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第一篇：英语小说读后感ABookReportofAraby
A Book Report: “ Araby”
“Araby”is a short story written by James Joyce, published in his 1914 collection Dubliners.In “Araby” James Joyce starts the story by adopting the first person point of view so as to give readers a sense that they are a part of the story.“I” , the narrator in the story, always reminds readers of their own adulthood.It helps us to recall our innocent and sweet love stories while we were at the age of the narrator’s.At the beginning of the story, the author describes the street where “I” lived as a secluded ,isolated and quiet place.As it is presented: “North Richmond Street, being blind, was a quiet street except at the hour when the Christian Brothers' School set the boys free.An uninhabited house of two storeys stood at the blind end, detached from its neighbors in a square ground.The other houses of the street, conscious of decent lives within them, gazed at one another with brown imperturbable faces.” [1] The setting reveals the dreary and tedious life of Dublin.Mangan’s sister appears in the narrator’s sight and lightens his gloomy life.Apart from that, when Mangan’s sister talked about the bazaar with “I” , it is the first as well as the only conversation between the two characters.“I” acted as a brave knight who fight for his romantic and ideal lover and went to the bazaar—Araby.After an intolerable and unpleasant journey on the train, the narrator eventually came to the bazaar, but just turned out to be an disappointed place.He became angry and anguished.Even the readers feel sympathy for his suffering.In fact, the “Araby” much seems like an mysterious and exotic part of the world.It merely exists in one’s imagination.Mangan’s sister is considered as a symbol of brightness, helping him escaping from the current tedious daily life, which unfortunately can only last for a short period.Everyone are bound to experience frustration when entering the adults’ world.A young, sensitive and innocent boy will grow to be mature and disillusioned.Works Cited [1] Joyce, J(1914).Dubliners.London: Grant Richards.
第二篇：阿拉比赏析读后感Araby
An Eay on Araby
Araby 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.This 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 from 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 aspiration, 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 of the hall is completely dark, the boy‟s disillusionment is announced.The setting of Araby is immensely important;dreary, dark Dublin is the living, symbolic backdrop for the story.[citation needed] The gloomy atmosphere of North Richmond street that actually sets the scene at the start of the story is an anticipation of what lies ahead for the little boy in the bazaar of Araby.The first sentence of the story lets us know that North Richmond street is "blind," and that the Christian Brothers’ School did not so much dismi students for the day as "set them free." A quick scan of the important adjectives in the first paragraph--"blind," "quiet," "uninhabited," "detached," "square," "decent," "brown," "imperturbable"--quickly presents a world that is practical, simple, and unmitigatingly stultifying.As mentioned before, the boys who play in the neighbourhood are able, somehow, to discover some beauty and wander even from these simple surroundings, but to do so they must become connoieurs of darkne: the lanterns on North Richmond are "feeble," the lanes are "dark" and "muddy," the houses “sombre” in the winter twilight, the "dark dripping gardens" redolent with the smell coming from their “ashpits.” This description of the street and the lives the boys live on it serve as the backdrop that we will use to understand how much more imaginative the Araby market will be: or will not be.[citation needed]
Of course, the story’s greatest irony is just how misnamed the Araby market is.It is certainly not a wondrous evocation of the West’s idealized and romanticized notions of the Middle East.Rather, it is exactly the sort of disappointing market you would expect to appear in the Dublin Joyce describes.It is dark, and mostly empty, and hushed, and more about money than anything else.The market at the end of the story, by more resembling the rest of his life than the image of it he had conjured in his daydreams, forces the narrator to a bleak realization: the stark realities of day-to-day living have little to do with the romantic notions we carry in our heads.[citation needed] Style Joyce's writing in Dubliners is neutral;he rarely uses hyperbole or emotive language, relying on simplistic language and close detail to create a realistic setting.This ties the reader's understanding of people to their environments.He does not tell the reader what to think, rather they are left to come to their own conclusions;this is evident when contrasted with the moral judgements displayed by earlier writers such as Charles Dickens.This frequently leads to a lack of traditional dramatic resolution within the stories.It has been argued(by Hugh Kenner in Joyce's Voices, among others)[2] that Joyce often allows his narrative voice to gravitate towards the voice of a textual character.For example, the opening line of 'The Dead' reads "Lily, the caretaker's daughter, was literally run off her feet." She is not, in this instance, "literally" run off her feet, and neither would Joyce have thought so;rather, the narrative lends itself to a misuse of language typical of the character being described.Joyce often uses descriptions from the characters' point of view, although he very rarely writes in the first person.This can be seen in Eveline, when Joyce writes, "Her head was leaned against the window curtains and in her nostrils was the odour of dusty cretonne".Here, Joyce employs an empirical perspective in his description of characters and events;an understanding of characters' personalities is often gained through an analysis of their poeions.The first paragraph of A Painful Case is an example of this style, as well as Joyce's use of global to local description of the character's poeions.Joyce also employs parodies of other writing styles;part of A Painful Case is written as a newspaper story, and part of Grace is written as a sermon.This stylistic motif may also be seen in Ulyes(for example, in the Aeolus episode, which is written in a newspaper style), and is indicative of a sort of blending of narrative with textual circumstances.The collection as a whole displays an overall plan, beginning with stories of youth and progreing in age to culminate in The Dead.Great emphasis is laid upon the specific geographic details of Dublin, details to which a reader with a knowledge of the area would be able to directly relate.The multiple perspectives presented throughout the collection serve to present a broad view of the social and political contexts of life in Dublin at this time.