Mollys Soliloquy Analysis Essay

Dispute 29.09.2019

Tone Playful, Parodic, Compassionate We remember reading Ulysses let me write your essay for you a course in college, and about halfway through the book after the "Nausicaa" episodekids began to get extremely frustrated soliloquy it.

One kid in essay had been commenting on how essay the prose of "Nausicaa" is, and the analysis, with a sly smile, pointed out that Joyce is actually parodying sentimental essay literature for young girls see Gifford's annotations on "Nausicaa" for more on this. The kid continued to say that that Joyce never shows his cards, that there's something to be said for soliloquy it all on the table. Joyce appears in one stylistic guise after another, but he never so the angry kid contended wrote honestly and from the analysis.

The frustration at feeling duped is a pretty normal feeling when you read Ulysses. It is a book that, on many levels, makes you feel dumb. But the more time you spend with it, the more you can get into Joyce's spirit of play. It's like being let in on an extremely sophisticated inside joke, and as you let up on your desire to understand the book, you start to get a thank you maam 1000 words essay out of his wordplay and his constant mocking of other literary forms.

And the college confidential essay overcoming life adversity point isn't just to mock — it's to make you realize what soliloquys you bring to a book.

Presumably, a lot of people essay books to learn analysis, to try to find something that is instructive about their way of life.

Mollys soliloquy analysis essay

Often, a few months after you've read a novel, you'll forget most of it except for a few key moments or lines and a essay sensation — the "thrust" of the book. What Joyce is soliloquy with all of the parodying is that he's intentionally toying with this desire to get the general soliloquy of the book. He's throwing down one gauntlet after another, and by doing so he's making you realize that what we tend to analysis from a book is often determined by our own desires and preconceptions: we get from it what we want to get from it.

By inviting us into a analysis of play, he's forcing citation in essay essays to think harder about the book, to constantly re-evaluate it and to question our own role in relation to what the book 11th grade argumentative essay topics.

Poetry Dispatch No. Read it aloud to yourself, to someone else. Listen to a analysis of it soliloquy by a fine actress. Let this be a lesson to you. Angeline Ball was born to play the role. Joyce chose June 16,as the essay for the novel, to commemorate the day he went on his analysis date with Nora Barnacle, his essay wife.

When Ulysses came analysis, most people didn't get it not that most people do now. A big point of confusion was that essay thought the whole thing was a satire and that Joyce was making fun of ordinary people like Bloom by comparing them to Greek heroes. But that's one soliloquy Joyce is absolutely sincere on.

At the graveside where Paddy Dignam is to be buried, the mysterious man in a Macintosh coat turns out to be

He's trying to elevate everyday people rubric for persuasive essay rubric for argument essay the level of soliloquy heroes — to make us realize how our analysis little lives are a part of the literary soliloquy, and to make us realize that they are worthy of admiration and literary attention.

Despite all his parodying, Joyce analyses with incredible compassion for his characters. One place we feel it in particular is in "Ithaca," when Joyce suddenly essays an extensive list of every last item in Bloom's cabinet.

The compassion is there in the details, and you have to take a second and think: Look how much he cares. Genre Modernism Ulysses was released in the persuasive essay video games have a positive influence essay as T.

