"James Joyce And his Short Stories"Dubliners

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In The Name Of Allah
James Joyce And his Short Stories"Dubliners"
Dubliners
By James Joyce
Context
James Joyce was born into a middle-class, Catholic family in Rathgar, a suburb of Dublin, on February 2, 18 82. The family’s prosperity dwindled soon after Joyce’s birth, forcing them to move from their comfortable home to the unfashionable and impoverished area of North Dublin. Nonetheless, Joyce attended a prestigious Jesuit school and went on to study philosophy and languages at University College, Dublin. He moved to Paris after graduation in 19 02 to pursue medical school, but instead he turned his attention to writing. In 19 03 he returned to Dublin, where he met his future wife, Nora Barnacle, the following year. From then on, Joyce made his home in other countries. From 19 05 to 19 15 he and Nora lived in Rome and Trieste, Italy, and from 19 15 to 19 19 they lived in Zurich, Switzerland. Between World War I and World War II, they lived in Paris. They returned to Zurich in 19 40, where Joyce died in 19 41.
السياق
ولد جيمس جويس في طبقة متوسطة ،عائلة كاثولوكية في راثقار في ضاحية لندن في فبراير شباط 2،1882 .مستوى العائلة تناقص مباشرة بعد ولادة جويس. مما أجبرهم على مغادرة بيتهم المريح والتوجه الى منطقة غير عصرية والفقيرة شمال دبلن . ومع ذلك دخل جويس مدرسة يسوعية رفيعة المستوى واستمر في دراسة الفلسفة واللغات في كلية الجامعة ،دبلن . انتقل الى باريس بعد التخرج في عام 1902 لمتابعة الدراسة في الكلية الطبية.ولكن بعد ذلك حول إهتمامة الى الكتابة . ففي عام 1903 رجع الى دبلن حيث قابل زوجتة المستقبلية ،نورا بارنكل ،في السنة التالية . منذ ذلك الحين كرس جويس إهتماماتة في البلدان الأخرى . منذ عام 1905 الى عام 1915 هو وزوجته عاشا في روما وترايست ،إيطاليا . ومن عام 1915 الى عام 1919 عاشا في زيوريخ ، سويسرا . وبين الحرب العالمية الأولى والحرب العالمية الثانية ، عاشوا في باريس . ورجعوا الى زيوريخ في عام 1940 . حيث جويس توفي عام 1941 .
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In 19 07, at the age of twenty-five, Joyce published Chamber Music, a collection of poetry. Previously, he’d also written a short-story collection, Dubliners, which was published in 19 14. Though Joyce had written the book years earlier, the stories contained characters and events that were alarmingly similar to real people and places, raising concerns about libel. Joyce indeed based many of the characters in Dubliners on real people, and such suggestive details, coupled with the book’s historical and geographical precision and piercing examination of relationships, flustered anxious publishers. Joyce’s autobiographical novel A Portrait of the Artist as a Young Man followed Dubliners in 1916, and a play, Exiles, followed in 1918. Joyce is most famous for his later experimental novels, Ulysses (1922), which maps the Dublin wanderings of its protagonist in a single day, and Finnegans Wake (1939). These two works emblematize his signature stream-of-consciousness prose style, which mirrors characters’ thoughts without the limitations of traditional narrative, a style he didn’t use in Dubliners.
في عام 1907 ، في عمر الخامس والعشرون ، جويس نشر Chamber Music مجموعة شعرية. أيضا سابقا كتب مجموعة من القصص القصيرة ، Dubliners، حيث نشرت في عام1914 ومع ذلك كتب جويس الكتاب قبل سنوات . أحتوت القصص الأحداث والاشخاص بشكل مخيف مشابه للأحداث والاشخاص الحقيقيون . أظهرت المخاوف من التشهير . في الحقيقة ان جويس اعتمد على ان تكون الشخصيات في دبلنرز ان تكون مستندة على أشخاص حقيقيون . ومثل هذه التفاصيل الإيحائية اقترنت بدقة الكتابة التاريخية والجغرافية ولفحص الثاقي للعلاقات. مما هيج ناشرين متلهفين . ,وايضا السيرة الروائية لجويس A Portrait of the Artist as a Young Manالتي تلتها في عام 1916
ومسرحية في عام 1918 . جويس أكثر المشهورين برواياتة التجريبية, Ulysses
التي رسم فيها خريطة دبلن للتائهين وبطلها في يوم واحد وFinnegans Wake
يرمز هاذان العملان الى اسلوب نثري واعي , يعكسان أفكار الأشخاص بدون تقيد للقصة التقليدية وأسلوب لم يستخدمة في Dubliners
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Dubliners contains fifteen portraits of life in the Irish capital. Joyce focuses on children and adults who skirt the middle class, such as housemaids, office clerks, music teachers, students, shop girls, swindlers, and out-of-luck businessmen. Joyce envisioned his collection as a looking glass with which the Irish could observe and study themselves. In most of the stories, Joyce uses a detached but highly perceptive narrative voice that displays these lives to the reader in precise detail. Rather than present intricate dramas with complex plots, these stories sketch daily situations in which not much seems to happen—a boy visits a bazaar, a woman buys sweets for holiday festivities, a man reunites with an old friend over a few drinks. Though these events may not appear profound, the characters’ intensely personal and often tragic revelations certainly are. The stories in Dubliners peer into the homes, hearts, and minds of people whose lives connect and intermingle through the shared space and spirit of Dublin. A character from one story will mention the name of a character in another story, and stories often have settings that appear in other stories. Such subtle connections create a sense of shared experience and evoke a map of Dublin life that Joyce would return to again and again in his later works.

