The opinion of educated people as to the social value of language is fully set forth in the 'Cortigiano.' There were then persons, at the beginning of the sixteenth century, who purposely kept to the antiquated expressions of Dante and the other Tuscan writers of his time, simply because they were old. Our author forbids the use of them altogether in speech, and is unwilling to permit them even in writing, which he considers a form of speech. Upon this follows the admission that the best style of speech is that which most resembles good writing. We can clearly recognize the author's feeling that people who have anything of importance to say must shape their own speech, and that language is something flexible and changing because it is something living. It is allowable to make use of any expression, however ornate, as long as it is used by the people; nor are non-Tuscan words, or even French and Spanish words forbidden, if custom has once applied them to definite purposes. Thus care and intelligence will produce a language, which, if not the pure old Tuscan, is still Italian, rich in flowers and fruit like a well-kept garden. It belongs to the completeness of the 'Cortigiano' that his wit, his polished manners, and his poetry, must be clothed in this perfect dress.
When style and language had once become the property of a living society, all the efforts of purists and archaists failed to secure their end. Tuscany itself was rich in writers and the first order, who ignored and ridiculed these endeavors. Ridicule in abundance awaited the foreign scholar who explained to the Tuscans how little they understood their language. The life and influence of a writer like Machiavelli was enough to sweep away all these cobwebs. His vigorous thoughts, his clear and simple mode of expression wore a form which had any merit but that of the 'Trecentisti.' And on the other hand there were too many North Italians, Romans, and Neapolitans, who were thankful if the demand for purity of style in literature and conversation was not pressed too far. They repudiated, indeed, the forms and idioms of their dialect; and Bandello, with what a foreigner might suspect to be false modesty, is never tired of declaring: 'I have no style; I do not write like a Florentine, but like a barbarian; I am not ambitious of giving new graces to my language; I am a Lombard, and from the Ligurian border into the bargain.' But the claims of the purists were most successfully met by the express renunciation of the higher qualities of style, and the adoption of a vigorous, popular language in their stead. Few could hope to rival Pietro Bembo who, though born in Venice, nevertheless wrote the purest Tuscan, which to him was a foreign language, or the Neapolitan Sannazaro, who did the same. But the essential point was that language, whether spoken or written, was held to be an object of respect. As long as this feeling was prevalent, the fanaticism of the purists -- their linguistic congresses and the rest of it -- did little harm. Their bad influence was not felt till much later, when the original power of Italian literature relaxed and yielded to other and far worse influences. At last it became possible for the Accademia della Crusca to treat Italian like a dead language. But this association proved so helpless that it could not even hinder the invasion of Gallicism in the eighteenth century.
Continued on page three.
The Civilization of the Renaissance in Italy
by Jacob Burckhardt
Part Five: Society and Festivals
Chapter 3 - Language and Society: 1 2 3
Chapter 2 <<< Contents >>> Chapter 4
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