Eveline


Eveline is Joyce's captivating "circular journey" in which a character's experiences of disappointment end where they began.
Eveline by James Joyce
Carl Halsoe, Waiting by the Window, 1863

SHE sat at the window watching the evening invade the avenue. Her head was leaned against the window curtains and in her nostrils was the odour of dusty cretonne. She was tired.

Few people passed. The man out of the last house passed on his way home; she heard his footsteps clacking along the concrete pavement and afterwards crunching on the cinder path before the new red houses. One time there used to be a field there in which they used to play every evening with other people's children. Then a man from Belfast bought the field and built houses in it -- not like their little brown houses but bright brick houses with shining roofs. The children of the avenue used to play together in that field -- the Devines, the Waters, the Dunns, little Keogh the cripple, she and her brothers and sisters. Ernest, however, never played: he was too grown up. Her father used often to hunt them in out of the field with his blackthorn stick; but usually little Keogh used to keep nix and call out when he saw her father coming. Still they seemed to have been rather happy then. Her father was not so bad then; and besides, her mother was alive. That was a long time ago; she and her brothers and sisters were all grown up her mother was dead. Tizzie Dunn was dead, too, and the Waters had gone back to England. Everything changes. Now she was going to go away like the others, to leave her home.

Home! She looked round the room, reviewing all its familiar objects which she had dusted once a week for so many years, wondering where on earth all the dust came from. Perhaps she would never see again those familiar objects from which she had never dreamed of being divided. And yet during all those years she had never found out the name of the priest whose yellowing photograph hung on the wall above the broken harmonium beside the coloured print of the promises made to Blessed Margaret Mary Alacoque. He had been a school friend of her father. Whenever he showed the photograph to a visitor her father used to pass it with a casual word:

"He is in Melbourne now."

She had consented to go away, to leave her home. Was that wise? She tried to weigh each side of the question. In her home anyway she had shelter and food; she had those whom she had known all her life about her. O course she had to work hard, both in the house and at business. What would they say of her in the Stores when they found out that she had run away with a fellow? Say she was a fool, perhaps; and her place would be filled up by advertisement. Miss Gavan would be glad. She had always had an edge on her, especially whenever there were people listening.

"Miss Hill, don't you see these ladies are waiting?"

"Look lively, Miss Hill, please."

She would not cry many tears at leaving the Stores.

But in her new home, in a distant unknown country, it would not be like that. Then she would be married -- she, Eveline. People would treat her with respect then. She would not be treated as her mother had been. Even now, though she was over nineteen, she sometimes felt herself in danger of her father's violence. She knew it was that that had given her the palpitations. When they were growing up he had never gone for her like he used to go for Harry and Ernest, because she was a girl but latterly he had begun to threaten her and say what he would do to her only for her dead mother's sake. And no she had nobody to protect her. Ernest was dead and Harry, who was in the church decorating business, was nearly always down somewhere in the country. Besides, the invariable squabble for money on Saturday nights had begun to weary her unspeakably. She always gave her entire wages -- seven shillings -- and Harry always sent up what he could but the trouble was to get any money from her father. He said she used to squander the money, that she had no head, that he wasn't going to give her his hard-earned money to throw about the streets, and much more, for he was usually fairly bad on Saturday night. In the end he would give her the money and ask her had she any intention of buying Sunday's dinner. Then she had to rush out as quickly as she could and do her marketing, holding her black leather purse tightly in her hand as she elbowed her way through the crowds and returning home late under her load of provisions. She had hard work to keep the house together and to see that the two young children who had been left to hr charge went to school regularly and got their meals regularly. It was hard work -- a hard life -- but now that she was about to leave it she did not find it a wholly undesirable life.

She was about to explore another life with Frank. Frank was very kind, manly, open-hearted. She was to go away with him by the night-boat to be his wife and to live with him in Buenos Ayres where he had a home waiting for her. How well she remembered the first time she had seen him; he was lodging in a house on the main road where she used to visit. It seemed a few weeks ago. He was standing at the gate, his peaked cap pushed back on his head and his hair tumbled forward over a face of bronze. Then they had come to know each other. He used to meet her outside the Stores every evening and see her home. He took her to see The Bohemian Girl and she felt elated as she sat in an unaccustomed part of the theatre with him. He was awfully fond of music and sang a little. People knew that they were courting and, when he sang about the lass that loves a sailor, she always felt pleasantly confused. He used to call her Poppens out of fun. First of all it had been an excitement for her to have a fellow and then she had begun to like him. He had tales of distant countries. He had started as a deck boy at a pound a month on a ship of the Allan Line going out to Canada. He told her the names of the ships he had been on and the names of the different services. He had sailed through the Straits of Magellan and he told her stories of the terrible Patagonians. He had fallen on his feet in Buenos Ayres, he said, and had come over to the old country just for a holiday. Of course, her father had found out the affair and had forbidden her to have anything to say to him.

