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Identity Formation in James Joyces Ulysses

Regina Zbarskaya
Ms. Nichole Wilson
AP Literature and Composition
28 May 2014






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a final grade in the course.
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Regina Zbarskaya
Ms. Nichole Wilson
AP Literature and Composition
28 May 2014
Identity Formation in James Joyces Ulysses
Children cannot be born without parents; they cannot become something new without
first being made from something old. This oldness comes from the genetics of the parents, as
well as their preexisting mannerisms, values, and traditions. The newness in the children
comes from their desire to learn and be unique, to differentiate from their parents and grow.
Identity is comprised of a culmination of uncontrollable situations and controllable decisions; yin
and yang, two sides of a coin. The struggle within the individual arises in the task of maintaining
the boundary between old and new within the self and learning to accept that one cannot be
whole without both parts.
The conflict of being torn between old and new arose within Joyce during his residence
in his homeland of Ireland, a time when the Irish were under the control of the English and
support for Home Rule caused a major crisis of identity (Hill, Movements). Dublin first
began as a city recovering from the Great Famine, where the Catholic Church became an
important social, cultural, and political institution, reaching [deeply] into local
communities and the Irish language was all but forgotten (Hill, Emancipation). Ireland had
finally settled down after the famine where the usual language of modern everyday life was
English and the country had assumed a unionist national identity the Irish considered
themselves as part of the English culture and willingly accepted English rule (Hill,
Emancipation). However, as Joyces time came along, a Gaelic cultural revival occurred,
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directing attention to the wealth of Irish culture and tradition, which were in danger of being
swamped by the influence of her dominant neighbor (Hill, Movements). The Gaelic cultural
revival brought with it the idea of evil most often linked with England and the battle of the
nationalists was almost always against English morals, influence, religion, and rule (Hill,
Movements). A rift between unionists and nationalists occurred, causing a conflict within the
national identity of Ireland and raising the question: should Ireland accept the new revival and
break away from England or keep to its parental roots and remain in the union? The rift within
the nation between breaking away and retaining the past heavily influenced the writing of James
Joyce, particularly in the conflicts occurring within his novels in the minds of his characters.
Both Stephen Dedalus and Leopold Bloom, two major characters within the novel Ulysses
consider their cultural pasts and find difficulty in breaking away and assuming new cultural
identities. Although James Joyce narrowly depicts the specific situations and minds of his
characters through the stream-of-consciousness technique in his novel, Ulysses, he is able to
portray the universality of the influence of culture on identity through distinctive diction and
syntactical changes between characters, and using repetition, allusions and multi-person narrative
display the struggle of accepting these predisposed parts of identity.
James Joyce was eager to challenge both logical and representational language and the
authorities (particularly those involved in English rule) and in doing so developed a unique style
of writing using narrative format with the inclusion of a multitude of interior monologues
(Birkett). In his fight against the oppression under English rule, Joyce broke English convention
in language and developed an original form of expression. Before Joyce, few effectively used
stream-of-consciousness as a method to develop the characterization of individuals within
novels; his development and mastery of this style gave him the opportunity to grasp a new
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phase of experience, in this case the shifting minds of individuals on their journey to the
establishment of identity (Levin).
In developing a stream-of-consciousness style, he built the interior monologue as a
mental tape-recording succeeding in representing the apparently random and unpredictable
movements of the mind, shifted from one course to another by casual links (Peake). These
subliminal connections between ideas enabled him to establish a character not as a static
character, but as sensitive and alert, swept by emotions (Peake). The high level of his craft is
demonstrated by his ability to variously [modify] the interior monologue to represent the
processes of different minds and these modifications are established through language,
imagery and rhythms appropriate to the mind Joyce is trying to create (Peake). In particular, the
ability to modify the stream-of-consciousness from character to character plays an important role
in demonstrating the effect of culture on the individual. Joyces use of imagery, diction and
syntax that is appropriate to each character allows him to display how one environment can
shape a persons thoughts in a completely different way than another.
