Lombard language
The Lombard language belongs to the Gallo-Italic group within the Romance languages. It is characterized by a Celtic linguistic substratum and a Lombardic linguistic superstratum and is a cluster of homogeneous dialects that are spoken by millions of speakers in Northern Italy and southern Switzerland. These include most of Lombardy and some areas of the neighbouring regions, notably the far eastern side of Piedmont and the extreme western side of Trentino, and in Switzerland in the cantons of Ticino and Graubünden. The language is also spoken in Santa Catarina in Brazil by Lombard immigrants from the Province of Bergamo, in Italy.
History
Origins
The most ancient linguistic substratum that has left a mark on the Lombard language is that of the ancient Ligures. However, available information about the ancient language and its influence on modern Lombard is extremely vague and limited. That is in sharp contrast to the influence left by the Celts, who settled in Northern Italy and brought their Celtic languages and culturally and linguistically Celticised the Ligures. The Celtic substratum of modern Lombard and the neighbouring languages of Northern Italy is self-evident and so the Lombard language is classified as a Gallo-Italic language.Roman domination shaped the dialects spoken in the area, which is called Cisalpine Gaul by the Romans, and much of the lexicon and grammar of the Lombard language have their origin in Latin. However, that influence was not homogeneous since idioms of different areas were influenced by previous linguistic substrata, and each area was marked by a stronger or weaker Latinisation or the preservation of ancient Celtic characteristics.
The Germanic Lombardic language also left strong traces in modern Lombard, as it was the variety of Germanic that was spoken by the Germanic Lombards, who settled in Northern Italy, which is called Greater Lombardy after them, and in other parts of the Italian Peninsula after the fall of the Western Roman Empire. Lombardic acted as a linguistic superstratum on Lombard and neighboring Gallo-Italic languages since the Germanic Lombards did not impose their language by law on the Gallo-Roman population, but they rather acquired the Gallo-Italic language from the local population. Lombardic left traces, mostly in lexicon and phonetics, without Germanicising the local language in its structure and so Lombard preserved its Romance structure.
From the 15th to the 17th century
From the 15th century onwards, literary Tuscan began to supplant the use of northern vernaculars such as Lombard, even regardless of the fact that Lombard itself began to be heavily influenced by the Tuscan vernacular. Prior to that, the Lombard language was widely used in administrative spheres. Among those who favoured the strengthening of Tuscan influences over Lombard culture was the Duke of Milan Ludovico il Moro; during his reign he brought numerous men of culture from the Republic of Florence to the Sforza court, the most famous of whom was certainly Leonardo da Vinci. At the same time, however, Lancino Curzio still wrote some works in Milanese dialect at the Sforza court.Between the 15th and 16th centuries, the Lombard language was widely and actively discredited in Italian literary circles. Tuscan writers and humanists such as Luigi Pulci and Benedetto Dei recorded aspects of the language spoken in Milan in the form of parodies; similarly, the Asti-born writer Giorgio Alione parodied Milanese in his Commedia e farse carnovalesche nei dialetti astigiano, milanese e francese misti con latino barbaro composed at the end of the 15th century. The Florentine humanist Leonardo Salviati, one of the founders of the Accademia della Crusca, an important Italian linguistic academy operating to this day, published a series of translations of a Boccaccian tale into various vernaculars explicitly in order to demonstrate how ugly and awkward they were compared to Tuscan.
At the same time, the 15th century saw the first signs of a true Lombard literature: in the eastern parts of Lombardy, the Bergamo-born Giovanni Bressani composed numerous volumes of satirical poetry and the Brescia-born Galeazzo dagli Orzi wrote his Massera da bé, a sort of theatrical dialogue; in the west of the region area, the Mannerist painter Giovanni Paolo Lomazzo lead the composition of the "arabesques" in the Accademia dei Facchini della Val di Blenio, a Milanese academy founded in 1560.
At the beginning of the 17th century, the Ossola native Giovanni Capis published the Varon milanes de la lengua de Milan, a sort of etymological dictionary was published.
An example of a text in ancient Milanese dialect is this excerpt from Il falso filosofo, act III, scene XIV, where Meneghino, a traditional Milanese character from the commedia dell'arte, presents himself in court :
The 17th century also saw the rise of the figure of the playwright Carlo Maria Maggi, who normalised the spelling of the Milanese dialect and who created, among other things, the Milanese mask of Meneghino. A friend and correspondent of Maggi was Francesco De Lemene, author of La sposa Francesca and of a translation of Gerusalemme liberata. Moreover, the 17th century saw the emergence of the first bosinade: popular poems written on loose sheets and posted in the squares or read in public; they were widely diffused until the first decades of the 20th century.
In the modern era
Milanese literature in the 18th century was quickly developing: some important names which emerged in that period include Domenico Balestrieri, who was associated the famous poet Giuseppe Parini. The latter wrote some compositions in the Lombard language. One of the most important writers of the period was the Bergamo-based abbot Giuseppe Rota, author of a substantial Bergamo-Italian-Latin vocabulary and of several poetic works in the Orobic idiom, which he always called "lingua".In this period the linguistic characteristics of Lombard were well recognizable and comparable to the modern ones, except for some phonetic peculiarities and the presence of a remote past tense, replaced almost fully by the past perfect tense by 1875.
The beginning of the 19th century was dominated by the figure of Carlo Porta, recognized by many as the most important author of Lombard literature, also included among the greatest poets of Italian national literature. With him some of the highest peaks of expressiveness in the Lombard language were reached, which clearly emerged in works such as La Ninetta del Verzee, Desgrazzi de Giovannin Bongee, La guerra di pret and Lament del Marchionn de gamb avert.
Milanese poetic production assumed such important dimensions that in 1815 the scholar Francesco Cherubini published an anthology of Lombard literature in four volumes, which included texts written from the seventeenth century to his day.
In the contemporary era
In the first part of the 20th century, the greatest exponent of Lombard literature was the Milanese lawyer Delio Tessa, who distanced himself from the Portian tradition by giving his texts a strong expressionist tone. In Bergamo, the most prominent advocate of Lombard language was Bortolo Belotti, a lawyer, historian and minister in the liberal governments of the time.The Lombard language became known outside its linguistic borders thanks to I Legnanesi, a theatre company that performed comedies in the Legnanese dialect and which is the most famous example of travesti theatre in Italy. In their comic shows the actors propose to the public satirical figures of the typical Lombard court; founded in Legnano in 1949 by Felice Musazzi, Tony Barlocco and Luigi Cavalleri, it is among the most famous companies in the European dialect theatre scene.
The 21st century has also seen the use of Lombard in contemporary music, such as in the musical pieces of Davide Van De Sfroos and in the translations into Lombard of the works of Bob Dylan. There is no shortage of translations of great literary classics; in fact, there are numerous versions in Lombard of works such as Pinocchio, The Betrothed, The Little Prince, the Divine Comedy and – in religious literature – of the Gospels.