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1. Author (Duy Khang)

 James Joyce, born in 1882, had a complex upbringing.
 Despite a good education marred by family financial troubles, he excelled in
writing.
 Rebelling against societal constraints, he left Ireland with his partner Nora.
 He struggled financially in Europe but continued writing, with "Dubliners"
capturing his Irish roots.
 Success finally arrived with "Ulysses" in 1922.
 Personal challenges continued, but Joyce's literary legacy was secured.
 He died in 1941, leaving behind a rich body of innovative and influential work.

2. Setting (Duy Khang)

 TIME: Early 20th Century. This setting reflects the social and economic realities of the
period. The poverty and gloom of the surroundings contrast with the exotic imagery
associated with "Araby," highlighting the disillusionment the protagonist experiences.
 LOCATION:
 Dublin, Ireland: Specifically, North Richmond Street, a working-class neighborhood. The
narrow streets, dilapidated houses, and gloomy atmosphere contribute to a sense of
confinement and lack of opportunity.
 Gloomy and Stagnant: Descriptions of "blind" streets, "houses cramped and dark," and
"evening" create a sense of melancholy and oppression. This reinforces the
protagonist's emotional state – a mix of hope, longing, and disillusionment.
 Poverty and Limitations: The rundown neighborhood reflects the deprived social
conditions the protagonist lives in. This contrasts with the imagined exoticism of "Araby,"
highlighting his yearning for something beyond his reach.

3. Plot (Gia Thịnh)

Exposition: The unnamed narrator is a young, religious yet romantic boy placed in a gloomy
neighborhood in winter. He is infatuated with a neighboring girl - his dazzling lightbeam, whom
he romanticizes and worships every breath.

Rising action: One day, in a small talk, she mentioned a bazaar named Araby. The narrator
voluntarily promises to get her a gift from Araby. He inhabits a heroic quest in a perfect love,
and transcends himself into a gallant knight in a chaotic world, becoming increasingly obsessed
with his long-awaited adventure to Araby.

Climax: The narrator impatiently jumps on the train and finally arrives at Araby being mostly
closed.

Falling action: He becomes increasingly disappointed with Araby and with his own actions.
His incentives fall apart as he walks on, and his heroic self-image crumbles when he witnesses
a flirty woman in a shallow conversation.

Resolution: The boy breaks out of his fantastical self-illusionment in the dark, lonely night.

EXTERNAL CONFLICT: The elated hero >< the impersonating dystopia:

 Mundane schoolwork
 The crazy, chaotic neighborhood
 The slow train
 The ignorant uncle

INTERNAL CONFLICT: The boy’s conscious side >< The boy’s dreamy side:
 He is aware of his imminent “confused adoration” for her (since the start)
 He is aware that he felt hallucinating when talking to her or anyone else (throughout the
story)
 He is aware that he wasn’t sure why he came to Araby (near the end)
 He is dissatisfied with his foolish, animalistic self.

Good source: https://literariness.org/2022/05/06/analysis-of-james-joyces-araby/

4. POV (Như Bình)

 The narrator of "Araby" is written with a first-person perspective.
 The boy in "Araby" is a singular, first-person narrator. He tells the story from only his
perspective, rather than including the perspective of a group. You can tell it is in the first
person because the narrator uses the pronouns 'I' and 'we’.
 He's also a limited narrator. A reader is unable to know the thoughts and feelings of
others from his perspective. Readers have to rely on the narrator's beliefs and opinions
rather than receiving corroborating evidence from outside sources.
 Most first-person limited narrators are, to some extent, unreliable. Since they're telling
the story as they see it, there's no way for a reader to know whether the narrator's
perspective is accurate. This style of narration also limits what the reader can see.
Nothing can happen that the narrator does not witness or hear about -- which limits the
stories and perspectives of side characters.
 For example, the narrator in "Araby" develops a crush on Mangan's sister and she's
never actually given a name. If the narration was omniscient rather than limited, the
narrator would know her name without having to receive it. Since he never does, both he
and the reader are forced to identify the object of his affections as only Mangan's sister.

5. Character (Nhật Anh + Nhật Huy) - Script

The narrator
The protagonist of the story, a young, imaginative boy who lives with his aunt and uncle. The
narrator attends a Catholic school (as does essentially every other school age child in Ireland),
and is surrounded more generally by the Catholic Irish world. Perhaps unsurprisingly, he thinks
about and sees the world in religious terms and imagery.
When the narrator develops a powerful crush on Mangan’s sister, the older sister of his
friend Mangan, he begins to lose interest in his former activities, such as playing with
his friends or his schoolwork. The narrator experiences his crush in religious terms,
stating his love for her to himself as a kind of prayer, and at the same time his love for
her seems to offer an escape from an Irish world that feels drab and oppressive to the
narrator.
When Mangan’s sister expresses interest in the Araby bazaar, that too
comes to represent an exotic escape to the narrator, and he seeks to buy a
gift at the bazaar to win her favor. Ultimately, though, the narrator’s
experience at the bazaar reveal to him the falseness of his fantasies and
an epiphany about his own vanity, and so his religious sense, romantic
ideas, and budding sexuality all become tied up in an anguishing
recognition of the disappointments of one’s own self, of growing up, and of
the world.
0405_Araby script_NA+NH

