Born of poor parents. When ten years old, improvised in the streets of Rome; then adopted and educated by Gravina, a rich juris-consult, who left the poet all his fortune. Forty editions of Metastasio’s works were published before his death. He wrote many tragic operas, besides numerous smaller compositions. Invited by Charles VI. of Austria, he settled in Vienna, and received the title of Imperial Poet. His style is singularly chaste, harmonious, and elegant. Attracted to, and attracting by, the delineation of characters, morally pure and elevated. Pathetic, but his passion lacks individuality. When we have read a few of his works, we have read all. In person tall and commanding.
[By Ceracchi. There is a fine bust of him by Vinnazar of Vienna. Metastasio was buried in St. Michael’s Church, at Vienna, but the place is not known.]
179. Carlo Goldoni. Poet.
[Born at Venice, 1707. Died at Paris, 1793. Aged 86.]
The most celebrated Italian comic poet of the eighteenth century, and the renovator of the comic stage in his country. When eight years old, sketched out a play. After some reverses of fortune, settled in Paris, where he wrote his last work, “Materials for a History of his Life and Theatre.” He wrote 150 pieces for the stage, introducing all classes of men, whom he described with surprising truth. He reformed the Italian drama by extinguishing the fashion of playing in masks, and by doing away with certain conventional characters before introduced into every play. His works are not without the defects of an over-abundant and extraordinarily rapid composition; but he has the great merit of faithfully portraying men in their affections, their habits, follies, and vices.
[By Leandro Biglioschi.]
180. Vittorio Alfieri. Poet.
[Born at Asti, in Piedmont, 1749. Died at Florence, 1803. Aged 54.]
He was of noble origin, and acceded, at the age of 14, to large hereditary estates. His passions were strong, ardent, and irregular: his education was neglected. He travelled much,—rapidly and impatiently, like a man fleeing from himself, or seeking, without finding, objects to satisfy the capacity of a mind, large but unstored. He was first drawn with passion to literature by Plutarch’s Lives; and his first tragedy, “Cleopatra,” was acted at Turin in 1775, when he was 26 years old. Thenceforward he was devoted to the study of his art. The subjects of his tragedies, which follow the simplicity of the Greek model, are chiefly from ancient mythology, or history. They are distinguished by intense absorption of the poet in his dramatic action and persons, by the austere exclusion from the plot of everything accidental or inoperative to the main purpose and catastrophe, and by the rejection of all accessory ornament from his sedulously laboured style. In his hands the flowing and languishing Italian speech becomes abrupt, concentrated, darted, fiery; harsh, often, until it is dilated into harmony by the swelling and emphatic intonations of the actual theatre. He raised at once the prostrate Italian tragedy to the rank of an art, and to a competition with the nations. He was a passionate lover of horses, licentious in his attachments, and an ardent partisan of liberty.
[Alfieri was buried in Santa Croce. Canova, commissioned by the Countess of Albany, sculptured his tomb and the medallion of him which is upon it. This bust is by Domenica Manera, and no doubt is a good likeness, having been executed under Canova’s eye.]