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§4. A lilac — a symbolical metaphorical image in idiostile Igor Severjanina

The real world as a sign equivalent of cultural values long since united the most different levels of human life - the world natural and okyoruzhajushchego the person of the every day world — subject.

Nominations of a key semantic field flowers (the full list in гл.1 see) represent symbolical signs on culture in the lyric poet of the Northerner. As the symbols once created, they revive at each new perusal of the text. It is promoted by a self-reflexion of a symbolical sign and synthesising ability vospriyonimajushchego (reader).

The exhibitor flowers is presented in the lyric poet of the Northerner 47 naimenovanijayomi. On rate of the use it is possible to present them in a following order: a lilac (in 68 contexts, and also in 16 names of poems), a violet, zhasyomin, a lily, a lily of the valley, gillyflowers, a mimosa, flax, a mignonette, a rose, a forget-me-not.

Let's notice, that for "silver age" of the Russian literature and culture the symbolics of colours for it reflected search of those semantic dominants which would be popular and obshcheznachimy was characteristic. Owing to the mnoyogovekovoj symbolical loading flowers synthesised Christian and jazyyocheskie motives, easily developed the polysemy based on rich implikatsionale of legends, on etymological potential of a word: Also can be — who dares to argue? It is capable, gently-is good, Malicious fern razuzorit Violets a white soul?

(«The White violet»)

White colour of a violet and its special importance, on one of east leyogend, is defined by that it has arisen from grateful Adam's tears when aryohangel Gabriel has brought to it a joyful message about a pardon the Lord of sins. FiYOalka in the lyric poet of the Northerner it is filled estimated konnotatsijami, acting in a position:

Attribute: a violet neg, flowers fialchi, fialkovaja depth, abris fialkoyovyj, fialkovyj fial, Iolanta in violets; or an estimated predicate:

Often you to me are dreamt by a violet — This gentle, tender flower

("Madrigal") In a violet happens pallor, Pallor in a lilac flower

(«poeza shades») Igor Severjanina's Poetic texts reflect its raised inyoteres to any floristics as to attribute of the refined poetic dream. Especially the first, doemigrantsky the stage of its creativity differs fejerveryokom flower images - not only modest northern plants («poeza about neyozabudkah», «the Notched lilac», "Violet", «the Fairy tale of a lilac brush», "Daisies", "Sweet pea", «Rezedovyj a bouquet», «in the Evening zhasmiyonovym», «With a lilac cross», etc.), but also exotic colours and dekorativyonymi plants («the Tea rose», «Victoria Regija», «the Boa from krizantem», "Vervena", «Barbarisovaja poeza», "Orchid"),

Names of colours are focused on expression valuable orientations of the poet. Approving and disapproving intentsii, an ironical sight at the world orchids — «dikoyorastushchego and an ornamental plant with fragrant tsvetkami the different form and colouring» lead to metaphorical transformation, for example. The name of this flower becomes a symbol for the lyrical heroine of the Northerner whom the poet condemns for a deceit, the aspiration to change - and in whatever became, beloved — to deceive. Possibly, a basis for venomous irony and estimated konnotatsy orchid names became variety of the form and colour of a plant, its known "kapriznost" (care of orchids very much sloyozhen, even in the conditions of a greenhouse), an abundance of grades of this flower:

Impudence, cold and lie - in it my essence.

On stradanja the answer my laughter. I am beautiful, skolzka and is mean, as a snake, And is callous-is dry, as an epoch

("Orchid")

In poetic texts flowers get also positive estimated konnotatsii, the poet attributes it properties of the person in metaphors-embodiments: the sweet pea «has fallen in love it with marble mute» which has not understood this love, and peas «scarlet snow of dreams of disgraces».; «they blagoyodarny, floral souls» (about rezedovom a bouquet), «children of ditches» — forget-me-nots, «At a window alporozy in a basket hardly have sighed, - their sigh vitevat...». Soul and zayopah, and also favourite colour are connected by means of feelings with which smothering it is full. The poet creates "fresh" and "courageous" metaphors-epithets with their help: «on landyshevom a carpet», «in nezabudkovom vualnom a dress», «in the evening zhasminoyovym», «a lilac shade» etc.

But more all in "openwork" language of lyrics Igor Severjanina is entered a lilac. It became a sign symbol of hedonism and primary estestvennoyosti reactions to life of the poet: not casually it gives significant names razyodelam the best collection «Gromokipjashchy a cup» by means of the name of poems: «the Lilac of my spring» and «Ice-cream from a lilac».

The northerner "plays" with this word different levels language sisteyomy: derivational, lexico-semantic, grammatical, graphic.

