Chapter II. "Ulysses" and it's difficult language

CHAPTER II. "Ulysses" and it's difficult language
2.1"Ulysses" and it's history of creation
"Ulysses" is an excellent, durable work, but it is slightly overrated by those critics who are more concerned with ideas, generalizations, and biographical side of the matter than with the work of art itself. I must especially warn you against the temptation to see in Leopold Bloom's erratic wanderings and petty adventures on a summer Dublin afternoon a direct parody of the Odyssey, where the advertising agent Bloom plays the role of Odysseus, otherwise Ulysses, the cunning hero; and Bloom's adulterous wife represents the virtuous Penelope, while Stephen Daedalus is given the role of Telemachus. A very approximate and very general reference to Homer apparently exists in the theme of Bloom's wanderings, as indicated by the title of the novel, along with many other classical allusions present in the book; but it would be a waste of time to look for direct parallels in every character and scene in Ulysses. There is nothing more boring than lingering allegories based on a well-worn myth; after the novel came out in installments, Joyce immediately crossed out the pseudo-Homeric chapter titles, seeing what scientists and pseudo-scientific pedants were aiming at. And one more thing: one of them by the name of Stuart Gilbert, misled by a derisive list compiled by Joyce himself, found that each chapter corresponds to a certain organ - ear, eye, stomach, etc., but we will also ignore this dull nonsense . All art is to some extent symbolic, but we shout: "Stop the thief!" - criticism that deliberately turns the artist's subtle symbol into a dry allegory of a pedant, a thousand and one nights into a collection of templars ( There is nothing more boring than lingering allegories based on a well-worn myth; after the novel came out in installments, Joyce immediately crossed out the pseudo-Homeric chapter titles, seeing what scientists and pseudo-scientific pedants were aiming at. And one more thing: one of them by the name of Stuart Gilbert, misled by a derisive list compiled by Joyce himself, found that each chapter corresponds to a certain organ - ear, eye, stomach, etc., but we will also ignore this dull nonsense . All art is to some extent symbolic, but we shout: "Stop the thief!" - criticism that deliberately turns the artist's subtle symbol into a dry allegory of a pedant, a thousand and one nights into a collection of templars ( There is nothing more boring than lingering allegories based on a well-worn myth; after the novel came out in installments, Joyce immediately crossed out the pseudo-Homeric chapter titles, seeing what scientists and pseudo-scientific pedants were aiming at. And one more thing: one of them by the name of Stuart Gilbert, misled by a derisive list compiled by Joyce himself, found that each chapter corresponds to a certain organ - ear, eye, stomach, etc., but we will also ignore this dull nonsense . All art is to some extent symbolic, but we shout: "Stop the thief!" - criticism that deliberately turns the artist's subtle symbol into a dry allegory of a pedant, a thousand and one nights into a collection of templars ( Joyce immediately crossed out the pseudo-Homeric chapter titles when he saw what scientists and pseudo-scientific pedants were aiming at. And one more thing: one of them by the name of Stuart Gilbert, misled by a derisive list compiled by Joyce himself, found that each chapter corresponds to a certain organ - ear, eye, stomach, etc., but we will also ignore this dull nonsense . All art is to some extent symbolic, but we shout: "Stop the thief!" - criticism that deliberately turns the artist's subtle symbol into a dry allegory of a pedant, a thousand and one nights into a collection of templars ( Joyce immediately crossed out the pseudo-Homeric chapter titles when he saw what scientists and pseudo-scientific pedants were aiming at. And one more thing: one of them by the name of Stuart Gilbert, misled by a derisive list compiled by Joyce himself, found that each chapter corresponds to a certain organ - ear, eye, stomach, etc., but we will also ignore this dull nonsense . All art is to some extent symbolic, but we shout: "Stop the thief!" - criticism that deliberately turns the artist's subtle symbol into a dry allegory of a pedant, a thousand and one nights into a collection of templars ( stomach, etc., but we will also leave this dull nonsense unattended. All art is to some extent symbolic, but we shout: "Stop the thief!" - criticism that deliberately turns the artist's subtle symbol into a dry allegory of a pedant, a thousand and one nights into a collection of templars ( stomach, etc., but we will also leave this dull nonsense unattended. All art is to some extent symbolic, but we shout: "Stop the thief!" - criticism that deliberately turns the artist's subtle symbol into a dry allegory of a pedant, a thousand and one nights into a collection of templars (1 ). So what are the main themes of the book? They are very simple. 