Episodes, persons, motifs, and words are capable of becoming so many worlds to be encountered or epiphanized by the reader exploring the Joyce text. It is no coincidence that Joyce, instinctively adopting episodic methods of narration, invests Stephen with his aesthetic theory or vision of epiphany. The episode seems to be the most natural form of encounter, while an epiphany sounds like a most appropriate formula by which to encounter the significance of what is encountered. Worlds are embedded in the typical Joycean text. Authentically rooted in person and history, these worlds are quintessentially human because they are multifarious, relative to each other, and worthy of the great human comedy which is the achievement of Joyce. The untold story of Mrs. Hill or Eveline`s mother in "Eveline" illustrates a good example of one such world. At the climactic moment of the story, the girl is overwhelmed by the memory of her dying mother crying "Derevaun Seraun." There have been diverse guesses at the meaning of the phrase, which include `the end of pleasure is pain` and `the end of song is raving madness.` My new proposal reads `the end of woman is so miserable.` This meaning seems to be solidly grounded in linguistic facts and sounds more correct dramatically. Moreover, the dark negative epiphany of this Gaelic cry made by Mrs. Hill invites the reader to a vision of her buried past life rooted in the post-Famine social and linguistic disintegration in the west of Ireland. What is evoked is not only this untold life of Eveline`s mother and the backdrop of the social history that had engendered it but also the writer`s private nightmare of family and social conflict--suffering mother, oppressive father, a disturbing sense of linguistic and racial identity. Thus, the prominent social themes are also silently overcast with the shadow of a very private world of authorial self.