In this poem nearly all the symbolism is collected which we have elaborated previously from other connections. Distinct traces of the primitive identity of serpent and hero are still extant in the myth of Cecrops. Cecrops is himself half-snake, half-man. Originally, he probably was the Athenian snake of the citadel itself. As a buried god, he is like Erechtheus, a chthonic snake god. Above his subterranean dwelling rises the Parthenon, the temple of the virgin goddess (compare the analogous idea of the Christian church). The casting of the skin of the god, which we have already mentioned in passing, stands in the closest relation to the nature of the hero. We have spoken already of the Mexican god who casts his skin. It is also told of Mani, the founder of the Manichaean sect, that he was killed, skinned, stuffed and hung up.^[775] That is the death of Christ, merely in another mythological form.^[776]

Marsyas, who seems to be a substitute for Attis, the son-lover of Cybele, was also skinned.^[777] Whenever a Scythian king died, slaves and horses were slaughtered, skinned and stuffed, and then set up again.^[778] In Phrygia, the representatives of the father-god were killed and skinned. The same was done in Athens with an ox, who was skinned and stuffed and again hitched to the plough.

In this manner the revival of the fertility of the earth was celebrated.^[779]

This readily explains the fragment from the Sabazios mysteries, transmitted to us by Firmicus:^[780] Ταῦρος δράκοντος καὶ πατὴρ ταύρου δράκων^[781].

The active fructifying (upward striving) form of the libido is changed into the negative force striving downwards towards death. The hero as zodion of spring (ram, bull) conquers the depths of winter; and beyond the summer solstice is attacked by the unconscious longing for death, and is bitten by the snake. However, he himself is the snake. But he is at war with himself, and, therefore, the descent and the end appear to him as the malicious inventions of the mother of death, who in this way wishes to draw him to herself. The mysteries, however, consolingly promise that there is no contradiction^[782] or disharmony when life is changed into death: ταῦρος δράκοντος καὶ πατήρ ταύρου δράκων.

Nietzsche, too, gives expression to this mystery:^[783]

The serpent symbolism of the Last Supper is explained by the identification of the hero with the serpent: The god is buried in the mother: as fruit of the field, as food coming from the mother and at the same time as drink of immortality he is received by the mystic, or as a serpent he unites with the mystic. All these symbols represent the liberation of the libido from the incestuous fixation through which new life is attained. The liberation is accomplished under symbols, which represent the activity of the incest wish.

It might be justifiable at this place to cast a glance upon psychoanalysis as a method of treatment. In practical analysis it is important, first of all, to discover the libido lost from the control of consciousness. (It often happens to the libido as with the fish of Moses in the Mohammedan legend; it sometimes “takes its course in a marvellous manner into the sea.”) Freud says in his important article, “Zur Dynamik der Übertragung”:^[784]

“The libido has retreated into regression and again revives the infantile images.”

This means, mythologically, that the sun is devoured by the serpent of the night, the treasure is concealed and guarded by the dragon: substitution of a present mode of adaptation by an infantile mode, which is represented by the corresponding neurotic symptoms. Freud continues:

“Thither the analytic treatment follows it and endeavors to seek out the libido again, to render it accessible to consciousness, and finally to make it serviceable to reality. Whenever the analytic investigation touches upon the libido, withdrawn into its hiding-place, a struggle must break out; all the forces, which have caused the regression of the libido, will rise up as resistance against the work, in order to preserve this new condition.”

Mythologically this means: the hero seeks the lost sun, the fire, the virgin sacrifice, or the treasure, and fights the typical fight with the dragon, with the libido in resistance. As these parallels show, psychoanalysis mobiles a part of the life processes, the fundamental importance of which properly illustrates the significance of this process.

After Siegfried has slain the dragon, he meets the father, Wotan, plagued by gloomy cares, for the primitive mother, Erda, has placed in his path the snake, in order to enfeeble his sun. He says to Erda:

It is the same primitive motive which we meet Wagner: the mother has robbed her son, the sun-god, of the joy of life, through a poisonous thorn, and deprives him of his power, which is connected with the name. Isis demands the name of the god; Erda says, “Thou art not what thou hast said.” But the “Wanderer” has found the way to conquer the fatal charm of the mother, the fear of death:

These wise words contain, in fact, the saving thought. It is not the mother who has placed the poisonous worm in our path, but our libido itself wills to complete the course of the sun to mount from morn to noon, and, passing beyond noon, to hasten towards evening, not at war with itself, but willing the descent and the end.^[785]

Nietzsche’s Zarathustra teaches:

“I praise thee, my death, the free death, which comes to me because I want it.

“And when shall I want it?

“He who has a goal and an heir wants death at the proper time for his goal and his heir.

“And this is the great noonday, when man in the middle of his course stands between man and superman, and celebrates his path towards evening as his highest hope: because it is the path to a new morning.

“He who is setting will bless his own going down because it is a transition: and the sun of his knowledge will be at high noon.”

Siegfried conquers the father Wotan and takes possession of Brunhilde. The first object that he sees is her horse; then he believes that he beholds a mail-clad man. He cuts to pieces the protecting coat of mail of the sleeper. (Overpowering.) When he sees it is a woman, terror seizes him:

In the duet which follows the mother is invoked:

The confession of Brunhilde is especially characteristic:

The pre-existence of the hero and the pre-existence of Brunhilde as his wife-mother are clearly indicated from this passage.

Siegfried says in confirmation:

The mother-imago, which is the symbol of the dying and resurrected libido, is explained by Brunhilde to the hero, as his own will:

The great mystery of the Logos entering into the mother for rebirth is proclaimed with the following words by Brunhilde:

The erotic similes which now follow distinctly reveal the motive of rebirth:

The motive of plunging into the maternal water of rebirth (baptism) is here fully developed. An allusion to the “terrible mother” imago, the mother of heroes, who teaches them fear, is to be found in Brunhilde’s words (the horse-woman, who guides the dead to the other side):

The orgiastic “Occide moriturus” resounds in Brunhilde’s words:

And in the words

is to be found the same significant contrast.

The further destinies of Siegfried are those of the Invictus: the spear of the gloomy, one-eyed Hagen strikes Siegfried’s vulnerable spot. The old sun, who has become the god of death, the one-eyed Wotan, smites his offspring, and once again ascends in eternal rejuvenation. The course of the invincible sun has supplied the mystery of human life with beautiful and imperishable symbols; it became a comforting fulfilment of all the yearning for immortality, of all desire of mortals for eternal life.

Man leaves the mother, the source of libido, and is driven by the eternal thirst to find her again, and to drink renewal from her; thus he completes his cycle, and returns again into the mother’s womb. Every obstacle which obstructs his life’s path, and threatens his ascent, wears the shadowy features of the “terrible mother,” who paralyzes his energy with the consuming poison of the stealthy, retrospective longing. In each conquest he wins again the smiling love and life-giving mother—images which belong to the intuitive depths of human feeling, the features of which have become mutilated and irrecognizable through the progressive development of the surface of the human mind. The stern necessity of adaptation works ceaselessly to obliterate the last traces of these primitive landmarks of the period of the origin of the human mind, and to replace them along lines which are to denote more and more clearly the nature of real objects.

After this long digression, let us return to Miss Miller’s vision. We can now answer the question as to the significance of Siegfried’s longing for Brunhilde. It is the striving of the libido away from the mother towards the mother. This paradoxical sentence may be translated as follows: as long as the libido is satisfied merely with phantasies, it moves in itself, in its own depths, in the mother.^[789] When the longing of our author rises in order to escape the magic circle of the incestuous and, therefore, pernicious, object, and it does not succeed in finding reality, then the object is and remains irrevocably the mother. Only the overcoming of the obstacles of reality brings the deliverance from the mother, who is the continuous and inexhaustible source of life for the creator, but death for the cowardly, timid and sluggish.

