The Italian Language

In contrast to the decline of poetry, there was a wealth of quality prose. Galileo Galilei (1564-1642), one of the precursors of modern scientific research based on experiment rather than on deduction and rules of Aristotle, earned a place in literature thanks to his direct style. Paolo Sarpi’s (1552-1623) History of the Council of Trent shows a deep understanding of contemporary Italy though he does not refrain from criticising it. Tommaso Campanella (1568-1639) was another luminary in an otherwise dull century.

With the spread of the Enlightenment in the latter half of the XVIII century, Italian art experienced another glorious period. This process began in 1690 with the founding of the Arcadia - a literary academy set up with the aim of replacing the extravagance and artificiality of the XVII century with a more truthful and rational style. The major poet was the libretto writer Pietro Metastasio (Pietro Antonio Domenico Trapassi)(1698-1792), author of a series of dramas, only two of which can be classified as tragedies. His work was used extensively by opera writers, such as Gluck and Mozart. His main dramas are Adriano, Demetrio, Issipile, Demofoonte, L'Olimpiade, La Clemenza di Tito, Achille in Sciro, Temistocle and Attilio Regolo.

Giuseppe Parini (1729-1799) is particularly notable for his dignity and for his commitment to the spread of enlightened, humanitarian ideals through his writings and public life. His masterpiece is Il Giorno, a satirical poem in which he exposes the idleness, frivolity and spiritual void of contemporary nobility.

Carlo Goldoni (1707-1793) was the main writer for the theatre, giving us a number of comedies, such as Un curioso accidente, Il Bugiardo, Pamela, La bottega di caffè, I Rusteghi, and Il Burbero benefico. Like Metastasio, his plays were used as opera libretti. He wrote in Venetian, Italian and French.

Carlo Gozzi (1720-1806) was a rival of Goldoni in Venice, writing also comedies, often in Venetian. His better known works are his collections of Fiabe, where he tells often preposterous fairy-tales. His work also interested opera composers: Wagner’s Fairies, Prokofiev’s Love for Three Oranges and Puccini’s Turandot are all based on his plays.