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As well as the changes to women's roles thatindustrialization brought to Ireland during the latter part of the nineteenthcentury, a devotional revolution occurred in the Irish Church that resultedin more rigid gender roles and a glorification of asexual maternity in thestyle of the Virgin (Gibbons 1996: 85). "The cult of the Virgin Mary,which flourished from the late nineteenth century--asserted in part inopposition to the Protestantism of the colonial rulers--strengthened theconstruction of asexual, maternal and domestic femininity upon whichhyper-masculinity and socio- economic and sexual regulation depended"(Nash 1997: 115). Not only sexual regulation but self-sacrifice was requiredof women: "The cult of the Virgin endorsed not merely chastity andmotherhood as womanly ideals, but also humility, obedience and passivesuffering" (Innes 1993: 40). Jenny Beale (1986: 52) contends that evennon-religious Irish mothers from the second half of the twentieth centuryfelt guilty about their inability to reach the ideal of motherhood that theVirgin personifies. Yet Home Rule and Holy Pictures contain disturbing(though at times humorous) portrayals of mothers mistreating their daughterswithout feeling guilty.

Focusing upon the Madonna's influence upon women, JuliaKristeva's "Stabat Mater" helps explain mothers'aggressiveness towards their daughters in Boylan's works, along with thedaughters' acceptance of such mistreatment. The worship of the Virgincommon in Catholic nations like Ireland can encourage women to long to becomeunique among women, as the Madonna is (Kristeva 1986: 181). The urge to outdoother women may be shown through "exacerbated masochism . . . thehighest sublimation alien to the body" that is associated with nuns andmartyrs (181). Boylan's daughters embrace such masochism.

Like Kristeva's, Michelle Masse's ideas about femalemasochism in gothic novels shed light on the daughters' toleration oftheir mothers' cruelty in Home Rule and Holy Pictures. Masse analyzesFreud's beating drama that she contends underlies sado- masochisticrelationships in the heterosexual family. "In dealing with others, themasochist replicates the interpersonal relations she knows: she mayappropriate the power of the sadist and, in so doing, reproducesmasochism" (1992: 51). Though Home Rule and Holy Pictures are not gothicnovels per se, they do contain entrapment, abuse, suicide attempts, andmolestation. With a cold eye, Boylan reveals that the viciousness of somemothers towards their daughters may have continued, generation aftergeneration, in late-Victorian and early twentieth-century Dublin.

Masse explains the logic through which women may act cruellywhenever they can: "There is in such cases a basic conservativeidentification with the very system that assures their [women's]oppression: their limited status and power are asserted within such a systemby damaging other women, children, and servants, for example" (1992:62). Following Masse's model, Elinore Devlin of Home Rule makes hereldest daughter, Lena, into a household drudge as soon as she turns fourteen.Later, Elinore sends Lena away from her beloved suitor to work as an unpaidcompanion against her will. At the turn of the twentieth century, Elinoretreats her other daughters with similar callousness, taking some of them outof school to put them to work at an earlier age than she did Lena. Elinoreeven drives her child Weenie to attempt suicide by repeatedly cutting off thegirl's hair to punish her for allowing her baby brother to fall into acanal and drown.

According to Masse, a woman's "abuse may even be used tojustify her own abusing of others" (1992: 48). Elinore suffers due toWeenie's negligence that resulted in her beloved son's death.However, Elinore does not take into account that Weenie was a little girlbeing asked to do an adult's job of watching a toddler. Instead, Elinoretorments Weenie for decades. Another reason why Elinore feels victimized isthat she is a mother of numerous children in a working-class household:"Until Lena was old enough to take over, she [Elinore] felt like someoneset upon by a mob" (Boylan, HR 36). Elinore reveals her lastingresentment when she advises her daughter Janey to abandon her paternalgrandmother to starvation, refusing to aid the old woman herself."'I have been there,' she [Elinore] said in a piteous littlevoice. 'Now you can find out what it's like to have your youth gosour as mine did while you expend yourself on people who cannot possiblyappreciate it'" (109). Elinore here implies that she wants herdaughters to suffer for using up her youth.

Elinore's easy dismissal of her working- class, IrishCatholic daughters' rights comes in part from her sense of superiorityto them as a middle-class, English Protestant. British cartoons of the 1800sportray Irish Catholics as degenerates (Greenslade 1994: 77). Elinore voicessimilar prejudices of religion and class when she says to Lena, whom she hasjust separated from her suitor: "Say your prayers or cross your fingersor whatever you people do" (HR 82). Boylan criticizes the workings ofprejudice within a family, particularly the self- deception that lets Elinoreregard her daughters as her husband's Irish Catholic offspring, nothers.

Boylan's novel's depiction of social history is shown bythe similarity between her characters' circumstances and those fin desiecle historians describe. For example, Elinore's exploitation of herdaughters is not unusual for her era. In a study of British women'slabor and domestic patterns from 1850-1914, Jane Lewis (1986: 18) notes thatservants were often related to their employers--for example, servants mightbe the widows of their employers' cousins. In accord with this trend,Elinore appropriates a different daughter as the family servant whenever sheneeds one. Daisy becomes a nun to avoid becoming the household slave when hermother determines it is her turn. Daisy does not believe that housework is asimportant as it was conventionally regarded. In her study of housework inIreland between 1890 and 1914, Joanna Bourke reports that "the basis ofdomestic bliss was good housekeeping, and bad housekeeping was criminal"(1993: 267). In line with this view, Elinore has her daughters keep up herdrawing-room to such a standard that the nuns in the orphanage across thestreet regard it as a glimpse of heaven. Ironically, the nuns give Elinoreall the credit for producing this domestic achievement, and none to herdaughters.

Elinore's mistreatment of her daughters occurred during aperiod when few options were open to women for working outside of the home.The predicament of the unmarried daughter worsened after the Famine of the1840s; as Ireland became increasingly male- dominated, the percentage ofwomen working outside the home decreased from 29 percent in 1861 to 19.5percent in 1911 (MacCurtain 1985: 48). Besides having limited opportunitiesto work outside the home, women's options to marry were reduced by anincreasingly troubled economy. In 1861, 43.3 percent of women in Ireland weresingle, but in 1911, 48.26 percent of women in Ireland were single (Innes1993: 39). In forcing her daughters to serve her as unpaid servants, Elinoreis upheld by the gender ideology of her time. For example, The Victorian Girland the Feminine Ideal argues that "the good daughter was gentle,loving, self-sacrificing and innocent" (Gorham 1982: 37). Boylaninterrogates not only Elinore's behavior as an individual, but theeconomic forces and gender, religious, and class ideologies that compel herto act as she does. 041b061a72


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