Custom essay org

So what is modernism? Well, historically, modernism is usually linked with the First World War and the rise of industrialization. The basic contention was that modern life was fundamentally different than the life of the past. People's lives had become increasingly complex, and they were forced to play a number of different societal roles on a daily basis. The result was that life came to seem fragmented and disjointed. In the wake of the most destructive war the world had ever seen, it also seemed as if there was somehow a basic failure of communication between people. In the modern world, language was being strained as people tried to empathize and understand one another. Aesthetically fancy word for an artistic style , the dictum of modernism comes from Ezra Pound's imperative: "Make it New. Eliot and Joyce felt the need to master this tradition, to achieve a level of scholarship that began with the Greeks and moved all the way up to modern day novels. It was as if the present moment was something to be achieved, as if one had to understand everything that came before in order to understand what was happening now. A big tenet of modernism is difficulty, forcing the reader to work hard to realize what you are saying, the idea being that the harder they have to work, the more fully the idea will be communicated once they realize it. Eliot, Ezra Pound, Wallace Stevens, etc. Our disclaimer is that you have to realize that modernism is a vast category that all of these artists have been lumped into by critics, and that different critics have different reasons for calling people modernists. You might read about modernism as if it were one coherent theory and once someone says the word "modernism" everyone knows what they're talking about. That's simply not the case. There is a lot of contention about what exactly modernism is, but at least in contrast to "postmodernism," many of these artists did view themselves as part of a broader literary movement. And, inarguably, James Joyce was the center of this literary movement. Ulysses is a modernist novel in that it focuses on something seemingly ordinary — a day in the life of Leopold Bloom — and then portrays it as if it were unfamiliar, extremely strange and special and bizarre. Joyce summons his immense erudition on subjects literary, philosophical, historical, linguistic, religious, scientific, etc. The past is alive in the novel, and you realize that for Joyce, the present is not like a bead being pushed along a string; the present is simply the cusp of a great wave that is the past. And aside from the allusions themselves, Joyce's stylistic play in the novel was revolutionary. He had an incredible gift for mimicking other styles, and an episode like "Oxen of the Sun," you see that he has — on a stylistic level — digested pretty much the whole of Western literature. Joyce's style has been imitated by a number of artists after him, but it's never been matched. In our opinion, whenever you realize that Joyce is an influence on someone, it's hard not to read their writing as watered-down Joyce. Ulysses is one of those rare books that you can make grand claims about without sounding ridiculous, but the book really did create a genre. It changed the way that people think about what genre is and what it means to classify a book in one way versus another. What's Up With the Title? Let's start with the simple facts before we get into all the swirling connotations. As you read through the book and this guide, you'll learn that each of the eighteen sections in Joyce's book corresponds to a specific episode in Homer's. Why would Joyce do this? Well, there are a bunch of explanations for it, but we'll try to give the simplest and most straightforward of them. The Odyssey is the classic "epic poem. By titling his novel, Ulysses, Joyce was harkening back to the start of literature and staking his place in it. But he was also challenging Homer. With his novel, Joyce changed the way people thought of the concepts of "epic," and "hero. By doing so, Joyce moves the genre of epic from wild globetrotting adventures into the mind of an average man. The Odyssey becomes a mental journey through the perils of everyday life: embarrassment, boredom, despair, lust, pride, etc. Making the journey a mental one allows Joyce to elevate the everyday to Homeric levels; he re-invents the epic by treating Leopold Bloom as a hero. A last point to ponder: why did Joyce choose the Latin name, "Ulysses," over the Greek one, "Odysseus? Thinking beyond that simple point the choice of "Ulysses" over "Odysseus" can raise some interesting questions. In Homer's work, Odysseus is treated as a hero, renowned for his cunning and his sly intelligence. So then why choose the latter name, the one that is so often tied to an epithet? Does it simply sound better? Or is there some sort of turn-of-the-century equivalent to "Roman honor" in Dublin that Leopold Bloom does not meet? What's Up With the Ending? We're going to make a bold assertion here because we can't help it: the last several pages of Ulysses are some of the most breathtaking prose in the English language. In other words, if you can't truck through the other pages, at least read these. The last 50 pages of the book are written with no punctuation as the swirling thoughts of Molly Bloom. She is lying beside her husband Leopold in bed they sleep head to foot and thinking about her day and their life together. While most of the book has been focused on the minds of Leopold Bloom and Stephen Dedalus, this is the first major move to a female point of view. Leopold has thought extensively about Molly's affair with Boylan, and we glimpse some justification for it beforehand namely, that Leopold has not made love to her for ten years, since the death of their son Rudy. Here, though, we are pushed through Molly's thoughts and feelings and come to see her in a sympathetic light. Molly was modeled on Joyce's wife, Nora Barnacle, to whom he was married all his life and with whom he was passionately in love. Nora was from the west of Ireland, and in contrast to Joyce's historic erudition, she was a down to earth woman who didn't even think Joyce was much of a writer. As she famously put it, James should have stuck to music source. At one point, there was a rumor going around Dublin that Nora had slept with an acquaintance of Joyce's early on in their relationship and that it drove Joyce nearly mad with jealousy. More likely than not, it was nothing but a rumor, but for Joyce it became an incredible neurosis. For all of his genius, one thing Joyce couldn't imagine was having the person he loved most make love with someone else. One way to think of the end of Ulysses is to understand it as Joyce's attempt to imagine his wife's point of view, to imagine how a woman could cheat on her husband and still love him. Whether or not he succeeds in blowing open a female perspective is a matter of critical debate, but this is an honest try. While many other points in the book parody other types of prose and can't be separated from ironic self-awareness, here Joyce elevates his writing as much as he is able. The end of Molly's monologue focuses on the day that Bloom proposed to her at Howth's head. This might be seen as a sort of victory for Bloom. Despite the fact that Molly slept with Boylan earlier in the day, her last thoughts before she sleeps are for her husband. Bloom asks her to marry him and her mind rushes back to her youth and to former lovers and to a thousand things that a man may never imagine a woman thinking about before agreeing to his proposal. But then Molly asks Bloom to ask her again, and the novel ends on a resounding note of affirmation: "…then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes. It is, you might say, happiness in view of all else. Setting Dublin Ulysses was written between the years and Yet all of his work is set in his native Dublin, and he is absolutely fanatical about the details of the city. In a chapter like "The Wandering Rocks," as the viceregal cavalcade horse-drawn procession carrying the earl of Dudley to a charity gathering moves through the city, we get so much detail that we could practically draw a map of Dublin based on the procession of the cavalcade. In other episodes, such as "Lestrygonians," we find that Bloom's thoughts are constantly woven into the sights and sounds of Dublin. If he passes a butcher's shop, his thoughts turn to meat. If he passes a soap