ARABY ANALYSIS

I. AUTHOR
JAMES JOYCE (1882 - 1941)
-James Joyce, who was a great Irish writer, lived in the 20th century. He was born
in 1882 in Rathgar (a suburb of Dublin, Ireland), in a middle-class Catholic family that
struggled to maintain their middle-class ranking.
-Joyce attended a prestigious school and went on to study philosophy and languages
at University College, Dublin.
-Then, he moved to Paris after graduation in 1902 to pursue medical school, but
instead he turned his attention to writing.
-In 1903 he returned to Dublin, where he met his wife. Joyce wrote a collection of
short stories called Dubliners (Araby is part of this collection).
-All of his short stories in some way mirror his life as a child in Dublin.
- He is famous for his short story collection "Dubliners", his novels “Portrait of the
Artist as a Young Man", "Ulysses ", "Finnegans Wake" and play "Exiles".

II. SETTING
“Araby” is set in Dublin, Ireland in various places around the city when the winter is
coming.

- At the onset of the story, the boy is on the street where he lives, North Richmond
Street. He frequently meets his friends and they play in the street until dusk falls
and they go home for dinner. It is there, in the shadows, that he watches
Mangan’s sister as she looks for her brother to call him home.
- Inside the narrator’s house, where he watches every morning for Mangan’s sister
to leave her house. Her stepping outside causes him to grab his books and follow
her; he does not have the nerve to speak to her, so he passes her on the street
instead.
- The story ends at the bazaar, the one place that the narrator has yearned to visit.
This setting is important to the story because it is where the narrator’s epiphany
takes place. Most of the stalls have closed and darkness envelops the bazaar. Of
the few stalls that remain open, there is little that he might purchase as a gift for
Mangan’s sister. The boy now believes that he will never have a chance with the
girl because he has no opportunity to buy her a present. The truth is, he never
had a chance with her. He learns that situations do not always work out the way
we dream, noting, “I knew my stay was useless.”

North Richmond Street

+ The narrator lives on North Richmond Street, which is a now well-known road
in Dublin, Ireland.
 + The street is described as "blind." ->The symbol of blindness serves to
foreshadow the narrator’s ignorance that comes with his infatuation with
Mangan’s sister
+ “Several brown houses”: The color brown is used to emphasize the dullness of
everyday Dublin. This is a place where nothing much ever happens except for
when school is out for the day.
Araby Bazaar
+ Bazaar symbolizes bustle -> the narrator craves the kind of excitement that
only the Araby bazaar promises to give. The boy wants to be set free, if only
for a short time. He wants to leave behind him the stifling, constricting world in
which he's forced to live out his formative years. This is a significant indication
that he is coming of age, and it also contributes to why he feels alienated from
his friends.
+ “he is left in darkness” -> the scene of Araby Bazaar contrasting with the
narrator's fantasy helped the Narrator have an epiphany while in the darkness,
realizing that his feelings were actually not is love, but lust and the market
itself is not special or strange at all, and that he is motivated by vanity and the
desire for approval

III. PLOT
1. Exposition:
- The narrator lives on North Richmond street, a blind, quiet area.
- He inhabits a homo that was once occupied by a priest with his
Uncle and Aunt.
- Like a typical young boy, the narrator enjoys spending the short
days of winter playing outside with his friends and exploring the
world around him.
- An Infatuation for his friend Mangan's sister begins to blossom
within him as he observes her calling Mangan in for dinner.
- From the days following, his desire for her grows stronger. Though
he is falling in love with her, he veils his feelings for her, and
experiences internal conflict as to whether to confront her with his
adoration.
2. Rising action:
- The rising action is when Mangan's sister talks to the narrator.
- After discovering that she is not able to go to Araby, he promises
to bring her back a gift.
 - From that moment on, he becomes obsessed with getting her a gift.
His passion to obtain the perfect gift distracts him from his school
work and leads him to believe that everything else is child's play.
- On the day of the Araby, he angrily awaits for his Uncle's arrival
to give him money for the train fare there.
- When his Uncle arrives late, external conflict occurs between the
narrator and his uncle as they discuss the ability for the narrator to
go.
- When his uncle finally agrees to let him go, The narrator anxiously
awaits his arrival to the Bazaar.
3. Climax:
- The climax occurs once the narrator arrives at the Bazaar.
- When he comes late, he realizes that the lights are off, and that the
Araby is almost over.
- He notices a lady, though, who is selling items.
- When he goes up to the lady, he encounters her rude personality,
and is discouraged from buying Mangan's sister a gift.
4. Falling action:
The falling action occurs when the narrator lingers at the stall, though he
knows that his stay is useless.
5. Resolution:
- The market begins to close and as the narrator stands in the dark,
he realizes he has foolishly allowed himself to be motivated by
vanity.
- This epiphany fills him with “anguish and anger.”

