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The poem ,,Snow’’ by Galaktion Tabidze is loaded with images closely connected with coloristic metaphors and its relevant significances. The article suggests a number of opinions regarding origins and dynamics of coloristic impressions.
Opening line of the poem invites reader into the picture of particular time and space. The rhythm of space is defined by the word, layering’’ (snow). Due to the slow rhythm of snow accumulation space overpowers image of ordinary everyday scene and is converted into unknown, distant and mysterious dimension.
The composite ,,violet snow’’ draws attention as impossible, unnatural. However, the goal of author is not to colour whole picture into violet. However, while placing together two contrasted colors, whiteness of snow is mixed with violet, so the act of diffusion is transferred into reader’s perception. Therefore, violet tint grants image with transcended dimension and also brings peculiar scent of flower and its image into the sterile white space.
,,Birth’’ of space is delivered by evoking image of bridge. Concept of bridge embodies both transcendent and material significances and represents borderline architectural image. Image of bridge brings additional depth into white environment together with orientation marks like ,,up’’ and ,,down’’ and makes possible light romantic mood in the picture.
Kinetic ontology is revealed in two core regimes: one is vanishing – the unstable substance of snow disappears; images are vanishing below the snow cover as well. And the second – accumulation.
One of the major aspect of the poem is chromatic nature of white – reflection and dissemination. Vision of figures is fragmented therefore relevant to snow. Reader gets impression poet himself finds difficult to discover and connect momentary images in his memory, for this reason images are glittering and consequently dissolving in front of readers’ eyes.
The parallel dynamic of accumulation/filling up is manifested in nonmaterial images. semantic of heaviness and fullness is manifested sometimes directly and other times indirectly: emotional fullness is perceived in charged feelings. However, no culmination or expulsion of emotions is followed, everything disappears somewhere in the air.
Together with white color transparency coexists in the picture. It is the key factor defining foremost textural/coloristic sensations in the poem. This way additional visual dimension is born. Wholeness of transparent substance provides textural framework, unifies fragments of the poem and forms homogenous body of the poem rich in diverse images.
Together with white we can find blue in the poem as well. These two colors function together as depth and dissemination. Blue represents spiritual depth, sublime as it can instantly provide depth to any surface or substance. Hence, the poet has opportunity to mark solidity and mass of materials in the transparent poem or load with weight nonmaterial substances like ,,tired’’ or his own dreams and thoughts.
Massive space of blue desert emerges unexpectedly with words ,,desert, velveted in blue’’. A sight of infinite blue desert is an opposite image to prevailing transparency of ,,crystalline white’’ - perhaps an extremely generalized image of poet’s real life. Image of desert is transcending from reality of poem to abstraction, where real life (experienced in biographical time) and poetry (mysterious but true reality) meet each-other.
Together with white and blue we find green details in the poem. Commonly symbolic meaning of green is linked to vital energy. We see green appearing with materialization of lovers hands. Color of laurel is masterly diluted by the word combination ,,laurels of snow.’’ We are witnessing birth of unique hue formed by mixing green and white. Such precision of color concentration accurately conveys dull emotional vibration of poem’s overall emotion. However, in the part of poem where life energy increases and triumphs over apathy suddenly appear green leaves, as symbol of vitality.
In terms of artistic impact an image of ,,bunch of irises laid down on the snow’’ is standing out. Flowers as plant forms of vital energy are not rare in G. Tabidze’s poetry. Author discovers unique world of flowers where each delicate movement is intended to expose finest physics of the universe.
In the poem ,,Snow’’ movement of irises represents idea of sorrow caused by aging. G. Tabidze proposes the vision of a nature itself: death is nothing more than light sadness because of bunch of irises laid down on the snow. Similar poetic logic is often observed in G. Tabidze’s poetry. For example, in the poem ,,Cemetery’’ an image of orchids falling on the surface of river Nile are associated with the rhythm of recently awaken life. Or enigmatic image ,, On the stairs like vignette laurel leaves are laid”. On connotation level this picture indicates eternal life of soul, its everlasting creative potential.
In the poem ,,Table with Alembiques’’ author brings more clarity to his classification of flowers. In final verse of poem author states a question: ,,What will be with planted flowers?’’ Being ,,planted’’ means direct connection with vital sources of nature, for G. Tabidze it is important aspect for classification of flowers. Therefore, we can conclude that artistic function of flowers is not limited by common symbolic meaning but it acts as complex sign loaded by deep connotations.
We can consider the line ,,I am thirsty of you, so thirsty…” as culmination phase in the poem. It is achieved firstly by repeating the word ,,thirsty’’ two times. Thirst is the strongest representation of human instinct that cannot be dominated. Secondly in this phrase we hear the word ,,home’’ (,,as homeless aspires to home’’) – a tangible and warm, cozy image. However, culmination here is merely conditional, purely emotional. It only draws together semantic vectors into one point.
Like everything else in the poem, mystic image of annunciation has its origin in symbolic meaning of snow: poet is contemplating sky disintegrated into snowflakes. Snow is a primary transcendent category. This vision is an answer that ,,exhausted’’ poet has been waiting for a long time. It’s his hope for overcoming loneliness, sorrow and desperation. According to religious vision on the day of annunciaton transparent body in form of angel descended from the sky. He brought hopeful message to earth: human and divine will finally meet each other. In physical world this massage/sign is a snow. It is a materialization of light, it is potential of coexistence of earthly and supreme. Finally, mankind will get chance of direct contact with transcendent subject. This very fact of snowing creates condition for hope and happiness in cold winter day. In this context can be analyzed symbolic meaning of white and blue: both colors differently represent transcendent substance. For this reason, G. Tabidze makes them principal in the poem.