【精品文献】Araby阿拉比JamesJoyce中文译版
“Araby”byJamesJoyce
“Araby” by James Joyce"ARABY" BY JAMES JOYCE1. North Richmond Street, being blind, was a quiet street except at the hour when the Christian Brothers' School set the boys free. An uninhabited house of two storeys stood at the blind end, detached fromits neighbours in a square ground. The other houses of the street, conscious of decent lives within them, gazed at one another with brown imperturbable faces.2. The former tenant of our house, a priest, had died in the back drawing-room. Air, musty from having been long enclosed, hung in all the rooms, and the waste room behind the kitchen was littered with old useless papers. Among these I found a few paper-covered books, the pages of which were curled and damp: The Abbot, byWalter Scott, The Devout Communicant, and The Memoirs of Vidocq. I liked the last best because its leaveswere yellow. The wild garden behind the house contained a central apple-tree and a few straggling bushes, under one of which I found the late tenant's rusty bicycle-pump. He had been a very charitable priest; in his will he had left all his money to institutions and the furniture of his house to his sister.3. When the short days of winter came, dusk fell before we had well eaten our dinners. When we met in the street the houses had grown sombre. The space of sky above us was the colour of ever-changing violet andtowards it the lamps of the street lifted their feeble lanterns. The cold air stung us and we played till our bodies glowed. Our shouts echoed in the silent street. The career of our play brought us through the dark muddy lanes behind the houses, where we ran the gauntlet of the rough tribes from the cottages, to the back doors of the dark dripping gardens where odours arose from the ashpits, to the dark odorous stables where a coachman smoothed and combed the horse or shook music from the buckled harness. When we returned to the street, light from the kitchen windows had filled the areas. If my uncle was seen turning the corner, we hid in the shadow until we had seen him safely housed. Or if Mangan's sister came out on the doorstep to call her brother in to his tea, we watched her from our shadow peer up and down the street. We waited to see whether she would remain or go in and, if she remained, we left our shadow and walked up to Mangan's steps resignedly. She was waiting for us, her figure defined by the light from the half-opened door. Her brother always teased her before he obeyed, and I stood by the railings looking at her. Her dress swung as she moved her body, and the soft rope of her hair tossed from side to side.4. Every morning I lay on the floor in the front parlour watchingher door. The blind was pulled down to within an inch of the sash sothat I could not be seen. When she came out on the doorstep my heart leaped. I ran to the hall, seized my books and followed her. I kept her brown figure always in my eye and, when we came near the point at which our ways diverged, I quickened my pace and passed her. This happenedmorning after morning. I had never spoken to her, except for a few casual words, and yet her name was like a summons to all my foolish blood.5. Her image accompanied me even in places the most hostile to romance. On Saturday evenings when my aunt went marketing I had to go to carry some of the parcels. We walked through the flaring streets,jostled by drunken