The language of the new hymns collected in Jesličky by Fridrich Bridelius draws on the tradition of the highly developed Czech language of the late 16th century. This is clearly visible in the range of effects produced by the sound shifts experienced by Czech during the Early Modern era, enabling a degree of stylistic differentiation (ý > ej, ú- > ou-, é > í and prosthetic v-). The morphology and syntactic structure of the new hymns includes some of the changes which affected spoken Czech in the 17th century, and which penetrated into the written language only slowly – the blurring of gender differences in the nominative plural declension of adjectives and pronouns, the unification of instrumental plural adjectival and pronominal suffixes in the form -ma, the stabilization of the form si as the dative of the genderless reflexive pronoun se, the penetration of compound declension into singular forms of possessive adjectives, the stabilization of the second person singular bys as the conditional auxiliary verb, the violation of concord in transgressive forms, the retreat of the negative genitive, and the constitution of the category of frequentatives in verbs. However, in addition to these features, the texts of Jesličky also preserve certain traditional linguistic forms typical of written communication: the masculine and neuter instrumental plural of the type pány / městy, the genitive plural suffix -ův of the type pánův, the third person singular present tense form of the athematic verb jest, preterite forms such as nesl jest / nesli jsou, and the use of the antepreterite or the negative genitive. This symbiosis of progressive and traditional forms in the texts not only shows that the author of the hymnal was attempting to use a high style that was at the same time comprehensible to contemporary readers; it also confirms that post-White Mountain authors drew naturally on the language of the previous era and developed it creatively, well aware of the wide functional range of linguistic means at their disposal. The language of Jesličky contains a minimum of clearly dialectal or potentially dialectal forms, which can be localized in Central and Eastern Bohemia. This low frequency of dialect features can be viewed as 1) an indirect confirmation of Bridelius’ probable authorship (he came from Eastern Bohemia and lived and worked mainly in Central Bohemia), and 2) a reflection of the fact that Baroque authors tended to deliberately avoid the use of dialectal forms.
The paper deals with the development of word order of the conditional auxiliary in Old and Middle Czech which has changed into a permanent enclitic form. The paper is based on data gained from the Old and Middle Czech Bible translations (The Gospel of Matthew). The aim of the paper is to detect all possible word-order positions of these auxiliary forms in Old and Middle Czech. The analysis shows that the conditional auxiliary behaves as a ′stable′ enclitic in the explored older Czech Bibles, except when it is an auxiliary in the function of a subjunctor. According to the explored data it seems that the post-initial (2P) word-ordering of the Czech enclitic became established in Old Czech and that verb-adjacent (VA) word- -ordering was retreating at that time.
This paper presents an excerpt from a forthcoming critical edition of the Advent and Christmas hymnbook Jesličky. Staré nové písničky (Prague 1658) by the major Czech Baroque poet Fridrich Bridelius. This edition has its origin in the project Jesličky, staré nové písničky (Fridrich Bridelius, 1658) – mezioborově koncipovaná kritická edice [Nativities, Old and New Carols (Fridrich Bridelius, 1658) – a Critical Edition within an Interdisciplinary Framework] (GAČR, 406/10/1454). The basic premise of the edition is the concept of a hymn as an integral configuration of text and music; the authors are thus committed to the programme of consistent philological and musicological research in hymnology formulated at the beginning of the 1940s by Antonín Škarka and Vladimír Helfert. The editorial principles of the planned edition, including its structure, are demonstrated by the authors with the use of the carol Sem, sem Děťátko as a model example. The carol is not only a contrafactum but also an independent Czech verse adaptation of the German hymn O Jesulein zart, das Kriplein ist hart by Friedrich von Spee. The paper comprises the actual edition of the textual and musical aspects of this hymn; an accompanying commentary (critical notes and explanations, textual and musical); a brief description of the genesis of the carol (determination of the possible German model) and its reception in the Czech environment; an explanation of the transcription principles used in the preparation of the textual and musical parts of the edition; a facsimile of the carol; and excerpts from hymn texts which show the most interesting textual and musical connections with the carol.
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