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It is evident that water and watery words in relation with women recur in Joyce’s works and, therefore, become the prevailing, dominant metaphor throughout them. The metaphors of rain and snow in Exiles and Dubliners have special implications for Richard Rowan and Gabriel Conroy and their wives, Bertha and Gretta. Whereas women are easily exposed to rain and snow, the male-heroes in the works have neurotic fear of exposing to the “perilous” water. The men are figures of the kinds of Irish pedants, but their self-oriented egoism is gradually eroded and finally destructed by the fluid and altruistic women. The wading girl in shore/water in A Portrait of the Artist as a Young Man is an angelic messenger who leads Stephen Dedalus to the new life of an artist. Molly Bloom in “Penelope” of Ulysses “speaks fluid” so naturally that she can express her/woman’s mysterious, subvocal, and amorphous thoughts with efficiency. The babbling, bubbling, and gossipy sound/speech of the washerwomen in “Anna Livia Plurabelle” of Finnegans Wake is water itself of the river, Liffey. The repetitions of the watery words uttered by the women in those works have close relations with the “feminine writing” and, as a result, reinforce the sense of peaceful, harmonious resolution in the works.