Dubliners-by James Joyce

As the young vote counter gazes up at the window in the opening p get along with where the non-Christian non-Christian priest lies dying he says the word paralysis to himself and describes the turn out-to doe with it has on him:

. . . it sounded to me like the name of some male-

ficent and sinningful being. It fill up me with fear,

and yet I longed to be ne arer to it and to look

And the paralytic priest appears again in his dream:

I imagined that I precept again the face of the para-

lytic . . . I felt my soul fadeout into some

The priest has seduced the male child away from his playful puerility innocence and attempted to "cripple" him at an early age by infecting the boy with the seed of a diseased, disingenuous, and incomprehensible church building doctrine. The boy is perplexed by "how complex and mysterious were original institutions of the church which I had always regarded as simple acts" (13). The boy is torn between the priest's spiritual perversity and the adult mankind: a mundane world with its emphasis on life's flyspeck aspects and its contempt for knowledge and friendship. Thus, the boy is further trapped in his quest for freedom and understanding, both of the church, and by extension Irish society and the world he will soon have to encounter as an adult.

We see the social paralysis that has septic the city in the grim portraits that Joyce paints of the people

Economic paralysis surfaces several times in the story when Joyce refers to simony, the selling of spiritual "goods" for a price, which was considered a sin against the Holy Ghost. The boy mentions in it the opening paragraph as he passes the dying priest's window thereby hinting at the mapping of the priest and thereby the Church in modern solar day Dublin. And it occurs again in one of his dreams:

that populate "The Sisters." There is grizzly Cotter with his "beady black eyes" who "spat rudely into the gate" and is described by the boy as a "tiresome old red nosed imbecile" (10-11). His uncle is portrayed as a man who feels it is better to know how to clenched fist fight than deal with the complexities that are inherent in the sake of a formal education.

The mourners are incapable of dealing with the priest's death. The mourners are unable to speak and afraid to elucidate their thoughts as they empathize with one another around a table cover with glasses of sherry and creamed crackers. They are so incompetent that another priest had to bring the flowers and candlesticks, write the death notice, take charge of the burial site papers and the priest's insurance (16). Eliza, the boy's aunt states that if it was not for "Father O'Rourke I don't know what we would have done at all" (16). And at the end of the story she continues to babble and repeat herself, "Wide-awake and laughing - like to himself. . . . So then of course, when they saw that, that made them think back there was something wrong . . ." (18). Here then is a project of the poor, common Dubliner, limited, incapacitated; their motions halting, their utterances muffled.

Finally, there is a more true(a) reference to poverty and its deleterious effects when Joyce mentions the priest confide to return to the slum where he was born, and the fact that he is liveliness in a tiny room behind a store wearing soiled garments.

I have looked into my accounts, I find this wrong

paralysis and I felt that I in any case was sm
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