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Adolescence is one of the single most trying events in life, and some children may have adverse experiences during their childhood that can affect the way they perceive adulthood. James Joyce’s “Araby,” tells the story of a boy during his endeavors into adolescence. Joyce employs particular dark and light imagery to reveal a sad boy’s world through his untrusting eyes. For example, he incorporates light imagery to establish that the boy is in search of an idealized type of love to give his life purpose. Additionally, he uses dark imagery to represent the boy’s perception regarding adulthood, and his reluctance toward his future. Lastly, he integrates dark imagery to show the boy’s loss of innocence while he is attending the bazaar.
The boy has an idealized infatuation with Mangan’s sister, and he believes that she is unlike the other adults because of her virtuous qualities. For example, when Mangan’s sister would call in her brother, the boy would leave his dark shadow in the street and walk toward her house because she is the one person in his life that he has any admiration for and can trust. As the boy walks up the steps, he sees “ [h] er figure defined by the light from the half-opened door” (151). While she is standing in the doorway, the light that surrounds her is in contrast to his dark world. She holds a duel image for the boy. He envisions her as a religious figure, and someone he has affection for. Her “light” casts an image to him as if she were the Virgin Mary. Her radiant presence gives his “dark” life a glimmer of hope. In addition, one dark rainy night Mangan’s sister encounters the boy praying in a room and asks if he is going to the bazaar. As the boy sees her, he describes her by saying, “The light from the lamp . . . caught the white curve of her neck, lit up her hair that rested there and, falling, lit up the hand upon the railing” (15). The light projects a halo image around her head. In the boy’s mind she is both a saint to be worshipped and a woman to be desired. As she bows her head in the direction of the boy, he is stunned by her angelic qualities and impulsively proclaims to her that he will buy her a gift at “Araby.” The boy feels that if he can gain her acceptance, his dreary and dark existence will be forgotten. She becomes an image to him of all that he is searching for and all that he desires.
Joyce also applies dark imagery to point out the boy’s trepidation and his pessimistic attitude relating to his adulthood and future. For instance, “The career of our play brought us through the dark muddy lanes behind the houses where we ran . . . (150). The boy makes a “career” of playing in “the dark muddy lanes” due to his hesitation toward the harsh realities that exist in the real world. In addition, when the boy is playing outside at night and spots his uncle, he would hide in the dark shadows until the uncle was “safely housed.” The boy uses the dark shadows as a sanctuary from the adult world since being called in means another day closer to maturity. Furthermore, the boy has a distrustful outlook regarding his future. The boy says that when he would go marketing with his aunt during the evening, “We walked through the flaring streets, jostled by drunken men and bargaining women . . .” (151). If this is his future, he wants no part of it because the people on the streets would remind him of his dark and desolate home life.
Joyce also uses darkness to signify the boy’s loss of innocence, and his progression toward manhood. While the boy is waiting for permission to go to the bazaar, he looks out his window and sees Mangan’s “dark” house. He sees his beautiful, innocent world of imagination and not the real world of fact. After gaining permission, the boy arrives at the bazaar and, “Nearly all the stalls were closed and the greater part of the hall was in darkness” (154). He finds himself in total distress and despair. The adult world is slowing closing in on him, as darkness slowly envelops him, his quest is starting to become bleak. Moreover, “ [He] heard a voice call . . . that the light was out, [and] [t] he . . . hall was now completely dark” (155). The complete darkness represents the boy’s knowledge that his journey has ended in failure but results in an inner awareness. Now, the boy can see the correlation between the “bargaining girls” and Mangan’s sister. She was just using him in a flirtatious manner to receive a futile present. The boy also realizes that he is not any better than the adults are because his desire for Mangan’s sister was for a “pious purpose.” As the boy looks up into the darkness, he is now aware that he has placed all his love and hope in a world that does not exist except in his imagination. As a result, his infatuation with Mangan’s sister ends in disillusionment and the death of his innocence.
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Joyce utilizes numerous dark and light images in “Araby,” to tell the story of a boy during his entry into adolescence. Through these images, we are able to understand the boy’s life. For example, in the beginning of the story, Mangan’s sister symbolizes the boy’s religious enlightenment, and his quest for the ideal. Additionally, we see the boy finding himself fearful and unenthusiastic by the prospect of manhood. Furthermore, the boy’s experience at “Araby” has shattered his romantic illusions leaving him with the unwelcome knowledge that the adult world is full of pain and broken dreams. The final result is an idealistic and confused interpretation of love and life as the boy takes a first step into manhood.
