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night3aven's review against another edition
emotional
mysterious
reflective
sad
slow-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
3.5
- Dubliners - review
The main theme of "Dubliners" is paralysis, understood as the representation of a static and blocked society, unable to evolve, in which people are stationary and adapt passively and everything continues in the same old way.
The work thus serves as a social critique, also of popular beliefs considered antiquated and of the closed-mindedness shown by many citizens at the time.
Opinions on style:
The descriptions and narration appear flat: no real story seems to take place, but simply a succession of everyday events; the absence of a real narrative emerges. The descriptions are nevertheless meticulous and rich in detail, very often with symbolic meaning. The tone used is at times decadent.
The use of a monotonous and flat style is undoubtedly understandable and in line with the nature of the work, but inevitably often comes to bore the reader and make reading tiring.
Recurring themes:
- - Religion, as an additional blocking element for the community, but also as a revelation: this element is for many characters a means by which they become aware of social fossilisation. In fact, the presence (implicitly or otherwise) of members of the clergy or the religious theme appears in several stories, indicating the role of religion in Dublin society: it is important to note that Joyce does not use his own words as a means to criticise religion per se, but rather to lash out at members of the clergy, at the pointless discussions about religion and the excessive attachment to it (not even too subtle, actually)
- - Alcohol, seen both through alcoholism as a form of social escapism (the negative consequences of which are repeatedly explored), and as an element of joviality to reunite with family and friends
- - Passivity and the public-life/private-life combination: most of the characters conceal their true intentions, sometimes to passively obey social conventions, sometimes to further their own appearance and the perception of others. In any case, the superficiality of most of the characters (and, consequently, of the Irish society of the time) and their inability to make important decisions or bring about change is highlighted. More often than not, the apparent morality of some of the protagonists and the appreciation gained by most conceal deep moral corruption and terrible behaviour.
Despite the uncertainty that may arise with respect to what is narrated (we cannot be certain that every misdeed the author recounts actually has a complete basis in truth), Joyce succeeds on the whole in sketching a candid snapshot of Irish society of the time; 'Dubliners' is in fact a perfect depiction of Dublin and its socio-cultural problems and, whether it represents a frightening truth or is merely a debasing perspective that it is, the entire work is nevertheless to be commended for its profound social analysis.
Analysis of the short stories:
The short stories can be divided into four macro-categories, based on the themes covered and the protagonists presented:
Short stories 1 - 4 = childhood theme
Stories 5 - 7 = youth/adolescence theme
Stories 8 - 11 = maturity theme
Stories 12 - 15 = theme of public life
- "The Sisters"
⭐⭐.25 (2.25)
Uncle and Mr Cutter represent the backwardness of Irish society and the lack of faith in the younger generation and education.
The main theme, however, is the death of Father Flynn (through a real physical paralysis), which makes the protagonist realise the social paralysis and immobility that surrounds him. Because, despite being 'his friend', the young protagonist ultimately recognises in his death a good. Indeed, he says: "...I felt even annoyed at discovering in myself a sensation of freedom as if I’d been free from something by his death..." (The sentence underlines what has been said).
The madness that Father Flynn begins to present is in fact a critique of excessive religiosity, which contributes to the static nature of society and prevents its evolution.
Finally, the two sisters Nanny and Eliza represent a further paralysis: unlike their uncle and Cutter, their contribution to the paralysis is not active, but passive, as mere bystanders. Their inability to realise the static nature of their surroundings contributes to social fossilisation and serves as an archetype for the characters in the later stories.
Uncle and Mr Cutter represent the backwardness of Irish society and the lack of faith in the younger generation and education.
The main theme, however, is the death of Father Flynn (through a real physical paralysis), which makes the protagonist realise the social paralysis and immobility that surrounds him. Because, despite being 'his friend', the young protagonist ultimately recognises in his death a good. Indeed, he says: "...I felt even annoyed at discovering in myself a sensation of freedom as if I’d been free from something by his death..." (The sentence underlines what has been said).
The madness that Father Flynn begins to present is in fact a critique of excessive religiosity, which contributes to the static nature of society and prevents its evolution.
Finally, the two sisters Nanny and Eliza represent a further paralysis: unlike their uncle and Cutter, their contribution to the paralysis is not active, but passive, as mere bystanders. Their inability to realise the static nature of their surroundings contributes to social fossilisation and serves as an archetype for the characters in the later stories.
