. his acting as a child, i. 201. shows skill as an _improvisatore_, i. 202. his first poetical productions, i. 205-207. his early productions, i. 208. the family difficulties, i. 209. the discomforts of his home, i. 212. he leaves home and becomes a soldier, i. 213. his first experiences as a soldier, i. 214-221. has a dangerous illness, i. 221. studies Fortification, i. 225. his love of poetry, i. 229. his sonnet in praise of Provveditore Quirini, i. 233. an exciting adventure with a horse, i. 234. he is enrolled as a _Cadet noble_ of cavalry, i. 246. what his military services amounted to, i. 247. his success as a _soubrette_ in the military theatricals at Zara, i. 249-251. some of his escapades as a youth, i. 252-273. the adventures in connection with the courtesan Tonina, i. 262-272. his finances at the close of his military service, i. 273. returns to Venice, i. 278. the state of his family and home, when he returns, i. 279. his first meeting with his family, i. 284. his difficulty in interfering in the management of the family affairs, i. 290. his negotiations with Francesco Zini, i. 300. becomes the object of hatred to all his family, i. 307, 318. in continual quarrels with his family, i. 322. his interview with the Countess Ghellini Balbi, i. 325. his family set the law in motion against him, i. 328. he leaves home, i. 330. lies spread about him, i. 331. the family property divided, i. 332. is dragged into tedious lawsuits, i. 334-342. his friendship with the Countess Ghellini Balbi, i. 339, 349. his sister-in-law's vexatious lawsuit against him, i. 360-364. has violent haemorrhage from the lungs, i. 364, 368. his illnesses and occupations, i. 370. his account of his own physical and mental qualities, ii. 1-9. accepted no payment for any of his works, ii. 3. his love-tales-- his first love, ii. 11-27; his second love, ii. 28-33; his third love, ii. 33-69. his reflections on his love affairs, ii. 69. his object in relating them, ii. 72 _note_ 1. the absurdities and contrarieties to which his star made him subject, ii. 73-89. his unfortunate experience as a landlord, ii. 85-89. the origin and progress of his literary quarrels, i. 2; ii. 90. his views upon Italian literature, ii. 91. his dissertation on Prejudice, ii. 99. his humorous attack on Bettinelli, ii. 106. the motives of his attacks upon Chiari and Goldoni, ii. 115. his first attack on Goldoni and Chiari in his "Tartana degli Influssi," i. 100, 109; ii. 116. Goldoni's reply, i. 101, 109; ii. 117. his Aristophanic satire upon Goldoni, entitled "Il Teatro Comico," i. 104, 109; ii. 120. he withdraws this satire at Goldoni's request, i. 106; ii. 124. the origin of his celebrated "Fiabe Teatrali," i. 107; ii. 128. his first Fable, "The Love of the Three Oranges (L'Amore delle Tre Melarancie)," i. 109; ii. 129. the various publications in which he carried on the war against Goldoni and Chiari, ii. 119-128. his relations with Sacchi's company of comedians, ii. 137-155. his tuition of the actresses, ii. 145. his lawsuit against the Marchese Terzi, ii. 160. its successful issue, ii. 164. he withdraws his aid temporarily from Sacchi's company, ii. 166. comes to their assistance again, ii. 168. undertakes to tutor Teodora Ricci, ii. 177. the successful result of his tuition, ii. 185. his defence of his character and conduct in connection with Teodora Ricci, and the actresses of Sacchi's company, ii. 187, 192 _note_ 1. becomes Cicisbeo to Ricci, i. 9; ii. 193. is godfather to her child, ii. 198. his troublous relations with the Ricci, ii. 200. his excuse for submitting to the worries caused by the Ricci, ii. 218. his adaptations of Spanish plays, ii. 225. his "Droghe d'Amore," i. 10; ii. 225. his and Gratarol's versions of the quarrel between them, ii. 229 _note_ 1. Gratarol's first visit to him, ii. 238. his final rupture with Ricci, ii. 246. annoyed by her, ii. 249, 255. annoyed by her husband, ii. 250. completes his comedy "Le Droghe d'Amore," ii. 252. is pestered into giving it to Sacchi, ii. 258. his innocence of an intention to caricature Gratarol in "Le Droghe d'Amor," ii. 258. reads the piece to the actors, ii. 260. tries to have it withdrawn, ii. 263. his friendship with Madame Dolfin Tron, ii. 266 _note_ 1. forbidden by the Censor to withdraw his play, ii. 268. his distress at the play's vogue, ii. 274. waited on by Carlo Maffei on behalf of Gratarol, ii. 277. interview between him and Gratarol, ii. 279-285. his futile efforts to have the play stopped, ii. 286-294. his further squabbles with Gratarol, ii. 294. his cause espoused by the Supreme Tribunal, which forces Gratarol to apologise to him, ii. 303. Gratarol's conduct to him subsequently, ii. 307. goes to Padua, where his brother Gasparo lies dangerously ill, ii. 309. uses his influence in Gratarol's behalf, ii. 319. his reflection on Gratarol's flight, ii. 321. his last interview with Sacchi, ii. 324. his sorrow at the death of his friends, ii. 325. has a bad attack of fever, ii. 327. lays down his pen, ii. 330. a review of his life and an estimate of his character, ii. 330. his old age, ii. 332. his will, ii. 333. his death, ii. 337.

Gozzi, Chiara, sister of Carlo, i. 354. becomes a nun, i. 365.

Gozzi, Francesco, brother of Carlo, i. 319, 320, 329, 354; ii. 79, 162. becomes a soldier, i. 212. his bad character, i. 321. his death, ii. 326.

Gozzi, Gasparo, grandfather of Carlo, i. 189.

Gozzi, Gasparo, brother of Carlo, i. 282, 286, 288, 293, 312, 320, 329; ii. 301, 319, 350. his personal leaning towards Goldoni, i. 106. undertakes to superintend a new edition of Goldoni's plays, i. 177. his passion for study, i. 194. his marriage, i. 209. becomes lessee of the theatre of S. Angelo at Venice, i. 332. his helpless position in his own house, i. 340. his theatrical speculation is unsuccessful, i. 353, 360. Carlo Gozzi and the Countess Balbi attacked on his stage, i. 357. obtains a post at the University of Padua, i. 367. his "Defence of Dante" against the Abbe Bettinelli, ii. 106. his lack of spirit, ii. 162. his friendship with Madame Dolfin Tron, ii. 267. his serious illness, ii. 308. in his delirium throws himself from a window, ii. 308. his recovery, ii. 317. his death, ii. 327.

Gozzi, Girolama, i. 288.

Gozzi, Giulia, i. 282.

Gozzi, Jacopo Antonio, father of Carlo, i. 188. has a stroke of apoplexy, i. 211. his feeble state of health, i. 284. the unhappiness of his position amid the family quarrels, i. 309. his death, i. 310.

Gozzi, Luisa Pisani Bergalli, wife of Gasparo, i. 210. the ruler of the Gozzi family affairs, i. 287. her mismanagement, i. 299, 317. her dishonourable conduct, i. 319, 328. tries to manage her husband's theatre, i. 332. brings a lawsuit against Carlo, i. 360-364.

Gozzi, Marina, sister of Carlo, i. 201, 282.

Gradenigo, Cavaliere Andrea, ii. 76.

Grampo, Contessa Emilia, i. 189.

Granelleschi, Academy of the, i. 89, 99, 102. its warfare with Goldoni and Chiara, i. 102. the founding of the Academy, ii. 93. its burlesque Prince, ii. 93. its more serious objects, ii. 97, 108. its attack on the Abbe Bettinelli, ii. 105. its headquarters in the shop of the bookseller, Paolo Colombani, ii. 127.

Gratarol, Pier Antonio, i. 359 _note_ 1; ii. 10, 72 _note_ 1, 79, 227, 263. his quarrel with Gozzi, i. 2, 6. account of his life, i. 7-16. nominated as Venetian Resident at Naples, i. 8. his quarrel with Caterina Dolfin Tron, i. 9. becomes lover to Teodora Ricci, i. 10; ii. 229. his version of his quarrel with Gozzi compared with Gozzi's statement, ii. 229 _note_ 1. his presence behind the scenes of Sacchi's theatre, ii. 230, 233. his entertainment to the actors and actresses, ii. 237. his first visit to Gozzi, ii. 238. Ricci compromised by him, ii. 242. caricatured in "Le Droghe d'Amore," but not by Gozzi's wish, i. 10; ii. 258, 259. his foolish conduct forces the piece on the stage, ii. 263. is present on its production and sees himself caricatured, ii. 272. his distress, ii. 275 _note_ 1, 277. his intrigues against Gozzi, ii. 278. his interview with Gozzi, ii. 279-285. Gozzi's efforts to have the play stopped, ii. 286-294. the further squabbles between him and Gozzi, ii. 294-300. forced by the Supreme Authority to apologise to Gozzi, ii. 303. his own account of the letter which he was forced to write, ii. 303 _note_ 1. his conduct to Gozzi subsequently, ii. 307. suspected of having the actor Vitalba assaulted, ii. 319. his appointment to Naples cancelled, ii. 319, 320. his withdrawal from Venice and consequent outlawry, i. 12; ii. 321. his "Narrazione Apologetica" published at Stockholm, i. 13. published at Venice after the fall of the Republic, i. 16. his death, i. 16. book entitled "Last Notices regarding Pietro Antonio Gratarol," i. 17. Gozzi's reflections on his character, ii. 321.

Grazzini, Anton-Francesco, his Carnival song of the Zanni and Magnifichi, i. 41.

Gritti, Francesco, ii. 76. his play of _Gustavus Vasa_, ii. 184.

Guardi, Francesco, ii. 338. the interest of his paintings historically, ii. 340.

Guseo, Giovannantonio, a notary, i. 347, 362.

Hoffmann, E. T. W., his enthusiasm for Gozzi, i. 181.

Hogarth, William, contrasted with Pietro Longhi, ii. 350.

Illyria, the nature of the country, i. 244.

Improvisation, Gozzi's views on, i. 202.

I Rozzi, a company at Siena, who performed farces, i. 33.

Italian Comedy. _See_ Comedy, Italian.

Italian Literature, ii. 91.

Lami, Signor, ii. 117.

Laveleye, Emil de, ii. 99 _note_ 1.

Lazari, V., ii. 347 _note_ 1, 353 _note_ 1.

_Lazzi_--or humorous sallies--in the _Commedia dell'Arte_, i. 63.

Lee, Vernon, i. 23, 182.

Lombard ingredients in the _Commedia dell'Arte_, i. 40.

Longhi, Alessandro, son of Pietro, ii. 346, 357.

Longhi, Pietro, ii. 338-361. the interest of his works, ii. 338 _note_ 1, 341, 347. his parentage, ii. 342. his early training, ii. 342. his _Fall of the Giants_, ii. 343. finds his true vocation as a painter in studies of contemporary Venetian life, ii. 344. the difference in his handiwork, ii. 346. his similarity in art with Goldoni the dramatist, ii. 350. the strong contrast between him and Hogarth, ii. 350. his portrait, ii. 351. filled the Chair of Painting in the Pisani Academy, ii. 353. a picture representing the Pisani family attributed to him, ii. 354. frescoes in the Palazzo Sina attributed to him, ii. 356. his sketch-book, a collection of 140 drawings, ii. 357. its great value, ii. 357. description of its contents, ii. 358. its merits and its limitations, ii. 358, 359. summary of his work, ii. 360.

Loredano, Cavaliere Antonio, i. 212.

Machiavelli, Niccolo, i. 29.

Maffei, Carlo-- account of his character, ii. 276. his intervention on Gratarol's behalf in the dispute regarding the "Droghe d'Amore," ii. 277-285. his sudden death, ii. 326, 327.

Manzoni, Caterina, actress, ii. 170. her excellent qualities, ii. 192.

Marchiori, Cavaliere, Lieutenant-Colonel of Engineers, i. 225. Gozzi studies Fortification under, i. 225. his death, i. 228.

Marsili, Professor Giovanni, ii. 308.

Martelli, Pier Jacopo, i. 97 _note_ 1.

Martellian verses, i. 97 _note_ 1.

Masi, Ernesto, i. 99 _note_ 1.

Masks, the, as employed by Gozzi, i. 149.

Massimo, Innocenzio, i. 226, 227, 278, 326; ii. 28, 162, 310. his friendship with Gozzi, i. 223, 283. his character, i. 224. a foolish adventure, i. 254-260. his generous kindness to Gozzi, i. 312. his sudden death, ii. 327.

Medebac (master of a company of comedians), engages Goldoni to write for his company, i. 95.

Messer Grande, the Chief Constable of Venice, ii. 89 _note_ 1.

Micheli, Maggiore della Provincia, i. 218.

Montenegrins, the women of the, i. 241.

Morlacchi, a tribe of Dalmatians, i. 237 _note_ 1. their barbarism, i. 237, 239.

Musset, Paul de, his travesty of Gozzi's real character, i. 23, 24 _note_ 1, 181, ii. 89 _note_ 2.

Neapolitan ingredients in the _Commedia dell'Arte_, i. 40.

Pallone, the game of, i. 251 _note_ 1.

Pantalone, i. 34; description of, in the _Commedia dell'Arte_, i. 43. as employed by Gozzi, i. 152.

Paruta, the Patrician, Gozzi mistaken for, ii. 74.

Perrucci, Andrea, his description of the rehearsal of an impromptu comedy, i. 58.

Pisani family, their Academy for the Study of the Art of Design, ii. 353.

Pozzobon, Giovanni, i. 100 _note_ 2.

Prata, Count Michele di, i. 282.

Prejudice, Gozzi's dissertation on, ii. 99.

Provveditore Generale di Dalmazia, the office of, i. 212 _note_ 1.

Provveditore Generale di Mare, the head of the Venetian forces in the Levant, i. 212 _note_ 1.

Pulcinella, i. 35; description of, i. 49.

Punch (Pulcinella), i. 50.

Quirini, Girolamo, Provveditore di Dalmazia, i. 213, 216, 247, 277, 278. the town of Zara gives a grand public display in his honour, i. 230. Gozzi presents a volume of his poems to him, i. 276.

Regina, the actress engaged by Sacchi to fill Ricci's place, ii. 254.

Renier, Paolo, ii. 301, 305. his brilliant abilities, and his career, ii. 301 _note_ 1, 306 _note_ 1.

Reniero, Senator Daniele, i. 341.

Ricci, Marianna, sister of Teodora, ii. 242.