(完整版)小说“阿拉比”英文赏析
《阿拉比》的寻“爱之旅
《阿拉比》的寻“爱之旅摘要：《阿拉比》是詹姆斯·乔伊斯短篇小说集《都柏林人》中童年篇的第三部小说，是他“写给自己祖国的道德史”中的经典作品。
该小说以都柏林一个普通男孩的口吻叙述了他独自坚持在整个社会严重“瘫痪”的情感状态下，追寻自己的美好“爱情”和理想的故事。
细节描写，第一人称叙述等写作方式，能使读者感同身受的和男孩一起感受这场寻“爱”之旅。
关键词：阿拉比;情感瘫痪;寻“爱”之旅詹姆斯·乔伊斯是爱尔兰作家，20世纪最具影响力的文学家，是英国现代主义文学的杰出代表人物之一。
他被公认为是“继莎士比亚之后英语文学史上最伟大的作家”，在全球范围内，“每年要比除了莎士比亚以外的其他文学巨匠生产出更多的乔伊斯主题的学术和批评作品”。
他主要的作品包括短篇小说集《都柏林人》（Dubliners）、长篇小说《青年艺术家的画像》（APortraitoftheArtistasaYongMan）、意识流小说《尤利西斯》（Ulysses）、《芬尼根的守灵夜》（FinnegansWake），以及其他的詩歌，政论集以及书信集等。
《阿拉比》（Araby）是乔伊斯的短篇小说作品集《都柏林人》中的一篇，该小说集以他的故乡都柏林为背景展开描写，以现实主义和象征主义相结合的手法，成功地再现了19世纪末20世纪初英国殖民时期的爱尔兰的社会现实。
乔伊斯说过“我的意图是写一部我国（爱尔兰）的道德史，我选择了都柏林作为地点，因为这个城市处于麻木的状态的核心。
我试图从四个方面把它呈现给无动于衷的公众：童年，青年，成年以及公众生活。
故事按照这个顺序安排。
大部分都采取审慎的平民词语的风格……”他的整个小说集有15篇文章，按照童年、青年、成年和公众生活四个阶段安排故事，全面的展示了都柏林人生活的方方面面，体现了当时整个爱尔兰社会萧条、灰暗、冷漠、无趣的氛围，体现了整个社会人的宗教、政治、感情生活的“瘫痪状态”。
二、寻“爱”之旅（一）“爱”的初现（二）“爱”的深化当女孩终于和他说出了第一句话“你是不是准备去阿拉比（Araby）？”他紧张、困惑，甚至忘记了自己有没有回答她。
阿拉比
阿拉比<英>詹姆斯·乔伊斯北里奇蒙德街是条死胡同。
除了基督教兄弟学校的学童们放学回家那段时间外,其余时间十分寂静。
在街的尽头有一幢无人居住的二层楼房,跟一块地方上比邻的房子隔开着。
而其他的那些房屋,好像都意识到自己的住户都很体面,各自沉下了不动声色的褐色脸孔,相互冷漠地凝视着。
这栋楼房的上一位房客,是个教士,他是死在后客厅房里。
因为长期关闭,所有的房间都散发出一股霉味。
厨房后面的废物间满地都是无用的废旧报纸。
我在他们中间找到了几本书页卷曲而且潮湿的平装书:瓦尔特·司各特的《修道院长》,《虔诚的圣餐者》和《维道克回忆录》。
我最喜欢最后这本,因为书页已经泛黄。
屋后荒芜的花园中间有一棵孤零零的苹果树,以及几株零零落落灌木。
在一棵灌木下面，我发现了一个属于死去的教士的锈蚀的自行车打气筒。
他一直是个心地仁慈的教士,在他的遗嘱中,他把自己的全部财产捐给了各种的慈善机构,还把屋里的家具都送给了他的妹妹。
在短暂的冬日来临时,我们还没有吃过晚饭,夜幕就已经降临。
当我们聚集在街上玩耍时,所有的屋子也就变得阴森可怕。
头上夜空里显出一片变幻不定的紫罗兰色,同街灯的微光遥遥相映。
寒风刺骨,我们不停的玩,直到浑身暖和。
而我们的喊叫声在寂寞的大街上回响着。
游戏的进程把我们带到屋子后面黑暗而泥泞的小巷里,在那儿,我们遭到了住在棚屋里那帮野蛮家伙的猛烈进攻,我们跑到一个个黑暗、潮湿的花园的后门口,那里的灰坑发出难闻的气味,然后跑到黑暗而满是马粪味的马厩里去,那儿有个马车夫在梳理马匹,或者敲着扣好的马具,发出铿锵的声音。
当我们回到街上,一家家厨房里透出来的灯光照亮了每个地方。
这时，假如我姑父正拐过街角，我们便藏在暗处，直到他走进家门。
或者只要曼根的姐姐出来叫她的弟弟回去吃茶点的时候,我们就会躲在暗处偷偷地看她,我们等着看她呆住不走呢，还是进屋去。
如果她一直等着不走,我们就只好一起走上前去,无可奈何地让她发落。
阿拉比赏析_读后感_Araby
An Essay on ArabyAraby is one of fifteen short stories that together make up James Joyce's collection, Dubliners.Araby mainly tells about a boy who secretly loves a neighboring girl, Mangan‟s sister. Th is simple and pure love can be revealed through his action, his self-narration and his mentality, which can be best revealed in such sentences as“Every morning I lay on the floor in the front parlour watching her door.”, “Her image accompanied me even in places the most hostile to romance.”, and “My eyes were often full of tears and at times a flood from my heart seemed to pour itself out into my bosom.”, etc.From the language style of the novel, we could identify a figure of an adult narrator: a grown-up in recalling his youth. Although it described the love of a little boy, it was apparently not in the children‟s writing style or tone to narrate.The story is set in North Richmond Street in Dublin, which is “being blind”. The use of …blind‟ sets the basic tone for the whole environment in which the boy lives, as seen in such words as “musty”, “the dark muddy lanes”and “the dark dripping gardens”.In the story, the boy‟s complicated inner world during his frustrated quest for beauty is vividly described f rom the first person‟s point of view. In the novel, the boy lives with his uncle and aunt, instead of his parents,which implies he may be isolated and ignored sometimes and lacks proper relations between parents and children. We could also notice the boy‟s desire for love and care.We could also find many symbolisms in this story. For example, Mangan‟s sister, for whom the boy has tender feelings, symbolizes hope, and she is symbolically confined “have a retreat in her convent”.And the journey to the bazaar is a quest for the fulfillment of the aspirat ion, but the journey is “intolerable” delayed, and when the boy gets to the bazaar, half of it is already dark. What‟s more, the young lady at the door of a stall is “not encouraging”, and speaks to the boy “out of the sense of duty”. When the upper part o f the hall is completely dark, the boy‟s disillusionment is announced.。
英美文学名篇阅读与欣赏之一：詹姆斯.乔伊斯之《阿拉比》（原文）
英美⽂学名篇阅读与欣赏之⼀：詹姆斯.乔伊斯之《阿拉⽐》（原⽂）ArabyJames JoyceNorth Richmond Street , being blind, was a quiet street except at the hour when the Christmas Brother’s School set the boys free. An uninhabited house of two storeys stood at the blind end, detached from its neighbours in a square ground. The other houses of the street, conscious of decent lives within them, gazed at one another with brown imperturbable faces.The former tenant of our house, a priest, had died in the back drawing –room . air , musty from having been long enclosed, hung in all the rooms, and the waste room behind the kitchen was littered with old useless papers. Among these I found a few paper-covered books, the pages of which were curled and damp: The Abbot, by Walter Scott, The Devout Communicant and The Memoirs of Vidocq. I liked the last best because its leaves were yellow. The wild garden behind the house contained a central apple-tree and a few straggling bushes under one of which I found the late tenant’s rusty bicycle-pump. He had been a very charitable priest; in his will hw had left all his money to institutions and the furniture of his house to his sister.When the short days of winter came dusk fell before we had well eaten our dinners. When we met in the street the houses had grown somber. The space of sky above us was the color of ever-changing violet and towards it the lamps of the street lifted their feeble lanterns. The cold air stung us and we played till our bodies glowed. Our shouts echoed in the silent street. The career of our play brought us through the dark muddy lanes behind the houses where we ran the gauntlet of the rough tribes from the cottages, to the back doors of the dark dripping gardens where odours arose from ashpits, to the dark odorous stables where a coachman smoothed and combed the horse or shook music from the buckled harness. When we returned to the street, light from the kitchen windows had filled the areas. If my uncle was seen turning the corner we hid in the shadow until we had seen him safely housed. Or if Mangan’s sister came out on the doorstep to call her brother in to his tea we watched her from our shadow peer up and down the street. We waited to see whether she would remain or go in and, if she remained, we left our shadow and walked up to Mangan’s steps resignedly. She was waiting for us, her figure deceased by the light from the half –opened door. Her brother always teased her before he obeyed and I stood by the railings looking at her. Her dress swung as she moved her body and the soft rope her hair tossed from side to side.Every morning I lay on the floor in the front parlour 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 hear the point at which our ways diverged, I quickened my pace and passed her. 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.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 labourers, the shrill litanies of shop-boys who stood on guard by the barrels of pigs’cheeks, the nasal chanting of street-singers, who sang a come-all-you about O’Donovan Rossa, or a ballad about sensation of life for me: I imagined that I bore my chalice safely through a throng of foes. 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 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.One evening I went into the back drawing-room in which the priest had died. 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 t slip from them, I pressed the palms of my hands together until they trembled, murmuring:“ O love! O Love!” many times.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 whether I was going to Araby. I forgot whether I answered yes or no. it would be a splendid bazaar, she said she would love to go.“And why can’t you?” I asked.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 therailings. She held one of the spikes, bowing her head towards me. 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.“It’s well for you,”she said.“If I go,”I said ,“I will bring you something.”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 and cast an Eastern enchantment over me. I asked for leave to go to the bazaar on Saturday night. My aunt was surprised and hoped it was not some Freemason affair. 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.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:“Yes, boy, I know.”As he was in the hall I could not go into the front parlour and lie at the window. I left the house in bad humour and walked slowly toward the school. The air was pitilessly raw and already my heart misgave me.