Another characteristic of Joyces writing includes the musicality of his words and
sentences. Music was a large part of Joyces life early as a child and later as an adult. He was
largely exposed to a variety of music by his father who stressed that music came before, during
and after everything (Harvey). Later in life, Joyce lived much of his life in varying states of
semi-blindness, and with his vision drastically declining towards low visibility, his
imagination became more auditory than visual (Levin). Joyce used music in multiple ways
within his texts, first to describe the action within the text; to sharpen situations, (Harvey)
describe movements or vividly express the scene (Peake), and secondly to set the overall
tone of the situation or feelings of the individual; to heighten moods (Harvey) or express
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some passing sensation or emotion (Peake). The musicality of the text comes into significance
in Joyces depiction of different characters, as the flow and references to songs changes with
each different character that Joyce introduces within the text.
In addition, within each characters stream-of-consciousness, symbolism and motifs are
Joyces natural and most central method to developing the characters he introduces within his
texts (Kelleher). Once Joyce has established the chief characteristics of [one] interior
monologue, he can repeat and vary them (Peake). He uses the same words or the same basic
images over and over again to allow the reader to internalize the symbols and motifs before
varying the context in which they occur or by new combinations of these identifying words and
images to establish development within the character (Kelleher). The slight variations within
interior monologues indicates how individuals thoughts are affected by the cultures they
experience, as well as the conflicts experienced when forced to choose between situations.
Certain motifs are taught by specific cultures and permeate individuals thoughts, and they
especially reappear as individuals attempt to leave behind past cultures and assimilate into new
ones.
To tie both the mentality of the character shown through the interior dialogue and the
outside world depicted through the narrative, Joyce has a tendency to switch between third
person and first person. To depict the surroundings, Joyce uses the past-tense, third-person
form to represent simpler observations of the outside world, but then frequently [shifts] into
the present-tense, first-person monologue (Peake). This shift without obvious transitions is a
fusion of experience of the outer and inner worlds (Peake). It demonstrates the possibility of a
language in which one might think and talk differently about certain matters presented to the
individual (Birkett). The difference between the dialogue and the interior monologue provide
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clues as to the conflict occurring within the character; the cultural clash the individual
experiences will come out as ironic from the discrepancy between thoughts and words.
Lastly, another of Joyces techniques in establishing characters is the use of puns,
parody, and irony (Birkett). In particular, there are two forms of irony: praise and hostility, with
Joyce using both; his ironic comparisons elevate as often as they ridicule, and often do both at
the same time, mocking some aspects of a situation but discerning in it qualities of courageous
and even lofty motive and behavior (Peake). Joyce was a master of language and was deemed to
have [invented] an artificial language of innuendo and mockery; (Levin) this mockery arising
from his Irish culture that instinctively chose mockery if the alternative was tears (Kelleher).
Among humorous tactics, Joyce also incorporates numerous literary allusions and many
words from other languages, (Peake) with the references to other languages stemming from his
specialization and proficiency in Romance languages at University College (Levin). Joyces
humor, allusions, and inclusion of multiple languages within his texts provides a sense of
universality in his work. The situations experienced by the characters are unique, but can also be
applied to multiple other scenarios in other forms of literature and stories.
