James Joyces Dubliners - Adolescent Initiation Portrayed in Araby Essa

Adolescent Initiation Portrayed in Araby  Ã‚  Ã‚  Ã‚   "Araby" tells the story of an adolescent boy's initiation into adulthood. The story is narrated by a mature man reflecting upon his adolescence and the events that forced him to face the disillusioning realities of adulthood. The minor charac ­ters play a pivotal role in this initiation process. The boy observes the hypocrisy of adults in the priest and Mrs. Mercer; and his vain, self-centered uncle introduces him to another disillusioning aspect of adulthood. The boy's infatuation with the girl ultimately ends in disillusion ­ment, and Joyce uses the specific example of the boy's disillusionment with love as a metaphor for disillusionment with life itself. From the beginning, the boy deludes him ­self about his relationship with Mangan's sister. At Araby, he realizes the parallel between his own self-delusion and the hypocrisy and vanity of the adult world. From the beginning, the boy's infatuation with Mangan's sister draws him away from childhood toward adulthood. He breaks his ties with his childhood friends and lux ­uriates in his isolation. He can think of nothing but his love for her: "From the front window I saw my companions playing below in the street. Their cries reached me weak ­ened and indistinct and, leaning my forehead against the cool glass, I looked over at the dark house where she lived." The friends' cries are weak and indistinct because they are distant emotionally as well as spatially. Like an adult on a quest, he imagines he carries his love as if it were a sacred object, a chalice: "Her image accompanied me even in places the most hostile to romance†¦. I imagined that I bore my chalice safely through a throng of foes." Even in the active, distracting market... ...se and that he was someone else. His disillusionment with love is then extended to life in general. Seeing the last rays of hope fading from the top floors of Araby, the boy cries: "I saw myself as a crea ­ture driven and derided by vanity; and my eyes burned with anguish and anger." At last he makes the connection—by deluding himself, he has been hypocritical and vain like the adults in his life. Before these realizations he believed that he was driven by something of value (such as purity of love), but now he realizes that his quest has been in vain because honesty, truth, and purity are only childish illusions and he can never return to the innocence of childhood. Works Cited: Joyce, James. â€Å"Araby.† The Norton Introduction to Literature, Shorter Eighth Edition. Eds. Jerome Beaty, Alison Booth, J. Paul Hunter, and Kelly J. Mays. New York: W.W.Norton. James Joyce's Dubliners - Adolescent Initiation Portrayed in Araby Essa Adolescent Initiation Portrayed in Araby  Ã‚  Ã‚  Ã‚   "Araby" tells the story of an adolescent boy's initiation into adulthood. The story is narrated by a mature man reflecting upon his adolescence and the events that forced him to face the disillusioning realities of adulthood. The minor charac ­ters play a pivotal role in this initiation process. The boy observes the hypocrisy of adults in the priest and Mrs. Mercer; and his vain, self-centered uncle introduces him to another disillusioning aspect of adulthood. The boy's infatuation with the girl ultimately ends in disillusion ­ment, and Joyce uses the specific example of the boy's disillusionment with love as a metaphor for disillusionment with life itself. From the beginning, the boy deludes him ­self about his relationship with Mangan's sister. At Araby, he realizes the parallel between his own self-delusion and the hypocrisy and vanity of the adult world. From the beginning, the boy's infatuation with Mangan's sister draws him away from childhood toward adulthood. He breaks his ties with his childhood friends and lux ­uriates in his isolation. He can think of nothing but his love for her: "From the front window I saw my companions playing below in the street. Their cries reached me weak ­ened and indistinct and, leaning my forehead against the cool glass, I looked over at the dark house where she lived." The friends' cries are weak and indistinct because they are distant emotionally as well as spatially. Like an adult on a quest, he imagines he carries his love as if it were a sacred object, a chalice: "Her image accompanied me even in places the most hostile to romance†¦. I imagined that I bore my chalice safely through a throng of foes." Even in the active, distracting market... ...se and that he was someone else. His disillusionment with love is then extended to life in general. Seeing the last rays of hope fading from the top floors of Araby, the boy cries: "I saw myself as a crea ­ture driven and derided by vanity; and my eyes burned with anguish and anger." At last he makes the connection—by deluding himself, he has been hypocritical and vain like the adults in his life. Before these realizations he believed that he was driven by something of value (such as purity of love), but now he realizes that his quest has been in vain because honesty, truth, and purity are only childish illusions and he can never return to the innocence of childhood. Works Cited: Joyce, James. â€Å"Araby.† The Norton Introduction to Literature, Shorter Eighth Edition. Eds. Jerome Beaty, Alison Booth, J. Paul Hunter, and Kelly J. Mays. New York: W.W.Norton.