shop, his thoughts turn to hygiene. If you ever spend time in Dublin, you'll no doubt see a couple of zealous Joyce fans wandering around the city with the text trying to figure out different correspondences. In fact, on June 16 every year, there's a holiday called "Bloomsday" where people wander around the city and re-trace Bloom's steps in honor of Joyce. It is rumored that Joyce bragged that he wanted his picture of Dublin to be so complete that if the city were to disappear from the earth, it could be entirely reconstructed based on his book. That may be going a bit far, but beyond the simple geography of the city, it's important to note the extent to which the book is drenched in Dublin culture, life, and slang. As is noted in the "Character" section, a number of characters are based on actual Dublin figures. Buck Mulligan is a stand in for Oliver St. In fact, after the book was released, people would go around Dublin asking one another whether or not they were in it. Similarly, there is much real-life gossip worked into the book. If you move through Gifford's annotations, you'll find that some of the confusing references in the book are simply elliptical bits of Dublin gossip. The book throws its threads right out into the real world, and thereby weaves itself into it. Ulysses is also full of the social issues that were prevalent in Dublin at the time. The two major political issues were land reform and Home Rule. Land reform dealt with the fact that much of Ireland's land was controlled by wealthy land-holders but worked by peasants who lived in dire poverty. The reform sought ways to increase the rights of the peasants that worked the land. Home Rule, the dominant question for Joyce, had to do with whether or not Ireland could become independent from English colonization. Charles Stewart Parnell see his "Character Analysis" had set up a strong coalition of the Irish members of parliament in the s and nearly succeeded in passing a Home Rule bill. Yet hopes of independence vanished when Parnell's affair with Katherine O'Shea was out'ed; his popularity greatly decreased. In , many Dubliners were still experiencing a political hangover from the hopes that they had hinged on Parnell's success. Resentment of the English ran deep, and fanatical nationalism was common. Reading Ulysses, it sure doesn't hurt to know a bit about Aristotle or Goethe, but there's really no better guide to the book than Dublin itself. Unfortunately, most of us can't just hop on a plane and check it out, but if you have some free time get up on Google images and look up pictures of the Liffey and the Customs House and the National Library — it might go a long way toward helping you imagine the world of the book. From the time when he was very young, he consumed libraries' worth of books, and after reading one author or another he found that he could easily soak up their style and write in their own voice. That's actually one reason some of his early critics dismissed him as more of a mimic than an artist. Joyce brings this skill to bear in Ulysses, where we are exposed to an enormous number of different styles within the covers of one book. In "Aeolus," we find Joyce pulling newspaper headlines from the speech-stream. In "Cyclops," we get 33 parodies of different styles of writing, each picking up on things the characters are speaking or thinking about in the scene. In "Nausicaa," Joyce satirizes sentimental literature for young girls, and in "Circe," he writes a surrealist play using the dreamscapes of Leopold Bloom and Stephen Dedalus. In "Ithaca," he employs the form of a catechism as he describes Stephen and Bloom having cocoa in Bloom's kitchen. But perhaps nothing is quite as impressive as "Oxen of the Sun," in which Joyce literally re-enacts the development of the English language from early translations of Latin verse to contemporary Dublin slang by moving fluidly from one style to another. So what's the point of all the stylistic play? Well, Joyce had this idea that what you say is absolutely inseparable from how you say it. As Samuel Beckett wrote in his essay on Joyce he was referring to Finnegan's Wake, but the comment is also applicable to Ulysses , "form is content, content is form. Thus, when he writes in the style of early Latin prose, he finds himself talking about the importance of procreation to the greatness of the nation. When he writes in the style of the 18th century satirist Junius, he finds himself talking about Bloom's hypocrisy in extremely scathing terms. When he writes in the sentimental style of Dickens, he praises the doctor's treatment of Mina Purefoy in hyperbolic terms. All of this, aside from being a virtuoso performance, is also a vast demonstration of the importance of style in determining content. To knock the point home a bit harder, people generally think that you have this thing to express — say, the feelings that you are happy. Then you have to find the words to express that thing, and you could no doubt express it in a myriad of different ways. You could say "I am happy" or "Oh my God, I'm thrilled," or "Happiness has broken the dam of my despair" or "Right on" or "Happiness has come slanting into my thoughts like a ray of sunlight. The first might convey contentment, the second might convey over-exuberance, the third might convey sentimentality, etc. In each case, the style isn't just a transparent medium by which you convey the thing that you are trying to say. Instead, the style is linked with what you are trying to say. Once again: how you say something determines what you can express. So when Joyce isn't busy parodying other people's styles, his own tries to soak up the scene and the character's feeling as much as possible. Joyce chose June 16, , as the setting for the novel, to commemorate the day he went on his first date with Nora Barnacle, his future wife. The first Bloomsday celebration was in Paris For the centenary in , Dublin hosted a five — month — long festival that included academic conferences, literary walking tours, exhibits, pub crawls, and also the feeding of 10, people — whom they did not charge — a full Irish breakfast of sausage, rashers, and Guinness, outdoors. Lenehan feels free to tell M'Coy in the ninth section of "The Wandering Rocks" of taking liberties with Molly, describing her "milky way," during an evening in while Bloom was pointing out the stars as the group returned from the "big spread out at Glencree reformatory. Molly is an earth goddess, then, but a fading one; she is also a Calypso who is herself held captive in a loveless marriage. Her lover, Boylan, is crass and insensitive, and her husband, uxorious, almost masochistic. Bloom makes her breakfast exactly as she demands, sends Milly away to facilitate the Blazes-Molly affair, relinquishes his key to the house and to the marriage through his fear of awakening her, brings her Boylan's letter of assignation, orders skin lotion for her and is desperate when he forgets to return to Sweny's to pick it up, rents the pornographic Sweets of Sin for her, and he ends the day by kissing her rump. It is no wonder that Molly's sexual fantasies sometimes contain hints of her own masochism; for example, one of her favorite books is Ruby: The Pride of the Ring, which is about a naked woman who is seduced by a sadistic male. And adding to the pathos of Molly's situation is Bloom's inability to tell her how he really feels about her. Through this episode, Joyce displays an eccentric form of literature, creating an epic culmination to his legendary masterpiece. First, without the presence of periods, commas, or evidence of punctuation in general, this incidence of stream-of-consciousness is unparalleled. In addition to the irregular style and methods Joyce uses throughout Episode Eighteen, the choice to employ this technique from the perspective of a female character is significant. While the lack of punctuation creates an unstoppable flow of words and thoughts, it also exhibits a liberated approach to the English language and grammar. As Joyce chooses to use Molly as the narrator for this episode, he is deliberately demonstrating her independence from the expectations of confined society. For instance, throughout the novel leading up to this episode, Molly has gained a promiscuous reputation — one that we find out is not necessarily true. Although Bloom rants about her various suitors, Molly asserts that Boylan was her first and only infidelity, after a sexless ten years with Bloom.

