Borowska-Szerszun, Sylwia2017-08-212017-08-212007Studia Anglica Posnaniensia, vol. 43 (2007), pp. 265-2730081-6272http://hdl.handle.net/10593/19056The very title of John Heywood’s interlude A mery play between Johan Johan, the husband, Tyb his wife, and Sir Johan the priest (in print by 1533) suggests a fabliaux-like, farcical intrigue, which can be enacted by three characters only: a hen-pecked husband, a shrewish wife and a parish priest, i.e. the wife’s lover. The play centres on the motif of eternal triangle, Tyb being at the heart of the whole intrigue and responsible for disrupting order within the household. This paper examines how the official ideology of household is subverted in the play, deals with carnivalesque empowerment of the female character which results from this subversion, shows how female rebellion is counterattacked with misogynist implications of the play, and, finally tries to hint at political implications the interlude might have had despite its entertaining and comic qualities.enginfo:eu-repo/semantics/openAccessArtykuł