SARDINIA
Angelo Mundula
The Sardinian dialect muse sang for a long time in the catacombs before being heard. The
religious linguistic references are not at all casual; on the contrary, they are intended to
underscore, right from the start, the origin and strictly religious nature of the first literary
manifestations in the island, subjected, as is well known, to recurrent foreign dominations for two
thousand years, a considerable time span. Therefore, the image of a muse with her head cut off,
mutilated almost up to our own days, seems to me at once the one that best represents the
condition of Sardinian dialect poetry, precisely as being headless, unable to find itself, know itself,
and, in brief, to exist outside of its servile condition of forced obeisance toward "external"
cultures, that were always or almost always endured, tolerated, but at times even resisted and
contested. That explains why, then, the glue of all the various cultures of the island, of all the
infinite gamut of dialects (but there are those who maintain that Sardinian is a true language, with
the authority of people like Max L. Wagner, a true "archaic narrative with its own marked
characteristics," (La lingua sarda, Berne, 1951) has been and still is today, for the most part, that
variably religious sentiment, which one could say was born with the gosos, spiritual and religious
songs that allowed the Sardinians to speak inter nos a language which was not hostile, even
indifferent to the rulers, if not totally accepted by them and almost solicited, as in the case of
Spanish rulers. There is no doubt that the Sardinian muse has retained until now a sensual,
religious nature, in the pagan or mystical sense (Pasolini wrote in Passione e ideologia,
Garzanti), but I would add more markedly Christian and Catholic than in other parts of Italy, if
one only considers that the first practitioners of Sardinian dialect poetry are often clergymen. No
doubt, that religiosity at times concealed much more: a sentiment of revolt and at any rate of not
belonging to the different species that had crossed the sea to reach the Sardinian shores and then
further on inland, where the sense of the small fatherland lost has always been stronger and more
alive.
Since then, that headless muse with scattered limbs has been searching for her lost head
and her tortured limbs precisely in poetry, always so revealing of the human spirit, of one's true,
conscious or unconscious identity, with a doggedness that has become in time almost an obsession
in both life and writing. Thus that also explains why the second great glue of so much output in
verse, which I would not weigh in all together in a consideration of poetry, has been that
sentiment of civil indignation, of protest and revolt that at the beginning of the Nineteenth
Century found in the Arcadian Francesco Ignazio Mannu and in his hymn The Sardinian Patriot
to His Feudal Lords (whose meaning is clear), what has been defined as the "Sardinian
Marseillaise." But all has been said also explains why the Sardinian language, as I already stated
elsewhere (la Stampa-Tuttolibri, July 15, 1978), "born in state of submission, is a tragic language
(in the sense of a Greek tragedy) and has retained and keeps retaining a dramatic charge not only
in the words of the female mourners and their death song (s'attitudu), but even in the singsongs of
children and for children (ninnios) which always contain a dark foreboding of death or menace or
misfortune: almost the fear of the ancient rulers' or masters' return."
No doubt this state of submission has determined the loss of an immense poetic output
that, above all at the beginning but to a considerable degree until today, has been an oral output,
only a very small part of which has been handed down from generation to generation, almost as an
act of survival, or clandestinely assembled, as in the case of F.I. Mannu's aforementioned hymn
against the feudal lords. On the other hand, the awareness of speaking one's own autonomous
language has certainly not favored that process of osmosis, of continual exchange between
language and dialect and between dialect and language which has taken place in many parts of
Italy, to the mutual enrichment of both. Instead, there has been a history of continued rejection
between the Italian language and Sardinian dialects (or Sardinian language). Maybe only in the
poetry of Sebastiano Satta, until recently considered the greatest Sardinian poet in italian, has
dialect given off a few sparks. For the rest of them the firing pin has not worked. It might be
however interesting to underline the tie (in certain cases inevitable, as for the Catalan poetry of
Alghero) between Sardinian dialect poetry and above all Spanish poetry (especially Latin-American) to which ours is related through specific themes as well as through an affinity of
rhythms and timbres. The very particular Sardinian versification, which had so struck Pasolini that
he came to declare that "the exceptionl nature of the metrical forms and stylemes is even more
surprising" than in his own Friuli (op. cit., ), if on the one hand goes back to medieval laudi no
less, on the other hand it is imbued with the singing, very musical rhythm of certain Spanish
poetry, especially from Latin-America. And at this point one can mention the name of the Spanish
poet who more than any other has had a decisive, and no doubt preponderant, influence on all
Sardinian dialect poetry, namely García Lorca, the lesser Lorca of "Lament for Ignacio" and
Romancero gitano. Aside from the aedic nature of this poet (and Sardinian poetry is born as
poetry meant to be recited, as at any rate has always happened in public squares and as still
happens now and then during festivals and town feasts), in much of the Sardinian dialect poetry
there is a popular (at times populist) climate and sensibility, the thematic specificity (love,
destiny, tragedy, death) characteristic of Lorca, not to mention the lexical loans and even certain
marked linguistic calques often found in many past and present Sardinian poets. The only great
difference is that, in contrast with Lorca's poetry, that feeds on great literary and cultural
references, Sardinian dialect poetry is almost exclusively a kind of poetry that finds all its strength
in being the immediate and direct expression of popular sentiment. They are, in short, two types
of poetry differently popular, not at the ideological, but at the artistic level.
Indeed, the great wordplay of some of the major exponents of Sardinian dialectality
(Lobina, Mastino, Ruju and others) consists in accentuating the friction between Italian and
dialect, between cultured language and popular language, playing ironically, sarcastically at times,
on the grotesque and parodistic effects stemming from a use we might call "macaronic" of Italian
itself or from the sense of estrangement that comes from the contact with dialect's diversity, as if
it they were two non-communicating galaxies or monads. It must be said that Sardinian dialect
writers have not opted for this linguistic choice out of literary saturation, as Montale would have
said (Sulla poesia, Mondadori); if anything, in Sardinia the opposite has always been true. Our
dialect writers are direct descendants of their maternal dialect, for the most part not even
inventors of an idiolect of their own, that is, of their own language, specific, personal, outside the
rules of natural linguistic orthodoxy, the way it has happened elsewhere, as in the great examples
of Marin in Grado, Loi in Lombardy, Pierro in Tursi or Pasolini in Friuli. In the Nineteenth
Century in Sardinia they were still searching for a language, a linguistic habitat ubi consistere.
Later only a few isolated cases (Salvatore Ruju, Pompeo Calvia, Cesarino Mastino, Benvenuto
Lobina, Francesco Masala and Ignazio Delogu - in addition to the even more isolated examples, if
one can call them that, of Sari and Pinna have demonstrated the possibility of bending dialect to
their own personal expressive need, with a few happy inventions at the level of verbal forms and
of the still uncodified orthography.
Instead, in Sardinia it happened that a dialect poet, such as the logudorese Francesco
Masala, has been able to be dialectal even when he was writing in Italian, borrowing from the
maternal dialect locutions, forms and lexicon of the purest dialectality, in short translating from
his dialect without betraying it, the way it almost always happens in real translations. Can one
then speak of a language for these Sardinian poets? Or must one speak of what Contini would
have defined a minor language? Does it make sense to speak of a language when there is no
linguistic koinè valid for the whole island and this presumed, fancied language is yet to be
invented and structured and, in short, artificially recreated? A problem we leave to linguists. We
can only remark that our own félibristes express themselves in an infinite variety of dialects, at
times contiguous, at times very remote, not to mention that in Sardinia there is a group of poets
who gravitate in the area of Alghero and write in a variety of true Catalan and who are therefore
the children of a truly separate linguistic civilization, although they consider themselves very much
children of the great Sardinian mother, with which they retain very close ties. The question, in the
end, is almost frivolous and idle since if one stops to consider it is not even relevant if a poet
writes in dialect or in Italian, if it is true that he is such not on the basis of the linguistic instrument
adopted, but exclusively on the strength of the results achieved. The dialectologic querelle that
from time to time gains new momentum, from different angles and perspectives (whether dialect
has already disappeared or is about to become extinct, so that it would be better to file away any
question relative to it; whether it is legitimate to place on the same level dialect poetry and Italian
poetry; whether one should reserve for dialect a narrower operational field than the one accorded
to italian, etc.) frankly seems to me not to be taking into account the fact that the problem, in the
final analysis, concerns only the method of a linguistic search that may lead to the heart of truth,
increase man's knowledge and above all find, in today's levelling even linguistic in the rampant
and pervasive conformism, in the more and more mortifying massification, the most suitable
instrument for such achievements, which are both human and poetic.
