sacred to him, which he himself really is, belong to this phase. This is the greatest possible denial of the great misdeed with which society and the sense of guilt began. There is an unmistakable second meaning in this sacrificial demonstration. It expresses satisfaction at the fact that the earlier father substitute has been abandoned in favor of the higher conception of god. The superficial allegorical translation of the scene here roughly corresponds with its psychoanalytic interpretation by saying that the god is represented as overcoming the animal part of his nature.[1]
But it would be erroneous to believe that in this period of renewed patriarchal authority the hostile impulses which belong to the father complex had entirely subsided. On the contrary, the first phases in the domination of the two new substitutive formations for the father, those of gods and kings, plainly show the most energetic expression of that ambivalence which is characteristic of religion.
- ↑ It is known that the overcoming of one generation of gods by another in mythology represents the historical process of the substitution of one religious system by another, either as the result of conquest by a strange race or by means of a psychological development. In the latter case the myth approaches the “functional phenomena” in H. Silberer’s sense. That the god who kills the animal is a symbol of the libido, as asserted by C. G. Jung (1. c.), presupposes a different conception of the libido from that hitherto held, and at any rate seems to me questionable.
