27:
718:"Mitică is a gossiper, a scoundrel, an intriguer, in general on account of his garrulous nature, and a generous and confusing mystifier, agreeing to render services without having the strength to complete them, which in turn permits him to ask services from anyone else . He is easy-going, with a horror for suffering and is most of all a well-mannered man. The impression that Caragiale's heroes are vulgar is false and mostly arises from the fact that, wishing to seem distinguished, they have not yet cultivated their speech and gestures."
752:
487:
227:
623:, was among the first to stress that Mitică's name, like those of Lache and Mache, was actually supposed to enhance his everyday nature, while arguing that the character stood for the first generation of commoners with access to education. Ibrăileanu, who criticized Caragiale for his satirical overview of the social process, believed that the clerks in his work are unnecessarily cynical, and stressed that
576:). The writer illustrates this concept by invoking a meeting between him, Mitică, and Mitică's wife Graziella. Caragiale recounts how his friend served him and others a copious dinner in his house, and then made them sit through Graziella's reading of her own lengthy essay on women as portrayed in Romanian folklore. To this goal, Caragiale explains, Mitică discreetly claimed that it was
1003:. Gherman went on to contrast "the seriousness, the elegance, the discipline" which he attributed to Transylvania with the invasion of "miticisms, ordinary Balkanisms, the civilization of pumpkin seeds". The latter sentence comprised a reference to the habit of consuming seeds as snacks, in which he saw evidence of rudimentary behavior:
689:, a concept treasured by Caragiale. The word, meaning "trifle" or "nonsense", refers to pretentious and often ridiculous expectations of people caricatured in his work, but is uttered by such characters in reference to each other (as their tendency to dismiss events they are confronted with, no matter how important they may be).
369:). His absurd requests include asking a shopkeeper to sell him "a few centimeters" of yogurt, and telling friends to drink their beer "before it cools itself" or to "climb on top of a sheet of paper" in order to reach for clothes placed higher on a stand. Several of his puns refer to the switch from horse-drawn trams to
274:
With sarcasm, Caragiale proceeds to indicate that the character's main trait is his inventive use of
Romanian and his tendency to coin terms and make jokes, with which "First and foremost, our little Parisian astounds the provincials". The remainder of the sketch lists Mitică's remarks, part of which
278:
Most of Mitică's lines are comebacks in dialogue, and
Caragiale notes that his character takes pride in "being unrivaled" when it comes to these. The writer implicates himself in the story, portraying himself as his character's good friend and a main target for such remarks—for instance, he recounts
940:
agreed that there was a link between Mitică and other characters in
Caragiale's sketches; she subsequently argued that formed an integral part of the writer's caricature of Romania in its entirety, and that the measure to which they reflected reality is impossible to detect. In her 2007 volume of
399:
offers other glimpses into the character's financial problems, showing him complaining that he has been "pulling the devil's tail"—using a traditional proverb to indicate that he has had a hard time getting by. To this, he adds that the devil would be suing him for injuries. He claims that he is
419:). Mitică enters a restaurant to order only things which he knows are free ("a toothpick, a match, a glass of water and a newspaper"). In other such sequences of events, he is shown eating in a pub as a means to "defend himself from death", and borrowing money which he promises not to return.
525:
while his lover
Cleopatra pretends to court their common friend Mişu Poltronul—with simulated indignation, he takes Mişu by surprise as Cleopatra embraces him. Mitică dies hours after Mişu, who reacts out of instinct to his threatening voice, hits him over the forehead with a cane. Another
240:
Ion Luca
Caragiale first introduced Mitică to his readers in an eponymous sketch of 1900, where he evidenced the character's universal traits and indicates that the first name is enough to define the character. The opening passage notably draws a parallel between Bucharest and
322:
275:
are platitudes or clichés. Some of them are isolated observations, which the author defines as "sentimental, lyrical, and melancholic": "The most beautiful girl can only offer what she has to offer", "Life is a dream, death is an awakening", and "Every rose has its thorn".
646:
in respect to historical developments, as well as his interest in rallying people off the street and imposing his ideas on them. He defined the latter aspect as "southern", and noted that, like other heroes of
Caragiale's sketches, Mitică is "at the antipode of
297:
for complaints, and, when told that cabs are available, he sarcastically tells the drivers that they may go home. In one instance, he publicizes his goal to run in elections, but explains that he is going to contest a non-existing seat—at a time when the
385:("Mitică Still"), a sketch which only comprises sections of dialog. It begins with an exchange of lines between an unnamed character and Mitică, which was to become one of the best known puns in this sequence. When asked the general interest question
602:. Cioculescu recorded the rumor, and indicated that it was backed by information received from Caragiale's daughter, Ecaterina Logadi. Her father reportedly enjoyed Matheescu's company, and, in 1901, even authored short advertisements for his store.
292:
The character's lines offer glimpses into his financial and social status. Thus, he claims that he does not carry change because the metal might attract lightning, refuses to listen to his friends' confessions because they did not pay the
580:
and added, using a quasi-official parlance, that "all bills are to be paid". The piece ends with
Caragiale exiting Mitică's house in haste and: as the latter shouts "to be seeing each other", he exclaims "to be left alone, Mitică".
422:
When, in order to converse with a friend in a different compartment, he is traveling second class on a first class train ticket, Mitică asks the conductor to pay him the difference. He is shown anxiously walking about in the
269:
He is neither young nor old, neither handsome nor ugly, he is so so; he is a lad whose features are all balanced; but that which sets him apart, that which makes him have a marked character is his original and inventive
589:
Despite Mitică's association with
Bucharest and his usual most common career as a state employee, several commentators have recounted that he may have been based on Gheorghe Matheescu, an entrepreneur from the town of
960:, who used the terms in reference to either Bucharest-based politicians or inhabitants of the city at large, and contrasted them with their counterparts to the northwest. The character has thus evolved to include a
932:"The Bucharest wise guy, a haughty rascal, a swindler doubled by a thief and a boor giving himself airs, deplorable, awkward and discredited from the get-go, in reality an aborted 'dastard', an aborted 'wanton'."
538:("The Initiative..."), Caragiale recounts another dialog with "my buddy Mitică", who is shown to be unnerved that the Romanian state "is indifferent" to the fact that infants, his daughter included, do not have
1788:
438:, and one of the dialogs mentions that he spends entire nights there. He is shown to be flirting with women, including the telephone operator, and boasts that several ladies visit him in his home.
345:-like expressions. When recounting this to his friends that a clerk has been fired from office, refers to this "a promotion", elaborating that the new office involves "chasing flies out of
714:
Mitică's voluble nature has itself been considered to have negative implications. An assessment of this was offered by Călinescu, who rejected the popular take on the character as boorish:
1007:"Here , one doesn't have rights, but complaisances. Here they eat pumpkin seeds, they use 'there is many' in their speech, and, in general, people get born, multiply themselves and die."
869:. He thus argued that, for all their mundane motivations, the character and his peers illustrated a search present with all individuals, identifiable with Heidegger's concepts of
1299:
826:
cabinets. He contended that the two terms of his comparison shared "a mania for intervention", and argued that the
National Liberals had a tendency to overregulate the economy.
787:("From the Register of Gentle Ideas"), argued that Mitică's traits survived in the manners and morals of state employees and journalists after Caragiale's death, throughout
1848:
681:
are unimaginable in this context. An ecstatically nationalist Mitică is a contradiction in terms, since his formula in life is accommodation, adaption to the situations."
389:("What are they sounding the bells for, Mitică?", which, in the Romanian original, may be interpreted as "What are they pulling the bells by?"), the protagonist answers
469:), as well as the dentist Kibrik. The character reveals his tendencies toward political satire, with a one-liner introduced by Caragiale's definition of "Mitică as a
255:"Of course we all ought to know : we bump into him so very often—in shops, in the trolley, in the tram car, on a bicycle, in the train wagon, at the restaurant, at
26:
1785:
1111:
pieces from the
Romanian countryside, recording unusual events which, the editors believe, serve to illustrate the problems faced by small communities in the
949:. Seven Times Caragiale"), she stressed that the character was both more human and more artificial than his usual interpretations in 20th century commentary.
609:
have often been seen as three manifestations of a main type in Caragiale's work—the petty clerk who spends his time off in lively company. Literary historian
442:
1598:
431:, which was heavily forested at the time, he pretends to have understood this as an invitation to chop trees, and stresses that he buys his firewood.
283:
1900, Mitică pretended not to have recognized him because "it's been a century since we last saw each other!" He writes how, when he was ordering a
1417:
141:
speech, as well as inclinations to waste time and easily find his way out of problematic situations. His existence is connected to events in the
1391:
598:, in northern Muntenia). Matheescu took pride in this supposed connection, and, around 1939, argued in its favor in front of literary historian
1841:
129:
contexts; the biographical insights he provided are short and often contradict each other. Among Mitică's traits are his tendency to generate
913:("The Morning Star"). Ulici attempted to synthesize the two conflicting natures in the Romanian identity, and viewed the two as terms in "an
160:-like nature, Mitică survived in common reference beyond Caragiale's age. The character was portrayed by several actors, and most notably by
783:
of ignorance. He thus used the character to define the most ignorant of journalists and newspaper readers, and, in his lengthy essay titled
427:
hall, and asking to see a lawyer for his defense, jokingly claims that he wants to be defended "from flies". When invited for a walk in the
310:
to stand for the three wealth-based categories, he claims his intention to enlist in the fourth college, for the sparsely-populated area of
995:
in Transylvania. In its first lines, the message drew a parallel between Mitică and "politicians in power", identifying centralism and the
1529:
2098:
850:
despite having a shady past and coarse manners, has been defined by Amăriuţei as "the eternal and real Mitică of the Romanian world".
734:. The character himself partakes in the process, and is shown to have adopted several of the manners and pastimes associated with the
1500:
2113:
2093:
1834:
1729:
1472:
1021:
166:
2088:
1650:
823:
2108:
1063:
569:"), an antiquated expression which, as Caragiale explains in the beginning of his story, means "to make a payment" (from the
479:
2083:
1112:
677:
are jovial, good-natured characters, easy-going in their thought and behavior. Solemnity does not suit them and fanatical
534:"), where he is shown accompanied by his family and ridiculing his mother-in-law in public. In another such piece, titled
424:
1594:
833:
have proposed that there is an intrinsic connection between Mitică and Gore Pirgu, one of the protagonists in the novel
811:
2123:
2078:
1574:
1706:
554:("An Inspection"), where he is one of the clerks investigating the bizarre suicide of the civil servant Anghelache.
245:(at a time when the Romanian capital was colloquially known as "little Paris" or "Paris of the East"), and mentions
2118:
1991:
972:
may be seen as not having an adequate familiarity with the culture of Transylvania, and are associated with the
289:
in the presence of Mitică, the latter jokingly asked the bartender not to comply, "for is likely to drink it".
2103:
1710:
880:
819:
1819:
991:("I've Grown Tired of Romania"), which was at the center of a scandal over its radical tone and demands for
751:
526:
Mitică—"Mr. Mitică the haberdasher", whose family name is probably Georgescu—is present in the 1900 sketch
247:
1081:
830:
20:
1930:
1384:
1035:
900:
835:
798:
Political interpretations of Mitică's status were present at an earlier stage: in his influential essay
735:
314:. The sketch shows him to be married and to resent his mother-in-law, but to be courting a young female
1986:
1622:
1413:
1300:
Spiritul critic în cultura românească: Spiritul critic în Muntenia – Critica socială extremă: Caragiale
1295:
1072:
610:
90:
1354:
1797:
1742:
1346:
1056:
909:
899:"). This name drew a direct comparison between the voluble Mitică and an equally famous character in
896:
888:
756:
606:
599:
428:
199:
191:
146:
142:
31:
1493:
1085:
1043:. Mitică, who makes a brief appearance before dying at the hands of Mişu Poltronul, is portrayed by
311:
1976:
1702:
1659:
1568:
1440:
1092:
996:
984:
937:
635:
522:
518:
462:
346:
215:
925:
695:
627:
was the only one of his works were "one sees at least one glitter of kindness in the souls of the
415:
2052:
1889:
1768:
1321:
1271:
1250:
1229:
1208:
1160:
918:
723:
652:
299:
230:
85:
59:
1044:
161:
1562:
486:
2021:
2006:
1509:
1468:
1358:
1104:
1103:(roughly: "Mitică's Stuff"), whose title is inspired by Caragiale's hero. Hosted by the actor
1052:
992:
665:
argued that there was a link between Mitică's personality and Caragiale's strong rejection of
473:"—Mitică is shown announcing that the only song he wants to have played at his funeral is the
450:
307:
280:
267:. And given that Bucharest is a little Paris, Mitică himself is, obviously, a little Parisian.
226:
187:
75:
46:
1759:
1535:
1935:
1627:
866:
843:
840:
373:, for instance showing him blaming unexpected stops on horses not having been properly fed.
699:(which he issued at intervals in the 1890s and after 1900). Two mentions of, respectively,
106:
of the average Bucharester or through extension, inhabitants of Romania's southern regions—
2011:
1899:
1792:
1733:
1504:
1497:
1448:
1395:
1026:
847:
792:
768:
642:
subjects in Ion Luca Caragiale's prose, and listed among the character's other traits his
570:
454:
441:
The sketch includes several references to well-known characters of the day, including the
409:
400:
going to spend his vacation in the mountains, and elaborates that he is talking about the
350:
321:
303:
122:
1726:
263:
2026:
1552:
1525:
977:
904:
776:
595:
547:
502:
458:
365:'s pictures" (alluding to their design, which, at the time, featured a portrait of the
207:
179:
95:
685:
The character and his counterparts have been understood as purveyors and exponents of
2072:
708:
543:
446:
366:
294:
150:
190:. In this context, it was used in reference to administrators from Bucharest or the
2016:
1996:
1925:
1400:
1017:
957:
779:, who was Ion Luca Caragiale's good friend, made several references to Mitică as a
760:
731:
370:
358:
326:
183:
178:. During and after the 1990s, the terms surfaced in polemics surrounding Romania's
138:
63:
51:
1945:
149:, who are present in Caragiale's fiction, the character is usually portrayed as a
1051:
was noted for its subtle undertones, through which it expressed criticism of the
1981:
1904:
1869:
1676:
1646:
1556:
788:
666:
648:
474:
435:
171:
134:
1894:
1884:
961:
619:
470:
401:
195:
157:
2057:
2001:
1971:
1108:
965:
964:
view of contemporary Bucharesters or Wallachians, one which depicts them as
858:
780:
678:
643:
614:
539:
334:
315:
107:
99:
80:
1826:
1600:
Neoiobăgia: Cât ne costă neoiobăgia şi legiuirea cvasisocialistă de la 1907
1419:
Scriitori români şi străini: Numele proprii în opera comică a lui Caragiale
513:, Caragiale introduced a character of this name in a longer piece, titled
153:
who has a hard time making ends meet, but who is well liked by his peers.
1966:
1961:
1879:
1460:
914:
764:
662:
285:
111:
103:
1813:
1362:
1920:
1067:
1000:
973:
862:
807:
803:
657:
639:
203:
130:
102:
whose background and status are not always clear, generally seen as an
55:
214:
were notably present in essays authored by the Transylvanian activist
2047:
1874:
727:
591:
362:
354:
342:
330:
126:
115:
2042:
1096:
1025:(translated as "Why Are the Bells Ringing, Mitică?"), directed by
242:
198:
of modern Bucharesters and inhabitants of other regions over the
1275:
924:
In his essay on the history of drunkenness in Romanian culture,
853:
Constantin Amăriuţei was noted for defining Mitică's character (
531:
521:
gone wrong. Late in the evening, this Mitică decides to hide in
498:
494:
210:
traditions of Transylvania. Under these definitions, Mitică and
1830:
341:
In this context, Mitică is shown to have developed a series of
1039:, and included portions from several other writings—including
1737:
1531:Încercări de precizie literară: Mahalagism şi critică de artă
1212:
983:
In September 1998, the Transylvanian journalist and essayist
1786:"D'ale lu' Mitică – 'Oamenii de la ţară mint convingător' "
1681:
1033:, the film was actually structured around Caragiale's play
968:, arrogant, aggressive and cunning. In other contexts, the
693:
was notably present in Caragiale's own satirical magazine,
1727:" 'De ce trag clopotele, Mitică?' " – De frînghie, monşer!
1325:
1254:
1164:
1016:
One of the best-known references to the character is the
550:. Another or the same Mitică makes a brief appearance in
1233:
170:. In contemporary Romanian, his name was turned into a
114:. According to accounts, he was based on a resident of
1615:
1613:
1611:
1609:
839:, authored by Ion Luca Caragiale's son and rival, the
84:). He is one of the best-known figures in Caragiale's
1201:
1199:
1197:
1195:
726:
as developed in the Old Kingdom was the recipient of
655:
meditation does not flourish". In his history of the
1467:, Vol. II, Editura Minerva, Bucharest, 1998, p.225.
1385:"Lumea înainte şi după Caragiale: Ioana Pârvulescu,
1193:
1191:
1189:
1187:
1185:
1183:
1181:
1179:
1177:
1175:
711:
and to a woman courted by Mitică's friend Costică).
145:
which he occasionally references in his jokes. Like
2035:
1954:
1913:
1862:
1288:
1286:
903:, the aloof, rational, and god-like protagonist of
846:. Pirgu, who enjoys a successful career during the
1153:
1151:
1149:
1147:
50:) is a fictional character who appears in several
16:Fictional character in works by Ion Luca Caragiale
1677:"Observaţii pe tema creării unui partid regional"
1587:
1585:
1376:
1374:
1372:
1370:
1145:
1143:
1141:
1139:
1137:
1135:
1133:
1131:
1129:
1127:
730:influence, and the Romanian language was open to
251:, a pub owned and managed by the writer himself:
34:: his derelict home vs. his fashionable lifestyle
1436:
1434:
1432:
1430:
1428:
483:(which translates as "Awaken Thee, Romanian!").
1639:
1637:
1314:
1312:
1310:
1308:
999:with, among other things, disorganization and
887:In 2000, several essays by literary historian
349:". Caragiale provides some of his character's
202:, who are often portrayed as belonging to the
1842:
891:were published posthumously, under the title
329:banknote of 1915, featuring the portraits of
30:The "real-life Mitică", in a 1909 cartoon by
8:
1651:"Bridge peste ape tulburi: Laurenţiu Ulici,
1342:
1340:
1338:
1336:
722:Caragiale created Mitică at a time when the
585:Background themes and sources of inspiration
1537:Pentru arta literară: Despre stilul perfect
194:. In parallel, the term was adapted into a
1849:
1835:
1827:
1695:
1693:
1691:
1080:("In Mitică's World"), it was directed by
517:("The 1st of April"), which centers on an
1486:
1484:
1482:
1480:
1387:În Ţara Miticilor. De şapte ori Caragiale
976:(whereas Transylvania is identified with
943:În Ţara Miticilor. De şapte ori Caragiale
353:, which include references to garlic as "
19:For other people with the same name, see
750:
557:A Mitică is present in the piece called
485:
381:Mitică was again present in Caragiale's
320:
225:
25:
1123:
1055:(at a time when the country was led by
638:saw Mitică as a main representative of
98:at large. Mitică is a male resident of
952:A particular definition of Mitică and
814:, himself a friend of Caragiale, used
174:, and often pluralized under the form
1445:Istoria literaturii române. Compendiu
1029:. Titled after the opening dialog in
45:
7:
703:and the magazine itself are made in
956:was adopted by many inhabitants of
509:In addition to the main sketch and
62:. The character's name is a common
233:in 1899, one year before he wrote
14:
182:and the alternative projects for
118:, whom Caragiale had befriended.
818:s protagonist to illustrate the
1711:Fundaţia Civică proTransilvania
1070:hosted a dramatized version of
651:", and inhabits a place where "
501:(late 19th-century painting by
1713:; retrieved September 10, 2007
1625:, "Mitică prin Heidegger", in
1357:, Bucharest, 1974, p.115-117.
1099:produces a weekly show titled
387:De ce trage clopotele, Mitică?
1:
1815:De ce trag clopotele, Mitică?
1675:Antoanella Capelle-Pogăcean,
1558:Din registrul ideilor gingaşe
1049:De ce trag clopotele, Mitică?
1022:De ce trag clopotele, Mitică?
785:Din registrul ideilor gingaşe
747:Cultural and political symbol
167:De ce trag clopotele, Mitică?
