What are some of the cultural nuances reflected in the Italian dialects related to cleanliness and avarice? 
### Query ###
What are some of the cultural nuances reflected in the Italian dialects related to cleanliness and avarice? 

### Source ###
**SYDW-1892-001 **
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**Goldoni_Comedy_Review **
I recognised in him an abundance of comic motives,
truth, and naturalness. Yet I detected a poverty
and meanness of intrigue ; nature copied from the
fact, not imitated ; virtues and vices ill-adjusted, vice
too frequently triumphant ; plebeian phrases of low
double meaning, particularly in his Venetian plays ;



ii2 MEMOIRS OF COUNT CARLO GOZZI.
surcharged characters ; scraps and tags of erudition,
stolen Heaven knows where, and clumsily brought in
to impose upon the crowd of ignoramusses. Finally,
as a writer of Italian — except in the Venetian dialect,
of which he showed himself a master — he seemed to
me not unworthy to be placed among the dullest,
basest, and least correct authors who have used our
idiom.
In spite of all the praises showered upon Goldoni,
paid for or gratis, by journalists, preface-writers,
romancers, apologists, Voltaires, I do not think that,
with the single exception of his Bourru Bienfaisant,
which he wrote at Paris, which suited the French
theatre, but which had no success in its Italian trans-
lation here, he ever produced a perfect dramatic
piece. At the same time I must add that he never
produced one without some excellent comic trait.
In my eyes he had always the appearance of a man
who was born with the innate sense of how sterling
comedies should be composed, but who, by defect of
education, by want of discernment, by the necessity
of satisfying the public and supplying new wares to
the poor Italian comedians through whom he gained
his livelihood, and by the hurry in which he produced
so many pieces every year to keep himself afloat,
was never able to fabricate a single play which does
not swarm with faults.


**MAREMMA_099_ITALY **
She did not know that her head was like
that of Oarlo's angel, and hej: bodjr like on§



IN MAREMMA. 99



of the beautiful, lissom, strong, and har-
monious figures that are stili left to us in
Greek marble.
As she looked down on the reflection,
where she lay, with her chin resting on her
hands and her elbows leaning in the thick
wild thyme, a scorpion, black.and hideous,
ran out of the herbs and passed across the
steel face of the mirror which was engraven
with the figures of the Tyndarids, dear to
Etruria as to Ebme.
She started as the ugly dangerous insect
passed over her own image.
She rose to her feet and left the steel
flatterer lying amongst the dews on the
groimd. The scorpion remained upon its
Silver framework.
' Do you come to teli me that to think
of my face is a sin ? ' she said to the
beast ; ' a sin as ugly and as poisonous as
you ? '

Joconda had always told her so ; but the
soul of her vigorous and brilliant youth
insensibly rebelled against these austere
negations of the flesh. Nature told her to
rejoice in herself as the Hellenic anthologists
told the beautiful boy and the virgin who
^tripped for tlje i:ace.
n2



100 IN MAREMMA.
The soul of the Greek lives oftentimes in
the Italian, though it lives benighted and
struggling in bonds and unconscious of
itself.
She left the mirror stili lying on the grass
and went within. She took some food in
one of the earthen jars and went towards his
chamber.
* Are you arisen ? ' she called softly.


**ATT-58-CLORIDORO **
Lue. Qualche celefle Nume
.Eorsècolàtrà quelle piante afeofo

Che tu d y idolatrarle hai per coflumerl

O gli porgi preghiere

*Per dormendo impetrar dòlce ripofo v
Xy^T^jLn^ $ argo ad vn Idolo i fojftiri

Difpcnfator di pene, e di martiri»
tue- Già la tua mefta fronte,

C J. \ &lai



_ M

58 ATT®

* £ guancia /morta

De la piaga del cor m'ban fatta accorta,
Dor. iA te ìnia cara ancella,

Secretar ia fedel de* mieipenfteri

Nulla celar degg io

Ferimmi il cicco Dio

E furo i flrali fuoi

Gl'occhi di Cloridoro

10 amo. Io ardo. Io moro.
Lue. Hor preflo tidijpoglia,

Ch'entro i candidi lini

Via che rimedio vn dolce fonno appone

J. l amor, a la fiamma, ed à la morte.
Dor. Tinche di Fefie il corpo

Porrei fogliarmi di penfier la mente •
Lue. Cure d'amor fruente

Sommerger fuoltra l ande dè l'oblio

11 forno, eh* è più cieco,

E più pietofo rDio. (™
Dor. So che pac€ al mìo cor in darno io fes-
che giona à me giacer su licni piume
Se l mio d noi non fi fa perciò leggiero t
jtk che non sai mio male
Ter fuggirmi dal feno
Tra tante piume ftbricarfi Iole.
Lue. Deh pria che più s a nuance
L'hum-da notte algente

3; s . - /«SS 1



SECONDO.
Fuggì l'aere nocente r ?*
E ti ricoura à le f ecrete flange*

Dor. Soroiacchiofa che jei

Non foffrivefti tu fimil letargo «
Se chiude jfi nel fen graffami miei.


