Araby文章浅析
阿拉比(araby)读后感
阿拉比(araby)读后感
《阿拉比》让我领略了当时伊斯兰文明的繁荣及开放的一面，它的民族特色更显得十分鲜明突出。
这部小说描写了一个男孩贵尼敏在一个异国文明中的旅程，以及他学会接受异文明的新旧之间的冲突。
我被贵尼敏在这种新生活中慢慢找到晰路而自学成才的感叹所折服。
故事也通过他发现这样一个统治者背后的复杂而伟大的章句，让我更加赞叹这一民族创造出来的政治、神学、文明辉煌。
本故事身处几经波折最终历险成功，使我懂得“不怕路长回头短”的道理。
最重要的是，这本小说的作者用美妙的文字隐喻他们的文明，使我的眼睛为之一亮，使我的心灵为之触动。
可以说，这本小说中的主题给了我很大的启发，即坚守正义和不断探索新东西，并拥抱不同文明。
我也因此而深深爱上了这本书和它所包含的文化与历史。
阿拉比赏析 读后感 Araby
阿拉比赏析读后感 Araby
《阿拉比》是爱尔兰作家约翰·威廉·萨特的经典小说，展示了一个小男孩对爱情与
美好充满憧憬的故事。
一个把少年处境融入到真实空间中的小说，用简单、坚定的独白，探讨了少年时代里
最不可磨灭的特征，那就是清晰的憧憬，明亮的期盼。
作者通过这个小男孩的旅程，以折
射作者孤独痛苦的故事绘制了一个神秘吸引的少男世界，描写了这一英雄的单纯痴迷，把
生活的颜色丰富的表现出来，用有节奏感的描写和对美的赞颂将少年的心境瞬间变得豁然
浓浓。
作者以艺术抒情，细致入微地描写了空间气氛，把爱尔兰郊外温和的空气淋漓尽致
地显示在文章里，使满分情节有了一种淡淡的温柔。
当他感受到他的激情，甚至他的痴迷时，我们也会感受到作者强烈情感的字里行间，用一种家国斗豔的语言去唤醒少年的灵魂。
当小男孩经历着美丽的迷情时，他发现了一个现实的真相，那就是所谓成功的梦想只
剩一片苍白无力，甚至失去一切的期盼。
尽管他一次次受挫，但他仍然不舍得放弃，最终
在虚无中收获了清晰和安宁，将苦难中的美好和痛苦融为了一体。
就像萨特说的“宇宙也
有大规模的考验，而我 org>在考验中永远无能为力”，他一次又一次的挫折只能使他陷
入更深的痛苦，但以疲惫的心情又一次迎接着新的挑战，希望能找到迷走中的答案。
萨特用他淋漓尽致的调调，将少年思绪放射出去，把男孩渴求爱情的激情说出来，把
少年痴迷梦想的热情文字形象化。
《阿拉比》这篇小说给我留下了深刻的印象，它带给我
不仅只是少年的激情风景，更是对于生活本身的一种认知和敬畏的象征，教会我们要去面
对现实，把爱情的梦想变成现实。
Araby赏析
今天我来向大家介绍一片文章Araby，这是Dubliners 中的一篇文章。
首先这是我对这篇文章的概述：I had a crush on my friend’s sister. Her name, words, gesture were haunted by me whenever and wherever. I promised her I would bring something for her when I came back from Araby. After I saw the scenes in Araby and left the bazaar with nothing, I felt anguished and angry.这篇文章当中有很多的环境描写，比如说开篇第一段: North Richmond Street , being blind, was a quiet street except at the hour when the Christmas Brother’s School set the boys free. An uninhabited house of two storeys stood at the blind end, detached from its neighboursin a square ground. The other houses of the street, conscious of decent lives within them, gazed at one another with brown imperturbable faces. 这段文字描述了一个非常寂静、潮湿、黑暗的环境，开篇就定下了一个悲伤的感情基调。
最后…The upper part of the hall was now completely dark.Gazing up into the darkness…同样，以凄凉、黑暗的环境渲染了作者内心的痛苦。
黑暗中的凝视——以《阿拉比》为例
名作欣赏 / 小说论丛 >黑暗中的凝视——以《阿拉比》为例⊙任 娜［山西大学， 太原 030006］摘 要：《阿拉比》是詹姆斯·乔伊斯名闻遐迩的代表作《都柏林人》中的一篇短篇小说，它书写的是一段青春期的暗恋故事，少年在此过程中多次凝视自己心仪的女生，心路历程也随之不断地发生改变，并由此获得成长。
因此，本文将用“凝视”理论，阐释小说中人物之间的凝视与被凝视的关系。
这一关系反映出男权中心意识对女性的控制以及男性在凝视背后拥有的欲望与权力。
与此同时，文章中的男主人公通过凝视完成了对自我身份的建构和重塑。
关键词：詹姆斯·乔伊斯 《阿拉比》 凝视 欲望 权力一、引言《阿拉比》（Araby）是詹姆斯·乔伊斯（James Joyce）的代表作《都柏林人》（Dubliners）中的一篇短篇小说。
故事的缘起是“我”喜欢上了“曼根的姐姐”。
女孩某次提及想去阿拉比市场看看，于是“我”心中被这一绮丽的异国景象所充斥，一心想要去那里为她买礼物，结果在抵达朝思暮想的阿拉比之后，毫无情调的市场及普通人之间平淡琐碎的谈话打破了“我”所有的幻想之梦。
在《阿拉比》中，作者通过描写凝视的过程来展现“我”的一段青春期时的心理变化历程。
目前，学界对《阿拉比》的评论多集中在原型分析、东方形象、成长主题、叙事策略等方面，但对于文章中多次出现的“凝视”现象却鲜有涉及。
鉴于此，本文将从凝视理论切入，分析文章中主人公的心理变化及背后的原因和意义。
二、凝视：区分自我与他者朱晓兰在《文化研究关键词：凝视》中阐释了“凝视”（gaze）这一概念。
她指出，凝视指长时间地观看，但是这种观看并不仅仅局限在视觉本身，而是在视觉的基础之上带有更多的隐喻特征。
凝视的背后能够反映出个人的身份特征。
因此，在此层面上凝视揭示了一定社会性的内容，“凝视是‘看’与‘被看’的辩证法，‘看’与‘被看’的行为建构了主体与对象，主体与他者。
”在《阿拉比》这篇小说中，文章标题虽与女主人公“曼根的姐姐”息息相关，但是情节总体上却是从“我”的角度切入。
简析《阿拉比》的创作手法
简析《阿拉比》的创作手法作者：李秀艳来源：《青年文学家》2013年第21期摘要：詹姆士·乔伊斯（James Joyce ）爱尔兰作家，诗人，是20世纪西方现代派文学最重要的作家之一。
乔伊斯的文学生涯始于他1904年开始创作的短篇小说集《都伯林人》。
在写给出版商理查兹的一封信中，他明确地表述了这本书的创作原则：“我的宗旨是要为我国的道德和精神史写下自己的一章。
”这实际上也成了他一生文学追求的目标，作家因此而获得了祖国人民的衷心爱戴。
在乔伊斯笔下，在英国殖民主义和天主教会双重压迫和的爱尔兰是一个不可救药的国家，而都柏林则是它“瘫痪的中心”，在这个城市里充斥着麻木、苦闷、沦落的精神荒漠。
《阿拉比》（Araby）是短篇小说集《都伯林人》中的第三篇。
小说讲述了一个都柏林少年的故事这篇小说语言细腻，创作手法丰富多彩，字里行间透视着人类空洞荒芜的精神世界。
本文将通过细致的文本分析，深入探讨小说中的客观性，淡化的情节，丰富的意象，等现代主义创作手法，从而更好的领略《阿拉比》的现代性艺术魅力。
关键词：创作手法；艺术魅力作者简介：李秀艳，吉林省农安县人。
吉林省延边大学外国语学院英语专业教师，副教授。
担任综合英语课和英语短篇小说课教学工作，研究方向为美国文学。
[中图分类号]：I106.4 [文献标识码]：A[文章编号]：1002-2139（2013）-21-00-02詹姆士·乔伊斯（James Joyce ），著名作家，诗人，1882年生于爱尔兰都柏林一个信奉天主教的家庭，乔伊斯的文学生涯始于他1904年开始创作的短篇小说集《都伯林人》。
在写给出版商理查兹的一封信中，他明确地表述了这本书的创作原则：“我的宗旨是要为我国的道德和精神史写下自己的一章。
”这实际上也成了他一生文学追求的目标，作家因此而获得了祖国人民的衷心爱戴。
在乔伊斯笔下，在英国殖民主义和天主教会双重压迫和的爱尔兰是一个不可救药的国家，而都柏林则是它“瘫痪的中心”，在这个城市里充斥着麻木、苦闷、沦落的精神荒漠。
Araby_james_joyce_阿拉比_文章详细解析
"Araby" and the Writings of James JoyceCritic: Harry StoneSource: "`Araby' and the Writings of James Joyce," in The Antioch Review, Vol. XXV, no. 3, Fall, 1965, pp. 375-445.Criticism about: "Araby"Author Covered: James JoyceTable 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 "Araby," which include Joyce's childhood in Dublin, 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 "Araby" preserves a central episode in Joyce's life, an episode he will endlessly recapitulate. The boy in "Araby" like the youthful Joyce himself, must begin to free himself from the nets and trammels of society. That beginning involves painful farewells and disturbing dislocations. The boy must dream "no more of