Society for Latin American Studies (SLAS) 'From Yellow to Red to Black': Tantric Reading of 'Blanco' by Octavio Paz Author(s): Victoria Carpenter Source: Bulletin of Latin American Research, Vol. 21, No. 4 (Oct., 2002), pp. 527-544 Published by: Wiley on behalf of Society for Latin American Studies (SLAS) Stable URL: http://www.jstor.org/stable/3339258 Accessed: 02-07-2016 01:20 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Society for Latin American Studies (SLAS), Wiley are collaborating with JSTOR to digitize, preserve and extend access to Bulletin of Latin American Research This content downloaded from 178.250.250.21 on Sat, 02 Jul 2016 01:20:59 UTC All use subject to http://about.jstor.org/terms Bulletin of Latin American Research, Vol. 21, No. 4, pp. 527-544, 2002 Trom yellow to red to black': Tantric Reading of 'Blanco' by Octavio Paz VICTORIA CARPENTER University of Derby> UK 'Blanco' (1966), is one of the most over- and underanalysed poems by Octavio Paz (1914-1998). Its distinctive structure, combined with varied, often sexually suggestive, imagery has been the subject of many critical readings, which often concentrate on the poet's attempt to *discover an ultimate reality behind the appearances of the world' (Fein, 1986, 76), or on the conflict between this attempt and the inadequacy of language (Phillips, 1972, 135). While most analyses address the surrealist imagery of the poem, it is surprising that many critics either ignore or downplay its Eastern character. One of the few exceptions is Jose Quiroga's analysis addressing the connection between the multilayered structure of the poem and the system of 'the internal circulation of the chakras* (Quiroga 1999, 147). Considering that Paz himself indirectly admits Yoga influences by using a quote from The Hevajra Tantra' as the first epigraph of the poem, a Yoga-centred reading of Paz's poetry of the mid- to late 1960s is deemed more appropriate. Paz's in-depth knowledge of Tantra Yoga is hardly surprising, since he spent six years in India, serving as Mexico's cultural attache from 1962 till 1968, when he resigned the post in protest against the Mexican government's actions in the Tlatelolco massacre. While in India, he became interested in Yoga philosophy, in particular Tantra, a branch of Vedic religion shared by Buddhism, Hinduism and Taoism. Paz's new interest is evident from the extensive use of Tantric imagery and the quotes from Tantric texts, in particular in the Ladera Este collection (1968), and 'Blanco' (1966). By the mid-1960s, it became evident that Paz was distancing himself from French surrealism, which has been one of the major influences on his work for several decades, although he still showed allegiance to the movement by using a quote from Stefan Mallarme as one of the epigraphs to 'Blanco'. Taking into consideration the importance of Yoga and Tantra in Paz's poetry of the 1960's, this analysis of 'Blanco' will address the search for knowledge and superconsciousness from the perspective of Tantra Yoga philosophy; therefore, it will be necessary first to explain the nature of Yoga (including Tantra Yoga), and the meaning of Yoga terminology to be employed in this study. ? 2002 Society for Latin American Studies. Published by Blackwell Publishers, 108 Cowley Road, Oxford OX4 1JF, UK and 350 Main Street, Malden, MA 02148, USA. 527 This content downloaded from 178.250.250.21 on Sat, 02 Jul 2016 01:20:59 UTC All use subject to http://about.jstor.org/terms Victoria Carpenter Yoga is the ecumenical philosophy of the attainment of Nirvana through the perfection of body and mind. *Yoga is the mystic science of Asia, the accepted basis of all spiritual development of all religious form' (Marques-Riviere, 1970, 15); Hinduism, Buddhism, Tantrism, Taoism and other Asian philosophies are derived from Yoga. Yoga practices emphasise various aspects of the teaching. The names of these practices describe their focus: for example, Hatha Yoga concentrates on physical exercises, Jnana Yoga focuses on the attainment of knowledge, and so on. Swami Sivananda's teachings define the four main paths of Yoga - Karma Yoga (the path of action), Bhakti Yoga (the path of devotion), Jnana Yoga (the path of knowledge and wisdom), and Raja Yoga (the path of physical and mental control; Hatha Yoga is part of this path) - and explain the nature of the connection of these practices: 'Each is suited to a different temperament or approach to life. All the paths lead ultimately to the same destination - to union with Brahman or God - and the lessons of each of them need to be integrated if true wisdom is to be attained* (http:// www.sivananda.org). Similarly, Jean Varenne posits that 'all these different sorts of yoga are no more ... than variants ... of classical yoga, the only one treated unanimously in the tradition as the valid reference. [...] The reference [to the focus of a particular yoga] is merely to a subdivision within a stage, as with mantra-yoga, the 'yoga of magic formulas' which deals with the magical efficacy of the specific words or phrases employed to help concentrate the mind, etc' (Varenne, 1973, 82-3). The primary Yoga teachings are concentrated in three books, or tantras (hence the name tantra-yoga, derived from the fact that it is described at length in a number of manuscripts): 'the Bhagavad-Gita says why one should practice yoga, the Sutras teach one how to do so, and the Upanishads reveal what actually happens as one advances along the path' (id., 145-46). Among the Yoga texts used in this study is that by Sri Swami Sivananda (1887? 1958), a Vedanta teacher and practitioner. Like all yogis, Sivananda applied the philosophy of the four main paths of yoga in his practices, basing them on the classical Vedanta text Hatha Yoga Pradipika. However, it would be erroneous to suggest that he created a Sivananda yoga, since neither the philosophy nor the application of the terminology change from practitioner to practitioner. According to Yoga teachings, the main purpose of all forms of Yoga is the union of the individual self (jiva) with the Absolute or pure consciousness (Brahman). This state of unity, known as Samadhi, is characterised by total peace of mind and body. 'In Samadhi one rests in the state of bliss in which the Knower, the Knowledge, and the Known become one. This is the superconcious state reached by mystics of all faiths and persuasions' (http://www.sivananda.org). Once the yogi reaches Samadhi, s/he becomes one with the Brahman, or the Absolute Reality. According to Swami Vishnu Devananda, 'for the spiritual seeker, Brahman is Truth; this world is unreal, it is a mere illusion. The world is an untruth, the Absolute is the only Truth' (http://216.1677.104/yogalife/ spring98/spring 2.htm). In order to attain the state of Samadhi, the yogi has to practice the four Yoga paths described earlier, focussing specifically on releasing the energy within his/her astral body; this energy, Kundalini, travels up the body 528 ? 2002 Society for Latin American Studies This content downloaded from 178.250.250.21 on Sat, 02 Jul 2016 01:20:59 UTC All use subject to http://about.jstor.org/terms From yellow to red to black through seven chakras (or energy centres). These are located in the plexi along the energy column Sushuma, 'whose counterpart in the physical body is the spinal cord' (Sivananda, 1983, 70). Up the energy column travels the astral energy Kundalini; once it reaches the energy centre Sahasrara Chakra (the crown chakra, corresponding in the physical body to the pineal gland), the yogi reaches the state of Samadhi, or superconsciousness: 'still operating on the material plane, he has reached a level of existence beyond time, space and causation' (id., 71). The nature and location of the seven chakras is as follows: At the base of Sushumna is Muladhara, which corresponds to the sacral plexus. It is here that Kundalini lies dormant. Next is Swadhisthana, corresponding to the prostatic plexus. Manipura, the third chakra, corresponds to the solar plexus; it is the main storage centre for prana [the life energy]. Anahata - located in the region of the heart - corresponds to the cardiac plexus, Vishuddha - in the throat region - to the laryngeal plexus and Ajna chakra - located between the eyebrows - to the cavernous plexus. Sahasrara, the seventh and highest chakra, corresponds in the physical body to the pineal gland. (ibid.) One of the tools used to practice meditation is mantra - a rhythmical chant of Sanskrit syllables aimed at *bring[ing] the individual to a higher state of consciousness' (Sivananda 1983, 98). Mantra-yoga, 'the 'yoga of magic formulas' ... deals with the magical efficacy of the specific words or phrases employed to help concentrate the mind' (Varenne, 1973, 83). The practice of mantra, or the repetition of a syllable or a combination of syllables, is incorporated in other practices, such as pranayama and hatha yoga, the main aim of which is to perfect the physical aspect of the human body to facilitate the release of Kundalini in the attempt to reach Nirvana. The result of the attainment of superconsciousness is the destruction of Maya, or the illusion of the objective world. The creation of Maya is best described as the separation of the universal spirit (Purushta) and its physical or objective manifestation (Prakriti). 'The manifest universe is only a superimposition on the real, it is projected on the screen of reality' (Sivananda, 1983, 16). As the yogi practices the four paths, s/he reunites the physical and spiritual manifestations of the universal spirit, thus destroying Maya and re-establishing the oneness of the spiritual and physical manifestations of Purushta. Having defined the principal premises of Yoga philosophy and explained the main concepts herein, it is essential to establish the relationship between Tantra and Yoga emphasised in a number of studies of Yoga. Harish Johari succinctly describes the underlying focus of Tantra Yoga: 'In the ancient science of Tantra, the human body is viewed as the most perfect instrument for the expression of consciousness, a perfection realised through the development of psychic centers known as chakras' (Johari, 1999). Sir John Woodroffe's study of Tantra, in particular Introduction to Tantra Sastra, examines the process of attaining superconsciousness through a number of practices, including physical exercises ? 2002 Society for Latin American Studies 529 This content downloaded from 178.250.250.21 on Sat, 02 Jul 2016 01:20:59 UTC All use subject to http://about.jstor.org/terms Victoria Carpenter (Hatha Yoga), breathing exercises (Prana Yoga), sexual experience (Tantra Yoga), and other means (see Woodroffe, 1969, 126-49). Hence, it becomes clcar that Tantra is an integral part of Yoga. Marques-Riviere defines Tantra and Tantrism (the philosophy of Tantra), as 'the traditional aspect of Yoga doctrine as adapted for our time' (Marques-Riviere, 1970,16). Mircea Eliade continues to accentuate the interdependence of Tantra-yoga and other aspects of Yoga: 'Hatha Yoga and tantra transubstantiated the body by giving it macranthropic dimensions and assimilating it to the various "mystical bodies" (sonorous, architectonic, iconographic, etc.)' (Eliade, 1969, 203). Moreover, it should be noted that Kama-Sutra, the most famous book on Tantric practices, is part of the Yoga teachings. Explaining the nature of Tantra, Gavin Flood states that 'the tantras and agamas are a vast body of literature which generally take the form of a dialogue between Siva and his consort (Sati), dealing with ritual, the divine nature of the body, the female energy (sakti) of god, cosmology (particularly speculation on the cosmos as an emanation of energy as divine sound), and the construction of ritual formulae or mantras* (Flood, 1998, 174). The focus of Tantra Yoga is on the worship of the female aspect of Siva, the destructive aspect of Brahman; this aspect, as well as the union, is seen as possessing great sexual energy, leading to the release of Kundalini, much as it is released through every Yoga practice. Eliade posits that Tantric texts are often composed in an 'intentional language'..., a secret, dark, ambiguous language in which a state of consciousness is expressed by an erotic term and the vocabulary of mythology or cosmology is charged with Hatha-yogic or sexual meanings' (Eliade, 1969, 249). The intrinsic link between Yoga and Tantra (both in Hinduism and Buddhism) is described as 'esoteric tradition of ritual and yoga known for elaborate use of mantra, or symbolic speech, and mandala, or symbolic diagrams; the importance of female deities, or Shakti; cremation-ground practices such as meditation on corpses; and, more so in Hindu than in Buddhist tantra, the ritual use of wine, meat, and sexual intercourse. Tantric practices use both ritual and meditation to unify the devotee with the chosen deity. In Hindu Tantra, practice is graded into three types, corresponding to three classes of devotees: the animal, i.e., those in whom the guna ... of tamas (darkness) predominates; the heroic, those in whom the guna of rajas (activity) predominates; and the divine, those in whom sattva (goodness) predominates' (http://www.encyclopedia.com). Tantric practices are seen as less restrictive than the traditional Brahman teachings. 'In contrast to the controlled Brahman householder ..., other religious traditions within Hinduism, notably the tantric traditions, present very different images, at least at an ideological leveP (Flood, 1998, 45). While Tantric ideology allows for more physical and ideological freedom than the traditional facets of Yoga (condoning, for one, inter-caste sexual relationships and meat-eating), it is based on the same theoretical premise as other paths: the use of Yoga terms, like chakras, Kundalini, gunas, purushta and other components of the spiritual and physical body, is the same in the Tantric context. Thus, it becomes clear that Tantra and Yoga are not opposing or conflicting philosophies; Tantra is part of Yoga and should not be viewed as a separate or antithetic philosophy. 530 ? 