The Lombard language (,Classical Milanese orthography, and . lumbard,Ticino orthography. lumbartModern Western orthography and Classical Cremish Orthography. or lombart,Eastern Lombard unified orthography. depending on the orthography; pronunciation: ) belongs to the Gallo-Italic group within the Romance languages. It is characterized by a Celtic language linguistic substratum and a Lombardic 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.
Roman Empire shaped the dialects spoken in the area, which is called Cisalpine Gaul ("Gaul, this side of the mountains") 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 (or Longobards), 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.
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;Mirko Tavoni, Storia della lingua italiana. Il Quattrocento, Libreriauniversitaria.it Edizioni, 2015, p. 152 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 (eng. "Comedy and carnival farces in the Asti, Milanese and French dialects mixed with barbaric Latin") 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 (including Bergamo and Milanese) explicitly in order to demonstrate how ugly and awkward they were compared to Tuscan.Salviati, Leonardo: Degli Avvertimenti Della Lingua Sopra Il Decamerone, Raillard, 1712
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 (eng. "Varrone Milanese on the language of Milan"), a sort of etymological dictionary was published.
An example of a text in ancient Milanese dialect is this excerpt from Il falso filosofo (1698), act III, scene XIV, where Meneghino, a traditional Milanese character from the commedia dell'arte, presents himself in court (Lombard on the left, Italian translation on the right):
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.Atlante del Sapere: Maschere italiane, Edizioni Demetra, 2002, pag. 116 A friend and correspondent of Maggi was Francesco De Lemene, author of La sposa Francesca (the first literary work in modern Lodi dialect)De Lemene, Francesco: La Sposa Francesca, Edizione curata da Dante Isella, Giulio Einaudi Editore, 1979. and of a translation of Gerusalemme liberata. Moreover, the 17th century saw the emergence of the first Bosinada: popular poems written on loose sheets and posted in the squares or read (or even sung) in public; they were widely diffused until the first decades of the 20th century.Sapere.it: Bosinada
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.Biondelli reports that the Milanese dialect was the first Lombard variant to lose this verb tense. Biondelli, Bernardino: Saggio sui dialetti Gallo-italici, 1853.
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.
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.
The varieties of the Italian provinces of Milan, Varese, Como, Lecco, Lodi, Monza and Brianza, Pavia and Mantua belong to Western Lombard, and the provinces of Bergamo, Brescia and Cremona are dialects of Eastern Lombard. All varieties spoken in the Swiss areas (both in the Canton of Ticino and the Canton of Graubünden) are Western, and both Western and Eastern varieties are found in the Italian areas.
The varieties of the Alpine valleys of Valchiavenna and Valtellina (Sondrio) and upper-Valcamonica (Brescia) and the four Lombard valleys of the Swiss canton of Graubünden have some peculiarities of their own and some traits in common with Eastern Lombard but should be considered Western. Also, dialects from the Piedmontese provinces of Verbano-Cusio-Ossola and Novara, the Valsesia valley (province of Vercelli), and the city of Tortona are closer to Western Lombard than to Piedmontese. Alternatively, following the traditional classification, the varieties spoken in parts of Sondrio, Trentino, Ticino and Grigioni can be considered as Alpine Lombard, and those spoken in southern Lombardy such as in Pavia, Lodi, Cremona and Mantova can be classified as Southern Lombard.
Ticinese dialect is a comprehensive denomination for the Lombard varieties that are spoken in Swiss canton Ticino (Tessin), and the Ticinese koiné is the Western Lombard koiné used by speakers of local dialects (particularly those diverging from the koiné itself) when they communicate with speakers of other Lombard dialects of Ticino, Grisons or Italian Lombardy. The koiné is similar to Milanese and the varieties of the neighbouring provinces on the Italian side of the border.
There is extant literature in other varieties of Lombard like La masséra da bé, a theatrical work in early Eastern Lombard, written by Galeazzo dagli Orzi (1492–?) presumably in 1554. Produzione e circolazione del libro a Brescia tra Quattro e Cinquecento: atti della seconda Giornata di studi "Libri e lettori a Brescia tra Medioevo ed età moderna" Valentina Grohovaz (Brescia, Università Cattolica del Sacro Cuore) 4 marzo 2004. Published by "Vita e Pensiero" in 2006, , (Google Books).
Legend: L01 – Western Lombard; L02 – Eastern Lombard; L03 – Southern Lombard; L04 – Alpine Lombard]] Standard Italian is widely used in Lombard-speaking areas. However, the status of Lombard is quite different in the Swiss and Italian areas and so the Swiss areas have now become the real strongholds of Lombard.
Lombard is spoken in Campione d'Italia, an exclave of Italy that is surrounded by Swiss territory on Lake Lugano.
+Consonant phonemes ! colspan="2" | !Labial !Alveolar !(Palato-) alveolar !Velar |
+Vowel phonemes ! rowspan="2" | ! colspan="2"Front ! rowspan="2" | Central ! rowspan="2" | Back |
œ occurs in most areas of the language but may overlap in usage with ø, as they both share the same trigram ( oeu). | |||
Two repeating orthographic vowels are separated by a dash to prevent them from being confused with a long vowel: a-a in ca-àl "horse".
Western long and short tend to be back and lower , respectively, and and may merge to .
lombard | lumbaart | lumbàrt | lombard | lombard | /lum'ba:rt/ | lombardo |
su | sü sö | sü sö | su sœ | su soeu | /sy/ (west.) /sø/ (east.) | su |
fiœu | fiöö fiöl | fiöö fiöl | fiœl | fioeul | /fjø:/ (west.) /fjøl/ (east.) | ragazzo |
comun | cumün comü | cumün comü | comun | comun | /ku'myn/ (west.) /ko'my/ (east.) | comune |
nazion | nassiù(n) nazziù(n) | nasiù(n) naziù(n) | nazion | nazzion | /na'sju(n)/ /na'tsju(n)/ | nazione |
giamò | giamò | giamò | jamò | sgiamò | /ʤa'mɔ/ | di già |
casetta | caseta | caʃèta | caseta | caseta | /ka'zɛta/ | casetta |
gatt | gatt | gàt | gat | gat | /gat/ | gatto |
Lecch | Lecch | Lèch | Lec | Lech | /lɛk/ | Lecco |
Còmm | Comm Cumm | Còm Cum | Com | Com | /kɔm/ /kum/ | Como |
parlaa | parlaa parlàt | parla parlàt | parlad | parlad | /par'la:/ (west.) /par'lat/ (east.) | parlato |
pajœu | pajöö pajöl | paiöö paiöl | paiœl | pajoeul | /pa'jø:/ (west.) /pa'jøl/ (east.) | paiolo |
dur | düür | düür | dur | dur | /dy:r/ | duro |
|
|