enchanted days." He must forego the shimmering mirage of childhood, begin to see things as 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. "Araby" is the identical struggle at an earlier stage; "Araby" is a portrait of the artist as a young boy.The autobiographical nexus of "Araby" is not confined to the struggle raging in the boy's mind, though 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 "Araby"--the narrator is the boy of the 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, "`Araby' and the Writings of James Joyce," in 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 </servlet/SRC>Historical Context: "Araby"Table of Contents:Source CitationWhile 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 "chalice"--a sacred 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 "soft rope of her hair," "the white curve of her neck," the border of her petticoat. Even the image of the chalice is ambivalent, 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 "vanity."The Structure of "Araby"Critic: Jerome MandelSource: "The Structure of `Araby'," in Modern Language Studies, Vol. XV, no. 4, Fall, 1985, pp. 48-54. Criticism about: "Araby"Author Covered: James JoyceTable of Contents:Essay | Source Citation[In the following excerpt, Mandel compares the imagery of Joyce's "Araby" to that of medieval romance,particular with regard to the protagonist's love for Mangan's sister. ][In "Araby" the two paragraphs] beginning "Her image accompanied me even in places the most hostile to romance" and ending with his "murmuring: O love! O love! many times"--have long been examined for 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: "I had... to carry some of the parcels"), he retains the attitude and response of the courtly lover. As a lover totally possessed by love, he moves out of time, and all worldly, public, and temporal considerations pass from him: "I thought little of the future." He is swept by strange emotions: "My eyes were often full of tears (I could not tell why)" and rendered inarticulate. When all his "senses seem to desire to veil themselves" and he trembles in adoration, he exhibits the proper response of one 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: "I will bring you something"), the lady is first to speak in her double role as the object of the lover's adoration and she for whose sake the adventure is to be undertaken. "At last she spoke to me"--the lady at last recognizes the miserable, worshipful knight who has adored her from a distance 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 "so confused that I did not know what to answer." When she asks if he is going to Araby, "I forget whether I answered yes or no." Her wish, "she would love to go," 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 "alone at the railings" which suggests both marriage and communion, is enriched by the further suggestion from medieval romance that he dedicates his lance to her ("she held one of the spikes") and she accepts his consecration to her service ("bowing her head toward me"). If he does not actually receive a favor from her to carry on quest, there is promise of reward for knightly service in the "silver bracelet" which she turns "round and round her wrist." Whatever else it means, her curious final line, "It's well for you," is tantamount to an admission of love, for in the context of medieval love revelations the line means, "it is well for you--that is, you are better off than I am--since you are not smitten by love for me as I am smitten by painful love for you." I do not mean to imply that Mangan's sister actually loves the boy nor that he thinks she does, but only that her response in this context has particular connotations in medieval romance."Araby" by James (Augustine Aloysius) Joyce [Plot Summary]Author: James (Augustine Aloysius) Joyce, also known as: James Augustine Aloysius Joyce, James Augustus Aloysius Joyce, and James (Augustine Aloysius) JoyceGenre: short storiesDate: 1914Table of Contents:Essay | Source CitationIntroduction"Araby" is one of fifteen short stories that together make up James Joyce's collection, Dubliners. Although Joyce wrote the stories between 1904 and 1906, they were not published until 1914.Dubliners 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. "Araby" is the 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"Araby" opens on North Richmond street in Dublin, where "an uninhabited house of two storeys stood at the blind end, detached from its neighbours in a square ground." The narrator, who remains unnamed 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 "even in places the most hostile to romance." While in the marketplace on Saturday nights, for example, he uses 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.