Joyces belief that it was possible to extract universality from culturally-specific detail
is demonstrated from his narrow focus on the perspectives of individuals from within the city of
Dublin (Attridge). He believed his focus on the Irish city would not impede others from
connecting to his characters because a specific location [modified] only [characters] accidently
particulars, not their essences (Peake). While a characters environment can be particular, their
experiences, thoughts and actions (the essence of the character) are universally connectable to
any individual. This idea of drawing universality from specificity is a key part of the
structuralism criticism, which looks for underlying elements in culture and literature that can be
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connected so that critics can develop general conclusions common to all human experiences
(Structuralism and Semiotics). A structuralism criticism will be assumed in the analysis of
James Joyces Ulysses, in relation to the development of identity based on the influence of
cultures. James Joyces Ulysses demonstrates the influence of a predisposed environment on
identity through the use of stream-of-consciousness to reveal the individuals thoughts and the
specific diction and syntax that the culture predisposed the individual to. Joyce further explores
the conflict in separating from past influences and accepting new identities through the use of
repetition, motifs and dialogue. While the experiences of each character are unique, Joyces
incorporation of multi-person narrative and allusions allow for a deeper connection and ultimate
universality of the text.
Throughout an individuals life, identity is constantly redefined and the culture and
environment surrounding the individual predisposes the development of their identity towards a
certain pathway. Within the novel Ulysses, Joyce incorporates a stream-of-consciousness writing
style to reveal how culture and the environment can influence the thoughts of an individual and
therefore bias their identity formation. The influence of the environment is particularly revealed
through specific diction and syntax use, differing between each character introduced within the
novel. The diction and syntax reveal the separate influences on each of the main characters and
how different environmental influences cause differences in the construction of identity between
individuals.
First, Joyce introduces the character of Stephen Dedalus, whose thoughts, as glimpsed
through the stream-of-consciousness style, are permeated with thoughts of the Catholic Church,
religion and philosophy. These thoughts originated from his higher education and religious
upbringing by his family. As Dedalus stares at the bowl Mulligan left behind, he remembers how
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he carried the boat of incense then at Clongowes and how he is another now and yet the same.
A servant too. A server of a servant (Joyce 11). Stephens thoughts turned immediately to his
religious experience as a child at the presence of an ordinary object, indicating that without his
knowledge, the first thoughts that come into his head are a result of his childhood influence.
Dedalus religious teachings are so deeply engraved in his identity that they are the first things
that enter his mind. Also, as Dedalus is consumed within his own thoughts while he is teaching
or by the sea, his thoughts take a very poetic and philosophical form. As he is questioning the
children, he considers how they are fabled by the daughters of memory... a phrase, then, of
impatience, thud of Blakes wings of excess and how he [hears] the ruin of all space, shattered
glass and toppling masonry, and time one livid final flame (Joyce 24). Dedalus thoughts spiral
from memory to the end of existence, but his pondering assumes a poetic form, indicating the
influence of the artistic and philosophical culture he experienced while in Paris.
Then, Joyce introduces the character Leopold Bloom and reveals his thoughts in a similar
manner through a stream-of-consciousness flow. However, both diction and syntax change in
comparison to Stephen Dedalus, as Dedalus thoughts are flowing and poetic and Blooms
thoughts are scientific and choppy. The influence behind Blooms scientific and choppy thoughts
is his Jewish heritage. Bloom constantly thinks about Israel because that was the culture he was
predisposed to by his family, which is entirely different from Dedalus constant thoughts on the
Catholic Church. In addition, Blooms heritage places an emphasis on education, explaining why
he feels the need to rationalize in swift thoughts and scientific terms. As Bloom observes his cat,
his thoughts flit back and forth of his observations. First, he listened to her licking lap but his
thoughts quickly changed to food, as he considered what to buy: Ham and eggs, no. No good
eggs with this drouth. Want pure fresh water. Thursday: not a good day either for a mutton
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kidney at Buckleys (Joyce 56). Then, Blooms thoughts instantly jump back to the cat as he
ponders why are their tongues so rough? and he instantly rationalizes his answer as to lap
better, all porous holes (Joyce 56). In addition, while religious thoughts infiltrate Dedalus
thoughts without his awareness, thoughts about Israel seep into Blooms mind with his
awareness. When a cloud began to cover the sun, Blooms thoughts immediately turned to a
barren land, bare waste. Vulcanic lake, the dead sea: no fish, weedless, sunk deep in the earth
(Joyce, 61). Without him even trying, the first thing that came to his mind was the dead sea in
Israel, indicating that on a deep level, Blooms past experience with the land of Israel and his
childhood there has deeply engraved itself into his identity.
Lastly, Joyce introduces Molly Bloom, who is different from the others in the fact that
she is a female and did not experience as high of an education as either of the other two men.
The difference in gender and education changes the quality of her thoughts to be completely than
either Dedalus or Blooms. There is little syntactical punctuation and her thoughts flow from
one topic to another without pause. In using the stream-of-consciousness technique, Joyce
reveals that men and women think drastically different, indicating that gender (as determined by
factors outside the individuals control) also plays a significant role in the quality of a persons
thoughts. Molly is first revealed as intellectually inferior to Bloom as she asks for the meaning of
metempsychosis and impatiently shouts O, rocks! Tell us in plain words (Joyce 64) when
she does not understand his explanation to her. In addition, in the final chapter, her thoughts are
revealed to be completely free of punctuation. She thinks about the train somewhere whistling
the strength those engines have in them like big giants and the water rolling all over and out of
them all sides like the end of Loves old sweet sonnnng Im glad I burned the half of those old
Freemans and Photo bits leaving things like that lying around (Joyce 754). The lack of
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punctuation and increase of colloquial diction as compared to the elevated diction both of the
men use further lowers her intellectual status in comparison to them, indicating that her cultural
exposure did not place as high of an emphasis on education as the others cultures did. In
comparison of all three of the characters, Joyce incorporates specific diction and syntax for each
individual; Dedalus thoughts are long, poetic and religiously inclined, Blooms thoughts are
short, straight to the point and Israeli inclined, and Mollys thoughts are without pause and with
grammatical mistakes. Joyce uses these alterations in diction and syntax to indicate how each
culture predisposed each individual to think in their unique way, indicating that culture plays a
significant role in determining the identity of the individual.
In addition to culture having a powerful influence on identity, Joyce also demonstrates
the helplessness and guilt that occurs as a result of the collision of two identities, one arising
from the past influences of family and the other from the desire to assimilate into a new niche,
through the use of repetition and motifs. Conflict occurs within an individual when they attempt
to choose one identity over another, clearing a space for guilt to arise. Joyce allows for this guilt
to emerge in the characters minds through the repetition of certain phrases and images.
As Dedalus struggles to break away from his familys Catholic influence and fully
immerse himself in his artistic identity, he experiences guilt in the form of the repetition of his
mothers ghost and his conscious phrase. Multiple times throughout Ulysses, the images of
Dedalus mothers ghost comes to haunt him, first appearing silently, in a dream after her
death, her wasted body within its loose brown graveclothes giving off an odour of wax and
rosewood and wetted ashes (Joyce 5). And then a second time, as Dedalus conversed with
Mulligan, she appeared within loose graveclothes giving off an odour of wax and rosewood
her breath bent over him a faint odour of wetted ashes (Joyce 8). She made her reappearance
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again, as he was teaching in his classroom and considering how wombed in sin darkness [he]
was too, made not begotten. By them, the man with [his] voice and a ghostwoman with ashes on
her breath (Joyce 38). Over and over again, Dedalus must bear the haunting image of his mother
bearing over him because of his refusal to pray for her at his deathbed. His break from one
culture resulted in remorse and pain, that was not yet the pain of love (Joyce 5) fretting his
heart for the rest of the novel. In addition, when Dedalus broke away from his family to leave for
Paris, he left behind all of his brothers and sisters. In doing so, his conscious constantly reminds
him of his agenbite of inwit (Joyce 16); the bite of his guilty conscious he feels again and
again for consciously choosing to abandon his family. It repeats much more often the more in
contact he is with his family. After meeting with his sister again, he thinks, She is drowning.
