The dismemberment, with final loss of the phallus, will be clearly recognized as a castration. The tearing out of the eye is similarly to be regarded as emasculation. This motive is found as self-punishment for incest, at the close of the Œdipus drama. On the dismemberment of Osiris as a castration, Rank writes (Inz. Mot., p. 311): “The characteristic phallus consecration of Isis shows us that her sorrow predominantly concerns the loss of the phallus, (and it also is expressed in the fact that according to a later version, she is none the less in a mysterious manner impregnated by her emasculated spouse), so on the other hand the conduct of the cruel brother shows us that in the dismemberment he was particularly interested in the phallus, since that indeed was the only thing not to be found, and had evidently been hidden with special precautionary measures. Indeed both motivations appear closely united in a version cited by Jeremias (Babylonisches in N. T., p. 721), according to which Anubis, the son of the adulterous union of Osiris with his sister Nephthys, found the phallus of Osiris, dismembered by Typhon with 27 assistants, which Isis had hidden in the coffin. Only in this manner could the phallus from which the new age originated, escape from Typhon. If this version clearly shows that Isis originally had preserved in the casket the actual phallus of her husband and brother which had been made incorruptible and not merely a wooden one, then on the other hand the probability increases that the story originally concerns emasculation alone because of the various weakening and motivating attempts that meet us in the motive of the dismemberment.” In the form of the Osiris saga the dismemberment appears, however, not merely as emasculation. More clearly recognizable is also the separation of the primal parents, the dying out of the primal being resulting in a release of the primal procreative power for a fresh world creation. It is a very interesting point that in one of the versions a mighty tree grows out of the corpse of Osiris. Later on we become acquainted for the first time with the potent motive of the restoration of the dismembered one, the revivification of the dead. For example, in the Finnish epic, Kalevala, Nasshut throws the Lemminkainen into the waters of the river of the dead. Lemminkainen was dismembered, but his mother fished out the pieces, one of which was missing, put them together and brought them to life in her womb. According to Stucken’s explanation we recognize in Nasshut a father image, in Lemminkainen a son image. In the tradition no relationship between them is mentioned. That is, however, a “Differentiation and attenuation of traits, which is common in every myth-maker.” (S. A. M., p. 107.)