Modern Italian Grammar: A Practical Guide, Third Edition (2013)

Part B. Functions

V. Expanding the horizons

40. Register and style

40.1 Introduction

Italy's long and complex history has left its distinctive mark on the Italian language. Used almost exclusively as a written and literary language until Italy became one nation in the late 1800s, spoken only by an educated elite, it has preserved unchanged until recent years many features of its origins in the aristocratic society of the late Middle Ages and the Renaissance.

These origins and the fact that the literary language existed side-by-side with a diversity of dialects, together with the influence of foreign domination (particularly Spanish and French), have contributed to the complexity of Italian syntax, the richness of vocabulary and the variety of stylistic forms.

The Italian language has inherited a fondness for elegance and eloquence, a sometimes excessive emphasis on precise terminology (often to the detriment of clarity), and an unabashed love of formality. These characteristics of the language of an educated elite are still strong today in certain sectors of Italian life, although there is a growing trend towards the modernisation and simplification of the language.

Today Italian is a modern and dynamic language, spoken by 60 million people, but it still retains certain features of its literary and aristocratic tradition. In this section of the book, we highlight just a few.

In this chapter we look at several points to consider in relation to the spoken and written language and the difference between them. Many of the points have been covered individually in earlier chapters but here we bring them all together to see how register and style affect the way you write and speak.

While this chapter looks at register and style in general, Chapter 41 looks specifically at spoken communication and Chapter 42 at written communication.

40.2 Spoken and written discourse

Just as any other language, Italian has different patterns of expression depending on whether it is being used as spoken or written means of communication. There are differences in the choice of words (lexis), as well as in the structures used (syntax), which distinguish spoken from written style. There are of course people who speak come un libro stampato ‘like a printed book’, whose speech is formal or elegant, just as there are people — including many present-day authors — who adopt the patterns of the spoken language in their writing.

In Italy, the gap dividing written from spoken language has traditionally been wider than in English-speaking countries. Until just over 100 years ago, Italian was almost exclusively used as a written language, while the language spoken was mainly dialect, even amongst the more educated social classes. In the next three sections, we provide some examples of how spoken Italian and written Italian can be very different, at the same time making a comparison with English, where applicable.

40.3 Differences in lexis

40.3.1 Exclamations

Many words are used frequently in everyday conversation, but rarely found in a written text. These include exclamations such as:

It is difficult but not impossible to find a corresponding expression you can use in written Italian, as shown below:

The written language is almost always associated with a greater formality and should avoid the kind of words used in everyday conversation, as well as the widespread and typically Italian use of regional or local languages.

Here are just a few examples of words commonly used in familiar contexts and spoken communication, with suggestions for alternatives suitable for written Italian. This list can be expanded by learners themselves, with the help of dictionaries and experience.

40.3.2 Vocabulary and synonyms

Italian is blessed with an extraordinary wealth of words drawn from its ancient literary tradition, enriched by the diversity of its regional and local varieties and by contributions from other languages, both in recent years as well as in the past. The written language cannot call on the intonation, gestures, pauses or repetitions that make oral communication easier and more effective. So a rich vocabulary is one way in which you can make your written messages effective.

Synonyms are an important tool in exploiting the rich and quickly evolving vocabulary of Italian. A good dictionary of Italian synonyms is useful for more complex communication needs.

One of the most common problems faced by students of Italian is how to choose from the variety of adjectives with identical or similar meanings. Here are just a few of the most commonly used adjectives with a choice of alternatives which have slightly different nuances of meaning:

bello (magnifico, meraviglioso)

beautiful (magnificent, marvellous)

grande (enorme, gigantesco)

big (enormous, huge)

piccolo (minuscolo)

small (tiny)

40.4 Differences in syntax

40.4.1 Coordination

The pattern of spoken discourse is generally that of coordinating phrases (see 30.2) which tend to be short, simple, similar in form and separated only by pauses. In spoken discourse, phrases of different value, connecting links and time relationships can all be represented by pauses, changes in intonation or in the pitch of voice, gestures or repetitions. Eye contact is often a more effective channel of communication than words or … grammar.

Here is an example of this typical pattern of spoken language, in a very familiar situation: the short sharp bursts of communication between a mother and her three children at the beginning of a normal busy weekday.