IV. CHARACTER

The boy, whose name was never exposed, lives with his aunt and uncle in North
Richmond Street and was described as “being blind, was a quiet street except at the
hour when the Christian Brothers' School set the boys free.”

The narrator reveals that he’s in love with Mangan’s sister, which turns out to be his
best friend’s sister.

He is the protagonist because he is the central character of the story.

Personality Traits

Idealism and Romantic

· The protagonist's idealism is most vividly displayed in his romanticized view of
Mangan's sister.

· He sees her not as a real person but as an idealized object of desire, emblematic
of all beauty and purity in the world.

· This is evident in passages where he describes his feelings for her in almost
mystical terms, likening her image to that of a saint in a "chalice" protecting him from
the mundane and sordid realities of life.

· The narrator also experiences his crush in religious terms, stating his love for her
to himself as a kind of prayer:

"Her name sprang to my lips at moments in strange prayers and praises which I did
not understand."

Naivety

· The boy's naivety is clear when he sets out for Araby with little money and vague
expectations, believing that this adventure will somehow elevate him in the eyes of
Mangan's sister and fulfill his romantic ideals.

`If I go,' I said, `I will bring you something.'

Reflective

· This trait is most poignantly showcased at the story's end, as he stands in the
bazaar, realizing the futility of his quest. His reflection in the mirror, recognizing the
disparity between his dreams and reality.

· He sees himself as a "creature driven and derided by vanity".

Motivation

Driven by a Crush

· From the outset, Joyce illustrates how the boy's world revolves around this girl,
despite never speaking to her. He waits for her to appear each morning, follows her (at
a distance) to school, and even imagines conversations between them. This is evident
in passages such as:

· The boy notes every detail about the girl, from the way she moves to the sound
of her voice. His infatuation is such that he confesses, "Her image accompanied me
even in places the most hostile to romance."
· The boy idolizes the girl to the point of worship. He carries groceries for his aunt
while imagining that he bears his chalice safely through a throng of foes, highlighting
how he elevates mundane tasks into quests for her sake.

· The climax of his motivation comes when he overhears her expressing a wish to
go to Araby, a bazaar. When she reveals she cannot attend, he impulsively promises to
go and bring her something, turning this task into a sacred quest fueled by his desire to
win her affection.

Seeking Escape

· Parallel to his romantic motivations, the boy is also driven by a deep desire to
escape the drabness and monotony of his daily life. Joyce paints Dublin as a place of
physical and spiritual paralysis, a theme pervasive throughout "Dubliners."

· For the boy, Araby represents not just an opportunity to express his feelings for
Mangan's sister but also a chance to break away from the confines of his suffocating
environment.

· The bazaar is depicted through the boy's imagination as a place of mystical

treasures and exotic possibilities, starkly contrasting with the grey backdrop of
Dublin.

· His longing for Araby is tied to his yearning for something beyond the ordinary,
something that breaks the monotony of his life.

Development

Journey of Self-discovery

· The journey of self-discovery for the protagonist begins with his romantic
fixation on Mangan's sister.

· This infatuation drives him to daydream and find meaning in the mundane
aspects of his life.

· For example, the boy waits for glimpses of her in the morning, and her presence
transforms the dreary setting of North Richmond Street into a place of hope and
beauty. His obsession becomes a catalyst for his journey, pushing him to venture
beyond the confines of his neighborhood and his comfort zone.

Moment of Epiphany
· The climax of the boy's journey and the crux of his self-discovery occur at the
bazaar, in a moment laden with disillusionment and realization.

· Standing in the darkening hall, the protagonist understands that his quest, his
feelings for Mangan's sister, and even his self-imposed mission are based on illusions.
The bazaar, rather than being an exotic locale of possible dreams fulfilled, is just a
commercial space, closing down, indifferent to his aspirations. The lights go out,
both literally and metaphorically, as he experiences his moment of epiphany:

"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 boy in "Araby" is depicted as a complex character with a range of personality

traits, navigating the complexities of adolescence and love with sensitivity, passion,
and impatience.

- Alertness: The boy demonstrates his alertness by noticing details about the
former priest who lived in his house and the belongings left behind. He is also
keenly aware of his surroundings, such as the rainy evening in the back-
drawing room.

