The Other Italy: The Literary Canon in Dialect 9781442681996

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THE OTHER ITALY: T H F L IT E R A R Y C A N O N IN D I A L E C

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THE OTHER ITALY The Literary Canon in Dialect

HERMANN W. HALLER

U N I V E R S I T Y OF TORONTO PRESS Toronto Buffalo London

www.utppublishing.com © University of Toronto Press 1999 Toronto Buffalo London Printed in Canada ISBN 0-8020-4424-7

© Printed on acid-free paper Toronto Italian Studies

Canadian Cataloguing in Publication Data Haller, Hermann W., 1945The other Italy : the literary canon in dialect (Toronto Italian studies) Includes bibliographical references and index. ISBN 0-8020-4424-7 1. Dialect literature, Italian - History and criticism. 2. Canon (Literature). I. Title. II. Series PQ4053.D45H34 1999

850.9

C99-930130-6

This book has won the Modern Language Association of America's Aldo and Jeanne Scaglione Publication Award for a Manuscript in Italian Literary Studies. It has been published with this financial assistance, and with the financial assistance of the Istituto Italiano di Cultura, Toronto, and of the Queens College Foundation, New York. University of Toronto Press acknowledges the financial assistance to its publishing program of the Canada Council for the Arts and the Ontario Arts Council.

For Doris, Casey, and my friends

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Contents

PREFACE MAP

IX

Xii

Introduction: Literature and Dialect

3

Part I A Feast of Languages: The Different Modes of the Literary Dialects 1 Dialect Poetry 25 2 Language at Play: The Italian Dialect Theatre 39 3 Narrative Prose in Dialect 54 4 Aspects of the History of Language and Dialects 60 Part II The Dialect Canon through the Regions: A Literary Repertory of the Other Italy 1 Piedmont 75 2 Liguna 94 3 Lombardy 104 4 Veneto 126 5 Friuli 160 6 Emilia-Romagna 176 7 Tuscany 195 8 Marche 201 9 Umbria 207 10 Lazio 213 11 Abruzzo and Molise 229 12 Campania 243

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Contents

13 14 15 16 17

Puglia 279 Lucania 290 Calabria 295 Sicily 304 Sardinia 323

APPENDIX: An Overview of Major Dialect Authors across Time and Regions GENERAL BIBLIOGRAPHY

341

INDEXES

Index of Names and Subjects 351 Index of Dialect Repertory: Authors by Genre and Region

367

337

Preface

This book draws attention to Italy's complex literary canon in the dialect that accompanies classical Tuscan literature from the Renaissance to the present. Its aim is to document and study a significant aspect of the country's linguistic and cultural diversity. The focus on the multifaceted literary production in dialect across time and space highlights the traditions rooted in the Italy of Italics. Based on the deeply held belief that to understand Italian civilization one must also consider its regional contributions, the book illustrates, through a vast interregional perspective from which emerge similarities and differences between the centre and the periphery, the local and the universal, the multicultural forces at work in the country's polycentric history. The broadening of the chorus of voices, and the redefining of a canon that has been often neglected or marginalized, ought to make a contribution towards a deeper understanding of pluralism as a resource and treasure. Among the possible approaches to the dialect canon, the language perspective is here at the forefront, focusing on historical-linguistic and sociolmguistic contextualizations, and on the linguistic make-up of individual texts. This vantage point allows for a reflection on the various functions of writing in Tuscan or in dialect across time and space, and for an appreciation of the critical relevance of dialect literature since the Renaissance, when the codification of literary Tuscan as the prestigious written standard promoted the predominantly spoken dialects to consciously chosen alternative literary languages. The dialect prism ought to challenge the reader's imagination on two counts. First, there is a deliberately scarce reference here to the Tuscan canon, even though most dialect authors also produced works in that language, or were influenced by mainstream literary movements. The

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Preface

dialect canon is thus presented as a myriad of separate regional traditions that run parallel to the 'official' literature in Tuscan in a sort of literary bilingualism, rather than deriving from it - a biased view all too frequently espoused by critics eager to dismiss or circumvent a linguistically arduous body of texts. Second, while the focus here is on the literary output of individual regions, all dialect traditions are assembled under one roof in a short volume, with a view of hidden unities underneath the kaleidoscopic diversity. This book grows out of my own love and admiration for cultural and human diversity and, more specifically, for the plurilingual Italy and the riches that are born from the unique dualism between the Tuscan standard and the concert of dialects. In its relevance to both literature and linguistics scholars, as well as to other disciplines, this book ought ultimately to build bridges between regions, provoke curiosity for littleknown aspects of dialect culture, help preserve an important linguistic heritage, and bring fresh insights for the pursuit of literary studies. While becoming familiar with the regionally defined genius of Italy's literary landscape, the reader may gain a new awareness of an underlying universality of genres, themes, forms, and human plights. The research for this book was supported by a Fellowship from the National Endowment for the Humanities during the 1994-5 academic year, and by a grant from the City University of New York PSC-CUNY Research Award Program. I wish to acknowledge the grant administrators, as well as the helpful staff at the Biblioteca Nazionale in Florence, Italy, and at the Research Division of the New York Public Library, where most work was accomplished. My appreciation goes to many scholars and friends, from whom I received advice and encouragement, and to organizers and participants of several conferences relating to literature and dialect: among them Professors Giovanni Nencioni (Accademia della Crusca), Alfredo Stussi (Pisa), Gianrenzo P. Clivio (Toronto), Edward F. Tuttle (Los Angeles), Robert J. Rodini (University of Wisconsin), Aldo Scaglione (New York), Roberto Fedi (Perugia), Sebastiano Martelli (Salerno), Enrico Malato (Viterbo), Emmanuela Tandello (London), Diego Zancani (Oxford), Lorenzo Coveri (Genoa), Salvatore Bruno (Santa Barbara), Paola Luciani (Florence), and Mirella Branca (Florence). I also wish to acknowledge the anonymous reviewers for the University of Toronto Press, and Casey K. Koh for designing the Italian map with the literary canon in dialect. I am grateful to John St James for his editorial work. This list could go on, and the bibliographical references document abundantly my indebtedness to a large

Preface

xi

number of scholars. Conceived as a companion volume to my earlier book The Hidden Italy, with its bilingual text selections, my new book is a tribute to the hidden treasures of the dialects, still alive inside and outside Italy, and to the literary dialects that are gradually getting better known and appreciated.

THE LITERARY CANON IN DIALECT: SELECTED REGIONAL AUTHORS Numbers refer to the regional chapters (Part II). Dark shades indicate regions with the most prominent literary traditions in dialect.

THL O T H L R ITALY: T H I- I.I T I- R A R Y C A N O N IN D I A L E C T

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Introduction: Literature and Dialect

Parche scrivo in dialeto ...? Dante, Petrarca, c quel dm Diese Gwrni Ga pur scnto in toucan, Segno I'i'^cmpio.

Why am I writing in dialect...? Dante, Petrarch, and he of the Decameron wrote in Tuscan also. I am just following their example. Giacomo Noventa

Within Western literary traditions, Italy is unique in its pervasive dual literary canon, in Tuscan and in a myriad of dialects. While many countries have produced, in addition to an official literature in a standardized koine, some sporadic works in more regionalized or local forms of language 1 , in the Italian context these efforts were historically continuous. Plurilingualism and its literary expressions are in fact a quintessential, fundamental aspect of Italian civilization. The dual Tuscan-based and dialect literary canons emerge from the country's linguistic history, rooted in its political and social evolution. The peninsula's endemic bilingualism of Latin and vernacular in the Middle Ages, and of a literary standard and dialects thereafter, has not only enriched and enlarged the chorus of voices, it has also served as a strategic resource for Italian writers. Regional contributions to the appreciation and deeper understanding of Italy as a polycentnc country have of course been widely recognized, 1 For a brief overview see W. Th. Elwert, 'Letterature nazionali e letterature dialettali neli'Europa ocxidentale/ 1'iudeia 25 (1970): 169-92.

4 Introduction both in popular and cultivated discourse. There is a rich literature on the Italian regions' folklore; regional art treasures abound; regional cuisine is celebrated both in Italy and abroad; regionalized politics has presented and continues to present heated debates that are not always rational. And while Dionisotti's book Geografia e storia della letteratura italiana (1967) was among the first to propose a look at Italian literature with a geographical, spatial focus,2 there is a lack of broad panoramic views of the literary treasures in dialect? Despite the proliferation of poetry, theatre, and prose in many diverse dialects since the late fifteenth century, the thrust of attention has been placed almost exclusively on the celebration and critical debate of the official Tuscanized canon. Thus, one finds anthologies of dialect poetry, such as those by Cherubini for Milanese, or by Gamba for Venetian,4 only with the advent of the Romantic movement; they were surrounded by polemical reactions and controversy at a time when the language question gained a broader social and political significance. Apart from a few well-established success stories of dialect literature - such as those of Carlo Porta and Giuseppe Gioachino Belli, Giovan Battista Basile and Carlo Maria Maggi, Salvatore Di Giacomo and Eduardo De Filippo - only more recently has dialect literature begun to be included in Italian literary5

2 Walter Binni's Storia letteraria dcllc regioni d'Italia (Florence: Sansoni, 1968) documents the regional contributions of the Tuscan canon, with Tuscany as the obvious leader in the number of classical authors, followed by Emilia-Romagna, Lombardy, Veneto, and Sicily. 3 Among some groundbreaking essays are those by Alfredo Stussi, Lingua, dialetto e letteratura (Turin: Einaudi, 1993) and Ivano Paccagnella, 'Uso letterario dei dialetti/ in Luca Serianni and Pietro Trifone, eds, Storia delta lingua italiana, vol. 3 (Turin: Einaudi, 1994), 495-539. 4 Among the earliest such effort is that of Porcelli for Neapolitan poetry (1783-9), followed by Francesco Cherubini, Collezione ddle rnigliori opere in dialetto milanese (Milan: Pirotta, 1816), and by Bartolommeo Gamba, Collezione delle migliori opere scritte in dialetto veneziano, 12 vols (Venice: Alvisopoli, 1817). 5 Cecchi-Sapegno's Storia della letteratura italiana. II Novecento, 2 vols (Milan: Garzanti, 1989), for example, dedicated only a few dialect pages to the new poetry. But recently, dialect authors have been included more generously; see, e.g., Vittore Branca's Dizionario critico della letteratura italiana (Turin: Einaudi, 1986) or the volumes of Alberto Asor Rosa's Letteratura italiana (Turin: Einaudi). There is only little mention of dialect literature even in the most recent similar works in English, such as the otherwise excellent Cambridge History of Italian Literature, ed. Peter Brand and Lino Fertile (Cambridge, New York: Cambridge University Press, 1996).

Literature and Dialect 5 and linguistic histories6 and anthologies/ and have critical editions of dialect works been published more succinctly.8 The same can be said of anthologies and critical works focusing on dialect literature, with almost exclusive attention placed on the poetic genre, beginning with Pasolini's pioneering work of 1952, followed some twenty years later by a new range of such works. 9 This delay of critical attention has a wide range of causes, from philological to political, from esthetic to ideological. The Romantic movement triggered an interest in popular literature, extended to dialect works, which coincided with the future Italian nation intent on moving forward, toward a unified written and spoken language. It was in fact in the 1840s that G. Ferrari initiated the debate on dialect literature, with his antagonistic interpretation favouring the dialect canon, a debate rekindled later by Benedetto Croce, who declared equal rights to the two parallel traditions, although downplaying the relevance of the choice of language. The practical need of a unified language - based on Manzom's 'Great Effort' - both challenged and compromised literary production in the dialect, as well as an objective critical discourse. Similarly, the scholarly advances of Italian dialectology, promoted by Graziadio Isaia Ascoli, and later by Carlo Salvioni and Clemente See, e.g., Serianni and Trifone's three-volume Storia della lingua italiana (Turin: Einaudi, 1993-4), or Stefano Gensini's Elementi di storia linguistica italiana (Bergamo, Bari: Minerva Italica, 1985). Most of the earlier histories of the Italian language - including Miglionm's pioneering volume - make only passing reference to the dialect literary canon. 7 In anthologies of Italian literature, the dialect space has grown larger recently; see, e.g., Gianfranco Contini's Letteratura dcll'Italia unita 1861-1968 (Florence: Sansoni, 1968), Pier Vincenzo Mengaldo's Pocti italumi del Novccento (Milan: Mondadori, 1978), and Maurizio Cucchi and Stefano Giovanardi, eds, Poeti italiani del secondo Noveccnto (Milan: Mondadori, 1996). 8 T h a n k s mostly to the critical editions prepared by Dante Isella for Milanese literature and hv Enrico Malato for Neapolitan literature. For a citation of editions, see the respective regional chapters. 9 For anthologies of dialect poetry see Pier Paolo Pasolini and Mario Dell'Arco, eds, La poesia dialettalc del Noveccnto (Parma: Guanda, 1952; repr. Turin: Einaudi, 1995), Mario Chiesa and Giovanni Tesio, Lc parole di legno (Milan: Mondadori, 1984), Franco Brevini, Pocti dialettali del Novccento (Turin: Einaudi, 1987), Giacinto Spagnoletti and Cesare Vivaldi, La pocfia dialettale dal Rinasciniento a oggi (Milan: Garzanti, 1991), Achille Serrao, A rui terra. Antologia di poesia neodialettale (Udine: Campanotto, 1992), and, in English, my volume The Hidden Italy: A Bilingual Edition of Italian Dialect Poetry (Detroit: Wayne State University Press, 1986). For works of a critical nature see Franco Brevini, Lc parole pcrdutc. Dmletti c poesia nel nostro secolo (Turin: Einaudi, 1990).

6

Introduction

Merlo,10 were concerned primarily with the spoken dialect, rather than with the literary expressions in dialect. During the early twentieth century, fascism strongly opposed all things dialectal, despite the fact that for a majority of Italians the dialect was the commonly used mother tongue. The post-war resurgence of interest in the dialects, documented through lively debates between supporters and detractors, was subdued by the incipient erosion not only in the use, but also in the form, of the dialects. The wide spectrum of positive and negative dialect attitudes, culminating either in populist and folkloristic dialectophilia or in prejudiced dialectophobia, could hardly favour a balanced discussion of a literature seen as indebted mostly to the Tuscan canon, the outstanding unitary force of the country before its political unification. The linguistic difficulties of what could be described as essentially different languages - somewhat like 'foreign' languages at home - was in addition a paramount obstacle that slowed the visibility and prominence of the dialect canon. More recent discussions, however, have insisted on the importance of dialect literature. Some scholars have even argued that Dante's De vulgari eloquentia, the stylistic encyclopedia and first geolinguistic treatise, contains an embryonic review of dialect literature, through quotations of verse from a vernacular canon that began to take shape at the time of Dante's pioneering Italian writing. Others, like Castellani, went so far as to backdate the origins of dialect literature from Ruzante, a writer who is frequently considered one of the first who used a dialect consciously for literary purposes, to no less than the Indovinello Veronese, Italy's ninth-century riddle and one of the very first documents in an Italian vernacular.11 This book presents a comprehensive overview and a selective repertory of the vast body of Italian dialect literature since the Renaissance, when writing in the dialect implied a deliberate and conscious choice. As a large-scale orientation in the mare magnum of dialect authors and works, it highlights its superior moments, its major and minor literary figures, salient features, and interregional links in an attempt to draw up a first rough map of Italy's 'other' literary canon. In a departure from the traditional attention paid to literature in Tuscan, the focus is placed here exclusively - somewhat subversively - on the dialect canon, which 10 For a short history of the discipline see Corrado Grassi, Alberto A. Sobrero, and Tullio Telmon, Fondamenti di dialettologia italiana (Rome, Bari: Laterza, 1997), 33-69. 11 Arrigo Castellani, in Paccagnella, 'Uso letterario dei dialetti,' 498

Literature and Dialect 7 spans many centuries and genres, with creations whose scope moves between the parochial or local and the transregional or transnational. This perspective illustrates how distinct regional literary traditions developed gradually as multicoloured textualities with their circular movements and exchanges with the mainstream expressions. At a crucial moment when national borders are becoming more fluid, and when nation-states are merging into a united European continent, the urge for a redefinition of regional identities takes on particular importance. The attention to the regional cultural expressions opens a window to the ever-shifting dynamic symbiotic relations of the locally rooted and the global, with their centripetal and centrifugal forces. The canon of literary dialects in the individually tended 'gardens' is but one expression of the wealth of regional identities. The dual literary canon is replicated in the linguistic structure of Italian and dialect in their forms, social uses, literary potentials, changes and evolving perceptions. In fact, the dialect literary production can be understood more coherently against the backdrop of the social history of the Italian language and its dialects. Francesco Bruni's L'italiano nelle regioni: Lingua nazionale e identita regional: (1992-4), on the regional histories of Italian with its attention to the peripheries, provides a fundamental framework for a deeper appreciation of the social valence of the dialects across time and region. Within the historical-linguistic context of a particular region at a specific moment in time we are better equipped to gain insight into the writer's conditioning and motivations for choosing a dialect rather than Italian, for adopting a plurilingual pastiche, or for using an Italianized dialect asymmetrically with Italian. The results, often left at a hypothetical stage, may ultimately allow for more solidly grounded interpretations of dialect literature. The book is made up of two parts. Part I consists of a brief, comprehensive diatopic and diachronic discussion of the dialect canon, with chapters 1, 2, and 3 dedicated respectively to poetry, theatre, and narrative prose. This part addresses the salient features of the dialect canon and focuses on the principal traditions, key periods, and figures. The use of dialects in the literary tradition in Tuscan is also discussed briefly in chapter 3. Chapter 4 reviews some of the contributions made by dialect authors to the history of language and dialects. A general literary and linguistic bibliography at the end of the book leads to further readings. Part II offers a broad survey of primary sources of the dialect canon. From the 'borderless' framework of Part I, which aims at building

8 Introduction bridges between the canons and between linguistics and literature, the discussion moves to the separate regional dialect traditions,12 arranged in seventeen chapters, from Piedmont to Sicily and Sardinia. Valle d'Aosta and Trentine-Alto Adige were not treated separately; some references can be found in the chapters on the contiguous regions Piedmont and Veneto. Abruzzo and Molise are presented in the same chapter, although with separate literary entries for each area. While most considerations are limited to the peninsular context, a sprinkling of Italian American dialect writers has been included.13 Each regional chapter is preceded by a summary discussion of the history of the regional dialect canon, with some textual samplings and my own English translations of all dialect passages. The subsequent principal bibliographical sources of the literary dialect canon are arranged by genre, from poetry to the theatre and narrative prose. This ambitious broad panorama is not without risks and potential pitfalls. First, there can be no intention of a claim for 'completeness.' Rather the aim must be to gather some of the canon's most representative moments and expressions. As a resource guide to further study and research, the book is an invitation to reading outside the 'official' mainstream canon, to new ecdotic endeavours, and to a more generous symposium between dialectological and literary efforts. The comparison of regional traditions through time encourages a reflection on the diverse functions and uses made of the literary dialect, from its close mimesis to its creative deformation. The outcome ought to further intraregional understanding of the different cultural and ethnic traditions through a documentation of an anthropologically fascinating and diacronically ever-shifting literary output. It also ought to contribute to the appreciation of the reciprocal interactions between centre and periphery, and ultimately lead to a redefinition of the Italian literary canon. If literature mirrors the collective human experience of a civilization, the dialect canon must not only be included as an integral part of the monument; it could also serve to highlight unity through diversity.

12 This division is admittedly arbitrary. Regions had of course varying dimensions and shapes through time, and in addition, dialects are not sharply separated by the administrative borders of regions. They are here chosen to simplify matters for the reader, following earlier such divisions adopted by Giacomo Devoto and Gabriella Giacomelli, 7 dialetti delle regioni d'ltalia (Florence: Sansoni, 1972; new ed., Florence: Sansoni, 1991). 13 Only a few authors whose work has been published in volume have been considered.

Literature and Dialect 9 The Italian Dialects: Their Forms and Use Most visitors to Italy are surprised by the many different accents of Italian used by speakers across the peninsula. Careful listeners are bewildered and amused when noticing different pronunciations of words, such as Tuscan la hohahola for coca cola, or different intonations, from the calata bolognese to the cheerful sounds of Neapolitan diphthongs. And on many occasions the different dialects used across the peninsula may be perceived altogether as puzzling different languages. As is the case for many other countries, Italian society has a profoundly plurilingual history. Not only does one find a large number of alloglot minority languages, accounting for some 5 per cent of the population, from Greek in Puglia to Albanian enclaves in Molise, Calabria, and Sicily, from Franco-Provencal and Provencal along the western Piedmontese border to German in the Trentine-Alto Adige, from scattered Slavic enclaves to the Catalonian-Sardinian town of Alghero, surnamed 'La Barceloneta.'14 Contemporary Italy has also an everincreasing number of immigrant languages, ranging from Southeast Asian to Arabic and African. From a country of emigration continuing throughout the 1960s and 1970s, Italy has more recently become a place of immigration.15 At the cultivated level, American English is in addition a widely pursued language, whose influence on Italian is visible particularly in the mass media and in the business and entertainment sectors. Yet by far the most outstanding feature of the peninsular Babel is its language/dialect bilingualism, historically the most vital expression, with varying uses along the social spectrum and across time. As all Romance tongues, from Portuguese to Rumanian, the Italian 14 To understand the importance of this aspect of plurilingualism, see Tullio Telmon, Le nnnonmze lingnistiche in Italia (Alessandria: Edizioni dell'Orso, 1992); Tullio De Mauro, L'Italia delle Italie, 2nd ed. (Rome: Editori Riuniti, 1992), and Giuseppe Francescato, 'Sociolmguistica delle minoranze/ in Alberto A. Sobrero, Introduzione all'italiano conteniporaneo, vol. 2 (Bari: Laterza, 1993), 311-40. Among many works concerned with specific linguistic minority situations, see for example Giuseppe Francescato and Paola Solari Francescato, Timau. Trc lingue per un pacse (Galatina: Congedo, 1994) and Francesco Altimari and Leonardo M. Savoia, eds, / dialetti italo-albanesi (Rome: Bulzoni, 1994). 15 For a brief orientation on Italian as an emigrant language, see my chapter, 'The Dialects Abroad/ in Martin Maiden and Mair Parry, eds, The Dialects of Italy (London: Routledge, 1997), 401-11; and Camilla Bettoni, 'Italiano fuori d'ltalia,' in Alberto A. Sobrero, ed., Introduzione all'italiano contemporaneo, vol. 2 (Bari: Laterza, 1993), 411-60. For linguistic studies on immigrant languages in Italy, see Emanuele Banfi, ed., L'altra Eitwpa linguistics (Florence: La Nuova Italia, 1993).

10

Introduction

language and dialects originate from the spoken varieties of Latin. The roots of Latin can easily be recognized in words such as It. amore or cantare, Span, amor / cantar, Fr. amour / chanter, from Latin AMORE(M) and CANTARE. However, during their gradual and highly successful expansion since the fifth century BC, the Roman people came into contact with the languages spoken in ancient Italy, from the Indo-European Oscan, Umbrian, and Messapic in the South and Gaulish in large parts of the North to non-Indo-European languages such as Ligurian in the northwest and Rhaetic in the northeast, Etruscan in parts of today's Tuscany and Lazio, and Sardinian. These languages eventually left some traces in pronunciation and lexicon on Latin, depending on the degree of variety and reciprocal contact. Etruscan and Latin, so different from each other, slowed contact phenomena; this circumstance led some linguists to explain why Tuscan, and particularly Florentine, remained so close in physiognomy to Latin. While during the height of the Roman Empire, from the third century BC to the first century AD, Latin was used with relative homogeneity, the centrifugal forces of political fragmentation, as seen in the Diocletian Reform, eventually led to a division of the Empire and the peninsula. As time went on, the spoken varieties of Latin drifted away from the cultivated form, resulting in significant internal variation. The classical word CAPUT 'head/ for example, was used together with the popular variant TESTIS, a metaphor meaning 'potsherd/ both words produced Tusc. capo / testa (and dialectal capa, coccio/a], Span. cabeza, Fr. tete and chef, etc. Classical EQUUS 'horse' was used next to the more popular CABALLUS, resulting in Ital. cavallo, Span, caballo, Fr. cheval, and Sicilian cavaddu. The synthetic syntactical structure of cultivated Latin began to yield to a more analytical popular spoken form with its periphrastic tenses and a preference for parataxis. Genetically, French and the northern Italian dialects moved furthest away from Latin, while Sardinian remained closest to it. As these few examples illustrate, the popular speech variety became the genetic foundation for the future Romance tongues, and thus also for the Italian dialects. More changes occurred with the successive Germanic invasions after the fall of the western Roman Empire in the fifth century, from the Ostrogoths to the Longobards and Franks, later followed by the Arabic invasion in Sicily. While Latin remained the international language of culture throughout the Middle Ages, the descendants of popular Latin emerged as the new Romance vernaculars. The fragmentation of Neo-Latin was noted by Dante, who distinguished between the different Romance idioms and the many Italian vernaculars divided by the Apennine moun-

Literature and Dialect 11 tain range; more than six centuries later, the Swiss linguist Walter von Wartburg proposed the division between western and eastern Romance along a similar dividing line crossing Italy from La Spezia to Rimini, thus separating the Gallo-Italic North from the more Latinate Centre and South. This division, while refined in the meantime, is still at the core of the Italian dialects' linguistic typology. As the offsprings of local and regional varieties of spoken Latin, the Italian dialects can be divided roughly into three areas: (a) the GalloItalic dialects, with Piedmontese, Ligurian, Lombard, Emilian-Romagnol, Venetian, and Friulian; (b) the Central dialects, with Tuscan, Umbrian; and (c) the Southern dialects, with Roman, Abruzzese, Marchigian, Neapolitan, Calabrian, Pugliese, Lucanian, Sicilian, and Sardinian.16 The Gallo-Italic dialects north of the La Spezia-Rimini line share a number of linguistic characteristics, such as front rounded vowels u/o (Piedm. film 'smoke/ Lomb. fib'l 'son'), lenition of intervocalic Latin -P-/-T-/-K(Lomb. dio 'finger/ kavei 'hair'), degemination (Ven. gato 'cat'), and general syncopation of Latin forms not unlike French, with the drop of final vowels except -a (Lomb. mond 'world/ sctir 'dark'). Venetian, by contrast, although sharing many features with the Gallo-Italic varieties, has clear vowels like Tuscan. Southern dialects share progressive assimilation of/ND/ and /MB/ > /NN/and /MM/ (Neap, iamma Teg/ Sic. quannu 'when'), palatalization of initial /PL/ is also frequent (Sic. chioviri 'to rain/ chiagniri 'to cry'), and vocalic systems differing from Tuscan and the North.'' Jaberg and Jud's Sprach- und Sachatlas Italiens und der Stidschweiz (of which Glauco Sanga recently re-edited a volume) provide rich illustrations of the varying degrees of homogeneity (somewhat at the deeper structure of morpho-syntax) and fragmentation (mostly in phonology and lexicon) of Italian dialects. The earliest attestations of Italo-Romance varieties are scattered 16 Among surveys of dialect areas see Gunter Holtus, Michael Metzeltin, and Christian Schmitt, eds, Lexikon dcr romanistischen Linguistik, vol. 4 (Tubingen: Niemeyer, 1988) and Martin Maiden and Mair Parry, eds, The Dialects of Italy (London, Routledge, 1997). See also Giovan Battista Pellegrini, Carta del dialetti d'ltalia (Pisa: Pacini, 1977). 17 Sicilian, southern Calabrese, and southern Pugliese form an additional subdivision, owing to some distinct features separating these dialects from those farther north, such as the five-vowel system, due to Latin / £ / > / ' , /o / > u (Sic. amuri, pisci). Cacuminal pronunciation is found in words such as cavaddu (1927) FattoemessoU (1927) La nioglie bella. Florence: Stabilimento Grafico Commerciale, 1928. La sora priora (1928) Florence: Stabilimento Grafico Commerciale, 1929, Zulippe (1929) La fannglia. Florence: Stabilimento Grafico Commerciale, 1930. // cantuccino (1930) Nastro msa (1930) Florence: Stabilimento Grafico Commerciale, 1930. // nioinmo (1931) Florence: Stabilimento Grafico Commerciale, 1932. Cavalleria e pagliacci. Florence: Stabilimento Grafico Commerciale, 1931. LITERARY REFERENCES Bucciolini, Giulio. Cronache del teatrofiorentino. Florence: Olschki, 1982 [chronicle of Florentine theatre from the 1880s to the 1960s]. Ciccuto, Marcello. 'Letteratura ed usi dialettali in Toscana dall'unita al primo '900.' In Pietro Mazzamuto, ed., La lettcratura dialettale in Italia dall'unita a oggi, 457-76. Palermo: Sandron, 1984. Incanti, Cinzia. Toscana. Letteratura delle regiom d'Italia. Storia e testi. Brescia: Fditnce La Scuola, 1990. Nencioni, Giovanni. 'Lessicografia e letteratura italiana.' In Nencioni, Di scritto e di parlato- Decors; linguistici, 180-207. Bologna: Zanichelli, 1983. - I'm granitnatica e retonca. Da Dante a Pirandello. Turin: Einaudi, 1983. - La lingua di Manzoni. Bologna: II Mulino, 1993. Petrucci, Armando 'Storia e geografia delle culture scritte (dal secolo XI al secolo X V I I I ) . ' In Alberto Asor Rosa, ed., Letteratura italiana, Storia e geografia, vol. 2, L'cta inoderna, 1193-1292. Turin: Einaudi, 1988. LINGUISTIC REFERENCES Giannelli, Luciano. Toscana. Profile dei dialetti italiani. Ed. Manlio Cortelazzo. Pisa: Pacim, 1976. - ' Aree linguistiche VI. Toscana.' In Giinter Holtus, Michael Metzeltin, and Christian Schmitt, eels, Lexikon der romanistischen Linguistik 4, 594-606. Tubingen: Niiemey^r, 1988. - 'Tuscany.' In Martin Maiden and Mair Parry, eds, The Dialects of Italy, 297-302. London: Routledge, 1997.

200 The Dialect Canon through the Regions Maraschio, Nicoletta. 'II parlato nella speculazione linguistica del Cinquecento.' Studi di grammatica italiana 6 (1977): 207-26. Poggi Salani, Teresa. 'La Toscana.' In Francesco Bruni, edv L'italiano nellc regioni, 1:402-61. Turin: UTET, 1992.

Dictionaries Busi, Alberto. L'aretino: Piccolo vocabolario. Cortona: Calosci, 1987. Giovannini, Ferruccio. Er vernacolo pisano. Pisa: Tacchi, 1987. Gori, Lidia, and Stefania Lucarelli. Vocabolario pistoiese. Pistoia: Societa Pistoiese di Storia Patria, 1984.

8

Marche

Ma 'ndove cc fa core pe' strade che se scura est'antiga paura che da de name amore?

But where and through what darkening roads does this old fear, called love, make us run? Franco Scataglini, from So' rimaso la spina

Marchigian Dialect Poetry Despite an early presence of vernacular documents and a vernacular literary culture that owed much to the efforts of Benedictine monasteries and to the Franciscan influence from Umbria, the mountainous region of the Marche lacked a strong cultural centre, and tended to be somewhat isolated, as did other regions that had been incorporated in the church state. During the fifteenth century most students from the Marche attended the university of Bologna, and the only great library was located in Urbino. The best minds moved out of the region, as did Annibale Caro and, much later, the poet of Recanati, Giacomo Leopardi. A certain fragmentation is reflected also in the heterogeneous dialect panorama, which constitutes an area of transition between South and North. A northern, more innovative dialect group is distinctly separated from a southern, more conservative system with three sub-areas, centred respectively around Ancona, Macerata, and Ascoli Piceno. The important dialectological 'borderline' between Rome and Ancona crosses this region. Traces of a dialect poetry began to appear in the sixteenth century in Macerata, in a popularizing poetic mode both in Tuscan and dialect,

202 The Dialect Canon through the Regions called alia cingolana (after the farming village of Cingoli), Ottavio Ferri being one of its protagonists. The dialect's function in these rustic satires was decidedly comical, probably following Venetian antecedents. The two dialect comedies of the early seventeenth century, entitled Intervenute and written by Francesco Borrocci, belong to the same tradition. Obscene in character and 'ridicolose/ they made fun of the villano, and were inspired by the Venetians Francesco Di Vanozzo, Ruzante, and Calmo. In a climate of seventeenth-century cultural stagnation dialect poetry received an impulse from the abbot Francesco Cesari of Arcevia, a polyglot and translator, whose Latin eclogues imitated Virgil and Sannazaro. In the Marchigian dialect he wrote his Egloga paesana Nagne e Graziano, which however reflects a more philological and didactic than a rustic interest. Particularly noteworthy is a dictionary of Voci e frasi romane e marchiane attributed to Giuseppantonio Compagnoni (1731-1779), a work that also includes Umbrian dialect words and that can be considered a first interregional dialect dictionary, with the purpose of diffusing the spoken and written Tuscan language. A Marchigian dialect poetry of minor scale developed with the advent of the Risorgimento. This was also the time of resurgence of an interest in dialects, connected with that of folklore. The anti-liberal sonnet writer Giambattista Tamanti of Fermo was vehemently opposed to Italian unification. His anger is directed at the politicians, whom he compares to compromising, sly gorbe (foxes). At the opposite pole is his contemporary Giuseppe Mancioli, whose liberal stance is documented in anticlerical satires (in // volo he wishes death in the form of suicide to all enemies of the new Italy), with sketches of Garibaldi's arrest and the deaths of Cavour and Mazzini. Many of the works of these two poets were lost or never printed. Alfonso Leopardi, who also wrote a grammar of the dialect of San Ginesio, was a revolutionary who fought for the renewal of Italian society. In his poetry he polemicized against the church hierarchy and laughed at hypocritical priests' sexual exploits (in Dietro Valtare, or La pastorale del vescovo); he also protested against the neglect of the poor. Some of his poems portray the deeply held memory of his mother (Sull'aia), or a sad meal on Christmas eve after his father's death (La vigilia di Natale). Unlike in earlier dialect works, which followed a Venetian model, the sonnets of these poets are inspired by the Roman master Giuseppe Gioachino Belli. The philologist from Fano, Giulio Grimaldi, who studied with

Marche

203

Ernesto Monad in Rome, and later briefly taught at the university of Pisa, before drowning at a young age, wrote some valid verse in praise of women, in addition to his Italian novel Maria risorta. Grimaldi shared with the Marchigian folklorist scholar Giovanni Crocioni an interest in regional culture. The twentieth century produced a great number of minor figures, whose nostalgic and anachronistic attempts at poetry fail in sugary sentimentalism, except for the eclectic epigrammatic Pesaro poet Gilberto Lisotti. An important poetic voice emerged more recently with Franco Scataglini, considered among the best contemporary dialect writers. Scataglini published his first dialect poems in 1973, after writing in standard Italian. His poetry, from the love lyrics of E per un frutto place tutto u n or to (a take-off from a poem by Giacomo da Lentini) to the autobiographical diary of So' rimaso la spina (which contains a cynical yet humorous autobiography) and the elliptical Carta laniena, stand out for their dry precision and metrical brevity, calling to mind Giotti. The poems of the second collection are especially striking in their subtle inferences and cruel notes on love as an ever-changing and unpredictable force (prima c'e I'inocenza/ come gioga al dotore// po' I'imputanamento/ dc 1'arnata) (L'imputanamento) (first there is innocence,/ like playing doctor// then the prostituting betrayals/ by the loved one). Love is always intriguing in its different forms, including I'amore dei fenochi/ 'ntra cessi e hwandini (the love of queers,/ between toilet bowls and sinks). The dialect of Ancona, despite its closeness to Tuscan, provides a novel language, with connections to Old Italian, for the sophisticated creations of a poet who felt literary Italian to be 'frigid.' POETRY Ottavio Ferri (16th c.) Satires alia cingolana

Anonimo (16th c.) Sonnets alia cingolana

Ed.: Giovanni Crocioni, La poesia dialettale marchigiana. Fabriano: Arti Grafiche Gentile, 1936

Francesco Borrocci (17th c.)

[Maceratal

Ed.: Le Intervenute. Ed. A. Fedeli. Citta di Castello: S. Lapi, 1907.

204

The Dialect Canon through the Regions

Francesco Cesari (1700-1780) Egloga paesana Nagne e Graziano

[Arcevia]

Giambattista Tamanti (1818-1878) [Ferrno] Poesie. San Benedetto del Tronto: Tip. e Cartoleria della Soc. Operaia, 1885-6. Giuseppe Mancioli (1824-1875) [Macerata] Li 12 de febbra de lu millesumn 1858. Macerata: Tip. Cortesi, 1858. Serenata rusticale o Pasquella. Macerata: Tip. Bianchini, 1866. Quattro caffe, nessun caffe. Macerata: Tip. del Vessillo delle Marche, 1868. Scherzo rusticale. Macerata: Mancini, 1868. // tamburino alia scuola di tromba: Sestine in dialetto marchigiano. Macerata: Tip. Bianchini, 1872. Ed.: S. Baldoncini, Fuor di Parnaso. Ancona: Bagaloni, 1983. Alfonso Leopardi (1829-1900) [Caldarola (Macerata) - Rome] Sub tegmine fagi. Citta di Castello: Lapi, 1887. Un altro tegamino di fagioli. In dialetto marchigiano sanginesino. Citta di Castello: Lapi, 1891. Ed.: Sub tegmine fagi. Montegiorgio: Tip. Ed. Cestoni, 1902. Giulio Grimaldi (1873-1910) [Fano - Marina di Pisa] Brod e acin [Must and Grape Seeds]. Sonetti in vernacolo fanese. Fano: Societa Tipografica Cooperativa, 1905; repr. Ancona 1975. Poesie postume. Fano: Tipografia Sonciniana, 1939. Gilberto Lisotti (1922-) [Pesaro] Muse all'aperto. Pesaro: Pantanelli, 1960. La bora. Canzoniere dialettale pesarese. Camerino: MIERMA, 1989. Franco Scataglini (1930-) [Ancona] £ per unfrutto place tutto un orto. Intro. Plinio Acquabona. Ancona: L'Astrogallo, 1973. So' rimaso la spina. Intro. Carlo Batocchi. Ancona: L'Astrogallo, 1977. Occorrimenti. Sora: Edizioni dei Dioscuri, 1980. Da una citta. Ancona: II Lavoro Editoriale, 1981. Carta laniena. Intro. Francesco Scarabicchi. Ancona: Residenza, 1982. Rimario agontano (1968-86). Ed. Franco Brevini. Milan: Scheiwiller, 1987. La rosa. Pref. Cesare Segre. Turin: Einaudi, 1992.

Marche 205 LITERARY REFERENCES Baldoncini, Sandro. Marche. Letteratura delle regioni d'ltalia. Storia e testi. Brescia: Editrice La Scuola, 1988. Brevini, Franco. 'Franco Scataglini.' In Brevini, Poeti dialettali del Novecento, 48592. Turin: Einaudi, 1987. Compagnoni, Giuseppantonio. Raccolta di voci romane e marchinne riprodotta secondo la stainpa del 1768. Pref. Clemente Merlo. Rome: Societa Filologica Romana, 1932. Crocioni, Giovanni. 'La poesia dialettale marchigiana.' Rendiccmti dell'1stituto Marchigiano di Scienze, Lettere ed Arti 7-8, Ancona, 1931-2. Luzi, Alfredo. Marche: Poeti oggi. Urbania: Edizioni Bramante, 1979. - Sulla soglia del paese: Scrittori marchigiani contemporanei. Agugliano: G. Bagaloni, 1984. Scataglini, Franco. 'La cerimoniosa mascherata.' Diverse lingue 1 (October 1986). Spagnoletti, Giacinto, and Cesare Vivaldi. 'Marche.' In Spagnoletti and Vivaldi, La poesia dialettale dal Rinascimento a oggi, 1:647-69. Milan: Garzanti, 1991.

Regional Anthologies Crocioni, Giovanni, ed. La poesia dialettale marchigiana. 2 vols. Fabriano: Stab. Tip. 'Gentile,' 1934-6. Muse all'aperto. Panorama dialettale marchigiano. Ed. Gilberto Lisotti. Pesaro: Pantanelh, 1960. Polittico letterano: Poesia lirica nei dialetti piceni. Ed. Lino Gentili. San Bendetto del Tronto: Ficcadenti, 1988.

LINGUISTIC REFERENCES Breschi, Giancarlo. 'Le Marche.' In Francesco Bruni, ed., L'italiano nelle regioni. 1:462-506. Turin: UTET. De Mauro, Tullio. Storia linguistica dell'ltalia unita. Bari: Laterza, 1986. Devoto, Giacomo, and Gabriella Giacomelli. 'Marche.' In Devoto and Giacomelli, / dialetti delle regioni d'ltalia, 72-9. 2nd ed. Florence: Sansoni, 1991. Hall, Robert A. Jr. The Papal States in Italian Linguistic History.' Language 19 (1943): 125-40. Nencioni, Giovanni. 'Leopardi lessicologo e lessicografo.' In Nencioni, Tra grammatica e retonca. Da Dante a Pirandello, 261-95. Turin: Einaudi, 1983. Vignuzzi, Ugo. 'Areallinguistik VII. Marche, Umbrien, Lazio.' Gianter Holtus,

206 The Dialect Canon through the Regions Michael Metzeltin, and Christian Schmitt, eds, Lexikon der romanistischen Linguistik4, 606-42. Tubingen: Niemeyer, 1988. - 'Lazio, Umbria and the Marche.' In Martin Maiden and Mair Parry, eds, The Dialects of Italy, 311-20. London: Routledge, 1997.

Dictionary Spotti, Luigi. Vocabolarietto anconitano-italiano. Geneva: L.S. Olschki, 1929.

9

Umbria

Sr', figliol mio, 'ntra i giorne maledette, Quillo fu proprio 'I giorno piit peggiore: Che Jamie, che macello succedette! A rpensacce me viengono i gricciore. E n die che '/ Pepa I'eva benedette Ta qui boia di sguizzere! Che care! Perche nchi schioppe e nco le bainette, Mazzasson tutle, a gloria del Signore! Le donne, i pan vecchie, anch'i ciuchine, Scnnnonno f\ui demnni de I'inferno, Nco Smitte '/ generel de gli assassine. Nsin ta i chene tiron le schioppettete! Eh! che ne dice? arcordete 'n eterno, Vede de quil che son capace i prete! Oh yes, my son, among all buggery days That one was, true, the very worst: What disgrace and what slaughter happened! I'm shivering when I just think of it. And to think that the Pope had blessed those Swiss guard butchers! What nerve! Because with guns and bajonets They killed off everyone, to praise the Lord!

208 The Dialect Canon through the Regions The women, old folks, and even babies they killed, those devils from hell, together with general Smith, the killers' boss. They even fired at the dogs! Ah, what can you say? remember for eternity, you see what priests can do! Ruggero Torelli, 'L vinte giugno 1859

Dialect Poetry of Umbria A region in the heart of the peninsula, with many towns dispersed on both sides of the Tiber, from Perugia to Gubbio and Spoleto, Assisi, Foligno, Terni, Todi, and Orvieto, all bearing witness of a brilliant communal period in the Middle Ages, Umbria today appears with only a superficial, mostly administrative sense of unity. The heterogeneous panorama of Umbrian dialects can be divided into at least three areas, ranging from a progressive northwestern group around Perugia, with the palatalization of stressed a (fere, Pepa for fare, Papa), to a southeastern, more conservative central Italian linguistic area around Todi and Nocera, and a southwestern group around Orvieto, with its closeness to Tuscany and Lazio. An intense religious culture produced one of Italy's earliest documents, the Formula di confessione umbra (1075-80) of the Benedictine abbey of Saint Eutizio, as well as St Francis of Assisi's powerful Cantico delle creature, written in 1224 for a popular audience, and Jacopone da Todi's laude. Before the Tuscan model began to make inroads in Perugia and throughout the polycentric region, Umbria produced Trecento vernacular texts, including some with a gay theme. From the sixteenth century on, the region lost its cultural autonomy to the church state, with the educated classes adopting Tuscan and the dialects being viewed as the language of the lower classes. Petrarch's language began to be imitated generally; only few episodes document alternatives to Bembo's treatise. They were Vincenzo Oreadini's Latin treatise of 1525, which supported Trissino's orthographic reform and advocated an aristocratic language that could be used by papal Rome, and Alfano Alfani's rhymed Capitolo al Galateo, written two decades later, with its conservative and subaltern views of the vernacular Ian-

Umbria 209 guage. This was a climate that did not favour dialect production, although there were exceptions. Mario Podiani's dialect comedy I Megliacci (Blood Sausages, a Perugia specialty, here meant as a metaphor for a farce with multiple ingredients) is a novella with love scenes and trickeries put on stage. Written in an urban Perugia hybrid based on Tuscan, it aimed at competing with Florentine, as were rustic texts by Orazio Tramontani and Francesco Stangolini. Just as fascinating as the seventeenth-century notebooks and diaries - for instance, the recipes of sister Vittoria della Verde or the semi-literate mystic Veronica Giuliani's dialectal diaries - is Paolo Campelli's (1643-1713) Perfettissimo Dittionario delle parole scelte di Spoleti non dipendenti da altre lingue d'Italia (1702), which proposed not only expressive words such as appuschiasse, 'to be very thirsty' (from muschio, dryed moss), to become part of the Italian koine, but aimed parochially at substituting the Florentine koine with the language of Spoleto. Dialect poetry and theatre enjoyed a minor renaissance during the nineteenth century. However, unlike in northern Italian regions, where the dialect became a conscious alternative to written literary Tuscan Croce aptly called dialect literature riflessa, that is, a conscious option the meagre dialect production of Umbria became synonymous with local, mumcipalistic writing. Its themes ranged from political opinions surrounding unification to town events and private memory. Such was the case of two nineteenth-century poets of Perugia, the physician and professor of medicine Ruggero Torelli and the lawyer Giuseppe DeH'Uomo, whose writings reflect the spirit of the bartocciate (from the peasant mask of Bartoccio, used to express — anonymously - the opinions and attacks against papal authority). Both were anticlerical and enthusiastic supporters of Italy's unification. Torelli composed refined satires against bigoted priests (La cammuriem licenziata), on his profession ('L congresso medeco), or in favour of breastfeeding by the child's natural mother ('L lattamento). These satires were less biting and aggressive than Dell'LJomo's sonnets, some of which were composed in Roman dialect, documenting eloquently the strong literary influence of romanesco on Umbrian poetry. A similar influence is seen in Luigi Monti and Fernando Leonardi. Monti's poems in the urban dialect of Perugia speak the people's mind through the character Don Pavana. After the Second World War Umbrian poetry took off innovatively with Gaio Fratini, who rediscovered the dialect after writing in Italian; his poems bring back the archaic flavour of lost words and worlds. Among the poetry published most

210 The Dialect Canon through the Regions recently is that of Ezio Vallecchi and Lamberto Gentili, from Spoleto, and Ferruccio Ramadori, who writes in the dialect of the Valernina.

POETRY Orazio Tramontani (17th c.) Testamento del dottor Vignone Francesco Stangolini (17th c.) Dialogo tra Bartoccio e la Rosa Ruggero Torelli (1820-1894) [Perugia] Sonetti ed altre poesie in dialetto perugino. With glossary. Ed. Ettore Verga. Milan: Galli di Chiesa & Guindani, 1895. Ed.: T. Delia Torre, Raccolta di poesie dialettali perugine dell'Ottocento e del Novecento. Perugia 1962. G.B. Rigucci (19th c.) Sonetti Giuseppe Dell'Uomo (1830-1881) [Perugia] Gran colascione! A mo' di zibaldone (1873, anonymous) Bartocciate alia perugina (1877) Getulio Ceci (1865-1932) [Terni - Todi] Sonetti ed altre poesie. Milan: Chiesa-Guindani, 1895. Fernando Leonard! (1874-1918) [Spoleto] Quattro vottealla spulitina. Spoleto: n.p., 1901. Sangue, sfrizzuoli e ppormone. Spoleto: n.p., 1903. Eds.: All'ombra de Montelucu. Ed. M. Chini. Spoleto: Tip. dell'Umbria, 1922. Poesie in dialetto spoletino. Spoleto: Accademia Spoletina, 1956,1975. Luigi Monti (pseudon. Don Pavana) (1875-1935) [Perugia - Rapallo] Le vassallate de Don Pavana ed altre poesie (1900). Ed. Averardo Montesperelli. Perugia: Guerra, 1965. La vendetta politica ed altri sonetti dialettali (1901) Sonetti quadresimali (1906). Ed. Averardo Montesperelli. Perugia: Guerra, 1965.

Umbria

211

Umberto Calzoni (1881-1959) [Perugia] Lc trappele del Monno. Perugia: Edizioni Oplonte, 1945; Perugia: Guerra, 1984. Gaio Fratini (1921-) [Citta della Pieve (Perugia)] Giacinto Spagnoletti and Cesare Vivaldi, eds, Poesia dialettale dal Rinascimento a oggi, 1:681-3. Milan: Garzanti, 1991. Ezio Vallecchi (1923-) [Spoleto] A tutta callara. Spoleto: Arti Grafiche Panetto & Petrilli, 1983. Scantafaole: Cento poesie e una prosa in dialetto spoletino pe li potti d'ogni eta. Spoleto: Arti Grafiche Panetto & Petrilli, 1989. Lamberto Gentili (20th c.) [Spoleto] Sassu tiratu e parola delta non sarp chiappono piu: Poesie in cerca di poesie. Spello: Dimensione Grafica, 1988. Antonio Pecorelli (20th c.) [Terni] Sonetti ternani. Term: Visconti, 1968. 227 sonetti. Term: APE, 1981. Ferruccio Ramadori (1952-) [Scheggino (Valnerina)] See Antologia di poeti umbri, in Diverse lingue 2 (1986).

THEATRE Mario Podiani (1516-1563/80) [Perugia - Rome?] / Megliacci [The Blood Sausages]. Perugia: Girolamo Cartolari, 1530. Ed.: Francesco A. Ugolini, // perngino M.P. e la sua commedia 'I Meglincci' (1530). 3 vols. Perugia: Presso 1'Istituto di Filologia Romanza, 1974.

LITERARY REFERENCES Ponti, Antonio Carlo. 'Appunti sulla poesia dialettale in Umbria.' In Pietro Mazzamuto, ed., La poesia dialettale in Italia, 491-557. Palermo: Annali di Lettere, 1984. Spagnoletti, Giacinto, and Cesare Vivaldi. 'Umbria.' In Spagnoletti and Vivaldi, Poesia dialettale dal Rinascimento a oggi, 1:671-85. Milan: Garzanti, 1991.

212 The Dialect Canon through the Regions Tuscano, Pasquale. Umbria. Letteratum delle regioni d'Italia. Storia e testi. Brescia: Editrice La Scuola, 1988. Vivaldi, Cesare. 'Note sulla poesia umbra in dialetto.' Diverse Lingue 1 (1986): 49-59. Zuccherini, Renzo. Gli anni di Bartoccio. La letteratura dialettale perugina nell'800 e '900. Perugia: Guerra, 1984. Zuccherini, Renzo, ed. La poesia dialettale in Umbria. Arrone (Terni): Thyrus, 1988.

Regional Anthologies Poeti dell'Umbria. Ed. Carlo Guerrini, Antonio Carlo Ponti, and Gianluca Prosperi. Forli: Forum, 1981. Poeti umbri. Ed. Antonio Carlo Ponti. Perugia: Umbria Editrice, 1975.

LINGUISTIC REFERENCES Devoto, Giacomo, and Gabriella Giacomelli. 'Umbria' In Devoto and Giacomelli, Idialetti delle regioni d'ltalia, 80-6. Florence: Sansoni, 1991. I dialetti dell'Italia mediana con particolare riguardo alia Regione Umbra. Atti del V convegno di Studi Umbri. Perugia: Facolta di Lettere e Filosofia, 1970. Mattesini, Enzo. 'L'Umbria.' In Francesco Bruni, ed., L'italiano nelle regioni, 1:507-39. Turin: UTET, 1992. Merendelli, Marino, and Antonio Batinti. Lingua italiana e dialetto in Umbria: Commento alle indagini DOXA e 1ST AT. Perugia: Guerra, 1991. Ugolini, Francesco. 'I dialetti deirUmbria/ In Ugolini, Scritti minori di storia e filologia italiana, 91-7. Perugia: Facolta di Lettere e Filosofia dell'Universita degli Studi, 1985. Vignuzzi, Ugo. 'Aree linguistiche VII. Marche, Umbria, Lazio.' In Gtinter Holtus, Michael Metzeltin, and Christian Schmitt, eds, Lexikon der romanistischen Lingnistik 4, 606-42. Tubingen: Niemeyer, 1988. - 'Lazio, Umbria and the Marche.' In Martin Maiden and Mair Parry, eds, The Dialects of Italy, 311-20. London: Routledge, 1997.

Dictionary Trabalza, Giro. Saggio di vocabolario umbro-italiano e viceversa. Foligno 1905; repr. Bologna: Forni, 1970.

10

Lazio

Nove mesi a la puzza: poi infassciola Tra sbasciucchi, lattime e Hagrimoni: Poi p'er laccio, in ner crino, e in veslicciola, Cor torcolo e I'imbraghe pe ccarzoni. Poi comincia er tormento de la scola, L'abbecce, lefntstate, li ggeloni, La msalia, la caeca a la ssediola, E un po' de scarlattina e vvormijjoni. Poi vie U'arte, er digginno, lafatica, La piggione, le carcere, er governo, Lo spedale, li debbili, lafica. Er zol d'istate, la neve d'inverno ... E pper urtimo, Iddio see bbenedica, Vie la morte, effinisce co I'inferno. Nine months in the stench: then the swaddling clothes, with kisses, milk and tears, then on the leash, in the cradle, in toddling clothes, harness and pants. Then begins the torment of the school, the ABC, the whip, the chilblains, measles, the shit in the seat, and a bit of scarlet fever and smallpox.

214 The Dialect Canon through the Regions Then comes the apprenticeship, fasting, work, the rent, the jail and taxes, the sick bed, debts and fucks. The summer's sun, the winter's snow ... And at last, God bless us all, comes death, and it all ends with hell. Giuseppe Gioachino Belli, La vita dell'omo

L'arba bbriccocola sa dde viole er celo ignotte I'osso de la notte er cannellino e ssole che ombriaca ah, II'aria chiara pelle de ciumaca che er celo la manna! Archi e ccolonne ar sugo de tramonto un gran callaro I'urbe orba de luce e cce se coce la coda der giorno unfiotto longo e stato ommini e ccose sur maremagno un celo marignanao indove spicca spicchio d'ajjo luna un barbaijo...

The apricot dawn tastes like violets, the sky swallows the bone of the night, a shade of Cannellino gets you drunk, ah, limpid air, heaven sent a girl's skin! Arches and columns in the twilight sauce, the City is a medley blinded by light and in it they cook the day's tail. The past of men and things is a long breath. Over the city's universe an egg-plant coloured sky where like a garlic clove the moon freaks out... Mauro Mare, from Urbe callara

Lazio 215 PC' tutto quanta 'o tempo die passa fra i c sfa' c vein d' 'ii Memunnimme, stasenw temp re 'n casa Ngkavodia, tutti co' 'o libbro 'mmano de Teillimme ... £ cos/, gmzziaddio, tutto f i n i , che 'o Bifiorre '/' toccava 'a lima bona, e gnente, o quasi gnente ebbe da di.' E 'a sera, pe' 'alcana, ce volze 'nfino facce 'o Ticunne a casa sia nzor Jona, e dette pizza luscottin' e vino,

All that time that passed between the Memuni's coming and going we always waited at Kavodia's house, everyone with the Talmud in their hands ... And so, thank God, all ended well, because the Pope was in a good mood and had nothing, or almost nothing to object. At night, to celebrate, Sor Jona in his house made us recite the psalms, then offered pizza, cookies and wine. Crescenzo Del Monte, from L'udienza del Papa

Roman Dialect Literature Following its appearance in the earliest medieval vernacular mural documents, the Comodilla graffiti of the ninth century, and the cartoon-like inscription of the church of S. Clemente (Fili de le pute, traite [Pull, sons of bitches]), the Roman vernacular is found in literary documents such as the Ritmo cassinese, connected with the Benedictine monasticism and its great cultural centre, the Abbey of Montecassino. Despite Dante's epithet of turpiloquio, it was used across social classes during the second half of the fourteenth century, a period of democratization that coincided with the transferral of the papal court to Avignon (1309-77).

216 The Dialect Canon through the Regions From the early fifteenth century on, with the importance of the Roman church and the gradual internationalization of Rome, Romanesco began to lose its broad sociolinguistic space owing to the growing presence and influence of Tuscan, resulting in three spoken varieties: cultivated Tuscan of the elite, a Tuscanized Roman variety used by a bourgeois class, and the plebeic dialect of Rome. With the city's rapidly changing demography, the already weakened indigenous population declined further to about 25 per cent in 1550, the rest being made up of Italians from other regions - mostly Tuscan - and foreigners. Thus, Romanesco was not only spoken less, but also more exclusively in popular quarters. With the frequent contacts between the clergy and the people, the Church's fight against illiteracy from the seventeenth century on, and intense cultural activities (there were 260 typographies in that period; the first Italian newspaper, the Giornale de' letterati, was printed in Rome in 1688), the progressive Italianization continued to the detriment of the city's dialect, which gained, however, new space in its literary use. It is for these reasons that literary Romanesco tended to be used as the register for portrayals of servants and buffoons, not unlike in Ruzante. Such was the case of Castelletti's comedy Le stravaganze d'amore (1587) or Alessandro Benetti's / torti vendicanti (1654), where the dialect parts are limited to popular characters. Similarly, the language of the first two significant dialect texts, Peresio's // Maggio romanesco overo il Palio conquistato (1688) and Berneri's // Meo Patacca (1695), is illustrative of the sociolinguistic stratification of Baroque Rome. Peresio's comical-epic poem in twelve cantos about the competition for the Palio between the two heroes Jacaccio and Titta and the two districts Monti and Trastevere in Cola di Rienzo's times lacks genuine drama, but offers interesting folkloric documentation. Berneri's twelve cantos, written in what has been called a 'hermaphrodite language' (Micheli's definition), a hybrid between Tuscan and Roman, describe Meo's planned campaign to assist Christians in defence of Vienna against the Turkish assault of 1683, the attack by an ignorant populace of the Jewish ghetto upon Christian victory, and Meo's intervention to stop it; they conclude with grandiose festivities. Berneri's theatrical scenes mime the various characters' speech, as do those of Benedetto Micheli, who at age fifty began to write his own Roman sonnets. In his heroical-comic poem La Libberta Romana acquistata e defesa on the war against the fleeing Tarquinians, Micheli, who was also a painter and successful composer, proved to be a keen observer of social and stylistic registers in his use of the Roman dialect. But it was during the nineteenth century that Roman poetry and the-

Lazio 217 atre reached their highest expression. Giuseppe Gioachino Belli, also named 'the Pope's jester/ wrote a powerful tragicomical epic of the people of Rome at the time of Pope Gregory XVI's tyrannic rule. His monument of some 2300 sonnets, composed mostly between 1830 and 1836 of which only Er padre e lafija was published in Belli's lifetime - portray the life of the poor and homeless, the lonely and downtrodden, as well as the scandals and abuses of the powerful. Although satirical and anticlerical in nature, Belli's poems did not advocate genuine revolution of Roman or human society. A sort of testament of backwardness, the sonnets denounce the eternal and universal paradigms of social injustice and ignorance, religious hypocrisy, and papal arrogance through an ingenious technique that provokes both laughter and reflection. They belong to the highest expressions of dialect poetry. Belli made the sonnet his quintessential metrical form. Inspired by Carlo Porta, whose works he discovered during a brief stay in Milan in 1828, but also by sketches of Roman life composed by Micheli and the burlesque poet Loreto Mattei of Rieti (see, for example, his La vita umana versus La vita dell'omo), Belli intended to produce a monument of the 'plebe romana' in their own polymorphous language. In Belli's most productive years, Rome also had a rather solid popular theatre. Among its protagonists were Giovanni Giraud, Luigi Randanini, and Filippo Tacconi. Of noble French descent, Giraud grew up in papal Rome. He satirized that society in the play L'ajo neH'imbarazzo, which was censured after three performances at the Teatro Valle, but successfully performed in its French translation (Le precepteur dans I'cmbarras) in Paris in 1807, with music by Donizetti. The play was translated into Russian by Gogol. The banker, playwright, and international stage director also wrote two farces with Roman-speaking characters, // maestro di scuola and // cattivo compagno, as well as some dialect scripts for the puppet theatre. Together with his predecessor Benedetto Micheli, whose plays have not been recovered to date, Giraud is credited as the founder of the Roman dialect theatre. A generation later Luigi Randanini and Filippo Tacconi wrote and performed satires of popular and plebeian life in Rome. Influenced by Goldoni, Randanini's comedies L'arrivamento de la gran maravija and La partenza de la gran maravija made fun of the Roman people's fanatic enthusiasm for the ballerina Fanny Cerrito (stage name Faina Scivole). Randanini's short two-act Provemio is a prologue to Barbosi's Didone abbandonata; its language vividly mirrors that of his contemporary Belli's sonnets. The Provemio stages a gregarious group of aspiring actors and

218 The Dialect Canon through the Regions actresses for parts in Didone; it resembles a commedia dell'arte act and illustrates the popularity that theatre and particularly Metastasio enjoyed among the Roman people. Tacconi, on the other hand, wrote a comedy that freely rendered Berneri's Meo Patacca, as well as parodies of plays by Alfieri, Metastasio, and Schiller. He also founded his own theatre company. Belli's influence was lasting, both in the neighbouring regions of Umbria and Marche and among Romans. Cesare Pascarella, the great traveller and performer, wrote narrative sonnet sequences on historical events or characters, such as Villa Gloria (1886), using a storyteller who gives an account of Garibaldi's enterprises. His humorous parody La scoperta de I'America brings to life the journey of Columbus to the New World. Trilussa, on the other hand, became famous particularly with his animal tales, in which he transfigured human qualities and vices with much satirical verve. He shared with Pascarella what appears to be a somewhat pessimistic view of life and history. Much of Roman dialect poetry is theatrical in nature or performanceoriented, as becomes evident, for example, in the many dialogues of Bellian sonnets, or in the use of a narrator and an audience in Pascarella's La scoperta. Among the dialect plays are those composed by Giggi Zanazzo, who also wrote some dialect prose. In Li Maganzesi a Roma, written at age sixteen, Zanazzo satirized Rome's occupation by the French; it drew large audiences to the Teatro Rossini. With the new popularity of Neapolitan and French theatre, the Roman dialect stage began to decline. Zanazzo's last plays La zitellona and La sdcera reflect ongoing political change in the papal city, and also the emergence of the new bourgeois class. In La sdcera, Camilla - the most colourful dialect character - represents a strong working-class matriarch who clashes with her son-in-law Luciano, an aspiring lawyer who lives in her house with her daughter Adele. The vaudeville play is centred around a letter inviting to a tryst and written by Luciano's mischievous assistant, with none of the men accused by a triumphant Camilla implicated in it. For Camilla all men are puzzoni, zozzoni (rotten, dirty); she calls her son-in-law quer gesuvita farzo (a perfidious Jesuit). Her husband Giuseppe passively accepts her tyranny, while the young couple decides to move out of the house to find peace. Zanazzo's play is also a play with language; the prejudiced illiterate Camilla uses a tight plebeian dialect, while her husband and children speak Italian with some Roman inflections; Luciano's maid Ebe speaks Tuscan (la diventb unafuria); and the proletarian characters use a general southern dialect, maybe to reflect the beginning immi-

Lazio 219 gration to Rome (tu tiene morde conoscenze [you've got many contacts], when speaking to the lawyer Luciano). The play's language documents the strong Italianization in progress in the Roman dialect. Crescenzo Del Monte, on the other hand, followed Belli's technique to describe Jewish life inside and outside Rome's ghetto. His sonnets provide rich cultural and linguistic documentation, with Romanized Hebraic terms, such as Teillimme (Talmud) and tamidimme (votive lamps), adding much flavour. The pope is surnamed Bifiorre (double flower) (L'udienza del Papa, 1915); a badly dressed woman is called a channuccodde, referring to the menorah lit during Hanukkah (/ do' cancheri). With the advent of Italian unity, Rome - a city with one of the country's lowest illiteracy rates at that time - became even a greater melting pot, with large numbers of immigrants arriving from southern regions. The progressive stages of Italianization of the Roman dialect have been documented by the poetic language from Belli to Pascarella and Trilussa. With the new role of Rome as the political capital and media centre, its regional variety grew more important in the process of linguistic innovation of the standard. Among the more recent Roman poems are Mario Dell'Arco's loving brush strokes of the city and Maurizio Ferrara's politically engaged sonnets, with their linguistic make-up close to that of Belli. For both Mauro Mare and Cesare Chiominto the dialect takes on the function of a novel and freely moulded poetic language. In Chiominto the town of Cori serves as a symbol for universal reflection on war (A San Nicola spallato), on ageing (C; facww vecchi), on the condition of the workers (Contadino new). In Mare the dialect is a mere patina with innovative acoustic effects to express the solitude of human beings and their alienation from language. POETRY Loreto Mattel (1622-1705) [Rieti] Ed.: Gianfranco Formichetti, Tnediti di Loreto Mattel.' In Rassegna delta Lettemtum Italmna 83 (1979): 181-224. Giovanni Camillo Peresio (1628-1696?) [Rome] // jacaccio overo il Palio conqnistato (1688). Ed. Francesco Ugolini. Rome: Societa Filolologica Romana, 1939. // Maggio romanesco, overo il Palio conquistato. Ferrara: Pomatelli, 1688.

220 The Dialect Canon through the Regions Giuseppe Berneri (1634-1701)

[Rome]

// Meo Patacca ovvero Roma infeste ne i trionfi di Vienna. Rome: Campana, 1695. Ed.: Bartolomeo Rossetti, ed., Rome: Avanzini & Torraca, 1966.

Benedetto Micheli (1699-1784)

[Rome - Rome?]

Eds: Sonetti romaneschi (1750-1767). Ed. Enrico Celani. Rome: Tip. 1st. Gould, 1889. La Libberta Romana acquistata e defesa (1765). Ed. R. Incarbone Giornetti. Rome: AS Edizioni, 1991.

Giuseppe Gioachino Belli (1791-1863)

[Rome]

Eds: Poesie edite. 4 vols. Rome: Salviucci, 1865-6. Isonetti di G.G. Belli. 3 vols. Ed. Giorgio Vigolo. Milan: Mondadori, 1952. Tutti i sonetti romaneschi. 2nd ed., 5 vols. Ed. Bruno Cagli. Rome: Avanzini & Torraca, 1964-5. Sonetti. Ed. Giorgio Vigolo. Milan: Mondadori, 1978. Sonetti. Ed. Pietro Gibellini. Milan: Mondadori, 1984. Poesie romanesche (Edizione nazionale delle opere di G.G.B.), vol. 1. Ed. Roberto Vighi. Rome: Libreria dello Stato, 1988-. Antologia proibita e involontaria: Ristampa anastatica del sesto volume dell'edizione Morandi e dei Centoventun sonetti romaneschi ritrovati e commentati da Pio Spezi. Intro. Nicola Merola. Rome: Vecchiarelli, 1991. La 'Proverbiade romanesca' diG.G.B. Proverbi eforme proverbiali nei versi e nelle prose del poeta. Ed. Marcello Teodonio and Roberto Vighi. Rome: Bulzoni, 1991. Trans.: Haller, The Hidden Italy, 294-327. Roman Sonnets. Trans. Harald Norse. Highlands, NC: J. Williams, 1960; repr. London: Perivale Press, 1974. Sonnets of Giuseppe Belli. Trans. Miller Williams. Baton Rouge: Louisiana State University Press, 1981.

Augusto Marini (1834-1897)

[Rome]

Poesie in dialetto romanesco. Rome: Edoardo Perini Editore, 1877. Cento sonetti in vernacolo romanesco. Rome: Edoardo Perini Editore, 1877. Sonetti romaneschi e altre poesie. 3rd ed. Rome: Frankliniana, 1886. Poesie romanesche. Pref. Raffaello Giovagnoli. Rome 1887.

Filippo Chiappini (1836-1905)

[Rome]

// volgo di Roma. Rome: Loescher, 1890. Vocabolario romanesco. Rome: F. Chiappini, 1933. Ed.: Sonetti romaneschi (1860-1895). Rome: Leonardo da Vinci, 1927.

Lazio Luigi Ferretti (1836-1886)

221

[Rome]

La duttnnella. Cento sonetti in vernacolo romanesco. Rome: Tip. Barbera, 1877. Centoventi sonetti in dialetto romanesco. Florence: Tip. Barbera, 1879. Sansone, Ottave in vernacolo romanesco. Rome: Forzani, 1880. Vcnti sonetti in dialetto romanesco. Rome: Tip. Barbera, 1880.

Augusto Sindici (1839-1921)

[Rome]

l.'iirtinw peccato. Rome: Voghera, 1887. Campagna romana. Leggende. Sonetti dialettali. Pref. Gabriele D'Annunzio. Rome: Voghera, 1894. Zmfonia alle XIV leggende dclla campagna romana in volgare laziale. Rome: Tip. Forzani, 1900; Milan: Treves, 1902. Ottave. Citta di Castello: S. Lapi, 1906. Ore calle. Rome: Ripamonti, 1906. Novelle e leggende: Versi. 2nd ed. Rome: Ed. Tip. Roma, 1909. Nuove rime. Rome: Tip. Ed. Nazionale, 1912.

Cesare Pascarella (1858-1940)

[Rome]

Villa Gloria. Rome: C. Pascarella Editore, Tip. Forzani, 1886. La scoperta de I'America. Rome: Voghera, 1897. Sonetti. Rome: Societa Editrice Nazionale, 1900. Eds: La scoperta de I'America e altri sonetti. Ed. Accademia dei Lincei. Milan, Verona: Mondadon, 1951. Opere. Ed. Emilio Cecchi, 2 vols. Milan: Mondadori, 1955-61. Trans.: Haller, The Hidden Italy, 328-37. The Discovery of America. Trans. John DuVal. Fayetteville: University of Arkansas Press, 1491.

Luigi (Giggi) Zanazzo (1860-1911)

[Rome]

Strcghc, stregoni e fattucchieri. Sestine. Rome: Flli. Cappaccini, 1882. A la mi' regazza, la leva, la sera della Bbefana ... Rome: E. Perino, 1883; Cerroni e Solaro, 1886 (5th ed.). Er Natale a Roma. Rome: E. Perino, 1884. La Pasqua a Roma. Rome: E. Perino, 1884. Ah! Sente ch'e dorce, nove brojerie, con una poesia romanesca tradotta in dialetto siciliano. Rome: E. Perino, 1885. Le 'minente ar divi' amore, scenette popolari romanesche di G.Z., con un sonetto in dialetto albanese. Rome: Cerroni e Solaro, 1886. l.'ammazzacani pe' Roma: Sonetti popolari romaneschi. Rome: Cerroni e Solaro, 1886.

222 The Dialect Canon through the Regions Fiori d'accanto. Rome: E. Perino, 1886. Aritornelli popolari romaneschi. Rome: Cerroni e Solaro, 1888. Pippetto haffatto sega. Rome: Cerroni e Solaro, 1888. Proverbi romaneschi. Rome: E. Perino, 1886. Dialogo affamosofra er cavajer Cannella e la sora Tetona la saputa. Rome: Flli. Cappaccini, 1899. Novelle,favole e leggende romanesche. Turin, Rome: S.E.N., 1907. Eds: Versi romaneschi editi e inediti. Ed. Alfredo Zanazzo. 2 vols. Rome: M. Carra, 1921-2. Poesie. Pref. Mario Dell'Arco. Rome: Staderini, 1951; Rome: Garzanti, 1962. Poesie romanesche. 3 vols. Ed. Giovanni Orioli. Rome: Avanzini & Torraca, 1968.

Crescenzo Del Monte (1868-1935)

[Rome]

Sonetti giudaico-romaneschi (1927) Nuovisonettigiudaico-romaneschi. Pref. Benvenuto Terracini. Rome: P. Cremonese, 1932. Eds: Sonetti postumi giudaico-romaneschi e romaneschi. Rome: Ed. Israel, 1955. Sonetti giudaico-romaneschi. Antologia. Ed. Micaela Procaccia. Assisi, Rome: B. Carucci, 1976 [includes trans, of Dante, Inferno I and XXXIII into Romanesco]. Trilussa (Carlo Alberto Salustri) (1871-1950) [Rome] Stelle de Roma. Rome: Cerroni e Solaro, 1889. Quaranta sonetti romaneschi. Rome: Voghera, 1895. Favole romanesche. Rome: Voghera, 1901. Nove poesie. Rome: Voghera, 1910. Ommini e bestie. Rome: Voghera, 1914. Lupieagnelli. Rome: Voghera, 1919. Le cose. Milan: Mondadori, 1922. Lagente. Milan: Mondadori, 1927. Accjiia e vino. Milan: Mondadori, 1944-45. Eds: Tutte le poesie. Ed. Pietro Pancrazi and Luigi Huetter. Milan: Mondadori, 1951,1975. I sonetti. Le storie. Glove e le Bestie. Milan, Verona: Mondadori, 1953. Poesie scelte. Milan: Mondadori, 1969. Le prose del 'Rugantino' e del 'Don Chisciotte' e altre prose. Ed. Anne-Christine Faitrop Porta. Rome: Salerno, 1992. Poesie. Rome: Newton, 1994. Trans.: Haller, The Hidden Italy, 340-8.

Lazio

223

Blossom Kirschenbaum, Fables from Trastevere. Woods Hole, Mass.: Pourboire Press, 1976. Tales of Trillion. Trans. John DuVal. Fayetteville: University of Arkansas Press, 1990.

Leone Ciprelli (pseudon. Ercole Pellini) (1873-1953)

[Rome]

Tuttc Ic poetic. Ed. Ugo Onorati. Marino: Associazione Pro Loco, 1987.

Augusto Jandolo (1873-1952)

[Rome]

Li butti ar Pincio. Rome: Modes, 1899. Poesie romanesche. Milan: Treves, 1929. Erpastore innanwrato. Rome: Italia, 1933. Misticanza. Foligno: Campitelli, 1933. Cento poetic vecchie e nitove. Milan: Ceschina, 1941. Noiantn. Rome: Staderino, 1946.

Francesco Possenti (1899-)

[Rome]

Su e $iii pc' Roma (1935) Aci]iia talata (1947) Palkmcim. Poetic romanesche. Rome: Staderini, 1949. Voce dc Roma. Rome: La Carovana, 1954. Sabbato sera. Poetic romanesche. Rome: La Carovana, 1961. Ana lie Roma. Poetic romanesche. Rome: Staderini, 1967 [anthology including above selections and other poems]. Tavolozza romana. Rome: Liber, 1969. Pnnia dc ccna L.c titanic. Rome: La Carovana, 1971.

Mario Dell'Arco (pseudon. of Mario Fagiolo) (1905-) Taja ch'e rotto! Rome: Migliaresi, 1946. La stella dc carta. Rome: Palombi, 1947. Ottavc. Intro. Pier Paolo Pasolini. Rome: Bardi, 1948. Poesie romanesche 1942-1948. Rome: Bardi, 1949. lonnarancio. Rome: Bardi, 1950. Una ttntcia dc sole. Rome: Bardi, 1951. La pcttc a Roma. Rome: Bardi, 1952. Lr gusto mio. Rome: Bardi, 1954. PontedeirAngcli. Florence: Vallecchi, 1955. Roma. 18 poetic. Rome: Dell'Arco, 1956. Lrcigno. Rome: Dell'Arco, 1957. Testa o croce' Rome: 11 Nuovo Cracas, 1960.

[Rome]

224 The Dialect Canon through the Regions Verde vivo, verde morto. Rome: II Nuovo Cracas, 1962. Roma levante. Roma ponente. Milan: Mondadori, 1965. Poesie (1942-67). Rome: Bulzoni, 1967. lo e Nina. Genzano di Roma: Moderna, 1924. Apocalisse a Roma. Rome: Dell'Arco, 1975. Poesie 1950-1975. Rome: Dell'Arco, 1976. Vince er turchino. Rome: Florida, 1985. Poesie romanesche 1946/1985. Rome: Newton Compton, 1987. Strenna per Mario Dell'Arco. Ed. Franco Onorati, Rome: Bulzoni, 1995. Trans.: Haller, The Hidden Italy, 350-7.

Antonello Trombadori (1917-)

[Rome]

La Palommella. 63 sonetti romaneschi e uno in milanese. Milan: AUTnsegna del Pesce d'Oro, 1979. Indovinela grillo. 200 sonetti romaneschi. Rome: Newton Compton, 1984.

Cesare Chiominto (1920-)

[Cori]

Lo parla forte della pora ggente. Poesie in dialetto di Cori tradotte in italiano da Maria Chiara Starace. Intro. Tullio De Mauro. Rome: Bulzoni, 1984.

Anonimo Romano (Maurizio Ferrara) (1921-)

[Rome]

La Relazzione (Er fatto de Stalin e de Krusciov). Milan: All'Insegna del Pesce d'Oro, 1971. Er compromesso rivoluzzionario. Ed. Maurizio Ferrara. Milan: Garzanti, 1975. Er comunismo co' la liberta. Intro. Tullio De Mauro, ed. Maurizio Ferrara. Rome: Editori Riuniti, 1978. Addaveni qnel giorno e cjiiella sera. Bologna: Cappelli, 1978. Cronica. Milan: Adelphi, 1981.

Bartolomeo Rossetti (1923-)

[Rome]

Er vangelo seconno noantri. Rome: Citta Nuova, 1978. La terra promessa. Rome: Citta Nuova, 1981.

Mauro Mare (1935-1993)

[Rome]

Ossi di persica. Rome: Edizioni IEPI, 1978. Cicci de Slew. Rome: Edizioni CIAS, 1980. Er mantello e la rota. Rome: Fratelli Palombi, 1982. Sillabbe e stelle. Rome: Ellemme, 1986. Verso novunque. Rome: Edizione Grafica dei Greci, 1989. Trans.: Haller, in Luigi Ballerini, Paul Evangelista, et al., The Promised Land: Italian Poetry 1975-1995. Los Angeles: Sun and Moon Press (1999).

Lazio

225

Elia Marcelli (20th c.) [Rome] Li Romani di Russia. Pref. Tullio De Mauro. Rome: Bulzoni, 1988. Crit.: Tullio De Mauro, 'Le ottave di Elia Marcelli.' in De Mauro, L'ltalia delk Italic, 225-36. 2nd ed. Rome: Editori Riuniti, 1992.

THEATRE Giuseppe Berneri (1634-1701) [Rome] la Susanna verging e ntartire. Bologna: Longhi, 1675. La verita conosciuta. Rome: Ercole, 1676. Intermedia nuovo (1701) [in macaronic Italo-Romanesco idiom] Giovanni Giraud (1776-1834) [Rome - Naples] // maestro di scuola ovvcro la serva nbalda II cattivo compagno ossia il Paino e mastro Peppe Eds: L'ajo mil'imbarazzo (Paris and Rome 1812). Milan: Barbini, 1889; Milan: Istituto Editoriale Italiano, 1916. Opere edite e inedite. Rome: Monaldi, 1840-2. Commedie scelte. Intro. Paolo Costa. Rome: E. Loescher, 1903. Alessandro Barbosi (19th c.) [Rome] Trans. Metastasio, Didone abbandonata Luigi Randanini (1802-1866) [Rome] Un treatro drento 'na casa dove Er provemio de la commedia de sotto. In Francesca Bonanni, 'leatro a Roma, 119-41. Rome: Lucarini, 1982. la piazzetta de Trestevere Er matrimonio de Ciavattella L'arrwamento de la gran maravija der hallo La parlenza de la gran maravija der ballo Li quattro scontenti [rendering in Romanesco of Goldoni's comedy I ntsleghi] Filippo Tacconi (1806-1870) [Rome] Meo Patacca er greve e Marco Pepe la crapetta. Rome: P. Puccinelli, 1866. Marco Pepe all'ospedale deipazzi... Ancona: F. Gabnelli, 1868. Eds: Meo Patacca Lrasteverino. Ed. Attilio Mauro Caproni. Rome: Manzella, 1974. Una cena alia trattoria delle Funtanelle. Naples: Societa Editrice Napoletana, 1980.

226

The Dialect Canon through the Regions

Luigi (Giggi) Zanazzo (1860-1911) [Rome] Li Maganzesi a Roma. Rome: Tip. Comm. Governo Vecchio, 1882. Anticaje, pietrelk e boccaie pe' li lumi. Rome: Cerroni e Solaro, 1887. Pippetto ha fat to sega a scola. Rome: Cerroni e Solaro, 1887. Me voressimo? Evviva la migragna. Rome: Cerroni e Solaro, 1888. L'amore in Trastevere. Rome: Cerroni e Solaro, 1888. Evviva la migragna! Rome: Cerroni e Solaro, 1888. La zitellona (1906) La socera (1908). Commedia inedita in treatti. Ed. Francesca Bonanni Paratore, Rome: Bulzoni, 1980. Orazio Giustiniani (19th/20th c.) [Rome] Er Montenegro. Sonetti romaneschi. Rome: Domenico Malacari, 1895. La pricission der Carmine. Sonetti romaneschi. Rome: Tip. Gould Memorial Home, 1896. Poesie romanesche. Rome: Tip. Coop. Sociale, 1919.

PROSE Luigi (Giggi) Zanazzo (1860-1911) [Rome] Appendice alle Tradizioni popolari romane: Novelle,favole e leggende, costumi e canti del popolo di Roma. Ed. Giovanni Orioli. Rome: Staderini, 1960. Favole e racconti di Roma. Milan: Meravigli, 1992. Indovinelli romaneschi raccolti da G.Z. Rome: Salerno Editrice, 1986. Orazio Giustiniani (19th/20th c.) [Rome] L'nrioni de Roma. Rome: Zapponi, 1908. Bad, risate e lagrime ... Racconti in dialetto romanesco. Rome: Tip. Ed. Nazionale, 1913. Trilussa (Carlo Alberto Salustri) (1871-1950) [Rome] Ed.: Le prose del 'Rugantino' e del 'Don Chisdotte' e altre. Ed. Anne-Christine Faitrop Porta. 2 vols. Rome: Salerno, 1992.

LITERARY REFERENCES Abeni, Damiano, Raffaella Bertazzoli, Cesare G. De Michelis, and Pietro Gibellini, eds. Belli oltre frontier a. Lafortuna di G.G. Belli nei saggi e nelle versioni di autori stranieri. Rome: Bonacci, 1983.

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227

Albano Leoni, Federico. Concordanze Belliane. 3 vols. Goteborg: Elanders, 1970-2. Aurigemma, Marcello. 'Da Pascarella a dell'Arco: II romanesco letterario.' In Pietro Mazzamuto, ed., La letteratura dialettale in Italia dall'unita a oggi. Palermo: Sandron, 1984. Bonanni, Francesca. Teatro a Roma: Studi e testi. Rome: Lucarini, 1982. - 'II teatro in dialetto a Roma dal Cinquecento al Novecento.' In Tullio De Mauro, ed., // romanesco ieri e oggi, 27-56. Rome: Bulzoni, 1989. - Lazio. Letteratura delle regioni d'Italia. Storia e testi. Brescia: Editrice La Scuola, 1990. Bragaglia, Anton Giulio. Storia del teatro popolare romano. Rome: Colombo, 1958. Caponigro, Maria Adelaide. Le donne del Belli. Rome: Bulzoni, 1984. Cherubini, Paolo, ed. Roma e lo Studium Urbis. Spazio urbano e cultura dal Quattro al Seicento. Rome: Quasar, 1989. D'Achille, Paolo, and Claudio Giovanardi. La letteratura volgare e i dialetti di Roma e del Lazio. Bibliografia dei testi e degli studi. Vol. 1. Rome: Bonacci, 1984. De Mauro, Tullio. 'La componente linguistica nell'opera di G.G. Belli.' In De Mauro, Storia linguistica dell'Italia unita, 306-16. Bari: Laterza, 1972. - 'L'Anonimo Romano e la nuova poesia dialettale italiana/ In De Mauro, L.'Italia delle Italic, 237-56. 2nd. ed. Rome: Editori Riuniti, 1987. - 'Un dialetto e il suo poeta: Chiominto e Cori.' In L'Italia delle Italic, 213-17. 2nd ed. Rome: Editori Riuniti, 1987. De Mauro, Tullio, ed. // romanesco ieri e oggi. Rome: Bulzoni, 1989. Felici, Lucio. Tl romanesco di Pascarella.' In De Mauro, L'Italia delle Italic, 2nd ed., 193-206. Gadda, Carlo Emilio. 'Arte del Belli.' In Gadda, / viaggi la morte, 137-48. Milan: Garzanti, 1977. Gibellini, Pietro. 'Lingua e stile nell'elaborazione dei Sonetti del Belli.' In Tullio De Mauro, ed., // romanesco ieri e oggi, 139^48. Rome: Bulzoni, 1989. Haller, Hermann W. 'Columbus and Pascarella: America Rediscovered.' Italica 69 (1992): 359-77. - Traduzioni interdialettali: La scoperta de I'America da Pascarella ai genovesi.' Rivista Italiana di Dialettologia 19 (1995): 81-96. Moroni, Ornella. 'II Parnaso in negativo: II 'Canzoniere Amoroso' di Benedetto Micheli.' In Tullio De Mauro, ed., // romanesco ieri e oggi, 83-114. Rome: Bulzoni, 1989. Muscetta, Carlo. Cultura e poesia di G.G. Belli. Milan: Feltrinelli, 1961. Serianni, Luca. 'Lingua e dialetto nella Roma del Belli/ In Serianni, Saggi di storia linguistica italiana, 275-98. Naples: Morano, 1989. - 'La letteratura dialettale romanesca/ In Lingua e dialetto nella tradizione letterana italiana, 233-53. Rome: Salerno Editrice, 1996.

228 The Dialect Canon through the Regions Ugolini, Francesco. 'Gio. Camillo Peresio e il suo poema romanesco.' In Contributi difilologia dell'Italia mediana I (1987): 5-112. Vitti, Antonio. Trilussa.' In Dictionary of Literary Biography 114. Twentieth-century Italian Poets, 1st series, 295-301. Ed. Giovanna Wedel De Stasio, Glauco Cambon, and Antonio Illiano. Detroit, London: Gale Research, 1992.

LINGUISTIC REFERENCES D'Achille, Paolo. La letteratura volgare e i dialetti di Roma e del Lazio: Bibliografia dei testi e degli studi. Rome: Bonacci, 1984-. - 'L'italiano de Roma.' Italiano e Oltre 10 (1995): 38-43. Devoto, Giacomo, and Gabriella Giacomelli. 'Lazio.' In Devoto and Giacomelli, I dialetti delle regioni d'Italia, 87-94. Florence: Sansoni, 1991. Ernst, Gerhard. Die Toskanisierung des romischen Dialekts im 15. und 16. Jahrhundert. Tiabingen: Niemeyer, 1970. Trifone, Pietro. 'Roma e il Lazio.' In Francesco Bruni, ed., L'italiano nelle regioni, 1:540-93. Turin: UTET, 1992. - Roma e il Lazio. Turin: UTET, 1992. Vignuzzi, Ugo. 'Areallinguistik VII. Marche, Umbrien, Lazio.' In Giinter Holtus, Michael Metzeltin, and Christian Schmitt, eds, Lexikon der romanistischen Linguistik^, 606-42. Tubingen: Niemeyer, 1988. - 'Lazio, Umbria and the Marche.' In Martin Maiden and Mair Parry, eds, The Dialects of Italy, 311-20. London: Routledge, 1997.

Dictionaries Chiappini, Filippo. Vocabolario romanesco. Ed. Bruno Migliorini. 3rd ed. Rome: Chiappini, 1967. Vaccaro, Gennaro. Vocabolario romanesco belliano e italiano-romanesco. Rome: Romana Libri Alfabeto, 1969. - Vocabolario trilussiano e italiano-romanesco. Rome: Romana Libri Alfabeto, 1971.

11 Abruzzo and Molise

La Maiclla lontane ere n'altare cosci bianca dc neve; e i' vi'dive da la montagne fine a iii allu marc tutta quanta la terra me' native. Dentre alia casa me' Infocolarc ardeve ancora nche na lamba vive; e 'n San Giiivanne, all'albc, nche I'acquarc de le ierve addorente me lavive. Mamma bon'alme me spezzi lu pane e da la sogliu (Die la bencdiche!) nnanze alia gposa me' spanni hi grane. Na campane aani... segue de croce ... E a retrova lu core de gli antiche da sotte terre me chiami na wee. Far away the Maiella was an altar so white with snow, and I could see from mountain to sea all of my native land. Inside my house the fireside still burned with a lively flame, and at San Giovanni, at dawn, 1 washed myself with the dew of fragrant grass.

230 The Dialect Canon through the Regions Mother, that good soul, broke the bread and (God bless her!) from the threshold spread out the grain in front of my bride. A bell rang ... the sign of the cross ... and to find the old folks' heart a voice called me from below the earth. Vittorio Clemente, Terra native

Abruzzese and Molisan Dialect Literature While early vernacular traces were found in Abruzzo already in the twelfth century, and two centuries later in Molise, a literary tradition may have existed in this region much earlier than its first attestation in 1465. In fact, a vernacular religious theatre tradition developed between the fourteenth and fifteenth centuries around the centre of L'Aquila. During the Spanish rule of the sixteenth and seventeenth centuries, when Spanish became the official language, the Aquilejan literary tradition subsided, and only in the years of Enlightenment did Abruzzo once again participate in European culture, beginning with the Arcadian literary movement and intellectuals of the stature of Antonio Ludovico Antinori. Linguistically, Molise tended to be more unitary, gravitating toward the dialects of both coastal Abruzzo and Naples. The region of Abruzzo consists of the dialect type of L'Aquila, with its central Italian affinities, and of a western and eastern area with weak end vowels and southcentral Italian dialect features. During the years following unification, regional koines formed around centres such as Sulmona and Pescara; simultaneously, illiteracy declined dramatically. Although there were precursors in the dialect such as the eighteenthcentury Arcadian poet Romualdo Parente, a strong Abruzzese poetry developed only with the Romantic movement and during the Risorgimento. It is characterized by a celebration of the region's variety of landscapes, from the Maiella and Gran Sasso mountains to the Adriatic sea, of its vegetation, with its fig and peach trees and sambuca plants, and of its dialects. Despite the harsh social conditions of the popular classes, there are no strong voices of social protest, as one finds for example in Calabria. The sonnet was the privileged poetic form. The Abruzzese dia-

Abruzzo and Molise 231 lects used in the various texts are generally quite comprehensible; this may be due not only to their closeness to Lazio and Tuscany, but also to the increasing Italianization of the dialect taking place after the years of unification. Dialect poetry of the nineteenth century tended to move between the intimate and verisnio, as is the case of the two poets from Vasto, Gaetano Murolo and Luigi Anelli, the author of an incomplete Vocabolario vastese (1901). Writing in the dialect served to preserve an ancient endangered heritage. Anelli's Fujj' ammi'sche evoke a mysterious vitality, but also social injustice, such as the exploitation of peasants and the discriminatory treatment of women (in Puvere fammene). Anelli also wrote plays attacking the bigoted church morality. In his anticlerical comedy Acc'attoc'attocche! (1897) he exposed the priest Don Saverio's hypocrisy and corruption. Similarly, bigotry is defeated by reason in Lu zije spiccicate!, a play in which Enrico's religious fervour - he wants to drive the devil out of the family's maid Palmuccia - yields to his passion for cousin Margherita, while his uncle's priesthood is compromised by pictures of naked women hidden in a chest. While the dialect prevails effectively throughout the play, the Italian used by Enrico and Margherita sounds formal and artificial. Anelli's play also advocates the right to marriage for both rich and poor (A mezzanotte tante e In to' e tante e hi nituc', diccvc In zinghere a la regina! [at midnight we're going to get even, said the gypsy to the queen]). As the central figure of Abruzzese dialect theatre, Anelli made an attempt to deprovincialize its relatively small and dispersed production both ideologically and linguistically, by advocating liberalism and his opposition to the Church, and by using a regional dialect. Murolo's frequently dialogic sonnets, perhaps inspired by Belli's great tableaux, blend the serious with the comical. His market scenes and social comments on class division (Monnc 'nibanie) [Infamous World] are true ethnographic documents of a past world. In northern Abruzzo, the Teramo poet Fedele Romani's verse on the search for a lost Eden have instead a lighter tonality. Romani, known best for his autobiographical Italian prose Colkdara, wrote sonnets about his youth and about love and the suffering it causes. His attention to the dialect and to dialect transcription is that of a philologist and fine sociolinguistic observer. He noted how his dialect was used across all social classes, with some phonetic differences, such as the lack of diphthongs in the upper-class variety. Romani was also a folklorist and dialectologist; his Abruzzesismi (1883), written to educate the Abruzzese children, remain important

232 The Dialect Canon through the Regions documents of regional Italian - not unlike his collection of Sardismi and Abruzzese proverbs on the theme of love (1897). These were in fact the years of great folkloristic and dialectological interest, as documented by Gennaro Finamore's Vocabolario ddl'uso abruzzese (1880) and Giuseppe Savini's La grammatica ed il lessico del dialetto teraniano (1881). Following his earlier Italian and Latin poetry - including his Latin translation of D'Annunzio's Elegie romane (1905) - Cesare De Titta began to write dialect songs at a mature age, inspired by Pascoli, but also by the musicality of the Neapolitan canzone tradition. Several of his works inspired musical compositions, such as that by Guido Albanese for Lu piante de le fojje. In his songs on love and nature, De Titta made an attempt to Italianize the dialect of Chieti, in order for his texts to be understood beyond his region. Several of his collections were also followed by glossaries, perhaps a reaction to the incipient anti-dialect climate of post-unitary Italy. It is interesting to note that De Titta translated into his dialect the work La figlia di lorio by D'Annunzio, who never immersed himself in dialect culture. A generation later Alfredo Luciani's poetry showed genuine signs of innovative phonic qualities, particularly in the pagan sensuality of Stelle lucende (1913), which also includes texts on the death of his son and the three sonnets L'anierecane reparte on the drama of emigration. His poems on women and love, social customs, and religion were praised by Croce and D'Annunzio. L'Italia de ogge, on the other hand, had nationalist overtones in its support of the African campaign and its claim for the nation's supremacy. L'Aquila produced a number of good poets, with Vittorio Clemente being among the most outstanding. From the humble dialect of Bugnara adopted in Sclocchitte [Poppies] to its more expressive experimentation in Tienipe de sole e finre, Clemente attempted the road of a new lyrical form, availing himself of the novel language of his ancient dialect. Pasolini called his short poem Acqua de magge, on the awakening senses of youth, a small work of art. Other poets from L'Aquila were Umberto Postiglione, Clemente's contemporary, who emigrated to the United States as an adolescent, and died young following his journey through South America and his return to Italy. His few poems in the dialect of Raiano express the poet's restlessness and perpetual search for love and peace, comparing him to a swallow (A na rinnele). Ottaviano Giannangeli, by contrast, developed a highly literary dialect koine for his canzoniere, which he enriched with a theoretical appendix on writing in the dialect. Japadre's three collections, composed in the ancient language of

Abruzzo and Molise

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the dialect of Eucoli, similarly represent a conscious return to the poet's roots. Another dominant twentieth-century voice of Abruzzo is that of the poeta doctus Alessandro Dommarco. Unlike his father Luigi's poetry, which consisted of a sort of popular ethnic document of the city of Ortona, Alessandro's 'philological' poetry of Da mo ve diche addije on the intense unrelenting love for life move from a restricted world to universal meaning, not unlike Biagio Marin's or Albino Pierro's, while blending literary references with popular Abbruzzese terminology, followed by lengthv explanatory and bibliographical notes. In the most recent decades, there has been a renewed attention to Abruzzese regional culture and literature, as documented by the Istituto di Studi Abruzzesi, directed by Ettore Paratore, and its review Abruzzo, edited by Ernesto Giammarco, and also by the journal Rivista abruzzese, directed by the anthropologist Emiliano Giancristofaro. Of the twentieth-century poets who wrote in the Molisan dialect, a language with Neapolitan-like diphthongs and Calabrese-like metaphonies and palatalizations, Giuseppe Altobello, a physician, linguist, and musician, is considered the founding father. In his sonnets, some of which call to mind Di Giacomo's, Altobello made an attempt at closely transcribing the C ampobasso dialect speech of the peasant civilization he observed. His contemporary Euigi Antonio Trofa went on to experiment with the dialect. His incisive poem Mariteme m'ha scritte, with its refrain complaint about linguistic alienation in the newly adopted land, America -- Ma diclla ch'c tcrribbela/ Tresangela, e la lenga (But what's terrible,/ Tresartgela, is the language!) - and with its hybrid Italian American lexicon, portrays emigration with subtle irony and moving compassion. Among the three poets of the early twentieth century who shared the profession of teachers in small provincial towns - namely Michele Cima, Eugenio Cirese, and the 'crepuscular' Giovanni Cerri - Cirese was the strongest voice, particularly for its poetic diversity and evolution. While his early love poems and dialogic sonnets described local events and ideology (for example, Ru terramote, La storia of Suspire e risatelle) and had a certain mimetic resonance, his later verse (Lucecabelle) moved toward a subjective literary language. Cirese's poetry also had some impact in the formation of a Molisan literary koine. Nina Guerrizio and Giuseppe Jovine, the cousin of Francesco, wrote in the post-Second World War period, with a thematic focus on the region's social and economic reality. Jovine, who also translated Horace and Montale into Molisan, combined religious inspiration with a strong

234 The Dialect Canon through the Regions historical and social consciousness. In his collection Lu pavone (1970) the dialect is always a fundamental expression of human roots. In one of his most moving poems, Quanne si rnorta chella sera, ma (That night, when you were dying, Mother), death is compared to a song (e ie ... nen chiagneie/ca mepareia la muorte 'na canzona [and I... didn't cry/ because death seemed like a song to me]). More recently, Giose Rimanelli, an expatriate educator, writer, and critic in the United States, returned to his Molisan roots with a multifaceted volume of dialect poems (Moliseide), which also includes visual poetry. One of its texts, Molise niio is not only a song to the original land and to the poet's memories, but also a constant that harmonizes the contrasts and conflicts of human life (U core vole,/ te corr'encor' eppriesse ...// U core more/ pa' 'more che te porte./ Molise, sie' ne sorte:/ te vuoglie sembe bbene [My heart flies,/ it still runs after you ...//My heart is dying/ for the love I feel for you./ Molise, you are my destiny:/ I love you still]). A selection of twentieth-century poets from Molise has been anthologized by Luigi Bonaffini, Giambattista Faralli, and Sebastiano Martelli. ABRUZZESE POETRY Romualdo Parente (1737-1831) [Scanno] 'Zu niatreinonio azz'uso o sciengano k nozzc tra Mariella c Nanno dclla terra di Scanno (1765) Lafijjanim de Marietta [Mariella's Delivery] (1765) Ed.: Critical edition of both texts by G. Morelli, pref. Ugo Vignuzzi. Pescara: Nova Italica, 1992. Fedele Roman! (1855-1910) [Castiglione della Valle (Teramo) - Teramo] Li siinctte dc nil Culledarase [in dialect of Colledara, with author's Ital. trans, and endnotes]. Ancona: Mocelli, 1883; repr. Colledara. Florence: Bemporad, 1907. Ddn hiittavcc ttre ssnnette (1884) [in dialect of Teramo, with author's Ital. trans.]. In F.R., Colledara. Florence: Bemporad, 1907. Gaetano Murolo (1858-1903) [Vasto - Ancona] Ramincoli. Versi. Vasto: Anelli & Manzitti, 1892. Abntzzo. Ancona: Marchetti, 1898. Ciamarelle. Vasto: Anelli & Manzitti, 1898.

Abruzzo and Molise 235 Ed.: Sonetti dialettali (1886-1898) [with notes and Ital. trans, by author]. Ed. Tito Spinelli. Vasto: Cannarsa, 1979. Luigi Brigiotti (1859-1935) [Teramo] Strata facenne. Poesie in dialetto teramano. Pescara: Trebi, 1959. Luigi Anelli (1860-1944) [Vasto] Fujj' ammesche. Sonetti in dialetto vastese. Vasto: Anelli & Manzitti, 1892. Vocabolario vastese (A-E) (1901). Vasto: Cannarsa, 1980. Proverbi vastest. Vasto: Agnelli, 1897; repr. Sala Bolognese: Forni, 1980. Ed.: Opere dialettali di Luigi Anelli. Vasto: Tip. Histonium, 1969.

Cesare De Titta (1862-1933) [S. Eusanio del Sangro (Chieti) - Lanciano] Canzoni abruzzesi [with author's trans, of passages]. Lanciano: Carabba, 1919; repr. Sala Bolognese: Forni, 1984. Cente d'Abruzzo [with glossary]. Florence: Vallecchi, 1923. Nuovc canzoniabruzzesi [with author's trans, and notes]. Lanciano: Carabba, 1923. Terra d'oro [with author's trans, and notes]. Lanciano: Carabba, 1925, repr. Lanciano: Itinerari, 1970. Acqita,foco e vento [with author's trans, of poems]. Lanciano: Carabba, 1929. Luigi Dommarco (1876-1969) [Ortona] Uommini e cose di Urtone. Lanciano: Fratelli Mancini, 1928. Canzunc de magge. Guardiagrele: A.G. Palmerico Editore, 1930. Lu tisorc di Urtone. Storie e liggendc di San Tunmsse Apostele (1948). Ed. Alessandro Dommarco. Rome: Tipografica Editrice Romana, 1982. Se canteme cameme di cchiii. Lanciano: CET, 1959. Urtone di na vote. Lanciano: CET, 1961. Due canti di Leopard: recall nella parlata ortonese. Lanciano: CET, 1964. Ed.: Nu ccone di tutte. Ed. Alessandro Dommarco. Pescara: F. Amoroso, 1975. Crit.: Emerico Giachery, Luigi Dommarco: La pocsia musicalc per Guido Albanesc. Rome: AllTnsegna del Pesce d'Oro, 1997. Modesto Delia Porta (1885-1938) [Guardiagrele (Chieti)] Ta-pii. Lu trumbone d'accumpagnamente. Lanciano: Carabba, 1933; Teramo: CET1, 1966; Lanciano: Itinerari 1975,1984. Ed.: Poesie. Chieti: Marchionni, 1954.

236 The Dialect Canon through the Regions Alfredo Luciani (1887-1969)

[Pescosansonesco - Rome]

Stelle lucende. Ortona a Mare: Bonanni, 1913. Poesie. Naples: Ricciardi, 1921. Poesie. Naples: Ricciardi, 1925; Pescara: Trebi, 1963. L'ltalia dc ogge. Cinque sonetti abrnzzesi. Pescara: L. Stracca, 1935. La vera storie dc Sante Nnnzie. Poemetto abruzzese in sette canti. Lanciano: Masciangelo,1936. Poesie. Rome: Banco dei Poeti, 1947 [with glossary]; 2nd ed. Pescara: Trebi, 1963. Tiempe de sole efiure. Caltanissetta: Sciascia, 1955.

Umberto Postiglione (1893-1924) [Raiano (L'Aquila) - S. Demetrio nei Vestini] Eds: In memoria di U.P. L'Aquila: Vecchioni, 1925 [includes poems]. Umberto Postiglione / Vittorio Clemente / Ottaviano Giannangeli / Rino Panza. Lanciano: Editrice Quadrivio, 1959. U.P, Antologia, con ricognizione di alcuni manoscritti, e testimonianze. Ed. Ottaviano Giannangeli. Raiano: Circolo della Cultura, 1960.

Vittorio Clemente (1895-1975)

[Bugnara (L'Aquila) - Rome]

Prime Canzune. Rome: Unione Arti Grafiche Abruzzesi, 1924. La Madonna addulerate. Sulmona: Tipografia Angeletti, 1925. Lu piante dc la Madonna. Sulmona 1926. Scia benedetta. Rome 1946. Sclocchitte [Poppies]. Sonetti abrnzzesi. Milan, Rome: Gastaldi, 1949. Acqua de magge. Pref. Pier Paolo Pasolini. Mazara: Societa Editrice Siciliana, 1952 (with glossary); Rome: Edizione della Conchiglia, 1952. Tiempe de sole efiure. Caltanissetta: Sciascia, 1955. Canzune ed allegne. Pref. Roberto Neri. Lanciano: Editrice Quadrivio, 1960. Serenatelle abrnzzesi. Rome: La Carovana, 1965. Ed.: Canzune de tutte tiempe. Ed. Ottaviano Giannangeli. Lanciano: Editrice Itinerari, 1970.

Cesare Fagiani (1901-1965)

[Lanciano - Rome]

Lu done. Lanciano: Mancini, 1933. Ta-Pn. Lanciano: Carabba, 1942. Luna nove. Lanciano: Carabba, 1949. Stamme a senti'. Lanciano: CET, 1954. Lu pijatore de lefeste. Qnaderni di poesia dialettale. Pescara: Tip. G. Ferretti, 1965. Eds: Fenestre aperte. Ed. Giuseppe Rosato. Pescara: Emblema, 1966. Trenta poesic tradotte in dialetto siciliano da Elvezio Petix. Lanciano: Anxanum, 1975.

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Alessandro Dommarco (1912-) [Ortona] Tcmbe stbrte [Odd Times]. Rome: 'Quaderni di Marsia/ 1970. Da mo vc diche addije [1 Am Now Saying Goodbye]. Poesie in dialetto abmzzese parlata di Ortona. Pref. Tullio De Mauro, intro. Emerico Giachery. Rome: Bulzoni, 1980. Ottaviano Giannangeli (1923-) [Raiano (L'Aquila)] }e libbrc d'Ottauic. Lit libbrc d'Ottavie. II libra di Ottavio. Sulmona: Di Cioccio, 1979.

Antologia poctica. Raiano (L'Aquila) 1985. Arie de la vecchiaie. Pescara: Editrice 'Nova Italica/ 1989. Litanie per Mann e altn versi in abmzzese. Udine: Campanotto, 1994. Leandro Ugo Japadre (1923-) (pseudon. Arpanore Del Gaudio) [Castel di Sangro] In Brunzinu. Pref. Giuseppe Taviani. L'Aquila 1981. La Massaria (vita epica dei paston abruzzesi). Pref. Ernesto Giammarco. Teramo: ECO Editrice, 1985. Quanno te nn'ice core. Pref. Ugo Vignuzzi. Teramo: ECO Editrice, 1989. Lc jure. Le scintille - poesia del focolare. Pref. Emerico Giachery. San Gabriele: Editonale ECO, 1993. Giuseppe Rosato (1932-) [Lanciano] La cajola d'ore [The Golden Cage]. Lanciano: GET, 1955. Ecche hi fredde. Pescara: Questarte Lubri, 1984. Poesie ineditc. In Diverse Lingue 5 (1988): 89-93. Pietro Civitareale (1934-) [Vittorito (L'Aquila)] Come nil suonne. Florence: Poesiarte, 1984. Vecchic parole. Pref. Vito Moretti. Casier: Biblioteca Cominiana, 1990. Cosimo Savastano (1939-) [Castel di Sangro] Che sarra. Pescara: Edizioni Attraverso 1'Abruzzo, 1955; Pescara: Tip. G. Ferretti, 1965. Amore amore e parlame d'amore. Pref. Vittorio Clemente. Pescara: Ed. Attraverso P Abruzzo, 1966. Dente a na scionna [In a Cradle]. Pescara: Ed. Attraverso PAbruzzo, 1967. Nit parla' zettenne [Silent Speech]. L'Aquila: Japadre, 1982. Poesie medite. In Diverse Lingue 3 (1988): 95-106.

238 The Dialect Canon through the Regions Vito Moretti (1953-) [Chieti] N'andica degneta defije. Catanzaro 1985. La vnhinda e lijurne. Rome: Edizioni dell'Ateneo & B., 1986. Dendre a na storie. Pref. Tullio De Mauro. Florence: Editoriale Sette, 1988.

MOLISAN POETRY Giuseppe Altobello (pseudon. Minghe Cunzulette) (1869-1931) [Campobasso] Da hifronte. Campobasso 1918. Poesie dialettali campobassane. Pref. Manfredo Pinto. Campobasso: Colitti, 1926. Ed.: Sonetti niolisani. Ed. Nina Guerrizio. Campobasso: Edizioni Lampo, 1966. Trans.: Luigi Bonaffini, in Bonaffini, Faralli, and Martelli, eds, Poesia dialettale del Molise, 12-31. Isernia: Marinelli Editore, 1993. Domenico Sasso (1872-1928) [S. Martino in Pensilis - Larino] 'A storia dc Sande Le. In Rivista del Molise. Campobasso 1928. Trans.: Olga Melaragno-Lombardi, in Bonaffini et al., Poesia dialettale del Molise, 38-49. Raffaele Capriglione (1874-1921) [Santa Croce di Magliano] Poesie dialettali di Donaffajele. Pisa: Editrice Universitaria Felici, 1972. Luigi Antonio Trofa (1879-1936) [Ferrazzano (Campobasso)] Ed.: Panipuglie. Ed. Mario Trofa. Campobasso 1973. Trans.: Luigi Bonaffini and Luigi Fontanella, in Bonaffini et al., Poesia dialettale del Molise, 92-111. Michele Cima (1884-1932) [Riccia] Trascurze d'anemalc. Favole in vernacolo Riccese. Campobasso: Tip. Molisana, 1927, 1992. Spine e sciure. Chieti: V. Bonanni, 1928. Trans.: Gaetano Cipolla, in Bonaffini et al., Poesia dialettale del Molise, 64-79. Eugenic Cirese (1885-1955) [Fossalto (Campobasso) - Rieti] Canti popolari e sonetti in dialetto molisano (1910) Sciure defratta. Campobasso: Colitti, 1910. La guerra. Discurzi di cafuni. Campobasso: De Gaglia & Nebbia, 1912. Rn cantone dellafata. Pescara 1916.

Abruzzo and Molise 239 Suspire e risatelle. Campobasso: Colitti, 1918. Ccnte Intotw. Lanciano: Carabba, 1925. La lettricita. Rome: Unione Arti Grafiche Abruzzesi, 1926. Canzone d'atre tiempe. Pesaro 1926. Lnccaibcllc [Fireflies]. Rome: Unione Arti Grafiche Abruzzesi, 1926; Rome: Bardi, 1951. Canzitnc de magge. Guardiagrele: Palmerio Editore, 1930. Rugiade. Avezzano: Marsica, 1932. Tempo d'allora. Campobasso: Petrucciani, 1939 [contains prose texts]. Raccolta di canti popolari della provincia di Rieti. Rieti: Nobili, 1945. Eds: Poesie molisane. Ed. Eerruccio Ulivi and Alberto M. Girese. Caltanissetta, Rome: Sciascia, 1955, 1980. Oggi domain ten - tutte le poesie in molisano, Ic musiche e altri scritti. 2 vols. Ed. Alberto M. Girese. Isernia: Marinelli, 1997. Trans.: Luigi Bonaffini, in Bonaffini et al., Poesia dialettale del Molise, 130-67.

Giovanni Cerri (1900-1970)

[Casacalenda]

I guaie. Pref. Giose Rimanelli. Padua: Rebellato, 1959. Trans.: Luigi Bonaffini, in Bonaffini et al., Poesia dialettale del Molise, 188-217.

Nina Guerrizio (1919-1988)

[Campobasso]

Sciure de carde. Gampobasso: Ed. Pungolo verde, 1956. Vienle de vona. Lanciano: Quadrivio, 1960. A tu pe tu < u ciele. Campobasso 1966. Parian1 'e fantasie. Pref. Vittorio Clemente. Lanciano: GET, 1969. Alia luce della fede. Campobasso 1984. Ed.: I'll n c le poesie. C'ampobasso 1987. Trans.: Luigi B o n a f f i n i and Joseph Tusiani, in Bonaffini et al., Poesia dialettale del Molise, 22h -45.

Giuseppe Jovine (1922-)

[Castelmauro]

/,// pavone. Poesie in dialetto molisano. Bari: Enne, 1970; 2nd ed., pref. Tullio De Mauro, 1983. La sdrenga: Raceonti popolan anonimi molisani. Campobasso: Enne, 1989. Lu pavone. Poesie in dialetto molisano. The Peacock: Poems in Molisan Dialect. La sdrenga. Raceonti popolari molisani anonimi. The Scraper: Anoni/mous Molisan I olktales Ed. and trans. Luigi Bonaffini. New York: Peter Lang, 1993.

Giose Rimanelli (1926-)

[Casacalenda]

Moliseide. Songs and Ballads in the Molisan Dialect. Trans. Luigi Bonaffini. New York: Lang, 1992

240 The Dialect Canon through the Regions ABRUZZESE THEATRE Luigi Anelli (1860-1944) [Vasto] Creste gna vaite accusci pruvaite. Vasto: L. Anelli, 1897. Acc'attocc'attocche! [Bad Luck]. Vasto: L. Anelli, 1897. Lu zije spiccicate! [Just Like His Uncle!] Commedia in 3 atti. Music by Aniello Polsi. Vasto: L. Anelli, 1933. Vocabolario vastese (1901). Vasto: Cannarsa, 1980. Crit.: Tito Spinelli, 'Per una storia del teatro dialettale abruzzese: Le commedie di L.A.' In Pietro Mazzamuto, ed., La letteratura dialettale in Italia dall'unita a oggi, 949-72. Palermo: Sandron 1984. Cesare De Titta (1862-1933) [S. Eusanio del Sangro (Chieti) - Lanciano] A lafonte. La scuncordie. Lanciano: Carabba, 1920. Teatro. 2 vols. Lanciano: Carabba, 1924. Vol. 1: Mastre Cardille; Lu miracule; Vol. 2: La robbe di za gnese; Sora Sbruvagnate. Cesare Fagiani (1901-) [Lanciano] La mamme che 'ne 'mmore: Bozzetto drammatico in ire atti. Lanciano: Mancini, 1930. Ed.: Teatro abruzzese di C.F. ScoTla, commedia in 3 atti in versi; Lu crivelle; Lafeste di sant'Eggiddie. Lanciano: Quadrivio, 1961. Espedito Ferrara (1908-) [Vasto] 'Ssafa Dde [Leave It to God] (1931) Core me (1932) Aria de citta Giacobbe, Raffaele e Sprecacennere Crit.: Tito Spinelli, 'II teatro dialettale di E.F.' Misura 3/2 (1979-81): 27-42.

LITERARY REFERENCES Autini, R. Dizionario bibliografico della gente d'Abruzzo. Teramo: Edigrafital, 1973. Bisciardi, L. La letteratura dialettale molisana tra restauro e invenzione. Isernia: Marinelli, 1983. Bonaffini, Luigi. 'Eugenio Cirese/ In Dictionary of Literary Biography 114. Twentieth-century Italian Poets. 1st series, 42-9. Ed. Giovanna Wedel De Stasio, Glauco Cambon, and Antonio Illiano. Detroit, London: Gale Research, 1992. - 'Giuseppe Jovine.' In Dictionary of Literary Biography 128. Twentieth-century

Abruzzo and Molise 241 Italian Poet*. 2nd series, 188-95. Ed. Giovanna Wedel De Stasio, Glauco Cambon, and Antonio Illiano. Detroit, London: Gale Research, 1993. Esposito, Vincenzo. Panorama della poesia dialettale abruzzese. Rome: Edizioni dell'Urbe, 1989. Giammarco, Ernesto. 'II vernacolo abruzzese nella narrativa e nella drammaturgia dannunziana.' In Abruzzo 2 (1963): 219-39. - Storia della cultura e della letteratura abruzzese. Rome: Edizoni dell'Ateneo, 1969. Giammarco, Ernesto, ed. Antologia della poesia dialettale abruzzese dalle origini ai giorni nostn. Pescara: Ed. Attraverso 1'Abruzzo, 1958. Giannangeli, Ottaviano. Operator! letterari abruzzesi. Lanciano: Itinerari, 1969. - D'Annunzio e I'Abruzzo: Storia di un rapporto esistenziale e letterario. Chieti: Solfanelli, 1988. Godorecci, Maurizio. Tra Otto e Novecento: ombre e corpi di Fedele Romatn. Teramo: Editonale ECO, 1990. Gramegna, Maru>. Letteratura dialettale molisana. Antologia e saggi estetici. Campobasso: Cultura & Sport, 1993. Lingua e dialelto nella tradizione letterana italiana. Atti del Convegno di studi, Centra Pio Rajna (Salerno 1993). Rome: Salerno, 1996. Martelli, Sebastiano. Molise. Letteratura delle regioni d'Italia. Storia e testi. Brescia: Editnce La Scuola, 1994. - 'La letteratura dialettale molisana.' In Lingua e dialetto nella tradizione letterana italiana, 273-328. Rome: Salerno, 1996. Oliva, Gianni, and Carlo De Matteis. Abruzzo. Letteratura delle regioni d'Italia. Storm e testi. Brescia: Editrice La Scuola, 1986. Quaderni di poesia dialettale. Pescara: Centro di Studi Abruzzesi. Spngnoletti, Giacmto, and Cesare Vivaldi. 'Abruzzo e Molise.' In Spagnoletti and Vivaldi, La poesia dialettale dal Rinascimento a oggi, 2:783-837. Milan: Garzanti, 1991. Spinelli, Tito. 'Per una storia del teatro dialettale abruzzese: Le commedie di Luigi Anelli,' In Pietro Mazzamuto, ed., La letteratura dialettale in Italia dall'iimta a oggi, 949-72. Palermo: Sandron, 1984. Teatro abruzzese dialettale e d'ambiente. Pescara: Ed. Attraverso 1'Abruzzo, 1965.

Regional Anthologies Bonaffini, Luigi, Giambattista Faralli, and Sebastiano Martelli, eds. Poesia dialettale del Molise. Testi e cntica. Pref. Hermann W. Haller. Isernia: Marinelli Editore, 1993. Canti della terra d'Abruzzo e Molise. Ed. Ottaviano Giannangeli. Milan: Miano, 1958.

242 The Dialect Canon through the Regions La poesia dialettale abruzzese mi concorsi di Lanciano 1951 e 1952. Lanciano: GET, 1953. La poesia dialettale abruzzese nell'ultimo trentennio (1945-75). Ed. Ernesto Giammarco. Pescara: Istituto di Studi Abruzzesi, 1976. Poesie in dialetto abruzzese. Ripa Teatina: Settembrata Ripese, 1990. Poeti dialettali peligni. Ed. Umberto Postiglione, Vittorio Clemente, Ottaviano Giannangeli, and Rino Panza. Lanciano: Quadrivio, 1959. Sonetti molisani. Ed. Nina Guerrizio. Campobasso: Lanciano, 1966. // teatro dialettale di hernia (1920-1940). Ed. Giambattista Faralli. Isernia: Marinelli, 1992.

LINGUISTIC REFERENCES Giammarco, Ernesto. Abruzzo. Profilo dei dialetti italiani. Ed. Manlio Cortelazzo. Pisa: Pacini, 1979. Hastings, Robert. 'Abruzzo and Molise.' In Martin Maiden and Mair Parry, eds, The Dialects of Italy, 321-9. London: Routledge, 1997. Marinucci, Marcello. 'Areallinguistik VIII. Abruzzen und Molise.' In Giinter Holtus, Michael Metzeltin, and Christian Schmitt, eds, Lexikon der romanistischen Linguistik4, 643-52. Tubingen: Niemeyer, 1988. Vignuzzi, Ugo. 'Gli Abruzzi e il Molise.' In Francesco Bruni, ed., L'italiano nelle regioni, 1:594-628. Turin: UTET, 1992.

Dictionaries Anelli, Luigi. Vocabolario vastese. Vasto: Anelli & Manzitti, 1901; repr. Vasto: Cannarsa, 1980. Giammarco, Ernesto. Dizionario abruzzese e molisano. 4 vols. Rome: Edizioni dell'Ateneo, 1968-1979.

12

Campania

Nil pianefforte 'e notte sona luntanamente, e 'a museca se sente pe IVaria suspira.

A piano is playing in the night, far away, and one hears the music sigh through the air.

E' H'una: dorme 'o vico ncopp' a sta nonna nonna 'e mi nnitivo atitico 'e tanto tiempofa.

It's one o'clock: the town is sleeping over this lullaby on an old theme from a long time ago.

Did, quanta stelle nciela! Che lima! £ c'aria docel Quanta na bella vocc vurria senti canlal

God, how many stars in the sky! What a moon! And what a balmy breeze! How much I'd like to hear a beautiful voice sing!

Ma sulitario e lento more 'o mutivo antico: sefa cchiii cupo 'o vico dint'a ll'oscurita.

But solitary and slowiy the ancient motive dies; and the town gets gloomier in the dark.

Ll'anema mia surtanto rummanea stafenesta. Aspetta ancora. E resta, ncantannose, a penza.

Only my heart stays at this window, Still waiting, remaining, as though in a trance, to meditate. Salvatore Di Giacomo, Pianefforte 'e notte

244 The Dialect Canon through the Regions Neapolitan Dialect Poetry Among the southern Italian regions, the dialect literature of Campania and more precisely of Naples - is by far the most unitary through time and also the richest in texts, encompassing all genres of dialect literature. It is also one of the earliest traditions with a conscious use of the literary dialect, considering that Boccaccio undertook such an experiment in his Epistola to Franceschino De' Bardi (1339). The Neapolitan dialect literature was noted soon outside the region, judging from the history of text editions. The joyful resonance and musicality of the Neapolitan dialect also translated into musical compositions, with the canzone representing a tradition particularly in the nineteenth and early twentieth centuries, but also with the musical comedy of the Settecento. It is one of the best-known dialects outside the region. To be sure, Campania is the region where the Carta di Capua (960) originated, which is considered the earliest truly vernacular document of the Italian language. The continuity and prestige of traditions is also mirrored in the relative unitary picture of the Neapolitan dialect, characterized by dipthongization (tu pienze, nuove) and metaphony (mese vs. pi. mise; guaglione vs. pi. giiagliune), rotacism (caruto), and consonant sonorization (Andonio), among other features. This unity may have been ensured by the central importance Naples played following the times of the Longobard duchy and Norman conquest, when Frederick II established a university there in 1224, mainly for the teaching of law. It was also enhanced by the city's early selection as the capital of the Kingdom, and strengthened indirectly by the presence of foreign rulers, from the Anjou dynasty in the thirteenth and fourteenth centuries to Aragonese and Spanish rulers through the eighteenth century. While French and later Catalan and Spanish were the languages of the court (many Hispanisms in fact made their way into the dialect), with the advent of Italian merchants from the North and Florentine financiers, Tuscan language and literature gradually gained prestige in Naples. The use of Neapolitan as a chancellery koine during the fifteenth-century Aragonese rule (the socalled volgare pugliese, that is, Neapolitan with admixtures from Tuscan, Latin, Spanish, and French) consolidated the dialect's prestige. And although literary Tuscan spread through the South, Bembo's archaic proposal was not accepted blindly, as documented by the fervent polemical debates that for the most part favoured a moderate, more eclectic common language. The dialect's importance is further docu-

Campania 245 merited by Galiani, who harboured great hopes for Neapolitan as a literary language even in the late eighteenth century. Neapolitan dialect poetry appeared during the Renaissance. It had a limited reception in literary and humanist circles, which tended to espouse only the canzone tradition, and began to flourish in the first decades of the sixteenth century. There were the gliommeri ('balls of thread/ that is, 'heap of things'), a literary genre in which proverbs and idioms were recited for entertaining, and there were the villanelle and farse, such as the poet and musician Velardiniello's Farza de li massare, in which three peasants complain about their social condition during Spanish rule. Velardiniello's La storia de cient'anne arreto (1590), considered the first of several 'nostalgic' texts, decried lost virtues among the popular classes, and longed for a return to a more peaceful past of moral integrity, devoid of corruption. A few years later, the Crusca academician Giulio Cesare Cortese wrote his heroic-comical poem La Vaiasseide (1604), in which he minutely exposed the social conditions of the urban lower classes, while praising the vajasse (servant women) of Naples. The poem may have been composed as revenge for the poet's rejection by a Florentine woman (whose low status he insinuates by calling her vajasse). The author of other poems, such as Micco Passaro 'nnamorato and the Opere burlesche, Cortese didn't spare the readers from private episodes, especially the complaint of his poverty. In a dedication to the Vaiasseide his friend Basile eloquently decried the economic condition of poets who were forced to write for the courts to make a living. Cortese's last work, Viaggio de Parnaso, is a defence of dialect poetry vis-a-vis the more prestigious poetry in Tuscan. Cortese is credited with having initiated a different literary tradition, with a new linguistic consciousness and a fresh cultural purpose. As did his predecessor's production, Giambattista Basile's Ecloghe and Le Muse napolitane move between suggestive character descriptions and didacticmoralistic scopes. Not devoid of a nostalgic bent, they are aimed at preserving every single facet of the wonderfully rich dialect and popular heritage of Naples. In the seventeenth century Felippo Sgruttendio De Scafato's curious caricatural poem De la tiorba a taccone (1646) (instrument with ten cords, to be played with a leather-bow), on a passionate love for Cecca (a popular 'Laura/ adored during her lifetime and mourned after death), is of Petrarchan/anti-Petrarchan inspiration and satirizes Marino. It is remi-

246 The Dialect Canon through the Regions niscent of a certain grotesque Rabelaisian imagery. Cecca's lips are compared to two sausages, her face is tonna commo a no pallone/ lo colore ... de premmone stato no niese a cchiii a la vocciaria (round as a balloon,/ coloured ... like a lung stored over a month at the butcher shop). Elsewhere the poet, who was in past decades identified with Cortese by some scholars, compares Cecca to a cheese, her love to a mouse trap. The poet's craft succeeds in a highly original blend of the violently base and the literary refined. Among several other Baroque poets, Andrea Perrucci's fame is tied to his plurilingual poetry (he wrote in Latin, Tuscan, Neapolitan, and Sicilian), and in particular to La cantata del pastori, which was performed in Naples for two centuries at Christmas. The success of the Neapolitan theatre, but also the supremacy of the vigorous eighteenth-century intellectual culture in Naples, as well as political events, coincided with a gradual decline of dialect poetry in this period. There were, however, several minor poets. Nicolo Capasso, professor of church law and a colleague of Vico, translated the first seven books of the Iliad into Neapolitan and composed satirical poems, such as Sonniette ncoppa a lo vernacchio [Sonnets on the Fart] (aggio no culo .../che de notte e de juornu vb canta de vascio e defaozetto,/mo sotta voce, e mo de voce chiena [I have an arse that is day and night eager to sing falsetto, piano, and fortissimo]), which also include the poem L'ommo, maybe a source for Belli's sonnet Vita dell'omo. Among other poets were Francesco Oliva, the author of a Neapolitan grammar; Niccolo Lombardo, a member of several academies (among them the Accademia degli Asini), whose animal tale-like satire on human nature La Ciucceide (1726) both derides and commiserates with the bourgeoisie of the early eighteenth century, in an ambiguous scheme where animals and humans are interchangeable; and Alfonso Maria De' Liguori, a proponent of a more modern church language for the benefit of dialect-speaking lower classes, who was the first to write religious poems in dialect. It was also during this century that the blend of word and music gained renewed importance, and that the Neapolitan canzone flourished with a great number of composers (Raffaele Sacco's Te voglio bene assaie, Cottrau's Santa Lucia, Tosti, and so on). A break with cultivated dialect poetry is noted in the early nineteenth century. At a time of political changes and of greater sensitivity toward the popular classes, the poets turned to popular compositions, with new and simpler metrical forms (the canzonetta, for example), and with themes closer to the lives of the people. Among them were Giulio Genoino, noted for the libretto of Donizetti's La lettera anonima (1822),

Campania 247 but also for his Nferte, texts recited at the year's beginning; Michele Zezza, another writer of Nferte and translator of Manzoni's 5 Maggio; Luigi Chiurazzi, journalist and editor of some important Neapolitan works (for instance, D'Ambra's Vocabolario napolitano-toscano [1873]). These popular poets prepared the way for one of the most refined expressions of Neapolitan poetry following the country's unification. Salvatore Di Giacomo was the most celebrated, praised especially by Benedetto Croce. His artful production centres on two motifs, poverty and depravation as a social ill, and love as a way of escape from suffering. After the melodramatic and naturalistic early poems (such as 'O funneco verde and 'O munasterio), with their depiction of Neapolitan slums, the homeless and the outcast, Di Giacomo's nostalgic lyrics grew more musically enchanting. His songs Plane/forte 'e notte, Tutto se scorda, and Na tavernella are among some of his best, evoking the passions of love and melancholy and the passage of all things human. Around the turn of the century Di Giacomo composed some canzoni for musical compositions, such as the magnificent A Marechiare. Among his contemporaries were Capurro, the author of prose poems (and of the song 'O so/t' niio) and Ferdinando Russo, who composed the lengthy dramatized and highly original poem 'N paraviso (1891) in an Italianized form of Neapolitan. Di Giacomo's influence is felt in the poets who wrote a generation later. Most of them had engaged in a journalistic career, and had an intimate knowledge of Naples. Ernesto Murolo sang on love (Voce d' 'o prinimo amnion', Dinmw, Pusilleco addintsa, Non me sceta); Rocco Galdieri brought Naples alive (Na dummeneca passa e n'ata vene). Libero Bovio, also a playwright like most poets of his generation, found international fame with his canzones, such as Guapparia, Mandulinata, and Lacrcnw napulitan? on the emigrant's nostalgia, the memory of the zanipugnam (bagpiper) at Christmas, and his sense of exploitation (/' so' canw V maciello. So' emigrant?! [I'm a butcher's meat. I'm an emigrant]). A few decades later, Raffaele Viviani's popular Neapolitan portraits and scenes ('L zingare, L'etnigrante) were more critically oriented, staged against the backdrop of the urban proletariat. In his preface to the 1956 edition Pratolini spoke of 'socialist literature.' With the Italianization of the Campania region and of the Neapolitan dialect in the course of the twentieth century, there was a certain decline in dialect poetry, even though the number of poets and chansonniers tended to increase (for example, Pasquale Ruocco, Mario Sessa, Maria Luisa D'Aquino, and Raffaele Pisani, to name but a few). De Filippo and Toto, mostlv known for their theatrical careers, wrote some memorable

248 The Dialect Canon through the Regions poems in the 1970s. With a few exceptions, such as Di Natale and Serrao, there has not been a recent revival of dialect poetry comparable to that of northern regions. This may be due to a greater vitality of the dialect as a popular marked speech variety, far less prestigious than Italian, that thus inhibits its use today as a literary language. Neapolitan Dialect Theatre Unlike most other Italian regions, Naples epitomizes a dialect literary tradition spanning both time and genres. Apart from its great philosophical, historical, scientific, and literary contributions written in Tuscan, Naples prides itself, in addition to a rich dialect poetry, with a brilliant dialect theatre. The Neapolitan theatre originated in the early seventeenth century, with Basile's friend Giulio Cesare Cortese's pastoral drama La Rosa, which portrayed peasant life and customs. By the time of the age of the Enlightenment, theatre flourished in the southern capital under Bourbon rule. The musical comedy became particularly successful. Following the first commedeja pe mmuseca, Francesco Antonio Tullio's La Cilia, which was performed privately for a cultivated illustrious audience in 1707 with music by Michelangelo Fagioli, many Neapolitan playwrights wrote librettos simultaneously, among them Nicola Maresca, Aniello Tullio Piscopo, Bernardo Saddumene, Gennaro Federico, and Pietro Trinchera. In 1709, the Teatro dei Fiorentini opened its door to the comic opera with Patro Calienno de la Costa by Mercotellis and the musician Antonio Orefice. The plot usually moved from unrequited love involving two pairs of lovers to a happy end after complex developments. The male lover was performed by a female soprano, later on in Rome by a castrate, since women were not allowed to perform there. The innovative setting of a district of Naples and the use of the Neapolitan dialect immersed the stage in the real world, in contrast with the Baroque taste for extravagant hyperboles. The opera consisted of three acts; singers were not always professionally trained. Trinchera worked with many composers who were active in Naples, including Giovan Gualberto Brunetti (1706-1787), Nicolo Conforto (1718-1788), Antonio Corbisiero (1720-1790), and Nicola Bonifacio LoGroscino (16987-1765), considered by some 'il dio dell'opera buff a.' Other musicians worked for Tullio and Saddumene: Michele De Falco (1688-1732), Giuseppe Di Majo (16971771), Leonardo Ortensio Leo (1694-1744), Antonio Orefice (1685-1727), Leonardo Vinci (1690/6-1730, Giovan Battista Pergolesi (1710-1736),

Campania

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and others. With Saddumene's Le zite 'ngalera (1722) the musical comedy tended to separate serious from comical parts. In its diffusion through the peninsula, the opera buffa a became more melodramatic and also more Tuscan, reserving dialect speech to the lower classes, unlike in the original Neapolitan commedeja pe mmuseca. Gennaro Federico's comedies tended to be erudite, using a polished dialect. His contemporary Pietro Trinchera, who became the Teatro dei Fiorentini's director, wrote prose comedies in an Italianized Neapolitan. In the very popular La moneca fauza (1726) and the musical comedy La tavernola abentorosa (1741) he satirized church corruption and hypocrisy, and was promptly put in jail because of his lack of respect for religion. It is interesting to note how the moneca Fersina, the wicked and deceitful go-between nun, is the only Italian-speaking character, having come to Naples from Lucca, which may indirectly be a statement in favour of the Neapolitan language. The opera buffa a soon became popular in northern Italy, after having been exported to Rome in 1729 by Saddumene. Venice especially fell for the genre. In mid-century, Goldoni and Vincenzo Ciampi produced many works, and with new composers such as Cimarosa and Paisiello in the late eighteenth century the musical comedy triumphed throughout Europe. During the second half of the eighteenth century, the popular Neapolitan theatre turned bourgeois, and the earlier sailors, fishermen, and vendors began to leave the stage to bourgeois characters. These plays became increasingly bilingual, with the dialect used by the buffoon. An example of this type of theatre are Giuseppe Pasquale Cirillo's comedies La Marchesa Castracani and Li due Pascarielli simili. Gennaro D'Avino wrote his Annella tavernara, a play about intrigues, jealousy, and arguments between several suitors pursuing the innkeeper Porzea's daughter Annella. Not unlike in Trinchera's Moneca, adultery and flirtation are at the centre of the action; again, an affected lawyer, Notaro Masillo, is the only character who speaks an artificial Tuscan and uses Latin words unknown to the people at the tavern. Masillo's artificial regional Italian, as well as Fersina's, would deserve a linguistic analysis. During the following century the Neapolitan dialect theatre reached its highest expressions, with Antonio Petito's ingenious parodies and Pulcinella impersonations, and with Eduardo Scarpetta's very successful sketches, imitations, and variety performances that brought him significant wealth but also competitors and detractors. Petito was born into a family of actors and playwrights. His plays represented total theatre: he created his own characters, such as Pasca-

250 The Dialect Canon through the Regions riello and Sciosciammuocca, a ridiculous bourgeois, and he also gave new life to the famed Pulcinella figure of the commedia dell'arte, first documented in the early 1600s. Petito's satires document a keen sensitivity to social issues in the newly formed Italian nation. In one of them, La palummella, first performed in 1873 at the Teatro San Carlino, he ridiculed the vanities of an obsolete and corruptible noble class in the guise of wealthy Donna Gigia, who rejects her poor sister Menella and her unfortunate brother Pepe on his return from an unsuccessful emigration to America, despite the humble roots they have in common. Still, all is well that ends well, and Gigia's son Felice (performed by Scarpetta when the play had its debut), eventually marries his beloved Palummella through trickery. The servants Pulcinella (performed by Petito in most of his plays) and Annetta are both social commentators and shrewd harmonizers who act in the best interests of the underprivileged, without any attempt at true social change. Petito died on stage in 1876, but his work was continued by Scarpetta, who had begun to perform at the Teatro San Carlino at age fifteen. With Scarpetta the dialect theatre turned more bourgeois, and the Pulcinella character of Petito's productions yielded to that of Don Felice Sciasciammocca. Scarpetta was a talented actor and theatre director, and he adapted numerous French plays to the Neapolitan stage. He knew what attracted his audiences, and he indulged in somewhat superficial comical sketches, whose plots tended to circle around obstacles and misunderstandings in a marriage, with a schematic happy ending. Among his most successful vaudeville plays was 'Na santarella, based on Meilhac and Millaud's Mademoiselle Nitouche, and opening at the Sannazaro theatre in 1889. The play is about the young and pretty Nannina, who lives at the convent under mother superior Rachele's supervision, and with the joy of Felice's teachings and singing lessons. When the lieutenant Eugenio Porretta asks to marry her, a meeting is arranged in Rome. On the way there, Nannina, eager for transgression, attends the performance of a play staged by Felice, and is asked to stand in for the principal actress Cesira, who deserts after the first act in a jealous rage involving Felice; when Eugenio returns to the convent to renounce the woman he asked to marry, he finds out that the woman he saw perform at the theatre the night before is in fact Nannina. The play with its asymmetrical use of the standard language and dialect combines words and music, love and jealousy, religious and wordly settings, as well as a somewhat autobiographical account of success and failure of theatrical entertainment within the play. With its more than 1000 performances

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nationwide, 'Na santarella brought Scarpetta considerable wealth and a villa built for his wife in the upscale Vomero district. Other plays, such as Misetia e nobilta on the clash between rich and poor, were equally successful, but after the defeat of his parody of D'Annunzio's Figlia di lorio in 1904 Scarpetta decided to leave the stage. There were many who had accused Scarpetta of plagiarizing an essentially French repertoire, and of promoting a superficial and histrionic image of the Neapolitan people. Salvatore Di Giacomo was particularly polemical. His aim was to create what he called a teatro d'arte, which would depict more in depth the Neapolitan soul and the social drama surrounding it. And, in fact, there is only little laughter in Di Giacomo's highly literary dramas, which may explain why the previous caricatural tradition was more appreciated by the Neapolitans, who have been seen by many as particularly capable of laughing at their own fates. Based on his own short stories or poems, Di Giacomo's plays evoke realistically suggestive events in Neapolitan life between 1880 and 1900. Their plots deal with the passions of love and jealousy that lead to murder (Assunta Spurn, A San Francisco), or with religious life as experienced by the poor ('O voto). In Assunta Spina, a play first staged in 1909 at the Teatro Nuovo, the butcher Michele Boccadifuoco is tried and convicted for cutting his seductive lover Assunta's face when she flirts with a police guard; to keep him near her in a Neapolitan jail, Assunta becomes the lover of Federigo Funelli, whose connections enable him to intervene on behalf of Michele's early release. But when Assunta finds out that Federigo is married and about to leave her, she confesses her affair to Michele, who promptly kills Federigo in a jealous rage, with Assunta pleading guilty instead of him. The play is highly dramatic, and its evolution somewhat elliptic, with a chorale of people filling in for the irrational effusions of the desperate protagonists, for whom honour appears as a last remedy. Other playwrights such as Murolo, Bracco, and Bovio followed Di Giacomo's footsteps. Bracco's one-act plays in the dialect are naturalistic in inspiration, portraying the struggle of lower classes and the fate of women in society, while Bovio's reflect petit bourgeois life in a decaying city. These plays did not, however, do justice to Di Giacomo's aesthetics of vt'nsnio. Some tended to be overly sentimental, exploiting the themes of adultery and prostitution too narrowly. Galdieri's L'aniello affede, for example, a play in which Vicienzo kills his wife after finding out about her promiscuity, is too linear, lacking psychological depth, and seems bent on voveurism and on victimizing women.

252 The Dialect Canon through the Regions However, while little impact was left by Di Giacomo's followers, the Neapolitan theatre found new life with Raffaele Viviani's productions he wrote some fifty plays - which presented the social drama of his times unpathetically through a whole gallery of characters, from the chimney sweeper to the scugnizzi, from prostitutes to petty criminals, vagabonds, and the unemployed. As a great actor and choreographer Viviani showed popular life in its painful and festive aspects. From the timid beginnings of the one-act play 'O vico (1917) and Tukdo 'e notte (1918) Viviani eventually created three-act plays such as / nullatenenti (1928) about chronically unemployed Pascalino Tassiello, who gradually becomes more aware of his social responsibility. During the anti-dialect climate of Fascist Italy, this play was attacked as 'un-Italian' when it was performed in Milan in 1940. As a true innovator of the Neapolitan dialect theatre, Eduardo De Filippo wrote and staged over fifty plays on the tragedy and horrors of war and the quest for survival, on hunger and poverty, with the full range of popular characters, from thieves and tricksters to prostitutes and parasites. The natural son of Scarpetta, De Filippo was on stage at age four, and began to produce one-act plays in the 1920s. In 1931, he formed the company known as Teatro umoristico I De Filippo, followed in 1945 by his new Teatro di Eduardo. De Filippo continued the great dialect tradition of the Neapolitan theatre - his art owes much to Di Giacomo's - and he created total theatre, using the world of the Neapolitan lower classes as the world of his dramas. Eduardo's plays show Pirandellian influence - in particular his philosophical relativism; in fact, on Pirandello's request he staged his Liola (1934) and his Caps and Bells (1935) in the Neapolitan dialect. De Filippo became successful mainly after the Second World War, when there was no longer the strong opposition to dialect literature. If earlier plays such as Natale in casa Cupiello (1931) portrayed the humble lives and survival in crowded flats of Neapolitan bassi, with jobless and hungry family members (he calls them magnafrancos, 'parasites'), culminating in jealousy dramas (in this case between Ninuccia, her husband Nicola, and her lover Vittorio), his later play Filumena Marturano, performed for the first time in 1946 by his sister Titina, added to the social drama strong psychological character development, making the play a masterpiece that brought him fame abroad. The play about a prostitute who tricks her lover into marriage to pass her name on to her three illegitimate sons, shows the strength of character in a woman who was forced into subordinate roles by a weak and selfish man, Domenico Soriano. Filumena preserves her dignity and that of her

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sons through shrewdness, cunning, and her strong capability to love, and by hiding the true identity of Domenico's only son - an act reminiscent of Boccaccio's tale of the three rings - to avoid division and privileges (hann' 'a essere eguale tutt' 'e trel [They must be treated the same way, all three of them!]). Other plays, as Napoli milionaria (1945) evoke the horror of war and persecution - through Gennaro's account about his meanderings with a paranoid Jewish comrade - as well as its ensuing moral corruption. As Mario Mignone (1984) aptly noted, De Filippo's plays became increasingly engaged morally, and also had a didactic purpose, arousing the theatre audience to improve itself. The essentially sad plays also harbour magnificent scenes of Neapolitan joie dc vivrc, and also use Neapolitan and regional Italian masterfully to portray social and psychological domains. Neapolitan Dialect Prose Throughout the entire dialect tradition, Giambattista Basile's Cunto de li cunti is considered the most outstanding literary prose text. For Benedetto Croce, who after Vittorio Imbriani must be credited with having revived this work through his translation (1925), the Cunto was the most beautiful book of the Baroque period. Among more recent writers, Italo Calvino compared Basile to a dreamy and deformed Neapolitan Shakespeare. A poet, diplomat, judge, and administrator at various courts, Basile was a close friend of Giulio Cesare Cortese, who rekindled his enthusiasm for the Neapolitan language. In fact, Basile composed the nine eclogues Lc Muse napolitane before setting out to write down his fifty fairy tales, contained in a traditional frame of five days. The Cunto was published posthumously in five books between 1634 and 1636, followed by a partial reprint one year later, a one-volume edition in 1654, and Same-Hi's edition with the title Pentamerone in 1674. It is a Baroque feast of language, with flowery metaphors (quanno esce I'Aurora a iettare I'aurtnale de lo vecchio suo tutto arenella rossa a la fcnestra d'Oriente [when Dawn appears and throws the old man's night pot with its red urine through the window of the East]), its hyperboles, synonyms, distortions, and metamorphoses, suitable for the plurilingual early seventeenth-century courts tor which it was intended. Based on great intertextual variety that combines literary and oral sources, the tales exude the very pleasure of storytelling. Although written for the trattenemiento de peccenlle (for the pastime of the youngest), the literary style and transgressive imagery are suitable equally for adult entertainment. With this work the

254 The Dialect Canon through the Regions dialect and fairy-tale genre with its marginal, forbidden, and magic characters make a grand entrance into literary society. The tales' intent is to entertain; it is the laughter at the sight of an old woman's private parts (auzato la tela ...fece verier? la scena voscareccia [she raised her skirt... to show the forest scenery]), of the melancholic Zoza, daughter of King Vallepelosa, that motivates the storytelling. It is this laughter that triggers a series of events leading to the choice by Zoza's future prince of ten women who will narrate a story each day to appease the slave-wife Lucia's lust for stories. Just as the dialect facilitates laughter, the tales, intended clearly for recitation and performance during dinner parties, tend to privilege word games and sexual allusions, bodily functions, pain, and violence. And not unlike the Bolognese Croce's stories, the world of the Cunto is upside down, in constant transformation. Thanks to fairies and spells peasant girls become queens, and feudal lords behave like peasants, in a borderless convivium of all reigns of nature; it is the dwarves and fools that prevail over the traditional yet deformed common sense of humans. The tales of the Pentamerone mix the grotesque with the real, the fantastic with the sensual. Some prevailing themes such as that of Fortuna (Lo cunto dell'uerco, I.I; Lo scarafone, lo sorece e lo grillo, III.5) or discretion (Lo compare, 11.10) are reminiscent of the tales of the Decameron. Social rehabilitation is equally present - witness the goose that bites a prince's rear end and lets go only at the sight of the peasant girl Lolla (La papara, V.I), or Corvetto, who gets to marry the king's daughter (III.7). In the myriad stories we come across peasants who become kings (Peruonto, 1.3) or queens (Lafacce de crapa, 1.8); or animals that turn into humans (La polece, 1.5) and vice versa (1.8). Envy is a leading theme (Verde Prato, II.2; Le dole pizzelle, IV.7); and many incestuous or unusual unions occur (such as in Lo serpe, II.5, where a king marries his daughter to a snake that turns out to be a beautiful boy, and in L'orza, II.6, where the king of Roccaspra insists on marrying his own daughter). Lo cunto dell'uerco, the first story of the collection, is a genuine small masterpiece, filled with the magic reminescent of Boccaccio's Calandrino cycle. Masella chases her son Antuone from his home, he becomes the servant to a mountain ogre who gives him a money-shitting donkey and, subsequently, a magic napkin and a chastising club when he decides to visit his mother. On his way home, he is promptly duped by a tavern host who substitutes the donkey and later the magic scarf, but in the end the club brings back all of his riches. The feast of language is apparent when Masella chides Antuone for the donkey relieving itself

Campania 255 rather than enriching the family: chiamniandolo ascadeo, mamma-mia'moccame-chisso, vozzacchio, sciagallo, tadeo, verlascio, piezzo d'anchione, ^cola-vallane, nseniprecone, catanmiaro c catarchw ... [calling him a good for nothing, mother of mine can you believe this, ugly prick, peasant, old stuff, dick face, chestnut-drainer, simpleton, stupid and a waste ...]. Other tales, such as La vecchia scortecata, in which an old leatherskinned woman sleeps with an unaware king, or Lo scarafone, lo sorece e lo grillo, the story of Nardiello's mishaps and final happiness thanks to his cockroach, mouse, and cricket, or Le ire fate, are all rich in proverbs (gallina vecchia fa buon bruodo [old chicken makes a good soup]; la 'niniidia, figlio mio, se stessa smafara [envy devours itself], 1.10; chi spute 'n cielo le retorna 'n facce [spit into the sky returns to the face], 11.10). The subtle moralistic nature of the tales is underscored by a proverb at the end of each tale that sums up the story's lesson. The Cunto de li cunti, perhaps because of its multiple transnational sources, gained audiences quickly in Germany and England, while only with Imbriam's and Croce's work did it become more widely known in Italy. More recently, Michele Rak has provided an excellent new translation and annotated bilingual edition (1986), followed by still another modern Italian edition by Ruggero Guarini and Alessandra Burani (1994), a selection intended for the contemporary stage by Franco Graziosi (1990), and a translation into the modern Neapolitan dialect by Roberto De Simone (1989). Half a century later appeared another collection of Neapolitan short stories, the Posilecheata (1684) by the writer, editorial consultant, and future bishop of Bisceglie Pompeo Sarnelli. Born in Puglia, the learned Sarnelli acquired Neapolitan through the works of Croce, Sgruttendio, and Basile; he eventually prepared a new edition of the latter's Cunto by going back to the original edition. The five tales of the Posilecheata freely imitate Basile's work and literary style. The small book is adorned by a preface with a justification for writing stories in Neapolitan (none had been written since Basile), a statement of purpose (to help the young and old fall asleep and thus save on food), and a defence of Neapolitan from Lombard detractors (he facetiously asks that the Tuscan words lo/ casa/capo be translated and read fast in Milanese, with the result of mi caco [I defecate]), to point out the futility of esthetic critique of language (Lengim che ri hi 'iitienne e tu la caca [if you do not understand a language, you shit it out]). The cornice is contained in the introduction and conclusion. Masillo Reppone goes to Posillipo for a vacation with his friend Pietruccio the beautiful town on the sea is a remedy against melan-

256 The Dialect Canon through the Regions choly (as documented by its etymology); at the dinner he meets the Pantagruelian doctor Marchionno; finally, after the supper, the maid Cianna and four other women narrate one story each. The party ends with a description of the festivities arranged by the Spanish viceroy Don Caspar Haro y Guzman on 26 July 1684. The five tales are less tightly knit and lengthier than Basile's, though containing similar themes. La piata remmonerata tells the story of a genuinely good-hearted wife, whose marriage to Cocchiarone (Big Spoon) is ill fated, and who nonetheless protects him despite his crimes against her; she is rewarded in the end by a fairy dove she previously saved from a bird's claws. The other tales portray the constancy and loyalty of a maid (La vajasse fedele), or the evil deeds of Pascadozzia against her stepchildren (La 'ngannatrice 'ngannata). La gallendle is staged against the backdrop of the disastrous plague in 1658. The Posilecheata was overshadowed by Basile's work, and until Porcelli's anthology Collezione di tutti i poemi in lingua napoletana (1788), only four editions were printed, as opposed to thirteen Pentameron editions. During the eighteenth century, the cultivated writer and court lawyer Giovanni D'Antonio wrote five short prose chapters of La vita e morte de lo Sciatamone 'mpetrato. The curious capriccio eroico combines high and low culture, mythical with popular imagination, not unlike D'Antonio's Neapolitan Baroque predecessors. The text is rich in cultural documentation; in chapter four we find the hybrid speech of a foreigner addressed to Alonso with its personalized infinitive constructions: Nun bartir, nun bartir, borfidi mia, mi far si ca I'haie a marita bar ti (Do not leave, do not leave, I swear I will arrange for you to marry her). As in D'Antonio's two poetic farces Scola cavaiola and Scola curialesca 'ncantata, Baroque expressionism blends with a new, more realistic portrayal of social conditions. History of Language and Dialects Bembo's proposal to use archaic literary Tuscan as a standard elicited much discussion and opposition among Neapolitan writers and intellectuals. Marco Antonio Ateneo Carlino's Grammatica volgare (1533) and Benedetto Di Falco's Rimario (1535) proposed to enlarge the canon of authors to be imitated, while Fabricio Luna (Vocabulario di cinquemila vocabuli toschi, 1536) favoured a mixed language, closer to that of Castiglione's model, as did Giovan Battista Pino in his Ragionamento sovra del'asino (1551).

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Other writers, such as Giovan Battista Del Tufo (1548-1600), distinguished between favellar gentile (elegant speech, that is, Tuscan but also Milanese!) and parlar goffo (awkward speech, that is, Neapolitan dialect). The Crusca academician Tommaso Costo ridiculed dialects and dialect literature in his Fuggilozio (1596), while half a century later Partenio Tosco, in accordance with Baroque modernity, praised the dialect words for their greater motivation (niesale vs. Tuscan tovaglia; stoiavocca vs. Tuscan salnetta) in his anti-Tuscan treatise L'eccellenza della lingua napoletana con la niaggioranza alia toscana (1662). All of these works represent of course an indirect testimony of the advancing prestige of Tuscan as the new language of culture, and also the consciousness of a division between literature in Tuscan and in dialect. More direct statements can be found in the works of Cortese and Basile, who adopted Neapolitan as an original and innovative language of entertainment. More jokingly, Pompeo Sarnelli underscored the naturalness of Neapolitan and the artificiality of Tuscan: E po' co sta lengua toscana twite frusciato lo tafanario a miezo munno! Vale cchiii na parola napoletana chiantuta die tutte li vocabole della Crusca (And then with this Tuscan language you've taken half the world for a ride! A strong Neapolitan word is worth more than all the words of the Crusca) (A li vertoluse lejetnre). A sociostylistic awareness of multiple registers and social diglossia found its way into Giovan Battista Crisci's Dialogo e lettere sopra la potenza d'arnore (1625) (one character speaking dialect, the other standard), coinciding more or less with similar early literary uses made in the Milanese by Carlo Maria Maggi. The following century tended to adhere to more classicist positions, as evidenced, for example, by Di Capua, whose advocacy of Neapolitan purism had as its focus the deprovincialization of culture in Naples, or by the playwright Niccolo Amenta (Della lingua nobile d'ltalia e del rnodo di leggiadratnente scrivere in essa non die di perfetto parlare [Naples: Muzio, 1723-4]). But there were exceptions, such as the cosmopolitan scientist and bureaucrat Ferdinando Galiani (1728-87), who proposed in his treatise Del dialetto napoletano (1779) a bilingualism between cultivated Neapolitan and Tuscan. According to his ideas, High Neapolitan was to be used as official idiom for Neapolitan affairs and culture; the language of Dante tor general political and intellectual communication. His treatise is a grammar and at the same time a historical manual; in it, Galiani harshly criticized Basile's work, while praising Cortese's. His theory on language - he did not really develop the language/dialect dichotomy -

258 The Dialect Canon through the Regions received a more philological type of criticism from Luigi Serio's Lo vernacchio (The Fart, 1780), who corrected his dialect description with more authentic forms of the spoken popular dialect. As time went on, the Neapolitan dialect enjoyed much popularity, as well as popular linguistic interest - as can be seen even today (witness, for example, the publication of Aurelio Fierro's Grammatica della lingua napoletana, 1989).

POETRY Velardiniello (mid-16th c.) Opera di BelardinieUo, nclla quale si ragiona delle cose di Napoli, dal tempo di re Marocco al di di oggi (1590) or La storia de cient'anne arreto (Venice 1590). Ed. Enrico Malato. La poesia dialettale napoletana. Testi e note. Naples: Edizioni Scientifiche Italiane, 1959. Farza dc li massare. Ed. Benedetto Croce. In Atti della Accademia Pontaniana 40 (1910). Voccuccia de no pierzeco apreturo Eds: Collezione di tutti i poemi in lingua napoletana. Naples: Porcelli, 1783-9. Enrico Malato, ed. La poesia dialettale napoletana. Testi e note. Naples: Edizioni Scientifiche Italiane, 1959. Giovan Battista Del Tufo (1548-ca. 1600) [Naples] Ed.: Opera manoscritta del marchese G.B.D.T. poeta napoletano del '500. Usi e costunii, spassi, giuochi e festc in Napoli. Ed. Calogero Tagliareni. Naples: Pironti e F., 1954. Giulio Cesare Cortese (ca. 1570-1624/7) [Naples] La Vaiasseide (1604). Naples: T. Longo, 1612. Ed.: Antonio Altamura, ed. Naples: F. Fiorentino, 1964. Micco Passaro 'nnammorato (1619) Lo Ccrriglio 'ncantato. Messina: F. Brea, 1628. Viaggio de Parnaso. Ed. Enrico Malato. Naples: F Fiorentino, 1963. Eds: Operc in lingua napoletana (XV imprcssione). Naples: Novello De Bonis, 1966. Ope re poetiche. In appendice: La tiorba a taccone de F Hippo Sgnittendio. Ed. Enrico Malato. 2 vols. Rome: Edizioni dell'Ateneo, 1967. Grit: Enrico Malato, 'La scoperta di un poeta: Giulio Cesare Cortese,' Filologia ecritica 2 (1977): 37-117.

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Giambattista Basile (anagram, Gian Alesio Abbattutis) (ca. 1570-1632) [Naples - Giugliano in Campania (Naples)] Eds: Ecloghe. In Poesie napoletane. Ed. Giuseppe Luongo. Mazara: Societa Ed. Siciliana, 1950. Lc Muse napolitane c Lc Lettere. Ed. Mario Petrini. Rome, Bari: Laterza, 1976. Lc open* napoletane. Vol. 1: Lc muse napolitane. Ed. Olga Silvana Casale. Rome: Benmcasa, 1990. Felippo Sgruttendio De Scafato (pseudon. Giuseppe Storace D'Afflitto) (17th c.) [Naples] DC la tiorba a taccone de Felippo Sgruttendio de Scafato. Naples: C. Cavallo, 1646. Ed.: Open' poetiche. Ed. Enrico Malato. Rome: Salerno Editrice, 1967. Giovan Battista Valentino (1614-1685) [Naples] Napole scontraffatto dapo la pesta (1665) La nieza canna (1669) Lc vasciello de 1'arbascia (1669) La cecala napoletana I - d . : Napole scontraffatto dapo la peste. Ed. Sebastiano Di Massa. Naples: Edizioni del Delfmo, 1975. Andrea Perrucci (1635-1704) [Palermo - Naples] L'Agnano zcffonnato. Naples: Paci, 1678. Ed.: /.c opere napoletane. Ed. Laura Eacecchia. Rome: Benincasa, 1986. Nicola Stigliola (1642-1708) (anagram; pseudon. Giancola Sitillo) [Naples] Trans. L'Lneide di Virgilio Marone trasportata in ottava riina napoletana (1699). 4 vols. Naples: Porcelli, 1784. Ed.: L'Lneide in ottava runa napoletana. Ed. Emanuele A. Giordano. Rome: Benincasa, 1992 Gabriele Fasano (1645-1689) [Naples? - Casale di Vietri] Lo Tasso napoletano, zoe, la Gierosalemme Libberata, votata a llengua nosta (1689) Eds: Naples: Porcelli, 1786; ed. Aniello Fratta, Rome: Benincasa, 1983. Domenico Basile (first half of 17th c.) [Naples] // Pastor Fido in lingua napoletana. Naples 1628; repr. 1785. Eds: Enrico Malato, ed., La poesia dialettale napoletana. Testi e note. Naples: Edizioni Scientifiche Italiane, 1959.

260 The Dialect Canon through the Regions Gianrenzo P. Clivio, ed., // Pastor Fido in lingua napoletana. Rome: Benincasa, 1997.

Nicolo Capasso (1671-1745)

[Grumo (Aversa) - Naples]

Alluccatc contra li pctrarchistc De curiositatibus Roniac strangulapreticon (1726) Trans, lliadc (first six books and part of seventh) Eds: Varic pocsic di N.C. Naples: Stamperia Simoniana, 1761 [contains Tarte della Iliade di Omero in lingua napoletana']. Pocsic napolctanc, maccaroniche, c satirichc. Naples: n.p., 1787. Ncopp' a lo vernacchio. Soniettc. Naples: n.p., 1789. Sonctti in lingua napoletana. Ed. Carlo Mormile. Naples: Porcelli, 1789. Isonctti in dialetto napoletano di N.C. Naples: Gennaro Reale, 1810. Lo vernacchio cd altri sonetti. Rome: Canesi, 1961. Omero napoletano: La vattaglia ntra le rranonchie e li surece. L'lliade in lingua napoletana (with Nunziante Pagano). Ed. Enrico Malato and Emanuele A. Giordano. Rome: Benincasa, 1989.

Francesco Oliva (ca. 1671-1736)

[Naples]

La Violeida sparuta ntra buffe e vernacchie. Ed. Carlachiara Perrone. Rome: Benincasa, 1983. L'asscdio di Parnaso Grammatica della lingua napoletana. In Ferdinando Galiani, Del dialetto napoletano. Ed. Enrico Malato. Rome: Bulzoni, 1970. Ed.: Opere napolctanc. Ed. Carla Chiara Perrone. Rome: Bulzoni, 1977.

Niccolo Lombardo (anagram; pseudon. Arnoldo Colombi) (7-1749) [Naples] La Ciiicccide, o puro la rcggia dc li ciucce conzarvata. Naples: Murzio, 1726. Ed.: La Ciucceidc. Ed. Ada and Gioacchino Scognamiglio. Rome: Bulzoni, 1974.

