Themes, Motifs, and Symbols

Themes Themes are the fundamental and often universal ideas explored in a literary work. The Prison of Routine Restrictive routines and the repetitive, mundane details of everyday life mark the lives of Joyces Dubliners and trap them in circles of frustration, restraint, and violence. Routine affects characters who face difficult predicaments, but it also affects characters who have little open conflict in their lives. The young boy of n !ncounter" yearns for a respite from the rather innocent routine of school, only to find himself sitting in a field listening to a man recycle disturbing thoughts. #n $ounterparts," %arrington, who makes a living copying documents, demonstrates the dangerous potential of repetition. %arringtons work mirrors his social and home life, causing his anger&and abusive behavior&to worsen. %arrington, with his e'plosive physical reactions, illustrates more than any other character the brutal ramifications of a repetitive e'istence.

Object 1

The most consistent conse(uences of following mundane routines are loneliness and unre(uited love. #n raby," a young boy wants to go to the ba)aar to buy a gift for the girl he loves, but he is late because his uncle becomes mired in the routine of his workday. #n *ainful $ase" +r. Duffys obsession with his predictable life costs him a golden chance at love. !veline, in the story that shares her name, gives up her chance at love by choosing her familiar life over an unknown adventure, even though her familiar routines are tinged with sadness and abuse. The circularity of these Dubliners lives effectively traps them, preventing them from being receptive to new e'periences and happiness. The Desire for Escape The characters in Dubliners may be citi)ens of the #rish capital, but many of them long for escape and adventure in other countries. ,uch longings, however, are never actually reali)ed by the stories protagonists. The schoolboy yearning for escape and -ild -est e'citement in n !ncounter" is relegated to the imagination and to the confines of Dublin, while !velines hopes for a new life in rgentina dissolve on the docks of the citys river. .ittle $handler enviously fantasi)es about the .ondon press /ob of his old friend and his travels to liberal cities like *aris, but the shame he feels about such desires stops him from taking action to pursue similar goals. +ore often than offering a literal escape from a physical place, the stories tell of opportunities to escape from smaller, more personal restraints. !veline, for e'ample, seeks release from domestic duties through marriage. #n Two 0allants," .enehan wishes to escape his life of schemes, but he cannot take action to do so. +r. Doran wishes to escape marrying *olly in 1oarding 2ouse," but he knows he must relent. The impulse to escape from unhappy situations defines Joyces Dubliners, as does the inability to actually undertake the process. The Intersection of Life and Death Dubliners opens with The ,isters," which e'plores death and the process of remembering the dead, and closes with The Dead," which invokes the (uiet calm of snow that covers both the dead and the living. These stories bookend the

collection and emphasi)e its consistent focus on the meeting point between life and death. !ncounters between the newly dead and the living, such as in The ,isters" and *ainful $ase," e'plicitly e'plore this meeting point, showing what kind of aftershocks a death can have for the living. +r. Duffy, for e'ample, reevaluates his life after learning about +rs. ,inicos death in *ainful $ase," while the narrator of The ,isters" doesnt know what to feel upon the death of the priest. #n other stories, including !veline," #vy Day in the $ommittee Room," and The Dead," memories of the dead haunt the living and color every action. #n #vy Day," for e'ample, *arnell hovers in the political talk. The dead cast a shadow on the present, drawing attention to the mistakes and failures that people make generation after generation. ,uch overlap underscores Joyces interest in life cycles and their repetition, and also his concern about those living dead" figures like +aria in $lay" who move through life with little e'citement or emotion e'cept in reaction to everyday snags and delays. The monotony of Dublin life leads Dubliners to live in a suspended state between life and death, in which each person has a pulse but is incapable of profound, life3sustaining action. Motifs Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the texts major themes. Paralysis #n most of the stories in Dubliners, a character has a desire, faces obstacles to it, then ultimately relents and suddenly stops all action. These moments of paralysis show the characters inability to change their lives and reverse the routines that hamper their wishes. ,uch immobility fi'es the Dubliners in cycles of e'perience. The young boy in raby" halts in the middle of the dark ba)aar, knowing that he will never escape the tedious delays of Dublin and attain love. !veline free)es like an animal, fearing the possible new e'perience of life away from home. These moments evoke the theme of death in life as they show characters in a state of inaction and numbness. The opening story introduces this motif through the character of %ather %lynn, whose literal paralysis traps him in a state suspended between life and death. Throughout the collection, this stifling state appears as part of daily life in Dublin, which all Dubliners ultimately acknowledge and accept. Epiphany

Object 2

$haracters inDublinerse'perience both great and small revelations in their everyday lives, moments that Joyce himself referred to as epiphanies," a word with connotations of religious revelation. These epiphanies do not bring new e'periences and the possibility of reform, as one might e'pect such moments to. Rather, these epiphanies allow characters to better understand their particular circumstances, usually rife with sadness and routine, which they then return to with resignation and frustration. ,ometimes epiphanies occur only on the narrative level, serving as signposts to the reader that a storys character has missed a moment of self3reflection. %or e'ample, in $lay," during the 2alloween game when +aria touches the clay, which signifies an early death, she thinks nothing of it, overlooking a moment that could have revealed something about herself or the people around her. raby," !veline," .ittle $loud," *ainful $ase," and The Dead" all conclude with epiphanies that the characters fully register, yet these epiphanies are tinged with frustration, sadness, and regret. t the end of The Dead," 0abriels revelation clarifies the connection between the dead and the living, an epiphany that resonates throughout Dubliners as a whole. The epiphany motif highlights the

repeated routine of hope and passive acceptance that marks each of these portraits, as well as the general human condition. Betrayal Deception, deceit, and treachery scar nearly every relationship in the stories in Dubliners, demonstrating the unease with which people attempt to connect with each other, both platonically and romantically. #n The 1oarding 2ouse," +rs. +ooney traps +r. Doran into marrying her daughter *olly, and +r. Doran dreads the union but will meet his obligation to pursue it. #n Two 0allants," .enehan and $orley both suspect each other of cheating and scheming, though they /oin forces to swindle innocent housemaids out of their livelihoods. $oncerns about betrayal frame the conversations in #vy Day in the $ommittee Room," particularly as *arnells supporters see his demise as the result of pro31ritish treachery. 4ntil his affair was e'posed, *arnell had been a popular and influential politician, and many #rish believe the 1ritish were responsible for his downfall. ll of the men in #vy Day" display wavering beliefs that suggest betrayal looms in #relands political present. #n The Dead," 0abriel feels betrayed by his wifes emotional outpouring for a former lover. This feeling evokes not only the sense of displacement and humiliation that all of these Dubliners fear but also the tendency for people to categori)e many acts as betrayal" in order to shift blame from themselves onto others. Religion References to priests, religious belief, and spiritual e'perience appear throughout the stories in Dubliners and ultimately paint an unflattering portrait of religion. #n the first story, The ,isters," %ather %lynn cannot keep a strong grip on the chalice and goes mad in a confessional bo'. This story marks religions first appearance as a haunting but incompetent and dangerous component of Dublin life. The strange man of n !ncounter" wears the same clothing as %ather %lynn, connecting his lascivious behavior, however remotely, to the $atholic $hurch. #n 0race," %ather *urdon shares his name with Dublins red3light district, one of many subtle ironies in that story. #n 0race," Tom 5ernans fall and absent redemption highlight the pretension and inefficacy of religion&religion is /ust another daily ritual of repetition that advances no one. #n other stories, such as raby," religion acts as a metaphor for dedication that dwindles. The presence of so many religious references also suggests that religion traps Dubliners into thinking about their lives after death. Symbols ymbols are objects, characters, figures, or colors used to represent abstract ideas or concepts. indo!s -indows in Dubliners consistently evoke the anticipation of events or encounters that are about to happen. %or e'ample, the narrator in The ,isters" looks into a window each night, waiting for signs of %ather %lynns death, and the narrator in raby" watches from his parlor window for the appearance of +angans sister. The suspense for these young boys centers in that space separating the interior life from the e'terior life. -indows also mark the threshold between domestic space and the outside world, and through them the characters in Dubliners observe their own lives as well as the lives of others. 1oth !veline and 0abriel turn to windows when they reflect on their own situations, both of which center on the relationship between the individual and the individuals place in a larger conte't. Dus" and #ighttime Joyces Dublin is perpetually dark. 6o streams of sunlight or cheery landscapes illuminate these stories. #nstead, a spectrum of grey and black underscores their somber tone. $haracters walk through Dublin at dusk, an in3between time that hovers between the activity of day and the stillness of night, and live their most profound moments in the darkness of late hours. These dark backdrops evoke the half3life or in3between state the characters in Dubliners occupy, both physically and emotionally, suggesting the intermingling of life and d eath that marks every story. #n this state, life can e'ist and proceed, but the darkness renders Dubliners e'periences dire and doomed. $ood 6early all of the characters in Dubliners eat or drink, and in most cases food serves as a reminder of both the threatening dullness of routine and the /oys and difficulties of togetherness. #n *ainful $ase," +r. Duffys solitary, duplicated meals are finally interrupted by the shocking newspaper article that reports +rs. ,inicos death. This interruption makes him reali)e that his habits isolate him from the love and happiness of lifes feast." The party meal in The Dead" might evoke conviviality, but the rigid order of the rich table instead suggests military battle. #n Two 0allants," .enehans (uiet meal of

peas and ginger beer allows him to dwell on his self3absorbed life, so lacking in meaningful relationships and security, while the constant imbibing in fter the Race" fuels Jimmys attempts to convince himself he belongs with his upper3 class companions. %ood in Dubliners allows Joyce to portray his characters and their e'periences through a substance that both sustains life yet also symboli)es its restraints.

emas, motivos y smbolos Temas Los temas son las ideas fundamentales y universales a menudo explorado en una obra literaria. La prisin de rutina Rutinas restrictivas y los detalles repetitivos, mundanos de la vida cotidiana marcan la vida de los Dubliners Joyce y los atrapan en los crculos de la frustracin, la moderacin y la violencia. Rutina afecta a personajes que se enfrentan a dilemas difciles, pero tambi n afecta a personajes que tienen pocos conflictos abiertos en sus vidas. !l joven de "#n encuentro" an$ela un respiro de la rutina y no inocente de la escuela, slo para encontrarse a s mismo sentado en un campo de escuc$a a un $ombre reciclar pensamientos perturbadores. !n "%ontrapartes", &arrin'ton, quien $ace una copia de documentos vivos, demuestra el potencial peli'ro de la repeticin. &arrin'ton trabajo es un reflejo de su vida familiar y social, $aciendo que su comportamiento a la ira y abusivo empeorar. &arrin'ton, con sus reacciones fsicas explosivos, ilustra m(s que nin')n otro personaje de las consecuencias brutales de una existencia repetitiva. Las consecuencias m(s consistentes de se'uir las rutinas mundanas son la soledad y el amor no correspondido. !n "*raby", un c$ico joven quiere ir a la feria a comprar un re'alo para la c$ica que ama, pero es tarde porque su to se convierte en atascado en la rutina de su da de trabajo. !n "#n caso doloroso" obsesin +r. Duffy con su vida predecible le cuesta una oportunidad de oro en el amor. !veline, en la $istoria que comparte su nombre, renuncia a su oportunidad en el amor por la eleccin de su vida familiar a trav s de una aventura desconocida, aunque sus rutinas familiares est(n te,idas de triste-a y abuso. La circularidad de estos "Dubliners vive efectivamente atrapa, lo que les impide ser receptivo a nuevas experiencias y ale'ras. !l deseo de escapar Los personajes de Dublineses pueden ser ciudadanos de la capital irlandesa, pero muc$os de ellos el tiempo de escape y aventura en el extranjero. *n$elos +in embar'o, estos en realidad nunca se dio cuenta por los prota'onistas de las $istorias. !l an$elo de evasin escolar y la emocin salvaje oeste en "#n encuentro" es rele'ado a la ima'inacin y $asta los confines de Dubln, mientras !veline las esperan-as de una nueva vida en *r'entina se disuelven en los muelles del ro de la ciudad. %$ico %$andler envidia fantasea sobre el trabajo de prensa en Londres de su viejo ami'o y sus viajes a ciudades como .ars liberales, pero la ver'/en-a que siente por tales deseos le impide tomar accin para perse'uir objetivos similares. 0(s a menudo que ofrece un escape literal de un lu'ar fsico, las $istorias $ablan de oportunidades para escapar de las restricciones m(s peque,as, m(s personales. !veline, por ejemplo, busca la liberacin de las tareas dom sticas a trav s del matrimonio. !n "Dos 1alanes", Lene$an desea escapar de la vida de los sistemas, pero no puede tomar medidas para $acerlo. 0r. Doran desea escapar casarse con .olly en "una casa de $u spedes", pero l sabe que tiene que ceder. !l impulso de escapar de situaciones infelices define Dubliners Joyce, como lo $ace la incapacidad para llevar a cabo realmente el proceso. La interseccin de la 2ida y de la 0uerte

Dubliners se abre con "T$e +isters", que explora la muerte y el proceso de recordar a los muertos, y se cierra con "T$e Dead", que invoca la tranquilidad de nieve que cubre tanto los muertos y los vivos. !stas $istorias sujetalibros de la coleccin y $acer $incapi en su enfoque constante en el punto de encuentro entre la vida y la muerte. Los encuentros entre los reci n muertos y los vivos, por ejemplo en "T$e +isters" y "#n caso doloroso", explcitamente explorar este punto de encuentro, mostrando qu tipo de r plicas de una muerte puede tener para la vida. +r. Duffy, por ejemplo, reeval)a su vida despu s de enterarse de la muerte de la se,ora +inico en "#n caso doloroso", mientras que el narrador de "Las 3ermanas" no s qu sentir sobre la muerte del sacerdote. !n otras $istorias, como "!veline", "Da de la $iedra en la sala del comit ", y "los muertos", los recuerdos de la 'uarida muertos a los vivos y el color de cada accin. !n el "Da de la 3iedra", por ejemplo, se cierne .arnell en el discurso poltico. !l elenco muerto una sombra sobre el presente, llamando la atencin sobre los errores y los fracasos que $acen las personas 'eneracin tras 'eneracin. Tal solapamiento pone de relieve el inter s de Joyce en los ciclos de vida y su repeticin, y tambi n su preocupacin por los "muertos vivientes" fi'uras como 0ara en "%lay" que se mueven por la vida con poco entusiasmo o emocin salvo en reaccin a inconvenientes cotidianos y retrasos. La monotona de la vida conduce Dubln Dubliners vivir en un estado suspendido entre la vida y la muerte, en el que cada persona tiene pulso pero no es capa- de profundo y vital accin. 0otivos Los motivos son estructuras recurrentes, contrastes, literarias o dispositivos que pueden ayudar a desarrollar e informar a los temas principales del texto. .ar(lisis !n la mayora de las $istorias en Dubliners, un personaje tiene un deseo, se enfrenta a obst(culos a la misma, a continuacin, en )ltima instancia, cede y de repente se detiene toda accin. !stos momentos de par(lisis mostrar la incapacidad de los personajes para cambiar sus vidas y revertir las rutinas que frenan sus deseos. !sa inmovilidad fija el Dubliners en ciclos de experiencia. !l joven en "*raby" se detiene en medio del ba-ar oscuro, sabiendo que ya nunca podr( escapar de las tediosas demoras de Dubln y alcan-ar el amor. !veline se con'ela como un animal, por temor a la experiencia posible nueva vida lejos de casa. !stos momentos evocan el tema de la muerte en la vida, ya que muestran personajes en un estado de inaccin y entumecimiento. La $istoria inicial introduce este tema a trav s del personaje del padre &lynn, cuyo literal par(lisis lo atrapa en un estado suspendido entre la vida y la muerte. * lo lar'o de la coleccin, este estado sofocante aparece como parte de la vida cotidiana en Dubln, que en )ltima instancia todos los Dubliners reconocer y aceptar. !pifana Los personajes de Dublineses experiencia tanto 'randes como peque,as revelaciones en su vida cotidiana, momentos que Joyce se refiere como "epifanas", una palabra con connotaciones de revelacin reli'iosa. !stas epifanas no traen nuevas experiencias y la posibilidad de la reforma, como era de esperar esos momentos a. 0(s bien, estas epifanas permiten a los personajes para entender mejor sus circunstancias particulares, normalmente pla'adas de triste-a y de rutina, que lue'o vuelven a con resi'nacin y frustracin. * veces epifanas produce slo en el plano narrativo, sirviendo como indicadores para el lector que el personaje de una $istoria se $a perdido un momento de auto4reflexin. .or ejemplo, en "%lay", durante el jue'o de 3allo5een cuando 0ara toca la arcilla, lo que si'nifica una muerte temprana, ella piensa que nada de eso, con vistas a un momento que podra $aber revelado al'o acerca de s misma o de las personas a su alrededor.

"*raby", "!veline", "#na peque,a nube", "#n caso doloroso" y "T$e Dead" todos concluyen con epifanas que los personajes completamente re'istrar, sin embar'o, estas epifanas est(n te,idas de frustracin, triste-a y pesar. *l final de "T$e Dead", la revelacin de 1abriel aclara la relacin entre los muertos y los vivos, una epifana que resuena a lo lar'o de Dubliners en su conjunto. !l motivo epifana destaca la rutina repetida de la esperan-a y la aceptacin pasiva que marca cada uno de estos retratos, as como la condicin $umana 'eneral. Traicin !l en'a,o, el en'a,o, la traicin y la cicatri- casi todas las relaciones en las $istorias en Dubliners, lo que demuestra la inquietud con que la 'ente intente conectarse unos con otros, tanto platnico y rom(ntico. !n "!l 6oardin' 3ouse", la se,ora 0ooney trampas 0r. Doran se casara con su $ija .olly, y el se,or Doran teme el sindicato, pero se reunir( con su obli'acin de perse'uir. !n "Dos 1alanes", Lene$an y %orley ambos sospec$an mutuamente de fraude e intri'ante, aunque se unen para estafar a inocentes doncellas de sus medios de subsistencia. La preocupacin por traicin marco de las conversaciones en el "Da de la 3iedra en la sala del comit ", especialmente en lo que los partidarios de .arnell ver su muerte como resultado de pro4brit(nico traicin. 3asta su asunto fue expuesto, .arnell $aba sido un poltico popular e influyente, y muc$os irlandeses creen que los brit(nicos eran los responsables de su cada. Todos los $ombres en "7vy Day" creencias pantalla vacilantes que su'ieren telares traicin en la actual poltica de 7rlanda. !n "T$e Dead", 1abriel se siente traicionado por efusin emocional de su esposa por un ex amante. !ste sentimiento evoca no slo el sentido del despla-amiento y la $umillacin que todos estos temor Dubliners, sino tambi n la tendencia de la 'ente a clasificar muc$os actos de "traicin" a fin de ec$ar la culpa de s mismos a los dem(s. Reli'in Las referencias a los sacerdotes, reli'iosos, creencias y experiencias espirituales aparecen en los relatos de Dublineses y finalmente pintar un retrato poco favorecedor de la reli'in. !n la primera $istoria, "T$e +isters", el .adre &lynn no puede mantener un fuerte control sobre el c(li- y se vuelve loco en un confesionario. !sta $istoria marca la primera aparicin de la reli'in como un componente inquietante pero incompetente y peli'roso de la vida de Dubln. !l $ombre extra,o "#n encuentro" lleva la misma ropa que el .adre &lynn, conectando su comportamiento lascivo, sin embar'o remotamente, a la 7'lesia %atlica. !n "1race", el padre .urdon comparte su nombre con la lu- roja distrito dublin s, una de las muc$as ironas sutiles en esa $istoria. !n "1race", Tom 8ernan cada y redencin de relieve la ausencia de pretensin y la ineficacia de la reli'in4la reli'in es m(s que otro ritual diario de la repeticin que los avances a nadie. !n otras $istorias, como "*raby", la reli'in act)a como una met(fora de la dedicacin que disminuye. La presencia de referencias reli'iosas tantos tambi n su'iere que las trampas de la reli'in Dubliners a pensar en la vida despu s de la muerte. +mbolos Los smbolos son objetos, personajes, fi'uras o colores utili-ados para representar ideas abstractas o conceptos. 2entanas 9indo5s en Dubliners constantemente evocar la anticipacin de eventos o encuentros que est(n a punto de suceder. .or ejemplo, el narrador de "Las 3ermanas" se ve en una ventana cada noc$e, a la espera de si'nos de la muerte del .adre &lynn, y el narrador en "*raby" relojes de la ventana de su saln para la aparicin de la $ermana de 0an'an. !l suspenso de estos centros los ni,os peque,os en el espacio que separan la vida interior de la vida exterior. 9indo5s tambi n marca el umbral

