What do you think?
Rate this book
La Famiglia Dell'Antiquario
Collezione di teatro n 271 - Torino - 1983 - in 16 - - pp.107 - Brossura editoriale illustrata
107 pages, Paperback
First published January 1, 1750
1 person is currently reading
49 people want to read
About the author
Carlo Goldoni
1,271 books82 followersCarlo Osvaldo Goldoni was an Italian playwright and librettist from the Republic of Venice. His works include some of Italy's most famous and best-loved plays. Audiences have admired the plays of Goldoni for their ingenious mix of wit and honesty. His plays offered his contemporaries images of themselves, often dramatizing the lives, values, and conflicts of the emerging middle classes. Though he wrote in French and Italian, his plays make rich use of the Venetian language, regional vernacular, and colloquialisms. Goldoni also wrote under the pen name and title "Polisseno Fegeio, Pastor Arcade," which he claimed in his memoirs the "Arcadians of Rome" bestowed on him.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 6 of 6 reviews
Read
February 2, 2022Komedilerini hayatın içinden, gerçek insanları ilgilendiren gerçek meselelerle besleyen Goldoni'nin bu tiyatrosunda antikacılığı büyük bir tutkuyla yapan bir adam ve onun ailesinin ilişkileri anlatılıyor. Mizah unsurlarının yanı sıra ailevi ilişkileri, sosyal meseleleri de içerisinde bulunduran oyun aynı zamanda dönemin bir panoramasını da çiziyor.
June 13, 2015
Celelalte piese citite de Goldoni au fost plictisitoare. Aici însă, fiecare personaj m-a făcut să-l urăsc în mod special, fie că era anticarul, fie că era nevastă-sa sau nora. O adunătură de oameni nebuni, trăind o dramă savuroasă pentru cititor.
April 26, 2019
Un dominio magistral del tempo de comedia escrita, las tramas paralelas y los enredos. Hay que leer y hacer más Goldoni!
October 4, 2024
Ladies and gentlemen, we apologize for having taken so long to post another review. This morning I wanted to post this review, but my body did not respond to me and I was tired apart from the fact that I am holding my throat. My intention after spending all my time yesterday on @youtube was to post some criticism. In reality, this review is two books in one. It did not include "The Innkeeper" by Carlo Goldoni La Locandiera because it was already read some time ago together with "The Fan" Il ventaglio and, "Master of Two Masters" The Servant of Two Masters . I really like the theatre as Charles Ryder's father said in "Brideshead Revisited" Brideshead Revisited: The Sacred and Profane Memories of Captain Charles RyderMasters|1028284] "all great men have gone to the theatre" and, the genre of dramaturgy makes you smarter. I saw a lot of theater at The Christian schoolsLa Salle. Books were plays that were read very quickly and left a great impression on the people who read them. Unlike my former Boss I am not a big fan of the eighteenth century. I like the Middle Ages, and the sixteenth and seventeenth centuries, especially those of the countries of the so-called Counter-Reformation (it should be called the countries loyal to the Catholic faith and to the Catholic Church) because, as Juan Antonio Pérez-Foncea Juan Antonio Pérez-Foncea says, it is nothing more than a nationalist schism promoted by the secular authorities to create National Churches dependent on the State and, whose dogmas depend on the character and personality of the religious leader in question. What I want to say is that the eighteenth century does not appeal to me, although there are some great exceptions, despite being a century in which for me dramaturgy is worse than the previous century and, despite being at the opposite religious and political antipodes. I recommend a play by Leandro Fernández de Moratín that I liked "La comedia nueva o, El Café" Leandro Fernández de MoratínLa Comedia Nueva o El Café that I liked (more than the "Si de las niñas" El Sí De Las Niñas although this is his most famous work) it talks about the quality of the plays and, any publisher should read. As you can see, there are exceptions, one of them is the Venetian Carlo Goldoni. I got to know him in two very different ways. One very bright and another that does not leave me in a good place. I met "The innkeeper" thanks to the erotic film by Tinto Brass Tinto Brass called Miranda (in honor of its attractive protagonist. I confess to being a surrendered admirer of Serena Grandi Serena Grandi and Claudia Koll Claudia Koll and, more of the latter, since she converted to Catholicism). Just like "The Voyeueur/L'uomo che guarda" by Alberto Moravia The Voyeur . As they say in the Simpsons "I'm a very wicked man" :-) as the novel that is being read now says. "Marta, Marta" by Enrique Álvarez https://www.goodreads.com/review/show... friend of my beloved Don @juan_manuel_de_prada Juan Manuel de Prada and, whose book will be reviewed here, "lust is capable of dominating souls of steel".
That was my first contact with Goldoni and, previously, thanks to a book that is recommended to them, I really liked a book written by the man who would later become Pope John Paul I. Patriarch Albino Luciani "Most Illustrious Sirs" ILLUSTRISSIMI: LETTERS FROM POPE JOHN PAUL 1 that man who the progressives mistakenly bring to light, because he was going to carry out the changes of the progressives when their thinking was not very different from that of their predecessors. These letters prove it: they were letters that he, as if he were the homonymous character of Papini Giovanni Papini, sent to famous people. There I met Carlo Goldoni, there he compared the protagonist of "The Innkeeper" with "The Taming of the Shrew" by William Shakespeare The Taming of the Shrew and, I agree very much with him. That I like "The Innkeeper" more light years than "The Taming of the Shrew" and, that it seemed to him that the woman came out much better than in Shakespeare's play. I was so influenced by Miranda that he is one of those characters that have marked me and one of those archetypes that too. It is the feminine reverse of Don Juan Don Juan Tenorio without causing any scandal with morals. Because unfortunately sometimes men are allowed archetypes that society unjustly denies to female characters. In any case, here we are not going to talk about "La innkeeper" but about the other two works.
Unlike other years I was obsessed by the challenge of @goodreads this year I was very far from 200 books and I wanted to read a worthy number, but it went wrong because "Michael Strogoff" by Jules Verne Michael Strogoff resisted me and prevented me from doing a December as prolific in readings as the last two. So this year I was very far from two hundred books, as they were in a hurry they did not read the prologue and it would have been useful to me, but they were in a hurry so they went directly to the works in question. Goldoni's works are vaudeville, unlike Vico, he is not someone who is in conflict with the times in which he has lived, he sees himself as a man of the Italian Enlightenment, it is a bourgeois theatre that caricatures the nobility, but without blood. It is not a theatre as cold, academic and stiff as the neoclassicism of his compatriot Alfieri Vittorio Alfieri tinged with Black Legend. In Western Europe, although it is England that influences France, this eighteenth century made us believe that we were influenced by the French Enlightment, which is nothing more than a version of the anti-Catholicism of the French Enlightenment, which is what Montesquieu Montesquieu copies and Voltaire Voltaire copy John Locke John Locke (soprattutto) Hobbes Thomas Hobbes, Berkeley George Berkeley , Hume David Hume. Freemasonry extends its tentacles with Theophilus Dessaguliers and Pastor Anderson and, from there, deism drinks and that God architect who creates his work, but then disregards it. But, as far as this crude propaganda operation to cover up the extramarital troubles of Louis XV Ramiro de Maeztu Ramiro de Maeztu Dixit. Of course, the Church (the infamous one according to Voltaire) and the Jesuits (when they were still cool) were the enemies. This is not appreciated in Goldoni, but if I see a more bourgeois theater (which in spite of that snobbery does not have to be a negative meaning) let's see if now because you do not belong to the nobility, the clergy, the proletariat, or the peasantry you are not going to be saved. Thanks to divine mercy, it is not the social class to which you belong that matters, but your actions and your faith, which God will examine on the last day. The other is pure snobbery that has been used to attack liberal revolutions with justice in many cases. Society also needs merchants, city dwellers, the middle class. It is usually the link that unites the upper class and the lower class and, unfortunately, it is the target of plutocrats and demagogues of any political persuasion. What must be sought, as in the issue of ethnicities, is a social and ethnic miscegenation, absorbing the best of the strata or strata to which one belongs. Realizing that all levels have something positive. An example of the merchant would be Jacques Coeur, treasurer of Charles VII, to whom Thomas B. Costain The MoneymanThomas B. Costain dedicated a novel. What I want to say is that each class has a virtue and, so rude do I find the attacks of the nobility against the bourgeoisie, of the proletariat against the bourgeoisie and against the peasantry (which is what happened in the twentieth century without realizing that the first bourgeoisified Marxist was Karl Marx Karl Marx himself). I suppose that my latest readings have had an influence and, hence my reflections, I don't like Catholicism that attacks the bourgeoisie, just as I don't like that the bourgeoisie attacks the nobility. Do not be ashamed of your social origin Jesus had a tax collector in his ranks (heinous sin for French revolutionaries, socialists, communists and anarchists and, for certain medieval heresies) also had in its ranks a rich man like Joseph of Arimathea or secret disciples like the Pharisee Nicodemus. The key is not in its social origin but in accepting the Kingdom and divinity and the teachings of Jesus Christ and his successors. Goldoni falls into this lack of ridicule of this social class, but without bile or hatred.
This work has something in common with "A Servant for Two Masters" A Servant for Two Masters (Fine)/ Masterpiece Of World Literature Master and that is that Goldoni once again makes the characters of La Comedia dell Arte appear again in his work Pantaleón, Colombina, Arlequín, el Doctor. The authors of the prologue say that it gives them dignity and, humanizes them, these characters appeared in Father Brown's story "The Wandering Stars" by G.K. Chesterton The Flying Stars: A Father Brown Mystery and, they had a macabre component that does not appear here. This work has a family component. Here the class conflict is more present than in the "Regañón benefico/Il Burbero benefico" Dora Il Burbero Benefico. Doralice, daughter of Pantaleon, has married Giacinto, who belongs to a noble family ruined by the extravagances of his father who evades reality by squandering his fortune on acquiring works of art that are mostly fake. This is warned by his Servant Brighella who first warns him and then takes advantage of the matter. Think that since Count Anselmo Terrazini is stupid I'm going to take advantage of him. The Count does not mind having mixed his lineage with that of the bourgeois Pantaleon, if only because the 20,000 ducats allow him to pay for his waste. Countess Isabella, on the other hand, feels bad for contaminating her blood with that of the bourgeoisie. This is a novel that explores the conflict between mother-in-law and daughter-in-law. Since she does not have the means and the family has hidden her marriage, Doralice cannot alternate in society. To me, despite what the editors of the book Doralice say (without justifying the Terrazinis) she seems spoiled, and very spoiled by her father. This is seen when he takes Pantaleon's watch and money. In addition, the girl does not want an ordinary dress but one lined in gold and silver. This situation is marked by the interference of the servants Colombina (who is a rogue) and the mediators Doctor Balancini, and the Knight Bosco who take the side of the countess and the knight for Doralice because she is younger. As the critics say, Doralice uses anger with Giacinto (a man dominated by his wife), generosity with Colombina and kindness with the Knight. At the same time, Brighella and Harlequin will defraud the Count. It's hilarious when Harlequin poses as an Armenian merchant. The problem with this play is that all the characters are too ridiculous, self-interested and shameless (except for Pantaleón) and it is very difficult for you to empathize with them or like them. It's a dramedy, because despite the ending it's a bit cruel because you realize the decadence of a family and they are no longer able to govern themselves (it has nods to the works of Moliere Molière although for me Carlo Goldoni, although I imitate him, is more compassionate. The French influence is so harmful in Italy and in the Iberian Peninsula). It is a kinder criticism, but more realistic and crueler than the one that Beaumarchais would have made Pierre-Augustin Caron de Beaumarchais. All in a soft and friendly tone. One also has the feeling that he is excessively prolonged and, although you laugh at the Count, you also feel sorry that he takes refuge in his works of art and does not want to face reality. Certainly, despite the Goldonesque bonhomie, we are facing a bitter work and it is not as sympathetic as "La locandiera". The best thing about the play is Pantaleón and, the worst are undoubtedly the other characters. Even if you laugh at Harlequin. My grade is (2.5/5).
The final notes of all the works in the book are "La innkeeper" (5/5), "El regañón benefico/Il Burbero Benefico" (4/5) and, "La familia del Anticuario" (2.5/5) so the final grade of the entire book could be (4/5), perhaps it could rise more due to the quality of the Prologue. These reviews will be translated into the three languages: English, Spanish, Polish and Italian. I hope you liked it and had a very merry Christmas. Despite the cold and diarrhea, I have been very happy.
That was my first contact with Goldoni and, previously, thanks to a book that is recommended to them, I really liked a book written by the man who would later become Pope John Paul I. Patriarch Albino Luciani "Most Illustrious Sirs" ILLUSTRISSIMI: LETTERS FROM POPE JOHN PAUL 1 that man who the progressives mistakenly bring to light, because he was going to carry out the changes of the progressives when their thinking was not very different from that of their predecessors. These letters prove it: they were letters that he, as if he were the homonymous character of Papini Giovanni Papini, sent to famous people. There I met Carlo Goldoni, there he compared the protagonist of "The Innkeeper" with "The Taming of the Shrew" by William Shakespeare The Taming of the Shrew and, I agree very much with him. That I like "The Innkeeper" more light years than "The Taming of the Shrew" and, that it seemed to him that the woman came out much better than in Shakespeare's play. I was so influenced by Miranda that he is one of those characters that have marked me and one of those archetypes that too. It is the feminine reverse of Don Juan Don Juan Tenorio without causing any scandal with morals. Because unfortunately sometimes men are allowed archetypes that society unjustly denies to female characters. In any case, here we are not going to talk about "La innkeeper" but about the other two works.
Unlike other years I was obsessed by the challenge of @goodreads this year I was very far from 200 books and I wanted to read a worthy number, but it went wrong because "Michael Strogoff" by Jules Verne Michael Strogoff resisted me and prevented me from doing a December as prolific in readings as the last two. So this year I was very far from two hundred books, as they were in a hurry they did not read the prologue and it would have been useful to me, but they were in a hurry so they went directly to the works in question. Goldoni's works are vaudeville, unlike Vico, he is not someone who is in conflict with the times in which he has lived, he sees himself as a man of the Italian Enlightenment, it is a bourgeois theatre that caricatures the nobility, but without blood. It is not a theatre as cold, academic and stiff as the neoclassicism of his compatriot Alfieri Vittorio Alfieri tinged with Black Legend. In Western Europe, although it is England that influences France, this eighteenth century made us believe that we were influenced by the French Enlightment, which is nothing more than a version of the anti-Catholicism of the French Enlightenment, which is what Montesquieu Montesquieu copies and Voltaire Voltaire copy John Locke John Locke (soprattutto) Hobbes Thomas Hobbes, Berkeley George Berkeley , Hume David Hume. Freemasonry extends its tentacles with Theophilus Dessaguliers and Pastor Anderson and, from there, deism drinks and that God architect who creates his work, but then disregards it. But, as far as this crude propaganda operation to cover up the extramarital troubles of Louis XV Ramiro de Maeztu Ramiro de Maeztu Dixit. Of course, the Church (the infamous one according to Voltaire) and the Jesuits (when they were still cool) were the enemies. This is not appreciated in Goldoni, but if I see a more bourgeois theater (which in spite of that snobbery does not have to be a negative meaning) let's see if now because you do not belong to the nobility, the clergy, the proletariat, or the peasantry you are not going to be saved. Thanks to divine mercy, it is not the social class to which you belong that matters, but your actions and your faith, which God will examine on the last day. The other is pure snobbery that has been used to attack liberal revolutions with justice in many cases. Society also needs merchants, city dwellers, the middle class. It is usually the link that unites the upper class and the lower class and, unfortunately, it is the target of plutocrats and demagogues of any political persuasion. What must be sought, as in the issue of ethnicities, is a social and ethnic miscegenation, absorbing the best of the strata or strata to which one belongs. Realizing that all levels have something positive. An example of the merchant would be Jacques Coeur, treasurer of Charles VII, to whom Thomas B. Costain The MoneymanThomas B. Costain dedicated a novel. What I want to say is that each class has a virtue and, so rude do I find the attacks of the nobility against the bourgeoisie, of the proletariat against the bourgeoisie and against the peasantry (which is what happened in the twentieth century without realizing that the first bourgeoisified Marxist was Karl Marx Karl Marx himself). I suppose that my latest readings have had an influence and, hence my reflections, I don't like Catholicism that attacks the bourgeoisie, just as I don't like that the bourgeoisie attacks the nobility. Do not be ashamed of your social origin Jesus had a tax collector in his ranks (heinous sin for French revolutionaries, socialists, communists and anarchists and, for certain medieval heresies) also had in its ranks a rich man like Joseph of Arimathea or secret disciples like the Pharisee Nicodemus. The key is not in its social origin but in accepting the Kingdom and divinity and the teachings of Jesus Christ and his successors. Goldoni falls into this lack of ridicule of this social class, but without bile or hatred.
This work has something in common with "A Servant for Two Masters" A Servant for Two Masters (Fine)/ Masterpiece Of World Literature Master and that is that Goldoni once again makes the characters of La Comedia dell Arte appear again in his work Pantaleón, Colombina, Arlequín, el Doctor. The authors of the prologue say that it gives them dignity and, humanizes them, these characters appeared in Father Brown's story "The Wandering Stars" by G.K. Chesterton The Flying Stars: A Father Brown Mystery and, they had a macabre component that does not appear here. This work has a family component. Here the class conflict is more present than in the "Regañón benefico/Il Burbero benefico" Dora Il Burbero Benefico. Doralice, daughter of Pantaleon, has married Giacinto, who belongs to a noble family ruined by the extravagances of his father who evades reality by squandering his fortune on acquiring works of art that are mostly fake. This is warned by his Servant Brighella who first warns him and then takes advantage of the matter. Think that since Count Anselmo Terrazini is stupid I'm going to take advantage of him. The Count does not mind having mixed his lineage with that of the bourgeois Pantaleon, if only because the 20,000 ducats allow him to pay for his waste. Countess Isabella, on the other hand, feels bad for contaminating her blood with that of the bourgeoisie. This is a novel that explores the conflict between mother-in-law and daughter-in-law. Since she does not have the means and the family has hidden her marriage, Doralice cannot alternate in society. To me, despite what the editors of the book Doralice say (without justifying the Terrazinis) she seems spoiled, and very spoiled by her father. This is seen when he takes Pantaleon's watch and money. In addition, the girl does not want an ordinary dress but one lined in gold and silver. This situation is marked by the interference of the servants Colombina (who is a rogue) and the mediators Doctor Balancini, and the Knight Bosco who take the side of the countess and the knight for Doralice because she is younger. As the critics say, Doralice uses anger with Giacinto (a man dominated by his wife), generosity with Colombina and kindness with the Knight. At the same time, Brighella and Harlequin will defraud the Count. It's hilarious when Harlequin poses as an Armenian merchant. The problem with this play is that all the characters are too ridiculous, self-interested and shameless (except for Pantaleón) and it is very difficult for you to empathize with them or like them. It's a dramedy, because despite the ending it's a bit cruel because you realize the decadence of a family and they are no longer able to govern themselves (it has nods to the works of Moliere Molière although for me Carlo Goldoni, although I imitate him, is more compassionate. The French influence is so harmful in Italy and in the Iberian Peninsula). It is a kinder criticism, but more realistic and crueler than the one that Beaumarchais would have made Pierre-Augustin Caron de Beaumarchais. All in a soft and friendly tone. One also has the feeling that he is excessively prolonged and, although you laugh at the Count, you also feel sorry that he takes refuge in his works of art and does not want to face reality. Certainly, despite the Goldonesque bonhomie, we are facing a bitter work and it is not as sympathetic as "La locandiera". The best thing about the play is Pantaleón and, the worst are undoubtedly the other characters. Even if you laugh at Harlequin. My grade is (2.5/5).
The final notes of all the works in the book are "La innkeeper" (5/5), "El regañón benefico/Il Burbero Benefico" (4/5) and, "La familia del Anticuario" (2.5/5) so the final grade of the entire book could be (4/5), perhaps it could rise more due to the quality of the Prologue. These reviews will be translated into the three languages: English, Spanish, Polish and Italian. I hope you liked it and had a very merry Christmas. Despite the cold and diarrhea, I have been very happy.
May 8, 2020
Goldoni sa scrivere, non c'è alcun dubbio.
March 5, 2025
as far as 18th century venetian plays go this one is alright
Displaying 1 - 6 of 6 reviews