Preface to the 1755 Pasquali edition

THE PUBLISHER, TO THE COURTEOUS READERS.

(revised LLM translation)

Since the middle of the past century, Monsignor Leone Allacci, a man famous in the Literary Republic, had, for his amusement, compiled a Catalog of all Italian Compositions suitable for performance, known to him, whether printed or manuscript, in verse and prose. He had it printed in Rome in the year 1666 with the title Drammaturgia. Although the book contained mostly titles of similar compositions, it became so rare that it can hardly be found now, and if found, it comes at a high price. Therefore, someone thought of reprinting it. But it was not so easy to correct the errors of its first Author, which were neither few nor light, and to add to that Catalog what was missing. It was also inconvenient to continue the series up to our times, so fertile and abundant in such works.

These difficulties, however, were partly overcome by the untiring diligence of Giovanni Cendoni of Venice, who, with the help of the famous Apostolo Zeno and other worthy and learned friends, observed, compared, collected, and amending, added what had come out in this genre until the year 1748 or shortly after. But having closed his days before being able to see his work completed and published, this came, by his will, into the hands of Father Giovanni degli Agostini M. O., and the esteemed Librarian of the Convent of La Vigna in Venice. Since he, already heavily occupied with his other literary labors, could not give it the finishing touch as desired by Cendoni, the Manuscript passed, by a curious event, into the hands of another person who, at the request of the aforementioned Father Agostini, willingly set out to complete the remaining part. By reviewing, reordering, and adding anew with incredible patience the collected materials, he allowed the printer to start this new edition of the Drammaturgia, not thinking, however, to carry it beyond the time in which Cendoni had finished it.

But considering that it would be generally regretted if it were to appear in the light not entirely completed or continued until the present year 1754, so that once published it would need the hand of another to perfect it; and on the other hand, foreseeing that it would be almost impossible to have accurate information about all the Italian performances printed in recent times in so many parts of Europe, such as Germany, Spain, England, and even Russia, where the pleasure of the Italian Theater has already penetrated; for this reason, after some fitting reflection, it was decided to provide as many as possible, certainly better to have a good part than none. In a supplement, therefore (knowing well that it is not what the entire perfection of the work requires, it has been artfully separated from it), all those Compositions that were published in print after 1748 or shortly after and came to our knowledge are registered. Nor would these have reached the number they are now without the kindly assistance given to us by the aforementioned remarkable person, to whom the main merit is due, as much in the rest of the work as in this part.

It is not necessary to discuss in detail the method followed in this work, as the work itself is enough to show it. However, it is necessary to note: that the Compositions, recorded by Allacci and forming, so to speak, the body of his Drammaturgia, have been marked by us with an asterisk so that they can be easily distinguished from the additions made later. At the end of the entire work, an accurate Index of the names and surnames of the Authors has been placed for the greater convenience of scholarly readers. And finally: that if sometimes we have not superstitiously recorded all the various editions of a certain Composition, or have not minutely hinted at the changes made in the title or in other parts of it in subsequent reprints, this should not be ascribed to our failure. On the contrary, it should be known that both these and those are deliberately omitted to avoid causing more annoyance than benefit to others by mentioning them too minutely. Furthermore, it should not be believed that we have accurately provided in this edition all the titles of Italian Compositions printed and suitable for performance. Everyone knows very well that this is an endless sea, and we have learned it by experience.

For this reason, we sincerely ask anyone who notices notable errors or important omissions in this edition to kindly inform the bookseller so that, when the book is reprinted at some point in the future, it can be brought to greater perfection for the common honor of the Italian Nation, from which the modern Theater recognizes its birth and form. In this way, in addition to the History of our Poetry, which can draw many insights from this work, it will also be of no small benefit to the writers of the Literary of our Provinces and Cities, who may sometimes recognize among their fellow citizens someone of whom perhaps they had no knowledge or, if they had, did not know that he was a poet.

Therefore, accept our work; improve it if it is in your power, and live happily.