Role Language in Swedish a Study of the Comic Åsa Nisse

Role Language in Swedish A Study of the Comic Åsa Nisse

Marcus Zanteré 2016

Contents 1. Introduction ...... 3 1.1. Purpose ...... 3 1.2. Theory ...... 3 2. Method and Material ...... 4 2.1. Introduction of Primary Source ...... 5 3. Results ...... 5 3.1. Laughing in Swedish ...... 5 3.2. Eye Dialect ...... 7 3.3. Dialects ...... 9 4. Discussion and Future Studies ...... 9 5. Conclusion ...... 10 References ...... 12 Appendix ...... 13

1. Introduction Yakuwarigo ‘role language’ as coined by Kinsui Satoshi (Kinsui, 2003) is stereotypical language usage connected to specific character types in literature and media. In Japanese fiction it is very common for fictional characters to speak in a specific way dependent on their role in the medium. Role language differs between character types in the form of various linguistic features such as vocabulary, grammar, and style. It can mark features such as gender, age, occupation, personality, etc. in a given character. This gives birth to the samurai dialect, country dialect as well as other fictional dialects that make it easy for the reader to identify the different character types. Although a great amount of research is being conducted on this topic in Japanese linguistics, its presence in many other languages has not yet been investigated to a significant extent. This is also true for the Swedish language. In this paper we investigate the language usage of characters in the comic book series Åsa Nisse and attempt to identify how role language appears in Swedish. 1.1. Purpose The purpose of this paper is to examine the language usage in a Swedish comic book (Åse Nisse) in an attempt to discover how role language may manifest itself in the Swedish language and culture. We will try to make a preliminary map on which features of the language are used to convey character traits in Åsa Nisse to be used for further analysis of how role language functions in Swedish as a whole in future studies. 1.2. Theory Role language was first introduced by Kinsui Satoshi (2003)who defined it as follows:

A specific language usage (vocabulary, style, expressions, intonation etc.) that makes the reader to think of a specific character image (age, gender, occupation, social status, time period, appearance, looks, personality etc.) in other words indicates a specific character image, when there is a language usage that perfectly fits a character type that language usage is called role language (Kinsui, 2003, p. 205) (authors translation). The majority of previous research on role language has been on the Japanese language where it is an especially developed part of the language. This is reflected in many parts of the language, such as first- second- and third-person pronouns, discourse particles, copula and lexicon, which can vary to a great extent depending on the character type. Three male characters in a story could differ in the following ways:

Character A Character B Character C First person pronoun Ore Boku Sessha Second person pronoun Omae Kimi Onushi Copula Da Desu Degozaru

With this information at hand native speakers of Japanese would be able to say that A is a macho character, B is a pretty boy character and C is a samurai character. They would also be able to connect said characters to a visual representation of the character (Zantere, 2015).

Studies on role language have been conducted on languages other than Japanese, for example Korean and English. Korean is similar to Japanese in that they share many grammatical characteristics, including sentence final particles, which constitute a significant grammatical feature in role language. In a study by Jung (Jung, 2007)it is noted that these particles exist in Korean as well, but that the variety in which Korean can express gender is not as abundant as in Japanese but that Korean excels at expressing age through language. It is also noted that both Japanese and Korean to a great extent make use of stereotypes connected to dialects to express role language. Hosokawa (2009)reports on artificial dialects being formed through translation as translators of manga (Japanese comic books) are gradually introducing features of character- specific language usage into the German language. This is combined into artificial dialects by the readers similar to role language. Haruhiko reports on different ways in which English can express role language (2007). The first technique is to utilize non-standard spellings to portray the character as uneducated or as having a non-standard accent in a concept called eye dialect. Examples of this can be spelling you as yeh, your as yer or by dropping the last consonant as in “las’ time”. Another method of expressing role language is by utilizing different types of Pidgin English, which drops articles, subjects, etc. A third option is choosing to use proper nouns in favor of first- or second pronouns such as in the sentence “Dobby has known it for months, sir. Harry Potter must no put himself in peril” from Harry Potter and the Chamber of Secrets (Rowling, 2014).

