The sacrifice, with its mysterious and manifold meaning, which is rather hinted at than expressed, passes unrecognized in the unconscious of our author. The arrow is not shot, the hero Chiwantopel is not yet fatally poisoned and ready for death through self-sacrifice. We now can say, according to the preceding material, this sacrifice means renouncing the mother, that is to say, _renunciation of all bonds and limitations which the soul has taken with it from the period of childhood into the adult life_. From various hints of Miss Miller’s it appears that at the time of these phantasies she was still living in the circle of the family, evidently at an age which was in urgent need of independence. That is to say, man does not live very long in the infantile environment or in the bosom of his family without real danger to his mental health. Life calls him forth to independence, and he who gives no heed to this hard call because of childish indolence and fear is threatened by a neurosis, and once the neurosis has broken out it becomes more and more a valid reason to escape the battle with life and to remain for all time in the morally poisoned infantile atmosphere. The phantasy of the arrow-wound belongs in this struggle for personal independence. The thought of this resolution has not yet penetrated the dreamer. On the contrary, she rather repudiates it. After all the preceding, it is evident that the symbolism of the arrow-wound through direct translation must be taken as a coitus symbol. The “Occide moriturus” attains by this means the sexual significance belonging to it. Chiwantopel naturally represents the dreamer. But nothing is attained and nothing is understood through one’s reduction to the coarse sexual, because it is a commonplace that the unconscious shelters coitus wishes, the discovery of which signifies nothing further. _The coitus wish under this aspect is really a symbol for the individual demonstration of the libido separated from the parents, of the conquest of an independent life._ This step towards a new life means, at the same time, the death of the past life.[626] Therefore, Chiwantopel is the infantile hero[627] (the son, the child, the lamb, the fish) who is still enchained by the fetters of childhood and who has to die as a symbol of the incestuous libido, and with that sever the retrogressive bond. For the entire libido is demanded for the battle of life, and there can be no remaining behind. The dreamer cannot yet come to this decision, which will tear aside all the sentimental connections with father and mother, and yet it must be made in order to follow the call of the individual destiny. CHAPTER VII THE DUAL MOTHER RÔLE After the disappearance of the assailant, Chiwantopel begins the following monologue: