possible. Thus through the sin of Adam death came into the world. This, as is evident, is expressed figuratively, that is, in contrast form. The mother's defence against the incest appears to the son as a malicious act, which delivers him over to the fear of death. This conflict faces us in the Gilgamesh epic in its original freshness and passion, where also the incest wish is projected onto the mother.
The neurotic who cannot leave the mother has good reasons; the fear of death holds him there. It seems as if no idea and no word were strong enough to express the meaning of this. Entire religions were constructed in order to give words to the immensity of this conflict. This struggle for expression which continued down through the centuries certainly cannot have its source in the restricted realm of the vulgar conception of incest. Rather one must understand the law which is ultimately expressed as "Incest prohibition" as coercion to domestication, and consider the religious systems as institutions which first receive, then organize and gradually sublimate, the motor forces of the animal nature not immediately available for cultural purposes.
We will now return to the visions of Miss Miller. Those now following need no further detailed discussion. The next vision is the image of a "purple bay." The symbolism of the sea connects smoothly with that which precedes. One might think here in addition of the reminiscences of the Bay of Naples, which we came across in Part I. In the sequence of the whole, however, we must not overlook the significance of the "bay." In