Anonimo (17th/18th c.) La violcieda spartuta ntra buffe e bernacchie (ca. 1719). Ed.: Carlachiara Perrone, ed. Rome: Benincasa, 1984. Nunziante Pagano (1683-1756) [Naples] Batracomiomachia d'Omero azzo e la vattaglia ntra le rranonchie c li surece [1747]. Naples: Porcelli, 1787.

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Mortelle d'( ~>i'zolone. Pocmma arrojcco. Naples: Porcelli, 1787; Poeti e prosatori del Settecento. Ed. Rosa Troiano. Rome: Benincasa, 1994. Fd.: Onicro napoletano: La vattaglia ntra le rmnonchie e li surece. L'lliade in lingua napoletana (with Nicolo Capasso). Ed. Enrico Malato and Emanuele A. Giordano. Rome: Benincasa, 1989. Alfonso Maria De' Liguori (1696-1787) [Naples] 'Ninna-nanna' cd alt re canzoncinc in dialetto. In Viva Gesii e Maria. Naples 1816. Pastorale Ferdinando Galiani (1728-1787) [Chieti - Naples] Trattato in difesa del dialetto napoletano. Naples: Mazzola-Vocola, 1779. Eds: Del dialetto napoletano. Ed. F. Nicolini. Naples: Ricciardi, 1923. Del dialetto napoletano. Ed. Enrico Malato. Rome: Bulzoni, 1970. Vocabolano delle parole del dialetto napoletano. Ed. F. Mazzarella. Naples: Porcelli, 1789. Crit: Francis Steegmuller, A Woman, a Man, and Two Kingdoms: The Story of Madame D'Lpinai/ and the Abbe Galiani. New York: Knopf, 1991. Vincenzo Ciappa (ca. 1734-?) [Naples] Saggio delle Favole di f-'edro in ottava rima (1775) Francesco Mazzarella Farao (1746-1821) [Cilento] I.a bocoleca de P. Vergilejo Marone tradotta 'n lengua napoletana da F.M.F. Naples: Stamperia de Peppe Maria Porciello, 1790. Ncoppa la bellezzetudene de la lengua napoletana, chelleta de F.M.F. Giovanni D'Antonio (pseudon. II Partenopeo) (18th c.) [Naples] Le opere napoletane: Lo mandraccJno [poetry], Scola cavaiola [play]; Scola curialesca 'ncantata, La vita e tnortc de loSciatamone 'mpetrato, Parte dc pazzo [prose]. Ed. Antonio Borrelli. Rome: Benincasa, 1989. Filippo Cammarano (1764-1842) [Palermo - Naples] Vierze strambe e bisbetece de F.C. ... Naples: Stamperia Reale, 1837. I.o Sebete e la bravn Cweca napolitana. Opuscolo. Naples: Boeziana, 1839. Giulio Genoino (1773-1856) [Frattamaggiore (Naples) - Naples] La nferta pe lo capodanno de lo 1835. Naples: Soc. Femuateca, 1834. Rrobbe vecchie rovegne e nnove de trinca. Nferta per lo Capodanno 1835. Naples: Fibreno, 1835.

262 The Dialect Canon through the Regions A lo Si' Don Filippo Girelli pe lo bbellojuorno de lo nomme sujo sto presunto ... Naples: n.p., 1844. Lo viaggio a Palermo ncopp'a lo Nettuno. Palermo 1845.

Rocco Mormile (1784-1867)

[Naples]

In Genoino, Rrobbe vecchie ... (see Genoino, above)

Nicola Corvo (mid-18th c.)

[Naples]

Masaniello La canzone de Salommone ovvero sia la mamma de tutte le ccanzune votata e sspiegata a lengua nosta. Naples: Francesco Giannini, 1892. Ed.: Storia de li remmure de Napole. Ed. Antonio Marzo. Rome: Benincasa, 1997.

Luigi Chiurazzi (pseudon. Giriali Zuchizu; Zuzu; Jachil Giri) (1831-1926) [Naples] Nuovo manualetto pratico del balli di societa franco-italo vernacolo (pseudon. Culiziari Zuchi). Naples: L. Chiurazzi, 1866. Regole dejocare e pavare lo mediatore e tressette (1866). Poesie popolari in dialetto napolitano. Naples: L. Chiurazzi, 1869. Spine e rose. Naples: Tip. del Progresso, 1870. Le mille defiette de lafemmena. Naples: n.p., 1871. Scelta di canzoni popolari in dialetto napoletano. Naples: Tip. del Progresso, 1875. Bad e schiaffi. Versi in dialetto napolitano. Naples: G. Eschena, 1880. Canzonette napolitane. Naples: L. Chiurazzi, 1892. Also editor of an anthology of Neapolitan dialect poetry, Fascio de chellete nove fatte da paricchie auture raccuoveto e prubbecato da Jachil Gin Zuzii (Naples: L. Chiurazzi, 1866), and of Smorfia napoletana (Naples: L. Chiurazzi, 1876; Bologna: Forni, 1969), a Neapolitan-Italian dictionary. Ed.: Le regale dello scopone e del tressette. Versione napoletana di L.C. Ed. Edgardo Pellegrini. Bari: Dedalo, 1982.

Raffaele Ragione (1851-1925)

[Naples]

Sciure de passione. Canti. Pref. Salvatore Di Giacomo. Naples: De Angelis, 1889.

Giovanni Capurro (1859-1920)

[Naples]

'O sole mio Napulitanate. Poesie edite e inedite. Naples: Tipografia Artistico-Letteraria, 1887. Nzalatella mmiscata. Versi. Naples: Nicola Jovene, 1892. N'atu Munasteriu. Naples: F. Lezzi, 1892.

Campania 263 Carduccianelle. Con una Icttcra di Giotue Carducci. Naples: Lezzi, 1894. Patcale 'a catcetta. Naples: Gennarelli, 1917. Poetic. Naples: Gennarelli, 1919. Poesie Costume. Naples: Tessitore, 1924. Poetic. Ed. P. Ruocco. Naples: F. Bideri, 1952.

Salvatore Di Giacomo (1860-1934)

[Naples]

Sunette antiche Vocc luntane Sonetti. Naples: A. Tocco, 1884. 'O fiinneco verde. Naples: L. Pierre, 1886. Zf niunacella. Naples: L. Pierre, 1888. Ariette c tiinette. Naples: L. Pierre, 1897. 'O niunasteno (versi). Naples: F. Bideri, 1887. Guizotu napolctane. Naples: F. Bideri, 1891,1963. Hds: Poetic: Raccolta completa con glossario. Naples: Ricciardi, 1920. Le poetic. Ed. Francesco Flora and Mario Vinciguerra. Milan: Mondadori, 1970. Poetic e prote. Ed. Elena Croce and Lanfranco Orsini. Milan: Mondadori, 1977, 1983. Poetic c canzoni. Naples: L. Torre, 1990. Poetic. Naples: F. Florentine, 1993 [complete ed., with glossary]. Trans.: Haller, The Hidden Italy, 360-83. Selected Poetn/ of Salvatore Di Giacomo. Trans. Frank ]. Palescandolo. Milan: Mondadori, 1977, 1989.

Roberto Bracco (1861-1943)

[Naples - Sorrento]

Verti napoletani. l.anciano: Carabba, 1939.

Ferdinando Russo (1866-1927)

[Naples]

Gauo e Maganza. Naples: L. Pierro, 1885. Sunettmta. Naples: F. Bideri, 1887; new ed., Naples: L. Pierro, 1892; Naples: F. Bideri, 1970. 'O libro d' o titrco. Naples: L. Pierro, 1890. Poemettidialettali. Naples: L. Pierro, 1891-8. 'N paravito. Naples: L. Pierro, 1891; new ed., Naples: L. Pierro, 1899; Naples: F. Bideri, 1989 Sitonne d'oro. Naples: F. Bideri, 1894. 'Ocantattorie. Naples: L,. Pierro, 1895; Naples: L. Pierro, 1920; Naples: F. Bideri, 1964. Letters 'a U'Africa. .15 tonetti. Naples: L. Pierro, 1896.

264

The Dialect Canon through the Regions

Gente 'e malavita. Diciassette sonetti. Naples: L. Pierre, 1897. '£ scugnizze, Gente 'e malavita. Naples: L. Pierre, 1897,1920. Canzoni, canzonette e bizzarrie. Naples: L. Pierro, 1898. 'Ncopp' 'o marciapiede. Naples: L. Pierro, 1898. 'O Luciano d' 'o rre. Lanciano: Carabba, 1910; Naples: F. Bideri, 1963. 'O soldato 'e Gaeta. Naples: Giannini, 1919; Naples: F. Bideri, 1965. Le villanelle napoletane. Ed. Pasquale Ruocco. Naples: n.p., 1933. With Raffaele Chiurazzi: La Divina Cummedia napoletana. Naples: L. Pierro, 1951. Esercizi di traduzione dal dialetto napoletano P.I, II, III per la 3a, 4a, e 5a classe elementare. Lanciano: Carabba, 1928. Eds: Poesie. Naples: Tirrena, 1929. Suspiro a Pulcinella. Poesie sparse e inedite. Naples: Conte, 1952. Cronaca nera. Ed. P. Ricci. Naples: F. Bideri, 1962. Le Poesie. Ed. C. Bernardi. Naples: F. Bideri, 1984. Trans.: Haller, The Hidden Italy, 386-99. Ernesto Murolo (1875-1939) [Naples] 'A storia 'e Roma. Naples: F. Bideri, 1904. Canzonette napoletane. Naples: Ricciardi, 1910. Matenate. Naples: Ricciardi, 1912. Canta Pusilleco. Naples: Ricciardi, 1919. Eds: Poesie. Naples: Tirrena, 1929. Addio, mia bella Napoli! Naples: Guida, 1931. // compagno. Naples: Guida, 1931. Poesie. Naples: F. Bideri, 1942,1969. Luca Postiglione (1876-1936) [Naples] Poesie. Naples: Giannini, 1925. Trasenno primmavera [Spring's Arrival]. Naples: Conte, 1952. L'ombra toja ... Ed. and trans. Pier Paolo Pasolini. N.p.: n.d. Rocco Galdieri (1877-1923) [Naples] Penta: 14 sonetti. Florence: S. Lospi, 1897. Poesie. Naples: Casella, 1914; Naples: F. Bideri, 1953. Nuove poesie. Naples: Casella, 1919. '£ lluce-luce. Naples: Tirrena, 1929. Trans.: Haller, The Hidden Italy, 400-9. Libero Bovio (1883-1942) Napule canta

[Naples]

Campania 265 Ncoppa a ll'onna 'O paete d' 'o sole Eds: Poetic. Naples: Morano, 1928, 1948. Poetic c canzoni. Ed. Ettore De Mura, Naples: Morano, 1971; 4th ed., ed. Vincenzo De Crescenzo, Naples: Morano, 1980. Open. Vol. 1. Naples: Morano, 1971.

Raffaele Viviani (1888-1950)

[Castellamare di Stabbia - Naples]

Sbavij: Souetti romanetchi. Rome: Nuova Tip. nell'Orf. di S. Maria degli Angeli, 1897. Tavolozza. Milan, Verona: Mondadori, 1931. .. c c'e la vita. Naples: Rispoli, 1940. Eds: Poetic. Ed. Vasco Pratolini and Paolo Ricci. Florence: Vallecchi, 1956. Von e canti. Naples: Guida, 1972. Poesic. Naples: Guida, 1977. Toto (Antonio De Curtis) (1898-1967) [Naples - Rome] S'c tcetate Surncnto: Vcrsi. Naples: Gennaro Maria Priore, 1899. Eds: 'A livella. Poetic napoletane. Naples: F. Fiorentino, 1968; Rome: Gremese, 1900. Dedicate all'amore. Naples: Colonnese, 1977, 1980. Toto. Ed. Vincenzo Mollico. Rome: Lato Side, 1982. Tut to Toto. Ed. Ruggero Guarini. Trezzano sul Naviglio: Club, 1992. Crit: G. Fofi, Toto, 1'nonio, la maschem (1977) Eduardo De Filippo (1900-1984) [Naples] // pactc di Pulcinella. Naples: Casella, 1951. O Canitto. Naples: Edizioni Teatro San Ferdinando, 1971. l.c poetic di Eduardo. Turin: Einaudi, 1975. '(.) pcnzicw e alt re poetic di Eduardo. Turin: Einaudi, 1985. Trans.: Haller, The Hidden Italy, 410-19.

Achille Serrao (1936-)

[Rome]

Malaria. Pref. Franco Loi. Rome: All'Antico Mercato Saraceno, 1990. 'A canniatura: Poetic in dialetto carnpano. Pref. Giacinto Spagnoletti. Rome: Iride, 1993. 'O ^tupicrchio. Poetic in dialetto campano. Pref. Franco Brevini. Monterotondo: Cirafica Campioli, 1993. Trans.: Euigi Bonaffini, The Crevice. New York: Lang, 1995.

266 The Dialect Canon through the Regions Salvatore Di Natale (pseudon. Sasade) (1951-) Boites. In Nnovi poeti italiani 3 (Turin 1984). Other poems in Diverse lingue 3/6 (1988).

[Naples]

THEATRE Giulio Cesare Cortese (ca. 1570-1627) La Rosa,favola drammatica. Naples 1621.

[Naples]

Andrea Perrucci (1635-1704) [Palermo - Naples] La nasciia del verbo nmanato Eds: La cantata del pastori. Rome: Canesi, 1960; Naples: F. Fiorentino, 1977; Ed. Camillo Bertucci, n.p.: Bellini, 1989. Le opere napoletane. Ed. Laura Facecchia. Rome: Benincasa, 1986. Francesco Antonio Tullio (1660-1737) (pseudon. Colantonio Feralintisco) [Naples] La Cilia (1707) [music by Michelangelo Faggioli] Li viecchie coffiate e (1710) Lofinto Armenia (1717) [music by Antonio Orefice] Laffente zingare (1717) [music by Orefice] Laffente pazza co lafenta malata (1718) [music by Orefice] Lafesta de Bacco (1722) [music by Leonardo Vinci] Le pazzie d'Ammore (1723) [music by Michele De Falco] La Locinna (1723) [music by Orefice] Donna Violante (1725) [music by Leonardo Ortensio Leo] Lo viecchio avaro (1727) [music by Giuseppe Di Majo] La vecchia trammera (1732) [music by Orefice] Nicola Maresca (1677-1720) La Deano o lo lavenaro (1706) La Lena La Milla o la preta di Chiaia

[Naples]

Nicola Corvo (pseudon. Agasippo Mercotellis) (late 17th c.-mid-18th c.) [Naples - Naples?] Patro Calienno de la Costa (1709) Patro Torino d'lsca (1714) Lo mbruoglio de li nomme (1714) [music by Giovanni Veneziano] La Moglera fedele

Campania 267 Gennaro Caccavo (17th/18th c.) [Naples] L.o Titta o piiw chello ch'c dcstenato ha dda soccedere (1711)

Aniello Tullio Piscopo (first half of 18th c.) [Naples] Lo 'mbnioglio d'arnniore (Naples, T. dei Fiorentini 1717) [music by Michele De Falco] Lo cecato fanzo (Naples, T. dei Fiorentini 1719) [music by Leonardo Vinci] La Lisa pontcgliosa (Naples, T. dei Fiorentini 1719) [music by G.P. Di Domenico]

Bernardo Saddumene (first half of 18th c.) [Naples - Naples?] Bajazcte impemdor dc' Turchi (1722) [music by Leonardo Ortensio Leo] Lc zite 'ngalera (1722) [music by Vinci]. New York: Garland, 1979. La mogliera fedele (1724) [music by Vinci] La Simmele (1724) [music by Antonio Orefice] La Carcotta (1726) [music by N. Aulatta] Lc zitcllc dc lo Vonimaro (1731) [music by Pietro Pulli] /,; maritc a forza (1732) [music by Gaetano Latilla] La manna dc Chiaja (1734) [music by Pulli]

Nunziante Pagano (1683-1756)

[Naples? - Naples]

La Fenizia, chellcta tragecommeca La Mortclla d'Orzolonc Li Bbintc wtola dc lo valanzone azzoe commiento ncoppa a Ic bbinte norme della Chiazza dc lo Campcionc Fid.: Pocti c pmsatori del Scttccento. Ed. Rosa Troiano. Vol. 1: Le bbinte rotola de lo Valanzone by N.P.; Mortclla d'Orzolone; La Fcnizia. Rome: Benincasa, 1994-.

Domenico Luigi Barone Di Liveri (1685-1757) La Contest (1735) // Cavalierc (1736) // Partcnio (1737) L'Abate (1740) II Govcrnatorc (1741) //Corsfl/i>(1743) // Gianfecondo (1745) Claudia (1747) l.'Alberico(1752) 11 tolitano (1755) La Smv/rt (1757)

[Liveri - Naples]

268 The Dialect Canon through the Regions Gennaro Antonio Federico (ca. 1700-1743/8)

[Naples? - Naples]

Comedies: Lo curatore (1726) Li bbirbe (1728) La Zeza de Casoreja (1728) Librettos: La zita correvata (1756) [music by Gregorio Sciroli) Lofrate 'nnamurato (1732) [music by Giovan Battista Pergolesi] Li due baroni (1736) [music by Giuseppe Selliti] IL Gismondo (1737) [music by Gaetano Latilla] L'Aurelia (1737)

Pietro Trinchera (1702-1755)

[Naples]

La monecafauza o laforza de lo sango (1726), ed. Franco Carmelo Greco, in Teatro napoletano, ed. G. Trevisani, vol. 1 (Bologna 1957), 31-100 [first ed. of this antiJesuit polemical work]; also in Teatro napoletano del Settecento, ed. Franco Carmelo Greco (Naples: Pironti, 1981), 1-98; and R. Turchi, ed., // teatro italiano IV, La commedia del 700, vol. 1 (Turin: Einaudi, 1987), 305-92. La gnoccolara ovvero Hi nnamorate scorchigliate. Naples: Muzio, 1733. Nota Pettolone. Naples: n.p., 1738. Ed.: Teatro napoletano del Settecento, 99-193. Naples: Pironti, 1981. Librettos: Don Pasquino (1735) [music by Giovan Gualberto Brunetti] Lo corrivo (1736) [music by Brunetti] Le 'mbroglie p'ammore (1736) Lo secretista (1738) L'amante impazzito (1738) [music by Matteo Capranica] La tavernola abentorosa (1741) [music by Carlo Cecere] Ciommetella correvata (1744) [music by Nicola Bonifacio LoGroscino] Lafenzinne abbentorate (1745) [music by P. Gomes] Li zite (1745) [music by LoGroscino] Lo tutors 'nnamurato (1749) [music by Nicola Calandra] Lofinto 'nnammorato (1751) [music by Antonio Corbisiero] Lofinto Perziano (1752)

Anonimo (18th c.) Lo vommaro. In Teatro napoletano del Settecento, 195-306. Naples: Pironti, 1981.

Giuseppe Pasquale Cirillo (1709-1776) [Grumo Nevano - Naples] / malocchi II notaio La Marchesa Castracani

Campania

269

L'Astrologo Li due Pascanelli simili

Gennaro D'Avino (pseudon. Giovanni D'Arno) (1724-1800?) [Naples] Annella tavernara di Porta Capuana. Ed. Enzo Grana. Naples: Attivita Bibliografica Editonale, 1975.

Giovanni D'Antonio (pseudon. II Partenopeo) (18th c.)

[Naples]

Le opere napoletane: Lo mandmcchio [poetry], Scold cavaiola [play]; Scola curialesca 'ncantata, La vita e morte de lo Sciatamone 'mpetmto, Parte de pazzo [prose]. Ed. Antonio Borrelli. Rome: Benincasa, 1989. Filippo Cammarano (1764-1842) [Palermo - Naples] Li pitture de 1'ana catalana. Teatro napoletano, 213-22. Ed. Giulio Trevisani. Bologna: Fenice del Teatro, 1957. Michele Zezza (1780-1867) [Naples] Lo rnalato p'apprensione. Naples 1835 [adaptation of Moliere's Le malade imaginaire]. La Mrnesca pesca. Naples 1838.

Pasquale Altavilla (1806-1872)

[Naples]

Lo cafe d'Europa. Naples: Tip. dei Gemelli, 1850. L'arrive de Pulcenella a Casalenuovo. Naples: Tip. dei Gemelli, 1853. Core cattive, e core liberate. Naples: Tip. Vara, 1861.

Eds: Teatro comico napoletano. Naples: n.p., 1849-53. Una stratagernma comico; No cammarino de na pnmma donna trageca. Teatro napoletano, 223-36. Ed. Giulio Trevisani. Bologna: Fenice del Teatro, 1957.

Antonio Petito (1822-76)

[Naples]

Pulcinella va tnwanno la fortuna sola pe Napule (1863) Nu studio 'e tpiritismo pe fa turna e muorte 'a latu munno (1868). Naples: Chiurazzi, 1903. Oreste a h quattro de maggio (1868). Naples: Chiurazzi, 1900. So Masto Rafaele e non te ne ncarrica (1869) Nu munaciello dint' 'a casa 'e Pulecenella (1870). Naples: Chiurazzi, 1901. / quadn plastia viventi (1870). Naples: Chiurazzi, 1906. All'unione delle fabbnche (1871). Naples: Chiurazzi, 1906. Una seconda educanda di Sorrento (1872). Naples: Chiurazzi, 1907.

270 The Dialect Canon through the Regions Don Pasca, passa 'a vacca efa acqua 'a pippa (1873). Naples: F. Bideri, 1924; Naples: Attivita Bibliografica Editoriale, 1975. La palummella, zompa e vola dint' 'e bbraccia 'e nenna mia (1873). Naples: Chiurazzi, 1901; Naples: Attivita Bibliografica Editoriale, 1975; Carcola: Grafitalia, 1989. La nmndolinata (1875). Naples: Chiurazzi, 1900. Caivano ammuninato pe Varrive de nafemmena a ddoje cape (1876). Naples: Chiurazzi, 1904. Ciccuzza. Naples: Chiurazzi, 1900. Aida, dint' 'a casa 'e d' Tolla Pandola. Naples: Chiurazzi, 1906. Don Felice Sciosciammuocca Nu surde, dduie snrde, tre surde, tutte surde! Naples: F. Bideri, 1923. A cannunata a mieziuorno e I'arresto all'una di D. Asdrubale Barilotto p'ave' tagliata 'a capa a D. Teresina a 'o vico 'e Campane con Pulcinella servo sciocco e pittore de I'aria Catalana: Bambocciata comica in treatti. Naples: F. Bideri, 1925. Nu matrimonio segreto. Naples: F. Bideri, 1927. Pascariello surdato cungedato. Ed. Enzo Grana. Naples: Attivita Bibliografica Editoriale, 1977. Eds: Tutto Petito. Ed. Ettore Massarese. Naples: Torre, 1984. lo, Pulcinella. L'autobiografia e quattro commedie originali. Ed. Vittorio Paliotti. Naples: F. Fiorentino, 1978. Crit: Enzo Grano, Andonio Petito. Autobiografia di Pulcinella. Naples: Attivita Bibliografica Editoriale, 1978. Eduardo Scarpetta (1853-1925) [Naples] 'O scarfalietto (1881). In Miseria e nobilta e altre commedie. Ed. Vanda Monaco. Naples: Guida, 1980. L'amis depapa. Milan: Barbini, 1882. Miseria e nobilta (1887). Naples: Guida, 1983. 'Na santarella. Rome: Perino, 1889. 'O Miedeco de' pazzi (1908). In Miseria e nobilta e altre commedie. Ed. Vanda Monaco. Naples: Guida, 1980. Figlia di lorio. Naples: Morano, 1908 [parody of D'Annunzio's play]. Nun la trovo a mmareta. Naples: Pironti, 1909. Lu cafe chantant. Naples: Pironti, 1909. 'Na bona guagliona. Naples: Pironti, 1909. 'O balcone 'e Russenello (1909). Naples: Gennarello, 1922. 'O Scarfaglietto. Naples: Gennarelli, 1921; Naples: Guida, 1983.

Campania 271 Eds: Eduardo De Filippo presenta cjiiattro commedie di E. e Vincenzo S. Turin: Einaudi, 1974 [with De Filippo's adaptations of Lu curaggio de nu pompiere napnlitano, Li nepitte de In sinneco, Na santarella, 'O tuono 'e marzo]. Sci commedie. Ed. M. Scarpetta. Naples: Guida, 1984. Misena e nobilta e altre commedie. Ed. Vanda Monaco. Naples: Guida, 1980; ed. Siro Ferrone, Turin: Einaudi, 1990. // teatro di Scarpetta. Naples: Bellini, 1990. Crit: Danielle Cunzi-Revol, Le theatre de Boulevard a Naples: E.S. on line alliance franco-napolitaine. Naples: C.S.L., 1988. Salvatore Di Giacomo (1860-1934) [Naples] Nennella. Bozzetti napoletani. Milan: Quadrio, 1884. 'O voto (Naples, T. Nuovo 1889). In Teatro del secondo Ottocento, 555-622. Ed. Cesare Bozzetti. Turin: UTET, 1960. A San Francisco. Scene napoletane (comp. Stella 1896). Naples: L. Pierro, 1896. 'O Mcse Mariano (comp. Stella 1898). Naples: S. Di Giacomo, 1900; Naples: Guida, 1931, Assunta Spina (comp. Pantalena 1909). Milan, Naples: Mondadori, 1951; ed. Andrea Bisicchia. Milan: Mursia, 1986. Ed.: Teatro 2 vols. Eanciano: Carabba, 1920. Roberto Bracco (1861-1943) [Naples - Sorrento] U'nocchie cunzacrate (1916). Lanciano: Carabba, 1938. Eds: Teatro. 11 vols. Milan, Palermo, Naples: Sandron, 1909-25. Opere. 25 vols. Eanciano: Carabba, 1935-42. Ferdinando Russo (1868-1927) [Naples] Luciella Catena. Naples: L. Pierro, 1920. 'A paranza scicca. Naples: E. Pierro, 1921. Ernesto Murolo (1875-1939) [Naples] 'O mpnosto (comp. G. Gesualdi 1903). Naples: F. Bideri, 1947. Signonne (1908). Naples: E. Bideri, 1946. Gentc nosta. Naples: E Bideri 1909. Addio, mta bella Napoli' (T. Nuovo 1910). Naples: Guida, 1931; Naples: F. Bideri, 1947. Anema bella (T. Nuovo 1910). El'iiocchie A' 'o pate O Ciovannino o la morte (T. Nuovo 1912). Naples: Guida, 1947. Se dice ... (1916)

272 The Dialect Canon through the Regions Calamita (1916) 'O paese che incatena. Naples: F. Bideri, 1957. Ed.: Teatro in dialetto napoletano. 2 vols. Naples: Ricciardi, 1919-21; new ed., 1952-3.

Rocco Galdieri (1877-1923)

[Naples]

'O nievo. Naples: L. Pierro, 1898; Naples: F. Bideri, 1908. L'aniello affede. Naples: Guida, 1931. '£ ccose 'e Dio. Naples: Guida, 1931.

Libero Bovio (1883-1942)

[Naples]

Malanova (T. Nuovo 1902). Naples: E. Gennarelli, 1921. Chitarrata (comp. Stella 1906) Casa antica (comp. Pantalena 1906). Naples: Guida, 1931. Genie nosta. Dramma napoletano in 3 atti (1907, co-authored with Ernesto Murolo). Naples: Melfi & Joele, 1912. Malia (1911) [dialect version of Capuana's work] Vicenzella (1918) So' died anne (1918) Pulecenella (1920) Spirto gentil (1921) [adaptation of Verga's La coda del diavolo] 'O professore 'O macchiettista (1936) Eds: Teatro. Naples: L. Pierro, 1921. Teatro. Naples: Morano, 1923,1971.

Raffaele Viviani (1888-1950) [Castellamare di Stabia (Naples) - Naples] 'O vico (Naples, T. Umber to 1917) Tuledo 'e notte (T. Umberto 1918). Ed.: Via Toledo di notte. In Giuseppe Trevisani, ed., Teatro napoletano, vol. 2. Bologna 1957. 'O scugnizzo (1918) Piazza Municipio (1918) Caffe di notte e giorno (T. Nuovo 1919) 'O masto 'e ll'arsenale (1924) 'Afigliata (1924) Pescatori (1925) '£ zingare (T. Nuovo 1926) 'O scopatore

Campania

273

Scalo manttimo Vettunno da nolo (T. Adriano 1927) La patente (1927) La musica dei ciechi 1 nnllatenenti (T. Mercadante 1928) Guappo 'e cartone (Padua, T. Garibaldi 1932) 'Offatto e cronaca. Naples: Guida, 1932. L'ultimo scugnizzo (Bari, T. Piccinni 1932) E c'e la vita. Naples: Rispoli, 1940. // circo sgueglia Eds: Trentaquattro commedie scelte da tutto il teatro di R.V. Ed. L. Ridenti. 2 vols. Florence: Vallecchi, 1956; Turin: lite, 1957. Dalla vita alle scene. Naples: Guida, 1977. Teatro. 6 vols. Ed. Guido Davico Bonino, Antonia Lezza, and Pasquale Scialo. Naples: Guida, 1987-94.

Eduardo De Filippo (1900-1984)

[Naples - Rome]

Farmacia di turno (1920) Uomo e galantuomo (1922). Turin: Einaudi, 1966. Ditegli sempre di si (1927). Turin: Einaudi, 1974. Fihsoficamente (1928) Sik-Sik, I'artcficc magico (1929) Quei figun di trent'anni fa (1929) Chi e cchiii fi'licc 'c me (1929). Turin: Einaudi, 1979. Natale in casn Cupicllo (1931). Turin: Einaudi, 1964. Gen narc niello (1^32) Quinto piano, ti saluto (1934) Una coi capelli bianchi (1935) L'abito mtovo (1937, with Luigi Pirandello) Pencolosamente (1938) La partcdiAmleto (1940) No;/ ti pago! (1940). Florence: Libreria del Teatro, 1943. Jo, I'erede (1942). Turin: Einaudi, 1976. Napoli milionaria (1945). Turin: Einaudi, 1950,1977. Filumena Marturano (1946). Turin: Einaudi, 1964,1977. Trans. Keith Waterhouse and Willis Hall. London, New York: Samuel French, 1978. Questi fantasmi! (1946). Turin: Einaudi, 1951,1972. Le bugie con le ganibe lunghe (1947). Turin: Einaudi, 1979. La grand? magia (1948). Turin: Einaudi, 1973.

274 The Dialect Canon through the Regions Le voci di dentro (1948). Turin: Einaudi, 1966. Trans. The Inner Voices. In Italian Theater Review 6 (1957): 25-47. La paura numero uno (1950) Miafamigliaa (1955). Turin: Einaudi, 1956,1974. Bene mio e core mio. Turin: Einaudi, 1956,1974. De Pretore Vincenzo (1957). Turin: Einaudi, 1957,1974. Ilfiglio di Pulcinella (1957). Turin: Einaudi, 1979. Dolore sotto chiave (1958) Sabato, domenica e lunedl (1959). Turin: Einaudi, 1974. // sindaco del Rione Sanita (1960). Turin: Einaudi, 1961,1972. Tommaso d'Amalfi (1963) L'arte della commedia (1964) // cilindro (1965) // contralto. Turin: Einaudi, 1967. // monumento. Turin: Einaudi, 1971. Ogni anno punto e da capo. Turin: Einaudi, 1971. Gli esami che nonfiniscono mai (1973). Turin: Einaudi, 1973. Mettiti al passo. Turin: Einaudi, 1982. Trans. La tempesta by William Shakespeare (into Neapolitan dialect). Turin: Einaudi, 1984. Eds: Cantata dei giorni dispari. Turin: Einaudi, 1951-66; revised ed., 1979. Cantata dei giorni pari. Turin: Einaudi, 1959; revised ed., 1979. / capolavori di E.F. Turin: Einaudi, 1973; 5th ed., 2 vols., 1983. // teatro di Eduardo. 4 vols. Turin: Einaudi, 1979. Trans.: Four Plays: The Local Authority, Grand Magic, Filumena Marturano, Napoli milionaria. Trans. Carlo Ardito. London: Methuen Drama, 1992. Sik-Sik, The Masterful Magician. Trans. Robert G. Bander. In Italian Quarterly 11 (1967): 19-42. Crit: Mario Mignone, Eduardo De Filippo. Boston: Twayne, 1984. Maurizio Giammusso, ed., Eduardo: Da Napoli al mondo. Milan: Mondadori, 1994.

PROSE Giovanni Boccaccio (1313-1375)

[Certaldo - Florence]

Epistola napoletana (1339) Ed.: Francesco Sabatini, Trospettive sul parlato nella storia linguistica italiana (con una lettura dell' "Epistola napoletana").' Federico Albano Leoni,

Campania 275 Daniele Gambarara, Franco Lo Piparo, and Raffaele Simone, eds, Italia linguistica: Idee, storia, strutture, 167-201. Bologna: II Mulino, 1983. See revised version, Trospettive sul parlato nella storia linguistica italiana/ in Francesco Sabatini, Italia linguistica delle origini. Saggi editi dal 1956 al 1996, ed. Vittorio Coletti et al., vol. 2, 425-66. Lecce: Argo, 1996.

Giovan Battista Del Tufo (1548-ca. 1600)

[Naples]

Ritratto o modello delle grandezze, delizie e meraviglie della nobilissima citta di Napoli Ed.: Ritratto. Ed. C. Tagliareni. Naples: Agar, 1959.

Pietro Antonio Corsuto (16th c.) [Saponara di Grumento (Potenza)] // Capece overo le riprensioni. Naples: G.I. Carlino and A. Pace, 1592.

Giambattista Basile (anagram Gian Alesio Abbattutis) (ca. 1570-1632) [Naples - Giugliano in Campania (Naples)] Allo re delli inente Le Muse napolitane. Egloghe di Gian Alesio Abbatutis. Naples: G.D. Montarano, 1635; Naples: Domenico Maccarano, 1636. Ed.: Le muse napolitane e le lettere. Ed. Mario Petrini. Bari: Laterza, 1976. Lo cunto deli citnti overo Lo trattenimiento de' peccerille de Gian Alesio Abbattutis. Vols. 1, 2, Naples: Ottavio Beltrano, 1634; vols. 3, 4, Naples: Lazaro Scoriggio, 1634-5; vol. 5, Naples: Ottavio Beltrano, 1636; Naples: Cavallo, 1649; ed. P. Sarnelli. Naples: A. Bulifon, 1674. Eds: // Pentamewne, ossia la Fiaba delle Fiabe. Trans, and annotated by Benedetto C'roce, intro. Italo Calvino. 2 vols., Bari: Laterza, 1925; Rome, Bari: Laterza, 1974. Lo cunto de li ciuiti: ovvew, lo trattenemiento de peccerille; Le muse napolitane e Le lettere. Ed. Mario Petrini. Rome, Bari: Laterza, 1976; ed. Ezio Raimondi. Turin: Emaudi, 1976. Lo cunto de li cunti. Ed. Michele Rak. Milan: Garzanti, 1986, 1998. Lo cunto de li cunti overo lo trattenemiento de peccerille. Scelta. Pref. Giorgio Strehler, ed. Franco Graziosi. Fasano: Schena, 1990. // Pentamewne di Giambattista Basile ovvew lo cunto de li cunti. 2 vols. Ed. Roberto De Simone. Naples: 11 Mattino, n.d. // racconto dei racconti ovvero II trattenimento deipiccoli. Ed. Ruggero Guarini and Alessandra Buram. Milan: Adelphi, 1994. Trans.: The Tale of Tales. Trans. Sir Richard Burton. New York: Boni & Liveright, 1927. The Pentamewne of Giambattista Basile translated from Italian by Benedetto Croce,

276 The Dialect Canon through the Regions now edited by Norman Masley Penzer. London: Henry & Co., 1893; London: John Lane - New York: E.P. Dutton, 1932; repr. Westport, Conn.: Greenwood Press, 1979. Crit.: Vittorio Imbriani, 'II gran Basile.' Giornale napoletano difilosofia e lettere, Dec. 1875, vol. 2, 428-59. Giulio Cesare Cortese (ca. 1570-1624/7) Li travagliuse ammure de Ciullo e Perna (1614)

[Naples]

Pompeo Sarnelli (anagram Masillo Reppone De Gnanopoli) (1649-1724) [Polignano (Bari) - Bisceglie (Bari)] Posilecheata. Naples: Antonio Bulifon, 1684. Ed.: Enrico Malato, ed., Florence: Sansoni, 1962; Rome: Benincasa, 1986. Giovanni D'Antonio (pseudon. II Partenopeo) (1700?-?) [Naples] Le opere napoletane: Lo mandracchio [poetry], Scola cavaiola [play]; Scola curialesca 'ncantata, La vita e morte de lo Sciatamone 'mpetrato, Parte de pazzo [prose]. Ed. Antonio Borrelli. Rome: Benincasa, 1989. Ferdinando Russo (1868-1927) [Naples] O libra d' 'o turco. Naples: L. Pierro, 1890; Naples: F. Bideri, 1963. La camorra. Origini, usi, costumi e riti dell'annorata soggieta. Intro. Angelo Cavallo. Naples: F. Bideri, 1970. LITERARY REFERENCES Balbi, Lucia, and De Simone, Roberto. Demoni e santi: Teatro e teatralita barocca a Napoli. Naples: Electa, 1984. Bianchi, Patricia, Nicola De Blasi, and Rita Librandi. /' te vurria parla. Storia della lingua a Napoli e in Campania. Naples: Pironti, 1993. Canepa, Nancy L. From Court to Forest: Giambattista Basile's 'Lo Cunto de li cunti' and the Birth of the Literary Fairy Tale. Detroit: Wayne State University Press (forthcoming). Cunzi Revol, Danielle. Le theatre de Boulevard a Naples: Eduardo Scarpetta on line alliance franco-napolitaine. Naples: CSL, 1988. Fulco, Giorgio. 'La letteratura dialettale napoletana. Giulio Cesare Cortese e Giovan Battista Basile. Pompeo Sarnelli.' In Eurico Malato, ed., Storia della letteratura italiana, 5:813-67. Rome: Salerno Editrice 1997. Gallarati, Paolo. Musica e maschera. II libretto italiano del Settecento. Turin: Edizioni di Torino, 1984.

Campania 277 Gensini, Stefano. 'Un case a se: Ferdinando Galiani e il dibattito linguistico del secondo Settecento.' In Gensini, Volgar favella. Percorsi del pensiero linguistico italiano da Robertello a Manzoni, 141-67. Florence: La Nuova Italia, 1993. Giglio, Raffaello. Campania. Letteratura delle regioni d'Italia. Storia e testi. Brescia: Editrice La Scuola, 1988. Grano, Enzo. Pulcinella e Sciosciammocca. Stona di un teatro chiamato Napoli. Naples: A. Bensio, 1974. Greco, Franco Carmelo, ed. Teatro napoletano del 700: Intellettuali e cittafra scrittura f pratica della scena. Naples: Pironti, 1981. Lezza, Antonia. 'II teatro di Viviani: Lingua, dialetto, gergo.' In Lingua e dialetto nella tradizione letteraria itahana, 537-51. Rome: Salerno Editrice, 1996. Malato, Enrico. 'Introduzione.' In Malato, La poesia dialettale napoletana. Testi e note. Naples: Edizioni Scientifiche Italiane, 1959. - 'La letteratura dialettale campana.' In Lingua e dialetto nella tradizione letteraria italiana, 255-72. Rome: Salerno Editrice, 1996. Mignone, Mario. Eduardo De FHippo. Boston: Twayne, 1984. Palermo, Antonio. 'Le vie del dialetto.' In Pietro Mazzamuto, La letteratura dialettale in Italia. Palermo: Sandron, 1984. Perrone, Carlachiara. 'Toto e il linguaggio della poesia.' In Lingua c dialetto nella tradizione letteraria italiana, 553-73. Rome: Salerno Editrice, 1996. Rak, Michele. '11 racconto fiabesco.' In Giambattista Basile, Lo cunto de li cunti, 1057-1111. Ed. Michele Rak. Milan: Garzanti, 1986. Napoli gentile. La letteratura in 'lingua napoletana' nella cultura barocca (15961632). Bologna: 11 Mulmo, 1994. Sansone, Mario. 'Volgare illustre napoletano e volgare illustre italiano nel Dialetto napoletano di F. Galiani/ Studi di storm letteraria. Bari: Laterza, 1450. Scafoglio, Domenico. Pulcinella. II nnto e la storia. Ed. Luigi M. Lombardi Satriani. Milan: Leonard*.), 1992. Scherillo, Michele. L'opera buff a napoletana. Palermo: Sandron, 1914. Spagnoletti, Giacinto, and Cesare Vivaldi. 'Campania.' In Spagnoletti and Vivaldi, La poesia dialettale dal Rinascimento a oggi, 2:839-999. Milan: Garzanti, 1991. Tilgher, Adnano. La poesia dialettale napoletana, 1880-1930. Rome: Libreria di Scienze e Lettere, 1930. Viviani, Vittorio. Stona del teatro napoletano. Naples: Guida, 1969.

Regional Anthologies Antologia dei poeti napoletani. Ed. Alberto Consiglio. Milan: Mondadori, 1973, 1986.

278 The Dialect Canon through the Regions Antologia della poesia napoletana contemporanea. Ed. L.M.C. Miglionico. Naples: Pagano, 1986. D'Ascoli, Francesco. Letteratura dialettale napoletana. Vol. 1: Storia, vol. 2: Testi. Naples: Adriano Gallina Editore, 1996. La poesia dialettale napoletana. Testi e note. Ed. Enrico Malato. Naples: Edizioni Scientifiche Italiane, 1959. Teatro napoletano. Dalle origini a E. Scarpetta. Ed. Giulio Trevisani. Bologna: Fenice del Teatro, 1957.

LINGUISTIC REFERENCES Beccaria, Gian Luigi. Spagnolo e spagnoli in Italia. Riflessi ispanici sulla lingua italiana del Cinque e del Seicento. Turin: Giappichelli, 1985. Bianchi, Patrizia, Nicola De Blasi, and Rita Librandi. 'La Campania.' In Francesco Bruni, ed., L'italiano nelle regioni, 1:629-84. Turin: UTET, 1992. Fierro, Aurelio. Grammatica della lingua napoletana. Milan: Rusconi, 1989. Radtke, Edgar. 'Kampanien.' In Giinter Holtus, Michael Metzeltin, and Christian Schmitt, eds, Lexikon der romanistischen Linguistik 4, 652-61. Tubingen: Niemeyer, 1988. - Idialetti della Campania. Rome: Editrice Tl Calamo/ 1997. Sornicola, Rosanna. 'Campania.' In Martin Maiden and Mair Parry, eds, The Dialects of Italy, 330-7. London: Routledge, 1997.

Dictionaries Altamura, Antonio. Dizionario dialettale napoletano. Naples: Fiorentino, 1968. D'Ascoli, Francesco. Dizionario italiano-napoletano. Naples: Gallina, 1983. - Nuovo vocabolario dialettale napoletano. Naples: Gallina, 1993.

13

Puglia

T'a dduvute accappa eerie, a tie pure anguna vota ca sti de ccussi, scusciutate, de sende a U'andmsatte com'a nna senghe de fiscche - I'arie ca sccattaresce a ssajette -, i jase a cape i nnange vite cchjii nniende a na ggia lundane tra ll'arve nu ciedde ~ ma i pputute jesse propete jidde? 0 pure i state nu venne, June de quide luenghe luenghe i ssettile tuttc jarc ca nange te lassene jombre, sparessciute nnd'a nn'atteme a 'n gliele 1 qquase na stnssce cchjit wive de lusce te curpessce angore a lie uecclije ca te diirene pe ttanda tiernbe Udeca lideche. I rrumane.

It must have happened to you too for sure to be there, without worry, and to suddenly hear a cracking whistling sound - the lightning flash that splits the air - you raise your head and see nothing but a bird far away in the trees - but was that what it was? Or was it perhaps an insect, one of those very long and thin ones, all wings that leave no shade

280 The Dialect Canon through the Regions and disappear in the sky in a sudden flash and barely a bright ray of light still blinds your eyes, which dazzle you for a long time still. And you stay there. Pietro Gatti, A lla museche

Pugliese Dialect Poetry Along a borderline that runs approximately between Taranto and Ostuni lies the division of the northern Pugliese dialect group with its Neapolitan characteristics, and the Salentine group to the south, resembling the southern Calabrese and Sicilian dialects. While disagreeing with Rohlfs's thesis of a weak Romanization of the southernmost areas of the peninsula and thus of a Roman-Greek bilingualism in the Salento, Parlangeli theorized a uniform Romanization of Puglia until the arrival of the Byzantines in the sixth century AD, with the Longobards' linguistic influence restricted to its northern part. The presence of a variety of ethnic groups, from Arabs and Jews to Greeks and Normans documents early international exposure of the region, as illustrated by medieval vernacular documents transcribed in Hebrew, Greek, and Latin. After its first appearance in a 1304 letter, the vernacular gradually gained popularity in official business and legal documents, through the activity of the Church, and through gradual literary texts appearing in the local courts, such as Niccolo Di Ingegne's Librecto di pestilencia of 1448 dedicated to Prince Giovanni Antonio Del Balzo Orsini. However, with the advent of the Aragonese dynasty, from the late fifteenth to the nineteenth century, Naples became the centre of attraction and point of reference for the region's literary production, with its consequent loss of local cultural autonomy and the formation of a southern literary koine. While the Salentine humanist Antonio De' Ferraris, known as Galateo, adopted an anti-Tuscan position in his writings, the sixteenth-century Scipione Ammirato's works illustrate how deeply Bembo's model was followed here. Tuscan was spread through local academies and the printing press from the seventeenth century on; in fact, Puglia soon became an important centre for book trade in the South. Despite some evidence of early instruction and literacy in Lecce crossing social bound-

Puglia 281 aries, illiteracy was rampant, especially among women, although it slowed following the country's unification. In a climate deprived of strong regional cultural autonomy, in which the Church and the bourgeois elite held the keys to power and education, a strong dialect literary tradition began to develop only in the late nineteenth century, except for the rather modest earlier poetry of the Barese Francesco Saverio Abbrescia and the Leccese Francesc'Antonio D'Amelio. Throughout the late nineteenth century Pugliese dialect culture was identified almost exclusively with the local and satirical, particularly with the mask of Pancrazio Cucuzziello (called // Biscegliese), the epitomy of the provincial Pugliese type, whose misery and awkwardness was the source of laughter for a bourgeois theatre-going crowd. The poets from Salento are among the strongest Pugliese voices. In his short life Giuseppe De Dominicis, an avid reader and translator into the Lecce dialect of Baudelaire, Goethe, Heine, and Byron, wrote songs of love, joy, and the waning of life with a refined and colourful imagery. Other Salentine poets of this time include Raffaele Pagliaruolo and Enrico Bozzi. Half a century later, the teacher and essayist Nicola Giuseppe De Donno offered what could be considered the only socially and politically engaged Pugliese polemical voice, denouncing the cruelty of human fate and the endemic opposition to change (celu levantinu/ ca cunzuma ogne storia militante [sky of Levante/ squandering all militant history]). His dialect, described as sicca, ricca, but also as pisu ca stocca catina (weight and chain), is interwoven with standard Italian, and used to paint dark and mysterious landscapes (hi celu murisciaru ete na tila/ surda, ca tarantate tessitore/ tessene le dealt [the noon sky is a voiceless curtain woven by cicadas from Taranto]) as metaphors of the human condition. Similarly, his contemporary Erminio Giulio Caputo's strongly Italianized poems speak of pain and darkness, of the inertia and resignation of an immutable history (sta terra de stracchi silenzi/ de suenni prufiinni/ ca nu' coniuga verbi allu futuru [this land of tired silence,/ of deep sleep,/ which doesn't conjugate verbs in the future]). Of the poets from Bari, Pietro Gatti has been praised as the best. Following Davide Lopez's slightly moralistic lamentations of a lost world, and Antonio Nitti's more genuine suave Barese phonosymbolic impressions written in a variety of metrical schemes, Gatti's elegiac poems elevate the dialect of Ceglie to a literary language, in search of the secrets of nature, contrasting the joys and pains of life, and dreaming a return to

282 The Dialect Canon through the Regions the earth and to childhood (i ecu mme rravugghjave jnde a nache/ o scure senze cu ssendeve niende,/ manghe na vosce na nna lusce a vvete [and so I could curl up in the dark/ in my cradle with no/ voice and no light to bear]). Further north, in the area of Foggia, Giacomo Strizzi evoked southern life with simplicity and subtle irony. Francesco Borazio's comical-heroic, allegorical-realist fable Lu trajone featured the triumph of love and freedom over superstition and fear. His lyrical poems, as those of other Pugliese writers, exude a quality of paganism and mystical union with the elements. In Notte fatata, for example, the Moon, a frequent poetic interlocutor, is seen as vajabbonda e abbruvugnosa,/... ruffiana e malandrina [vagabond and shameful,/ ... pimp-like and roguish]. In Borazio's footsteps, the Italian American poet and translator Joseph Tusiani wrote poems in his native dialect of San Marco in Lamis on first love, life and death, life as a humorous game (na iucata a curzellune [a game with buttons]), and on the forcefulness of the dialect (Chi te I'ha 'dditte die m'eve scurdate, in Tireca tareca). Tusiani's newest poems (Bronx, America, 1991) are memorial and nostalgic in the best sense. Among the youngest voices, Lino Angiuli and Francesco Granatiero, while known also for their Italian poetry, are discovering their roots in their respective dialects of Valenzano and Foggia through the ancient memory of the farmers. Puglia also produced some plays in the dialect. Vito Maurogiovanni stands out with his short acts featuring characters from the urban proletariat. His plays evoke a world of candour, humbleness, and simplicity, drawing from historical memory. His Sanghe amore e contrabbanne (1975) is a political satire of the post-war era and the years of the economic boom. Somewhat at the margins of society, Minguccio makes an attempt at his own brand of 'compromesso storico' between his work as janitor for the local chapter of the Communist party and his work as sacrestan for the local church. His wife Carmela has trouble with the latter term, mixing it up with puttanismo (ci jalde puttanismo?'); Minguccio is expelled for his deviazionismo ideologico and suspended from ringing the church bells because of his political affiliation. He finds solace in the newborn nephew Tuttuccio, whereas his son Giuanne seems lost in smuggling and other shady trades of the underworld. However, among the hundreds of plays by authors of Pugliese origin that are listed in Sorrenti's Per una storia del teatro pugliese (1984), only a few are in the dialect, a fact that documents a large-scale cultural emigration from the region to other cities such as Naples and Rome.

Puglia

283

POETRY Geronimo Marciano (1632-1714) (pseudon. Lu Mommu De Salice)

[Maruggio - Manduria]

Viaggio de Leuchc a lingua de Lecce. In Mario Marti, ed., Letteratura dialettale salentina. II Settccento, 25-53. Galatina: Congedo, 1994. Anonimo Leccese (18th c.) [Lecce] La Juncide. In Mario Marti, ed., Letteratura dialettale salentina. II Settecento, 207300. Galatina: Congedo, 1994. Francesc'Antonio D'Amelio (1775-1861) [Lecce] Puesei a lingua leccese. Lecce: Stamparia de la Ntendenga, 1832; 2nd ed., ed. Ororuzo D'Amelio, Lecce: Tip. Editrice Salentina, 1868; 3rd ed., Lecce: Simone, 1882; 4th ed., Lecce: Campanella, 1888; 5th ed., ed. N. Bernardini, Lecce: Campanella, 1909. Francesco Saverio Abbrescia (1813-1852) [Bari] Vicrsc a la barese (1843) Eds: Rime barest. Repr. Irani: V. Vecchi, 1887. Rime barest Ed. A. Dentamaro, Bari, Avellino 1910; revised 1910 ed., ed. Pasquale Sorrenti, Bari: Levante, 1994. Emilio Consiglio (1841-1905) [Taranto] Ed.: Poesie italiane e tarantine. Ed. Vito Forleo. Taranto: Martucci, 1907. Davide Lopez (1867-1957) [Bari] Canti barest. Ban: Laterza, 1915; repr. Sala Bolognese: Forni, 1981. Nuovi canti barest. Bari: Laterza, 1930. Ed.: Pasquale Sorrenti, La Puglia e i suoi poeti dialettali. Bari: De Tullio, 1962. Raffaele Pagliarulo (1868-1950) [Lecce] Poesie. In Donato Valli, ed., Letteratura dialettale salentina. Dall'Otto al Novecento, 163-220. Galatina: Congedo, 1995. Giuseppe De Dominicis ('Capitano Black') (1869-1905) [Cavallino (Lecce)] Scrascee gesnrmini. Lecce: Tip. Cooperativa, 1893. Lu nfiernu. Lecce: Tip. Cooperativa, 1893. Li canti di I'autra vita. Lecce: Tip. Cooperativa, 1900; Lecce: Capone, 1994.

284 The Dialect Canon through the Regions Canti de I'autra vita. In Donate Valli, ed., Lettemtura dialettale salentina. Dall'Ottoal Novecento, 17-115. Galatina: Congedo, 1995. Li Martiri d'Otrantu. Lecce: Stab. Tip. Giurdignano, 1902; Donate Valli, ed., Letteratura dialettale salentina. Dall'Otto al Novecento, 117-52. Galatina: Congedo, 1995. Spudhiculature [Crumbs]. Lecce: Stab. Tip. Giurdignano, 1903. Eds: Poesie edite e inedite. Ed. Francesco D'Elia, Lecce 1926; repr., Vita e opere di G.D.D. (Capitan Black). Ed. Francesco D'Elia, Galatina: Congedo, 1976. Poesie. Ed. Antonio Chirizzi. Lecce: Di Martino, 1955. Poesie. Lecce: L'Orsa Maggiore, 1967. Le poesie del Capitano Black. 2 vols. Galatina: Congedo, 1976. Enrico Bozzi (1873-1934) [Taranto - Milan] Ragghi. In Donate Valli, ed., Letteratura dialettale salentina. Dall'Otto al Novecento, 375-443. Galatina: Congedo, 1995. Francesco Panzuti (1883-1956) [Francavilla Fontana] Opere. Ed. Michele Maggi. Galatina: Congedo, 1994-. Antonio Nitti (pseudon. Recque De Cole) (1886-1951) Le turchie, sonetti in dialetto barese. Trani: Vecchi, 1912. Liriche dialettali baresi. Bari: Set, 1915; Bari: Laterza, 1928. Nuove liriche dialettali baresi. Bari: Laterza, 1935.