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 "Araby." He is tongue-tied and cannot answer, but when she tells 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 "the syllables of the word Araby." On the night he is supposed to attend the fair, his uncle is late 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 "The Arab's Farewell to His Steed," the uncle bids the boy 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 "creature driven and derided by vanity" and his "eyes burned with anguish and anger."CharactersNarrator: 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 "throng of foes." He also describes Mangan's sister 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 "Araby" is one of his best examples. At the end of the story, the boy overhears a trite 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 hersomething, 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 "Araby," the bazaar coming to town, she is only being polite 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 "put off" the bazaar "for this night of Our Lord." 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, "Yes, boy, I know." But on the Saturday 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, "The Arab's Farewell to his Steed." Joyce's characterization of the uncle 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 tha t the uncle owes money.Themes and Construction: "Araby"Table of Contents:Source CitationThemesThe narrator recalls a boyhood crush he had on the sister of a friend. He went to "Araby," a bazaar with 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 LonelinessThe 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 "weakened and indistinct." The story ends with him confronting his disillusionment alone in the nearly deserted bazaar.Change and TransformationThe 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 "epiphany," 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 "anguish and anger." It is not clear what impact the narrator's epiphany will have on his future development, only that that development has begun.Fantasy and RealityThe 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 "Freemason" affair and her reference to "[T]his night of our Lord." The boy carries his thoughts of Mangan's sister like a "chalice through a throng of foes," and his crush inspires in him "strange prayers and praises." The way the girl herself is described--as an alluring but untouchable figure dramaticallylit--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 "The Arab's Farewell to His Steed." The contrast between fantasy and reality draws 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.ConstructionThrough 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 responsesimilar to the boy's "epiphany"--a sudden moment of insight and understanding--at the turning point of the story.Point of Viewis 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 "true" understanding of reality.SymbolismJoyce'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 "Araby" represents the "East"--a part of the 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.ModernismJoyce 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 "epiphany," his older self's attitude toward it, or what it meant for his further development. Much of the early criticism of -that the stories were "sordid" and lacked structure and a "point"--reflect the unfamiliarity and uneasiness of Joyce's contemporary readers with these innovations in storytelling.。
araby james joyce 阿拉比 文章详细解析
