Tadeusz Budrewicz

The material basis for the article was Adam Asnyk’s notebook, which is pres-ently owned by The Jagiellonian Library in Kraków (Manuscript Archive, 7185I, no. 16261). The notebook contains 56 pages handwritten by Asnyk on both sides of a sheet. Asnyk wrote down the words which rhymed. He made use of the notebook when he needed set rhymes as a tool while composing poems. The list of these words demonstrates a high frequency of words borrowed from Latin, Greek, and French. They apply to abstract nouns, antiquity, literary classics, as well as proper nouns related to world geography and history. All indicates the intellectual and in-telligentsia model of his poetry. The sets of words often included associations which emphasised Asnyk’s irony towards Romanticism. The rhymes were not accidental sets of words phonetically similar but instead they indicated grammatical and se-mantic fields. The analysis of Asnyk’s notebook enabled the following conclusions: 1) in spite of some scholars’ opinions, in his rhymes Asnyk used noninflectionalgrammatical forms (infinitives, adverbs); and 2) partial rhyme in Polish poetry had appeared earlier than it was commonly assumed (the end of the 19th century).

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Dorota Samborska-Kukuć

A literary historian finds birth, death, and marriage certificates incredibly useful as primary research sources. Detached as it is, this knowledge serves as a solid basis both for individual biographies and contexts meant to reconstruct a particular his-torical thread. Personalised documentation is subjective by nature, while the dis-cussed documents tend to contain accurate and unbiased data.

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Agnieszka Kuniczuk-Trzcinowicz

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Georgy Vekshin

The article attempts to give a functional description of the five most significant in-dividual nonstandard punctuation marks used in the manuscripts of Pushkin’s po-ems. A typology of basic and particular functions of punctuation is presented. The proposed description allows us to speak about the systemic nature of Pushkin’s noncanonical punctuation, in particular, about the patterns of distribution of punctua-tion marks. The changeable picture of punctuation in text makes it possible to form a more complete idea of the manuscript as an exponent of the creative process and provide a more comprehensive understanding of the rhythmic-syntactic composition and semantics of the text, both in its development and in the conditional final version.