Andreev’s hypotext begins with a gentleman approaching members of the circus, asking to be a clown. The circus entertainers are unsure. They recog-nize that the stranger is cultured and well educated, but think that he might be drunk. This would-be clown suggests that he might read something liter-ary or make some sort of speech as part of his act. Then, he suggests that his circus name might be “He Who Gets Slapped” and that his act could be to receive slaps from other clowns. This introduction, of course, leaves the theater audience guessing as to the real identity of this strange man and, as the main action of the play develops, the clown’s mysterious identity is divulged piecemeal, allowing Andreev to successfully tease out the psycho-logical aspects of the mysterious clown and provide the motivation for his life in the circus.
146 frederick h. white
In the first act, we learn that this odd gentleman is thirty-nine, well educated, and someone quite well known. The owner of the circus asks for identification so as to register his employees with the police. When the gentleman-clown is finally forced to disclose his real name, the reaction of the circus owner reveals that he is to be respected, but the theater audience gains no further information.
In the second act, He is already established as a clown and his act is a success. There are still some indications of his education as the other per-formers warn him against too much talk of politics and religion during his performance. The theater audience also learns that He is in love with Consuelo and that Count Mancini is trying to marry his daughter to Baron Regnard for financial gain. It is only at the very end of this act that a gentle-man visits He in the circus:
Gentleman: [Humbly]: You have not forgiven me, He? [Silence.]
He: Are you here with my wife? Is she, too, in the circus?
Gentleman: [Quickly]: Oh, no! I am alone. She stayed there!
He: You’ve left her already?
Gentleman: [Humbly]: No—we have—a son. After your sudden and mysterious disappearance—when you left that strange and insulting letter——
He: [Laughs]: Insulting? You are still able to feel insults? What are you doing here? Were you looking for me, or is it an accident?
Gentleman: I have been looking for you, for half a year—through many countries. And suddenly, to-day—by accident, indeed—I had no acquaintances here, and I went to the circus. We must talk things over … He, I implore you. [Silence.]
He: Here is a shadow I cannot lose! To talk things over! Do you really think we still have something to talk over? All right. Leave your address with the porter, and I will let you know when you can see me. Now get out. [Proudly.] I am busy.11
This revelation still does not answer many of the questions about the clown’s past. If anything, it becomes even more mystifying: an insulting letter; He’s wife now is married to another man; the former friend and former wife have a child together. The psychological action of the play has become even more complicated, which is what Andreev desired, each circus performer with his or her own secret, each running away from something by living and working in the circus.
At the beginning of the third act, the gentleman returns to the circus and the audience learns that he has stolen the gentleman-clown’s wife and his ideas, vulgarizing and publishing them in a book that has been quite
a slaP in the face of aMerican taste 147
Figure 7.2 Postcard of Illarion Pevtsov as He (1915).
successful. Although the gentleman is now a famous figure, appearing often in the press, with a wife and son, he still is haunted by the existence of his former friend (He) and the possibility that the gentleman-clown shall return.
The gentleman has searched out this friend whom he has betrayed in order to ascertain if the former friend ever intends to return home. To the gentle-man’s seeking a promise from his friend-turned-circus-clown that he will not return, He promises as much, making it clear that he has left an intellectual’s life behind for good. Andreev finally provides, in part, the psychological
148 frederick h. white
impetus for why He left behind his life in high society in order to join the circus and to be humiliated each day for the entertainment of strangers. This psychological profile also puts into perspective He’s life within the circus and his desire to undermine Count Mancini’s attempts to sell Consuelo to Baron Regnard. Having endured once the disappointment of losing his wife to a scoundrel, He’s strong desire to save Consuelo from the Baron is now psychologically motivated for the theater audience. As a result, in the fourth act He poisons Consuelo in order to save her from an arranged marriage.
Off-stage, the Baron commits suicide. Once He learns of the Baron’s death, utterly surprised, he poisons himself, wishing to meet Consuelo in the after-life before the Baron.
In He Who Gets Slapped the unattractive truth about the clown is that he is running from a failed marriage, betrayed by a good friend and his own wife.
He is hiding from this psychological pain within the circus, where he can be a clown whose pain and humiliation are viewed by those around him as part of a humorous act. Those circus colleagues have their own secrets to keep and do not want to know why He suffers so greatly—maybe he is insane or a drunkard. They are more than willing to accept this veneer of a clown who is repeatedly slapped and humiliated as the real man. Tension, therefore, is created by the psychological dissonance found in the appearance of a circus clown, covering the tragic loss and betrayal of an intellectual who has turned his back on his former life. Once this is understood by the theater audience, then the secondary story of He’s love for Consuelo gains added meaning as the clown tries to save the young girl from a similar type of betrayal and humiliation. The clown’s love is further intensified because his rival for Consuelo’s affection is the Baron, the same kind of scoundrel as the former friend who betrayed He’s trust and stole his wife.