entre el espacio interior y el mundo exterior, ya trav s de ellos los personajes de Dublineses observar sus propias vidas y las vidas de los dem(s. Tanto !veline y 1abriel vuelta a las ventanas cuando reflexionan sobre sus propias situaciones, las cuales se centran en la relacin entre el individuo y el lu'ar del individuo en un contexto m(s amplio. *noc$ecer y noc$e Dubln de Joyce es perpetuamente oscuro. :o $ay corrientes de lu- solar o los paisajes ale'res iluminar estas $istorias. !n cambio, un espectro de color 'ris y ne'ro resalta su tono sombro. Los personajes caminan a trav s de Dubln en la oscuridad, un tiempo en el medio que oscila entre la actividad del da y la quietud de la noc$e, y vivir sus momentos m(s profundos en la oscuridad de $oras m(s tarde. !stos fondos oscuros evocan la vida media o estado intermedio los personajes de Dublineses ocupar, tanto fsica como emocionalmente, lo que su'iere la me-cla de vida y eat$ d que marca cada $istoria. !n este estado, la vida puede existir y se'uir adelante, pero la oscuridad $ace que experiencias Dubliners ;'rave y condenada. *limento %asi todos los personajes de Dublineses comer ni beber, y en la mayora de los casos la comida sirve como un recordatorio tanto de la monotona de la rutina y que amena-a las ale'ras y las dificultades de convivencia. !n "#n caso doloroso", solitarias +r. Duffy, comidas duplicadas son finalmente interrumpida por el artculo del peridico escandaloso que los informes de la muerte de la se,ora +inico. !sta interrupcin le $ace darse cuenta de que sus $(bitos de aislarlo del amor y de la felicidad de la "fiesta de la vida." La comida de fiesta en "T$e Dead" puede evocar la convivencia, pero el orden r'ido de la mesa de los ricos en ve- su'iere batalla militar. !n "Dos 1alanes", comida tranquila Lene$an de 'uisantes y cerve-a de jen'ibre le permite $abitar en su e'oc ntrica vida, tan falta de relaciones si'nificativas y de se'uridad, mientras que la embebe constante en "*fter t$e Race" Los intentos de los combustibles de Jimmy para convencerse de que pertenece con sus compa,eros de clase alta. La comida en Dubliners Joyce permite retratar a sus personajes y sus experiencias a trav s de una sustancia que a la ve- sostiene la vida pero tambi n simboli-a sus restricciones. <:uevo= 3a- clic en las palabras anteriores para editar y ver traducciones alternativas. Descartar Traductor de 1oo'le para empresas>1oo'le Translator Tool?itTraductor de sitios 5eb1lobal 0ar?et &inder.
7 Dubliners &%T'(R 7 James Joyce T)PE ($ (R* 7 $ollection of short stories +E#RE 7 Realist fiction8 urban literature L&#+%&+E 7 !nglish 9with some #rish and 2iberno3!nglish sayings: TIME &#D PL&,E RITTE# 7 !arly ;<==s, #reland and #taly D&TE ($ $IRST P%BLI,&TI(# 7 ;<;> P%BLIS'ER 7 0rant Richards #&RR&T(R 7 The first three stories are narrated by the main character of each story, which in all three cases is a young,
$%LL TITLE

unnamed boy. The rest of the stories are narrated by an anonymous third person who pays close attention to circumstantial detail though in a detached manner. P(I#T ($ -IE 7 The first three stories, told from the first person, focus on the thoughts and observations of the narrators. #n the stories told from the third person, the narrators detail ob/ective information and present characters as they would appear to an outsider, but also present thoughts and actions from the protagonists points of view, giving the reader a sense of what the characters are feeling. T(#E 7 Though told mainly by an anonymous narrator, the stories of Dublinersform a self3conscious e'amination of Joyces native city in #reland. 1ecause the narrator maintains a neutral and distant presence, detecting Joyces attitude

toward his characters is not always easy. The abundance of details about the grim realities of the city and the focus on hardships, however, create a tragic tone and offer a subtle criti(ue. TE#SE 7 *ast tense SETTI#+ .TIME/ 7 !arly ;<==s SETTI#+ .PL&,E/ 7 Dublin M&0(R ,(#$LI,T 7 ?arious figures struggle with the challenges of complicated relationships and life in Dublin. T'EMES 7 The prison of routine8 the desire for escape8 the intersection of life and death M(TI$S 7 *aralysis8 epiphany8 betrayal8 religion S)MB(LS 7 -indows8 dusk and nighttime8 food $(RES'&D( I#+ 7 The death of %ather %lynn in The ,isters" announces the focus on death in later stories like The Dead"8 story titles hint at events in the stories

personajes>
+abriel ,onroy, 1The Dead2 0abriel is the last protagonist of Dubliners, and he embodies many of the traits introduced and e'plored in characters from earlier stories, including short temper, acute class consciousness, social awkwardness, and frustrated love. 0abriel has many faces. To his aging aunts, he is a loving family man, bringing his cheerful presence to the party and performing typically masculine duties such as carving the goose. -ith other female characters, such as +iss #vors, .ily the housemaid, and his wife, 0retta, he is less able to forge a connection, and his attempts often become awkward, and even offensive. -ith +iss #vors, he stumbles defensively through a conversation about his plans to go on a cycling tour, and he offends .ily when he teases her about having a boyfriend. 0retta inspires fondness and tenderness in him, but he primarily feels mastery over her. ,uch (ualities do not make 0abriel sympathetic, but rather make him an e'ample of a man whose inner life struggles to keep pace with and ad/ust to the world around him. The +orkans party e'poses 0abriel as a social performer. 2e carefully reviews his thoughts and words, and he flounders in situations where he cannot predict another persons feelings. 0abriels unease with unbridled feeling is palpable, but he must face his discomfort throughout the story. 2e illustrates the tense intersection of social isolation and personal confrontation.

Object 3

0abriel has one moment of spontaneous, honest speech, rare in The Dead" as well as inDubliners as a whole. -hen he dances with +iss #vors, she interrogates him about his plans to travel in countries other than #reland and asks him why he wont stay in #reland and learn more about his own country. #nstead of replying with niceties, 0abriel responds, #m sick of my own country, sick of it@" 2e is the sole character in Dubliners to voice his unhappiness with life in #reland. -hile each story implicitly or e'plicitly connects the characters hardships to Dublin, 0abriel pronounces his sentiment clearly and without remorse. This purgative e'clamation highlights the symbolism of 0abriels name, which he shares with the angel who informed +ary that she would be the mother of $hrist in biblical history. 0abriel delivers his own message not only to +iss #vors but also to himself and to the readers of The Dead." 2e is the unusual character in Dubliners who dwells on his own revelation without suppressing or re/ecting it, and who can place himself in a greater perspective. #n the final scene of the story, when he intensely contemplates the meaning of his life, 0abriel has a vision not only of his own tedious life but of his role as a human. E3eline, 1E3eline2 Torn between two e'treme options&unhappy domesticity or a dramatic escape to rgentina for marriage&!veline has no possibility of a moderately content life. 2er dilemma does not illustrate indecisiveness but rather the lack of options for someone in her position. An the docks, when she must make a choice once and for all, !veline remembers her promise to her mother to keep the family together. ,o close to escape, !veline revises her view of her life at home, remembering the small kindnessesB her fathers caring for her when she was sick, a family picnic before her mother died. These memories overshadow the reality of her abusive father and deadening /ob, and her sudden certainty comes as an epiphany&she must remain with what is familiar. -hen faced with the clear choice between happiness and unhappiness, !veline chooses unhappiness, which frightens her less than her intense emotions for %rank. !velines nagging sense of family duty stems from her fear of love and an unknown life abroad, and her decision to stay in Dublin renders her as /ust another figure in the crowd of Dubliners watching lovers and friends depart the city.

