Manók

Manók are a group of little devils whose quarrelsome entrance briefly interrupts Csongor’s encounter with the magical equipment. Their importance lies less in any individual identity than in their collective role: the same unruly group that appears bickering is later invoked as the force that will capture Mirígy and secure her in a linden tree.

Identity and Introduction

The dramatis personae identifies Kurrah, Berreh, and Duzzog together as little devils, a designation also associated with Manók. The naming presents them as a group rather than as a single creature, while the individual names allow the group’s members to appear in distinct dramatic exchanges. The evidence does not provide a fuller account of their origins, appearance, or society.

Their first relevant stage direction describes them arriving while quarrelling. The entrance makes discord their defining action: they do not arrive as a silent, orderly company, but as a disputatious collective whose movement onto the stage is itself an interruption. Csongor observes that they seem to understand one another, then Kurrah begins speaking about the magical footwear. The scene places their bickering alongside the practical business of the enchanted objects, though it does not establish the details of their dispute or the full outcome of that exchange.

Actions and Function

The little devils’ role extends beyond the quarrelsome entrance. Later, a speaker identifies the one who claws at the linden as the old wicked Mirígy and calls for her to be seized. The proposed response is concrete: bind her with linden-bark rope, fasten her together with it, and pin her into a hollow in the linden tree. The group is thus associated with the enforcement of a capture, not merely with comic or disruptive commotion.

This later command gives their collective presence a sharper consequence. The earlier stage direction shows them arriving in mutual contention; the later lines assign them a common target and a practical task. The evidence supports the planned binding and confinement, but does not by itself establish the full circumstances of Mirígy’s capture or whether every member takes part.

Narrative Significance

Manók connect two different kinds of action in the play’s supernatural world. Their quarrel marks them as unruly figures, while their association with the linden-tree binding makes them instruments of restraint against Mirígy. The contrast gives their brief appearances a functional shift: disorderly entrants can also be summoned as a collective force to contain another character’s harmful activity.

The linden recurs in the proposed method of confinement, from the bark used as a rope to the hollow where Mirígy is to be fixed. This material specificity grounds the group’s role in a particular action rather than leaving it at the level of generalized menace. The supplied evidence does not develop Manók into independent perspectives or explain their motives; it presents them chiefly through their group identity, their quarrelling entrance, and their connection to the planned restraint of Mirígy.