In Eumaeus and Ithaca we see the culmination of Bloom and Stephen’s trajectories as proponents of divergent vision of art. In Bloom’s explanation of his imaginary utopia to Stephen, Bloom, the scientist, classes the literary arts alongside other forms of labor. Stephen, however, is wary of the inherent commodification of art that Bloom proposes in his somewhat callously nationalistic plan. Stephen, as an Irish artist, articulates his relationship to national identity in a manner diametrically opposed to Bloom’s notion. In Ithaca, then, we are exposed to multiple examples of Bloom’s own attempts at literary arts. The verses that seem to have led to Bloom imagining himself as possessing an artistic nature are comical in effect considering the timing of their revelation. His artistic pursuits, imaginary or real, inevitably seem to be tied to financial gain as well. We are thus to led to a final binary of artmaking: Bloom, cosmopolitan, both Irish and not-Irish, envisions art crudely as entertainment, one of many paths to wealth, while Stephen, cynical with regards to Irishness, including his own, presents art as a pure, academic pursuit, intensely intellectual to the point of obscurity and opacity. The temperaments Joyce ascribes to Bloom and Stephen, the scientific and the artistic, seem in this context to both be thoroughly flawed.