Western Lombard literature
(Redirected from
Milanese literature
)Up to the 13th century, most poets in
Eastern Lombard language of Mantua), as well as Rayna possentissima (1254), lauda of the Servi della Vergine, and the notary registers of Bologna (in whose white spaces, folk tales or literary poems were inserted to avoid illegal insertions), all of which are in the Bolognese
.
Bonvesin da la Riva
Divina Commedia is evident, with an attentive use of language, with lexical and rhetoric ability. This work of art is a sort of screenplay of the afterlife, of considerable historic value and of hard poetical suggestion. The Essay on the months in form of apologue and the Vulgare de elymosinis, raw description of terrible maladies, similar to the realism of Jacopone da Todi
, are also very important. A sort of Medieval etiquette is the treaty De quinquaginta curialitatibus ad mensam, lively and realistic representation inserted in the manualistic tradition of the time. The Contrasti are other poems, series of disputies, enriched by skillful alternance of descriptive tones, grotesque and soft, meditated and exemplar, like the Disputatio rosae cum viola in which the humble bourgeois virtues of the violet prevail on the aristocratic ones of the rose. In religious works the most precious are The passion of Job, The life of Saint Alexey and overall, between Laudes de Virgine Maria, the legend of Frate Ave Maria, of touching religious intensity because of its inspiration by a strong Christian devotion.
In 1274 the Sermons in verses, in a Lombard language, are the sole work of Pietro da Pescapè with precise date in the didactic-religious literature of Northern Italy that gave noticeable texts to Lombards Girardo Patecchio from Cremona, the Book of Uguccione da Lodi, Bonvesin de la Riva and Giacomino da Verona.
Language evolution
The written use of
Insubric resumes in Milan under the House of Visconti, such as in the case of Lancino Curti and Andrea Marone. Written example from the 15th century are still uncertain in orthography; Dei, in this century, composes the first Milanese glossary. In the 16th century, Gian Paolo Lomazzo founded the Academy of Val di Blenio, which also provides information about other dialects of the period. In 1606 G.A. Biffi, with his Prissian de Milan de la parnonzia milanesa, tried a first codification of orthography, regarding vowel length and sound /ö/ for which he found the solution ou; Giovanni Capis elaborated the first blurb of a dictionary, the Varon Milanese; Fabio Varese, anticlassicist poet, created some thirty of humouristic-veristic sonnets in Milanese (with an answer for every sonnet in which he blames himself). Carlo Maria Maggi, a playwright, finally codified the writing of Milanese dialect at the end of the 17th century, introducing the French oeu, thus creating the classical Milanese orthography
that would be refined in the centuries until the current version of Circolo Filologico Milanese. At the end of the 18th century, there were some at some shifts in the linguistic structures, such as the abolition of no (meaning "not") before he verb, on behalf of postposed nò or minga, or the abolishing of past tense, which is still found in Balestrieri and in Maggi.
Insubric on loose sheets, told by storytellers (bositt, sing. bosin) and with often satyric contents. The first essays of the genre are at the end of the 16th century. One of the first bositt is Gaspare Fumagalli, whose we know nine bosinad of the 1723. Also greater poets such as Carlo Porta liked describing themselves as bositt, even if their poems were much more meditative than popular ones. Bosinada didn't have a rigid form: the metre could be of various sizes (lame verses were a frequent characteristic), from eight to eleven syllables long, often in rhyming couplets, in long stanzas.
17th century
Milanese consists in verses and comedies. The verses are especially occasion poems that describe moments of bourgeois life. But Maggi is reminded overall as comediograph: he wrote Il manco male, Il Barone di Birbanza, I consigli di Meneghino, Il falso filosofo, Il Concorso de' Meneghini, with autonomous interludes dell'Ipocondria, per una tragedia, delle Dame sugli spassi del Carnevale, Beltramina vestita alla moda, dell'Ambizione. The keys of his theatral work are the reconciliation of the theatre with the Church (not fingering like Molière
but proposing positive values), the criticism against Protestant ethics (for which success would be sign of the divine approval), the nonconformism and the patriotic idealism. It was Carlo Maria Maggi that introduced to theatre the popular mask of Meneghin, who got the personification of the Milanese people, humble, frank and honest, full of wisdom and common sense, loud in the adversities, sensitive and generous worker and cont el coeur in man, with the hearth in the hand. He died in 1699 and is buried in San Lazzaro.
18th century
In the 18th century the greater protagonists of
Insubric poetry, actually limited to Milan, are Domenico Balestrieri, then very appreciated by Carlo Porta, Carl'Antonio Tanzi, Girolamo Birago, Giuseppe Parini
, Pietro Verri, Francesco Girolamo Corio.
Milanese as lengua del minga e del comè and appoints as school of the true language of the people the Verzee, the greens market of the city. In 1816 he founds in his house, with his dearest friends (Grossi, Berchet, Visconti etc.), the so-called Camaretta, which immediately links itself with Alessandro Manzoni and later with the romantic group of Il Conciliatore
, while in the latter years the antinobiliar spirit raises. He died of gout at 46 years old at the peak of his fame.
19th century
Insubric language
were born, and also great dictionaries: the Cherubini, the Cappelletti (trilingual: Milanese, Italian, French), the Banfi, the Arrighi and the Angiolini.
Carlo Bertolazzi (1870–1916) was a comediograph from
Insubric playwriting, in which he hit the highlight of his art. Chorality and epicity dominate the representation, in which several individual vicissitudes are born: in this sense Giorgio Strehler
has been his carefullest interpreter. His production didn't attract the attention of his contemporaries, though a moral and social sense full of modernity were in it. Between his works we remind El nost Milan, La gibigianna, L'egoista, Lulù.
20th century
Decadentism, Russian novels, Expressionism). The language is used as popular and highly fragmented tongue. He died in 1939 for from an abscess and was buried, according to his will, in a common field at the Musocco cemetery. In the 50's, the municipality transferred him to the Famedio
.
Other Insubric poets of the 20th century are Giovanni Barrella (Scapigliatura polymath, translated brush-strokes into writing), Edoardo Ferravilla, Emilio Guicciardi, Luigi Medici and Franco Loi.
References
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