"Araby" and the Writings of James JoyceCritic: Harry StoneSource: "`Araby' and the Writings of James Joyce," in The Antioch Review, Vol. XXV, no. 3, Fall, 1965, pp. 375-445.Criticism about: "Araby"Author Covered: James JoyceTable 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 "Araby," which include Joyce's childhood in Dublin, 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 "Araby" preserves a central episode in Joyce's life, an episode he will endlessly recapitulate. The boy in "Araby" like the youthful Joyce himself, must begin to free himself from the nets and trammels of society. That beginning involves painful farewells and disturbing dislocations. The boy must dream "no more of enchanted days." He must forego the shimmering mirage of childhood, begin to see things as 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. "Araby" is the identical struggle at an earlier stage; "Araby" is a portrait of the artist as a young boy.The autobiographical nexus of "Araby" is not confined to the struggle raging in the boy's mind, though 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 "Araby"--the narrator is the boy of the 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, "`Araby' and the Writings of James Joyce," in 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</servlet/SRC>Historical Context: "Araby"Table of Contents:Source CitationWhile 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 "chalice"--a sacred religiousobject--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 "soft rope of her hair," "the white curve of her neck," the border of her petticoat. Even the image of the chalice is ambivalent, 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 "vanity."The Structure of "Araby"Critic: Jerome MandelSource: "The Structure of `Araby'," in Modern Language Studies, Vol. XV, no. 4, Fall, 1985, pp. 48-54.Criticism about: "Araby"Author Covered: James JoyceTable of Contents:Essay | Source Citation[In the following excerpt, Mandel compares the imagery of Joyce's "Araby" to that of medieval romance, particular with regard to the protagonist's love for Mangan's sister. ][In "Araby" the two paragraphs] beginning "Her image accompanied me even in places the most hostile to romance" and ending with his "murmuring: O love! O love! many times"--have long been examined for 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: "I had... to carry some of the parcels"), he retains the attitude and response of the courtly lover. As a lover totally possessed by love, he moves out of time, and all worldly, public, and temporal considerations pass from him: "I thought little of the future." He is swept by strange emotions: "My eyes were often full of tears (I could not tell why)" and rendered inarticulate. When all his "senses seem to desire to veil themselves" and he trembles in adoration, he exhibits the proper response of one 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: "I will bring you something"), the lady is first to speak in her double role as the object of the lover's adoration and she for whose sake the adventure is to be undertaken. "At last she spoke to me"--the lady at last recognizes the miserable, worshipful knight who has adored her from a distance 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 "so confused that I did not know what to answer." When she asks if he is going to Araby, "I forget whether I answered yes or no." Her wish, "she would love to go," 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 "alone at the railings" which suggests both marriage and communion, is enriched by the further suggestion from medieval romance that he dedicates his lance to her ("she held one of the spikes") and she accepts his consecration to her service ("bowing her head toward me"). If he does not actually receive a favor from her to carry on quest, there is promise of reward for knightly service in the "silver bracelet" which she turns "round and round her wrist." Whatever else it means, her curious final line, "It's well for you," is tantamount to anadmission of love, for in the context of medieval love revelations the line means, "it is well for you--that is, you are better off than I am--since you are not smitten by love for me as I am smitten by painful love for you." I do not mean to imply that Mangan's sister actually loves the boy nor that he thinks she does, but only that her response in this context has particular connotations in medieval romance."Araby" by James (Augustine Aloysius) Joyce[Plot Summary]Author: James (Augustine Aloysius) Joyce, also known as: James Augustine Aloysius Joyce, James Augustus Aloysius Joyce, and James (Augustine Aloysius) JoyceGenre: short storiesDate: 1914Table of Contents:Essay | Source CitationIntroduction"Araby" is one of fifteen short stories that together make up James Joyce's