Adolescence is one of the single most trying events in life, and some children may have adverse experiences during their childhood that can affect the way they perceive adulthood. James Joyce’s “Araby,” tells the story of a boy during his endeavors into adolescence. Joyce employs particular dark and light imagery to reveal a sad boy’s world through his untrusting eyes. For example, he incorporates light imagery to establish that the boy is in search of an idealized type of love to give his life purpose. Additionally, he uses dark imagery to represent the boy’s perception regarding adulthood, and his reluctance toward his future. Lastly, he integrates dark imagery to show the boy’s loss of innocence while he is attending the bazaar.
The boy has an idealized infatuation with Mangan’s sister, and he believes that she is unlike the other adults because of her virtuous qualities. For example, when Mangan’s sister would call in her brother, the boy would leave his dark shadow in the street and walk toward her house because she is the one person in his life that he has any admiration for and can trust. As the boy walks up the steps, he sees “ [h] er figure defined by the light from the half-opened door” (151). While she is standing in the doorway, the light that surrounds her is in contrast to his dark world. She holds a duel image for the boy. He envisions her as a religious figure, and someone he has affection for. Her “light” casts an image to him as if she were the Virgin Mary. Her radiant presence gives his “dark” life a glimmer of hope. In addition, one dark rainy night Mangan’s sister encounters the boy praying in a room and asks if he is going to the bazaar. As the boy sees her, he describes her by saying, “The light from the lamp . . . caught the white curve of her neck, lit up her hair that rested there and, falling, lit up the hand upon the railing” (15). The light projects a halo image around her head. In the boy’s mind she is both a saint to be worshipped and a woman to be desired. As she bows her head in the direction of the boy, he is stunned by her angelic qualities and impulsively proclaims to her that he will buy her a gift at “Araby.” The boy feels that if he can gain her acceptance, his dreary and dark existence will be forgotten. She becomes an image to him of all that he is searching for and all that he desires.
Joyce also applies dark imagery to point out the boy’s trepidation and his pessimistic attitude relating to his adulthood and future. For instance, “The career of our play brought us through the dark muddy lanes behind the houses where we ran . . . (150). The boy makes a “career” of playing in “the dark muddy lanes” due to his hesitation toward the harsh realities that exist in the real world. In addition, when the boy is playing outside at night and spots his uncle, he would hide in the dark shadows until the uncle was “safely housed.” The boy uses the dark shadows as a sanctuary from the adult world since being called in means another day closer to maturity. Furthermore, the boy has a distrustful outlook regarding his future. The boy says that when he would go marketing with his aunt during the evening, “We walked through the flaring streets, jostled by drunken men and bargaining women . . .” (151). If this is his future, he wants no part of it because the people on the streets would remind him of his dark and desolate home life.
Joyce also uses darkness to signify the boy’s loss of innocence, and his progression toward manhood. While the boy is waiting for permission to go to the bazaar, he looks out his window and sees Mangan’s “dark” house. He sees his beautiful, innocent world of imagination and not the real world of fact. After gaining permission, the boy arrives at the bazaar and, “Nearly all the stalls were closed and the greater part of the hall was in darkness” (154). He finds himself in total distress and despair. The adult world is slowing closing in on him, as darkness slowly envelops him, his quest is starting to become bleak. Moreover, “ [He] heard a voice call . . . that the light was out, [and] [t] he . . . hall was now completely dark” (155). The complete darkness represents the boy’s knowledge that his journey has ended in failure but results in an inner awareness. Now, the boy can see the correlation between the “bargaining girls” and Mangan’s sister. She was just using him in a flirtatious manner to receive a futile present. The boy also realizes that he is not any better than the adults are because his desire for Mangan’s sister was for a “pious purpose.” As the boy looks up into the darkness, he is now aware that he has placed all his love and hope in a world that does not exist except in his imagination. As a result, his infatuation with Mangan’s sister ends in disillusionment and the death of his innocence.
Joyce utilizes numerous dark and light images in “Araby,” to tell the story of a boy during his entry into adolescence. Through these images, we are able to understand the boy’s life. For example, in the beginning of the story, Mangan’s sister symbolizes the boy’s religious enlightenment, and his quest for the ideal. Additionally, we see the boy finding himself fearful and unenthusiastic by the prospect of manhood. Furthermore, the boy’s experience at “Araby” has shattered his romantic illusions leaving him with the unwelcome knowledge that the adult world is full of pain and broken dreams. The final result is an idealistic and confused interpretation of love and life as the boy takes a first step into manhood.
