“Desecration and the Lover’s Night”: Tantric Iconography in W. B. Yeats’s Severed-Head Plays
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This essay examines Yeats’s Salome plays, The King of the Great Clock Tower and A Full Moon in March, in the light of Tantric iconography and philosophy. The image of dancing with a severed head in the plays shows a striking affinity to the icons of Hindu wisdom goddesses such as Kali and Chinnamasta. Tantric philosophy that both affirms and transcends the body parallels Yeats’s concept of Unity of Being. Tantra is a spiritual practice that seeks for divine union; the severed head in Tantric iconography symbolizes the transcendence of the ego. Through the symbol of beheading that paradoxically executes union, Yeats’s Salome plays aptly capture the spirit-matter dialectics in his Unity of Being.
Abstract
This essay examines Yeats’s Salome plays, The King of the Great Clock Tower and A Full Moon in March, in the light of Tantric iconography and philosophy. The image of dancing with a severed head in the plays shows a striking affinity to the icons of Hindu wisdom goddesses such as Kali and Chinnamasta. Tantric philosophy that both affirms and transcends the body parallels Yeats’s concept of Unity of Being. Tantra is a spiritual practice that seeks for divine union; the severed head in Tantric iconography symbolizes the transcendence of the ego. Through the symbol of beheading that paradoxically executes union, Yeats’s Salome plays aptly capture the spirit-matter dialectics in his Unity of Being.
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