In "Two Gallants", the sixth story in the Dubliners collection, James Joyce is particularly careful and astute in the opening paragraph. Even the most cursory reading reveals repetition, alliteration, and clear structure in these nine lines alone. The question remains, however, what the beginning of "Two Gallants" contributes to the meaning and impact of Joyce's work, both for the isolated story itself and for Dubliners as a whole. The construction, style and word choice of this opening, in the context of the story and the collection, all point to one of Joyce's most widespread implicit judgments: that the Irish people refuse to make any effort towards positive change for themselves same. 1)The gray and warm August evening had descended(2)on the city and a mild and warm air, a memory of the (3)summer, circulated through the streets. The streets, closed(4) for the Sunday rest, were teeming with a cheerfully colorful crowd(5). Like illuminated pearls the lamps shone from the (6) tops of their tall poles on the living structure below (7) which, changing shape and color incessantly, emitted (8) into the warm gray evening air an unchanging im-(9) cease murmur . (p. 59) The opening paragraph of this story is a microcosm, in terms of structure, of the larger construction of "Two Gallants": both are clearly circular in style, beginning and ending with similar references and stylistic devices. The most explicit hint at the story's structure is the use of the word "circulated" (line 3), but Joyce also offers concrete evidence in the opening. He begins with a reference to the “warm, gray evening” (line 1) and includes the phrase “the warm, gray evening” in the final sentence (line 8). ... in the center of the paper ...... on page 64, it says, Yet still in its darkness Erin lies sleeping, Still the pure light delays its rising. Joyce attempts in "Two Gallants" and the other stories in Dubliners to begin the "albante" process - a move away from static "paralysis" towards a sense of collective action for positive change - but is limited to the finite role of lighting metaphorical lamps . As bright and focused as his light is, he still has to depend on the Irish people, in whom he has little or no faith, to fight for the change he says he so desperately needs. Works Cited1 by Gifford, Don. Joyce noted: notes for Dubliners and a portrait of the artist as a young man. Berkeley: University of California Press, 1982, page 59. All other quotes are from Joyce, James. The Portable James Joyce, ed. Harry Levin. New York: Penguin Books, 1976.