86 STEVEN TÖTÖSY de ZEPETNEKrooting, plant-like being, whose total value is unintentional grace and beauty, like thoseof flowers and their seeds* expecting, voiceless, and wantless fertility. All philosophers,Plato, Spinoza, Kant, Schopenhauer, and Nietzsche agree on this. Only today's sicklygames of education labour with the idea that a woman should be taken seriously. (287)This ferociously sexist statement is not singular or particular, then or now.It has been and still is, perhaps with a different vocabulary, issued. What isrevolutionary in Kaffka's writing is the act of writing it down while speakingwith a woman's voice about the life of a woman. It is her courage to manifestthe male voice, and then the descriptions of the results of this male voice!Magda's response, although not in tangible action as far as she herself isconcerned, is again and again directed towards hope, even if restricted to herimmediate family, to her daughters:Kislányaim, lelkeim, csak ti tanuljatok! Mindenáron, mindenáron! Ne csináljatok tisemmit a ház körül; majd főzök, seprek, takarítok én, az én kidolgozott kezemnek,szétment, elhanyagolt testemnek már úgyis mindegy. Ti csak készüljetek szebb, diadalmaskodó,független életre; magatok ura lenni, férfi előtt meg nem alázkodni, kiszolgáltatoltmosogató cselédje, rugdosott kutyája egynek se lenni. Csak tanuljatok,mindent; ha az utolsó párnám is adom érte! (289)My darling daughters, you must learn, you must study! At all cost! You do notneed to do any chores around the house. I will cook and clean. It does not matterany more for my rough hands, my neglected and deformed body. You must prepareyourselves for a more beautiful, triumphant, and independent life, not to be humiliatedby any man, not to become any man's defenceless dishwasher and maid, hiskicked-around dog. Learn! Everything - even if I have to sell the shirt off my back!(289)Increasingly, with advancing years, Magda's only aim is to secure for herdaughters a future in which they are able to be independent in mind and body.At the end of Magda's story, when she is an old woman, her retrospective isstill resignation and the need to compromise. She notes the desolate uniformityof her life in detail, stretching it to mention that her menopause wasuneventful. She recognizes fatalistically that her life, as much she tried torevolt, was directed by superior forces against which she had no chance at all(311-13). <strong>No</strong>w an old woman, she fits the mold and societal expectations, sheeven became religious and visits the church and confession. Her hopes findfamilial realization, however. She is alone, but her aim for her daughters seemsto have been successful. They are educated and obtained professions. One ofthe final paragraphs of the novel reads:
MARGIT KAFFKA AND DOROTHY RICHARDSON: A COMPARISON 87Klári is végzett, egyelőre jó zongoraleckékből él, de állás van ígérve neki egy pestiiskolánál. Marcsi azt hiszi, hogy, szerelmes volt egy tanárjába, valami nagy művészbe.Baj is az! ő ráér erre a fényűzésre, nem kell férjhez szaladnia a kenyérért... (321-22)Klári too graduated. At the moment she earns good money as a piano teacher butshe was promised a position at a school in Pest. Marcsi thought she was in love withone of her teachers, some great artist. Who cares! She can afford such luxury, she doesnot need to run to a husband for money... (321-22).Színek és évek is a "multi-dimensional" novel (Fülöp 67). The multidimensionalityof the novel, its thematics, its psychological, sociological,narratological, etc., dimensions invite an analysis from several points of view.The critical body about Kaffka's works focused on the gentry thematics withsporadic mention of the position of women within the Hungarian gentry. Here,the above demonstrates Kaffka's preoccupation with the sociological factorsof patriarchy by describing the sociological with specific attention to theposition of women in Hungarian society of the time.It is an important observation and proposition that Kaffka's novel at handis a "tudatteremtő, lélekteremtő [regény]" ("consciousness and spirit creating[novel]") (Fülöp 68). It is an obvious extension of this proposition to say thatboth aspects, namely the "creation of consciousness" and the "creation ofspirit" is to be understood with reference to the woman/fern ale consciousnessand spirit. This is its most important feature of innovation. Also, the aboveproposition by Fülöp is the more important because it underlines the suggestedintertwining of the author's innovative sociological perception with narrativeinnovation. In other words, the exposition and critique of the patriarchal valuesystem occurs in a specific narrative style. Thus, Kaffka's writing, in Wittmann'ssense, is successful in the presentation of the new woman on twoaccounts: The work is a reflective ("visszaemlékező") novel (Fülöp 68-69) andits narrative innovation rests in the creation and in the study of the Weltanschauungof the remembering individual. The narrative in the novel expressesby the multitude of reflections not only the level of fictionalizing but, at thesame time, it expresses this fictionalization on the level of meditation andintellectual position-taking. This is also important because the Proustianreflective narrative was neither as a primary text nor in the secondary literatureapparent either in Hungarian literature or literary scholarship of the time, orin Kaffka's specific development as an author. In this sense, Kaffka's narrativeinnovation can be positioned in the narration of memory. In this too, her workbroke new ground in Hungarian literature.Richardson's trilogy differs from Kaffka's novel in that it does not havea similar up-front accumulative sociological presentation of the woman's
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HUNGARIAN STUDIESVOLUME 11, 1996 CO
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CONTRIBUTORSMiklós BÁNFFYLászló