ABSTRACT
As already explained, the common form of the Anxiety Drama is outlined by the sexuality symbol and a romance setting is the one favoured in the dream as it is in anxiety literature. The sexuality symbol is compared in Chapter III to the iron frame of an iron and concrete building; however covered up, the great symbol is always embedded in the structure. But a sexuality theme does not always confront the observer; there are many interesting complications and even variants. "Labyrinthine ways" expresses perfectly the tortuous courses by which the revolt subject seeks to evade the climax of the Anxiety Drama. Some variants are serviceable, and being approved in group life, have apparently come to stay. Others have marks of disserviceability and are considered morally reprehensible. The group is not agreed in regard to certain others. It is impossible to treat schematically in a small compass so large a subject. I propose, therefore, to deal only with two or three of the commonest dream schemata which exhibit a deviation from the original—the normal sexuality symbol. The most important of these is the Christos concept, a picture of which is drawn by Francis Thompson, in "The Hound of Heaven," quoted at the head of this chapter. In the last chapter, I suggested that the Power concept, which every religion presents in the first place for worship, will be duly followed in the course of evolution by a second concept corresponding to the second determinant of anxiety. Many religions show this development as a masculine personality: Hercules, Prometheus, Buddha and Mithras, all express the idea, more or less, but in none is it worked out so simply and effectively as in the Christian religion. The Christos concept is an important variant for that of the Mother; at the same time, it is much more than the Mother concept, for it also embodies the concept of the self re-born. The Roman Church has, perhaps, been true to human psychology in allowing the concept of the suffering Mother to remain beside that of the Son.
