Araby
by James Joyce
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1 Every morning I lay on the floor in the front parlor watching her door. The blind was pulled down to within an inch of the sash so that 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 as this happened morning 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.
2 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 laborers, the shrill litanies of shop-boys who stood on guard by the barrels of pigs' cheeks, the nasal chanting of street-singers. 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.
3 One evening I went into the back drawing-room. 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 the earth, the fine incessant needles of water playing in the sodden beds. Some distant lamp or lighted window gleamed below 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 to slip from them, I pressed the palms of my hands together until they trembled, murmuring: `O love! O love!' many times.
4 At last she spoke to me. When she addressed the first words to me I 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 splendid bazaar; she said she would love to go.
5 -And why can't you? I asked.
6 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. 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.
7 -It's well for you, she said.
8 -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 Araby were called to me through the silence in which my soul luxuriated. I asked for leave to go to the bazaar on Saturday night. My aunt was surprised. 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:
11 -Yes, boy, I know.
12 As he was in the hall I could not go into the front parlor and lie at the window. I felt the house in bad humor and walked slowly towards the school. The air was pitilessly raw and already my heart had misgivings.
13 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 its ticking 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.
14 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 she couldn'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:
15 -I'm afraid you may put off your bazaar for this night of Our Lord.
16 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.
17 -The people are in bed and after their first sleep now, he said.
18 I did not smile. My aunt said to him energetically:
19 -Can't you give him the money and let him go? You've kept him late enough as it is.
20 My uncle said he was very sorry he had forgotten. He said he believed in the old saying: All work and no play make Jack a dull boy. He asked me where I was going, and I told him a second time.
21 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 the train 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.
22 I could not find any sixpenny entrance and, fearing that the bazaar would be closed, I passed in quickly through a turnstile, handing a 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 silence like that which pervades a church after a service. I walked into the center of the bazaar timidly. A few people were gathered about the stalls which were still open.
23 Remembering with difficulty why I had come, I went over to one of 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 to their conversation.
24 Observing me, the young lady came over and asked me did I wish to 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:
25 -No, thank you.
26 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.
27 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 of the hall was now completely dark.
28 Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger.
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My notes about what I am reading
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Eveline
by James Joyce
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1 She sat at the window watching the evening invade the avenue. Her head was leaned against the window curtains, and in her nostrils was the odor of dusty cretonne. She was tired.
2 Few people passed. The man out of the last house passed on his way home; she heard his footsteps clacking along the concrete pavement and afterwards crunching on the cinder path before the new red houses. One time there used to be a field there in which they used to play every evening with other people's children. That was a long time ago; she and her brothers and sisters were all grown up; her mother was dead. Everything changes. Now she was going to go away like the others, to leave her home.
3 Home! She looked round the room, reviewing all its familiar objects which she had dusted once a week for so many years, wondering where on earth all the dust came from. Perhaps she would never see again those familiar objects from which she had never dreamed of being divided.
4 She had consented to go away, to leave her home. Was that wise? She tried to weigh each side of the question. In her home anyway she had shelter and food; she had those whom she had known all her life about her. Of course she had to work hard, both in the house and at business. What would they say of her in the Stores when they found out that she had run away with a fellow? Say she was a fool, perhaps; and her place would be filled up by advertisement. Miss Gavan would be glad. She had always had an edge on her, especially whenever there were people listening.
5 But in her new home, in a distant unknown country, it would not be like that. Then she would be married - she, Eveline. People would treat her with respect then. She would not be treated as her mother had been. Even now, though she was over nineteen, she sometimes felt herself in danger of her father's violence. She knew it was that that had given her the Palpitations. It was hard work - a hard life - but now that she was about to leave it she did not find it a wholly undesirable life.
6 She was about to explore another life with Frank. Frank was very kind, manly, open hearted. She was to go away with him by the night-boat to be his wife and to live with him in Buenos Aires, where he had a home waiting for her. How well she remembered the first time she had seen him; he was lodging in a house on the main road where she used to visit. It seemed a few weeks ago. He was standing at the gate, his peaked cap pushed back on his head and his hair tumbled forward over a face of bronze. Then they had come to know each other. He used to meet her outside the Stores every evening and see her home. He took her to see The Bohemian Girl, and she felt elated as she sat in an unaccustomed part of the theatre with him. He was awfully fond of music and sang a little. People knew that they were courting, and, when he sang about the lass that loves a sailor, she always felt pleasantly confused. First of all it had been an excitement for her to have a fellow, and then she had begun to like him. He had tales of distant countries. He had started as a deck boy at a pound a month on a ship of the Allan Line going out to Canada. He told her the names of the ships he had been on and the names of the different services. He had sailed through the Straits of Magellan, and he told her stories of the terrible Patagonians. He had fallen on his feet in Buenos Aires, he said, and had come over to the old country just for a holiday. Of course, her father had found out the affair and had forbidden her to have anything to say to him.
7 -I know these sailor chaps, he said.
8 One day he had quarreled with Frank, and after that she had to meet her lover secretly.
9 The evening deepened in the avenue. The white of two letters in her lap grew indistinct. One was to Harry; the other was to her father. Ernest had been her favorite, but she liked Harry too. Her father was becoming old lately, she noticed; he would miss her. Sometimes he could be very nice. Not long before, when she had been laid up for a day, he had read her out a ghost story and made toast for her at the fire. Another day, when their mother was alive, they had all gone for a picnic to the Hill of Howth. She remembered her father putting on her mother's bonnet to make the children laugh.
10 Her time was running out, but she continued to sit by the window, leaning her head against the window curtain, inhaling the odor of dusty cretonne. Down far in the avenue she could hear a street organ playing. She knew the air. Strange that it should come that very night to remind her of the promise to her mother, her promise to keep the home together as long as she could. She remembered the last night of her mother's illness; she was again in the close, dark room at the other side of the hall and outside she heard a melancholy air of Italy. The organ-player had been ordered to go away and given sixpence.
11 As she mused the pitiful vision of her mother's life laid its spell on the very quick of her being - that life of commonplace sacrifices closing in final craziness. She trembled as she heard again her mother's voice.
12 She stood up in a sudden impulse of terror. Escape! She must escape! Frank would save her. He would give her life, perhaps love, too. But she wanted to live. Why should she be unhappy? She had a right to happiness. Frank would take her in his arms, fold her in his arms. He would save her.
* * *
13 She stood among the swaying crowd in the station at the North Wall. He held her hand, and she knew that he was speaking to her, saying something about the passage over and over again. The station was full of soldiers with brown baggage. Through the wide doors of the sheds she caught a glimpse of the black mass of the boat, lying in beside the quay wall, with illumined portholes. She answered nothing. She felt her cheek pale and cold and, out of a maze of distress, she prayed to God to direct her, to show her what her duty was. The boat blew a long mournful whistle into the mist. If she went, tomorrow she would be on the sea with Frank, steaming towards Buenos Aires. Their passage had been booked. Could she still draw back after all he had done for her? Her distress awoke nausea in her body, and she kept moving her lips in silent fervent prayer.
14 A bell clanged upon her heart. She felt him seize her hand:
15 -Come!
16 All the seas of the world tumbled about her heart. He was drawing her into them: he would drown her. She gripped with both hands at the iron railing.
17 -Come!
18 No! No! No! It was impossible. Her hands clutched the iron in frenzy. Amid the seas she sent a cry of anguish.
19 -Eveline! Evvy!
20 He rushed beyond the barrier and called to her to follow. He was shouted at to go on, but he still called to her. She set her white face to him, passive, like a helpless animal. Her eyes gave him no sign of love or farewell or recognition.
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My notes about what I am reading
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Excerpts from "Araby" and "Eveline," from Dubliners by James Joyce.
Automat (1927) by Edward Hopper, 60 x 80 cm (23.6 x 31.5 in)
Use "Araby" (pp. 1-5) to answer questions 1-10.
1 The imagery in the sentence "We walked through...street-singers" (
paragraph 2) is related to the sense of -
A sight
B sound
C touch
D smell
2 The parenthetical comment in
paragraph 2 shows the narrator's -
F happiness
G anger
H confusion
J passion
3 Araby is -
A a marketplace
B the object of the narrator's affection
C a street
D a culture group
4To indicate dialogue, James Joyce uses-
F dashes
G quotation marks
H single quotation marks
J no punctuation
A tolerant
B impatient
C obedient
D melancholic
F understandingly
G angrily
H apologetically
J brusquely
A the lamplight
B the railings
C the girl
D the narrator's grandfather
8 Why does the narrator linger around a stall at the end of the story?
F He is waiting for the bazaar to close.
G He pretends he came with true intentions of buying.
H He is scared of the woman.
J He is waiting for the girl.
9What can you infer about the narrator's age?
A He is a young boy.
B He is in his late teens.
C He is in his twenties.
D He is in his thirties.
10 Why is the last line significant?
F The narrator purely hates the girl.
G The narrator has run away.
H The narrator's admiration is replaced by enmity.
J The narrator has intentions of harming his grandfather.
Use "Eveline" (pp. 6-9) to answer questions 11-20.
11 What is Eveline's attitude toward leaving home in
paragraph 3?
A reluctance
B excitement
C fear
D eagerness
F the omniscient narrator
G Eveline
H Eveline's mother
J Evenline's father
13 In context, "the Palpitations" (
paragraph 5) is most clearly
A a traditional going-away present
B a vigorous beating
C a feeling of excitement
D a health-related problem
14 From Eveline's feelings at the theatre (
paragraph 6), the reader can infer that -
F she did not enjoy the play
G her family is poor
H Frank has malicious intentions
J she is utterly in love with Frank
15 The Patagonians (
paragraph 6), the reader can infer, live in -
A Ireland
B the Pacific Ocean
C South America
D Central America
F friends of Eveline's father
G former boyfriends of Eveline
H Eveline's brothers
J Frank's colleagues
A the window curtains
B the window panes
C the air outdoors
D the food indoors
18 What makes Eveline think of her mother's death (
paragraph 10)?
F the air
G the darkness of night
H the passage of time
J the playing of the organ
A Frank
B the porter
C Eveline's brother, Ernest
D Eveline's images of her dead mother
20 The images of the sea most clearly add to the effect of which quote?
Use "Araby" and "Eveline" to answer questions 21 and 22.
21The MOST IMPORTANT similarity between Eveline and the narrator of "Araby" is that they both -
A have dead parents
B come from opulent families
C are jaded in romantic endeavors
D have about the same age
22 The MOST IMPORTANT difference between Eveline and the narrator of "Araby" is that they -
F have different feelings toward their parents
G have very different economic backgrounds
H have completely different epiphanies about their romantic endeavors
J are different in age
Use the visual representation on page 10 to answer questions 23-26.
23 The girl of this painting is in -
A a department store
B a café
C a hospital
D a library
24 The tone that the painter exhibits is -
F elated
G furious
H apathetic
J somber
25 The mood that the painter evokes in the viewer is -
A condescending
B sympathetic
C nostalgic
D indignant
26 The girl is probably waiting for -
F a date
G a refill
H important news
J nothing
OPEN-ENDED ITEMS
27 How does the narrator of "Araby" change his views toward the object of his affection as the story progresses? Support your answer with evidence from the first story.
28 Why does Eveline change her mind about going to Buenos Aires with Frank? Support your answer with evidence from the second story.
29 James Joyce always let the characters in the short stories of Dubliners reach sudden realizations called epiphanies. Compare and contrast the epiphanies of Eveline and the narrator of "Araby." Support your answer with evidence from both selections.
WRITTEN COMPOSITION
30Write an essay explaining an epiphany that you have had and its importance to your views.