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The character of Salome is complex because "Fatale" is designedto evoke all possible interpretations of her legend simultaneously.Salome is at once the mighty princess who mercilessly seduces mento their downfall and an innocent child on the brink of womanhoodwho is manipulated by the grown-ups that surround her. But she isalso just a girl, a teenager who falls in love with the wrong manat the wrong time. She gets a first taste of the sweetness and thebitterness that we all know so well. And then there's the Salomecreated by Oscar Wilde: a mad woman, lurking in the shadows of oursouls, a selfish, passionate, wilful creature who will stop atnothing to get what she wants.
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.
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.
When she is young, Daisy blames her mother for mistreating her andher sisters. It is only when Daisy goes through the pain of childbirth thatshe understands what her mother went through while bearing ten childrenagainst her wishes. During the late- nineteenth century, the "risks ofdeath in childbirth increased with each successive birth" (Lewis 1986:153). Elinore practices contraception through placing a bolster betweenherself and her husband on their bed, but he throws it away. She then lockshim out of their bedroom, but, on occasion, he climbs up the drainpipe andthrough the window. When she becomes pregnant for the tenth time, Elinorebathes in boiling water to try to abort the fetus. Under these circumstancesof numerous, inescapable pregnancies, readers can begin to understand whyElinore resents her daughters as well as her husband.
Home Rule and Holy Pictures mix comedy with tragedy to critiquethe damaging relationships of Elinore and Daisy with their daughters andhusbands. Michael Patrick Gillespie describes "the particularly Irishliterary inclination to integrate comedy (especially when tinged withridicule) into the most tragic of topics" (1996: 121). Boylan may havelearned that technique from Swift, Joyce, Beckett, Molly Keane, and FlannO'Brien. Comedy does not detract from Boylan's fiction'sdepth, however. Mikhail Bakhtin writes that through laughter, "the worldis seen anew, no less (and perhaps more) profoundly than when seen from theserious standpoint" (1968: 66). That may be particularly true for themarginalized woman writer questioning disparities of gender. "From Behn... there exists a tradition of women's comedy informed by and speakingto the experience of being female in a world where that experience isdevalued" (Barreca 1994: 28); in other words, "women's writingof comedy is characterized by its thinly disguised rage" (Barreca 1994:21). In line with this, anger erupts through Boylan's narrator, andespecially during Elinore's speeches. For example, Elinore mixes humorwith resentment when she explains that Danny misunderstood her youthfulallusions to Wuthering Heights: "'Whatever our souls are made of,yours and mine are the same,' I [Elinore] told him. She gave a sourlaugh. 'Do you know what he said?' 'Are you a Catholictoo?'" (HR 30).
After her father's fatal accident, Daisy blames herself,because she had wished him dead. As another result of being molested, Daisybecomes unusually modest; this is seen when she goes swimming wearing adress. As a teenager, she refuses to wear attractive clothes, insteaddressing like a child. Elinore cannot understand why Daisy refuses to grow upand make the most of her unusual beauty: "To see the prettiest of herdaughters in this gauche state of denial was almost as diasappointing asseeing another flaunting her body in vulgar entertainments" (HR 115).Elinore does not know that Daisy has good reasons to fear being attractive.The consequences of Daisy's dread of adulthood haunt her own children;like Elinore's daughters, Nan and Mary must tend their mother as thoughthey were the parents and she was the child. Little Nan thinks of Daisy:"Already, she seemed to know that she was there for her mother, ratherthan her mother being there for her" (Holy Pictures 216). Nan copes withher disappointment in Daisy by becoming the mother to Daisy that Nan wishesshe had for herself. Boylan portrays Daisy's unconscious reproduction ofthe family structure that victimized her, and now hurts Nan.
Boylan depicts their dynamics of Daisy's disinterest andCecil's frustration with tenderness and quiet irony. In response toCecil's adoration, Daisy regains much of her old radiance. They arehappy at times--happier than Elinore and Danny were. During Daisy andCecil's fifteen years of marriage, Cecil continually courts his wife,whom he affectionately calls Mags, shortening her given name of Marguerite.The narrator describes the couple's happiest moments: "In theserare moments it was as if they found each other at the post-box and for therest of the time they restlessly sought one another" (315). Nan and heryounger sister Mary feel soothed at such times: "the children sensed theaura of homeliness, like a cake in the oven" (316).
Notwithstanding brief spells of joy, Mags and Cecil'smarriage has problems that recall those of Elinore and Danny. In bothgenerations, Dublin neighbors admire the husband for hisaltruism--Danny's of the physically heroic type, and Cecil's of thephilanthropic. Cecil, as a successful businessman, can afford to bephilanthropic, whereas Danny as a poor man could only act heroically. The twomen's contrasting styles of charity coincide with Bourke'sobservation that women in Ireland were better fed in 1914 than in 1890 (262).This is reflected in the improved adult economic status of Mags (and hersisters Beth, Janey and, ultimately, Lena) compared with Elinore.Nevertheless, Mags, like Elinore before her, resents what she regards as herhusband's dangerous hobby of charity. Cecil brings homeless people hometo stay in their house overnight, and they are routinely robbed as a result.A snob like her mother, Mags hates entertaining the poor, feeling that theycontaminate her drawing-room. Some of Cecil's charity cases are women,whom Nellie, the maid, suspects that Cecil seduces. Instead of molesting hisdaughter as Danny does, Cecil compensates for his wife's disinterest insex by quietly pursuing other women, including Mags's sister, Ba. Inboth Danny and Elinore's and Daisy and Cecil's marriage, a youngfemale relative becomes the lonely husband's victim--first Daisy ofDanny, then Ba of Cecil.
Unlike Janey, Mags never helps Cecil handle adultresponsibilities. One reason Cecil commits suicide is that he has to bear thefamily's financial burdens alone. While Mags vacations in France, hetries to tell fourteen- year-old Nan about his money difficulties, but shetoo refuses to listen: "They stayed watching each other until her lightgrey eyes became shaded with the look of closure he had seen so often in hermother's brown eyes" (HP 125). Whereas avoiding adult financialchallenges is suitable for Nan the child, it is a limitation in a wife.
Although Cecil's condescension towards women underlies thestress that leads to his suicide, another cause is the loyalty conflict thathe undergoes due to having committed bigamy in marrying Mags. Fueled byJaney's passionate letters that were signed by Mags, Cecil had marriedthen deserted an Indian girl, Mumtaz, while he was engaged to Mags. Followingthe Madonna/ whore complex as was not uncommon for men of his era, Ceciltreats Mumtaz, the woman of color, as though she were a sexual object to beused and discarded. Meanwhile, he idolizes the unavailable Mags, thewell-bred white woman who symbolizes sexual purity. Mumtaz finally findsCecil when Nan is fourteen. Upon seeing Cecil and Mumtaz's weddingphoto, Mags gives up the master bedroom to her. Much as Elinore punishedDanny when she exiled him from their bedroom, Mags punishes Cecil throughavoiding him. Cecil begins sleeping with his Indian wife, who demands that heleave Mags and his daughters. He drowns himself. 041b061a72