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Proposition one. All texts of literature evince a texture by the side of a simpler or more complex structure : poetry, by definition, foregrounds the texture ; prose, again by definition, foregrounds the structure. Proposition two. Structure carries explicit information : texture carries implicit narrative information. I demonstrated elsewhere (The Joycean Monologue, A Wake Newslitter Press, 1979) that Joyce had turned the epiphany into a textural device par excellence. He had in that way become «texture -conscious», and could not write in any other way ... Proposition three. The novel Ulysses evinces a clear, author- acknowledged, title-supported structural archetype directly derived from Homer's Odyssey, which impresses some order upon the apparent chaos. Proposition four. By the side of the structural myth expressed in the title, the novel Ulysses is closely patterned on two textural archetypes — the Story of the New Testament, either told very jokingly or pointed at in all respectfulness, and the Story of Old Prince Hamlet, told over-biographically. The novel's texture is very rich in evenly -spread evidence in support of this proposition. Proposition five. Exaggeration of the monitoring structural myth is damaging to the process of detection of the ordering capabilities of the two main textural myths, identical in point of trinitarian symmetry. Proposition six. Ulysses is therefore constructed on multiple myth : the binding force of the Hiesos & Hamlet trinities equals Homer. Taking Dublin into account, the narrative may be visually rendered in stylized four-leaved shamrock shape.