2002 Society for Latin American Studies This content downloaded from 178.250.250.21 on Sat, 02 Jul 2016 01:20:59 UTC All use subject to http://about.jstor.org/terms From yellow to red to black The above summary of the principles and applications of Yoga and Tantra philosophies will serve as a basis for the Tantric analysis of 'Blanco'. As will become evident in the analysis, the focus of the poem is on the attainment of superconsciousness through sexual experience. Through Tantric practices comprising physical and emotional aspects of sexual intercourse, the male narrator1 loses connection with the objective reality. In the end all that appears left is transparency or the absence of objective reality, leaving the male in the subjective realm of existence. The Tantric nature of the outcome of the poem first becomes evident insofar as the male attains the state of Nirvana through sexual practice; the absence of the objective reality is reminiscent of Samadhi, as the yogi passes through the veil of Maya and attains superconsciouness. The three parts comprising the poem represent several stages in the male's satisfaction of sexual desire combined with the attainment of superconsciousness. The process begins as an abstract representation of a totally cognitive existence, then continues through the awakening of the male's primal side to its ultimate expression in a sexual act, and returns to restoring the cognitive facet of the male's personality. The coexistence of the cognitive and non-cognitive aspects within the male's personality is controversial since the non-cognitive side appears repressed in the male's overt character in an asexual environment. The sexual act, therefore, is a way to express this forbidden side of the male's psyche. Through the poem the reader observes awakening of the mind, followed by awakening of the body or recognition of the body as an equally valid half of the male's personality; the section which describes a sexual act may also be viewed as depicting coexistence of the subjective and objective realities. By the last section, the male reaches the state of superconsciousness as his body and mind re-create each other and cannot exist separately, connoting that the male's mental selfawareness depends largely upon his physical or sexual experiences. Although the poem may be read as representing Nature's elements (this interpretation relies mainly on the analysis of the form and structure of the poem), it also alludes to a mantra addressed to achieve the superconsciousness through sexual expression. The male travels an imaginary path from the nothingness of innocence through sexual experience to the nothingness of knowledge. From the Tantric perspective, the poem can be divided into three parts corresponding to the three stages of a mantra chant. While the black and red-typeface section of the poem can also be seen as two separate poems joined by a common theme of a sexual act, the three parts of the poem2 may be The narrator in 'Blanco' is presumed to be male since the narrators of most of Paz's poems are male. This is surmised indirectly from the fact that the narrator addresses the woman in the poem, and since the two are engaged in a sexual act and there is no evidence of homosexual tendencies of either partner, it becomes evident that the narrator is male. This assumption has been made in all analyses of the poem. This study will use the version of 'Blanco' published as a separate volume: Octavio Paz, Blanco (1966), 2nd ed., Mexico, D.F.: Joaquin Mortiz, 1972. In this edition, the sections are identified by typeface - non-bold, bold and the combination of black and red italicised Iines. Since there is no pagination in this publication, the references in the text will be given as Paz 1972. ? 2002 Society for Latin American Studies 531 This content downloaded from 178.250.250.21 on Sat, 02 Jul 2016 01:20:59 UTC All use subject to http://about.jstor.org/terms Victoria Carpenter interpreted as representing gunas, or the all-encompassing aspects of universal energy (Purushta). The three gunas - sattvic, rajasic, and tamasic - existin equilibrium within everything in the Universe. The differentiation of gunas is 'the differentiation of T and 'this', of subject and object, and mythologically as Shakti moving out from Siva - in the raising of Kundalini [inner astral energy], when the state of superconsciousness is attained, the two principles are reunited and the illusion is no more' (Sivananda, 1983, 16). Before examining each section in detail, it is important to establish the 'characters' of the poem. The male narrator appears to be the only cognitive presence in the text; there is the image of a woman-partner, which is an important formative component of the main theme of the poem. Many critics have come to the same conclusion regarding the woman's role as a representative of objective reality (Fein, Sucre, Wilson); another view of the woman as an independent person is presented by Rachel Phillips, who considers the woman to have a minute role in the male's search for an adequate expression of emotions (Phillips, 1972, 139, 142). However, there is no evidence in the poem that the woman exists independently from the male. In fact, she does not possess physical characteristics or exist at all until the male becomes aroused and engages in a sexual act with the woman he creates in his imagination to satisfy his sexual urge. From the Tantric perspective, the woman's arousing nature is very important, since it offers a clear parallel with the image of Durga/Kali, the most sexually active goddess of the female trinity. She is hailed as 'the mother of the universe, ... the effulgent Goddess Durga,... the terrifying destroyer of ignorance' (Uttal, 1997). Durga represents the female aspect of Siva, the Destroyer god in the Hindu Trinity. It is said that the Brahman, or the universal Absolute, contains three aspects - birth, development, and death - represented respectively by Krishna, Vishnu and Siva (or Shiva). Each masculine deity has a female counterpart, often referred to as a consort, designed to emphasise one of the intrinsic qualities of each god; Durga/Kali's duality represents the two main aspects of Siva destruction (Kali) and rebirth (Durga) of the material world. The records of the origin of Durga/Kali are numerous; among them, the Vedanta and Tantra texts: 'Durga's story appears primarily in the Skanda Purana, in Chandi, itself a part of the Markandeya Purana, but very similar stories are told in the Brahmanda Purana and also in the famous epic, the Mahabharata. She also appears elsewhere in tantrik [sic] texts, including as Mahishamardini (killer of the demon Mahisha) in the Kulachudamani Tantra' (http://www.hubcom.com/magee/tantra). Traditionally depicted as a black naked woman with a mouth red with blood of men, she devours her human lovers-children, thus destroying the physical side of human nature which prevents it from attaining superconsciousness. Created to fight the demon Mahisha, Durga/Kali was armed by all gods and their consorts; finally, she defeated the demon, immune to the gods' weapons, by touching him with her foot. The dual nature of Durga/Kali is not the only form of this goddess; as Lord Siva's consort, she is also known as Parvati, the symbol of marital bliss (she was known as Sati in her previous divine incarnation). The family of Lord Shiva, Parvati and their sons Ganesha and Kartikeya is an ideal example of family 532 ? 