Az Eszterházy Károly Tanárképző Főiskola Tudományos Közleményei. 2002. Vol. 8. Eger Journal of American Studies.(Acta Academiae Paedagogicae Agriensis : Nova series ; Tom. 28)
Studies - Gabriella Varró: The Adventures of the Minstrel Sign in Mark Twain 's Huckleberry Finn
partly following Berret's interpretation and argument, and partly through examples directly from the text. It is a well known fact that the classic minstrel show was comprised of three easily distinguishable units, namely, the first part, the olio, and the closing number. These larger units could be subdivided into yet smaller segments. The first part, or overture , contained primarily comic dialogues and sentimental song and dance acts; the olio or variety section centered around the stump speech of the lead actor and a variety of acrobatic or circus numbers, and finally the closing was organized around a plantation skit or one or more burlesque numbers. This wide range of genres and themes belonging to the shows can also be found in Twain's work. A recurring element of the tripartite minstrel performance was the humorous dialogue scene of the overture. In the original minstrel setting the parties involved in this scene were, on the one hand, the white-faced Interlocutor , who acted as Master of Ceremony throughout the performance, and the blackfaced darkies {Mr Tambo and Mr. Bones , otherwise also known as the endmen ), who were seated at both ends of the semicircular stage-set along with the contributing dancers and musicians. These comic dialogues were exploiting the possibilities of verbal humor. Among the devices of verbal humor were the so-called banter , the teasing and mocking of each other, as well as the repartee , which built upon the practice of fast and ingenious remarks like in a verbal duel. The respective criticism often labels this kind of comic element as end-man humor (Starke 175), mostly because these fast exchanges were routinely exercised by the endmen. The above stylistic features are as much perceptible in the humor and incongruity generating tricks and devices of the group called the Literary Comedians, who were Twain's contemporaries, as in the later Donald and Costello shows, or still later in Amos 'n Andy, as well as in the improvisational technique of the gag shows. Similarly, Huck Finn also abounds in the possibly most popular comedy-generating technique of the minstrel shows, the end-man humor. Let us now take a look at some instances where this comic device can be unmistakably pinpointed as present in the book. The most striking example of the employment of the end-man humor 266
