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James Joyce

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Submitted By milrocky1998
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Throughout James Joyce’s work, he depicts a pervasive theme of paralysis through the characters and realistic stories presented. Joyce believed that Ireland had been frozen by the conflict between Protestants and Catholics and therefore it became an under-developed country. He chose Dublin as it was the ‘centre of paralysis’ and had a particularly dramatic effect in ‘Eveline’ (a story of adolescence).
Firstly, to portray Eveline’s dilemma, the window symbolises the parallel between Eveline’s current situation on one side and the world she has the opportunity to explore on the other. She sits at ‘the window watching the evening invade the avenue’ as she ponders her past, present and future life. The personification of the ‘evening’ invading her hometown implies how she feels threatened, after being constrained to a repetitive life for years, the possibility of escape has risen and she is not sure if she wants to give up her predictable life. Despite her indecisiveness, she does not want a ‘life of commonplace sacrifices’ similar to her Mothers. Eveline’s repetitive routine has formed a prison around her, capturing her in an unhappy life she finds difficult to leave, despite her abusive father.
Through the first part of the story, Joyce uses a semantic field of verbs: ‘divided’, ‘leave’, ‘running out’ and ‘escape’ to elicit her confusion. Ideas of distance between Eveline and her penultimate decision are instilled upon the reader’s thoughts by the semantic field of uncertainty that also foreshadows Eveline’s epiphany.
As the evening ‘deepened in the avenue’ Eveline began to recall the past, primarily the happy moments, which overshadow the reality of her unhappy life in the present. The ‘picnic’ and ‘ghost story’ she once enjoyed as a child makes her question her secret decision to leave. Moreover, Joyce’s effective use of free indirect discourse allows the reader to develop a relationship with Eveline and empathise with her feelings. The interrogative sentence mood ‘why should she be unhappy?’ suggests she is having an argument with herself: the protagonist’s feelings become clear. Joyce is discussing the limitations and difficulties for women, in the early twentieth century Dublin, by presenting her stream of consciousness to demonstrate that she deserves the life she desires and should not settle as a shadow of society.
Following on from this, Joyce then employs the technique of an ‘epiphany’. Eveline’s ‘sudden impulse of terror’ causes her to realise that she does have the ability to pull free from the chains of a monotonous society capturing women like Eveline in a world of domesticity. The minor sentence ‘escape!’ is the defining moment of her epiphany, a motif central to ‘Dubliners’. Religious connotations of such a device depict the restraints of religion in Joyce’s hometown Dublin at the time – the conflict and division between Protestants and Catholics. By analysing Dublin in relation to Eveline, he is allowing the readers to do the same. Also, the minor sentence juxtaposes the minor sentence used earlier: ‘Home!’ The simplicity of this sentence demonstrates the plainness of her current life, by contrasting the two minor sentences Joyce is showing the cycle of changes in her mind over whether leaving is the right decision.
Despite Eveline’s epiphany, the fear of embarking on an adventurous life paralyses her morally, intellectually and physically. Imagery of Eveline gripping ‘with both hands at the iron railing’ and clutching ‘the iron in frenzy’ relates to the idea of her prison like life, she cannot leave the cold hard iron similar to how she cannot leave her home life behind. As she stood there, she ‘prayed to God to direct her’ and ‘kept moving her lips in silent fervent prayer’. Eveline is clinging to the mindless repetition of prayer as it is well-known to her, unlike the unpredictable life in front of her. When her desire to escape becomes a reality, social structures and domesticated life paralyse her, depicting the downfall of clinging onto the past. Feelings of suffocation and guilt overwhelm Eveline, portrayed by the metaphor ‘all the seas of the world tumbled about her heart’. Does she stay with her family as she promised or does she run away with the man she loves? Joyce is presenting Eveline as a distressed character both through the metaphor and the repetition of ‘No! No! No!’ This outburst of denial suggests Eveline is frantic; her ability to form a coherent sentence describing her desires becomes paralysed. The ‘mournful whistle’ and ‘black mass’ of the boat symbolises her ultimate decision, she will not leave as she believes Frank ‘would drown her’. Insinuating, through the hyperbolic metaphor, that her fear of leaving home is not all that paralyses her, but the fear of love, too. This metaphorical insinuation contradicts her earlier thoughts that Frank ‘would save her’. Joyce is portraying her manic emotions and the intensity of this decision and its dramatic effects on Eveline. Joyce then dehumanises her, suggesting she is ‘passive like a helpless animal’. Through this simile, Joyce is demonstrating his dislike at how she has become just another shadow in the society dominated by characters similar to her Father. Nonetheless, it is not necessarily that she wants a mundane life, rather she does not want either options presented.
Finally, the very last lines, ‘her eyes gave him no sign of love or farewell or recognition’, implies the choice not to leave has rendered Eveline’s mind blank, her individuality gone. The tripling suggests the extent to which the society has penetrated her mind and paralysed her, forbidding her to make a change. Joyce is describing to his readers the prevailing social conditions in Dublin at the time it was written through various stylistic techniques: figurative language, repetition, symbolism and structure.
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