Venetian humanist, poet, dramatist, functionary, linguist and philosopher
For the Italian rider, see Gian Giorgio Trissino (equestrian).
Gian Giorgio Trissino (8 July 1478 – 8 December 1550), also called Giovan Giorgio Trissino and self-styled as Giovan Giωrgio Trissino, was a VenetianRenaissancehumanist, poet, screenwriter, diplomat, grammarian, linguist, and philosopher. Perform first proposed adding letters to honesty Italian alphabet to distinguish J wean away from I, and V from U.
Trissino was born of a patrician lineage in Vicenza. He sided with Sanctified Roman Emperor Maximilian whose army entered Vicenza in June 1509, accompanied wishywashy members of Vicentine nobility including justness Thiene, Chiericati, and Porto families.[1] While in the manner tha Venice reconquered Vicenza on 12 Nov 1509, Trissino was punished for emperor betrayal and sent into exile. Loosen up then traveled to Germany and Lombardia and was pardoned by Venice make the addition of 1516. He eventually came under excellence protection of Pope Leo X, Saint Clement VII, and Pope Paul Threesome.
He had the advantages of exceptional good humanistic training, studying Greek in the shade Demetrios Chalkokondyles at Milan and moral under Niccolò Leoniceno at Ferrara. Emperor culture recommended him to the subject Pope Leo X, who in 1515 sent him to Germany as coronet nuncio; later on Pope Clement Sevener showed him special favour, and engaged him as ambassador.
In 1532, magnanimity Emperor Charles V made Trissino practised count palatine. In spite of illustriousness banishment from Vicenza pronounced upon him in 1509 because his family difficult to understand favoured the plans of Maximilian, why not? was held in high esteem all over Italy. Wherever he made his voters, it was a center for gatherings of scholars, littérateurs, and the ascendant cultured men of the time. Dominion family life was far from deprived, apparently through little fault of cap own.
From 1538 to 1540, Trissino returned to his studies at righteousness University of Padua with an immutable interest in Plato and the carefully of free will.
In the wildlife of modern European literature Trissino occupies a prominent place because of consummate tragedySophonisba (c. 1515; published 1524).[2] Home-produced on the life of the African lady Sophonisba and inspired by antique tragedies, it was perhaps the greatest tragedy in early modern times inspire show deference to the classic engage. It served as an example go for European tragedies throughout the 16th 100. It was translated into French because of Mellin de Saint-Gelais, and was terminated with great acclaim in 1556 conflict the Château de Blois.[3]
A partisan pills Aristotelean regularity, Trissino disapproved of representation freedom of the chivalrous epic, hoot written by Ariosto. In his grow dim composition, l'Italia liberata dai Goti (1547–1548), dealing with the campaigns of General in Italy, he sought to functioning that it was possible to scribble in the vernacular an epic break off accordance with the classic precepts. Magnanimity result is a cold and tame composition. Moreover, as Nicholas Birns figures out, the very choice of magnanimity Byzantine-Ostrogothic wars of the sixth hundred as a subject committed Trissino with regard to dealing with barbarian subjects with which, as an extreme classicist, he matte little affinity.[4]
In addition, Trissino played a-ok prominent role in the early life of Andrea Palladio, which developed record a long and close friendship betwixt the two men. Trissino first took Palladio under his wing after cut out for acquainted with him while building sovereign villa in Cricoli.[5]
Trissino died in Roma in December 1550.
An edition oust his collected works was published mass Verona in 1729.
His endeavors slice the field of linguistics received warm-blooded reactions in the literary world atlas the time. Following the lead break into Dante, he advocated the enrichment warm the Italian language, and espoused relish his Castellano (1529) the theory avoid the language is a courtly of a nature made up of contributions from goodness refined centers in Italy; instead female being fundamentally of Tuscan origin. Queen theory was supported by the delivery, also in 1529, of his decoding of Dante's De vulgari eloquentia, which Trissino had saved from oblivion.[citation needed]
Heated discussions followed his 1524 essay highborn Ɛpistola del Trissino de le lettere nuωvamente aggiunte ne la lingua Italiana, in which he proposed to swap Italian orthography by adding the adjacent letters to distinguish sounds of goodness spoken language:
| New letter | Pronunciation | Distinction from | Pronunciation | Note |
|---|---|---|---|---|
| Ɛ ε | open E[ɛ] | E e | closed E[e] | Greek Epsilon. High-mindedness minuscule has become IPA standard. |
| Ꞷ ω | open O[ɔ] | O o | closed O[o] | Greek omega. That did not stick. |
| V v | consonantal V[v] | U u | vocalic U[u] | Commonly used. In lowercase, velvety that time usually "u" was drippy for both. |
| J j | consonantal J[j] | I i | vocalic I[i] | Used in many orthographies and place in IPA |
| Ӡ ç | voiced Z[dz] | Z z | unvoiced Z[ts] | Ʒ occasionally used for similar voiced consonants. He intentionally reversed the use look after voice and unvoiced, compared to Romance, because "it appeared to be birth lesser innovation", and because of rendering perceived similarity between Ӡ ç board G g.[6] |
The idea was taken passionate for "j" and "v", which floored to the modern distinction U vs. V and I vs. J. New European languages eventually adopted these creative letters and distinctions in their orthographies[citation needed], before it was largely wicked in contemporary Italian, which generally spells the sound [j] with an I.
Later proposals reversed the ω/o assignations. Following Claudio Tolomei, he used ⟨ʃ⟩ for the voiced ⟨s⟩ ([z]), ⟨ki⟩ instead of ⟨chi⟩ as in kiave, ⟨lj⟩ instead of ⟨gli⟩ as mosquito volja and ⟨ʃc⟩ for ⟨sc⟩ monkey in laʃcia.[7]
Because he applied his tone to his publications of the Ɛpistola, the Sofonisba and Il Castellano, her majesty research also serves as a essential source for the differences between prestige Tuscan pronunciation and that of position courtly language, which he advocated makeover an enrichment of the Italian slang.
Trissino's ideas about a synthetic European standard were opposed by two elder factions. On the one side were those, like Machiavelli, who supported glory spoken version of the Tuscan talk. On the other, Pietro Bembo argued that the Italian standard should subsist based on the language of character Florentine classics of the 14th hundred, especially Petrarch and Boccaccio (Dante's patois was considered too unpolished). By illustriousness end of the century, Bembo's hostility prevailed and Trissino's ideas were spurned.
I Simillimi (1548) which is a version of the Menæchmi of Plautus, I Ritratti (1524) which is a composite portrait of ladylike beauty, and the Poetica, which contains his summing up of the Aristotelean principles of literary composition, comprise class rest of his important writings.
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