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Joyce’s Depiction of Female Sexuality in Penelope

 


    Joyce’s Ulysses has 18 chapters that are distinctively different from one another. Joyce employs different techniques and styles for each chapter. Some of which resemble other authors, and some carry a distinguishable trace of uniqueness Joyce possesses. Every chapter has individual traits that can be interpreted and valued separately, however, all the chapters are interconnected with Joyce’s unique plot structure. Penelope is one of the chapters structured uniquely. It also carries utmost importance as it embodies the unfiltered state of narration that reflects Molly’s train of thoughts. The chapter is strictly allocated to Molly who reflects her unfiltered thoughts on a variety of issues. Molly’s train of thoughts opens a window to her consciousness and presents a deeper and more genuine female identity. Precisely, Molly’s expressive nature combined with the chapter’s structure which resembles an inner conversation with one’s self, shows the patriarchal society’s oppressive impact on women. In this essay, I shall discuss the representation of female sexuality and identity and I will argue that Molly’s soliloquy presents a clear portrait of the oppressed female identity and sexuality's struggle to subsist. 

      Molly’s contemplation on different-sex relationships unveils the patriarchal society’s tendency to regard female identity as a property. Molly dwells on the appearance of the female body and how certain dresses complement female sexuality which is associated with seduction and man’s desire. “I dont have the two of them under my nose all the time like that slut that Mary we had in Ontario Terrace padding out her false bottom to excite him” (Joyce 1220)  Mary’s attempt to seduce a man with her body proposes the idea that the value of female identity and attractiveness is determined by the appearance of it. In other words, Molly does not dwell on male appearance and attractiveness. She, on the other hand, contemplates how female appearance compliments female attractiveness which enforces the deprecatory idea that women are objects that are designed to admire and please the man. While the idea that female identity is objectified as solely a sexual image shows patriarchal society’s oppressive structure to surpass and devalue female sexuality, Molly’s meditation on her sexuality makes it more prominent. Molly complains about her sexual desires not being met “he never will he ought to give it up now at this age of his life simply ruination for any woman and no satisfaction in it pretending to like it till he comes and then finish it off myself” (Joyce 1223). However, the most important aspect of her complaint relies on the fact that she has to pretend to like it meaning she has to meet the opposite sex’s desires. While this portrays women to be the servants for men, but it also illustrates how female sexuality is neglected and how women are powerless against it. 

       Molly’s expressive sexual nature challenges the male-dominated society’s oppressive structure and draws a clear portrait of suppressed women in a patriarchal society. “Mina Purefoy's husband give us a swing out of your whiskers filling her up with a child or twins once a year as regular as the clock always with a smell of children off her” (Joyce 1226) The female in this sentence is depicted to be passive and only a living womb. To be precise, Molly implies that Mina does not have a say in their sexual relationship indicating the male dominant patriarchal structure of their relationship . Molly’s expressive nature “theres nothing like a kiss long and hot down to your soul almost paralyses you then I hate that confession when I used to go to Father Corrigan” (Joyce 1223) challenges such a social structure. Molly explicitly asserts her sexual desires which draw a distinctive difference between male and female sexuality. She also mentions that she goes to the church for confession.” I said on the canal bank like a tool but whereabouts on your person my child on the leg behind high up was it yes rather high up was it where you sit down yes Lord couldnt he say bottom right out and have done with it what has that got to do with it” (Joyce 1223)  Here even though it is not explicitly stated that the priest is actively seeking pleasure from Molly’s confession, but it is implied that according to Molly, priest’s enthusiastic manner to ask for details is unnecessary.” I always think of the real father what did he want to know for when I already confessed it to God” (Joyce 1223) Molly’s vulnerability even in the church demonstrates the hardship of being a woman and expressing female sexuality. Women should always actively guard against the patriarchal society’s crashing impact on women’s sexual identity. More importantly, Molly’s unpleasant experience with the church draws a fine example of why women are punished when they express their sexuality. The priest asks for more details of Molly’s confessions to potentially please himself without asking Molly’s consent which an abuse Molly is desperately subjected to. Even though we do not know the priest’s intentions, the possibility of such an occurrence happening demonstrates the heavy burden the female identity is under at. Well put

         In conclusion, Joyce presents a unique and natural narration through Molly’s soliloquy. The lack of punctuation complements the idea that the soliloquy is coming right out of Molly’s consciousness that wanders around a topic to another. Molly’s unfiltered consciousness helps us to understand what female sexuality is subjected to in a patriarchal structure. Ultimately, we understand the persistent struggle for women to have a sexual identity.



 

Joyce, James. Ulysses, Planet PDF,

           planetpdf.com/planetpdf/pdfs/free_ebooks/Ulysses_NT.pdf.


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