Surely nobody could be 'deceived' by 'a great fiery-red Dragon, having seven heads and ten horns'! In this vision the Dragon is pressed as far as the form can go in the symbolisation of evil. To devour the child is its legitimate work, but as 'accuser of the brethren before God day and night' the monstrous shape were surely out of place by any mythologic analogy; and one could hardly imagine such a physiognomy capable of deceiving 'the whole world.' It is not wonderful, therefore, that the Dragon's presence in heaven is only mentioned in connection with his fall from it. It is significant that the wings are lost in this fall; for while his 'angelic' relationship suggests the previous wings, the woman is able to escape the fallen monster by the two wings given her. [4] Wingless now, 'the old serpent' once more, the monster's shape has no adaptation to the moral and religious struggle which is to ensue. For his shape is a method, and it means the perfection of brute force. That, indeed, also remains in the sequel of this magnificent myth. As in the legend of the Hydra two heads spring up in place of that which falls, so in this Christian legend out of the overthrown monster, henceforth himself concealed, two arise from his inspiration,--the seven-headed, ten-horned Beast who continues the work of wrath and pain; but also a lamb-like Beast, with only two horns (far less terrible), and able to deceive by his miracles, for he is even able to call down fire from heaven. The ancient Serpent-dragon, the expression of natural pain, thus goes to pieces. His older part remains to work mischief and hurt; and the cry is uttered, 'Be merry, ye heavens, and ye that tabernacle in them: woe to the earth and the sea! for the devil is come down unto you, having great wrath because he knows that he has a short time.' [5] But there is a lamb-like part of him too, and his relation to the Dragon is only known by his voice. This subtle adaptation of the symbol of external pain to the representation of the moral struggle, wherein the hostile power may assume deceptive forms of beauty and pleasure, is only one impressive illustration of the transfer of human conceptions of evil from outward to inward nature. The transition is from a malevolent, fatal, principle of harmfulness to the body to a malevolent, fatal, principle of evil to the conscience. The Demon was natural; the Dragon was both physical and metaphysical; the Devil was and is theological. In the primitive Zoroastrian theology, where the Devil first appears in clear definition, he is the opponent of the Good Mind, and the combat between the two, Ormuzd and Ahriman, is the spiritualisation of the combat between Light and Darkness, Pain and Happiness, in the external world. As these visible antagonists were supposed to be exactly balanced against each other, so are their spiritual correlatives. The Two Minds are described as Twins.