!veline holds an important place in the overall narrative of Dubliners. 2er story is the first in the collection that uses third3 person narration, the first in the collection to focus on a female protagonist, and the only one in the collection that takes a characters name as the title. !veline is also the first central adult character. %or all of these reasons, she marks a crucial transition in the collectionB !veline in many ways is /ust another Dubliner, but she also broadens the perspective of Dubliners. 2er story, rather than being limited by the first3person narration of earlier stories, suggests something about the hardships and limitations of women in early twentieth3century Dublin in general. !velines tortured decision about her life also sets a tone of restraint and fear that resonates in many of the later stories. Ather female characters in Dubliners e'plore different harsh conditions of life in Dublin, but !veline, in facing and re/ecting a life3altering decision, remains the most tragic. $arrington, 1,ounterparts2 Ane of the darkest characters in Dubliners, %arrington rebels violently against his dull, routine life. 2e e'periences paraly)ing, mechanical repetition day after day as a copy clerk, and his mind3numbing tasks and uncompromising boss cause rage to simmer inside him. fter the day in (uestion in $ounterparts," the rage becomes so e'plosive that %arrington unleashes it on the most innocent figure in his world, one of his children. The root of %arringtons problem is his inability to reali)e the maddening circularity that defines his days. %arrington has no boundaries between the different parts of his worldB his work life mimics his social life and his family life. 6o one part of his life can serve as an escape from any other part because each element has the potential to enrage him. %arrington consistently makes life worse for himself, not better. 2e slips away from work as he pleases, insults his boss, and matter3of3factly pawns his watch to buy alcohol. Though each small rebellion makes him momentarily happy, the displaced rage simply reappears someplace else, usually e'acerbated by his actions. This lack of mindfulness about the conse(uences of his actions spills over into %arringtons anger, over which he appears to have little or no control. %arringtons e'plosive violence sets him apart from some of the other characters in Dubliners, who oftenaccept routine and boredom as facts of life and do little to upset the balance of familiarity and calm theyve established. +r. Duffy in *ainful $ase," for e'ample, identifies so fully with his routines that he cannot upset them even for the chance of love. !veline, too, chooses her familiar routines instead of leaping into the unknown, even though those routines are far inferior to the possibilities before her. %arringtons insensitivity to the people around him also casts him as the opposite of !veline, whose concern for what others will think of her overrides her own desires. s the brutal bully of Dubliners, %arrington shows what can happen when a life consists primarily of mindless repetitionB sooner or later violence will surface, and those who witness or are sub/ect to the violence may themselves act violently in the future. &raby2 narrator

Object 4

The raby" narrators e'perience of love moves him from placid youth to elation to frustrated loneliness as he e'plores the threshold between childhood and adulthood. .ike the narrator of n !ncounter," he yearns to e'perience new places and things, but he is also like !veline and other adult characters who grapple with the conflict between everyday life and the promise of love. 2e wants to see himself as an adult, so he dismisses his distracting schoolwork as childs play" and e'presses his intense emotions in dramatic, romantic gestures. 2owever, his inability to actively pursue what he desires traps him in a childs world. 2is dilemma suggests the hope of youth stymied by the unavoidable realities of Dublin life. The raby" narrator is the last of the first3person narrators in Dubliners, all of whom are young boys.

!xamen @. !n "*raby" el narrador viaja a donde al final de la $istoriaA B*C *rabia B6C 6uenos *ires B%C !n nin'una parte4se queda en casa BDC #n ba-ar celebrada en Dubln. D. +e')n el artculo del peridico en la $istoria, lo que causa la muerte de la se,ora +inico en "#n caso doloroso"A B*C La vejeB6C, s$oc? o insuficiencia cardiaca B%C Las teoras polticas del se,or Duffy

BDC #n accidente de tren E. F%u(l fi'ura nacional irland s se celebra en el "Da de la 3iedra en la $abitacin %omit "A B*C James Joyce B6C 6ono B%C %$arles +tuart .arnell BDC Leopold 6loom BD7C G. FHu $ace 0ara en perder "%lay"A B*C +u billete de tren B6C #n pastel de ciruela B%C #n paquete de arcilla para los jue'os de 3allo5een BDC +u memoria I. FHui n narra "#n encuentro"A B*C #n muc$ac$o llamado 0an'an B6C !l .adre &lynn B%C #n $ombre extra,o, annimo BDC #n ni,o sin nombre J. !n "#na peque,a nube", lo que $ace poco el sue,o de convertirse en %$andlerA B*C #n poeta B6C #n reportero de peridico en Londres B%C #na copiadora le'al BDC !l pronstico del tiempo K. !n "Las 3ermanas", Fqu padre &lynn tener en sus manosA B*C +$erry y 'alletas B6C #n ramo de $iedra B%C #n c(liB%7C BDC :ada L. FHu $ace el narrador asemejan a !veline cuando se con'ela en los muelles en "!veline"A B*C #n sacerdote parali-ado B6C #n animal indefenso B%C #na criatura enojado BDC #na fi'ura marrn M. FDnde est( %$arles de + 'ouin en "*fter t$e Race"A B*C * las afueras de Dubln B6C 7n'laterra B%C !l oeste de 7rlanda BDC &rancia @N. FHu %orley procurar de su fec$a de "Dos 1alanes"A B*C #na moneda de oro

