小说阿拉比的问题。what is the boy's epiphany at the end?

Through his first-person narration, the reader is immersed at the
start of the story in the drab life that people live on North Richmond
Street, which seems to be illuminated only by the verve and imagination
of the children who, despite the growing darkness that comes during the
winter months, insist on playing "until [their] bodies glowed." Even
though the conditions of this neighbourhood leave much to be desired,
the children’s play is infused with their almost magical way of
perceiving the world, which the narrator dutifully conveys to the
reader:
“ Our shouts echoed in the silent street. The career of our play brought us
through the dark muddy lanes behind the houses where we ran the gantlet
of the rough tribes from the cottages, to the back doors of the dark
dripping gardens where odours arose from the ashpits, to the dark
odorous stables where a coachman smoothed and combed the horse or shook
music from the buckled harness. ”
But though these boys "career" around the neighbourhood in a very
childlike way, they are also aware of and interested in the adult world,
as represented by their spying on the narrator’s uncle as he comes home
from work and, more importantly, on Mangan’s sister, whose dress “swung
as she moved” and whose “soft rope of hair tossed from side to side.”
These boys are on the brink of sexual awareness and, awed by the mystery
of the opposite sex, are hungry for knowledge.
On one rainy evening, the boy secludes himself in a soundless, dark
drawing-room and gives his feelings for her full release: "I pressed the
palms of my hands together until they trembled, murmuring: O love! O
love! many times." This scene is the culmination of the narrator’s
increasingly romantic idealization of Mangan’s sister. By the time he
actually speaks to her, he has built up such an unrealistic idea of her
that he can barely put sentences together: “When she addressed the first
words to me I was so confused that I did not know what to answer. She
asked me if I was going to Araby. I forget whether I answered yes or
no.” But the narrator recovers splendidly: when Mangan’s sister
dolefully states that she will not be able to go to Araby, he gallantly
offers to bring something back for her.
The narrator now cannot wait to go to the Araby bazaar
and procure for his beloved some grand gift that will endear him to
her. And though his aunt frets, hoping that it is not “some Freemason
affair,” and though his uncle, perhaps intoxicated, perhaps stingy,
arrives so late from work and equivocates so much that he almost keeps
the narrator from being able to go, the intrepid narrator heads out of
the house, tightly clenching a florin, in spite of the late hour, toward the bazaar.
But the Araby market turns out not to be the most fantastic place he
had hoped it would be. It is late; most of the stalls are closed. The
only sound is "the fall of coins" as men count their money. Worst of
all, however, is the vision of sexuality -- of his future -- that he
receives when he stops at one of the few remaining open stalls. The
young woman minding the stall is engaged in a conversation with two
young men. Though he is potentially a customer, she only grudgingly and
briefly waits on him before returning to her frivolous conversation. His
idealized vision of Araby is destroyed, along with his idealized vision
of Mangan’s sister: and of love. With shame and anger rising within him, he exits the bazaar.

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