The meanings of names as interpreted by Pavel Florensky. Name: Pavel Interpretation of the name Tatyana according to Peter of Florence

Description: small

Origin: Latin

Pavel is a kind and sympathetic child. He will be very willing to help his mother take care of his younger brother or sister. He will never violate the prohibitions of adults and will convince his friends not to overstep the bounds of what is permitted.

With age, Pavel will further develop his ability to empathize and sympathize. People will be able to trust him with their secrets.

Pavel is inclined to philosophize and often chooses a profession according to his calm character. Colleagues at work will appreciate Pavel’s hard work, reliability and ability to come to the rescue of a friend at any time. He does his job in such a way that you don’t need to push him or force him. Pavel will always take advantage of the opportunity to earn extra money, but only if this does not require him to disrupt his regular way of life.

There is nothing too bright or outstanding in Pavel’s character, and his relationships with women, as a rule, are smooth and warm. He is not capable of experiencing passionate and violent feelings. Helps his wife around the house and pays great attention to raising children. He prefers to receive guests at his place than to visit himself. Pavel drinks in moderation and does not show strong emotions at the table.

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Aphorisms, quotes, thoughts of famous people named Pavel

Look closely at a phenomenon and you will see that it is the husk of something else that lies deeper than it.

Dialectics is neither the beginning nor the end; In essence, it is the middle - it is the path.

Culture is the rope that you can throw to a drowning man and with which you can strangle your neighbor. The development of culture is as much for the benefit of good as it is for the benefit of evil. As meekness grows, cruelty also grows, altruism grows, but selfishness also grows. It does not happen that as good increases, evil decreases; rather, as in the development of electricity: every appearance of positive electricity goes in parallel with the appearance of negative electricity. Therefore, the struggle between good and evil does not fade away, but intensifies; it cannot end and, apparently, cannot not end.

Pavel Florensky was very interested in names. He dedicated the book “Names” to the study of the philosophy of names. In this book, he examines in particular detail the qualities inherent in the names Alexander and Alexandra, Alexey, Anna, Vasily, Sofia, Vladimir, Olga, Konstantin, Elena, Nikolai, Ekaterina, Dmitry, Varvara, Pavel, Lyudmila, Vera, Mikhail.
In a letter from the Solovetsky camp in 1936, a year before the execution, Florensky writes:
“The name itself does not give good or bad person, it is only a musical form according to which you can write a work, both good and bad... Positive name, i.e. without internal breakdowns and complications, but also without inspiration, Andrey. A hot name, with temperament and some elementality, Peter. Of the short names, on the border with good simplicity, Ivan. Twisting and dialectical, with corresponding contradictions and dynamics - Pavel. Also complex in its own way, but with a bias towards pretentiousness and an artificial, bloodless approach to life, curling around random phenomena - Fedor. A fiery name if possible and very spiritual in nature, but in unsuitable conditions it can give heaviness and clumsiness (like a fish on dry land or, more precisely, like a wet bird) - Michael. Alexander is the most harmonious name, the name of great people, but it becomes a claim if there is no strength to fill it with the proper content. Alexey is close to Ivan, but with a cunning, somewhat on his own mind. A pleasant name, but not one of the highest - Roman. Georgy will give activity, in best case scenario objectively aimed at higher goals, at worst - at organizing one’s own life affairs; Nikolai – also active, but somewhat elementary-oriented; the name is good in relation to helping others, so to speak, helping the nearest. Sergei is a subtle name, but somewhat fragile, without a core, and Sergei requires some kind of pairing, without this he cannot develop the fullness of his energies.
... There are generally few female names. The best, of course, is Maria, the most feminine, balanced and internally harmonious, kind. In second place is Anna, also very good, but with imbalance, a predominance of emotions over the mind. Julia is a capricious and eccentric name, it is very difficult to work with. Elena - not bad, but cunning... Natalia - good name, but life is difficult. Varvara - eccentric nobility, demonstrative generosity, exaggerated directness, Varvara’s life is difficult due to her own fault. Nina is a light name, feminine, slightly frivolous, i.e. rather shallow. Pelageya is a meek name. Daria has a managerial personality that is not entirely feminine. Valentin has masculine traits that are very unsuitable for a woman. Praskovya - inner severity, a good name, but rather monastic. Sofia - management, organizational abilities and, in connection with this, the habit of standing above others around her. Faith is a tragic name, with impulses towards self-sacrifice, but usually unnecessary, invented from a heated imagination. Well, you can’t go through all the names. For a boy, if I don’t have any special conditions and desires in mind, I would settle on Mikhail, or Peter, or Ivan. For girls on Maria, Sofia or Anna. Yes, another of the male names is benign Andrian, a calm and respectable name, without breaks, but shallow. When choosing, the difficulty is in deciding what to want: a relatively calm, smooth existence, but without inner brilliance, or to take risks with depth and possible strength, but with possible breakdowns and failures.”
On November 25, 1937, Pavel Florensky was sentenced to capital punishment and two weeks later, on December 8, he was shot.

