The father therefore really appears twice in the scene of sacrifice before the tribal god, once as the god and again as the totem-sacrificial-animal. But in attempting to understand this situation we must beware of interpretations which superficially seek to translate it as an allegory, and which forget the historical stages in the process. The twofold presence of the father corresponds to the two successive meanings of the scene. The ambivalent attitude towards the father as well as the victory of the son’s tender emotional feelings over his hostile ones, have here found plastic expression. The scene of vanquishing the father, his greatest degradation, furnishes here the material to represent his highest triumph. The meaning which sacrifice has quite generally acquired is found in the fact that in the very same action which continues the memory of this misdeed it offers satisfaction to the father for the ignominy put upon him. In the further development the animal loses its sacredness and the sacrifice its relation to the celebration of the totem; the rite becomes a simple offering to the deity, a self-deprivation in favour of the god. God himself is now so exalted above man that he can be communicated with only through a priest as intermediary. At the same time the social order produces godlike kings who transfer the patriarchal system to the state. It must be said that the revenge of the deposed and reinstated father has been very cruel; it culminated in the dominance of authority. The subjugated sons have used the new relation to disburden themselves still more of their sense of guilt. Sacrifice, as it is now constituted, is entirely beyond their responsibility. God himself has demanded and ordained it. Myths in which the god himself kills the animal that is sacred to him, which he himself really is, belong to this phase. This is the greatest possible denial of the great misdeed with which society and the sense of guilt began. There is an unmistakable second meaning in this sacrificial demonstration. It expresses satisfaction at the fact that the earlier father substitute has been abandoned in favour of the higher conception of god. The superficial allegorical translation of the scene here roughly corresponds with its psychoanalytic interpretation by saying that god is represented as overcoming the animal part of his nature[217]. But it would be erroneous to believe that in this period of renewed patriarchal authority the hostile impulses which belong to the father complex had entirely subsided. On the contrary, the first phases in the domination of the two new substitutive formations for the father, those of gods and kings, plainly show the most energetic expression of that ambivalence which is characteristic of religion.