Rad istražuje problematiku rodnih uloga u patrijarhalnom društvu u drami Dugo putovanje u noć (1956.) Eugenea O’Neilla i drami Sjećam se mame (1944.) Johna Van Drutena, s obzirom na prikaz lika majke. Eugene O’Neill donosi priču o disfunkcionalnoj obitelji Tyrone, dok John Van Druten prikazuje blisku obitelj norveških imigranata Hansona. Iako naizgled drugačije, dvije su obitelji slične po patrijarhalnom ustroju, što se odražava na likove majki koje se prilagođavaju tradicionalnim rodnim ulogama. Van Drutenova protagonistica Marta Hanson nesebična je i brižna majka zaslužna za sreću svoje obitelji, za razliku od Mary Tyrone koja je ovisna o morfiju i okrivljena za propast vlastite obitelji. Unatoč očiglednim razlikama između protagonistica, obje su procjenjivane na temelju istih kriterija – njihovog odnosa prema suprugu, djeci, te naposljetku novcu i karijeri. U radu se primjenjuje rodna teorija Simone de Beauvoir na temelju koje se proučava ponašanje protagonistica u tri situacije – bračnom životu, majčinstvu i poslovnom svijetu. Rad dolazi do zaključka da iako su Mary i Marta procjenjivane na temelju istih kriterija, razlikuju se u tome da Marta uspješno ispunjava očekivane uloge, dok Mary to ne uspijeva. Stoga majke u navedenim dramama čine binarne opreke – majka u Van Drutenovoj drami prikazana je kao svetica hvaljena za podnesene žrtve, dok je majka u O’Neillovoj drami prikana kao grešnica čiji propusti vode do obiteljske propasti. The paper explores gender roles within the patriarchal society in Eugene O’Neill’s Long Day’s Journey into Night (1956) and John Van Druten’s I Remember Mama (1944), with respect to the portrayal of the mother. O’Neill’s play follows the story of the dysfunctional Tyrone family, while Van Druten depicts a close-knit family of Norwegian immigrants, the Hansons. Although seemingly different, both families are patriarchal, which is reflected in the characters of the mothers who conform to traditional gender roles. Van Druten’s protagonist Marta Hanson is a selfless and caring mother responsible for the happiness of her family, unlike Mary Tyrone, who is addicted to morphine and consequently blamed for the downfall of her family. Despite the obvious differences between the protagonists, both are judged on the basis of the same criteria – their relationship with their husbands, children, and ultimately money and career. The paper applies Simone de Beauvoir’s gender theory in order to study the protagonists’ behaviour in three situations – marriage, motherhood, and the business world. The paper concludes that although Mary and Marta are evaluated based on the same criteria, they differ in that Marta successfully fulfils the expected roles, while Mary fails to do so. Thus, the mothers in these plays represent binary oppositions – the mother in Van Druten’s play is depicted as a saint praised for the sacrifices she makes, while the mother in O’Neill’s play is portrayed as a sinner whose failures lead to family ruin.