[Bari]

Giacomo Strizzi (1888-1961) [Alberona (Foggia) - Turin] Cusaredde pajesane. Lucera: Scepi, 1933. Scerpetedde [Rubbish]. Foggia: Leone, 1957. Vecchie e nove scerpetedde. [Old and New Junk]. Versi in dialetto pugliese. Foggia: Leone, 1957. Fronne efnissce. Versi dialettali. Foggia: Leone, 1958. L'arche-verie [The Rainbow]. Rome: II Nuovo Belli, 1959. Fattaredde e cjuatrette. Rome: II Nuovo Belli, 1959. U pagghiaredde [The Straw-stack]. Rome: Dell'Arco, 1960. Luce e scurde Pefore e p'a terre Quatrette d'u Sante Vangele Ed.: Poesie dialettali. Ed. Giuseppe De Matteis and Michele Urrasio. Foggia: Bastogi, 1992.

Puglia Vito De Fano (1911-)

285

[Lecce]

Un rniglionane. Tut to da ridere. Bari: Tip. Levante, 1946. Na scernata disgrazziate (1952) Meroske. Poesie dialettali baresi. Bari: Tip. Levante, 1962. Stone c patone. Poesie dialettali baresi. Bari: Tip. Levante, 1966. Fragagglue. Raccolta di poesie dialettali baresi. Bari: Arti Grafiche Savarese, 1969. ... Mbilembd. Raccolta di poesie dialettali baresi. Palo del Colle: M. Liantonio, 1975. Fascidde: Poesie in dialetto barese. Fasano: Schena, 1982. Benazze. Fasano: Schena, 1986. La cmledde. Fasano, Schena, 1989. Arreggettanne Ic fjerre. Fasano: Schena, 1990. Ed.: U viudisettc. Raccolta di poesie di V.D.F. Ed. Nicola Pignataro and Mariolina De Fano. Bari: Edizioni della Libreria Laterza, 1980.

Pietro Gatti (1913-)

[Bari]

Nu vecchje diarie d'atnore. Ceglie Messapico: La Tipografica, 1973. A terra nieje. Fasano: Schena, 1976. Meruorie d'ajere i de josce. Cavallino di Lecce: Capone, 1982. 'Nguna vitc. Fasano: Schena, 1984. Cnt: Mario Marti, 'La poesia di P.G.' In Marti, Dalla regione per la nazione, 323-52. Naples: Morano, 1987. Mario Marti, '[/ultimo Gatti: Ngune vitc.' In Marti, Dalla regione, 357-72.

Francesco Paolo Borazio (1918-1953)

[San Marco in Lamis]

Lit trajone [The Dragon]. San Marco in Lamis, Manduria: Quaderni del Sud, 1977.

La preta favcdda. [Echo]. Poesie in vernacolo garganico. Pref. Tullio De Mauro. San Marco in Lamis: Quaderni del Sud, 1981; Manduria: Lacaita, 1982.

Nicola Giuseppe De Donno (1920-)

[Maglie]

Cronache c parabbule. Bari, San Spirito: Edizioni del Centra Librario, 1972. Ventuno sonetti. In 'L'Albew' 50. Lecce: Milella, 1973. Sidia sunetti pe 'Hit dworzni. Maglie: Tip. Gioffreda, 1974. Dieci sonetti in dialetto magliese. Maglie: Tip. Gioffreda, 1976. Paese. Cavallino di Lecce: L. Capone, 1979. Munienti e ttrunientt. Lecce: Manni, 1986. La guerra guerra: Poesie in dialetto magliese. Pref. Mario Marti. Fasano: Schena, 1987 La guerra de Utrantu. Milan: All'Insegna del Pesce d'Oro, 1988. Lit Nicola va a Ha guerra. Milan: Scheiwiller, 1994.

286 The Dialect Canon through the Regions Grit: Mario Marti, 'Un parere sulla poesia in dialetto di N. D. D,' In Marti, Dalla regione per la nazione, 373-82. Naples: Morano, 1987. Erminio Giulio Caputo (1921-) [Campobasso] Lafocara. Lecce: Tip. F. Scorrano, 1953. Marisci senza side [Sunless Noon]. In Poesie in vernacolo leccese. Galatina: Editrice Salentina, 1976. La chesiira [The Closed Field]. With author's preface. Cavallino di Lecce: Capone, 1980. Aprime Signore. Pref. Donato Valli. Manduria: Lacaita, 1990. Joseph Tusiani (1924-) [San Marco in Lamis] Lacreme e sciure (1956). Tireca tareca. Poesie in vernacolo garganico. Ed. Antonio Motta, Tommaso Nardella, and Cosma Siani. San Marco in Lamis: Quaderni del Sud, 1978. Bronx, America. Poesie in dialetto garganico. Manduria: Lacaita, 1991. Annemale parlante. San Marco in Lamis: Quaderni del Sud, 1994. La Poceide. Poemetto in died canti in dialetto garganico. San Marco in Lamis: Quaderni del Sud Edizioni, 1996. 'Na vote e 'mpise Cola.' San Marco in Lamis: Quaderni del Sud, 1997. Lino Angiuli (1946-) [Valenzano (Bari)] lune la luna. Fasano: Schena, 1979. U arime d I Crestiane. In // belpaese 4 (1989). Raffaele Nigro (1948-) [Bari] Giocodoca. Fasano: Schena, 1981. Francesco Granatiero (1949-) [Mattinata (Foggia)] A ll'acchjitte [Sheltered from the Wind]. Turin: Italscambi, 1976. U irene [Wheat]. Rome: Dell'Arco, 1983. La prete de Bbacucche [B/s Stone]. Mondovi: Edizioni 'Ij Babi Cheucc/ 1986. Enece. Udine: Campanotto, 1994.

THEATRE Anonimo Mesagnese (17th-18th c.) Pernia e Cola

[Mesagne]

Puglia 287 Girolamo Bax (1689-1740)

[Francavilla Fontana]

Nniccu Furcedda. R. Jurlaro, ed., Florence: Olschki, 1964; in Mario Marti, ed., La letteratum dialettale salentma. II Settecento, 101-206. Galatina: Congedo, 1994.

Anonimo (18th c.) La Rassa a Bute. In Mario Marti, ed., La letteratura dialettale salentina. II Settecento, 55-99. Galatina: Congedo, 1994.

Michele De Noto (1864-1937)

[Taranto]

U neie. Cotumedia dialettale in un atto. Taranto: 'Taras,' 1931. Ed.: G. Acquaviva, Tcatro dialettale tarantino. Galatina: Congedo, 1977.

Cataldo Acquaviva (1885-1969)

[Taranto]

'U vere nnttive (Taranto 1931) 'A grazie (Taranto 1936) ' ( / Marches de Patemische (1944)

Nicassio Donate (Cassie u Barese) (19th c.-ca. 1930) [Bari - New York] S'c rotta la ^carcedde a langiuedda (New York) C; s < > ' brittle It troche (New York)

Vito Maurogiovanni (1924-)

[Bari]

Li tigghie de coin'Angeline (1950) /..(.' appundamende (1950) Le figghie de niteiitne (1950) La teinbette (1950) A/lcs/r Pcpp u varvire (1950) LI cafe antiche. Ban: Fd. del Centro Librario, 1964; Bari: Levante, 1983. larche i'asce (1973) CIiuidcdi (1974) Sanglie amore e coutrabbanne (1975). In V.M., // teatw. Bari: Levante Editori, 1993. La /wss/o/u' de Cnste. Bari: Ecumenica, 1982. Fd.: Mario M a r t i , ed., La Rassa a Bute. Dramnm in lingua leccese. Galatina: Congedo, 1989.

PROSE Antonio Nitti (pseudon. Recque De Cole) (1886-1951) l:iabe e favole (dialetto barese). Rome: Unione Ed. d'ltalia, 1940.

[Bari]

288 The Dialect Canon through the Regions LITERARY REFERENCES Basile, Mimma. Teatro dialettale tarantino: Dall'Ottocento ai giorni nostri. Milan: Celuc Libri, 1974. Dell'Aquila, Michele. La lirica dialettale pugliese e lucana. In Pietro Mazzamuto, ed., La letteratura dialettale in Italia dall'unita a oggi, 653-707. Palermo: Sandron, 1984. - Puglia. Letteratura delle regioni d'Italia. Storia e testi. Brescia: Editrice La Scuola, 1986. Fontanella, Luigi. Toeti italiani espatriati negli Stati Uniti: II caso di Joseph Tusiani.' In Jean-Jacques Marchand, ed., La letteratura dell'emigrazione. Gli scrittori di lingua italiana nel mondo, 459-66. Turin: Fondazione Giovanni Agnelli, 1991. Marti, Mario. 'Per una linea della lirica dialettale salentina.' In Marti, Dalla regione per la nazione, 383-415. Naples: Morano, 1987. Marti, Mario, ed. La Rassa a Bute. Dramma in lingua leccese. Galatina: Congedo, 1989. Marti, Mario, and Donato Valli, eds. Letteratura dialettale salentina. Vol. 1, // Settecento (M.M., ed.), Galatina: Congedo, 1994; vol. 2, Dall'Otto al Novecento (D.V., ed.), Galatina: Congedo, 1995. Protopapa, Raffaele. Teatro dialettale leccese. Lecce: Messapica, 1974. Romanello, Maria Teresa. Per la storia linguistica del Salento. Iprimi testi letterari in dialetto. Alessandria: Edizioni dell'Orso, 1986. Sorrenti, Pasquale. Per una storia del teatro pugliese. Fasano: Schena, 1984. Vernacolo in musica: Raccolta di canzoni in dialetto foggiano. Ed. Alfredo Anatruda and Sereno Labbozzetta. Foggia: Leone, 1989.

Regional Anthologies Greco, Carlo Vincenzo et al., eds. Enciclopedia dialettale salentina deU'anwre. Galatina: Congedo, 1993. Rucco, Niny, and Carlo Vincenzo Greco, eds. Uci salentine. Intro. Gino Pisano. Galatina: Congedo, 1992. Sorrenti, Pasquale. La Puglia e i suoi poeti dialettali. Antologia vernacola dalle origini. Bari: De Tullio, 1962,1981. Le voci amiche: Antologia della poesia dialettale ostunese. Ed. Domenic Colucci. Fasano di Brindisi: Schena, 1993-. LINGUISTIC REFERENCES Colotti, Maria Teresa. Lingua e dialetto in Puglia alia fine dell'Ottocento. Manduria: Lacaita, 1987.

Puglia 289 Coluccia, Rosano. 'La Puglia.' In Francesco Bruni, ed., L'italiano nelle regioni, 1:685-719. Turin: UTET, 1992. I.oporcaro, Michele. 'Puglia and Salento.' In Martin Maiden and Mair Parry, eds, The Dialects of Italy, 338-48. London: Routledge, 1997. Mancarella, Giovan Battista. Salento. Profilo del dialetti italmni. Ed. Manlio Cortelazzo. Pisa: Pacmi, 1975. - Less/a) dialettale di Tumi. Lecce: Edizioni del Grifo, 1994. Melillo, Giacomo / dialetti del Gargano: Saggiofonetico. Sala Bolognese: Forni, 1985. Parlangeli, Oronzo. Sui dialetti romanzi e romaici del Salento. Galatina: Congedo, 1989. Peluso, Giacinto. Ajere e dsce: Alle radici del dialetto tarantino. Taranto: END, 1985. Rohlts, Gerhard. Scavi linguistici della Magna Grecia. Galatina: Congedo, 1974 (1st ed., 1933). Romanello, Maria Teresa. Per la storia linguistica del Salento. Iprimi testi letterari in dialetto. Alessandria: Edizioni dell'Orso, 1986. Stehl, Thomas. Die Mundarten Apuliens: Historische und strukturelle Beitrage. Miinster: Aschendorfsche Verlagsbuchhandlung, 1980. ' A p u l i e n und Salento.' In Gunter Holtus, Michael Metzeltin, and Christian Schmitt, eds, Lextkon der winani^tischen Luiguistik4, 695-716. Tubingen: Niemeyer, 1988. V'alento, Vmcenzo. Puglia. Profilo del dialetti italiani. Ed. Manlio Cortelazzo. Pisa: Pacmi, 1975.

Dictionaries Barracano, Vito. Vocabolano dialettale barese. Ban: M. Adda Editore, 1981. Gigante, Nicola. Dizionario critico etitnologico del dialetto tarantino. Manduria: Lacaita, 1986. Rohlts, Gerhard. Vocabolario dei dialetti salentini. Repr. Galatina: Congedo, 1976 ( 1st ed., 1956-61).

14

Lucania

Si guardaine citte e senzafiete i 'nnammmurete. Avme II'occhie ferine e brillante, ma u tempe ca passaite vacante d ammunzillaite u scure e i trimmzze d'u chiante.

Silently the lovers watched each other without breathing. They kept their eyes still and shining, but the time that went by empty heaped up the dark and the shivers of the weeping. Albino Pierro, from 7 'nnammurete

Lucanian Dialect Poetry As in Calabria, the Lucanian dialects lack homogeneity. They can be subdivided into three areas: a Pugliese type in the north and east, an Appennine variant in the west and south, and a Calabrese-Sicilian type along the border of Calabria. The region of Basilicata was exposed to many ancient populations, such as Byzantines, Longobards, and Arabs. With the Norman presence in the eleventh century the northwestern town of Melfi became a capital. Frederick II spent time there on his way to Puglia. Despite these contacts, the first written documents in the vernacular appeared only toward the end of the rule by the Anjou dynasty, and the first known poems in the vernacular were composed in the late fifteenth century by Giovanni De Trocculi di Tramutola, a government secretary. The Ian-

Lucania 291 guage of these poems was based on the chancellery koine, with some dialectal features; a century later, poets began to adjust to the language of the Petrarchan model. With the fall of the Aragonese rulers, culture became decentralized, and many intellectuals such as Ascanio Peresio or Pietro Antonio Corsuto left the region to pursue their activities in other regions or abroad. An early sixteenth-century popular literature in dialect is documented indirectly by Annibale Caracciolo, a member of the Accademia dei Rinascenti at Venosa. Caracciolo praised literary Tuscan, while associating the dialect with uncultivated writing and with carnival celebrations. Yet there were episodes of the literary use of the Lucanian dialect, such as Donato Porfido Bruno's pastoral eclogue // giuditio di Paris (1602). However, in a region that had one of Italy's highest illiteracy rates, the difference, social distance, and mutual distrust between a small elite and masses of people for whom the dialect was the only form of speech, and the lack of an autonomous cultural centre, prevented the formation of a rich literary tradition in the dialect. The difficulties the Bourbons experienced in recruiting qualified teachers is well documented, as are the separate mid-nineteenth-century curricula for males and females, the latter taught only reading, church doctrine, and practical tasks. Only with the mass emigration to America was education gradually promoted at home. Within these general contexts, it is perhaps not surprising if the greatest poet of the Basilicata, Albino Pierro, began to write in his native tongue in 1959, after long years of writing poetry in standard. As for most poets of his generation, writing in the dialect was a conscious choice, which grew out of a search for a poetic language. Lacking any literary tradition, the dialect of Tursi provided novel archaic materials and sounds for what has been called an 'immaterial' poetry, made of light and shades, wind, sun, and silence. Pierro quickly gained fame with his dialect verse. 'A terra d'u ricorde is a regression into his origins and young life, when he was nearly blind, a poetry filled with solidarity for the poor in an archaic society outside history. The volumes / 'nnammurete and Nu belle fatte express the poet's obsession with love, hope, and fear of loss, while the poems of Metaponto and Curtelle a lu soue seem sadder and focus more on death and loneliness. Pierro's dialect poetry has received wide critical acclaim and attention both in Italy and abroad.

292 The Dialect Canon through the Regions POETRY Albino Pierro (1916-1995)

[Tursi - Rome]

'A terra d'u ricorde. Rome: II Nuovo Belli, 1960. / 'nnammurete. Rome: II Nuovo Cracas, 1963. Metaponto. Rome: II Nuovo Cracas, 1963. Nd 'u piccicarelle di Turse. Bari: Laterza, 1967. Ecco 'a morte. Bari: Laterza, 1969. Famme dorme. Milan: Scheiwiller, 1971. Curtelle a hi soue. Bari: Laterza, 1973. Nu belle fatte. Intro. Gianfranco Folena. Milan: Mondadori, 1975. Com'agghi' 'afe? (1977). Milan: All'Insegna del Pesce d'Oro, 1986. Sti mascre. Rome: L'Arco, 1980. Ci uera turne. Ravenna: Edizioni del Girasole, 1982. Si po' nu jurne. Turin: Gruppo Editoriale Forma, 1983. Eds: Metaponto. Pref. and trans. Tommaso Fiore. Bari: Laterza, 1966; repr. with note by Alfredo Stussi. Milan: Garzanti, 1982. Died poesie inedite in dialetto tnrsitano. Ed. Alfredo Stussi. Lucca: Pacini Fazzi, 1981. Omaggio a Pierro [anthology of complete oeuvre, with unpublished poems]. Ed. Antonio Motta. Manduria: Lacaita, 1982. Ricordia Tursi: Feste e calannta. In Poliorama I (1982): 293-305. Poesie tursitane. Ed. N. Merola. Venice: Edizioni del Leone, 1985. Tante ca parete notte. Ed. D. Valli. Lecce: Manni, 1985. Un pianto nascosto. Antologia poetica 1946-2983. Ed. F. Zambon. Turin: Einaudi, 1986. Nun c'e pizze di mnnne. Milan: Mondadori, 1992. Crit: Pierro al suo paese died anni dopo. Atti del convegno nazionale di studio promosso dall'iiniversita della Basilicata (12 May 1992). Galatina: Congedo, 1993. Trans.: Haller, The Hidden Italy, 422-41.

Rocco Brindisi (1944-)

[Potenza]

Rosa du pruatorie. Genoa: San Marco dei Giustinani, 1986. Carienn' li nir' da Hi caggie [Nets Falling from Acacias]. Genoa: San Marco dei Giustiniani, 1994.

Lucania

293

LITERARY REFERENCES Corti, Maria, ed. Pierro al suo pacsc. Alii del Convegiio dedicate a 'La poesia di Albino Pierro' (Tursi 30-31 October, 1982). Galatina: Congedo, 1985. Costa, Gustavo. 'Albino Pierro.' In Dictionary oj Literary Biograpliy 128. Jwentietlicentury Italian Poets, 2nd series, 247-52. Ed. Giovanna Wedel De Stasio, Glauco Cambon, and Antonio llliano. Detroit, London: Gale Research, 1993. D'Elia, Giorgio. 'Metapontn' c dintorni. Avviamento all'opera di Albino Pierro. Castrovillari: Edizioni II Coscile, 1990. Dell'Aquila, Michele. 'La lirica dialettale pugliese e lucana tra '800 e '900.' Otto/Novecento 5/3-4 (1981): 151-96. - Humilemque Italiam: Studi pugliesi e luccini di cultura Ictteraria tra Setle e Novecento. Rome: Bulzoni, 1985. De Mauro, Tullio. 'La cola/.ione di Donn'Albino. Conversando con Albino Pierro.' In De Mauro, L'Italia delle Italic, 290-300. 2nd ed. Rome: Editori Riuniti, 1992. Giachery, Emerico. 'Madre mortale e madre mortale: Un memore "ritorno" di Albino Pierro.' Italianistica 22/1-3 (1993): 263-71. Giachery, Emerico, ed. Incontro a Tursi. Bari: Laterza, 1973. Lioi, Francesco Saverio. Diale.Ho c poesia popolare in Lucania. Oppido Lucano: Cassa Rurale ed Artigiana, 1988. Spagnoletti, Giacinto, and Cesare Vivaldi. 'Calabria e Lucania.' In Spagnoletti and Vivaldi, La poesiii dialetlale dal Rinascimento a oggi, 2:1081-1163. Milan: Garzanti, 1991. Spinelli, Tito. Basilicata. Letteratura delle rcgioni d'ltalia. Storia e testi. Brescia: Editrice La Scuola, 1987. Stussi, Alfredo. 'Grammatica delia poesia: Appunti sui versi tursitani di Pierro.' Lingua c stile 22 (1987): 295-305.

Regional Anthologies Poetidella Basilicata. Ed. Antonio Lotierzo and Raffaele Nigro. Forli: Forum, 1993. Tradizioni e cants popolanhicani: 11 Melfesc. Ed. Raffaele Nigro. Bari: Interventi Cultural! / Melfi: ARCI-UISP, 1976. LINGUISTIC REFERENCES Caratia, Pasquale. 'Italienisch: Areallinguistik X. Sudlukanien.' In Gunter Holtus, Christian Schmitt, and Michael Metzeltin, eds, Lexikon der winanistischen Linguistik 4, 688-94. Tubingen: Niemeyer, 1988.

294 The Dialect Canon through the Regions De Blasi, Nicola. 'La Basilicata.' In Francesco Bruni, ed., L'italiano ncllc regioni, 1:720-50. Turin: UTET, 1992. - L'italiano in Basilicata: nna storia della lingua dal Medioevo e oggi. Potenza: II Salice, 1994. De Salvio, Alfonso. 'Studies in the Dialects of Basilicata.' PMLA 30 (1915): 788-820. Devoto, Giacomo, and Gabriella Giacomelli. / dialetti delle regioni d'ltalia. Florence: Sansoni, 1991. Fanciullo, Franco. Ttalienisch: Areallinguistik X. Lukanien.' In Giinter Holtus, Christian Schmitt, and Michael Metzeltin, eds, Lexikon der romanistischen Linguistik 4, 669-88. Tubingen: Niemeyer, 1988. - 'Basilicata.' In Martin Maiden and Mair Parry, eds, The Dialects of Italy, 349-54. London: Routledge, 1997. Ludtke, Helmut. Lucania. Profilo dei dialetti italiani. Ed. Manlio Cortelazzo. Pisa: Pacini, 1979. Mancarella, Giovan Battista. Ricerche linguistiche a Tnrsi. Manduria: Tiemme, 1989. Rohlfs, Gerhard. Studi e ricerche su lingua e dialetti d'ltalia. Florence: Sansoni, 1972. - Studi linguistici sulla Lucania e sul Cilento. Galatina: Congedo, 1988. Tusanto, Vincenzo. Concordanze lemmatizzate delle poesie in dialetto tursitano di Albino Picrro. Pisa: SEUP, 1985.

Dictionary Bigalke, Rainer. Dizionario dialcttalc della Basilicata. Heidelberg: Winter, 1980.

15

Calabria

/o la ncitordii sempre chilla s/ra chi me vinni de ti' a licenziare; tit me guaniav' e nun potic parrare c la facciuzza tua paria ddc cira; parca tc sientu mo' su^liuttiare... lo la nciiorde tempre chilla s/ra. Stemme 'mi biellu n///ors' u cor' a core Cu tnc cor' c llu nuo xbattianu forte) s/ tandii /oss/ veinita la Morte ppc' tutti dm' la gentc, pne, de fore averra ddittu. Mera me,' cchi sorte! Stemnnt 'nn luellu Hindi's, n cor' a core.

1 will always remember that night when 1 came to say good-bye to you, you looked at me and couldn't speak, your sweet face was pale all over, it's as if 1 now heard you sob ... 1 will always remember that night. For a long while we clasped each other, heart to heart (your heart and mine beat wildly), if Death had struck then both of us, people would later have said: Look here, what fate! For a long while we clasped each other, heart to heart. Michele Pane, from Spartenza

296 The Dialect Canon through the Regions Calabrese Dialect Poetry The strong dialectal heterogeneity of Calabria, with its division between a more archaic and more unitary northern dialect group, a transitional intermediate group, and the neo-Romanized southern tip of the region, which shares linguistic features with Sicilian, is an expression of a multifaceted history and a presence of many diverse cultures. The relatively late attestation in 1422 of the earliest vernacular document and of literary texts a few years later is counterbalanced by early prints; the first printed book in 1475 at Reggio Calabria is in fact a Hebrew text. Rather than being immobile and isolated, during the Kingdom of Naples, Calabria was at the crossroads between the capital and Sicily. Cultural circulation was slow, however, and the privilege of few; this becomes evident when considering the activities of the humanist Cosentine Academy, and of its leader, Aulo Giano Parrasio, who paid little attention to the vernacular language. Tuscan will be gradually introduced in the region, thanks to the efforts of the purist Sertorio Quattromani, who was a strong supporter of Bembo's lessons. Equally, the Church contributed through sermons to the spread of Italian, and an elementary school was founded under Bourbon rule in 1784. After unification, several Calabrese-Italian dictionaries and school manuals were produced to combat widespread illiteracy. In a context where the dialects were the exclusive spoken languages of the popular masses - although some recently published documents (such as a poem by Raffaele Talarico) allow us to hypothesize some passive competence of Italian among many people - it is not surprising to find a relatively scarce literary dialect presence. In fact, the dialects were frequently associated with a negative image. This becomes visible from a curious work by the priest Giovanni Conia, entitled Saggio dell'energia, scmplicita ed espr-essione della lingua calabra (1834), in which the author publishes his dialect poems, while apologizing for writing in a language despised by many, but which he then defends for its concision, efficacy, and comical genius, as opposed to what he considered the 'boring' Italian language. While admitting the superiority of Tuscan over Calabrese, Conia, as a fine linguistic observer of the differences within the region, emphasized in his poem La parlata calabrese the rich origin and complex substrata of the dialect (fummo greci puru [we were also Greek]). A few decades later, the Lucanian Gian Lorenzo Cardone adopted the Calabrese dialect with a polemical function in his strongly antimonarchic and anticlerical poem Te Deum de' Calabresi (1887). In fact, the writers in the Calabrese dialect, many of them priests, share not only high poetic

Calabria

297

qualities, but also a certain tradition of protest against foreign rule or against oppression by the Church, as well as a certain deep sense of communion with nature and the celebration of the senses, coupled with love and appreciation for the uniqueness of their languages. Among the first poets who used a Cosentine variety of Calabrese was the seventeenth-century anticonformist priest Domenico Piro, also known as Duonnu Pantu. He wrote licentious and obscene poems, denouncing Calabrese Inquisition and hypocritical moralities. Some of his orgiastic poems (with titles like La cazzeide and La cunneide) landed him in prison; to be released he was forced to write a hymn to Mary's virginity, yet he couldn't help ending it with blasphemy (£ inzinca chi carnpau la mamma bella/ de cazzu nun pruvau na tanticchiella [and as long as the beautiful lady lived, she never had a taste of cock]) (Poesie calabre [1983], 22). His production was ended short by death at the age of thirtyone, due probably to a passionately dissolute lifestyle. In the years of the Risorgimento, Vincenzo Ammira (a patriot and revolutionary figure) was the leading poet, whose realistic verse are reminiscent of some of the best production by Porta and Belli. Politically suspect, he was arrested when found with a copy of the Decameron and a manuscript of his poem La Ceceide. This text was a celebration of the life of the prostitute Cecia from Tropea, a pansexual metaphor and a hymn to carnal lust, a tribute to earthly values, and an antithesis to the idealized bourgeois woman of the dominant literary tradition. The polymetric poem in three parts evokes her youthful successes (Eri bona e ti n^ulau/ nu yan santu prevituni [you were great and got buggered/by a big saintly priest]; fiisti celabri buttana [you were a famous whore]), her rising to heaven on a cloud made of pertises, and her fame outside Calabria. In addition to this irreverent poem, which calls to mind Porta's Ninetta del Verzee and in which he elevates the dialect of Monteleone to a literary language, Ammira also wrote lyrical poems and the satirical 'A pippa, an ode to an all-faithful companion in good times and in sorrow. His Italian writings include poetry and two tragedies. Among Ammira's contemporaries were the eccentric patriot priest Vincenzo Padula of Acri and Bruno Pelaggi, the stone-cutter better known as Mastro Bruno. Padula's dialect poems - they were outnumbered by his erotic poems in Italian - have been praised for their fairytale-like intimacy and their candour by Croce and De Sanctis. Mastro Bruno dictated poems to his daughter in the form of satirical Tetters' of protest to (iod, the devil, and the leaders of Italy, denouncing poverty, unemployment, and emigration. In one of them, Littera allu Patritiernu, he

298 The Dialect Canon through the Regions begs for a larger hell, so that social justice can be enacted (non vidi, o Patritiermt,/hi mundu mu sdarrupi,/ ch'e abitatu di lupi/e piscicane?) [don't you see, Lord,/ the ruin of the world inhabited/ by wolves and sharks?]). Among the modern poets who wrote in the Calabrese dialect are Michele Pane, who emigrated to the United States as a young boy at the turn of the century, and the poet-engineer Vittorio Butera from Conflenti. Pane's melancholic, highly musical, and often ecstatic poems, written in exile, deplore the loss of a mythical paradise made of perfumes and colours (maju addurusu 'e menta e dde papavere,/ de sulla, de niurtilla e nepitella [May, fragrant with mint and poppies,/ with sainfoin, myrtle, and catmint]); they also represent a valuable document of popular Calabrese culture. Butera composed allegorical animal tales that are somewhat reminiscent of Trilussa's and Meli's, and lyrics such as Natale - a frequent Calabrese theme - and L'amure canta (Quannu I'amure canta a mmenza vuce,/ 'u munnu sanu tuttu quantu tace ...) [when love sings softly,/ the whole world turns quiet]). Other poets, such as the staunchly antifascist Michele De Marco (his artistic name was Ciardullo) or Achille Curcio, while inspired by Pascoli, Di Giacomo, and D'Annunzio, were eager to preserve the heritage of their regional and local culture. Of the youngest generation, Dante Maffia is one of the newest and freshest voices of Calabrese poetry. Initially noted by Aldo Palazzeschi, his poetry, written in a dialect close in make-up to that of the Lucanian Pierro, has unusual sensuous and musical qualities. POETRY Domenico Piro (Duonnu Pantu) (1665-96) [Aprigliano (Cosenza)] Eds: Raccolta di pocsie calabre. Cosenza: MIT, 1968. Pocsic calabre. Pref. Luigi Gallucci [dated 1833]. Cosenza: Brenner, 1983.

Carlo Cosentino (17th c.) [Aprigliano] Trans. Gerusalemme Liberata (1989) Eds: La Gerusalemme Liberata, poema del Signor Torquato Tasso, trasportatu in lingua calabrcse in ottava rima. Naples: Parrini, 1738. C.C e la Gerusalemme Liberata in dialetto calabrese. Ed. Silvana Naccarato. Chiaravalle Centrale: Effe Emme, 1976. La Gerusalemme Liberata. Rome: Benincasa, 1983.

Calabria Antonio Marasco (late 17th c.) Lit s/wrn/ dc h> furcate (1697)

299

[Motta Santa Lucia]

Gian Lorenzo Cardone Di Bella (1743-1813) [Bella (Potenza)] 7r Dcitm dc' Calabrcti. Rome: Botta, 1887 [musical composition by Paisiello]. New ed. with violently antireligious Aggiunta (1800). Eds and crit.: Antonio Barbuto, La protetta, I'Utopia, lo tcacco. II 'Tc Dcuin dc' Calabreu' di G.I..C. Rome: Bulzoni, 1975. Domenico Scafoglio, // "I'c Dcuin dc' Calabreti' attribuito a Cardone. Studio c tcsto. Naples: Athena, 1984. Giovanni Conia (1752-1839) [Galatro] Sagftio deU'cncr^ia, teniplieita ed etprettione della lingua calabra ncllc poetic di Giovanni Coma. Naples: l)e Boni, 1834. Antonio Martino (1818-1884) [Galatro] La prc^lnera del calabretc al Padre Lterno contro i pieinonteti (1874) Pater notter dei libernli calabresi (1886) l-'d Poetic politichc. Intro. Rocco P. Di Stilo, ed. S. Carrera. Rome: Officina Vlendionale, 197^. Vincenzo Padula (1819-1893) [Acn (Cosenza)] Poetic (>ane. Naples: Tip. Pansini, 1878. Poetic. Intro. l ; ranco Di Benedetto. Milan: Morano and Veraldi, 1894. l;ds; Pcrtonc in Calabria. Kd. Carlo Muscetta. Florence: Pnrenti, 1950. / ) / / ( • aunpoiinnenti poetici dialettali. Cosenza: Pellegrini, 1975. /.c Poetic. C.osen/.a: Brenner, 1988. /.c poetic dialettali di V.P. l : .d. Giuseppe Abruzzo. Cosenza: Edizioni Orizzonti Meridional!, 1991. Vincenzo Ammira (1821-1898) [Monteleone di Calabria (Vibo Valentia)] /.,(/ ninna d' 'it bri^anteju Cccia la Iwpeana La Ceceidc (1848). Ed. Antonio Piromalli and Domenico Scafoglio. Naples: Athena, 1975; ed. Sharo Gambino. Cosenza: Ed. Mit, 1975. Addio alia cctni. Monteleone: L/Avvenire Vibonese, 1885. 'A pippa. Monteleone: L'Avvenire Vibonese, 1886; ed. N. Bosco. Catanzaro 1985. Donna I ulgeitzia, La lacrinia. Strenne of L'Avvenire Vibonete, 1887. A la luiiii. Monteleone: I 'Avvenire Vibonese, 1892.

300 The Dialect Canon through the Regions Eds: Poesie dialettali. Vibo Valentia: G. Froggio, 1928. La ngagghia c la Riviglade. Ed. Antonio Piromalli. Cosenza: Brenner, 1979. Poesie dialettali. Drapia: Biblioteca Comunale P. Galluppi, 1980. Opere dialettali. Vibo Valentia: Edizioni Settecolori, 1982. Bruno Alfonso Pelaggi (Mastro Bruno) (1837-1912) [Serra San Bruno (Catanzaro)] Canto di un pastore errante dell'Asia Eds: Le poesie di Mastro Bruno. Ed. A. Pelaia. Catanzaro: FATA, 1965. Tntte le poesie. Ed. Biagio Pelaja. Serra San Bruno: Tip. Mele, 1976. Poesie. Ed. Giampiero Nistico. Chiaravalle Centrale: Effe Emme, 1978. Salvatore Scervini (1857-1925) [Acri] Trans. Dante, Inferno; Horace, Satires Pasquale Creazzo (1875-1963) [Cinquefrondi] Lu zappaturi (1927) Su la Divina Connnedia. Poesia in vernacolo. Cinquefrondi: Tip. R. De Marzo, 1929 [part of Inferno I.I]. La zappa e la sciabola con aggiunta la guerra. Cinquefrondi: Manferoce, 1933. // terremoto del 1908. Episodic di Cinquefrondi. Poesia in vernacolo. Cinquefrondi: Tip. 'Dopo Lavoro/ 1934. Eds: Poesie dialettali. Ed. C. Carlino and P. Bellonio. Oppido Mamertina: Barbara, 1979. Antologia dialettale. Ed. Antonio Piromalli and Domenico Scafoglio. Cosenza: Pellegrino, 1981. Crit: Giuseppe Falcone, 'Spunti di una ricerca organica (sociolinguistica e strutturale) sulla lingua di PC.' In Antologia dialettale, ed. Piromalli and Scafoglio. Antonio Chiappetta (1876-1942)

[Cosenza]

Jugale (1899)

Michele Pane (1876-1953) [Adami di Decollatura (Catanzaro) - Chicago] L'udmini russu (1898) Trilogia. Nicastro: Nicotera, 1901. Viole e ortiche. New York: Follia di New York (?), 1906. Accuordi c suspiri. Naples: Casella, 1911 [includes trans, of poems by Carducci, Pascoli, Cordiferro et al.].

Calabria

301

Sorrisi. New York: La Follia di New York (?), 1914. Lit calvnse 'ngrisatu. New York: La Follia di New York (?), 1916. Garibaldina. Rapsodm in dialetto calabro. New York: Italian Labor Education, 1949. Eds: Musa silucstrc. Ed. Gabriele Rocca and Felice Costanzo. Catanzaro: Mauro, 1930. Later anthology with pref. by Vito Migliaccio, Rome: Bonacci, 1967. Le poesic. Ed. Giuseppe Falcone and Antonio Piromalli. Soveria Mannelli: Rubbettino, 1987 [contains above cited texts, and trans, from Carducci, Stecchetti, Pascoli, Marradi, and Cordiferro].

Vittorio Maria Butera (1877-1955)

[Conflenti (Catanzaro) - Catanzaro]

Prima cantu ... c ddoppu cnntu. Rome: Bonacci, 1949; Cosenza: Editrice MIT, 1969, 1978. Eds: Tuornii e ccantn, tuornn c cciintu. Ed. Giuseppe Isnardi and Guido Cimino. Rome: Bonacci, 1960. Pagine calabresi. Reggio Calabria: Parallelo, 1975. Inediti di V.B. Ed. L. Volpicelli and Guido Cimino. Soveria Mannelli: Rubbettino, 1978. Antologia poctica. Cosenza: Pellegrini, 1984. Crit.: Vittorio Bittern. Pref. Umberto Bosco. Cosenza: MIT, 1969.

Michele De Marco (Ciardullo) (1884-1945) [Perito (Cosenza) - Cosenza] Statti trancjinlla ... nun ccc pensare. Naples: Edizioni La Toga, 1940. Eds: Le poesie. Milan: Gastaldi, 1961. Le poesic. La satira. II teatm. 3 vols. Ed. Antonio Piromalli. Cosenza: MIDE, 1984.

Nicola Giunta (1895-1968) [Reggio Calabria] Eds: Poesie dmlettali. Ed. Antonio Piromalli and Domenico Scafoglio. Reggio Calabria: Casa del Libro, 1977. Poesie e favole dwlettali. Ed. Giuseppe Ginestra. Reggio Calabria: Rhegium Julii, 1989.

Achille Curcio (1930-)

[Borgia (Catanzaro)]

Lanipan [Fisherboat Lamps]. Bologna: Cappelli, 1971. Hjumara [Swollen Stream]. Bologna: Cappelli, 1974. Chi canti, chi cunti? Catanzaro: Fucina Jonica, 1983. Le satire. Catanzaro: Fucina Jonica, 1984.

302 The Dialect Canon through the Regions Stefano Marino (1936-)

[Reggio Calabria]

Pocsic. In Diverse lingue (Udine: Campanotto), October 1988. Poesie. In Lengua (Ancona: II Lavoro Editoriale), April 1988.

Dante Maffia (1946-)

[Roseto Capo Spulico (Cosenza)]

A vite i tutte ijurnc. Pref. Giacinto Spagnoletti. Rome: Edizioni Carte Segrete, 1987. U Ddlje povenlle. Pref. Angelo Stella. Milan: All'Insegna del Pesce d'Oro, 1990. / ruspe cannarute. Milan: Scheiwiller, 1995.

LITERARY REFERENCES Bosco, Umberto. Pagine calabresi. Reggio Calabria: Parallelo, 1975. Chiodo, Carmine. Poeti calabresi tra Otto e Novecento. Rome: Bulzoni, 1992. Cimino, Guido. Toeti dialettali calabresi.' In // Ponte 6/9-10. (1950): 1095. Crupi, Pasquino. Storia della letteratura calabrese: Autori e testi. Cosenza: Periferia, 1993-. Gli scrittori calabresi. Dizionario bio-bibliografico. 4 vols. Ed. Luigi Aliquo Lenzi and Filippo Aliquo Taverriti. 2nd ed. Reggio Calabria: 'Corriere di Reggio/ 1955. Li Gotti, M.V. 'Bibliografia dialettale calabrese.' Bollettino della carta del dialetti italiani2(\968). Lombardi Satriani, Luigi M. Antropologia culturale e analisi della cultura subalterna. Rimini: Guaraldi, 1974. Piromalli, Antonio. La letteratura calabrese. 2 vols. Cosenza: Pellegrini, 1996 (3rd ed.). Piromalli, Antonio, and Domenico Scafoglio, L'identita minacciata. La pocsia dialettale e la crisi post-unitaria. Messina, Florence: D'Anna, 1977. Reina, Luigi. Vincenzo Padula. Reggio Calabria: Parallelo 38,1985. - Percorsi di poesia. Naples: Guida, 1993. - 'La poesia dialettale in Calabria tra '800 e '900.' Lingua e dialetto nella tradizione letteraria italiana. 329-57. Rome: Salerno Editrice, 1996. Scafoglio, Domenico. Vincenzo Padula. Storia di una censura letteraria. Cosenza: Lerici, 1979. - // 'Te Dcum de' Calabresi' attribuito a Cardone. Studio e testo. Naples: Athena, 1984. Scafoglio, Domenico, ed. Poesia erotica popolare in Calabria. Cosenza: Brenner, 1980. Spagnoletti, Giacinto, and Cesare Vivaldi. 'Calabria e Lucania.' In Poesia dialettale dal Rinascimento a oggi, 2:1081-1163. Milan: Garzanti, 1991.

Calabria 303 'leatro dialcttalc larantuio: dall'800 ai giorni nostri. Milan: CELUC, 1974. Troiano, Rosa. 'Cultura popolare e letteratura dialettale in Calabria.' In Pietro Mazzamuto, ed., La letteratura dialettale in Italia dall'mutd a oggi. Palermo: Sandron, 1984. - ' I I dialetto nell'opera di Vincenzo Padula.' In Lingua e dialetto nella tradizione letteraria italmna, 575-91. Rome: Salerno Editrice, 1996. Tuscano, Pasquale. Calabria. Letteratura delle regiotn d'ltalia. Storm e testi. Brescia: Editrice La Scuola, 1986.

Regional Anthologies Ante/login della poesia dialettale calabrese (dalle origin! ai giorni nostri). Ed. Sharo Cambino. Catanzaro: A. Carello, 1977. Antologia dialettale. Ed. Nicola Ciunta. Reggio Calabria: Casa del Libro, 1977. Poesie calabre. Ed. Antonio Piromalli. Catanzaro, 1981. Poeti dialettali calabrcst conteinporanei. Bovalino, UACECA, 1974-.

LINGUISTIC REFERENCES Devoto, Giacomo, and Cabriella Ciacomelli. / dialetti delle rcgioni d'ltalia. Elorence: Sansoni, 1991. Ealcone, Giuseppe. Calabria. Profilo dei dialetti italiani. Ed. Manlio Cortelazzo. Pisa: Pacmi, 1976. Lingua e dialetto nella societa, nella scuola e nella narrativa: Contributi di sociolinguistica calabrese. Soveria Mannelli: Rubbettino, 1983. C i i u r l e o , Stelio. Gloria di parole dialettali calabresi. Cosenza: Brenner, 1986. E i b r a n d i , R i t a . ' I . a Calabria.' In Francesco Bruni, ed., L'italiano iicllc rcgioni, 1:751-97. T u r i n : UTET, 1992. Mosino, Eranco. Storia linguistica della Calabria. 2 vols. Rovito: Marra, 1987-9. Radtke, Edgar. 'Itahenisch: Areallinguistik IX. Kalabrien.' In Giinter Holtus, Michael Metzeltin, and Christian Schmitt, eds, Lexikon der ronianistischen Linguistik 4, 661 -8. Tubingen: Niemeyer, 1988. Rohlfs, Cierhard. Studi e ncerca di lingua e dialetti italiani. Florence: Sansoni, 1972. Introduction to his Nuovo dizionano della Calabria. Ravenna: Longo, 1982. Trumper, John 'Calabria and Southern Basilicata.' In M a r t i n Maiden and Mair Parry, eds, The Dialects of ltal\/, 355-64. London: Routledge, 1997.

Dictionaries Accattatis, Euigi. Vocabolario del dialetto calabrese (casalino-apriglianese). 3 vols. Cosenza: Brenner, 1991. Rohlfs, Gerhard. Nuovo dizionario dialettale della Calabria. Ravenna: Longo, 1977.

16

Sicily

Un populu mittitilu a catina spugghiatilu attuppatici a vucca, e ancora libiru.

A nation: chain it, strip it,

Livatici u travagghiu u passaportu a tavula mini mancia u lettn unni dormi, e ancora riccu.

Take away its work, its passport, the table where it eats, the bed where it sleeps, it is still rich.

Un populu diventa poviru e servu, quannu ci arrobbanu a lingua addutata di patri: e persu pi sempri.

A nation turns poor and servile, when they steal its language, handed down by its fathers: it is lost forever.

Diventa poviru e servu quannu i paroli nonfigghianu paroli e si mancianu tra d'iddi. Mi nn'addugnu ora, mentri accordu a chitarra du dialettu ca perdi na corda lu jornu.

It becomes poor and servile, when words don't create words and consume each other. I notice it now, as I am tuning the guitar of the dialect which loses a string each day.

gag itit is still free.

Ignazio Buttitta, from Lingua e dialettu

Sicily 305 Sicilian Dialect Poetry At a crossroads of cultures and languages, Sicily, with its brilliant Svevan court of Frederick II, was one of the first regions to develop contacts with other areas of the peninsula and Europe, which led to a first supraregional literary vernacular koine that continued to be promoted up to the advent of the Anjou and Aragonese dynasties. This koine was based on Sicilian, not unlike Tuscan a conservative dialect. The process of Italianization was gradual; Gabriella Alfieri aptly distinguishes between Italian in Sicily (up to the Risorgimento) and Italian of Sicily (thereafter). Only in 1652 was the use of Italian prescribed for the notaries' written activities. Under the Bourbon rule of the eighteenth century Italian was taught increasingly in the schools, although illiteracy continued to be rampant (in 1901, several decades after the country's unification, it amounted to 71 per cent). Today, despite a massive Italianization process taking place at all levels, Sicily represents one of a few last strongholds of dialect use. Not unlike the great literary traditions in the Neapolitan, Venetian, or Milanese dialect, Sicily has both a rich theatre and a thriving poetry in dialect spanning from the Renaissance to our days. It seems that through time Palermo and Catania were the cradles for the evolution of a dialect literature and a Sicilian literary koine. Among the Petrarchists of the fourteenth and fifteenth centuries, the sanguine and anarchic Monrealese poet Antonio Veneziano composed some three hundred strambotti to an adored Celia. The lyrics, which connect with the Sicilian popular culture and were known predominantly through the oral tradition, follow the phenomenology of Petrarchan themes and mannerisms, with love seen as an illness, or as leading to death; they also include sadomasochistic texts (for example, Quandu tiranna a casit ti placissi, which invites a woman to dissect her lover in order to see his suffering, or Ligami, beni mill, llgami e strinci [Tie me up]). Veneziano, whose adventurous life was portrayed by Sciascia's Vita di Antonio Veneziano (1967), calls to mind that of the Calabrese Duonnu Pantu (he went to Spain and Algeria, where he met Cervantes, was imprisoned several times, and died in a prison fire in Palermo). He wrote his octaves in a language that eventually helped establish a literary Sicilian koine, exerting a lasting influence on Sicilian poetry. In the Baroque age, the highly educated bilingual poet Simone Rau experimented with original metaphors and similes in his native tongue, without sacrificing stylistic simplicity and forcefulness of meaning.

306 The Dialect Canon through the Regions Paolo Maura's poetry instead excels for its realistic protest against the corruptions of his time, merging satire and the theatrical with bitter irony. His poem in terza rima La pigghiata (1672), considered a masterpiece of Sicilian poetry, narrates the misery and tribulations of his own imprisonment, apparently by his lover's family. The presence of a number of local literary academies and the cultural interests of the Church did not welcome the Catanese Domenico Tempio's demystifying and provocative poetry. Tempio, who had been influenced by the French culture of Enlightenment, wrote Italian parodies in which he made fun of Metastasio (La Truncetteide), yet his true artistic achievements are reflected in the two dialect poems Lu veru piaciri, an Epicurean hymn to life's pleasures, and La Caristia, an epic composed of twenty cantos on the popular upheavals that took place in Catania in 1798 - a richly textured poem on the fate of the poor and oppressed. Next to Tempio, Giovanni Meli is considered the most original eighteenth-century poet. Meli was a scientist and an Arcadian poet, a combination not unusual for many a dialect poet throughout Italy. Like Rousseau, he was longing for a 'retour a la nature/ of which he sang profusely. But he spent most of his life among the social circles of his native Palermo. He took an active interest in the philosophical debates of his century, writing in fact a satire in Sicilian, entitled Romanzi filosofici circa I'origini di hi munni (1768-80). He was also fascinated by the European naturalists Gessner and Haller and their celebration of nature and search for peace. It is these themes that led Meli to write La buccolica (1787) and La Pad (1814), refining the spoken Sicilian dialect and elevating it to the level of a high literary language that would be sanctioned by future poets as a koine. Although using a popular language, Meli was able to raise it above the comical modes of much dialect literature. He also wrote animal tales, the Favuli morali, and the lengthy poem Don Chisciotti e Sanciu Panza. His work was known abroad and admired by Goethe and Herder. Sicily's best-known dialect writers of the early twentieth century were the poets (cantastorie) and playwrights Nino Martoglio and Alessio Di Giovanni, both influenced by the lessons of verismo. Pirandello praised his friend Martoglio as the most expressive poet after Meli, and compared him to Di Giacomo and Trilussa. While Meli and Tempio brought Sicilian to the level of a literary language, Martoglio instead went in the opposite direction, stressing the local features of his dialect. His sonnets interpret - often sarcastically - the Sicilian world - including such topics as omerta, the Mafia, Darwinian theory, and modern

Sicily

307

technology - adopting a dramatic language full of dialogues. As in his theatrical production, Martoglio exploits the social bilingualism of his characters - for instance, in 'U ntirrugatoriii (Cross-examination), where the judge speaks in Italian, the accused in Sicilian. Di Giovanni, the journalist and teacher from Agrigento, known for his dialect plays and prose, used similar techniques in his poetry. There were other significant voices in this period, such as Francesco Guglielmino, a classics teacher, who had Brancati as a student, and who wrote elegant crepuscular lyrics on life cycles, decay, and solitude, and Vann'Anto, whose work was influenced by Pascoli's, after a period of exposure to futurism. Among the twentieth-century poets, Ignazio Buttitta is one of the most impressive. More of a literary outsider, Buttitta stands out for his free verse, as well as his strong political and social engagement. His poems, owing much to the rich treasures of proverbs and popular culture, and longing to be recited, express the sufferings of the Sicilian peasant, the day labourer, the fate of the emigrant, but also feelings of hope. One of his poems, Lingua e dialettu, compares the gradual loss (and Italianization) of the dialects to a guitar's gradual loss of its strings. Other modern poets, such as Santo Call and Salvatore Di Pietro equally wrote on social and political themes. Among the more recent are Mario Grasso, a novelist, playwright, and critic, who began to write in dialect in the 1980s. His intellectual poems on the existential theme of Friscalittati blend literary Sicilian with archaic words; memory becomes here a metaphor of existence. For Grasso the dialect represents o' miinnii di la virita, the language of the father, of the dead. One of the youngest writers in Sicilian, Giuseppe Battaglia, began to write a poetry of protest at age twenty-one. The poems of La terra vascia and La piccola valle di AH centre around the backward agricultural setting of Aliminusa, a small town near Palermo that was stripped of its pride throughout history, leaving only the dialect as an (inadequate) weapon to fight for the people, in their silent suffering and shameless exploitation. The passionate tone of Battaglia's poems is often reminiscent of Buttitta's. Sicilian Dialect Theatre and Prose Following earlier popular Sicilian plays, such as the eighteenth-century Vastasate (vastaso meaning 'porter/ also 'buffoon'), an improvised theatre performed in the piazza, and the subsequent Pasquinate, with their emphasis on social and political satire, the Sicilian dialect theatre began to thrive as in other regions in the years of Italian unification,

308 The Dialect Canon through the Regions with the performance of / mafiusi di la Vicaria at Palermo's Teatro Sant' Anna in 1863. Perhaps authored by Giuseppe Rizzotto, the play quickly became a central element in the repertoire of Sicilian dialect theatre. Yet it was thanks to the Sicilian naturalist writers and great actors such as Giovanni Grasso and Angelo Musco that a Sicilian dialect theatre developed. Unlike Verga, who was opposed to it, Luigi Capuana, after initial scepticism, became convinced of the dialect theatre's importance in the development of a national theatre. His plays, such as Malia, Lu cavakri Pidagna, and Lu paraninfu, are portraits of the world of peasants and petit bourgeois characters; they were performed on stages throughout Italy and even in Paris. In the rich panorama of Sicilian theatre Nino Martoglio played a key role as a playwright, actor, and stage director, and especially as a promoter of dialect productions. In fact, Pirandello considered him the founder of the Sicilian dialect theatre. His debut was in Milan in 1903 with Nica, a drama of jealousy and love, and with the staging of Giuseppe Giusti Sinopoli's La zolfara (in Italian, 1895), a social drama on the condition of Sicilian miners. Martoglio became popular particularly with San Giuvanni decullatu and / civitoti in pretura, plays that were tailored to the talents of the popular Sicilian actor Angelo Musco, and that remained immersed in the naturalist climate of late-nineteenth-century Sicily. San Giuvanni decullatu, a play about the conservative Sicilian patriarch Mastru Austinu and his daughter Serafina, who refuses her father's arranged marriage for her middle-class lover, the young doctor Ciccinu, was particularly successful with audiences. The play is filled with proverbs and punch lines and lacks a genuine dramatic structure, lending itself to creative adaptations by good actors. Martoglio influenced both Capuana and Pirandello. It was because of his insistence and their friendship that Pirandello wrote the plays Liola, 'A birritta cu 'i ciancianeddi, 'A giarra, and Pensaci, Giacuminu! in the Sicilian dialect (all in 1916, Pirandello's 'Sicilian' year, with later translations into Italian). Pirandello's dialect attitude was a complex one; he aimed at elevating it to the level of a classical literary language. He also collaborated with Martoglio on the dialect plays 'A vilanza (1917), and Cappiddazzu paga tutto, which was performed only in 1958 in Taormina, and twenty years later in Agrigento. His work for Martoglio's play L'aria del continente (1915) seems instead limited to its initial stages. L'aria, which received enthusiastic praise from Gramsci, is a lighthearted comedy about the wealthy Sicilian Don Cola, who went to Rome to have his appendix removed, and returned with a young variety performer,

Sicily 309 known as Milla Milord. The comedy makes fun of Don Cola's relentless admiration for all things continental (unni ci su' genti evoluti, genti di spiritu, c non certi cretini 'ncutnmnuti nell'ignoranza e nei pregiudizi, comm ccal ... unni si po fan il comodaccio suo ... [where people are civilized, spirited, and not idiots lost in ignorance and prejudice, like here ..., where you can do as you please ...]). It also exposes his blind love for his flirtatious Milla, who is courted by his brother-in-law and by Michelinu, his sister's son, and who turns out to be of Sicilian origin. The play highlights gallisnio, as well as the conservative values in a tightly knit island society, but it also ridicules bourgeois trendiness - Don Cola and Milla use Gallicisms such as far menaggio (from Fr. menage, to cohabitate); disabbiglie (Fr. desabillee, undressed); and tabledocco (Fr. table d'hote). Different registers are used according to the interlocutors, situations, and scopes: the dialect-speaking Don Lucinu resorts to Italian when he wants to make a point, forbidding his wife and son to visit Don Cola and Milla in the new house; conversely, Don Cola, who usually speaks Italian with Milla, uses Sicilian when he begins to distance himself from her - with the result of not being understood. Pirandello translated some of his original Italian plays into the dialect - for instance, Lumie di Sicilia (1916), 'A patenti, and 'A morsa (both in 1917), and Ccu 'i nguanti gialli (adapted from Tutto per bene, (1920). One dialect play, 'U Ciclopu, is a version of a Greek work by Euripides. All these creations can be seen as the bilingual writer Pirandello's early attempts at writing plays with great Sicilian dialect actors in mind. They reflect his concern with their inadequacy in Italian, as well as the growing success of dialect theatre during the years of the First World War. Alessio Di Giovanni, a contemporary of Pirandello and Martoglio, known best for his Sicilian sonnets depicting a poor and barren island, also wrote four dramas in the Sicilian dialect and several Sicilian novels. The love drama Scunciuru, performed in New York's Broadway Theatre in 1908, is generally considered his best play; it was much praised by Giovanni Verga. Gabrieli In carusu, on the other hand, dramatizes the fate of young boys sold off by their parents to work in sulphur mines. Gabrieli must endure his brutal boss Lu Rabbiu, and Gesa, a young and fatherless woman, loses her dignity and reputation when she is forced to work in the mines also - her fate resembles that of Verga's vinti. The play, with its realistic mimesis of the dialect, is set against the backdrop of early workers' movements, and became the source of a film by Aurelio Grimaldi.

