The familiar scheme of impulses with its “titanic” substratum, which is necessarily existent in all men (although it may have been in any particular case extraordinarily sublimated) comes clearly to view in individual creations of fancy. It must be found quite typically developed, however, where a multitude of men (fable making mankind) were interested in the founding, forming, polishing and elaborating of the symbolic structure. Such creations have transcended the merely personal. An example of this kind is the “mythological” science of alchemy. That we are repelled by the retrograde perspective of the types residing in its symbols (and which often appear quite nakedly) comes from the fact that in the critic these primal impulse forms have experienced a strong repression, and that their re-emergence meets a strong resistance (morality, taste, etc.). The much discussed elementary types have therefore insinuated themselves into the body of the alchemistic hieroglyphics, as mankind, confronted with the riddles of physico-chemical facts, struggled to express a mastery of them by means of thought. The typical inventory of powers, as an apperception mass, so to speak, helped to determine the selection of symbols. A procedure of determination has taken place here similar to that we might have noticed in the coincidence of material and functional symbolism in dreams. Here again appears the heuristic value which the introduction of the concept of the functional categories had for our problem. The possibility of deriving the “titanic” and the “anagogic” from the alchemistic (often by their authors merely chemically intended) allegories is now easily explained. We can work it out, because it was already put in there, even if neither in the extreme form of the “titanic” (i.e., the retrograde aspect), nor in that of the “anagogic” (the progressive aspect), but in an indeterminate middle stage of the intro-determination. What gave opportunity for this play of symbolism was an effort of intelligence directed toward chemistry. The chemical content in alchemy is, so to speak, what has been purposely striven for, while the rest came by accident, yet none the less inevitably. So then natural philosophy appears to be the carrier, or the stalk on which the titanic and the anagogic symbolism blossoms. Thus it becomes intelligible how the alchemistic hieroglyphic aiming chiefly at chemistry, adapted itself through and through to the hermetic anagogic educational goal, so that at times and by whole groups, alchemy was used merely as a mystical guide without any reference to chemistry.