In the apple orchard.
From the apple tree has fallen
The golden apple,
Do not weep, little sun,
God will make another
Of gold, of bronze, of silver.”
The picking of the apple from the paradise tree may be compared with the fire theft, the drawing back of the libido from the mother. (See the explanations which follow concerning the specific deed of the hero.)
[452]. The relation of the son to the mother was the psychologic basis of many religions. In the Christian legend the relation of the son to the mother is extraordinarily clear. Robertson (“Evangelical Myths”) has hit upon the relation of Christ to the Marys, and he conjectures that this relation probably refers to an old myth “where a god of Palestine, perhaps of the name Joshua, appears in the changing relation of lover and son towards a mythical Mary. This is a natural process in the oldest theosophy and one which appears with variations in the myths of Mithra, Adonis, Attis, Osiris and Dionysus, all of whom were brought into relation (or combination) with mother goddesses and who appear either as a consort or a feminine eidolon in so far as the mothers and consorts were identified as occasion offered.”
[453]. Rank has pointed out a beautiful example of this in the myth of the swan maiden. “Die Lohengrinsage: Schriften zur angewandten Seelenkunde.”
[454]. Muther (“Geschichte der Malerei,” Vol. II) says in the chapter: “The First Spanish Classic”: “Tieck once wrote: Sexuality is the great mystery of our being. Sensuality is the first moving wheel in our machinery. It stirs our being and makes it joyous and living. Everything we dream of as beautiful and noble is included here. Sexuality and sensuousness are the spirit of music, of painting and of all art. All wishes of mankind rotate around this center like moths around a burning light. The sense of beauty and the feeling for art are only other expressions of it. They signify nothing more than the impulse of mankind towards expression. I consider devoutness itself as a diverted channel of the sexual desire.” Here it is openly declared that one should never forget when judging the ancient ecclesiastic art that the effort to efface the boundaries between earthly and divine love, to blend them into each other imperceptibly, has always been the guiding thought, the strongest factor in the propaganda of the Catholic church.