The enemy to be defeated is conformism, linguistic as well, and linguistic consumerism, no
less alarming and serious than consumerism tout court, and perhaps at least in part an effect of the
latter. It is in the face of this verbal flooding of a language more and more mixed, of this mixtum
compositum, of this mishmash of different languages, sectorial, technological etc., it is in the face
of this falseness of language that the poet must seek the best way to be able to say, once again,
what ditta dentro, which amounts to saying the sentiment that he shares with other men. Just as
one must try to save with all his strength a haven of greenness, of a living and real nature,
threatened by the ever increasing flows of concrete, the same must be done in the realm of poetic
language. Then it is of precise, maybe civil, moral and religious significance, even more so than
poetic, that a great number of Twentieth-Century poets, after a period of limbo, have dived into
the great sea of dialectality, as the place of authenticity and truth in contrast with the falseness of
life and history that language was dispensing in the erosion of time, of modes and forms.
If this has a meaning for all the dialect poets of Italy, it certainly does so even more for the
dialect poets from Sardinia. Their severed tongue, severed for centuries, for millennia, required
and requires, with the attainment of an ever greater awareness, that very maternal tongue, that
tongue that descended into the depths of time and space, of history and life, be recovered and
made to sound like new: but where indeed, if not in the place designated for this, namely poetry?
In answer to a question from Renato Tucci (Il lettore di provincia, n. 79, Dec. 1990)
Franco Brevini, author of Le parole perdute [Lost Words], Einaudi, said, as well as anyone ever
could: "I felt in that dialect pronunciation something familiar, something that had passed through
my existence. Much later I was to discover that that very inner resonance, that unpredictable echo
aroused that evening by Pasolini's poetry constitutes the profound reason for writing in dialect." I
cite this impression and consideration textually to describe the condition of the Sardinian poet
who swims upstream like a lost salmon in order to trace back and find that very "inner resonance"
again, that "unpredictable echo" that for Brevini constitutes the profound reason for writing in
dialect and, for the Sardinian, the profound reason for his finding himself again in his natural,
maternal, ancient linguistic habitat, severed at the roots by the recurrent dominations,
The use of the dialectal linguistic instrument is for the Sardinian, therefore, not only a
means to swim upstream, to recreate his history (if history, our history, is above all the search for
our most intimate word, our most secret, most authentic and true), but also a sort of revenge
against those who have erased our lost words in the long voyage of the millennia. Twentieth
Century dialect poetry is in Sardinia first of all a poetry, a poetic word that bears the weight of
this immense tragedy, of this initial trauma, which has become, as I stated earlier, obsessive. More
than anyone else, its spokesman has been, writing in Italian and Sardinian dialect, but at any rate
always with a sort of inevitable dialectality, a poet such as Francesco Masala who, even when he
writes prose, has told this "history of the vanquished" in an almost obsessive way, allowing
himself to be somewhat overcome by it (with uneven, but at any rate never really important,
results), with a violent and exasperated populism, not lacking a few happy notes, between the epic
and the dramatic. Others, like Salvator Ruju, have tried to reclaim a whole lost civilization, that
zappadorina [peasant] civilization, indeed dialectal, with a type of poetry that perhaps also meant
an extreme, desperate rappel à l'ordre, and successfully refining and modulating the dialect of
Sassari with subtle grace and spirited intensity. His poetry is tinged with heartrending longing for
something that the poet perceives as being irremediably lost or elusive, and his poetic word is the
attempt to erect a small monument to a small rural world already infested with nettles and
concrete. Everything with a sense of acute, restless morality.
But there are those who have used dialect has a true autonomous language, endowed
with a force and dignity equal to that of the Italian language (like almost all Sardinian dialect
poets), even having fun ridiculing it, doing a parody and caricature of it, to make one feel the
erosion caused by time and everyday linguistic usage; like ziu Gesaru (Cesarino Mastino), and
those who, like Benvenuto Lobina, have felt this vernacular language of his as being an alternative
to the Italian language, as the most suitable, most effective and natural instrument with which to
shout his rage, his desperation, for this land of ours lost and abandoned, transforming the Salvator
Ruju's song, between idyllic and elegiac, into an almost epic song of rebellion and protest.
