The initial purpose of this paper is to demonstrate how Joyce employs, as an organizing principle for his novel, kind of allegory Saint Paul instituted and medieval exegetes of Bible perfected in understanding relation of Old Testament to New. This approach allows us to establish relation of later episodes in Ulysses, so wildly experimental in nature, to earlier naturalistic episodes as analogous to way New Testament is taken to reread features from Old. What is gained is an understanding of later experimental episodes as rereadings of earlier episodes in hope of isolating and focusing on an aspect of that naturalism is ill equipped to present or acknowledge, an aspect of reality we can refer to as eternal, permanent, spiritual. is in Ithaca that Joyce establishes a fixed point that governs meaning of rest of novel. Perhaps thorniest problem facing last two decades of scholarship on Ulysses has been to find ways to account for decision to begin novel with such lucid depiction of sights and sounds and smells, as well as extraordinary presentation of thoughts of fictional characters in interior monologue for which opening episodes are famous, only to abandon such in favor of innovations of later episodes.(1) My thesis allows us to say that Joyce is not abandoning realism but instead has followed nineteenth-century naturalism to its limit, exhausting its resources and needing new ones if he is to be able to present in Bloom what he wishes for us to find, that in this unassuming ordinary man lies, hidden from naturalistic narrator's eyes, a dimension that can be called a dimension. Traditional models of narrative technique having proved inadequate, Joyce experiments boldly to expand Bloom's significance without denying validity of what naturalism can present. To accomplish in Bloom what Eliot called the intersection of timeless with time,(2) Joyce returns to central mystery of Christianity, Incarnation, and model of reading that was able to comprehend that mystery, allegory of theologians. I am acutely aware that this thesis will meet with some resistance because it is still somewhat unfashionable to assert that any work of literature, no less a work as complex and heteroclite as Ulysses, can be approached as having established a fixed center, a transcendental signified that governs its meaning. Inherent in my argument, then, is contention that Joyce's allegory is a hallmark of modernism in its attempt to defy reductionist accounts of ideals as result of mere human construction and to point to an event outside web of language that can ground our idealism. Outside of language is Christ event; outside of words is Word. TWO KINDS OF ALLEGORY One of most important events in history of biblical exegesis occurs within Bible itself, when Saint Paul explains how a Christian is to read certain events in Hebrew Scriptures. As Robert Hollander explains, It is in Galatians 4:22-26 that we find first explicit Christian use of word 'allegory' (58). This passage reads as follows: For it is written that Abraham had two sons, one by a slave and one by a free woman. But son of slave was born according to flesh, son of free woman through promise. Now this is an allegory: these women are two covenants. One is from Mount Sinai, bearing children for slavery; she is Hagar. Now Hagar is Mount Sinai in Arabia; she corresponds to present Jerusalem, for she is in slavery with her children. But Jerusalem above is free, and she is our mother. Paul's reading of Old Testament story does not deny historical validity of story: Abraham had his two sons in way Genesis described. But there is another level of significance for this story, one that does not cancel out validity of Genesis, one that can only be read after Christ event, and one that fulfills letter with spiritual truth. …