men and bargaining women, amid the curses of labourers, the shrill litanies of shop-boys who stood on guard by the barrels of pigs' cheeks, the nasal chanting of street-singers, who sang a come-all-you aboutO'Donovan Rossa, or a ballad about the troubles in our native land. These noises converged in a single sensation of life for me: I imagined that I bore my chalice safely through a throng of foes. Her name sprang to my lips at moments in strange prayers and praises which I myself did not understand. My eyes were often full of tears (I could not tell why) and at times a flood from my heart seemed to pour itself out into my bosom. I thought little of the future. I did not know whether I would ever speak to her or not or, if I spoke to her, how I could tell her of my confused adoration. But my body was like a harp and her words and gestures were like fingers running upon the wires.6. One evening I went into the back drawing-room in which the priest had died. It was a dark rainy evening and there was no sound in the house. Through one of the broken panes I heard the rain impinge upon theearth, the fine incessant needles of water playing in the sodden beds. Some distant lamp or lighted window gleamedbelow me. I was thankful that I could see so little. All my senses seemed to desire to veil themselves and, feeling that I was about toslip from them, I pressed the palms of my hands together until they trembled, murmuring: "O love! O love!" many times.7. At last she spoke to me. When she addressed the first words to meI was so confused that I did not know what to answer. She asked me was I going to Araby. I forgot whether I answered yes or no. It would be a splendidbazaar; she said she would love to go."And why can't you?" I asked.8. While she spoke she turned a silver bracelet round and round her wrist. She could not go, she said, because there would be a retreat that week in her convent. Her brother and two other boys were fighting for their caps, and I was alone at the railings. She held one of the spikes, bowing her head towards me. The light from the lamp opposite our door caught the white curve of her neck, lit up her hair that rested there and, falling, lit up the hand upon the railing. It fell over one side of her dress and caught the white border of a petticoat, just visible as she stood at ease."It's well for you," she said."If I go," I said, "I will bring you something."9. What innumerable follies laid waste my waking and sleeping thoughts after that evening! I wished to annihilate the tedious intervening days. I chafed against the work of school. At night in my bedroom and by day in the classroom her image came between me and the page I strove to read. The syllables of the word Arabywere called to me through the silence in which my soul luxuriated and cast an Eastern enchantment over me. I asked for leave to go to the bazaar on Saturday night. My aunt was surprised, and hoped it was not some Freemason affair. I answered few questions in class. I watched my master's face pass from amiability to sternness; he hoped I was not beginning to idle. I could not call my wandering thoughts together. I had hardly any patience with the serious work of life which, now that it stood between me and my desire, seemed to me child's play, ugly monotonous child's play.10. On Saturday morning I reminded my uncle that I wished to go to the bazaar in the evening. He was fussing