2002 Society for Latin American Studies This content downloaded from 178.250.250.21 on Sat, 02 Jul 2016 01:20:59 UTC All use subject to http://about.jstor.org/terms From yellow to red to black unity and love. She has a charming personality. She is adored by married women for a happy married life' (http://www.pujamandir.purepace.de). It should be noted that there are numerous variations of the appearance of the Goddess, each one based on a specific aspect of her nature. Just as there is no single depiction of Durga/Kali/Parvati, there is no concrete description of the woman in the poem; as an abstract entity created to help the male achieve sexual satisfaction, she is void of consciousness or emotions as well as explicit physical characteristics. The only description of her appearance is recorded during a metaphorical coitus - 'mis manos de lluvia / sobre tus pechos verdes'(ibid.),3 when the woman acquires attributes of flora and fauna void of human consciousness. Later (during coitus) she is implicitly compared to a bird of prey: 'lluvia de tus talones en mi espalda* (ibid.);4 this metaphor enhances the description of a sexual act as an exhibition of the animal side of the human personality. In addition, the image of a bird of prey holding its victim in its talons establishes the first subtle connection between sexual satisfaction and fear of physical death and reinforces the Tantric nature of the poem by characterising the woman as Durga/Kali: Tantric worshippers of Kali thought it essential to face her Curse, the terror of death, as willingly as they accepted blessings from her beautiful, nurturing, maternal aspect. For them, wisdom meant learning that no coin has only one side: as death can't exist without life, so also life can't exist without death. Kali's sages communed with her in the grisly atmosphere of the cremation ground, to become familiar with images of death. They said, "His Goddess, his loving Mother in time, who gives him birth and loves him in the flesh, also destroys him in the flesh. His image of Her is incomplete if he does not know Her as his tearer and devourer*" (Walker, 1983, 488). However, Durga's destructive powers, like those of Siva, are aimed at the creation of a new universe; the revitalising character of the female goddess is evident from the folk paintings, where 'she is shown striding on Shiva, and giving him life and energy (seen through his arousal). This reflects the notion that the Goddess's energy is essential to all life, and that without her nothing would come into being' (Rawson, 1978, plate 3). The image of fire dominates the second section, as the partners are united in a sexual act. The fire, which metaphorically represents the male's sexual arousal, is described in highly sensual imagery: ni ries - desnuda en los jardines de la llama ... llama rodeada de leones leona en el circo de las llamas anima entre las sensaciones frutos de luces de bengala (ibid.)5 3 4My hands of rain / on your green breasts' (all translations by Victoria Carpenter). 4 'Rain of your claws on my back'. 5 'You laugh - naked / in the gardens of flame [...]/ a flame surrounded by lions / a lioness in the circle of flames / a spirit among sensations / fruit of Bengal lights\ ? 2002 Society for Latin American Studies 533 This content downloaded from 178.250.250.21 on Sat, 02 Jul 2016 01:20:59 UTC All use subject to http://about.jstor.org/terms Victoria Carpenter The woman's promincnt prescnce in this section suggests that her image is a result of the male's imagination to release his sexual tension by engaging in a sexual act with her and by watching her reach orgasm. This voyeuristic side of the male's sexual desire is evident in a metaphoric description of the woman's orgasm: te precipitas en tus semejanzas caes de tu nombre a tu cuerpo en un presente que no acaba caes en tu comienzo (ibid.) Once the male experiences orgasm, his partner disappears, and the male rcceivcs a revelation of his superconsciousness that combines the subjective and objcctive realities7 - 'La irrealidad de lo mirado / da realidad a la mirada' (Paz, 1972).8 The woman's image is the superimposition of the male's sexuality onto his subjective reality, ultimately, she is a result of the male's imagination being fueled by sexual desire. The woman's appearance after the orgasm is surprising because it interferes with the male's contemplation of a newly discovered subjective reality. To prevent her from damaging his inner equilibrium, the male assigns her an abstract quality. It may ssem that the male perceives the woman and the objective reality which she represents as part of his subjective world, since he renders her existence a projection of the conflict and coexistence of his subjective reality and the objective world evident in the juxtaposed images below: Mirala fluir entre tus pechos caer sobre tu vientre blanca y negra primavera nocturna jazmin y ala de cuervo tamborino y sitar No y Si (ibid.)9 The above analysis allows the conclusion that the woman-partner is a figment of the male's imagination fueled by sexual desire; the Tantric characteristics of the union of the male narrator and the woman allow for continuing the analysis 6 'you precipitate in your likenesses / and fall from your name onto your body / in the present that never ends / you fall into your beginning'. 7 The second edition of 'Blanco' does not have page numbers; therefore, the quotes will be cited in association with the sections in which they appear, as deemed appropriate. 8 The unreality of what is seen / gives reality to the gaze'. It should be noted that the word la mirada' can also be translated as 'she who is watched'; having deduced that the woman represents objective reality, it is possible to draw a parallel between the two versions of the word - the gaze, emanating from the physical reality, is as objective as the woman at whom it is aimed. 9 'Watch it flow / fall between your breasts / onto your belly, / black and white, / night spring / jazmin and a raven's wing / tambourine and sitar / No and Yes'. 534 ? 