Florisms and their symbolic representation in Spanish folk poetry

Размещено на http://www.allbest.ru/

UDC 81'42.134.2

Foreign Languages Department Taras Shevchenko National University

FLORISMS AND THEIR SYMBOLIC REPRESENTATION IN SPANISH FOLK POETRY

Plants in general, and especially flowers as a poetic element, have attracted considerable attention of Spanish poets what is clearly seen in the lyrics of Spanish folklore. It is known that folk lyrics has always been figurative and metaphorical, and therefore in the metaphors of folk lyrics its poetic symbols and thirst to allegory are often traced. As it was written about the Spanish folk poetry, “folk poetry does not live in books, but in a continuous oral narrative, and hence appears this ability to improvise...” [1,14]

© Shevchenko L., 2018 © Oliinyk I., 2018

However, the Spanish culture was gradually formed, and one of the most significant influences it suffered was the influence of the Renaissance. It was doubled in case of folk poetry. As Menendez Pidhal states, “the Renaissance brought Italian poetic forms into Spain and, with it, metric obstacles on the way from folk poetry to scholarly art ...” [1,7]

In the XVI century folk lyrics passed to professional musicians. So, new forms of villancico (Christmas songs), seguidilla (Spanish folk song and dance), copla (verse), cante hondo, folk songs of different regions of Spain began to be cultivated and created. F. Garcia Lorca wrote: “The extraordinary pantheism of cante hondo - here you hear ask for help and advice from the earth and the wind, the moon and the sea, talk with rosemary, violet, bird and any divine creature. Everything in the world comes to life, takes on a special kind and is broken into a spiritual drama. The Andalusian, with deep inner faith, reveals the mysteries of his heart to nature and knows that it will respond”. [3, 613]

An extremely interesting element of Spanish poetry is flowers and plants and, accordingly, symbolism associated with them. Here are some examples of plant symbolism: verbena - tender love; madreselva - maternal love; mirabel - fidelity; clavel - passion, thirst; ortiga - cruelty; azucena - purity; jazmin - passion, tenderness, fidelity; lino - jealousy, violeta - humility and patience, silent love; lirio - purity, hope for comfort, spirituality; castano - fidelity, emblem of the family hearth; heliotropo - friendly bonds; albahaca - hatred or reciprocity; siempreviva - doom and immortality, a sign of eternity.

• Olivo - sorrow, mourning, death

Gritos daba 1a morenica so el olivar, que las ramas hace temblar.

La nina, cuerpo garrido, morenica, cuerpo garrido,

lloraba su muerto amigo

so el olivar, que las ramas hace temblar. [6, 84]

• Naranja - happy love

El amor у la naranja se parecen infnito en que, por dulces que sean de agrio tienen su poquito. [6, 149]

• Almendro - oblivion, a symbol of early death

Fueron mis ilusiones flores de almendro

que nacieron temprano, se helaron presto. [6, 563]

• Calabaza - coldness, refusal

Yo he visto a un hombre llorar

en la puerta de una casa;

que tambien los hombres

lloran cuando les dan calabazas. [6, 451]

In poetic semantics objectified figurative metaphors along with the denotative situation reflect the intellectual and emotional world of the image-generating subject depending on the cultural and historical experience. The image is characterized by national identity, and the uniqueness and individuality of the metaphor is manifested in its figurative content, as the formation of linguistic imagery is always closely and organically linked to the history and culture of native speakers.

Florisms have a wide range of associations, which indicates a close connection with the principle of anthropomorphism, which is the basis of symbolic figurative associations. Symbols of human properties were first obtained by florisms, which were later used for anthropometric, emotionally-evaluative interpretation of human properties.