at the hallstand, looking for the hat-brush, and answered me curtly:"Yes, boy, I know."11. As he was in the hall I could not go into the front parlour and lie at the window. I felt the house in bad humour and walked slowly towards the school. The air was pitilessly raw and already my heart misgave me.12. When I came home to dinner my uncle had not yet been home. Still it was early. I sat staring at the clock for some time and, when itsticking began to irritate me, I left the room. I mounted the staircase and gained the upper part of the house. The high, cold, empty, gloomy rooms liberated me and I went from room to room singing. From the front window I saw my companions playing below in the street. Their cries reached me weakened and indistinct and, leaning my forehead against the cool glass, I looked over at the dark house where she lived. I may have stood there for an hour, seeing nothing but the brown-clad figure cast by my imagination, touched discreetly by the lamplight at the curved neck, at the hand upon the railings and at the border below the dress.13. When I came downstairs again I found Mrs. Mercer sitting at the fire. She was an old, garrulous woman, a pawnbroker's widow, who collected used stamps for some pious purpose. I had to endure the gossip of the tea-table. The meal was prolonged beyond an hour and still my uncle did not come. Mrs. Mercer stood up to go: she was sorry shecouldn't wait any longer, but it was after eight o'clock and she did not like to be out late, as the night air was bad for her. When she had gone I began to walk up and down the room, clenching my fists. My aunt said:"I'm afraid you may put off your bazaar for this night of Our Lord."14. At nine o'clock I heard my uncle's latchkey in the hall door. I heard him talking to himself and heard the hallstand rocking when it had received the weight of his overcoat. I could interpret these signs. When he was midway through his dinner I asked him to give me the money to go to the bazaar. He had forgotten. "The people are in bed and after their first sleep now," he said.I did not smile. My aunt said to him energetically:"Can't you give him the money and let him go? You've kept him late enough as it is."15. My uncle said he was very sorry he had forgotten. He said he believed in the old saying: "All work and no play makes Jack a dull boy." He asked me where I was going and, when I told him a second time, he asked me did I know The Arab's Farewell to his Steed. When I left the kitchen, he was about to recite the opening lines ofthe piece to my aunt.16. I held a florin tightly in my hand as I strode down Buckingham Street towards the station. The sight of the streets thronged with buyers and glaring with gas recalled to me the purpose of my journey. I took my seat in a third-class carriage of a deserted train. After an intolerable delay the train moved out of the station slowly. It crept onward among ruinous houses and over the twinkling river. At Westland Row Station a crowd of people pressed to the carriage doors; but the porters moved them back, saying that it was a special train for the bazaar. I remained alone in the bare carriage. In a few minutes thetrain drew up beside an improvised wooden platform. I passed out on to the road and saw by the lighted dial of a clock that it was ten minutes to ten. In front of me was a large building which displayed the magical name.17. I could