When describing Madam Glynn’s singing in the final of the four concerts put on by the Eire Abu Society, Joyce uses imagery and hyperbole, as seen in the following passage:
The first part of the concert was very successful except for Madam Glynn’s item. The poor lady sang Killarney in a bodiless gasping voice, with all the old-fashioned mannerisms of intonation and pronunciation which she believed lent elegance to her singing. She looked as if she had been resurrected from an old stage-wardrobe and the cheaper parts of the hall made fun of her high wailing notes.
The imagery here—in which the narrator describes Madam Glynn’s voice as “bodiless” and “gasping,” as well as full of “high wailing notes”—helps readers fully immerse themselves in the scene. Being able to hear this awful singing alongside the characters makes it possible to appreciate how much of a disaster this concert series turned out to be. This, in turn, helps readers understand how incompetent the Nationalist Eire Abu Society is—their poor planning for a somewhat simple event hints at their inability to build a powerful political movement for Irish independence.
The hyperbole in this passage—“She looked as if she had been resurrected from an old stage-wardrobe”—similar points to weaknesses in the Nationalist movement. The exaggeration here about the singer’s styling makes it easy to visualize Madame Glynn's old-fashioned attire, which hints that the Nationalist movement as a whole is not impressing or inspiring people the way it ought to. Like the singer's outfit, the organization is outdated and lackluster.
