fear,' suggesting 'the Freudian doctrine of the father complex or imago, in relation to God.' 'The Freudian school of psychologists has asserted that the religious life represents a dramatisation on the cosmic plane of emotions which arose in the child's relation to his parents' " (Knight 1938: 53–54; citing Bodkin 1934: 191, 232 ff., 239, 242). Complicating matters is the Rebirth archetype which, like the Heaven-and-Hell archetype, also involves a "vital aspect" that is simultaneously positive and negative, but which appears, not static, but rather "as a passage in time, from life to desolate death and beyond, to life renewed" (Bodkin 1934: 122; cited in Shmiefsky 1967: 721). In addition, there is a "night-journey stage within the pattern of Rebirth" (Bodkin 1934: 136; cited in Shmiefsky 1967: 735). Rebirth is "a movement, downward, or inward toward the earth's centre, or a cessation of movement—a physical change which … appears also as a transition toward severed relation with the outer world, and, it may be, toward disintegration and death. This element in the pattern is balanced by a movement upward and outward—an expansion or outburst of activity, a transition toward redintegration and life-renewal" (Bodkin 1934: 54; cited in Morgan 1971: 42). Rebirth starts with frustration and has as its goal transcendence; between these two extends the "process of growth, or 'creative evolution,' in the course of which the constituent factors are transformed" (Bodkin 1934: 72; cited in Morgan 1971: 42). Heaven, Hell, and Rebirth are related: "Heaven is mainly a garden in spring, Hell the scape of winter or a desert, and Rebirth an April violet" (Shmiefsky 1967: 721). Milton's Paradise Lost is an example of this interrelation of the two archetypes, where Bodkin claims that "it is as though the poet's feeling divined the relation of the concepts of Heaven and Hell to the images of spring's beauty and of the darkness under the earth whence beauty comes forth and to which it returns" (Bodkin 1963: 97; cited in Shmiefsky 1967: 735). Further interpatterning of the two archetypes, spatially and temporally, occurs when Satan emerges "upwards from his tremendous cavern below the realm of Chaos, to waylay the flower-like Eve in her walled Paradise and make her an inmate of his Hell, even as Pluto rose from beneath the earth to carry off Proserpine from her flowery meadow" (Bodkin 1934: 97–98; cited in Rosenman 1978: 12) Above everything, the Star