not find any sixpenny entrance and, fearing that the bazaar would be closed, I passed in quickly through a turnstile, handinga shilling to a weary-looking man. I found myself in a big hall girded at half its height by a gallery. Nearly all the stalls were closed and the greater part of the hall was in darkness. I recognized a silencelike that which pervades a church after a service. I walked into the centre of the bazaar timidly. A few people were gathered about thestalls which were still open. Before a curtain, over which the wordsCafé Chantant were written in coloured lamps, two men were counting money on a salver. I listened to the fall of the coins.18. Remembering with difficulty why I had come, I went over to oneof the stalls and examined porcelain vases and flowered tea-sets. At the door of the stall a young lady was talking and laughing with two young gentlemen. I remarked their English accents and listened vaguely totheir conversation."O, I never said such a thing!""O, but you did!""O, but I didn't!""Didn't she say that?""Yes. I heard her.""O, there's a... fib!"19. Observing me, the young lady came over and asked me did I wishto buy anything. The tone of her voice was not encouraging; she seemed to have spoken to me out of a sense of duty. I looked humbly at the great jars that stood like eastern guards at either side of the dark entrance to the stall and murmured: "No, thank you."20. The young lady changed the position of one of the vases and went back to the two young men. They began to talk of the same subject. Once or twice the young lady glanced at me over her shoulder.21. I lingered before her stall, though I knew my stay was useless,to make my interest in her wares seem the more real. Then I turned away slowly and walked down the middle of the bazaar. I allowed the two pennies to fall against the sixpence in my pocket. I heard a voice call from one end of the gallery that the light was out. The upper part ofthe hall was now completely dark.22. Gazing up into the darkness I saw myself as a creature drivenand derided by vanity; and my eyes burned with anguish and anger.(This story is in the public domain and not protected by copyright.) QUESTIONS FOR "ARABY"(1) What kind of living conditions does the young narrator described? What is his fascination with Mangan’s sister?(2) The girl asks him to bring her something from the local bazaar(a cross between a fair and an outdoor sale) called Araby. Why can’tthe girl go to the bazaar herself?(3) Why does the narrator fail to buy something for the girl? How does he feel when his mission fails?(4) Joyce said that there are only three stories that are told over and over: first love, first encounter with death, and first encounter with mystery. This story suggests all three "firsts" as the boy movesthrough a cloud of powerful emotions. How do these themes thread through his experiences in the story?(5) Poverty features in many tales about Ireland, but this storyonly hints at the issues of poverty as it affects the lives of youngsters in its grasp. How do the themes of poverty and its toll on people appear in this story?(6) Religion had powerful effects on those who grew up in Catholic Ireland at the turn of the 20th century. In what ways does the tug of religious rules and feelings exert itself in this story?