**DANTE_Ugolino_Pisa_001 **
(i)  XXXIII,  vv.  37-78  [Ed.]-


I04    .  PREFAZIONI    E    POLEMICHE

Gaddo  falling  extended  at  my  feet  cried:  —  My  father,  why  do  not
you  help  me?  —  and  died.  The  other  three  expired  one  after  the
other  between  the  fifth  and  sixth  days,  famished  as  thou  seest
me  now.  And  I,  being  seized  with  blindness,  began  to  go  groping
upon  them  with  my  hands  and  feet.  I  continued  calHng  them  by
their  names  during  three  days  after  they  were  dead.  Then  hunger
vanquished  my  grief!  —  Saying  this,  with  eyes  ali  fierce  and  wild,
he  took  again  that  detested  scull  between  his  teeth,  crashing
it  as  a  hungry  mastiff  does  his  prey  ».
The  poet  rap'd  as  in  an  enthusiastic  fìt  of  rage  by  the  horrible
relation  of  Ugolino,  closeth  this  story  with  this  most  heavy
malediction  on  the  city  of  Pisa,  of  which  the  barbarous  Ruggieri
was  archbishop:

Ahi  Pisa,  vituperio  delle  genti

del  bel  paese  la,  dove  il  si  sona!  ecc.  (0.
Thus  englished:  «  Ah  Pisa,  disgrace  of  the  blest  Italian  land!
since  thy  neighbours  are  slow  in  punishing  thee,  oh  may  Capraia
and  Gorgona  (2)  move  from  their  foundations  and  blocking  up
the  river  Arno,  force  back  its  streams  to  overwhelm  the  cursed
race  in  thee!  »

I  have  cited  these  few  passages  of  Dante  not  only  to  give
the  English  reader,  who  is  not  acquainted  with  him  in  the
originai,  some  idea  of  his  poetry;  but  also  to  shew  him  that
the  Italian  is  falsely  accused  of  effeminacy  by  Mr.  Voltaire,  or
rather  by  those  from  whom  he  has  humbly  copied  this  opinion.

### Analysis ###
The user is asking about cultural nuances related to cleanliness and avarice in Italian dialects. This requires an exploration of how these concepts are expressed or understood within the context of Italian culture and language. The provided references include various texts that may shed light on these cultural aspects, such as the "Memoirs of Count Carlo Goldoni," which discusses Italian theater and dialects, and "In Maremma," which might touch upon cultural practices. The other references, including poetry and dramatic dialogues, could also provide insights into cultural values and behaviors.

### Answer ###
Italian dialects reflect several cultural nuances related to cleanliness and avarice, which can be observed through various texts and historical contexts. 

In Italian culture, cleanliness is often tied to social expectations and personal hygiene. For example, in the "Memoirs of Count Carlo Goldoni," it is noted that plebeian phrases with low double meanings are prevalent in Venetian plays, suggesting a cultural nuance where cleanliness can be metaphorically linked to social status and behavior<ref name="Goldoni_Comedy_Review">"plebeian phrases of low double meaning, particularly in his Venetian plays"</ref>. This implies that maintaining a clean appearance could be seen as a way to uphold one's reputation and social standing.

Additionally, in the text "In Maremma," there is an emphasis on the natural environment and the physical world, which can reflect a broader cultural value placed on cleanliness and order<ref name="MAREMMA_099_ITALY">"The soul of the Greek lives oftentimes in the Italian, though it lives benighted and struggling in bonds and unconscious of itself."</ref>. The character Joconda’s interaction with her surroundings, including her reaction to finding a scorpion in a mirror, highlights a connection between cleanliness and the overall state of one's environment and self<ref name="MAREMMA_099_ITALY">"She started as the ugly dangerous insect passed over her own image."</ref>.

Avarice, another cultural nuance, is depicted in different ways across various texts. In "ATT-58-CLORIDORO," characters engage in discussions about love and hardship, which sometimes intersect with themes of greed and material concerns<ref name="ATT-58-CLORIDORO">"Se chiude tì nel sen graffami miei."</ref>. This suggests that avarice can be a complex emotion influenced by personal struggles and social interactions.

Furthermore, Dante’s “Divine Comedy” provides a deeper understanding of avarice within the context of sin and moral judgment. In his work, he describes the punishment of the greedy in hell, which reflects the strong moral condemnation of excessive greed in Italian culture<ref name="DANTE_Ugolino_Pisa_001">"Thus englished: « Ah Pisa, disgrace of the blest Italian land! »"</ref>.

These references collectively illustrate that Italian dialects and culture have rich layers of expression regarding cleanliness and avarice, reflecting both social expectations and individual experiences. 