Molly Bloom's monologue is the last part of James Joyce's Ulysses. Molly pronounces it during a reflection about her relationship with her husband Leopold and is presented in the form of stream of consciousness.

As for the visual layout, the reader can notice that there is an absence of common text divisions: there are no paragraphs or sections or punctuation.

Such monologue uses a device, the mythical method, that is one of the most important devices in Modernism; as a matter of fact Molly is compared to Penelope in Homer's Odyssey.

In this scene Molly lies on her bed and has a fantastic sexual dream about her past relationship with Leopold. The meaning could be that the past is sleeping (on the bed). Therefore the text is made up of Molly's half-conscient thoughts, expressed by the language of drama.

There is also a division of the text according to time: lines 1-9  and 16-34 are referred to present, lines 34-45 are referred to past, lines 9-16 to the next day, amd from 34 to the end to the future.

The shift is here caused by flowers, that, mentioned, become a vehicle of association. Molly's thoughts are a mix of memories of the past, trivial problems of the next day and show her general attitudes, according to Modernist theory of time in which present is a mixture of present and past. To Molly, past seems more attractive than present: in remembering the episode of love with Leopold in Gibraltar, she also remembers promises and happiness, beyond the wonderful landscape.

Molly also reflects about people who don't believe in God (like Leopold) and reflects about their effort to explique everything without Him. 

In the monologue Molly stands for the essence of the female: she is the sum of all women present in the novel, from Penelope to Calypso. She is a wife but she is also unfaithful.

The word "yes" is pronounced lots f times in the monologue and especially in the end.; such word is inhabited by a group of sensual images. This word, together with others, creates the pattern that in music is called leit-motive according to Richard Wagner's theory.