So, names are stable and clear types of personal life in humanity, of which, it turns out, there are not so many - several hundred, even if you count the subtypes. “When they try to belittle the value of names,” wrote P. Florensky, “they completely forget that you can’t invent names and that existing names are some of the most stable facts of culture and the most important of its foundations. Imagining the abstract possibility of inventing names is the same daring idea, How can we deduce from the existence of five or six world religions the possibility of creating as many more as we want..." However, names are not reduced to individual characteristics. And the difficulty of comprehending them is multiplied by the interaction in each individual person of her name with other formative principles: race, nationality, family heredity, upbringing, social status, nature of occupation, influence of others, geographical conditions, state of health, rhythm of life, etc. - everything it is involved in the formation of personality. Therefore, “like any very integral, but sensually elusive, intelligent form, the name is given either by the ingenuous intuition of a simple heart, or by the conscious knowledge of great experience in handling an elusive list of individual signs - formations: whoever is not accustomed to dealing with the most insensible essences of mathematical analysis, arithmology, the latest geometry, with complex musical and literary forms, partly, with biological forms, in general, whoever, having destroyed the intuitive sensitivity of analysis in himself, has not strengthened the ability of intellectual synthesis and is stuck, therefore, on the initial dissociation of all integrity, he, of course, will not be able to wield the most integral of the categories of integrity - names ".

NAME typology

Here is a brief summary description of paired male and female names as personality types from the work of P. Florensky “Name and Personality” (the work was published in full in the journal “ Sociological research", 1988-1990).

ALEXANDER. This name corresponds to a basically sanguine temperament with a bias towards choleric. This name is characterized by nobility, openness of mood, ease of dealing with people, cordiality and kindness. Alexandrov's mind is clear and sober, slightly ironic, quick and multifaceted. Alexander wants to be a microcosm and when he receives sufficient nutritious material for decoration, he becomes one: a genius. But “greatness” is in small dimensions, “greatness” ordinary Alexanders produces dwarf trees in Japanese gardens. As a result: Alexander is not the deepest name, but the most harmonious, the most internally proportional.

ALEXANDRA. Not only is she not similar, but even the opposite of Alexander. If Alexander needs abundant nutrition and without it the personality grows up somewhat withered, then even more so does it wither and break down when characteristically masculine demands are made on feminine nature. Psychologically, this internal discord is reflected in a lack of flexibility, rudeness, and inadaptability. Alexandra is cracked, cracked ontologically, and therefore psychologically and morally.

ALEXEI. Both the sounds and the properties of this name contain disequilibrium, therefore instability, lack of standing and therefore movement. But this movement is determined not from the inside, but from the outside, by external attraction. Alexey's movement is not active, but passive. It is characterized by comparative subtlety and lack of cohesion of consciousness. This is a loose consciousness that easily breaks apart and reveals what is underneath. Such consciousness freely passes through itself the direct influence of external existence on inner essence and back. In Alexey there is defenselessness, if not in a crude sense, then in a more internal sense. The mind is subtle. This is a capricious and whimsical mind, sometimes insightful, sometimes refusing to act. It’s good with Alexey now - and be happy with that: don’t expect that it will be good in the future on the same basis of communication. Alexey is a man with wounded pride, but he is not proud, so he does not mentally decompose. The name Alexey does little to promote masculinity. ANNA. Anna's mind is sharp. But whatever it is, it is significantly superior in development to deeper forces rooted in the subconscious. The mind cannot keep up with them and therefore treats the intuitive depth of the personality passively, allowing it to carry itself away. Therefore, he does not receive systematic growth at all and does not acquire the habit of conscious and independent work. Anna does not like intellectual work and diligently avoids it, citing inability. Art and art in general are also alien to her. The moral area is what primarily occupies Anna’s consciousness, that is, exactly what is not in her perceptions from the depths.

