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Critic: Harry Stone
Source: The Antioch Review, Vol. XXV, no. 3, Fall, 1965,
pp. 375-445.
Criticism about:
Author Covered: James Joyce


Table of Contents: Essay | Source Citation

[Stone is an educator, editor, and Charles Dickens scholar. In the following excerpted essay, he
discusses some of the autobiographical elements of
Ireland, and how the exoticism of the real-life Araby festival, with its Far Eastern overtones, impacted the
young Joyce. Stone also discusses the poet James Mangan's influence on the story. ]

For
in
society. That beginning involves painful farewells and disturbing dislocations. The boy must dream
more of enchanted days.
they really are. But to see things as they really are is only a prelude. Far in the distance lies his appointed
(but as yet unimagined) task: to encounter the reality of experience and forge the uncreated conscience
of his race. The whole of that struggle, of course, is set forth in A Portrait of the Artist as a Young Man.

The autobiographical nexus of
that conflict--an epitome of Joyce's first painful effort to see--is central and controls all else. Many of the
details of the story are also rooted in Joyce's life. The narrator of
story now grown up--lived, like Joyce, on North Richmond Street. North Richmond Street is blind, with a
detached two-story house at the blind end, and down the street, as the opening paragraph informs us,
the Christian Brothers' school. Like Joyce, the boy attended this school, and again like Joyce he found it
dull and stultifying. Furthermore, the boy's surrogate parents, his aunt and uncle, are a version of Joyce's
parents: the aunt, with her forbearance and her unexamined piety, is like his mother; the uncle, with his
irregular hours, his irresponsibility, his love of recitation, and his drunkenness, is like his father.

Source Citation: Stone, Harry, The Antioch Review, Vol.
XXV, no. 3, Fall, 1965, pp. 375-445. EXPLORING Short Stories. Online Edition. Gale, 2003. Student
Resource Center. Thomson Gale. 04 June 2007 <>
Historical Context:


Table of Contents: Source Citation

1 8
While Dublin, Ireland, has seen much change since the turn of the twentieth century, when Joyce wrote
many of the conditions present then remain today. In 1904, all of Ireland was under British control, which
the Irish resented bitterly. The nationalist group Sinn Fein (part of which later became the Irish
Republican Army--the IRA) had not yet formed, but Irish politics were nonetheless vibrant and
controversial. The question of Irish independence from Britain was one of primary importance to every
citizen.
There were no televisions or radios for entertainment at the turn of the century. Children in working-class
families were expected to help with running the household, as the boy in does when he carries packages
for his aunt at the market, and to entertain themselves by reading or playing alone or with others. It was
rare for children to have money of their own to spend. An event like the bazaar in would cause great
excitement.
Ireland's major religion, Roman Catholicism, dominated Irish culture, as it continues to do today although
to a lesser extent. Many families sent their children to schools run by Jesuit priests (like the one the
narrator in attends) and convent schools run by nuns (like the one Mangan's sister attends). Catholicism
is often seen as a source of the frequent conflict in Irish culture between sensuality and asceticism, a
conflict that figures prominently in Joyce's autobiographical novel A Portrait of the Artist as a Young Man .
In many ways, Catholicism, particularly as practiced at the turn of the century, was an extremely
sensuous religion, emphasizing intense personal spiritual experience and surrounding itself with such
rich trappings as beautiful churches, elegant paintings and statues, otherworldly music, and sumptuous
vestments and altar decorations. On the other hand, the Church's official attitude toward enjoyment of the
senses and particularly toward sexuality was severe and restrictive. The ideal woman was the Virgin
Mary, who miraculously combined virginal purity with maternity. Motherhood was exalted, but any
enjoyment of sexuality, even in marriage, was considered a sin, as were the practice of birth control and
abortion. The inability to reconcile the spiritual and sensual aspects of human nature can be seen in the
boy's feelings toward Mangan's sister in He imagines his feelings for her as a
religious object--and so worshipful is his attitude that he hesitates even to speak to her. Yet his memories
of her focus almost exclusively on her body-- her figure silhouetted by the light, the

since its cup-like shape and function suggests a sexual connotation. The boy never resolves this conflict
between spirituality and sensuality. Instead, when confronted with the tawdriness of a shopgirl's flirtation
at the bazaar, he abruptly dismisses all his feelings as mere
The Structure of
Critic: Jerome Mandel
Source: Modern Language Studies, Vol. XV, no. 4, Fall, 1985, pp. 48-54.
Criticism about:
Author Covered: James Joyce


Table of Contents: Essay | Source Citation

[In the following excerpt, Mandel compares the imagery of Joyce's
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particular with regard to the protagonist's love for Mangan's sister. ]