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.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, cleaning my fists. My aunt said:“I’m afraid you may put off your bazaar for this night of Our Lord.”At nine o’clock I heard my uncle’s latchkey in the halldoor. 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 the bazaar. He had forgotten.“The people are in bed and after their first sleep now,”he said.I did not smile. My aunt said to him energetically:“Can’t you give him the money and let him go? You’ve kept him late enough as it is.”My uncle said he was very sorry he had forgotten. He said he believed in the old saying:“All work and no play makes Jack a dull boy.” He asked me where I was going and, when I had told him a second time he asked me did I know The Arab’s Farewell to His Steed. When I left the kitchen he was about to recite the opening lines of the piece to my aunt.I held a florin tightly in my hand as I strode down Buckingham Street towards the station. The sight of the trees thronged with buyers and glaring with gas recalled to me the purpose of my journey. I took my seat I 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 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.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 girdled at half its height by 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 achurch after a service. I walked into the center of the bazaar timidly. A few people were gathered about the stalls which were still open. Before a curtain, over which the words Café Chantant were written in colored lamps, two men were counting money on a salver. I listened to the fall of the coins.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.“O, I never said such a thing!”“O, but you did!”“O, but I didn’t!”“Didn’t she say that?”“Yes. I heard her.”“O, there’s a …fib!”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:“No, thank you.”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.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.Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger.。
黑暗中的凝视——以《阿拉比》为例
名作欣赏 / 小说论丛 >黑暗中的凝视——以《阿拉比》为例⊙任 娜［山西大学， 太原 030006］摘 要：《阿拉比》是詹姆斯·乔伊斯名闻遐迩的代表作《都柏林人》中的一篇短篇小说，它书写的是一段青春期的暗恋故事，少年在此过程中多次凝视自己心仪的女生，心路历程也随之不断地发生改变，并由此获得成长。
因此，本文将用“凝视”理论，阐释小说中人物之间的凝视与被凝视的关系。
这一关系反映出男权中心意识对女性的控制以及男性在凝视背后拥有的欲望与权力。
与此同时，文章中的男主人公通过凝视完成了对自我身份的建构和重塑。
关键词：詹姆斯·乔伊斯 《阿拉比》 凝视 欲望 权力一、引言《阿拉比》（Araby）是詹姆斯·乔伊斯（James Joyce）的代表作《都柏林人》（Dubliners）中的一篇短篇小说。
故事的缘起是“我”喜欢上了“曼根的姐姐”。
女孩某次提及想去阿拉比市场看看，于是“我”心中被这一绮丽的异国景象所充斥，一心想要去那里为她买礼物，结果在抵达朝思暮想的阿拉比之后，毫无情调的市场及普通人之间平淡琐碎的谈话打破了“我”所有的幻想之梦。
在《阿拉比》中，作者通过描写凝视的过程来展现“我”的一段青春期时的心理变化历程。
目前，学界对《阿拉比》的评论多集中在原型分析、东方形象、成长主题、叙事策略等方面，但对于文章中多次出现的“凝视”现象却鲜有涉及。
鉴于此，本文将从凝视理论切入，分析文章中主人公的心理变化及背后的原因和意义。
二、凝视：区分自我与他者朱晓兰在《文化研究关键词：凝视》中阐释了“凝视”（gaze）这一概念。
她指出，凝视指长时间地观看，但是这种观看并不仅仅局限在视觉本身，而是在视觉的基础之上带有更多的隐喻特征。
凝视的背后能够反映出个人的身份特征。
因此，在此层面上凝视揭示了一定社会性的内容，“凝视是‘看’与‘被看’的辩证法，‘看’与‘被看’的行为建构了主体与对象，主体与他者。
”在《阿拉比》这篇小说中，文章标题虽与女主人公“曼根的姐姐”息息相关，但是情节总体上却是从“我”的角度切入。
英语经典文学《阿拉比》的功能文体学分析
终还是难逃都 柏林 社会 精神 瘫痪 的劫 难而 幻灭 、 绝望， 梦
想与现实的巨大反差让小 主人公 感到痛 苦和愤 怒 ， 顿悟 自
己 只 是 一 个 被 虚 荣 心 驱 使 和 愚 弄 的可 怜 虫 。
语 篇 是 在 情 景 语 境 的 制 约 下 通 过 对 意 义 的 选 择 生 成 的。 ［ １ 。 情 景语 境 由 语 场 、 语 旨和 语 式 三 个 变 量 构 成 ， 分 别 制约着对概念意义 、 人 际 意 义 和 语 篇 意 义 这 三 大 意 义 系 统
物质 过 程 ２ ］ ｒ ｓ 小 说 的 物 质 过
上遭受大英帝 国 的压迫 ， 天主教 会 又在宗 教 上施 以钳 制 ， “ 瘫 痪 的 中心 ” 落 在 了首 都 都 柏 林 。《 阿拉 比 》 是 其 中一 篇 著 名 的 短 篇 心 理 小 说 。 小 说 以小 主 人 公 第 一 人 称 “ 我” 的 视
英语经典文学《 阿拉 比》 的功能文体学分析
廖 燕萍
（ 暨南 大 学 外 国语 学 院 ， 广 东 广 州 ５ １ ０ ６ ３ ２ ）
摘要 ： 詹 姆 斯 ・乔 伊 斯 的 短 篇 小 说《 阿拉 比 》 是 英 美文 学名 篇 之 一 ， 以 系统 功 能 语 法 为 理 论 基 础 ， 从功 能文体 学的角 度对其进行及物性 、 语 气和 主位 结 构 分 析 ， 既 能 学 习 英 语 经 典 文 学 作 品 里 地 道 的语 言形 式 、 西方文化 背景知 识 ， 又
位结 构 的 选 择 上 。针 对 如 何 才 能 更 有 效 地 阅 读 并 欣 赏 英 语 经 典 文 学作 品 ， 本 文 以 韩礼 德 的 系 统 功 能 语 法 为 语 言 学
简析《阿拉比》的创作手法
简析《阿拉比》的创作手法作者：李秀艳来源：《青年文学家》2013年第21期摘要：詹姆士·乔伊斯（James Joyce ）爱尔兰作家，诗人，是20世纪西方现代派文学最重要的作家之一。
乔伊斯的文学生涯始于他1904年开始创作的短篇小说集《都伯林人》。
在写给出版商理查兹的一封信中，他明确地表述了这本书的创作原则：“我的宗旨是要为我国的道德和精神史写下自己的一章。
”这实际上也成了他一生文学追求的目标，作家因此而获得了祖国人民的衷心爱戴。
在乔伊斯笔下，在英国殖民主义和天主教会双重压迫和的爱尔兰是一个不可救药的国家，而都柏林则是它“瘫痪的中心”，在这个城市里充斥着麻木、苦闷、沦落的精神荒漠。
《阿拉比》（Araby）是短篇小说集《都伯林人》中的第三篇。
小说讲述了一个都柏林少年的故事这篇小说语言细腻，创作手法丰富多彩，字里行间透视着人类空洞荒芜的精神世界。
本文将通过细致的文本分析，深入探讨小说中的客观性，淡化的情节，丰富的意象，等现代主义创作手法，从而更好的领略《阿拉比》的现代性艺术魅力。
关键词：创作手法；艺术魅力作者简介：李秀艳，吉林省农安县人。
吉林省延边大学外国语学院英语专业教师，副教授。
担任综合英语课和英语短篇小说课教学工作，研究方向为美国文学。
[中图分类号]：I106.4 [文献标识码]：A[文章编号]：1002-2139（2013）-21-00-02詹姆士·乔伊斯（James Joyce ），著名作家，诗人，1882年生于爱尔兰都柏林一个信奉天主教的家庭，乔伊斯的文学生涯始于他1904年开始创作的短篇小说集《都伯林人》。
在写给出版商理查兹的一封信中，他明确地表述了这本书的创作原则：“我的宗旨是要为我国的道德和精神史写下自己的一章。
”这实际上也成了他一生文学追求的目标，作家因此而获得了祖国人民的衷心爱戴。
在乔伊斯笔下，在英国殖民主义和天主教会双重压迫和的爱尔兰是一个不可救药的国家，而都柏林则是它“瘫痪的中心”，在这个城市里充斥着麻木、苦闷、沦落的精神荒漠。
Araby_james_joyce_阿拉比_文章详细解析
"Araby" and the Writings of James JoyceCritic: Harry StoneSource: "`Araby' and the Writings of James Joyce," in The Antioch Review, Vol. XXV, no. 3, Fall, 1965, pp. 375-445.Criticism about: "Araby"Author Covered: James JoyceTable of Contents:Essay | Source Citation[Stone is an educator, editor, and Charles Dickens scholar. In the following excerpted essay, he discusses some of the autobiographical elements of "Araby," which include Joyce's childhood in Dublin, Ireland, and how the exoticism of the real-life Araby festival, with its Far Eastern overtones, impacted the young Joyce. Stone also discusses the poet James Mangan's influence on the story. ]For "Araby" preserves a central episode in Joyce's life, an episode he will endlessly recapitulate. The boy in "Araby" like the youthful Joyce himself, must begin to free himself from the nets and trammels of society. That beginning involves painful farewells and disturbing dislocations. The boy must dream "no more of enchanted days." He must forego the shimmering mirage of childhood, begin to see things as they really are. But to see things as they really are is only a prelude. Far in the distance lies his appointed (but as yet unimagined) task: to encounter the reality of experience and forge the uncreated conscience of his race. The whole of that struggle, of course, is set forth in A Portrait of the Artist as a Young Man. "Araby" is the identical struggle at an earlier stage; "Araby" is a portrait of the artist as a young boy.The autobiographical nexus of "Araby" is not confined to the struggle raging in the boy's mind, though that conflict--an epitome of Joyce's first painful effort to see--is central and controls all else. Many of the details of the story are also rooted in Joyce's life. The narrator of "Araby"--the narrator is the boy of the story now grown up--lived, like Joyce, on North Richmond Street. North Richmond Street is blind, with a detached two-story house at the blind end, and down the street, as the opening paragraph informs us, the Christian Brothers' school. Like Joyce, the boy attended this school, and again like Joyce he found it dull and stultifying. Furthermore, the boy's surrogate parents, his aunt and uncle, are a version of Joyce's parents: the aunt, with her forbearance and her unexamined piety, is like his mother; the uncle, with his irregular hours, his irresponsibility, his love of recitation, and his drunkenness, is like his father.Source Citation: Stone, Harry, "`Araby' and the Writings of James Joyce," in The Antioch Review, Vol. XXV, no. 3, Fall, 1965, pp. 375-445. EXPLORING Short Stories. Online Edition. Gale, 2003. Student Resource Center. Thomson Gale. 04 June 2007 </servlet/SRC>Historical Context: "Araby"Table of Contents:Source CitationWhile Dublin, Ireland, has seen much change since the turn of the twentieth century, when Joyce wrote many of the conditions present then remain today. In 1904, all of Ireland was under British control, which the Irish resented bitterly. The nationalist group Sinn Fein (part of which later became the Irish Republican Army--the IRA) had not yet formed, but Irish politics were nonetheless vibrant and controversial. The question of Irish independence from Britain was one of primary importance to every citizen.There were no televisions or radios for entertainment at the turn of the century. Children in working-class families were expected to help with running the household, as the boy in does when he carries packages for his aunt at the market, and to entertain themselves by reading or playing alone or with others. It was rare for children to have money of their own to spend. An event like the bazaar in would cause great excitement.Ireland's major religion, Roman Catholicism, dominated Irish culture, as it continues to do today although to a lesser extent. Many families sent their children to schools run by Jesuit priests (like the one the narrator in attends) and convent schools run by nuns (like the one Mangan's sister attends). Catholicism is often seen as a source of the frequent conflict in Irish culture between sensuality and asceticism, a conflict that figures prominently in Joyce's autobiographical novel A Portrait of the Artist as a Young Man . In many ways, Catholicism, particularly as practiced at the turn of the century, was an extremely sensuous religion, emphasizing intense personal spiritual experience and surrounding itself with such rich trappings as beautiful churches, elegant paintings and statues, otherworldly music, and sumptuous vestments and altar decorations. On the other hand, the Church's official attitude toward enjoyment of the senses and particularly toward sexuality was severe and restrictive. The ideal woman was the Virgin Mary, who miraculously combined virginal purity with maternity. Motherhood was exalted, but any enjoyment of sexuality, even in marriage, was considered a sin, as were the practice of birth control and abortion. The inability to reconcile the spiritual and sensual aspects of human nature can be seen in the boy's feelings toward Mangan's sister in He imagines his feelings for her as a "chalice"--a sacred religious object--and so worshipful is his attitude that he hesitates even to speak to her. Yet his memories of her focus almost exclusively on her body--her figure silhouetted by the light, the "soft rope of her hair," "the white curve of her neck," the border of her petticoat. Even the image of the chalice is ambivalent, since its cup-like shape and function suggests a sexual connotation. The boy never resolves this conflict between spirituality and sensuality. Instead, when confronted with the tawdriness of a shopgirl's flirtation at the bazaar, he abruptly dismisses all his feelings as mere "vanity."The Structure of "Araby"Critic: Jerome MandelSource: "The Structure of `Araby'," in Modern Language Studies, Vol. XV, no. 4, Fall, 1985, pp. 48-54. Criticism about: "Araby"Author Covered: James JoyceTable of Contents:Essay | Source Citation[In the following excerpt, Mandel compares the imagery of Joyce's "Araby" to that of medieval romance,particular with regard to the protagonist's love for Mangan's sister. ][In "Araby" the two paragraphs] beginning "Her image accompanied me even in places the most hostile to romance" and ending with his "murmuring: O love! O love! many times"--have long been examined for images from medieval romance and need not be recapitulated in detail here. My concern is not that [the boy's] world is hostile to romance (both literary tradition and personal feeling) and that her image accompanies him, but that the paradigm of courtly romance is strictly maintained and the attitudes of courtly love constantly suggested. As the boy continues to perform his public duties in the world (to win worship: "I had... to carry some of the parcels"), he retains the attitude and response of the courtly lover. As a lover totally possessed by love, he moves out of time, and all worldly, public, and temporal considerations pass from him: "I thought little of the future." He is swept by strange emotions: "My eyes were often full of tears (I could not tell why)" and rendered inarticulate. When all his "senses seem to desire to veil themselves" and he trembles in adoration, he exhibits the proper response of one committed to love. The conflicting demands of world, duty, and love developed in these two paragraphs exhibit in action what, in the medieval romance, is the love debate--the soliloquy that usually begins when the lover first sees the knight or lady and ends when the lover places himself (or herself) totally in the service of love....In the next passage, the passage that establishes and defines the quest (and which ends with the lover's commitment: "I will bring you something"), the lady is first to speak in her double role as the object of the lover's adoration and she for whose sake the adventure is to be undertaken. "At last she spoke to me"--the lady at last recognizes the miserable, worshipful knight who has adored her from a distance without hope of success but with unrelenting devotion. He responds as do all courtly lovers when they first come to the attention of the beloved: he is "so confused that I did not know what to answer." When she asks if he is going to Araby, "I forget whether I answered yes or no." Her wish, "she would love to go," is his command: he must take upon himself the fulfillment of an adventure to which he has been called by love--one she herself is prevented from accomplishing. The multiple religious symbolism of the two "alone at the railings" which suggests both marriage and communion, is enriched by the further suggestion from medieval romance that he dedicates his lance to her ("she held one of the spikes") and she accepts his consecration to her service ("bowing her head toward me"). If he does not actually receive a favor from her to carry on quest, there is promise of reward for knightly service in the "silver bracelet" which she turns "round and round her wrist." Whatever else it means, her curious final line, "It's well for you," is tantamount to an admission of love, for in the context of medieval love revelations the line means, "it is well for you--that is, you are better off than I am--since you are not smitten by love for me as I am smitten by painful love for you." I do not mean to imply that Mangan's sister actually loves the boy nor that he thinks she does, but only that her response in this context has particular connotations in medieval romance."Araby" by James (Augustine Aloysius) Joyce [Plot Summary]Author: James (Augustine Aloysius) Joyce, also known as: James Augustine Aloysius Joyce, James Augustus Aloysius Joyce, and James (Augustine Aloysius) JoyceGenre: short storiesDate: 1914Table of Contents:Essay | Source CitationIntroduction"Araby" is one of fifteen short stories that together make up James Joyce's collection, Dubliners. Although Joyce wrote the stories between 1904 and 1906, they were not published until 1914.Dubliners paints a portrait of life in Dublin, Ireland, at the turn of the 20th century. Its stories are arranged in an order reflecting the development of a child into a grown man. The first three stories are told from the point of view of a young boy, the next three from the point of view of an adolescent, and so on. "Araby" is the last story of the first set, and is told from the perspective of a boy just on the verge of adolescence. The story takes its title from a real festival which came to Dublin in 1894 when Joyce was twelve years old.Joyce is one of the most famous writers of the Modernist period of literature, which runs roughly from 1900 to the end of World War II. Modernist works often include characters who are spiritually lost and themes that reflect a cynicism toward institutions the writer had been taught to respect, such as government and religion. Much of the literature of this period is experimental; Joyce's writing reflects this in the use of dashes instead of quotation marks to indicate that a character is speaking.Joyce had a very difficult time getting Dubliners published. It took him over ten years to find a publisher who was willing to risk publishing the stories because of their unconventional style and themes. Once he found a publisher, he fought very hard with the editors to keep the stories the way he had written them. Years later, these stories are heralded not only for their portrayal of life in Dublin at the turn of the century, but also as the beginning of the career of one of the most brilliant English-language writers of the twentieth century.Plot"Araby" opens on North Richmond street in Dublin, where "an uninhabited house of two storeys stood at the blind end, detached from its neighbours in a square ground." The narrator, who remains unnamed throughout the story, lives with his aunt and uncle. He describes his block, then discusses the former tenant who lived in his house: a priest who recently died in the back room. This priest has a