Chapter VII: The Dual Mother Rôle (2)

That points undoubtedly to a ritual marriage, which was celebrated subterraneously in mother earth. The Priestess of Demeter seems to be the representative of the earth goddess, perhaps the furrow of the field.[666] The descent into the earth is also the symbol of the mother’s womb, and was a widespread conception under the form of cave worship. Plutarch relates of the Magi that they sacrificed to Ahriman, εἰς τόπον ἀνήλιον.[667] Lukian lets the magician Mithrobarzanes εἰς χωρίον ἔρημον καὶ ὑλῶδες καὶ ἀνήλιον,[668] descend into the bowels of the earth. According to the testimony of Moses of the Koran, the sister Fire and the brother Spring were worshipped in Armenia in a cave. Julian gave an account from the Attis legend of a κατάβασις εἰς ἄντρον,[669] from whence Cybele brings up her son lover, that is to say, gives birth to him.[670] The cave of Christ’s birth, in Bethlehem (‘House of Bread’), is said to have been an Attis spelæum.

A further Eleusinian symbolism is found in the festival of Hierosgamos, in the form of the _mystic chests_, which, according to the testimony of Clemens of Alexandria, may have contained pastry, salt and fruits. The synthema (confession) of the mystic transmitted by Clemens is suggestive in still other directions:

“I have fasted, I have drunk of the barleydrink, I have taken from the
chest and after I have labored, I have placed it back in the basket,
and from the basket into the chest.”

The question as to what lay in the chest is explained in detail by Dieterich.[671] The labor he considers a phallic activity, which the mystic has to perform. In fact, representations of the mystic basket are given, wherein lies a phallus surrounded by fruits.[672] Upon the so-called Lovatelli tomb vase, the sculptures of which are understood to be Eleusinian ceremonies, it is shown how a mystic caressed the serpent entwining Demeter. The caressing of the fear animal indicates a religious conquering of incest.[673] According to the testimony of Clemens of Alexandria, a serpent was in the chest. The serpent in this connection is naturally of phallic nature, the phallus which is forbidden in relation to the mother. Rohde mentions that in the Arrhetophories, pastry, in the form of phalli and serpents, were thrown into the cave near the Thesmophorion. This custom was a petition for the bestowal of children and harvest.[674] The snake also plays a large part in initiations under the remarkable title ὁ διὰ κόλπου θεός.[675] Clemens observes that the symbol of the Sabazios mysteries is ὁ διὰ κόλπων θεός, δράκων δὲ ἐστι καὶ οὗτος διελκόμενος τοῦ κόλπου τῶν τελουμένων.[676]

Through Arnobius we learn:

“Aureus coluber in sinum demittitur consecratis et eximitur rursus ab
inferioribus partibus atque imis.”[677]

In the Orphic Hymn 52, Bacchus is invoked by ὑποκόλπιε,[678] which indicates that the god enters into man as if through the female genitals.[679] According to the testimony of Hippolytus, the hierophant in the mystery exclaimed ἱερον ἔτεκε πότνια κοῦρον, Βριμὼ βριμόν (the revered one has brought forth a holy boy, Brimos from Brimo). This Christmas gospel, “Unto us a son is born,” is illustrated especially through the tradition[680] that the Athenians “secretly show to the partakers in the Epoptia, the great and wonderful and most perfect Epoptic mystery, _a mown stalk of wheat_.”[681]

The parallel for the motive of death and resurrection is the motive of losing and finding. The motive appears in religious rites in exactly the same connection, namely, in spring festivities similar to the Hierosgamos, where the image of the god was hidden and found again. It is an uncanonical tradition that Moses left his father’s house when twelve years old to teach mankind. In a similar manner Christ is lost by his parents, and they find him again as a teacher of wisdom, just as in the Mohammedan legend Moses and Joshua lose the fish, and in his place Chidher, the teacher of wisdom, appears (like the boy Jesus in the temple); so does the corn god, lost and believed to be dead, suddenly arise again from his mother into renewed youth. (That Christ was laid in the manger is suggestive of fodder. Robertson, therefore, places the manger as parallel to the liknon.)

We understand from these accounts why the Eleusinian mysteries were for the mystic so rich in comfort for the hope of a better world. A beautiful Eleusinian epitaph shows this:

“Truly, a beautiful secret is proclaimed by the blessed Gods!
Mortality is not a curse, but death a blessing!”

The hymn to Demeter[682] in the mysteries also says the same:

“Blessed is he, the earth-born man, who hath seen this!
Who hath not shared in these divine ceremonies,
He hath an unequal fate in the obscure darkness of death.”

Immortality is inherent in the Eleusinian symbol; in a church song of the nineteenth century by Samuel Preiswerk we discover it again:

“The world is yours, Lord Jesus,
The world, on which we stand,
Because it is thy world
It cannot perish.
Only the wheat, before it comes
Up to the light in its fertility,
Must die in the bosom of the earth
First freed from its own nature.

“Thou goest, O Lord, our chief,
To heaven through thy sorrows,
And guide him who believes
In thee on the same path.
Then take us all equally
To share in thy sorrows and kingdoms,
Guide us through thy gate of death,
Bring thy world into the light.”