1. Sad past. Bloom's little son died a long time ago, but his image lives on in the blood and in the mind of the hero. 2. Ridiculous and tragic present. Bloom still loves his wife Molly, but gives herself up to Fate. He knows that at 4:30 this afternoon in June, Boylan, her pushy impresario, will visit Molly - and Bloom does nothing to prevent it. He tries his best not to stand in the way of Fate, but during the day he constantly bumps into Boylan. 3. Pathetic future. Bloom runs into a young man - Stephen Daedalus. Gradually, he realizes that perhaps this is a small sign of attention from Fate. If his wife is to have a lover, then the sensitive, sophisticated Stephen is more suited to the role than the vulgar Boylan. Stephen could give Molly lessons, could help her with the Italian pronunciation needed in her profession as a singer - in short, as Bloom touchingly thinks, could have an ennobling effect on her. This is the main theme: Bloom and Fate. Each chapter is written in a different style, or rather with a different style predominating. There is no particular reason why this should be so—why one chapter should state the content directly, another through the prism of parody, and a third murmur in a stream of consciousness. There is no particular reason, but one can say that this constant change of point of view diversifies knowledge and allows you to look at the subject with a fresh look from different angles. Try to bend down and look back between your knees from below - you will see the world in a completely different light. Do it on the beach: it's very funny to see people walking upside down. It seems that with every step they release their legs from the glue of gravity, without losing dignity. This trick of changing eyes, changing angles and points of view can be compared to Joyce's new literary technique, with a new twist, On this day, the heroes constantly clash during their travels around Dublin. Joyce never loses sight of them for a moment. They come and go, meet, part, and meet again, like living parts of a carefully thought-out composition, in a kind of slow dance of fate. The repetition of a number of themes is one of the book's most striking features. These themes are much more clearly delineated and followed much more systematically than Tolstoy or Kafka. The whole "Ulysses", as we will gradually understand, is a deliberate drawing of recurring themes and the synchronization of minor events. Joyce has three main styles: 1. Initial Joyce: simple, transparent, logical and unhurried. This is the basis of chapter 1 of the first part and chapters 1 and 3 of the second part; transparent, logical, slow passages are found in other chapters. 2. Incomplete, fast, abrupt form of expression, conveying the so-called stream of consciousness or, rather, jumps of consciousness. Examples of this technique can be found throughout most of the chapters, although it is usually only associated with the main characters. We will discuss this device in connection with Molly's closing monologue in chapter 3 of the third part, the most famous example of it; now we can say that it exaggerates the verbal side of thought. And a person does not always think in words, he also thinks in images, while the stream of consciousness implies a stream of words that can be written down, but it is difficult to believe that Bloom is constantly talking to himself. 3. Parodies of various non-novel forms: newspaper headlines (Part II, Chapter 4), operettas (Part II, Chapter 8), mysteries and farces (Part II, Chapter 12), examination questions and answers on the model of the catechism (Part III, Chapter 2). As well as parodies of literary styles and authors: the burlesque narrator of part II, chapter 9, the type of ladies' magazine author in part II, chapter 10, a number of specific authors and literary eras in part II, chapter 11, and the elegantly executed newspaper in part III, chapter 1 . Staying within one style or changing them, Joyce can at any time enhance the mood, introducing a musical lyrical stream with the help of alliteration and rhythmic devices - usually to convey dreary feelings. Poetic style often accompanies Stephen, but an example of this style is also found in Bloom, when he gets rid of an envelope with a message from Martha Clifford: “Passing under a railway bridge, he took out an envelope, deftly tore it into shreds and let it fly into the wind. The shreds scattered, quickly falling down in damp air: a white flock; then everyone fell "( 2). Or, a few sentences later, when a huge stream of beer poured, "spreading over the dirty earth, winding, forming pools and whirlpools of intoxicating moisture, and carrying with it the broad-leaved flowers of its foam." At any other time, however, Joyce may