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EN
This paper looks at the demotic tongue of mateship in Australian Great War Literature as a theme of cognition and understanding in the literary texts and texts of culture. The language, like the Australian, was filled with character and a sense of the larrikin. It seemed irreverent at times, even rude in some circles, but it was much more than its immediate sound or inference; it was the natural verbal essence of the Australian mind – honest, loyal, dutiful and humorous. These characteristics are cornerstones of Australian mateship, a type of friendship that would be there beyond the bitter end, rival the love of a woman and even the protection of one’s own life. For some Australians, poetry was merely an extension of this language, as language was merely an extension of friendship. The aim of this paper is to demonstrate the Australian use of humour and language in the setting of Great War poetry. It looks at the demotic tongue of mateship, specifically what is known as the Great Australian Adjective (bloody), along with several other examples of vernacular language, in Australian Great War Literature, and considers this by referring to the common language of the Australian poet from the time. It will consider the notion that Australian writers of the Great War era may have been misunderstood as a result of their language, leading to critical mistakes about a poem’s literary worth, a poet’s seriousness as a poet and a nation’s literary value.
PL
W niniejszym artykule poruszany jest aspekt języka potocznego australijskiej literatury I wojny światowej. W niektórych kręgach język potoczny w tym okresie sprawiał wrażenie braku taktu i uprzejmości, a jednak był przy tym naturalną ekspresją istoty australijskiego umysłu – była to mowa szczera i pełna humoru. Te szlachetne cechy, do których dołożyć należy jeszcze lojalność, są najważniejszymi elementami australijskiego „mateship”, tego rodzaju przyjaźni, która istnieje ponad wszystko, rywalizuje z miłością kobiety, a nawet żąda poświęcenia własnego życia. Dla Australijczyków poezja była emanacją tego języka, i co się z tym wiąże, tak rozumianej przyjaźni. Celem tego artykułu jest ukazanie kolorytu mowy potocznej australijskiej poezji I Wojny Światowej. Jednym z przykładów jest tutaj użycie „wielkiego australijskiego przymiotnika „bloody”, który do czasów obecnych jest powszechnie nadużywanym przymiotnikiem w Australii. Brak zrozumienia dla sensu użycia języka potocznego w poezji tamtego okresu, prowadziło nierzadko do krytycznych błędów dotyczących oceny wartości literackiej wiersza, powagi twórcy jako poety i wartości społecznej utworu.
EN
There has long been a close link between both the comedy and, by implication, the sense of humour of British and Australians. Such distinctively British radio and television programs as Hancock's Half Hour and Till Death Do Us Part found their main overseas market in Australia rather than in other English-speaking countries. Americans either did not find them funny or else were not allowed to find them funny, or provided feeble imitations such as Archie Bunker. Only the Australians were able and willing to share the British sense of humour. The other side of this relationship is that Australian comedians such as Dick Bentley, Joy Nicholls, Bill Kerr, Rolf Harris, Barry Humphries and Kevin Bloody Wilson, having succeeded in Australia, have gone on to be successful in Britain as well. Clearly the same formulae work in both countries.
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