The libido taken away from the mother, who is abandoned only reluctantly, becomes threatening as a serpent, the symbol of death, for the relation to the mother must cease, _must die, which itself almost causes man’s death_. In “Mater sæva cupidinum” the idea attains rare, almost conscious, perfection. I do not presume to try to paint in better words than has Nietzsche the psychology of the wrench from childhood. Miss Miller furnishes us with a further reference to a material which has influenced her creation in a more general manner; this is the great Indian epic of Longfellow, “The Song of Hiawatha.” If my readers have had patience to read thus far, and to reflect upon what they have read, they frequently must have wondered at the number of times I introduce for comparison such apparently foreign material and how often I widen the base upon which Miss Miller’s creations rest. Doubts must often have arisen whether it is justifiable to enter into important discussions concerning the psychologic foundations of myths, religions and culture in general on the basis of such scanty suggestions. It might be said that behind the Miller phantasies such a thing is scarcely to be found. I need hardly emphasize the fact that I, too, have sometimes been in doubt. I had never read “Hiawatha” until, in the course of my work, I came to this part. “Hiawatha,” a poetical compilation of Indian myths, gives me, however, a justification for all preceding reflections, because this epic contains an unusual number of mythologic problems. This fact is probably of great importance for the wealth of suggestions in the Miller phantasies. We are, therefore, compelled to obtain an insight into this epic. Nawadaha sings the songs of the epic of the hero Hiawatha, the friend of man: “There he sang of Hiawatha, Sang the songs of Hiawatha, Sang his wondrous birth and being, How he prayed and how he fasted, How he lived and toiled and suffered, That the tribes of men might prosper, That he might advance his people.” The teleological meaning of the hero, as that symbolic figure which unites in itself libido in the form of admiration and adoration, in order to lead to higher sublimations by way of the symbolic bridges of the myths, is anticipated here. Thus we become quickly acquainted with Hiawatha as a savior, and are prepared to hear all that which must be said of a savior, of his marvellous birth, of his early great deeds, and his sacrifice for his fellow-men. The first song begins with a fragment of evangelism: Gitche Manito, the “master of life,” tired of the quarrels of his human children, calls his people together and makes known to them the joyous message: