Just as man was “created male and female,” so were ‘The Leviathan and its Consort.’ According to Talmudic lore, these primordial sea serpents had to be prevented from mating, or else the world would be destroyed. Therefore the female Leviathan was slain, and the male Leviathan was castrated.
The above passage cites a Frankist interpretation of this Talmudic legend. The slaying of the female leviathan representing the repression of feminine sensuality, the veiling of the maidens nakedness. Frankist ritual involved the unveiling of this nakedness, as Eva Frank would stand upon the altar with her breasts exposed to the disciples.
The sexual symbolism of the serpent or dragon corresponds to the Tantric tradition, where the sexual force is referred to as the female serpent called Kundalini. The Leviathan who is “heightened through being held back so long,” (carefully consider the sexual implication of this) reemerges in the messianic future as the liberated feminine sexuality.
The repression of this feminine sensuality causes the ‘cooling’ of masculine sexuality, the celibacy of the pre-messianic aeon, represented by the castration of the male Leviathan.
The authors of the Zohar associated this ‘demonic impotence’ with Christian celibacy, the Leviathan being Rome, or Edom.
The castration of the phallus and its restoration in the Messianic future is reminiscent of the legend of Osiris, whose castrated phallus was lost when he was slain, sending the mourning Isis to travel far and wide to recover it. The phallus of Osiris is symbolized by the Egyptian obelisk, which stands in the center of St. Peters Square in the Vatican, the capital of the Kingdom of Edom.
In Isaiah the Leviathan is called “the Coiled Serpent.” This corresponds to the coiled serpent ‘Kundalini’ in the Tantric tradition. Kundalini being the sexual force connects directly the Frankist understanding of the Leviathan.
Passages sourced from:
Ida Rapoport-Albert, Women & The Messianic Heresy if Sabbatai Zevi 1666-1816, page 330-331
The Zohar, Pritzker Edition, Volume 5, page 61
Illustrations sourced from Aryeh Kaplan’s translation of Sefer Yetzirah
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