library that attracts the young narrator, and he is particularly interested in three titles: a Sir Walter Scott romance, a religious tract, and a police agent's memoirs.The narrator talks about being a part of the group of boys who play in the street. He then introduces Mangan's sister, a girl who captivates his imagination even though he rarely, if ever, speaks with her. He does stare at her from his window and follow her on the street, however, often thinking of her "even in places the most hostile to romance." While in the marketplace on Saturday nights, for example, he uses her image to guide him through the thronging crowd who yell their sales pitches and sing patriotic Irish ballads. He becomes misty-eyed just at the thought of her and retreats to the priest's dark room in order to deprive himself of other senses and think only of her.Finally, Mangan's sister speaks to him. She asks if he will be attending a church-sponsored fair that is coming soon to Dublin--a bazaar called "Araby." He is tongue-tied and cannot answer, but when she tells him that she cannot go because of a retreat that week in her convent, he promises to go and bring her a gift from the bazaar. From then on he can only think of the time when he will be at the fair; he is haunted by "the syllables of the word Araby." On the night he is supposed to attend the fair, his uncle is late returning home and he must wait to get money from him. He gets very anxious, and his aunt tells him that he may have to miss the bazaar, but his uncle does come home, apologetic that he had forgotten. After asking the boy if he knows a poem entitled "The Arab's Farewell to His Steed," the uncle bids the boy farewell.The boy takes a coin from his uncle and catches a train to the fair. Araby is closing down as he arrives and he timidly walks through the center of the bazaar. As he looks at the few stalls that are still open, he overhears a conversation between an English shop-girl and two young men. Their talk is nothing but idle gossip. The shop-girl pauses reluctantly to ask the boy if he wishes to buy anything, but he declines. As he walks slowly out of the hall amid the darkening of the lights, he thinks that he is a "creature driven and derided by vanity" and his "eyes burned with anguish and anger."CharactersNarrator: The narrator of this story is a young, sensitive boy who confuses a romantic crush and religious enthusiasm. All of the conflict in this story happens inside his mind. It is unlikely that the object of his crush, Mangan's sister, is aware of his feelings for her, nor is anybody else in this boy's small world. Because the boy's thoughts only reveal a part of the story, a careful reader must put together clues that the author gives. For example, the narrator mentions that the former tenant of the house he shares with his aunt and uncle was a priest, a representative of the Catholic church, who left behind three books which became important to the narrator. One is a romantic adventure by Sir Walter Scott; one is a religious pamphlet written by a Protestant; and the third is the exciting memoirs of a French policeman and master of disguise. These three books are not what a person would expect a Catholic priest to have in his library. So if this priest has non-religious literature in his library, then how devout can an average church-goer be expected to be? This turns out to be the case for the narrator, who confuses religious idealism with romance.The boy confuses the religious and secular worlds when he describes himself at the market with his aunt. He bears the chalice--the Communion cup--through a "throng of foes." He also describes Mangan's sister in terms often associated with the Virgin Mary. For the narrator, then, an ordinary grocery-shopping trip becomes a religious crusade, and a pretty girl down the street becomes a substitute for the Mother of God. The boy fuses together religious devotion for the Virgin Mary with his own romantic longing.Joyce is famous for creating characters who undergo an epiphany--a sudden moment of insight--and the narrator of "Araby" is one of his best examples. At the end of the story, the boy overhears a trite conversation between an English girl working at the bazaar and two young men, and he suddenly realizes that he has been confusing things. It dawns on him that the bazaar, which he thought would be so exotic and exciting, is really only a commercialized place to buy things. Furthermore, he now realizes that Mangan's sister is just a girl who will not care whether he fulfills his promise to buy her something at the bazaar. His conversation with Mangan's sister, during which he promised he would buy hersomething, was really only small talk--as meaningless as the one between the English girl and her companions. He leaves Araby feeling ashamed and upset. This epiphany signals a change in the narrator--from an innocent, idealistic boy to an adolescent dealing with harsh realities.Mangan's Sister: Mangan is one of the narrator's chums who lives down the street. His older sister becomes the object of the narrator's schoolboy crush. Mangan's sister has no idea how the narrator feels about her, however, so when they discuss "Araby," the bazaar coming to town, she is only being polite and friendly. She says she would like to go to the bazaar but cannot because she has to attend a school retreat that weekend. The narrator promises to buy her something at the bazaar if he goes, but it is unlikely that she takes this promise seriously. While on the one hand the narrator describes her romantically, he also describes her in reverential terms which call to mind the Virgin Mary. This dual image description of Mangan's sister represents the religious and romantic confusion of the narrator.Mangan: Mangan is the same age and in the same class at the Christian Brothers school as the narrator, and so he and the narrator often play together after school. His older sister is the object of the narrator's confused feelings.Narrator's Aunt: The narrator's aunt, who is a mother figure in the story, takes the narrator with her to do the marketing. When it seems as though the uncle has forgotten his promise to the narrator that he could go to the bazaar, she warns the boy that he may have to "put off" the bazaar "for this night of Our Lord." While this statement makes her seem strict in a religious sense, she also exhibits empathy for the boy's plight. She pleads his case when the uncle forgets about the boy's plans to go to Araby.Narrator's Uncle: The narrator's uncle seems self-centered and very unreliable. When the narrator reminds him that he wants to go to the bazaar, he replies, "Yes, boy, I know." But on the Saturday evening of the bazaar, he has forgotten, which causes the narrator to arrive at the bazaar very late. When the uncle finally shows up, he has been drinking, and as the boy leaves for the bazaar he begins reciting the opening lines of the poem, "The Arab's Farewell to his Steed." Joyce's characterization of the uncle bears resemblance to his own father, who liked to drink and was often in debt. Joyce's inclusion of Mrs. Mercer, the pawnbroker's widow who waits for the uncle to return, suggests tha t the uncle owes money.Themes and Construction: "Araby"Table of Contents:Source CitationThemesThe narrator recalls a boyhood crush he had on the sister of a friend. He went to "Araby," a bazaar with an exotic Oriental theme, in order to buy a souvenir for the object of his crush. He arrived late, however, and when he overheard a shallow conversation between a female clerk and her male friends and saw the bazaar closing down, he was overcome with a sense of futility.Alienation and LonelinessThe theme of isolation is introduced early in the story by the image of a deserted, isolated house and the narrator's recollection of a priest who lived and died in their back room. The young protagonist seems isolated within his family. There is no mention of his parents; he lives with his aunt and uncle, and the uncle, in particular, appears insensitive to the boy's feelings, coming home late even though he knows the boy wants to go to the bazaar. The boy's crush on his friend Mangan's sister seems to isolate him even further. He is too tongue-tied to initiate a relationship with her, worshipping her from afar instead. Moreover, his