Whoever is acquainted with psychoanalysis knows how often neurotics cry out against their parents. To be sure, such complaints and reproaches are often justified on account of the common human imperfections, but still more often they are reproaches which should really be directed towards themselves. Reproach and hatred are always futile attempts to free one’s self apparently from the parents, but in reality from one’s own hindering longing for the parents. Our author proclaims through the mouth of her infantile hero Chiwantopel a series of insults against her own family. We can assume that she must renounce all these tendencies, because they contain an unrecognized wish. This hero, of many words, who performs few deeds and indulges in futile yearnings, is the libido which has not fulfilled its destiny, but which turns round and round in the kingdom of the mother, and, in spite of all its longing, accomplishes nothing. Only he can break this magic circle who possesses the courage of the will to live and the heroism to carry it through. Could this yearning hero-youth, Chiwantopel, but put an end to his existence, he would probably rise again in the form of a brave man seeking real life. This necessity imposes itself upon the dreamer as a wise counsel and hint of the unconscious in the following monologue of Chiwantopel. He cries sadly:

“In all the world, there is not a single one! I have sought among a hundred tribes. I have watched a hundred moons, since I began. Can it be that there is not a solitary being who will ever know my soul? Yes, by the sovereign God, yes! But ten thousand moons will wax and wane before that pure soul is born. And it is from another world that her parents will come to this one. She will have pale skin and pale locks. She will know sorrow before her mother bears her. Suffering will accompany her; she will seek also, and she will find, no one who understands her. Temptation will often assail her soul—but she will not yield. In her dreams, I will come to her, and she will understand. I have kept my body inviolate. I have come ten thousand moons before her epoch, and she will come ten thousand moons too late. But she will understand! There is only once in all the ten thousand moons that a soul like hers is born.”

Thereupon a green serpent darts from the bushes, glides towards him and stings him on the arm, then attacks the horse, which succumbs first. Then Chiwantopel says to his horse:

“‘Adieu, faithful brother! Enter into rest! I have loved you, and you have served me well. Adieu. Soon I will rejoin you!’ Then to the snake: ‘Thanks, little sister, you have put an end to my wanderings.’”

Then he cried with grief and spoke his prayer:

“‘Sovereign God, take me soon! I have tried to know thee, and to keep thy law! O, do not suffer my body to fall into corruption and decay, and to furnish the vultures with food!’ A smoking crater is perceived at a distance, the rumbling of an earthquake is heard, followed by a trembling of the ground.”

Chiwantopel cries in the delirium of suffering, while the earth covers his body:

“I have kept my body inviolate. Ah! She understands. Ja-ni-wa-ma, Ja-ni-wa-ma, thou who comprehendeth me.”

Chiwantopel’s prophecy is a repetition of Longfellow’s “Hiawatha,” where the poet could not escape sentimentality, and at the close of the career of the hero, Hiawatha, he brings in the Savior of the white people, in the guise of the arriving illustrious representatives of the Christian religion and morals. (One thinks of the work of redemption of the Spaniards in Mexico and Peru!) With this prophecy of Chiwantopel, the personality of the author is again placed in the closest relation to the hero, and, indeed, as the real object of Chiwantopel’s longing. Most certainly the hero would have married her, had she lived at his time; but, unfortunately, she comes too late. The connection proves our previous assertion that the libido moves round in a circle. The author loves herself; that is to say, she, as the hero, is sought by one who comes too late. This motive of coming too late is characteristic of the infantile love: the father and the mother cannot be overtaken. The separation of the two personalities by ten thousand moons is a wish fulfilment; with that the incest relation is annulled in an effectual manner. This white heroine will seek without being understood. (She is not understood, because she cannot understand herself rightly.) And she will not find. But in dreams, at least, they will find each other, “and she will understand.” The next sentence of the text reads:

“I have kept my body inviolate.”