resort to all sorts of lexical tricks, puns, word permutations, verbal call-outs, multiple verb pairings, or onomatopoeia. All this, as well as the overload of local allusions and foreign expressions, perhaps unnecessarily obscures this book, where, even without that, the details are not spelled out with sufficient clarity, but are only hinted at by the initiates. The text of "Ulysses" contains many secrets and riddles, but Joyce preferred to leave them unanswered. Researchers using various methods are trying to unravel all the dark places of Ulysses, however, there are still many of them, at least it is impossible to say exactly who the man in the mac was or what the inscription UP on the postcard means. Most often, Joyce's works had a difficult fate - censored stories happened one after another, plunging Joyce into despair. In Ireland, Joyce's name remained banned for a long time, even after the writer's death. Ulysses was first made available in the writer's homeland in the 60s, while the 1967 film based on the book Ulysses was only allowed in Ireland in the 21st century! The Irish, distinguished by national pride, for a long time could not forgive the writer's harsh statements about the country ("A pig devouring its piglets", etc.). Now James Joyce is one of the symbols of Ireland and Dublin. Back in the play " Exiles " Joyce wrote: "If Ireland is to become the new Ireland, it must become, first of all, a European country." Looks like Catholic Ireland has become part of Europe,

Initial reactions to the novel Ulysses, by James Joyce were that this book parallels itself with Homer s Odyssey. I initially thought that the idea of a day in the life of book would be interesting to read as well. In almost every novel you are able to get inside the head of the main characters and are able to feel their emotions at the moments they are feeling them and are able to experience what they experience but very rarely does a novel take you through every aspect of a human beings day and initially that is what I though this novel would be about.

Statements that intrigued me from the novel were, A man of genius makes no mistakes. His errors are volitional and are the portals of discovery. I liked this quote because it is very true to life. Everyone makes mistakes, but it is these mistakes, which we learn from, and what enable us to grow into the people we are.
What attracted me to this novel was that it all took place in the course of one day. I was fascinated by the almost a day in the life of type novel which I hadn t read anything of that type in ages. I was intrigued by the opportunity to read and be able to feel and experience every aspect of a human beings day.
The character that intrigued me was Leopold Bloom simply because he was a loner, and I am not the type of person who is afraid to be alone and have a need to have company every waking moment of the day. However that is all I could get out of Bloom. I could not identify very well with him and for this I was fascinated. For Leopold Bloom was a Jewish man who was very shut off from his Catholic and often anti-Semitic associates. He really did not have anything else in common with his colleagues either. Other aspects and characteristics of his alienation are how he left his house key in his other pair of pants but he was too afraid to go back and retrieve it for he did not want to wake Molly. His full name does not even appear in the newspaper report. There was no room for him at his office, and at one point during the day he is even struck by an opening door. Bloom is a thoroughly whole man, the negatives of his life out weigh the positives like so many of us but he is no saint and for that we cannot have too much sympathy for him, just like any other typical human being.
Ulysses is very similar to Homer s Odyssey. Homer s epic almost seemed to be the model or structure that Joyce used to create Ulysses. In the Odyssey, Telemachus decides to leave Ithaca and to search for his father, Odysseus, so that he and Telemachus might return home and will be able to drive away the suitors who are desecrating Ithaca while courting Penelope, Odysseus wife. In Ulysses, Stephen Dedalus is being forced out of the Tower by Haines and Mulligan. Just as Calypso held Odysseus captive, his wife Molly is holding Leopold Bloom captive. At the end of the Odyssey, Odysseus is reunited with his wife Penelope. At first, Penelope does not recognize her husband but is convinced only after Odysseus describes their bed. In Joyce s novel the scene is recreated with the Blooms bed, whose jingling sound has been heard, foreshadowed and developed through several scenes in the novel.
Striking details in this novel are how James Joyce s characters are so eerily similar to Homer s characters. Stephen Dedalus is Telemachus, Ithaca is the Blooms house, Molly Bloom is a mixture of both Penelope and Calypso, and Ulysses is Odysseus.
