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Indic Mythology Entices Irish Poet W.B. Yeats to write the poem ‘Anashuya and Vijaya’

Kamlesh Tripathi

    “Anashuya and Vijaya” (1887) by W. B. Yeats is a lyrical and dramatic poem loosely inspired by Indic mythology. It begins by picturing a little temple in the Golden Age: “A little Indian temple in the Golden Age. Around it a garden; around that the forest. Anashuya the young priestess, kneeling within the temple.”

    Although the poem contains elements of the Ramayana and some other classical Indian texts, it is not a direct retelling of Sita’s story. Yeats was enamoured by Indian philosophy and literature. He therefore decided to take Indian names and motifs, possibly selecting the name Anashuya (wife of Rishi Atri) from the Vedic texts of Hinduism to represent an idealised figure of devotion and spiritual sensitivity.

    The poem is set in a serene and symbolic landscape. A small Indian temple surrounded by a garden and forest. This creates an eternal dreamlike atmosphere that reflects both spiritual calm and emotional depth. The poem unfolds as a conversation between Anashuya, a young priestess devoted to her religious duties, and Vijaya, her beloved companion. Yeats discerns complex themes such as love, jealousy, devotion, and the tension between spiritual discipline and human desire through their interaction.

    At the beginning of the poem, Anashuya is seen kneeling in prayer, fulfilling her role as a priestess. Her prayer expresses concern for the welfare of the land. She says, “Send peace on all the lands and flickering corn.” However, her spiritual devotion soon reveals a deeply personal and emotional dimension. She continues, “When wandering in the forest, if he love / No other… And if he love another, / May panthers end him.” These lines reveal a striking duality within her character: while she prays for peace and harmony, she also expresses possessiveness and emotional intensity in her love. This contrast highlights the central conflict between her spiritual role and her human vulnerability.

    The entrance of Vijaya introduces a lighter and more intimate tone, yet it also brings underlying tension. When Vijaya casually uses the name “Amrita,” Anashuya reacts with suspicion and unease, interpreting it as a sign that his affection may be divided. Although Vijaya explains that Amrita is his mother’s name, the incident foreshadows the jealousy that later emerges more forcefully.

    As the poem progresses, it shifts into a lyrical mode enriched with songs and vivid imagery. Anashuya sings:
“A sad, sad thought went by me slowly…
Sing, O you little stars…
To mighty Brahma, he who made you many as the sands.”
    Through these lines, Yeats connects personal emotion with the vastness of the cosmos, suggesting that human feelings are not isolated but part of a universal order governed by Brahma. This blending of the personal and the cosmic gives the poem a distinctly mystical quality.

    The approach of evening deepens the poem’s mood. The imagery becomes softer and more reflective, as seen in the line, “The sun has laid his chin on the grey wood.” This gentle personification of the sun mirrors the quiet intimacy between Anashuya and Vijaya. Their relationship appears tender and affectionate, especially in playful moments, such as when Anashuya asks Vijaya to chase away a bird trying to eat her rice. These moments provide a glimpse of simple, human closeness amidst the larger emotional and philosophical concerns of the poem.

    However, this calm atmosphere is soon disturbed. Vijaya reflects on the suffering of the wider world, describing scenes of cold, fire, and sorrow. In contrast, he observes that they “feel the softness of each other’s hand.” Rather than comforting Anashuya, this awareness intensifies her emotional insecurity. Overcome by jealousy and fear, she accuses Vijaya: “Ah me! you love another.” Her reaction is immediate and intense, revealing the depth of her emotional dependence and her fear of betrayal.

    Although Vijaya reassures her that he once loved another but no longer does, Anashuya is not satisfied with mere words. She demands a solemn oath, asking him to swear by divine powers associated with the Himalayas. This moment underscores her need for certainty and her inability to reconcile love with doubt. Vijaya complies, affirming his loyalty.

    Following this, Anashuya expresses her feelings once more through song:
“Shoot on him shafts of quietness…
And may kiss his hands to me in sleep.”
These lines suggest a love that seeks continuity beyond physical presence, blending emotional intimacy with a dreamlike, almost spiritual longing.

    In the final scene, Vijaya departs, and Anashuya returns to her duties as a priestess. Her concluding prayer once again unites the spiritual and the personal: “O Brahma… and my love, Vijaya… give him dreams of me.” Even in her role as a devotee, her love remains central, revealing how deeply intertwined her spiritual and emotional lives have become.

   In conclusion, the poem presents love as a complex and multifaceted force—tender yet possessive, spiritual yet deeply human. While it draws richly on Indian imagery and mythological references, there is no clear evidence that W. B. Yeats intended it to depict Sita or any specific episode from the Ramayana. Instead, the poem reflects Yeats’s imaginative engagement with India as a symbolic and spiritual landscape, through which he explores universal emotions of love, longing, and devotion.

Written and posted by Kamlesh Tripathi

Author, Poet, & Columnist

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https://kamleshsujata.wordpress.com

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