The article analyzes the drama Requiem dla gospodyni by Wiesław Myśliwski in the context of free indirect discourse as understood in literary criticism. The author of the article discusses the instances of this form of expression used in the utterances of Boleś, a shepherd and country madman of an unknown ontological status. She notices the problems with distinguishing between free indirect speech and the direct quoting of the late titular landlady [gospodyni] with whom Boleś established a strong bond. The author demonstrates that the shepherd plays a significant role both as a part of the storyline and a formal element because his creative capacity (building images) as well as linguistic (creating a binarrative in free direct speech) reveal his meta-dramatic character and privilege the dramatic subject.
Impact of creative capacity building of local innovators and communities on income, welfare and attitudes in Uganda