2002 Society for Latin American Studies This content downloaded from 178.250.250.21 on Sat, 02 Jul 2016 01:20:59 UTC All use subject to http://about.jstor.org/terms From yellow to red to black of the poem from the Trantra Yoga perspective. Therefore, when examining the three sections of the poem, it is necessary to allude to the order of chakras in the spiritual body, their main elements, and the effect their awakening has on the attainment of superconsciousness. It should be noted that the chakra division of the poem has already been discussed (Quiroga, 1999, 146-48). However, the descending order presented in Quiroga's 1999 study - ether, water, air, fire, earth - does not correspond to the widely accepted ascending scheme, which outlines the chakras as follows: earth (Muladhara), water (Swadhishthana), Manipura (fire), Anahata (air), Vishuddha (ether), Ajna and Sahasrara.10 It is important to emphasise that the line of the chakras begins at the base of the spine and ends at the top of the head in a thousand-petal Sahasrara chakra; the ascending progression reflects the movement of the Kundalini up the Sushumna column (corresponding to the spine) to the crown chakra, which is the seat of the Absolute, or superconsciousness. This sequence, outlined in the numberous Yoga writings, does not change with each practitioner; therefore, this analysis is based on the aforementioned scheme, as described in the works of Chandra Mohan Jain, Huzur Swami Vishnu Devananda, Swamiji Maharaj, Swami Sri Sivananda, Shyam Sundar Goswami, and Sri Aurobindo, to name but a few. The importance of chakras in Tantra is best described by Harish Johari: 'Located within the cerebrospinal system, chakras are the stage upon which the interaction between higher consciousness and desire is played out. Consequently, it is though understanding and utilising the energy of the chakras that we ultimately reach the enlightened state of being' (Johari, 1999). While the first part of the poem may be interpreted as addressing primarily the Freudian psychoanalysis of constraints of the word as the part of rational language which hides superconsciousness and imposes limitations on sexual expression, we will examine this section from a Tantric perspective. The nonbold section (first 13 lines, and the section after the last double-column stanza) metaphorically corresponds to air; this is evident not only from an ethereal quality of the print, but also from numerous references to air. The most manifest examples are the repetition of the line 'aire son nada' (Paz, 1972),n and the spread-out first stanza whose lines frequently consist of one word and appear to be floating in the air: inocente promiscua la palabra sin nombre sin habla (ibid.)12 Taking into consideration the prevailing ethereal quality of this section, it becomes evident that it exhibits the characteristics of the Anahata Chakra - a smoke10 The last two chakras in the order do not have elements associated with them because they represent the non-material projections. Both are activated once the yogi enters the plane of superconsciousness. 11 'air are nothing'. 12 'innocent promiscuous / the word / without a name without speech'. ? 2002 Society for Latin American Studies 535 This content downloaded from 178.250.250.21 on Sat, 02 Jul 2016 01:20:59 UTC All use subject to http://about.jstor.org/terms Victoria Carpenter coloured chakra, whose element is air (Sivananda, 1983, 71); the light colour of the print and the spread-out lines enhance this similarity. The section is akin to the expression of pure consciousness that does not recognise its physical manifestation (sexual or otherwise). This is supported by the absence of verbs or adjectivcs of physical attributes; in fact, the only body parts mentioned in the first stanza are eyes and tongue, i.e., those involved in the process of cognitive communication. This section continues following the two parts with numerous sexual images; it may be connoted that after experiencing release of sexual tension through orgasm, the male returns to the state of pure consciousness, having reconciled the existence of his mental and physical traits by assigning subjectivity to both (as may be noted in the presence of physical attributes in the last stanza). The spirit, or the cognitive part of the male's psyche, is still its leading force, but its nature is complemented by primal physical traits of the body. The following quote reflccts succinctly the essence of the principles of Tantra Yoga - the interdependence of body and spirit, and the subjective reality (or the universal spirit) created as aresult of this interconnection: El espiritu es una invencion del cuerpo El cuerpo es una invencion del mundo El mundo es una invencion del espiritu No Si (Paz, 1972)13 Apart from the fact that this section may be interpreted as representing air, it may also be seen as a sattvic guna, described as a peaceful state, void of bodily needs (Sivananda, 1983, 80), which is the prevailing mood of the first part of the poem. It is evident in the level emotional tone of the section, the absence of physical descriptions, adjectives characterising extreme moods, and sexually arousing imagery. The second part of the poem (the bold black typeface; in later editions - the sections between the double-column stanzas, and after the non-bold part) is more sexually explicit since it reflects the physical manifestation of the male's psyche. A parallel may be made between the nature of this section and the Swadhishthana chakra (located in the prostatic plexus), whose element is water and which represents the centre of male sexual energy. Sexually charged imagery augments this comparison. The recurring images of water and river are the most obvious sign, and the fluid appearance of print reinforces this supposition: 'Rio de sangre, / rio de historias / de sangre, / rio seco:* (ibid.), 'tienes la boca llena de agua' (ibid.).14 It should be noted that each line in this section is either part of a phrase 13 The spirit / is the invention of the body / The body / is the invention of the world / The world / is the invention of the spirit / No and Yes'. 14 *A river of blood / a river of histories / of blood / a dry river'; 'you have a mouth full of water*. 536 ? 2002 Society for Latin American Studies This content downloaded from 178.250.250.21 on Sat, 02 Jul 2016 01:20:59 UTC All use subject to http://about.jstor.org/terms From yellow to red to black or is phonetically similar to the previous line, thus creating the illusion of fluidity. The frequent references and allusions tow ater denote the male narrator's sexual arousal (the parallel between flowing water, ejaculation and vaginal secretion is easily established); it is at this point that his ability to communicate is impeded. The mouth of the language is muzzled by 'la conjuracion anonima / de los huesos' (ibid.)15 - the similie of bone and penis suggests that sexuality is blocking the expression of the cognitive aspect of the male's psyche. This imagery also suggests a similarity of this section and the tamasic guna, characterised by clouded reasoning and dark emotions. The male approaches the point of extreme arousal before he engages in a sexual act; this moment is very important because of the first shift in the male's nature from predominantly cognitive to mainly driven by sexual desires. The two facets complement each other in the following quote: Hablar mientras los otros trabajan es pulir huesos aguzar silencios hasta la transparencia, hasta la ondulacion, el cabrilleo, hasta el agua (ibid.)16 The act of talkiing is regarded as an expression of individuality or consciousness; yet the morbid and sexually prominent reference to polishing bones, and later the allusion to orgasm through the images of water ('hasta la ondulacion, / hasta el agua'), assigns sexual intercourse cognitive characteristics. Hence, cognition may also be seen as an extension of sexuality, which invites the conclusion that the primal side of human nature is responsible for creating a higher order of being that will deny itself an overt expression of its 'animal' nature that bore it. A similar interpretation is offered by Jason Wilson in his 1986 volume: the beginning of the poem 'the wordplay, like bells, releases overlapping meanings: analogies of the origins, the see, sperm, the latent poem (liberating mental experience) that this poem is pursuing' (Wilson, 1986, 111). Progressively, cognition is becoming less important as language is heard, not seen (read) or pondered (understood). In fact, language and its products are almost always paired with physical imagery which becomes more related to nature (especially fauna), losing its connection with the male's cognitive side. In the beginning of the section, 'el lenguaje deshabitado' (Paz, 1972)l7 connotes a previous presence of an inhabitant who may be presumed to be human, since 15 'an anonymous conspiracy of bones'. 