6. Themes + style/tone (Phương Uyên) done

 Theme

 The road to adulthood can be difficult, painful, and even embarrassing: The
protagonist's journey from innocence to experience is marked by a series of trials and
tribulations that reflect the challenges of growing up. His infatuation with Mangan's sister
and his anticipation of the bazaar symbolizes his longing for maturity and adventure.
However, as the story progresses, he encounters disillusionment and disappointment,
realizing that the object of his desire is unattainable and that the bazaar is not the
magical place he imagined. These experiences represent the painful realities of
adolescence, where idealized fantasies give way to the harsh truths of adulthood. The
protagonist's awkward interactions and moments of embarrassment, such as his
fumbling attempt to speak to Mangan's sister, further underscore the theme that the
journey to maturity is fraught with difficulties and setbacks. Ultimately, "Araby" serves as
a poignant exploration of the complexities of adolescence and the painful process of
coming of age.

 The pain that often comes when one encounters love in reality instead of its
elevated form:
This theme explores the contrast between the protagonist's romantic fantasies and the
harsh realities of love and relationships.
Evidence:

The boy's infatuation with Mangan's sister leads him to construct elaborate fantasies
about her and the bazaar, envisioning the fulfillment of his romantic ideals. However, his
hopes are dashed when he realizes his feelings are not shared, and his perception of
her as an unattainable ideal crumbles.
 The story's conclusion, with the protagonist standing in the dark and empty bazaar,
encapsulates the pain of disillusionment and the realization that love does not always
conform to one's elevated fantasies. This moment marks the protagonist's transition from
innocence to experience, as he grapples with the harsh realities of unrequited love and
the imperfections of human relationships.
"Gazing up into the darkness, I saw myself as a creature driven and derided by vanity;
and my eyes burned with anguish and anger."

 The pervasive influence of religion, particularly Catholicism, shapes one’s

worldview and emotional experiences: Throughout the story, one can see how the
narrator is surrounded by catholic figures. He also attends a Catholic school. Catholicism
plays a vital role in his upbringing. Moreover, he thinks of Mangan’s sister in religious
terms and imagery. He is all linked with the Catholic religion. But all these points
contradicted on the ground when he started idolizing Mangan’s sister.

He explains her in religious terms. He compares her to a “chalice” and even worships
her through “strange prayers and praises. Given that, he thinks his studies are useless
after falling in love with the girl. Explaining in light of this, it raises questions on the
relationship of the narrator with religion.

The narrator’s infatuation and distraction as a result of his crush on Mangan’s sister
suggest his weak faith. Joyce seems to criticize Catholicism and religion in the story.
Also, the priest who was once a tenant at the narrator’s house provides glimpses of
weak faith or fake Catholicism. His belongings suggest his moral weakness, how he was
inclined to read the works of crimes and romance which is not suitable for the priest.

 Things aren't always what they seem to be: This theme is primarily explored through
the protagonist's disillusionment and realization that his romanticized view of a girl and
the bazaar he hopes to visit is far from reality.

Evidence of this theme can be found through the protagonist's infatuation with his
friend's sister, whom he views as an unattainable and idealized object of desire.
However, as the story progresses, the protagonist begins to see the girl in a different
light, realizing that she is not as perfect as he had imagined. This realization culminates
in the protagonist feeling disillusioned and realizing that his fantasy of the girl was far
from the reality of who she truly is.

Furthermore, the theme is also evident in the depiction of the bazaar itself. The
protagonist's excitement and anticipation of visiting the bazaar is met with
disappointment when he finally arrives and sees it for what it truly is - a mundane and
commercialized place that falls short of his romanticized expectations. This juxtaposition
between the protagonist's idealized perceptions and the harsh reality of the bazaar
highlights the theme that things aren't always what they seem to be.

 Style/tone
 The tone of “Araby” is multifaceted: Joyce includes many words and phrases that
help give “Araby” an at-times gloomy, at-times naively hopeful tone. The prevalence of
the color brown, the condition of the garden, and the contrast between the glowing youth
and the dark streets help to illustrate this.

 Reminiscent tone: looking back on memories from his childhood. "Araby" was a dismal
and disappointing memory. There is a gloomy and regretful feel to this piece.

 The imagery is all over the story. The difference between dark and light is a main one.
The story takes place at night, in a dark house, or at dusk. It's all in the dark. The girl he
is in love with is always a shadow or a silhouette (brightness around her). She
represents light in the story.

 The story is rich with the symbolism of romance, Roman Catholicism, and the
Orientalism popular at the end of the last century. The various allusions—to Sir Walter
Scott, James Clarence Mangan, Caroline Norton’s poem The Arab’s Farewell to His
Steed, the Freemasons, and Mrs. Mercer—can enlarge the relevance and appeal of the
boy’s private adventure for the attentive reader.

