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Home › British Literature › Analysis of James Joyce’s Araby

Analysis of James Joyce’s Araby

By NASRULLAH MAMBROL on May 6, 2022

One of James Joyce’s most frequently anthologized works, “Araby” is the third in the trilogy of stories in his 1914 collection, Dubliners , which Joyce described in a letter to the publisher Grant Richards as “stories of my childhood.” Like its predecessors, “The Sisters” and “An Encounter,” “Araby” tells the story of an unfortunate fall from innocence, as a young boy comes to recognize the sorry state of the world in which he lives. On the whole, Joyce’s home city is not kindly portrayed in these stories; he set out in Dubliners to produce what he called “a moral history of my country,” with a particular focus on the supposed “centre of paralysis,” Dublin itself. “Araby” and the other stories of Dublin’s youth are tales of initiation into this gray world.

As is the case with most of the stories in Dubliners, “Araby” takes its inspiration from remembered fragments of the author’s own childhood, including the Joyce family’s sometime residence on Dublin’s North Richmond Street, the Christian Brothers’ School that Joyce and some of his siblings briefly attended, and the “Araby” bazaar that passed through the city in May, 1894, when Joyce would have been 12 years old. Yet although Joyce’s life is deeply woven into his art, neither “Araby” nor any of his other works are merely autobiographical. These remembered elements come together in a story of a young boy in the intense grip of his first love, who imagines himself dispatched on a romantic quest by his beloved, only to realize in the end that his romantic notions were the naive fantasies of a child.

The dismal state of Joyce’s Dublin is suggested in part by the gloomy atmosphere of the story. We are twice reminded in the opening moments that North Richmond Street is “blind.” At its dead end is an empty house, and along one side is a school whose description likens it to a prison. The “brown imperturbable faces” of the other houses suggest a neighborhood of pious moralists keeping each other under constant surveillance. The young boy’s own home is redolent of a past that persists in a stale and unpleasant form: The “air, musty from having been long enclosed, hung in all the rooms.” The house’s former tenant, a priest who passed away there, has left numerous uninspiring reminders of himself, from the rusty bicycle pump in the garden to the “old useless papers” scattered about the place. The narrator hints that the old man was at home among the street’s “brown imperturbable faces” when he tells us that the supposedly charitable old man left all of his money to unspecified “institutions” and only the furniture of his house to his sister.

“Araby” is set in the short days of winter, whose cold and dark further underscore its gloomy atmosphere. Throughout, light contends weakly with an encroaching darkness. The boys’ evening play takes place among houses “grown sombre” and beneath a violet sky toward which “the lamps of the street lifted their feeble lanterns.” As the boy arrives at the nearly empty bazaar in the story’s closing moments, the lights are turned off in the gallery of the hall, leaving him “gazing up into the darkness.” Amid the persistent gloom, however, stands the radiant object of the boy’s devotion, Mangan’s sister, “her figure defined by the light.”

The young boy’s ability to see dazzling light in the midst of overwhelming darkness is a function of the romantic idealism that is gradually stripped from him by his decidedly unromantic world. Even the scattered leavings of the dead priest, which include Sir Walter Scott’s historical romance The Abbot , together with the memoirs of the adventurous criminal-turned-detective, Eug ne Fran ois Vidocq, afford him fuel for his romantic imagination. Until the story reaches its sad conclusion, the boy is able to keep the darkness at bay, running happily through the darkened street with his young friends and transforming the clamor of the market on a Saturday evening into the backdrop for his imagined knight’s quest. There he imagines “that I bore my chalice safely through a throng of foes”; however, the boy’s adventure-story version of his world is challenged by the songs of the street singers, with their allusions to O’Donovan Rossa and other reminders of “troubles in our native land.” The boy imagines his adventurous life despite the political troubles whose effects are felt and sung all around him. For a while, he imagines himself able to transcend such concerns and inhabit a thrilling realm of heroism and perfect love.

However, in the end his world will not sustain these happy illusions. The name of the Araby bazaar promises an Eastern exoticism entirely absent from the tawdry affair he finally experiences. Having imagined himself a questing knight, the boy encounters in Araby his Chapel Perilous, a defiled temple where “two men were counting money on a salver,” and his heroic selfimage crumbles during his encounter with the young woman at the stall he visits, who clearly regards him as a young nuisance. He witnesses in the flirtatious but shallow exchange between the young woman and the two gentleman a version of love considerably less operatic than the devotion that brought him to Araby, and he comes to see himself as a much smaller being than the gallant hero who undertook a sacred quest for his beloved, regarding himself in the final moment “as a creature driven and derided by vanity.”

In recounting the boy’s journey from passionate innocence to jaded cynicism, Joyce employs a narrative technique that is subtle but effective. The story is told from a first-person retrospective point of view that enables us to perceive two distinct but intimately related voices in the narration: that of the devoted young boy able to imagine himself a knight-errant “in places the most hostile to romance” and that of the subdued older man, recalling his younger self with an ironic detachment born of disappointment. The narration brings us inside the mind of the youthful lover, perplexed and overwhelmed by emotions that he can interpret only in the languages he knows: that of religious devotion and the stories of adventure and romance. Throughout, though, we are reminded that the young boy’s “confused adoration” is being recalled by his older and sadly unconfused self. The gloomy opening description of North Richmond Street, with its houses “conscious of decent lives within them,” gazing at each other “with brown imperturbable faces,” clearly reflects the perspective of the older man rather than that of the boy who careened through the same street in play. And the explicit judgment in the narrator’s recollection that “her name was like a summons to all my foolish blood ” (emphasis mine) reflects an ironic self-perception that the young boy does not at that moment have. These two voices eventually converge in “Araby” ’s closing paragraph, when the narrator declares, “I saw myself as a creature driven and derided by vanity,” revealing the origin of that ironic perspective in the moment of his sad fall from romance to cynicism.

BIBLIOGRAPHY Ellmann, Richard. James Joyce. 1959. Revised edition, Oxford: Oxford University Press, 1982. Gifford, Don. Joyce Annotated: Notes for Dubliners and A Portrait of the Artist as a Young Man. Berkeley: University of California Press, 1982. Joyce, James. Dubliners: Text, Criticism, and Notes. Edited by Robert Scholes and A. Walton Litz. New York: Penguin USA, 1996.

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James Joyce’s “Araby” Through the Spiritual Lens Essay

Introduction, works cited.

The short story called “Araby” by James Joyce presents a multifaceted story that is permeated with details that enhance the events described by the author. The story itself represents the perspective of the author on several subjects at once, appearing to reach for the description of human nature itself. However, one of the most prominent subjects in this work is Catholicism. The topic of religion is used in Joyce’s work to reflect the duality of humans, as the narrator, in his most agitated state, is torn in two from the inner conflict. This paper will review the short story “Araby” by James Joyce through the spiritual lens with a side of the gender lens.

The narrator is associated with religion from the very beginning of the story. Joyce clearly establishes that the role of Catholicism in the life of the narrator is immense, as the boy visits the Christian school and lives in a house where an old priest has died (Joyce 1). However, the second paragraph gives a hint on the connotation of this setting when Joyce writes that The Abbot by W. Scott was among “old useless papers” (1). This careless attitude does not depict malice but a genuine lack of interest.

The mundane part of the story remains largely permeated with indirect yet critical religion-related remarks from the boy. For example, Joyce uses the following epithet to introduce the girl as “her figure defined by the light” (1). While this was so, this description reflects the very nature of the narrator’s feelings. His manner of description implies that he sees Mangan’s sister as a divine creature at a subconscious level. Nonetheless, the boy seems not to register the trail of his imagination.

Being in a vulnerable state from the feverish love he experienced, the narrator has involuntarily drawn a parallel between his passion and the Holy Grail. James shows that the boy compared the length he was ready to go for Mangan’s sister as if he “bore [his] chalice safely through a throng of foes” (2). This quote bears the utmost importance to the story and the chosen critical approach. It signals that the narrator holds religious ideas in the highest regard. At the same time, it links the imagery presented by the author with Catholicism, inviting a reader to think about something higher than simple beauty.

