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This study is an examination of the beast motif associated with Stephen Dedalus in Joyce's Ulysses. The motif has its origins in Joyce's earlier novel, A Portrait of the Artist as a Young Man. In Ulysses the beast motif is related to Stephen's feelings of guilt and remorse over his mother's death and includes characterizations of Stephen as a fox, a dog, a rat, and a vampire. The motif consistently carries a negative connotation. Several literary sources for the imagery of the beast motif are apparent in Ulysses, including two plays by John Webster, a poem by Matthew Prior, medieval bestiaries, and a traditional Irish folk riddle. The study of the continuity of the beast motif in Ulysses helps to explain the complex characterization of Stephen Dedalus.

Very little of the huge corpus of Beowulf criticism has been directed at discovering the function and meaning of myth in the poem. Scholars have noted many mythological elements, but there has never been a satisfactory explanation of the poet's use of this material. A close analysis of Beowulf reveals that myth does, in fact, inform its structure, plot, characters and even imagery. More significant than the poet's use of myth, however, is the way he interlaces the historical and Christian elements with the mythological story to reflect his understanding of the cyclic nature of human existence. The examination in Chapter II of the religious component in eighth-century Anglo-Saxon culture demonstrates that the traditional Germanic religion or mythology was still very much alive. Thus the Beowulf poet was certainly aware of pre-Christian beliefs. Furthermore, he seems to have perceived basic similarities between the old and new religions, and this understanding is reflected in the poem. Chapter III discusses the way in which the characterization of the monsters is enriched by their mythological connotations. Chapter IV demonstrates that the poet also imbued the hero Beowulf with mythological significance. The discussion in Chapter V of themes and type-scenes reveals the origins of these formulaic elements in Indo-European myth, particularly in the myth of the dying god. Chapter VI argues that both historical and mythological layers of meaning reflect traditional man's view of history as cyclic, a temporal period with a beginning and an end. At the juncture between end and beginning is conflict, which is necessary for regeneration. The interlacing of Christian, historical and mythic elements suggests the impossibility of extricating the individual and collective historical manifestations from the cosmic imperative of this cycle. The Beowulf poet perhaps saw in the ancient myths which permeated his cultural traditions the basis of meaning of human existence.

In Thomas Hardy's Tess of the d'Urbervilles a relationship exists between the symbolical sacrifice of Tess at Stonehenge and her association with fertility, ritual, and mythic cycles of seasonal death and rebirth. Because Hardy associates Tess with fertility, reproductive power, and seasonal change, she personifies nature and closely resembles the earth mother goddess Demeter. Ritual is evident in her participation in the May-Day club revel, in her intended suicide under the mistletoe, and in her manner of killing Alec d1Urberville. Myth cycle culminates with a fertility ritual in the powerful sacrificial incident at Stonehenge, for, although Tess physically dies at Wintoncester, she symbolically dies at Stonehenge. Following her execution, the significance of her symbolic death at Stonehenge becomes apparent in her rebirth in 'Liza-Lu, In the Demeter-Persephone myth, two anthropomorphic entities, the mother and the maiden, enact the single phenomenon of organic nature--the principle of life seen in the seasonal growth of vegetation. Tess, then, as mother symbolizes the end of the old year's crops, while 'Liza-Lu as maiden signifies the fructification of Tess's seed in the burgeoning fertility of the new year. By being reborn in 'Liza-Lu, Tess thus completes the mythic pattern of seasonal changes.