Az Eszterházy Károly Tanárképző Főiskola Tudományos Közleményei. 1994. [Vol. 2.] Eger Journal of American Studies. (Acta Academiae Paedagogicae Agriensis : Nova series ; Tom. 22)

STUDIES - Judit Kádár: The Figure of 'Everyclown'in Jack Richardson's Gallows Humour

authorizing you to slap my neck. [Shouűngl You're my husband! And that makes you the most harmless person in the world as far as I'm concerned! (GH 117) These utterances lead us through the violent debates of marriage in the Strindbergian sense to the question of chance for a meaningful malefemale relationship at the end of the twentieth century. Since Richardson's treatment of the topic is identical with Albee's and of many representatives of postmodern literature, one can observe the common characteristics through the spouses' 'Walpurgisnacht' game in the second part of the play. The first and most conspicious similarity is Martha's: her name, personality, behavior and utterances to Martha in Who's Afraid of Virginia Wolf?. Both Philip and George have to confess that they had underestimated their wives as far as aggression and surprising actions are concerned. Both Marthas reject the honesty of their husbands. Although Albee's Martha shares a secret with George, which provides the driving force of their marriage, in Richardson's play this Martha is unable and unwilling to have any idea common with Philip except for the word 'and' as a tie between them (i.e. "man and wife" [GH 1151). As Martha says: "I've grown used to lies, Philip. They make up a comfortable husband I know" (GH 114). Since marriage has became the finest institution of conformism in practice, wives as such with their 'breakfast faces', with their preference of clubs, communities and joint bank accounts became guards of the properly set system and values. Or is it just the simple urge of survival in women and an aptness to accomodate to the existing circumstances that transform them into 'Momist Dragons'? Richardson calls the attention to the efforts and experimenting with the possibilities of the revolt of male characters. The process of retreat in Walter's and Philip's case is interesting and nicely presented with its psychological implications. The dynamism of their conscious efforts in the direction of revolt along with their unconscious taming down and surrender gives the rhythm of the whole play. As far as I feel, this dynamism is the main achievement here. 57