2. Method and Material The primary source which will be used is the Swedish comic strips Åsa Nisse appearing in the 1- 6 volumes of the magazine Åsa Nisse from year 1985 (Gummersson & Bergendorff). The character Åsa Nisse first appeared in the weekly magazine Tidsfördrif 1944 (volume 51) in novel form written by Stig Cederholm (Seriewikin, 2015) and later appeared in comic form in his own series, which was first published in the weekly magazine Levande livet (1955, volume 49) (Seriewikin, 2015). Åsa Nisse has since appeared in various weekly magazines as well as 21 movies. For this paper it was decided to use the comic as a primary source due to the fact that Åsa Nisse is most well known in Sweden by its comic form and thus deemed most likely to have an effect on the Swedish image of role language. We will mainly focus on the utterances of Åsa Nisse, Klabbarparen, their two wives Eulalia and Kristin, Sjökvist and Fjärsman but will cross refer to other characters making an appearance. In accordance with our knowledge from Japanese role language these characters should show different speech patterns to fulfill their own specific roles in the Åsa Nisse universe. However, it is possible that the majority of the characters will display similar traits to fulfill the role of speakers of country dialect, or uneducated characters. Much like English, Swedish lacks many of the distinct features of the language which are used to form role language in Japanese such as multiple first- second-person pronouns or sentence final particles. We will therefore rely on comparing the utterances with standard written Swedish as well as utterances by characters in Åsa Nisse who are portrayed as speaking closer to standard written Swedish to discover what parts of the language usage constitutes role language. We define Standard Swedish as a variety

4 of Swedish which can be considered to be mostly socially and geographically neutral and is used both in public and official contexts (Svenska språknämnden, 2005, p. 11). 2.1. Introduction of Primary Source

The story of Åsa Nisse takes part in the village Knohult in the southern province Småland in Sweden. The people of Småland are commonly associated with being stingy, or less generous than people from other parts of Sweden. The main protagonists Åsa Nisse and his friend Klabbarparen are portrayed as middle- aged small farmers. They, however, are rarely seen doing any kind of farm-related work in the material analyzed in this paper outside of one sequence when Åsa Nisse is tasked with giving one of his cows medicine. Åsa Nisse is a witty character who is quick to entertain with a joke, and often intelligently manages to solve the miscellaneous tasks he is given throughout the story. Klabbarparen is the less intelligent of the two, but is always happy to assist in any way he can which does not always brings stellar results. Åsa Nisse is married to Eulalia and Klabbarparen with Kristin, both wives are often less happy with the adventures of their husbands and are quick to make this very clear. Among other key characters we meet is Sjökvist, who runs the local shop. He loves to try to charm women which is considered one of his main character traits. The stories are often centered on Sjökvist in some way trying to outsmart Åsa Nisse in which seldom succeeds. The last character in the main cast is Fjärdingsmannen ‘Fjärsman’. The Fjärdingsman was a person in Sweden in charge of local police duties and various other tasks. Fjärsman is in our material trying to catch Åsa Nisse in his often less legal ordeals and is in a sense the nemesis of Åsa Nisse. The aforementioned characters – Åsa Nisse, Klabbarparen, Eulalia, Kristin, Sjökvist and Fjärsman – are, for the purpose of this paper, referred to as the main cast and any other characters will be referred to as the supporting cast.

3. Results 3.1. Laughing in Swedish There are various expressions and onomatopoeia that describe laughter, which all carry their own nuance. Chuckle and giggle are for example very easy to distinguish from each other, and their connotations are very clear as defined below:

Giggle

to laugh repeatedly in a quiet but uncontrolled way, often at something silly or rude or when you are nervous: (Cambridge Dictionaries Online, 2016)

Chuckle

to laugh quietly: (Cambride Dictionaries Online, 2016)

In Swedish we find variations such as skrocka (a muffled quiet laughter similar to a gobble) (SAOL, 2014)and fnissa (a quiet laughter or a laughter done in secret) (SAOL, 2014).More difficult to find in our dictionaries are the onomatopoeia we see in comics or written on SNS. Nonetheless native speakers seldom have any difficulty understanding their implicit meaning. Laughter is also important for how characters are portrayed. In Japanese, a mischievous character would often be depicted laughing “fufu” while an evil character would be likely to laugh “kuku” or “kiki” (Zantere, 2015). In Åsa Nisse we find six variations of laughter, two of them being conglomerations of multiple onomatopoeia.

