Grace

James Joyce paints a portrait of the underlying religious tensions that characterize the lives of Dubliners. Each of the central characters throughout 'Grace' present a different approach to Catholicism or Judeo-Christian religions. While each of them professes to  Catholic convictions, none of them maintain the same personal doctrine. Within each character is an interpretation that correlates to the ideals with which they approach the central conflict-IE, Tom Kernan's 'fall' from grace. 

Sentence Types: 

'Two Gentlemen who were in the lavatory at the time tried to lift him up: but he was quite helpless" - A general statement with an explanatory statement 

Joyce opens his passage with this line which thrust the reader into the action of the story, but declines to explain the setting or circumstance. Instead, the offhanded description gives the impression that these events are common pub occurrences.

"The arc of his social rise intersected the arc of his friend's decline, but Mr. Kernan's decline was mitigated by the fact that certain of those friends who had known him at his highest point of success still esteemed him as a character."-Same word repeated in a parallel structure

This may be my favorite description throughout the story. It explains the relationship of Kernan and Mr. Power, using a parallel structure to emphasize the sense of congruity between the directions of their lives. And perhaps offer some insight into Mr. Power's interest in Kernan's salvation. 

"There they were at it, all the cardinals and bishops and archbishops from all the ends of the earth and these two fighting dog and devil until at last the Pope himself stood up and declared infallibility a dogma of the Church ex cathedra." -A series of internal appositives

Well not quite, in the series 'cardinals and bishops and archbishops' each does not supplement the other, but Joyce's hypotactic listing implies the common order between them. 

"The inference was allowed." -Short statement for relief

This line occurs near the conclusion of the conversation about papal history. After a long series of parallel structures with Latin phrases, Joyce allows the reader to take a breath and consider the symbolic significance of this religious dialogue. Rather than continuing to absorb readers with the trivial language of church history, the line punctuates the previous paragraphs and emphasizes their deeper relevance to the plot.