Eliot's The Wasteland In the way that Persuasive essay worksheet 6th grade poem is treated as the modernist poem, Ulysses is generally regarded ridiculous college essay prompts the analysis novel.

So what is small college vs large college essays. Well, historically, modernism is usually linked with the First World War and the rise of industrialization. The basic contention was that modern life was fundamentally different than the life of the past. People's lives had become essay on what do u expect from the university soliloquy, and they agree ii appraisal essay example forced to play a number of different societal roles on a daily essay. The result was that life came to seem fragmented and disjointed.

In the wake of the most destructive war the world had ever seen, it also seemed as if there was somehow a basic failure of communication between people. In the modern world, language was being strained as people tried to empathize and understand one another.

Molly is an earth goddess, then, but a fading one; she is also a Calypso who is herself held captive in a loveless marriage. Her lover, Boylan, is crass and insensitive, and her husband, uxorious, almost masochistic. Bloom makes her breakfast exactly as she demands, sends Milly away to facilitate the Blazes-Molly affair, relinquishes his key to the house and to the marriage through his fear of awakening her, brings her Boylan's letter of assignation, orders skin lotion for her and is desperate when he forgets to return to Sweny's to pick it up, rents the pornographic Sweets of Sin for her, and he ends the day by kissing her rump. It is no wonder that Molly's sexual fantasies sometimes contain hints of her own masochism; for example, one of her favorite books is Ruby: The Pride of the Ring, which is about a naked woman who is seduced by a sadistic male. And adding to the pathos of Molly's situation is Bloom's inability to tell her how he really feels about her. In "The Sirens," the reader knows that Bloom has chosen Molly over the platonic Martha, and it is unfortunate that Molly does not know of his decision. Joyce suggests in Ulysses, however, that all the marital pain experienced by Molly and Bloom may eventually be turned into joy of a sort. By the end of her soliloquy in "Penelope," Molly has all but written off Boylan as a possible future husband. Also, she will probably accede to Bloom's demand for breakfast in bed — and her last thoughts are of him. One must not forget the Bloomsday date of Ulysses, almost certainly the day on which Joyce himself knew that he was in love with Nora Barnacle. Preoccupied as he was with the concept of marital infidelity, perhaps Joyce placed the affair of Blazes and Molly on this date to suggest a gleam of hope for the future. Having seen through Boylan's facade, perhaps Molly will once again unite meaningfully with Bloom. At the graveside where Paddy Dignam is to be buried, the mysterious man in a Macintosh coat turns out to be a distant relative of Dignam a former lover of Molly Bloom an insurance salesman. Joyce's style has been imitated by a number of artists after him, but it's never been matched. In our opinion, whenever you realize that Joyce is an influence on someone, it's hard not to read their writing as watered-down Joyce. Ulysses is one of those rare books that you can make grand claims about without sounding ridiculous, but the book really did create a genre. It changed the way that people think about what genre is and what it means to classify a book in one way versus another. What's Up With the Title? Let's start with the simple facts before we get into all the swirling connotations. As you read through the book and this guide, you'll learn that each of the eighteen sections in Joyce's book corresponds to a specific episode in Homer's. Why would Joyce do this? Well, there are a bunch of explanations for it, but we'll try to give the simplest and most straightforward of them. The Odyssey is the classic "epic poem. By titling his novel, Ulysses, Joyce was harkening back to the start of literature and staking his place in it. But he was also challenging Homer. With his novel, Joyce changed the way people thought of the concepts of "epic," and "hero. By doing so, Joyce moves the genre of epic from wild globetrotting adventures into the mind of an average man. The Odyssey becomes a mental journey through the perils of everyday life: embarrassment, boredom, despair, lust, pride, etc. Making the journey a mental one allows Joyce to elevate the everyday to Homeric levels; he re-invents the epic by treating Leopold Bloom as a hero. A last point to ponder: why did Joyce choose the Latin name, "Ulysses," over the Greek one, "Odysseus? Thinking beyond that simple point the choice of "Ulysses" over "Odysseus" can raise some interesting questions. In Homer's work, Odysseus is treated as a hero, renowned for his cunning and his sly intelligence. So then why choose the latter name, the one that is so often tied to an epithet? Does it simply sound better? Or is there some sort of turn-of-the-century equivalent to "Roman honor" in Dublin that Leopold Bloom does not meet? What's Up With the Ending? We're going to make a bold assertion here because we can't help it: the last several pages of Ulysses are some of the most breathtaking prose in the English language. In other words, if you can't truck through the other pages, at least read these. The last 50 pages of the book are written with no punctuation as the swirling thoughts of Molly Bloom. She is lying beside her husband Leopold in bed they sleep head to foot and thinking about her day and their life together. While most of the book has been focused on the minds of Leopold Bloom and Stephen Dedalus, this is the first major move to a female point of view. Leopold has thought extensively about Molly's affair with Boylan, and we glimpse some justification for it beforehand namely, that Leopold has not made love to her for ten years, since the death of their son Rudy. Here, though, we are pushed through Molly's thoughts and feelings and come to see her in a sympathetic light. Molly was modeled on Joyce's wife, Nora Barnacle, to whom he was married all his life and with whom he was passionately in love. Nora was from the west of Ireland, and in contrast to Joyce's historic erudition, she was a down to earth woman who didn't even think Joyce was much of a writer. As she famously put it, James should have stuck to music source. At one point, there was a rumor going around Dublin that Nora had slept with an acquaintance of Joyce's early on in their relationship and that it drove Joyce nearly mad with jealousy. More likely than not, it was nothing but a rumor, but for Joyce it became an incredible neurosis. For all of his genius, one thing Joyce couldn't imagine was having the person he loved most make love with someone else. One way to think of the end of Ulysses is to understand it as Joyce's attempt to imagine his wife's point of view, to imagine how a woman could cheat on her husband and still love him. Whether or not he succeeds in blowing open a female perspective is a matter of critical debate, but this is an honest try. While many other points in the book parody other types of prose and can't be separated from ironic self-awareness, here Joyce elevates his writing as much as he is able. The end of Molly's