“None as she knew my inmost thought; None knew the source of my will As she; She herself was The creating womb of my wish; And so now she has broken The blessed union!” Brunhilde’s sin is the favoring of Siegmund, but, behind this, lies incest: this is projected into the brother-sister relation of Siegmund and Sieglinde; in reality, and archaically expressed, Wotan, the father, has entered into his self-created daughter, in order to rejuvenate himself. But this fact must, of course, be veiled. Wotan is rightly indignant with Brunhilde, for she has taken the Isis rôle and through the birth of the son has deprived the old man of his power. The first attack of the death serpent in the form of the son, Siegmund, Wotan has repelled; he has broken Siegmund’s sword, but Siegmund rises again in a grandson. This inevitable fate is always helped by the woman; hence the wrath of Wotan. At Siegfried’s birth Sieglinde dies, as is proper. The foster-mother[700] is apparently not a woman, but a chthonic god, a crippled dwarf, who belongs to that tribe which renounces love.[701] The Egyptian god of the underworld, the crippled shadow of Osiris (who celebrated a melancholy resurrection in the sexless semi-ape Harpocrates), is the tutor of Horus, who has to avenge the death of his father. Meanwhile Brunhilde sleeps the enchanted sleep, like a Hierosgamos, upon a mountain, where Wotan has put her to sleep[702] with the magic thorn (Edda), surrounded by the flames of Wotan’s fire (equal to libido[703]), which wards off every one. But Mime becomes Siegfried’s enemy and wills his death through Fafner. Here Mime’s dynamic nature is revealed; he is a masculine representation of the terrible mother, also a foster-mother of demoniac nature, who places the poisonous worm (Typhon) in her son’s (Horus’s) path. Siegfried’s longing for the mother drives him away from Mime, and his travels begin with the mother of death, and lead through vanquishing the “terrible mother”[704] to the woman: _Siegfried_: Off with the imp! I ne’er would see him more! Might I but know what my mother was like That will my thought never tell me! Her eyes’ tender light Surely did shine Like the soft eyes of the doe! Siegfried decides to separate from the demon which was the mother in the past, and he gropes forward with the longing directed towards the mother. Nature acquires a hidden maternal significance for him (“doe”); in the tones of nature he discovers a suggestion of the maternal voice and the maternal language: _Siegfried_: