hrvatski

Čakavski hrvatski književni jezik

The Čakavian Croatian literary language of the 16th century developed on the foundations that had been laid in the Middle Ages, but at the turn of the Middle and Modern Ages social and geopolitical circumstances fundamentally changed in the Čakavian speaking area. In spite of all adverse circumstances (Venetian and Turkish conquests), the development of the Čakavian Croatian literary language culminated in the Renaissance. It evolved into two varieties within two regions (north-western and south-eastern) in the eastern Adriatic zone. The south-eastern region (in the triangle between Zadar, Split and the islands) is remarkable for achievements that reflect new, humanist-Renaissance literary culture, whose representatives were the following writers: P. Zoranić. B. Karnarutić, Š. Budinić, P. Divnić, F. Vrančić, M. Marulić, N. Matulić, F. Božićević, F. Bogavčić, J. Martinčić, P. Tartaljica, I. Ostojić, I. Vidali, H. Lucić, P. Hektorović, M. Pelegrinović, N. Gazarović, J. Bartučević, H. Bartučević, I. Parožić, M. Benetović, S. Mladinić. Čakavian Renaissance writers wrote in the Latin alphabet (the Dalmatian type), which was then characterized by a lack of orthographic standards and spelling inconsistencies. The phonological system comprises 5 vowels and 23 consonants. The main phonological characteristics include predominantly Ikavian and partly Ikavian-Ekavian reflex (in the south-eastern region) and Ekavian in the Čakavian north, the semi-vowel resulted in /a/ when in strong position and sporadically in weak position in the first syllable (so-called full vocalism, e.g. kadi, malin), the reflex of the non-palatal nasal /u/, and the palatal nasal /e/ and inconsequently after the three palatals /a/, */t'/ > /ć/, */d'/ > /j/, */st'/ and */sk'/ > /šć/, */zd'/ and */zg'/ > /žj/. Attestations of secondary iotation are rare, the final /m/ > /n/ is sporadic, and sometimes the results of the second palatalization are absent (e.g. danki, slugi, utihi, mnozi / mnogi). Some of the characteristics of nominal declensions worth mentioning in the Čakavian north are the existence of the old opposition of the endings according to the palatal stem in the feminine genitive singular (-i : -e) and the masculine and neuter locative singular (-e : -i), whereas the Čakavian south features the feminine genitive singular –e and the masculine and neuter locative singular -i along with the newer -u. In the feminine instrumental singular, besides the younger –om in the Čakavian north, the older endings –u and –ov also appear. The old ending –e appears in some masculine nouns (e.g. krstjane). Masculine and neuter genitive plural nouns can have several endings: -ø, -ov, -ev, -i, and in the feminine -ø, -ah, -u, rarely -ov, but some authors use the Štokavian –a (in all grammatical genders). There is no syncretism in the dative, locative and instrumental plural of nouns. The ending –oj should be noted in the dative and feminine locative singular of the adjectival-pronominal declension, as well as rare attestations of the old ending -i. The endings -u and –ov are possible in the instrumental singular in the Čakavian north, where Ekavian grammatical morphemes also appear: -em (the masculine and neuter instrumental singular, the dative plural) and –eh (the genitive and locative plural). As far as verb forms are concerned, it should be mentioned that there are attestations of the infinitive without the final –I (in prose and in verse), the first person singular of the present tense can take both the older and rarer ending –u along with the newer –m, but very rarely the third person plural of the present tense takes the ending –u instead of –e (boju). The imperfect and aorist tenses are frequently used ; at times the endings -homo and –hote can be found in the first and second person plural of the imperfect tense (padahomo, imahote). Only the Čakavian north features the first person singular ending –hi in the imperfect tense, as well as in the formation of the pluperfect tense (bihi prišal). In the pluperfect forms the auxiliary verb is usually in the imperfect (rarely in the perfect) tense. Apart from the older forms of the present participle (e.g. grede, gledaje), the newer endings -uć(i) i -eć(i) are also used. Participles can take different suffixes (-v / -vši and -ø / -ši/ -či), but some authors also use the older suffix -še (-če). Attestations of the perfect tense show that in the literary language of the time the verb could be in full (stressed) form even when not in an interrogative sentence. The first future tense is formed with the auxiliary verb h(o)titi + the infinitive, and the second future tense with the perfective present form of the verb biti + the infinitive (or the present participle). In the third person singular imperative the verb form is sometimes the same as in the second person, but the construction neka + third person present was also in use. The syntax of cases is characterized by some changes in form (e.g. the usage in singular of the genitive instead of the accusative masculine for non-animate, the nominative instead of the accusative masculine for animate, the accusative instead of the locative and the locative instead of the accusative) and constructions (e.g. od + the genitive instead of o + the locative, za + the infinitive instead of clauses of purpose). The wide variety of sentence types shows that in the Čakavian literary language of the 16th century all syntactic relationships could be established, just as in present-day standard Croatian. As far as the scope of lexical riches is concerned, the literary Čakavian is at its heyday in the 16th century, which is best seen in the corpus of Čakavian Renaissance authors, e.g. Hektorović’s Ribanje which features numerous words for boat parts or species of fish. Some idiomatic expressions have been preserved to this day (zgubiti glas) or have undergone changes in their forms and lexical components (u magnutje oka) or have been forgotten in the meantime and have been replaced by some other idiomatic expression (smoknuti do košulje). Within certain cultural circles (Zadar-Šibenik, Split-Trogir, Hvar) on the eastern Adriatic coast, various individual stylizations can be observed among authors, but also features of high style (lyric, dramatic and epic poetry, the novel by Zoranić), middle style (legal texts, different decrees and orders) and low style (reflecting in certain segments of literary works). The novelty in the 16th century is the use of linguistic features typical of a certain style in another style in order to use a convincing graphic characterization of a situation or person (speaker) in literary works. Finally, one can conclude that Čakavian Croatian literary language was not a uniform language in the sense in which we think of a literary language today, but it could be used to communicate whatever was needed at different stylistic levels. Importing Štokavisms into Čakavian texts from the end of the 15th century announces a later decision of Croatian writers of Čakavian origin in the 17th and 18th centuries that they would use Štokavian for literary expression, which was the first huge spontaneous step forward towards the linguistic integration of Croats.

čakavski hrvatski književni jezik, 16. stoljeće, renesansa

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