B6C #n arpa B%C los ci'arros puros de lujo BDC %omida @@. FHu 0iss 7vors llamar 1abriel cuando bailan juntos en "T$e Dead"A B*C #n bailarn pobre B6C #n irland s leal B%C * 9est brit(nico BDC #n buen escritor @D. FDe dnde viene Tom 8ernan caer en "1race"A B*C !n la i'lesia B6C De un carro B%C * partir de su cama BDC .or las escaleras en un pub @E. Lo que capta la atencin de 1retta, mientras que los otros $u spedes dejar el partido 0or?an en "T$e Dead"A B*C +u esposo B6C La nieve B%C &reddy 0alins BDC #na cancin @G. FHui n se le conoce como "La +e,ora" en "La %asa de 3u spedes"A B*C La se,ora 8earney B6C La se,ora 0ooney B%C 8ate 0or?an BDC $ermana de 0an'an @I. FHu $ace 0ara do al final de "%lay", que $ace llorar Joe DonnellyA B*C !lla canta una cancin B6C +e eli'e el plato de barro en el jue'o B%C !lla $abla de su $ermano BDC +e pierde el sacacorc$os @J. FHu &arrin'ton $acer cuando re'rese a casa en "%ontrapartes"A B*C +e prepara la cena para su esposa B6C !l re-a el "*ve 0ara" B%C +e pe'a a su $ijo BDC +e apa'a el fue'o @K. !n "#n caso doloroso", lo que $ace el se,or Duffy ver en el parque cerca de su casaA B*C !l fantasma de la se,ora +inico B6C #n peridico B%C Dos amantes BDC #n extra,o viejo @L. !n "una madre", Fpor qu la se,ora 8earney asalto del )ltimo concierto con su $ija cuando est( a mitad de camino a trav s deA B*C !lla se sinti ofendido por la desnudeB6C !l piano estaba fuera de tono B%C !l p)blico abuc$e

BDC Los or'ani-adores se ne'aron a pa'ar la cuota completa que $aban acordado @M. F.or qu el jefe de &arrin'ton 'ritarle al principio de "contrapartes"A B*C +e desli- fuera de la oficina a tomar una cerve-a B6C :o pudo completar una tarea de copia B%C +e empe, el reloj de su jefe BDC Ol insult a un cliente DN. FHu 1abriel mirar fuera de la ventana de su $otel en "T$e Dead"A B*C +no5 B6C #n cementerio B%C Los ni,os ju'ando BDC Tr(fico D@. FHu $acer en 1abriel "T$e Dead" de que nadie m(s lo $ace durante la comida de fiestaA B*C %omer B6C pronuncia un discurso B%C se emborrac$a BDC cuenta la $istoria de su infancia DD. F%u(l es una de las palabras que el c$ico de "Las 3ermanas" piensa en cuando mira por la ventana del .adre &lynnA B*C 6e'orra$ B6C %orpse B%C %(liBDC .ar(lisis DE. FHu sonido en "!veline" de repente $ace !veline decidido a escapar de su vida en el $o'arA B*C #n cuerno buque B6C La vo- de &ran? B%C #na calle de r'anos BDC La vo- de su padre DG. F%mo Jimmy Doyle 'astar todo su dinero con sus ami'os en "*fter t$e Race"A B*C Las apuestas en carreras de coc$es B6C Ju'ando a las cartas B%C *rm 5restlin' BDC !l tratamiento de sus ami'os para las bebidas DI. !n "#na madre", Fqu se,ora 8earney insistir a su $ija aprender, adem(s de pianoA B*C La len'ua irlandesa B6C !l mapa de las calles de Dubln B%C Derec$o aplicable al contrato BDC dan-a del irland s. 1abriel %onroy, PT$e DeadQ 1abriel is t$e last prota'onist of Dubliners, and $e embodies many of t$e traits introduced and explored in c$aracters from earlier stories, includin' s$ort temper, acute class consciousness, social a5?5ardness, and frustrated love. 1abriel $as many faces. To $is a'in' aunts, $e is a lovin' family man, brin'in' $is c$eerful presence to t$e party and performin' typically masculine duties suc$ as carvin' t$e 'oose. 9it$ ot$er female c$aracters, suc$ as 0iss 7vors, Lily t$e $ousemaid, and $is

5ife, 1retta, $e is less able to for'e a connection, and $is attempts often become a5?5ard, and even offensive. 9it$ 0iss 7vors, $e stumbles defensively t$rou'$ a conversation about $is plans to 'o on a cyclin' tour, and $e offends Lily 5$en $e teases $er about $avin' a boyfriend. 1retta inspires fondness and tenderness in $im, but $e primarily feels mastery over $er. +uc$ qualities do not ma?e 1abriel sympat$etic, but rat$er ma?e $im an example of a man 5$ose inner life stru''les to ?eep pace 5it$ and adjust to t$e 5orld around $im. T$e 0or?ansR party exposes 1abriel as a social performer. 3e carefully revie5s $is t$ou'$ts and 5ords, and $e flounders in situations 5$ere $e cannot predict anot$er personRs feelin's. 1abrielRs unease 5it$ unbridled feelin' is palpable, but $e must face $is discomfort t$rou'$out t$e story. 3e illustrates t$e tense intersection of social isolation and personal confrontation. 1abriel $as one moment of spontaneous, $onest speec$, rare in PT$e DeadQ as 5ell as in Dubliners as a 5$ole. 9$en $e dances 5it$ 0iss 7vors, s$e interro'ates $im about $is plans to travel in countries ot$er t$an 7reland and as?s $im 5$y $e 5onRt stay in 7reland and learn more about $is o5n country. 7nstead of replyin' 5it$ niceties, 1abriel responds, P7Rm sic? of my o5n country, sic? of it=Q 3e is t$e sole c$aracter in Dubliners to voice $is un$appiness 5it$ life in 7reland. 9$ile eac$ story implicitly or explicitly connects t$e c$aractersR $ards$ips to Dublin, 1abriel pronounces $is sentiment clearly and 5it$out remorse. T$is pur'ative exclamation $i'$li'$ts t$e symbolism of 1abrielRs name, 5$ic$ $e s$ares 5it$ t$e an'el 5$o informed 0ary t$at s$e 5ould be t$e mot$er of %$rist in biblical $istory. 1abriel delivers $is o5n messa'e not only to 0iss 7vors but also to $imself and to t$e readers of PT$e Dead.Q 3e is t$e unusual c$aracter in Dubliners 5$o d5ells on $is o5n revelation 5it$out suppressin' or rejectin' it, and 5$o can place $imself in a 'reater perspective. 7n t$e final scene of t$e story, 5$en $e intensely contemplates t$e meanin' of $is life, 1abriel $as a vision not only of $is o5n tedious life but of $is role as a $uman. !veline, P!velineQ Torn bet5een t5o extreme optionsSun$appy domesticity or a dramatic escape to *r'entina for marria'eS!veline $as no possibility of a moderately content life. 3er dilemma does not illustrate indecisiveness but rat$er t$e lac? of options for someone in $er position. Tn t$e doc?s, 5$en s$e must ma?e a c$oice once and for all, !veline remembers $er promise to $er mot$er to ?eep t$e family to'et$er. +o close to escape, !veline revises $er vie5 of $er life at $ome, rememberin' t$e small ?indnesses> $er fat$erRs carin' for $er 5$en s$e 5as sic?, a family picnic before $er mot$er died. T$ese memories overs$ado5 t$e reality of $er abusive fat$er and deadenin' job, and $er sudden certainty comes as an epip$anySs$e must remain 5it$ 5$at is familiar. 9$en faced 5it$ t$e clear c$oice bet5een $appiness and un$appiness, !veline c$ooses un$appiness, 5$ic$ fri'$tens $er less t$an $er intense emotions for &ran?. !velineRs na''in' sense of family duty stems from $er fear of love and an un?no5n life abroad, and $er decision to stay in Dublin renders $er as just anot$er fi'ure in t$e cro5d of Dubliners 5atc$in' lovers and friends depart t$e city. !veline $olds an important place in t$e overall narrative of Dubliners. 3er story is t$e first in t$e collection t$at uses t$ird4person narration, t$e first in t$e collection to focus on a female prota'onist, and t$e only one in t$e collection t$at ta?es a c$aracterRs name as t$e title. !veline is also t$e first central adult c$aracter. &or all of t$ese reasons, s$e mar?s a crucial transition in t$e collection> !veline in many 5ays is just anot$er Dubliner, but s$e also broadens t$e perspective of Dubliners. 3er story, rat$er t$an bein' limited by t$e first4person narration of earlier stories, su''ests somet$in' about t$e $ards$ips and limitations of 5omen in early t5entiet$4century Dublin in 'eneral. !velineRs tortured decision about $er life also sets a tone of restraint and fear t$at resonates in many of t$e later stories. Tt$er female c$aracters in Dubliners explore different $ars$ conditions of life in Dublin, but !veline, in facin' and rejectin' a life4alterin' decision, remains t$e most tra'ic.

