First he does not tell the story himself, but has one of his in-story characters, Orpheus, sing it; second, Ovid tells his audience not even to believe the story (cf. quote in "Ovid's version"); third, he has Orpheus congratulate Rome, Ovid's home town, for its being far away from the land where this story took place (Cyprus). By distancing himself, Doll writes, Ovid lures his audience to keep listening. First then does Ovid begin telling the story describing Myrrha, her father and their relationship, which Doll compares to the mating of Cupid and Psyche: here the lovemaking occurs in complete darkness and only the initiator (Cupid) knows the identity of the other as well. Myrrha's metamorphosing into a tree is read by Doll as a metaphor where the tree incarnates the secret. As a side effect, Doll notes, the metamorphosis also alters the idea of incest into something natural for the imagination to think about. Commenting on a Freudian analysis of the myth stating that Ovid "disconcertingly suggests that [father-lust] might be an unspoken universal of human experience". Doll notes that Ovid's stories work like metaphors: they are meant to give insight into the human psyche. Doll states that the moments when people experience moments like those of father-lust are repressed and unconscious, which means that they are a natural part of growing and that most grow out of it sometime. She concludes about Ovid and his version of Myrrha that: "What is perverted, for Ovid, is the use of sex as a power tool and the blind acceptance of sexual male power as a cultural norm."