collection, Dubliners. Although Joyce wrote the stories between 1904 and 1906, they were not published until 1914.Dubliners 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. "Araby" is the 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"Araby" opens on North Richmond street in Dublin, where "an uninhabited house of two storeys stood at the blind end, detached from its neighbours in a square ground." The narrator, who remains unnamed 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 "even in places the most hostile to romance." While in the marketplace on Saturday nights, for example, he uses 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.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 "Araby." He is tongue-tied and cannot answer, but when she tells 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 "the syllables of the word Araby." On the night he is supposed to attend the fair, his uncle is late 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 "The Arab's Farewell to His Steed," the uncle bids the boy 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 "creature driven and derided by vanity" and his "eyes burned with anguish and anger."CharactersNarrator: 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, acareful 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 "throng of foes." He also describes Mangan's sister 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 "Araby" is one of his best examples. At the end of the story, the boy overhears a trite 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 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 "Araby," the bazaar coming to town, she is only being polite 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 tothe narrator that he could go to the bazaar, she warns the boy that he may have to "put off" the bazaar "for this night of Our Lord." 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, "Yes, boy, I know." But on the Saturday 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, "The Arab's Farewell to his Steed." Joyce's characterization of the uncle 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 tha t the uncle owes money.Themes and Construction: "Araby"Table of Contents:Source CitationThemesThe narrator recalls a boyhood crush he had on the sister of a friend. He went to "Araby," a bazaar with 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 LonelinessThe 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 "weakened and indistinct." The story ends with him confronting his disillusionment alone in the nearly deserted bazaar.Change and TransformationThe 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 "epiphany," 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 "anguish and anger." It is not clear what impact the narrator's epiphany will have on his future development, only that that development has begun.Fantasy and RealityThe 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 "Freemason" affair and her reference to "[T]his night of our Lord." The boy carries his thoughts of Mangan's sister like a "chalice through a throng of foes," and his crush inspires in him "strange prayers and praises." The way the girl herself is described--as an alluring but untouchable figure dramatically 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 "The Arab's Farewell to His Steed." The contrast between fantasy and reality draws 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.ConstructionThrough 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 similar to the boy's "epiphany"--a sudden moment of insight and understanding--at the turning point of the story.Point of Viewis 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 "true" understanding of reality.SymbolismJoyce'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 "Araby" represents the "East"--a part of the 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.ModernismJoyce 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 "epiphany," his olderself's attitude toward it, or what it meant for his further development. Much of the early criticism of -that the stories were "sordid" and lacked structure and a "point"--reflect the unfamiliarity and uneasiness of Joyce's contemporary readers with these innovations in storytelling.。
Araby文章浅析
• The theme of loneliness 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.