Anthropometricity consists in the fact that the choice of a particular image for a metaphor is closely linked to its ability to percieve everything new in its image and likeness. “Anthropometricity and anthropocentrism are certain means of dividing the picture of the world, that is, the ability of a person to recognize, reflect and put `the world of ideas, passions, ethical norms and interpersonal relationships into language in correlation with a physically perceptible reality and with the usual scale for a person”. [5, 223]

From the anthropometric point of view, the scale of “assessments” of the linguistic picture of the world is gradually and constantly filled with words that denote the realities of living nature in the process of practical development of the world. This body of units in any language has a great influence on the perception of a person in which he or she is reflected and embodied. It is convenient and natural to fix enriching the knowledge of the world using already known images. The more information that coincides with the properties of the object of knowledge is contained in the existing meaning of the word, the higher the probability of choosing a given word to designate the object is.

Poets represent their own understanding of the world, which can be recorded with the help of already-known national images and symbols, and based on their own associations, which give rise to completely different meanings. Let's consider some examples. metaphor florism folklore poetry

The symbolic values of flowers are deciphered by poets of different epochs:

1. Lope de Vega

“Esta blanca valeriana muy devota de amor”

“Ya no cogere verbena que era la hierba amorosa, ni con la encarnada rosa pondre la blanca azucena. Prados de tristeza y pena sus espinas me daran,

Pues mis amores se van.” [6, 209]

2. Тірсо де Моліна

“El clavel lindo en color, y la rosa, toda amor, el jazmm de honesto olor, la azucena religiosa...

...la violeta enamorada, la retama encaramada, la flor de lino celosa” [6, 340]

3. Ф. Гарсіа Лорка

Aprendi secretos de melancolia, dichos por cipreses, ortigas y hiedras; supe del ensueno por boca del nardo, cante con los lirios canciones serenas.

El olivo es la firmeza de la fuerza y el trabajo.

La manzana es lo carnal, fruta esfinge del pecado...

Las vides son la lujuria...

Las castanas son la paz del hogar. Cosas del antano...

La bellota es la serena poesia de lo rancio, y el membrillo de oro debil, la limpieza de lo sano.

Mas la granada es la sangre, sangre del cielo sagrado, sangre de la tierra herida.

Alma,

ponte color naranja.

Alma,

ponte color de amor.

Rosas, rosas divinas y bellas, sollosad, pues sois flores de amor.

“Solo en ti pongo mis ojos”, el heliotropo expresaba.

“No te querre mientras viva”, dice la flor de la albahaca.

“Soy tfmida”, la violeta,

“Soy fna”, la rosa blanca.

Dice el jazmm: “Sere fiel”; y el clavel: “jApasionada!”

El jacinto es la amargura; el dolor, la pasionana.

El jaramago, el desprecio; y los lirios, la esperanza.

Dice el nardo: “Soy tu amigo”;

“Creo en ti”, la pasionana.

La madreselva te mece, la siempreviva te mata.

Siempreviva de la muerte, flor de las manos cruzadas...

Son celos el carambuco; desden esquivo, la dalia; suspiros de amor, el nardo; risa, la gala de Francia.

Las amarillas son odio; el furor, las encarnadas; las blancas son casamiento, y las azules, mortaja. [6, 703-714]

4. Педро Кальдерон

“^Ves esa rosa que tan bella y pura amanecio a ser reina de las flores?” [6, 198]

The above poems demonstrate the use of symbols of flowers and plants by poets, which in their meaning almost don't differ from national symbols.

However, there are cases when the poet changes the universally accepted meaning of the plant and gives it a completely different special meaning. For example, let's cite a few lines that contain a completely different understanding of the meanings.

So, the orange flower that the bride put on at her wedding, in folklore means nobility, a symbol of purity and innocence. In Garcia Lorca's poems, it is associated with death, like the orange itself:

Por un camino va la muerte, coronada, de azahares marchitos.

