Bloom lacks heroism in appearance, temperament and action. He is humble and incompetent, with a slightly heavy personality. This is a Jew living in Ireland, an ordinary advertising salesman. From the outside, he is a middle-aged man with a slightly fat body and a fairly honest face. Temperament, he is a "love children, lack of heroic spirit" role: at home, he cares about his wife and daughter, dogs, mice and so on; Outside his family, he also cares about homeless children, pregnant women in dystocia, blind young people and Stephen in need of care. He is "the kindest, gentlest and kindest person ever, and a hen can reach out and catch her eggs". In behavior, he is an ordinary person who is busy eating and drinking Lazar, chicken and dog pieces, immersed in secular desires, and has vulgar habits such as masturbation and psychosexuality.
He knew that his wife Molly was provoking her lover everywhere, but he couldn't stop her. It is an excuse to run away from home and create conditions for the wife and lover to date. Generally speaking, he was born a low-key and modest person, taciturn, even taciturn. But because of his Jewish identity, he was laughed at and rejected by most people around him. During the nearly 19 hours of wandering away from home, he was discriminated and insulted by President Dai, Mulligan, Irish citizens, idle people in pubs and even Irish brothel owners. He was called a "new woman" by medical student Dixon, described as a "hermaphrodite" by Mulligan, and even maliciously attacked by "citizens" as a "half-yin and half-yang person, neither donkey nor horse. At the same time, they were oppressed by British colonists represented by British soldiers such as Carl and Compton, and they could only obey in fear. Because of his low social status, he had to bear this double oppression and live cautiously and humbly.
What Bloom did was cowardly at first glance, but it was actually the survival wisdom of the weak. The weakness of the Jewish nation made their resistance only a form of spiritual protection. As a descendant of a Jew who suffered near extinction, Bloom is very aware of the Jewish historical experience and their own situation, and has an innate sense of hardship.
Molly bloom
Molly (Bloom's wife) is a bohemian amateur singer. She was born in Gibraltar and her father was an officer. Molly is a vulgar, sexy, energetic and uneducated woman. She is committed to pursuing her own happiness. But she also appreciates her husband's quality.
Molly represents the hope of Ireland, as if her lewd and self-supplementing energy pushed away the double oppression of British colonists and Roman Catholicism, suggesting that she would survive and surpass them. She became an old woman symbolizing Ireland-an old woman delivering milk in Thierry Marco. She also became the Celtic reproductive goddess Danu, thus replacing the previously infertile Irish female image.
The reunion of Molly and Bloom in the novel represents the possibility of Ireland's return sooner or later. Molly is not a complete person because she doesn't care about politics, death and morality, and she doesn't care about other people's feelings. Molly is an enlightening alien. From Molly's monologues, we can see that she is a complicated and unsophisticated person. Molly recreates reality in her own imagination. She represents Joyce's emotion and the potential romance in Ulysses.
Stephen de Duluth
Stephen, a young poet, is a young teacher with empty spirit and depressed spirit. Stephen lives in a dead and suffocating Dublin. Like most people in this dangerous city, Stephen cannot get rid of the shadow of moral paralysis. He is a contradictory figure. He is lonely, depressed, but pretentious. He is sentimental, fragile and cynical. However, Stephen's reversal in character and consciousness is both unexpected and reasonable. Young intellectuals like Stephen have no choice but to be depressed and sink in an era of serious alienation. One of the themes of Ulysses is to expose the evils of colonial rule and carry forward the spirit of Irish national liberation.
In the first chapter of Ulysses, Stephen, the protagonist of the novel, asks Mulligan, who lives with him, in the first sentence: "How long will Haines stay in this watchtower?" Then he added, "If he wants to stay here, I'll leave." Stephen hates Heinz, an Englishman brought by Mulligan, and doesn't want him to live in his rented tower. Soon, he thought he was "a servant, a servant." Because according to its religious concept, the British are servants of God, and the Irish enslaved by the British, including Stephen, are servants of servants. When the old milkmaid came to the watchtower, Stephen immediately thought, "An old woman running around waiting for her conqueror." The poor old woman is the image of Ireland in mythology, and the "conqueror" refers to the Englishman represented by Hynes. As soon as Stephen appeared, he constantly accused the British Empire of slavery to Ireland in his flowing consciousness.
When Hayes told Stephen to accept his remarks, Stephen thought, "They washed and washed, wiped and wiped, and their conscience condemned and they felt guilty. But there is still a little blood here. " Here, Stephen uses the scene of Lady Macbeth urging her husband to kill in Shakespeare's tragedy Macbeth, hallucinating that there is always blood on his hands, and exposing the bloody rule of the British Empire over Ireland. Stephen saw Hynes "take out a bare silver box with a shiny emerald on it." Emerald symbolizes Ireland, just like Henry VIII in16th century included Irish piano patterns in the coat of arms of the British royal family to show his rule over Ireland, so Stephen was "unhappy". Then Hynes said to Stephen, "You are your own master." Stephen immediately replied, "I am a servant and have two masters, an Englishman and an Italian." This sentence implies and condemns the double slavery of Ireland by the British Empire and the Roman Church. Stories like this accusing the British colonists of enslaving Ireland abound in the first chapter of the novel.
The topics about national resistance and patriots scattered in the works, the discussion and struggle about national issues, and the descriptions of the suffocating and numb life of the invaded and oppressed people everywhere in the book all clearly and completely show this theme.
In the twelfth chapter of the text, the author describes the scene of the colonial ruling forces publicly executing revolutionaries at the rally with irony. The work first describes the solemnity of the death penalty with great exaggeration: "Angry heaven opened the floodgate and poured down. At this time, at least 500,000 people gathered on the field, all of whom were caught in the heavy rain without hats. " Even the popular street singers came to entertain, and the Governor and his wife boarded the viewing platform. "All the envoys of various countries attended", including China's "Ha Zhang" (Li Hongzhang). Then the novel harmoniously depicts the touching scene of the revolutionary saying goodbye to his fiancee before he died, so that "Commander Yan, who presided over this tragic scene," also "wiped away a tear that secretly flowed out." "He once tied a considerable number of Indian mercenaries at gunpoint and killed them without blinking an eye." The writer praised the revolutionary's heroic spirit of death and exposed the atrocities of the invaders. Historical records 19 16 The Irish Revolutionary Brotherhood failed in its uprising, and 14 its leader was sentenced to death. Here, the works reveal the cruelty and violence of British colonial rule in real life in a funny way.
Where there is aggression, there is anti-aggression In the seventeenth chapter of the novel, when Bloom recalls her daughter's teenage life, she thinks of the young girl Molly. "She doesn't accept the requests of British tourists, and she doesn't allow them to take pictures of her and take her away." In fact, this reason is self-evident-hate the invaders. A naive little girl has such a clear sense of resistance, which reveals the spiritual characteristics of her living environment-the Irish nation is United against the British invaders. It goes without saying that group consciousness determines individual consciousness, which in turn affects the group. In the eleventh chapter of the novel, when Bloom saw "The Portrait of a Brave Hero" in the window, his mind was filled with the last words left by robert emmet, an Irish national hero, before his death after the failed uprising in 1803: "I don't want anyone to write an epitaph for me-when my country has achieved its own status among all ethnic groups, then only then will I write it for me. The last sentence of this national hero shocked Bloom, who was helpless and worried about the country and the people, and inspired all the people who struggled for the status of the motherland in the world.
Some words in the novel seem to have nothing to do with the theme of national liberation, but in fact they express the theme through metaphor, innuendo and other writing methods. For example, in chapter 12, Bloom was chatting at Barney kiernan Hotel, and Alf Bergen recalled a military-civilian boxing match held a few days ago with great interest. On one side is Percy Bennett, a tall British soldier, and on the other side is Mel Keogh of Dublin. Mailer is not as tall as the opponent's belly button, but he beat Percy out of the water because of his superb boxing. With exaggerated techniques and humorous language, the novel passionately describes the boxing match as "a historic decisive battle" and "a life-and-death battle, where the stage is full of life and death and the audience is extremely excited", and the lines are full of national pride. For example, "the Irish soldier immediately retaliated and punched Bennett hard on the tip of his chin." The British soldier escaped the punch, but the Dublin man bent his left elbow and fell on him, knocking him upside down. " After Mailer won, "the whole audience burst into crazy cheers." Writing about boxing here is also about the contest between weak Ireland and the British Empire. People are happy to recall boxing matches, but also vent their resentment of being invaded and the ecstasy of defeating the British, vividly expressing the strong desire of the Irish people to defeat the invaders.
There is no positive description of the heroic achievements of galloping on the battlefield, killing the enemy and defending the country when the motherland is in danger, and there is no expression of the lofty aspirations of Jin Goma Railway. However, based on his own unique experience and experience, the author, from an objective perspective beyond the limitations of his own nation, stood on the side of the insulted and damaged disadvantaged groups and described the history and present situation of Ireland in a unique artistic form, especially through the awareness of ordinary people's natural flow in daily life, exposing the evils of colonial rule and carrying forward the spirit of national liberation.
The second theme of Ulysses is to criticize Ireland's mental paralysis and Europe's narrow thinking with anti-Semitism as a mirror.
In the text, in Bloom's stream of consciousness all day, thinking about the Jewish problem and the fate of the Jews is the most important content, which is scattered in all chapters of the novel. For example, in the fourth chapter, Bloom saw several newspapers, and he carefully read the information in the newspapers, which reminded him of the wandering fate of Jews: "Where was the oldest nation born, the first nation?" The oldest people wander around the world. " In the seventh chapter, when he saw the compositor's "Patrick Dignam" upside down, he couldn't help thinking about the history of the Jews, from going out of Egypt to wandering around the world, and then to the ideal of rebuilding their homeland. Bloom's attachment to Jewish civilization and anxiety about the old country can be seen. Chapter 17 is the conclusion chapter, which compares Bloom's day's activities with the Jewish spiritual sacrifice and national history. These reflections reflect Bloom's national roots and identity.
In contrast, Joyce's description of anti-Semitic activities in Ireland. The representatives of anti-Semitism are mainly Mulligan, Dai and a group of China people who gathered in pubs. The description of this feature of Irish people shows their narrow vision and extreme nationalism.
Because Jews are circumcised, Mulligan called God a "foreskin collector". Other Irish citizens have almost the same attitude towards Jews as Mulligan. For example, the wives, slovenly women and beggars mentioned in Chapter 12 are full of discrimination against Bloom. Principal Dai is a representative of anti-Semitism. He blamed Jews for many problems in Europe: "Wherever Jews form gangs, they can devour the vitality of the country. Jewish businessmen are already doing this. Old England is coming to an end. " In Dai's eyes, Jews should be punished and homeless. When Stephen left him, he caught up with him and said that Ireland was called the only country that never persecuted Jews because Ireland never allowed them to enter the country. This kind of humor is particularly vicious to us.
Therefore, the scholar Ansoni Julius pointed out that Joyce's image expression through Bloom is a refutation of anti-Semitism. Therefore, Ulysses is good news not only for literature, but also for Jews. This novel is a triumph of aesthetics and morality. Bloom became a famous Jewish model in the history of modern world literature.
Facing the increasingly obvious anti-Semitism in Europe, Joyce made a deep thinking and expressed his humanitarian thought of opposing racial discrimination and oppression. At the same time, he transcended the simple racial issue, embodied the universal realistic critical consciousness and showed his spiritual transcendence.
The Jewish problem is not the absolute center of Ulysses, but the focus of its criticism is actually Ireland's mental paralysis and narrow thoughts all over Europe. The Jewish question is a mirror, reflecting the defects of other nations. Irish people, in particular, are oppressed by Jews, but Joyce can't stand her narrow nationalism and localism. Therefore, Joyce's Jewish consciousness is based on his realistic critical spirit. He is a great spiritual rebel. He shouldered the moral burden, faced his motherland soberly, and used exile and art to reveal the chronic diseases of the nation.
Joyce can't stand the closed and conservative thoughts and narrow ideas of Irish society. When he was young, he received strict church education and was forced to accept universally recognized values, which inspired Joyce's resistance: "What's the use of the church doing nothing, not alleviating the spiritual and material needs of her lamb, but encouraging an attitude of awe and servility?" He accused the church of hypocrisy. At the same time, he sharply mocked the so-called Irish culture and national rejuvenation. Those so-called cultural revivalists are so obsessed with the glory of Ireland's past culture that they ignore people's realistic survival needs. Irish nationalists are one-sided and narrow-minded "This rising nationalism has become a totalitarian and unbearable movement like an oppressor. What are the benefits of letting them liberate the people? " He is not satisfied with being confined in such a narrow space, and he wants to get rid of this paralysis. In order to awaken the "mentally paralyzed" motherland and obtain spiritual liberation, he chose exile. He doesn't want to work hard for what he no longer believes in, whether it's home, motherland or church. This is the embodiment of Joyce's rebellious spirit.
