enue.’ The square shape of a window alone, represent the shape of a cell and hence the notion of confinement. Her act of penetrating the view expresses ideas of possibility, hope and distance. While the image of Eveline gazing out a window epitomizes a degree of consciousness, the evening lexically relates to the decline of consciousness. While evening is invading the avenue, Eveline is witnessing her life of promise, represented as daylight, return to the grim comfort of passivity. The verbal tenses in this portion of the story remain consistent. They almost all contain past-tense verbs (She looked round, she had dusted, She had consented to). Five of the ten paragraphs begin with the personal pronoun she (in paragraph three, it is the second word), and in five of the paragraphs, the last sentence begins with she. The repetitiveness of cross-reference type of cohesion is to remind to reader that the she that opens the story is the same she throughout until the deictic reference is interrupted with introduction of ‘Miss Hill’ in paragraph six giving us the forgone assumption that Miss Hill and she are one in the same. It is not until the ninth paragraph that Joyce gives us a direct reference and introduces his heroine (she, Eveline) to his readers.ARK...