&arrin'ton, P%ounterpartsQ Tne of t$e dar?est c$aracters in Dubliners, &arrin'ton rebels violently a'ainst $is dull, routine life. 3e experiences paraly-in', mec$anical repetition day after day as a copy cler?, and $is mind4 numbin' tas?s and uncompromisin' boss cause ra'e to simmer inside $im. *fter t$e day in question in P%ounterparts,Q t$e ra'e becomes so explosive t$at &arrin'ton unleas$es it on t$e most innocent fi'ure in $is 5orld, one of $is c$ildren. T$e root of &arrin'tonRs problem is $is inability to reali-e t$e maddenin' circularity t$at defines $is days. &arrin'ton $as no boundaries bet5een t$e different parts of $is 5orld> $is 5or? life mimics $is social life and $is family life. :o one part of $is life can serve as an escape from any ot$er part because eac$ element $as t$e potential to enra'e $im. &arrin'ton consistently ma?es life 5orse for $imself, not better. 3e slips a5ay from 5or? as $e pleases, insults $is boss, and matter4of4factly pa5ns $is 5atc$ to buy alco$ol. T$ou'$ eac$ small rebellion ma?es $im momentarily $appy, t$e displaced ra'e simply reappears someplace else, usually exacerbated by $is actions. T$is lac? of mindfulness about t$e consequences of $is actions spills over into &arrin'tonRs an'er, over 5$ic$ $e appears to $ave little or no control. &arrin'tonRs explosive violence sets $im apart from some of t$e ot$er c$aracters in Dubliners, 5$o oftenaccept routine and boredom as facts of life and do little to upset t$e balance of familiarity and calm t$eyRve establis$ed. 0r. Duffy in P* .ainful %ase,Q for example, identifies so fully 5it$ $is routines t$at $e cannot upset t$em even for t$e c$ance of love. !veline, too, c$ooses $er familiar routines instead of leapin' into t$e un?no5n, even t$ou'$ t$ose routines are far inferior to t$e possibilities before $er. &arrin'tonRs insensitivity to t$e people around $im also casts $im as t$e opposite of !veline, 5$ose concern for 5$at ot$ers 5ill t$in? of $er overrides $er o5n desires. *s t$e brutal bully of Dubliners, &arrin'ton s$o5s 5$at can $appen 5$en a life consists primarily of mindless repetition> sooner or later violence 5ill surface, and t$ose 5$o 5itness or are subject to t$e violence may t$emselves act violently in t$e future. P*rabyQ narrator T$e P*rabyQ narratorRs experience of love moves $im from placid yout$ to elation to frustrated loneliness as $e explores t$e t$res$old bet5een c$ild$ood and adult$ood. Li?e t$e narrator of P*n !ncounter,Q $e yearns to experience ne5 places and t$in's, but $e is also li?e !veline and ot$er adult c$aracters 5$o 'rapple 5it$ t$e conflict bet5een everyday life and t$e promise of love. 3e 5ants to see $imself as an adult, so $e dismisses $is distractin' sc$ool5or? as Pc$ildRs playQ and expresses $is intense emotions in dramatic, romantic 'estures. 3o5ever, $is inability to actively pursue 5$at $e desires traps $im in a c$ildRs 5orld. 3is dilemma su''ests t$e $ope of yout$ stymied by t$e unavoidable realities of Dublin life. T$e P*rabyQ narrator is t$e last of t$e first4 person narrators in Dubliners, all of 5$om are youn' boys. 1abriel %onroy, "T$e Dead" 1abriel es el prota'onista )ltimo de los dublineses, y encarna muc$as de las caractersticas y explor 7ntroducido en anteriores personajes de $istorias, incluyendo mal 'enio, a'uda conciencia de clase, la torpe-a social, y el amor frustrado. 1abriel tiene muc$as caras. * sus tas envejecimiento, es un $ombre amante de la familia, llevando su presencia ale're de la fiesta y la reali-acin de tareas tpicamente masculinas, como la 'allina de talla. %on otros personajes femeninos, 0iss 7vors tales como, Lily la criada, y su esposa, 1retta, es menos ble para forjar una conexin, y sus intentos a menudo se vuelven torpes, e incluso ofensivo. %on 0iss 7vors, tropie-a a trav s de una conversacin defensiva acerca de su plan de ir en un tour en bicicleta, y se ofende

