"Clay" by James Joyce is an extraordinary explanation of Irish folklore and the social issues plaguing turn-of-the-century Dublin. Following Maria on Halloween night, the story combines imagery and symbolism throughout. In S.A. Cowan's article "Celtic Folklore in 'Clay': Maria and the Irish Washerwoman", the central character is portrayed not as a witch, as many critics have assumed, but rather as a combination of three Celtic spirits: the banshee, the bean-nighe, and the glaistig (214). Although Cowan agrees with critics that Maria possesses witch-like qualities, he says the main character of "Clay" more closely resembles these three spirits. Cowan points out that Maria is a "'very, very small person' who 'wears tiny elegant boots'" and that Joyce's description of her mirrors the Scottish definition of banshee as "'having the appearance of a small child '; others like 'a small or very small woman...'" (214). Cowan cites that Irish tradition regards the bean-nighe as a "washerwoman... Her appearance is considered a warning of death..." and that this comparison to Mary in "Clay" is evident in her employment (214). Finally, Cowan calls the Scottish glaistig "'like the banshee... it has a peculiarly painful tone of voice...'" and cites Mary's "little trembling voice" to support this claim (214). In the article's conclusion, Cowan reveals perhaps the most important element of the article: Mary is "an archetypal and mythical figure of the poor old woman, Ireland herself, who ironically sings a prophetic and sorrowful song of her own death" (215) . . The article concludes with the idea that Joe symbolically rejects Ireland when he rejects Maria's request to reconcile with her brother Alphy. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay While Cowan's work is brilliantly insightful and well thought out, the author neglects to delve into the heart of "Clay." Mary as the personification of Ireland is perhaps the most significant topic that Cowan brings to light in relation to Joyce's general attitude towards turn-of-the-century Dublin, but the article barely scratches the surface of the metaphor that is Mary. James Joyce uses "Clay" as a microcosm of Ireland, both through the portrayal of Maria and the characterization of Joe. Cowan states that Mary's stature and occupation are a reference to Celtic spirits, and while this point is valid, Mary's physicality and place of work can be better explained by her resemblance to Ireland. As Cowan points out, the mythical references to Mary in "Clay" as a spiritual and "otherworldly" character seem to allude to the Irish folklore background. Cowan comments on Mary's size and occupation in reference to Celtic spirits. The article mentions that "On the tram her toes barely touch the floor" and that "Maria's stature" parallels the Scottish banshee, known for its small size, and the implication of "washerwoman" is related to the spirit bean nighe (214). However, Joyce's description of Mary's "tiny body" and his immodest reflection that "despite her years he found it a nice neat little body" (Joyce 101) may imply a weak or fragile structure, as opposed to the implications of resemblance spiritual. This description of Mary, when considering her personification of Ireland, could represent the weak or fragile state of the country. Joyce often writes of the spiritual paralysis of the citizens of Dublin, indicating a weakness of moral and ethical values ​​within his society. Joyce also often analyzes the fragility of religion in Ireland and notes that many godsits inhabitants are immobilized in their faith. Joyce's criticism of the paralytic nature of Dubliners could be represented by Maria's small physique. Throughout the story, clues to Mary's career are prevalent, and if "Clay" is a microcosm of Ireland, and Mary represents Ireland itself, her occupation is more indicative of Joyce's proposed paralysis of the country surpasses any spiritual parallels found in history. Cowan dismisses Maria's work references as evidence that Maria's character parallels the spiritual glaistig, "'amateur washerwomen, who wash the family linen'" and the bean-nighe, "'the washerwoman,' whose legend was immortalized by Fiona MacLeod ...in her gruesome short story The Washer at the Ford" (Cowan 214). While justifiable, Mary's work more significantly symbolizes Ireland. Joyce writes that she "had grown accustomed to the laundry life" and, thinking of Joe, Maria observes, "the boys had gotten her that position in the Dublin by Lamplight laundry" (100). Joyce himself wrote in a letter to his brother Stanislaus in November 1906 "The phrase Dublin by lamplight means that Dublin by lamplight is an evil place full of wicked and lost women whom a kind committee gathers together for the good work of washing my dirty shirts” (Scholes 474). This stance on Maria's workplace and habitat is indicative of Joyce's criticism of the country's stagnant and paralytic society. The undercurrent of Joyce's contempt for Ireland is found in almost all of his stories in Dubliners and many characters throughout the book are depicted as immoral. The simple fact that Maria works as a washerwoman is indicative of her representation of the country. If Mary is a personification of Ireland, the character of Joe must be read as a representation of the Irish inhabitants, particularly the citizens of Dublin. Cowan approaches this idea lightly, but fails to investigate it vigorously. His article proposes that "Joe's refusal to heed Maria's advice to reconcile with Alphy…[is] symbolically equivalent to a refusal…on his part to respond to traditional Celtic spiritual influence" (215). Furthermore, Cowan admits, “Joe would also reject Christian intercession” (215). While convincing, this statement by Joe as a symbolic reference to Irish folklore neglects to uncover the true denotation of his character. Joe is in fact a representation of the immobilized Dubliner that Joyce so emphatically portrays in his brilliant collection of short stories. The character traits Joe displays in “Clay” are demonstrative of the paralysis of spirit often seen in Dubliners. Maria thinks of Joe while shopping for the party and "hoped Joe wouldn't come in drunk. He was so different when he took any drink" (Joyce 100). When Maria finally arrives at the Donnelly house, Joe is already in a good mood, although not the one Cowan is referring to. He “asked if [Maria] would get a bottle of stout,” and although Maria refused, “Joe insisted” (Joyce 104). He "asked his wife to open another dark beer", continuing to drink until he was in a stupor. When Maria finishes singing, Joe is so moved by her words that he "couldn't find what he was looking for" and asks his wife "to tell him where the corkscrew was" (Joyce 106). All mentions of alcohol reiterate Joyce's disdain for the crippling effects the substance has on Irish citizens. Joe is a character driven by the desire to be drunk, crippling his spirit. Another implication of Joe as a typical Dubliner is his stubborn and brash personality. Maria resolutely tries to reconcile Joe and Alphy, much to his dismay. Joe" shouted that, 1996. 473-475.