Joyce used exile to show her resistance and rebellion. But in terms of artistic expression, all his works are set in Ireland (mainly Dublin). This is his moral, which is to allude to the whole of Europe. He clearly pointed out: "I chose Dublin as the background because I think this city is the center of paralysis." It is a symbol of Europe. "Ireland is a negative concept, a place that threatens the freedom and integrity of artists, deprives artists of their independence and breeds localism." Deeply influenced by this, Joyce wanted to find her own way out, that is, to strip off the social mask of the middle class in European cities with "a fearless realism, like Ibsen, and expose their spiritual illusion and poverty."
He chose exile to protect freedom and used art as a weapon to launch a sharp criticism of reality. In this way, Joyce's Jewish consciousness, his vigilance and criticism of narrow localism and racism, and his insistence on artistic truth all reflect his spiritual rebellion and realistic critical consciousness, and truly reflect the quality of a cosmopolitan. portrait
1. Joyce created a typical "anti-hero" image in the history of modern western literature. The so-called "anti-hero" is "non-hero", or a character who is completely opposite to all the characters with heroism, noble spirit and extraordinary ability in traditional literature. In literary works, "anti-heroes are people who are doomed to fail." What is striking is that Joyce's views on the characters in Ulysses have changed significantly.
Joyce conceived Ulysses, a literary masterpiece, when the First World War broke out in an all-round way, and the western world was filled with unprecedented pessimism. At this time, Joyce turned his eyes to people in modern society, trying to find creative materials from ordinary people. He deliberately takes passers-by in the streets and lanes and trivial things in daily life as the focus of his novel, which not only reflects his abandonment of the heroic image in traditional literature in the era of alienation, but also marks the birth of modernist view of characters with "anti-hero" as the main body of the novel.
Secondly, Joyce skillfully corresponds the main characters in the novel with the characters in Homer's epic, which has a strong contrast effect and a wide range of symbolic significance. In Ulysses, Joyce's characterization art fully embodies the ingenious combination and organic unity of myth and reality. He not only took the name of Ulysses, the hero of Homer's epic Odyssey, as the title of the novel, but also made the activities of the main characters in Dublin one day correspond to the legendary experiences of some characters in ancient Greek mythology.
The author satirizes the reality of western society in the early 20th century by telling the story that Ulysses, the leader of Ithaca Island, who is both wise and brave in Homer's epic, wandered and degenerated after the Trojan War, and finally returned to his hometown to film the reunion with his wife Nello. In the novel, today's Ulysses (that is, Bloom, the hero of the novel) is a vulgar, cowardly and incompetent mediocrity; Modern Terry Merkes (Stephen in the novel) is just a lonely, decadent and sentimental young teacher. However, in the 20th century, Nello Pai (that is, Bloom's wife Molly) was a sensual slut in easy virtue. Moreover, many other characters in Ulysses, such as Mulligan, President Delserre, barmaid, "citizen" and Gertie, can also find corresponding roles in Odyssey. Obviously, Joyce's character design compares history with today, myth with reality, hero with anti-hero, which has strong contrast effect and extensive symbolic significance.
Thirdly, Joyce followed the modernist creative concept of attaching importance to spirit over material, and reflected the external macro-world through the micro-world inside the characters, which made a qualitative change in the art of character description. In Ulysses, Joyce not only successfully developed a stream-of-consciousness style in line with the psychological characteristics of the characters and their thinking activities with the help of the ideographic function of language, but also profoundly revealed the spiritual crisis in the alienation era and reflected the essence of society. In his novels, he vividly shows the instantaneous consciousness activities of the characters in the speech stage and the vague and chaotic ideological fantasies before seeing the words. In Joyce's works, the spiritual world of the characters is always in a dominant position.
Readers see not only the most primitive and fuzzy feelings of the characters, but also the most perfect and rational thinking of the characters; There are both flowing linear consciousness activities and radiating block consciousness structures. Moreover, Joyce also uses different styles of language to express different forms of stream of consciousness of people with different personalities and cultural attainments, thus achieving the unity of form and content. It should be pointed out that Joyce pays attention to revealing the emotional life of the characters and adopts creative techniques from the inside out, from micro to macro, which is a great pioneering work in the history of English novels. Facts have proved that the secret of the success of Ulysses lies in the effective use of this creative technique, which shows the chaotic psychological world of the characters in front of readers and allows them to directly enter the consciousness field of the characters to grasp the pulse of the times. Undoubtedly, Joyce's creative techniques of attaching importance to spirit, neglecting material, emphasizing introspection and neglecting external description not only fully reflect his modernist view of characters, but also open up a new way for the art of character description in British novels in the 20th century.