Valentina, svegliati, Roberta svegliati … Franco salta giù dal letto. Ragazzi sono le sette e cinque! Franco, presto, vai a fare la doccia. Valentina vestiti. Sono le sette e dieci! Ragazzi, il caffelatte è pronto! Franco hai fatto la doccia? Asciuga per terra. Roberta, perché piangi? Valentina, avanti, falle mettere la gonna gialla. Sono le sette e un quarto! Insomma, venite o no a prendere il caffelatte? Si sta freddando tutto! Roberta se piangi ancora vengo di là e ti ammazzo! Francooooooo! Dov'è Franco? Roberta non piangere, vatti a pettinare invece. Sono le sette e mezzo. Perderete l'autobus. Ma dimmi tu che razza di figli!

(Adapted from Il libronuovo by B. Reggiani and A. Salvatore, IGDA, Novara, also reproduced in Chapter 21)

Valentina, wake up, Roberta wake up … Franco get out of bed. Kids, its five past seven! Franco, quick, go and have a shower. Valentina get dressed. It's ten past seven! Kids, your caffelatte is ready! Franco, have you had a shower? Dry the floor. Roberta, why are you crying? Valentina, come on, let her put your yellow skirt on. It's quarter past seven! Come on, are you coming to have this caffelatte or not? It's all getting cold! Roberta if you keep on crying, I'll come over there and kill you! Francooooooooo! Where's Franco? Roberta don't cry, go and comb your hair instead. It's half past seven. You'll miss the bus. Honestly, tell me, what sort of kids have I got!

40.4.2 Subordination

In written Italian, you do not have the same direct contact as in spoken Italian to help get your message across. Pauses must be represented by punctuation and emphasis and emotions must be expressed by a careful choice of words.

The organisation of written discourse is usually much more complex than that of speech, since you have to use a range of grammatical and syntactical devices to create a logical texture and facilitate communication. Phrases are usually more complex and there is a clear preference for a pattern of subordination involving main and dependent clauses (see 30.3).

Italian has a particularly complex system of relationships between clauses due to having existed for so long only as a written and literary language. For example the system of ‘sequence of tenses’ (see Chapter 30 and Appendix V), and the use of different verb moods (indicative, subjunctive, conditional, etc.), creates a network of relationships between clauses which is very effective in written communication, but also difficult for learners to master.

Let's see how a spoken passage like the one above could be transformed into a piece of narrative description:

Ecco cosa succede a casa mia tutte le mattine all'ora del risveglio. Devo chiamare ad alta voce Valentina, Roberta e Franco, dicendo loro di svegliarsi, di alzarsi, di andare a fare la doccia e vestirsi!!! Alle sette e dieci la colazione è pronta, ma Franco non ha ancora fatto la doccia e deve asciugare per terra. Intanto Roberta piange e Valentina deve aiutarla a mettere la gonna. Alle sette e un quarto il caffelatte sta diventando freddo e Roberta piange ancora. Devo minacciarla per farle smettere di piangere e per farla pettinare, mentre, intanto, non trovo più Franco. A questo punto sono già le sette e mezzo e i ragazzi rischiano di perdere l'autobus. Ditemi voi che razza di figli ho!

Here is what happens in my house every morning when it's time to get up. I have to call at the top of my voice Valentina, Roberta and Franco, telling them to wake up, get up, go and have a shower and get dressed. At ten past seven, breakfast is ready, but Franco has not yet had a shower and has to mop up the floor. Meanwhile Roberta is crying and Valentina has to help her to put her skirt on. At quarter past seven, the caffelatte is becoming cold and Roberta is still crying. I have to threaten her to make her stop crying and get her hair combed while, meanwhile, I can't find Franco any more. At this point it's already half past seven and the kids risk missing the bus. Tell me what kind of kids have I got!

40.4.3 Pronouns

References to known persons or objects are made by using pronouns, which therefore create the thread of the discourse. The Italian system of pronouns is rather complex (see Chapter 3) including both stressed pronouns (see 3.3) and unstressed pronouns (see 3.4). For practice, see if you can identify all the pronouns used in the text above.