310 The Dialect Canon through the Regions In the novel Lu saracinu, written in 1914 but published only some sixty years later, Di Giovanni wrote about Sicily's transition from Bourbon rule to the unified nation, with its suppression of thefeudo and the convent. In Di Giovanni's rather conservative and conciliatory views, social economic conditions and religion are intimately related, and the peasantry's misery is blamed on anticlericalism. Thus, Fra Antuninu, named Saracinu (that is, God's enemy), is a sort of corrupt monacu fauzo, who is caught between moral obligations and the selfish pursuit of material goods. Di Giovanni's characters seem to be obsessed by sin, death, and corruption. The short novel is quite readable in its refined literary Sicilian koine, which Di Giovanni considered superior to the language chosen in the novels written by Verga. POETRY Bartolomeo Asmundo (1480-1530?) [publ. in 18th-century anthologies] Girolamo D'Avila (1505-1567)

[Catania - Catania?]

[Siracusa]

See Muse siciliane ovvero Scelta di tutte le Canzoni della Sicilia. Palermo: Bisagni, 1662-3.

Girolamo Gomes (1525-1591)

[Siracusa]

Ed.: Rimi di hi pinturi Gilormu Gomes sicilianu di la citati di Saragusa. Ed. B.S. Mondino. Palermo: Tamburello, 1877.

Antonio Veneziano (1543-1593)

[Monreale - Palermo]

Proverbij siciliani. Palermo: Maringo, 1628. Celia. Palermo: Dell'Isola, 1638. Raccolta di canzoni siciliane. Ed. P. Cesare. Messina: Eredi di Brea, 1638. Muse siciliane ovvero Scelta di tutte le Canzoni della Sicilia. Palermo: Bisagni, 1662-3. Eds: Le opere di A.V. poeta monrealese. Ed. Salvatore Arceri. Palermo: Giliberti, 1859. Liricidel Cinquecento, 631-8. Ed. G. Davico Bonino. Turin: UTET, 1968. Ottave. Intro. Leonardo Sciascia, ed. Aurelio Rigoli. Turin: Einaudi, 1967. Ottave. Ed. Leonardo Sciascia, Gaetana Maria Rinaldi, and Pietro Mazzamuto. Monreale: Comune, 1990.

Sicily

311

Filippo Paruta (1555-1629) [Palermo] Rime Eds: Codici di Canzuni siciliane ndle Biblioteche di Padova, Parma e Ravenna. Ed. R. Rosio. Palermo: Atti deH'Accademia di Scienze, Lettere e Arti, 1987. Intermedi e nine. Ed. Anna Maria Razzoli Roio. Palermo: Zara, 1985. Ottave Siciliane. Edizwne critica, incipitario, rinmrio e glossario. Ed. Sara Gulino. Caltanissetta: Edizione Lussografica, 1995. Cesare Gravina (pseudon. Cesare Vinagra) (7-1630?) [Catania - Marseilles] Ed.: Lu cattivu cuntenti. Ed. Giuseppe Galeano. In Muse sidliane II, IV. Palermo 1648-54 Giuseppe Galeano (pseudon. Pier Giuseppe Sanclemente) (1605-1675) [Palermo] Le Muse sidliane [Petrarchist, following in Antonio Veneziano's footsteps] Michele Moraschino (7-1648) [Palermo] Canzoni siciliane Canzoni sacre siciliane Trans, into Latin of Antonio Veneziano's Canzuni. Ed.: Giuseppe Galeano. In Muse siciliane II, IV. Palermo 1648-54. Simone Rau e Requesenz (1609-1659) [Palermo - Palermo?] Canzoni sicihiine I - d . : Rime. Venice 1672; later eds, Naples 1690, 1782. Paolo Maura (1638-1711) [Mineo] Eds: Canzoni. Palermo: F. Ferrer, 1758; Catania: Galatola, 1871; ed. Luigi Capuana. Milan: Brigola, 1879. Puisii diversi. In Santi Correnti, La Siciha del Seicento. Milan: Mursia, 1976. Li cat turn /la pi^hiata. Ed. Giuseppe Bonaviri. Palermo: Sellerio, 1979. Carlo Felice Gambino (1724-1801) [Catania] Lu visoluco di I'aggliiastni Ed.: Poesie siciliane. Catania: Universita dei Regj Studi, 1816. Giuseppe Fedele Vitale Da Gangi (1730-1785) Li Stcilia libcrata

312 The Dialect Canon through the Regions Giovanni Meli (1740-1815)

[Palermo]

Lafatagalanti. Palermo: Eredi di Aiccardo, 1759. La buccolica. Palermo: Organizzazione Editoriale Palermo, 1960. Favidi morali. Florence: Istituto Farmochimico Falorni, 1968. Don Chisciotti e Sanciu Panza Romanzi filosofici circa I'origini di hi rnunni (1768-80). Trans. Gaetano Cipolla. Brooklyn, NY: Arba Sicula, 1985. Giuseppe Biundi, Dizionario siciliano-italiano. Con breve grammatica di Giovanni Meli. Ed. Aurelio Rigoli. Palermo: II Vespro, 1978. Eds: Poesie siciliane. 5 vols. Palermo: Solli, 1787-9. Poesie, secondo I'edizione definitive* del 1814 curata dall'autore. Palermo: A. Reber, 1915. Poesie. Ed. Lorenzo Marinese. Milan: Mondadori, 1964. Opere. Ed. Giorgio Santangelo. 2 vols. Milan: Rizzoli, 1965. Poesie. Ed. Emilio Faccioli. Messina, Florence: D'Anna, 1973. Trans.: Don Chisciotti and Sanciu Panza. Trans. Gaetano Cipolla. Ottawa: Canadian Society for Italian Studies, 1986. Moral Tales. Trans. Gaetano Cipolla. Ottawa: Canadian Society for Italian Studies, 1988; Moral Fables and Other Poems. Brooklyn, NY: Legas, 1995. Haller, The Hidden Italy, 444-66.

Domenico Tempio (1750-1820)

[Catania]

Poesie siciliane. Palermo: Solli, 1787; 2nd and definitive ed., Palermo: Interollo, 1814; repr., 3 vols., Catania: Edigraf, 1972. Operi. Catania: n.p., 1814. Opere. Catania: Tip. Imp., 1814-15. Favolc morali La Caristia. 2 vols, Catania: Sciuto, 1848-9; ed. Domenico Ciccio, Messina: Mavors, 1967. Eds: Poesie siciliane. 4 vols. Catania: Giannotta, 1874. Poesie. Ed. L. Marinese. Milan: Mondadori, 1964. Opere. Ed. Giorgio Santangelo. Milan: Rizzoli, 1965. Opere poetiche. Ed. D. Ciccio. Messina: Mavors, 1967. Opere scelte. Ed. Carmelo Musumarra. Catania: Giannotta, 1969. D.T. e la poesia del piacere. Catania: Edigraf, 1970. Poesie. Ed. E. Faccioli. Messina, Florence: D'Anna, 1973. Canti erotici. Catania: Edigraf, 1974. Poesie inedite. Catania: Libreria Minerva, 1975. Lu veru piaciri. Trapani: Celebes, 1977. Poesie inedite di D.T. Catania: Edigraf, 1985. Trans.: Haller, The Hidden Italy, 468-99.

Sicily

313

Remigio Roccella (1829-1915) [Piazza Armerina] Poesie in lingua vernacola piazzese. Caltagirone: B. Mantelli, 1872. Poesie e prose nella lingua parlata piazzese. Caltagirone: B. Mantelli, 1877. Nuove poesie in vernacolo piazzese. Caltagirone: B. Mantelli, 1894. Vocabolario della lingua parlata in Piazza Armerina (Sicilia). Caltagirone: B. Mantelli, 1875. Salvatore Salomone Marino (1847-1916) [Palermo] La Baronessa di Carini. Palermo 1873,1914; Palermo: 'II Vespro,' 1980. Ed.: La Baronessa di Carini. Storia popolare del secolo XVI in poesia siciliana. Bologna: Form, 1975 [repr. of 1914 ed.]. Trans.: La Barunissa di Carini. Poem of the Sicilian Renaissance. Trans. A.M. Cinquemani. Brooklyn, NY: Arba Sicula, 1986. Giuseppe De Dominicis ('Capitano Black') (1869-1905) (Lecce)] Lu nfiernu: Versi. Lecce: Cooperativa, 1893. Ed.: Poesie. Ed. Antonio Chirizzi. Lecce: Matino, 1955.

[Cavallino

Nino Martoglio (1870-1921) [Belpasso (Catania) - Catania] O' scum o' scum. Catania: Giannotta, 1896. A tistimunianza. Catania: Giannotta, 1899. Centona. Catania: De Mattel, 1899. Eds: Centona. Pref. Luigi Pirandello, Catania: Giannotta, 1948; MessinaFlorence: D'Anna, 1964; rev. ed., pref. Vincenzo Di Maria, n.p.: Tringale Editore, 1978; repr. San Giovanni La Punta: Clio, 1993. Santi Correnti, Martoglio inedito. Un ignoto canzoniere italiano della Catania 'fin de sieck.' Catania: CUECM, 1993. Trans.: The Poetry of Nino Martoglio. Trans. Gaetano Cipolla. Brooklyn, NY: Legas, 1993. Cnt: Antonio Scuderi, The Dialect Poetry ofN.M.: Sociolinguistic Issues in a Literary Text. New York: Lang, 1992. Alessio Di Giovanni (1872-1946) [Valplatani (Agrigento) - Palermo] Maju sicilianu. Girgenti: F. Monies, 1896. Lufattu di Bbissana. Naples: Chiurazzi, 1900; Siracusa: L'Ariete, 1991 (with note by Pier Paolo Pasolmi). Fattuzzi razznisi. Naples: Chiurazzi, 1900. A hi passu di Girgenti: Sonetti. Catania: Giannotta, 1902. A In passu di Girgenti. Catania: Giannotta, 1902. Nella Valplatani. Palermo: Sandron, 1904.

314 The Dialect Canon through the Regions Christu. Ode siciliana. Palermo: Sandron, 1905. Lu puvireddu amurusu. Palermo: Sandron, 1907; Palermo: Trimarchi, 1926. Nni la dispensa di la surfara. Palermo: Marraffa Abate, 1910. // pocma di padre Luca. Versi in dialetto siciliano. Palermo: Sandron, 1935. Voci delfeudo. Liriche sicilianc. Palermo: Sandron, 1938. Ed.: 'Nfernu veru. Uomini e immagini del paesi dello zolfo. Intro. Vincenzo Consolo, ed. Aurelio Grimaldi. Rome: Edizioni Lavoro, 1985. Grit: Salvatore Di Marco, Alessio di Giovanni e la poesia siciliana del Novecento. Palermo 1988. Francesco Guglielmino (1872-1956) [Aci Catena (Catania) - Catania] Ciuri di strata. Pref. Federico De Roberto, Catania: Battiato, 1922; pref. Vitaliano Brancati, Catania: Battiato, 1948; pref. Leonardo Sciascia, Palermo: Sellerio, 1989.

Pasquale Creazzo (1875-1973) [ [Cinquefrondi]

Lu zappaturi (1927) Su la Divina Commedia. Poesia in vernacolo. Cinquefrondi: Tip. R. De Marzo, 1929 [part of Inferno I.I]

See also CALABRIA. Giuseppe Marchese (1881-1967) [Catania] Lu zitaggiu di Cicca la tinta e Narda la tignusa A la mepipa. Catania: Vassallo, 1952. Sacco e Vanzetti. Cronistoria in versi siciliani. Catania: Squeglia, 1964. Lu 'ngranaggiu suciali. Catania: Tip. La Moderna, 1964.

Vann'Anto (Giovanni Antonio Di Giacomo) (1891-1960) [Ragusa - Messina] Voluntas tua. Rome: De Alberti, 1926; ed. S. Di Giacomo and G. Miligi, Milan: All'Insegna del Pesce d'Oro, 1979. U vascidduzzu. Messina: '11 Fondaco' della Libreria dell'OSPE, 1956. 'A pici. Ragusa: Libreria Moderna Editrice di A. Paolino, 1958. // dialetto del mio paese. Fonologia. Messina: V. Ferraro, 1945. Trans. Eneide. Palermo, 1942. Eds: Vann'Anto: Voluntas tua, 'A pici. Ed. Carmelo Assenza. Ispica: La Tartaruga, 1982.

Sicily 315 L'urtima guerra: Pocsic e prose scclte. Ed. Umberto Migliorisi. Ragusa: Centre Studi Felice Rossi, 1987 [contains Vohtntas tua, U vasciduzzu}, Trans.: Haller, The Hidden Italy, 500-7.

Ignazio Buttitta (1899-1997)

[Bagheria]

Sintimintali. Palermo: E. Sabbio, 1923. Mnrabedda. Palermo: La Trazzera, 1927. Ln pani si chmnia pani. Trans. Salvatore Quasimodo. Rome: Edizioni di Cultura Sociale, 1954. Lainentu pi la niorti di Tiinddu Carnivali. Palermo: Edizioni Arti Grafiche, 1956. La peddi nova. Milan: Feltrinelli, 1963. Lit trenu di In snli. Milan: Feltrinelli, 1963. La paglia bntcmta. Milan: Feltrinelli, 1968,1976. lofnccio il poeta. Milan: Feltrinelli, 1972. // poeta in piazza. Milan: Feltrinelli, 1974. Pietre nere (1980-2). With interview with Gianfranco Contini. Milan: Feltrinelli, 1983. Prime e nnovissnne. Ed. Marta Puglisi. Turin: Gruppo Editoriale Forma, 1983 [poems written before 1954]. Trans.: Haller, The Hidden Italy, 510-39. Crit: Natale Tedesco, 'Spazi linguistici e dimore sociali: La memoria, il presente e il futuro nell'ideologia e nel linguaggio di Buttitta (e di Battaglia).' In Pietro Mazzamuto, ed., La letteratnra dialettale in Italia dall'iinita a oggi, 1047-64. Palermo: Sandron, 1984.

Salvatore Di Pietro (1906-)

[Pachino (Siracusa)]

Acqua di I'Anapu. Catania: Ed. Vittoria, 1936. Alveare. Palermo: Ed. Zisa, 1947. Mnddiehi di suli. Catania: Ed. Istit. Salesiano, 1957. Tut a di villntn. Rome: 11 Nuovo Cracas, 1962. Din s"e fattit di term. Catania: Giannotta, 1971. La tratta di li brunni. Catania: Edigraf, 1975. L' nuovamente giorno. Padua: Rebellato, 1977. Piieta e tenipit. Catania: Greco, 1983. Innnagini. Rome: Deil'Arco, 1986. Supra right di zebra. Marina di Piatti: Pungitopo, 1988. Nino Balotta Pino (1909-1987) [Barcellona Pozzo di C7Otto (Messina)] Mminuzzaighi. Rome: Associazione Internazionale di Poesia, 1956. Voga voga nmnnarn. Palermo: Edizioni Libri Siciliani, 1970. Sul dialetto siciliano. Cosenza: SCAT, 1955.

316 The Dialect Canon through the Regions Santo Cali (1918-1972) [Linguaglossa (Catania)] Mungibeddu. Catania 1947. Frati Gilormu. Sette misteri e litania finale per S. Francesco. Catania: Sciara Editrice, 1966. E un diaulu arreri a ogni zappinu. Catania: Edigraf, 1966. Epigrammi di Marziali (o quasi) traduciuti cu cuscienza di lupu da S.C. Catania: Edigraf, 1967. Mara Sgamirria. Naples: Giannotta, 1967 [trans, into Sicilian from Greek Palatina anthology and from Catullus]. Repitu d'amurri pi la Sicilia. Ragusa: Ed. 'Voci del Nostro Tempo/ 1967. Passioni e morti di Santu Franciscu nta la Vaddi Santa. Rome: n.p., 1967. Fimmina. Catania: Edigraf, 1968 [trans, of satire VI by Juvenal]. Eds: Canti siciliani. Catania: Lambda, 1968. Josephine. Catania: Edigraf, 1969. Lamentu cubbu pi Rocca Cimula. Catania: Edigraf, 1969. La notti longa (anthology). Catania: Edigraf, 1972. Antonino Cremona (1931-) [Agrigento] Occhi antichi. Rome: Sciascia, 1957. L'odore della poesia. Caltanissetta, Rome: Sciascia, 1980. Mario Grasso (1932-) [Acireale (Catania)] Friscalittati. Intro. S. Rossi and Giuseppe Bonaviri. Caltanissetta, Rome: Sciascia, 1981. Vocabolario siciliano. Abbagnu - Zzurru e tuttu I'alfabbetu. Pref. Maria Corti. Catania: Prova D'Autore, 1989. Salvatore Di Marco (1932-) [Monreale] Cantu d'amuri. Palermo: Edizioni del Pitre, 1986. L'acchianata di I'aciddara. Palermo: Edizioni del Pitre, 1987. Quaranta. Palermo: Edizioni del Pitre, 1988. Epigrafie siciliane. Palermo: La Palma Editrice, 1990. Li palori dintra. Palermo: Edizioni Centona, 1991. Sebastiano Burgaretta (1946-) [Avoli] Mattri ri pani. In L'ala del tempo. Catania: CUECM, 1995. Giuseppe Cavarra (1933-) [Limina] Sdirregnu. Poesie nel dialetto di Limina. Catania: Prova d'Autore, 1992.

Sicily

317

Vanipanzzu. !\K'^ie ncl dmlctto di Linnna. Furci Siculo: Akron, 1993. Chan/bdis. Poesia messinese in dmlctto. Messina: Intilla Editore, 1995. Nino De Vita (1950-) [Marsala] Fosse chili. Milan: Lunarionuovo, 1984; Montebelluna: Amadeus, 1989 'U nn Novernbn r'u Sessantariii. In Cinquepoeti. Catania: Edizioni Prova d'Autore, 1989.

Bbinintteddra. Trapani: Arti Grafiche Corrao, 1991. Fatticeddi: Piccoli episodi. Trapani: Anti Grafiche Corrao, 1992. Bbatassanu: Baldassarc. Trapani: Arti Grafiche Corrao, 1992. Nnoniura. Trapani: Arti Grafiche Corrao, 1993. Ed.: NT) V., Cutusiu. Trapani: Arti Grafiche Corrao, 1994 [anthology]. Giuseppe Battaglia (1951-) [Aliminusa (Palermo)] La terra vascia. Pref. Ignazio Buttitta. Palermo: Tip. ed. 'Fiamma Serafica/ 1969.

La piccola valle di AIL Pref. Leonardo Sciascia. Palermo: Flaccovio, 1972. Carnpa padrone die 1'erba cresce. Pref. Tullio De Mauro. Rome: Bulzoni, 1477. L'ordine di viaggio. Rome: II Bagatto, 1982; Catania: Prova d'Autore, 1988.

Aurelio Grimaldi (1958-) [Modica (Ragusa)] Nfeniu veru. Rome: Lavoro, 1985. Le buttane. Turin: Bollati-Boringhieri, 1989.

THEATRE Giovanni Meli (1740-1815) [Palermo] Li Palennitani in festa (1798). In Opere. Ed. Giorgio Santangelo. Milan: Rizzoli, 1965-8. / niafiusi di la vicuna (1863) Giuseppe Rizzotto (1828-1893) [Palermo - Trapani] / mafinsi di la vicana (Palermo, T. Sant' Anna 1863) [authorship questioned]. Ti'atro verista siciliano. Ed. Alfredo Barbina. Bologna: Cappelli, 1970; adapted by Leonardo Sciascia, / mafiosi. In Sciascia, Opere 1984-1989,1229-96. Ed. Claude Ambroise. Milan: Bompiani, 1991.

318 The Dialect Canon through the Regions La taverna di hi zii Minicn Cliiantedda I mafiusi in progresso

Luigi Capuana (1839-1915) [Mineo (Catania) - Catania] Malm (comp. Grasso-Aguglia 1895) Bona genti (Trieste, T Fenice 1906) Lit cavalcri Pidagna (comp. Grasso 1909) Ppi In ciirrivu (comp. Grasso 1911) Ciimpanaticu (comp. Grasso 1911) Don Ramunnu Linwli (Catania, T. Pacini 1912) Ln paraninfu (comp. Musco 1914) Quacquara. Comrnedia in tre atti (comp. Musco 1916) Eds: Teatro dialettale siciliano. 3 vols. Palermo: Reber, 1910-11; vols. 4 and 5, Catania: Giannotta, 1920-1. Teatro dialettale siciliano. Ed. Pietro Mazzamuto. Catania: Giannotta, 1974. Gabriele D'Annunzio (1863-1938) [Pescara - Gardone Riviera (Brescia)] 'Lafigghia di loriu (Sicilian adaptation by Antonio Borgese) (Teatro Costanzi, Rome, 17 Nov. 1904) Giuseppe Giusti Sinopoli (1866-1923) Mastnt Sindacu Calanniredda [Skylark]

Luigi Pirandello (1867-1936)

[Agira (Enna)]

[Cavusu (Agrigento) - Rome]

Plays written originally in the dialect (later trans, into Italian): Liola (1916) [also adapted to Neapolitan by De Filippo's theatre company in 1934] 'A birritta cu 'i ciancianeddi (1916) (also in Neapolitan by De Filippo's company, 1935)

Pensaci, Giacuminul (1916) Vl£/flrra(1916) Plays trans, from Italian into Sicilian: Lumie di Sicilia (1916) 'Apatenti(1917) 'A morsa (1917) Cat 'i nguanti gialli [from Tutto per bene] (1920)

Sicily

319

Italian and Greek plays trans, into Sicilian: Glaitcu (from Gliiuco by Morselli) 'U Ciclopu (1918) (from Euripides) Plays in Sicilian dialect co-authored with Martoglio: L'aria del continence (1915) 'A vilanza (1917) Cappiddazzu paga tutto (1917) Ed.: 'iittto il tcatro in dialetto. 2 vols. Ed. Sarah Zappulla Muscara. Milan: Bompiani, 1993. Pirandello-Martoglio. Carteggio iuedito. Ed. Sarah Zappulla Muscara. Milan: Pan, 1979. Crit: Pietro Mazzamuto, Pirandello, la niaschera e il dialetto. Palermo: Panopticon, 1989. L.I'., 'Teatro siciliano?' Rivista popolarc di politico, leltcn- e scienze socinli, 31 Jan. 1909. Trans.: Joseph F. Privitera, Luigi Pirandello - His Plays in Sicilian. 2 vols. Lewiston, NY: Mellen Press, 1998. Nino Martoglio (1870-1921) [Belpasso (Catania) - Catania] Nica (Milan 1903). Catania: Giannotta, 1919; Palermo: II Vespro, 1978. Icivitoti in pretura (1903). Catania: Giannotta, 1919; Palermo: II Vespro, 1978; Messina: D'Anna, 1988. 'U paUit (Rome, T. Grasso 1906). Palermo: 11 Vespro, 1979 [trans, of Ital. play Capitano Blanco (1906)]. San Giuvanni decnllatu (Piacenza, comp. Martoglio 1908). Palermo: Edikronos, 1908); Catania: Giannotta, 1919, 1958; Palermo: II Vespro, 1978. Voculanzicula [The Swing] (Genoa, comp. Grasso 1908). Palermo: Edikronos, 1912; Palermo: II Vespro, 1978. Capitan Scniu (1912). Catania: Giannotta, 1919; Palermo: 11 Vespro, 1979. L'aria del continente (Milan, comp. Musco 1915). Palermo: Edikronos, 1915; Palermo: II Vespro, 1978. U' Riffanti (1916). Palermo: II Vespro, 1979. L'artedi Giufa (Rome, comp. Musco 1916). Palermo: Edikronos, 1916; Palermo: II Vespro, 1979. Sita Eccellenza di Falconmrzano (Turin, comp. Ruggero 1918). Palermo: Edikronos, 1918. Scuru (Milan, comp. Musco 1917). Catania: Giannotta, 1919. -Riiitnra. Catania: Giannotta, 1919; Palermo: II Vespro, 1979. 'U contra. Palermo: II Vespro, 1979.

320 The Dialect Canon through the Regions Taddarita [The Bat]. Catania: Giannotta, 1919. Annata ricca, massaru cuntentn. Palermo: II Vespro, 1978. // marchese di Ruvolito (Rome, comp. Musco 1920). Palermo: II Vespro, 1978. 'U vattiu e altri dialoghi popolari. Ed. L. Banna Ventorino. Glossario di Gabriella Alfieri. Catania: Societa di Storia Patria per la Sicilia Orientale, 1979. Plays written with Luigi Pirandello: L'aria del continente (1915) 'A Vilanza (1917) Cappidazzu paga tut to (1917) Eds: Teatro dialettale siciliano. 8 vols. Catania: Giannotta, 1918-23. Teatro. Florence, Messina: D'Anna, 1965. Teatro. Messina: D'Anna, 1988-. Crit: Antonio Scuderi, 'Code Interaction in Nino Martoglio's "I Civitoti in Pretura."' Italica 69 (1992): 61-71. Alessio Di Giovanni (1872-1946) [Valplatani (Agrigento) - Palermo] Scunciuru (New York, Broadway Theatre, comp. Grasso Aguglia 1908; Turin, comp. Grasso Aguglia 1910) Gabrieli hi carusu: Dramma siciliano in 3 atti (Palermo, comp. Marcellini 1911) Palermo: S. Marraffa Abbate, 1910 (also in 'Nfernu veru. Uomini e immagini dei paesi dello zolfo. Ed. Aurelio Grimaldi, intro. Vincenzo Consolo. Rome: Edizioni Lavoro, 1985). Lufattii di Bissana Mora! Mora! (Palermo, comp. Lo Turco 1915) [later title: L'ultinii siciliani] Ed.: Teatro siciliano. Catania: Studio Editoriale Moderno, 1932. Ignazio Buttitta (1899-1997) [Bagheria] // Patriarca. In Teatro siciliano. Ed. Achille Mango. 1961. Lu curtigghiu di U Raunisi. Rielaborazione di un'opera teatrale di autore anonimo. Catania: Giannotta, 1974. Colapesce: Leggenda siciliana in due tempi. Pref. Melo Freni. Messina: P. & M., 1986. Salvatore Di Pietro (1906-) Lu suli di la sira (one act) Sena Gianni (one act)

[Pachino (Siracusa)]

Nino Balotta Pino (1909-1987) [Barcellona Pozzo di Gotto (Messina)] U tamburu. Alto nnico. Milan: Scheiwiller, 1976. Sul dialetto siciliano. Cosenza: SCAT, 1955.

Sicily 321 PROSE Alessio Di Giovanni (1872-1946) [Valplatani (Agrigento) - Palermo] Lu saracinu. Ed. Pietro Mazzamuto. Palermo: II Vespro, 1980. in niorti di hi Patnarca. Novella siciliana. Palermo: G. Travi, 1920. La racina di Sant 'Antoiii. Catania: Studio ed. Moderno, 1932. Crit.: Lucrezia Lorenzini, 'Interpretazione de "La racina di Sant'Antoni" di A. di G.' In Pietro Mazzamuto, ed., La lettemtum dialettale in Italia, 1027-34. Palermo: Sandron, 1984. Maria Rusignolo. 'Le varianti di "Lu saracinu" di A. di G.' In Mazzamuto, La let tcrat in-a, 1035-46.

LITERARY REFERENCES Barbina, Alfredo. Li nmntellina di Santuzza. Teatw siciliano tra Ottocento e Novecento. Rome: Bulzoni, 1983. De Felice, Francesco. Storm del tcatro siciliano. Catania: Giannotta, 1956; Catania: Editnce Elefante, 1979. Di Girolamo, Costanzo, Gaetana Maria Rinaldi, and Salvatore Claudio Sgroi. 'La letteratura dialettale siciliana.' In Lingua e dialetto nella tradizione letteraria italiana, 354-93. Rome: Salerno Editrice, 1996. Imbornone, Ferdinando. Sicilia. Letteratura dellc regioni d'ltalia. Storia e testi. Brescia: Fditnce La Scuola, 1987. Licastro, Fmanuele 'Igna/io Buttitta.' In Dictionary of Literary Biography 114. 'I'tcentieth-Centiin/ Italian Poets. 1st series, 13-17. Ed. Giovanna Wedel De Stasio, Glauco Cambon, and Antonio Illiano. Detroit, London: Gale Research, NM2. Mazzamuto, Pietro. L'anvveUo deU'areolaio: Studi su Pirandello agrigentino e dialettale. Palermo: Flaccovio, 1974. - Introduction to Luigi Capuana, Teatw dialettale siciliano. Catania: Giannotta, 1974. Nicastro, Guido. 'II teatro dialettale siciliano.' In Pietro Mazzamuto, ed., La lettemtum dialettale in Italia dall'unita a oggi, 777-804. Palermo: Sandron, 1984. Santangelo, Giorgio. Lineanienti di storm della letteratura in Sicilia dal secolo XVHI ai nostn gionu. Palermo: Fdizioni Bodoniane, 1952. Spagnoletti, Giacinto, and Cesare Vivaldi, eds. 'Sicilia.' In La poesia dialettale dal Rinascunento a oggi, 2:1165-1299. Milan: Garzanti, 1991. Tropea, Giovanni. Ualiano di Sicilia. Palermo: Aracne, 1976. Varvaro, Alberto. Profilo di storia linguistica della Sicilia. Palermo: Flaccovio, 1979. -- Lingua e storia in Sicilia. Palermo: Sellerio, 1981.

322 The Dialect Canon through the Regions Vizmuller-Zocco, Jana. Toeti in dialetto siciliano: Una prospettiva sociolinguistica.' Arenaria. Rivista mediterranea di lettemtura 8 (1992): 27-36. Zappulla Muscara, Sarah. Introduction to Luigi Pirandello, Tut to il teatro in dialetto, vol. 1. Milan: Bompiani, 1993.

Regional Anthologies Antologia di pocti siciliani. Catania: 'II Popolo di Sicilia' Edit. Tip., 1932. Cavarra, Giuseppe, ed. Charybdis. Poesic messinesi in dialetto. Messina: Intilla, 1995. Poesia dialettale di Sicilia. Palermo: Tip. Valgnarnera, 1955.

LINGUISTIC REFERENCES Alfieri, Gabriella. 'Sicilia.' In Francesco Bruni, ed., L'italiano nelle regioni, 1:798-860. Turin: UTET, 1992. Privitera, Joseph F. Basic Sicilian. A Brief Reference Grammar. Lewiston, NY: Mellen Press, 1998. Ruffino, Giovanni. Dialetto e dialetti in Sicilia. Palermo: CUSL, 1991. - 'Sicily.' In Martin Maiden and Mair Parry, eds, The Dialects of Italy, 365-75. London: Routledge, 1997. Sgroi, Salvatore Claudio. Per la lingua di Pirandello c Sciascia. Caltanissetta, Rome: Sciascia, 1990. Varvaro, Alberto. 'Aree linguistiche XII. Sicilia.' In Giinter Holtus, Michael Metzeltin, and Christian Schmitt, eds, Lexikon der romanistischen Linguistik 4, 716-31. Tubingen: Niemeyer, 1988. Vecchio, Sebastiano. Una nazione senza lingua: II sicilianismo linguistico del primo Ottocento. Palermo: Centro di Studi Filologici e Linguistic! Siciliani, 1988.

Dictionaries Bellestri, Joseph. English-Sicilian Dictionary. Ann Arbor, Mich.: J. Bellestri, 1988. Cavallaro, Giovanni. Dizionario siciliano-italiano. Acireale: Buonanno Editore, 1964. Giarrizzo, Salvatore. Dizionario etirnologico siciliano. Palermo: Herbita, 1989. Piccitto, Giorgio, and Giovanni Tropea. Vocabolario siciliano (A-Q). 3 vols. Palermo: Centro di Studi Filologici e Linguistic! Siciliani, 1977-90. Varvaro, Alberto, and Rosanna Sornicola. Vocabolario etimologico siciliano. Palermo: Centro di Studi Filologici e Linguistic! Siciliani, 1986-.

17

Sardinia

Bella est sa notte, e mille fogarones mandan fumu a su chelu altu e serenu. In sas carrelas ballan senza frenu sns pizzinnas, chi paren visiones. Sos giovanos cantende in tonu amenu ispricnn sas issoro passiones, e deo custas istranzas funziones cuntempro de ineraviglia pienu. Fattende chent'augurios, sa manu s'istringhen basendesi puni in earn, cun d'unu faghere savin e galanu. Chi ti narat chi custa est gente ram. Gai ido e penso, e s'iduhi lontanu amenta, e custa festa m'est amara. The night is beautiful, and a thousand bonfires send smokestacks to the tall and happy sky. Cheerful girls dance in the streets relentlessly, it's like a vision. Young boys sing the joy of their passions, and I am watching these strange customs filled with marvel.

324 The Dialect Canon through the Regions They exchange many wishes, shake hands, and kiss each other on the face, with a candid touch. It is a rare breed of folks. I watch and think, remember past love, and this feast saddens me. Antioco Casula, Uses sardos

Sardinian Dialect Literature Sardinia, the island in the heart of the Mediterranean Sea, was a crossroads of civilizations, not unlike other regions situated in the periphery. Inhabited and ruled by the Phoenicians and Romans, the Pisans and Genoese, and later by the Aragonese and the Castilians, the Catalonians and Piedmontese, Sardinia stands out as a multilingual and multicultural region. The Sardinian dialects are divided in two principal groups, Logudorese in the centre, north, and northwest, and Campidanese in the south. The Sassarese and Gallurese dialects in the far north are instead closer to Tuscan. Among all the Romance varieties, Logudorese is considered the most archaic, with the least genetic distance from Latin. This linguistic autonomy and difference was noted already in early Italian vernacular texts, for example, in Raimbaut de Vaqueiras's Contrasto bilinguc, where a Genoese lady makes fun of her suitor's alien Provencal speech, by comparing it to Sardinian (No t'entend plui d'un Toesco/ O Sardo o Barbari [I understand you no better than a German/or a Sardinian or a Barbarian]). It was later caricaturized by Dante, who described the local population as aping the ancestral Latin tongue. However, despite its insularity, Sardinia was the only Italian region with an early Italianization, owing mainly to the presence from the eleventh century on of Pisans, and to a lesser degree of Genoese. Sardinia, which boasts vernacular documents written toward the end of the eleventh century (the Carta volgare, by Torchitoro, and the Privilegio logudorese), is also one of the only regions with homogeneous vernacular documents produced side by side with Latin texts, rather than simply as inserts. And even with the advent of the Catalonian and subsequent Spanish rule that lasted four centuries, the Tuscan cultural and linguistic presence continued, despite the official status of the Iberian tongues.

Sardinia 325 The annexation of Sardinia by the Savoy in 1718 eventually inaugurated a second and conclusive phase of Italianization. The history of foreign dominations of a predominantly agriculturalpastoral civilization explains the presence through history of Sardinian, Latin, Tuscan, Catalan, and Spanish literary texts. Since education was promoted mostly by the Church, most Sardinian poets were priests or bishops, and many early dialect texts had a religious theme. In his fifteenth-century poem Sa vitta et sa morte et passione de Sanctn Gavinu, Prothu et Janimnu on the martyr Gavino, Antonio Cano made a first attempt to promote Sardinian to literary dignity. His example was followed a century later by Araolla, who treated the same theme, but also wrote Rimas spirituales in Spanish, Sardinian, and Italian. Another poet, the Algherese Antonio Lo Frasso, wrote the first lyrical poems during his exile in Barcelona; he is remembered by Cervantes. This was also the time when the printing press was introduced in Sardinia, and when 'study abroad' was outlawed - unsuccessfully - by Philip II, who feared the heretic ideas young intellectuals would bring back to the island from Italian and Spanish universities. The 'Spanish' seventeenth century produced a meagre dialect literature, except for the Logudorese sacre rappresentazioni, composed by the plurilingual priest from Bosa, Giovanni Delogu Ibba. With the advent of the Savoy rule, Sardinia entered the Italian cultural world again. The principal concern of the new government was to improve the local economy, and to fight the island population's pervasive illiteracy. The Piedmontese adopted cautious linguistic policies, gradually promoting Italian/Sardinian bilingualism, and excluding Spanish only after 1759. The contact with Italian and European literature becomes visible in the works of the Sassarese poets Gavino Pes and Gian Pietro Cubeddu, both students of theology and the humanities. They wrote poetry in the Arcadian tradition on the love of nature, the world of shepherds, and the metamorphosis of human life. Unlike the elegant dialect of Pes, which exhibits contact with Italian, Cubeddu's texts were known mostly through the oral tradition. More humorous and ironical in nature were Pintor Sirigu's anthropomorphous love allegories with their plavful coblas capcaudadas (in giardino miu non podis intrai.// Intrai no podis in custii giardinu), and his satire of gallismo, subtly expressed through the narcissistic dance of a conceited and aggressive rooster (CflHzom da su aiboniscu). The new European spirit of Enlightenment did not go unnoticed in Sardinia. The late eighteenth and early nineteenth centuries produced a

326 The Dialect Canon through the Regions number of politically engaged poets. Francesco Antonio Mannu opposed feudalism and foreign rule; his passionate hymn to Revolution (1794) is reminiscent of some of Calvo's vehement protests against aristocratic tyrants (Su pobulu che in profundu/letargufi' sepultadu .../S'abbizza ch'est in cadena ...// Fi' pro sos Piemontesos/ Sa Sardigna una cuccagna ...II S'isula hat arriunadu/ Custa razza de bastardos ...// Custa, pobulos, e' s'ora/ d'estirpare sos abuses!.. [The people who were buried in deep lethargy,/ and finally woke up/ to notice its chains ...//Sardinia was a feast for the Piedmontese ...//this bastard race wrecked our island ...//This, people, is the hour to get rid of all abuse!...]). The Sassarese Pietro Pisurzi composed poems on the French troops' bombing of Cagliari in 1793 a few years before his death. Still other texts, such as the nineteenth-century Canzona di Mastru Janni, lament the calamity and social effects of famine; the loss of human solidarity resonates in the plight of the homeless in affluent contemporary societies. Diego Mele and Melchiorre Murenu, the two poets of Nuoro, equally sympathized with the poor in angry protest poems. The priest Mele wrote thinly veiled satires in which he justified theft by the hungry; he was accused as an instigator and sent into exile. The blind and illiterate Murenu, known as the 'Homer of the poor/ did not refrain from strong language in his accusation of the people of Bosa (Su culu 'ostr'est meda volenteri/ regalande bruttes' in abbundanzia .../ s'in sos terrinos de su Piemonte/ chimbe o ses culos bostros bi tenia/ patata Savoiarda nde 'attia/ uriischiffittu bene carrigadu [your ass is well disposed/ to drop plentiful of shit .../ and if in Piedmont lands/ I would have had five or six of your asses,/ I would have been able to bring home a shipload/ of potatoes from Savoy]) (Sas isporchizias de Bosa). It is rumoured that his poetry cost him his life. Other poets observed the island's transition from rural to urban and industrial. Calvia, who was influenced by Trilussa and Pascarella, and who was much appreciated by Grazia Deledda, wrote on the loss of peasant civilization. In one of his sonnets he evoked the beauty and simplicity of life in the country (L'aliba secca in mezzu a la rugghitta/e assai piii bona di la cunfittura;/ha saori cument'e di viulitta/massimamenti s'e niedda e maddura ... [Dry olives with arugula/ are sweeter than jam:/ they taste like violet,/ foremost if black and large ...]) (L'aliba secca); the olives bring alive the soldier's memory of his hometown and his mother on the balcony. In the poem Galuse, Giuseppe Mereu, the late-nineteenthcentury poet of melancholy and idyllic landscapes, expressed the richness and diversity of the human experience observed by the village

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fountain (Bajanas samunende/ intendo criticar' ogni persone .../A sas friscuras nnas/benint a fagher paghe sos contraries [I hear girls wash/ and gossip about everyone .../ At my fresh waters/ enemies seal their peace]). The best poet of the early twentieth century was the Nuorese Antioco Casula. His Latinate poems portray the suave naked landscapes so cherished by Pasolini, and the world of the humble, the stonecutter who ends up in poverty (£ issu non tenet domo. Hat trabagliadu/ nott'e die tant'annos pro niente [And now he has no house. He worked/ all night and day for many years and for nothing]) (Tio Puntudu). In other poems, youth is a mirror of age; Gennargentu becomes an allegory of lost youth, of the love for the Sardinian island. More recently, the Sassarese Franzisku Masala published a bilingual book of verse, Poesias in duas limbas (1981), in which he portrayed the bitter-sweet contrast between winners (the continent, the standard language) and losers (the island, the dialects). His social critique and anger is directed at the exploitation of Sardinia, the cause of emigration. The restless emigrant poet Antonio Mura began to write late in life, to honour his father Pietro's memory; like the more recent work of Ignaziu Delogu, his poetry focuses on the search for a lost identity. With the social and economic transformations of the twentieth century, the Sardinian dialects lost much terrain to Italian; their varieties are used in informal speech and in the home, their contact with the standard also produced a regional Italian, visible for example in the post-position of auxiliaries (mnngiato hai? telefonato hai a Gianni?}. The linguistic transition was exploited in some early-twentieth-century comedies, such as Efisio Vincenzo Melis's Ziu Paddori (1919), where a dialectophonous father and his bilingual son misunderstand each other over the words marde (pig) and madre (mother) ([Son] '£ come sta mia marde?' [Father] 'Sa mardi, fillit mm, dd'eu motta! ...' [Son] 'Oh, parde di tnofiglio, non m'ammisculliare mia marde con la scrofola.' [How is my mother?/ The pig, my son, we killed it!/ Oh, dad, don't you mix up my mom with the pig]). The vigour of Sardinian in its two principal literary varieties, the more archaic northern Logudorese and the southern Campidanese, becomes apparent also in their use in narrative texts. The very recent dates of most novels - those by Lobina, Mastino, and Pira - signify perhaps an attempt to defend Sardinian from its gradual decline in form and use. Benvenuto Lobina wrote a historical novel from the point of view of the people of his town Villanova Tulo nel Sarcidano. Written in a lyrical language based on Campidanese, and rewritten for a bilingual edition, it deals with the universal themes of war and survival, and the relationship between regional and global dimensions. The novel focuses

328 The Dialect Canon through the Regions on the years of the First World War, which end in disillusionment and the daily struggle for bread, and reminisces on the Fascist period and the African war. Perhaps more than Lobina, the anthropologist Michelangelo Pira made an attempt at recuperating the rustic origins of his island through its language. With his incomplete novel Sos sinnos, composed between 1974 and 1980 in the Nuorese variety of Bitti, Pira wanted to denounce what he considered the new capitalist-fascist urban society, through episodes contrasting the city to the country, the region to the nation, the 'primitive' to the 'modern' man. He proposed a return to 'Sinnos liberos' (free minds) in order to reach 'cosas sinnatas' (mindful things), and he wanted the Sardinian people to remain strong in the face of contemporary changes, intimating 'bisonzat de appompiare sos sinnos' - that one must resort to one's critical mind. POETRY Antonio Cano (1400-ca. 1470) [Sassari] Sa vitta et sa morte et passione de Sanctn Gavinu, Prothu et Januariu. Sassari 1557

(Isted.). Eds: Sa vitta et sa morte et passione de Sanctu Gavinu, Prothu et Januariu. Ed. Max Leopold Wagner. In Archivio storico sardo 8 (1912): 145-89; Cagliari: Dessi, 1912; ed. Francesco Alziator, Cagliari: Fossataro, 1976.

Gerolamo Araolla (16th c.) [Sassari] Sa vida, su martiriu et morte dessos gloriosos martires Gavinu, Brothu et Giannariu (1582) Rimas spirituals (1597) Eds: Max Leopold Wagner, ed., Die Rimas spirituals von G.A. Dresden: Gesellschaft fur romanische Literatur, 1915. Pietro Nurra, Antologia dialettale del dassici poeti sardi. Sassari: Dessi, 1897. // meglio della grande poesia in lingua sarda. 5th ed. Cagliari: Delia Torre, 1990.

Antonio Lo Frasso (16th c.) [Alghero - Barcelona] Cando si detfinire custu ardentefogu e Sumpremu gloriosu excelsadu. In Lo K, Los diez libros de la Fortuna de Amor, Barcelona 1573; 2nd ed., London 1740. Eds: A. Lo F. poeta e romanziere sardo-ispanico del '500. Opere tradotte in lingua italiana. Ed. Luigi Spanu. Cagliari: Gasperini, 1974. A. Lo F,: Militar de I'Alguer. Ed. A. Rocca Mussons. Sassari: Delfino, 1992.

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Giovanni Delogu Ibba (1664-1738) [Sassari - Villanova Monteleone (Sassari)] Index libri vitae, cm tituhis est lesus Nazarenus Rex iudeorum.Villanova: Centolani, 1736. Matteo Madao (1723-1800) [Ozieri (Sassari) - Cagliari] Saggio di nn'opera intitolata 'II npulimento della lingua sarda lavorato sopra la sua analogia colic due matnci lingue, la greca e la latina.' Cagliari: Bernardo Titard, 1782. Ed.: Pietro Nurra, Antologia dialettale del classici poeti sardi. Sassari: Dessi, 1897. Pietro Pisurzi (1724-1798) [Bantine (Sassari) - Tissi] Eds: Pietro Nurra, Antologia dialettale dei classici poeti sardi. Sassari: Dessi, 1897. Lc piii belle poesie, Ed. Raimondo Carta Raspi. Cagliari: Fondazione II Nuraghe, 1930. Cantones s'abe, a 'anzone, su cabaddareddu egli altri versi ritrovati. Ed. Salvatore Tola. Cagliari: Delia Torre, 1990. // nieglio della grande poesia in lingua sarda. Cagliari: Della Torre, 1990. Gavino Pes Da Tempio (pseudon. Don Baignu) (1724-1795) [Sassari] LH pentimentu Eds: Pietro Nurra, Antologia dialettale dei classici poeti sardi. Sassari: Dessi, 1897. Tutti li canzoni. Ed. Giulio Cossu. Cagliari: Della Torre, 1981. Maurizio Carrus (18th c.) [San Vero Milis (Oristano) - San Vero Milis?] Ed.: Su Passione ct inorte de nostril Signore Jesu Cristu segundo sos battor EvangeUstas. Florence: Tipografia del Vocabolario, 1882. Gian Pietro Cubeddu (1748-1829) [Pattada (Sassari) - Oristano] Eds: Poesie profane e sacre. Ed. A. Boi Dessi. Cagliari: Tip. Unione Sarda, 1905. Canzones c versos. Ed. Salvatore Tola. Cagliari: Della Torre, 1982. Francesco Antonio Mannu (1758-1839) [Ozieri - Cagliari] Ed.: // canto di una nvohizione. Cagliari: Unione Sarda, 1899. Efisio Pintor Sirigu (1766-1814) [Cagliari] Eds: Le piii belle poesie dialettali sarde. II Nuraghe 6 (1925-9). Sanlegna terra di poesia. Ed. Raimondo Carta Raspi. // Nuraghe, 1929,143-56. // nieglio della grande poesia in lingua sarda. Cagliari: Della Torre, 1975. Testi cainpidanesi di poesie popolareggianti. Ed. Francesco Alziator. Cagliari: Fossataro, 1%9.

330 The Dialect Canon through the Regions // meglio della grande poesia campidanese. Ed. Antonangelo Liori. Cagliari: Delia Torre, 1991.

Mastru Janni (19th c.) Ed.: Canzona di Mastru Janni. Ed. Salvatore M. Sechi. Cagliari: Della Torre, 1982.

Diego Mele (1797-1861)

[Bitti (Nuoro) - Olzai (Nuoro)]

Eds: // Parnaso sardo. Ed. Pietro Meloni Satta. Cagliari: G. Ledda, 1923. Satiras con due composizioni inedite. Ed. Salvatore Tola. Cagliari: Della Torre, 1984.

Melchiorre Ledda (pseudon. Melchiorre Murenu) (1803-1854) [Macomer (Nuoro)] Sas isporchizias de Bosa La creazione del mondo. Ottave in dialetto sardo. Bosa: Tip. Vesconte, n.d. Eds: Dialogu tra un penitente e un cunfessore. Cagliari: A. Timon, 1892. Dae sa creazione de Adamu a sa nascita, passione e morte de N.S. Gesu Cristu. Ottave. Cagliari: Tip. A. Timon, 1892. Su giudiziu universale. Canticn in limba sarda logudoresa. Sassari: Tip. Satta, 1901; Ozieri: Niedde, 1934. Raccolta popolare di componimenti poetici in dialetto sardo. Sassari: Ubaldo Satta, 1902. S'istadn de Sardigna e su peccadori moribundu: Cantones sardas. Cagliari: Tip. Unione Sarda, 1906. Le piii belle poesie. Ed. Raimondo Carta Raspi. Cagliari: Fondazione II Nuraghe, 1930. Canzone sarda subra su giudiziu universale e sa giudicatura chi devetfagher su supremu giuighe. Oristano: Pascuttini, 1933. Poesie. Cagliari: Fondazione II Nuraghe, 1953. Poesie in lingua sarda. Ed. F. Pinna Piras. Macomer: P. Pinna, 1955. // meglio della grande poesia in lingua sarda. Cagliari: Della Torre, 1975; 1990 (5th ed.). Tutte le poesie. Ed. Fernando Pilia. Cagliari 1979.

Giovanni Spano (1803-1878)

[Ploaghe - Cagliari]

Ortografia sarda nazionale ossia gramatica della lingua logudorese paragonata all'italiano. Cagliari: Reale Stamperia, 1840. Vocabolario sardo-italiano e italiano-sardo coll'aggiunta dei Proverb) sardi. 2 vols. Cagliari: Tipografia Nazionale, 1851-2.

