In English-speaking countries, the prevailing scholarly interpretation during the early twentieth century was one originally proposed by Sir Henry Rawlinson, 1st Baronet, which held that Gilgamesh is a "solar hero", whose actions represent the movements of the sun, and that the twelve tablets of his epic represent the twelve signs of the Babylonian zodiac. The Austrian psychoanalyst Sigmund Freud, drawing on the theories of James George Frazer and Paul Ehrenreich, interpreted Gilgamesh and Eabani (the earlier misreading for "Enkidu") as representing "man" and "crude sensuality" respectively. He compared them to other brother-figures in world mythology, remarking, "One is always weaker than the other and dies sooner. In Gilgamesh this ages-old motif of the unequal pair of brothers served to represent the relationship between a man and his libido." He also saw Enkidu as representing the placenta, the "weaker twin" who dies shortly after birth. Freud's friend and pupil Carl Jung frequently discusses Gilgamesh in his early work "Symbole der Wandlung" (1911–1912). He, for instance, cites Ishtar's sexual attraction to Gilgamesh as an example of the mother's incestuous desire for her son, Humbaba as an example of an oppressive father-figure whom Gilgamesh must overcome, and Gilgamesh himself as an example of a man who forgets his dependence on the unconscious and is punished by the "gods", who represent it.