Cuando yo me muera entre los naranjos y la hierba buena. [6, 723]

An apple that is considered a symbol of sin, desire and discord, in Valle-Inclan's poems is personified with love:

La vencina que en su ventana suspiraba de amor. Aquella dulce nina, que la manzana ofreda como una estrella. [6, 805]

Pedro Calderon's rose, which is a symbol of love, is associated with old age and death:

A florecer las rosas madrugaron,

y para envejecerse florecieron:

cuna y sepulcro en un boton hallaron. [6, 190]

Or as well as in Garcia Lorca's lines a rose is associated with blood and again with death:

... en un aire donde estallan rosas de polvora negra. [6, 729]

Thus, florisms have a fairly wide range of associations, which indicates a close connection with the person's self-expression. Metaphors with florisms form a special language subsystem, which represents the linguistic means of diversity of the world picture. The analysis of the structural-semantic features of the metaphor suggests that the most frequent components that are actively involved in the Spanish metaphorically rich lyrics are such plants as rose, cloves, olives, oak, orange, lemon, poppy and others.

However, along with the poetic existed symbols that could be called historical. They are associated, for example, with Greek or Roman mythology. This kind of symbolism was born as a concentrated expression of the content of beliefs, legends, legends, its quintessence. Subsequently, it was characteristic of various genres of folklore.

For example, the goddess Venus was inseparable from the myrtle and the rose. From the beginning, the roses were white, the red color was given to them by the goddess when she ran to help Adonis, wounded her leg with a thorn and her blood sprinkled flowers. Although another version tells us that the rose has become red from the blood of her beloved, who was deadly wounded. About this myth Garcilaso narrates in his eclogue:

y el mozo en tierra estaba ya tendido, abierto el pecho del rabioso diente, con el cabello d'oro desparcido barriendo el suelo miserablemente; las rosas blancas por alK sembradas tornaban con with sangre coloradas. [6, 205]

The laurel, for example, has always been associated with Apollo, and the olive was dedicated to Minerva.

Mythological hero Narcissus turned to a narcissus flower, like Hyacinth to his own:

Alli se ve el jacinto presumido reinar entemecido

libro escrito con sangre enamorada,

que razona con hojas

en hojas de las hojas,

que cancelo el Amor con sus arpones,

adonde los colores son razones. [6, 273]

When Apollo threw the disc together with Hyacinth, the wind suddenly changed the flight path of the disc and killed Hyacinth. Apollo turned blood from his wounds into a flower, whose petals in their color reminded of this tragedy, and this flower became a symbol of mourning and stoning of the gods.

Also, Cypress, who Apollo favored to, was turned into a plant of the same name, and is now a cemetery tree.

A flower cut by a plow is a symbol that has created a literary tradition to reflect and embody human death in it. Virgilius sees the death of the young Evrial and compares it with that, “сото purpurea flor, cuando cortada / del arado muriendo se desmaya”. And then he tells us about the death of another boy, Palante:

Cual de mano de virgen flor cortada, o de viola blanda y amorosa, o de jacinto, que con desmayada vista siente su lastima llorosa. [6, 189]

Among the plants that embrace the theme of death, there is also a yellow bitter weaver's broom (its color and taste may indicate despair and grief). This plant is mentioned in the verses that were sung to Gileen Perasi's death in 1443:

Llorad las damas, si Dios os vala,

Guillen Peraza quedo en la Palma,

La flor marchita de la cara.

No eres palma, eres retama Eres cipres de triste rama,

Eres desdicha, desdicha mala ... [6, 215]

Or as Garcia Lorca mentions the weaver's broom in his song:

Pastor, pastor

^Que quiere el monte de ti?,

pastor

Monte de hierbas amagras,

^Que nino te esta matando? jLa espina de la retama! [6, 725]

For example, in Spanish folklore there was a negative attitude towards a willow. It is known that the willow almost does not need sunlight, it grows in dark, swampy places, in cemeteries, which caused the emergence of a symbolic meaning in this name. In modern Spanish, the willow symbolizes mourning, grief and sorrow.

So, as we can see, florisms really occupy one of the leading places in determining the realities of the surrounding world, both with the help of metaphorical constructions, and by means of symbolization. In this case, the individual author's metaphors may be based on national symbols or form other structures, which are based entirely on a completely different meaning.