Firmicus relates concerning the Attis mysteries:

“Nocte quadam simulacrum in lectica supinum ponitur et per numeros
digestis fletibus plangitur; deinde cum se ficta lamentatione
satiaverint, lumen infertur: tunc a sacerdote omnium qui flebant
fauces unguentur, quibus perunctis sacerdos hoc lento murmure
susurrat: ‘Θαρρεῖτε μύσται τοῦ Θεοῦ σεσωσμένου ἔσται γὰρ ἡμῖν ἐκ πόνου
σωτηρία.’”[683]

Such parallels show how little human personality and how much divine, that is to say, universally human, is found in the Christ mystery. No man is or, indeed, ever was, a hero, for the hero is a god, and, therefore, impersonal and generally applicable to all. Christ is a “spirit,” as is shown in the very early Christian interpretation. In different places of the earth, and in the most varied forms and in the coloring of various periods, the Savior-hero appears as a fruit of the entrance of the libido into the personal maternal depths. The Bacchian consecrations represented upon the Farnese relief contain a scene where a mystic wrapped in a mantle, drawn over his head, was led to Silen, who holds the “λῖχνον” (chalice), covered with a cloth. The covering of the head signifies death. The mystic dies, figuratively, like the seed corn, grows again and comes to the corn harvest. Proclus relates that the mystics were buried up to their necks. The Christian church as a place of religious ceremony is really nothing but the grave of a hero (catacombs). The believer descends into the grave, in order to rise from the dead with the hero. That the meaning underlying the church is that of the mother’s womb can scarcely be doubted. The symbols of Mass are so distinct that the mythology of the sacred act peeps out everywhere. It is the magic charm of rebirth. The veneration of the Holy Sepulchre is most plain in this respect. A striking example is the Holy Sepulchre of St. Stefano in Bologna. The church itself, a very old polygonal building, consists of the remains of a temple to Isis. The interior contains an artificial spelæum, a so-called Holy Sepulchre, into which one creeps through a very little door. After a long sojourn, the believer reappears reborn from this mother’s womb. An Etruscan ossuarium in the archeological museum in Florence is at the same time a statue of Matuta, the goddess of death; the clay figure of the goddess is hollowed within as a receptacle for the ashes. The representations indicate that Matuta is the mother. Her chair is adorned with sphinxes, as a fitting symbol for the mother of death.

Only a few of the further deeds of Hiawatha can interest us here. Among these is the battle with Mishe-Nahma, the fish-king, in the eighth song. This deserves to be mentioned as a typical battle of the sun-hero. Mishe-Nahma is a fish monster, who dwells at the bottom of the waters. Challenged by Hiawatha to battle, he devours the hero, together with his boat:

“In his wrath he darted upward,
Flashing leaped into the sunshine,
Opened his great jaws, and swallowed
Both canoe and Hiawatha.

“Down into that darksome cavern
Plunged the headlong Hiawatha,
As a log on some black river
Shoots and plunges down the rapids,
Found himself in utter darkness,
Groped about in helpless wonder,
Till he felt a great heart beating,
Throbbing in that utter darkness.
And he smote it in his anger,
With his fist, the heart of Nahma,
Felt the mighty king of fishes
Shudder through each nerve and fibre.

· · · · ·

Crosswise then did Hiawatha
Drag his birch-canoe for safety,
Lest from out the jaws of Nahma,
In the turmoil and confusion,
Forth he might be hurled, and perish.”

It is the typical myth of the work of the hero, distributed over the entire world. He takes to a boat, fights with the sea monster, is devoured, he defends himself against being bitten or crushed[684] (resistance or stamping motive); having arrived in the interior of the “whale dragon,” he seeks the vital organ, which he cuts off or in some way destroys. Often the death of the monster occurs as the result of a fire which the hero secretly makes within him; he mysteriously creates in the womb of death life, the rising sun. Thus dies the fish, which drifts ashore, where, with the assistance of “birds,” the hero again attains the light of day.[685] The bird in this sense probably means the reascent of the sun, the longing of the libido, the rebirth of the phœnix. (The longing is very frequently represented by the symbol of hovering.) The sun symbol of the bird rising from the water is (etymologically) contained in the singing swan. “Swan” is derived from the root _sven_, like sun and tone. (See the preceding.) This act signifies rebirth, and the bringing forth of life from the mother,[686] and by this means the ultimate destruction of death, which, according to a Negro myth, has come into the world, through the mistake of an old woman, who, at the time of the general casting of skins (for men renewed their youth through casting their skin like snakes), drew on, through absent-mindedness, her old skin instead of a new one, and as a result died. But the effect of such an act could not be of any duration. Again and again troubles of the hero are renewed, always under the symbol of deliverance from the mother. Just as Hera (as the pursuing mother) is the real source of the great deeds of Hercules, so does Nokomis allow Hiawatha no rest, and raises up new difficulties in his path, in form of desperate adventures in which the hero may perhaps conquer, but also, perhaps, may perish. The libido of mankind is always in advance of his consciousness; unless his libido calls him forth to new dangers he sinks into slothful inactivity or, on the other hand, childish longing for the mother overcomes him at the summit of his existence, and he allows himself to become pitifully weak, instead of striving with desperate courage towards the highest. The mother becomes the demon, who summons the hero to adventure, and who also places in his path the poisonous serpent, which will strike him. Thus Nokomis, in the ninth song, calls Hiawatha, points with her hand to the west, where the sun sets in purple splendor, and says to him:

“Yonder dwells the great Pearl-Feather,
Megissogwon, the Magician,
Manito of Wealth and Wampum,
Guarded by his fiery serpents,
Guarded by the black pitch-water.
You can see his fiery serpents,
The Kenabeek, the great serpents,
Coiling, playing in the water.”

This danger lurking in the west is known to mean death, which no one, even the mightiest, escapes. This magician, as we learn, also killed the father of Nokomis. Now she sends her son forth to avenge the father (Horus). Through the symbols attributed to the magician it may easily be recognized what he symbolizes. Snake and water belong to the mother, the snake as a symbol of the repressed longing for the mother, or, in other words, as a symbol of resistance, encircles protectingly and defensively the maternal rock, inhabits the cave, winds itself upwards around the mother tree and guards the precious hoard, the “mysterious” treasure. The black Stygian water is, like the black, muddy spring of Dhulqarnein, the place where the sun dies and enters into rebirth, the maternal sea of death and night. On his journey thither Hiawatha takes with him the magic oil of Mishe-Nahma, which helps his boat through the waters of death. (Also a sort of charm for immortality, like the dragon’s blood for Siegfried, etc.)

First, Hiawatha slays the great serpent. Of the “night journey in the sea” over the Stygian waters it is written:

“All night long he sailed upon it,
Sailed upon that sluggish water,
Covered with its mould of ages,
Black with rotting water-rushes,
Rank with flags, and leaves of lilies,
Stagnant, lifeless, dreary, dismal,
Lighted by the shimmering moonlight
And by will-o’-the-wisps illumined,
Fires by ghosts of dead men kindled,
In their weary night encampments.”

The description plainly shows the character of a water of death. The contents of the water point to an already mentioned motive, that of encoiling and devouring. It is said in the “Key to Dreams of Jagaddeva”:[687]

“Whoever in dreams surrounds his body with bast, creepers or ropes,
with snake-skins, threads, or tissues, dies.”

I refer to the preceding arguments in regard to this. Having come into the west land, the hero challenges the magician to battle. A terrible struggle begins. Hiawatha is powerless, because Megissogwon is invulnerable. At evening Hiawatha retires wounded, despairing for a while, in order to rest:

“Paused to rest beneath a pine-tree,
From whose branches trailed the mosses,
And whose trunk was coated over
With the Dead-man’s Moccasin-leather,
With the fungus white and yellow.”

This protecting tree is described as coated over with the moccasin leather of the dead, the fungus. This investing of the tree with anthropomorphic attributes is also an important rite wherever tree worship prevails, as, for example, in India, where each village has its sacred tree, which is clothed and in general treated as a human being. The trees are anointed with fragrant waters, sprinkled with powder, adorned with garlands and draperies. Just as among men, the piercing of the _ears was performed as an apotropaic charm against death, so does it occur with the holy tree_. Of all the trees of India there is none more sacred to the Hindoos than the Aswatha (Ficus religiosa). It is known to them as Vriksha Raja (king of trees), Brahma, Vishnu and Mahesvar live in it, and the worship of it is the worship of the triad. Almost every Indian village has an Aswatha,[688] etc. This “village linden tree,” well known to us, is here clearly characterized as the mother symbol; it contains the three gods.

Hence, when Hiawatha retires to rest under the pine-tree,[689] it is a dangerous step, because he resigns himself to the mother, whose garment is the garment of death (the devouring mother). As in the whale-dragon, the hero also in this situation needs a “helpful bird”; that is to say, the helpful animals, which represent the benevolent parents:

“Suddenly from the boughs above him
Sang the Mama, the woodpecker;
‘Aim your arrows, Hiawatha,
At the head of Megissogwon,
Strike the tuft of hair upon it,
At their roots the long black tresses;
There alone can he be wounded.’”

Now, amusing to relate, Mama hurried to his help. It is a peculiar fact that the woodpecker was also the “Mama” of Romulus and Remus, who put nourishment into the mouths of the twins with his beak.[690] (Compare with that the rôle of the vulture in Leonardo’s dream. The vulture is sacred to Mars, like the woodpecker.) With the maternal significance of the woodpecker, the ancient Italian folk-superstition agrees: that from the tree upon which this bird nested any nail which has been driven in will soon drop out again.[691] The woodpecker owes its special significance to the circumstance that he _hammers holes into trees_. (“To drive nails in,” as above!) It is, therefore, understandable that he was made much of in the Roman legend as an old king of the country, a possessor or ruler of the holy tree, the primitive image of the Paterfamilias. An old fable relates how Circe, the spouse of King Picus, transformed him into the Picus Martius, the woodpecker. The sorceress is the “new-creating mother,” who has “magic influence” upon the sun-husband. She kills him, transforms him into the soul-bird, the unfulfilled wish. Picus was also understood as the wood demon and incubus, as well as the soothsayer, all of which fully indicate the mother libido.[692] Picus was often placed on a par with Picumnus by the ancients. Picumnus is the inseparable companion of Pilumnus, and both are actually called _infantium dii_, “the gods of little children.” Especially it was said of Pilumnus that he defended new-born children against the destroying attacks of the wood demon, Silvanus. (Good and bad mother, the motive of the two mothers.)

The benevolent bird, a wish thought of deliverance which arises from introversion,[693] advises the hero to shoot the magician under the hair, which is the only vulnerable spot. This spot is the “phallic” point,[694] if one may venture to say so; it is at _the top of the head_, at the _place where the mystic birth from the head takes place_, which even to-day appears in children’s sexual theories. Into that Hiawatha shoots (one may say, very naturally) three arrows[695] (the well-known phallic symbol), and thus kills Megissogwon. Thereupon he steals the magic wampum armor, which renders him invulnerable (means of immortality). He significantly leaves the dead lying in the water—because the magician is the fearful mother:

“On the shore he left the body,
Half on land and half in water,
In the sand his feet were buried,
And his face was in the water.”

Thus the situation is the same as with the fish king, because the monster is the personification of the water of death, which in its turn represents the devouring mother. This great deed of Hiawatha’s, where he has vanquished the mother as the death-bringing demon,[696] is followed by his marriage with Minnehaha.

A little fable which the poet has inserted in the later song is noteworthy. An old man is transformed into a youth, by _crawling through a hollow oak tree_.

In the fourteenth song is a description of how Hiawatha discovers writing. I limit myself to the description of two hieroglyphic tokens:

“Gitche Manito the Mighty,
He, the Master of Life, was painted
As an egg, with points projecting
To the four winds of the heavens.
Everywhere is the Great Spirit,
Was the meaning of this symbol.”

The world lies in the egg, which encompasses it at every point; it is the cosmic woman with child, the symbol of which Plato as well as the Vedas has made use of. This mother is like the air, which is everywhere. But air is spirit; the mother of the world is a spirit:

“Mitche Manito the Mighty,
He the dreadful Spirit of Evil,
As a serpent was depicted,
As Kenabeek, the great serpent.”

But the spirit of evil is fear, is the forbidden desire, the adversary who opposes not only each individual heroic deed, but life in its struggle for eternal duration as well, and who introduces into our body the poison of weakness and age through the treacherous bite of the serpent. It is all that is retrogressive, and as the model of our first world is our mother, all retrogressive tendencies are towards the mother, and, therefore, are disguised under the incest image.

In both these ideas the poet has represented in mythologic symbols the libido arising from the mother and the libido striving backward towards the mother.