(7) The boy begins his tale by telling of the books he finds in the house where he lives, a house where a priest had died. He says he likes one of the priest’s books, The Memoirs of Vidocq because its leaves were yellow.What do yellow leaves tell about a book? What kinds of associations does the color yellow have?(8) The word Araby suggests romance and adventure. How does the actual life of the boy compare to the romance that he imagined? How does his experience at the bazaar emphasize the lack of romance in his real life experience?(9) Choose a current book or movie that deals with "first love." Contrast the story with the story that Joyce’syoung narrator tells in "Araby." Analyze the reasons for the differences.(10) Look up the history of the Irish immigration to the U.S. What caused so many Irish people to leave Ireland? What is the relationship of their descendents to the "mother land" now? What is their affection for Ireland?(11) The tale has to do with racing against time. The boy waits togo to the bazaar, then rushes to get there, then misses the chance to do as he had planned. Can you think of missed chances in your life or a race with time that you have experienced? How did the experience affect your future actions?。
《阿拉比》的寻“爱之旅
《阿拉比》的寻“爱之旅摘要：《阿拉比》是詹姆斯·乔伊斯短篇小说集《都柏林人》中童年篇的第三部小说，是他“写给自己祖国的道德史”中的经典作品。
该小说以都柏林一个普通男孩的口吻叙述了他独自坚持在整个社会严重“瘫痪”的情感状态下，追寻自己的美好“爱情”和理想的故事。
细节描写，第一人称叙述等写作方式，能使读者感同身受的和男孩一起感受这场寻“爱”之旅。
关键词：阿拉比;情感瘫痪;寻“爱”之旅詹姆斯·乔伊斯是爱尔兰作家，20世纪最具影响力的文学家，是英国现代主义文学的杰出代表人物之一。
他被公认为是“继莎士比亚之后英语文学史上最伟大的作家”，在全球范围内，“每年要比除了莎士比亚以外的其他文学巨匠生产出更多的乔伊斯主题的学术和批评作品”。
他主要的作品包括短篇小说集《都柏林人》（Dubliners）、长篇小说《青年艺术家的画像》（APortraitoftheArtistasaYongMan）、意识流小说《尤利西斯》（Ulysses）、《芬尼根的守灵夜》（FinnegansWake），以及其他的詩歌，政论集以及书信集等。
《阿拉比》（Araby）是乔伊斯的短篇小说作品集《都柏林人》中的一篇，该小说集以他的故乡都柏林为背景展开描写，以现实主义和象征主义相结合的手法，成功地再现了19世纪末20世纪初英国殖民时期的爱尔兰的社会现实。
乔伊斯说过“我的意图是写一部我国（爱尔兰）的道德史，我选择了都柏林作为地点，因为这个城市处于麻木的状态的核心。
我试图从四个方面把它呈现给无动于衷的公众：童年，青年，成年以及公众生活。
故事按照这个顺序安排。
大部分都采取审慎的平民词语的风格……”他的整个小说集有15篇文章，按照童年、青年、成年和公众生活四个阶段安排故事，全面的展示了都柏林人生活的方方面面，体现了当时整个爱尔兰社会萧条、灰暗、冷漠、无趣的氛围，体现了整个社会人的宗教、政治、感情生活的“瘫痪状态”。
二、寻“爱”之旅（一）“爱”的初现（二）“爱”的深化当女孩终于和他说出了第一句话“你是不是准备去阿拉比（Araby）？”他紧张、困惑，甚至忘记了自己有没有回答她。
James_Joyce_Araby_主题情节人物及背景分析(可打印修改)
"Araby"Backgrounds IntroductionIreland'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."Introduction of the story and the author"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 comehome, 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 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 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.ThemesThe 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 merelypackaging 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 isstill 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.。
浅析詹姆斯·乔伊斯小说《阿拉比》中的精神瘫痪和灵魂顿悟
校园英语 / 文艺鉴赏浅析詹姆斯•乔伊斯小说《阿拉比》中的精神瘫痪和灵魂顿悟武汉大学外国语言文学学院/刘君雅【Abstract】“Araby” is James Joyce’s early work.This essay analyzes some images in it,including “blind end”,“central apple tree” and “araby”,to illustrate moral paralysis and epiphany in this short story.【Key Words】James Joyce; Araby; moral paralysis; epiphany 【摘要】阿拉比是 詹姆斯·乔伊斯的早期作品。
本文通过分析“死胡同”、“中央的苹果树”和“阿拉比”等意象,阐释小说中凸显的精神瘫痪和灵魂顿悟主题。