"I know these sailor chaps," he said.

One day he had quarrelled with Frank and after that she had to meet her lover secretly.

The evening deepened in the avenue. The white of two letters in her lap grew indistinct. One was to Harry; the other was to her father. Ernest had been her favourite but she liked Harry too. Her father was becoming old lately, she noticed; he would miss her. Sometimes he could be very nice. Not long before, when she had been laid up for a day, he had read her out a ghost story and made toast for her at the fire. Another day, when their mother was alive, they had all gone for a picnic to the Hill of Howth. She remembered her father putting on her mothers bonnet to make the children laugh.

Her time was running out but she continued to sit by the window, leaning her head against the window curtain, inhaling the odour of dusty cretonne. Down far in the avenue she could hear a street organ playing. She knew the air Strange that it should come that very night to remind her of the promise to her mother, her promise to keep the home together as long as she could. She remembered the last night of her mother's illness; she was again in the close dark room at the other side of the hall and outside she heard a melancholy air of Italy. The organ-player had been ordered to go away and given sixpence. She remembered her father strutting back into the sickroom saying:

"Damned Italians! coming over here!"

As she mused the pitiful vision of her mother's life laid its spell on the very quick of her being -- that life of commonplace sacrifices closing in final craziness. She trembled as she heard again her mother's voice saying constantly with foolish insistence:

"Derevaun Seraun! Derevaun Seraun!"

She stood up in a sudden impulse of terror. Escape! She must escape! Frank would save her. He would give her life, perhaps love, too. But she wanted to live. Why should she be unhappy? She had a right to happiness. Frank would take her in his arms, fold her in his arms. He would save her.

She stood among the swaying crowd in the station at the North Wall. He held her hand and she knew that he was speaking to her, saying something about the passage over and over again. The station was full of soldiers with brown baggages. Through the wide doors of the sheds she caught a glimpse of the black mass of the boat, lying in beside the quay wall, with illumined portholes. She answered nothing. She felt her cheek pale and cold and, out of a maze of distress, she prayed to God to direct her, to show her what was her duty. The boat blew a long mournful whistle into the mist. If she went, tomorrow she would be on the sea with Frank, steaming towards Buenos Ayres. Their passage had been booked. Could she still draw back after all he had done for her? Her distress awoke a nausea in her body and she kept moving her lips in silent fervent prayer.

A bell clanged upon her heart. She felt him seize her hand:

"Come!"

All the seas of the world tumbled about her heart. He was drawing her into them: he would drown her. She gripped with both hands at the iron railing.

"Come!"

No! No! No! It was impossible. Her hands clutched the iron in frenzy. Amid the seas she sent a cry of anguish.

"Eveline! Evvy!"

He rushed beyond the barrier and called to her to follow. He was shouted at to go on but he still called to her. She set her white face to him, passive, like a helpless animal. Her eyes gave him no sign of love or farewell or recognition.


Eveline was featured as The Short Story of the Day on Wed, Mar 17, 2021

Frequently Asked Questions about Eveline

What is "Eveline" by James Joyce about?

Eveline follows a 19-year-old Dublin woman named Eveline Hill as she sits at her window contemplating whether to leave Ireland with her lover Frank, a sailor who has promised her a new life in Buenos Aires. She weighs the misery she knows -- an abusive father, a dead-end job at the Stores, and the drudgery of keeping house for her family -- against the terrifying uncertainty of a life abroad. In the final scene at the Dublin docks, Eveline freezes at the railing as the boat prepares to depart, unable to board despite Frank's desperate calls. The story is one of fifteen in Joyce's landmark 1914 collection Dubliners, and it offers one of the collection's most powerful portraits of emotional paralysis.

What are the main themes of "Eveline" by James Joyce?

The central theme of Eveline is paralysis -- the inability to act even when escape is within reach. Joyce identified paralysis as the defining condition of Dublin life, and Eveline's story dramatizes it more directly than any other piece in Dubliners. Closely related themes include duty versus desire, as Eveline's deathbed promise to her mother competes with her longing for freedom; gender and entrapment, since Eveline's limited options reflect the narrow roles available to young women in early twentieth-century Ireland; and fear of the unknown, which ultimately overpowers her rational desire to leave. The story also explores memory and nostalgia, showing how even painful memories can bind a person to a place.

Why doesn't Eveline leave with Frank at the end of the story?

At the North Wall docks, Eveline is overcome by a paralyzing fear that she cannot rationally explain. Several forces converge to hold her back: her promise to her dying mother to "keep the home together as long as she could," the weight of Catholic guilt and duty, and a deep terror of the unknown that Joyce renders in the image of drowning -- "All the seas of the world tumbled about her heart. He was drawing her into them: he would drown her." In this moment, Frank's offer of salvation transforms in Eveline's mind into a threat. She grips the iron railing "in frenzy" and becomes physically incapable of moving, her face "passive, like a helpless animal." Joyce suggests that Eveline's paralysis is not a conscious choice but an involuntary response, the product of years of conditioning by family obligation, religious teaching, and economic dependence.