- "An encounter"
⭐⭐⭐⭐.5 (4.5)
The protagonist's story represents an attempt at escapism: first through literature (non-Irish, which tells of distant stories and lands), then through 'an adventure' to the outside world (Dublin represents the centre of paralysis).
In fact, the youngsters seek a new form of freedom through a childhood adventure (a simple escape from school).
Young people in the street shout "Swaddlers!" at the protagonist and his friend: this is a sign of the closed-mindedness of Irish culture with respect to religion and Protestantism.
Then the dichotomy between youth and old age emerges; the encounter with an elderly gentleman is the main scene of the story: the population of Dublin (especially the older population) is basically aware of the static nature of the city, even though they are unwilling or unable to notice it. Escape for such individuals corresponds to an extreme and excessive attachment to past and backward traditions and habits, trying in vain to cling to the past, to such an extent that, in this case, the old man frightens the boys because of his violent attitude. In this regard, the old man engages in depraved behaviour, which we might even dare to describe as sexually hostile: the man expresses a desire to whip the boys and performs inappropriate actions in front of them. Dublin thus remains not only a place of paralysis and evolutionary blockage of culture and tradition, but a den of deep moral corruption that can then lead to terrible behaviour.
The protagonist's story represents an attempt at escapism: first through literature (non-Irish, which tells of distant stories and lands), then through 'an adventure' to the outside world (Dublin represents the centre of paralysis).
In fact, the youngsters seek a new form of freedom through a childhood adventure (a simple escape from school).
Young people in the street shout "Swaddlers!" at the protagonist and his friend: this is a sign of the closed-mindedness of Irish culture with respect to religion and Protestantism.
Then the dichotomy between youth and old age emerges; the encounter with an elderly gentleman is the main scene of the story: the population of Dublin (especially the older population) is basically aware of the static nature of the city, even though they are unwilling or unable to notice it. Escape for such individuals corresponds to an extreme and excessive attachment to past and backward traditions and habits, trying in vain to cling to the past, to such an extent that, in this case, the old man frightens the boys because of his violent attitude. In this regard, the old man engages in depraved behaviour, which we might even dare to describe as sexually hostile: the man expresses a desire to whip the boys and performs inappropriate actions in front of them. Dublin thus remains not only a place of paralysis and evolutionary blockage of culture and tradition, but a den of deep moral corruption that can then lead to terrible behaviour.
- "Araby"
⭐⭐⭐⭐⭐(5)
Joyce portrays in this tale adolescent love and the typical sense that comes from the true realisation of the situation. The protagonist neglects time spent on other activities, only to think about the beloved girl, who appears distant and exotic like a dream or a distant half. But once he arrives at the bazaar, he finds before him a total disappointment, a familiar environment with no semblance of novelty, which totally disappoints his expectations. Similarly, he realises that he has created in his mind an image of the beloved girl, which however, like the Arabian bazaar, is different from his expectations. Closing with a melancholic, yet still sweet ending, Joyce highlights the eternal dissatisfaction that affects us in non-functional love relationships, in the idealisation of the beloved and in not finding new experiences as we expect them. The expectation-reality dichotomy is completely highlighted and reversed: its truthfulness is completely undeniable.
Joyce portrays in this tale adolescent love and the typical sense that comes from the true realisation of the situation. The protagonist neglects time spent on other activities, only to think about the beloved girl, who appears distant and exotic like a dream or a distant half. But once he arrives at the bazaar, he finds before him a total disappointment, a familiar environment with no semblance of novelty, which totally disappoints his expectations. Similarly, he realises that he has created in his mind an image of the beloved girl, which however, like the Arabian bazaar, is different from his expectations. Closing with a melancholic, yet still sweet ending, Joyce highlights the eternal dissatisfaction that affects us in non-functional love relationships, in the idealisation of the beloved and in not finding new experiences as we expect them. The expectation-reality dichotomy is completely highlighted and reversed: its truthfulness is completely undeniable.
- "Eveline"
⭐⭐⭐⭐ (4)
The theme of escapism returns through the protagonist's desire to flee and leave the country. But at the same time, attention is drawn to the attachment that, despite everything, Eveline has to her home.
The will to flee fails to overcome the fear of not staying and Eveline then, after trying to leave everything and everyone, finds herself back at square one, willingly abandoning her own unique way of escape.
Her figure is static and represents the indecision that often seizes us when faced with choices that lead to great changes, often avoided, though favourable, because of the human leaning on routine and the repetition of daily habits.
