Our scene takes place at Sandymount Shore where Leopold Bloom is trying to rest for a moment. In what I consider a gentle and sentimental style, James Joyce writes: "Far away in the west the sun was setting and the last glow of a too fleeting day lingered lovingly on the sea and the beach... » (U 13. 284). The waves of the bay splash near the rocks overgrown with weeds. A quiet calm pervades the bay and Bloom notices three girls sitting on the rocks enjoying the fresh air. This is the feeling I get when reading the first lines and my cinematic version of the events on the first page. Thematically, “Nausicaa” presents several motifs that resonate throughout the chapter and have lasting effects on the novel as a whole. Stuart Gilbert describes the techniques used for this chapter as tumescence and detumescence (Gilbert 278). According to Oxford Dictionaries, tumescence means the urge for sexual activity, while detumescence refers to sexual arousal. Gilbert's diagram refers to the chapter's art as painting, its organ as eye and nose, and its symbol as virgin, all of which are found in the chapter and relate to the major themes of tumescence and detumescence (Gilbert 30). The resonant themes of tumescence and detumescence work with the overall cinematic technique that Joyce experiments with in “Nausicaa.” It is entirely appropriate that the corresponding art of the chapter is painting. Like cinema, painting is also a significant form of visual art. In many ways, this chapter colors the perception of the world within the episode and depicts a specific and emotional point of view. The vivid description of Sandymount Shore as well as the description of the three girls sitting on the rocks can be read as an illustration of an...... middle of paper...... equally powerful. Through description he creates an image that can never be removed from the internal visualization of the mind's eye and the glow of the Roman candle becomes just as provocative as a woman's bare breast projecting onto a screen through a projector. Just as there are levels of consubstantial trinity within Ulysses, there is also a level of consubstantial trinity within the world of cinema. The protean relationship in which Joyce allows the reader to transform himself into character and author is reminiscent of the relationship between the actor, the cinematographer (filmmaker) and the audience. The use of this cinematic technique within the chapter acts as a commentary on the symbiosis between writer and reader and allows the reader to heuristically detach himself from the monocular reading of the book and adopt a more binocular view of the concepts of the work..