At derivational level the poet creates original slovoobrazovayotelnoe a nest in which usual a lilac, lilac, belosirenevyj, etc. are enriched by three verbs and verbal forms:

sirenevet:

Thirtieth time sireneveet

In a garden a fragrant lilac

(«Gatchina spring day»);

zasirenitsja:

zacheremushatsja, zasirenjatsja Under casting rekoju bushes

(«poeza spring sensation»);

prosirenennyj:

About, vmestne with honey prosirenennym you have offered me... веснуI

(«Honey poeza») In the same nest there are two occasional forms prilagatelyonyh - with a suffix possesive ™ and in the short form, not standard for the relative category of an adjective: sireny:

Nightingales drink sireni motives From glasses of green spring

(«poeza influences»);

sirenen:

The future day vesenen, diven, Sirenen, ptichen, solnchen, zlat!

The structure of a family of words testifies that the poet strengthens priznakovyj character of a word-symbol, giving to it with the help "chuyozhih" formantov initially unusual qualitative and possesive semantics. Verbal formanty — prefixes and suffixes - urged to bring remedial value in initially subject root, expanding with that figurative possibilities of a word-symbol a lilac.

Lexico-semantic level of the use of a word a lilac demonstyoriruet features of a syntagmatic environment of a word: it is combined as with realities of the real world - lilac liquor, ice-cream from a lilac, lilacs tents, a lilac summer residence, a lilac envelope, a branch pereehannoj lilacs, and with idealyonym the world: a lilac upoene, a lilac of spring, a lilac nocturne, a sigh of a lilac, a lilac melody, lilac minutes, a lilac kingdom, a lilac shade, sireneyovaja a shade.

Abundantly clear, that a basis of metaphorical transformations of words a lilac and lilac are modusy pertseptsii — first of all obonjayotelnyj, then visual and flavouring, and also various associations.

Estimated konnotatsii which the word gets a lilac in the conditions of a context, extend both on positive, and on a negative zone of a scale. Admiration of a lilac: to live for me — to inhale a lilac... smenjayoetsja malicious irony and indignation when the poet compares a lilac to forget-me-nots

- Their look azure is sensitive, their aroma is curative, as open space, tomny charms..., they

- Laughing bouquet. The lilac in June causes in the Northerner negative emotions - lilacs a smell zhutok, it excites a breast in the unrealizable spring. This moyotiv unrealizable, "painful", disharmonious beauty of a lilac motivates the rough reference of the poet:

And you, a lilac, wither in melancholy of nectar...

In this last reference — an embodiment-metaphor - stolknoveyonie words with opposite estimated signs - "rassoglasovannymi" senses {melancholy "-" sincere alarm, despondency »(SOSH, 805) and nectar —« in Ancient Greek mythology: the drink of gods giving to them immortality and an eternal youth; peren.: about a fine and vivifying drink ";" sweet juice, vydeljaeyomyj tsvetkami melliferous plants »(SOSH, 407)), determining ironiyocheskoe the relation of the Northerner to an image-symbol.

In the ironical relation of the poet, in a combination positive and otritsayotelnyh konnotatsy at a symbol — lilacs — the role implikatsionalnoe soyoderzhanie plays the words, caused connected with it legends and traditional estimations. The reason of occurrence of a lilac, under the legend, last two colours raduyogi - lilac and lilac which the Spring has presented the last on its way - seyovernym to the earths. In England the lilac is considered a flower of a grief and misfortune because of its is pale-lilac, as though "cadaveric" colour:

What even here, in a good lilac,

Your look for horror lilov

(«poeza calms») At Russian, Swedes, Norwegians the lilac is a symbol of awakening priroyody, spring, a life (at Russian - inhabitants of northern and Central Russian provinces siyoren - a symbol of ancient landowner manors). In the east the lilac serves embyolemoj sad parting. In Russia the lilac etymology has been connected with sloyovom "dark blue", it named "sinel"; in French a lilac - Lilas - "lilac". In encyclopaedic knowledge of a lilac its origin is connected with a tube, a pipe. Such ambiguity of treatments, "loop" of values and "prismy-words" (O.Mandelshtam) defines that set of contexts, in which upotyorebljaetsja a lilac in art space of the Northerner.

The sign poem of the Northerner «With a lilac cross» is constructed on half-words and the hints based on synthesis of sensations, characteristic in sozyodanii images. This poem-riddle:

Ah, as you smelt sweet

Then, for a long time, in far, there,

Calling in not learnt distances

On falling down colours! The poet intentionally "mixes" modusy pertseptsii — olfactory and acoustic to strengthen a symbol riddle, having expanded its sense to motive of war, the weapon:

And, listening blagouhanja,

Inhaling colour speech,

I went on abuse zavoevanja

With the lilac which has replaced a sword.... The Metaphor becomes complicated the cascade of offers, each of which — noyovoe an allegory defining sign acts in a life of the poet. The sense is hidden, fluidity of images, a grammatical paradigm of declination, an ambiguity of outlines and estimations - kind and sad irony, the light lyrics, zvukopis — all it is cemented by strict, harmonous structure:

And you blossomed and withered...

