What we have found in alchemy we shall now apply to mythology where analogous relations have been indicated. [The apperception theory here used should not be confused with the intellectual theory (of Steinthal) which Wundt (V. Ps., IV2, pp. 50 ff.) criticised as the illusion theory. I should be more inclined to follow closely the Wundtian conception of the “mythological apperception” (ibid., pp. 64 ff.) with particular emphasis on the affective elements that are to work there. With Wundt, the affects are really the “actual impulse mainsprings” and the most powerful stimuli of the phantasy (ib., p. 60). “The affects of fear and hope, wish and desire, love and hate, are the widely disseminated sources of the myth. They are, of course, continually linked with images. But they are the ones that first breathe life into these images.” I differ from Wundt in that I have more definite ideas of the origin of these affects, by which they are brought into close connection with the frequently mentioned elementary motives.] Modern investigation of myths has, in my opinion, sufficiently shown that we are here concerned with a nucleus of natural philosophy (comprehension of astral and even of meteorological processes, etc.) around which legendary and historical material can grow. As has been shown by two fairy tales and as I could have abundantly shown from countless others, the psychoanalytic and the anagogic interpretations are possible alongside of the scientific. [We can criticise Hitchcock for having in his explanations of fairy tales considered them only in their most developed form, and not bothered about their origin and archaic forms. And as a matter of fact the more developed forms permit a very much richer anagogic interpretation than the archaic. But that is no proof against the interpretation, but only establishes their orientation in the development of the human spirit. The anagogic interpretation is indeed a prospective explanation in the sense of an ethical advance. Now the evolution even of fairy tales shows quite clearly a progression towards the ethical; and inasmuch as the ethical content of the tale grows by virtue of this evolution, the anagogic explanation is in the nature of things able to place itself in higher developed tales in correspondingly closer connection with mythical material.] I adduce here only one example, namely the schema that Frobenius has derived from the comparison of numerous sun myths. The hero is swallowed by a water monster in the west [the sun sets in the sea]. The animal journeys with him to the east (night path of the sun apparently under the sea). He lights a fire in the belly of the animal and cuts off a piece of the pendant heart when he feels hungry. Soon after he notices that the fish is running aground. (The reillumined sun comes up to the horizon from below.) He begins immediately to cut his way out of the animal, and then slips out (sunrise). In the belly of the fish it has