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Henry Lawson's Women: the Angel/Devil Dichotomy

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Henry Lawson's Women: the Angel/Devil Dichotomy University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 1991 Henry Lawson's women: the angel/devil dichotomy Gwenyth Dorothy McLellan University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation McLellan, Gwenyth Dorothy, Henry Lawson's women: the angel/devil dichotomy, Master of Arts (Hons.) thesis, Department of English, University of Wollongong, 1991. https://ro.uow.edu.au/theses/2195 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] HENRY LAWSON'S WOMEN: THE ANGEL/DEVIL DICHOTOMY A thesis submitted in fulfilment of the requirements for the award of the degree Master of Arts (Honours) from The University of Wollongong by Gwenyth Dorothy McLeilan, B.Ed., B.A. (Hons.) UNIVERSITY OF WOLLONGONG LIBRARY Department of English 1991 Ol0321 TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iii ABSTRACT iv INTRODUCTION 1 1. HOW LAWSON "CAME" TO WRITE ABOUT WOMEN 15 2. LAWSON'S "LITTLE GIRLS" 49 3. FAITHFUL WIVES 82 4. LAWSON'S "HAGGARD WOMEN" 117 5. LAWSON'S "FALLEN WOMEN" 153 CONCLUSION 194 WORKS CONSULTED 199 ACKNOWLEDGEMENTS I wish to thank the members of the English Department of the University of Wollongong who encouraged and assisted me during the writing of this thesis. In particular, I wish to thank my supervisor, Professor James Wieland, and Gill Churchill for her tireless and competent word-processing. ABSTRACT This study analyses the angel/devil dichotomy in Henry Lawson's short stories and determines the reasons underlying this divided image. Written from a feminist perspective, the female characters are the focus of the work. Initially, the investigation discovered that women feature in substantially more of his stories than has hitherto been acknowledged. Secondly, it is established that these women can be categorised into discrete groups under the headings which title the chapters: "Little Girls", "Faithful Wives", "Haggard Women" and "Fallen Women". Within these groups, his women are represented as either "angels" or "devils", the stereotypical images of women in post Victorian fiction. Although this is fundamentally the case, frequently, his women are, at one and the same time, both "angels" and "devils", giving rise to the angel/devil dichotomy. Organised into five chapters, Chapter One defines and describes Lawson's ambivalent attitudes towards women, the reasons for this ambivalence and its influence on his writing. In particular, his relationships with his mother, Louisa, and his wife Bertha, and their influence on his representations of women, are analysed. Chapters Two to Five examine the angel/devil phenomenon in each of the categories of women, revealing the way in which Lawson's attitudes to each type, is reflected in his presentations of them. Finally, his lifelong love/hate obsession with women, is revealed. INTRODUCTION This study focuses on thG femalG charactGrs in HGnry Lawson's short storiGS. A closG roading of Lawson's prosG fiction, GxposGd thG prGSGncG of a numbGr of womGn who foaturGd, GithGr cGntrally or pGhphGrally, as thG imaginGd or rGmGmbGrGd charactGrs of bushrriGn's talGS. This discovGry contradictGd thG traditionally hold opinions of his critics that Lawson was a writGr of StoriGS about rriGn, morG spGcifically, about bushmGn, about thG bush and about 'matGship', dGfinGd as an GxprGssion of malG solidarity which rigorously GxcludGd womonJ It is out of this SGGnning contradiction that thG thGsis dGVGlopGd, for it was apparont that thG importancG of womGn in Lawson's writing and thGir roprGSGntation, had bGGn only marginally addrGSSGd. Supporting this contGntion, a littiG known writGr about Lawson, commGntGd that "mGmbGrs of thG 'fGmalG SGX' havG important roiGS to play in many of Lawson's storiGS, indGGd, somG fortysix or so, and rGCGivG mGntion in many morG".2 A rGviGw of critical opinions dating back to Lawson's GarliGSt publishGd works, GStablishGd a body of GvidGncG in support of thG contGntion that, for thG most part, womGn in Lawson's storiGS havG bGGn ovGrlookGd. ThGre arG somG notabiG GxcGptions, thG most important bGing thG drovGr's wifG in thG much laudGd story of that namG. Writing for thG Lone Hand (1909), EmilG SaillGns, a FrGnch ProfGSSor in thG school of English at thG SorbonnG who translatGd a numbGr of Lawson's storiGS into FrGnch, includGd a commGnt, typical of thG pattGrn of rGsponsG from both rGadors and critics alikG, which has pGrpGtuatGd for at iGast half a CGntury: BushmGn arG almost without GxcGption thG horoGS, or, rathGr, thG passivG pGrsonagGS of his unGxcitGd storiGS. WomGn figurG but raroly in his pagGS, and thGir charactGrs arG SGldom consistGnt.^ 3 0009 02934 1562 Furthermore, Saillens noted the absence in Lawson's writing, of "passionate love", the prinfie cause of psychological complications in Latin countries. He suggests that: "In the Australian bush live mostly men, and life affords other occupations than to study the psychology of Woman...."4 Saillens also perceives that, in the order of things, love holds a very low place in bushmen's lives. On this point Lawson is essentially faithful to the conventions of the middle class and their Anglo-Saxon puritanism. Consequently, the figures of women in his writing are described by Saillens as being caricatures or shadows. The observation that the images of women are shadowy or unreal is consistent with the nationalist mythology that emerged in Australia in the late nineteenth century, which rigorously promoted masculinity while marginalising the role of women. These issues are embodied in the thesis as is the nature of the Australian legend, which, at the time, was a celebration of the one powerful and unique national figure produced in the land, the Bushman. The origin of the legend was posited in the bush stories of Lawson and thereafter, his writings have become a touchstone for any discussion of the "Australian Tradition". The Bulletin was prominent in expounding the separatist model of masculinity which lay at the heart of the eulogies to the Bushman, while at the same time, women were denigrated. The Bulletin stereotype caricatured them as wowsers and puritans and indeed, at times, all women were seen to be conspiring towards an ideal of "Domestic Manhood", to tame men and deny their pleasures.^ The enigma of Lawson's writing is that while demonstrating the ideal of the Bushman-as-hero, he nevertheless, also acknowledges the heroic qualities of the Australian Bushwoman. In 1975 and 1976 respectively, Anne Summers' and Miriam Dixson's inaugural studies, Damned Whores and God's Police and The Real Matilda, attempting to rewrite the history of women in Australian society, focused attention on the status of women in society. Dixson points out that in the writing of Australian history, because the writers have been mainly males, what they uncover tends to concern the lives and achievements of males. Their work is a kind of unacknowledged affirmation of their present identity through a celebration of their past selves. Therefore, "women figure as pygmies in the culture of the present and are almost obliterated from the annals of the past".^ So, too, do the critics of the 1890s and the twentieth century fail to acknowledge the presence of women in their national literature. This issue is addressed in the discussion of Lawson's women. Vance Palmer, discussing the emergence of literature in Australia in the 1890s and the extent of Lawson's influence on the contemporary scene, argues that Lawson "founded a tradition of democratic writing that has affected the work of nearly all who have come after him. The feature of it is a natural acceptance of human equality, a tendency to look at life through the eyes of the swagman as well as the squatter..Palmer's statement underlines Dixson's allegation that women are excluded from the national discourse. While discussing the pervasive influence of "human equality" in Lawson's writing. Palmer leaves out of account the place of women in that "equality". Apart from a brief mention of "The Drover's Wife" as a story of exceptional merit, Lawson's women remain the hidden figures in the literary landscape. The legend has endured as the representation of an authentic Australian identity. The definitive texts of the twentieth century beginning with Nettie Palmer's Modern Australian Literature (1924), W.K. Hancock's history, Australia (1930), continuing through cultural studies such as Vance Palmer's The Legend of the Nineties (1954), A.A. Phillips' The Australian Tradition (1958), all present an image of the bushman-as-hero, as the 'ideal type' who represents the national ethos of mateship.
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