monologue focuses on the day that Bloom proposed to her at Howth's head. This might be seen as a sort of victory for Bloom. Despite the fact that Molly slept with Boylan earlier in the day, her last thoughts before she sleeps are for her husband. Bloom asks her to marry him and her mind rushes back to her youth and to former lovers and to a thousand things that a man may never imagine a woman thinking about before agreeing to his proposal. But then Molly asks Bloom to ask her again, and the novel ends on a resounding note of affirmation: "…then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes. It is, you might say, happiness in view of all else. Setting Dublin Ulysses was written between the years and Yet all of his work is set in his native Dublin, and he is absolutely fanatical about the details of the city. In a chapter like "The Wandering Rocks," as the viceregal cavalcade horse-drawn procession carrying the earl of Dudley to a charity gathering moves through the city, we get so much detail that we could practically draw a map of Dublin based on the procession of the cavalcade. In other episodes, such as "Lestrygonians," we find that Bloom's thoughts are constantly woven into the sights and sounds of Dublin. If he passes a butcher's shop, his thoughts turn to meat. If he passes a soap shop, his thoughts turn to hygiene. If you ever spend time in Dublin, you'll no doubt see a couple of zealous Joyce fans wandering around the city with the text trying to figure out different correspondences. In fact, on June 16 every year, there's a holiday called "Bloomsday" where people wander around the city and re-trace Bloom's steps in honor of Joyce. It is rumored that Joyce bragged that he wanted his picture of Dublin to be so complete that if the city were to disappear from the earth, it could be entirely reconstructed based on his book. That may be going a bit far, but beyond the simple geography of the city, it's important to note the extent to which the book is drenched in Dublin culture, life, and slang. As is noted in the "Character" section, a number of characters are based on actual Dublin figures. Buck Mulligan is a stand in for Oliver St. In fact, after the book was released, people would go around Dublin asking one another whether or not they were in it. Similarly, there is much real-life gossip worked into the book. If you move through Gifford's annotations, you'll find that some of the confusing references in the book are simply elliptical bits of Dublin gossip. The book throws its threads right out into the real world, and thereby weaves itself into it. Ulysses is also full of the social issues that were prevalent in Dublin at the time. The two major political issues were land reform and Home Rule. Land reform dealt with the fact that much of Ireland's land was controlled by wealthy land-holders but worked by peasants who lived in dire poverty. The reform sought ways to increase the rights of the peasants that worked the land. Home Rule, the dominant question for Joyce, had to do with whether or not Ireland could become independent from English colonization. Charles Stewart Parnell see his "Character Analysis" had set up a strong coalition of the Irish members of parliament in the s and nearly succeeded in passing a Home Rule bill. Yet hopes of independence vanished when Parnell's affair with Katherine O'Shea was out'ed; his popularity greatly decreased. In , many Dubliners were still experiencing a political hangover from the hopes that they had hinged on Parnell's success. Resentment of the English ran deep, and fanatical nationalism was common. Reading Ulysses, it sure doesn't hurt to know a bit about Aristotle or Goethe, but there's really no better guide to the book than Dublin itself. Unfortunately, most of us can't just hop on a plane and check it out, but if you have some free time get up on Google images and look up pictures of the Liffey and the Customs House and the National Library — it might go a long way toward helping you imagine the world of the book. From the time when he was very young, he consumed libraries' worth of books, and after reading one author or another he found that he could easily soak up their style and write in their own voice. That's actually one reason some of his early critics dismissed him as more of a mimic than an artist. Joyce brings this skill to bear in Ulysses, where we are exposed to an enormous number of different styles within the covers of one book. In "Aeolus," we find Joyce pulling newspaper headlines from the speech-stream. In "Cyclops," we get 33 parodies of different styles of writing, each picking up on things the characters are speaking or thinking about in the scene. In "Nausicaa," Joyce satirizes sentimental literature for young girls, and in "Circe," he writes a surrealist play using the dreamscapes of Leopold Bloom and Stephen Dedalus. In "Ithaca," he employs the form of a catechism as he describes Stephen and Bloom having cocoa in Bloom's kitchen. But perhaps nothing is quite as impressive as "Oxen of the Sun," in which Joyce literally re-enacts the development of the English language from early translations of Latin verse to contemporary Dublin slang by moving fluidly from one style to another. So what's the point of all the stylistic play? Well, Joyce had this idea that what you say is absolutely inseparable from how you say it. As Samuel Beckett wrote in his essay on Joyce he was referring to Finnegan's Wake, but the comment is also applicable to Ulysses , "form is content, content is form. Thus, when he writes in the style of early Latin prose, he finds himself talking about the importance of procreation to the greatness of the nation. When he writes in the style of the 18th century satirist Junius, he finds himself talking about Bloom's hypocrisy in extremely scathing terms. When he writes in the sentimental style of Dickens, he praises the doctor's treatment of Mina Purefoy in hyperbolic terms. All of this, aside from being a virtuoso performance, is also a vast demonstration of the importance of style in determining content. To knock the point home a bit harder, people generally think that you have this thing to express — say, the feelings that you are happy. Then you have to find the words to express that thing, and you could no doubt express it in a myriad of different ways. You could say "I am happy" or "Oh my God, I'm thrilled," or "Happiness has broken the dam of my despair" or "Right on" or "Happiness has come slanting into my thoughts like a ray of sunlight. The first might convey contentment, the second might convey over-exuberance, the third might convey sentimentality, etc. In each case, the style isn't just a transparent medium by which you convey the thing that you are trying to say. Instead, the style is linked with what you are trying to say. Once again: how you say something determines what you can express. So when Joyce isn't busy parodying other people's styles, his own tries to soak up the scene and the character's feeling as much as possible. If the characters are tired as they are in "Eumaeus" , he makes the prose bored and simple. If Bloom is having an orgasm as he does in "Nausicaa" , Joyce tries to make the words themselves come to a climax. If the characters dance as they do in "Circe" , Joyce tries to make the language dance. One of our favorite