About the Author James Joyce left his native Ireland in 1902 and lived as an exile in various European cities. Having received a Catholic upbringing, he felt with special force the falsity of modern life, the distortion of humanistic norms in the culture of the 20th century. Joyce's first collection of short stories, The Dubliners (1914), puts him on a par with Chekhov and Maupassant. The writer paints Dublin, the capital of Ireland, as a city engulfed in spiritual paralysis, a city of the dead, where people only pretend to be alive. He wanted to end the collection with the story "Ulysses", the idea of ​​which later grew into his main novel. In the same year, Joyce's first novel, A Portrait of an Artist as a Young Man, was published in the Egoist magazine, where he begins to turn from the finalist of the realistic-naturalistic tradition into its main subverter.

The same Ezra Pound who contributed to the publication of Eliot's poetry found Joyce in the Austrian city of Trieste, where he was then working as a teacher of foreign languages, and asked for a novel on which Joyce had been working since 1914 for his Little Review. Publication of Ulysses began in 1918 and ended in 1920 when the censors banned the novel as "obscene". In 1921, Joyce put the last point in the manuscript, and in 1922 the novel was published as a separate book by the Parisian publishing house Shakespeare and Company. The immediate ban on it created an atmosphere of notoriety around the complex avant-garde text, and by the end of the twenties, Ulysses, along with Eliot's poem The Waste Land, published in the same 1922, began to be perceived as the banner of modernist literature.

Joyce joked that with "Ulysses" he set the universities to work a hundred years in advance, and his joke came true. Already from the beginning of the 1930s, special monographs about the novel, "guides" and "comments" to "Ulysses" began to appear. The lifting of the injunction against the novel in 1933 and the expiration of the novel's copyright in 1992 (copyright lasts for eighty years from the time of first publication) were two notable milestones in the development of critical literature on the novel.
Such a difficult history of the publication of the novel has led to numerous distortions of the text, and to this day literary scholars produce "correct" versions of "Ulysses", which cause noisy debate. One way or another, there is no generally accepted, final version of the original text. The first complete translation into Russian by V. Hinkis and S. Khoruzhy, published in the journal "Foreign Literature" in 1989 (with detailed comments by E.L. Gelieva; all 18 chapters of the seven hundred-page novel were published in each issue of the journal during the year), became, albeit with a delay of 70 years, an event in Russian cultural life.
About the work. The action of the novel takes one day - June 16, 1904, from eight in the morning until three in the morning. Thus, in this longest day of world literature, Joyce immortalized the day he met his wife, Nora Barnacle. The scene, as in all other works of Joyce, is his native Dublin. Its streets, shops, restaurants, libraries, cemeteries and hospitals, squares and private houses, churches and places of entertainment are depicted here with all possible accuracy. Joyce's Dublin is a multi-layered image: it is both a sensually tangible material environment, which the characters of the novel perceive differently, and the ancient capital of one of the oldest countries in Europe, standing on the seashore. The city lost its metropolitan gloss, turning, together with all of Ireland, into a European backwater. The feeling of locality is created by the fact that
The novel reproduces all the events of one day in the life of the three central characters. The first to appear in the novel is Stephen Daedalus, the hero of the novel "Portrait of the Artist as a Young Man", whom we see two years after the end of the action in "Portrait". Steven is an ironic self-portrait of young Joyce, an intellectual who has difficulty communicating with people. More than a year ago, his father summoned him from Paris by telegram so that he could say goodbye to his mother before her death, and a year after the funeral he is still in Dublin and still in mourning. Steven teaches history at a boys' school and he is oppressed by everything - his place, his friends, his job, he feels a penchant for creativity, but as a person and as an artist he has not yet matured, and his internal conflicts revolve mainly around his relationship with his parents . His father Simon constantly criticizes his son and deprives him of faith in himself. For Stephen, his own father is "a father according to the flesh" and only, but he needs a father who would be a spiritual support, would awaken a creative beginning in him. And the story with his mother is a heavy burden on Stephen's conscience - he is haunted by memories of how he refused his mother in her dying request to pray. The image of the mother merges for him with the idea of ​​the church, from which he renounced, of the homeland that he left. Stephen needs spiritual support to get through this growth crisis, he needs symbolic parents. Steven is described in detail in the first three chapters of the novel, where he teaches a lesson at the school, talks with its director, then he appears in it less and less. which would be a spiritual support, would awaken in him a creative beginning. And the story with his mother is a heavy burden on Stephen's conscience - he is haunted by memories of how he refused his mother in her dying request to pray. The image of the mother merges for him with the idea of ​​the church, from which he renounced, of the homeland that he left. Stephen needs spiritual support to get through this growth crisis, he needs symbolic parents. Steven is described in detail in the first three chapters of the novel, where he teaches a lesson at the school, talks with its director, then he appears in it less and less. which would be a spiritual support, would awaken in him a creative beginning. And the story with his mother is a heavy burden on Stephen's conscience - he is haunted by memories of how he refused his mother in her dying request to pray. The image of the mother merges for him with the idea of ​​the church, from which he renounced, of the homeland that he left. Stephen needs spiritual support to get through this growth crisis, he needs symbolic parents. Steven is described in detail in the first three chapters of the novel, where he teaches a lesson at the school, talks with its director, then he appears in it less and less. from which he renounced, about the homeland that he left. Stephen needs spiritual support to get through this growth crisis, he needs symbolic parents. Steven is described in detail in the first three chapters of the novel, where he teaches a lesson at the school, talks with its director, then he appears in it less and less. from which he renounced, about the homeland that he left. Stephen needs spiritual support to get through this growth crisis, he needs symbolic parents. Steven is described in detail in the first three chapters of the novel, where he teaches a lesson at the school, talks with its director, then he appears in it less and less.
In the fourth chapter, the reader is introduced to Mr. Leopold Bloom and his wife, Mrs. Marion (Molly) Bloom. Bloom is 38 years old, he is an advertising agent, the most ordinary person; she is a singer performing classical arias and Irish folk songs in concert. They have a fifteen-year-old daughter, Millie, and had a son, Rudy, who died eleven years ago right after birth.
Both spouses are not quite "their" in Dublin. Bloom is the son of an Irish woman and a Hungarian Jew who committed suicide, and in nationalist-infected Ireland, Bloom is not allowed to forget his Jewish blood. Molly, the daughter of a military man, grew up without a mother in the garrison in Gibraltar, and there is something warm, Spanish about her that keeps her warm in damp Ireland. The death of her son has broken their marital happiness - Molly is cheating on Bloom with her impresario, Buyan Boylan, and her husband, knowing this and loving her. flirting with other women.
On the day described, Bloom dresses in black in the morning because he is to take part in the funeral of a friend, and on this fine summer day, mourning clothes distinguish him and Stephen from the crowd dressed in light. After the funeral, Bloom has lunch, goes on business, visits a friend in the maternity hospital. Just as Daedalus is subconsciously looking for his father, Bloom is subconsciously looking for his lost son, and when at the end of a long day filled with various chores and events their paths cross, Bloom saves a drunken Steven from trouble with the police and invites him to his place. Here, in the Blooms' kitchen, they are talking over a cup of cocoa, during which Stephen makes important decisions about his future, and Molly sleeps upstairs and dreams. With this dive into Molly's mind - a forty-five page unpunctuated chapter - and her final "yes", the novel ends.
Thus, on the surface in front of the reader is a purely naturalistic text, replete with the smallest details, in which the narration is conducted in each chapter in different ways (from the third person, from the name of the nameless and named narrators, from the perspective of the main characters). This is a novel that reproduces with unheard of thoroughness all the thoughts and impressions of the characters during one day of their life. However, everything in the novel takes on a different meaning when read from the angle of Joyce's true intention.
The novel as the dominant genre in modern literature, Joyce returns to its epic origins. He creates an epic of modern life, an epic on the scale of Homer's "Odyssey" (after all, "Ulysses" is a variant of the name "Odysseus"), he enters into a creative competition with Homer, Dante, Cervantes. The novel is based on the Homeric myth about the adventures of Odysseus. Each chapter of the novel corresponds to one or another episode of the wanderings of Odysseus, and in critical literature they are called so according to the episodes of the Odyssey: chapter 1 - Telemachus, chapter 2 - Nestor, chapter 3 - Proteus, chapter 4 - "Calypso", etc., until the 18th chapter - "Penelope". All three main characters of the novel are based on the characters of the Odyssey myth.