虽然我们从文章的第一段已经感受到了他生活在一个丝毫没有浪漫氛围的环境里但是他并没有认识到社会的冷酷仍然对生活怀有浪漫的理想并盼望在现实生活中通过点点滴滴找到他的理想
Araby
James Joyce
About the Author
• James Joyce： an Irish novelist, noted for his experimental use of language in such works as Ulysses (1922) and Finneganns Wake (1939). Joyce’s technical innovations in the art of the novel include an extensive use of interior monologue; he used a complex network of symbolic parallels drawn from the mythology, history, and literature, and created a unique language of invented words, puns, and allusions. He is one of the most innovative novelists of the 20th century and one of the great masters of “the stream of consciousness”
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• This article mainly tells about a boy who secretly loves a neighboring girl, Mangan’s sister. This simple and pure love can be revealed through his action, his self-narration and his mentality, which can be best revealed in some sentences in the work.
enthusiasm
useless papers, yellow leaves, wild garden, rusty bicycle-pump Our narrator , although he lives in a lifeless and stagnant environment, he doesn’t realize the harsh side of the society, still having an idealistic notion of life. e.g. I like the last best because its leaves were yellow.” (romantic and sentimental )
Para1:
1.blind
This word sets the basic tone for the whole environment in which the boy lives,as seen in other other words like "uninhabited," "detached," "brown," "imperturbable" ---quickly presents a world that is solemn, indifferent, desolate, cold and dull.
Para12:
• The narrator, who remains unnamed throughout the story, lives with his aunt and uncle,in particular appears insensitive to the boy's feelings. • 他并非和父母住在一起。从这些朴实的文字中， 作者不仅很自然的使读者了解到了男孩儿心理及 生活境况，而且也使读者产生了对主人公，这个 身于困境，却一心憧憬美妙的纯挚少年的怜悯之 情。
• The theme of loneliness 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.
They use their untainted heart to discover some beauty from the gloomy surroundings.
• His crush appears to isolate him from his friends.
• Although 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:
2.imperturbable 沉着的，镇静的
The street was a symbol for the whole Ireland.
• The theme of loneliness 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.
"I pressed the palms of my hands together until they trembled, murmuring: O love! O love! many times." This scene is the culmination of the narrator’s increasingly romantic idealization of Mangan’s sister.
• At that time, Araby isan object, just like the girl, that bears lots of imagination and hope of the boy. e.g. The syllables of the word Araby were called to me through the silence in which my soul luxuriated and cast an Eastern enchantment over me. • (suggests Araby is an ideal, perfect place, a wondrous evocation of the West’s idealized and romanticized notions of the Middle East. ) • 这个集市的名称具有阿拉伯的异域风情和东方世 界的无限魅力。象征了主人公探索与追求的目标， 也是他为自己构筑的一个理想境界。
Araby
James Joyce
About the Author
• James Joyce： an Irish novelist, noted for his experimental use of language in such works as Ulysses (1922) and Finneganns Wake (1939). Joyce’s technical innovations in the art of the novel include an extensive use of interior monologue; he used a complex network of symbolic parallels drawn from the mythology, history, and literature, and created a unique language of invented words, puns, and allusions. He is one of the most innovative novelists of the 20th century and one of the great masters of “the stream of consciousness”
What’s the function of the description of the deceased priest?
• The deceased priest: 1. His legacy was a collection of books that showed his confusion of the sacred with the secular（世俗的）, e.g. The memoirs of vidocq 2. There is evidence that he devoted his life to gathering "money" and "furniture." He left behind no evidence of a life especially spiritual influence.
Para4:
• Portray the girl from his perspective, his eyes moves from her neck, hair, hand to dress.
Para5:
• He indulged himself into such passionate love so much that he blindly ignores harsh, dirty reality of life, e.g. the turbulent politics, the tedious daily life, and the games that he used to play with other boys.
e.g.:
“I bore my chalice safely through a throng of foes.
我想象自己正捧着圣杯在一大群仇敌中安然走过。 (the boy’s dreams are heroic, romantic ones)
Para6:
• On one rainy evening, he came into a soundless, dark drawing-room and gives his feelings for her full release:
Para3:
• The lanterns on North Richmond are "feeble,"
the lanes are "dark" and "muddy," the houses “sombre” in the winter dusk, the "dark dripping gardens" with the smell coming from their “ashpits.”