James Joyce paints a grim picture of the sheltered lives of women in 19th-century Dublin in his story Eveline. Part of a series called Dubliners, Eveline is the story of a young woman torn between sentimental duty and the possibility of escape. Eveline chooses neither; rather, his life reflects a cyclical and immobile stance, which characterizes the sadness of Joyce's commentary on life in Dublin in general. His fight is articulated through a unique narrative composed of a third-person perspective and a stream-of-consciousness technique. Eveline's point of view is integral to conveying the protagonist's literal and mental conflict regarding her obligation to stay and her fantasy of freedom. By entering Eveline's mind, the story explores her thoughts and desires which are responsible for carrying the plot. Although the story lacks physical action, the importance lies in Eveline's inability to move, her psychological and spiritual paralysis. The perspective coincides with three major figures: the window, the perpetual dust and the memory of Eveline's deceased mother. These figures represent the transcendent turmoil that afflicts the individual Eveline, as well as the broader context of Dublin city. The importance of a third-person narrative, aided by the stream-of-consciousness method, reveals the paralysis in which Eveline finds herself crippled, both mentally and physically. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Joyce's narrative begins with a depiction of the protagonist from afar, as if he were sitting across from Eveline. He remarks on her physical description and certain details of her immediate surroundings, however, the voice slips into Eveline's consciousness as she begins to recall the innocence that was crucial to her childhood. This finally reaches a point in the fifth paragraph, where the narrative resembles Eveline's own voice and polarizing personal thoughts. Eveline mentally notes that “it was hard work – a hard life – but now that she was about to leave him, she didn't find it entirely undesirable. » (Joyce 553) The sentence lacks grammatical structure and lack of commas. simulates a constant flow of brain activity. The narrative returns to the standard third-person perspective in the final scene with a simple but emphatic description: “She turned her white face toward him, passive, like a helpless animal. His eyes gave him no sign of love, goodbye or recognition. mentally interacts with both. The figure of the window represents a divide between domestic space and the outside world. Eveline's repressed nature and the window's symbol of anticipation create a subtle juxtaposition of hope and despair. The window appears in the story outside of Eveline's consciousness, creating a duality: the time Eveline spends near the window is both a form of subconscious imprisonment and an opening to liberated life. The duality, however, is unstable due to the second figure of Joyce's "dust." They are mentioned side by side on two occasions: “SHE sat at the window and watched the evening invade the avenue. His head was leaning against the window curtains and in his nostrils wafted the smell of dusty cretonne. She was tired. » (Joyce 552) And again on page 554: “Her time was limited but she continued to sit by the window, leaning her head against the window curtain, breathing in the smell of dusty cretonne. » (Joyce 554) The dust that accumulates on the draperies represents the passage of time.