16 'To speak / while others work / is to polish bones / to sharpen / silences / to the point of transparency / to the point of waves / of whitecaps / to the point of water\ 17 kuninhabited language'. ? 2002 Society for Latin American Studies 537 This content downloaded from 178.250.250.21 on Sat, 02 Jul 2016 01:20:59 UTC All use subject to http://about.jstor.org/terms Victoria Carpenter language is one of the principal signs of human consciousness. However, language is also characterised as shelter, thus implying the satisfaction of one of the basic primary needs of any living being - the need for shelter (Maslow, 1954, 81). Therefore, language is losing its connection with a higher order of mentality. As the male's attention is directed more towards physical sensations, he begins to lose his cognitive characteristics and reverts to a primal stage of development characterised by the absence of language. Another expression of the male's loss of cognitive traits is revealed in the phrase 'un presentimiento de lenguaje' (Paz, 1972).I8 Since language is the main sign of human cognition, the male's fear of language suggests that he regresses to an earlier stage of evolution, becoming closer to wild animals, who are usually frightened by the sound of speech, perceiving it as a sign of danger. Still, language is an integral part of the male's psyche, as he keeps using it. The repression continues until eventually language takes on mainly non-cognitive traits, explicitly connected with the natural world void of life of a higher order - 'la tierra es un lenguaje calcinado' (ibid.).19 Morbid imagery is prevalent in this section, and it is of particular importance to note that the morbid images coincide with sexual images. 'Cabeza en una pica' (ibid.)20 is an explicit example of the dual representation of death. The image of a head on a spike is reminiscent of medieval (and Eastern) execution traditions, when the heads of the executed were displayed in public, often on a pole or a spike, to instill fear into the subjects of a ruler by demonstrating his power and ruthlessness. One cannot help but recognise a voyeuristic attitude to death and a parallel which may be drawn between it and sexual voyeurism, especially if the image of a head on a spike is regarded from a sexual perspective as representing an erect penis. There are many instances in the poem of morbid images with sexual undertones. It is noteworthy that most of these images are in the 'water* section that depicts the male's increasing sexual ajrousal. Therefore, it is not surprising that sexually implicit images of bones appear only in this section, since a bone metaphorically represents both death (decaying flesh eventually stripped off a skeleton) and sexual arousal (similar to an erect penis), which is reflected in a connotative meaning of 'hueso' as a 'designacion equivoca del organo sexual masculino' (Criado de Val, 1981, 104).21 It should be noted that the culmination of morbid imagery and the appearance of death in the form of the sun occurs immediately before the male's first metaphorical foreplay, transforming the objective world into his subjective sexual fantasy: Hay puas invisibles, hay espinas en los ojos, En un muro rosado tres buitres ahitos. 18 'the anticipation of language'. 19 'the earth is a burnt language*. 20 'a head on a spike*. 21 'an ambiguous reference to the male sexual organ'. 538 ? 2002 Society for Latin American Studies This content downloaded from 178.250.250.21 on Sat, 02 Jul 2016 01:20:59 UTC All use subject to http://about.jstor.org/terms From yellow to red to black No tiene cuerpo ni cara ni alma, esta en todas partes, a todos nos aplasta: (Paz, 1972)22 The lines following this description portray foreplay, during which the male creates the woman-partner from nature's elements. The persistent use of short sentences and action verbs reinforces the pulsating movement of aroused sexual organs; this is particularly visible in comparison with incomplete sentences from the 'air' section mostly free of verbs, and the lack of verbs in the first stanza of the 'water' section when the male is not aroused. The images of physical suffering and death appear to arouse the male, who then uses them to create a sexual fantasy of fire during the metaphorical coitus. The dual imagery of the poem - that of sexual desire and death - also suggests a connection with the nature of Siva and his consort, Durga Ma. Siva the Dancer is the destroyer of Maya, which, as previously stated, 'is only a superimposition on the real, it is projected on the screen of reality [...]. Without illumination [or knowledge] we mistake the unreal for the real - we superimpose or project our own illusion on the real world' (Sivananda, 1983, 16). Siva's dance, always accompanied by the beat of his two drums, announces the end of objective reality; the image of Durga/Kali, the female aspect of Siva, has been discussed earlier in the analysis of the woman-partner. Sexual acts between the male and the imaginary woman are presented in the double-column section (in the earlier editions - in the black and red columns, either separate or joined). These columns respectively may be seen as representing earth and fire; the black and red colour scheme of the print suggests that this section reflects the union between Siva and Durga Ma. The black (left) column appears solid, with its short phrases, parts of which are repeated throughout the section, like building blocks: 'en el muro la sombra del fuego / en el fuego tu sombra y la mia / el fuego te desata y te anuda' (Paz, 1972), 'entrar en mi / al entrar en tu cuerpo' (ibid.), 'caes de tu cuerpo a tu sombra I en un caer inmovil de cascada / caes de tu sombra a tu nombre' (ibid.).23 Other representations of this characteristic are: an approximately equal length of lines, the great number of verbal / 'action' phrases and phrases with explicit sexual connotations - 'se desata se esparce / se levanta se erige Idolo' (ibid.),24 and the absence of extensive images expressed in adjectives - that is, sexual metaphores are mainly action phrases that may or may not contain an actual verb: 22 'There are invisible needles, there are thorns / in the eyes, / On the pink wall / three vultures in a row. / It has no bodv, no face, no soul, / it is everywhere, / it crushes us all:'. 