poetry.” The texts Bodkin discusses in Archetypal Patterns in Poetry include those of Virgil, Dante, Shakespeare, Milton, and Coleridge (Hooke 1935: 176; Boswell 1936: 553; Willcock 1936: 91); Goethe and Euripides (Boswell 1936: 553); and Aeschylus, Shelley, T. S. Eliot, as well as the Christian Gospels (Hooke 1935: 177). Discussion At work in the poems of Milton and Aeschylus, for example, as well as in Shelley's Prometheus Unbound, is a fatherlike figure that Bodkin identifies as the Divine Despot (Bodkin 1934: 250; cited in Allgaier 1973: 1036). The Divine Despot seems to be involved in the Heaven-and-Hell archetype, the kernel of which contains a "vital aspect" that is both positive and negative, and appears in space "as an image of loveliness with an ever attendant threatening shadow, a desolation beneath or around it" (Bodkin 1934: 122; cited in Shmiefsky 1967: 721). Heaven, Hell, and the Divine Despot may descend to earth and have offspring in the Hamlet theme which involves a child's "ambivalent attitude" toward its parents and off of which are spun such variants as Oedipus and Orestes (Bodkin 1934: 11–15, cited in Williams 1973: 221), or all may remain at the divine level, as in the situation with Milton's God and Satan, or Aeschylus's Zeus and Prometheus: "The antagonism between Prometheus and Zeus can partly be traced to a very general psychological tension, between the instinct of self-expression and rebellion against group values, and the opposite instinct to sustain those group values, and to merge personal claims in a greater power. Bodkin shows how Milton's Satan represents both these psychological forces at different times. Sometimes he is the heroic antagonist of tyranny, and sometimes a devilish enemy of group values, conceived to reside in the protection of God. In the mind of the reader there are these forces, sometimes inherited from very ancient times, and they may determine his response to the poetry quite independently of his conscious thinking about God, fate, and morality. As in the mind of poet or percipient the character of Satan alternates, so inversely the character of God must alternate too. In the Prometheus of Aeschylus are remembered dim fears that progress is wrong, inimical to the group; but also there are present instincts of self-assertion and rebellion. These instincts are connected with the infantile wishes and fears which still lurk in our minds. A poet may 'recall an infantile type of religious