[In
to romanceO love! O love! many times
images from medieval romance and need not be recapitulated in detail here. My concern is not that [the
boy's] world is hostile to romance (both literary tradition and personal feeling) and that her image
accompanies him, but that the paradigm of courtly romance is strictly maintained and the attitudes of
courtly love constantly suggested. As the boy continues to perform his public duties in the world (to win
worship:
As a lover totally possessed by love, he moves out of time, and all worldly, public, and temporal
considerations pass from him:
were often full of tears (I could not tell why)
desire to veil themselves
committed to love. The conflicting demands of world, duty, and love developed in these two paragraphs
exhibit in action what, in the medieval romance, is the love debate--the soliloquy that usually begins when
the lover first sees the knight or lady and ends when the lover places himself (or herself) totally in the
service of love....
In the next passage, the passage that establishes and defines the quest (and which ends with the lover's
commitment:
lover's adoration and she for whose sake the adventure is to be undertaken.
me
without hope of success but with unrelenting devotion. He responds as do all courtly lovers when they
first come to the attention of the beloved: he is
she asks if he is going to Araby,
is his command: he must take upon himself the fulfillment of an adventure to which he has been called by
love--one she herself is prevented from accomplishing. The multiple religious symbolism of the two

suggestion from medieval romance that he dedicates his lance to her (
she accepts his consecration to her service (
receive a favor from her to carry on quest, there is promise of reward for knightly service in the
bracelet
well for you,
means,
I am smitten by painful love for you.
nor that he thinks she does, but only that her response in this context has particular connotations in
medieval romance.

Author: James (Augustine Aloysius) Joyce, also known as: James Augustine Aloysius Joyce, James
Augustus Aloysius Joyce, and James (Augustine Aloysius) Joyce
Genre: short stories
Date: 1914
3 8


Table of Contents: Essay | Source Citation
Introduction
Dubliners.
Although Joyce wrote the stories between 1904 and 1906, they were not published until ers
paints a portrait of life in Dublin, Ireland, at the turn of the 20th century. Its stories are arranged in an
order reflecting the development of a child into a grown man. The first three stories are told from the point
of view of a young boy, the next three from the point of view of an adolescent, and so on.
last story of the first set, and is told from the perspective of a boy just on the verge of adolescence. The
story takes its title from a real festival which came to Dublin in 1894 when Joyce was twelve years old.
Joyce is one of the most famous writers of the Modernist period of literature, which runs roughly from
1900 to the end of World War II. Modernist works often include characters who are spiritually lost and
themes that reflect a cynicism toward institutions the writer had been taught to respect, such as
government and religion. Much of the literature of this period is experimental; Joyce's writing reflects this
in the use of dashes instead of quotation marks to indicate that a character is speaking.
Joyce had a very difficult time getting Dubliners published. It took him over ten years to find a publisher
who was willing to risk publishing the stories because of their unconventional style and themes. Once he
found a publisher, he fought very hard with the editors to keep the stories the way he had written them.
Years later, these stories are heralded not only for their portrayal of life in Dublin at the turn of the century,
but also as the beginning of the career of one of the most brilliant English-language writers of the
twentieth century.
Plot

