Thus the murderous mother of death unites with the mother of life in bringing forth a child. In their lament for the dying God, and as outward token of their union, Mary kisses the cross, and is reconciled to it.[572] The naïve Egyptian antiquity has preserved for us the union of the contrasting tendencies in the mother idea of Isis. Naturally this imago is merely a symbol of the libido of the son for the mother, and describes the conflict between love and incest resistance. The criminal incestuous purpose of the son appears projected as criminal cunning in the mother-imago. The separation of the son from the mother signifies the separation of man from the generic consciousness of animals, from that infantile archaic thought characterized by the absence of individual consciousness. It was only the power of the incest prohibition which created the self-conscious individual, who formerly had been thoughtlessly one with the tribe, and in this way alone did the idea of individual and final death become possible. Thus through the sin of Adam death came into the world. This, as is evident, is expressed figuratively, that is, in contrast form. The mother’s defence against the incest appears to the son as a malicious act, which delivers him over to the fear of death. This conflict faces us in the Gilgamesh epic in its original freshness and passion, where also the incest wish is projected onto the mother. The neurotic who cannot leave the mother has good reasons; the fear of death holds him there. It seems as if no idea and no word were strong enough to express the meaning of this. Entire religions were constructed in order to give words to the immensity of this conflict. This struggle for expression which continued down through the centuries certainly cannot have its source in the restricted realm of the vulgar conception of incest. Rather one must understand the law which is ultimately expressed as “Incest prohibition” as coercion to domestication, and consider the religious systems as institutions which first receive, then organize and gradually sublimate, the motor forces of the animal nature not immediately available for cultural purposes.