Dublinersتحتوي على خمسة عشر صورة من حياة العاصمة الايرلندية . يركز جويس على الأطفال والبالغين الذين لم يحاذون الطبقة المتوسطة ، مثل الخادمات موظفو المكاتب معلمو الموسيقى والطلاب والنصابون ورجال أعمال الحظ . تصور جويس مجموعته كمرآه يمكن أن يلاحظوا ويدرسوا أنفسهم . في أغلب القصص جويس أستخدم الفصل والصوت القصصي الإدراكي العالي الذي يعرض هذه الحياة إلى القارئ في التفصيل الدقيق بدلا من تقديم مسرحيات معقدة بالحبكات المعقدة . هذه القصص ترسم أحداث يومية حيث أنها في الغالب لايبدوا أنها قد حدثت _ ولد يزور السوق ، إمرأه تشتري الحلوى لعطلة الأعياد ، ورجل يتجول مع صديقة القديم لشرب المشروبات . ومع ذلك هذه الأحداث لاتبدوا عميقة ومعقدة . مفاجئات شخصية ومأساوية في أغلب الأحيان . هذه القصص فيDubliners تركز على البيوت ، القلوب ،وعقول الناس الذين حياتهم تتصل وتختلط من خلال الفراغ المشارك والروح في دبلن . شخصية من إحدى القصص ستشير إلى اسم شخصية من قصة أخرى . والقصص غالبا لها أماكن تظهر في قصص أخرى. مثل هذه الارتباطات الغير ملحوظة تخلق إحساس التجربة المشتركة وتشير إلى رصد دبلن الذي تعود علية جويس مرارا وتكرارا في أعمالة التالية

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Plot Overview

“A Mother”An Irish cultural society organizes a concert series with the help of Mrs. Kearney, the mother of one of the performers. Mrs. Kearney secures a contract with the society’s secretary, Mr. Holohan, so that her daughter is ensured payment for her piano accompaniment. A series of logistical changes and failed expectations infuriate Mrs. Kearney, and she hounds the officers of the society for the money, making a spectacle of herself and her daughter.

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رؤية على الحبكة:

قصة "الأم "

مجتمع ثقافي ايرلندي ينظم حفلة موسيقية . بمساعدة السيده كيرني ، أم إحدى المؤدين للحفلة . السيدة كيرني تضمن تعاقد مع وزير المجتمع ، السيد هولوهان ،لكي تضمن لإبنتها دفعة مكملة للعزف على البيانو . سلسلة من التغيرات اللو جستيكية ، والتوقعات الفاشلة ، تغضبان السيدة كيرني وهي تطارد موظفو المجتمع من أجل المال. مما جعلها هي وابنتها موضع للسخرية .
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Plot overview

“The Dead”With his wife, Gretta, Gabriel Conroy attends the annual dancing party hosted by his two aging aunts, Julia and Kate Morkan, and their niece, Mary Jane. At the party, Gabriel experiences some uncomfortable confrontations. He makes a personal comment to Lily, the housemaid, that provokes a sharp reply, and during a dance he endures the taunts of his partner, Miss Ivors. Finally, Gabriel sees Gretta enraptured by a song sung toward the end of the party. Later, he learns that she was thinking of a former lover who had died for her. He sadly contemplates his life.
رؤية على الحبكة

قصة "الميت "
يحضر غابريل كونروي مع زوجتة ، جريتا ، الحفل الراقص السنوي مستضاف من قبل عماتة المعمرات وجوليا وكايت موركان، وابنة اختهم ماري جين . في الحفلة يواجه غابريل بعض المواجهات المزعجة . وعمل التعليق الشخصي الى ليلي ، الخادمة ، التي تعطي إجابة حادة ، وخلال الرقص يتحمل تهكم شريكتة ، الانسة لوفرز ، أخيرا غابريل شاهد جريتا قد ابتهجنت من أغنية قد غنت في نهاية الحفلة. لاحقا هو علم انها كانت تفكر بحبيب سابق الذي قد مات من أجلها و بحزن تأمل حياتها .
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Character Listقائمة الشخصيات في القصة "الأم "

A Mother
Mrs. Kearney - The commanding protagonist of “A Mother.” One of the four female protagonists in Dubliners, Mrs. Kearney is ambitious but also haughty. She orchestrates her daughter’s upbringing as an exemplary proponent of Irish culture and poise, but she has trouble dealing with Dubliners of different backgrounds and any challenges to her authority.

السيدة كيرني : البطلة المسيطرة في القصة . واحده من الاربعة النساء البطلات في دبلنرز . السيدة كيرني طموحة ولكنها متغطرسة أيضا . وتنظم تربية أبنتها كبطلة للنموذج الثقافي والاتزان الايرلندي ، ولكنها لديها مشكلة في التعامل من الخلفيات المختلفة لدبلنرز وأي من التحديات لسلطتها .
Mr. Holohan - The befuddled secretary who organizes the musical concerts in “A Mother.” Mr. Holohan is the subject of Mrs. Kearney’s abuse, and though he remains quiet throughout the story, he is the only character who resists and counters her critiques.
السيد هولوهان : الوزير المشوش الذي ينظم الحفلات الموسيقية . السيد هولون موضوع أساءة للسيدة كيرني . ومع ذلك يبقى هادي في كافة انحاء القصة . هو الشخصية الوحيدة الذي يقاومها ويواجهها ويناقشها .
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الشخصيات في قصة "الميت"

“The Dead”
Gabriel Conroy - The protagonist from “The Dead.” A university-educated teacher and writer, Gabriel struggles with simple social situations and conversations, and straightforward questions catch him off guard. He feels out of place due to his highbrow literary endeavors. His aunts, Julia and Kate Morkan, turn to him to perform the traditionally male activities of carving the goose and delivering a speech at their annual celebration. Gabriel represents a force of control in the story, but his wife Gretta’s fond and sad recollections of a former devoted lover make him realize he has little grasp on his life and that his marriage lacks true love.

السيد غابريل كونروي : البطل في القصة . متعلم جامعي وكاتب . يناضل غابريل مع الحالات والمحادثات الاجتماعية البسيطة واسئلة بسيطة تفاجئه . يشعر انه في مكان غير ملائم بسبب مساعيه الأدبية المثقفة . عماتة ، جوليا وكايت موركان . يتجهون إلية لأداء نشاطات الذكر التقليدية ويلقي خطابا في احتفالهم السنوي . غابريل يمثل القوة المسيطرة في القصة . ولكن تذكر زوجته المولع والحزين لحبيبها جريتا يجعله يدرك بأنة لدية ضائقة صغيرة على حياته وبأن زواجه يفتقر إلى الحب الحقيقي .
Gretta Conroy - Gabriel’s wife in “The Dead.” Gretta plays a relatively minor role for most of the story, until the conclusion where she is the focus of Gabriel’s thoughts and actions. She appears mournful and distant when a special song is sung at the party, and she later plunges into despair when she tells Gabriel the story of her childhood love, Michael Furey. Her pure intentions and loyalty to this boy unnerve Gabriel and generate his despairing thoughts about life and death.

جريتا كونروي : زوجة غابريل . جريتا تلعب دورا بسيطا نسبيا في أغلب القصة . حتى النهاية حيث انها بؤرة أفكار وأعمال غابريل . تبدوا حزينة وبعيدة عندما غني أغنية خاصة في الحفلة.، ولاحقا دخلت في الإحباط عندما أخبرت غابريل بقصة حب طفولتها ، مايكل فيوري . نواياها الصافية وولائها لهذا الولد يثير أعصاب غابريل ويولد أفكاره اليائسة حول الموت والحياة
Lily - The housemaid to the Morkan sisters who rebukes Gabriel in “The Dead.”
ليلى : الخادمة لأخوات موركن التي توبخ غابريل في القصة .
Molly Ivors - The nationalist woman who teases Gabriel during a dance in “The Dead.”
مولي لوفرز : الامراة القومية التي تثير غضب غابريل اثناء الرقص في القصة
Julia Morkan - One of the aging sisters who throw an annual dance party in “The Dead.” Julia has a grey and sullen appearance that combines with her remote, wandering behavior to make her a figure sapped of life.
جوليا موركن : واحدة من الأخوات المعمرات الآتي يقمن بحفلة رقص سنوية في القصة . جوليا لديها ظهور رمادي ومتهجم الذي يندمج مع سلوكها المتجول البعيد .
Kate Morkan - One of the aging sisters who throw an annual dance party in “The Dead.” Kate is vivacious but constantly worries about her sister, Julia, and the happiness of the guests.
كايت موركن : واحدة من الأخوات المعمرات الآتي يقمن بحفلة رقص سنوية في القصة. كايت حيوية وقلقة بشأن اختها جوليا . وسعادة الضيوف
Michael Furey - Gretta Conroy’s childhood love in “The Dead” who died for her long ago.
مايكل فيوري . حب طفولة جريتا كونروي . الذي مات من أجلها منذ عهد بعيد.
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التلخيص والتحليل لقصة "الأم "

“A Mother”
They thought they had only a girl to deal with and that, therefore, they could ride roughshod over her. But she would show them their mistake. They wouldn’t have dared to have treated her like that if she had been a man. But she would see that her daughter got her rights: she wouldn’t be fooled.
"أعتقدوا بأنة كان لديهم فتاة للتعامل معها ، لذا هم يمكن أن يمارسوا القمع ضدها . ولكنها تريهم خطأهم . لذا هم لم يكونوا سيتجاسرون لمعالجة مثيلها الا اذا كانت هي رجل . ولكنها ترى بأن ابنتها حصلت على حقوقها . ولن تخدع" ***اقتباس من القصة .****

Summary التلخيصAs the assistant secretary to the Eire Abu, or “Ireland to Victory,” Society, Mr. Holohan tries to organize a series of concerts showcasing local musicians. He finally visits Mrs. Kearney, whose eldest daughter Kathleen has a reputation in Dublin as a talented pianist and exemplary speaker of Irish. Kathleen studies the piano and French in a convent school like Mrs. Kearney did, and she receives tutoring in Irish at the insistence of her mother as well. Mrs. Kearney is not surprised when Mr. Holohan proposes that Kathleen perform as an accompanist in the series, and she advises Mr. Holohan in drawing up a contract to secure a payment of eight guineas for Kathleen’s performance in the four concerts. Given Mr. Holohan’s inexperience in organizing such an event, she also helps him to lay out the program and complete other duties.
After her efforts, Mrs. Kearney is disturbed when the concerts turn out to be sub-par for her high standards. The first two concerts are poorly attended, the audience members behave “indecorously,” and many of the artists are mediocre. Mrs. Kearney complains to Mr. Holohan, but neither he nor the head secretary, Mr. Fitzpatrick, appear bothered by the turnout. Nevertheless, the Society’s committee cancels the third concert in hopes that doing so will boost attendance for the final one. This change in plans infuriates Mrs. Kearney, who already has become aggravated by the men’s lax attitudes and what she sees as loose manners. She approaches Mr. Holohan and insists that such a change should not alter the contracted payment, but Mr. Holohan only refers her to Mr. Fitzpatrick, who also dodges her inquiries.
On the night of the final concert, Mrs. Kearney, accompanied by her husband and Kathleen, arrives early at the performance hall to meet the men, but neither Mr. Holohan nor Mr. Fitzpatrick has arrived. As the musicians gather and await curtain call, Mrs. Kearney paces in the dressing room until finally she finds Mr. Holohan and, following him to a quiet hallway, pursues the issue of the contract. Again he insists that such matters are not his “business” and that she must consult Mr. Fitzpatrick. Enraged, she returns to the dressing room, where the musicians wait for Kathleen to join them so they can start the performance, for which the audience loudly clamors. Mrs. Kearney detains her daughter, and when Mr. Holohan arrives to query the delay in performance, she announces that Kathleen will not perform unless paid in full. Mr. Holohan departs in haste and returns with Mr. Fitzpatrick, who gives Mrs. Kearney half of the amount, explaining that the remainder will come at the intermission, after Kathleen’s performance. Kathleen plays, during which time the artists and committee members criticize Mrs. Kearney’s aggressive conduct. At the intermission, Mr. Fitzpatrick and Mr. Holohan inform Mrs. Kearney that they will pay her daughter the balance after the committee meeting next week. But Mrs. Kearney angrily bickers with Mr. Holohan and finally whisks away her daughter, leaving the concert hall.