The theme of escapism returns through the protagonist's desire to flee and leave the country. But at the same time, attention is drawn to the attachment that, despite everything, Eveline has to her home.
The will to flee fails to overcome the fear of not staying and Eveline then, after trying to leave everything and everyone, finds herself back at square one, willingly abandoning her own unique way of escape.
Her figure is static and represents the indecision that often seizes us when faced with choices that lead to great changes, often avoided, though favourable, because of the human leaning on routine and the repetition of daily habits.
- "After the race"
⭐⭐⭐⭐.5 (4.5)
Jimmy, like many other protagonists in these stories, attempts to escape from a static city by turning his attention to foreign lands and new possibilities. At the beginning of the story, the character has already in some ways escaped Dublin, with new possibilities for wealth thanks to cars and his French friend.
But then he is led to ruin himself by his own hands, betting money and losing, caught up in the heat of the moment.
His own over-excitement for the new possibilities that lay before him led instead to paralysing him, making him anchored, economically now but who knows in what other respects later, to the Dublin he was trying so hard to get away from.
Jimmy himself, however, is perhaps not so much interested in seeking a better life, but more in obtaining fame, due to a pure interest in appearance and social status.
'In the morning he would regret it,' he says, but dawn has already come.
Jimmy, like many other protagonists in these stories, attempts to escape from a static city by turning his attention to foreign lands and new possibilities. At the beginning of the story, the character has already in some ways escaped Dublin, with new possibilities for wealth thanks to cars and his French friend.
But then he is led to ruin himself by his own hands, betting money and losing, caught up in the heat of the moment.
His own over-excitement for the new possibilities that lay before him led instead to paralysing him, making him anchored, economically now but who knows in what other respects later, to the Dublin he was trying so hard to get away from.
Jimmy himself, however, is perhaps not so much interested in seeking a better life, but more in obtaining fame, due to a pure interest in appearance and social status.
'In the morning he would regret it,' he says, but dawn has already come.
- "Two gallants"
⭐⭐⭐(3)
The protagonist of the story is characterised by extreme passivity and seems to be one of the best representations of Joycian paralysis.
Lenehan, now almost 31, has high hopes of finding independence, of settling down and really living a life with a woman, but because of his failure to act, he finds himself constantly observing and commenting on what others (and primarily his friend Corley) are doing. He spends the entire evening passively listening to his friend's speech and, once alone, simply tries to let time pass, waiting to see him again.
The desire for independence is suppressed by the lack of action and self-assertion, leading the character to live as a spectator, constantly observing excerpts of other people's lives.
As in the previous story, however, the characters' only real interest is purely vain and material: despite all hopes and expectations, money, represented by the gold coin at the end of the story, is what they want.
The protagonist of the story is characterised by extreme passivity and seems to be one of the best representations of Joycian paralysis.
Lenehan, now almost 31, has high hopes of finding independence, of settling down and really living a life with a woman, but because of his failure to act, he finds himself constantly observing and commenting on what others (and primarily his friend Corley) are doing. He spends the entire evening passively listening to his friend's speech and, once alone, simply tries to let time pass, waiting to see him again.
The desire for independence is suppressed by the lack of action and self-assertion, leading the character to live as a spectator, constantly observing excerpts of other people's lives.
As in the previous story, however, the characters' only real interest is purely vain and material: despite all hopes and expectations, money, represented by the gold coin at the end of the story, is what they want.
- "The boarding house"
⭐⭐ (2)
Paralysis shows itself in this tale mainly in the form of social paralysis:
Polly simply desires love, but the mere fact that it entails a change forces her to surrender to her fate.
At first it is only her mother who opposes, but then the whole town seems to realise the apparent misdeed and hatch a conspiracy against the girl and her lover.
And so Polly finds herself alone and waiting, hopeful but deep in her heart already knowing what awaits her; and then the door opens and, before perhaps even hearing a single word, the girl realises what has happened.
Polly becomes a mere means: her mother uses her to make a profit and does not really care about her, so much as what she can bring, but even her beloved Mr Doran finally decides to abandon her, preferring to submit to social conventions.
Paralysis shows itself in this tale mainly in the form of social paralysis:
Polly simply desires love, but the mere fact that it entails a change forces her to surrender to her fate.
At first it is only her mother who opposes, but then the whole town seems to realise the apparent misdeed and hatch a conspiracy against the girl and her lover.
