Joyce utilizes snow and fire as both motifs and symbols in The Dead in a manner contrary to what might be typically expected. Instead of snow appearing as a bleak negative or fire as a warming, life-giving force, these forces of nature represent purity and honesty and mindless sensuality, respectively.
After Gabriel's little spats with both Miss Ivors and his own wife, his whole opinion of the day, unsurprisingly, takes a turn for the worse. And his only reprieve, if any, is to gaze longingly outside of the window and think, "How cool it must be outside!...How much more pleasant it would be there than at the supper-table!" (208). The image of gazing out the window wistfully at the snow is repeated positively two more times in the story, meaning that the final epiphany, perhaps for the first time ever, must actually be a positive image.
But for most of the story, Gabriel does not seem to have a conscious recognition of his fondness of snow, although he only personally reflects on it, in the context of his imagined escape. But in the scene with only Gretta, Gabriel, and his two aunts, Gabriel is teased for insisting that his wife use "galoshes", ghastly boots. Whenever it snows or "wetness is underfoot", Gabriel insists that he and his wife wear these galoshes, protecting themselves from the snow (198). I think it might be significant that Gretta refuses on this particular night, leaving herself exposed to the snow, and then experiences deeply painful, but brutally honest memories. Only after she falls asleep and Gabriel looks upon the snowfall, does he face his own realizations.
And if he really does become aware of the grand cycle of life in this moment, as Jack suggests, then snow is all the more a fitting description because snow plays a literal role in the natural cycle of temperate zones, bringing first the killing cold and then the melting waters, which are a vital part of growth in the spring.
Gabriel has protected himself from the snow longer, and instead of feeling deep honesty, Gabriel's thoughts stray towards his sex life with Gretta and his desire for her nearly overwhelms him. Gabriel reflects on "moments of their secret life together [which] burst like stars upon his memory", uses the word fire at least four times to describe the intensity of his passions, and only begins these sudden feelings when he sees her under the fire of a lamplight (231). And when his wife begins to speak of her former love, the fire "in his veins" begins to angrily fade from his body, recognizing that no sexual conquest is at hand.
If snow represents a positive epiphany, one of absolutely honesty and purity, then fire must be the deliberate rejection of self-reflection. The fire and his sex drive are superficial constructs, not rooted in deep emotion; it is almost as if Gabriel wants to feel anything just to avoid the fact that he is so gravely lacking for most of the story. When described as filled with fire, Gabriel acted hardly any better than an animal, and saw nothing wrong with his intensity and it is only in the snow that he has a the somber and cruelly honest epiphany.
The only question that might remain is how this understanding of fire and snow complement each other and buttress the rest of the story. Are there any other revelations to be had with this knowledge of their symbolic use by Joyce?
The first two minutes of the inspiring Lion King III fan video are a decent reflection of Gabriel's problem with fire.
But for most of the story, Gabriel does not seem to have a conscious recognition of his fondness of snow, although he only personally reflects on it, in the context of his imagined escape. But in the scene with only Gretta, Gabriel, and his two aunts, Gabriel is teased for insisting that his wife use "galoshes", ghastly boots. Whenever it snows or "wetness is underfoot", Gabriel insists that he and his wife wear these galoshes, protecting themselves from the snow (198). I think it might be significant that Gretta refuses on this particular night, leaving herself exposed to the snow, and then experiences deeply painful, but brutally honest memories. Only after she falls asleep and Gabriel looks upon the snowfall, does he face his own realizations.
And if he really does become aware of the grand cycle of life in this moment, as Jack suggests, then snow is all the more a fitting description because snow plays a literal role in the natural cycle of temperate zones, bringing first the killing cold and then the melting waters, which are a vital part of growth in the spring.
Gabriel has protected himself from the snow longer, and instead of feeling deep honesty, Gabriel's thoughts stray towards his sex life with Gretta and his desire for her nearly overwhelms him. Gabriel reflects on "moments of their secret life together [which] burst like stars upon his memory", uses the word fire at least four times to describe the intensity of his passions, and only begins these sudden feelings when he sees her under the fire of a lamplight (231). And when his wife begins to speak of her former love, the fire "in his veins" begins to angrily fade from his body, recognizing that no sexual conquest is at hand.
If snow represents a positive epiphany, one of absolutely honesty and purity, then fire must be the deliberate rejection of self-reflection. The fire and his sex drive are superficial constructs, not rooted in deep emotion; it is almost as if Gabriel wants to feel anything just to avoid the fact that he is so gravely lacking for most of the story. When described as filled with fire, Gabriel acted hardly any better than an animal, and saw nothing wrong with his intensity and it is only in the snow that he has a the somber and cruelly honest epiphany.
The only question that might remain is how this understanding of fire and snow complement each other and buttress the rest of the story. Are there any other revelations to be had with this knowledge of their symbolic use by Joyce?
The first two minutes of the inspiring Lion King III fan video are a decent reflection of Gabriel's problem with fire.
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