erent and complete in themselves?

The question arising from the several illustrations expands into a general
problem, to which the synthetic part of my book is devoted. This will,
among other considerations, lead us into the psychology of symbol-making
where again the discoveries of psychoanalysis come to our aid. We shall
not be satisfied with analysis, but endeavor to follow up certain
evolutionary tendencies which, expressed in psychological symbols,
developing according to natural laws, will allow us to conjecture a
spiritual building up or progression that one might call an anabasis. We
shall see plainly by this method of study how the original contradiction
arises and how what was previously irreconcilable, turns out to be two
poles of an evolutionary process. By that means, several principles of
myth interpretation will be derived.

I have just spoken of an anabasis. By that we are to understand a forward
movement in a moral or religious sense. The most intensive exemplar of the
anabasis (whatever this may be) is mysticism. I can but grope about in the
psychology of mysticism; I trust I may have more confidence at that point
where I look at its symbolism from the ethical point of view.

Section II.

Dream And Myth Interpretation.

[Readers versed in Freud's psychoanalysis are requested to pass over this
chapter as they will find only familiar matter.]

In the narrative which we have just examined its dream-like character is
quite noticeable. On what does it depend? Evidently the Parable must bear
marks that are peculiar to the dream. In looking for correspondences we
discover them even upon superficial examination.

Most noticeable is the complete and sudden change of place. The wanderer,
as I will hereafter call the narrator of the parable, sees himself
immediately transported from the place near the lion's den to the top of a
wall, and does not know how he has come there. Later he comes down just as
suddenly. And in still other parts of the story there occurs just as rapid
changes of scene as one is accustomed to in dreams. Characteristic also is
the fact that objects change or vanish; the shift of scene resembles also,
as often in a dream, a complete transformation. Thus, for instance, as
soon as the wanderer has left the wall, it vanishes without leaving a
trace, as if it had never been. A similar change is also required in the
garden scene where, instead of the