Faizan Momin English 1102.QEP Dr.

Wade T-Tr 2-3:15pm
Even though James Joyce's story "Araby" is told from the first person perspective of a young child, the protagonist, we as readers tell very quickly how it is not the child that tells the story. Instead, the narrator seems to be a matured man and is well beyond the experience of the story. The mature man recollects about his childhood memories, wants, and nuisance. The boy's mind had reconstructed the events of the story for us, this particular way of telling the story enables us to perceive clearly the ordeal a child experiences when dreams, concerning both sacred and earthly love, are destroyed by a suddenly unclouded view of the actual world. The man, rather than the boy, recounts the experience, in which an ironic view can be shown of the building and persons surrounding the boy. This ironic view is impossible to see for the immature, emotionally involved mind of the boy himself. This leaves the narrator to be an adult looking back at the high hopes of "foolish blood" and how its resultant destruction is accounting for the ironic viewpoint. Throughout the story, however, the narrator consistently maintains a full sensitivity to his youthful anguish, showing his irony by leaving a remark statement that the child cannot conjure up because of his state of mind. From first to last we sense the reality to him of his earlier idealistic dream of beauty.

The opening paragraph sets the scene and prepares us for the view we receive of the conflict between the exquisiteness of the ideal and the cheerlessness of the actual. Eloquent words of James Joyce show the narrator's perception of himself as a boy and his response to beauty and the response of the neighborhood people, who are blind to beauty. North Richmond Street is "blind"; its houses, inhabited by "decent" people, staring un-seemingly at one another, and all this is under a sky of "ever changing violet," in a setting of gardens marred by the "odors of ash-pits “and "dark odorous stables." The boy's own home, which had formerly been inhabited by a priest, who is dead, is placed in a garden like that of Eden. It is a place of potential holiness, because of the priest, shown to us in the irony of the garden's infertility and the priest's worldliness. The garden has now only a "central apple tree" and a "few straggling bushes"; the priest had died and left behind him evidence of his preoccupation with secular literature and with collecting money and furniture.

Continuing deeper into this setting appears a form envoy of all that is ideal, the girl, who is Mangan’s sister. The narrator shows us in a subtly ironic manner that in his childhood adoration, or

and all the others who have no notion of the supernatural beauty his young mind has created in this world of material ugliness. with his view of the possible exquisiteness of the world. The bazaar. the boy sees its resemblance to an emptied church. Looking back.Faizan Momin English 1102. Araby is not a holy place because it is not attended by the faithful. the throng of drunken men. the narrator can see that his uncle had been concerned with his daily and worldly tasks and his aunt with maintaining a "decent" observance of “this day of our Lord".QEP Dr. or lust. Her image. with the power to set aflame in him a fanaticism to conquer the uncaring and the unholy. . Both of which are concerned with the material. cursing laborers. the man narrator shows us. makes him feel as though he bears a holy "chalice" through a "throng of foes". He wants to purchase a gift worthy of his loved one. He has come alone on a deserted train. When he enters Araby. and that is the irony so far as maturity can view it. From the perception point of the mature narrator.Wade T-Tr 2-3:15pm infatuation. which looms in his imagination as a place of supernatural Arabian enchantment. in the marketplace. one can realize that the aunt and the uncle perhaps once possessed an awareness of the romantic feeling. the insensitive. One can go as far as to reference the girl as the Virgin Mary. an awareness that has since been clouded by the cheerlessness of North Richmond Street. Mangan's sister stands out a figure who is always shown to be outlined by light. in which the reality is the Saturday evening. of Mangan's sister. Even the aunt and uncle with whom he lives are coldhearted to his burning need to go to the bazaar. which is now constantly with him. The young lady’s frivolous remarks to the young men have a ring in the memory of the mature narrator. she is perplexed as the personification of all his boyish dreams of the beauty of physical desire. full of counterfeit wares. In his shady environment. is tended by uncaring people who leave him even more alone than he had been before. and at the same time the personification of his adoration of all that is holy. The young lady who should have waited on him ignores him to joke with two young men. although she does not want him to be dismal pointed in his wish to go to the bazaar. evocative of his adored remarks. bargaining women. The boy is alone as a boy.

and thus fully felt. with his backward look. supply us with two uneasiness: one. the irony inherent in a view that can see the dream itself as a "vanity.Wade T-Tr 2-3:15pm The narrator can. and two.QEP Dr.” . the fully remembered.Faizan Momin English 1102. anguish of a too sudden realization of the disparity between a youthful dream of the supernatural beauty of the world and his actual world.

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