The Old English Apollonius of Tyre survives as only a fragment of a popular medieval romance which is recorded in numerous Latin manuscripts. Approximately half the story is missing; therefore, studies of this prose romance are usually restricted to linguistic and stylistic analyses. Hence this study focuses on the word order of phrases and clauses and on features of style apparent in the Old English version, with comparison to the Latin source where significant divergences occur.

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.

Poems contains fifty-two poems and an afterword that explains some of the ideas that prompted the poems as well as some information about the poetic techniques and allusions. Their primary purpose is to communicate the experiences of a woman living in a patriarchal society, which contemporary American society certainly is. The poems expose how a young woman fits into such a society as a human being and an artist . They stress the need for women writers to play ever-increasing roles in society.

Through narrations presenting juxtaposition of conditions and ambivalence of conclusions, writers in the Hawthornian tradition compel the reader to interpret for himself the destiny of the creative protagonist. In these works the creative self is often threatened with psychical annihilation by its internal conflicts between pragmatic needs and aesthetic goals, social responsibility and professional dedication, idealistic pursuits and materialistic desires. Works in this tradition show creativity evolving from conflicting forces within the creative self. Female characters in the novels function as the creative imagination, leading the self towards creative consummation, sometimes bearing the creation itself, and always suggesting mythical figures associated with creativity. Male characters represent either the withdrawn, sensitive, idealistic ego, or the active, materialistic will. Confrontation between these internal forces produces the apocalyptic revelation enabling the self to transcend its condition by renewing contact with the creative source, the unconscious psyche. For these writers the unconscious has roots in myth, legend, dreams, and memory and is opposed to sterile conditions producing fragmentation of the creative self. In the Hawthornian tradition, the American Revolution separated the self from existence in the timeless universal givens and propelled it into assuming the determination of history. Bereft of traditional guidance and belief …