With all the darkness around him, he sees her as a light. When he talks to her on the steps, he remembers it like this, "The light from the lamp opposite our door caught the white curve of her neck, lit up her hair that rested there and, falling, lit up the hand upon the railing". This light is his childhood thought about love. He has now moved passed this into a darker realty of realistic expectations. The narrator who is recalling this childhood memory as an adult uses light and dark elements to show a coming of age from childhood to adulthood. The unrealistic desires he has for Mangan’s sisters get diminished at the end of the story. This is illustrated when the lights go out and there is darkness. When he says, “The upper part of the hall was now completely dark”, he is using the lights being turned off as a way of showing he is now wiser about girls and expectations. He will no longer have unrealistic expectations of girls as children do. The light being cut off is part of his childhood being turned off
With all the darkness around him, he sees her as a light. When he talks to her on the steps, he remembers it like this, "The light from the lamp opposite our door caught the white curve of her neck, lit up her hair that rested there and, falling, lit up the hand upon the railing". This light is his childhood thought about love. He has now moved passed this into a darker realty of realistic expectations. The narrator who is recalling this childhood memory as an adult uses light and dark elements to show a coming of age from childhood to adulthood. The unrealistic desires he has for Mangan’s sisters get diminished at the end of the story. This is illustrated when the lights go out and there is darkness. When he says, “The upper part of the hall was now completely dark”, he is using the lights being turned off as a way of showing he is now wiser about girls and expectations. He will no longer have unrealistic expectations of girls as children do. The light being cut off is part of his childhood being turned off