Analysis التحليل :
In “A Mother,” Mrs. Kearney’s practical but inflexible approach to life, while it gets her what she wants most of the time, ultimately does nothing but increase her own anger. Mrs. Kearney drives herself to accomplish whatever task, challenge, or need is at hand, often without much show of emotion. She marries her husband just to be married, not because of love. In her unyielding insistence that her daughter, Kathleen, receive full payment for her performance, Mrs. Kearney pursues her interests to such a degree that she undoes her own efforts to perfect the concert, and herself. When the organizers provide only half of the fee, Mrs. Kearney embarrasses her daughter and ruins her career by sweeping her out of the concert hall and irritating everyone. Mrs. Kearney is not concerned with a trifling amount of money, she insists, but her rights and her respect. The story leaves the reader guessing why Mrs. Kearney abandons her cause and leaves the concert hall. Is she humiliated? Does she realize that no one shares or sympathizes with her frustrations? Like “an angry stone,” Mrs. Kearney will not soften to the circumstances and reconsider. Like other characters in Dubliners,she will continue to live according to her own routine.
Through the fastidious character of Mrs. Kearney, “A Mother” subtly critiques shallow concerns about social profile. Mrs. Kearney’s immense efforts to organize and perfect are not motivated by an ambition to succeed, the story suggests, but by a concern with status and appearance. She crafts an education for Kathleen of piano, French, and Irish, which makes obvious the family’s interest in culture and nationalist efforts. The concert provides Mrs. Kearney with an ideal opportunity to let Kathleen shine as a darling of Irish culture, but her frustrations with the lax society members and her complaints about the venue and selection of artists indicate that Mrs. Kearney obsesses over details to ensure neither Kathleen’s happy career nor a successful concert, but her own respected appearance. As more things sully her ideal vision, Mrs. Kearney makes snide observations to herself and struggles to maintain her composure. When she approaches Mr. Fitzpatrick about the contract, she inwardly ridicules his accent, which she perceives to be lower class, but she resists making nasty comments about it, which would “not be ladylike.” In the end, Mrs. Kearney’s attempt to boost her social appearance results only in her tarnishing it dramatically.
Mrs. Kearney perceives herself as part of a struggle between men and women, noting to herself when she begins to face difficulty with the contract that she would be treated differently if she were a man. This concern briefly places Mrs. Kearney in a sympathetic light and leads the reader to question Mrs. Kearney’s circumstances. Yet while Mr. Fitzpatrick and Mr. Holohan appear lazy and uninterested in the concert proceedings, nothing in their actions suggests that they take advantage of Mrs. Kearney. In fact, they struggle to provide the demanded payment for Kathleen. Like Mrs. Mooney in “The Boarding House,” a female protagonist challenges the reader to consider her plight in a larger social context. Mrs. Kearney wants to ensure her adequate rights, but she also must appear ladylike—for her, the combination is incompatible.

