Furthermore, Hughes’s mother was considered a psychic and he believed that he had inherited her abilities. Whereas she had premonitory visions and angelic visitations, he had what he deemed prophetic dreams. Early on, Ted claimed the image of the bloody hand of a fox on a paper he was writing at Cambridge convinced him to read archeology and anthropology, rather than English literature. In another dream, an angel had shown him a small square of satin, which he later came to believe was the same material that lay under his dead wife’s head in her casket. [I have no aversion to the notion of answers and warnings in dreams, as I have received them myself (cf. Hearing the Voice Getting it Right).
Hughes also cultivated the paranormal through hypnosis, trance, and meditative exercises. He fancied himself a shaman and believed a poet’s future self could dictate to him in the present. [If we accept the latter, a notion that I find very appealing, even if not scientifically provable,* it could be one way of explaining a dissociative sense of dictation.]
The wild boar goring Adonis on the cover represents the mortal wound inflicted on the Hero. Hughes believed, in line with this mythic scenario, that a major trauma was needed to confer special knowledge on the poet. According to Hughes, Shakespeare's personal trauma was the “tragic error” of abandoning his wife in Stratford while he went off to London, compounded at the societal level by the suppression of the Catholic tradition in England. Both devalued the Feminine. Shakespeare’s visionary poetry, then, erupted at the confluence of these major crises and was aided by his adherence to a mystical school of thought (Hermetic Occult Neoplatonism) that used ritual magic to glean wisdom and clairvoyance from hallucinatory figures. [Think Jung.]
What happens next is madness: the Hero murders his own beloved, supplanting the old “King must die” mentality of ancient Goddess religion with “the beloved Female must die” instead. The Hero splits the Female into two diametrically opposed aspects: Sacred Bride/Divine Mother versus Queen of Hell.
Hughes says that Shakespeare “examines” and “corrects” his life by resuscitating the fallen female with “atonement, redemption and reconsecration in a sacred marriage of ‘new-born’ souls.” Likewise, Hughes will attain the status of one of the great poets of the twentieth century and Poet Laureate of England. The Female-affirming final sequence of Shakespeare’s oeuvre represents for Hughes a “crowning illumination” because it attempts to cure the bard’s personal wound as well as the religious rift in his society. Perhaps Hughes's Remains of Elmet and Birthday Letters had a similar effect on him, restoring the beloved mother and wife to him, without the curse of Medusa’s snare. Mother and wife take on their separate posthumous lives, extolled and molded by the poet’s imagination, freeing him, at last, from their mythic hold on him.