In a general way it would seem as if those investigators who make use of an exclusively natural mythological mode of interpretation, in any sense, were unable, in their endeavor to discover the original sense of the mythical tales, to get entirely away from a psychological process, such as must be assumed likewise for the creators of the myths.[23] The motive is identical, and led to the same course in the myth creators as well as in the myth interpretorsIt is most naïvely uttered by one of the founders and champions of comparative myth investigation, and of the natural mythological mode of interpretation, for Max Müller points out in his “Essays” [1869][20] that this procedure not only invests meaningless legends with a significance and beauty of their own, but it helps to remove some of the most revolting features of classical mythology, and to elucidate their true meaning. This revolt, the reason for which is readily understood, naturally prevents the mythologist from assuming that such motives as incest with the mother, sister or daughter; murder of father, grandfather or brother could be based upon universal phantasies, which according to Freud’s teachings have their source in the infantile psyche, with its peculiar interpretation of the external world and its denizens. This revolt is therefore only the reaction of the dimly sensed painful recognition of the actuality of these relations; and this reaction impels the interpreters of the myths, for their own subconscious rehabilitation, and that of all mankind, to credit these motives with an entirely different meaning from their original significance. The same internal repudiation prevents the myth-creating people from believing in the possibility of such revolting thoughts, and this defence probably was the first reason for the projecting of these relations to the firmament. The psychological pacifying through such a rehabilitation, by projection upon external and remote objects, can still be realized, up to a certain degree, by a glance at one of these interpretations, for instance that of the objectionable Œdipus fable, as given by a representative of the natural mythological mode of interpretation. Œdipus, who kills his father, marries his mother, and dies old and blind, is the solar hero who murders his procreator, the darkness; shares his couch with the mother, the gloaming, from whose lap, the dawn, he has been born, and dies blinded, as the setting sun [Goldziher, 1876].[24]