1. Sjökvist- ” Å jag säljer dom te ett verkligt pang-pris, he he!” (Gummersson & Bergendorff, a1985, p. 27) And I sell them at a real bargain price, he he! 2. Åsa Nisse- ”Håkej det ska bli, he he!” (Gummersson & Bergendorff, a1985, p. 28) ”Okay, will be, hehe! In the first situation Sjökvist is trying to sell fireworks, and Åsa Nisse in reading instructions for mentioned fireworks getting ready to ignite them. Hehe is here used by Åsa Nisse and Sjökvist to indicate a self-satisfied chuckle. The fireworks sold by Sjökvist are later found to be dummies, meaning that Sjökvist might be laughing not only because he is able to sell his goods but also because he has the opportunity to fool Åsa Nisse. Both Åsa Nisse and Sjökvist share characteristics with the classic character type, the trickster, and it is thought that this onomatopoeia reflects this.

3. Åsa Nisse- ”Nädå jag lovar! Ja ska råma istället! Hä Hä!” (Gummersson & Bergendorff, a1985, p. 5) Nah, I promise. I will moo instead! Hä Hä 4. Åsa Nisse- ” Är man bara lite klipsker så lurar man käringarna lätt” As long as you aresmart you easily fool the ladies! Klabbarparen- ”Hä, hä” (Gummersson & Bergendorff, a1985, p. 33) Hä hä In the examples above Åsa Nisse and Klabbarparen have their laughter expressed by Hä hä. Åsa Nisse is laughing after making a sarcastic joke and Klabbarparen after Åsa Nisse made fun of the wives. By these examples it is likely that hä hä is used to react to something funny said or done with slightly condescending connotations. However, in the example below it seems to be used very much like he he in that it indicates self-satisfaction. The appearance of hä hä in (3) and (4) are therefore also thought to represent the self-satisfaction of saying or doing something funny.

5. Sjökvist- ”Dags å kamma hem storkovan, hä, hä!” (Gummersson & Bergendorff, Åsa Nisse, d1985) Time to win big, hä hä! According to Facebooks statistics, ha ha is the most common way of expressing laugher by its users (Udi, Lada, & Mike, 2015). In our material this onomatopoeia is first encountered used by a member of the supporting cast seen in example (6). This corresponds well with the fact that ha ha would be the most common onomatopoeia used by people in their daily life, on the premise that ha ha was the most common onomatopoeia for laughter 1985 as well. The reason for this being that the supporting cast have a tendency to use more standardized language, which we will return to later.

6. Road Worker- ”Nu måste dom sänka farten annars kör dom sönder sina kära bilar! Ha ha!” (Gummersson & Bergendorff, Åsa Nisse, d1985) Now they will have to slow down or they will ruin their precious cars! Ha ha! Although ha ha is used by Klabbarparen in (7), the situation is deemed to not contain any specific connotation but rather being a neutral laughter.

7. Klabbarparen-”Ha ha! Du ska då alltid skoja med ungarna, Nesse!” (Gummersson & Bergendorff, Åsa Nisse, f1985) Ha ha! You are always joking around with the kids, Nesse! In (8) the last single onomatopoeia namely hi hi makes its appearance as what is thought to be a girly giggle.

8. Eulalia ”Ja, vi har ju redan fått våra ”drömpojkar”… Hi, hi” (Gummersson & Bergendorff, Åsa Nisse, f1985)

Well, we already got our dream boys… hi hi (9) and (10) are conglomerations of multiple onomatopoeia.

9. Group of women- “Ha, ha, ha, hi, hi” (Gummersson & Bergendorff, a1985, p. 3) 10. Group of people at bank-”Ha ha ha ho ho hi hi” (Gummersson & Bergendorff, Åsa Nisse, b1985, p. 29) In (9) ha ha and hi hi make up the laughter of a group of women. Hi hi is as mentioned considered girly or feminine, which places it well in the context. Furthermore it is surmised by the author that this way of combining onomatopoeia is used to indicate that a group of different characters laugh, all with their own personalities rather than simply indicating a more powerful laughter caused by multiple people laughing at the same time or a laughter continuing for an extended amount of time. The combination of ha ha and hi hi in this situation together with by seen usage of he he and hä hä could also indicate that he he or hä hä are more masculine ways to laugh and hence not used by female characters who in turn use the likely neutral ha ha or the feminine hi hi. In (10) which is uttered by bank staff members of both genders, the above mentioned ha ha and hi hi are used together with ho ho. It is difficult to interpret ho ho solely from this context but ho ho is the laughter often used by the Swedish Santa Claus, which might indicate that ho ho would be the laughter of older men. 3.2. Eye Dialect Below is a table of all non-standard spelling variations as they appear in the first two volumes of the primary source. The high frequency of non-standard spellings being applied to the language usage of the main characters is in line with the eye dialect as a literary device to make a character seem uneducated or as speaking with a non-standard accent (Britannica Academic, 2016). The non-standard spellings are mainly applied to function words such as pronouns but are in some instances also applied to content words such as in the case of meducin (medicin, ‘medicine’).

Eye dialect Standard Eye dialect Standard Ä Är Dej Dig E Är Lella Lilla

DÄ Det Opp Upp De Det Dom De/dem Nåt Något Tebaks Tillbaks Mäsamma Med det Nån Någon samma Sej Sig Meducin Medicin Säjer Säger På’na På henne Å Och Mä Med Ja Jag Däsamma Det samma Te Till Nesse Nisse Va Var/Vart? 1 Lexicon The majority of the time the main characters share the same features and are consistent in their use of eye dialect. A difference is found in their choice of spelling (pronunciation) of the copula är ‘to be’ which appears in two variations ä and e. The same difference is true for the pronoun and article det ‘it’ being spelled dä and de. In spoken Swedish this is a dialectal difference, är being pronounced as either är, e or ä (Andersson, 2014).Which variation is used by the character varies between the two making it difficult to come to any conclusions without further analysis of a greater volume of data. The supporting cast are less likely to be depicted using eye dialect as seen in examples (11- 14) below. In these examples the words det, jag, till, att are spelled according to standard orthography whilst they are seldom spelled in such a way when uttered by a member of the main cast.

11. Bank Staff-“ Nej, varför det?” (Gummersson & Bergendorff, b1985, p. 30) No, why? 12. Bank Staff-” Det var ju sant det han sa!” (Gummersson & Bergendorff, b1985, p. 30) It was true what he said wasn’t it! 13. Shop Staff-” Ett dörrhål? Då vet jag precis! Vi har mycket trevliga fototapeter som passar till dörrar…” (Gummersson & Bergendorff, b1985, p. 10) A doorway? Then I know what you need! We have many nice photo wallpapers that are suited for doors… 14. Shop Staff-” Er fru kommer att älska den, det garanterar jag!” (Gummersson & Bergendorff, b1985, p. 10) Your wife will love it, that I guarantee! Åse Nisse is set in a small village (Knohult) in rural Sweden which would mean that eye dialect is applied to reproduce the same effect that it has in English, in Swedish comics as well. It is interesting to note that the supporting characters are not necessarily from outside the community. In one sequence the police arrive in a helicopter presumably from a bigger city in the vicinity of Knohult giving them a reason to not speak using eye dialect. The bank staff are also likely to be seen as people with a higher degree of education who possibly have attended university in the

8 city. However, the shopkeeper in (13) and (14) does not show any signs of being a person of higher social status but nonetheless speaks standard Swedish contrarily to the shop keeper included in the main cast Sjökvist. A theory as to why this might be is that the language used by the main cast not only tells the reader that they speak in a non-different way or that they are uneducated but also is used as a mark to identify them as important to the storyline and different from the supporting characters. It is Important to note is that eye dialect does not reflect a non- standard pronunciation per se but rather standard spoken language which shows the power and prestige held by the written language. 3.3. Dialects Åsa Nisse is set in Småland and is therefore thought to include dialectical features of the area, this may include lexicon, grammatical features as well as phonetic characteristics. In our source material this is found to be mostly a false hypothesis. It is surmised that the author of Åsa Nisse made the decision to make use of eye dialect instead of actual dialectical features to avoid confusing the readers even though actual dialects as well as stereotypical forms of actual dialects are commonly used in Japanese role language. One possible explanation for this is that native Swedish speakers are expected to be less aware of the local differences than their Japanese- speaking counterparts. Why this might be the cause is outside of the scope of this paper.

15. Åsa Nisse-”Dä va då attan te ko å va enviser” (Gummersson & Bergendorff, b1985, p. 4) This is one hell of a stubborn cow! 16. Åsa Nisse- ”Är man bara lite klipsker så lurar man käringarna lätt” (Gummersson & Bergendorff, b1985, p. 33) As long as you are smart you easily fool the ladies! Enviser (envis, ‘stubborn’) and klipsker (klipsk, ‘clever’) both used by Åsa Nisse himself are the dialectical varieties of the adjectives envis and klipsk made by adding the suffix ‘er’.This suffix is a vestige of the Swedish case system where it indicated the nominative case and was used together with masculine nouns. The suffix is still used in various traditional dialects and is especially common in götamål and mellansvenska mål. Both of these are used in different parts of Småland where Åsa Nisse is set (A, Karlholm, Swedish Institute for Language and Folklore, personal communication, February 16, 2016).Outside of this specific suffix we do not find any clear dialectical features in Åsa Nisse. The traditional dialects which the ‘er’ suffix is part of are closer to Old Swedish and might therefore bring an uneducated or old fashioned style to the speech of the character.

4. Discussion and Future Studies Role language in Japanese makes use of many grammatical features of the language such as its rich variety of pronouns, honorifics and sentence final particles to create its character types. Swedish lacks many of these features but instead makes use of non-standard spellings, so called eye dialect to convey an accent or non-standard pronunciation of words. In Åsa Nisse all characters in the main cast use similar non-standard spellings and eye-dialect is thus not used to separate their respective characters. They are instead separated from the supporting cast who do not make use of eye dialect. In this paper we have confirmed the existence of eye dialect in

Swedish but further study is required to understand how commonly it is utilized and if it is used to separate the main from the supporting cast in other material. The onomatopoeia for laughter employed by the characters is thought to be of importance in Swedish as it is in Japanese. Female characters are depicted laughing hi hi which is thought to indicate a giggle and as such conveys a more feminine character. The two onomatopoeia he he and hä hä in Åsa Nisse are on the contrary solely used by the male characters. He he is thought to represent the trickster, hence it is used by characters likely to try to fool other characters or outsmart difficult situations often by unconventional methods. Hä hä is by the examples seen in Åsa Nisse conjectured to represent self-satisfaction often connected with saying or acting in a way that will result in something funny. Ha ha, which is the most commonly used onomatopoeia for laughter in social media, is used in some instances by the main cast but mainly by the supporting cast. Ha ha is theorized to be an onomatopoeia that is identified as more neutral by readers due to it being the most common spelling used to represent laughter. It is deemed likely that a study of wider scale with a focus on the use of laughter onomatopoeia would produce further insight into how role language functions in Swedish. Another characteristics of Japanese role language is how much dialectal features are used to convey character through the stereotypes associated with the various provinces. Stereotypes connected to the provinces and its dialects also exist in Sweden and the fact that Åsa Nisse is set in Småland is thought to reflect this. However, we do not find many dialectical features in the form of grammar or lexicon in Åsa Nisse. It is thought that Swedish natives are less likely to be aware of the dialectical features of other dialects outside of the difference in accent, which results in the use of eye dialect.

5. Conclusion In this paper we have investigated the language usage of characters from the comic book series Åsa Nisse. Six volumes from year 1985 were picked to be used as source material and six characters of the main cast were used for the analysis. The purpose was to find features in the language usage that would be analyzed from the perspective of the theory of role language by Kinsui Satoshi. This would mean that the six analyzed characters would differ in their language usage in a way that would enable the reader to identify their personalities and tell them apart. Alternatively find features shared by the main cast that would separate their language usage from standard Swedish. We found that Åsa Nisse mainly makes use of three linguistics tactics to convey character: eye dialect, Laughter onomatopoeia, and dialect. Eye dialect, the use of non-standard spelling to express a non-standard pronunciation is used to express that the main cast speak with an accent and is thought to make them appear uneducated. A reason as to why eye dialect is heavily utilized is surmised to be that Swedish native speakers are less aware of grammatical and lexical features of other dialects and instead rely on accent to tell dialects apart. This is connected to our results that actual dialectical expressions are sparsely used with only a single dialectical characteristic identified in our material. As is the case in Japanese, laughter onomatopoeia was found to express different character types like in the case of he he thought to

10 be connected to the trickster or hi hi thought to be a feminine laughter. Further study on the subject of laughter onomatopoeia in comics as well as social media is considered for future studies on role language in Swedish. While we found expressions of role language in Åsa Nisse, it is not as developed as initially theorized. The language usage in Åsa Nisse is generally thought to be very representative of rural language in Swedish. In actuality only a modicum of proof for this was discovered in our material. The exception to this is the heavy use of eye dialect, which is also used in various other Germanic languages, to convey a rural language usage.

