The Doubt Point

Throughout the short story “Araby,” horse-imagery is used to represent the vanity demonstrated by Mangan’s sister, the uncle, and the young boy. To communicate this hidden meaning to the reader, James Joyce uses metaphorical language in the description of objects or actions that point towards the symbol of a horse. Several instances occur throughout the text that show the connection between vanity and horses including the first description of a horse, Mangan’s sister’s behaviour and appearance on the porch, the uncle’s focus on a hat brush, and the young boy’s epiphany. This underlying meaning conveys the foolishness of chasing vain pursuits.

The earliest mention of a horse in “Araby”depicts the animal as a perfect creature using juxtaposition between the clean horse and the imperfect, grimy surroundings. Joyce describes the local environment as “muddy”, “rough”, and “odorous” (430). In contrast, the horse—while living in the same conditions—is kept “smoothed and combed” and creates “music from the buckled harness” (430). There is nothing directly vain about the horse being beautiful; however, the level of attention and care given to the animal, while the outside world remains a mess, indicates the pride and arrogance of exalting oneself over the lower class in a boastful manner.

Through metaphorical language and repetition, James Joyce evokes horse-imagery when portraying Mangan’s sister, revealing the connection between vanity and the beautiful animal. The young boy describes the girl’s hair as “a soft rope…toss[ing] from side to side” (431). This description is closely related to the swaying of a braided mane or flicking of a horse’s tail. Additionally, the boy focuses on Mangan’s sister’s “white curv[ed]” neck (432)—-a distinguishing feature of the four-legged species. Further insight on this detail lies in the referenced poem, “The Arab’s Farewell to His Steed” by Caroline Norton. The poem begins with the Arab appraising his gorgeous steed, and one of the key features mentioned is an “arch’d and glossy neck” (line 2). The girl’s “white curv[ed]” neck (432) is an allusion to the “glossy neck” (line 2) of the Arabian horse.

Another way Joyce communicates the image of a horse in Mangan’s sister is found in the repetition of the word “railing”. The young boy stands at “the railings looking at her”, waits alone “at the railings”, and watches the girl’s hand rest “upon the railings” (431-432). Whenever the word “railing” is used, it is in reference to Mangan’s sister’s whereabouts. “Railing” can be interpreted as the fence encircling the girl, preventing her from wandering. When the young boy visits Mangan’s sister on the porch, it is similar to the way in which an individual would watch a horse through a fence.

In addition to presenting the girl in a horse-like image, the text also associates her actions with a certain bondage to vanity. While speaking to the boy about the bazaar, “she turned a silver bracelet round and round her wrist” (432). This absent-minded action suggests the girl’s vain pursuit of material things. The silver bracelet may represent an enslavement to materialism and greed. Further, just as a horse is contained in its paddock, so too is the girl encompassed in vanity. In Mangan’s sister, the reader can see intertwined images of both vanity and horses.

When the boy reminds his uncle about wanting to go to the Bazaar, Joyce seamlessly alludes to the underlying theme of horses and vanity through use of metaphors. The uncle is stated to be “fussing at the hall-stand, looking for the hat brush” (432) when the boy is speaking to him. In this interaction, the vanity of the uncle is apparent due to his “fussing” in the mirror and quest for the hat brush. He is striving for perfection, exasperated that he cannot find a brush for his hat and thus will lack the pristine quality desired. As mentioned previously in the text, horses are animals needing to be combed or brushed regularly. This mention of a brush once more suggests the excessiveness involved in perfecting the appearance of an animal or, in this case, a hat.

Joyce’s use of horse-imagery to symbolize the vanity and greed of characters is consummated when the boy realizes that he is one of the ‘horses’ in this tale—he too fell into the trap of vanity. Throughout the story, the boy interacts with several ‘horses.’ The first horse is Mangan’s sister, a captive of vanity. The young boy’s uncle is the second horse, obsessed with immaculate presentation and too caught up in his own world to remember his nephew’s request. Just like those before him, the boy fell into vanity. He was confident that purchasing something for Mangan’s sister would draw out her affection—in this confidence he became conceited. In the end, the boy realizes that he too is “a creature driven and derided by vanity” (434). Like an obedient horse, he followed the tug of the bit while vanity guided his steps to the stalls of the bazaar. 

In conclusion, the story “Araby” by James Joyce integrates imagery of horses as a method of representing the vanity demonstrated by Mangan’s sister, the uncle, and the young boy. This underlying message is communicated through metaphorical language relating to the symbolic image of a horse. In “Araby,” whenever horse-related language is used, vanity is also present. The combed horse indicates vanity through excessive beauty, Mangan’s sister—who is described as ‘horse-like’—displays bondage to materialism, the uncle seeks after perfection in his appearance using a brush, and the boy realizes that he is vanity’s pawn or creature—driven by its relentless whip.

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Works Cited

Joyce, James. “Araby.” The Art of the Short Story, Gioia, D., Gwynn, R.S., Pearson, 2006, 430-434.

Norton, Caroline. “The Arab’s Farewell to His Steed.” 1869. The Word on the Street, https://digital.nls.uk/broadsides/view/?id=16174