the blind end, detached from its neighbours in a square ground.
throughout the story, lives with his aunt and uncle. He describes his block, then discusses the former
tenant who lived in his house: a priest who recently died in the back room. This priest has a library that
attracts the young narrator, and he is particularly interested in three titles: a Sir Walter Scott romance, a
religious tract, and a police agent's memoirs.
The narrator talks about being a part of the group of boys who play in the street. He then introduces
Mangan's sister, a girl who captivates his imagination even though he rarely, if ever, speaks with her. He
does stare at her from his window and follow her on the street, however, often thinking of her
places the most hostile to romance.
her image to guide him through the thronging crowd who yell their sales pitches and sing patriotic Irish
ballads. He becomes misty-eyed just at the thought of her and retreats to the priest's dark room in order
to deprive himself of other senses and think only of her.
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Finally, Mangan's sister speaks to him. She asks if he will be attending a church-sponsored fair that is
coming soon to Dublin--a bazaar called
him that she cannot go because of a retreat that week in her convent, he promises to go and bring her a
gift from the bazaar. From then on he can only think of the time when he will be at the fair; he is haunted
by
returning home and he must wait to get money from him. He gets very anxious, and his aunt tells him that
he may have to miss the bazaar, but his uncle does come home, apologetic that he had forgotten. After
asking the boy if he knows a poem entitled
farewell.
The boy takes a coin from his uncle and catches a train to the fair. Araby is closing down as he arrives
and he timidly walks through the center of the bazaar. As he looks at the few stalls that are still open, he
overhears a conversation between an English shop-girl and two young men. Their talk is nothing but idle
gossip. The shop-girl pauses reluctantly to ask the boy if he wishes to buy anything, but he declines. As
he walks slowly out of the hall amid the darkening of the lights, he thinks that he is a
derided by vanity
Characters
Narrator: The narrator of this story is a young, sensitive boy who confuses a romantic crush and religious
enthusiasm. All of the conflict in this story happens inside his mind. It is unlikely that the object of his
crush, Mangan's sister, is aware of his feelings for her, nor is anybody else in this boy's small world.
Because the boy's thoughts only reveal a part of the story, a careful reader must put together clues that
the author gives. For example, the narrator mentions that the former tenant of the house he shares with
his aunt and uncle was a priest, a representative of the Catholic church, who left behind three books
which became important to the narrator. One is a romantic adventure by Sir Walter Scott; one is a
religious pamphlet written by a Protestant; and the third is the exciting memoirs of a French policeman
and master of disguise. These three books are not what a person would expect a Catholic priest to have
in his library. So if this priest has non-religious literature in his library, then how devout can an average
church-goer be expected to be? This turns out to be the case for the narrator, who confuses religious
idealism with romance.
The boy confuses the religious and secular worlds when he describes himself at the market with his aunt.
He bears the chalice--the Communion cup-- through a
in terms often associated with the Virgin Mary. For the narrator, then, an ordinary grocery-shopping trip
becomes a religious crusade, and a pretty girl down the street becomes a substitute for the Mother of
God. The boy fuses together religious devotion for the Virgin Mary with his own romantic longing.
Joyce is famous for creating characters who undergo an epiphany--a sudden moment of insight--and the
narrator of
conversation between an English girl working at the bazaar and two young men, and he suddenly
realizes that he has been confusing things. It dawns on him that the bazaar, which he thought would be
so exotic and exciting, is really only a commercialized place to buy things. Furthermore, he now realizes
that Mangan's sister is just a girl who will not care whether he fulfills his promise to buy her something at
the bazaar. His conversation with Mangan's sister, during which he promised he would buy her
5 8
something, was really only small talk--as meaningless as the one between the English girl and her
companions. He leaves Araby feeling ashamed and upset. This epiphany signals a change in the
narrator--from an innocent, idealistic boy to an adolescent dealing with harsh realities.
Mangan's Sister: Mangan is one of the narrator's chums who lives down the street. His older sister
becomes the object of the narrator's schoolboy crush. Mangan's sister has no idea how the narrator feels
about her, however, so when they discuss
and friendly. She says she would like to go to the bazaar but cannot because she has to attend a school
retreat that weekend. The narrator promises to buy her something at the bazaar if he goes, but it is
unlikely that she takes this promise seriously. While on the one hand the narrator describes her
romantically, he also describes her in reverential terms which call to mind the Virgin Mary. This dual
image description of Mangan's sister represents the religious and romantic confusion of the narrator.
Mangan: Mangan is the same age and in the same class at the Christian Brothers school as the narrator,
and so he and the narrator often play together after school. His older sister is the object of the narrator's
confused feelings.
Narrator's Aunt: The narrator's aunt, who is a mother figure in the story, takes the narrator with her to do
the marketing. When it seems as though the uncle has forgotten his promise to the narrator that he could
go to the bazaar, she warns the boy that he may have to
While this statement makes her seem strict in a religious sense, she also exhibits empathy for the boy's
plight. She pleads his case when the uncle forgets about the boy's plans to go to Araby.
Narrator's Uncle: The narrator's uncle seems self-centered and very unreliable. When the narrator
reminds him that he wants to go to the bazaar, he replies,
evening of the bazaar, he has forgotten, which causes the narrator to arrive at the bazaar very late. When
the uncle finally shows up, he has been drinking, and as the boy leaves for the bazaar he begins reciting
the opening lines of the poem,
bears resemblance to his own father, who liked to drink and was often in debt. Joyce's inclusion of Mrs.
Mercer, the pawnbroker's widow who waits for the uncle to return, suggests that the uncle owes money.
Themes and Construction:


Table of Contents: Source Citation
Themes
The narrator recalls a boyhood crush he had on the sister of a friend. He went to
an exotic Oriental theme, in order to buy a souvenir for the object of his crush. He arrived late, however,
and when he overheard a shallow conversation between a female clerk and her male friends and saw the
bazaar closing down, he was overcome with a sense of futility.
Alienation and Loneliness
6 8
The theme of isolation is introduced early in the story by the image of a deserted, isolated house and the
narrator's recollection of a priest who lived and died in their back room. The young protagonist seems
isolated within his family. There is no mention of his parents; he lives with his aunt and uncle, and the
uncle, in particular, appears insensitive to the boy's feelings, coming home late even though he knows
the boy wants to go to the bazaar. The boy's crush on his friend Mangan's sister seems to isolate him
even further. He is too tongue-tied to initiate a relationship with her, worshipping her from afar instead.
Moreover, his crush appears to isolate him from his friends. Whereas early in the story he is depicted as
part of a group of friends playing in the street, after his crush develops his separation from the others is
emphasized: he stands by the railings to be close to the girl while the other boys engage in horseplay,
and as he waits in the house for his uncle to return so he can go to the bazaar the noises from his friends
playing in the street sound
disillusionment alone in the nearly deserted bazaar.
Change and Transformation
The narrator experiences an emotional transformation--changing from an innocent young boy to a
disillusioned adolescent--in the flash of an instant, although the reader can look back through the story
and trace the forces that lead to the transformation. This change occurs through what Joyce called an
a moment of sudden and intense insight. Although the narrator suddenly understands that
his romantic fantasies are hopelessly at odds with the reality of his life, this understanding leaves him
neither happy nor satisfied; instead, he feels
narrator's epiphany will have on his future development, only that that development has begun.
Fantasy and Reality
The story draws connections between the romantic idealism of the young protagonist's attitude toward
Mangan's sister and romantic fantasies in the surrounding culture. Much of this romanticism seems to
stem from religion, the pervasive presence of which is emphasized by mentions of the youngsters'
parochial schools, repeated references to the dead priest, and the aunt 's fear that the bazaar might be a

Mangan's sister like a
and praises.
lit--and the boy's worshipful attitude give her something of the character of a religious statue. Popular
culture is also suggested as a source of the boy's romanticism, in the references to Sir Walter Scott's The
Abbot and the poem
to a head at the Araby bazaar, whose exotic name is merely packaging for a crassly commercial venture.
In the nearly deserted hall and the insipid flirtation he overhears between two men and a shopgirl, the
protagonist is confronted with huge gap between his romantic fantasies of love and the mundane and
materialistic realities of his life.
Construction
Through the use of a first person narrative, an older narrator recalls the confused thoughts and dreams of
his adolescent self. Joyce uses this familiarity with the narrator 's feelings to evoke in readers a response
7 8
similar to the boy's
story.
Point of View
is told from the first person point of view, but its perspective is complicated by the gap in age and
perception between the older narrator and the younger self he remembers. The story takes the form of a
reminiscence about an apparent turning point in the narrator 's growth, a partial explanation of how the
young protagonist became the older self who is the narrator. The reader is given no direct information
about the narrator, however, his relentless contrasting of his boyhood self's idealism with the tawdry
details of his life, and the story 's closing line, create a somewhat bitter and disillusioned tone. It is left to
the reader to decide how far the narrator has travelled toward a
Symbolism
Joyce's use of symbolism enriches the story 's meaning. The former tenant of the narrator's house, the
Catholic priest, could be said to represent the entire Catholic church. By extension, the books left in his
room--which include non-religious and non- Catholic reading--suggest a feeling of ambiguity toward
religion in general and Catholicism in particular. The bazaar
world that is exotic and mysterious to the Irish boy. It could also represent commercialism, since despite
the boy's romantic imaginings its purpose is in fact to make money. Mrs. Mercer, the pawnbroker's widow,
is another representative of materialism. To the narrator, Mangan's sister is a symbol of purity and
feminine perfection. These qualities are often associated with the Virgin Mary, who also symbolizes the
Catholic church. While the boy is at Araby, the various, and often contrasting, meanings of these symbols
converge to produce his epiphany.
Modernism
Joyce is known as one of the leading authors of Modernism, a movement in art and literature in the first
half of the twentieth century that emphasized experimentation and a break with traditional forms. In this
early work Joyce's narrative technique is still fairly traditional and straightforward. However, several
features of the story can be identified as experimental and modernist, particularly in the extent to which
the reader is left to sort out the story 's meaning with little overt help from the author. The story concerns
a relatively ordinary occurrence in the life of an ordinary person; we are never told directly how or why it
might be important. We are given no direct information about the narrator, but must glean what we can
about his character from the story he tells and the way in which he tells it; we are not even told what the
age difference is between the narrator and his younger self. The story ends, as it begins, abruptly, with
again no direct indication of the significance of the protagonist's
toward it, or what it meant for his further development. Much of the early criticism of -that the stories were

contemporary readers with these innovations in storytelling.

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