Studien Zur Sprache Des Dichters Jakub Bart-Cisinski

Jana Schulz (Solcina). Stuthen zur Sprache des Dichters Jakub Bart-Cisinski. Letopis. Zeitschrift fur sorbische Sprache, Geschichte und Kultur. Sonderheft, 56. Bautzen: Domowina- Verlag, 2009. 201 pp. euro15.00, paper.The Sorbian poet Jakub Bart was born in 1856 in Kuckau/Kukow (today PanschwitzKuckau/Pancicy-Kukow) in the Catholic area near Kamenz/Kamjenc. He wrote under the pen-name Cisinski (the silent one) and died in 1909 in Panschwitz/Pancicy. In addition to being a fine poet, he took a keen interest in the role of the written language, its relationship to colloquial/dialectal language, and linguistic purism. Cisinski' s views on language were influenced by the Slovak linguist Martin Hartala (182 1-1903), whose Brusjazyka ceskeho [An Antibarbarus of the Czech Language, 1877] circulated widely in the Sorbian students' association Serbowka at Prague University during Cisinski' s time there. Cisinski sought to apply Hattala's views in his own writings and published a programmatic article entitled Hlosy ze Serbo do Serbo w [Voices from Sorb ianl and to Sorb ianl and] in which he took to task the older generation of Sorbian linguists for not viewing language as a mirror of the people and for neglecting syntax as the central domain of a linguistic system (p. 37).Jana Schulz has set herself the task of tracing how Cisinski' s theoretical premises are reflected in his artistic writings. The results of her investigation form the central, although not the longest, part of this work (pp. 47-79), which grew out of her doctoral dissertation at Leipzig University. The study also includes discussion of research in literary languages, especially the Sorbian literary languages, Sorbian as a minority language, the antiGermanization movement of the Jungsorben in Leipzig and Prague, a brief biography of Jakub Bart-Cisinski, and a detailed investigation of the writer's orthography, morphology, lexicon, and syntax (pp. 80-183). The seemingly disproportionate length of this last section is due to a word (pp. 94-152) which might have been more profitably included as an appendix. The resulting imbalance means that the study does not reflect Cisinski' s own views about the centrality of syntax.As things stand, Cisinski' s syntax is covered in thirteen pages (pp. 168-180). To determine how his theoretical premises are reflected in his artistic writings, Schulz subjected 3000 sentences from different periods and different genres to a detailed analysis. In general, the syntactic structures employed by the Sorbian writer follow the framework outlined in Georg Liebsch's Syntax der Wendischen Sprache in der Oberlausitz [Syntax of the Wendish Language in Upper Lusatia], published in Bautzen/Budysin in 1884. Like Lieb seh, Cisinski shows a distinct preference for complex sentences, restricting the use of simple sentences to questions, commands, and stage directions in his dramas (p. 169). Furthermore, in the selected syntactic corpus there is a preference for multiple embedded sentences, which often give the impression of a lack of clarity and transparency, but which are obviously an attempt on the writer's part to demonstrate the sophistication of Upper Sorbian syntax (p. …

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