【关键词】詹姆斯·乔伊斯 阿拉比 精神瘫痪 灵魂顿悟“Araby” tells a growth story of a boy,who realizes the cruel reality after his dream goes vanish.He gains the epiphany that the whole society are suffered the moral paralysis—people are blind,religious beliefs are deserted and the illusion of the society is doomed to go vanish.Many details in the short story indicate the moral paralysis of Irish society.The street where the protagonist lives is “blind” and there is “an uninhabited house” standing at “the blind end” (James Joyce 2168).The whole environment is dark,quiet,depressive and even scaring.All the things are in the “blind end” (Joyce 2168).Nothing can run out of it,of course,including love and dream.Only a priest,who is “very charitable” (Joyce 2169),can give people a little guide.There are some religious books in his room,The Abbot and The Devout Communicant,but the pages are “curled and damp”.“Curled and damp” pages indicate that religious beliefs are totally forgotten by people (Joyce 2169).However,the last shred of light and warmth also disappeared because of the death of the priest. Then,James Joyce mentions that the boy finds a “wild garden”and a “central apple-tree” behind the house.It reminds me of the Garden of Eden and Tree of Wisdom in Bible.Garden of Eden is where God lives,which stands for piety,belief and truth. But the garden is deserted,just like the abandoned spiritual world. What’s noteworthy is the “rusty bicycle-pump” in the garden (Joyce 2169),which is another reflection of the priest.Priest should pump belief,courage and hope into the society but he dies,which is similar to the “rusty bicycle-pump” that is out of use.All the images suggest that people are suffering moral paralysis and belief absence.Despite the depressing environment,the boy still decides to pursue his dream.But he suffers the disillusion through knowledge and epiphany.Mangan,charming and brilliant,becomes hope and light in his heart.Her names are like “a summons to all my foolish blood”.When the boy is in prayer,the name of the girl always “spring[s]to his lips” (Joyce 2170).The boy not only loves Mangan,but also adores her.Like Christians’ reverence and owe to Virgin Mary,he reveres the girl.Mangan really wants to go to Araby,“a splendid bazaar”,but she can’t go because of a retreat (Joyce 2170).Araby becomes an imaginary world in his heart.“Araby—the very word connotes the nature of the boy's confusion.It is a word redolent of the lush East,of distant lands,Levantine riches,romantic entertainments,mysterious magic,‘Grand Oriental Fetes.’ The boy immerses himself in this incense-filled dream world” (Harry 394).However,when he gets there,he finds that his “new world” turns out to be a dark,silent and foppish place—“nearly all the stalls were closed” and only “two men were counting money on a salver and I listened to the fall of the coins” (Joyce 2172).Seeing all this,the boy sees himself as “a creature driven and derided by vanity; and my eyes burned with anguish and anger”.He lacks knowledge of the world he lived before but now the illusion goes vanish and he gets an epiphany.“the epiphanic experience is conceptualized as one of sudden,discontinuous change,leading to profound,positive,and enduring transformation through the reconfiguration of an individual's most deeply held beliefs about self and world”(Arianna Nicole Jarvis,1).In the pursuit of love,the boy gains a experience of self-knowledge.He knows that this is a paralyzed society and he cannot realize his dream here.In Bible,Adam ate the forbidden fruit and gained knowledge because he loves Eve and was cast to the world of reality; James Joyce tells the very similar story to raise the thinking about the moral paralysis and epiphany.Reference：[1]Arianna Nicole Jarvis,Taking a break:Preliminary investigations into the psychology of epiphanies as discontinuous change experiences(January 1,1996).Doctoral Dissertations Available from Proquest,[2]Joyce,James.“Araby.”Ed.M.H.Abrama.The Northon Anthology of English Literature:Volume 2.New York:W. W.Norton,1986.2168-2172.[3]Stone,Harry.“Araby”and the Writings of James Joyce.The Antioch Review25.3 (1965):375.Copyright©博看网 . All Rights Reserved.- 239 -。
