Legacy: Yeats' Modern Leda

While there have been countless precedents to and influences for Yeats' "Leda and the Swan," there have also been a multitude of modern adaptations, particularly in art. While many of these are based on the famous adaptations of Michelangelo and Da Vinci, a few consciously adopt Yeats' as their vessel for this myth, regarding his depiction of violence and rape as the most correct and true to the struggle of both Leda and women against such divine and other struggles.

Leda and the Swan, by "Derrewyn"

I find this version of Leda to be one of the most intriguing and provocative. The artist goes into great detail as to the symbolism presented in this piece (see link above), and while her personal interpretation of her work must be taken into account, I believe a more in depth analysis is in order.

Perhaps the most interesting aspect of this piece is the distinct absence of the physical swan, which is almost invariably present in ancient and modern interpretations alike. Instead, Derrewyn chooses "subtly and sensuality over vulgarity," opting to show the swan as an object rather than an entity, which nonetheless surrounds Leda's hips. The downy flanks on either side seem to tug at her low-sitting underwear, already exposing her hipbones, expressing her precariousness as a victim and survivor. Her legs are subtly bound from the knee down and her right knee is tilted inwards in an attempt to shield her "loosening thighs" (6), both alluding to her inability to escape or fight. She is also very beautiful yet simple, mortal, and her small child-like hands reveal her innocence and naivety.

The blindfold represents Zeus's deception of Leda as a swan, a figure typically seen as mostly harmless. She could not see the struggles that she would face, but also perhaps does not or cannot acknowledge what has been done to her. This is a very modern take on the rape victim regarding psychological health and how one deals with such trauma. However, the immaterial crown hovering over her head identifies her as Queen and mother to Helen, harbinger of the Trojan War, which in turn overshadows her responsibilty in both these roles; even if she does not accept her rape and responsibility, she still must take on these roles and learn to live by them, learn to handle her trauma.