But there is in all the Sardinian dialect poetry a sort of concordant (and at times
monotonous, as in Masala) song of protest which is not only a call to arms against all that is
responsible be it men or accidents of life and history for the loss of the small linguistic
fatherland (or motherland), of this severed tongue of ours, but a continuous, persistent search for
a new identity, as well as for the one erased by time and men. Often there is something untidy and
patched-up in this meticulous search, in this movement between the mimesis of what's happening
in other parts of Italy and the world (and Sardinian poetry, in this respect, is lagging considerably
behind) and true improvisation, somewhat in the wake of those Sardinian aedos who sang and in
part still sing in the squares. An oral poetry in which improvisation is all too often a passioned
withdrawing into oneself, a sort of interior monologue or endophasia. It is a fact that in every part
of the island and in the great languages of the island (from Logudorese to Campidanese, from
Gallurese to Sassarese) there has been from the start, and growing stronger with time, a
movement to reappropriate a dialect which is more and more local, provincial (but at times even
diversified from town to town, from farm to farm), in sharp contradiction with those who instead
maintain the necessity, which everybody is supposed to perceive, of a linguistic koinè and a single,
true, great language for everyone. The history of Sardinian dialect poetry in this century stands
really as proof of this proliferation of dialects, each with its own "voice," with its own spelling,
unfortunately never codified, with its own original phonetics, and its own peculiar characteristics.
And from the start it would have been absurd to conceive the great song, between epic and
elegiac, between gnomic and näif of the poet from Barbagia Antioco Casula being written, let's
say, in Sassarese. Already the title of one of his books (Boghes de Barbagia: Voices of Barbagia)
immediately places a boundary to his poetry that is even physical, territorial. Not to mention the
fact that the strength of almost all these poets rests precisely on their untranslatability, on their
making themselves into very particular, even esoteric, linguistic islands (as happens with Lobina,
but also with Casula and others). They themselves are perfectly aware that they are writing among
the initiated and for the initiated, I would dare say among the faithful of the same religion of
language, custom and life. In my opinion, this is the dialect poetry destined to endure, that is, the
one that finds its strength in its natural, untranslatable, contrastive matrix, what the Germans call
Müttersprache. Then dialect also becomes a kind of banner, a way of being oneself in the diversity
of languages, in order not to get lost again, not to lose one's way in the new Babel of languages.
And the dialect of poetry regains its "primitive" function of naming objects, places, feelings, a
whole civilization of manners, forms, behaviors: the most civilized and honest, the most authentic
and freest way to bear witness to an oppositional presence with respect to that "civilization" that
has turned even language into a place of widespread pollution.
Therefore, dialect today can, In Sardinia and elsewhere, be wedded even to ecology. At
any rate, the ever-growing revival of dialect poetry at every level is not without significance. In
short, for many people (even distinguished poets in Italian) dialect has become a siren. "And so" -
Spagnoletti and Vivaldi write (Poesia dialettale dal Rinascimento a oggi, Garzanti) what fate
will accompany the present success of dialect poetry?"
The question, left hanging, cannot find easy answers. It seems clear that in this world
invaded by concrete it is difficult to hear the cricket ziu Gesaru talks about, or smell the scent of
sage and mint mentioned by Ruju, or feel life flowing through a country road of times past.
Everything seems to move in the direction of consumerism, even of the linguistic kind, of
conformism, of massification, and the language best suited to say it seems indeed to be that
mixtum compositum, that mixed language Italian has become. Making predictions is not easy.
"We are a little among ghosts," the poet Andrea Zanzotto (I dialetti e l'Italia, ed. Walter della
Monica, Pan Editrice) said just ten years ago. Today one can only say that those ghosts had a
body and a soul. The future will tell us how long they will resist this technological society
advancing under the banner of the computer.
Angelo Mundula
ANTHOLOGIES AND DICTIONARIES
Sardegna terra di poesia. Antologia poetica dialettale, edited by R. Carta Raspi, Cagliari 1930.
Poesia in Sardegna, edited by A. Sanna e T. Ledda, Cagliari 1969.
Il meglio della grande poesia in lingua sarda, edited by M. Pira e M. Bragaglia, Cagliari 1975.
Antologia dei poeti dialettali nuoresi, edited by G. Pinna, Cagliari 1982.
Dizionario italiano-sardo campidanese, edited by Antonio Lepori, Cagliari 1988.
REGIONAL STUDIES
P. Scanu, Sardegna, Firenze 1965.
M. Mura, "La produzione letteraria in lingua sarda dall'unità italiana alla seconda guerra
mondiale," in La letteratura dialettale in Italia, edited by P. Mazzamuto, Palermo 1984.
N. Tanda, Letteratura e lingue in Sardegna, Cagliari 1984.