- Passion: The boy's intense passion is evident in his infatuation with Mangan's
sister. Despite barely knowing her, he becomes obsessed with her, even
describing himself as somewhat of a stalker. His emotions consume every
moment of his life.

- Sensitiveness: The boy's sensitivity is deep and profound, as he experiences

intense emotions for Mangan's sister. He describes his admiration for her with
tears in his eyes and a flood of emotions in his heart. His sensitivity allows him
to feel deeply and intensely.

- Impatience: The boy's impatience is apparent as he eagerly anticipates going to

the bazaar, Araby, to bring a gift for Mangan's sister. He becomes frustrated
when delayed by his uncle's tardiness, and his impatience grows as he fears the
bazaar might close before he arrives.

- Emotional Growth: The boy experiences emotional growth throughout the

story, culminating in an epiphany at the end. He realizes the superficiality of
 his infatuation and understands that he allowed his feelings to get carried away.
This realization brings him both disappointment and anger at himself.

Mangan’s sister
- Maturity and Influence on the Narrator: She takes the initiative in
conversations with the boy, displaying an openness and willingness to engage
with him. It was for her encouragement that the boy decided to go to Araby and
bring a gift for her from there.

- Religious Commitment:The girl's decision not to attend the bazaar due to her
retreat at the convent highlights her sense of responsibility and maturity.
Despite her interest in the event, she prioritizes her commitment to her
religious obligations.

Other characters:

● Mangan
Narrator' s friend
Playful
Because of Mangan, the narrator is able to see
Mangan’s sister.
● Mangan’s sister
Responsible, mature
Representation of the church
She would not go to the bazaar because she had a retreat at the convent.
She belongs to a convent and takes interest in the Araby bazaar, which is
what sparks the narrator’s interest in it.
● The uncle: He is an alcoholic person, irresponsible, and always doesn't
remember anything (he forgets about the boy's wanting to go to Bazaar)
and he even ignores him when he is reminding him of the bazaar. He is a
symbol of England's rule over Ireland (Ireland does not have control, like
the narrator)
→ Static and flat character.
● The aunt: she is a calm, loving, thoughtful woman who is the boy's
mother figure. Unlike the uncle, she cares for him which is shown in the
detail that she remembers the narrator wanting to go to the bazaar. In
addition, she is a representation of the members of the church. She seems
 not to be concerned, she is happy with the way things are and does not
want or see ways to change.
→ Static and flat character.

V. POINT OF VIEW
Using the first-person point of view to tell the story. The narrator is a young Irish
boy. The story revolves around his crush on his friend’s older sister and his
disillusionment as he seeks gifts for her in the Araby market. The narrator, as
well as the boy, attended events in the story. He is not only the main character in
the ARABY but he also describes other characters, and places and analyses
details of the story by providing readers with characters’ backgrounds and giving
comments for them. Using this point of view helps readers be able to immerse
themselves in the story to have a clear understanding of its plot. This also allows
readers to closely follow the narrator’s internal journey and understand his
experiences and emotions.

VI. THEME

Alienation and loneliness as universal experiences that can profoundly impact an

individual's sense of identity and purpose
The narrator is isolated.
The story started with the boy's description of his neighborhood. He is frustrated with
his surroundings: the place he lives.
The protagonist experiences a sense of detachment from his surroundings, feeling
isolated both within his own family and in the larger community. He describes his home
as a place of "darkness" and "silence," highlighting the emotional distance he feels from
his family members.
He is not happy except for one thing. Mangan's sister. The only thing that makes his life
livelier is his thoughts and his romantic imagination about spending time with her.
However, the protagonist's infatuation with Mangan's sister deepens his sense of
alienation. He romanticizes her, projecting his desires onto her without truly
understanding her as a person. This unrequited love intensifies his feelings of loneliness,
as he navigates the complexities of adolescence without anyone to confide in or share
his experiences with.
Frustration also by how the boy had a crush towards Mangan's sister but he had no
chance of showing it to her. The moment the girl said he couldn't go to the bazaar, he
told her that he will buy something for her if he goes to the bazaar. He is overwhelmed
with the idea of giving her something nice from 'Araby'. He waited for all day before
he could finally go to the bazaar. He was frustrated that his uncle was late and he had
forgotten about him wanted to go to the bazaar.
"He asked me where I was going and, when I had told him a second time, he asked me
did I know The Arab's Farewell to his Steed." (line 129)
He arrived too late where most of the stalls had closed and he in the end couldn't buy
anything for Mangan's sister for that he arrived late and also he doesn't even have
enough money to do so.
"gazing up into the darkness I saw myself as a creature driven and derided by vanity;
and my eyes burned with anguish and anger" (last line)