crush appears to isolate him from his friends. Whereas early in the story he is depicted as part of a group of friends playing in the street, after his crush develops his separation from the others is emphasized: he stands by the railings to be close to the girl while the other boys engage in horseplay, and as he waits in the house for his uncle to return so he can go to the bazaar the noises from his friends playing in the street sound "weakened and indistinct." The story ends with him confronting his disillusionment alone in the nearly deserted bazaar.Change and TransformationThe narrator experiences an emotional transformation--changing from an innocent young boy to a disillusioned adolescent--in the flash of an instant, although the reader can look back through the story and trace the forces that lead to the transformation. This change occurs through what Joyce called an "epiphany," a moment of sudden and intense insight. Although the narrator suddenly understands that his romantic fantasies are hopelessly at odds with the reality of his life, this understanding leaves him neither happy nor satisfied; instead, he feels "anguish and anger." It is not clear what impact the narrator's epiphany will have on his future development, only that that development has begun.Fantasy and RealityThe story draws connections between the romantic idealism of the young protagonist's attitude toward Mangan's sister and romantic fantasies in the surrounding culture. Much of this romanticism seems to stem from religion, the pervasive presence of which is emphasized by mentions of the youngsters' parochial schools, repeated references to the dead priest, and the aunt 's fear that the bazaar might be a "Freemason" affair and her reference to "[T]his night of our Lord." The boy carries his thoughts of Mangan's sister like a "chalice through a throng of foes," and his crush inspires in him "strange prayers and praises." The way the girl herself is described--as an alluring but untouchable figure dramaticallylit--and the boy's worshipful attitude give her something of the character of a religious statue. Popular culture is also suggested as a source of the boy's romanticism, in the references to Sir Walter Scott's The Abbot and the poem "The Arab's Farewell to His Steed." The contrast between fantasy and reality draws to a head at the Araby bazaar, whose exotic name is merely packaging for a crassly commercial venture. In the nearly deserted hall and the insipid flirtation he overhears between two men and a shopgirl, the protagonist is confronted with huge gap between his romantic fantasies of love and the mundane and materialistic realities of his life.ConstructionThrough the use of a first person narrative, an older narrator recalls the confused thoughts and dreams of his adolescent self. Joyce uses this familiarity with the narrator 's feelings to evoke in readers a responsesimilar to the boy's "epiphany"--a sudden moment of insight and understanding--at the turning point of the story.Point of Viewis told from the first person point of view, but its perspective is complicated by the gap in age and perception between the older narrator and the younger self he remembers. The story takes the form of a reminiscence about an apparent turning point in the narrator 's growth, a partial explanation of how the young protagonist became the older self who is the narrator. The reader is given no direct information about the narrator, however, his relentless contrasting of his boyhood self's idealism with the tawdry details of his life, and the story 's closing line, create a somewhat bitter and disillusioned tone. It is left to the reader to decide how far the narrator has travelled toward a "true" understanding of reality.SymbolismJoyce's use of symbolism enriches the story 's meaning. The former tenant of the narrator's house, the Catholic priest, could be said to represent the entire Catholic church. By extension, the books left in his room--which include non-religious and non-Catholic reading--suggest a feeling of ambiguity toward religion in general and Catholicism in particular. The bazaar "Araby" represents the "East"--a part of the world that is exotic and mysterious to the Irish boy. It could also represent commercialism, since despite the boy's romantic imaginings its purpose is in fact to make money. Mrs. Mercer, the pawnbroker's widow, is another representative of materialism. To the narrator, Mangan's sister is a symbol of purity and feminine perfection. These qualities are often associated with the Virgin Mary, who also symbolizes the Catholic church. While the boy is at Araby, the various, and often contrasting, meanings of these symbols converge to produce his epiphany.ModernismJoyce is known as one of the leading authors of Modernism, a movement in art and literature in the first half of the twentieth century that emphasized experimentation and a break with traditional forms. In this early work Joyce's narrative technique is still fairly traditional and straightforward. However, several features of the story can be identified as experimental and modernist, particularly in the extent to which the reader is left to sort out the story 's meaning with little overt help from the author. The story concerns a relatively ordinary occurrence in the life of an ordinary person; we are never told directly how or why it might be important. We are given no direct information about the narrator, but must glean what we can about his character from the story he tells and the way in which he tells it; we are not even told what the age difference is between the narrator and his younger self. The story ends, as it begins, abruptly, with again no direct indication of the significance of the protagonist's "epiphany," his older self's attitude toward it, or what it meant for his further development. Much of the early criticism of -that the stories were "sordid" and lacked structure and a "point"--reflect the unfamiliarity and uneasiness of Joyce's contemporary readers with these innovations in storytelling.。
Of the Symbolic Meanings in Araby 赏析阿拉比 象征意义 阿拉比读后感
Of the Symbolic Meanings in ArabyJames Joyce is a world-renowned writer who is skilled in employing symbolic meanings to the surroundings and backgrounds which seem quite simple and plain but actually bear rich information. The short novel Araby is a typical example.First of all, the symbolic technique begins with the title Araby. The word "Araby" shares a similar spelling with "Arab". Definitely, it is neither a coincidence nor a spelling mistake. In other words, the author names it on purpose. Arab is an ideal destination full of oriental mystery and magic from the Westerners’ points of view. In the hero’s opinion, his beloved girl is as perfect as the bazaar Araby.Then what is the reality? On one hand, the boy finds himself in a big hall girdled at half its height by a gallery. Nearly all the stalls are closed and the greater part of the hall is in darkness. Obviously, here Araby in reality has a totally different symbolic meaning from the previous imagination. To be specific, here Araby symbolizes the dull society of Ireland. On the other hand, he is shocked by the flirting of a young lady in the bazaar. So much to his surprise, Araby is not that wonderful and what’s worse, those good-looking girls are not that pure. Both points shatter his illusion of pureness.Besides, it is easy to find the symbolism in the whole passage, which implies the sharp contrast between the imagination and reality, and foretells the boy’s inevitable frustration. "North Richmond Street, being blind, was a quiet street…”, here the author tends to tell us that surrounded by such an experienced society, it is impossible for the boy to find way out of the shackles of "blind street".Such kind of techniques can be found almost every paragraph, I have named just a few.There is an old saying “Less is more", to this point, I can not agree more and James Joyce sets a pretty good example for us. Without tedious and dull descriptions, he is expert in using sublime words with deep meaning by employing symbolic meanings to the surroundings and backgrounds.。
关于乔伊斯作品《阿拉比》背景的分析与理解
实生活和美好的理想有机地交织在一起。 当学生理清了这一思路时。 就能既受到作者所赞颂的那种给予别人很多。归之于已很少的献身 美育是以美的规律和原则去陶冶人的 精神、 净化人的灵魂的教 精神的启发陶冶，又发现作者创造诗的意境的构思技巧，进而也就 育，它使学生具有健康的情感、坚定的意志和正确的审美观。语文 获得了诗意美的艺术享受。这篇散文与诗的意境紧密相联的是其诗 起、承、转、合” ，其中 “ 转”十分重 美育是美育精神灌注进语文教学中的必然结果。它以讲解语文课中 的结构。古典诗歌十分讲究 “ 存在着的美为起点，以引导、组织学生对现实中各种美的现象、美 要。所谓 “ 转”就是将一层意思推进或转化到另・层意思。转的技 的事物进行 审视、评价为中介 ，以口头的、书面的表达训练为学生 巧，即在如何转得自然而不生硬 深刻而不流于肤浅。杨朔的 《 － － 荔 揭示和创造美的手段，以陶冶学生的审美情感、强化学生的审美意 枝蜜》在 “ 转”字上是很下功夫的。当 “ 我”听了老梁的一席话， 识、纯洁学生的审美理想为指南，以实现塑造学生积极地热爱美、 怀着无比激动的心情赞美了蜜蜂 “ 不是为自己，而是在为人类酿造 追求美的健康心态和培养学生自觉地欣赏美、创造美的实践能力为 最甜蜜的生活”时笔锋一转， 写道： 透过荔枝树密林，我沉吟地望 “ 目的。语文教师就是美育工作者，要通过教材对学生进行生动有效 着远远的田野，那 正有农民立在水田里，辛辛勤勤地分秧插秧。 Ｌ 的美的教育，使学生受到多种美的陶冶。 他们正用劳动建设自己的生活，实际也正在酿蜜——为 自己，为别 分析作品意境的美 人， 也为后世子孙酿造着生活的蜜。 ”由咏赞蜜蜂的美德 转到歌颂 转 ，就使全文意 境深远 ，主题升华 了．如 优秀的文学作品能净化人的感情，培养人的情趣，陶冶人的性 劳动人 民的美德，这一 “ ” 灵，美化人的灵魂，而这一特有功能又集中表现在作品的思想意境 果没有这一 “ ， 转” 作者只有就事论事地描写、赞美蜜蜂．文章只是 上。因此，语文教学的首要任务。就是把学生带进作品的艺术境界 完成了一半。只有托物， 而无言志．全文的思想境界就会大大削弱。 里去，让作品所展示的鲜明而真实的生活画面在学生头脑中再次浮 紧接着，作者在转过之后，把宕开的笔墨又拉回到蜜蜂身上。这就 现，爱作者之所爱，憎作者之所憎。如杨朔对散文的诗意美是刻意 与开头遥相呼应。这即是 “ 合”处，这一 “ 合”是卒章显志，显得 追求的，他的 《 荔枝蜜》是这方面的优秀代表作，具有诗的意境、 含蓄而隽永，令人回味无穷。倘若引导学生发现这一创作内幕，便 诗的结构、诗的语言。离开了对作品思想意境的剖析，孤立地去讲 会产生美不胜收的感受。 、 字词句，势必变成枯燥的说教，乏味的条条，支离破碎的知识。如 二、分析自 然景物的美 果从作者的构思立意入手，那么学生就能发现，杨朔创造的诗的意 在语文教学中，引导学生赏析自然景象，是进行美育的一个重 法国雕塑家、 美学家罗丹曾说： 你不要忘了我最喜欢的一 “ 境是通过“ 托梦言志” 丰富 的 想象达到的： 这一 我做了 “ 夜， 一个奇 要方面。 怪的梦，梦见自己变成了一只小蜜蜂。 在做梦变成小蜜蜂之前， ” 作 句箴言：‘ 自然总是美的。 （西方美学家论美和美感》 。 《 ） 但是，作
小说Araby两个译本之评析_以翻译的标准为视角
Vol 25 No 4 July 2010
小说 Araby 两个译本之评析
以翻译的标准为视角 朱光冰
( 广西政法管理干部学院 , 广西 南宁 [ 摘 要 ] 本文从语 言 、 风格等 方面对小 说 Ar aby 两 个 译本进行比较分析 , 从而进一步阐明翻译应遵 循的 信 、 达、 雅! 这一原则标准 。 [ 关键词 ] 忠实 ; 通顺 ; 得体 [ 中图分类号 ] H315. 9 [ 文献标识码 ] A [ 文章编号 ] 1008- 8628( 2010) 04- 0127- 03 530023)
小主人公跟婶婶去市场买东西 , 现实世界的平 庸、 市侩, 与小主人公初恋时圣洁、 理想的心态极不 融洽, 因此小主人公产生一种单纯的感受 : 自己正 捧着圣 餐酒杯, 通过 一大群敌人的 包围。译文对 in a single sensat ion of life for me! 的理解差异较 大, sing le! 一词意思是! 单个 , 简单! ; sensat ion! 是 感觉、 感动、 激动。因此, 我认为译为 一种单纯的 人生感受! 比较贴切。 7. It w as a dark rainy evening and there w as no sound in t he house. T hrough one of t he broken pans I heard t he rain impinge upon t he earth, t he fine in cessant needles of w at er playing in the sodden beds. 黄本 : 这是一个阴雨绵绵、 漆黑的夜晚, 整幢房 子一片寂静 , 透过一块破碎的窗玻璃, 传来了雨水 着地的声响。连绵的细雨犹如行行绣针 , 洒向湿透 了的花圃、 钱本 : 那是一个漆黑的雨夜, 房子里静悄悄的 , 透过一扇破窗, 我听见雨点打在地上, 连绵的针尖 细雨泻在湿透的花坛里。 这里可以看出钱本比较注意忠实于原文 , 做到 翻译的准确性, 但从语言的运用上来说略显拘谨 , 不如黄本译得那么自然 , 细腻 , 文学性强。在翻译 中应该重原文形式还是原文内容是译者面临的最 大的障碍 , 虽说作者的文体特征是由语言形式来反 映, 但过于强调形 式的译法往往使 译文缺乏可读 性。 通过对以上两个译本的粗略对比, 我们可以看 出黄本文笔 流畅、 灵活 , 充分发挥了汉语的优势。 文学气息浓厚、 可读性强 , 但个别地方与原文出入 较大。钱本对原文的理解把握较准确, 更忠实于原 ( 上接第 123 页 )
The cask of Amontillado文学分析(全英文)
Literary Analysis Essay of The cask of AmontilladoI want to talk about the suspense in the story—the cask of Amontillado. The writer Edgar Allen Poe uses a lot of suspense in the story. So when readers read the story they are deep attractive in it. The writer creates suspense by using foreshadowing and conflict. And it makes the suspense more dramatic and easy to understand.In the short story the cask of Amontillado, Edgar Allen Poe creates the main characters by the dialogue between them. The dialogue shows how dark and evil the protagonist is. The writer also mirrors the inner change of the main characters by using the conversation between them and some detailed depiction. Finally, the background of the writer is also very important for you to understand the theme of the story. The more you know about the writer, the deeper you will understand the story.The suspense in the story is very artful and attractive. The suspense also makes the beginning of the story more clearly. The whole story goes on very smoothly. You can see the suspense almost everywhere in the story. But the writer uses many different ways such as foreshadowing and conflict to make them look different and dramatic.There are some examples of suspense in the short story. First, it is in the first paragraph of the story, Montresor said he must not punish but punish with impunity. (Edgar, 1) In my point of view, this is the first suspense in the story. It let the readers think about the two characters. The readers may have a first impression on one of the characters----Montresor, who is evil and revengeful. However, which evil ways Montresor used to punish Fortunato, every reader want to know it. Indeed, this is a very useful suspense to attract readers.The second suspense in the story is in the third paragraph. The key word is immolation. Similarly, the word shows the protagonist is an evil avenger. On the other hand, the word immolation shows that the protagonist would kill the antagonist in the end of the story.There is the third suspense in the middle of the story. The protagonist said that he cared about the illness of the antagonist, so they will go back because the antagonist is rich, respected, beloved, and happy. The health of the antagonist is more precious. (Edgar, 3) The forth suspense is in the forth page of the story. The two characters walked through the long walls of piled skeletons. In my view, it foreshadows the death of the antagonist------Fortunado. In addition, …its wall had been lined with human remains, piled to the vault overhead.‟(Edgar, 5) It is also suspense in the story.All in all, there is much suspense in the short story. The writer Edgar Allen Poe creates and sets them into the story gimmicky, as a result, the readers will have a deep impression on this story, when readers start reading this book, they cannot give up. Also, the writer describes the characters by using suspense. You really want to know the characterization of the characters. Such as the darkness of the protagonist. Most important, the readers are focus on the polt of the story, they will clearly know the beginning, the climax, and the end of the story. So the readers might think about that they are one of the characters in the story. Then they will a deeper and particular considering of the story.In addition to suspense, Edgar Allen Poe uses the dialogue between the two main characters to make them fresher and more lifelikeness. The readers can easily distinguish the protagonist and the antagonist, but how the writer do it, the answer is the writer creates different dialogue for the characters have difference in ideology and characterization.Furthermore, the dialogues used in the story are close to real life, the readers can read them smoothly because they are spoken dialogue.Here are some examples of the dialogue in the story.First of all, the first dialogue between the two characters is in the sixth paragraph. The antagonist said: “Amontillado! A pipe! In the middle of the carnival.”(Edgar, 1)Then he repeated the word …Amontillado‟ several times. Surely, it shows that the antagonist is crazy about wine.The second example is in the middle of the story, after the antagonist coughed. The protagonist said: “Come, we will go back, your health is precious.” (Edgar, 4) You can see that the protagonist is untruthful, he is kind to the antagonist but he really wants to kill him. The third dialogue is about mason. The antagonist asked the protagonist: “Are you the masons?”The protagonist replied:”Yes, yes, I am a mason.”“You are the masons! Impossible” said the antagonist. (Edgar, 4) This conversation shows the characterization of the antagonist. He is got above himself. He thinks he is the mason and defies the people who are not as rich as him.There is the forth dialogue, the protagonist said: “Indeed, it is very dam. Once more let me implore you to return. No? Then I must positively leave you.” Answered the antagonist at once: “The Amontillado!”(Edgar, 5) Similarly, you can know the interest and the characterization of them.The final dialogue is in the end of the story. The antagonist laughed in a strange voice: “Yes, the Amontillado, but is it not getting late? Will not they be awaiting us at the palazzo, the lady Fortunato and the rest? Let us be gone.” (Edgar, 6) The antagonist still thinks it is ajoke make on him. Then the protagonist replied: “Yes, let us be gone.” From this, you can know how evil and untruthful the protagonist is. But after that, there is an exciting change. The protagonist called the other again and again: “Fortunato,” no answer, “Fortunato,” still no answer, it was horrible silence. The antagonist did not want the protagonist to feel satisfied. And the antagonist wants to make the protagonist feel guilty.In a word, the conversation between the two characters is very important; it can help the readers know about the characterization, the hobby and the thought of the characters. On the other hand, the dialogue is also a clue in the story; it shows how the story goes on. Readers can clearly know about the beginning, the climax and the end of the story. You can also know the thinking ways of the characters.Edgar Allen Poe also used some detailed depiction in the story to represent the inner change of the characters. You can find the detailed depiction in the dialogue, or in some other places in the story. The detailed depiction is very important for you to understand For instance, at the beginning of the story, the antagonist possessed himself of my arms; and putting on a mask of black silk and drawing a roquelaire closely about my person. This series of movement is detailed depiction; it shows that the antagonist is crazy about wine. He really wants to taste the Amontillado.There is the second example after it; the antagonist emptied a flagon of De Grave. His eyes flashed with a fierce light. He laughed and threw the bottle upwards with a strange gesticulation. (Edgar, 4) This is another series of detailed movement, from the words, like flash, fierce and throw, it surely sets off the arrogance of the antagonist. Unfortunately, the evil protagonist is beside him and he is the man who really wants to punish him. So you canimagine how angry and surprised the protagonist was at that moment.The third is in the end of the story: A succession of loud and shrill screams, bursting suddenly from the throat of the chained form, seemed to thrust me violently back. For a brief moment I hesitated, I trembled. Unsheathing my rapier, I began to grope with it about the recess; but the thought of an instant reassured me. (Edgar, 6) This is a detailed depiction. In my point of view, it represents the inner change of the protagonist. From scared to hesitated and then to satisfied.In a word, the detailed depiction is one of the most important parts of the story. It shows the inner change of the characters and depicts the characters. More importantly, the detailed depiction connects the polt of the story. Also, a good depiction can attract the readers.Edgar Allen Poe was born in 1809, and he wrote the story the cask of Amontillado in 1846. He blazons force the mysticism. And he used to write article about revenge, horror and death. The writer uses many ways such as parable, irony, metaphor and foreshadowing to create dark and suffocative situation. Readers can be easily taken into the story. There is an example in the story.At the most remote end of the crypt there appeared another less spacious. Its walls had been lined with human remains, piled to the vault overhead, in the fashion of the great catacombs of Paris. (Edgar, 4)All in all, the writer Edgar Allen Poe creates a story full of horror and darkness. He uses suspense, dialogue and detailed depiction. Because of these, he makes the story the cask of Amontillado really attract the readers, it makes deep impression on them. Also, the two main characters are very easy for readers to separate, because Edgar uses different kind ofdialogue for each of the character.By creating the suspense in the story, Edgar makes a clue in the story. It shows the development of the whole story. The suspense can also guide the readers read the story. For example, it sometimes shows what happened next and how the characters are. Further, Edgar uses the suspense to attract the readers, to make them focus on the story.In doing so, Edgar Allen Poe creates a kind of story about revenge, horror and death, different from the story always filled with justice and kindness. Although the cask of Amontillado is about revenge and other dark thing, the story still have good logic. So you can know about the reason and the result of everything happen in the story. According to this, people regard Edgar Allen Poe as …the founder of detective story.‟。
阿拉比选段赏析
阿拉比选段赏析阿拉比（Araby）是爱尔兰作家詹姆斯·乔伊斯的短篇小说之一，收录于《都柏林人》（Dubliners）中。
这部小说以第一人称叙述，讲述了一个少年经历的故事。
故事中的“阿拉比”是一个集市，少年为了心仪的女孩，决定去阿拉比买礼物。
这个故事以其简洁的叙述和深刻的内涵而著称，下面我们将对其中的几个选段进行赏析。
首先，我们来看一下故事的开头。
故事一开始，作者通过对家庭、邻居和教堂的描写，为读者勾勒出了一个平凡而又贫穷的环境。
这种环境的描绘，为后面的故事情节埋下了伏笔。
在这一部分中，作者通过对环境的描写，让读者对主人公的生活有了一个初步的了解，也为后面的情节做好了铺垫。
接着，我们来看一下主人公对邻居女孩的情感描写。
在故事中，主人公对邻居女孩有着深厚的感情，他把她看作是自己生活中的一束光，是他心中的神圣存在。
作者通过对主人公内心的描写，展现了主人公对邻居女孩的痴迷和迷恋。
这种情感的描写，让读者对主人公的内心世界有了更深入的了解，也为后面的情节发展埋下了伏笔。
最后，我们来看一下主人公对阿拉比的向往和失望。
在故事的高潮部分，主人公决定去阿拉比买礼物，以取悦邻居女孩。
然而，在到达阿拉比后，他发现这里并不如自己想象的那样神秘和美丽，而是一片普通的市场。
这种对阿拉比的失望，也成为了整个故事的转折点。
作者通过对主人公的情感描写，展现了他对阿拉比的向往和失望，也让读者对故事的情节发展有了更深入的了解。
通过对这几个选段的赏析，我们不难发现，作者通过对环境、情感和情节的描写，展现了主人公的内心世界和成长历程。
这种描写不仅让读者对故事的情节有了更深入的了解，也让读者对主人公的内心世界有了更深刻的体会。
因此，可以说《阿拉比》是一部值得深入阅读和品味的经典之作。
乔伊斯《都柏林人》中《阿拉比》的象征主义解析[权威资料]
![乔伊斯《都柏林人》中《阿拉比》的象征主义解析[权威资料]](https://img.taocdn.com/s3/m/7dadc83fbc64783e0912a21614791711cc797974.png)
乔伊斯《都柏林人》中《阿拉比》的象征主义解析本文档格式为WORD,感谢你的阅读。
摘要：爱尔兰小说家詹姆斯・乔伊斯在现代文学史上占据重要地位，《都柏林人》是他创作的一部短篇小说集，在这部短篇小说集的每一个故事里，作家匠心独具地运用了象征主义手法，文章无不具有象征，力图把象征或隐喻的意义紧密相连。
《阿拉比》是《都柏林人》的第三个故事。
许多人已从不同的角度对这部暗含深意的作品进行了极为丰富的解读。
本文从象征主义文学的角度，对这部作品中的象征主义特征予以解析。
关键词：乔伊斯；象征主义文学；阿拉比一、象征主义文学19世纪中叶，象征主义文学在法国兴起，20世纪初期波及到欧美各国，是现代主义文学中出现最早和影响最大的一个流派。
象征主义文学的出现具有划时代的意义，被西方主流学术界看作古典文学和现代文学的分水岭，其对当代文学仍有着不可忽视的影响力。
象征主义的先锋人物是法国诗人夏尔・波德莱尔和美国诗人爱伦・坡他们在19世纪中叶的创作中就涉及到了一些象征主义的理念。
1886年9月15号《费加罗报》上诗人莫雷阿斯首次象征主义在法国正式打出旗号，尼采、弗洛伊德和柏格森的思想被认为是象征主义的哲学基础，象征主义者主张发掘隐藏于自然界背后的理念世界，依靠个人的敏感和想象力去创造超越自然的艺术。
象征主义最基本的特征是用象征来暗示作品的思想和事物的发展。
在取材方面，象征主义者主张取材于平庸的日常生活，通过对平庸事物的描绘来侧重描写个人幻影和内心感受，对社会题材较少涉及；在艺术方法上，象征主义者反对使用空洞的修辞和生硬的说教，强调使用幻象、暗示、对比、联想等方法进行文学创作，提倡“要把人们的注意力从外部世界引向人的内部精神世界去探求内心的最该真实，赋予抽象思想以具体形式”。
[1]同时，象征主义文学与音乐有着某种密切的联系，使得读者在作品中体会到美妙的音乐性和韵律感。
二、乔伊斯与《阿拉比》詹姆斯乔・伊斯是伟大爱尔兰现代主义小说家之一，他的第一部及唯一一部短篇小说集就是《都柏林人》，以爱尔兰首都都柏林为背景，生动地描绘了二十世纪初都柏林市井百姓形形色色的真实生活，并深刻地揭示了弥漫于整个社会生活中的一种麻木不仁、死气沉沉的瘫痪状态。
《小说鉴赏》：《阿拉比》分析
《小说鉴赏》：《阿拉比》分析詹姆斯·乔伊斯（1882-1941）《阿拉比》分析布鲁克斯&沃伦|文刘文荣|译就所谓最简单的标准来说，这是一篇写少年失恋的小说。
但是，小说的大部分并没有写到那个少年的恋爱，而是写他周围的世界——对他住的那条街道的描写，关于那个已故教士以及教士遗下的财产的情况介绍，还有他跟叔叔和姑姑的关系。
这些事情都是自然而然地出现在小说里的，也就是说，按照现实主义原理，这些事情在小说里都是合情合理的。
这样的成分如果只是作为“背景”或者仅仅作为“环境”来处理的话，那么这篇小说就会被无关的材料所压垮。
然而，任何读者——除非是最奇特的怪人——都很清楚，这篇小说中的条条线索都是相互联系而起作用的。
我们一旦发现这些表面看来互不相干的线索在《阿拉比》里是以何种方式联系起来并都和那个少年的失恋有关的话，我们也就得出了小说的主题。
那么，像已故教士的财产啦、朋友们在抢帽子玩时那个少年却在和那个少女遥通音讯啦、茶会上的嚼舌啦、叔叔的迟迟不来啦之类的事情，究竟和少年的失恋有何关系呢？通过这些事情，间接地暗示出一件事情，那就是少年与日俱增的孤独感，也就是在他和朋友、老师及家庭之间缺乏同情心。
他说：“我仿佛感到自己端着圣餐杯，在一群对头中间穿过。
”举例来说，如当叔叔站在大厅里时，少年就不能走进前室躺在窗台上，或者在学校里，他的日常学习也开始显得像“单调乏味的小孩子的游戏”。
但这种孤独感也有它几乎是狂喜的时刻。
火车的列车员把人群往后挡，“说这是直达集市的专车”，不是为他们开的。
那个少年独自待在空荡荡的车厢里，但他正在去“阿拉比”的路上，正在狂喜地奔向某个充满浪漫色彩和异国情调的目的地。
圣餐杯的隐喻暗示出同样珍奇的内心喜悦。
不管怎样，围绕着他的不再是普通的日常世界，在日常世界里他无论痛苦还是欣喜时都感到孤独。
就是对那个少女，他也感到孤独。
他和她仅谈过一次话，而当时他又是那样迷乱不堪，竟不知如何对答。
《阿拉比》的瘫痪意象-2019年精选文档
《阿拉比》的瘫痪意象《阿拉比》（Araby）是爱尔兰意识流小说巨匠乔伊斯（James Joyce）的短篇小说集《都柏林人》（Dubliner）中第三个故事。
作品描写了“一个天真无邪，正在成熟的孩子‘我’，出于对朦胧爱情和对理想本能的追求，渴望在‘阿拉比’市场为自己心目中的姑娘‘曼根的姐姐（Mangan’s sister）’买件礼物”。
当“我”急冲冲赶到集市时，一切与“我”的想象大相径庭，美好理想受到了“无情的嘲弄”，“我”陷于深深的痛苦与愤怒之中。
《都柏林人》的主题是孤独、瘫痪和死亡。
乔伊斯曾说：“我的初衷，就是要书写我的祖国精神史的一个章节，我选择都柏林作为场景，乃是因为在我看来，这里是瘫痪的中心。
我竭力将其呈现于那些漠然的公众面前，从四个方面去展示：童年、青少年、成年，还有公共生活。
”《阿拉比》描写的是童年时期的都柏林人的生活。
小说主人公“我”虽是个孩子，但丝毫没有孩童该有的生机和活力。
整篇小说处处充斥着瘫痪的意象。
这些意象通过“我”在寻找自我的成长之旅中逐渐深入展开。
一、懵懵懂懂时瘫痪的暗示。
文章开头是一幅死气沉沉的画面。
处处暗含着瘫痪意象：“我”居住的“北瑞奇蒙德街是个死胡同”且一向“寂静”。
街道尽头是一栋“无人居住”的二层文章开头是一幅死气沉沉的画面。
处处暗含着瘫痪意象：“我”居住的“北瑞奇蒙德街是个死胡同”且一向“寂静”。
街道尽头是一栋“无人居住”的二层楼房。
街坊们的脸色都是无生命的“褐色。
“我们以前的房客，一个教士，死在屋子后面的客厅里。
”寂静的死胡同了无生气，满目所见尽是荒凉。
乔伊斯借助对景物的描写很好地展示了小说的主题，令读者对瘫痪意象有了初步了解。
“我”和伙伴们在街上玩耍，但“白昼极短的冬日，晚饭还没结束，夜幕就降临了。
当我们在街上相见时一栋栋房屋变得阴森森”，就连空气亦“寒冷逼人”。
在这样的环境里，“我”悄悄喜欢上了“曼根的姐姐”。
在我的脑海中“曼根的姐姐”的形象是模糊的，“我”总是“在暗中瞧着她”，“灯光从半掩的门里射出来，映现出她的身影”。
（完整版）小说“阿拉比”英文赏析
（完整版）小说“阿拉比”英文赏析詹姆斯·乔伊斯是举世公认的二十世纪英国文坛巨匠。
他的早期作品《都柏林人》是一部由十五个故事组成的现实主义短篇小说集。
该小说集以作者的家乡都柏林为背景，生动地描绘了二十世纪初该城市的社会现实和人生百态，深刻地反映出当时社会麻木不仁的瘫痪状态，成功地展示了不同身份的人物同僵死和瘫痪的社会之间的激烈冲突以及他们失败之后痛苦不堪的感受。
作者从童年期、青年期、成年期和社会生活四个方面对这部小说集进行布局，揭示了当时社会政治、经济和道德的瘫痪。
《阿拉比》是该小说集中“童年期”的第三篇，描述的是一个少年对朦胧爱情的浪漫追求以及幻想破灭后的失望和痛苦。
在故事中，乔伊斯细致而深刻地刻画了主人公复杂的内心世界，展示了主人公在认识自我，走向成熟的过程中所经历的困惑、孤独和痛苦。
故事是以第一人称叙述的，主人公是一个天真无邪、正在成熟的少年，他居住的地方名叫“北理查蒙德街”，住处的周围是一些阴森森的楼房、幽暗潮湿的花园和满是泥泞的巷子。
然而，少年对这些并没有深刻的意识，直到他对“曼根的姐姐”产生了朦胧的“爱慕”之情时才有了一种孤独和茫然之感，因为他根本不知道爱情究竟是什么样的，也不知道如何表达自己对姑娘的爱慕之情。
当有一天他朝思暮想的“曼根的姐姐”主动和他说话，并告诉他该去“阿拉比”集市时，他的思想有了变化，他渴望去集市为心爱的姑娘买一份礼物。
可见少年去“阿拉比”的渴望是出于对心中朦胧的爱情的本能追求。
“阿拉比”这个具有阿拉伯异域色彩和东方世界神秘魅力的集市给他带来了希望和诱惑，寄托着他的爱情和理想，象征着他探索与追求的目标。
于是，去“阿拉比”集市意味着他开始了追求理想，寻找自我的“成长之旅”。
然而，当他几经周折到达集市时，“几乎所有的摊棚都关门了。
半个大厅里黑沉沉的。
我有一种孤寂之感，犹如置身于做完礼拜后的教堂中。
”当他困难地想起自己来集市的目的时，他随意走到一个摆着瓷花瓶和印花茶具的摊棚前。
阿拉比 Araby James Joyce 精美ppt制作加清晰讲解
• 我抬头凝视着黑暗，发觉自己是受虚幻驱动和愚弄的可怜 虫；我的双眼中燃烧着痛苦和愤怒。
What does this sentence mean?
The boy suddenly realizes his foolishness, discovering
the discrepancy between the real and the ideal. (epiphany)
• Q: • What’ s the meaning of the last sentence?
• Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger.
"Araby'' is one of fifteen short stories that together make up James Joyce's collection, Dubliners. It is the last story of the first set, and is told from the perspective of a boy just on the verge of adolescence. The story takes its title from a real festival which came to Dublin in 1894 when Joyce was twelve years old.
What is the theme of "Araby"?
• The spiritual paralysis(精神的瘫痪）
Araby文章浅析
• This article mainly tells about a boy who secretly loves a neighboring girl, Mangan’s sister. This simple and pure love can be revealed through his action, his self-narration and his mentality, which can be best revealed in some sentences in the work.
Para1:
1.blind
This word sets the basic tone for the whole environment in which the boy lives,as seen in other other words like "uninhabited," "detached," "brown," "imperturbable" ---quickly presents a world that is solemn, indifferent, desolate, cold and dull.
Araby
James Joyce
About the Author
• James Joyce： an Irish novelist, noted for his experimental use of language in such works as Ulysses (1922) and Finneganns Wake (1939). Joyce’s technical innovations in the art of the novel include an extensive use of interior monologue; he used a complex network of symbolic parallels drawn from the mythology, history, and literature, and created a unique language of invented words, puns, and allusions. He is one of the most innovative novelists of the 20th century and one of the great masters of “the stream of consciousness”
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
詹姆斯·乔伊斯是举世公认的二十世纪英国文坛巨匠。
他的早期作品《都柏林人》是一部由十五个故事组成的现实主义短篇小说集。
该小说集以作者的家乡都柏林为背景，生动地描绘了二十世纪初该城市的社会现实和人生百态，深刻地反映出当时社会麻木不仁的瘫痪状态，成功地展示了不同身份的人物同僵死和瘫痪的社会之间的激烈冲突以及他们失败之后痛苦不堪的感受。
作者从童年期、青年期、成年期和社会生活四个方面对这部小说集进行布局，揭示了当时社会政治、经济和道德的瘫痪。
《阿拉比》是该小说集中“童年期”的第三篇，描述的是一个少年对朦胧爱情的浪漫追求以及幻想破灭后的失望和痛苦。
在故事中，乔伊斯细致而深刻地刻画了主人公复杂的内心世界，展示了主人公在认识自我，走向成熟的过程中所经历的困惑、孤独和痛苦。
故事是以第一人称叙述的，主人公是一个天真无邪、正在成熟的少年，他居住的地方名叫“北理查蒙德街”，住处的周围是一些阴森森的楼房、幽暗潮湿的花园和满是泥泞的巷子。
然而，少年对这些并没有深刻的意识，直到他对“曼根的姐姐”产生了朦胧的“爱慕”之情时才有了一种孤独和茫然之感，因为他根本不知道爱情究竟是什么样的，也不知道如何表达自己对姑娘的爱慕之情。
当有一天他朝思暮想的“曼根的姐姐”主动和他说话，并告诉他该去“阿拉比”集市时，他的思想有了变化，他渴望去集市为心爱的姑娘买一份礼物。
可见少年去“阿拉比”的渴望是出于对心中朦胧的爱情的本能追求。
“阿拉比”这个具有阿拉伯异域色彩和东方世界神秘魅力的集市给他带来了希望和诱惑，寄托着他的爱情和理想，象征着他探索与追求的目标。
于是，去“阿拉比”集市意味着他开始了追求理想，寻找自我的“成长之旅”。
然而，当他几经周折到达集市时，“几乎所有的摊棚都关门了。
半个大厅里黑沉沉的。
我有一种孤寂之感，犹如置身于做完礼拜后的教堂中。
”当他困难地想起自己来集市的目的时，他随意走到一个摆着瓷花瓶和印花茶具的摊棚前。
他看见的却是一个女郎与两名英国男子调情的场面。
他们轻浮放肆的话语跟他心中神圣、纯洁而又压抑的爱情成了鲜明的对比。
这时他迷茫了，不明白现实生活中的爱情为什么跟他理想的爱情完全不一样，觉得自己心中的爱情受到了亵渎，他无法忍受。
恰好在这一刻少年产生了“精神顿悟”：他终于领悟到现实世界和他心中的理想世界之间的巨大差异，认识到现实社会的麻木和不堪。
于是，他“抬头凝视着黑暗感到自己是一个受到虚荣心驱使和拨弄的可怜虫，于是眼睛里燃烧着痛苦和愤怒”。
由此可见，少年追求理想的“阿拉比”之行实际上是他的一次认识自我、认识人生的的成长之旅。
他认识到在这个麻木、瘫痪和压抑的现实社会中，任何美好理想都会最终化为泡影。
通过这个故事，乔伊斯揭露了19世纪爱尔兰社会的黑暗和腐朽，希望爱尔兰人民能够振作起来，摆脱教会的束缚，重新恢复生机与活力。
James Joyce is widely recognized as one of the great masters in the twentieth century British literature world. "Dubliners", his early works, is a Collected Stories consists of fifteen realistic short stories. The Collected Stories uses Dublin, which is the hometown of Joyce as the background. Joyce tells us about the city's social reality in the late 19th century vividly, which was insensitive, dark and lifeless. The Collected Stories is divided into four parts, thatis childhood, adolescence, adulthood and social life, and it reveals the prevailing social and political, economic and moral paralysis. "Araby" is the third one of the "childhood", which describes a juvenile pursues romantic love and his upset and pain after the gilt is off.
In the story, Joyce shows the confusion, loneliness and pain that the hero experiences in the process of self-understanding and going to be mature by describing the hero’s complex inner world. The hero is an innocent and unmatured teenager and he lives on "North Richmond Street". His residence is surrounded by some of the gloomy buildings, dark and damp gardens and muddy alley. However, the hero thinks that it’s okay. It is until he is in love with "Mangan's sister" that he has a sense of loneliness and loss, for he doesn’t know what love is or how to express his love to the girl. When the girl who he misses all the day talks to him actively and tells him that he should go to the "Araby", his thinking has changed and he is eager to go to the market to buy a gift for his beloved girl. So we can say that the "Araby" brings him hope and temptation and is the symbol of the goal that the hero explores and pursues. So, the process of going to the "Araby" is a symbol of the hero’s growing-up experience. However, when he finally reaches the market hard, "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." When he recognizes the purpose of his coming to the market difficultly, he "went over to one of the stalls and examined porcelain vases and flowered tea-sets". But what he sees is a girl flirting with two British men. Their frivolous words are opposite to the holy and pure love in his mind. Then he is lost and does n’t know the reasons. He feels the love in his mind has been violated. At that time, he finally recognizes that the social reality is dark and rotten. So he "Gazing up into the darkness, I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger." Thus, he realizes that any good ideals will eventually become vain in such society.
Through this story, Joyce reveals the darkness and rottenness of the Irish society in the late 19th century. And he hopes that the Irishman can pluck themselves up, shake off the shackles of the church and come back to alive and dynamic.。