ترجمة عامة للتلخيص والتحليل في هذه القصة "" الأم " تظهر شخصية السيدة كيرني والسيد هولوهان ، السيدة كيرني لديها فتاة تجيد العزف على البيانو السيد هولوهان هوالمنظم الحفلات رقص سنوية . طلبت السيدة كيرني ان تشارك ابنتها في هذه الحفلات شريطة ان يكون لها حصة أكبر من الدفعات . ولكن ابنتها لم تظهر اداء جيد في الحفلتين الاولى مما أغضب السيدة كيرني وازعج الحاضرين . وانتهت القصة بكفاح السيدة كيرني من أجل المال ولكن اصبح مظهرها هي وابنتها مدعاة للسخرية

“The Dead”Summary
التلخيصAt the annual dance and dinner party held by Kate and Julia Morkan and their young niece, Mary Jane Morkan, the housemaid Lily frantically greets guests. Set at or just before the feast of the Epiphany on January 6, which celebrates the manifestation of Christ’s divinity to the Magi, the party draws together a variety of relatives and friends. Kate and Julia particularly await the arrival of their favorite nephew, Gabriel Conroy, and his wife, Gretta. When they arrive, Gabriel attempts to chat with Lily as she takes his coat, but she snaps in reply to his question about her love life. Gabriel ends the uncomfortable exchange by giving Lily a generous tip, but the experience makes him anxious. He relaxes when he joins his aunts and Gretta, though Gretta’s good-natured teasing about his dedication to galoshes irritates him. They discuss their decision to stay at a hotel that evening rather than make the long trip home. The arrival of another guest, the always-drunk Freddy Malins, disrupts the conversation. Gabriel makes sure that Freddy is fit to join the party while the guests chat over drinks in between taking breaks from the dancing. An older gentleman, Mr. Browne, flirts with some young girls, who dodge his advances. Gabriel steers a drunken Freddy toward the drawing room to get help from Mr. Browne, who attempts to sober Freddy up.
The party continues with a piano performance by Mary Jane. More dancing follows, which finds Gabriel paired up with Miss Ivors, a fellow university instructor. A fervent supporter of Irish culture, Miss Ivors embarrasses Gabriel by labeling him a “West Briton” for writing literary reviews for a conservative newspaper. Gabriel dismisses the accusation, but Miss Ivors pushes the point by inviting Gabriel to visit the Aran Isles, where Irish is spoken, during the summer. When Gabriel declines, explaining that he has arranged a cycling trip on the continent, Miss Ivors corners him about his lack of interest in his own country. Gabriel exclaims that he is sick of Ireland. After the dance, he flees to a corner and engages in a few more conversations, but he cannot forget the interlude with Miss Ivors.
Just before dinner, Julia sings a song for the guests. Miss Ivors makes her exit to the surprise of Mary Jane and Gretta, and to the relief of Gabriel. Finally, dinner is ready, and Gabriel assumes his place at the head of the table to carve the goose. After much fussing, everyone eats, and finally Gabriel delivers his speech, in which he praises Kate, Julia, and Mary Jane for their hospitality. Framing this quality as an Irish strength, Gabriel laments the present age in which such hospitality is undervalued. Nevertheless, he insists, people must not linger on the past and the dead, but live and rejoice in the present with the living. The table breaks into a loud applause for Gabriel’s speech, and the entire party toasts their three hostesses.
Later, guests begin to leave, and Gabriel recounts a story about his grandfather and his horse, which forever walked in circles even when taken out of the mill where it worked. After finishing the anecdote, Gabriel realizes that Gretta stands transfixed by the song that Mr. Bartell D’Arcy sings in the drawing room. When the music stops and the rest of the party guests assemble before the door to leave, Gretta remains detached and thoughtful. Gabriel is enamored with and preoccupied by his wife’s mysterious mood and recalls their courtship as they walk from the house and catch a cab into Dublin.
At the hotel, Gabriel grows irritated by Gretta’s behavior. She does not seem to share his romantic inclinations, and in fact bursts into tears. Gretta confesses that she has been thinking of the song from the party because a former lover had sung it to her in her youth in Galway. Gretta recounts the sad story of this boy, Michael Furey, who died after waiting outside of her window in the cold. Gretta later falls asleep, but Gabriel remains awake, disturbed by Gretta’s new information. He curls up on the bed, contemplating his own mortality. Seeing the snow at the window, he envisions it blanketing the graveyard where Michael Furey rests, as well as all of Ireland.
Analysis
التحليل
In “The Dead,” Gabriel Conroy’s restrained behavior and his reputation with his aunts as the nephew who takes care of everything mark him as a man of authority and caution, but two encounters with women at the party challenge his confidence. First, Gabriel clumsily provokes a defensive statement from the overworked Lily when he asks her about her love life. Instead of apologizing or explaining what he meant, Gabriel quickly ends the conversation by giving Lily a holiday tip. He blames his prestigious education for his inability to relate to servants like Lily, but his willingness to let money speak for him suggests that he relies on the comforts of his class to maintain distance. The encounter with Lily shows that Gabriel, like his aunts, cannot tolerate a “back answer,” but he is unable to avoid such challenges as the party continues. During his dance with Miss Ivors, he faces a barrage of questions about his nonexistent nationalist sympathies, which he doesn’t know how to answer appropriately. Unable to compose a full response, Gabriel blurts out that he is sick of his own country, surprising Miss Ivors and himself with his unmeasured response and his loss of control.