This proud sentence, which naturally only a woman can express, because man is not accustomed to boast in that direction, again confirms the fact that all enterprises have remained but dreams, that the body has remained “inviolate.” When the hero visits the heroine in a dream, it is clear what is meant. This assertion of the hero’s, that he has remained inviolate, refers back to the unsuccessful attempt upon his life in the previous chapter (huntsman with the arrow), and clearly explains to us what was really meant by this assault; that is to say, the refusal of the coitus phantasy. Here the wish of the unconscious obtrudes itself again, after the hero had repressed it the first time, and thereupon he painfully and hysterically utters this monologue. “Temptation will often assail her soul—but it will not yield.” This very bold assertion reduces—noblesse oblige—the unconscious to an enormous infantile megalomania, which is always the case when the libido is compelled, through similar circumstances, to regressions. “Only once in all the ten thousand moons is a soul born like mine!” Here the unconscious ego expands to an enormous degree, evidently in order to cover with its boastfulness a large part of the neglected duty of life. But punishment follows at its heels. Whoever prides himself too much on having sustained no wound in the battle of life lays himself open to the suspicion that his fighting has been with words only, whilst actually he has remained far away from the firing-line. This spirit is just the reverse of the pride of those savage women, who point with satisfaction to the countless scars which were given them by their men in the sexual fight for supremacy. In accordance with this, and in logical continuation of the same, all that follows is expressed in figurative speech. The orgiastic “Occide moriturus” in its admixture with the reckless laughter of the Dionysian frenzy confronts us here in sorry disguise with a sentimental stage trickery worthy of our posthumous edition of “Christian morals.” In place of the positive phallus, the negative appears, and leads the hero’s horse (his libido animalis), not to satisfaction, but into eternal peace—also the fate of the hero. This end means that the mother, represented as the jaws of death, devours the libido of the daughter. Therefore, instead of life and procreative growth, only phantastic self-oblivion results. This weak and inglorious end has no elevating or illuminating meaning so long as we consider it merely as the solution of an individual erotic conflict. The fact that the symbols under which the solution takes place have actually a significant aspect, reveals to us that behind the individual mask, behind the veil of “individuation,” a primitive idea stands, the severe and serious features of which take from us the courage to consider the sexual meaning of the Miller symbolism as all-sufficient.

It is not to be forgotten that the sexual phantasies of the neurotic and the exquisite sexual language of dreams are regressive phenomena. The sexuality of the unconscious is not what it seems to be; it is merely a symbol; it is a thought bright as day, clear as sunlight, a decision, a step forward to every goal of life—but expressed in the unreal sexual language of the unconscious, and in the thought form of an earlier stage; a resurrection, so to speak, of earlier modes of adaptation. When, therefore, the unconscious pushes into the foreground the coitus wish, negatively expressed, it means somewhat as follows: under similar circumstances primitive man acted in such and such a manner. The mode of adaptation which to-day is unconscious for us is carried on by the savage Negro of the present day, whose undertakings beyond those of nutrition appertain to sexuality, characterized by violence and cruelty. Therefore, in view of the archaic mode of expression of the Miller phantasy, we are justified in assuming the correctness of our interpretation for the lowest and nearest plane only. A deeper stratum of meaning underlies the earlier assertion that the figure of Chiwantopel has the character of Cassius, who has a lamb as a companion. Therefore, Chiwantopel is the portion of the dreamer’s libido bound up with the mother (and, therefore, masculine); hence he is her infantile personality, the childishness of character, which as yet is unable to understand that one must leave father and mother, when the time is come, in order to serve the destiny of the entire personality. This is outlined in Nietzsche’s words:

“Free dost thou call thyself? Thy dominant thought would I hear and not that thou hast thrown off a yoke. Art thou one who had the right to throw off a yoke? There are many who throw away their last value when they throw away their servitude.”

Therefore, when Chiwantopel dies, it means that herein is a fulfilment of a wish, that this infantile hero, who cannot leave the mother’s care, may die. And if with that the bond between mother and daughter is severed, a great step forward is gained both for inner and outer freedom. But man wishes to remain a child too long; he would fain stop the turning of the wheel, which, rolling, bears along with it the years; man wishes to keep his childhood and eternal youth, rather than to die and suffer corruption in the grave. (“O, do not suffer my body to fall into decay and corruption.”) Nothing brings the relentless flight of time and the cruel perishability of all blossoms more painfully to our consciousness than an inactive and empty life. Idle dreaming is the mother of the fear of death, the sentimental deploring of what has been and the vain turning back of the clock. Although man can forget in the long- (perhaps too long) guarded feelings of youth, in the dreamy state of stubbornly held remembrances, that the wheel rolls onward, nevertheless mercilessly does the gray hair, the relaxation of the skin and the wrinkles in the face tell us, that whether or not we expose the body to the destroying powers of the whole struggle of life, the poison of the stealthily creeping serpent of time consumes our bodies, which, alas! we so dearly love. Nor does it help if we cry out with the melancholy hero Chiwantopel, “I have kept my body inviolate”; flight from life does not free us from the law of age and death. The neurotic who seeks to get rid of the necessities of life wins nothing and lays upon himself the frightful burden of a premature age and death, which must appear especially cruel on account of the total emptiness and meaninglessness of his life. If the libido is not permitted to follow the progressive life, which is willing to accept all dangers and all losses, then it follows the other road, sinking into its own depths, working down into the old foreboding regarding the immortality of all life, to the longing for rebirth.

Hölderlin exemplifies this path in his poetry and his life. I leave the poet to speak in his song:

The following comments may be made upon the parable of this poem: The rose is the symbol of the beloved woman (“Haidenröslein,” heather rose of Goethe). The rose blooms in the “rose-garden” of the maiden; therefore, it is also a direct symbol of the libido. When the poet dreams that he is with the rose in the mother-womb of nature, then, psychologically, the fact is that his libido is with the mother. Here is an eternal germination and renewal. We have come across this motive already in the Hierosgamos hymn (Iliad XIV): The nuptials in the blessed West; that is to say, the union in and with the mother. Plutarch shows us this motive in naïve form in his tradition of the Osiris myth; Osiris and Isis copulating in the mother’s womb. This is also perceived by Hölderlin as the enviable prerogative of the gods—to enjoy everlasting infancy. Thus, in Hyperion, he says:

This quotation shows the meaning of heavenly bliss. Hölderlin never was able to forget this first and greatest happiness, the dreamy picture of which estranged him from real life. Moreover, in this poem, the ancient motive of the twins in the mother’s womb is intimated. (Isis and Osiris in the mother’s womb.) The motive is archaic. There is a legend in Frobenius of how the great serpent (appearing from the little serpent in the hollow tree, through the so-called stretching out of the serpent) has finally devoured all men (devouring mother—death), and only a pregnant woman remains alive; she digs a ditch, covers it with a stone (grave—mother’s womb), and, living there, she gives birth to twins, the subsequent dragon-killers (the hero in double form, man and phallus, man and woman, man with his libido, the dying and rising sun).

This existence together in the mother is to be found also very beautifully expressed in an African myth (Frobenius):

“In the beginning, Obatala, the heaven, and Odudua, the earth, his wife, lay pressed firmly together in a calabas.”

The guarding “in a modest bud” is an idea which has appeared already in Plutarch, where it is said that the sun was born in the morning from a flower bud. Brahma, too, comes from the bud, which also gave birth in Assam to the first human pair.

This poem betrays to us the beginning of the discord between the poet and nature; he begins to be estranged from reality, the natural actual existence. It is a remarkable idea how the little child chooses “the vine for his nurse.” This Dionysian allusion is very old. In the significant blessing of Jacob it is said of Judah (Genesis, chap. xlix, verse 11):

“Binding his foal unto the vine, and his ass’s colt unto the choice vine.”

A Gnostic gem has been preserved upon which there is a representation of an ass suckling her foal, above which is the symbol of Cancer, and the circumscription D.N.I.H.Y.X.P.S.: Dominus Noster Jesus Christus, with the supplement Dei filius. As Justinus Martyr indignantly observes, the connections of the Christian legend with that of Dionysus are unmistakable. (Compare, for example, the miracle of the wine.) In the last-named legend the ass plays an important rôle. Generally speaking, the ass has an entirely different meaning in the Mediterranean countries than with us—an economic one. Therefore, it is a benediction when Jacob says (Genesis, chap. xlix, verse 14):

“Issachar is a strong ass couching down between two burdens.”

The above-mentioned thought is altogether Oriental. Just as in Egypt the new-born sun is a bull-calf, in the rest of the Orient it can easily be an ass’s foal, to whom the vine is the nurse. Hence the picture in the blessing of Jacob, where it is said of Judah:

“His eyes are ruddy with wine and his teeth white with milk.”

The mock crucifix of the Palatine, with an ass’s head, evidently alludes to a very significant background.

The separation from the blessedness of childhood, from youth even, has taken the golden glamour from nature, and the future is hopeless emptiness. But what robs nature of its glamour, and life of its joy, is the poison of the retrospective longing, which harks back, in order to sink into its own depths: