Where, deep in thought,
The heroes of death were assembled....
Now, when he, in parting,
Appeared once more before them,
Then the kingly day, the day of the sun, was put out,
And the gleaming sceptre, formed of his rays,
Was broken—and suffered like a god itself.
Yet it shall return and glow again
When the right time comes.”
The fundamental pictures are the sacrificial death and the resurrection of Christ, like the self-sacrifice of the sun, which voluntarily breaks its sceptre, the fructifying rays, in the certain hope of resurrection. The following comments are to be noted in regard to “the sceptre of rays”: Spielrein’s patient says, “God pierces through the earth with his rays.” The earth, in the patient’s mind, has the meaning of woman. She also comprehends the sunbeam in mythologic fashion as something solid: “Jesus Christ has shown me his love, by striking against the window with a sunbeam.” Among other insane patients I have come across the same idea of the solid substance of the sunbeam. Here there is also a hint of the phallic nature of the instrument which is associated with the hero. Thor’s hammer, which, cleaving the earth, penetrates deeply into it, may be compared to the foot of Kaineus. The hammer is retained in the interior of the earth, like the treasure, and, in the course of time, it gradually comes again to the surface (“the treasure blooms”), meaning that it was born again from the earth. (Compare what has been said concerning the etymology of “swelling.”) On many monuments Mithra holds a peculiar object in his hands, which Cumont compares to a half-filled tube. Dieterich proves from his papyrus text that the object is the shoulder of the bull, the bear constellation. The shoulder has an indirect phallic meaning, for it is the part which is wanting in Pelops. Pelops was slaughtered by his father, Tantalus, dismembered, and boiled in a kettle, to make a meal for the gods. Demeter had unsuspectingly eaten the shoulder from this feast, when Zeus discovered the outrage. He had the pieces thrown back into the kettle, and, with the help of the life-dispensing Clotho, Pelops was regenerated, and the shoulder which was missing was replaced by an ivory one. This substitution is a close parallel to the substitution of the missing phallus of Osiris. Mithra is represented in a special ceremony, holding the bull’s shoulder over Sol, his son and vice-regent. This scene may be compared to a sort of dedication, or accolade (something like the ceremony of confirmation). The blow of the hammer as a generating, fructifying, inspiring function is retained as a folk-custom and expressed by striking with the twig of life, which has the significance of a charm of fertility. In the neuroses, the sexual meaning of castigation plays an important part, for among many children castigation may elicit a sexual orgasm. The ritual act of striking has the same significance of generating (fructifying), and is, indeed, merely a variant of the original phallic ceremonial. Of similar character to the bull’s shoulder is the cloven hoof of the devil, to which a sexual meaning also appertains. The ass’s jawbone wielded by Samson has the same worth. In the Polynesian Maui myth the jawbone, the weapon of the hero, is derived from the man-eating woman, Muriranga-whenua, whose body swells up enormously from lusting for human flesh (Frobenius). Hercules’ club is made from the wood of the maternal olive tree. Faust’s key also “knows the mothers.” The libido springs from the mother, and with this weapon alone can man overcome death.