And so Polly finds herself alone and waiting, hopeful but deep in her heart already knowing what awaits her; and then the door opens and, before perhaps even hearing a single word, the girl realises what has happened.
Polly becomes a mere means: her mother uses her to make a profit and does not really care about her, so much as what she can bring, but even her beloved Mr Doran finally decides to abandon her, preferring to submit to social conventions.
- "A little cloud"
⭐⭐⭐⭐(4)
The perspective on paralysis changes again, which now, with older protagonists, appears even more insuperable.
Chandler thinks outside Dublin as an escape route, like so many other characters, and has ideas that could bring success and satisfaction to his life, bringing with them great change and great hope.
But the man only continues to idealise his thoughts: the old friend he met in the bar, who previously seemed so able and admirable, once he sees him again appears as a low and mediocre figure, undisciplined and devoted only to the vanities of human life.
After the first revelation then, Chandler realises that he is fully trapped: even his marriage and son appear as a prison, allowing him neither the possibility of change nor escape.
Chandler continues to dream of becoming a famous writer in Dublin, but at the same time he comes to criticise the city because it makes his dreams impossible.
The perspective on paralysis changes again, which now, with older protagonists, appears even more insuperable.
Chandler thinks outside Dublin as an escape route, like so many other characters, and has ideas that could bring success and satisfaction to his life, bringing with them great change and great hope.
But the man only continues to idealise his thoughts: the old friend he met in the bar, who previously seemed so able and admirable, once he sees him again appears as a low and mediocre figure, undisciplined and devoted only to the vanities of human life.
After the first revelation then, Chandler realises that he is fully trapped: even his marriage and son appear as a prison, allowing him neither the possibility of change nor escape.
Chandler continues to dream of becoming a famous writer in Dublin, but at the same time he comes to criticise the city because it makes his dreams impossible.
- "Counterparts"
⭐⭐⭐⭐⭐(5)
Paralysis is once again inevitable, but the protagonist of the story nevertheless tries to come to terms with the problem, leading to both bad consequences for himself and others.
He appears passive at work, not following his homework and sneaking out to drink. Despite being in debt, he continues to get drunk in various pubs with friends and to buy drinks, but loses in an arm wrestling contest with a group mate: the brooding humiliation drives him to exasperation.
If initially the protagonist only hurts himself, as the hours go by the magnitude of his wrath increases: unable to vent his anger against work or friends, but still wanting to assert his power, the protagonist returns home drunk.
His wife, who, as Joyce points out, is often hit and physically hurt by her husband, is not at home, only Tom, the young son, is ready to open the door for his father. But as soon as he crosses the threshold, the climax of his fury comes, using the young man as an outlet for his dissatisfaction, hurting him morally and physically and hitting him several times with a stick.
The protagonist's attempt at revenge brought only harm, both to himself and to those around him.
Paralysis is once again inevitable, but the protagonist of the story nevertheless tries to come to terms with the problem, leading to both bad consequences for himself and others.
He appears passive at work, not following his homework and sneaking out to drink. Despite being in debt, he continues to get drunk in various pubs with friends and to buy drinks, but loses in an arm wrestling contest with a group mate: the brooding humiliation drives him to exasperation.
If initially the protagonist only hurts himself, as the hours go by the magnitude of his wrath increases: unable to vent his anger against work or friends, but still wanting to assert his power, the protagonist returns home drunk.
His wife, who, as Joyce points out, is often hit and physically hurt by her husband, is not at home, only Tom, the young son, is ready to open the door for his father. But as soon as he crosses the threshold, the climax of his fury comes, using the young man as an outlet for his dissatisfaction, hurting him morally and physically and hitting him several times with a stick.
The protagonist's attempt at revenge brought only harm, both to himself and to those around him.
- "Clay"
⭐⭐⭐.75 (3.75)
One of the few stories in which the approach towards paralysis can in some ways be considered positive.
Maria, the protagonist of the story, does everything to please others and follows social conventions in order to be liked, but often hides her own opinions and puts her own needs in the background.
So there is still an attachment to routine and the monotony of a life in constant repetition, but in the final scene of conviviality, the old days, when everything seemed to be better, are celebrated together.
There is in fact no real attempt to change the situation, but the characters nevertheless try to come together in joy and celebrate the positive side of things together.