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Paolo Mossa (1821-1892) [Bonorva (Sassari)] Eds: Poesie. Cagliari: Fondazione II Nuraghe, 1928,1953. Tutte Ic poesie e altri scritti. Ed. Michelangelo Pira. Cagliari: Delia Torre, 1978; 2nd ed., Cagliari: Delia Torre, 1993. Pompeo Calvia (pseudon. Livio De Campo) (1857-1919) [Sassari] Sassari mannu. Sassari: Tip. Liberta, 1912; 2nd ed., Sassari: U. Satta, 1922; Sassari: Chiarella, 1967. Giuseppe Mereu (1872-1901) [Tonara (Nuoro)] Poesms. Pref. Giovanni Sulis. Cagliari: Valdes, 1899. Eds: Poesie. Cagliari: Fondazione II Nuraghe, 1951. Poesias. Ed f : ernando Pilia. Sassari: Delia Torre, 1978. Pietro Casu (1878-1954) [Berchidda (Sassari)] Sa Divina Cnmedia de Dante in limba sarda. Ozieri: F. Niedda, 1929; repr., Ozieri: F. Niedda, 1977. Vocabulariu sardu-italianu. Ed. Antonio Sanna (forthcoming). Eds: Su massaju. Poemetto sardo-logudorese. Cagliari: Ed. della Rivista 'STschiglia/ 1955. Cantones, regales e pubblicadas dai Barore e Giommaria Casu. Ozieri: Ed. Voce del Eogudoro, 1978. Antioco Casula (called Montanaru) (1878-1957) [Desulo (Nuoro)] Boghes de Barbara [Voices from Barbagia]. Cagliari: Dessi, 1904. Cantigos d'f-'.tinargentu. Cagliari: Ledda, 1922. Sos cantos de sa solitudine. Cagliari: Agis, 1933. Sa Lantia [The Lamp]. Nuoro: n.p., 1950. Eds: Antologia. Ed. Francesco Masala. Cagliari: Zattera, 1960, 1978. Boghes de Barbagia. Cantigas d'Ennargentu. Cagliari: n.p., 1977. Montanaru: Poesie scelte. Ed. Giovannino Porcu. Cagliari: 3T, 1982. Antologni lirica di Montanaru: Traduzioni dal logudorese e saggio introduttivo. Ed. Giuseppe Susmi. Cagliari: G. Trois, 1993. Salvator Ruju (pseudon. Agniru Canu) (1878-1966) [Sassari] Agnireddu e Rusina. Dialetto sassarese. Sassari: Gallizzi, 1956. Sassari veccia e noba. Sassari: Tip. Moderna, 1957; Sassari: Gallizzi, 1978. Efisio Vincenzo Melis (pseudon. Ziu Paddori) (early 20th c.) Su libru de is faulas veres. n.p.: Quattromori, 1979-.

332 The Dialect Canon through the Regions Pietro Mura (1901-1966) [Isili (Nuoro)] Su Fizzu in gallera. Cunsizzos a unufizzu. Poesie in sardo logudorese. Oristano: Pinna, 1930. Cesarino Mastino (pseudon. Ziu Gesaru) (1904-1980) [Sassari - Rome] Sassari mea. Sassari: Gallizzi, 1965. Sassari ciunfraiola e risurana. Sassari: Gallizzi, 1966. Tutta Sassari. Sassari: Gallizzi, 1968. Veni che ridi... Sassari: Gallizzi, 1971. Un poggu e un poggu abbuffunendi. Sassari: Chiarella, 1980. Benvenuto Lobina (1914-) [Villanova - Tulo (Cagliari)] Terra, disisperada terra: Poesias. Milan: Jaca Book, 1974. Is canzonis. Ed. Antonello Satta. Cagliari: Delia Torre, 1992. Franzisku Masala (1916-) [Nughedu di San Nicolo (Sassari)] Poesias in duas limbas. Milan: Scheiwiller, 1981,1993. Feminas de Orgosolo: Opera de teatru de Innassiu De Logu, duas poesias de P.M. Nugoro: Papiros, 1988. Antonio Mura (1926-1975) [Nuoro] Lingua e dialetto. Edizioni Barbaricine, 1971. Ignaziu Delogu (1928-) [Alghero] Ed.: Giovanni Tesio and Mario Chiesa, eds, Le parole di legno. Milan: Mondadori, 1984. Efisio Collu (1932-) [Quarto Sant'Elena (Cagliari)] Su soli strangiu (1977) S'urtimu meli. Poesias. Cagliari: 3T, 1981. Prima de amengianu (1991) Leonardo Sole (1934-) [Sassari] In Achilla Serrao, ed. Via terra. Antologia dipoesia neodialettale, 261-2. Udine: Campanotto, 1992. S'arromaniska: Ilgergo degli ambulanti. Sassari: Dessi, 1983. Rafael Sari (1934-1978) (Alghero) Ombra i sol - Poenies de I'Alquer. Cagliari: Delia Torre, 1980. Ciutat mai. Cagliari: Delia Torre, 1984.

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THEATRE Francesco Giovanni Fara (1547-1591) [Sassari - Bosa (Nuoro)] Cummedia sardafra Zizzu e Bobore. Iglesias: Atzeni e Ferrara, 1933. Giovanni Delogu Ibba (1664-1738) [Sassari - Villanova Monteleone (Sassari)] Tragedia in su isclavamentu de sn sacrosanctu corpis de nostru Sennore lesu Christu. Ed.: Una sacra rappresentazione in logudorese, ristampata ed illustrata per cum del prof. Mario Sterzi. Dresden: Gesellschaft fur romanische Literatur, 1906. Luisu Malta (1851-1913) [Nuragus - Gergei] Sfl Coja de Pitanu: Cummedia in versus sardus. Cagliari: Tip. Corriere dell'Isola, 1910; Cagliari: Tip- Commerciale, 1924; Cagliari: EDES, 1977. Emanuele Pili (1880-1951?) [San Vito (Cagliari) - Rome] Bellu schesc' e dottori. Cagliari: Tip. Industriale, 1907; Cagliari: Fondazione II Nuraghe, 1939. Efisio Vincenzo Melis (pseudon. Ziu Paddori) (late 19th/20th c.) [Cagliari?] Su bandidon: Commedia in 3 atti. Cagliari: G. Turno, 1920; Cagliari: Fondazione II Nuraghe, 1930,1954; Cagliari, EDES, 1977. L'onorevole a Campodahga: Un atto brillante in dialetto sardo. Cagliari: Musanti, 1921. Ziu Paddori: Commedia in 3 atti. Cagliari: Fondazione II Nuraghe, 1925, 1953; Cagliari: EDES, 1977. Battista Cannas Ardau (1893-) [Cagliari] Commedie sassaresi. n.p.: Quattromori, 1976. Teatro dialettale sassarese. 3rd ed. Sassari: Gallizzi, 1964-. Antonio Garau (1907-1988) [Oristano] Is campanas de Santu Sadurru (1934). In Commedia sarda in 3 atti. Oristano: Tip. S. Pascuttini, 1935. Peppantwgu s'arriccu (1936) Pibirisardu (1943) Sonmi trumbullau (1945) Basciura (1950). In Commedia dialettale sarda in 3 atti. Cagliari: Ed. 'S'Ischiglia,' 1953; Cagliari: Fossataro, 1976. Sfl professoressa (1956)

334 The Dialect Canon through the Regions Gmseppi e Maria (1972) S'urtima cena (1972) Sa corona de Zia Belledda: Commedia in due atti. Cagliari: Fossataro, 1975. Cicciu Fruschedda: Commedia in un atto (1977). Cagliari: Fossataro, 1978. Su mundu de Ziu Bachis (1979) Maria Concepita. Commedia dialettale sarda in 3 atti (1980). Oristano: S'Alvure, 1994. Su sagrestaneddu: Commedia in lingua sarda in un prologo e quattro atti. Oristano: S'Alvure, 1983. Ed.: // teatro dialettale sardo. Cagliari: Fossataro, 1974 [contains Is campanas de Santu Sadurru, Peppantiogu s'arriccu, Pibirisardu, Sonnu trumballu, Basciura, Sa professoressa, Giuseppi e Maria, and S'urtima cena]. Leonardo Sole (1934-) [Sassari] Funtanaruja. Cagliari: STEP, 1979 [adaptation of Lope De Vega's Fuenteovejuna]. Teatro dialettale sassarese. 3rd ed. Sassari: Gallizzi, 1964-. // teatro dialettale sardo. Cagliari: Fossataro, 1974.

PROSE Pietro Casu (1878-1954) [Berchidda (Sassari)] Preigas. Sassari: Dessi, 1979. Cesarino Mastino (1904-) [Villanova Tulo] Sassari mea. Lu diariu d'Assuntina, Pobara jenti, Passaddu eprisenti. Sassari: Gallizzi, 1965. Lu patiu. Sassari: Gallizzi, 1976. Benvenuto Lobina (1914-) [Villanova Tulo (Cagliari)] Po cantu a Biddanoa. Intro. Nicola Tanda. 2 vols. Cagliari, Sassari: Editrice Mediterranea, 1987. Michelangelo Pira (1928-1980) [Bitti - Cagliari] Sos sinnos. Pref. Bachisio Bandinu. Cagliari: Delia Torre, 1983.

LITERARY REFERENCES Alziator, Francesco. Storia della letteratura di Sardegna. Cagliari: La Zattera, 1954; repr. Cagliari: 3T, 1982.

Sardinia 335 Cirese, Alberts Mario. Pocsia sarda c poesia popolare nella storia degli studi (1968). Repr. Cagliari: 3T, 1977. De Mauro, Tullio. 'L'identita sarda.' In De Mauro, L'Italia dalle Italic, 221-4. 2nd ed. Rome: Editor! Riuniti, 1992. Mura, M. 'La produzione letteraria in lingua sarda dall'unita italiana alia seconda guerra mondiale.' In Pietro Mazzamuto, ed., La letteratura dialettale in Italia dall'unita a oggi. Palermo: Sandron, 1984. Pirodda, Giovanni. 'La Sardegna.' In Alberto Asor Rosa, ed., Letteratura italiana. Storia e geografia, vol. 3, 919-66. Turin: Einaudi, 1989. - Sardegna. Letteratura delle regiom d'ltalia. Storia e testi. Brescia: Editrice La Scuola, 1992. Porru, Matteo, ed. Poeti sardi. Cagliari: Edizioni Castello, 1988. Sanna, Antonio, and Tonino Ledda, eds. Poesia in Sardegna. Cagliari: Fossataro, 1469. Sole, Leonardo. Lingua e ciiltnra in Sardegna: La situazione socw-linguistica. Milan: Umcopli, 1988. - 'L'esperienza sarda: Una letteratura sommersa?' Lingua e dialetto nella tradizioue letteraria italiana, 395-420. Rome: Salerno Editrice, 1996. Spagnoletti, Giacinto, and Cesare Vivaldi. 'Sardegna.' In Spagnoletti and Vivaldi, La poesia dialettale dal Rinascunento a oggi, 2:1301-97. Milan: Garzanti, 1991. Tanda, Nicola. Letteratura e lingue in Sardegna. Cagliari: EDES, 1984.

Regional Anthologies Aiitologia dei poeti dialettali nuoresi. Cagliari: Fossataro, 1969, 1972, 1982. Antologm dialettale dei classici poeti sardi G. Araolla, M. Madao, P. Pisnrzi. Ed. Pietro N u r r a . Sassan: Dessi, 1897. Aiitologia di noesie dialettali tissesi. Ed. Andrea Mulas. Dessi, 1980. // ineglio delta grande poesia cainpidanese. Cagliari: Delia Torre, 1991. // ineglio della grande poesia in lingua sarda. Cagliari: Delia Torre, 1975. Poesia dialettale in Callura. Ed. Giulio Cossu. Sassari: Chiarella, 1976. Sardii so ... Sassari: Gallizzi, 1983. Tanda, Nicola. '"Un'odissea 'e rimas nobas." Antologia di poesia sarda.' In Si sovtw. Rivista di letteratura della Provinaa di Cremona (1966).

LINGUISTIC REFERENCES Blasco Ferrer, Fdoardo. Storia linguistica della Sardegna. Tubingen: Niemeyer, 1984.

336 The Dialect Canon through the Regions Corda, Francesco. Grammatica del sardo logudorese. Con una proposta ortografica, element! di metrica e un glossario. Cagliari: Delia Torre, 1994. Jones, Michael A. 'Sardinia.' In Martin Maiden and Mair Parry, eds, The Dialects of Italy, 376-84. London: Routledge, 1997. Loi Corvetto, Ines. L'italiano regionale di Sardegna. Bologna: Zanichelli, 1983. - 'La Sardegna.' In Francesco Bruni, ed., L'italiano nelle regioni, 1:875-917. Turin: UTET, 1992. Marazzini, Claudio. Piemonte in Italia. Turin: Centre Studi Piemontesi, 1984. Pittau, Massimo. Lingua e civilta di Sardegna. Cagliari: Fossataro, 1970. Sole, Leonardo. Lingua e cultura in Sardegna. La situazione sociolinguistica. Milan: UNICOPLI, 1988. Virdis, Maurizio. 'Aree linguistiche. Sardo.' In Giinter Holtus, Michael Metzeltin, and Christian Schmitt, eds, Lexikon der romanistischen Linguistik^, 897-913. Tubingen: Niemeyer, 1988. Wagner, Max Leoplod. La lingua sarda. Berne: Francke, 1951.

Dictionaries Farina, Luigi. Vocabolario italiano-sardo nuorese. Sassari: Gallizzi, 1989. Lonza, Vito. Vocabolario italiano-sassarese antico e moderno. Sassari: Delfino, 1989. - Vocabolario sassarese-italiano. Sassari: Gallizzi, 1980. Sardo, Mario. Vocabolario italiano-gallurese. Cagliari: Castello, 1994. Spano, Giovanni, Vocabolario sardo-italiano e italiano-sardo. 2 vols. Cagliari: Dalla Tipografia Nazionale, 1851-2. Wagner, Max Leopold. Dizionario etimologico sardo. Heidelberg: Winter, 1960-4; 3 vols, repr. Cagliari: 3T, 1978.

Appendix An Overview of Major Dialect Authors across Time and Regions (Selected Italian authors in italic, according to birthplace) 1500s Piedmont

1600s

1700s

1800s

1900s

Alione Tana

Alficri Isler Calvo

Brofferio Pietracqua Bersezio

Costa Pacot Olivero

Liguria

Foglietta

Cavalli

De Franchi

Bacigalupo

Montale Acquarone Firpo Giannoni

Lombardy

Curti Bressani Dagli Orzi Lomazzo

Biffi Varese Maggi De Lemene

Tanzi Balestrieri

Porta Rajberti Arrighi Dossi De March! Ferravilla Bertolazzi

Tessa Guicciardi Loi Consonni

Veneto

Ruzante Calmo Venier Giancarli

Busenello Varotari Boschini

Baffo Goldoni

Lamberti Buratti Foscarini Selvatico Gallina

Giotti Marin Noventa Meneghetti Zanzotto Calzavara

Friuli

Strassoldo Sim Donato

Stella Di Colloredo

Percoto Zorutti Cescutti

Pasolini Cantarutti Cjanton Bartolini Naldini Giacomini

Villa Carducci Pascoli

Testoni Stuffier Spallicci Zavattini Guerra Baldini Baldassari

EmiliaCroce Romagna

Lotti Banchieri Montalbani

Baruffaldi Gnudi

338 Appendix Appendix (continued) 1500s

1600s

1800s

1900s

Fucini Novell!

Paolieri Bucciolini Carbocci

Tamanti Mancioli

Lisotti Scataglini

Torelli Dell'Uomo Leonard!

Monti Vallecchi

Giraud Micheli Metastasio

Belli Pascarella Randanini Tacconi

Zanazzo Trilussa Dell'Arco Ferrara Chiominto Mare

Parente

Romani D'Annunzio

Anelli De Titta Luciani Clemente Cirese

Capasso D'Antonio Trinchera Vico

Di Giacomo Bracco Russo Petito Scarpetta

Viviani De Filippo Di Natale Serrao Croce

Padula Ammira

Pane Butera Ciardullo Maffia Alvaro

1700s

Tuscany

Borrocci

Marche

Umbria

Podiani

Matte! Peresio Berneri

Lazio

Abruzzo & Molise

Campania

Calabria

Lucania

Velardiniello Del Tufo

Cortese Basile Sarnelli Marino Piro Campanella

Pierro

Overview of Major Dialect Authors 339 Appendix (concluded) 1500s

1600s

1700s

Puglia

Sicily

1800s

Abbrescia Lopez De Dominicis Strizzi De Donno Granatiero Maurogiovanni Veneziano

Paruta Maura

Meli Tempio

Martoglio Rizzotto Capuana Sinopoli Cali Verga

Sardinia

1900s

Araolla

Delogu Ibba

Madao Pisurzi Da Pes Singu

Murenu Casu

Di Giovanni Vann'Anto Buttitta Battaglia Pirandello Vittorini Sciascia Casula Gramsci Pira Masala

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General Bibliography 343 - 'Lingua e dialetto; nuove "question! di lingua/" Gianni Grana, ed., Novecento. Gli scrittori e la cultura letteraria nella societa italiana, 10:9139-93. Milan: Marzorati, 1980. Costa, Rovilio. 'La letteratura dialettale italiana: Ritratto di una cultura.' In Euroamericani, 3:265-85. Turin: Fondazione Giovanni Agnelli, 1987. Croce, Benedetto. 'La letteratura dialettale riflessa, la sua origine nel '600 e il suo ufficio storico.' In Croce, Uomini e cose della vecchia Italia, vol. 1. Bari: Laterza, 1927. Cucchi, Maurizio, and Stefano Giovanardi, eds. Poeti italiani del secondo Novecento 1945-1995. Milan: Mondadori, 1996. De Mauro, Tullio. L'Italia delle Italic. 2nd ed. Rome: Editori Riuniti, 1992. - 'L'Anonimo Romano e la nuova poesia dialettale italiana.' In De Mauro, L'Italia delle Italie, 237-56. Dialetti d'ltalia: Antologia poetica. Ed. Associazione nazionale poeti e scrittori dialettali. Rome: Rari nantes, 1986. Dionisotti, Carlo. Geografia e storia della letteratura italiana. 3rd ed. Turin: Einaudi, 1980. Diverse lingue. Rivista semestrale delle letterature dialettali e delle lingue minori. Udine: Campanotto, 1986-. Dizionario biografico del meridionali. 3 vols. Ed. Raffaele Rubino. Naples: IGEI, 1974. Dizionario enciclopedico universale della musica e dei musicisti. Ed. Alberto Basso. Turin: UTET, 1983-8. Dizionario generale degli autori italiani contemporanei. 2 vols. Florence: Vallecchi, 1974. Elwert, W. Theodor. 'Die mundartliche Kunstdichtung Italiens und ihr Verhaltnis zur Literatur in der Hochsprache.' In Elwert, Aufsatze zur italienischen Lyrik, 156-91. Wiesbaden: Steiner, 1967. - 'Letterature nazionali e letterature dialettali nell'Europa occidentale.' Paideia 25 (1970): 169-92. Fasso, Luigi, ed. // teatro dialettale del Seicento: Scenari della commedia dell'arte. Turin: Einaudi, 1979. Ferrari, Luigi. Onomasticon. Repertorio biobibliografico degli scrittori italiani dal 1501 al 1850. Milan: Hoepli, 1943. Ferrone, Siro, ed. Commedia dell'arte. 2 vols. Milan: Mursia, 1985-6. Folena, Gianfranco. L'italiano in Europa. Esperienze linguistiche del Settecento. Turin: Einaudi, 1983. - // linguaggio del caos: Studi sul plurilinguismo rinasdmentale. Turin: Boringhieri, 1991. Foschi, Andrea, and Emilio Pezzi, eds. La maschera del dialetto. Tolmino Baldassari e la poesia dialettale contemporanea. Ravenna: Longo, 1988.

344 General Bibliography Gallarati, Paolo. Musica e maschera. II libretto italiano del Settecento. Turin: Edizioni di Torino, 1984. Ghisalberti, Alberto M., ed. Dizionario biografico degli Italiani. Rome: Istituto della Enciclopedia Italiana, I960-. Giachery, Emerico, 'Introduzione/ In Alessandro Dommarco, Da mo ve diche addije. Rome: Bulzoni, 1980. - Dialetti in Parnaso. Pisa: Giardini, 1992. Gibellini, Pietro. 'Dialetto e letteratura dal dopoguerra a oggi.' Lettera dall'ltalia 27 (1992): 27-9,40. Gibellini, Pietro, and Gianni Oliva, eds. Letteratura delle regioni d'ltalia. Storia e testi. Brescia: Editrice La Scuola, 1986-. Gramsci, Antonio. Letteratura e vita nazionale. Turin: Einaudi, 1950. Grassi, Corrado. 'Lingua e dialetto nella letteratura contemporanea.' In Grassi, Corso di storia della lingua italiana, vol. 2. Turin: Giappichelli, 1965. Haller, Hermann W. The Hidden Italy: A Bilingual Edition of Italian Dialect Poetry. Detroit: Wayne State University Press, 1986. - 'Lingua, societa e letteratura dialettale in Italia.' Atti dell'Istituto Veneto di Scienze, Lettere ed Arti 150 (1991-2): 399-410. - 'Traduzioni interdialettali: "La scoperta de 1'America" da Pascarella ai genovesi.' Rivista Italiana di Dialettologia 19 (1995): 81-96. - 'Literature in Dialect and Dialect in Literature. A Sociolinguistic Perspective.' In Emmanuela Tandello and Diego Zancani, eds, Italian Dialects and Literature. From the Renaissance to the Present. Journal of the Institute of Romance Studies. Supplement 1, 73-80. London: Institute of Romance Studies, 1996. - 'Poetry and Diglossia: The Lost Language of the New Milanese Dialect Poetry/ In Luigi Ballerini, ed., La linea longobarda, 113-26. Palo Alto: Stanford French and Italian Studies, 1996. Isella, Dante. I lombardi in rivolta. Da Carlo Maria Maggi a Carlo Emilio Gadda. Turin: Einaudi, 1984. L'ltaliaegli Italiani di oggi. Ed. Arturo Codignola. Genoa: Nuovo Mondo. 1947. Jones, Verina A. 'Dialect Literature and Popular Literature.' Italian Studies 45 (1990): 103-17. Lingua e dialetto nella tradizione letteraria italiana. Atti del Convegno di Salerno 5-6 novembre 1993. Rome: Salerno Editrice, 1996. Livio, Gigi. La scena italiana. Materiali per una storia dello spettacolo dell'Otto e Novecento. Milan: Mursia, 1989. Malato, Enrico, ed. La poesia dialettale napoletana. Testi e note. Naples: Edizioni Scientifiche Italiane, 1959. - Storia della letteratura italiana. Rome: Salerno Editrice, 1995-.

General Bibliography 345 Marazzini, Pietro. Storia e coscienza della lingua in Italia daU'Umanesimo al Romanticismo. Turin: Rosenberg & Sellier, 1989. Mazzamuto, Pietro, ed. La letteratura dialettale in Italia daU'unita a oggi. Palermo: Sandron, 1984. Meccia, R., ed. II transito del vento: II mondo e la poesia di Albino Pierro. Naples: ESI, 1989. Mengaldo, Pier Vincenzo. Poeti italiani del Novecento. Milan: Mondadori, 1978. Moretti, Vito, ed. La lingua e il sogno: Scrittori in dialetto nell'Italia del primo Novecento. Atti del Convegno. Rome: Bulzoni, 1992. Muscetta, Carlo, and Pier Paolo Ferrante, eds. Poesia del Seicento. 2 vols. Turin: Einaudi, 1964. Muscetta, Carlo, and Maria Rosa Massei, eds. Poesia del Settecento. 2 vols. Turin: Einaudi, 1967. The New Grove Dictionary of Opera. Ed. Stanley Sadie. 4 vols. London: Macmillan; New York: Grove's Dictionaries of Music, Inc., 1992. Olmi, Massimo. Italiani dimezzati. Le minoranze etnico-linguistiche non protette. Naples: Edizioni Dehoniane, 1986. Paccagnella, Ivano. 'Plurilinguismo letterario: Lingua, dialetto, linguaggi.' In Alberto Asor Rosa, ed., Letterature italiana. Vol. 2, Produzione e consumo, 103-67. Turin: Einaudi, 1983. - 'Uso letterario dei dialetti.' In Luca Serianni and Pietro Trifone, eds, Storia della lingua italiana, 3:495-539. Turin: Einaudi, 1994. Pasolini, Pier Paolo. Passione e ideologia (1948-1958). Milan: Garzanti, 1960; Turin: Einaudi, 1985, Pasolini, Pier Paolo, and Mario Dell'Arco, eds. La poesia dialettale del Novecento. Parma: Guanda, 1952; repr. Turin: Einaudi, 1995. Pesetti, Nada. 'Dialetto borghese e dialetto "villano" nella narrativa veneta contemporanea.' In Federico Albano Leoni, ed., / dialetti e le lingue delle minoranze difronte all'italiano, vol. 2, 667-76. Rome: Bulzoni, 1979. Petronio, Giuseppe, ed. Dizionario enciclopedico della letteratura italiana. Bari, Rome: Laterza, 1966-70. Piga, Francesco. La poesia dialettale del Novecento. Padua: Piccin Nuova Libreria, 1991. Putnam, Robert D. Making Democracy Work: Civic Traditions in Modern Italy. Princeton, NJ: Princeton University Press, 1993. Raffaelli, Massimo, Poesia marginale e marginalita della poesia. Ancona, Urbino: Edizioni Marche Oggi, 1980. Raimondi, Ezio. Letteratura e identita nazionale. Milan: Mondadori, 1998. Rando, Gaetano. 'Dialetto, lingua e cultura nella produzione letteraria degli immigrati italiani in Australia.' Rivista Italiana di Dialettologia 9 (1985): 129-54.

346 General Bibliography Romano, Ruggiero. Finis Italiae. Decline e morte dell'ideologia risorgimentale; perche gli italiani si disprezzano. Milan: All'Insegna del Pesce d'Oro, 1994. - Paese Italia. Venti secoli di identita. Rome: Donzelli, 1994. Roviti, Teodoro. Letterati e giornalisti italiani contemporanei. Dizionario biobibliografico. Naples: Jovene, 1922. Sansone, Mario. Introduzione allo studio delle letterature dialettali. Bari, Naples: Adriatica Editrice, 1948. - 'Relazioni fra la letteratura italiana e le letterature dialettali.' In Antonio Viscardi, ed., Problemi ed orientamenti critici di lingua e letteratura italiana, vol. 4. Milan: Marzorati, 1948. Sara tori, Claudio. I libretti italiani a stampa dalle origini al 1800: Catalogo analitico con 16 indici. Cuneo: Bertola e Locatelli, 199Q-. Segre, Cesare. Tolemica linguistica ed espressionismo dialettale nella letteratura italiana.' In Segre, Lingua, stile e societa, 397-426. Milan: Feltrinelli, 1974. - 'II dialetto come strumento dell'espressionismo letterario.' In Gian Luigi Beccaria, ed., Letteratura e dialetto, 127-39. Bologna: Zanichelli, 1975. - Tunto di vista, polifonia ed espressivismo nel romanzo italiano (1940-1970).' In Segre, Intrecci e voci. La polifonia nella letteratura del Novecento, 27-44. Turin: Einaudi, 1991. Serianni,. Luca, and Pietro Trifone, eds. Storia della lingua italiana. 3 vols. Turin: Einaudi, 1993-4. Serra, Edda. 'Poesia in dialetto e poesia dialettale.' In Manlio Cortelazzo, ed., Guida ai dialetti veneti 2:131-47. Padua: Cluep, 1980. Serrao, Achille, ed. Via terra. Antologia di poesia neodialettale. Udine: Campanotto, 1992. Spagnoletti, Giacinto, and Cesare Vivaldi. La poesia dialettale dal Rinascimento a oggi. 2 vols. Milan: Garzanti, 1991. Stussi, Alfredo, 'Dialettologia, storia della lingua, filologia.' Rivista Italiana di Dialettologia 11 (1987): 101-24. - Lingua, dialetto e letteratura. Turin: Einaudi, 1993. / Trovieri, Antologia critica di poeti dialettali italiani e alloglotti. Ed. Teodoro Giuttari, Adriana Nicolini, Pierpaolo Serarcangeli. Milan: Todariana Editrice, 1978. Varvaro, Alberto. 'La dialettologia e le letterature dialettali: Ragioni di un divorzio.' In Vavaro, La parola nel tempo, 233-42. Bologna: II Mulino, 1984. Vitale, Maurizio. 'Di alcune riverndicazioni secentesche della "eccellenza" dei dialetti.' In Letteratura e societa. Scritti di italianistica e di critica letteraria per il XXV anniversario dell'insegnamento universitario di Giuseppe Petronio, 1:209-22. Palermo: Palumbo, 1980.

General Bibliography 347 2 Language and Dialects AIS = Jaberg, Karl, and Jakob Jud. Sprach- und Sachatlas Italiens und der Siidschweiz. 8 vols. Zofingen: Ringier, 1928-40 (reprint of one volume by Glauco Sanga, ed., Atlante linguistico ed etnografico dell'Italia e della Svizzera meridionale di K. Jaberg e }. Jud. Milan: Unicopli, 1987). Albano Leoni, Federico, ed. / dialetti e le lingue delle minoranze difronte all'italiano. Rome: Bulzoni, 1980. Alfieri, Gabriella. L"ltaliano nuovo.' Centmlismo e marginalita linguistic! nell'Italia unificata. Florence: Accademia della Crusca, 1984. ALI ~ Atlante Linguistico Italiano. Vol. 1, // corpo umano. Rome: Istituto Poligrafico dello Stato, 1995. Alinei, Mario. Lingua e dialetti: Struttura, storia e geografia. Bologna: II Mulino, 1984. Avolio, Francesco. Bommespre. Profile linguistico dell'Italia centro-meriodionale. San Severo: Gerni, 1995. Banfi, Emanuele, ed. L'altra Europa linguistica. Florence: La Nuova Italia, 1993. - La formazione dell'Europa linguistica. Florence: La Nuova Italia, 1993. Berruto, Gaetano. Sociolinguistica dell'italiano contemporaneo. Rome: La Nuova Italia Scientifica, 1987. - Fondamenti di Sociolinguistica. Rome, Bari: Laterza, 1995. Bertoni, Giulio. Italia dialettale. Milan: Hoepli, 1916; repr. Milan: CisalpinaGoliardica, 1986. Bonfante, Giulio. 'History and the Italian Dialects.' Zeitschrift fiir Mundartforschung 3/4 (1967): 84-108. Bruni, Francesco. L'italiano. Elementi di storia della lingua e della cultura. Turin: UTET, 1984. Bruni, Francesco, ed. L'italiano nelle regioni: Lingua nazionale e identita regionali. 2 vols. Turin: UTET, 1992-4. - Storia della lingua italiana. Bologna: II Mulino, 1989-. Castellani, Arrigo. 'Quanti erano gl'italofoni nel 1861?' Studi Linguistici Italiani 8 (1982): 3-26. Chambers, J.K., and Peter Trudgill. Dialectology. Cambridge: Cambridge University Press, 1980. Coletti, Vittorio. Storia dell'italiano letterario. Turin: Einaudi, 1993. Cortelazzo, Manlio. Avviamento critico allo studio della dialettologia italiana. Vols. 1 and 3. Pisa: Pacini, 1969-72. Cortelazzo, Manlio, ed. Profile dei dialetti italiani. Pisa: Pacini, 1974-.

348 General Bibliography Cortelazzo, Manlio, and Carla Marcato. Dizionario etimologico dei dialetti italiani. Turin: UTET, 1992, new enlarged ed. 1998. Coveri, Lorenzo. 'Chi parla dialetto in Italia?' Italiano e Oltre 1 (1986): 198-202. Coveri, Lorenzo, and Camilla Bettoni. Italiano e dialetti fiiori d'ltalia. Bibliografia. Siena: Scuola di Lingua e Cultura Italiana per Stranieri, 1991. Delia Monica, Walter, ed. I dialetti e I'ltalia: Inchiestafra scrittori, poeti, sociologi, specialisti. Milan: Pan Editrice, 1981. De Mauro, Tullio. Storia linguistica dell'Italia unita. 3rd ed. Bari: Laterza, 1972. De Mauro, Tullio, ed. Come parla no gli italiani. Florence: La Nuova Italia, 1994. De Mauro, Tullio, and Mario Lodi. Lingua e dialetti. Rome: Editori Riuniti, 1979. De Mauro, Tullio, Federico Mancini, Massimo Vedovelli, and Miriam Voghera. Lessico difrequenza dell'italiano contemporaneo. Milan: Etas, 1993. Devoto, Giacomo, and Gabriella Giacomelli. / dialetti delle regioni d'ltalia. 2nd ed. Florence: Sansoni, 1991. Durante, Marcello. Dal latino all'italiano moderno. Bologna: Zanichelli, 1981. Gensini, Stefano. Elementi di storia linguistica italiana. Bergamo, Bari: Minerva Italica, 1985. Gramsci, Antonio. Grammatica e linguistica. Rome: Editori Riuniti, 1993. Grassi, Corrado. Elementi di dialettologia italiana. Turin: Giappichelli, 1970. Grassi, Corrado, Alberto A. Sobrero, and Tullio Telmon. Fondamenti di dialettologia italiana. Rome, Bari: Laterza, 1997. Gri, Gian Paolo. 'Dialetti e folklore nelle scuole: La Riforma Gentile.' In Letteratura e societa. Scritti di italianistica e di critica letteraria per il XXV anniversario dell'insegnamento universitario di Giuseppe Petronio, 2:741-52. Palermo: Palumbo, 1980. Holtus, Giinter, Michael Metzeltin, and Christian Schmitt, eds. Lexikon der romanistischen Linguistik. Vol. 4. Tubingen: Niemeyer, 1988. ID = Italia dialettale. Pisa. leO = Italia e Oltre. Rome (especially 1/5,1986). Maiden, Martin. A Linguistic History of Italian. London: Longman, 1995. Maiden, Martin, and Mair Parry, eds. The Dialects of Italy. London: Routledge, 1997. Marazzini, Claudio. La lingua italiana. Profilo storico. Bologna: II Mulino, 1994. Meneghetti, Maria Luisa. Le origini. Rome, Bari: Laterza, 1997. Migliorni, Bruno. Storia della lingua italiana. Intro. Ghino Ghinassi. Florence: Sansoni, 1987. Muljacic, Zarco. Scaffale italiano. Avviamento bibliografico olio studio della lingua italiana. Florence: La Nuova Italia, 1991. Nencioni, Giovanni. Di scritto e di parlato. Discorsi linguistici. Bologna: Zanichelli, 1983.

General Bibliography 349 Parlangeli, Oronzo. La nuova questione della lingua. Brescia: Paideia, 1971. Pellegrini, Giovan Battista. Cart a del diaktti d'Italia. Pisa: Pacini, 1977. - La gene$i del retoroinanzo (o ladino). Tubingen: Niemyer, 1991. Pfister, Max, ed. LEI: Lessico etimologico italiano. Wiesbaden: Reichert, 1979-. RID = Rivista Ualiana di Dialettologia. Bologna. Rohlfs, Gerhard, Gmnimatica storica della lingua italiana e dei suoi dialetti. Turin: Emaudi, 1966-9. Ruffino, Giovanni, ed. Percorsi di geografia linguistica: Idee per un atlante siciliano della cultiim dialettale e dell'italiano regionale. Palermo: Centra di Studi Filologici e Linguistici Sicilian!, 1995. Segre, Cesare, Teatro c ronmnzo. Due tipi di comunicazione letteraria. Turin: Einaudi, 1984. Simone, Raffaele, and Giulianella Ruggiero, eds. Aspetti sociolinguistici dell'italiano contemporanco. 2 vols. Rome: Bulzoni, 1977. Sobrero, Alberto A. Intwdiizione all'italiano contemporaneo. 2 vols. Rome, Bari: Laterza, 1993. Telmon, Tullio. Le tnuwranze lingitistiche in Italia. Alessandria: Edizioni dell'Orso, 1992. Toso, Fiorenzo. Frammenti d'Europa: Guida alle nnnoranze etnico-lmgiiisticlie e aiferrneuti autonomist!. Milan: Baldini & Castoldi, 1996. Vignuzzi, Ugo. 'Chi parla ancora dialetto?' Italiano e Oltre 3 (1988): 241-5. Vitale, Maurizio. La questione della lingua. Palermo: Palumbo, 1978. Zolli, Paolo. Le parole dmlettali. Milan: Rizzoli, 1986.

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Index of Names and Subjects

Note Region and genre follow the name of dialect authors only: ABR=Abruzzo; CAL=Calabria; EM-ROM=Emilia-Romagna; FRI=Friuli; LAZ=Lazio; LI= Liguria; LOM=Lombardy; LUC=Lucania; MAR=Marche; MOL=Molise; NEA=Campama; PI=Piedmont; PUGL=Puglia; SAR=Sardinia; SIC=Sicily; TUS=Tuscany; UMB=Umbria; VE=Veneto; P=poetry / Th=theatre / Pr=prose. Abbrescia, Francesco Saverio PUGL-P 281,283 Abruzzese dialect: poetry 230-3, 234-8, anthologies of A.p. 241-2; theatre 231, 240; dictionaries 242 Accorsi, Maria Grazia 179 Acquarone, Aldo 1,1-P 37, 63, 97, 100 Acquaviva, Cataldo PUGL-Th 287 Acncid, translation: in Genoese 37, in Neapolitan 38 Amu culture 78 Albanese, Guido 232 Alessi 130 Alfieri, Gabriella 57, 58n4 Alfien, Vittorio PI-P 64, 77, 83 Alighieri, Dante: De vulgari eloquentia 6, 95,178, 196, 324; Divine Comedy 11,15, 35; trans, of D.C. in Milanese 37, Neapolitan 38, Roman 38, Sicilian 38

Alione, Gian Giorgio PI-P,Th 42, 79, 82, 87-8 A lla museche 279-80 Altavilla, Pasquale NEA-Th 269 Altobello, Giuseppe MOL-P 21, 233, 238 Amenta, Niccolo NEA 64, 257 Ammira, Vincenzo CAL-P 19, 29, 299-300 Andreini, Giovan Battista VE-Th 151 Anelli, Luigi ABR-PJh 19, 47, 231, 235, 240 Angeli, Siro FRI-P 167 Angiuli, Lino PUGL-P 282, 286 Anonimo Friulano FRI-P 164 Anonimo Leccese PUGL-P 283 Anonimo Lombardo. See Da Pavia Anonimo Marchigiano (16th c.) MAR-P 203 Anonimo Mesagnese (17th/18th c.) PUGL-Th 286

352 Index of Names and Subjects Anonimo Napoletano (17th/18th c.) NEA-P 260 Anonimo Napoletano (18th c.) NEA-Th 268 Anonimo Piemontese PI-Th 88 Anonimo Pugliese (18th c.) PUGL-Th 287 Anonimo Romagnolo (16th c.) EM-ROM-P 183 Anonimo Romagnolo (20th c.) EM-ROM-Pr 192 Anonimo Romano. See Ferrara, Maurizio Anonimo Veneziano VE-Th 151 anticlericalism 19, 44, 46, 47, 77,109, 180, 202,209, 217, 231, 296, 310 antifascism 19,182, 298 Antonioni, Michelangelo 181 Apollinaire, Guillaume 131 Appi, Renato FRI-P,Th 168,171 Araolla, Gerolamo SAR-P 325, 328 Ardau, Battista Cannas SAR-Th 333 Ariosto, Ludovico: Orlando Furioso 35; trans, in Friulian 38, Milanese 37, Romagnol 38 Arrighi, Cletto LOM-Th 20, 36, 37,45, 46, 52, 67, 109,121 Ascoli, Graziadio Isaia 5,14,162 Asmundo, Bartolomeo SIC-P 310 Assonica, Carlo LOM-P 36, 37,112 Bacigalupo, Nicolo LI-P/Th 20, 36, 37, 45, 97, 98-9,102 Baffo, Giorgio VE-P 20, 33,131,141 Balbi, Domenico VE-P 139 Balbis, Silvio Saverio PI-P,Pr 83, 91 Baldassari, Tolmino EM-ROM-P 19, 63,177,182,187-8 Baldini, Raffaello EM-ROM-P 32, 181-2,187

Balestrieri, Domenico LOM-P 18, 28, 36, 37,108,113 Ballerini, Luigi LOM-P 119 Ballestra, Silvia 58-9 Balotta Pino, Nino SIC-P,Th 69, 315, 320 Balzac, Honore de 79 Banchieri, Adriano EM-ROM-Th,Pr 68,189,191; Discorso della lingua bolognese 55,61, 68,178,191 Barbarani, Tiberio Umberto VE-P 132, 143 Barbara Da Portogruaro, Angelo Maria VE-P,Th 20,131,152-3 Barbosi, Alessandro LAZ-Th 38, 225 Bartoli, Giuseppe Arnaldo EM-ROMP187 Bartolini, Elio FRI-P 163,168 Baruffaldi, Girolamo EM-ROM-P 183 Basile, Domenico NEA-P 259-60 Basile, Giambattista NEA-P, Pr 55, 56, 245, 259; Lo cunto de li cunti 17, 2535, 275-6 Basilicata. See Lucanian dialect Battaglia, Giuseppe SIC-P 31, 307, 317 Bax, Girolamo PUGL-Th 287 Bellati, Francesco LOM-P 37,113 Bellezza, Silvio 81 Belli, Giuseppe Gioachino LAZ-P 18, 19, 29, 33, 97, 213-14, 217, 220 Bellini, Melchiorre LOM-P 115 Bellosi, Giuseppe EM-ROM-P 188 Bembo, Pietro 13, 16, 64,130 Benini, Ferruccio 41,136,137 Beolco, Angelo. See Ruzante Bergamasque dialect 17, 26,162 Bernardi Cassiani Ingoni, Teresa EM-ROM-P 36, 38,184 Bernasconi, Pino LOM-P 111, 117

Index of Names and Subjects 353 Berneri, Giuseppe LAZ-PJh 27, 216, 220, 225 Bersezio, Vittorio PI-Th 44-5, 46, 53, 89; Le miscne 'd monssii Travel 79-80, 89 Bertacchi, Giovanni LOM-P 115 Bertmazzo, Enzo LOM-P 118 Bertolani, Paolo LI-P 97,101 Bertolazzi, Carlo LOM-Th 19, 20, 45, 53,109, 122-3; VE-Th 155 Bertolino, Remigio PI-P 78, 87 Bertolucci, Attilio46 Bettini, Pompeo LOM-Th 122 Biancone, Gerolamo FRI-P 26, 161, 164 Bianconi, Giovanni LOM-P 111, 116 Biffi, Giovanni Ambrosio LOM-P 61, 67, 112 Birago, Girolamo LOM-Th 121 Boccaccio, Giovanni NEA-Pr 12,16, 55, 55n2, 244, 274-5 Boccaleone, Eugenio 37 Bocchini, Bartolomeo EM-ROM-Th 189 Bodrie, Tom (Bodrero, Antonio) PI-P 78,86 Bogliun, Loredana FRI-P 171 Bolognese dialect. Sec EmilianRomagnol dialect Bolognesi, Mario EM-ROM-P 188 Bona, Giulio Cesare VE-P 140 Bonini, Pietro FRI-P 38, 162, 166 Bonvesin da la Riva 106 Borazio, Francesco Paolo PUGL-P 282, 285 Borgese, Giuseppe Antonio. See D'Annunzio Borrelli, Vittorio PI-P 83 Borrocci, Francesco MAR-P 20, 202, 203

Borsieri, Pietro 33-4 Boschini, Marco VE-P 33,140; La carta de navegar pitoresco 56,130-1,140 Bovio, Libero NEA-P,Th 30, 47, 247, 251, 264-5, 272 Bozzi, Enrico PUGL-P 281, 284 Bracco, Roberto NEA-P,Th 47, 251, 263, 271 Brero, Camillo PI-P,Pr 66, 67, 81, 86, 91-2 Bressan, Luigi VE-P 149 Bressani, Giovanni LOM-P 106, 111 Brevini, Franco 5n9,163 Brigiotti, Luigi ABR-P 235 Brindisi, Rocco LUC-P 292 Briti, Paolo VE-P 36, 37,140 Brofferio, Angelo PI-P,Th 29, 77, 83-4, 88 Bruni, Francesco 7 Brusini, Alan FRI-P,Pr 163,168,173 Bucciolini, Giulio TUSC-Th 20,196, 198 Buiese, Elsa FRI-P 168 Buini, Giuseppe Maria EM-ROM-Th 190 Burat, Tavo (Buratti, Gustavo) PI-P 75-6, 78, 81, 87 Buratti, Pietro VE-P 132,142 Burgaretta, Sebastiano SIC-P 316 Buronzo, Vincenzo PI-P 84 Busenello, Gian Francesco VE-P 33, 130,139 Busi, Aldo 58 Butera, Vittorio Maria CAL-P 298, 301 Buttitta, Ignazio SIC-P,Th 14, 31, 63, 304, 307, 315, 320 Buzzi, Paolo LOM-P 115 Caccavo, Gennaro NEA-Th 267 Cacia VE-P 141

354 Index of Names and Subjects Cadel, Vittorio FRI-P 166 Calabrese dialect: poetry 296-302; anthologies of C.p. 303; defence of 296; dictionaries 303 Cali, Santo SIC-P 307, 316 Calmo, Andrea VE-P,Th 41,42,50, 51, 135,138-9,150 Calvia, Pompeo SARD-P 326, 331 Calvino, Italo 58, 80,253 Calvo, Edoardo PI-P,Th 18,19, 21, 28-9, 75, 77, 83, 88 Calzavara, Ernesto VE-P 32,133, 146-7 Calzoni, Umberto UMB-P 211 Cameroni, Francesco VE-Th 153 Cammarano, Filippo NEA-PJh 261, 269 Campagnani, Policarpo 36, 37 Campanian dialect. See Neapolitan dialect Campelli, Paolo 62, 64, 209 Canesi, Emanuele LI-Th 102 Cano, Antonio SARD-P 26, 325, 328 Canonica, Ugo LOM-P 117 Cantarutti, Novella FRI-P,Pr 32, 57, 163,167,173 Cantoni, Aurelio. See Cjanton Capano, Andrea LI-P 101 Capasso, Nicolo NEA-P 36, 38, 246, 260 Capriglione, Raffaele MOL-P 238 Capuana, Luigi SIC-Th 48, 308, 318 Capurro, Giovanni NEA-P 247, 262-3 Caputo, Erminio Giulio PUGL-P 29, 281, 286 Carati, Siro LOM-P 114 Caravia, Alessandro VE-P 138 Carbocci, Bruno TUSC-Th 196-7, 198-9 Carbone Lascar, Ernestina 37

Cardone Di Bella, Gian Lorenzo CAL-P 296, 299 Carletti, Ercole FRI-P 166 Carminati, Attilio VE-P 148 Carrus, Maurizio SARD-P 329 Carte di Capua 12, 244 Casalis, Carlo PI-Th 88 Cassinelli, Giuseppe LI-P 101 Castellani, Riccardo FRI-P 167 Castelli, Davide 97 Casu, Pietro SARD-P,Pr 331,334 Casula, Antioco SARD-P 323-4, 327, 331 Caurlini, Pietro VE-P 140 Cava, Giuseppe LI-P 97, 99 Cavalli, Gian Giacomo LI-P 28, 94-5, 96,98 Cavarra, Giuseppe SIC-P 316-17 Cavassico, Bartolomeo VE-P 26,130, 138 Cavicchioli, Gilberto LOM-P 117 Cecchinel, Luciano VE-P 149 Ceci, Getulio UMB-P 210 Cenzato, Giovanni LOM-Th 123 Cergoly Serini, Carolus L. VE-P 133, 147 Cerri, Giovanni MOL-P 233, 239 Cesari, Francesco MAR-P 202, 204 Cesari, Padre 64-5 Cescutti, Celso FRI-P 166 Cherubini, Francesco 4, 66, 67,109 Chiappetta, Antonio CAL-P 300 Chiappini, Filippo LAZ-P 68, 220 Chiari, Pietro VEN-Th 152 Chiominto, Cesare LAZ-P 31, 219, 224 Chiurazzi, Luigi NEA-P 38, 247, 262 Chiurlo, Bindo FRI-P 67,162 Ciant da li ciampanis 160 Ciappa, Vincenzo NEA-P 261 Ciardullo. See De Marco

Index of Names and Subjects 355 Cibaldi, Aldo LOM-P 117 Cielo d'Alcamo 57 Cima, Michele MOL-P 233, 238 Ciprelli, Leone LAZ-P 223 Cirese, Eugenio MOL-P 233, 238-9 Cirillo, Giuseppe Pasquale NEA-Th 249, 268-9 Ciurcio, Achille CAL-P 301 Civitareale, Pietro ABR-P 237 Cjanton, Lelo FRI-P,Th,Pr 163, 168, 171,173 Clemente, Vittorio ABR-P 229-30, 232, 236 Clivio, Amedeo 81 Clivio, Gianrenzo P. 81 Collu, Efisio SARD-P 332 Colussi, Ovidio FRI-P,Th 168-9, 173 Cominetti, Annibale 80 commedia deU'arte 17, 40, 40nn3-4, 51, 135,250 Compagnoni, Giuseppantonio 202 Con Bolaffw 127-8 Conia, Giovanni CAL-P 62, 68, 296, 299 Consiglio, Emilio PUGL-P 283 Consolo, Vincenzo 57, 58 Consonni, Giancarlo LOM-P 120 Contini, Gianfranco 16n26, 57n3 Corio, Francesco Girolamo LOM-P 112-13 Corsuto, Pietro Antonio NEA-Pr 275 Gortese, Giulio Cesare NEA: poetry 27, 245, 258; theatre 248, 266; prose 276 Corvo, Nicola NEA-P,Th 248, 262, 266 Cosentino, Carlo CAL-P 36, 38, 298 Cosio, TavioPI-Pr81,91 Costa, Nino PI-P,Th 31, 78, 84, 90 Costo, Tommaso 60

Creazzo, Pasquale CAL-P; SIC-P 38, 300, 314 Cremona, Antonino SIC-P 316 Crisci, Giovan Battista 257 Cristofferi, Giovanni 36, 37 Croce, Benedetto 5, 253 Croce, Giulio Cesare EM-ROM: poetry 183; theatre 42, 51,178,189; prose 191 Crocioni, Giovanni 203 Cubeddu, Giovan Pietro SARD-P 28, 325, 329 Curcio, Achille CAL-P 298 Curti, Lancino LOM-P 26,106, 111 Da Gangi, Giuseppe Fedele Vitale SIC-P 311 Dagli Orzi, Galeazzo LOM-P 26, 27, 106, 111 Dall'Ongaro, Francesco VE-P 57,143 D'Amelio, Francesc'Antonio PUGL-P 281, 283 D'Annunzio, Gabriele: Lafiglia di lorio, trans, in Abruzzese 232, Sicilian 318; parody of, 251, 270 D'Antonio, Giovanni NEA-P,Th,Pr 56, 256, 261, 269,276 Da Pavia, Alessandro Monti LOM-Pr 123 Da Portogruaro. See Barbara, Angelo Maria D'Aquino, Maria Luisa 247 Da Stabello. See Ruggeri Da Stabello Da Tempio, Gavino Pes. See Pes, Gavino D'Avila, Girolamo SIC-P 310 D'Avino, Gennaro NEA-Th 44, 249, 269 De Biasio, Ernesto Andrea VE-Th 137, 154

356 Index of Names and Subjects De Curtis, Antonio. See Toto De Dominicis, Giuseppe PUGL-P 29, 283-4; SIC-P 313 De Donno, Nicola Giuseppe PUGL-P 63,281,285-6 De Fano, Vito PUGL-P 285 De Filippo, Eduardo NEA-P,Th 19,36, 42,45, 53, 247, 252,265, 273-4; Filumena Marturano 252-3, 273 De Franchi, Stefano LI-P,Th 28,36, 37, 43, 96, 98,101-2 De Gironcoli, Franco FRI-P 166-7 Dei, Benedetto LOM-P 111 De Lemene, Francesco LOM-Th 40, 52,107-8,121 Delfinoni, Scipione LOM-P 111 De' Liguori, Alfonso Maria NEA-P 246, 261 Delia Porta, Modesto ABR-P 235 Dell'Arco, Mario LAZ-P 68,219, 223-4 Dell'Uomo, Giuseppe UMB-P 19, 29, 209, 210 Del Monte, Crescenzo LAZ-P 38, 215, 219, 222 Delogu, Ignaziu SARD-P 327, 332 Delogu Ibba, Giovanni SARD-PJh 325, 329, 333 Del Tufo, Giovan Battista NEA-P,Pr 60,257, 258, 275 De Marchi, Emilio LOM-Pr 56,123; Milanin Milanon 109-10,123 De Marco, Michele CAL-P 19, 298, 301 De Mauro, Tullio 14 De Noto, Michele PUGL-Th 287 De Sica, Vittorio 181 De Simone, Roberto 255 De Titta, Cesare ABR-P,Th 31, 232, 235, 240

De Vita, Nino SIC-P 317 dialect: attitudes 6, 22, 31, 33; in cinema 21,46, 46nll; defence of 27, 60-3,108-9,161-2,182, 255, 257, 296 (see also Banchieri, Biffi, Campelli, Conia, Foglietta, Madao, Parini, Podiani, Porta, Serio, Sini, Tessa, Tosco); history 9-15, 60-9; Italianization of 14, 47,182, 219; in Italian literature 57-9; opposition to 6, 30; origins of 10-11; questione della lingua 63-5; social use of 7,14, 14n22,134; transcription of 50; typology 10-11 (see also Italian language) dialect literature: - poetry 25-38, anthologies of 4-5, 5n9; history of 26-33 - theatre 39-53; history of 42-8 - prose 54-9 - genres 16-17 - history 15-22 - Italian American 8; see also Pane, Rimanelli, Tusiani - map of xii - metrical forms: ottava rima 20; sonetto 20, 217, 230; strambotto 27, 305 - overview of, chronological 337-9 - poet as philologist 65-9 - translations of 20; see also Alighieri, Ariosto, Tasso - unifying features of 19-21 Di Colloredo, Ermes FRI-P,Th,Pr 162, 165,171-2 Di Falco, Benedetto 64 Di Giacomo, Giovanni Antonio. See Vann'Anto Di Giacomo, Salvatore NEA-P,Th 20, 29-30,47, 243,247,251,263,271; Assunta Spina 251,271