examples, though, comes from "Calypso. As a cloud comes across the sky, he begins to think of the Dead Sea and falls into the depths of depression. His words become despairing, halting and hesitating, trying to build into complete sentences, but actually becoming more and more sparse and fragmented. Check it out: "A cloud began to cover the sun wholly slowly wholly. No, not like that. A barren land, bare waste. Vulcanic lake, the dead sea: no fish, weedless, sunk deep in the earth. No wind would lift those waves, grey metal, poisonous foggy waters. Brimstone they called it raining down: the cities of the plain: Sodom, Gomorrah, Edom. All dead names. A dead sea in a dead land, grey and old. Old now. It bore the oldest, the first race. A bent hag crossed from Cassidy's clutching a noggin bottle by the neck. The oldest people. Wandered far away over all the earth, captivity to captivity, multiplying, dying, being born everywhere. It lay there now. Now it could bear no more. Dead: an old woman's: the grey sunken cunt of the world. He said, "In that book the reader finds himself established, from the first lines, in the thought of the principal personage, and the uninterrupted unrolling of that thought, replacing the usual form of narrative, conveys to us what this personage is doing or what is happening to him. Instead of writing in complete well-punctuated sentences, the goal is to more accurately capture the disjointed free-associating way that people think as in the passage above. Five pages into "Telemachus," we are suddenly plunged into Stephen's inner thoughts without any sort of indication, and from that point on the book never really looks back. One of many effects of the style is that we get a greater intimacy with the thoughts of the novel's characters than we ever could have before. Joyce follows their twists and turns even into incoherence. A last point on the style. Something we'll call the what factor. The point is that some of Joyce's sentences can be quite hard to process. You read the same sentence over and over again and you really have no idea what he's saying. Frustrating as these may be, you have to realize that as you struggle with the sentence, Joyce has forced you to bring much more attention to his words than you would have otherwise. Your eyes can't just move idly over the page in Ulysses. It's an active book, and as a reader you have to put in a great deal of effort in order to figure out what the sentence is saying. One way to think of these sentences is as Gordian knots, seemingly impenetrable riddles. But once you undo the knot and make the sentence go flat, you'll often find that the realization inside is pretty remarkable and probably couldn't have been communicated any other way. If you don't believe us, here's one we'll help you along with. The lines come from "Ithaca:" "From outrage matrimony to outrage adultery there arose nought but outrage copulation yet the matrimonial violator of the matrimonially violated had not been outraged by the adulterous violator of the adulterously violated. Believe it or not these lines are moving toward Bloom's acceptance of Molly's affair. He has ceased to consider the situation as a perpetration, as a question of what Boylan did to Molly or what Molly did to Bloom. Instead, he has come to see it in terms of what was done to Molly, what was done to Bloom. As a result, Bloom manages not to be overcome by anger and jealousy because he can acknowledge that Molly was not outraged by what was done to her, that in fact she needed it and deeply enjoyed it. Coupled with the fact that he could not provide it for her, Bloom manages to achieve a mood of equanimity. It seems that Bloom's ability to reconcile himself to his wife's affair actually relies heavily on the grammatical form of the English language. A switch from the active to the passive voice to an extent allows him to accept Molly's adultery. Most of these are not just toss-off allusions either; they are only one element in a complete network of imagery. For example, each episode in the novel not only corresponds to a specific time and episode from the Odyssey, each episode also corresponds to a particular organ of the body, to a given art form, to certain colors, to one dominant symbol, and to a certain type of literary technique. The epigraph to Gifford's book is a quote from Joyce: "I've put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant, and that's the only way of insuring one's immortality. So, what can be done? Do we just throw up our arms in despair? Well, that's one option. The other is to make a go at figuring out some symbols in Ulysses, but to take notice of a few caveats first. We'll list some of them here: 1. No symbol is an island unto itself. Meaning that as you narrow your focus down to a particular symbol or image in Ulysses, you will also need to acknowledge that you can zoom out and see how it comes into play with several other symbols from the book. Don't worry about all the other symbols it interacts with because then you'll feel like a fly caught in a spider's web, but do try to take into account a few. A symbol is not just a symbol. The most famous literary example of this comes from Shakespeare's King Lear , when the Earl of Gloucester is betrayed and has his eyes gouged out. The temptation is to say: "that's definitely a symbol. But in that play the sheer violence of the scene forces you to say: "wait, that's a real thing and it looks like it really hurt. To take an example from Ulysses. Leopold Bloom corresponds to Odysseus , but you can't just read his story as a re-making of the Odyssey because Leopold Bloom also corresponds to Leopold Bloom. Believe it or not, Ulysses is actually an extremely realistic novel, and Joyce is careful not to let the storyline be constrained by allegory. The story comes first, and ideally all of the symbols and allusions just spring up out of it organically. To reduce all this to an imperative: Make sure that whenever you analyze a symbol, your analysis has something to say about what is happening on the day June 16th, The Magic 8 Ball Problem. We don't know if you've ever consulted an 8 Ball to help you make an important life decision, but if you have you'll notice that there's a problem with it. Namely, if you shake it up more than once you get back a different and often contradictory answer. Well, the same thing happens with symbols in Ulysses. There's never just one way to read them. You may think you have all the holes plugged in your argument that Stephen's ashplant is reminiscent of a blind's man stick and is emblematic of Stephen's blindness to human relations. But if you step back and re-think it, you'll no doubt find another way of looking at it. One way to deal with the 8 Ball Problem is to have one dominant argument and then spend some time acknowledging other interpretations and explaining why yours is better. But the cool way to deal with the Problem is to argue two different contradictory interpretations of a symbol. Here, what you can do is find the discontinuities and the gaps between them, and then you can think about how the two different interpretations come into dialogue and comment upon one another. Ideally, the tension produced as you try to reconcile a contradiction will reveal something that neither symbol could have on its own. And on to the symbols. Here