By Robert H. Bell
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To define himself as a fool makes sense in terms of both Bloom's immediate dramatic situation and his larger symbolic role. Standing on a deserted beach, feeling considerably less serious about himself, his pressing needs satisfied and his pants sticky, he has played the fool and now recognizes his folly. In this implicit affirmation of his fundamental identity, Bloom is the comic hero, infinite and "Useless" (13:1259), as Odysseus is both oulis, "no-man" and Zeus, godlike. Joyce's foolish hero, simultaneously "nobody" and "godlike," becomes both a source and an object of humor-not merely the figure of fun in Buck's burlesque, but a definer of Joycean comedy.
God I'm dying for it," he instinctively adds, "How life begins" (6:80-81) to link death and life. A striking disparity signifying the gap between the community's view of Bloom as a conventional fool and our sense of him as Joyce's holy fool is that this pathetic outsider is so little alienated and so thoroughly at home in his world. Bloom feels part of humanity and the community, no matter how stintingly society reciprocates; we are, he thinks, "in the same boat" (5:185-86), "all in the same swim" (5:363), "No roses without thorns" (5:277-78).
He does not imagine himself ("Circe" being the exception that proves the rule) enslaved or exiled, which is another reason why he is only temporarily inspired by the Zionist pamphlet. Odysseuslike, Bloom radiates a fundamental comic equanimity, unlike Ste4-3For instance, in the lyrics of a James Taylor song, "Country Road": "I'd have to be some kind of natural-born fool/To want to pass that way . " agam 47 Types of Folly phen, who struggles melodramatically with his fate. Contemplating separation from his daughter, for example, and wondering if she is destined to become like Molly, whose liaison is being planned under his very eyes, he thinks, "A soft qualm, regret, flowed down his backbone, increasing.