References

1. Heleskul, A. (1987). Cancionero popular espanol. Moscu, Editorial “Raduga”. [in Spanish]

2. Dudchenko, M.N. (1983). Names of plants and animals as a means of a portrait feature of characters and their translation. Teoryya y praktyka perevoda, 9, 46 - 53. [in Russian]

3. Malynovskaya, N.A. (1987). Cancionero popular espanol. Moscu, Editorial “Raduga”, 571 - 632. [in Spanish]

4. Telyya, V.N. (1988). Metaphor in the language and the text. Moscow: Nauka. [in Russian]

5. Petrova, N.D. (1995). Semantic mechanisms in the phrase formation process. Movy Yevropeys'koho kul'turnoho arealu: rozvytok i vzayemodiya. Kyiv: Dovira, 222 - 234. [in Russian]

6. La poesfa popular en los cancioneros musicales espanoles de los siglos X - XVI. (1949). Anuario Musical. [in Spanish]

7. Kayser, Wolfgang. (1970). Interpretacion y analisis de la obra literaria. La Habana: Instituto del libro. [in Spanish]

8. Lorka, F.H. (2001). Poems. Kyiv: Korniychuk. [in Ukrainian]

Annotation

The research studies the interpretation of symbolic meaning of some flowers which being poetic elements can be often found in the Spanish folk songs, poems and poetry. In the artistic communication poets reflect their vision of the world which appears in the form of imagines and symbols, both traditional and based on their own associations that generate completely different meanings. Peculiarities of Methodology. In the furtherance of the goal, the author uses some general scientific and special linguistic research methods, in particular: synthesis, analysis, ethnic-national, linguo- genetic, descriptive, comparative, complex-procedural. The use of the complex methods enables to consider florisms and their symbolic representation in the Spanish folk poetry: they contribute to the creation of a specific poetic imagery and expressivity. The conclusion is that florisms in fact occupy one of the leading places in determining the realities of the surrounding world, both with the help of metaphorical constructions, and by means of symbolization.

Keywords: folk poetry, metaphorical meaning, anthropomorphism, world picture, symbolization.

Мета статті. Стаття досліджує індивідуально-авторське використання метафор-флоризмів, що відбиває ознаки особистого світовідчуття та світосприймання, яке може бути зафіксоване як за допомогою вже сталих та традиційних образів та символів, так і на основі власних асоціацій, які породжують нові та відмінні значення. Особливість методології дослідження полягає в тому, що для досягнення мети автором використовувалися загальні та спеціальні лінгвістичні методи, зокрема: синтезу, аналізу, етнонаціональний, лінгвогенетичний, описовий, порівняльний, комплексно-процесуальний. Використання комплексної методології дало можливість досліджувати флоризми та їхню символічну репрезентацію в іспанській фольклорній поезії: їх використання сприяє створенню специфічної поетичної образності й експресивності. Зроблено висновки, що флоризми дійсно займають одне з провідних місць у визначенні реалій навколишнього світу як за допомогою метафоричних конструкцій, так і за допомогою символізації.

Ключові слова: фольклорна поезія, метафоричне значення, антропоморфізм, картина світу, символізація.

Цель статьи. Статья исследует индивидуально-авторское использование метафор-флоризмов, которые отображают признаки личностного мироощущения и мировосприятия, что может быть зафиксировано как с помощью уже традиционных образов и символов, так и на основе собственных ассоциаций, которые порождают новые и отличные значения. Особенность методологии исследования заключается в том, что для достижения цели автором использовались общие и специальные лингвистические методы исследования, в частности: синтеза, анализа, этнонациональный, лингвогенетический, описательный, сравнительный, комплекснопроцессуальный. Использование комплексной методологии дало возможность исследовать флоризмы и их символическую репрезентацию в испанской фольклорной поэзии: их использование способствует созданию специфической поэтической образности и экспрессивности. Сделаны выводы, что флоризмы действительно занимают одно из ведущих мест в определении реалий окружающего мира как с помощью метафорических конструкций, так и с помощью символизации.

Ключевые слова: фольклорная поэзия, метафорическое значение, антропоморфизм, картина мира, символизация.

Размещено на Allbest.ru