Eidith Whartons Atrophy and James Joyces Araby make use of psychological

realism to create complex characters. This exemplified through the characters of Nora and the
Narrator. Both Whartons and Joyces writing presents two different perspectives of
psychological realism, one where precursor events develop a fully realized character, presented
through Nora, and where events will simultaneously occur to induce change in a round character,
presented through the Narrator. Concurrently, each character presents a different state of reaction
which helps to reinforce their realistic nature. In short both Brick and the Narrator are significant
examples of the general ideas encompassed within psychological realism.
Through the characters of Nora and the Narrator of psychological realism can be drawn.
Firstly Nora presents a character whose actions during the progression of the story are directly
related actions she had taken prior. Nora is initially presented as a woman who acts similarly to
other women around her, yet because of actions prior to the events of the short story as well as
during, she is realized as character whose fears are coming to fruition due those actions.
Similarly to Nora the Narrator is actively going through the events which cause change in the
Narrators character. Continually the Narrator is presented in a similar manner, initially being
idyllic, only to become increasingly disheartened and finally feel [burning] with anguish and
anger (72). This progressive change in demeanor is reinforced through the events the cause
them as, similarly to Nora, the Narrators experience is the catalyst for change.
Throughout Atrophy Nora is constantly reassuring herself of her actions to generate an
idealized situation as a replacement for the fear of her actions catching up with her. Initially Nora
is presented as a very self-assured person, acting no different than the other women of her class,
but as the story progresses Nora can be seen as only producing the image of self-assuredness.
This mask is shown through her constant reassurances over her actions feeding herself idealized

situations such as Miss Aldis would take her by the hand and lead her [to Christopher] (60) or
that She neither thought nor cared what Jane Aldis might have to say or suspect (60).
Continually, once Noras delusions are dispelled once she actually meets with Jane Aldis, she
becomes fearful as the reality of her actions is being realized. Paralleling this, the Narrator is
constantly changing as events occur as well, going through a progression of changing character
similarly to Nora. Initially the Narrator is a timid person, being explicitly expressed when he
says I did not know whether I would ever speak to her or not or, if I spoke to her, how could I
tell [Mangans sister] of my confused adoration (69). This timidness is subsequently replaced
with hope when he is finally able to talk to Mangans sister, his crush. This hope is solidified due
to his belief that presenting Mangans sister with a present will place him higher favor with her,
thus rationalizing his transitioning from that of a timid character to a more optimistic one.
Eventually this optimism is also lost; the Narrator becomes increasingly anguished and
disheartened as the tardiness of his uncle leaves him unable to fulfill his dream of presenting
Mangans sister with a gift from the Araby. It can also be rationalized that his anger stems from
the lost possibility to become more to Mangans sister, simply because he was unable to
presenter her with a gift from the Araby. As can be seen the Narrators anger and anguish occurs
as the events of the story occur; the Narrator has gone through a series of events which have
caused him to change his overall character.
Even so, even though both Nora and the Narrator are realized in two different fashions,
the former being characterized more through predetermined actions, and the latter by concurrent
actions, neither one is more or less complex than the other. Nora presents a character that is
affected by past actions and Atrophy presents the repercussions of those actions; Nora being in
a subtle state of disarray where she needs constant reassurance of her actions, this disarray

becoming more explicit as she interacts with Miss Aldis. Noras complexity shows itself in her
reactions and action during her meeting with Miss Aldis, initially believing her to be welcoming
and homely, which contrasts how she actually acts towards Nora. This contrast of how Nora
believes Miss Aldis will act and how she actually does sends Nora into her state of fear and
disarray, as she has realized that her altercations with Christopher were no longer a secret.
Tangentially, the Narrators complexity stems from the growth he experiences. Similarly to that
of an actual person, the Narrator experiences events which change his perspective and feelings.
Compared to Nora the Narrator is more explicit on what is affecting him as the causes for his
character changes and the changes themselves are occurring simultaneously. Subsequently, the
complex nature of the Narrator is also shown during the times of the events occurring, as what is
being presented is only the initial reaction.
It is also important to mention the use of setting and symbolism within the two pieces, as
they are also factors in the characterization of both characters. Firstly, the opening setting of
Atrophy being in the train can be inferred to symbolize the boxed Nature of Nora, as the train
cars being small and enclosed can be paralleled with her initial views of being welcomed by
Miss Aldis as the actuality of their conversation is a stark contrast to the idealized microcosm of
the train car. Secondly the Araby within Araby can be inferred to symbolized and idealized
hope, as the Araby for the Narrator had become a place of possibility as he goes there as a means
of winning over the Heart of Mangans sister only for it to be a stark contrast to his image of the
Araby.
As can be seen, both Wharton and Joyce present two characters who exemplify the ideas
of psychological realism. Nora presents a perspective, living after his past, similarly to that of a
real person finding methods of coping through their own emotional baggage. Equally realistic,

the Narrators reactionary view, being in the midst of the event causing change and all the
emotions and reactions that froth forth. In essence, both Nora and the Narrator are significant
examples of both psychological realism and complexity written by Wharton and Joyce.

Works Cited
Joyce, James. "Araby." The Broadview Introduction to Literature. Ed. Lisa Chalykoff,
Neta Gordon, and Paul Lumsden. Peterborough, ON: Broadview, 2013. 66-72. Print
Edith, Wharton. "Atrophy." The Broadview Introduction to Literature. Ed. Lisa
Chalykoff, Neta Gordon, and Paul Lumsden. Peterborough, ON: Broadview, 2013. 57-66. Print

Jeffrey Macasiray
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Atrophy to Araby