However, Maria remains a living dead, stuck in daily routines and only interested in superficial matters, malleable by both her acquaintances and society.
One of the few stories in which the approach towards paralysis can in some ways be considered positive.
Maria, the protagonist of the story, does everything to please others and follows social conventions in order to be liked, but often hides her own opinions and puts her own needs in the background.
So there is still an attachment to routine and the monotony of a life in constant repetition, but in the final scene of conviviality, the old days, when everything seemed to be better, are celebrated together.
There is in fact no real attempt to change the situation, but the characters nevertheless try to come together in joy and celebrate the positive side of things together.
However, Maria remains a living dead, stuck in daily routines and only interested in superficial matters, malleable by both her acquaintances and society.
- "A painful case"
⭐⭐⭐⭐⭐(5)
The protagonist of the story recognises the paralysis, but considers himself an outsider to it, taking refuge in his own loneliness and selfishly believing that he is better than those around him (but never acting to prove it).
Once he meets a woman who loves him, he decides to leave her, condemning her for her lack of acumen and her attachment to social conventions, without realising that he himself is a victim of daily habit. The woman dies as a result of his terrible and unexpected departure, but Mr James Duffy initially does not take the blame for this, blaming the amount of people who fall so easily to ruin.
At the end of the story, however, epiphany also comes for the protagonist, who realises that he was never the best and that he never really lived: Mrs. Sinico is dead and will be forgotten, but he himself has lived a lonely and miserable life, like a living dead man, who will never be remembered by anyone.
The denial of the paralysis leads the protagonist to an eternal pessimism, which leads not only his own soul into the abyss, but also the few and only people he meets.
The protagonist of the story recognises the paralysis, but considers himself an outsider to it, taking refuge in his own loneliness and selfishly believing that he is better than those around him (but never acting to prove it).
Once he meets a woman who loves him, he decides to leave her, condemning her for her lack of acumen and her attachment to social conventions, without realising that he himself is a victim of daily habit. The woman dies as a result of his terrible and unexpected departure, but Mr James Duffy initially does not take the blame for this, blaming the amount of people who fall so easily to ruin.
At the end of the story, however, epiphany also comes for the protagonist, who realises that he was never the best and that he never really lived: Mrs. Sinico is dead and will be forgotten, but he himself has lived a lonely and miserable life, like a living dead man, who will never be remembered by anyone.
The denial of the paralysis leads the protagonist to an eternal pessimism, which leads not only his own soul into the abyss, but also the few and only people he meets.
- "Ivy Day in the Committee Room"
⭐⭐.25 (2.25)
The paralysis evolves again and this time it does not affect a single individual, but the entire Irish political community.
The protagonists of the story find themselves in the headquarters of the election committee, but they hardly discuss the will to make changes or take political action. Instead, they stop to discuss trivial matters, criticise each other when others are not present, and constantly change sides and opinions. None of the characters assert their identity, but all are interested in their own superficial appearance, demonstrating an attachment to the past and discussing arguments that lead nowhere, never turning their eyes towards new future possibilities.
Joyce highlights the critical situation of the time: politics was also in a paralysis, where no one really acted to try to improve the situation but everyone stood firm (and mellifluous) to occupy their place in the polling station, supporting or devaluing one or the other candidate when it was more convenient. Unable to assert its identity, the entire political entity floats in a paralytic limbo from which it seems impossible to escape.
The protagonists of the story find themselves in the headquarters of the election committee, but they hardly discuss the will to make changes or take political action. Instead, they stop to discuss trivial matters, criticise each other when others are not present, and constantly change sides and opinions. None of the characters assert their identity, but all are interested in their own superficial appearance, demonstrating an attachment to the past and discussing arguments that lead nowhere, never turning their eyes towards new future possibilities.
Joyce highlights the critical situation of the time: politics was also in a paralysis, where no one really acted to try to improve the situation but everyone stood firm (and mellifluous) to occupy their place in the polling station, supporting or devaluing one or the other candidate when it was more convenient. Unable to assert its identity, the entire political entity floats in a paralytic limbo from which it seems impossible to escape.
- "A mother"
⭐⭐ (2)
In her attempt to fight against the injustice that seems to be in front of her, Mrs. Kearny puts herself and those around her in a state of paralysis, or being convinced that she is trying to do the best thing for everyone.
Her interest in her daughter and her abilities is only linked to the possibility of showing off a good social status, and her quarrel with Mr. Holohan and Mr. Fitzpatrick is not really caused by a desire to help her daughter get a fair deal, but more by a desire to assert her own reason at the expense of the consequences for others.
Because of the protagonist's personality and her continuous (and paralysing) behaviour, the daughter loses her job and, although she wins the argument, she only makes the situation worse and her attempts at revenge lead to no good.
In her attempt to fight against the injustice that seems to be in front of her, Mrs. Kearny puts herself and those around her in a state of paralysis, or being convinced that she is trying to do the best thing for everyone.
Her interest in her daughter and her abilities is only linked to the possibility of showing off a good social status, and her quarrel with Mr. Holohan and Mr. Fitzpatrick is not really caused by a desire to help her daughter get a fair deal, but more by a desire to assert her own reason at the expense of the consequences for others.
Because of the protagonist's personality and her continuous (and paralysing) behaviour, the daughter loses her job and, although she wins the argument, she only makes the situation worse and her attempts at revenge lead to no good.
- "Grace"
⭐⭐.5 (2.5)
The paralysis that follows from religion is addressed in this story.
All the characters are intent on discussing theological topics and even believe themselves to be erudite at times, although they find themselves talking about trivial matters with no real meaning. Religion is visualised as a means to purify the soul, as a necessity, but none of the protagonists ever reflect on the real consequences of their decisions. God is displayed as a mere means to find something to believe in and through which to justify one's mistakes, but is not seen as a way to elevate and improve oneself.
Both Mr. Kernan (initially reluctant to go to church) and his friends find themselves in the same situation of passivity, whatever their will. Stopping to listen to the words of others and believing despite everything that they are masters of their own destiny.
An insignificant event like Mr. Kernan's fall down the stairs is given the value of a spiritual fall and the man is slowly converted even by means of lies and convinced to go to church (Kernan is a Protestant, the other friends are Catholics). But Mr. Kernan's purification is never shown in the story: the steps of the staircase from which he fell and the steps of the church are actually not so much different as they are both indicative of the malleability and passivity of the protagonist's character.
The paralysis that follows from religion is addressed in this story.
All the characters are intent on discussing theological topics and even believe themselves to be erudite at times, although they find themselves talking about trivial matters with no real meaning. Religion is visualised as a means to purify the soul, as a necessity, but none of the protagonists ever reflect on the real consequences of their decisions. God is displayed as a mere means to find something to believe in and through which to justify one's mistakes, but is not seen as a way to elevate and improve oneself.
Both Mr. Kernan (initially reluctant to go to church) and his friends find themselves in the same situation of passivity, whatever their will. Stopping to listen to the words of others and believing despite everything that they are masters of their own destiny.
An insignificant event like Mr. Kernan's fall down the stairs is given the value of a spiritual fall and the man is slowly converted even by means of lies and convinced to go to church (Kernan is a Protestant, the other friends are Catholics). But Mr. Kernan's purification is never shown in the story: the steps of the staircase from which he fell and the steps of the church are actually not so much different as they are both indicative of the malleability and passivity of the protagonist's character.
- "The Dead"
⭐⭐⭐⭐⭐(5)
This tale stands as the final conclusion to all the themes dealt with above.
The character of Lily appears from the outset subordinate and passive (perhaps underlining the poor condition of women at the time).
The main character is instead Mr. Gabriel Conroy: a kind man, but still interested in appearances.
The strong nationalist sentiment (so hated by Joyce) prevalent in Ireland, emerges when one of the guests at the party criticises Gabriel, only because he works for a newspaper which she claims is English, and even goes so far as to reproach him for not being interested in Irish culture and to call him an Anglophile.
But the content scope of the story does not stop there.
Gabriel nevertheless tries to please the others and as the pages unfold, the tale becomes more and more melancholic.
The protagonist realises in the final part that he is in fact alone, like everyone around him, and thus begins to think about past times, which remind his mind of joyful and happy moments. The same past that Gabriel celebrated in his speech, which the guest songs recalled.
All forms of escape from the unbearable monotony of the present.
Gabriel finally finds himself disappointed, realising that his wife perhaps does not really love him, and so he cries, he cries, and his tears are like snow, enveloping everything and bringing calm. Because by now our protagonist is aware of the static nature of the present, of the looming death and perhaps even of the fact that his own condition of passivity already makes him in some ways a dead man. The same Christmas party that takes place every year is a sign of the paralysis that affects him, leading him into a continuous and identical succession of events.
And so Gabriel waits, waits for the snow, and its slow, gentle cloak of death, which envelops, between one night and the next, everything around him.
The hopeful note emphasises the fact that Gabriel has realised that he can take his own strength and really live, but at the same time the likelihood of change is extremely minimal.
Final judgement:
The social portrait outlined by Joyce is undoubtedly admirable and accurate, well-executed and addressed in many respects, but not without (necessary) flaws.
Joyce's work is masterly, but it paints the flaws of a world that is undoubtedly far removed from the present one: overall, the book comes across more as a fascinating echo of a now distant past, but it is difficult to see the presence of absolute meaning that is resistant to the passage of time always emerging; the stories carry with them a not very large amount of ideas that are current and our understanding of them is easily partial or incomplete. Moreover, without reading the story in its original language, many details are surely lost in the course of translation or due to the absence of explanatory notes.
"Dubliners" is, however, a masterpiece, even though it remains a work referring to a different and distant audience and time: it is certainly difficult for an ordinary reader, who most likely does not have a vast knowledge of Dublin, its history and geography (elements from which the author constantly draws on) to fully understand Joyce's work or act on the messages he conveys. However, the author's commitment should certainly be acknowledged, as should the still universal value of some of the ideas conveyed
Because, in the end, we're all Dubliners, trembling in the face of change.
This tale stands as the final conclusion to all the themes dealt with above.
The character of Lily appears from the outset subordinate and passive (perhaps underlining the poor condition of women at the time).
The main character is instead Mr. Gabriel Conroy: a kind man, but still interested in appearances.
The strong nationalist sentiment (so hated by Joyce) prevalent in Ireland, emerges when one of the guests at the party criticises Gabriel, only because he works for a newspaper which she claims is English, and even goes so far as to reproach him for not being interested in Irish culture and to call him an Anglophile.
But the content scope of the story does not stop there.
Gabriel nevertheless tries to please the others and as the pages unfold, the tale becomes more and more melancholic.
The protagonist realises in the final part that he is in fact alone, like everyone around him, and thus begins to think about past times, which remind his mind of joyful and happy moments. The same past that Gabriel celebrated in his speech, which the guest songs recalled.
All forms of escape from the unbearable monotony of the present.
Gabriel finally finds himself disappointed, realising that his wife perhaps does not really love him, and so he cries, he cries, and his tears are like snow, enveloping everything and bringing calm. Because by now our protagonist is aware of the static nature of the present, of the looming death and perhaps even of the fact that his own condition of passivity already makes him in some ways a dead man. The same Christmas party that takes place every year is a sign of the paralysis that affects him, leading him into a continuous and identical succession of events.
And so Gabriel waits, waits for the snow, and its slow, gentle cloak of death, which envelops, between one night and the next, everything around him.
The hopeful note emphasises the fact that Gabriel has realised that he can take his own strength and really live, but at the same time the likelihood of change is extremely minimal.
Final judgement:
The social portrait outlined by Joyce is undoubtedly admirable and accurate, well-executed and addressed in many respects, but not without (necessary) flaws.
Joyce's work is masterly, but it paints the flaws of a world that is undoubtedly far removed from the present one: overall, the book comes across more as a fascinating echo of a now distant past, but it is difficult to see the presence of absolute meaning that is resistant to the passage of time always emerging; the stories carry with them a not very large amount of ideas that are current and our understanding of them is easily partial or incomplete. Moreover, without reading the story in its original language, many details are surely lost in the course of translation or due to the absence of explanatory notes.
"Dubliners" is, however, a masterpiece, even though it remains a work referring to a different and distant audience and time: it is certainly difficult for an ordinary reader, who most likely does not have a vast knowledge of Dublin, its history and geography (elements from which the author constantly draws on) to fully understand Joyce's work or act on the messages he conveys. However, the author's commitment should certainly be acknowledged, as should the still universal value of some of the ideas conveyed
Because, in the end, we're all Dubliners, trembling in the face of change.
His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead.
Content Warnings
Graphic: Alcohol
Moderate: Sexism and Domestic abuse
Minor: Physical abuse, Religious bigotry, Toxic relationship, and Death
biblioseph's review against another edition
emotional
mysterious
reflective
slow-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
Content Warnings
Graphic: Alcoholism
Moderate: Domestic abuse, Death, and Toxic relationship
Minor: Trafficking, Suicide attempt, and Sexism
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