Questo, quello

Demonstrative pronouns like questo, quello and others (see 3.8) are largely used in spoken language where it is clear which person or object is being referred to because of their physical presence and the fact that the speaker can point to them, whether they are near him/her (questo) or further away (quello).

In written Italian, demonstrative pronouns can only make references to persons or things previously mentioned in the text, not to those seen. In the case of questo and quello, the first refers to something that has just been mentioned while the second will be used when referring to something more distant in the text. Let's see an example of this situation:

Stamattina ho incontrato Stefania sull'autobus, mentre andavo a scuola. Poi, quando ero già arrivato, ho incontrato anche Raffaella. Questa (Raffaella) mi ha salutato affettuosamente. Quella (Stefania), invece, ha fatto finta di non riconoscermi.

This morning I met Stefania on the bus, while I was going to school. Then when I had (already) arrived I met Raffaella as well. She (Raffaella) greeted me affectionately. The former (Stefania) on the other hand pretended not to recognise me.

Although in written language questa simply means ‘the latter’ and quella ‘the former’, quella tends to express dislike or at least a lack of friendliness. Take care using these very common pronouns in writing; the pronouns must make it absolutely clear who or what is being referred to.

40.4.4 Conjunctions

Conjunctions (see Chapter 5) are also important words that allow you to construct the complex phrases typical of a written text. We can distinguish coordinating conjunctions (see 5.2) such as e, o, oppure, né, sia from subordinatingconjunctions (see 5.3) such as che, se, sebbene, poiché. Written Italian has a preference for sentences made up of subordinating clauses which means that conjunctions are very important in constructing a text.

When using subordinating conjunctions it is important to know which verb mood (see 2.1.8) to use in the subordinate clause they introduce. Many conjunctions require the subjunctive (see 2.2.14), for example affinché, benché, perché, purché, sebbene (see 5.3.5, 33.3.1 and 39.3.2).

40.4.5 Adverbs

Adverbs (see Chapter 6) are also important for constructing complex phrases. This is especially true when having to create a time context, where adverbs play an essential role in creating a network of relationships of time among the actions, events or facts you are writing about (for examples see Chapter 36).

40.4.6 Tenses and moods of verbs

To write fluently in Italian you need to be completely familiar with the complex system of verb tenses and inflexions. When constructing complex sentences, you need to understand and follow the ‘sequence of tenses’ (see Appendix V and also 30.5), which will allow you to write Italian accurately, elegantly and effectively. Finally you need to understand when to use the subjunctive mood and when you can get away with just using the indicative (see also 40.5.1).

40.4.7 Omission of elements

In the more casual pattern of the spoken language, elements are sometimes omitted for example the non of the negative pair non … mica:

(Non) sai mica a che ora comincia la festa?

You don't happen to know what time the party begins?

(Non) hai mica visto Giorgio a scuola?

You haven't by chance seen Giorgio at school?

► See also Chapter 41.

40.5 Formal and informal registers

The distinction between formal and informal registers is not a hard and fast one, rather a sliding scale. It applies mainly to written texts. At the informal end of the scale, the language of written texts tends to be similar to that of spoken Italian. Certain features separate the formal from the informal register.

40.5.1 Subjunctive or indicative?

An important marker of formality in Italian is the use of the subjunctive even in those cases where it is optional. The subjunctive tends to be used in a more formal style of text, while the spoken and informal register normally uses the indicative. Deciding whether to use indicative or subjunctive can often be a question of personal choice but is very dependent on the context. Here are some examples where there is a choice between subjunctive and indicative, depending on how formal or informal the context is. In the pairs of examples below, the first uses the subjunctive, the second the indicative.

In conditional sentences in the past context (see 38.3):

Se tu me l'avessi detto prima, avrei potuto accompagnarti.

Se tu me lo dicevi prima, avrei potuto accompagnarti.

If you had told me earlier, I could have given you a lift.

After pensare (see 27.1.1):

Penso che si debba prendere in considerazione questo fatto.

I think one must take this fact into consideration.

Penso che devi prendere l'autobus delle 7.00.

I think you should get the 7 am bus.

After sperare (see 2.2.15, 26.2.1):

Spero che la nostra collaborazione possa continuare.