Index of Names and Subjects Di Giovanni, Alessio SIC: poetry 306-7, 313-14; theatre 309, 320; prose 57, 310, 321; Gabrieli hi carusu 309, 320; Li/sflran'm/310, 321 Di Liveri, Domenico Luigi NEA-Th 267

Di Marco, Salvatore SIC-P 316 Di Natale, Salvatore NEA-P 266 Dionisotti, Carlo 4, 16n27, 25 Di Pietro, Salvatore SIC-P,Th 307, 315, 320 Di San Martmo, Matteo 64, 76, 81 Dommarco, Alessandro ABR-P 233, 237 Dommarco, Luigi ABR-P 235 Donato, Giovan Battista FRI-P,Pr 27, 161, 162, 164, 172 Donato, Nicassio PUGL-Th 287 Donizetti, Gaetano 217, 246 Dorato, Bianca PI-P,Th 78, 87, 90 Dossi, Carlo LOM-Th 52, 63,109,122 Dotti, Bartolomeo VE-P 140 Duonnu P a n t u . Sec Piro emigration 9, 132, 134, 180, 233, 247, 297,, 327 Emilian-Romagnol dialect: history of, 178-9; poetry 177-88; anthologies of E.-R.p. 194; theatre 178-80, 189-90; prose 191-3; dictionaries 194 expressionism 9, 58, 58n4 Fagiam, Cesare ABR-PJh 236, 240 Fagiolo, Mario. Sec Dell'Arco Faldella, Giovanni 58 Fara, Francesco Giovanni SARD-Th 333 Fasano, Gabnele NEA-PJh 36, 38, 259 Favetti, Carlo FRI-P,Pr 166, 172

357

Federico, Gennaro Antonio NEA-Th 248, 249, 268 Fellini, Federico 46,181 Ferrara, Espedito ABR-Th 240 Ferrara, Maurizio LAZ-P 31, 219, 224 Ferrari, G. 5 Ferrari, Paolo LOM-Th 121 Ferravilla, Edoardo LOM-Th 46,122 Ferretti, Luigi LAZ-P 221 Ferri, Ottavio MAR-P 26, 202, 203 Fiacchi, Antonio EM-ROM-Th 190 Fierro, Aurelio 258 Fignon, Beno FRI-P 170 Finamore, Gennaro 232 Fioretti, Lionello FRI-P 170 Firpo, Edoardo LI-P 19, 31, 37, 95, 97, 99-100 Flechia, Giuseppe 37 Fo, Dario 50, 51, 53 Fogazzaro, Antonio VEN-Th 153 Foglietta, Paolo LI-PJh 34, 61, 95-6, 97,101 Folena, Gianfranco 50nl6 Folkel, Ferruccio VE-P 148 Forte, Maria FRI-P,Pr 163,167, 172 Foscarini, Jacopo Vincenzo VE-P 132, 143 Francescotti, Renzo VE-P,Th 134, 149, 151 Francis of Assisi (St) 12, 208 Fratini, Gaio UMB-P 209, 211 Fregoso, Renzo LI-P 100 Friulian dialect: typology of 161; poetry 161-71; anthologies of P.p. 174; theatre 163,171-2; prose 57, 162,172-3; dictionary 175 Fucci, Gianni EM-ROM-P 188 Fucini, Renato TUSC-P 196,197 Gadda, Carlo Emilio 58

358 Index of Names and Subjects Galdieri, Rocco NEA-PJh 247, 251, 264, 272 Galeano, Giuseppe SIC-P 311 Galiani, Ferdinando NEA-P 63, 68, 244-5,257-8, 261 Gallerio, Giovan Battista FRI-P 165 Galli, Walter EM-ROM-P 187 Gallias, Augusto 180 gallicisms 309 Gallina, Giacinto VE-Th 20, 45, 53, 136-7,153-4 Gallina, Oreste PI-P 84 Gamba, Bartolommeo 4, 67 Gambino, Carlo Felice SIC-P 311 Gambirasio, Giacinto LOM-P 117 Garau, Antonio SAR-Th 333-4 Garelli, Federico PI-Th 46, 79, 88-9 Garzoni, Tommaso 51 Gatti, Pietro PUGL-P 279-80,281-2, 285 Genoese dialect. See Ligurian dialect Genoino, Giulio NEA-P 246, 261-2 Gentili, Lamberto UMB-P 210, 211 Gherardini, Giovanni 62, 64 Giacomini, Amedeo FRI-P 163,170 Giammarco, Ernesto 233 Giancarli, Gigio Artemio VE-Th 135, 151 Giancristofaro, Emiliano 233 Gianduja 20, 80 Giannangeli, Ottaviano ABR-P 232, 237 Giannoni, Roberto LI-P 97,101 Gibellini, Pietro 110 Giordani, Pietro 65,109 Giotti, Virgilio VE-P 31,127-8,132, 144 Giovagnoli, Guglielmo EM-ROM-P 187

Giraud, Giovanni LAZ-Th 46, 217, 225 Gismondi, Alfredo LI-P 66, 67, 99 Giunta, Nicola CAL-P 301 Giustinian, Leonardo VE-P 26,129, 130,137 Giustiniani, Orazio LAZ-Th,Pr 226 Gnudi, Giovan Battista EM-ROM-P 180,184 Gogol, Nikolai V 217 Goldoni, Carlo VE-PJh 18,41, 42,43, 52,126,131,135-6,141,151-2; Le baruffe chiozzotte 136,152 Gomes, Girolamo SIC-P 310 Gondoni, Bruno EM-ROM-Pr 192 Gotthelf, Jeremias 54nl Govi, Gilberto 97 Gozzi, Carlo VEN-Th 152 Gramsci, Antonio 39, 45-6 Granatiero, Francesco PUGL-P 282, 286 Grasso, Giovanni 45, 308 Grasso, Mario SIC-P 66, 68, 307, 316 Gravina, Cesare SIC-P 311 Grignola, Fernando LOM-P 118-19 Grimaldi, Aurelio SIC-P 309, 317 Grimaldi, Giulio MAR-P 202, 204 Grisoni, Franca LOM-P 32, 111, 120 Gritti, Francesco VE-P 131,142 Grossi, Tommaso LOM-P,Th 109,114 Guazzo, Stefano 76 Guerra, Lino EM-ROM-P 186 Guerra, Tonino EM-ROM-P 19, 30-1, 176,181,186-7 Guerrini, Olindo EM-ROM-P 180,184 Guerrizio, Nina MOL-P 233,239 Guglielmino, Francesco SIC-P 31,307, 314 Guicciardi, Decio LOM-Th 122 Guicciardi, Emilio LOM-P 110,116

Index of Names and Subjects 359 Guidoni, Plimo Ll-P 100 Hong Kong 75-6 Hugo, Victor 79 illiteracy 14, 30n3 Imbriani, Vittorio 58, 253 immigrant languages 9 Indovinello Veronese 6, 12 / 'nnamnmrete 290 Isella, Dante 5n8, 41 n5 Isler, Ignazio PI-P 77, 83 Italian language: regional history of 7; social history of 9-15, 12nl8;Tus-. can 25-6, 33, 44, 49, 108; opposition to T. 15, 27, 60, 64, 130; masterpieces, celebration of T. 22 I von, Emma 109

Ligurian dialect: poetry 95-101; theatre 101-2; dictionaries 103 Lin, More 45, 46,136 Lingua c dialettu 304 Lisotti, Gilberto MAR-P 203, 204 Lobina, Benvenuto SARD-P,Pr 57, 327, 332, 334 Lo Frasso, Antonio SARD-P 325, 328 Loi, Franco LOM-P,Th 32,104-5, 110, 118 Lomazzo, Giovan Paolo LOM-P 27, 106,111 Lombard dialect: typology of 105; poetry 20,105-20; anthologies of L.p. 124; theatre 107,109,120-3; prose 109-10,123; dictionary 125 Lombardi, Nino EM-ROM-P 186 Lombardo, Niccolo NEA-P 28, 246, 260

Jaberg, Karl 11 Jandolo, Augusto LAZ-P 223 Japacire, Leandro Ugo ABR-P 237 Jons, Romano VE-P 143 Jovine, Giuseppe MOL-P 233, 239 J u d , Jakob 11 Eabia, Angelo Maria VE-P 141 Lamberti, Anton Maria VE-P 132, 142 IM nn dona 176 Latin 10 L'aurora dla liberta pienionteisa 75 Lava ra testa a I'aze 94-5 La uenexiana 51,135, 151 La vita ddl'omo 213-14 Eazio. Sec Roman dialect Lazzarini, Edgardo FRI-Th 171 Ledda, Melchiorre. See Murenu Leonardi, Fernando UMB-P 209, 210 Leopardi, Alfonso MAR-P 19, 202, 204

Longhi, Angelo EM-ROM-P 184,192 Longhi, Francesco EM-ROM-Pr 183 Lopez, Davide PUGL-P 281, 283 Lorenzoni, Giovanni FRI-P 166 Lotti, Lotto EM-ROM-P,Th 19, 183; Rimedi per la sonn 43, 52,179-80,189 Lucanian dialect: poetry 290-2; anthologies of L.p. 293; dictionary 294 Luciani, Alfredo ABR-P 31, 232, 236 L'udienza del papa 215 Lugaresi, Agostino EM-ROM-P 186 Luna, Fabricio 64, 256 'L vinte giugno 206-7 Machiavelli, Niccolo 48-50 Macor, Celso VE-P,Pr 167,172 Madao, Matteo SARD-P 62, 66, 69, 329 Maderna, Gerolamo LOM-P 106,112 Maffia, Dante CAL-P 298, 301

360 Index of Names and Subjects Maganza, Giambattista (El Magagno) VE-P 27,130,139 Magazzoni, Argia 46 Maggi, Carlo Maria LOM-P,Th 18,19, 41, 42,107,112,120-1; / Consigli di Meneghino 43, 52,107,120 Mainardi, Cesare LOM-P 110,117 Malabotta, Manlio VE-P 147 Malato, Enrico 5n8 Malinverni, Carlo LI-P 97, 99 Mancioli, Giuseppe MAR-P 29, 202, 204 Ma 'ndove cefa core 201 Manfredi, Eraclito EM-ROM-P,Pr 38, 180,184,191-2 Mannu, Francesco Antonio SARD-P 19, 28, 326, 329 Manzoni, Alessandro LOM-P 5,13, 64, 66,114 Marasco, Antonio CAL-P 299 Marcelli, Elia LAZ-P 225 Marchese, Giuseppe SIC-P 314-15 Marchigian dialect: poetry 201-4; anthologies of M.p. 205; dictionary 206 Marciano, Geronimo PUGL-P 283 Marconi, Lino LOM-P 118 Mare, Mauro LAZ-P 32, 34, 214, 219, 224 Marelli, Piero LOM-P 119 Maresca, Nicola NEA-Th 248, 266 Marin, Biagio VE-P 31,132,144-5 Marini, Augusto LAZ-P 220 Marino, Salvatore Salomone SIC-P 313 Marino, Stefano CAL-P 301 Marone, Andrea LOMB-P 26, 111 Mariuz, Giuseppe FRI-P 170 Marone, Andrea LOM-P 106, 111 Marti, Kurt 54nl

Martinet, Eugenia PI-P 32, 78, 87 Martino, Antonio CAL-P 299 Martoglio, Nino SIC: poetry 306-7, 313; theatre 19, 42, 48, 308, 319-20 Martone, Mario 21 Masala, Franzisku SARD-P 31, 327, 332 Mascheroni, Gianpaolo LOM-P 120 Maspoli, Sergio LOM-P 118 Mastino, Cesarino SARD-RPr 327, 332, 334 Mastro Bruno. See Pelaggi Mastru Janni SARD-P 330 Matta, Luisu SAR-Th 333 Mattei, Loreto LAZ-P 217, 219 Maura, Paolo SIC-P 19, 28, 306, 311 Maurogiovanni, Vito PUGL-Th 282, 287 Mazzarella Farao, Francesco NEA-P 38, 261 Mele, Diego SARD-P 326, 330 Meli, Giovanni SIC: poetry 18, 21, 28, 306, 312; theatre 317 Melis, Efisio Vincenzo SARD-PJh 327, 331, 333 Meneghello, Luigi 134 Meneghetti, Egidio VE-P 63,133,145 Meneghino 43,107 Mercotellis, Agasippo. See Corvo, Nicola Mereu, Giuseppe SARD-P 29,326-7, 331 Metastasio, Pietro 218, 306 Micheli, Benedetto LAZ-P 27,216, 220 Mignone, Mario 253 Milanese dialect. See Lombard dialect minority languages 9, 9nl4, 78 misogyny 43, 77,106 Moliere, trans, in Genoese 37, 43, 96 Molisan dialect: poetry 233^4, 238-9;

Index of Names and Subjects 361 anthologies of M.p. 241-2; dictionary 242 Molossi, Lorenzo 64 Mondini, Tommaso VE-P,Th 36, 37, 140 Montalbani, Ovidio EM-ROM-Pr 68, 179, 191 Montale, Eugenio 97 Monteverdi, Claudio 130 Monti, Augusto 80 Monti, Luigi UMB-P 209, 210 Monti, Vincenzo 64 Mor, Giuseppe VE-P 143 Moraschino, Michele SIC-P 311 Moretti, Vito ABR-P237 Morlupino, \icolo FRI-P 26, 161, 164 Mormile, Rocco NEA-P 262 Mossa, Paolo SARD-P 331 Mottura, A r m a n d o PI-P,Th 31, 78, 85, W Mozzato, Umberto 80 Mura, Antonio SARD-P 327, 332 Mura, Pietro SARD-P 332 Murenu, Melchiorre SARD-P 19, 29, 330 Murolo, Ernesto NFA-PJh 30, 47, 247, 264,271-2 Murolo, Gaetano ABR-P 231, 234-5 Mu sco, Angelo 308 musical cornedv 40, 44, 136, 248-9 Nadiani, Giovanni EM-ROM-P 182, 188 N a l d i m , Domemco FRI-P 163, 169 Nalm, Gamillo VE-P,Th 143 Nam, Carlo VE-Th 155 Napione, Galeam 76, 82 Neapolitan dialect: history of 244-5, 256-8 (fee also Amenta, Del Tufo, Galiani, Sarnelli, Seno); typology of

244; poetry 245-8, 258-66; anthologies of N.p. 277-8; theatre 248-53, 266-74; prose 253-6, 274-6; dictionaries 278 Negri, Giovanni Francesco EM-ROM-P 36, 38,183 Nencioni, Giovanni 48 Nen, Nettore EM-ROM-P 185 Niccoli, Andrea 196 Nicola, Alfredo Pl-P 85 Nigro, Raffaele PUGL-P 286 Nitti, Antonio PUGL-P, Pr 281, 284, 287 Novell!, Augusto TUSC-Th 196,197-8 Noventa, Giacomo VE-P 31,126-7, 132-3, 145,195 Oliva, Francesco NEA-P 68, 246, 260 Olivari, Olviero LI-Th 102 Olivero, Luigi PI-P 63, 78, 85 Oreadini, Vincenzo 64 Orelli, Giorgio LOM-P 111, 118 Ottoboni, Antonio VE-P 141 Paciani, Gabriele FRI-P 165 Pacot, Pinin (Pacotto, Giuseppe) PI-P 78, 84-5 Paduan dialect 17, 50,134 Padula, Vincenzo CAL-P 297, 299 Pagano, Nunziante NEA-P,Th 36, 260-1, 267 Pagliarulo, Raffaele PUGL-P 281, 283 Palmieri, Eugenio Ferdinando VE-P,Thl37,146,156 Pandmi, Giancarlo LOM-P 119 Pane, Michele CAL-P 295, 298, 300-1 Panzuti, Francesco PUGL-P 284 Paolieri, Ferdinando TUSC-Th 196, 198 Paratore, Ettore 233

362 Index of Names and Subjects Parente, Romualdo ABR-P 230, 234 Parini, Giuseppe LOM-P 36, 62, 63, 108,113 Paruta, Filippo SIC-P 311 Pascarella, Cesare LAZ-P 36, 97, 218, 221; La scoperta de I'America, trans. in Genoese 37, Milanese 37, Romagnol 38, Venetian 37 Pascoli, Giovanni 31, 78, 232 Pascutto, Romano VE-P 147 Pasolini, Pier Paolo FRI: poetry 30,32, 68,160,163,167-8; theatre 171; prose 58, 173; / Turcs tal Friul 163, 171 Pasto, Ludovico VE-P 142 Pecorelli, Antonio UMB-P 211 Pedevilla, Michele LI-P 99 Pedretti, Nino EM-ROM-P 181-2, 187 Pegemade PI-Th 88 Pelaggi Bruno, Alfonso (Mastro Bruno) CAL-P 29, 297-8, 300 Pellico, Silvio 79 Pellis, Ugo 162 Percoto, Caterina FRI-Pr 57, 66, 66n8, 162,172 Peresio, Giovanni Camillo LAZ-P 27, 216, 219 Perrucci, Andrea NEA-P,Th 246, 259, 266 Perticari, Giulio 65 Pertusati, Francesco LOM-P 113 Perugian dialect 61. See also Umbrian dialect Pes Da Tempio, Gavino SARD-P 28, 325, 329 Petito, Antonio NEA-Th 20,42,47,53, 249-50, 269-70 Petrarca, Francesco 12; imitation of 19,27,161; detraction of 27,28,131.

See also Baffo, Sini, Strassoldo, Veneziano Petrucci, Armando 196 Petrucci, Vito Elio LI-P,Th 100 Pezzana, Angelo 64 Pezzani, Renzo EM-ROM-P 180-1, 186 Pezzato, Livio VE-P 149 Piaggio, Martino LI-P 97, 98 Pianofforte 'e notte 243 Piazza, Ugo 37, 38 Piedmontese dialect: history of 76-7, 81-2; poetry 77-8,82-7; anthologies of P.p. 92-3; theatre 78-80, 87-90; prose 80-1, 91-2; dictionaries 93; Italianization of 82 Pierro, Albino LUC-P 32, 290, 291,292 Pietracqua, Luigi PI-P,Th,Pr 56-7, 79, 80, 84, 90-1; Don Pipeta I'Asile 57, 80-1, 91 Pili, Emanuele SAR-Th 333 Pilotto, Libero VE-Th 46, 137, 154 Pincetti, Ippolito EM-ROM-P 177,183 Pino, Giovan Battista 64, 256 Pintor Sirigu, Efisio SARD-P 329-30 Pipino, Maurizio PI-P 21, 82 Pira, Michelangelo SARD-Pr 57, 327, 328, 334; Sos sinnos 57, 328, 334 Pirandello, Luigi SIC-Th 36,38,48,53, 69,252, 308, 309, 318-19 Piro, Domenico CAL-P 28,297,298 Pirona, Giulio Andrea 32,162 Pisani, Raffaele 247 Piscopo, Aniello Tullio NEA-Th 248, 267 Pisurzi, Pietro SARD-P 29, 326, 329 Pittana, Angelo FRI-P, Pr 169,173 Piva, Gino VE-P 144 Platto, Achille LOM-P 120 plurilingualism: horizontal 41, 50-1;

Index of Names and Subjects 363 literary 3,17, 21,26-7, 35,42, 50, 51, 107,110,130,133,135,162,179,180, 246; social 65, 65n7, 81, 95,105,129, 161-2; vertical 41, 42, 51-3 Podiani, Mario UMB-Th 60, 209, 211; / Megliacci 60, 209, 211 Pola, Marco VE-P 146 popular literature 5 Porta, Carlo LOM-P 18, 29, 35, 37, 62, 104, 108,113-14; Desgrazzi de Giovannin Bongee 108, 113; La nomina del cappellan 108, 113 Possenti, Francesco LAZ-P 223 Postiglione, Luca NEA-P 264 Postiglione, Umberto ABR-P 232, 236 Pozzobon, Giovanni VE-P 141 proverbs 180, 255, 308 Pueta 104-5 Pugliese dialect: history of 280-1; poetry 281-6; anthologies of P.p. 288; theatre 282, 286-7; prose 287; dictionaries 289 Pulcinella 20, 40, 47, 250 Quadn, Gabriele LOM-P,Pr 120,123 Quondamatteo, Gianni EM-ROM-Pr 179, 193 Ragione, Raffaele NEA-P 262 Raimbaut de Vaqueiras 324 Rajberti, Giovanni LOM-P 115 Rak, Michele 56, 255 Ramadon, Ferrucio UMB-P 210, 211 Randamni, Luigi LAZ-Th 46-7, 217-18, 225 Rapetti, Giovanni PI-P 86 Rau e Requesenz, Simone SIC-P 305, 311 Rea, Domenico 58, 59 Regis, Carlo PI-P 78, 86-7

Regnard, Jean Francois, trans, in Genoese 37, 96 Reni, Guido 179 Rentocchi, Emilio EM-ROM-P 188 Ricchezza del vocabolari milanes 104 Righetti, Carlo. See Arrighi Rigucci, G.B. UMB-P 210 Rimanelli, Giose MOL-P 234, 239 Rimbaud, Arthur 110 Rizzotto, Giuseppe SIC-Th 308,317-18 Roccella, Remigio SIC-P 313 Rocchi, Giuliana EM-ROM-P,Pr 181, 187,192 Romagnol dialect. See EmilianRomagnol dialect Roman dialect (Lazio): history of 216, 219; poetry 216-25; theatre 216-19, 225-6; prose 226; dictionaries 228; Italianization of 216; Jewish life in 219 Romani, Fedele ABR-P 68, 231, 234 Ronco, Umberto Luigi PI-P 86 Rosato, Giuseppe ABR-P 237 Rosselli, Amelia VE-Th 155 Rossellini, Roberto 46 Rossetti, Bartolomeo LAZ-P 224 Rossi, Giuliano LI-P 96, 98 Ruggeri Da Stabello, Pietro LOM-P 114-15 Ruju, Salvatore SARD-P 331 Ruocco, Pasquale 247 Russo, Ferdinando NEA-P,Th,Pr 30, 38, 247, 263-4, 271, 276 Ruzante VE-P,Th 17, 41, 42, 50,134-5, 138,149-50 Sabatini, Francesco 55n2 Sacco and Vanzetti 81 Saddumene, Bernardo NEA-Th 248, 249, 267

364 Index of Names and Subjects sadomasochism 305 Salustri, Carlo Alberto. See Trilussa Salvioni, Carlo 5 Sardinian dialect: typology 324; poetry 325-32; anthologies of S.p. 335-6; theatre 327, 333-4; prose 57, 327-8, 334; dictionaries 336; Italianization 327-8 Sari, Rafael SARD-P 332 Sarnelli, Pompeo NEA-Th,Pr 56, 255-6, 257, 276 Sasso, Domenico MOL-P 238 Savastano, Cosimo ABR-P 237 Savini, Giuseppe 232 Scamara, Elio LOM-P 118 Scarpetta, Eduardo NEA-Th 19, 20, 42, 45, 47, 53, 251, 270-1; 'Na santarella 250-1, 270 Scataglini, Franco MAR-P 201, 203, 204 Scervini, Salvatore CAL-P 300 Sciascia, Leonardo 305 Selvatico, Riccardo VE-Th 20, 45, 53, 136, 153 Serio, Luigi 63, 68, 258 Serrao, Achilla NEA-P 30n5, 68, 265 Sessa, Mario 247 sexual imagery 27, 29,108,131, 254, 297, 306. See also Ammira, Baffo, Barbaro, Belli, Borrocci, Piro, Porta, Stella, Tempio Sgruttendio De Scafato, Felippo NEA-P 28, 245-6, 259 Shakespeare, William, trans, in Neapolitan 36 Sicilian dialect: poetry 305-7, 310-17; anthologies of S.p. 322; theatre 3079, 317-20; prose 309-10, 321; dictionaries 322 Simonetta, Stefano LOM-P 112

Simoni, Renato VE-Th 137,155 Sindici, Augusto LAZ-P 221 Sini, Girolamo FRI-P 27, 63,161-2, 164 Sinopoli, Giuseppe Giusti SIC-Th 308, 318 Sirigu, Pintor 325 Sobrero, Alberto A. 78 social protest 17,19, 21,27, 28, 29, 31, 77,108,162, 231, 281, 297-8 Sole, Leonardo SARD-PJh 69, 332, 334 Sommariva, Giorgio VE-P 26,129, 130,138,178 Spadoni, Nevio EM-ROM-P 182,188 Spagnol, Tonuti FRI-P 163,169 Spallicci, Aldo EM-ROM-P 19, 21, 181,185 Spano, Giovanni SARD-P 66, 69, 330 Spartenza 295 Spinelli, Girolamo VE-Th 151 Stangolini, Francesco UMB-P 209, 210 Stecchetti, Lorenzo. See Guerrini Stella, Eusebio FRI-P 20, 28,161,162, 164-5 Stendhal 131 Stigliola, Nicola NEA-P 36, 38, 259 Strassoldo, Joseffo FRI-P 27,161,164 Strizzi, Giacomo PUGL-P 282, 284 Stuffier, Enrico EM-ROM-P,Th,Pr 180, 184,190,192 Stussi, Alfredo 13 Sugana, Luigi VE-Th 137,154-5 Svevo, Italo 65n7 Swiss Italian dialect. See Ticinese dialect poetry Tacconi, Filippo, LAZ-Th 46-7, 217, 218, 225 Talanti, Francesco EM-ROM-P 185

Index of Names and Subjects 365 Tamanti, Giambattista M A R - P 29, 202, 204 Tana, Giovan Battista PI-Th 41, 43, 88; 'Lcont P;(>/i'f44-5, 51-2, 79, 88 Tan/i, Carlo Antonio I.OM-P 18, 28, 64, 108, 112 Tarizzo, Francesco Antonio PI-P 82-3 Tasso, Torquato: Gerusalenwie Liberal a 35, 36; trans, in Calabrese 38, Genoese 96, Milanese 37, Neapolitan 38, Romagno) 38, Venetian 37 Tassoni, Alessandro 36 Tempio, Domemco SIC--P 19, 29, 306, 312 Term native 229-30 Tessa, Delio LOM-P 19, 31, 63, 110, U S 16; L'i'd di de mart. Mealier! 31, 110, 1 1 = ; Testa, Eugenia 80 lestoni, Alfredo LM-ROM-P,Th,Pr 19,46, 180, 184, 190 Ticinese dialect poetry 1 1 1 , 116-18 Tomiolo, Eugenio VE--P 147 londelli, Pier Vittorio 58-9 Torelli, Ruggero L M B - P 19, 29,207-8, 209, 210 Torta, M a n a n n a 46, 136, 137 Toschi, Paok) EM-ROM-P 186 Tosco, Partenio 61, 257 Toselh, C , i o v a n n i PI-Th 46, 79, 88 Toto N H A - P 2 4 7 , 26^ Trabalza, Ciro 66 Tramontani, I >razio LMB-P 209, 210 Trentme dialect poetry 143, See also Venetian dialect Tnlussa I.AZ P,Pr 31, 218, 222-3, 226 Trmchera, Pietro \L-A-Th 44, 248, 249, 268 Trora, Luigi Antonio MOI.-P 233, 238 Troisi, Massimo 21

Trombadori, Antonello LAZ-P 224 Trombetta, Vito LOM-P 120 Tullio, Francesco Antonio NEA-Th 44, 248, 266 Tuscan dialect: typology of 196; poetry 196-7; theatre 196-9; dictionaries 200. See also Italian language Tusiani, Joseph PUGL-P 63, 282, 286 Umbrian dialect: history of 208; typology of 208; poetry 208-11; anthologies of U.p. 212; theatre 209, 211; dictionary 212; questwne della lingua 209 Una gondola 126-7 Una piseda contravent 177, 182 Urbe collara 214 l/sos sardos 323-4 Valentin!, Giuseppe EM-ROM-P 186 Valentinis, Umberto FRI-P 170 Valentino, Giovan Battista NEA-P 259 Vallecchi, Ezio UMB-P 210, 211 Valle d'Aosta 32, 78. See also Martinet Vallerugo, Ida FRI-P 32,163,170 Valussi, Pacifico FRl-Th 163, 171 Vann'Anto SIC-P 31, 307, 314 Varagnolo, Domenico VE-P,Th 132, 137,144,155 Varese, Fabio LOM-P 28, 106,112 Varotari, Dario VE-P 131, 140 Velardiniello NEA-P 27, 245, 258 Venetian dialect: typology of 129; use of 134; poetry 128-34, 137-49; anthologies of V.p. 158; theatre 134-7, 149-56; dictionaries 159 Veneziano, Antonio SIC-P 27, 68, 305, 310 Venier, Maffio VE-P 27,130,139 Verga, Giovanni 22, 47-8, 48nl3

366 Index of Names and Subjects verismo 44,45, 47, 52, 55, 231, 251 Vigo, Giambattista LI-P 99 Villa, Emilio LOM-P 117 Villa, Giustiniano EM-ROM-P 19,180, 184 Villani, Edoardo. See Ferravilla Vit, Giacomo FRI-P,Pr 170,173 Vitale Da Gangi, Giuseppe Fedele SIC-P311 Vivaldi, Cesare LI-P 67, 97,101 Viviani, Raffaele NEA-P,Th 19, 42, 47, 53, 247,252, 265, 272-3 volgarizzamenti 20 von VVartburg, Walter 11 Zago, Emilio 41,45,136,137 Zanazzo, Luigi (Giggi) LAZ-P,Th,Pr 47,218,221-2, 226; La socera 218-19, 226

Zanchi, Alessandro VE-Th 153 Zanetti, Umberto LOM-P 119 Zanier, Leonardo FRI-P 169-70 Zanini, Ligio VE-P 148 Zannier, Domenico FRI-PJh, Pr 57, 163,169,172,173 Zanolini, Antonio EM-ROM-Pr 192 Zanotto, Sandro VE-P 148 Zanzotto, Andrea VE-P 32,133,147Zavattini, Cesare EM-ROM-P 19,180 186 Zezza, Michele NEA-Th 247,269 Zoppis, Giovanni PI-P, Th 46, 79, 89-90 Zorutti, Pietro FRI-P,Th 162,165,171 Zorzi Muazzo, Francesco 131 Zorzut, Dolfo FRI-Pr 172

Index of Dialect Repertory: Authors by Genre and Region

Dialect Poetry Piedmont Alfieri, Vittorio 83 Alione, Gian Giorgio 82 Balbis, Silvio Saverio 83 Bertolino, Remigio 87 Bodrie, Tom (Bodrero, Antonio) 86 Borrelli, Vittorio Amedeo 83 Brero, Camillo 86 Brofferio, Angelo 83-4 Burat, Tavo (Buratti, Gustavo) 87 Buronzo, Vincenzo 84 CaK'o, Edoardo 83 Costa, Nino 84 Dorato, Bianca 87 Gallina, Oreste84 Isler, Ignazio 83 Martinet, Eugenia 87 Mottura, Armando 85 Nicola, Alfredo 85 Olivero, Luigi 85 Pacot, Pinin (Pacotto, Giuseppe) 84-5 Pietracqua, Luigi 84 Pipino, Maunzio 82 Rapetti, Giovanni 86

Regis, Carlo 86-7 Ronco, Umberto Luigi 86 Tarizzo, Francesco Antonio 82-3 Liguria Acquarone, Aldo 100 Bacigalupo, Nicolo 98-9 Bertolani, Paolo 101 Capano, Andrea 101 Cassinelli, Giuseppe 101 Cava, Giuseppe 99 Cavalli, Gian Giacomo 98 De Franchi, Stefano 98 Firpo, Edoardo 99-100 Foglietta, Paolo 97 Fregoso, Renzo 100 Giannoni, Roberto 101 Gismondi, Alfredo 99 Guidoni, Plinio 100 Malinverni, Carlo 99 Pedevilla, Luigi Michele 99 Petrucci, Vito Elio 100 Piaggio, Martino 98 Rossi, Giuliano 98 Vigo, Giambattista 99 Vivaldi, Cesare 101

368 Index of Dialect Repertory Lombardi/ (and Canton Ticino) Assonica, Carlo 112 Balestrieri, Domenico 113 Ballerini, Luigi 119 Bellati, Francesco 113 Bellini, Melchiorre 115 Bernasconi, Pino 117 Bertacchi, Giovanni 115 Bertinazzo, Enzo 118 Bianconi, Giovanni 116 Biffi, Giovanni Ambrosio 112 Bressani, Giovanni 111 Buzzi, Paolo 115 Canonica, Ugo 117 Carati, Siro 114 Cavicchioli, Gilberto 117 Cibaldi,Aldoll7 Consonni, Giancarlo 120 Corio, Francesco Girolamo 112-13 Curti, Lancino 111 Dagli Orzi, Galeazzo 111 Dei, Benedetto 111 Delfinoni, Scipione 111 Gambirasio, Giacinto 117 Grignola, Fernando 118-19 Grisoni, Franca 120 Gross i, Tom ma so 114 Guicciardi, Emilio 116 Loi, Franco 118 Lomazzo, Giovan Paolo 111 Maderna, Gerolamo 112 Maggi, Carlo Maria 112 Mainardi, Cesare 117 Manzoni, Alessandro 114 Marconi, Lino 118 Marelli, Piero 119 Ma rone, Andrea 111 Mascheroni, Gianpaolo 120 Maspoli, Sergio 118

Orelli, Giovanni 118 Pandini, Giancarlo 119 Parini, Giuseppe 113 Pertusati, Francesco 113 Platto, Achille 120 Porta, Carlo 113-14 Quadri, Gabriele Alberto 120 Rajberti, Giovanni 115 Ruggeri Da Stabello, Pietro 114-15 Scamara, Elio 118 Simonetta, Stefano 112 Tanzi, Carlo Antonio 112 Tessa, Delio 115-16 Trombetta, Vito 120 Varese, Fabio 112 Villa, Emilio 117 Zanetti, Umberto 119 Veneto Baffo, Giorgio 141 Balbi, Domenico 139 Barbarani, Tiberio Umberto 143 Barbaro, Angelo Maria Da Portogruaro 141 Beolco, Angelo. See Ruzante Bona, Giulio Cesare 140 Boschini, Marco 140 Bressan, Luigi 149 Briti, Paolo 140 Buratti, Pietro 142 Busenello, Gian Francesco 139 Cacia 141 Calmo, Andrea 138-9 Calzavara, Ernesto 146-7 Caravia, Alessandro 138 Carminati, Attilio 148 Caurlini, Pietro 140 Cavassico, Bartolomeo 138 Cecchinel, Luciano 149

Index of Dialect Repertory 369 Cergoly Senni, Carolus L. 147 Dall'Ongaro, Francesco 143 Dotti, Bartolomeo 140 Folkel, Ferruccio 148 Foscarini, Jacopo Vincenzo 143 Francescotti, Renzo 149 Giotti, Virgilio 144 Giustinian, Leonardo 137 Goldoni, Carlo 141 Gritti, Francesco 142 Joris, Romano 143 Labia, Angelo Maria 141 Lamberti, Anton Maria 142 Maganza, Giambattista (El Magagno) 139 Malabotta, Manlio 147 Marin, Biagio 144-5 Meneghetti, Egidio 145 Mondini, Tornmaso 140 Mor, Giuseppe 143 Nalin, Camillo 143 Noventa, Giacomo 145 Ottoboni, Antonio 141 Palmieri, Fugenio Ferdinando 146 Pascutto, Romano 147 Pasto, Ludovico 142 Pezzato, Livio 149 P i v a , G i n o 144 Pola, Marco 146 Po/zobon, Giovanni 141 Ruzante 138 Sommariva, Giorgio 138 Tomiolo, F'.ugenio 147 Venier, Maffio 139 Varagnolo, Domenico 144 Varotari, Dario 140 Zanmi, Ligio 148 Zanotto, Sandro 148 Zanzotto, Andrea 147-8

Frhdi Angeli, Siro 167 Anonimo Friulano 164 Appi, Renatol68 Bartolini, Eliol68 Biancone, Gerolamo 164 Bogliun, Loredana 171 Bonini, Pietro 166 Brusini, Alan 168 Buiese, Elsa 168 Cadel, Vittorio 166 Cantarutti, Novella 167 Cantoni, Aurelio. See Cjanton Carletti, Ercole 166 Castellani, Riccardo 167 Cescutti, Celso 166 Chiurlo, Bindo 166 Cjanton, Lelo 168 Colussi, Ovidio 168-9 De Gironcoli, Franco 166-7 Di Colloredo, Ermes 165 Donate, Giovan Battista 164 Favetti, Carlo 166 Fignon, Beno 170 Fioretti, Lionello 170 Forte, Maria 167 Gallerio, Giovan Battista 165 Giacomini, Amedeo 170 Lorenzoni, Giovanni 166 Macor, Celso 167 Mariuz, Giuseppe 170 Morlupino, Nicolo 164 Naldini, Domenico 169 Paciani, Gabriele 165 Pasolmi, Pier Paolo 167-8 Pittana, Angelo 169 Sini, Girolamo 164 Spagnol, Tonuti 169 Stella, Eusebio 164-5

370 Index of Dialect Repertory Strassoldo, Joseffo 164 Valentinis, Umberto 170 Vallerugo, Ida 170 Vit, Giacomo 170 Zanier, Leonardo 169-70 Zannier, Domenico 169 Zorutti, Pietro 165 Eniilia-Romagna Anonimo Romagnolo (16th c.) 183 Baldassari, Tolmino 187-8 Baldini, Raffaello 187 Bartoli, Giuseppe Arnaldo 187 Baruffaldi, Girolamo 183 Bellosi, Giuseppe 188 Bernardi Cassiani Ingoni, Teresa 184 Bolognesi, Mario 188 Croce, Giulio Cesare 183 Fucci, Gianni 188 Galli, Walter 187 Giovagnoli, Guglielmo 187 Gnudi, Giovan Battista 184 Guerra, Lino 186 Guerra, Tonino 186-7 Guerrini, Olindo 184 Lombardi, Nino 186 Longhi, Angelo 184 Lotti, Lotto 183 Lugaresi, Agostino 186 Manfredi, Eraclito 184 Nadiani, Giovanni 188 Negri, Giovanni Francesco 183 Neri, Nettore 185 Pedretti, Nino 187 Pezzani, Renzo 186 Pincetti, Ippolito 183 Rentocchi, Emilio 188 Rocchi, Giuliana 187 Spadoni, Nevio 188

Spallicci, Aldo 185 Stecchetti, Lorenzo. Sec Guerrini Stuffier, Enrico 184 Talanti, Francesco 185 Testoni, Alfredo 184 Toschi, Paolo 186 Valentini, Giuseppe 186 Villa, Giustiniano 184 Zavattini, Cesare 186 Tuscany Fucini, Renato 197 Marche Anonimo Marchigiano (16th c.) 203 Borrocci, Francesco 203 Cesari, Francesco 204 Ferri, Ottavio 203 Grimaldi, Giulio 204 Leopardi, Alfonso 204 Lisotti, Gilberto 204 Mancioli, Giuseppe 204 Scataglini, Franco 204 Tamanti, Giambattista 204 Umbria Calzoni, Umberto 211 Ceci, Getulio 210 Dell'Uomo, Giuseppe 210 Fratini, Gaio211 Gentili, Lamberto 211 Leonardi, Fernando 210 Monti, Luigi 210 Pecorelli, Antonio 211 Ramadori, Ferruccio 211 Rigucci,G.B. 210 Stangolini, Francesco 210

Index of Dialect Repertory Torelli, Ruggero210 Tramontani, Orazio 210 Vallecchi, H/.io 211 Lazio

Anonimo Romano. Sec Ferrara Belli, Giuseppe Gioachino 220 Bernen, Giuseppe 220 Chiappmi, Filippo 220 Chiominto, Cesare 224 Ciprelli, Leone 223 Dell'Arco, Mario 223-4 Del Monte, Crescenzo 222 Fagiolo, Mario. Sec Dell'Arco Ferrara, Maunzio 224 Ferretti, Fuigi 221 landolo, Augusto 223 Ma reel li, Flia 22,^ Mare, Mauro224 Marini, Augusto 220 Mattel, Loreto219 Micheli, Benedetto 220 Pa sea re Ha, Cesare 221 Peresio, Giovanni Camillo 219 Possenti, Francesco 223 Rossetti, Bartolomeo224 Salustri, Carlo Alberto. Sec Trilussa Sindici, Augusto 221 Tnlussa 222-3 Trombadon, Antonello 224 Zanazz.o, Luigi (Giggi) 221-2 Abruzzo and Molisc Altobello, Ciiuseppe 238 Anelli, Luigi 235 Brigiotti, Luigi 235 Capnglione, Raffaele 238 Cern, Giovanni 239

371

Cima, Michele 238 Cirese, Eugenio 238-9 Civitareale, Pietro 237 Clemente, Vittorio 236 Delia Porta, Modesto 235 DeTitta, Cesare 235 Dommarco, Alessandro 237 Dommarco, Luigi 235 Fagiani, Cesare 236 Giannangeli, Ottaviano 237 Guerrizio, Nina 239 Japadre, Leandro Ugo 237 Jovine, Giuseppe 239 Luciani, Alfredo 236 Moretti, Vito 237 Murolo, Gaetano 234-5 Parente, Romualdo 234 Postiglione, Umberto236 Rimanelli, Close 239 Romani, Fedele 234 Rosa to, Giuseppe 237 Sasso, Domenico 238 Savastano, Cosimo 237 Trofa, Luigi Antonio 238 Campania Anonimo Napoletano (17th/18th c.) 260 Basile, Domenico 259-60 Basile, Giambattista 259 Bovio, Libero 264-5 Bra ceo, Roberto 263 Cammarano, Filippo 261 Capasso, Nicolo 260 Capurro, Giovanni 262-3 Chiurazzi, Luigi 262 Ciappa, Vincenzo 261 Cortese, Giulio Cesare 258 Corvo, Nicola 262

372 Index of Dialect Repertory D'Antonio, Giovanni 261 De Curtis, Antonio. See To to De Filippo, Eduardo 265 De' Liguori, Alfonso Maria 261 Del Tufo, Giovan Battista 258 Di Giacomo, Salvatore 263 Di Natale, Salvatore 266 Fasano, Gabriele 259 Galdieri, Rocco 264 Galiani, Ferdinando 261 Genoino, Giulio 261-2 Lombardo, Niccolo 260 Mazzarella Farao, Francesco 261 Mormile, Rocco 262 Murolo, Ernesto 264 Oliva, Francesco 260 Pagano, Nunziante 260-1 Perrucci, Andrea 259 Postiglione, Luca 264 Ragione, Raffaele 262 Russo, Ferdinando 263-4 Serrao, Achille 265 Sgruttendio De Scafato, Felippo 259 Stigliola, Nicola 259 Toto 265 Valentino, Giovan Battista 259 Velardiniello 258 Viviani, Raffaele 265 Puglia Abbrescia, Francesco Saverio 283 Angiuli, Lino 286 Anonimo Leccese 283 Borazio, Francesco Paolo 285 Bozzi, Enrico 284 Caputo, Ermino Giulio 286 Consiglio, Emilio 283 D'Amelio, Francesc'Antonio 283 De Dominicis, Giuseppe 283-4

De Donno, Nicola Giuseppe 285-6 De Fano, Vito 285 Gatti, Pietro 285 Granatiero, Francesco 286 Lopez, Davide 283 Marciano, Geronimo 283 Nigro, Raffaele 286 Nitti, Antonio 284 Pagliarulo, Raffaele 283 Panzuti, Francesco 284 Strizzi, Giacomo 284 Tusiani, Joseph 286

Lucania Brindisi, Rocco 292 Pierro, Albino 292

Calabria Ammira, Vincenzo 299-300 Butera, Vittorio 301 Cardone Di Bella, Gian Lorenzo 299 Chiappetta, Antonio 300 Ciardullo. See De Marco Ciurcio, Achille 301 Conia, Giovanni 299 Cosentino, Carlo 298 Creazzo, Pasquale 300 De Marco, Michele 301 Giunta, Nicola 301 Maffia, Dante 301 Marasco, Antonio 299 Marino, Stefano 301 Martino, Antonio 299 Padula, Vincenzo 299 Pane, Michele 300-1 Pantu, Duonnu. See Piro Pelaggi, Bruno Alfonso (Mastro Bruno)300

Index of Dialect Repertory Piro, Domenico (Duonnu Pantu) 298 Scervini, Salvatore 300

Veneziano, Antonio 310 Vitale Da Gangi, Giuseppe Fedele 311

Sicili/ Sardinia Asmundo, Bartolomeo 310 Balotta Pino, Nino 315 Battaglia, Giuseppe 317 Burgaretta, Sebastiano 316 Buttitta, Ignazio 315 Call, Santo 316 Cavarra, Giuseppe 316-17 Creazzo, Pasquale 314 Cremona, Antonmo 316 D'Avila, Girolamo 310 De Dominicis, Giuseppe 313 De Vita, Nino 317 Di Giacomo, Giovanni Antonio. See Vann'Anto Di Giovanni, Alessio 313-14 Di Marco, Salvatore 316 Di Pietro, Salvatore 315 Galeano, Giuseppe 311 Gambino, Garlo Felice 311 Gomes, Girolamo 310 Grasso, Mario 316 Gravina, Cesare 311 Grimaldi, Aurelio317 Guglielmino, Francesco 314 Marchese, Giuseppe 314-15 Marino, Salvatore Salomone 313 Martoglio, Nino 313 Maura, Paolo 311 Meli, Giovanni 312 Moraschino, Michele 311 Paruta, Filippo 311 Rau e Requesenz, Simone 311 Roccella, Remigio 313 Tempio, Domenico 312 Vann'Anto 314

Araolla, Gerolamo 328 Calvia, Pompeo 331 Cano, Antonio 328 Carrus, Maurizio 329 Casu, Pietro 331 Casula, Antioco 331 Collu, Efisio 332 Cubeddu, Gian Pietro 329 Delogu, Ignaziu 332 Delogu Ibba, Giovanni 329 Ledda, Melchiorre 330 Lobina, Benvenuto 332 Lo Frasso, Antonio 328 Madao, Matteo 329 Mannu, Francesco Antonio 329 Masala, Franzisku 332 Mastino, Cesarino 332 Mastru Janni 330 Mele, Diego 330 Melis, Efisio Vincenzo 331 Mereu, Giuseppe 331 Mossa, Paolo 331 Mura, Antonio 332 Mura, Pietro 332 Murenu, Melchiorre. See Ledda Pes Da Tempio, Gavino 329 Pintor Sirigu, Efisio 329-30 Pisurzi, Pietro 329 Ruju, Salvatore 331 Sari, Rafael 332 Sole, Leonardo 332 Spano, Giovanni 330

373

374 Index of Dialect Repertory Dialect Theatre Piedmont

Villani, Edoardo. See Ferravilla

Alione, Giovan Giorgio 87-8 Anonimo Piemontese 88 Bersezio, Vittorio 88 Brofferio, Angelo 88 Calvo, Edoardo 88 Casalis, Carlo 88 Costa, Nino 90 Dorato, Bianca 90 Garelli, Federico 88-9 Mottura, Armando 90 Pegemade 88 Pietracqua, Luigi 90 Tana, Giovan Battista 88 Toselli, Giovanni 88 Zoppis, Giovanni 89-90

Veneto

Liguria Bacigalupo, Nicolo 102 Canesi, Emanuele 102 De Franchi, Stefano 101-2 Foglietta, Paolo 101 Olivari, Oliviero 102 Lombardy Arrighi, Cletto 121 Bertolazzi, Carlo 122-3 Bettini, Pompeo 122 Birago, Girolamo 121 Cenzato, Giovanni 123 De Lemene, Francesco 121 Dossi, Carlo 122 Ferrari, Paolo 121 Ferravilla, Edoardo 122 Guicciardi, Decio 122 Maggi, Carlo Maria 120-1

Andreini, Giovanni Battista 151 Anonimo Veneziano (La venexiana) 151 Barbaro Da Portogruaro, Angelo Maria 152-3 Beolco, Angelo. See Ruzante Bertolazzi, Carlo 155 Calmo, Andrea 150 Cameroni, Francesco 153 Chiari, Pietro 152 De Biasio, Ernesto Andrea 154 Fogazzaro, Antonio 153 Francescotti, Renzo 156 Gallina, Giacinto 153-4 Giancarli, Gigio Artemio 151 Goldoni, Carlo 151-2 Gozzi, Carlo 152 Nani, Carlo 155 Palmieri, Eugenio Ferdinando 156 Pilotto, Libero 154 Rosselli, Amelia 155 Ruzante 149-50 Selvatico, Riccardo 153 Simoni, Renato 155 Spinelli, Girolamo 151 Sugana, Luigi 154-5 Varagnolo, Domenico 155 Zanchi, Alessandro 153 Friuli Appi, Renato 171 Cantoni, Aurelio. See Cjanton Cjanton, Lelo 171 Di Colloredo, Ermes 171

Index of Dialect Repertory Lazzanm, Edgardo 171 Pasolim, Pier Paolo 171 Valussi, Pacifico 171 Zannier, Domenico 172 Zorutti, Pietro 171 Emilia-Rontagna

Banchien, Adriano 189 Bocchini, Bartolomeo 189 Buini, Giuseppe Maria 190 Croce, Giulio Cesare 189 Fiacchi, Antonio 190 Lotti, Lotto 189 Stuffier, Hnnco 190 Testom, Alfredo 190 Tuscany Bucciolini, Giulio 198 Carbocci, Bruno 198-9 Novelli, Augusto 197-8 Paolien, Ferdinando 198

U nib rid Podiani, Mario 211 Lazio

Barbosi, Alessandro 225 Bern en, Giuseppe 225 Giraud, Giovanni 225 Giustmiani, Orazio 226 Randanmi, Luigi 225 Tacconi, Filippo 225 Zanazzo, Luigi (Giggi) 226 Abntzzo and Molise Anelli, Luigi 240

375

DeTitta, Cesare 240 Fagiani, Cesare 240 Ferrara, Espedito 240 Campania Altavilla, Pasquale269 Anonimo Napoletano (18th c.) 268 Bovio, Libero 272 Bracco, Roberto 271 Caccavo, Gennaro 267 Cammarano, Filippo 269 Cirillo, Giuseppe Pasquale 268-9 Cortese, Giulio Cesare 266 Corvo, Nicola 266 D'Antonio, Giovanni 269 D'Avino, Gennaro 269 De Filippo, Eduardo 273-4 Di Giacomo, Salvatore 271 Di Liveri, Domenico Luigi 267 Federico, Gennaro Antonio 268 Galdieri, Rocco 272 Maresca, Nicola 266 Murolo, Ernesto 271-2 Pagano, Nuziante 267 Perrucci, Andrea 266 Petito, Antonio 269-70 Piscopo, Aniello Tullio 267 Russo, Ferdinando 271 Saddumene, Bernardo 267 Scarpetta, Eduardo 270-1 Trinchera, Pietro 268 Tullio, Francesco Antonio 266 Viviani, Raffaele 272-3 Zezza, Michele 269 Puglia Acquaviva, Cataldo 287 Anonimo Mesagnese (17th/18th c.) 286

376 Index of Dialect Repertory Anonimo Pugliese (18th c.) 287 Bax, Girolamo 287 De Noto, Michele 287 Dona to, Nicassio 287 Maurogiovanni, Vito 287

Meli, Giovanni 317 Pirandello, Luigi 318-19 Rizzotto, Giuseppe 317 Sinopoli, Giuseppe Giusti 318

Sicily

Sardinia

Balotta Pino, Nino 320 Borgese, Giuseppe Antonio. See D'Annunzio Buttitta, Ignazio 320 Capuana, Luigi 318 D'Annunzio, Gabriele 318 Di Giovanni, Alessio 320 Di Pietro, Salvatore 320 Martoglio, Nino 319-20

Ardau, Battista Cannas 333 Delogu Ibba, Giovanni 333 Fara, Francesco Giovanni 333 Garau, Antonio 333 Matta, Luisu 333 Melis, Efisio Vincenzo 333 Pili, Emanuele 333 Sole, Leonardo 334

Dialect Prose Piedmont Balbis, Silvio Saverio 91 Brero, Camillo 91-2 Cosio, Tavio 91 Pietracqua, Luigi 91

Lombardy Anonimo Lombardo. See Da Pavia Da Pavia, Alessandro Monti 123 De Marchi, Emilio 123 Quadri, Gabriele Alberto 123 Friuli Brusini, Alan 173 Cantarutti, Novella 173 Cjanton, Lelo 173

Colussi, Ovidio 173 Di Colloredo, Ermes 172 Donato, Giovan Battista 172 Favetti, Carlo 172 Forte, Maria 172 Macor, Celso 172 Pasolini, Pier Paolo 173 Percoto, Caterina 172 Pittana, Angelo 173 Vit, Giacomo 173 Zannier, Domenico 173 Zorzut, Dolfo 172 Emilia-Romagna Anonimo Romagnolo (20th c.) 192 Banchieri, Adriano 191 Croce, Giulio Cesare 191 Gondoni, Bruno 192

Index of Dialect Repertory Longhi, Francesco 192 Manfredi, Eraclito 191-2 Montalbani, Eraclito 191 Quondamatteo, Gianni 193 Rocchi, Giuliano 192 Stuffier, Enrico 192 Zanolini, Antonio 192

D'Antonio, Giovanni 276 Del Tufo, Giovan Battista 275 Russo, Ferdinando 276 Sarnelli, Pompeo 276 Puglia Nitti, Antonio 287

Lazio Sicily Giustmiani, Orazio 226 Trilussa 226 Zanazzo, Luigi (Giggi) 226

Di Giovanni, Alessio 321 Sardinia

Campania Basile, Giambattista 275-6 Boccaccio, Giovanni 274-5 Corsuto, Pietro Antonio 275 Cortese, Giulio Cesare 276

Casu, Pietro 334 Lobina, Benvenuto 334 Mastino, Cesarino 334 Pira, Michelangelo 334

377