Under the title "A Study on the Flow of Criticism on the Plays by Carlo Goldoni," the author once analyzed the general criticism of the plays by Carlo Goldoni, from the 18th century into the modern age. The differences in criticism over whoever the play belongs to are bound to vary depending on the circumstances surrounding each time period, space, politics, and hierarchy. However, it was confirmed that the criticism of Goldoni's plays seemed unusually sharp and confrontational. The author intends to point out that the cause is undoubtedly due to Goldoni's characteristic dramaturgy. A look at Goldoni's dramaturgy shows that usually two main elements are commonly projected in it. The first is the 'depiction of characters appearing between individual classes or within one class'. On top of this, the main focus of this "character depiction" lies in "morality and theatricality". In terms of morality, characters in Goldoni's plays are divided into the aristocracy, the bourgeoisie and the working class that remained against the backdrop of 18th century Italy. The attributes of each of the three classes are characteristically distinguished through their behavior - either moral or immoral. Besides, while the play puts its focus on the bourgeoisie, this class internally represents two contrary aspects of a character -positive and negative- again on the basis of morality. When it comes to theatricality, the characters emerge as 'a new and transformed form of reform'' in the plays of Goldoni, even though they originated from the existing form of Commedia dell'arte plays. As a result, Goldoni captured the attributes and the core of characters in each class to achieve a new-concept character description. At the same time, he came to realize his ideal for the "new play" that he had pursued through the dramatic reform of Commedia dell'arte. The second is in regard to a Goldoni's ideal vision of the 'new society and women', which is similar to other plays. This ideal vision is ultimately illustrated through an unnatural 'story ending method' as in La Bottega del Caffe(1750). Venice, formerly renowned as the Mediterranean sea power, lost its leading stance as a trading hub as the businesses moved over to the Atlantic Ocean. As a result, by the 18th century, the city turned into a city where gambling and prostitution were rampant. The play, however, is bluntly revealing the ideal images of a "new society and woman" in Goldoni's dream, which is contrary to the actual reality of Venice, suffering downturn economically and morally at the time through its extremely unnatural method of ending. This is revealed in manners of the 'emergence of the morally superior bourgeoisie', 'embracing of the defective but recoverable bourgeoisie' and 'driving out the unscrupulous'.