The extract belongs to the last part of Molly’s monologue. It adopts the technique in a way different from Virgina Woolf. In that it is a total female monologue to recall the most impressive moments of the female character stream of consciousness.

There are still close  of the narrator’s present as one can see in the first line: the narrator is here Molly herself. She remembers the moment when her present husband and she where both lying in Howth (Dublin) spending their leisure time together. The woman seems to have kept a precise memory of the situation: she perfectly tells about the way her husband was dressed so that the reader can have an idea of the scene very near to the one of a camera.

Even the setting is suggested among the rhododendrons. Reality is evoked in a way of a film. There seems to be a cinematic technique. Scenes it is possible to visualized them. Attention to detail, a typical feature of Joyce’s symbolic realism adds to the perception on what is going on in Molly’s mind and what reality took place in Howth.

This is due to the exploitation of a language that appeals to senses. Colors like the grey of the tweed suit or others that hint at rhododendrons make the scene visible and concrete. The suit made of tweed almost suggest touch and together with his straw hat return a lively scene, one that seems to conjure up in front of the reader’s eyes.

The personality of the female character is immediately conveyed by the extract: Molly is a sensual woman who apparently know exactly how to relate to men, differently from the classical faithful Penelope. She “got him” to propose to her and an attitude and a behavior which is exactly the opposite of what should generally happen according to the ordinary behavior of traditional women.

Playing with the !bid of seed-cakes put of my mouth” she appeals to senses. It also leaves the room two times: Molly thinks about the passing of time when she realizes 16 years has passed. Interesting is to notice how memory find its way in Molly’s mind and even more interesting is the technique Joyce adopts to have the reader access that mind. To tell the truth it is the word “leap-year” that allows the creation of a parallel between the past and the present thus making what T.S. Eliot called a continuity possible. It is leap-year how as it was when Molly waked all her sex appeal to her present husband.

T.S. Eliot definition of the Mythical Method provides the nahive reader elements to understand what has happened of the traditional Penelope of Omer’s Odyssey in the contemporary time.

Molly’s sensuality is totally perceptible in the exclamation “my God after that long kiss I near lost my breath”. Disrupting syntax, giving up the use of punctuation in order to convey Molly’s flacks of thoughts and emotions, the reader is totally involved in a scene which marks the triumph of the senses where it is through bodily’s perception that communication comes to life. A communication Molly towards Bloom that becomes vivid through the lines and in the lines.

Joyce, better that anybody else before, experiments with a way of writing that was doomed  to be rejected by the main stream of his times. Body and flesh where both to be banned to the last outside the room of literature and the novel.

It was a revolutionary way to hint at a man-woman relationship which involved mind, body, emotions and instinct all together. Joyce’s interest in the female nature is continually suggest in the exploration of the metaphor of the flower to refer to Molly. The intelligent reader, unfortunately not all readers, perfectly understands the flowers is the symbol of femininity in all its dimension. It is not a case that immediately after resorting to the metaphor of the flowers. Joyce starts relying on the affirmation “Yes” which worked as the most interesting leitmotif in the text which add coherence to a disgorged syntax. “Yes” represents the acceptance of reality devoid of the previous attitude of heroism of the traditional classical character of the Odyssey that once that provides Joyce with the scaffolding for his Summa Anthropologica. Mankind of the contemporary word is weak.