Told from the first-person point of view, the story is a convincing representation of the voice of an observant, impressionable, naïve young boy. At the same time, through the deft use of language, symbol, and allusion, a world of feeling beyond the boy’s experience is conveyed to the attentive reader.

First, the story is firmly rooted in time and place: The Joyce family lived on North Richmond Street in 1894, and the young James (then twelve years old) attended the actual Araby bazaar held between May 14 and 18 of that year. All the historical, geographical, and cultural references in the story are true to life.

Second, the language is carefully designed so as to convey a complex, yet highly controlled range of meanings. Consider, for example, the use of the words “blind,” and “set . . . free” in the first sentence, the various uses of “stall” in the body of the story, and “driven” and “eyes” in the last sentence. These motifs support the chivalric and religious themes in the story and subtly link them to its emotional core.

Third, the story is rich with the symbolism of romance, Roman Catholicism, and the Orientalism popular at the end of the last century. The various allusions—to Sir Walter Scott, James Clarence Mangan, Caroline Norton’s poem The Arab’s Farewell to His Steed, the Freemasons, Mrs. Mercer—can enlarge the relevance and appeal of the boy’s private adventure for the attentive reader.

Finally, the story reaches its climax with what Joyce calls an “epiphany”: a term borrowed from theology and applied to a moment of unexpected revelation or psychological insight. Such moments are not conventionally dramatic, nor are they explained to the reader. Here the epiphany occurs in the boy’s consciousness when he overhears the petty and incomplete conversation at the bazaar. He believes himself to have been self-deluded: He has placed too much faith in Mangan’s sister and the values she represents. His early religious training and ignorance of human relations have caused him to adore a mere petticoat.

"Araby" unfolds in North Richmond Street, Dublin, during the early 1900s. Joyce depicts it as "a quiet street," featuring an "uninhabited house of two stories at the blind end," flanked by rows of brown houses facing one another. The young narrator often catches sight of Mangan's sister as she steps out onto her doorstep. Scenes also occur inside the narrator's home, which he shares with his aunt and uncle. This "musty" house was previously inhabited by a priest who passed away in the back drawing room. This room serves as a sanctuary for the narrator on dark, rainy evenings when he wishes to ponder his affection for the girl. The upstairs contains "high cold empty gloomy rooms." The story's final scene takes place at the Araby bazaar, a church-sponsored event held in a "big hall girdled at half its height by a gallery." As the event concludes, the lights are extinguished, leaving the narrator "gazing up into the darkness."

Through a first-person narrative, Joyce conveys the tangled thoughts and aspirations of his young male protagonist. This deep dive into the narrator's emotions allows readers to experience a reaction akin to the boy’s "epiphany"—a sudden burst of insight and comprehension—at the story's pivotal moment.

Point of View

The first-person perspective in "Araby" ensures that readers perceive everything from the narrator's viewpoint, gaining access to his emotions and thoughts. When the narrator is puzzled by his own feelings, readers must decipher his true emotions and the reasons behind them using only the hints provided by the author. For instance, when the narrator initially describes Mangan’s sister, he notes that "her figure [is] defined by the light from the half-opened door." This backlighting gives her an ethereal "glow," reminiscent of an angel or a supernatural entity like the Virgin Mary. Readers are tasked with interpreting the narrator’s words since the boy lacks the sophistication to grasp his own desires.

Symbolism

The symbols Joyce employs help readers grasp the intricate layers of the story. The former tenant of the narrator's house, a Catholic priest, could symbolize the entire Catholic Church. Consequently, the books left in his room—which include both secular and non-Catholic literature—suggest an ambivalence toward religion and Catholicism specifically. The bazaar, Araby, embodies the East—a region that appears exotic and mysterious to the Irish boy. It might also symbolize commercialism, as it is essentially a fundraiser aimed at encouraging people to spend money for the church. Mrs. Mercer, the pawnbroker’s widow, signifies the uncle’s debt and irresponsibility; she might also symbolize greed and materialism. To the narrator, Mangan’s sister epitomizes purity and feminine perfection, traits often linked to the Virgin Mary, who also symbolizes the Catholic Church. At Araby, the diverse and sometimes conflicting meanings of these symbols converge, leading to the boy’s epiphany.

Stream of Consciousness

Joyce is renowned for his use of the stream-of-consciousness technique in storytelling. Although this technique is not a central feature in "Araby," one can observe the early stages of Joyce’s use of it, which he would later employ extensively in his novels Ulysses and Finnegans Wake. A key aspect of stream-of-consciousness storytelling is that the narration occurs within the minds of main characters, following their thoughts as they arise, regardless of whether those thoughts form complete sentences. While this story maintains complete sentences, the narration occurs within the boy’s mind. Another hallmark of stream-of-consciousness narration is that the narrator’s thoughts are not clarified for the reader. This is evident in "Araby," especially during and after the boy’s epiphany.

Using a first-person narrative, Joyce conveys the muddled thoughts and aspirations of his young male protagonist. This intimate perspective allows readers to connect with the narrator's emotions, eliciting a similar response to the boy's revelation at the story's climax.

The first-person perspective in "Araby" ensures that readers experience everything through the narrator's eyes, gaining insight into his emotions and thoughts. When the narrator is uncertain about his feelings, it falls on the reader to decipher his true emotions and motivations based solely on the author's provided details. For instance, when the narrator initially describes Mangan's sister, he notes that "her figure [is] defined by the light from the half-opened door." This description suggests she is illuminated from behind, giving her an ethereal "glow," akin to an angel or a divine figure like the Virgin Mary. Readers must interpret the narrator's words, as the boy lacks the maturity to fully grasp his own desires.

The symbolism Joyce incorporates further aids readers in comprehending the story's intricate layers. The previous tenant of the narrator's home, a Catholic priest, might symbolize the entire Catholic Church. Consequently, the books left behind in his room—encompassing both religious and secular texts—indicate an ambiguous stance toward religion and Catholicism specifically. The bazaar, Araby, symbolizes the "East," representing an exotic and mysterious realm to the Irish boy. It could also signify commercialism, as it is essentially a fundraiser aimed at encouraging people to spend money on the church. Mrs. Mercer, the pawnbroker's widow, embodies the uncle's debt and irresponsibility; she might also symbolize greed and materialism. To the narrator, Mangan's sister epitomizes purity and feminine perfection, qualities often linked to the Virgin Mary and, by extension, the Catholic Church. At Araby, these varied and sometimes conflicting symbols merge, leading to the boy's epiphany.

Joyce is renowned for his use of the stream-of-consciousness technique in storytelling. Although this technique is not heavily employed in "Araby," readers can observe the early stages of Joyce's style, which he later developed extensively in novels like Ulysses and Finnegans Wake. A key feature of stream-of-consciousness narration is that it occurs within the main characters' minds, following their thoughts in real-time, regardless of whether those thoughts form complete sentences. While "Araby" uses complete sentences, the story's narration still takes place inside the boy's mind. Another hallmark of stream-of-consciousness storytelling is the lack of explicit explanations for the narrator's thoughts, a characteristic present in "Araby," particularly during and after the boy's epiphany.