What does "Derevaun Seraun" mean in "Eveline"?

The phrase "Derevaun Seraun" is spoken by Eveline's dying mother in a moment of "final craziness," and its meaning has been debated by scholars for over a century. It is most likely a garbled fragment of Irish Gaelic. The most widely accepted interpretation translates it roughly as "the end of pleasure is pain" (from Irish deireadh an t-saoghail, meaning "the end of the world" or "the end of everything"). In context, the phrase functions as a haunting warning -- the mother's life of "commonplace sacrifices" ended in madness, and the cryptic words embody the despair that awaits women who submit to domestic servitude. The phrase terrifies Eveline into a "sudden impulse" to escape, yet paradoxically it also binds her more tightly to her mother's memory and her promise to keep the family together.

What does dust symbolize in "Eveline"?

Dust is the story's most pervasive symbol. Eveline sits "inhaling the odour of dusty cretonne" and reflects on dusting the same objects "once a week for so many years, wondering where on earth all the dust came from." On its surface, the dust represents stagnation and decay -- the suffocating sameness of her domestic routine. But it also symbolizes the familiar: like the dust that always returns no matter how many times she wipes it away, Eveline's attachment to her home is something she cannot fully remove. The dust accumulates on objects she "had never dreamed of being divided" from, tying the physical environment to her emotional inability to leave. In this way, Joyce uses dust to embody the central paradox of the story -- the very things that trap Eveline are also the things that feel like home.

What literary devices does James Joyce use in "Eveline"?

Joyce employs free indirect discourse throughout, blending the narrator's voice with Eveline's thoughts so seamlessly that readers experience her indecision from the inside. The story is structured around contrasting imagery: the dusty, familiar interior versus the unknown sea; the iron railing she grips versus the open gangway Frank urges her toward. Joyce also uses epiphany -- or rather, a failed epiphany -- as the climactic moment of realization leads not to action but to deeper paralysis. Symbolism is layered densely, from the dust and window to the street organ playing an Italian air that echoes her mother's death scene. The animal simile at the close -- her face "passive, like a helpless animal" -- strips Eveline of agency and underscores how completely paralysis has overtaken her.

How does "Eveline" connect to the theme of paralysis in Dubliners?

Eveline is often cited as the most direct expression of the paralysis theme that unifies all fifteen stories in Dubliners. Joyce described his intention as writing "a chapter of the moral history of my country," and he chose Dublin because it seemed to him "the centre of paralysis." While stories like The Sisters and Araby present paralysis through disillusionment and failed romantic idealism, Eveline's paralysis is uniquely physical -- she literally cannot move her body to board the boat. Her story falls in the "adolescence" section of the collection and marks the transition from childhood innocence to adult entrapment, a pattern that culminates in the final story, The Dead.

What role does Frank play in "Eveline"?

Frank is Eveline's sailor lover who offers to take her to Buenos Aires, where he claims to have "a home waiting for her." He represents the possibility of escape -- he is "very kind, manly, open-hearted," he has traveled the world, and he promises Eveline both marriage and a new identity. However, Joyce deliberately leaves Frank's reliability ambiguous. Eveline's father warns her against "sailor chaps," and we learn about Frank's character entirely through Eveline's romantic perception, not through objective narration. Some scholars note that Buenos Aires was associated in the early 1900s with the trafficking of European women, adding a darker undertone to Frank's promises. Whether Frank is genuine or not, his function in the story is to present Eveline with a choice she ultimately cannot make.

What is the significance of the sea and water imagery in "Eveline"?

Water traditionally symbolizes rebirth and renewal in literature, but Joyce inverts this symbolism in Eveline. The sea does not represent freedom -- it represents terror and annihilation. At the docks, Eveline perceives the ocean as a threat: "All the seas of the world tumbled about her heart. He was drawing her into them: he would drown her." The boat's "long mournful whistle" reinforces the atmosphere of dread rather than excitement. This inversion is central to understanding Eveline's paralysis -- even the traditional literary symbol of new life becomes, for her, an image of death. The "black mass of the boat" at the quay wall further associates departure with darkness and finality rather than hope.

When was "Eveline" published and what is its place in Dubliners?

Eveline was first published on September 10, 1904, in the Irish Homestead, a Dublin agricultural journal, making it one of the earliest stories Joyce completed for what would become Dubliners. The full collection was not published until 1914 by Grant Richards in London, after nearly a decade of disputes with publishers over the stories' frank content. "Eveline" is the fourth story in the collection and the last in the "childhood and adolescence" group, positioned just before the stories of mature Dublin life. It holds a pivotal structural role: Eveline is the first female protagonist in the collection, and her story marks the shift from youthful disillusionment to adult entrapment -- a trajectory that continues through stories like Counterparts and Clay.

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