Alas, this bliss that the narrator experiences does not continue for long, as the story reveals that his feelings might be met with a positive response. This fact drives the narrator into an erratic state, in which he consciously evokes his spiritual side to aid him in calming his thoughts. Religion also plays the role of a restraint that is put on the narrator. Joyce draws a picture of a deeply confused young man who “pressed the palms of [his] hands together until they trembled” in an attempt to cease the stream of involuntary blasphemies that he thought of (2). No attempts to calm himself through the prayer have helped the narrator. In religious practices, it is often prohibited to compare anything earthly with the divine, yet the narrator is unable to help himself, even if only for a moment.

It is vital to note that religion permeates the entire story, just as it did with the life of the author. Joyce was raised in a Catholic family, and his beliefs are often reflected in his works (Stein 235). In many other stories, such as “Dubliners,” Joyce draws Christ as the source of salvation (Stein 235). It is not clear, but it is possible that this work represents a turning point in the author’s spiritual values since “Araby” can be read as a criticism of religion.

In conclusion, this short story by James Joyce is filled with religious concepts and images, yet they do not represent his own views and cause strife. Everything he was taught and many aspects of his life are linked to Catholicism. Strong feelings, such as love, tend to stir the mind of people in a way that makes their thoughts chaotically reach all available connections. As the boy experiences this new feeling, religion, which is often taking on a role of an inner mental barrier, collides with it, making the narrator feverish, unfocused, and erratic.

The spirituality in this short story is more a curse than a blessing. The narrator mentally punishes himself for the perceived blasphemy he committed when he compares the mundane with the divine. However, he is unable to stop himself from thinking in this manner. The narrator’s entire life is surrounded by religion, in both school and his house. It is only natural that his mind falls prey to this permeating ideology. Catholicism commands his way of thought, whether the narrator is a religious person or merely born into such a community. Despite this uncertainty, he is thinking in religious forms, yet more earthly matters drive his actions. He might be thinking of Mangan’s sister as a higher being and imagine Araby as the path to deliverance, yet his motives are driven not by religion but by emotion.

Joyce, J. Araby: Short story . HarperCollins, 2014.

Stein, W. B. “Joyce’s Araby: Paradise lost.” Short Story Criticism , vol. 44, 2001, pp. 235-238.

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Essay Samples on Araby

Comparison of protagonist in “araby” and “cathedral” .

Epiphany refers to the point in a literary text when a character has a sudden realization or insight that affects his or her views in some significant way. In both short stories “Araby” by James Joyce and “Cathedral” by Raymond Carver the narrators both go...

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Personality detection from appearance by humans has long been a topic of interest in the domain of psychology, as it has deep implications in studying personal interaction and first impressions. The vast majority of the investigations in brain science have concentrated on outward appearances as...

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Best topics on Araby

1. Comparison of Protagonist in “Araby” and “Cathedral” 

2. Exploration of Symbolism in Younghood in Joyce’s Araby

3. Blind Devotion in James Joyce’s “Araby”

4. Araby: The Battle of Lust and Family Roots

5. Syntax Mistakes Of Arabs English Learners

6. The Use Of Social Media Among Arab Females

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Epiphany in James Joyce’s Araby

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Araby Essay

James Joyce’s Araby tells the story of a young boy who lives in North Dublin at the beginning of the twentieth century. Araby is the boys’ name for Arbour Hill, a cemetery near his home and one that Mother Francis (the boy’s teacher) claims has “beautiful” trees and flowers. The young unnamed narrator meets Mangan’s sister early in the story and is infatuated with her, but he can’t seem to find a way to talk to her.

The Arbour Hill Martyr’s Festival comes around and Mangan’s sister goes to it; the narrator tries desperately to go as well, but his mother forbids him because it is not a Catholic holiday (he gets sick before she changes her mind). When it finally does come, however, the young boy finds Araby to be disappointing: all of its exotic products are too expensive for him—and then he learns that Mangan’s sister has already left for Araby. Araby turns out not to be as special as everyone said it was.

Araby is a short story by James Joyce. It was published in his book Dubliners and tells the tale of young boy who falls in love with the girl next door, but their encounter is interrupted. Araby can be read as a parable for religious feeling and spiritual transcendence: it begins with the epiphany of a child which reveals to him that life holds infinite possibilities while at the same time possessing certain limits beyond which our wisher cannot pass. Araby takes place within an unnamed city, probably Dublin, during one summer.

The narrator describes himself as being about twelve or thirteen years old when he has an awakening while listening to a melancholy song sung by an Arab street vendor whom he passes on his way to school every day. The song symbolizes a place Araby, which the narrator has never been to but where he nevertheless places his dreams and desires. One evening, the story culminates in a visit to Araby at a bazaar for eastern goods that is held once a year where the narrator glimpses the girl who lives next door from afar. Araby thus becomes a backdrop for their encounter that ends abruptly when she suddenly disappears from view.

Araby begins with an epiphanic moment by young boy about what true love means: The verses sounded sweet to me as I walked along the street, and I wondered why they had so little appeal for others . . . The brief ardour which consumed me as I sat scribbling verse in a secretaire [sic] . . . was roused by certain high notes which made me imagine that I had been the inspirer of unuttered poems in a hearts. Araby, Dubliners Araby is written in third person narrative and begins with the narrator speaking about his discovery of love for his neighbor.

Araby has many themes such as epiphany, mysticism, desire and disappointment. Araby also describes how we search for something we want but will never find it until we stop searching and learn to provide our own satisfaction: I desired Araby untoldly [sic], and the only thing that remotely stirred me to possess it was the fact that my father’s name was Cone . Araby is an unknown place for the character in Araby, but its name Araby sounded so beautiful to him that he would day dream about Araby every time he heard it.

Araby tells of the romantic experiences of a 12-year-old boy, Mangan’s sister, and an unnamed girl who lives near their neighborhood. The writing style is similar to Joycean stream of consciousness writing. One evening at about seven o’clock, the young narrator escapes from his bedroom, where he had been sent as punishment for some misbehavior. He wanders through parts of Dublin until he finds himself outside the house of Mangan’s sister (he is thinking about her).

On this occasion she is not home alone but with a friend—a neighbor though apparently older than both she and the narrator—whom she has invited to tea. The narrator spends some time listening through the window to their conversation, then leaves for home. In many ways Araby is considered a coming of age story. Araby deals with serious issues, such as loss of innocence and growing up in general. Araby also deals with the interactions between people during childhood; however this story does not have any major conflict like most other stories do.

The setting in Araby took place at night when the young protagonist escapes from his bedroom where he had been sent as punishment for misbehavior with Mangan’s sister (he is thinking about her). On this occasion she is not home alone but has invited a neighbor who appears older than both she and the narrator—whom he overhears talking through a window. The Araby short story takes place in Dublin, Ireland and the Araby Festival is discussed throughout the story. This short story deals with serious issues such as loss of innocence and growing up.

Araby also deals with relationships between characters during childhood; however there was no major conflict present in Araby like other stories have. Araby takes place at night when the young protagonist escapes from his bedroom where he had been sent as punishment for misbehavior with Mangan’s sister (he is thinking about her). On this occasion she is not home alone but has invited a neighbor who appears older than both she and the narrator—whom he overhears talking through a window while hiding outside their house.

Araby’s setting takes place in Araby, Dublin, Ireland and Araby is discussed throughout the story. The Araby Festival itself has a significance to the overall plot of Araby by James Joyce. The Araby short story opens with a quote from The Rubaiyat of Omar Khayyam: “Come, fill the Cup, and in the fire of Spring Your Winter-garment of Repentance fling: The Bird of Time has but a little way To fly—and Lo! the Bird is on the Wing. ” The young protagonist listens through Mangan’s sister’s window as she dances around her living room with their neighbor who had earlier visited after being invited for some tea.

The Aravy Festival reference by James Joyce shows that the Araby Festival is taking place soon and it also shows that Araby is a festival not to be missed (or Araby would be incomplete). The Araby Festival has significance because it takes place at the end of Araby and ties up loose ends. The Araby short story closes with the neighbor’s revelation that Mangan’s sister had accepted his proposal of marriage, as well as having proposed earlier himself; thus the Araby Festival references symbolize the neighbor as a suitor for Mangan’s sister.

The Araby short story closes with “Mangan’s sister was dressed in white” which signifies that she is engaged to her suitor. After Araby alludes that they are both engaged then leaves readers with no question about Araby’s ending. Araby by James Joyce is a short story that leaves readers with no question about Araby’s ending without having to be spelled out for it. Araby closes once the Araby Festival reference is made at the end of Araby and makes a direct connection between Araby and the Araby Festival.

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