Among the three main characters (Ulysses), Bloom's image fully embodies the author's modernist view of characters. Joyce adopted Homer's correspondence principle and described Bloom as Ulysses in modern western society, because in his view, this correspondence of characters can not only produce sharp contrast effect and extensive symbolic significance, but also profoundly reflect the values advocated by modernist writers when portraying characters.
Joyce once made it clear to his friends that Ulysses written by Homer is not only "the only complete figure in literature", but also "the first gentleman in Europe". Bloom written by Joyce is the epitome of all sentient beings in the era of western alienation. Bloom is a Jew who has passed the age of no doubt. He cautiously plays the dual role of husband and father, and his occupation is advertising agency. He is gentle, quiet, considerate, generous and full of humor. He is an extremely ordinary Dublin man. When talking about Bloom with friends, Joyce once said, "I observe him in all directions, so in the sense of sculpture, he is a comprehensive person." But he is also a complete person, a good man. "Obviously, Bloom's image marks a major change in modernist writers' views on characters. It is not difficult for readers to find that the heroic images in Joyce's works are not only very different from those in Homer's epic, but also different from Ulysses sung by Tennyson, a famous Victorian poet.
Bloom, the hero, is the epitome of pessimism in the western world in the early 20th century. As a Jew, he always has a strong sense of alienation. Being associated with the Irish white-collar middle class made him feel ashamed and lacked a sense of belonging and security. His wife, Molly easy virtue, had an affair with many people, which made him feel ashamed. His father's suicide and his son's early death made him feel extremely depressed and sad. Although Bloom's mental pain seems to be mostly caused by personal problems, it is closely related to the social background of corruption and moral paralysis in Ireland. Bloom, who is pessimistic and world-weary, is undoubtedly a typical figure in the typical environment of the western world in the early 20th century. Although some western critics criticized Joyce for failing to fully reflect the life style and spiritual outlook of the upper and lower classes in Irish society, the choice of the middle class as the object of expression just reflects the typicality and representativeness of the characters in her novels. In Joyce's works, Bloom's socialization and wandering in one day are really insignificant, and his seriously alienated "self" is the focus of the author and readers. In an environment where human nature is severely suppressed and there are insurmountable mental barriers between people, Joyce shows readers a sense of alienation and lingering pessimism that has always entangled Bloom's heart. As the first protagonist of a novel, Bloom's image is unprecedented in traditional English novels. He is not only a complex and intriguing figure, but also a contradictory figure. He is noble, mediocre, kind and despicable; He was polite and obedient to Nuo Nuo.
Stephen, another hero in Ulysses, is the embodiment of young intellectuals in the era of alienation.
Stephen's pessimism, disappointment and dissatisfaction are also representatives of Irish youth. His personal crisis goes far beyond the dispute between him and his roommate, medical student Morgan, or his guilt and regret that his mother may die of grief because he refused to believe in religion.
In fact, Stephen's crisis consciousness has extremely complicated historical and social roots. As visiting British friend Haines said when talking to Stephen at the beginning of the novel, "It seems that history should be responsible." The unhappy Stephen thinks that tradition is not a positive force for self-liberation, but a destructive force that constrains freedom and even stifles human nature. "History is like another often heard story" keeps repeating itself, and he himself is hopelessly involved in this endless cycle pattern. Obviously, Stephen has realized his personal predicament and crisis, so he can't help shouting: "History is a nightmare, and I'm trying to wake up from it." There is no doubt that Joyce reveals the profound spiritual crisis that has always plagued young intellectuals in the image of Stephen.
The characters in Ulysses embody the characteristics of modernism: first of all, the protagonist in Ulysses is not the driver of the plot, but an effective tool for the author to adjust the artistic form of the novel. Resolutely downplaying the traditional roles and functions of the characters in the novel, separating them from the plot and fully emphasizing their macro-control function on the novel art is undoubtedly Joyce's bold innovation in the art of character description. Although most western critics praise the correspondence between the characters in Ulysses and the characters in Homer's epic, and think that a comprehensive understanding of this correspondence is an important prerequisite for an effective interpretation of Ulysses, they have different views on Joyce's creative intention and the artistic function of his characters.
The characters in Ulysses have undergone a qualitative change in their roles and functions. Obviously, this is a major shift from the plot driver to the artistic regulator. In Ulysses, the characters based on "Homer's letters" not only provide a solid artistic framework for the novel, but also bring a certain stable order to this novel with seemingly chaotic surface structure and all-encompassing content.
In Ulysses, the hero's spiritual world is not only realistic, but also has a strong sense of hierarchy and three-dimensionality, showing the characteristics of pluralistic, complex and changeable three-dimensional world. Although the track of character consciousness is discernible, it is in a trance. Various ideas, fantasies, impressions, feelings, memories and prospects permeate each other, and different levels of consciousness blend with each other. They represent a seemingly scattered but not completely independent ideological unit, just like a messy "atom" or "aperture", constantly flashing and refracting around, forming a complex, vivid and interesting three-dimensional world. It goes without saying that Joyce's uncanny workmanship adds a brand-new character mode-three-dimensional characters to English novels. Obviously, this three-dimensional character, as a miniature carrier of modern consciousness, is not only qualitatively different from the characters in traditional novels, but also becomes an artistic treasure in the British modern novel gallery.
Writing skills
Inner monologue: among the brilliant creative techniques of Ulysses, inner monologue is the most used and effective. As the name implies, inner monologue is a silent psychological language, or a silent stream of consciousness expressed in written form.
Joyce usually uses direct inner monologues to express the conscious activities of the characters, that is, let the characters directly tell all their thoughts and feelings in the form of the first person. What the reader sees is the primitive consciousness activity of the characters.
The consciousness expressed by this direct inner monologue is neither explained by the author nor controlled or dominated by the author. It is extremely natural and frank, and it is indeed very close to the essence of thinking. The inner monologue of Ulysses involves all kinds of contents, and all kinds of bizarre and complicated impressions, feelings, memories and desires are mixed together, forming a stream of subjective life that comes from nowhere, disappears without a trace, is erratic and fleeting, giving readers a sense of directness and realism.
In Ulysses, the characters' inner monologues are not only unimpeded, but also naturally connected with the author's third-person narration. The author's narrative is often consistent with the perspective of the characters' inner monologues, and there is some internal relationship between them.
During the transition or integration, the author only skillfully and appropriately adjusts the person and tense, generally leaving no obvious traces, and readers often unconsciously step into the spiritual world of the characters. The following is a typical example:
"Mr Bloom nodded gravely, staring at each other's bloodshot sharp eyes. Mysterious eyes, mysterious and sharp eyes (b). I guess he is a member of the aid association. It's hard to say (c). Be with him again. We walk at the end. I hope he can say something else (F). "
This is an inner monologue when Bloom met his acquaintance Mr. Conan after attending a friend's funeral. Sentence A is the author's narrative language, and its perspective has a certain internal relationship with Bloom's inner monologue, and the register used is basically in line with Bloom's cultural accomplishment and personality characteristics. The word "agile" in the sentence is logically related to the word "sharp" in the sentence B. The beginning of the sentence B is his inner monologue, and its semantics are closely related to the sentence A. From "bloodshot eyes" to "mysterious eyes", the integration of the two is natural and safe, smooth and smooth. The personal pronoun "I" in sentence C indicates that the third person in sentence A has become the first person, which formally signals the reader the transition from narrative to inner monologue. Joyce's narrative skills not only achieve vivid results in expressing consciousness, but also fully reflect the author's superb ability to control the characters' inner monologues.
In addition, Joyce also uses different language forms to express the inner monologues of different characters. In his view, because the characters' personality, gender, age and education level are different, their inner monologues are bound to be different. He attaches great importance to the ideographic function of inner monologues, and often regards the "self" he expresses as the exposure of characters' personalities. Therefore, in Ulysses, each character's inner monologue is full of extremely distinctive personality, which plays an important auxiliary role in rendering the characters' images. The inner monologues in this novel can be roughly divided into two types: one is organized inner monologues; The other is a free inner monologue. Usually, structured inner monologues emphasize rational factors and have certain logicality and coherence. Ulysses mostly embodies the sober consciousness of characters' thinking, imagination and speculation. In addition, the flow of works also reflects a certain order and order. The inner monologue of freedom focuses on irrational factors, which is neither logical nor coherent, and has obvious randomness.
Ulysses contains most vague impressions and hazy consciousness of the characters. Among the three characters in the novel, Stephen mostly adopts coherent inner monologues; Molly used a completely free inner monologue; Bloom's inner monologue has both.