On falling down, on you,

I went to azure distances —

In flowers, in colours and on colours!

With me were young

Dreams and courageous melancholy,

And you, lilovo-blue

Crosses in four petals! At syntactic level a word-symbol the lilac carries out functions of all sentence parts, but most it is necessary to name active positions subject and objective: ■

And from this vernal whistle

solovitsja a lilac — amethyst

(«poeza influences»)

While I am live, while I am young,

I will eternally sing a lilac!

(«Gatchina spring day») «poeza new strokes» — one of the most emotional poems of the collection «Fairy Eiole», devoted to a lilac "incorporating" all modusy pertseptsii and emotivnye association of the poet:

The lilac blossoms, smelling sweet,

Wearying, both indulging, and exciting.

What pleasure! Grief what

Today in heart at me!

That I burn, is sweet I die away.

To all I answer inattentively.

About as it is intolerable passionately

I am am tormented with aroma!

I in isstupleni! I to a pain

In nostrils I inhale all the day

Me depriving will

Flowers by name — a lilac! This text purely severjaninsky on spirit, the form, language. Soul liricheyoskogo the hero and a lilac smell are connected by means of feelings with which smothering it is full. But in this world of feelings the Northerner underlines opposite senses by means of emotional words-antonyms — pleasure and grief, antonimicheskih verbs to a grief and I die away. The antithesis of feelings-emotions develops in the form of gradation of feelings-affektivov, which reprezentirujutsja pragmemami the ends of an estimated scale capable depending on a context to express both an estimation with a sign "plus", and an estimation with a sign "minus", showing diffuznyj character of estimated lexicon: it is intolerable - «exceeding patience, hardly perenoyosimyj» (SOSH, 403), isstuplene — «extreme degree of excitation, passion» (SOSH, 255). The paradigmatic aspect of this word testifies about it spoyosobnosti to expression of a positive estimation for it enters in sinonimicheyosky a number - isstuplene, delight, admiration, triumph, fun, pleasure, affection, ecstasy, enthusiasm, furore (Abrams, 1994, 77).

Unusual force of feeling of the lyrical hero, caused "blagouhayoniem" lilacs, beauty, aroma, develops into "pain", in «weak-willed sostojayonie» the person. Discrepancy of two different emotional estimations in one tekyoste causes romantic irony: the pleasure reaching to a pain. The poet comes back to a favourite theme by means of a favourite image of a lilac: harmony of the nature leads to disharmony of the person which feelings are not capable to take out Beauty of the world and Beauty of the colours finding in poetic speech of the Northerner a sign of a proper name — initsialnuju the letter.

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A source: Portnova Svetlana Jurevna. LINGUOPOETIC ASPECT OF EVALUATION VALUES IN THE WORKS OF Igor SEVERIAN (Igor Vasilyevich LOTAREV) Thesis for the degree of candidate of philological sciences. Moscow - 2002. 2002

More on topic §4. A lilac — a symbolical metaphorical image in idiostile Igor Severjanina:

  1. §3. Dynamics of estimated values in idiostile Igor Severjanina as reflexion of evolution of creativity
  2. §2. Ironical perception of the validity and an ironical estimation in idiostile Igor Severjanina
  3. 4.2.6. "Person" as a member of opposition of the art world in idiosti - le Igor Severjanina is realised by the subjective relation of the poet to a key - vym to concepts a life - death, the poet — poetry, dream — a life
  4. 3.1.3. A life drama, tragedy — here that original key, which otyokryvaetsja Igor Severjanina's theme in Russian poetry of "silver age"
  5. 1.5. Subjectivity of an emotional estimation and means of its expression in Igor Severjanina's discourse
  6. §2. An estimated metaphor in Igor Severjanina's art speech
  7. §4. Key semantic fields in Igor Severjanina's art world
  8. 4.2. Key semantic fields in Igor Severjanina's art world
  9. 4.2.5. In Igor Severjanina's figurative system the special place occupies a key field "jewels"
  10. 3.1.1. The poetry for Igor Vasilevicha Lotareva (4 (16) May, 1887 — on December, 21st, 1941) special came from activity
  11. participation in formation of "an image of the person» — a political freedom basis
  12. H. AHTENBERG, etc.. STATE LAW of Germany. Volume 1. The reduced transfer of the German seven-languid edition Moscow, ISBN 5—201—01286—3 © — Institute of the state and the right of the Russian Academy of Sciences, 1994, 1994
  13. of FARNIM, etc.. STATE LAW of Germany. Volume 2. The reduced transfer of the German seven-languid edition. ISBN 5—201—01291—4 © — institute of the state and the right of the Russian Academy of Sciences, Moscow, 1994, 1994