Isaak Anderson
Professor Lipscomb
Writing for Humans
21 October 2014
In his essay on James Joyce’s Dubliners, Robert Scholes aptly details how
Joyce uses overlaps in theme to “develop a formidable structure of
interconnections,” altogether forming “a unified portrait of a city” (343). In his piece
“‘Counterparts’ and the Method of Dubliners,” Scholes used the story of
“Counterparts” as a springboard to explore poverty and religion in throughout
Dubliners, but interconnecting themes in Dubliners are not limited to just these two.
Joyce’s Dublin seems inescapable; his characters remain anchored in Dublin despite
any attempt to leave, physical or otherwise. Joyce also imparts his views on the
immobility of his fellow citizens throughout “Counterparts” and his other stories.
Farrington is a man constantly seeking escape. He first grasps at physical
escape; he flees his job, flees his over-demanding boss. He sneaks past the front desk
to pay a midday visit to the pub, although he knows it will merely exacerbate his
troubles with Mr. Alleyne, his supervisor (Joyce 88). He then attempts to drown out
his discontent in alcohol, seeking a mental escape from his frustrations. These
frustrations are little assuaged by his drunkenness, and in the end surface again in
the form of despicable violence toward Farrington’s own son.
Though less loathsome in nature, Farrington’s frustration with his inability to
escape his dull life finds counterpart in the title character of “Eveline.” She, like
Farrington, is caught in a stagnant existence. At a point, she is seemingly willing to
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travel to another continent to escape. She sought to distance herself from the
“danger of her father's violence”, and from his wasteful practices (Joyce 38). She is
presented with an opportunity, a chance to leave Dublin for the possibility of a
better life. “Escape! She must escape!” – she attempts to convince herself of the need
to depart her dull life (40). When the time comes to depart, however, she freezes,
unable to board the ship. She clings to shore “like a helpless animal,” the inescapable
Dublin anchoring her with insurmountable weight (41). Joyce’s depiction of Eveline
clinging to shore perfectly reflects the idea Joyce builds of Dublin clinging to its
inhabitants.
Like Farrington and Eveline, Little Chandler of “A Little Cloud” dreams of the
possibility of a life outside his own. His perspective is more one of reflection, looking
back on what might have been, or how he might have escaped Dublin’s 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” and “after all, Gallaher had lived, he had seen the world.”(84). 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
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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
(342). Perhaps in reading his collection of snapshot stories his countrymen might be
able to change. In narrower scope, they might understand the need to leave their
city to see the world. Joyce may have painted this small section to encourage them
explore, and ultimately return wiser for their journey. His stories act as cautionary
tales for readers, who perhaps Joyce hoped would not remain as immobile as his
own characters. Even more than just a warning, Joyce presents a challenge to the
reader. In my eyes, his interconnected stories are a challenge to defy the stereotype
he has set, a challenge not to once again parallel Farrington, Eveline, or Chandler. It
is a challenge to not become yet another counterpart to Joyce’s stories.
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Works Cited
Joyce, James. Dubliners: Text, Criticism, and Notes. Ed. Robert Scholes and A. Walton
Litz. New York: Penguin, 1996. Print.
Scholes, Robert. "‘Counterparts’ and the Method of Dubliners." 1969. Dubliners: Text,
Criticism, and Notes. Ed. Robert Scholes and A. Walton Litz. New York:
Penguin, 1996. 339-47. Print.