James-Joyce-Araby-主题情节人物及背景分析
"Araby"Backgrounds IntroductionIreland'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."Introduction of the story and the author"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 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 to the narrator that he could go tothe 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.ThemesThe 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 hisroom--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 thesignificance 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.。
梦想_现实和幻灭_阿拉比_中的隐喻赏析_吴海霞
doi ：10．3969/j．issn．1673－6060．2010．09．022梦想、现实和幻灭：《阿拉比》中的隐喻赏析吴海霞（河南科技学院外语系，河南新乡453003）摘要：《阿拉比》是詹姆斯·乔伊斯短篇小说集《都柏林人》中的第三篇，是其早期作品。
在这篇小说中，隐喻的运用无处不在。
文章试图通过分析文本中所出现的一些主要的，如“死胡同”、“教士”、“阿拉比”、和“圣杯”等隐喻的分析，看作者如何赋予这些事物以特殊的含义，以此来揭示人物梦想与现实的矛盾以及人物心理的变化。
关键词：隐喻；《阿拉比》；死胡同；牧师；圣杯；幻灭中图分类号：I106文献标识码：A文章编号：1673－6060（2010）09－0084－03收稿日期：2010－07－15作者简介：吴海霞（1976－），女，河南濮阳人，讲师，硕士，主要从事英美文学研究。
《都柏林人》是意识流大师詹姆斯·乔伊斯的著名短篇小说集，其中的作品是以作者故乡都柏林为背景，共有十五个短篇故事，按照人生的“童年、少年、成年和社会生活”的顺序全方位展示了都柏林中下层人民的生活状态，在结构上就具有某种隐喻色彩。
小说集中的故事反映了都柏林人道德、精神生活中普遍的瘫痪麻木状态。
“乔伊斯对生活在困境中的都柏林人寄予了深切的同情，同时对于他们身上的弱点则毫不留情地做了揭露和鞭笞”［1］。
《阿拉比》是《都柏林人》的第三篇，属于其中的“童年篇”。
《阿拉比》讲述的是一个男孩浪漫幻想破灭的成长故事，也可以说是一个小男孩的初恋故事，情节非常简单。
故事中的男孩喜欢上了同伴“曼根的姐姐”，星期六晚上专程到阿拉比市场去买礼物以示心意。
但当他终于到达梦想中的达阿拉比时，大多数商店已关门，男孩的小小的梦想在冷漠而残酷的现实面前幻灭了。
小说揭示了即使是朦胧少年也难以逃避都柏林的腐朽和麻木。
乔伊斯在描述故事时笔法细腻，使用了隐喻性的叙事语言，赋予事物以丰富的象征意义，隐喻是一种重要的文化现象和文学现象，具有广泛的渗透性和相当复杂的内涵［2］。
《阿拉比》象征手法的运用例析
《阿拉比》象征手法的运用例析《阿拉比》是《都柏林人》中“童年”的最后一篇，可以认为是乔伊斯本人童年情感的写照。
自小说创作以来，小说受到社会各界人士的广泛关注。
很多读者认为该小说是单纯的对小男孩情窦初开的解读，还有部分读者认为小说内容与宗教有着很大的联系，将这种联系过分夸大。
实际上，乔伊斯想通过描述一个孩子对朦胧爱情的追求，以及在追求的过程中对现实所产生的失望，进而表明对当时黑暗、腐朽的柏林的批判，最终凸显宗教虚妄这一主题思想。
运用多种意象对比以及象征手法，对主题思想进一步深化。
一、《阿拉比》的相关简介詹姆斯·乔伊斯（James Joyce）出生于1882年，逝世于1941年，是爱尔兰作家以及诗人，从小生长于柏林的信奉天主教的家庭中，深受天主教文化的影响。
他的父亲对民族主义有着较为坚定的信念，母亲也是比较虔诚的天主教徒。
乔伊斯出生时的爱尔兰，还是英国的殖民地，并且战乱不断，民不聊生，同时他有着一大群的弟弟妹妹，使得家庭条件并不富裕。
但是在众多兄弟姐妹当中，父亲似乎对乔伊斯比较偏爱，当他全家都没有足够吃的东西时，他的父亲还坚决给乔伊斯购买外国书籍，这也使得乔伊斯在小时候就打下了良好的文学基础。
然而，他的一生颠沛流离，辗转于各大城市，但对文学却矢志不渝，勤奋写作，为世人留下了宝贵的精神财富。
《阿拉比》是《都柏林人》中的一篇，乔伊斯在1904年才开始创作《都柏林人》，这是他久负盛名的短篇小说集，可以称得上是20世纪整个西方最为著名的短片小说集。
该小说集主要是取材于二三十年代的都柏林，深刻揭示了中下层人民的生活，通过将十五个故事汇集起来，就像一幅印象主义的绘画，以简练的笔触，浮现出苍凉世态。
其中《阿拉比》中主要描写的是住在北理齐的男孩希望获得他朋友姐姐的芳心，围绕这个线索展开小说描写。
他承诺要给他朋友的姐姐在阿拉比集市买一些礼物，当他姑父答应给他钱后的几天，一直想着给那女孩买什么礼物。
然而，在去集市的那天，姑父回家比较晚，当把钱给这个男孩时，集市很多店都关门了，仅剩的几家店里东西又太贵，已经超过了他的购买能力，在阿拉比集市他得到的只是失望。
《阿拉比》中的象征主义
《阿拉比》中的象征主义摘要《阿拉比》是20世纪英国杰出作家和诗人詹姆斯·乔伊斯的代表作品，也是现代主义与象征主义完美结合的典范之作。
该短篇小说通过描写都柏林男孩从追求美好的爱情与梦想直到认真现实、幻想破灭的过程，揭示了当时社会的黑暗及其对人性的压抑，也反映了当时人们的精神瘫痪与麻木不仁。
本文从《阿拉比》中丰富的意象出发，通过分析其深刻的象征意义，再现了当时的社会现实，传达了作者对社会的不满与批判。
关键词：《阿拉比》意象象征中图分类号：i106.4 文献标识码：a詹姆斯·乔伊斯（1882-1941）是爱尔兰著名作家和诗人，20世纪西方现代主义文学的开拓者和领路人，同时也是意识流文学大师。
他将象征主义与现代主义完美结合，创作出了一系列意象丰富、寓意深刻、源于现实而又高于现实的优秀作品，对20世纪西方文学的发展发挥了重要的促进作用，对后世的文学创作也产生了极其深远的影响。
《都柏林人》是乔伊斯创作艺术的集中体现，奠定了其现代主义小说鼻祖的地位。
该作品由十五篇精炼的短篇小说组成，通过丰富的意象展现出当时都柏林的社会现实和当地人们的精神状态，并反映了作者对社会的批判态度和对人生的深刻思考。
《阿拉比》是该短篇小说集中的第三篇，也是一部充满着象征意象的、带有自传意味的作品。
小说中的主人公是一名天真烂漫的都柏林男孩，他向往美好浪漫的爱情，希望到传说中具有异国情调的阿拉比集市为自己的心上人“曼根的姐姐”买一件特别的礼物以示爱意。