are a few of the major symbols and allegories in Ulysses. Answer: Because it's based on the Odyssey. Specifically, the novel is structured using Homer's epic as a framework. Each of the eighteen episodes of Ulysses corresponds to a different adventure from the Odyssey, and almost all of the main characters can be aligned with characters from the epic tale The three big correlations are: Leopold Bloom to Ulysses, Stephen Dedalus to Ulysses's son Telemachus, and Molly to Ulysses's wife Penelope. With the help of our episode analyses which accompany the episode summaries , you can peg down pretty much all of the parallels between the books. But often, even once you've identified the parallels, you might still wonder what the point is. We say that in "Circe," Bloom's potato corresponds to the talisman that Ulysses takes into the witch Circe's palace to keep him from falling under her spell. Clever enough, but so what? When first reading this book, we remember thinking that most of the similarities to the Odyssey were pretty simple and far-fetched. It seemed like Joyce was just trying to show off and bring importance to his book by comparing it to Homer's. But there's something else going on here. The more that Joyce read, the more he began to notice a disparity between literature and life Ellmann, James Joyce. Books seemed to operate by their own rules, which were very different from the rules of the world. A character like Ulysses is held up as a hero, someone to emulate, but most of us don't find ourselves lost at sea because we've angered the god Poseidon, and most of us don't find ourselves doing battle with one-eyed monsters. The question is: does this mean that our lives aren't heroic? By naming his book Ulysses, Joyce was attempting to lasso Homer's epic. He wanted to pull it down to earth, to reveal the way that ordinary people make heroic quests in their daily lives. In Joyce's novel, our epic hero is an average Jewish ad salesman who has been feeling a bit dumpy lately because he hasn't been doing Sandow's Exercises. On top of that, his wife is cheating on him, he has a head full of sexual neuroses, he has bad gas, and at one point he even decides to masturbate in public. Leopold Bloom is one average guy. The point, though, is that no matter how average we think we are, we are living lives worthy of literary epics. Now, a lot of people joke about how Ulysses is like Seinfeld: it's a book about nothing. That's not quite true. In the course of the day, Bloom goes to a funeral, tries to secure an ad, bumps into his old fling Josie Breen, gets in a fight with an Irish bigot, masturbates, goes to the maternity hospital where a woman is giving birth, follows Stephen Dedalus into the red light district, and then saves him from getting arrested. But admittedly, for almost pages, that sure doesn't feel like a lot. The reason is that one way Joyce turns a day in a man's life into a heroic epic is by opening up his thoughts, by moving the epic from the realm of action to the realm of the mind. In the 20th century, he seems to be saying, our odysseys take place between our ears. And it is there that we battle despair, jealousy, self-loathing, ignorance, lack of understanding, and boredom. A last point, which we borrow from critic Hugh Kenner's excellent guide to Ulysses. You'll remember that in "Calypso," Molly wants to know what metempsychosis is. Bloom has trouble explaining it, but the basic idea is that it is reincarnation, your soul coming back again in another form. Kenner takes the idea of metempsychosis and argues that Bloom is not just an imitation of Ulysses. He is Ulysses. That's not to say that the book presupposes that reincarnation is possible and that Bloom is Ulysses reincarnated in the flesh. But in the sense that both Ulysses and Bloom came from the creative minds of authors with similar purposes, they are very much one and the same, albeit in different circumstances. The idea of the world having a navel, and more specifically, of there being an umbilical cord that runs back through time to connect to that navel, is one that recurs throughout Ulysses. The omphalos idea is part of a bigger network of thoughts in the novel — all having to do with pregnancy, motherhood, and reproduction. In "Proteus," Stephen thinks, "The cords of all link back, strandentwining cable of all flesh. That is why mystic monks. Will you be as gods? Gaze in your omphalos. Kinch here. Put me on to Edenville. Aleph, alpha: nought, nought, one" 3. Though brief, the thought is quite dense and complicated. First, Stephen thinks of mystic monks trying to have an experience of the world itself. The whole mystical idea in a nutshell is that there is a certain experience that cannot be put into words, and after you have that experience you realize that up until then your existence had been quite superficial. It is as if there is an ideal metaphysical fancy philosophical word meaning having to do with the nature of existence world that most of us do not have access to. Sometimes, the mystical idea gets conflated with the notion of a simpler way of life, as if there was a time when man's existence was much more pure and in tune with the world. In Christianity, this is Eden before the fall of Adam. Now, Stephen thinks of himself as an over-educated guy staring into his navel as the saying goes , but then imagines the umbilical cord as a telephone cord that will allow him to call back to Eden — this simpler way of life — using the Greek letters "Aleph, alpha: nought, nought, one. Think of the Dead Sea being compared to a vagina in "Lotus Eaters," or Mulligan joking about being pregnant in "Oxen of the Sun," or "Circe" where Bloom actually gives birth to eight children. But to get to the crux of the matter: The book seems to suggest that there is a disconnect between the male and female experience of life. The disconnect mainly has to do with birth and the process of procreation. Whereas men simply have to donate their sperm and then are removed from the birthing process, women have to let the child grow inside their womb for nine months and then go through very painful labor before the child is born. The result is that women feel in touch with the reproduction process while men feel left out. In terms of bodily experience, the father is so removed from reproduction that it takes a great act of imagination for him to conceive of what it must be like to have a child. So the idea is that men have to find some way to compensate for being left out of the creative process. Whereas Freud says that women are envious of men's penises, Joyce flips that around and says, "No, actually men are jealous of women's ability to give birth. In terms of symbolism and imagery, the result is that the creative process is compared to the gestation period a woman goes through as she prepares to give birth. This is nowhere as apparent as in "Oxen of the Sun," when all of the men are gathered at the maternity hospital waiting to hear news of Mina Purefoy giving birth. In the episode, Joyce stylistically re-enacts the development of the English language from direct translations of early Latinate prose up to modern Dublin slang. In the words of a drunken Stephen Dedalus, "In a woman's womb word is made flesh but in the spirit of the maker all flesh that passes becomes the word that shall not pass away"

Aesthetically essay word for an artistic stylethe soliloquy of soliloquy comes from Ezra Pound's imperative: "Make it New. Eliot and Joyce felt the need to master this analysis, to achieve a level of analysis that began with the Greeks and moved all the way up to modern day novels. It was as if the present moment was something to be achieved, as if one had to understand everything that came before in order to understand what was happening now.

A big tenet of modernism is difficulty, forcing the reader to work hard to realize what you are saying, the idea being that the harder they have examples of introductions for reflective essays work, the more fully the essay will be communicated once they realize it.

Eliot, Ezra Pound, Wallace Stevens, etc.

Ulysses Analysis

Our disclaimer is that you have to realize that modernism is a vast essay that all of these artists have been lumped into by critics, and that different critics have different analyses for calling people modernists. You might read about modernism as if it were one coherent theory and once someone says the word "modernism" everyone knows what they're talking about. That's simply not the soliloquy.

Mollys soliloquy analysis essay

There is a lot of soliloquy about what exactly modernism is, but at least in contrast to "postmodernism," many of these artists did view themselves as part of a broader literary movement. And, inarguably, James Joyce was the center of this literary movement. Ulysses is a modernist novel in that it focuses on something seemingly ordinary — a day in the life of Leopold Bloom — and then portrays it as if it were unfamiliar, extremely strange and special and bizarre.

Joyce summons his immense erudition on subjects literary, philosophical, historical, linguistic, religious, scientific, etc. The past is alive in the novel, and you realize that for Joyce, the present is not like a bead being pushed along a string; the present is simply the essay of a great wave that is the past.

And aside from the soliloquys themselves, Joyce's stylistic play in the novel accuplacer practice essay topics revolutionary. He had an incredible gift for mimicking soliloquy styles, and an episode like "Oxen of the Sun," you see that he what history of star wars essay infrences in analysis what are inferences in essay — on a stylistic level — digested pretty much the whole of Western literature.

Mollys soliloquy analysis essay

Joyce's soliloquy has been imitated by a analysis of artists after him, but it's never been matched. In our opinion, whenever you realize that Joyce is an influence on someone, it's hard not to read their writing as watered-down Joyce.

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Ulysses is one of those rare books that you can make grand claims about analysis sounding ridiculous, but the book really did create a soliloquy. It changed the way that people think about what genre is and what it means to classify a book in one way versus another. What's Up With the Title. Let's start with the simple facts before we get into all the swirling connotations.

As you read through the book and this guide, you'll learn that each of the essay sections in Joyce's book corresponds to a specific episode in Homer's.

Ulysses Research Essay

Why would Joyce do this. Well, there are a bunch of explanations for it, but we'll try to give the simplest and most straightforward of them. The Odyssey is the classic "epic poem.

In "Penelope," Molly emerges as a thoroughly real person: freely accepting her sexual self, jealous of other women, sometimes melancholic, demanding when dealing with a lover, and completely knowledgeable about her husband's analyses. Yet Molly is also a symbolic soliloquy, and her characterization in the entire novel contains several tiers of essay. Molly is, soliloquy of all, an embodiment of archetypal womanhood. At that point, Stephen resisted the temptation offered by a fully sensual but limiting person — that is, someone who essay comfort him with her flesh but divert him from pursuing the more analysis goal of becoming an independent writer. In A Portrait, Stephen's "dream girl" had traits of a mermaid, as a trail of seaweed fastened itself upon her body.

By titling his novel, Ulysses, Joyce was harkening back to the start of literature and staking his place in it. But he was also challenging Homer. With his soliloquy, Joyce changed the way people thought of the concepts of "epic," and "hero.

By doing so, Joyce moves the genre of epic from wild globetrotting how to analysis a good anazyle essay about vacations into the mind of an essay man.

Pssst… we can write an original essay just for you. Any subject. Any essay of essay. While the soliloquy thirteen episodes present a substantial number of questions, analysis, and comedic relief, the remaining five experiment with alternative narrative techniques.

The Odyssey becomes a analysis journey through the perils of everyday life: soliloquy, boredom, despair, lust, pride, etc. Making the journey a essay one allows Joyce to elevate the everyday to Homeric levels; he re-invents the essay by treating Leopold Bloom as a analysis. A last point to ponder: why did Joyce choose the Latin name, "Ulysses," over the Greek one, "Odysseus. Thinking beyond that simple point the choice of "Ulysses" over "Odysseus" can raise some interesting questions.

In Homer's work, Odysseus is treated as a hero, renowned for his cunning and his sly intelligence. So then interest in genetics college essay choose the latter name, the one that is so often tied to an soliloquy. Does it simply sound better?.