Works CitedThis story was written by James Joyce in a series of Dubliners in 1914, he is a young boy living with his aunt and uncle in Dublin in a small house that use to belong to a priest now deceased. Although the story is a friction, James Joyce presented it in quite so real manner which was why I took an interest in the story. His style of Writing removes this story from ordinary fiction to literature, so much so that it will win the same recognition from a discerning critic as if it was published a few years ago.Mr. Arthur Simmons writes…..A young boy who is the narrator of this story is infatuated with his friend Mangan’s older sister, I am not sure when this feeling developed, but it appears this might have developed while the sister comes to get his brother in to his tea, when the boys are playing outside till dark as he said “Her dress swung as she moved her body, and the soft rope of her hair tossed from side to side” this image accompanied me in places the most hostile to romance” He was at the age where he has started believing he is in love and begins to have feelings for this girl.He secretly watches her and when the girl leaves for school his heart leaped, runs to the door seized his books and follows her until they near the point at which they diverge, then he quickened his pace and pass her, He does this day after day.The one key literally device used in this work is an irony. The writer was able to show some things that were anticipated in one way and were perceived in a very different way later. This was what happened when the narrator came to realize that Mangan’s sister was not romantically interested in him as he has fantasized before, He experienced this when he saw the lady talk to two gentleman after his hard encounter to get to the bazaar, After all the struggle he crossed to get to the bazaar, from his uncle coming home late, then drunk, to delay in giving him the money to buy at the bazaar to an intolerable train delay now moving slowly out of the station and crept among the ruinous houses and over the twinkling river. Other passengers attempted to gain entry to the train but were turned away which give the narrator some kind of excitement and he said” I bore my chalice safely through a throng of foes”, finally he made it to the bazaar but it is not at all what he expected. Nearly all the stalls were closed and the greater part of the hall was in darkness, he only saw few people and was too timid to tell them he wanted to purchase anything. The infatuation that made him promise to get Mangan’s sister something from the bazaar has gone and his now left disheartened, he had accomplished nothing and his hope was dashed.Hahn George criticized James Joyce work saying it pointed to “Roman Martyr both to designate a comic touch by the narrator and to deepen the themes of disillusionment and deflated romanticism. In other words, saying religion is interwoven with Joyce lives so, when he recalls that his youthful love for Mangan’s sister dominated his consciousness, he remembers specifically that. The religious language in this passage–image, litanies, chalice, prayers–and in the rest of the story has commonly been read as Joyce’s vehicle for relating the disenchantment of puppy love to the disillusionment with religion; [1] in this passage the boy’s ‘chalice’ carried ‘through a throng of foes’ is his secret love for the girl, herself depicted as a Madonna-Magdalene figure. Yet none of the many commentators on Joyce’s symbolism and allusions has recognized the subtle but encompassing motif of the passage. For Joyce’s boy, the bazaar of Araby that he likens to ‘a church after a service.’ [4] And like the Tarsicius story, Joyce’s story ends in a sacrifice, not of a life but of an illusion. As much as all the critics view about James Joyce is true I do believe, he used the Roman Martyrs because there was no time in the story we were told he had another life outside of Dublin, which is a roman catholic territory so all he knows and sees is about the roman catholic so it was easy for him to use that language to relate to his feeling whether they are real or delusional.