Genuine emotional connections always trump materialistic gestures and

unrealistic fantasies (The Frustration and Vanity of Love)
-The frustration and vanity of love are prominent themes that underscore the
protagonist's disillusionment and the harsh realities of romantic idealism.
-Narrator → indirectly leams an important lesson about love and how it is exploited
in the real world for the benefit of consumerism
-Human beings believe that through material things they will win the love of someone
they desire, when in reality, love never works this way. Tedious events that delay the
narrator's trip indicate that no room exists for love in the daily lives of Dubliners.
-The frustration of love is evident in the protagonist's infatuation with Mangan's sister.
He becomes consumed by his romantic fantasies, believing that by attending the bazaar
and purchasing a gift for her, he can win her affection and fulfill his longing for
connection. However, his journey to the bazaar is fraught with obstacles and
disappointments, ultimately leading to a profound sense of frustration as he realizes the
futility of his efforts.
-When the narrator leaves Araby, he looks up into the darkness of the nearly empty hall
and says." I saw myself as a creature driven and derided by vanity”
-He has failed in his quest to win the affection of Mangan's sister by bringing her a
special gift -Realized that the romance and enchantment of Araby has lived only in his
mind + Feels foolish and disappointed to the point of despair.
-The reality of his drab life has destroyed his romantic illusions. He blames himself for
ever having believed that he could find love, beauty, and enchantment.
→ The vanity of love is portrayed through the superficiality and materialism
associated with the protagonist's romantic pursuit. He views Mangan's sister as an
object of desire, projecting his own fantasies and desires onto her without truly
understanding or appreciating her as a person. (he seeks to impress her with material
possessions rather than genuine emotional connection)
→ His disillusionment serves as a poignant reminder of the fleeting nature of love
and the dangers of placing unrealistic expectations on others.

The strong influence of the Catholic Church (God and Religion)

James Joyce uses religious references throughout the story
Mangan's sister as sees as the Virgin Mary
"I recognised a silence like that which pervades a church after a service"
“I saw myself as a creature driven and derided by vanity”
- Calling himself "a creature" indicates that he does not see himself as an independent
and intelligent person. but one whose pride, conceit, and self-absorption have brought
him to this crushing defeat -Thinks of vanity as a deadly sin --> suggests the strong
influence of the Catholic Church in his life

VII. FIGURATIVE LANGUAGE

1. Metaphor:
"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." - The word "Araby" is
compared to a spell or enchantment that captivates the boy's soul, highlighting the allure
and exoticism associated with the bazaar.
2. Simile:
"Her image accompanied me even in places the most hostile to romance." - The girl's
image is compared to a companion that stays with the boy even in situations where
romance seems unlikely or out of place, emphasizing the depth of his infatuation.
3. Personification:
"The houses gazed at one another with brown imperturbable faces." - The houses are
given human-like qualities, such as the ability to gaze and have expressions, which adds
to the sense of the neighborhood as a living, breathing entity.
4. Hyperbole:
"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." - The boy
exaggerates his impatience with mundane responsibilities, emphasizing the intensity of
his desire to reach Araby.

5. Alliteration:

The repetition of consonant sounds in phrases like "old violent man" and "the cold, gray,
drizzling day" adds a musical quality to the narrative, enhancing the mood and
emphasizing the emotions conveyed by the text.

VIII. STYLE AND TONE

"Araby" by James Joyce, a short story from his collection Dubliners, employs a
distinctive style and tone that contribute significantly to its thematic and emotional
depth. Joyce's style in "Araby" is marked by a meticulous attention to detail, an
evocative use of language, and a nuanced exploration of the inner life of the narrator.
Here's a closer look at both aspects:

Style

● Detailed Descriptive Language: Joyce uses detailed and sensory language to

create a vivid picture of the Dublin setting, capturing the mundane reality of the
narrator's world and contrasting it with the exotic allure of the Araby bazaar. This
use of detail supports the theme of disillusionment, as the rich descriptions build
up the narrator's expectations only to have them deflated.
● Symbolism and Imagery: The story is rich in symbolism and imagery,
particularly in its depiction of light and darkness. The darkness that pervades the
story symbolizes the narrator's confusion and disillusionment, while moments of
light and vision represent clarity and moments of epiphany.