7. Symbols (Chánh Ngôn)

 When describing the girl, the narrator mentions “her figure defined by the light” “the
white curve of her neck,” and “the white border of a petticoat” return the boy’s love.
→ Mangan's sister embodies the Virgin Mary icon due to her lightness and elegance.
She is an innocent young girl who is unaware of the narrator's romantic impulses, and
her religious beliefs will most likely prevent her from returning the boy's love.

 Brown color “gazed at one another with brown imperturbable faces”, and Mangan’s
sister’s “brown figure”
→ This color is used by the author in order to emphasize the boredom, discouragement,
and hopelessness of the whole story and the narrator himself. When everything around
is brown, there is no chance one may be in a good mood or have high hopes for
tomorrow. What is more, the purpose of brown color surrounding the citizens is probably
to make sure they continue living their “decent lives” where nothing exciting or
interesting may ever happen.

 Light and Darkness:

→ This contrast represents the narrator's journey from innocence to disillusionment. At
the beginning, everything associated with Mangan's sister is bathed in a kind of romantic
light. As he ventures into the bazaar at Araby, the darkness grows, mirroring his growing
awareness of the reality that doesn't match his fantasy.
  rusty bicycle pump
→ It can be seen as a symbol of the decline of religious faith. this symbol directs readers
to the question of religion and its truth. Moreover, it also brings up thoughts about the
necessity and inevitability of changes in society’s lifestyle and way of thinking and its
transition to liberalism.

8. Figurative Language (Thúy An) - DONE search nhiều nguồn

1. Personification (nhân hóa)
The story opens with an example of personification, when Joyce describes the houses
as “conscious” of their occupants and “gazing” down upon the street.
=> to better inform us about how the main character relates to his environment
throughout the story
 North Richmond Street, being blind, was a quiet street except at the hour
when the Christian Brothers' School set the boys free.
 The other houses of the street, conscious of decent lives within them,
gazed at one another with brown imperturbable faces.
2. Simile (so sánh)
to describe the intensity of his infatuation with his friend Mangan's sister, he uses a
simile to compare his body to an instrument that she plays
 her name was like a summons to all my foolish blood.
 my body was like a harp and her words and gestures were like fingers
running upon the wires.
3. Metaphor (ẩn dụ)
Metaphors are present throughout the story, and are often used in conjunction with other
literary devices such as imagery and personification. Many of the metaphors draw from
Catholic Church tradition, alluding to scenes and themes in the Bible. Other examples of
metaphor in “Araby” can be found in Joyce’s description of the other houses, where he
likens their facades to human expressions.
 I liked the last best because its leaves were yellow. (book pages ->leaves)


4. Foreshadowing (điềm báo trước)

is a literary device in which a writer gives an advance hint of what is to come later in the
story. Is often appears at the beginning of a story, or a chapter, and it helps the reader develop
expectations about the upcoming events.
 lit up her hair that rested there and, falling, lit up the hand upon the railing
5. Imagery (miêu tả cảnh?)
the play of light and dark and references to "lanterns" and "shadows."=>
contrasting light and shadow imagery to demonstrate the difference between the bright,
religious idealization and the grim reality of the narrator's life.
=> (?) he believed that Roman Catholicism and its clergy had been a negative
influence on Ireland over the years. The shadows and darkness illustrated that they
lived a dull life.
 The space of sky above us was the colour of ever-changing violet
and towards it the lamps of the street lifted their feeble lanterns.
 The light from the lamp opposite our door caught the white curve of
her neck
  Nearly all the stalls were closed and the greater part of the hall was
in darkness
6. Irony (mỉa mai)
uses irony to highlight the naïveté of the young narrator: the unnamed boy expects to
buy Mangan's sister a nice gift at the bazaar but ends up with nothing.
 `If I go,' I said, `I will bring you something.’
=> when he finally leaves the house to go to the Araby bazaar, he has one florin
in his pocket. However, by the time he has paid for his train ticket and entrance
fee, he doesn't have enough to buy a gift, even if he has found one.
7. Alliteration (nối âm)
This literary device has many uses, and the sound here helps add to the cadence of the
passage and anchor the dark descriptions in the readers' minds.
 the back doors of the dark dripping gardens where odours arose from the
ashpits
8. Allusion (sự ám chỉ, lời ám chỉ.)
is a reference, typically brief, to a person, place, thing, event, or other literary work with
which the reader is presumably familiar.
 "The Arab's Farewell to his Steed"
 religious references such as the apple tree which is interpreted as the biblical
Forbidden Tree in Eden.
 Mangan's sister is described as being an angelic figure, perhaps an allusion to
the Catholic Virgin Mary. Her silhouette is "defined by the light" behind her, and
the narrator notes "her image accompanied me" wherever he went.
9. Repetition (để ý thấy chứ ko chắc?)
Repetitions are occasionally employed, to bring the focus on a certain point of interest
 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.
 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.
 I pressed the palms of my hands together until they trembled, murmuring:
`O love! O love!' many times
REF
Bản tiếng việt: Araby - VnExpress Giải trí
Encyclopedia Criticism: Araby | Encyclopedia.com