Adolescence is one of the single most trying events in life, and some children may have adverse experiences during their childhood that can affect the way they perceive adulthood. James Joyce’s “Araby,” tells the story of a boy during his endeavors into adolescence. Joyce employs particular dark and light imagery to reveal a sad boy’s world through his untrusting eyes. For example, he incorporates light imagery to establish that the boy is in search of an idealized type of love to give his life purpose. Additionally, he uses dark imagery to represent the boy’s perception regarding adulthood, and his reluctance toward his future. Lastly, he integrates dark imagery to show the boy’s loss of innocence while he is attending the bazaar.
The boy has an idealized infatuation with Mangan’s sister, and he believes that she is unlike the other adults because of her virtuous qualities. For example, when Mangan’s sister would call in her brother, the boy would leave his dark shadow in the street and walk toward her house because she is the one person in his life that he has any admiration for and can trust. As the boy walks up the steps, he sees “ [h] er figure defined by the light from the half-opened door” (151). While she is standing in the doorway, the light that surrounds her is in contrast to his dark world. She holds a duel image for the boy. He envisions her as a religious figure, and someone he has affection for. Her “light” casts an image to him as if she were the Virgin Mary. Her radiant presence gives his “dark” life a glimmer of hope. In addition, one dark rainy night Mangan’s sister encounters the boy praying in a room and asks if he is going to the bazaar. As the boy sees her, he describes her by saying, “The light from the lamp . . . caught the white curve of her neck, lit up her hair that rested there and, falling, lit up the hand upon the railing” (15). The light projects a halo image around her head. In the boy’s mind she is both a saint to be worshipped and a woman to be desired. As she bows her head in the direction of the boy, he is stunned by her angelic qualities and impulsively proclaims to her that he will buy her a gift at “Araby.” The boy feels that if he can gain her acceptance, his dreary and dark existence will be forgotten. She becomes an image to him of all that he is searching for and all that he desires.
Joyce also applies dark imagery to point out the boy’s trepidation and his pessimistic attitude relating to his adulthood and future. For instance, “The career of our play brought us through the dark muddy lanes behind the houses where we ran . . . (150). The boy makes a “career” of playing in “the dark muddy lanes” due to his hesitation toward the harsh realities that exist in the real world. In addition, when the boy is playing outside at night and spots his uncle, he would hide in the dark shadows until the uncle was “safely housed.” The boy uses the dark shadows as a sanctuary from the adult world since being called in means another day closer to maturity. Furthermore, the boy has a distrustful outlook regarding his future. The boy says that when he would go marketing with his aunt during the evening, “We walked through the flaring streets, jostled by drunken men and bargaining women . . .” (151). If this is his future, he wants no part of it because the people on the streets would remind him of his dark and desolate home life.
Joyce also uses darkness to signify the boy’s loss of innocence, and his progression toward manhood. While the boy is waiting for permission to go to the bazaar, he looks out his window and sees Mangan’s “dark” house. He sees his beautiful, innocent world of imagination and not the real world of fact. After gaining permission, the boy arrives at the bazaar and, “Nearly all the stalls were closed and the greater part of the hall was in darkness” (154). He finds himself in total distress and despair. The adult world is slowing closing in on him, as darkness slowly envelops him, his quest is starting to become bleak. Moreover, “ [He] heard a voice call . . . that the light was out, [and] [t] he . . . hall was now completely dark” (155). The complete darkness represents the boy’s knowledge that his journey has ended in failure but results in an inner awareness. Now, the boy can see the correlation between the “bargaining girls” and Mangan’s sister. She was just using him in a flirtatious manner to receive a futile present. The boy also realizes that he is not any better than the adults are because his desire for Mangan’s sister was for a “pious purpose.” As the boy looks up into the darkness, he is now aware that he has placed all his love and hope in a world that does not exist except in his imagination. As a result, his infatuation with Mangan’s sister ends in disillusionment and the death of his innocence.
Joyce utilizes numerous dark and light images in “Araby,” to tell the story of a boy during his entry into adolescence. Through these images, we are able to understand the boy’s life. For example, in the beginning of the story, Mangan’s sister symbolizes the boy’s religious enlightenment, and his quest for the ideal. Additionally, we see the boy finding himself fearful and unenthusiastic by the prospect of manhood. Furthermore, the boy’s experience at “Araby” has shattered his romantic illusions leaving him with the unwelcome knowledge that the adult world is full of pain and broken dreams. The final result is an idealistic and confused interpretation of love and life as the boy takes a first step into manhood.
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