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THE CAREER OF 'MATECZNIK' (LAIR) MADE FAMOUS BY ADAM MICKIEWICZ'S 'MASTER THADDEUS'

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De F. S.

Pamiętnik Literacki

2005

tom 96

nr 4

173-183

Was the word 'matecznik' (lair) really used in Mickiewicz's times by hunters, as is suggested by Book IV of 'Master Thaddeus' ? The author traces the history of the word in the oldest textual sources, placing particular emphasis on those from the Belarussian-Lithuanian region. Throughout almost the entire territory occupied by the Slavs, the word was used primarily in its botanical and apiarian meaning, and not in the hunting sense. The hunting trope appears unexpectedly in nineteenth-century Czech. The author recovers the Czech sources and comes to the conclusion that the Czech word 'matecnik' came directly from 'Master Thaddeus' and penetrated not the Czech hunting terminology, but the literary language. Following the publication of 'Master Thaddeus', the meaning given to this word by Mickiewicz gradually overshadowed its former meanings until, by the second half of the nineteenth century, it was given as the first meaning in dictionaries. On the basis of this information, it may be argued that it was not the hunters - Mickiewicz's fellow countrymen - but the poet himself who adapted the general Slavonic, delightfully ambiguous word to his fairy-tale 'forest kingdom', descended from the Belarussian legends.

TELIMENA'S INTERNAL MONOLOGUE

100%

Glowinski M.

Pamiętnik Literacki

2005

tom 96

nr 4

41-54

The present sketch deals with the speaking possibilities of heroines in epic poems. In accordance with former social practices, heroines cannot make speeches at meetings and gatherings, at feasts, or during intervals on hunting expeditions. Their utterances are of an anti-rhetorical nature. Heroines may take part in dialogues and also makes use of internal speech. An excellent example of an internal monologue in a romantic narrative poem is Telimena's monologue in Book V of 'Master Thaddeus', consistently maintained in apparently reported speech. The monologue in question is distinct both from the narrative into which it is neatly mounted (it is accompanied by the accounts about behavior) and from the words the heroine herself utters in her dialogues. It does not inform the reader of any facts, rather it reveals her train of thought, weighs up the possibilities and - like the figure of Telimena in general - has comic overtones. In presenting her train of thought, the monologue is highly innovative. It anticipates phenomena that would appear in novels only in the final decade of the nineteenth century.