BASIL. This name etymologically means royal, royal. His intellect quickly grasps the relationships of things, people and events; he does not get lost in the complexity of life's relationships. Organization and organizational ability are dear to Vasily; but not the Organization that serves the external one-time achievement of a set goal, therefore - not politics and not tactics as such, but an organization in the internal sense, in which there may be both politics and tactics, but as subordinate aspects. Vasily knows what he wants: having set a goal for himself, he persistently strives for it. Without asking himself the impossible, Vasily goes slowly, without losing what he has achieved, without breakdowns. This ability for purposeful activity is determined in Vasily by the direct connection of his will with reason. Due to his basic inclination to cover a wide range of phenomena with his horizons and consider himself responsible for it, it seems necessary to Vasily to look at the entire range of phenomena, to take a closer look at it so that nothing escapes his gaze. Therefore, suspicion is one of the traits that Vasily can develop.

SOFIA. The feminine aspect of the male name Vasily. Being deeply intuitive, Sophia has the intellect as a service organ of the spirit and therefore does not experience acute conflicts between intuition and reason. It has a will to orderliness and a centripetal spirit, due to which it tends to focus on what is closest to it, organized and arranged by it. Sophia is imperious and believes that power, by nature, by the make-up of her personality, of course, should belong to her. Sofia is managerial, organized, has the ability to live and organize life; into this ordering of life she brings both art and science, with which she is busy and of which she is capable. The honesty characteristic of Sofia is manifested in the certainty and completeness of expressions. This directness can turn into harshness if it is not softened by treatment.

VLADIMIR. The name Vladimir is similar in structure and composition to Vasily, but rawer, more spontaneous, vague, more simple-minded. There is less coinage in Vladimir. floridity, distant plans and deliberate moves, less clarity of thought, intellectual complexity, but more immediate strength, immediate pressure and attitude than in Vasily. Vladimir is characterized by a certain vagueness of assessments, which, with undisciplined upbringing, easily leads to promiscuity of behavior. But this deviation of Vladimir does not have an evil character, it comes from the breadth of nature, is associated with creativity life. This is where his broad mind can most easily manifest itself, although devoid of true depth; his kindness and other positive qualities are very abundant in him. Vladimir is a good tree, but he needs rich soil. Vladimir's achievements are as extensive as they are fragile. They don't have enough substance. He is attracted by everything that is general and, moreover, not abstractly theoretical, but has practical consequences that open up broad organizational prospects. Vladimir thinks, acts and lives in some excitement. Vladimir is Vasily, who grew up on Russian soil.

OLGA. The name Olga is close to the name Vladimir. Olgas usually have significant facial features and a figure that is rather beautiful, but not delicate. Their mind is strong, above average, and, moreover, not formal or abstract, but very flexible in adapting to circumstances and finding the most correct way to achieve what they want. Olga has a lot of mental health and balance. In terms of spiritual scale, she does not fit the standards of the majority. All of her character traits are larger than usual. In this sense, she is too far from real and especially artificial fragility; she may not seem like a woman, at least in modern understanding femininity. It contains the spiritual structure of the Valkyrie maiden, and this must be compared with the corresponding male type- knight.

KONSTANTIN. There is no character with greater inconstancy than that of Constantine. It is most characteristic of some kind of unmotivated whim, impatience with existence, including oneself, a nervous reaction to life, a desire for impermanence. This is a person who doesn't know what he wants. Konstantin is internally angry with the whole world and himself and, having asked a question, does not listen to the answer. Konstantin is a gifted nature and mainly with subtle sensitivity to all kinds of suggestions. He is proud of his sensitivity and gets used to considering it the only worthy quality, a sign of superiority. But having no duty in his soul, he is generally deprived of any lasting experiences. Uneven in thoughts and assessments, Konstantin is also uneven in his relationships with people. His state of mind reminiscent of March weather, constant inconstancy and stable instability: in a few minutes it is difficult to predict what Konstantin will do, and not only to those around him, but also to himself. This is both good and bad.

ELENA. This name signifies feminine nature. Elena is eternal femininity. The absence of a solid beginning and norms in behavior and thoughts, the predominance of emotions, fragmentation and whimsicality of mental life - these are the features of Elena. Theoretical activity of the mind is not characteristic of her, just as disinterested thinking is not characteristic of her. But she is able to achieve her goals and show great mental resourcefulness and perseverance. This quality of Elena, with spiritual bad manners, easily turns into cunning. Elena has the most developed ability to respond emotionally and influence the feelings of others. Elena, like Konstantin, subtly senses what is happening, and like him, she is capable of unexpected whims and whims.