I hope our collaboration can continue.

Spero che ti piacciono le lasagne.

I hope you like lasagne.

After qualunque (see 3.9.2):

Qualunque cosa faccia, non vincerà mai le elezioni.

Whatever he does, he will never win the elections.

Qualunque cosa vuoi, non fare complimenti.

Whatever you want, don't stand on ceremony.

40.5.2 Passive, si passivante, si impersonale

Another important marker of formality is the use of the passive, the si impersonale and the si passivante. The passive, si impersonale and si passivante are particularly common in instructional texts and scientific papers and also in the press (see 42.8 and 42.9 respectively) where they express objectivity and impersonality. These forms are far less common in the spoken language and in informal texts. Note the difference in the following texts:

Si passivante, si impersonale

Cosa si fa al mare? Di giorno si fanno i bagni e la sera si fa una passeggiata sul lungomare.

What does one do at the seaside? In the daytime one goes swimming and in the evening one goes for a walk along the seafront.

Personal noi form

Cosa facciamo al mare? Di giorno facciamo i bagni e la sera facciamo una passeggiata sul lungomare.

What do we do at the seaside? In the daytime we go swimming and in the evening we go for a walk along the seafront.

40.6 Word order

This final section looks at word order. Word order in both spoken and written Italian is extremely flexible. You can see examples of this throughout the book. Here are just a few points to look out for.

40.6.1 Noun + adjective

Unlike English where the adjective + noun order is rigidly fixed in Italian the order is more flexible. You can say either:

adjective + noun

un grande giardino

a big garden

or

noun + adjective

un giardino grande

a big garden

The position of the adjective can make a difference in emphasis or even in meaning. (See 1.4.5)

40.6.2 Subject - verb

English learners tend to translate sentences directly from English into Italian. In Italian — as in English — the sentence can have the order subject — verb:

But it is equally possible to reverse the order, to give verb — subject:

Often the ‘normal’ order is reversed or altered in order to emphasise who carried out the action:

Chi ha mangiato tutti i cioccolatini

Who ate all the chocolates?

But in the first examples above, no particular emphasis is given to the subject. It might just as well be the dustman who has called, or someone else who has telephoned.

In exclamative sentences, using che or come, the subject usually has to follow the verb:

Com'è bella la tua casa!

How lovely your house is!

Che begli occhi (che) ha quel bambino!

What lovely eyes that child has!

Similarly, in interrogative sentences, the subject often comes after the verb:

Finiranno mai questo libro Franco e Anna?

Will Franco and Anna ever finish this book?

And it has to come after the verb when the interrogative sentence is introduced by interrogative words such as che cosa, chi, come, dove, quale, quando, quanto:

Quando finiranno il progetto di ricerche i nostri colleghi?

When will our colleagues finish their research project?

40.6.3 Subject — verb — object

When there is a noun direct object, the normal sentence order in Italian is subject — verb — object:

When you want to place emphasis on the object (in this case la sua amica), the normal order can be changed, so that the object is placed first in the sentence. There is a further direct object before the verb, in the form of a direct object pronoun (lo, la, li, le). This is called dislocation (see also 3.4.8).

Gianni will see his friend tonight.

(Literally: His friend, Gianni will see her tonight.)

It is equally possible to emphasise the object of the sentence by moving it to the end:

Lo vedrò domani all'aeroporto mio padre.

I will see my father tomorrow at the airport.

(Literally: Him I will see tomorrow at the airport my father.)

40.6.4 Split sentence

In Italian — as in English — it is also possible to split the sentence, using a phrase with essere, to emphasise the person or object in question, while the rest of the sentence stays in the same position.

Emphasising the subject of the action:

Sei tu che mi chiami?

Is it you who is calling me?

È Luca che ci ha aiutato a fare trasloco.

It was Luca who helped us move.

(Compare the last example with the non-emphatic sentence Luca ci ha aiutato a fare trasloco.)

Emphasising the object of the action:

È lei che ho visto con mio marito.

It was she that I saw with my husband.

È Naomi che sono andata a trovare a Genova.

It was Naomi that I went to see in Genova.

(Compare this with the non-emphatic sentence Sono andata a trovare Naomi a Genova.)