These were brought by Indra as a falcon to the wind: and the wind took them up into itself and carried them where were the offerers of the sacrificial horse. Somewhat like this he spoke (Gandharva to thee) and praised the wind.'
"Therefore is the wind the special (vyashti) and the wind the universal (samashti). He, who knows this, defends himself from dying again."
As this text tells us, the offerers of the sacrificial horse
come in that narrowest fissure between the shells of the
egg of the world, at that place, where the shells unite and
where they are divided. The fissure (vagina) in the maternal
world soul is designated by Plato in "Timaeus" by
X?], the symbol of the cross. Indra, who as a falcon has
stolen the soma (the treasure attainable with difficulty),
brings, as Psychopompos, the souls to the wind, to the
generating pneuma, which carries them forward to the
fissure or vagina, to the point of union, to the entrance
into the maternal egg. This train of thought of the
Hindoo philosophy briefly and concisely summarizes the
sense of innumerable myths; at the same time it is a
striking example of the fact that philosophy is internally
nothing else but a refined and sublimated mythology. It
is brought to this refined state by the influence of the corrector
of reality.[28] We have emphasized the fact that
in the Miller drama the horse is the first to die, as the
animal brother of the hero. (Corresponding to the early
death of the half-animal Eabani, the brother friend of
Gilgamesh.) This sacrificial death recalls the whole
category of mythological animal sacrifices. Volumes
could be filled with parallels, but we must limit ourselves
here to suggestions. The sacrificial animal, where it has