Agenbite. Save her. Agenbite. All against us. She will drown me with her, eyes and hair. Lank
coils of seaweed hair around me, my heart, my soul. Salt green death. We. Agenbite of inwit.
Inwits agenbite. Misery! Misery! (Joyce, 243). His heart cries for salvation from the bite he
feels of his conscious, constantly reminding him of the mess he left his siblings in.
In addition to guilt, helplessness bubbles up as the individual is stuck between two
cultures, as is evidenced through the motif of keys throughout Ulysses. In both Dedalus and
Blooms circumstances, the keys represent the cultures that they are attempting to become a part
of. In Dedalus circumstance, the key represents the artistic culture; he is forced to give away the
key and never gets it back. His entrance into the culture is taken away, and he realizes as he
hands [Mulligan] they key that he will not sleep in the tower tonight with the rest of the
individuals, but that home also [he] cannot go (Joyce 23). Dedalus experiences a sense of
helplessness that causes him to drink the night away because he realizes that he has nowhere to
go; no culture will fully accept him as its own because he has now dabbled in both. In Blooms
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circumstance, the key represents the Irish culture that he is trying be a member of. He is a Jew
living among a Catholic community and despite his attempts to be part of the group, he is
extremely ostracized and rejected. As he leaves home, he feels in his hip pocket for the
latchkey but realizes that it is somewhere in the trousers [he] left off (Joyce 57) and decides
to continue without it. Blooms key is different from Dedalus key because it is right in front of
him and is just waiting for him to seize it. Dedalus mother has died and therefore he can never
fully appreciate both cultures because he will never gain forgiveness, but Bloom can accept both
cultures and create a complete identity if he strives to do so. In the end of the novel, when Bloom
and Dedalus arrive at Blooms house, Bloom realizes that they two are a keyless couple before
proceeding to [climb] over the area railings and open the latch from the inside (Joyce 668).
Bloom decides to accept both parts of his identity, and take matters into his own hands. Bloom
overcame his helplessness, but Dedalus did not and never will. Through the motifs of the keys
and the repetition, Joyce demonstrates the helplessness an individual encounters as they are
caught between two cultures and the guilt they experience as they attempt to choose one over
another without considering the value of both.
The influence of culture on individuals thoughts, as well as the inner turmoil
experienced when two cultures are at odds within an individual can be universally derived to
multiple scenarios and pieces of literature. In Ulysses, Joyce achieves this universality through
parallelism within his use of multi-person narratives and through allusions to The Odyssey.
First, Joyce establishes similar scenarios in two different characters lives through the use
of parallelism in weather. At one time, Dedalus is looking out to the sea during a time of bright
sunshine where woodshadows floated silently by through the morning peace from the stairhead
seaward where he gazed. Inshore and farther out the mirror of water whitened, spurned by
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lightshod hurrying feet (Joyce 9). At the same time, in a different part of the city, Bloom is
outside where the sun was nearing the steeply of Georges church (Joyce 57) and thinks, Be a
warm day I fancy. Specially in these black clothes feel it more. Black conducts, reflects (refracts
is it?) the heat (Joyce 57). While the parallelism in the weather and pleasant feelings
demonstrates that two different people in two entirely different places can have the same feelings
peaceful feelings, Joyce further reinforces the idea of parallelism as the weather becomes cloudy
and both Dedalus and Blooms thoughts turn for the worst. For Dedalus, a could began to
cover the sun slowly, shadowing the bay in deeper green, ad his thoughts turned to his mother,
where her door was open she was crying in her wretched bed. For those words, Stephen:
loves bitter mystery (Joyce 9). Simultaneously, Blooms thoughts turned to the Dead Sea and
the desolation of the Israeli people. For Bloom, a cloud began to cover the sun wholly slowly
wholly. Grey. Far a barren land, bare waste. Vulvanic lake, the dead sea: no fish, weedless,
sunk deep in the earth a dead sea in a dead land, grey and old. Old now the oldest people.
