Pindar shows Leda uniting herself in the same night to her husband and also to the Father of the Gods—Zeus. Thus Castor is the son of the Mortal, Pollux the progeny of the Immortal. In the allegory made up for the occasion, it is said that in a riot of vengeance against the Apharides,(281) Pollux kills Lynceus—“of all mortals he whose sight is the most penetrating”—but Castor is wounded by Idas, “he who sees and knows.” Zeus puts an end to the fight by hurling his thunderbolt and killing the last two combatants. Pollux finds his brother dying.(282) In his despair he calls upon Zeus to slay him also. “Thou canst not die altogether,” answers the master of the Gods; “thou art of a divine race.” But he gives him the choice: Pollux will either remain immortal, living eternally in Olympus; or, if he would share his brother’s fate in all things, he must pass half his existence underground, and the other half in the golden heavenly abodes. This semi‐immortality, which is also to be shared by Castor, is accepted by Pollux.(283) _And thus the twin brothers live alternately, one during the day, and the other during the night._(284) Is this a poetical fiction only? An allegory, one of those “solar myth” interpretations, higher than which no modern Orientalist seems able to soar? Indeed, it is much more. Here we have an allusion to the “Egg‐born” Third Race; the first half of which is mortal, _i.e._, unconscious in its Personality, and having nothing within itself to survive;(285) and the latter half of which becomes immortal in its Individuality, by reason of its Fifth Principle being called to life by the _Informing Gods_, and thus connecting the Monad with this Earth. This is Pollux; while Castor represents the _personal_, mortal man, an animal of not even a superior kind, when unlinked from the divine _Individuality_. “Twins” truly; yet divorced by death for ever, unless Pollux, moved by the voice of twinship, bestows on his less favoured mortal brother a share of his own divine nature, thus associating him with his own immortality. Such is the Occult meaning of the metaphysical aspect of the allegory. The widely spread modern interpretation of it—so celebrated in antiquity, Plutarch tells us,(286) as symbolical of brotherly devotion—namely, that it was an image of the Sun and Moon borrowed from the spectacle of Nature, is weak and inadequate to explain the secret meaning. Besides the fact that the Moon, with the Greeks, was feminine in exoteric mythology, and could therefore hardly be regarded as Castor, and at the same time be identified with Diana, ancient Symbologists who held the Sun, the king of all sidereal orbs, as the visible image of the highest Deity, would not have personified it by Pollux, a demi‐god only.(287)