예이츠는 전통적인 시극이나 동시대의 사실주의적인 극과는 또 다른 극을 창조하였다. 예이츠의 극은 아리스토텔레스의 극 이론을 거부한 특유의 극작법 때문에 동시대 작가들의 작품과는 다르게 보아야 한다. 그의 극 『그림자 어른거리는 바다』를 통해 예이츠는 관객에게 장엄한 무아경을 주려했다. 이 논문은 예이츠가 드라마틱한 형식, 즉, 시, 신비로운 분위기, 그리고 두 주인공 포겔과 덱토라의 시적 언어를 통해 그런 효과를 어떻게 달성하는지를 밝힌다.

This paper is to discuss the supernatural ecstasy in the “Supernatural Songs”. When focusing his poetry on the physical, Yeats turned his attention more and more toward the East. While seizing upon an increasingly physical and sexual emphasis, Yeats's secular spiritualism moved in an Eastern, monistic direction. As far as he was concerned, sexual spirituality was much more compatible with indian spirituality. To embody these instincts and passions, he posited a mythical character by the name of Ribh as the cental character of the “Supernatural Songs”. He tried to display a transcendental ecstasy. He associated early Christian Ireland with India. He described the fictional character of Ribh as an early Christian hermit, who is ninety years old. In the East, Yeats found a propensity toward unity of being that would underscore the essential unity of flesh and spirit so necessary to his thought. The “Supernatural Songs” thus brought together an Eastern amalgamation of Christianity and Asian religiosity, merging the supernatural-spiritual with the natural-physical. Yeats espoused tantric sex, a form of Kundalini, with its emphasis on self and the sexual act as the way to spiritual energy and fulfillment. The word Kundalini means coil, which Yeats reflects in the serpent imagery. In conclusion, Yeats found an imaginative way whereby he was able to fuse the spiritual with the physical in the “Supernatural Songs”. This secular spirituality allowed Yeats the sexual freedom he sought for. The intense moment of climax is that conflagration in which all antinomies are resolved, time stands still, and natural bonds with supernatural. His emphasis on unity of being is compatible with an Eastern worldview, which merges all into a monistic unity. Indeed, poetry itself is in Yeats's mind an imaginative alchemy, the transmutation of life into art, a fusing of the spiritual with the material.