23 'On the wall the shadow of fire / your shadow and mine on fire / the fire unties you and ties you up'; *to enter me / by entering your body*; *you fall from your body into your shadow / in a silent cascade fall / you fall from your shadow into your name*. 24 *it comes undone / it spreads / it rises it erects the Idoi'. ? 2002 Society for Latin American Studies 539 This content downloaded from 178.250.250.21 on Sat, 02 Jul 2016 01:20:59 UTC All use subject to http://about.jstor.org/terms Victoria Carpenter entera en cada parte te repartes tu cuerpo son los cuerpos del instante pensado sonado encarnado (ibid.) From the Tantra perspective, this section may also be viewed as metaphorically representing the Muladhara chakra located in the sacral plexus and thus responsible for sexual sensations; therefore, the black 'earth' column implicitly depicts the sexuality of the male in the poem. It is also worth noting that the Muladhara chakra is where the spiritual energy Kundalini lies dormant. The connection between sexual expression and the release of the Kundalini illustirates the subject of the poem which can now be identified as the search for superconsciousness through sexual experience. This is supported by a comparison of this section to the rajasic guna, aimed at feeding the body at the expense of the mind. This guna is characterised by openly expressed passion or arousal that makes the mind restless (Sivananda, 1983, 80). Assuming that the male is the only 'character' in the poem and the woman is a figment of his imagination, the logical conclusion is that this section portrays the sexual aspect of the masculine nature. As the columns are brought closer together, the images become more sexually explicit and the lines of more equal length. If one compares the following passages paying attcntion to sexual imagery, the structure of the poem shows the male's heightened arousal and subsequent orgasm: 1. los rios de tu cuerpo pais de latidos entrar en ti pais de ojos cerrados (Paz, 1972)26 2. se desata se esparce se levanta se erige Idolo desnuda como la mente en la reverberacion del deseo (ibid.)27 3. caes en tu comienzo derramada en mi cuerpo ni te repartes como el lenguaje tii me repartes en tus partes (ibid.)28 25 'complete in every part you split / your body are the bodies of an instant / thought dreamt incarnate'. 26 'the rivers of your body / the country of palpitations / to enter you / the country of closed eyes'. 27 'it comes undone / it spreads / it rises it erects the Idol / naked like the mind / in the reverberation of desire'. 28 'you fall into your beginning / poured into my body / you split yourself like language / you tear me up into your parts'. 540 ? 2002 Society for Latin American Studies This content downloaded from 178.250.250.21 on Sat, 02 Jul 2016 01:20:59 UTC All use subject to http://about.jstor.org/terms From yellow to red to black It should be noted, however, that there is no explicit description of the male's physical climax; it is either seen as an emotional release, or is inferred from the implicit images of natural forces. Another view of climax as a way of achieving superconsciousness suggests that the black single lines centred at the end of the double-column section represent the male's acquisition of knowledge. These lines do not repeat the rhythm or imagery of the black left column; instead, the ideas contained in them are of a superconscious nature - 'La transparencia es todo lo que queda' (ibid.).29 This implies that the male has reached a higher level of consciousness, although the appearance of the lines (black bold typeface) suggests their belonging to the left column representing the male's sexuality. This once again supports the notion that the male reaches superconsciousness by satisfying his sexual desire. A lack of higher emotions or cognitive expression becomes evident in this section, as the male is involved in the primarily physical activity of the sexual act. Even when he compares his physical experience to a representation of a cognitive side of his psyche, its physical aspect prevails over mental ('te repartes' vs. 'el lenguaje'). Still, he concentrates on looking at the woman, and the product of this activity (the woman's visual image) is not as important as the gazing itself. Since the poem bears many Tantric influences, the act of gazing takes on a meditative meaning, and the woman's body (as imagined by the male) is used in Tratak, or steady gazing at an object of meditation, which is an essential part of yoga training. 'It involves alternately gazing at an object or point without blinking, then closing your eyes and visualizing the object in your mind's eye ... [Tratak is] primarily intended to strengthen your powers of concentration and purify the mind' (Sivananda, 1983, 95). This allows the conclusion that the male uses the image of the woman as part of his search for superconsciousness. The red (right) column may be analysed frpm several perspectives. Firstly, the colour of the print in this section is that of the Manipura chakra located in the solar plexus. This chakra 'is the main storage centre for prana [vital energy, life source]' (Sivananda, 1983, 71), and it is through both physical and mental exercises that it opens and releases prana into the body. It is noteworthy that the main element of this chakra is fire. Secondly, assuming that the woman is an objective entity in the poem (i.e., she exists regardless of the man's consciousness), the red column may represent the woman's sexuality. However, since it has been determined that the woman has been imagined by the man as part of his search for self through sexual experience, the column may be read as an expression of emotional or mental aspects of the man's sexual drive. The Tantric characteristic of this section as representing fire is supported by highly emotionally charged and sexually explicit imagery, and multiple references to light, sun or fire: arida ondulacion entre brazos de arena 29 Transparency is all that is left'. ? 