Immortalization occupies a singular position in the depth-psychology corpus as the conceptual meeting point between archaic religious imagination, heroic cult, and the psychology of creative self-transcendence. The term encompasses two broadly distinct registers. In the first, drawn principally from classical philology and comparative mythology—Rohde, Nagy, and Vernant—immortalization denotes the structural transformation of mortal figures into permanent, suprahuman states: translation to the Isles of the Blessed, bodily apotheosis by thunderbolt or divine abduction, reintegration of psyche and soma in Elysium. These scholars treat immortalization not as metaphor but as a formal theological category embedded in cult, bone-ritual, and epic diction. In the second register, represented by Rank and inflected by Daoist material in Kohn, immortalization becomes a psychological and cultural project: the artist’s bid to perpetuate selfhood through the work, the alchemist’s transmutation of flesh into imperishable substance, the sage’s cultivation of bodily longevity. Between these registers lies a persistent tension—between immortality as divine gift bestowed upon exceptional individuals and immortality as a practice, technology, or symbolic achievement available to the prepared devotee. What unites all positions is the recognition that the fantasy of immortalization is never merely eschatological: it structures heroic identity, artistic ambition, ritual practice, and the deepest anxieties of the mortal self confronted with time.