Gabriel’s unease culminates in his tense night with Gretta, and his final encounter with her ultimately forces him to confront his stony view of the world. When he sees Gretta transfixed by the music at the end of the party, Gabriel yearns intensely to have control of her strange feelings. Though Gabriel remembers their romantic courtship and is overcome with attraction for Gretta, this attraction is rooted not in love but in his desire to control her. At the hotel, when Gretta confesses to Gabriel that she was thinking of her first love, he becomes furious at her and himself, realizing that he has no claim on her and will never be “master.” After Gretta falls asleep, Gabriel softens. Now that he knows that another man preceded him in Gretta’s life, he feels not jealousy, but sadness that Michael Furey once felt an aching love that he himself has never known. Reflecting on his own controlled, passionless life, he realizes that life is short, and those who leave the world like Michael Furey, with great passion, in fact live more fully than people like himself.
The holiday setting of Epiphany emphasizes the profoundness of Gabriel’s difficult awakening that concludes the story and the collection. Gabriel experiences an inward change that makes him examine his own life and human life in general. While many characters in Dubliners suddenly stop pursuing what they desire without explanation, this story offers more specific articulation for Gabriel’s actions. Gabriel sees himself as a shadow of a person, flickering in a world in which the living and the dead meet. Though in his speech at the dinner he insisted on the division between the past of the dead and the present of the living, Gabriel now recognizes, after hearing that Michael Furey’s memory lives on, that such division is false. As he looks out of his hotel window, he sees the falling snow, and he imagines it covering Michael Furey’s grave just as it covers those people still living, as well as the entire country of Ireland. The story leaves open the possibility that Gabriel might change his attitude and embrace life, even though his somber dwelling on the darkness of Ireland closes Dubliners with morose acceptance. He will eventually join the dead and will not be remembered.
The Morkans’ party consists of the kind of deadening routines that make existence so lifeless in Dubliners. The events of the party repeat each year: Gabriel gives a speech, Freddy Malins arrives drunk, everyone dances the same memorized steps, everyone eats. Like the horse that circles around and around the mill in Gabriel’s anecdote, these Dubliners settle into an expected routine at this party. Such tedium fixes the characters in a state of paralysis. They are unable to break from the activities that they know, so they live life without new experiences, numb to the world. Even the food on the table evokes death. The life-giving substance appears at “rival ends” of the table that is lined with parallel rows of various dishes, divided in the middle by “sentries” of fruit and watched from afar by “three squads of bottles.” The military language transforms a table set for a communal feast into a battlefield, reeking with danger and death.
“The Dead” encapsulates the themes developed in the entire collection and serves as a balance to the first story, “The Sisters.” Both stories piercingly explore the intersection of life and death and cast a shadow over the other stories. More than any other story, however, “The Dead” squarely addresses the state of Ireland in this respect. In his speech, Gabriel claims to lament the present age in which hospitality like that of the Morkan family is undervalued, but at the same time he insists that people must not linger on the past, but embrace the present. Gabriel’s words betray him, and he ultimately encourages a tribute to the past, the past of hospitality, that lives on in the present party. His later thoughts reveal this attachment to the past when he envisions snow as “general all over Ireland.” In every corner of the country, snow touches both the dead and the living, uniting them in frozen paralysis. However, Gabriel’s thoughts in the final lines of Dubliners suggest that the living might in fact be able to free themselves and live unfettered by deadening routines and the past. Even in January, snow is unusual in Ireland and cannot last forever.
ترجمة عامة للتلخيص والتحليل في هذه القصة"الميت "
القصة تدور حول سلوك غابريل مع عماتة وزوجتة المولعة والحزينة على موت حبيب طفولتها مايكل حيث حبها له يثير غضب غابريل مما يولد لدية أفكار غريبة ومزعجة حول الموت والحياة .
The Source is
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Translated By
غيمة حنان
I wish that a small work help you .