There is a description in the fifteenth song how Chibiabos, Hiawatha’s best friend, the amiable player and singer, the embodiment of the joy of life, was enticed by the evil spirits into ambush, fell through the ice and was drowned. Hiawatha mourns for him so long that he succeeds, with the aid of the magician, in calling him back again. But the revivified friend is only a spirit, and he becomes master of the land of spirits. (Osiris, lord of the underworld; the two Dioscuri.) Battles again follow, and then comes the loss of a second friend, Kwasind, the embodiment of physical strength.

In the twentieth song occur famine and the death of Minnehaha, foretold by two taciturn guests from the land of death; and in the twenty-second song Hiawatha prepares for a final journey to the west land:

“I am going, O Nokomis,
On a long and distant journey,
To the portals of the Sunset,
To the regions of the home-wind,
Of the Northwest-Wind Keewaydin.

“One long track and trail of splendor,
Down whose stream, as down a river,
Westward, westward, Hiawatha
Sailed into the fiery sunset,
Sailed into the purple vapors,
Sailed into the dusk of evening.

“Thus departed Hiawatha,
Hiawatha the Beloved,
In the glory of the sunset,
In the purple mists of evening,
To the regions of the home-wind,
Of the Northwest-Wind, Keewaydin,
To the Islands of the Blessed,
To the kingdom of Ponemah,
To the land of the Hereafter!”

The sun, victoriously arising, tears itself away from the embrace and clasp, from the enveloping womb of the sea, and sinks again into the maternal sea, into night, the all-enveloping and the all-reproducing, leaving behind it the heights of midday and all its glorious works. This image was the first, and was profoundly entitled to become the symbolic carrier of human destiny; in the morning of life man painfully tears himself loose from the mother, from the domestic hearth, to rise through battle to his heights. Not seeing his worst enemy in front of him, but bearing him within himself as a deadly longing for the depths within, for drowning in his own source, for becoming absorbed into the mother, his life is a constant struggle with death, a violent and transitory delivery from the always lurking night. This death is no external enemy, but a deep personal longing for quiet and for the profound peace of non-existence, for a dreamless sleep in the ebb and flow of the sea of life. Even in his highest endeavor for harmony and equilibrium, for philosophic depths and artistic enthusiasm, he seeks death, immobility, satiety and rest. If, like Peirithoos, he tarries too long in this place of rest and peace, he is overcome by torpidity, and the poison of the serpent paralyzes him for all time. If he is to live he must fight and sacrifice his longing for the past, in order to rise to his own heights. And having reached the noonday heights, he must also _sacrifice the love for his own achievement_, for he may not loiter. The sun also sacrifices its greatest strength in order to hasten onwards to the fruits of autumn, which are the seeds of immortality; fulfilled in children, in works, in posthumous fame, in a new order of things, all of which in their turn begin and complete the sun’s course over again.

The “Song of Hiawatha” contains, as these extracts show, a material which is very well adapted to bring into play the abundance of ancient symbolic possibilities, latent in the human mind, and to stimulate it to the creation of mythologic figures. But the products always contain the same old problems of humanity, which rise again and again in new symbolic disguise from the shadowy world of the unconscious. Thus Miss Miller is reminded through the longing of Chiwantopel, of another mythic cycle which appeared in the form of Wagner’s “Siegfried.” Especially is this shown in the passage in Chiwantopel’s monologue, where he exclaims, “There is not one who understands me, not one who resembles me, not one who has a soul sister to mine.” Miss Miller observes that the sentiment of this passage has the greatest analogy with the feelings which Siegfried experienced for Brunhilde.

This analogy causes us to cast a glance at the song of Siegfried, especially at the relation of Siegfried and Brunhilde. It is a well-recognized fact that Brunhilde, the Valkyr, gives protection to the birth (incestuous) of Siegfried, but while Sieglinde is the human mother, Brunhilde has the rôle of “spiritual mother” (mother-imago); however, unlike Hera towards Hercules, she is not a pursuer, but benevolent. This sin, in which she is an accomplice, by means of the help she renders, is the reason for her banishment by Wotan. The strange birth of Siegfried from the sister-wife distinguishes him as Horus, as the _reborn son_, a reincarnation of the retreating Osiris—Wotan. The birth of the young son, of the hero, results, indeed, from mankind, who, however, are merely the human bearers of the cosmic symbolism. Thus the birth is protected by the spirit mother (Hera, Lilith): she sends Sieglinde with the child in her womb (Mary’s flight) on the “night journey on the sea” to the east:

“Onward, hasten;
Turn to the East.

· · · · ·

O woman, thou cherishest
The sublimest hero of the world
In thy sheltering womb.”

The motive of dismemberment is found again in the broken sword of Siegmund, which was kept for Siegfried. From the dismemberment life is pieced together again. (The Medea wonder.) Just as a smith forges the pieces together, so is the dismembered dead again put together. (This comparison is also found in “Timaios” of Plato: the parts of the world joined together with pegs.) In the Rigveda, 10, 72, the creator of the world, Brahmanaspati, is a smith.

“Brahmanaspati, as a blacksmith,
Welded the world together.”

The sword has the significance of the phallic sun power; therefore, a sword proceeds from the mouth of the apocalyptic Christ; that is to say, the procreative fire, the word, or the procreative Logos. In Rigveda, Brahmanaspati is also a prayer-word, which possessed an ancient creative significance:[697]

“And this prayer of the singers, expanding from itself,
Became a cow, which was already there before the world,
Dwelling together in the womb of this god,
Foster-children of the same keeper are the gods.”

—_Rigveda_ x: 31.

The Logos became a cow; that is to say, the mother, who is pregnant with the gods. (In Christian uncanonical phantasies, where the Holy Ghost has feminine significance, we have the well-known motive of the two mothers, the earthly mother, Mary, and the spiritual mother, the Holy Ghost.) The transformation of the Logos into the mother is not remarkable in itself, because the origin of the phenomenon fire-speech seems to be the mother-libido, according to the discussion in the earlier chapter. The _spiritual is the mother-libido_. The significance of the sword, in the Sanskrit conception, têjas, is probably partly determined by its sharpness, as is shown above, in its connection with the libido conception. The motive of pursuit (the pursuing Sieglinde, analogous to Leto) is not here bound up with the spiritual mother, but with Wotan, therefore corresponding to the Linos legend, where the father of the wife is also the pursuer. Wotan is also the father of Brunhilde. Brunhilde stands in a peculiar relation to Wotan. Brunhilde says to Wotan:

“Thou speakest to the will of Wotan By telling me what thou wishest:
Who ... am I Were I not thy will?”

_Wotan_:

I take counsel only with myself, When I speak with thee....

Brunhilde is also somewhat the “angel of the face,” that creative will or word,[698] emanating from God, also the Logos, which became the child-bearing woman. God created the world through his word; that is to say, his mother, the woman who is to bring him forth again. (He lays his own egg.) This peculiar conception, it seems to me, can be explained by assuming that the libido overflowing into speech (thought) has preserved its sexual character to an extraordinary degree as a result of the inherent inertia. In this way the “word” had to execute and fulfil all that was denied to the sexual wish; namely, the return into the mother, in order to attain eternal duration. The “word” fulfils this wish by itself becoming the daughter, the wife, the mother of the God, who brings him forth anew.[699]

Wagner has this idea vaguely in his mind in Wotan’s lament over Brunhilde:

“None as she knew my inmost thought;
None knew the source of my will
As she;
She herself was
The creating womb of my wish;
And so now she has broken
The blessed union!”

Brunhilde’s sin is the favoring of Siegmund, but, behind this, lies incest: this is projected into the brother-sister relation of Siegmund and Sieglinde; in reality, and archaically expressed, Wotan, the father, has entered into his self-created daughter, in order to rejuvenate himself. But this fact must, of course, be veiled. Wotan is rightly indignant with Brunhilde, for she has taken the Isis rôle and through the birth of the son has deprived the old man of his power. The first attack of the death serpent in the form of the son, Siegmund, Wotan has repelled; he has broken Siegmund’s sword, but Siegmund rises again in a grandson. This inevitable fate is always helped by the woman; hence the wrath of Wotan.

At Siegfried’s birth Sieglinde dies, as is proper. The foster-mother[700] is apparently not a woman, but a chthonic god, a crippled dwarf, who belongs to that tribe which renounces love.[701] The Egyptian god of the underworld, the crippled shadow of Osiris (who celebrated a melancholy resurrection in the sexless semi-ape Harpocrates), is the tutor of Horus, who has to avenge the death of his father.

Meanwhile Brunhilde sleeps the enchanted sleep, like a Hierosgamos, upon a mountain, where Wotan has put her to sleep[702] with the magic thorn (Edda), surrounded by the flames of Wotan’s fire (equal to libido[703]), which wards off every one. But Mime becomes Siegfried’s enemy and wills his death through Fafner. Here Mime’s dynamic nature is revealed; he is a masculine representation of the terrible mother, also a foster-mother of demoniac nature, who places the poisonous worm (Typhon) in her son’s (Horus’s) path. Siegfried’s longing for the mother drives him away from Mime, and his travels begin with the mother of death, and lead through vanquishing the “terrible mother”[704] to the woman:

_Siegfried_:

Off with the imp!
I ne’er would see him more!
Might I but know what my mother was like
That will my thought never tell me!
Her eyes’ tender light
Surely did shine
Like the soft eyes of the doe!

Siegfried decides to separate from the demon which was the mother in the past, and he gropes forward with the longing directed towards the mother. Nature acquires a hidden maternal significance for him (“doe”); in the tones of nature he discovers a suggestion of the maternal voice and the maternal language:

_Siegfried_:

Thou gracious birdling,
Strange art thou to me!
Dost thou in the wood here dwell?
Ah, would that I could take thy meaning!
Thy song something would say—
Perchance—of my loving mother!

This psychology we have already encountered in Hiawatha. By means of his dialogue with the bird (bird, like wind and arrow, represents the wish, the winged longing) Siegfried entices Fafner from the cave. His desires turn back to the mother, and the chthonic demon, the cave-dwelling terror of the woods, appears. Fafner is the protector of the treasure; in his cave lies the hoard, the source of life and power. The mother possesses the libido of the son, and jealously does she guard it. Translated into psychological language, this means the positive transference succeeds only through the release of the libido from the mother-imago, the incestuous object in general. Only in this manner is it possible to gain one’s libido, the incomparable treasure, and this requires a mighty struggle, the whole battle of adaptation.[705] The Siegfried legend has abundantly described the outcome of this battle with Fafner. According to the Edda, Siegfried eats Fafner’s heart, the seat of life. He wins the magic cap, through whose power Alberich had changed himself into a serpent. This refers to the motive of casting the skin, rejuvenation. By means of the magic cap one can vanish and assume different shapes. The vanishing probably refers to dying and to the invisible presence; that is, existence in the mother’s womb. A luck-bringing cap, amniotic covering, the new-born child occasionally wears over his head (the caul). Moreover, Siegfried drinks the dragon’s blood, which makes it possible for him to understand the language of birds, and consequently he enters into a peculiar relation with Nature, a dominating position, the result of his knowledge, and finally wins the treasure.

_Hort_ is a mediæval and Old High German word with the meaning of “collected and guarded treasure”; Gothic, _huzd_; Old Scandinavian, _hodd_; Germanic _hozda_, from pre-Germanic _kuzdhó_—for _kudtho_—“the concealed.” Kluge[706] adds to this the Greek κεύθω, έκυθον = “to hide, to conceal.” Also _hut_ (_hut_, to guard; English, hide), Germanic root _hud_, from Indo-Germanic _kuth_ (questionable), to Greek κεύθω and κύσθος, “cavity,” feminine genitals. Prellwitz,[707] too, traces Gothic _huzd_, Anglo-Saxon _hyde_, English hide and hoard, to Greek κεύθω. Whitley Stokes traces English hide, Anglo-Saxon _hydan_, New High German _Hütte_, Latin _cûdo_ = helmet; Sanskrit _kuhara_ (cave?) to primitive Celtic _koudo_ = concealment; Latin, _occultatio_.

