Although few critics would deny that the reconciliation of father and son is the primary theme of Joyce's Ulysses, many argue against such a reconciliation occurring on an emotional or symbolic level between Stephen and Bloom. To adopt this view, a reader would have to assume that the multiple versions of the father and son reconciliation theme are empty markers, false signs leading him to anticipate a resolution which does not occur in the text. The many variations of the theme, nevertheless, suggest a pattern of reconciliation which appears to be manifest in the central characters. In addition to the Odysseus/ Telemachus-Bloom/Stephen variation of the theme, other motives are formed by Shakespeare and Hamnet, Hamlet and his father, Reuben J. Dodd and son, God and Christ, Joseph and Christ, Siegfried and the parent gods, Bloom and Rudy, Bloom and Virag, Daedalus and Icarus, Simon and Stephen, Patrick Dignam and Patrick Jr., the false father and the croppy boy, and the artist and his creation.' Another version of this theme, introduced early in the novel, is Stephen's obsessive concern with consubstantiality, and in Ithaca, Joyce suggests that Stephen and Bloom attain a consubstantial state when he refers to them as Blephen and Stoom. The transposition of the letters of their names suggests a merging of selves, even if the merger is, in the dramatic context, slight and transitory. I believe, nevertheless, that Ulysses moves ineluctably toward the consubstantial union of these characters, and Joyce both foreshadows and describes the nature of this union in a crucial scene which portrays the musical resolution of a Dominant tone into a Tonic one within the Diatonic scale. This musical device can be used not only to perceive the nature of Bloom's and