of the old state of things at a new level. Man became once more the chief of a family, and broke down the prerogatives of the gynaecocracy which had become established during the fatherless period. As a compensation for this he may at that time have acknowledged the mother deities, whose priests were castrated for the mother's protection, after the example that had been given by the father of the primal horde. And yet the new family was only a shadow of the old one; there were numbers of fathers and each one was limited by the rights of the others.
It was then, perhaps, that some individual, in the exigency of his longing, may have been moved to free himself from the group and take over the father's part. He who did this was the first epic poet; and the advance was achieved in his imagination. This poet disguised the truth with lies in accordance with his longing. He invented the heroic myth. The hero was a man who by himself had slain the father—the father who still appeared in the myth as a totemistic monster. Just as the father had been the boy's first ideal, so in the hero who aspires to the father's place the poet now created the first ego ideal. The transition to the hero was probably afforded by the youngest son, the mother's favourite, whom she had protected from paternal jealousy, and who, in the era of the primal horde, had been the father's successor. In the lying poetic fancies of