The assumption of Kluge is also supported in other directions; namely, from the point of view of the primitive idea:

“There exists in Athens[708] a sacred place (a Temenos) of Ge, with
the surname Olympia. Here the ground is torn open for about a yard in
width; and they say, after the flood at the time of Deucalion, that
the water receded here; and every year they throw into the fissure
wheatmeal, kneaded with honey.”

We have observed previously that among the Arrhetophorian, pastry in the form of snakes and phalli, was thrown into a crevice in the earth. This was mentioned in connection with the ceremonies of fertilizing the earth. We have touched slightly already upon the sacrifice in the earth crevice among the Watschandies. The flood of death has passed characteristically into the crevice of the earth; that is, back into the mother again; because from the mother the universal great death has come in the first place. The flood is simply the counterpart of the vivifying and all-producing water: Ὠκεανοῦ, ὅσπερ γένεσις πάντεσσι τέτυκται.[709] One sacrifices the honey cake to the mother, so that she may spare one from death. Thus every year in Rome a gold sacrifice was thrown into the lacus Curtius, into the former fissure in the earth, which could only be closed through the sacrificial death of Curtius. He was the typical hero, who has journeyed into the underworld, in order to conquer the danger threatening the Roman state from the opening of the abyss. (Kaineus, Amphiaraos.) In the Amphiaraion of Oropos those healed through the temple incubation threw their gifts of gold into the sacred well, of which Pausanias says:

“If any one is healed of a sickness through a saying of the oracle,
then it is customary to throw a silver or gold coin into the well;
because here Amphiaraos has ascended as a god.”

It is probable that this oropic well is also the place of his “Katabasis” (descent into the lower world). There were many entrances into Hades in antiquity. Thus near Eleusis there was an abyss, through which Aidoneus passed up and down, when he kidnapped Cora. (Dragon and maiden: the libido overcome by resistance, life replaced by death.) There were crevices in the rocks, through which souls could ascend to the upper world. Behind the temple of Chthonia in Hermione lay a sacred district of Pluto, with a ravine through which Hercules had brought up Cerberus; in addition, there was an “Acherusian” lake.[710] This ravine was, therefore, the entrance to the place where death was conquered. The lake also belongs here as a further mother symbol, for symbols appear massed together, as they are surrogates, and, therefore, do not afford the same satisfaction of desire as accorded by reality, so that the unsatisfied remnant of the libido must seek still further symbolic outlets. The ravine in the Areopagus in Athens was considered the seat of inhabitants of the lower world. An old Grecian custom[711] suggests a similar idea. Girls were sent into a cavern, where a poisonous snake dwelt, as a test of virginity. If they were bitten by the snake, it was a token that they were no longer chaste. We find this same motive again in the Roman legend of St. Silvester, at the end of the fifth century:[712]

“Erat draco immanissimus in monte Tarpeio, in quo est Capitolium
collocatum. Ad hunc draconem per CCCLXV gradus, quasi ad infernum,
magi cum virginibus sacrilegis descendebant semel in mense cum
sacrificiis et lustris, ex quibus esca poterat tanto draconi inferri.
Hic draco subito ex improviso ascendebat et licet non ingrederetur
vicinos tamen aeres flatu suo vitiabat. Ex quo mortalitas hominum et
maxima luctus de morte veniebat infantum. (Lilith motive.) Sanctus
itaque Silvester cum haberet cum paganis pro defensione veritatis
conflictum, ad hoc venit ut dicerent ei pagani: ‘Silvester descende ad
draconem et fac eum in nomine Dei tui vel uno anno ab interfectione
generis humani cessare.’”[713]

St. Peter appeared to Silvester in a dream and advised him to close his door to the underworld with chains, according to the model in Revelation, chap, xx:

(1) “And I saw an angel come down from heaven, having the key of the
bottomless pit, and a great chain in his hand.

(2) “And he laid hold on the dragon, that old serpent, which is the
Devil and Satan, and bound him a thousand years.

(3) “And cast him into the bottomless pit, and shut him up, and set a
seal upon him.”

The anonymous author of a writing, “De Promissionibus,”[714] of the beginning of the fifth century, mentions a very similar legend:

“Apud urbem Romam specus quidam fuit in quo draco miræ magnitudinis
mechanica arte formatus, gladium ore gestans,[715] oculis rutilantibus
gemmis[716] metuendus ac terribilis apparebat. Hinc annuæ devotæ
virgines floribus exornatæ, eo modo in sacrificio dabantur, quatenus
inscias munera deferentes gradum scalæ, quo certe ille arte diaboli
draco pendebat, contingentes impetus venientis gladii perimeret, ut
sanguinem funderet innocentem. Et hunc quidam monachus, bene ob
meritum cognitus Stiliconi tunc patricio, eo modo subvertit; baculo,
manu, singulos gradus palpandos inspiciens, statim ut illum tangens
fraudem diabolicam repperit, eo transgresso descendens, draconem
scidit, misitque in partes: ostendens et hie deos non esse qui manu
fiunt.”[717]

The _hero battling with the dragon has much in common with the dragon_, and also he takes over his qualities; for example, invulnerability. As the footnotes show, the similarity is carried still further (sparkling eyes, sword in his mouth). Translated psychologically, the dragon is merely the son’s repressed longing, striving towards the mother; therefore, the son is the dragon, as even Christ is identified with the serpent, which, once upon a time, similia similibus, had controlled the snake plague in the Wilderness. John iii: 14. _As a serpent he is to be crucified; that is to say, as one striving backwards towards the mother, he must die hanging or suspended on the mother tree._ Christ and the dragon of the Antichrist are in the closest contact in the history of their appearance and their cosmic meaning. (Compare Bousset, the Antichrist.) The legend of the dragon concealed in the Antichrist myth belongs to the life of the hero, and, therefore, is immortal. In none of the newer forms of myth are the pairs of opposites so perceptibly near as in that of Christ and Antichrist. (I refer to the remarkable psychologic description of this problem in Mereschkowski’s romance, “Leonardo da Vinci.”) That the dragon is only an artifice is a useful and delightfully rationalistic conceit, which is most significant for that period. In this way the dismal gods were effectually vulgarized. The schizophrenic insane readily make use of this mechanism, in order to depreciate efficient personalities. One often hears the stereotyped lament, “It is all a play, artificial, made up,” etc. A dream of a “schizophrenic” is most significant; he is sitting in a dark room, which has only a single small window, through which he can see the sky. The sun and moon appear, but they are only made artificially from oil paper. (Denial of the deleterious incest influence.)

The descent of the three hundred and sixty-five steps refers to the sun’s course, to the cavern of death and rebirth. That this cavern actually stands in a relation to the subterranean mother of death can be shown by a note in Malalas, the historian of Antioch,[718] who relates that Diocletian consecrated there a crypt to Hecate, to which one descends by three hundred and sixty-five steps. Cave mysteries seem to have been celebrated for Hecate in Samothrace as well. The serpent also played a great part as a regular symbolic attribute in the service of Hecate. The mysteries of Hecate flourished in Rome towards the end of the fourth century, so that the two foregoing legends might indeed relate to her cult. Hecate[719] is a real spectral goddess of night and phantoms, a Mar; she is represented as riding, and in Hesiod occurs as the _patron_ of riders. She sends the horrible nocturnal fear phantom, the Empusa, of whom Aristophanes says that she appears inclosed in a _bladder swollen with blood_. According to Libanius, the mother of Aischines is also called Empusa, for the reason that “ἐκ σκοτεινῶν τόπων τοῖς παισὶν καὶ ταῖς γυναιξίν ὡρμᾶτο.”[720]

Empusa, like Hecate, has _peculiar_ feet; one foot is made of brass, the other of ass’ dung. Hecate has snakelike feet, which, as in the triple form ascribed to Hecate, points to her phallic libido nature.[721] In Tralles, Hecate appears next to Priapus; there is also a Hecate Aphrodisias. Her symbols are the key,[722] the whip,[723] the snake,[724] the dagger[725] and the torch.[726] As mother of death, dogs accompany her, the significance of which we have previously discussed at length. As guardian of the door of Hades and as Goddess of dogs, she is of threefold form, and really identified with Cerberus. Thus Hercules, in bringing up Cerberus, brings the conquered mother of death into the upper world. As spirit mother (moon!), she sends madness, lunacy. (This mythical observation states that “the mother” sends madness; by far the majority of the cases of insanity consist, in fact, in the domination of the individual by the material of the incest phantasy.) In the mysteries of Cerberus, a rod, called λευκόφυλλος,[727] was broken off. This rod protected the purity of virgins, and caused any one who touched the plant to become insane. We recognize in this the motive of the sacred tree, which, as mother, must not be touched, an act which only an insane person would commit. Hecate, as nightmare, appears in the form of Empusa, in a vampire rôle, or as Lamia, as devourer of men; perhaps, also, in that more beautiful guise, “The Bride of Corinth.” She is the mother of all charms and witches, the patron of Medea, because the power of the “terrible mother” is magical and irresistible (working upward from the unconscious). In Greek syncretism, she plays a very significant rôle. She is confused with Artemis, who also has the surname ἑκάτη,[728] “the one striking at a distance” or “striking according to her will,” in which we recognize again her superior power. Artemis is the huntress, with hounds, and so Hecate, through confusion with her, becomes κυνηγετική, the wild nocturnal huntress. (God, as huntsman, see above.) She has her name in common with Apollo, ἕκατος ἑκάεργος.[729] From the standpoint of the libido theory, this connection is easily understandable, because Apollo merely symbolizes the more positive side of the same amount of libido. The confusion of Hecate with Brimo as subterranean mother is understandable; also with Persephone and Rhea, the primitive all-mother. Intelligible through the maternal significance is the confusion with Ilithyia, the midwife. Hecate is also the direct goddess of births, κουροτρόφος,[730] the multiplier of cattle, and goddess of marriage. Hecate, orphically, occupies the centre of the world as Aphrodite and Gaia, even as the world soul in general. On a carved gem[731] she is represented carrying the cross on her head. The beam on which the criminal was scourged is called ἑκάτη.[732] To her, as to the Roman Trivia, the triple roads, or _Scheideweg_, “forked road,” or crossways were dedicated. And where roads branch off or unite sacrifices of dogs were brought her; there the bodies of the executed were thrown; the sacrifice occurs at the _point of crossing_. Etymologically, _scheide_, “sheath”; for example, sword-sheath, sheath for water-shed and sheath for vagina, is identical with _scheiden_, “to split,” or “to separate.” The meaning of a sacrifice at this place would, therefore, be as follows: to offer something to the mother at the place of junction or at the fissure. (Compare the sacrifice to the chthonic gods in the abyss.) The Temenos of Ge, the abyss and the well, are easily understood as the gates of life and death,[733] “past which every one gladly creeps” (Faust), and sacrifices there his obolus or his πελανοί,[734] instead of his body, just as Hercules soothes Cerberus with the honey cakes. (Compare with this the mythical significance of the dog!) Thus the crevice at Delphi, with the spring, Castalia, was the seat of the chthonic dragon, Python, who was conquered by the sun-hero, Apollo. (Python, incited by Hera, pursued Leta, pregnant with Apollo; but she, on the floating island of Delos [nocturnal journey on the sea], gave birth to her child, who later slew the Python; that is to say, conquered in it the spirit mother.) In Hierapolis (Edessa) the temple was erected above the crevice through which the flood had poured out, and in Jerusalem the foundation stone of the temple covered the great abyss,[735] just as Christian churches are frequently built over caves, grottoes, wells, etc. In the Mithra grotto,[736] and all the other sacred caves up to the Christian catacombs, which owe their significance not to the legendary persecutions but to the worship of the dead,[737] we come across the same fundamental motive. The burial of the dead in a holy place (in the “garden of the dead,” in cloisters, crypts, etc.) is restitution to the mother, with the certain hope of resurrection by which such burial is rightfully rewarded. The animal of death which dwells in the cave had to be soothed in early times through human sacrifices; later with natural gifts.[738] Therefore, the Attic custom gives to the dead the μελιτοῦττα, to pacify the dog of hell, the three-headed monster at the gate of the underworld. A more recent elaboration of the natural gifts seems to be the obolus for Charon, who is, therefore, designated by Rohde as the second Cerberus, corresponding to the Egyptian dog-faced god Anubis.[739] Dog and serpent of the underworld (Dragon) are likewise identical. In the tragedies, the Erinnyes are serpents as well as dogs; the serpents Tychon and Echnida are parents of the serpents—Hydra, the dragon of the Hesperides, and Gorgo; and of the dogs, Cerberus, Orthrus, Scylla.[740] Serpents and dogs are also protectors of the treasure. The chthonic god was probably always a serpent dwelling in a cave, and was fed with πελανοί.[741] In the Asclepiadean of the later period, the sacred serpents were scarcely visible, meaning that they probably existed only figuratively.[742] Nothing was left but the hole in which the snake was said to dwell. There the πελανοί[743] were placed; later the obolus was thrown in. The sacred cavern in the temple of Kos consisted of a rectangular pit, upon which was laid a stone lid, with a square hole; this arrangement serves the purpose of a treasure house. The snake hole had become a slit for money, a “sacrificial box,” and the cave had become a “treasure.” That this development, which Herzog traces, agrees excellently with the actual condition is shown by a discovery in the temple of Asclepius and Hygieia in Ptolemais:

“An encoiled granite snake, with arched neck, was found. In the middle
of the coil is seen a narrow slit, polished by usage, just large
enough to allow a coin of four centimeters diameter at most to fall
through. At the side are holes for handles to lift the heavy pieces,
the under half of which is used as a cover.”—_Herzog_, _Ibid._, p.
212.

The serpent, as protector of the hoard, now lies on the treasure house. The fear of the maternal womb of death has become the guardian of the treasure of life. That the snake in this connection is really a symbol of death, that is to say, of the dead libido, results from the fact that the souls of the dead, like the chthonic gods, appear as _serpents_, as dwellers in the kingdom of the mother of death.[744] This development of symbol allows us to recognize easily the transition of the originally very primitive significance of the crevice in the earth as mother to the meaning of treasure house, and can, therefore, support the etymology of _Hort_, “hoard, treasure,” as suggested by Kluge, κεύθω, belonging to κὲῦθος, means the innermost womb of the earth (Hades); κύσθος, that Kluge adds, is of similar meaning, cavity or womb. Prellwitz does not mention this connection. Fick,[745] however, compares New High German _hort_, Gothic _huzd_, to Armenian _kust_, “abdomen”; Church Slavonian _čista_, Vedic _kostha_ = abdomen, from the Indo-Germanic root _koustho -s_ = viscera, lower abdomen, room, store-room. Prellwitz compares κύσθος κύστις = urinary bladder, bag, purse; Sanskrit _kustha-s_ = cavity of the loins; then κύτος = cavity, vault; κύτις = little chest, from κυέω = I am pregnant. Here, from κύτος = cave, κύυαρ = hole, κύαθος = cup, κύλα - depression under the eye, κῦμα = swelling, wave, billow, κῦρος = power, force, κύριος = lord, Old Iranian _caur_, _cur_ = hero; Sanskrit _çura -s_ = strong, hero. The fundamental Indo-Germanic roots[746] are _kevo_ = to swell, to be strong. From that the above-mentioned κυέω, κύαρ, κῦρος and Latin _cavus_ = hollow, vaulted, cavity, hole; _cavea_ = cavity, enclosure, cage, scene and assembly; _caulæ_ = cavity, opening, enclosure, stall[747]; _kuéyô_ = swell; participle, _kueyonts_ = swelling; _en-kueyonts_ = pregnant, ἐγηυέων = Latin _inciens_ = pregnant; compare Sanskrit _vi-çvá-yan_ = swelling; _kûro -s_ (_kevaro -s_), strong, powerful hero.

The treasure which the hero fetches from the dark cavern is swelling life; it is himself, the hero, new-born from the anxiety of pregnancy and the birth throes. Thus the Hindoo fire-bringer is called Mâtariçvan, meaning the one swelling in the mother. The _hero striving towards the mother is the dragon, and when he separates from the mother he becomes the conqueror of the dragon_.[748] This train of thought, which we have already hinted at previously in Christ and Antichrist, may be traced even into the details of Christian phantasy. There is a series of mediæval pictures[749] in which the communion cup contains a dragon, a snake or some sort of small animal.[750]

The cup is the receptacle, the maternal womb, of the god resurrected in the wine; the cup is the cavern where the serpent dwells, the god who sheds his skin, in the state of metamorphosis; for Christ is also the serpent. These symbolisms are used in an obscure connection in I Corinthians, verse 10: Paul writes of the Jews who “were all baptized unto Moses in the cloud and in the sea” (also reborn) and “did all drink the same spiritual drink; for they drank of that spiritual rock that followed them, and that rock was Christ.” They drank from the mother (the generative rock, birth from the rock) the milk of rejuvenation, the mead of immortality, and this Rock was Christ, here identified with the mother, because he is the symbolic representative of the mother libido. When we drink from the cup, then we drink from the mother’s breast immortality and everlasting salvation. Paul wrote of the Jews that they ate and then rose up to dance and to indulge in fornication, and then twenty-three thousand of them were swept off by the plague of serpents. The remedy for the survivors, however, was the sight of a serpent hanging on a pole. From it was derived the cure.

“The cup of blessing which we bless, is it not the communion of the
blood of Christ? The bread which we break, is it not the communion of
the body of Christ? For we being many are one bread, and one body; for
we are all partakers of one bread.”—_I Corinthians_ x: 16, 17.