Araby – James Joyce – Critical Analysis - Revision The visual and emblematic details established throughout the story are highly concentrated, with Araby culminating, largely, in the epiphany of the young unnamed narrator. To Joyce, an epiphany occurs at the instant when the essence of a character is revealed, when all the forces that endure and influence his life converge, and when we can, in that moment, comprehend and appreciate him. As follows, Araby is a story of an epiphany that is centered on a principal deception or failure, a fundamental imperfection that results in an ultimate realization of life, spirit, and disillusionment. The significance is exposed in the boy’s intellectual and emotional journey from first love to first dejection,
His neighbourhood is described as a “blind,” street with “brown imperturbable faces (287)” resembling that of those who live there. Only the boy companions "glow (287)"; they are still too young to have succumbed to the spiritual decay of the adults of Dublin. Everywhere in his dark surroundings the boy seeks the "light (287)." For example, he looks for light in the room of his home where the former tenant, a priest, had died, but the only objects left by the priest were books, yellow and... ... middle of paper ... ...the dream. In the beginning, the boy becomes aware of what surrounds him, the people, and the places and how the dreary atmosphere affects the lives of the people of Dublin.
Steeped in religious imagery, James Joyce’s “Araby” is an examination of an anonymous boy’s search for freedom amid the crushing drudgery of his bleak Dublin neighborhood. Frustrated by the dreariness of daily life, the narrator is unnamed, as are most of supporting characters, rendered nameless by the cold austerity of their lives. He finds his only chance for escape through his rising infatuation with a neighborhood girl, known as Mangan’s sister. Representing the alluring promise of change and excitement, the narrator is eager to win her affections, traveling to the exotic Araby bazaar to buy her a gift. However, his efforts are frustrated by a series of obstacles, and his desire for escape is ultimately unfulfilled.
Setting and Atmosphere in Araby Each of the stories in Dubliners consists of a portrait in which Dublin contributes to the dehumanizing experience of modem life. The boy in the story "Araby" is intensely subject to the city's dark, hopeless conformity, and his tragic yearning toward the exotic in the face of drab, ugly reality forms the center of the story. On its simplest level, "Araby" is a story about a boy's first love. On a deeper level, however, it is a story about the world in which he lives a world inimical to ideals and dreams. This deeper level is introduced and developed in several scenes: the opening description of the boy's street, his house, his relationship to his aunt and uncle, the information about the priest and his belongings, the boy's two trips-his walks through Dublin shopping and his subsequent ride to Araby.
Like an adult on a quest, he imagines he carries his love as if it were a sacred object, a chalice: "Her image accompanied me even in places the most hostile to romance…. I imagined that I bore my chalice safely through a throng of foes." Even in the active, distracting market... ... middle of paper ... ...se and that he was someone else. His disillusionment with love is then extended to life in general. Seeing the last rays of hope fading from the top floors of Araby, the boy cries: "I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger."
“Araby” tells a story about a little boy’s romance and his disillusionment in the end. While people tend to focus on the ending of the story trying to find some clue from Araby the market alone, I believe there is another site that we should not forget—the room where the priest died. It seems Araby symbolizes the numb, dark adult world while the room is holy, romantic; but as I read more, I find they are quite the same. Comparing the two buildings, one of the hidden reasons for the boy’s anger dawned on me: he is deceived by both sites. The narrations of the drawing-room where the priest died and appeared Araby are quite alike mainly three ways.
Never useful or happy, Carton has already succumbed to the depression eating away at him. In the midst of a promising youth, Carton had "followed his father to the grave"- that is, he is already dead in spirit. For such a man, physical death would seem no sacrifice, but a welcome relief. Some readers even go so far as to claim that Carton's happy vision of the future at the novel's close is out of place with his overall gloominess. According to this interpretation, the bright prophecies of better times ahead are basically Dickens' way of copping out, of pleasing his audience with a hopeful ending.
Death in Araby and The Metamorphosis Many readers have commented on the contrast of light and darkness in the story Araby by James Joyce. Perhaps the death of the priest in Araby adds to the "darkness" that the boy experiences when he is thinking about Mangan's sister, as contrasted with the light he experiences when he is actually in her presence. It is interesting that the death of the priest does not become so "dark" until Mangan's sister is introduced. In the first scene where the boy visits the priest's old room, he rummages around and finds some treasures, including "paper-covered books," and "the late tenant's rusty bicycle pump." There is no sense of gloom here, in fact, the boy seems to be having fun exploring and discovering things, and reminisces about how the priest "had been a very charitable priest" in a rather disconnected way.
"(276) He is unable to... ... middle of paper ... ... quest ends when he arrives at the bazaar and realizes with slow, tortured clarity that Araby is not at all what he imagined. It is tawdry and dark and thrives on the profit motive and the eternal lure its name evokes in men. The boy realizes that he has placed all his love and hope in a world that does not exist except in his imagination. He feels angry and betrayed and realizes his self-deception. He feels he is "a creature driven and derided by vanity" and the vanity is his own.
Viewing the bazaar in complete darkness has seemed to confirm his awareness that his sole desire for her is actually only a wish for change that blinded him. It shows a change from the boy after losing the childish ideals. This understanding of a childhood's dream and fantasies brings out one's maturity. Every scene that has happened helps illustrate the boy's struggle in defining himself as an adult. Works Cited Joyce, James.