Wandered far away over all the earth, captivity to captivity, multiplying, dying, being born
everywhere (Joyce 61). By paralleling the weather and the characters reactions in the multi-
person narrative, Joyce demonstrates that even people distantly away from each other can still
feel the same things, drawing support for the universality of his text in terms of cultural influence
and suffering at the collision of two cultural identities.
Last but not least, Joyce incorporates multiple allusions to The Odyssey in the ordinary
lives of Bloom and Dedalus to elevate the events of ordinary life to an extraordinary level. On
Blooms journey through the streets of Dublin, he encounters a tea shop and thinks of the
garden of the world with big lazy leaves to float about on, cactuses, flowery meads, snaky
lianas (Joyce 71). He thinks about how he would feel in such a place, not doing a hands turn
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all day sleep six months out of twelve lethargy. Flowers of idleness Azotes. Hothouse in
Botanic gardens. Sensitive plants. Waterlilies. Petals too tired to. Sleeping sickness in the air
(Joyce 71-72). In this chapter, Joyce incorporates multiple references to flowers and the feeling
of being drugged, lethargic and mindless. These specific diction choices parallel the events
Odysseus encountered on the island of Lotus Eaters, where some of his men eat the flowers and
wanted to remain on the island forever as they similarly experienced the same feeling of lethargy
and mindlessness. By connecting Blooms experience to the epic, the reader gets a sense of the
epic proportions of Blooms fantasies as well as the procrastination and laziness he experiences
in his life. Joyce indicates that the feeling of lethargy or even the action of fantasizing can be as
grand as what was encountered in the epic, showing that even ordinary experiences can be as
debilitating or grandiose as the heroes and their circumstances within the epics.
As Bloom enters a pub, he observes the Citizen siting in the corner, on a large boulder at the
foot of a round tower a broadshouldered deepchested stronglimbed frankeyed redhaired
largenosed longheaded deepvoiced hairylegged hero (Joyce 296). He went on to describe
the man as measuring from shoulder to shoulder several ells and his rocklike mountainous
knees were covered in hue and toughness similar to the mountain gorse (Joyce 296). Finally,
he described his eyes in which a tear and a smile were of the dimensions or a goodsized
cauliflower (Joyce 296). Joyce specifically used combined words and hyperboles to describe the
Citizen as a large, thundering figure, with eyes much like the ones the Cyclops had that Odysseus
encountered. The parallel drawn between the Citizen and the Cyclops indicates that Joyce is
attributing common, everyday enemies to the same level as monsters. In Blooms eyes, the
Citizen was one of the most horrendous and cruel people he had ever encountered, as evidenced
by the diction used to describe him, and to Bloom, facing the obstacle of this man was on the
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same level as Odysseus facing the obstacle of the Cyclops. In addition, the parallel between the
Citizen and the Cyclops also draws a parallel between Bloom and Odysseus, indicating that
Bloom will overpower the Citizen with words and knowledge by the end of chapter. The parallel
serves to once again prove that ordinary life can be on the same proportion as an epic, but that
even ordinary men can use the same techniques that heroes used. Bloom managed to scrap up his
self-confidence not by physically fighting, but by outsmarting the Citizen with his questions, just
as Odysseus did with the Cyclops.
Joyce spent his time on the details in developing each and every one of his characters; the
crafty diction with Dedalus, the choppy diction with Bloom, and the syntactical sparseness of
Molly. However, all of his characters were extremely relatable to. Their struggle to create an
identity while dealing with the hopelessness of being stuck in between the Charybdis and Scylla
of two cultures and the guilt having to give up one for the other is a struggle universal to all,
including Joyce himself, stemming from his own personal experience during the Gaelic revival
of Irish culture during the 1900s. Joyce masterfully achieved the universal application of the
struggle of his Dublin characters through careful diction and syntactical changes, multi-person
narratives and allusions to The Odyssey.







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