Tone

● Romantic and Idealistic: Initially, the tone is romantic and idealistic, reflecting
the narrator's infatuation both with his friend's sister and with the idea of the
Araby bazaar as a place of Eastern enchantment and possibility. This tone
captures the intensity of youthful longing and idealism.
● Disillusionment and Realization: As the story progresses, the tone shifts to one
of disillusionment and realization. The narrator's experiences at the Araby
bazaar, culminating in his epiphany in the final lines, are conveyed with a tone
of sadness and disillusionment, underscoring the story's themes of lost innocence
and the harsh realities of life.

The interplay between the evocative style and the shifting tone in "Araby" underscores
Joyce's exploration of themes such as the loss of innocence, the clash between reality
and desire, and the moment of epiphany. This story, like others in Dubliners, captures
the complexities of human experience through its careful crafting of style and tone.

IX. SYMBOL
In James Joyce's short story "Araby," symbolism is a key literary device that enriches
the narrative, adding depth and meaning to the story beyond its surface events. The story
is part of Joyce's collection, "Dubliners," which portrays the mundane and often grim
lives of the middle-class inhabitants of Dublin in the early 20th century. "Araby" is a
coming-of-age story about a young boy who is infatuated with his friend's older sister
and decides to buy her a gift from the Araby bazaar. The journey to Araby and the
bazaar itself are laden with symbolic elements that contribute to the story's themes of
disillusionment, the loss of innocence, and the realization of the harsh realities of life.
Here are some key symbols in "Araby":

1. **The Bazaar (Araby)**: The bazaar symbolizes the exotic and romantic aspirations
of the young protagonist. It represents the world of adult desires and the mysteries of
the East, contrasting sharply with the dull and monotonous life in Dublin. However, the
bazaar also symbolizes disillusionment when the boy arrives too late, finding most stalls
closed and the bazaar far less enchanting than he imagined.

2. **Light and Darkness**: Throughout the story, Joyce uses light and darkness to
symbolize knowledge, enlightenment, and the lack thereof. The story begins in the dark
setting of North Richmond Street, reflecting the monotony and bleakness of the
protagonist's life. The boy's infatuation is described in moments of light and vision,
suggesting enlightenment and the allure of new experiences. However, the final scene
in the darkened bazaar symbolizes the protagonist's ultimate disillusionment and the
extinguishing of his romantic aspirations.

3. **The Dead Priest**: The dead priest, who formerly lived in the boy's house,
symbolizes the paralysis and decay of the society Joyce portrays in "Dubliners." His
belongings, including the books and the bicycle pump, suggest a life of unfulfilled
desires and spiritual emptiness, mirroring the protagonist's disillusionment.

4. **The House**: The boy's house, situated on a street that is "blind" and culminates
in a "dead end," symbolizes the stagnation and lack of progress in the lives of Dublin's
inhabitants. The house and the street reflect the entrapment and the constraints of the
society the boy lives in.

5. **The Englishman at the Bazaar**: The Englishman the boy talks to at the bazaar
symbolizes the colonial presence in Ireland and the commercialization and
superficiality of cultural exchanges. His dismissive attitude emphasizes the boy's
disillusionment and the loss of innocence.
6. **The Mention of Mangan's Sister**: Mangan's sister, though unnamed and barely
appearing in the story, is a central symbol. She represents the idealized vision of love
and desire from the boy's perspective. Her presence prompts the boy's quest,
symbolizing the driving force of youthful aspirations and dreams.

These symbols work together to paint a portrait of the protagonist's journey from
innocence to experience, reflecting the broader themes of Joyce's work concerning the
complexities of self-discovery and the confrontation with reality. Joyce's use of
symbolism in "Araby" invites readers to look beyond the surface level of his narrative,
exploring the deeper emotional and societal undercurrents of early 20th century Dublin.

Tóm tắt symbol

1. **The Bazaar (Araby)**: Symbolizes exotic aspirations and the adult world, but
ultimately disillusionment as it doesn’t meet the protagonist’s romantic expectations.

2. **Light and Darkness**: Represents knowledge and enlightenment versus ignorance

and disillusionment. Light is associated with new experiences and hope; darkness with
the protagonist’s ultimate disappointment.

3. **The Dead Priest**: Reflects societal paralysis and spiritual emptiness, mirroring
the protagonist’s disillusionment.

4. **The House**: Symbolizes stagnation and societal constraints, with its location on
a "blind" street ending in a "dead end."

5. **The Englishman at the Bazaar**: Represents colonial presence and the

superficiality of cultural exchanges, highlighting the protagonist's loss of innocence.

6. **Mangan's Sister**: Symbolizes idealized love and the driving force of youthful
aspirations, leading to the protagonist's quest.