The historical transnational aspect of James Joyce’s modernist narrative experiment, Ulysses, comes to the fore in the multiple strands of Irish-Hungarian relations it depicts. Published in 1922, Joyce’s masterpiece relates to Hungary in its allusions to The Resurrection of Hungary and through one of the three main characters in the novel, Leopold Bloom, the son of a Hungarian Jewish emigrant who settles in Dublin. The date in which the novel is set, June 16, 1904, occurs just five days before the publication of one of the ongoing articles on Hungary in Griffith’s The United Irishman that formed part of The Resurrection of Hungary. I address Joyce’s earliest response to Griffith’s Hungarian policy in Stephen Hero before turning to its presence in Ulysses, offering a new reading of the ‘Cyclops’ episode where the Hungarian aspect is most overt. I re-consider allusions to Thomas Moore and William Smith O’Brien in Ulysses in light of their connections to Hungary that previous chapters in this study discuss. The presence of Austrian-Irish connections in the ‘Aeolus’ episode, re-appearing in dreamlike aspect in the ‘Circe’ episode, complicate the political terms upon which the Hungarian dimension of Ulysses relates to the nationalism that Arthur Griffith espoused. Bloom’s presence in Ulysses is not only that of the Jewish outsider in a mainly Catholic Dublin, but also one whose Hungarian ancestry carries connections both to the Habsburg dynasty and to Hungarian rebellion. Imperial, colonial and national hues colour the contexts that his presence brings to the Dublin setting of Joyce’s work. The historical transnational aspect of Ulysses as a modernist narrative experiment comes to the fore in the multiple strands of Irish-Hungarian relations in Ulysses.