Academic journal article Journal of Organizational Culture, Communications and Conflict

Western and Eastern Traditions of Rose Image's Symbolic Reflection in the Vladimir Soloviev's Poetry

Academic journal article Journal of Organizational Culture, Communications and Conflict

Western and Eastern Traditions of Rose Image's Symbolic Reflection in the Vladimir Soloviev's Poetry

Article excerpt

INTRODUCTION

Poetic legacy of outstanding Russian philosopher, publicist, literal critic VI. Soloviev, who stood at the origins of Russian spiritual renaissance at the end of XIX- beginning of XX century, is, on one side, closely connected with Russian classic tradition, representing the expected result of a whole era of Russian poetry started by Zhukovskiy, continued by Tyutchev and received its completion in lyric of late Phet. At the same time its' symbolical in spirit of a new time that determines aesthetic of new literature phenomenon, symbolism. Symbolic images of VI. Soloviev asserted influence over works of A. Blok, A. Belyy, Vyach, Ivanov [Payman, 2000], [Niva, 1995], Although, as researchers note, symbolic images of Soloviev are usually manifested "in immobile and undeveloped form, as permanent metaphorical cliche", approaching by its nature "to traditional religious symbolics" [Zhirmunskiy, 2001], but nevertheless the image level of lyric accumulates within and is an artistic expression of philosophy-aesthetic ideas of the thinker. Semantically capable subject symbol "flower" in VI. Soloviev's lyric that had adsorbed cultural ideas of West and East requires an independent consideration as the case of transgression to verbal symbolization in a word. Because it clearly reflects the ratio between a subject and a word that means it. Philosophic language of "landmark" era could determine such understanding as "integral sameness of ideal and material" [Losev, 2000],

The flower symbolic is highly characteristic for the end and especially for the beginning of XX century. Interest to symbolic designation of flowers is explained by general synthetic orientation of "silver age" of Russian literature and culture for searching of those sense dominants which, being a focus of ambiguous semantics, would at the same time represent general meaning and general accessible realias. Flowers match stated signs because due to their centuries-long symbolic load "had synthesized pagan and Christian motives, determining diverse symbolic meanings in different contexts" [Yeliseeva, 2001],

METHODOLOGICAL FRAMEWORK

The theoretic-methodological base of the article became conceptual provisions on works of leading domestic and foreign literature theorists V.M. Zhyrmunskiy [Zhirmunskiy, 2000], Yu.M. Lotman [Lotman, 2000], Z.G. Mintz [Mintz, 1974], A. Hanzen-Leve [Hanzen-Leve, 2003] as theorists of literary text, including symbolist. In the field of aesthetic the works of A.F. Losev [Losev, 2000], Yu.B. Boreev [Boreev, 2002], V.V. Bychkov [Bychkov, 1999] are valuable.

Comparatively-historical method allow to disclose the history of ideas of symbolic image of rose flower in centuries- old Western and Eastern cultural tradition.

Comparatively-benchmarking had granted the ability for correlate content of meaningful for work of Soloviev symbolic image of rose with all other possible fillings of this image existing in the world culture.

RESULTS

Symbolic Image of Rose in the World Cultural Tradition

Flowers were chosen as symbols due to many reasons. Researcher of such mystic teachings as Freemasonry, Kabbalah, Rosicrucian symbolic philosophy, Manly Palmer Holl notes that a vast diversity of flora allows to find some plant or flower that would be suitable for some abstract quality by form. A plant could be chosen due to some myth connected with it (laurel tree, jonquil), to specific conditions of its growth (orchid), to form (passif!ora, Easter lily), to flower's beauty and odor (verbena, lavender), due to preservation for indefinite period of time (immortelle) or due to its unusualness (on case of sunflower and heliotrope that were worshiped as sacred due to their ties with the sun) [Holl, 2003], Besides, qualities of local flora were determining one or another choice. So, for example, German medieval poetry "picked" the linden, Russian folk song selected arrow wood, cherry, rue, periwinkle etc. …

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