Taking the form of a drama, "Circe" is the pinnacle of Joyce`s stylistic variations done in each chapter of Ulysses. The primary purpose of this essay is to discriminate Joyce`s literary Expressionism associated with the transformative self in dramatization of "Circe." For Joyce, Expressionism is an artistic medium to show the spiritual essence of empirical things in time and space. Joycean critics have yet dug out not much of the Expressionism`s philosophical overtones in "Circe." The anthropomorphized objects like yews, fan, moth, and hoof in "Circe" are good examples of Expressionism highlighting artistic intuitions whose doctrines are well expressed by Benedetto Croce to whom Joyce was deeply drawn. In "Circe," Expressionism is not an end per se but a means to push to the extreme Joyce`s vision of the transformative self, i.e. the self`s becoming the other, by employment of Expressionist intuitions. In "Circe," Joyce`s heightened sense of the becoming of the self is a reflection of the Triestine Jews` multiracial hybridity into which he was acculturated. A Trestine philosopher, Carlo Michelstaedter`s 1910 Persuasion and Rhetoric`s Expressionist explication of the "perpetual mutation" between the self and the other is markedly illuminating Joyce`s theosophic metempsychosis, a vision of the multiple identities of the self. eventually surpasses in his later works.