By Bridget Butler

For the course Literary Criticism

Instructor: Prof. Neil Hartlen

Feminism in “The Boarding House”

     While feminist criticism does, as its name suggests, concern itself with women and women’s issues, it also encompasses a much broader area of study. Not only does it deal with works by female authors and consider feminist points of view, it also examines the ways in which male authors portray women in their works. An example of this is James Joyce’s “The Boarding House”, a short story replete with underlying tones of feminism. Its depiction of women is multifaceted, and though it may at times appear anti-feminist, Joyce is in truth merely setting up a superficially realistic portrait of early 20th century gender roles. In fact, I would argue that Joyce is a feminist writer, an idea made clear through his characterization of the story’s three main characters: Mrs. Mooney, Mr. Doran, and Polly.

Although women in “The Boarding House”, namely Mrs. Mooney and her daughter Polly Mooney, are in some ways represented as stereotypical women of the early 1900s, they are also attributed with traditionally masculine characteristics. Judith Fetterley, a developer of the feminist critique, “urged women to…notice how biased most of the classic texts by male authors are in their language, subjects, and attitudes and to actively reject that bias as they read…” (Murfin 165). This, however, does not hold true for Joyce. In the case of Mrs. Mooney, she is on the surface seen as a victim in an abusive marriage, but underneath this, she is a woman who assumes an almost male role and presence, both in her actions and in her appearance, as she is described as a “big imposing woman” (Joyce 368). To begin, she is a working woman, a bold statement within itself that needs little explanation. Secondly, the traits that make up her personality are not customarily feminine ones. She is proactive and resourceful as opposed to inactive, fragile, and submissive—upon being mistreated by her husband she leaves him, gets custody of her children, and starts up a boarding house. She is a woman of action, and this is perhaps most apparently exemplified by her way of dealing with her daughter’s affair with an older boarder of the house. Because her daughter’s honour has been defiled she knows amends must be made, and the sole way she believes this can be done is through marriage. Determined to set things straight and confident that she will, she “deal[s] with moral problems as a cleaver deals with meat: and in this case she ha[s] made up her mind” (369), something that sets her apart in a male-dominated society. She is not only efficient and tactile, but also manipulative and scheming. Moreover, her behaviour impacts not only her own life, but also the lives of the men in the story.

In addition to his compelling characterization of Mrs. Mooney, Joyce evokes a sense of powerlessness in the men of the story, and in this way gender roles are almost reversed. Mrs. Mooney’s ex-husband functions as the backdrop to Mr. Doran—a reiteration of his helplessness and utter misery. Joyce has stripped him of his dominance by placing him under someone as a sheriff’s man. He is entirely dejected with his station in life, a predicament commonly associated with women. Similarly, Mr. Doran is despondent at the prospect of being tricked into marriage by Mrs. Mooney, who views marriage as materialistic and a means of disposing of her daughter. Mr. Doran longs to run away from his entrapment because his instinct tells him that “once you are married you are done for” (Joyce 371), but at the risk of losing his employment and creating a scandal, he knows he has to give in and marry Polly. He has been defeated by a woman and is left powerless. The notion that men can use women for sex and pleasure and simply discard them when satisfied is rejected by Mr. Doran being forced into a marriage. It is important to note that it is only the men who pose a threat to the women who are subjected to anguish. Polly’s brother, Jack, for instance, does nothing offensive, and so he is spared. This is an effective method that allows the reader’s attention to be directed and fully concentrated on the slightly concealed but fundamental issue of feminism and the empowerment of women.

There is an external juxtaposition of mother and daughter in “The Boarding House”, but much like everything else in the story, upon a close analysis it can be recognized that more than is written is implied. Polly is described as “a slim girl”, having “light soft hair and a small full mouth” (Joyce 368) or, in other words, the contrary of what her mother is. She is not, however, her mother’s opposite, and this contrast between them only magnifies Polly’s inner unconventional woman. By conforming a part of her, her appearance, to her traditional society, the shock that her true self is supposed to incite is heightened. That being said, it is difficult to tell whether this tactic really is effective or if it blurs the lines and is more confusing than enlightening. Nevertheless, it must be understood that Polly resembles her mother in at least one way: she is just as sneaky as she is. It is precisely the things that superficially make her a stereotypical young woman—her dependence, adherence, and compliance—that in actuality enforce her similitude to her mother. Although it is not mentioned explicitly, it is clear that she is conniving. It does not bother her that her marriage is not grounded on love but on practicality, or that her future husband is suffering. She is not worried, but rather satisfied, because she will be secure. She dreams of her future and “wait[s] on patiently, almost cheerfully, without alarm, her memories gradually giving place to hopes…of the future” (Joyce 373), while Mr. Doran is being backed into a corner. This, again, is an emphasis on the then unsuspected power of women.

James Joyce’s “The Boarding House” is a story in which feminism and gender criticism play a significant role, and this is emphasized through his use of characterization and his presentation of men and women. The theoretical approach of feminism improves, in many ways, the understanding of the story by giving it something to stand on. Furthermore, it sharpens its meaning and gives it depth. This story is filled with undertones of femininity and as feminist critic Shari Benstock simply put it, “Isn’t it precisely the ‘feminine’ in Joyce’s writings…that carries me along?” (Murfin 170).

 

Works Cited

Murfin, Ross C. “What are Feminist and Gender Criticism?” Heart of Darkness. Case Studies in Contemporary Criticism. 3rd Ed. Boston & New York: Bedford/St. Martin’s, 2011. 163-175. Print.

Joyce, James. “The Boarding House” Dubliners. London: Grant Richards Ltd.: 1914. 367-373. Print.