1595:Constantin Dobrogeanu-Gherea
1498:"Noii 'Mitici' şi provincia"
917:" standing at the center of
812:Constantin Dobrogeanu-Gherea
393:("By the string, my dear").
1113:post-1989 transition period
542:assigned to them, and that
434:Mitică still frequents the
121:Caragiale used Mitică as a
2140:
791:and after the creation of
767:in pink, other regions of
261:Mitică is the Bucharester
133:comebacks and sententious
18:
2099:Fictional Romanian people
1740:(originally published in
1707:"M-am săturat de România"
1053:Romanian communist regime
987:issued a pamphlet titled
742:Modern uses and influence
412:for "Mountain of Piety";
2114:Stereotypes of white men
2094:Fictional civil servants
1857:Humor and wit characters
1451:, Bucharest, 1983, p.181
881:Heideggerian terminology
861:terms borrowed from the
2089:Culture of Transylvania
1820:Internet Movie Database
1012:Portrayals and tributes
989:M-am săturat de România
333:(left-hand corner) and
43:Romanian pronunciation:
2109:Romanian short stories
1009:
934:
772:
720:
683:
561:—the title comes from
506:
338:
272:
259:—in short, everywhere.
237:
35:
1576:Conspiraţia esenţială
1465:Junimea şi junimismul
1005:
945:("In the Land of the
930:
836:Craii de Curtea-Veche
829:Commentators such as
754:
736:French Third Republic
716:
671:
613:, an adherent to the
489:
480:Deşteaptă-te, române!
404:institution known as
324:
253:
229:
29:
2084:Bucharest in fiction
1772:, September 22, 2003
1685:, December 2000, p.8
1082:Constantin Brehnescu
831:Constantin Amăriuţei
775:The literary critic
757:Romanian Old Kingdom
449:, the archaeologist
306:and had established
206:, as opposed to the
200:Southern Carpathians
143:history of Bucharest
32:Ion Theodorescu-Sion
1977:Hershel of Ostropol
1762:În lumea lui Mitică
1758:Ileana Tîrnăveanu,
1663:, Nr. 74, July 2002
1660:Observator Cultural
1404:, 176/IV, June 2007
1093:national television
1078:În lumea lui Mitică
997:politics of Romania
928:defined Mitică as:
901:Romanian literature
634:Literary historian
546:has to rely on the
391:De frânghie, monşer
337:(right-hand corner)
21:Mitică (given name)
2124:1901 short stories
2079:Ion Luca Caragiale
2053:Shakespearean fool
1791:2007-07-17 at the
1732:2008-05-13 at the
1653:Mitică şi Hyperion
1513:, January 23, 2007
1503:2007-12-21 at the
1414:Garabet Ibrăileanu
1394:2016-03-17 at the
1322:Ion Luca Caragiale
1296:Garabet Ibrăileanu
1272:Ion Luca Caragiale
1251:Ion Luca Caragiale
1230:Ion Luca Caragiale
1209:Ion Luca Caragiale
1161:Ion Luca Caragiale
1107:, the show groups
1064:Luceafărul Theater
1036:D-ale carnavalului
893:Mitică şi Hyperion
875:Being-toward-death
871:Being-in-the-World
773:
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425:Bucharest Tribunal
406:muntele de pietate
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308:electoral colleges
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231:Ion Luca Caragiale
156:On account of his
60:Ion Luca Caragiale
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1798:Jurnalul Naţional
1623:Dan C. Mihăilescu
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1073:Momente şi schiţe
1057:Nicolae Ceauşescu
993:regional autonomy
707:(in reference to
600:Şerban Cioculescu
530:("At the Fair in
451:Grigore Tocilescu
357:vanilla", and to
279:that, soon after
188:regional autonomy
91:Momente şi schiţe
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824:National Liberal
822:policies of the
724:Romanian culture
636:George Călinescu
594:(located on the
302:made use of the
300:Romanian Kingdom
222:Eponymous sketch
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457:administrator
429:Herăstrău Park
378:
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361:banknotes as "
312:Bucureștii-Noi
281:New Year's Eve
264:par excellence
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2017:Pickelhering
1997:Lange Wapper
1987:İncili Çavuş
1940:
1926:Cilibi Moise
1824:
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1401:Dilema Veche
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1351:Caragialiana
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1326:
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1234:
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1169:(wikisource)
1165:
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1090:
1084:and starred
1077:
1071:
1061:
1048:
1040:
1034:
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1020:
1015:
1006:
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958:Transylvania
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926:Mircea Bălan
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886:
878:
874:
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865:philosopher
854:
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761:Transylvania
732:Francization
721:
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696:Moftul Român
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478:
466:
461:, the actor
440:
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396:
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359:Romanian leu
340:
327:Romanian leu
291:
284:
277:
273:
262:
256:
254:
246:
239:
234:
211:
184:Transylvania
175:
165:
164:in the film
155:
135:catchphrases
120:
89:
79:
71:
67:
64:hypocoristic
38:
37:
1992:Josef Švejk
1982:Hitar Petar
1905:Tenali Rama
1870:Bakor Patel
1769:Evenimentul
1647:Paul Cernat
789:World War I
667:nationalism
649:Romanticism
625:Inspecţiune
605:Mitică and
552:Inspecţiune
503:Sava Henția
475:nationalist
436:beer garden
402:pawnbroking
377:Other texts
318:-operator.
192:Old Kingdom
172:common noun
88:collection
2073:Categories
1895:Miya Fuski
1890:Hum Jayega
1885:Gopal Bhar
1214:Tot Mitică
1119:References
1031:Tot Mitică
910:Luceafărul
859:onthologic
857:) through
800:Neoiobăgia
705:Tot Mitică
679:monomanias
620:Poporanism
565:("to make
563:a face ţal
540:wet nurses
519:April Fool
511:Tot Mitică
471:chauvinist
408:(from the
397:Tot Mitică
383:Tot Mitică
196:stereotype
180:centralism
158:caricature
2058:Wise fool
2002:Nasreddin
1972:Hanswurst
1818:, at the
1682:Provincia
1235:1 Aprilie
1109:reportage
1076:. Titled
1041:1 Aprilie
1018:1981 film
841:Symbolist
781:prototype
771:in orange
644:pessimism
615:left-wing
515:1 Aprilie
335:Decebalus
316:telegraph
257:Gambrinus
248:Gambrinus
139:Francized
131:sarcastic
127:satirical
108:Wallachia
100:Bucharest
81:Demetrius
1962:Abu Abed
1914:Romanian
1880:Gonu Jha
1789:Archived
1738:LiterNet
1730:Archived
1501:Archived
1461:Z. Ornea
1392:Archived
1095:channel
966:sciolist
915:oxymoron
907:'s poem
897:Hyperion
855:Miticism
848:interwar
810:thinker
806:"), the
765:Bukovina
663:Z. Ornea
523:Cişmigiu
347:Cişmigiu
270:spirit."
112:Muntenia
104:allegory
76:Romanian
72:Dimitrie
66:form of
56:Romanian
1760:"Iaşi.
1363:6890267
1327:Ţal!...
1256:La Moşi
1001:statism
974:Balkans
808:Marxist
804:Serfdom
658:Junimea
559:Ţal!...
528:La Moşi
445:leader
355:Serbian
204:Balkans
68:Dumitru
58:writer
2048:Jester
1946:Păcală
1941:Mitică
1875:Birbal
1863:Indian
1471:
1361:
1166:Mitică
970:mitici
954:mitici
947:Mitici
863:German
802:("Neo-
728:French
675:mitici
653:Gothic
640:Balkan
629:mitici
592:Sinaia
574:zahlen
571:German
493:, the
453:, the
410:French
363:Trajan
343:jargon
331:Trajan
235:Mitică
212:mitici
176:mitici
116:Sinaia
39:Mitică
2043:Clown
1967:Giufà
1955:Other
1795:, in
1766:, in
1736:, at
1709:, at
1679:, in
1657:, in
1507:, in
1398:, in
1097:TVR 2
477:tune
455:Royal
286:ţuica
243:Paris
1921:Bulă
1469:ISBN
1359:OCLC
1091:The
1068:Iaşi
879:see
873:and
755:The
701:moft
691:Moft
687:moft
532:Obor
499:Obor
495:fair
465:(as
414:see
137:, a
110:and
86:1901
78:for
1066:in
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631:".
578:ţal
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186:'s
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