The focus of Joyce's Ulysses is for the most part surrounded by men. The only mention of women usually is wrapped up in negative or sad connotations. Molly is viewed as a sexy seductress who is cheating on her husband (for reasons that have not been fully explained); however, the reader cannot help but sympathize with Bloom over Molly. Despite the fact that Bloom is corresponding with another woman and staring down random women walking down the street, the reader stills continues to view Bloom as more of the victim. Joyce never lets us into Molly's head; thus, there is no true justification for her actions. She never gets a chance to explain herself or express her feelings. The reader is only exposed to a one-sided story.
Outside of Molly, Stephen's sisters are the only other female characters that we get to spend time with. Nevetheless, Joyce only provides the reader with a snippet into their lives. He momentarily acknowledges their dire situation and how they are struggling for funds, but he does not spend much time dwelling on the issues. Instead, he returns to Stephen and Bloom's inner struggles. The female characters in Ulysses are much more two dimensional than the male characters. Joyce does not take the same amount of care and time to illuminate the novel's female figures. He chooses to leave them as peripheral figures in his 24 hour novel. Nevertheless, it would have been interesting if Joyce had documented Molly's side of the story in order to create a contrast with Bloom's version. I think it would have been cool if he had created a chapter where he documented Bloom's and Molly's consciousness simultaneously while they were in the same place experiencing the same event.
Monday, April 7, 2008
Hurray for the Irish, but not the Irish Jews
In episode 13th, the Cyclops, antisemitism gets pushed to the forefront allowing the reader to witness it in its raw form where it is not hidden under the auspice of jokes or unspoken thoughts. The citizen openly antagonizes Bloom, the only jewish individual in the pub. He viciously attacks Bloom's identity as a Jew and views Bloom's perception of himself as an Irishman as laughable.
One would think that the citizen would be sympathetic towards the persecution of the Jews due to the fact that his own nation is suffering from English rule and oppression. Instead of focusing his anger on England, he decides to attack Bloom and all Bloom stands for: a jew and a second generation Irishman. The citizen does not realize that by ostracizing and harrassing Bloom he is partaking in the vicious cycle of oppression and persecution that he is trying to destroy in Ireland. Hence, the citizen is an elitist due to the fact he believes the rules involving freedom and persecution apply to some and not others.
If Joyce intended Bloom to be a Christ-like figure in this episode then the citizen mirrors a Judas-like figure because although he is fighting for Irish nationalism and unity, he believes this right belongs only to the real Irish. The citizen appears as if he is advocating togetherness; however, he betrays and persecutes those that do not fit his criteria like Bloom. By ostracizing and mocking Bloom, the citizen presents Bloom to a world where he can be further persecuted and follow a path similar to Christ.
One would think that the citizen would be sympathetic towards the persecution of the Jews due to the fact that his own nation is suffering from English rule and oppression. Instead of focusing his anger on England, he decides to attack Bloom and all Bloom stands for: a jew and a second generation Irishman. The citizen does not realize that by ostracizing and harrassing Bloom he is partaking in the vicious cycle of oppression and persecution that he is trying to destroy in Ireland. Hence, the citizen is an elitist due to the fact he believes the rules involving freedom and persecution apply to some and not others.
If Joyce intended Bloom to be a Christ-like figure in this episode then the citizen mirrors a Judas-like figure because although he is fighting for Irish nationalism and unity, he believes this right belongs only to the real Irish. The citizen appears as if he is advocating togetherness; however, he betrays and persecutes those that do not fit his criteria like Bloom. By ostracizing and mocking Bloom, the citizen presents Bloom to a world where he can be further persecuted and follow a path similar to Christ.
Bloom is Hamlet?
Bloom reminds me a bit of Hamlet. He is a man of little action (when it comes to defending himself). At the bar in episode 12, he finds himself against the common man in regards to several opinions. He thinks that capital punishment is the best solution, and that man's crimes are unforgivable, yet he also believes in communal and filial love. Both of these perspectives oppose everyone else in the bar's ideas.
Bloom, a Jew, is antagonized, but he does not defend himself. People get unfavorable opinions of him because he is secretive and does not drink. Like Hamlet, Bloom is a total social outcast who does not do what is sufficient to defend himself. Consequently, he is unhappy for it.
Everyone knows that Bloom's wife, Molly is cheating on him. Bloom even spots Boylan, but does nothing. In episode 12, during the hour of unfaithfulness, Bloom sits miserably in the bar thinking about what is going on. Just like Hamlet, who did not know how to act to respond to the "outrageous arrows" of misfortune, Bloom does not know what to do.
Bloom, a Jew, is antagonized, but he does not defend himself. People get unfavorable opinions of him because he is secretive and does not drink. Like Hamlet, Bloom is a total social outcast who does not do what is sufficient to defend himself. Consequently, he is unhappy for it.
Everyone knows that Bloom's wife, Molly is cheating on him. Bloom even spots Boylan, but does nothing. In episode 12, during the hour of unfaithfulness, Bloom sits miserably in the bar thinking about what is going on. Just like Hamlet, who did not know how to act to respond to the "outrageous arrows" of misfortune, Bloom does not know what to do.
Episode 13 Dicussion Questions
How does the way Joyce describes the setting, the characters, and the many mannerisms of the beginning of episode 13 closely relate it to the part of the Odyssey where Odysseus is shipwrecked on the isle of the Phaeanicians and his meeting with Nausicaa (the title of this episode)?
Characterize Bloom. Is he a complete and hopeless pervert, or is there more to his interpretation of romance and women than what sexual pleasures he can obtain from them? Why is Bloom married to a powerful seductress yet enjoys the attractiveness of other women as well?
Characterize Bloom. Is he a complete and hopeless pervert, or is there more to his interpretation of romance and women than what sexual pleasures he can obtain from them? Why is Bloom married to a powerful seductress yet enjoys the attractiveness of other women as well?
Sunday, April 6, 2008
Stand up for yourself! (Part Two)
As we learn more and more about Bloom and his supporting cast that he runs in to throughout his day, a lot of preconceptions about Bloom change. Since my last post about Bloom and his inability to not only deal with his problems head on, but also to actually realize that he is mocked by many men in Ireland, I have come to understand (after reading Episodes 12 & 13) that Adam Stoller made a good point, I do not think that Bloom will ever come to face these men, and his reputation throughout Dublin will probably continue to be rather poor for the remainder of his days.
Bloom just seems to not understand that he is not highly thought of. After episode twelve's scuffle with the citizen and the rest of the men in the bar talking behind Bloom's back and showing disgust whenever he attempts to enter into a conversation, and Bloom thinking in episode thirteen that "oh maybe the citizen was joking and did not mean what he was doing when he threw that biscuit tin at the car"
Men judge Bloom because of his Jewish heritage and his falling-apart relationship with Molly (among other things), where he is basically being led around by a string by Molly. One thing I can give to Bloom is that at least he is not oblivious to the fact that Boylan and Molly may have something going on secretly. But even giving him this takes more away from him because I do not believe (from waht I know about Bloom so far through episode 13) is that he will never stand up to Molly or Boylan. He will never call out their relationship and try to fix his own with Molly. It is rather sad and pathetic that Bloom, although he may be a bit odd (he basically masturbated in front of a girl at the beach then got up and tried to fix his stained shirt in episode thirteen) he is still a rather good man who cares about his daughter and avoids drinking binges and owing money and all the other problems that the rest of these men who judge Bloom have. It seems to me that all these men are the pot calling the kettle black. But that is one thing that makes this book interesting, this is the way it works in real life. Men are quick to judge and be hypocritical without solving their own problems.
Bloom just seems to not understand that he is not highly thought of. After episode twelve's scuffle with the citizen and the rest of the men in the bar talking behind Bloom's back and showing disgust whenever he attempts to enter into a conversation, and Bloom thinking in episode thirteen that "oh maybe the citizen was joking and did not mean what he was doing when he threw that biscuit tin at the car"
Men judge Bloom because of his Jewish heritage and his falling-apart relationship with Molly (among other things), where he is basically being led around by a string by Molly. One thing I can give to Bloom is that at least he is not oblivious to the fact that Boylan and Molly may have something going on secretly. But even giving him this takes more away from him because I do not believe (from waht I know about Bloom so far through episode 13) is that he will never stand up to Molly or Boylan. He will never call out their relationship and try to fix his own with Molly. It is rather sad and pathetic that Bloom, although he may be a bit odd (he basically masturbated in front of a girl at the beach then got up and tried to fix his stained shirt in episode thirteen) he is still a rather good man who cares about his daughter and avoids drinking binges and owing money and all the other problems that the rest of these men who judge Bloom have. It seems to me that all these men are the pot calling the kettle black. But that is one thing that makes this book interesting, this is the way it works in real life. Men are quick to judge and be hypocritical without solving their own problems.
Friday, April 4, 2008
Life Intertwined in Death
Bloom is cynical about death and treats it with unusual casualness, suggesting at one point that it would be more practical to bury corpses standing up. He doesn't believe in the idea of resurrection, and even makes a joke about the Lazarus story. Perhaps his cynicism comes from his experience with death.
He thinks of romance occurring in cemeteries. This idea of an act of procreation in a place that serves as the resting house of death shows Bloom's musings on the intertwining nature of life and death. "In the midst of death we are in life. Both ends meet." That's the theory, anyway. Maybe what Bloom really feels is that he's had too much of the latter, with his father committing suicide and his son, who is supposed to be the continuation of his life, prematurely passing on. In his case, it's unbalanced.
The unbalance shows in episode 6's heavily death-themed setting. Aside from the obvious fact that he's on his way to a funeral, the presence of death is made clear in subtler ways. A man who stands on a barge, floating slowly on the waterway, bears some resemblance to Charon, the ferryman of Hades. We even have a Cerberus-like figure; "bully about the muzzle he looks," thinks Bloom of Father Coffey, noting also that Coffey sounds like coffin. We're missing a Hades figure, though. Maybe it's the man in the mackintosh, number 13, "death's number."
He thinks of romance occurring in cemeteries. This idea of an act of procreation in a place that serves as the resting house of death shows Bloom's musings on the intertwining nature of life and death. "In the midst of death we are in life. Both ends meet." That's the theory, anyway. Maybe what Bloom really feels is that he's had too much of the latter, with his father committing suicide and his son, who is supposed to be the continuation of his life, prematurely passing on. In his case, it's unbalanced.
The unbalance shows in episode 6's heavily death-themed setting. Aside from the obvious fact that he's on his way to a funeral, the presence of death is made clear in subtler ways. A man who stands on a barge, floating slowly on the waterway, bears some resemblance to Charon, the ferryman of Hades. We even have a Cerberus-like figure; "bully about the muzzle he looks," thinks Bloom of Father Coffey, noting also that Coffey sounds like coffin. We're missing a Hades figure, though. Maybe it's the man in the mackintosh, number 13, "death's number."
Thursday, April 3, 2008
What the Blind Don't See
Up to this point, the chapter titles and thematic parallels between Ulysses and the Odyssey seem to highlight significant similarities. Episode 11, however, accentuates the differences. In the Odyssey, under Circe’s advisement, Ulysses orders his men to fill their ears with wax and bound him to the ship in order to resist the temptation of the mellifluous and seductive sirens. But in Ulysses there is no shining protagonist who turns his back on temptation. Bloom indulges in his sexual correspondences with Martha (even though he is bored of it); Dollard throws away his illustrious carrier for alcohol; and Boylan ogles, diddles, and fondles anything that moves (though he does prefer the bronze-haired girl over the gold one).
Bloom does, however, shy away from the prostitute he recognizes on the street:
“A frowsy whore with black straw sailor hat askew came glazily in the day along the quay towards Mr Bloom. When first he saw that form endearing? Yes, it is. I feel so lonely. Wet night in the lane. Horn. Who had the? Heehaw shesaw. Off her beat here…Too dear too near to home sweet home. Sees me, does she? Looks a fright in the day. Face like dip. Damn her. O, well, she has to live like the rest. Look in here.
But his resilience comes from shame not strength of will.
The only character who resists temptation is the blind man who cannot see the alluring beauties in front of him. He, like the sailors with wax in their ears, resists temptation out of ignorance. Joyce’s commentary on human restraint is awfully pessimistic: only he who cannot be tempted, will not be tempted.
Bloom does, however, shy away from the prostitute he recognizes on the street:
“A frowsy whore with black straw sailor hat askew came glazily in the day along the quay towards Mr Bloom. When first he saw that form endearing? Yes, it is. I feel so lonely. Wet night in the lane. Horn. Who had the? Heehaw shesaw. Off her beat here…Too dear too near to home sweet home. Sees me, does she? Looks a fright in the day. Face like dip. Damn her. O, well, she has to live like the rest. Look in here.
But his resilience comes from shame not strength of will.
The only character who resists temptation is the blind man who cannot see the alluring beauties in front of him. He, like the sailors with wax in their ears, resists temptation out of ignorance. Joyce’s commentary on human restraint is awfully pessimistic: only he who cannot be tempted, will not be tempted.
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