Joyce considered the Odyssey archetype to be the most “rounded” image of all world literature. In fact, Odysseus is the first of the ancient heroes, whose weapons were not only physical strength, but intelligence, cunning, various skills; Homer's Odysseus is shown in all the life roles that can befall a man - he is a son, husband, lover, father, leader and beggar, diplomat and braggart. That is, the whole fullness of life experience is concentrated in the Odyssey, and Joyce creates such a “universal person”, “any and everyone”, in the image of Bloom, the anti-heroic hero of our time, who is shown from the same angle as Eliot’s Prufrock. Molly is a modern Penelope, and Stephen Daedalus, respectively, is a parallel to Odysseus' son Telemachus.
Joyce's intention in Ulysses is "to see everything in everything". One ordinary day turns into an epic story about the history of the oldest of European capitals - Dublin, about two races, Irish and Jewish, and at the same time into an image of the entire history of mankind, into a kind of encyclopedia of human knowledge, and into an abstract of the history of English literature. Joyce retains the realistic certainty of time and space on the surface of the narrative. Since the main action is played out in the minds of the characters, time and space in the novel acquire a universal character: everything happens at the same time and everything penetrates each other. For this, Joyce needs a myth - in the myth, modernists find a foothold, a way to resist a torn, fragmented modernity. Myth gives integrity to the novel as a receptacle for the universal properties of human nature,
When Joyce wrote about Ulysses, "I want to transpose the myth in the light of modernity," he was not referring to one particular Odyssey myth at all. This is a structure-forming myth in the novel, but it also contains a number of ancient and Christian myths, cultural myths of European history. In separate episodes of the novel, Virgil, then Christ, then Shakespeare begins to peep through Bloom; in Stephen - Thomas Aquinas, Hamlet. The highest degree of saturation with cultural allusions suggests a reader who is freely oriented in the history of world culture. This explains why Ulysses is called a myth novel: Joyce not only uses here numerous myths from different cultural eras, but also creates his own myth about Dublin as a model of a modern European capital, a myth about its inhabitants as typical modern Europeans.
Besides, "Ulysses" is a cipher novel. This refers to the extreme rationalism of the novel structure, the rigid alignment of each word. In 1930, Joyce took part in the creation of S. Gilbert's book "Ulysses" by James Joyce. Guide to the novel”, where he revealed some of the meanings he had in mind in the roll calls of individual images, episodes, fragments of the novel. And yet, far from all the meanings of the novel have been unraveled by commentators, and one of the pleasures for the intellectual reader when reading Ulysses is its deliberate mystery, looking at it as a kind of cipher, as a rebus novel that is not subject to final solution.
Of the cross-cutting themes of the novel, only one, the search for a father and fatherhood, can be directly traced back to the Odyssey. The remaining themes - remorse for past mistakes, compassion as the only possible way to people, gaining a new point of view on oneself and one's life as a result of spiritual growth through suffering - belong to the literature of the 20th century. Joyce measures the humanity of his characters with the ability to compassion and repentance, and those who do not regret past sins (Simon Dedalus, Buck Mulligan) are opposed to the central characters, each of whom is endowed with this ability.

2.2 Plot of the book and characters

The anti-bourgeois and satirical aspects of the content of Ulysses, so obvious when it was published, have faded somewhat today, but the reader's perception of the style of the novel has not changed.
For most readers, Joyce's name is forever associated with the "stream of consciousness" technique, the first consistent use of the principle of internal monologue. It cannot be said that this was Joyce's discovery. In the realistic literature of the 19th century, this device was already used, for example, by Leo Tolstoy in the scene of Anna Karenina's trip on the eve of her suicide. It was first applied consistently in English literature by Dorothy Richardson quite a short time before Joyce. But the merit of the Irish writer is that he gave this device a new scale, making it the basis of the narrative in his novel, and thereby revealed all the possibilities inherent in the internal monologue and used them brilliantly.
Thanks to the "stream of consciousness" the reader knows not only more about Joyce's heroes than about any other heroes of world literature, but knows them more intimately, more directly. The "stream of consciousness" allows you to capture not only the conscious thoughts of the character, articulated in the word; Joyce reaches a new level of psychological authenticity when he shows interruptions in the work of human thought, its associativity, and the role of external impressions. In the morning, while the consciousness of the heroes is not yet loaded with impressions accumulating during the day, they think quite clearly, in complete sentences, relatively logically. As their day unfolds, the mind becomes more and more tired, less formal logic and more individual, bizarre moves, digressions from grammar, and broken phrases, and unfinished words.
Joyce's style is generally uncomplicated - simple, not too long sentences, rather simple vocabulary, but at the same time, in the "stream of consciousness" there is a rejection of the principle of the logical deployment of the text. Cause-and-effect relationships in it can be deliberately cut off, or mixed up in such a way that the perception of the text is as difficult as possible. The possibilities of the "stream of consciousness" are most fully demonstrated in Molly's famous forty-five-page internal monologue at the end of the novel. The woman falls asleep; fragments of impressions and worries of the past day flash through her mind, memories of the time of her girlhood, of her various lovers. These are very frank pages, which became the main reason for the ban of the book in England in 1922, but the form of the internal monologue acted just as irritatingly on critics - it does not contain a single punctuation mark, this is precisely the stream of the subconscious that has escaped to the surface. A very common reproach to Joyce is that, at such an enlarged scale of the image, it turns out that any human life consists of very similar elementary building blocks; personality is atomized, and individual distinctions are erased. This reproach merely states that in Ulysses Joyce succeeded in putting an end to the history of the realistic novel: all its tendencies, including psychologism, are brought to their logical end in Ulysses.
Analysis of the 4th chapter. Let's get acquainted with Joyce's "stream of consciousness" technique using the example of the fourth chapter of the novel, "Calypso". This is a relatively simple example of Bloom's morning clarity. The narration comes from the third person, but the traditional device of the omniscient author is greatly transformed, as the author gradually abandons expressions like “he watched”, “he listened” and moves on to phrases that directly express the content of the hero’s consciousness.
Early morning at the Blooms' home at 7 Eccles Street, northeast Dublin. He cooks breakfast for himself, Molly and their cats; leaves the house for kidneys for breakfast, on the way exchanging words with acquaintances, buys from the butcher Dlugach for threepenny last kidney from the display case; returning home, he picks up mail from the floor in the hallway (a letter from his daughter and a postcard addressed to Molly and a letter from Boylan), takes Molly upstairs to the bedroom with a breakfast tray. While they are talking upstairs, a kidney left in a frying pan in the kitchen burns; Bloom rushes down and, eating juicy meat, carefully reads a letter from his daughter. Having finished, he reads the Shards magazine in the toilet and thinks that he, too, could earn extra money with such writing, and, relieved, leaves the house at a quarter to nine, without taking the key and thinking about the upcoming funeral of Dignam.
Each chapter of "Ulysses" corresponds to some organ of the human body - here it is the kidney, the organ responsible for cleansing the body, and Joyce for the first time in literature shows his hero in the process of cleansing the intestines, extremely naturalistically. Also, each chapter is devoted to some art, science or practical area - here it is economics, more precisely, home economics. The through symbol of this episode is the nymph. Above the bed of the Blooms hangs "The Bathing of a Nymph". Addendum to the Easter issue of "Fotokartinki": "a luxurious masterpiece, magnificent colors. Like tea, before the milk was poured. Looks like her with her hair down, only thinner. Three and six were given for the frame. She said: over the bed it will be beautiful. Calypso, who bewitched Odysseus and released him only at the direct command of Zeus, is not directly named, but the nymph in the picture looks like Molly,
Bloom in this episode first appears in an ironic light: “Mr. Leopold Bloom ate the internal organs of animals and birds with pleasure ... He loved mutton kidneys on coals, which left a delicate aftertaste with the aroma of urine in the mouth.” The first paragraph is built on the contrast of the hero's romantically lofty name (Leopold means "lord of the world, king of the earth", Bloom is the English translation of his father's surname, Virag, both meaning "flower") and his "base" taste for giblets and offal. But this taste indicates that Bloom is not afraid of the flesh, which so frightens Stephen Dedalus, he is attracted by the taste and smell of all living things, he eats and drinks with appetite, he is distinguished by a mature, developed sexuality.
In the scene with the cat, Bloom demonstrates the gift of empathy, the ability to put oneself in the place of another - he is sincerely interested in animals, he looks at himself through the eyes of a hungry cat: “I wonder how I seem to her? As high as a tower? No, she can jump on me.” His conversation with the cat and the first dialogue with Molly, when he asks her, half asleep, if she should grab something for breakfast, do not strain the reader's understanding. But the paragraph describing the tinkling of the mattress springs under the tossing and turning Molly is already more characteristic of the “stream of consciousness” technique, since it requires the reader to actively work his thoughts to fill in the semantic gaps.
The author imperceptibly introduces a lot of new information and doses it in such a way that the reader has to guess about possible connections between individual sentences, so to speak, information quanta. "It's a pity. From Gibraltar, not a short journey. I completely forgot Spanish, and the little that I knew. I wonder how much dad paid for it. The style is old. At the governor's sale. I whispered to the auctioneer. As for the money, old Tweedy flint,” Bloom recalls that the old bed, his marital bed, is part of Molly’s dowry, and fantasizes the story of the acquisition of the bed by a stingy father-in-law.
He puts on his hat and goes out onto the porch of the house. Again, within one paragraph and even one sentence, the narrative fluctuates between third and first person: “On the porch, he felt his trouser pocket: is there a key. No. The ones you left. We should take it. Potato in place. The wardrobe creaks. You shouldn't worry her. He pulled the door towards him, carefully, just a little more, until the protective strip at the bottom covered the sill with a tired eyelid. Looks like it's closed. It will come before my arrival." The mysterious "potato" is explained elsewhere in the novel - it is a talisman given to Bloom by his mother, a memory of a terrible famine in Ireland in the forties; the potato is supposed to keep him from starvation. In addition, there is a crossover with an episode from the beginning of the novel, when Buck Mulligan demands from Stephen the key to the Martello Tower, in which they live with a third friend. This housing is entirely paid by Steve; by giving the key to Mudligan, he symbolically ceases to be in the house to which he is entitled.

Bloom has the keys to the house in everyday trousers, he will carry the whole day without keys, which symbolizes that he is not the master in his house either - Buyan Boykaya is in charge of it, coming to Molly at a convenient time for him and sleeping with her on that the bed itself from Gibraltar. Of course, this hosting of strangers in a house that rightfully belongs to another is a repetition of the situation on Ithaca in the absence of Odysseus, when the suitors besiege Penelope.

Heading to the butcher's shop on the sunny side of the street, Bloom fantasizes about a beautiful oriental country where you can hang around all day, quench your thirst with sherbet, meet a couple of robbers and admire the girls playing "this instrument, what is it called, cymbals." Here the theme of the East, which is extremely important for the cultural context of the novel, appears. The East contrasts with European civilization, and it is only in dreams set in the East that all three characters actually meet. The East in this chapter is associated for Bloom with his Jewish roots, with an advertisement for a "model farm on the shores of Lake Tiberias", which is printed on a wrapper in a butcher's shop, with Agendat Negaiim - a partnership of planters in Palestine, with images of olives, oranges, lemons - and with biblical images of Sodom, Gomorrah, Edom.
Conclusion

The reading of a literary work turns in Joyce into an intellectual exercise, by definition, attractive to the narrowest circle of readers, because in "Ulysses" Joyce took the path of overcoming all the conventions of the classic novel by breaking the usual narrative norms and creating a new integrity by referring to the ancient myth. Myth is his main way of returning to integrity, to the epic in the world, which, as the technique of each individual chapter testifies, is fragmentary, chaotic, random, comprehensible only when multiple points of view are superimposed. It is not for nothing that Bloom repeats the astronomical term “parallax” several times in the novel, a word clearly not from his lexicon, which means that the coordinates of an object can be accurately established by combining several points of view on the object of observation.

Joyce's last novel, Finnegans Wake (1939), goes even further in breaking away from the traditional novel form. But although Joyce did not and could not have direct followers in the genre of the novel, since his experiment exhausted the traditional idea of ​​the genre, it is impossible to imagine the culture of the 20th century without this experiment.