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Appendix

Character Volume Page Line Road worker 5 11 Nu måste dom sänka farten annars kör dom sönder sina kära bilar! Ha ha! Police 3 10 Det fattade vi av Nisses meddelande! Police 3 10 Du hade oturen att hamna hos den knepigaste figuren i hela Småland… Police 3 10 För en knipslug rackare som åsa-nisse är inget omöjligt Bank staff 2 30 Nej, varför det? Bank staff 2 30 Det var ju sant det han sa! Bank staff 2 29 Ha ha ha ho ho hi hi Unknown 2 29 Undras vad som är i görningen? Shop Staff 2 10 Ett dörrhål? Då vet jag precis! Vi har mycket trevliga fototapeter som passar till dörrar… Shop Staff 2 10 Titta här! Trevlig vy, inte sant? Shop Staff 2 10 Er fru kommer att älska den, det garanterar jag! Group Women 1 3 Ha, ha, ha, hi, hi

Åsa Nisse 1 7 Jo i Amerikat händer då alltid spännande saker Åsa Nisse 1 7 Men här i Knohult ä dä lugnt som i graven…här händer aldrig nåt! Åsa Nisse 1 7 Jisses! Dä ser ut som om han tänkte spränga bankboxen! Åsa Nisse 1 28 Håkej det ska bli, he he! Åsa Nisse 1 28 Ja, nog blir man barn på nytt, den saken e säker! Åsa Nisse 1 29 De här ska den sillstryparn få äta opp! Åsa Nisse 1 30 Vänta bara Sjökvist, tills vi tar te dom kraftigaste doningarna! Åsa Nisse 1 33 Här står att i Ekodalen i Amerikat ä ekot så långsamt så dä tar minst en minus innan ljudet kommer tebaks Åsa Nisse 1 33 Är man bara lite klipsker så lurar man käringarna lätt Åsa Nisse 2 3 Ja ska ringa te veterinären å be å få nån stärkande meducin te kräket!

Åsa Nisse 2 3 Kom nu kossa lella, så ska du få meducin! Åsa Nisse 2 4 Dä va då attan te ko å va enviser Åsa Nisse 2 4 Jag måste ta te båda händerna å bända opp mullen på’na! Åsa Nisse 2 5 Nädå jag lovar! Ja ska råma istället! Hä Hä! Åsa Nisse 2 5 Spikar opp hornen mäsamma! Åsa Nisse 2 5 Va håller ni på mä? Klabbarparen 1 28 Sno dej Nesse! Klabbarparen 1 31 Å inte går dä å...stöön...få den å stänga te ordentligt. Klabbarparen 1 33 Dä va väl inget! Här ä ekot ännu långsammare! Dä ä minst tie minuter sen ja spika på tvärslå på dassdörren. Klabbarparen 2 9 Ja tror jag gör däsamma! Klabbarparen 2 33 Hä, hä Klabbarparen 6 5 Ha ha! Du ska då alltid skoja med ungarna, Nesse! Eulalia 1 27 Nu går Kristin å ja ner te byn å handlar lite… Eulalia 1 27 Ja e rädd för de… Eulalia 1 27 Dom va i största laget tyckte vi! Eulalia 1 28 Va försiktig Nesse lella, så du inte skjuter på dej… (viktig, dej, däj) Eulalia 6 32 Ja, vi har ju redan fått våra ”drömpojkar”… Hi, hi Kristin 1 27 Ja tycker inte om’et, men de e väl inte värt en kommer hem utan smällarna! (viktig E istället för Ä även De istället för Dä) Sjökvist 1 27 Å jag säljer dom te ett verkligt pang-pris, he he! Sjökvist 2 28 Topp…ha ha! Sjökvist 2 28 Dä här ska bli skoj… hä hä Sjökvist 5 33 Dags å kamma hem storkovan, hä, hä!” Fjärsman 1 8 Varför sa ni inte dä mäsamma Fjärsman 1 8 M-men dä ä ju ingen där!? Fjärsman 1 10 Marsch te finkan nu! Landsfiskalen 1 11 Han måste givetvis få röra sej fritt. Landsfiskalen 1 11 Gör som jag säjer!