(I just remembered I forgot to do this one so here it is.)
One of the elements that most connected “Eveline” by James Joyce and “In a Station of the Metro” by Ezra Pound was the voyeuristic nature of them. In Pound’s poem, the speaker is reflecting upon “…these faces in the crowd” (Pound) and experiencing how it feels to view them. Similarly, in “Eveline”, the titular character spends the majority of the story staring out the window, reflecting upon her life while viewing others’ lives happening all around her. Both of these visual experiences seems to invoke a deeper emotion than one would expect. Pound takes a single moment in time, standing in a metro, and posits on the way it makes the reader feel, while Joyce uses the image of Eveline, sitting “at the window watching the evening invade the avenue” (2222) to relate to a multitude of past experiences in her life.
Furthermore, both pieces deal with dehumanization. At the end of “Eveline”, she stands, paralyzed, unable to get on the boat with Frank. As this happens, the narrator describes her composure: “She set her white face to him, passive, like a helpless animal. Her eyes gave him no sign of love or farewell or recognition” (2225). In this singular moment, Eveline loses her humanity and, in a way, ceases to be anything at all. The idea of dehumanization is echoed in the way that the face in Pound’s poem lose any sense of individualism: “Petals on a wet, black bough” (Pound). Here, the faces of strangers become plant material stuck to a tree branch, being stripped of all humanity as well. Both of these instances happen just for a brief moment, but neither author offers up any sort of explanation or deeper meaning; the reader is left to decide what it all means.