Chapter V: Symbolism of the Mother and of Rebirth (3)

Finally, it must be mentioned that the form of the human body is imitated in the cross as of a man with arms outspread. It is remarkable that in early Christian representations Christ is not nailed to the cross, but stands before it with arms outstretched.[556] Maurice[557] gives a striking basis for this interpretation when he says:

“It is a fact not less remarkable than well attested, that the Druids
in their groves were accustomed to select the most stately and
beautiful tree as an emblem of the deity they adored, and cutting off
the side branches, they affixed two of the largest of them to the
highest part of the trunk, in such a manner that those branches
extended on each side like the arms of a man, and together with the
body presented the appearance of a huge cross; and in the bark in
several places was also inscribed the letter Τ (tau).”[558]

“The tree of knowledge” of the Hindoo Dschaina sect assumes human form; it was represented as a mighty, thick trunk in the form of a human head, from the top of which grew out two longer branches hanging down at the sides and one short, vertical, uprising branch crowned by a bud or blossom-like thickening.[559] Robertson in his “Evangelical Myths” mentions that in the Assyrian system there exists the representation of the divinity in the form of a cross, in which the vertical beam corresponds to a human form and the horizontal beam to a pair of conventionalized wings. Old Grecian idols such, for example, as were found in large numbers in Aegina have a similar character, an immoderately long head and arms slightly raised, wing-shaped, and in front distinct breasts.[560]

I must leave it an open question as to whether the symbol of the cross has any relation to the two pieces of wood in the religious fire production, as is frequently claimed. It does appear, however, as if the cross symbol actually still possessed the significance of “union,” for this idea belongs to the fertility charm, and especially to the thought of eternal rebirth, which is most intimately bound up with the cross. The thought of “union,” expressed by the symbol of the cross, is met with in “Timaios” of Plato, where the world soul is conceived as stretched out between heaven and earth in the form of an X (Chi); hence in the form of a “St. Andrew’s cross.” When we now learn, furthermore, that the world soul contains in itself _the world as a body_, then this picture inevitably reminds us of the mother.

(_Dialogues of Plato._ Jowett, Vol. II, page 528.)

“And in the center he put the soul, which he diffused through the
whole, and also spread over all the body round about, and he made one
solitary and only heaven, a circle moving in a circle, having such
excellence as to be able to hold converse with itself, and needing no
other friendship or acquaintance. Having these purposes in view he
created the world to be a blessed god.”

This highest degree of inactivity and freedom from desire, symbolized by the _being enclosed within itself_, signifies divine blessedness. The only human prototype of this conception is the child in the mother’s womb, or rather more, the adult man in the continuous embrace of the mother, from whom he originates. Corresponding to this mythologic-philosophic conception, the enviable Diogenes inhabited a tub, thus giving mythologic expression to the blessedness and resemblance to the Divine in his freedom from desire. Plato says as follows of the bond of the world soul to the world body:

“Now God did not make the soul after the body, although we have spoken
of them in this order; for when he put them together he would never
have allowed that the elder should serve the younger, but this is what
we say at random, because we ourselves too are very largely affected
by chance. Whereas he made the soul in origin and excellence prior to
and older than the body, to be the ruler and mistress, of whom the
body was to be the subject.”

It seems conceivable from other indications that the conception of the soul in general is a derivative of the mother-imago, that is to say, a symbolic designation for the amount of libido remaining in the mother-imago. (Compare the Christian representation of the soul as the bride of Christ.) The further development of the world soul in “Timaios” takes place in an obscure fashion in mystic numerals. When the mixture was completed the following occurred:

“This entire compound he divided lengthways into two parts, which he
joined to one another at the center like the figure of an X.”

This passage approaches very closely the division and union of Atman, who, after the division, is compared to a man and a woman who hold each other in an embrace. Another passage is worth mentioning:

“After the entire union of the soul had taken place, according to the
master’s mind, he formed all that is corporeal within this, and joined
it together so as to penetrate it throughout.”

Moreover, I refer to my remarks about the maternal meaning of the world soul in Plotinus, in Chapter II.

A similar detachment of the symbol of the cross from a concrete figure we find among the Muskhogean Indians, who stretch above the surface of the water (pond or stream) two ropes crosswise and at the point of intersection throw into the water fruits, oil and precious stones as a sacrifice.[561] Here the divinity is evidently the water, not the cross, which designates the place of sacrifice only, through the point of intersection. The sacrifice at the place of union indicates why this symbol was a primitive charm of fertility,[562] why we meet it so frequently in the prechristian era among the goddesses of love (mother goddesses), especially among the Egyptians in Isis and the sun-god. We have already discussed the continuous union of these two divinities. As the cross (Tau [Τ], Crux Ansata) always recurs in the hand of Tum, the supreme God, the hegemon of the Ennead, it may not be superfluous to say something more of the destination of Tum. The Tum of On-Heliopolis bears the name “the father of his mother”; what that means needs no explanation; Jusas or Nebit-Hotpet, the goddess joined to him, _was called sometimes the mother, sometimes the daughter, sometimes the wife of the god_. The day of the beginning of autumn is designated in the Heliopolitan inscriptions as the “festival of the goddess Jusasit,” as “the arrival of the sister for the purpose of uniting with her father.” It is the day in which “the goddess Mehnit completes her work, so that the god Osiris may enter into the left eye.” (By which the moon is meant.[563]) The day is also called the filling up of the sacred eye with its needs. The heavenly cow with the moon eye, the cow-headed Isis, takes to herself in the autumn equinox the seed which procreates Horus. (Moon as keeper of the seed.) The “eye” evidently represents the genitals, as in the myth of Indra, who had to bear spread over his whole body the likeness of Yoni (vulva), on account of a Bathsheba outrage, but was so far pardoned by the gods that the disgraceful likeness of Yoni was changed into eyes.[564] The “pupil” in the eye is a child. The great god becomes a child again; he enters the mother’s womb in order to renew himself.[565] In a hymn it is said:

“Thy mother, the heavens, stretches forth her arms to thee.”

In another place it is said:

“Thou shinest, oh father of the gods, upon the back of thy mother,
daily thy mother takes thee in her arms. When thou illuminatest the
dwelling of night, thou unitest with thy mother, the heavens.”[566]

The Tum of Pitum-Heliopolis not only bears the Crux Ansata as a symbol, but also has this sign as his most frequent surname, that is, ānχ or ānχi, which means “life” or “the living.” He is chiefly honored as the demon serpent, Agatho, of whom it is said, “The holy demon serpent Agatho goes forth from the city Nezi.” The snake, on account of casting its skin, is the symbol of renewal, as is the scarabæus, a symbol of the sun, of whom it is said that he, being of masculine sex only, reproduces himself.

The name Chnum (another name for Tum, always meaning “the sun-god”) comes from the verb χnum, which means “to bind together, to unite.”[567] Chnum appears chiefly as the potter, the moulder of his egg. The cross seems, therefore, to be an extraordinarily condensed symbol; its supreme meaning is that of the tree of life, and, therefore, is a symbol of the mother. The symbolization in a human form is, therefore, intelligible. The phallic forms of the Crux Ansata belong to the abstract meaning of “life” and “fertility,” as well as to the meaning of “union,” which we can now very properly interpret as _cohabitation with the mother for the purpose of renewal_.[568] It is, therefore, not only a very touching but also a very significant naïve symbolism when Mary, in an Old English lament of the Virgin,[569] accuses the cross of being a false tree, which unjustly and without reason destroyed “the pure fruit of her body, her gentle birdling,” with a poisonous draught, the draught of death, which is destined only for the guilty descendants of the sinner Adam. Her son was not a sharer in that guilt. (Compare with this the cunning of Isis with the fatal draught of love.) Mary laments:

“Cross, thou art the evil stepmother of my son, so high hast thou hung
him that I cannot even kiss his feet! Cross, thou art my mortal enemy,
thou hast slain my little blue bird!”

The holy cross answers:

“Woman, I thank thee for my honor: thy splendid fruit, which now I
bear, shines as a red blossom.[570] Not alone to save thee but to save
the whole world this precious flower blooms in thee.”[571]

Santa Crux says of the relation to each other of the two mothers (Isis in the morning and Isis in the evening):

“Thou hast been crowned as Queen of Heaven on account of the child,
which thou hast borne. But I shall appear as the shining relic to the
whole world, at the day of judgment. I shall then raise my lament for
thy divine son innocently slain upon me.”

Thus the murderous mother of death unites with the mother of life in bringing forth a child. In their lament for the dying God, and as outward token of their union, Mary kisses the cross, and is reconciled to it.[572] The naïve Egyptian antiquity has preserved for us the union of the contrasting tendencies in the mother idea of Isis. Naturally this imago is merely a symbol of the libido of the son for the mother, and describes the conflict between love and incest resistance. The criminal incestuous purpose of the son appears projected as criminal cunning in the mother-imago. The separation of the son from the mother signifies the separation of man from the generic consciousness of animals, from that infantile archaic thought characterized by the absence of individual consciousness.

It was only the power of the incest prohibition which created the self-conscious individual, who formerly had been thoughtlessly one with the tribe, and in this way alone did the idea of individual and final death become 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 French it is called _une baie_, which probably corresponds to a bay in the English text. It might be worth while here to glance at the etymological side of this idea. Bay is generally used for something which is open, just as the Catalonian word _badia_ (_bai_) comes from _badar_, “to open.” In French _bayer_ means “to have the mouth open, to gape.” Another word for the same is _Meerbusen_, “bay or gulf”; Latin _sinus_, and a third word is golf (gulf), which in French stands in closest relation to _gouffre_ = abyss. Golf is derived from “κόλπος,”[573] which also means “bosom” and “womb,” “mother-womb,” also “vagina.” It can also mean a fold of a dress or pocket; it may also mean a deep valley between high mountains. These expressions clearly show what primitive ideas lie at their base. They render intelligible Goethe’s choice of words at that place where Faust wishes to follow the sun with winged desire in order in the everlasting day “to drink its eternal light”:

“The mountain chain with all its gorges deep,
Would then no more impede my godlike motion;
And now before mine eyes expands the ocean,
With all its bays, in shining sleep!”

Faust’s desire, like that of every hero, inclines towards the mysteries of rebirth, of immortality; therefore, his course leads to the sea, and down into the monstrous jaws of death, the horror and narrowness of which at the same time signify the new day.

“Out on the open ocean speeds my dreaming:
The glassy flood before my feet is gleaming,
A new day beckons to a newer shore!
A fiery chariot borne on buoyant pinions,
Sweeps near me now! I soon shall ready be
To pierce the ether’s high, unknown dominions,
To reach new spheres of pure activity!
This Godlike rapture, this supreme existence....

· · · · ·

“Yes, let me dare those gates to fling asunder,
Which every man would fain go slinking by!
’Tis time, through deeds this word of truth to thunder;
That with the height of God’s Man’s dignity may vie!
Nor from that gloomy gulf to shrink affrighted,
Where fancy doth herself to self-born pangs compel,—
To struggle toward that pass benighted,
Around whose narrow mouth flame all the fires of Hell:—
To take this step with cheerful resolution,
Though Nothingness should be the certain swift conclusion!”

It sounds like a confirmation, when the succeeding vision of Miss Miller’s is _une falaise à pic_, “a steep, precipitous cliff.” (Compare _gouffre_.) The entire series of individual visions is completed, as the author observes, by a confusion of sounds, somewhat resembling “wa-ma, wa-ma.” This has a very primitive, barbaric sound. Since we learn from the author nothing of the subjective roots of this sound, nothing is left us but the suspicion that this sound might be considered, taken in connection with the whole, as a slight mutilation of the well-known call ma-ma.