2002 Society for Latin American Studies 541 This content downloaded from 178.250.250.21 on Sat, 02 Jul 2016 01:20:59 UTC All use subject to http://about.jstor.org/terms Victoria Carpenter brilla se multiplica se niega [...] pradera quemada color de sol en la arena [...] testigos los testiculos solares (ibid.)30 It is interesting to observe that there are also several references to rivers in this section. This may contradict the prevalent image of fire; yet, comparing the water imagery in the second ('water') section and the right column, it becomes obvious that there is a significant difference. As seen earlier, the 'water' section concentrates on the fluidity and liquid medium seen in short flowing lines interconnected by phonetic similarity: 'empare^jJo, / cada dia / asesinjJo' (Paz, 1972). The 'fire' section, on the other hand, adopts the image of river as a carrier of a sexual connotation - 'el rio de los cuerpos I ... I torrente de cinabrio somnambulo / ... / rio de soles' (ibid.),31 often combining the images of river/ water and light/fire in an attempt to reconcile the two opposite forces. This reconciliation is similar to the male's efforts to resolve the inner conflict between his rational consciousness and irrational sexuality. The imagery of the 'fire' section complementing each other are evident in the following quote: falo el pensar y vulva la palabra espacio es cuerpo signo pensamiento [...] las espirales transfiguraciones es cuerpo el tiempo el mundo visto tocado desvanecido (ibid.)32 After a metaphorical orgasm, the male enters a reality containing more cognitive experiences than physical sensations, similar to the state during which the Ajna chakra - the 'third eye' - opens up, and the yogi experiences the full awakening of Kundalini - 'En el centro / del mundo del cuerpo del espiritu / la grieta el resplandor' (ibid.).33 The play of light and colour in the last part of the poem (the continuation of the first 'air' section) reveals the joining of physical and mental sensations which the male experiences from both perspectives, after the sexual act bridges the two, and superconsciousness is born out of the physical experience. It is interesting to observe that after the coitus and the subsequent physical pleasure, the physical reality is dissolved, and the woman disappears, while the male achieves the state of superconsciousness. Therefore, it may be said that there can be no superconsciousness without physical or sexual experience to instigate it. 30 'dry undulation / in the arms of sand / shines multiplies refutes itself [...] burnt meadow / the colour of the sun in the sand [...] / witnesses the solar testicles*. 31 'the river of bodies / ... / the torrent of sleepwalking cinnabar / ... / the river of suns'. 32 'phallus the thought and vagina the word / space is body sign thought [...] / rhe spirals transformations / is body time world / seen touched faint'. 33 'In the centre / of the world body spirit / rhe crack rhe brilliance'. 542 ? 2002 Society for Latin American Studies This content downloaded from 178.250.250.21 on Sat, 02 Jul 2016 01:20:59 UTC All use subject to http://about.jstor.org/terms From yellow to red to black The title of the poem also influences the Tantric interpretation of the piece. 'Blanco' (white) implies a blank page; yet since there are words printed on the page, the whiteness referred to is behind the words. Metaphorically speaking, words on the page are irrelevant; it is the consciousness behind them that is the driving force of the poem. From the Tantric perspective, this interpretation compares the poem to a mantra: the spoken sounds (Sanskrit syllables) on their own do not contain the superconscious meaning, but the mental focusing behind the sounds helps create the state of superconsciousness. The poem begins with a statement of innocence (or a statement of nothingness), and ends in the male reaching superconsciosness after revealing his previously concealed primal side to himself. Therefore, the stanzas void of substance represent th emale's consciousness, while the darker 'earthly' sections portray his sexual or animal nature, and the reconciliation of the two occurs in the double-column section representing sexual act. Observing the changes throughout the poem, one can see the difference between the tightly packed middle section and ethereal first and last stanzas, which imply the absence of substance. Words, like masks, are removed to reveal nothing recognisable in the objective reality; what is hidden beneath is seen only by the male on the subjective plane. The real and the unreal are products of the mind expressed in words, which are inherently ambiguous due to connotations, double meaning, etc. However, if the denotative meaning is removed and words are not used by the male for communication, he cannot express himself in a way that reveals his mental uniqueness and separates him from animals. He still can and does express himself sexually even when he appears to exhibit purely cognitive traits. The male tries to shed the 'animal' self expressed in sexual intercourse, by engaging in an abstract monologue (the *air' section), but the rational verbal expression is a mask under which his nature is expressed in primarily non-cognitive terms. This interpretation supports the notion of Tantric influences on Octavio Paz's poetry of the mid-1960s. The main premise of Trantra teachings is that the physical aspect of sexual experience is one of the main means of attaining Samadhi; combined with other Yoga paths (most of which are of a sexual nature), it leads the yogi to the union with the Brahman. The structure of the poem further illustrates the process of the joining of body and mind in search for superconsciousness. The poem starts in the mind (air), describes a physical experience of the body (water), then a sexual experience of lovemaking (earth/ fire), and returns to the cognitive plane changed by the previous experiences. Body and mind complement each other throughout the poem, especially during the sexual encounter; therefore, the male's attainment of superconsciousness depends on the satisfaction of his sexual desire. Sexuality is a driving force of the search for superconsciousness, which ultimately leads to self-discovery and joining with the Brahman, without which the male is lost in the material world where he does not belong. Sexual expression allows the male to create a subjective world considered by him the only true reality. The objective reality existing around the male before he reaches this state is regarded as Maya, or the illusory aspect of the manifest universe. Consequently, ? 2002 Society for Latin American Studies 543 This content downloaded from 178.250.250.21 on Sat, 02 Jul 2016 01:20:59 UTC All use subject to http://about.jstor.org/terms Victoria Carpenter there is no objective point of reference in the poem. The male's subjective reality is objective to him; on the other hand, what he sees as an objective outside reality is, in fact, Maya. This is the most important parallel between the theme of the poem and the Tantric teachings - the objective material reality is an illusion; the Truth (or Knowledge) revealed to the yogi during meditation is subjective, as is his world void of concepts of time, space and causality. Bibliography Bromage, B. (1959) Tibetan Yoga, The Aquarian Press, London. Criado de Val, M. (1981) Diccionario de espahol equivoco, EDI-6 / SGEL, S.A., Madrid. Eliade, M. (1969) Yoga: Immortality and Freedom, Princeton University Press, Princeton. Fein, J. (1986) Toward Octavio Paz, The University Press of Kentucky, Lexington. Flood, G. (1998) Making Moral Decisions, and Sacred Writings. 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(1969) Introduction to Tantra Sastra, Ganesh and Co., Madras. 544 ? 2002 Society for Latin American Studies This content downloaded from 178.250.250.21 on Sat, 02 Jul 2016 01:20:59 UTC All use subject to http://about.jstor.org/terms