cuando Ol se burla de ella Lily por tener un novio. 1retta inspira cari,o y ternura en l, principalmente destinado siente dominio sobre ella. Tales cualidades no $acen 1abriel simp(tico, el objetivo de $acer lo contrario ejemplo, el a,o de un $ombre cuya vida interior se esfuer-a por mantener el ritmo y adaptarse al mundo que le rodea. !l partido 0or?ans ;1abriel expuesto como int rprete social. %on cuidado, repasa sus pensamientos y palabras, y l se tambalea en situaciones en las que no puede predecir los sentimientos de otra persona. 7nquietud de 1abriel con sentimiento desenfrenado es palpable, tiene que enfrentarse a su meta lo lar'o de la $istoria malestar. Ol ilustra la interseccin tenso de aislamiento social y la confrontacin personal. 1abriel tiene un momento de discurso espont(neo, $onesto, rara en "T$e Dead", as como en Dubliners en su conjunto. %uando baila con 7vors se,orita, ella lo interro'a acerca de su plan para viajar en pases distintos de 7rlanda y le pre'unta por qu no se queda en 7rlanda y aprender m(s acerca de su propio pas. !n lu'ar de responder con sutile-as, 1abriel responde> "!stoy $arto de mi propio pas, $arto de eso=" Ol es el )nico personaje en Dubliners para expresar su descontento con la vida en 7rlanda. 0ientras que la $istoria de cada arc$ivo de forma explcita o implcitamente conecta penurias de los personajes a Dubln, 1abriel pronuncia su sentimiento y sin remordimiento claro. !sto pone de relieve la exclamacin cat(rtico simbolismo del nombre de 1abriel, que comparte con el (n'el que inform de que ella sera la madre 0ara de %risto en la $istoria bblica. 1abriel pronuncia su propio puesto, no slo a la se,orita aussi 7vors meta para s mismo y para los lectores de "T$e Dead". Ol es el personaje inusual en Dubliners, que $abita en su propia revelacin sin suprimir o rec$a-ar, y que puede situarse en un #na mayor perspectiva. !n la escena final de la $istoria, cuando contempla el si'nificado de su vida intensamente, 1abriel tiene una visin no slo de su propia meta de su vida tediosa papel como un ser $umano. !veline "!veline" Dividida entre dos opciones extremas domesticidad infeli- oro dram(tico escape a la *r'entina por el matrimonio4!veline no tiene la posibilidad de una vida moderadamente feli-. +u dilema no ilustra la indecisin m(s bien la falta de opciones objetivo para al'uien en su posicin. !n los muelles, cuando ella debe $acer una eleccin o- por todas, !veline recuerda su promesa a su madre a mantener a la familia unida. Tan cerca de escapar, !veline revisado su visin de la vida en el $o'ar, recordando los peque,os actos de bondad> el cuidado de su padre cuando ella estaba enferma, un picnic familiar antes de que su madre muri. !stos recuerdos eclipsar la realidad de su padre abusivo y trabajo amorti'uamiento, y su repentina certe-a viene como epifana a,os, ella debe quedarse con lo que es familiar. %uando se enfrentan con la felicidad y la infelicidad eleccin clara entre, !veline eli'e infelicidad que asuste a menos que a sus emociones intensas para &ran?. .ersistente sentido del deber !veline familia proviene de su amor y el temor de una vida desconocida en el extranjero, y su decisin de permanecer en su Dubln $ace como otro rostro en la multitud de los dublineses viendo amantes y ami'os salen de la ciudad. !veline tiene un lu'ar importante en la narrativa 'eneral de Dubliners. +u $istoria es el primero de la coleccin que utili-a la narracin en tercera persona, el primero de la serie para centrarse en una prota'onista femenina, y el )nico de la coleccin que lleva el nombre de un personaje como el ttulo. !veline aussi el primer personaje central adulto. .or todas estas ra-ones, se marca una transicin crucial en la coleccin> !veline en muc$os aspectos es m(s que otro Dubliner, aussi objetivo que ampla la perspectiva de los dublineses. +u $istoria, en lu'ar de estar limitado por la narracin en primera persona de $istorias anteriores, su'iere al'o acerca de las dificultades y limitaciones de las mujeres de principios del si'lo UU Dubln en 'eneral. Decisin torturado !veline sobre su vida aussi establece un tono de moderacin y el miedo que resuena en muc$as de las $istorias posteriores. Ttros personajes femeninos en Dubliners explora diferentes circunstancias duras de la vida en Dubln, el objetivo de !veline, para enfrentar y rec$a-ar una decisin que

cambia la vida, sea la m(s tr('ica. &arrin'ton, "%ontrapartes" #no de los m(s oscuros personajes de Dublineses, los rebeldes &arrin'ton violentamente contra su vida montona y rutinaria. !xperimenta parali-ante, da tras da repeticin mec(nica como empleado ejemplar, y su mente4que entumecen las tareas y el jefe intransi'ente debido a la rabia a fue'o lento en su interior. Despu s de que el da en cuestin en "%ontrapartes", la rabia por lo que se convierte en explosivo &arrin'ton desata en la cara m(s inocente en su mundo, uno de sus $ijos. La ra- del problema &arrin'ton es su incapacidad de reali-ar la circularidad enloquecedor que define sus das. &arrin'ton no tiene fronteras !ntre las acciones le4diferentes de su mundo> su vida imita el trabajo de su vida social y su vida familiar. :o compartir una parte de su vida puede servir como escape de a,os %ualquier otro elemento de Debido a que cada arc$ivo tiene el potencial para enfurecerlo. &arrin'ton %onsistentemente $ace que la vida es peor para l, no mejor. Ol se desli-a fuera del trabajo como le pla-ca, insulta a su jefe, y la materia de manera casual !mpe,a su reloj para comprar alco$ol. *unque cada peque,a rebelin de $ace feli- un momento, los d plac s rabia simplemente reaparece en otro lu'ar, a'ravada por sus Listo acciones. !sta falta de atencin sobre las consecuencias de su accin se derrama en ira &arrin'ton, l m(s de lo que parece $aber poco o nin')n control. 2iolencia explosiva de &arrin'ton lo diferencia de al'unos de los otros personajes de Dublineses, que oftenaccept rutina y el aburrimiento como $ec$os de la vida y $acen poco para alterar el equilibrio de la familiaridad y la calma $an establecido ne'ocios. +r. Duffy en "#n caso doloroso", por ejemplo, tan plenamente identificado con sus rutinas que ni siquiera puede alterar el ;em para la suerte del amor. !veline, tambi n, eli'e a sus rutinas familiares en lu'ar de saltar $acia lo desconocido, aunque muy inferiores !sas rutinas son las posibilidades antes de ella. &arrin'ton insensibilidad a las personas que lo rodean aussi le arroja como lo contrario de !veline, cuya preocupacin por lo que otros piensen de sus propias modificaciones de sus deseos. * medida que el matn brutal de Dubliners, espect(culos &arrin'ton lo que puede suceder cuando una vida de repeticin sin sentido consiste principalmente en> la violencia, tarde o temprano saldr(n a la superficie, y los que presencian o son objeto de la violencia puede actuar de forma violenta a s mismos en el futuro. "*raby" narrador La experiencia de la "*raby" narrador de amor le mueve de pl(cida ale'ra a jvenes frustrados a la soledad mientras explora la infancia y la edad adulta entre el umbral. *l i'ual que el narrador de "#n encuentro", an$ela experimentar nuevos lu'ares y cosas, l es tambi n como objetivo !veline y otros personajes adultos que lidiar con el conflicto entre la vida cotidiana y la promesa de amor. Ol quiere verse a s mismo como el a,o para adultos, por lo que desestima su trabajo escolar distraccin como "jue'o de ni,os" y expresar sus emociones intensas 'estos dram(ticos, rom(nticos. +in embar'o, su incapacidad para buscar activamente lo que l desea lo atrapa en el mundo del ni,o. +u dilema su'iere que la esperan-a de los jvenes frustrados por las realidades inevitables de la vida de Dubln. !l "*raby" narrador es el )ltimo de los narradores en primera persona en Dubliners, del cual proceden todos los ni,os peque,os. <:uevo= 3a- clic en las palabras anteriores para editar y ver traducciones alternativas. Descartar Traductor de 1oo'le para empresas>1oo'le Translator Tool?itTraductor de sitios 5eb1lobal 0ar?et &inder