然而，当他费尽周折拿着钱到达仰慕已久、已经打烊的集市时，却发现那里跟自己所住的街区并无不同，所谓的美好至极、令人向往的阿拉比集市，只不过是一个外表虚幻繁华、本质则俗不可耐、了无趣味的灰暗世界。
这对于把阿拉比集市视为自己的爱情支柱、理想支撑的主人公来说，无疑是一个巨大的打击。
他开始发现自己仅仅是一个被虚荣心左右的可怜虫，也了解到单凭自己的一厢情愿想象出来的事物最终带来的只有无尽的失望。
Of the Symbolic Meanings in Araby 赏析阿拉比 象征意义 阿拉比读后感
Of the Symbolic Meanings in ArabyJames Joyce is a world-renowned writer who is skilled in employing symbolic meanings to the surroundings and backgrounds which seem quite simple and plain but actually bear rich information. The short novel Araby is a typical example.First of all, the symbolic technique begins with the title Araby. The word "Araby" shares a similar spelling with "Arab". Definitely, it is neither a coincidence nor a spelling mistake. In other words, the author names it on purpose. Arab is an ideal destination full of oriental mystery and magic from the Westerners’ points of view. In the hero’s opinion, his beloved girl is as perfect as the bazaar Araby.Then what is the reality? On one hand, the boy finds himself in a big hall girdled at half its height by a gallery. Nearly all the stalls are closed and the greater part of the hall is in darkness. Obviously, here Araby in reality has a totally different symbolic meaning from the previous imagination. To be specific, here Araby symbolizes the dull society of Ireland. On the other hand, he is shocked by the flirting of a young lady in the bazaar. So much to his surprise, Araby is not that wonderful and what’s worse, those good-looking girls are not that pure. Both points shatter his illusion of pureness.Besides, it is easy to find the symbolism in the whole passage, which implies the sharp contrast between the imagination and reality, and foretells the boy’s inevitable frustration. "North Richmond Street, being blind, was a quiet street…”, here the author tends to tell us that surrounded by such an experienced society, it is impossible for the boy to find way out of the shackles of "blind street".Such kind of techniques can be found almost every paragraph, I have named just a few.There is an old saying “Less is more", to this point, I can not agree more and James Joyce sets a pretty good example for us. Without tedious and dull descriptions, he is expert in using sublime words with deep meaning by employing symbolic meanings to the surroundings and backgrounds.。
小说Araby两个译本之评析_以翻译的标准为视角
Vol 25 No 4 July 2010
小说 Araby 两个译本之评析
以翻译的标准为视角 朱光冰
( 广西政法管理干部学院 , 广西 南宁 [ 摘 要 ] 本文从语 言 、 风格等 方面对小 说 Ar aby 两 个 译本进行比较分析 , 从而进一步阐明翻译应遵 循的 信 、 达、 雅! 这一原则标准 。 [ 关键词 ] 忠实 ; 通顺 ; 得体 [ 中图分类号 ] H315. 9 [ 文献标识码 ] A [ 文章编号 ] 1008- 8628( 2010) 04- 0127- 03 530023)
小主人公跟婶婶去市场买东西 , 现实世界的平 庸、 市侩, 与小主人公初恋时圣洁、 理想的心态极不 融洽, 因此小主人公产生一种单纯的感受 : 自己正 捧着圣 餐酒杯, 通过 一大群敌人的 包围。译文对 in a single sensat ion of life for me! 的理解差异较 大, sing le! 一词意思是! 单个 , 简单! ; sensat ion! 是 感觉、 感动、 激动。因此, 我认为译为 一种单纯的 人生感受! 比较贴切。 7. It w as a dark rainy evening and there w as no sound in t he house. T hrough one of t he broken pans I heard t he rain impinge upon t he earth, t he fine in cessant needles of w at er playing in the sodden beds. 黄本 : 这是一个阴雨绵绵、 漆黑的夜晚, 整幢房 子一片寂静 , 透过一块破碎的窗玻璃, 传来了雨水 着地的声响。连绵的细雨犹如行行绣针 , 洒向湿透 了的花圃、 钱本 : 那是一个漆黑的雨夜, 房子里静悄悄的 , 透过一扇破窗, 我听见雨点打在地上, 连绵的针尖 细雨泻在湿透的花坛里。 这里可以看出钱本比较注意忠实于原文 , 做到 翻译的准确性, 但从语言的运用上来说略显拘谨 , 不如黄本译得那么自然 , 细腻 , 文学性强。在翻译 中应该重原文形式还是原文内容是译者面临的最 大的障碍 , 虽说作者的文体特征是由语言形式来反 映, 但过于强调形 式的译法往往使 译文缺乏可读 性。 通过对以上两个译本的粗略对比, 我们可以看 出黄本文笔 流畅、 灵活 , 充分发挥了汉语的优势。 文学气息浓厚、 可读性强 , 但个别地方与原文出入 较大。钱本对原文的理解把握较准确, 更忠实于原 ( 上接第 123 页 )