History
The standard Italian language has a poetic and literary origin starting in the twelfth century, and the modern standard of the language was largely shaped by relatively recent events. However, Italian as a language used in the Italian Peninsula has a longer history. In fact the earliest surviving texts that can definitely be called Italian (or more accurately, vernacular, as distinct from its predecessor Vulgar Latin) are legal formulae from the Province of Benevento that date from 960–963. What would come to be thought of as Italian was first formalized in the early fourteenth century through the works of Tuscan writer Dante Alighieri, written in his native Florentine. Dante's epic poems, known collectively as the Commedia, to which another Tuscan poet Giovanni Boccaccio later affixed the title Divina, were read throughout Italy and his written dialect became the "canonical standard" that all educated Italians could understand. Dante is still credited with standardizing the Italian language, and thus the dialect of Florence became the basis for what would become the official language of Italy.
Italian often was an official language of the various Italian states predating unification, slowly usurping Latin, even when ruled by foreign powers (such as the Spanish in the Kingdom of Naples, or the Austrians in the Kingdom of Lombardy-Venetia), even though the masses spoke primarily vernacular languages and dialects. Italian was also one of the many recognised languages in the Austro-Hungarian Empire.
Italy has always had a distinctive dialect for each city, since the cities, until recently, were thought of as city-states. Those dialects now have considerable variety. As Tuscan-derived Italian came to be used throughout Italy, features of local speech were naturally adopted, producing various versions of Regional Italian. The most characteristic differences, for instance, between Roman Italian and Milanese Italian are the gemination of initial consonants and the pronunciation of stressed "e", and of "s" in some cases: e.g. va bene "all right": is pronounced by a Roman (and by any standard-speaker), by a Milanese (and by any speaker whose native dialect lies to the north of La Spezia–Rimini Line); a casa "at home" is for Roman and standard, for Milanese and generally northern.
In contrast to the Northern Italian language, southern Italian dialects and languages were largely untouched by the Franco-Occitan influences introduced to Italy, mainly by bards from France, during the Middle Ages but, after the Norman conquest of southern Italy, Sicily became the first Italian land to adopt Occitan lyric moods (and words) in poetry. Even in the case of Northern Italian language, however, scholars are careful not to overstate the effects of outsiders on the natural indigenous developments of the languages.
The economic might and relatively advanced development of Tuscany at the time (Late Middle Ages) gave its dialect weight, though the Venetian language remained widespread in medieval Italian commercial life, and Ligurian (or Genoese) remained in use in maritime trade alongside the Mediterranean. The increasing political and cultural relevance of Florence during the periods of the rise of Medici's bank, Humanism, and the Renaissance made its dialect, or rather a refined version of it, a standard in the arts.
Read more about this topic: Italian Language
Famous quotes containing the word history:
“A poets object is not to tell what actually happened but what could or would happen either probably or inevitably.... For this reason poetry is something more scientific and serious than history, because poetry tends to give general truths while history gives particular facts.”
—Aristotle (384323 B.C.)
“We are told that men protect us; that they are generous, even chivalric in their protection. Gentlemen, if your protectors were women, and they took all your property and your children, and paid you half as much for your work, though as well or better done than your own, would you think much of the chivalry which permitted you to sit in street-cars and picked up your pocket- handkerchief?”
—Mary B. Clay, U.S. suffragist. As quoted in History of Woman Suffrage, vol. 4, ch. 3, by Susan B. Anthony and Ida Husted Harper (1902)
“The history of modern art is also the history of the progressive loss of arts audience. Art has increasingly become the concern of the artist and the bafflement of the public.”
—Henry Geldzahler (19351994)