grasp. As many Joyce scholars identify the boy from as a possible preface (in “Araby” terms of thought development) to characters from later stories, here I see Chandler as a later counterpart to those such as Farrington or Eveline. It is in a much less literal sense, as he is clearly not a direct development of another character, but he is the result of missed opportunity. He continually contemplates the life he might have abandoned when he decided against pursuing a career as a poet. He sees his friend, Gallaher, well traveled and financially successful. Little Chandler at his “looked friend enviously”; all, Gallaher had lived, he had seen the world”. He hardly “after views his own life as life at all, for he has not traveled, has not seen the world. Dublin has held him in place, as it does Farrington and Eveline. In counterpart to this, Eveline will begin to have such reflections upon her inability to travel, to leave her dull existence and see the world. It seems that Joyce’s characters are fated to remain grounded in the city. Eveline cannot break free, cannot bring herself to depart Ireland. In a moment of decision, she desperately clings to what she knows, to Dublin. Farrington seeks a more temporary escape day after day, but fails indefinitely. He is always inevitably pulled back into his tedious life. Alternatively, Little Chandler no longer sees any hope or method of departure from present circumstance. Joyce’s Dublin is seemingly a spider web from which his characters cannot break free. Their lives loom ominously over their heads yet they are still unable to disentangle themselves. Joyce’s painting of an inescapable setting overlaps in many of his stories, and serves as a piece of Scholes’ metaphorical portrait. Scholes speaks of Joyce’s intention to a conscience’ for his race” by placing this portrait on display “‘create
grasp. As many Joyce scholars identify the boy from “Araby” as a possible preface (in terms of thought development) to characters from later stories, here I see Chandler as a later counterpart to those such as Farrington or Eveline. It is in a much less literal sense, as he is clearly not a direct development of another character, but he is the result of missed opportunity. He continually contemplates the life he might have abandoned when he decided against pursuing a career as a poet. He sees his friend, Gallaher, well traveled and financially successful. Little Chandler “looked at his friend enviously”; “after all, Gallaher had lived, he had seen the world”. He hardly views his own life as life at all, for he has not traveled, has not seen the world. Dublin has held him in place, as it does Farrington and Eveline. In counterpart to this, Eveline will begin to have such reflections upon her inability to travel, to leave her dull existence and see the world. It seems that Joyce’s characters are fated to remain grounded in the city. Eveline cannot break free, cannot bring herself to depart Ireland. In a moment of decision, she desperately clings to what she knows, to Dublin. Farrington seeks a more temporary escape day after day, but fails indefinitely. He is always inevitably pulled back into his tedious life. Alternatively, Little Chandler no longer sees any hope or method of departure from present circumstance. Joyce’s Dublin is seemingly a spider web from which his characters cannot break free. Their lives loom ominously over their heads yet they are still unable to disentangle themselves. Joyce’s painting of an inescapable setting overlaps in many of his stories, and serves as a piece of Scholes’ metaphorical portrait. Scholes speaks of Joyce’s intention to “‘create a conscience’ for his race” by placing this portrait on display
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