NICHOLAY. For Nikolai, action directed outward is most characteristic. In himself he does not find space and the subject of self-disclosure. His life is in activity. This activity is non-stop, because Nikolai does not give himself any rest or time, considering it his duty. Nikolai rarely has any doubts, which is both good and bad. This is a character in which there are no smooth and elastic lines; it consists entirely of straight segments. His tireless activity, in most cases without material gain, is largely driven by pride, this is the need to prove something to himself and others and justify own opinion about yourself and your position. And then Nikolai can be stern and cruel in his straightforwardness, believing or trying to convince himself that he is fighting for the truth, but in fact, he does not value self-esteem enough. Nikolai wants to be a benefactor, and he considers it his duty to be one. Moreover, he is kind by nature. Possessing a clear mind, the power of inner pressure and truthfulness, he can and does have success in the sciences and arts. But what he achieved, for all its value, sometimes strength and even depth, is usually vague, because it consists of separate, disorderly and controversial gains that are not linked into one whole by half-proven and almost unproven happy guesses, premonitions and excitement of thought. Of all the names, Nikolai perhaps appreciates it most in a person. human dignity. He is a typical city dweller and citizen.

Paul is, first of all, desire, longing, attraction. The object of his desire is the perfect form, the Platonic idea, spirituality. Paul can fall deeply, he can rebel and rebel. His range is vast - he can be good or bad, holy or sinful. Paul cannot be a criminal in the legal sense. In this name, Will and Faith are two poles between which the personality structure extends. Other aspects and elements of the spiritual organization may also be strong, but one cannot look for the characteristic in them. Paul is a bearer of activity, which leads to an internal conflict with himself and an external conflict with others. The life of this name is tireless tension and effort and, accordingly, the inadmissibility of rest and relaxation, even short-term. Internal contradiction breaks the smooth curve of his life, therefore the main feeling is suffering associated with the nature of the name, but at the same time only confirming Paul’s basic faith in the need to bring the spiritual principle to life.

LYUDMILA. She is a brute, and not by accident: she has strong impulses, but rude ones. Lyudmila doesn’t want anything specific, doesn’t achieve it, and generally doesn’t know what she wants. Quiet speech is painful for her, but shouts are needed. Warmth, comfort, contentment are rejected with indignation. Lyudmila always wants effect. This is an exaggeratedly honest nature. Everyone seems flabby, sluggish, and false to her; she recognizes only heroes and is inclined from time to time to see in one or another the ideal appearance of a hero. Lyudmila is a heroic person, perhaps not so much heroic as wanting to be one. She hates contentment, but where there is misfortune and grief, she is in her place. A sister of mercy, a paramedic, a sutler, a revolutionary activist - here she is irreplaceable. Not distinguished by a particularly deep mind, alien to contemplation, she is often, with her impulse and rudeness, smarter than the smart ones.

FAITH. This name has a strange combination of recklessness and consistency, poetic origins and hopeless boredom. Vera’s individual actions fit together very logically, but taken as a whole they are considered offensive common sense and cause resistance, and even indignation. Faith in its main decisions is unpredictable not only for others, but also for itself. She suddenly breaks calculations, traditions, decency. But then she no longer returns to the old way and makes her act the beginning of a new coherent kind, that is, new calculations, new traditions and new decency. In other words, she follows a path that is new in direction, but conventional in character. Entering into it is tragic and can easily lead to death. In her thinking, as in her actions, Faith is clear and definite, but she is also sacrificial. She is drawn to sacrifice passionately and uncontrollably.

MICHAEL. Mikhail is firmly compared to a bear, just as, conversely, the latter’s name is generally accepted - Mishka. The bear is a good-natured bumpkin, but he is also very dexterous and fierce when the time comes. It is characterized not just by clumsiness and heaviness, but also by the duality of nature. It would be an extreme mistake to think about the lethargy of his temperament, about internal slowness, inhibition of mental movements. Contrary to the usual interpretation, Mikhail is not a phlegmatic person at all, and his element is not water, but fire. But his physical and mental body, including the entire organization of organs. - this is a body of great inertia and internal friction, it lags behind the orders coming from within and brings them out with a significant delay. A tight, heavy, perhaps rusty mechanism is controlled by Mikhail, and the slowness and unevenness of the move, the difficulty of movement, and the fatigue of the manager are inevitable. At the same time, the name Mikhail is the opposite of earthly inertia. Michael can be both moral and immoral. Mikhail requires great internal effort and willpower to achieve what he wants. He has to scramble before he gets to where most others come easily. Therefore, Mikhail’s work, despite the efforts invested in it, is usually insignificant and does not find full recognition and appreciation. Hence his dissatisfaction, and even irritation due to the discrepancy between his efforts and external recognition and success.

CATHERINE. The closest thing to Nikolai is his female complement. Truthfulness, selflessness, openness of action, avoidance of coquetry, the desire to keep her appearance untainted by anything base characterize Catherine. She is a heroic nature, and in the absence of a reason for beautiful heroism, she is inclined to invent reasons for deliberately high feelings and actions. Catherine is usually beautiful with a generally understandable healthy beauty. Above average height, dignified, with facial features that are not small, rather large and defined, Ekaterina is immediately noticeable. Her spiritual properties are exactly the same: intelligent, majestically calm and benevolent, sometimes kind. Having taste and tact, she will not put herself in a humiliating, funny or stupid position. Catherine is not a coquette in the sense of deceit and insincerity, but there is little play and play in her to be sincere: she does not hide anything, and therefore she has nothing to reveal. As a strong nature, without internal contradictions and complications, she has no internal delays in her immediate movements. She is easy to relate to, friendly and attentive to others. Her character is characterized by cheerful cheerfulness. Catherine is the first among many and smart among mediocrity, as well as kind compared to the majority around her. It does not have any sharpness or complexity; its advantages and disadvantages are elementary and generally understandable - these are the increased qualities of the average person.

DMITRIY. The character and whole appearance are significant, a nature with powerful inclinations, but extremely inconsistent. Dmitry is passionate, and his passions are not superficial attractions and hobbies, but deep ones. Dmitry is proud, and this pride entails directness and truthfulness. He is attached to food and drink, to luxurious surroundings, and is inclined to value external honor, and therefore he wants money, which gives both power and various pleasures. This is Dmitry’s difficult beginning, which makes him difficult in everyday relationships and, together with his internal inhibition, serves as an obstacle to the full development of his abilities. Dmitry is gifted significantly above average, but pride forces him to demand more of himself than he is capable of, and, realizing his insufficiency for this, he prefers to completely abstain from what he is capable of.

The remarkable Russian philosopher A. Losev (philosophy of a name. - M., 1927) most clearly and figuratively defined the functions of a name in the history of mankind. He wrote; “Without a name, there would be a meaningless and insane clash of deaf-mute masses in the abyss of absolute darkness... And we pray and curse through names, through the utterance of a name. And there are no boundaries to the life of a name, there is no measure for its power. The world is created and maintained by the name and the word. .."

"Sociological Research", 1988-1990;
Shchekin Georgy Visual psychodiagnostics: knowing people by their appearance and behavior: Textbook. manual - K.: MAUP, 2001, p. 267 - 278;
Yurchenko M. Names does heaven give us? //Technology for Youth, 1991, No. 2 p.20-24; No. 7 pp. 21-22; No. 8 p. 17-18.

Biography

Childhood and youth

Born on January 9, old style, in the town (now). According to his father, his family tree goes back to the Russian clergy, while his mother, Salome, came from an old and noble family - the Saparovs / Saparashvilis. Florensky very early discovered exceptional mathematical abilities and, after graduating from high school, entered the mathematics department. Raised outside religious tradition, but in his youth, under the influence of articles, he felt an interest in Christianity. IN student years became interested in the teachings of the archimandrite. After graduating from the university, he did not accept the offer to stay at the university to study mathematics, but entered the. During these years, he, together with Ern, Sventsitsky and Brikhnichev, created the “Union of Christian Struggle”, which strived for radical renewal social order in the spirit of Vladimir Solovyov’s ideas about the “Christian public”. Later, Florensky completely moved away from radical Christianity.

Symbolism

Even as a student, his interests covered philosophy, religion, art, and folklore. He enters the circle of young participants in the symbolic movement, makes friends with, and his first creative experiences are articles in the symbolist magazines “New Path” and, where he strives to introduce mathematical concepts into philosophical issues.

During his years of study at the Theological Academy, he conceived the idea of a major essay, his future book. "The Pillar and Ground of Truth", most of which he completes by the end of his studies.

Persecution and death

In the summer he was exiled to, but in the same year, due to the efforts of E.P. Peshkova, he was returned from exile. I had the opportunity to emigrate to Prague, but decided to stay in Russia. In the early 1930s, a campaign was launched against him in the Soviet press with articles of a pogrom and denunciation nature. followed by arrest and, 5 months later, a sentence of 10 years in prison. Florensky was kept in the Solovetsky camp. special troika Leningrad region he was sentenced to capital punishment and most likely shot near (a suburb of St. Petersburg). Subsequently completely rehabilitated.

Disagreements

"Imaginaries in Geometry"

Referring to, Florensky opposes. Interpreted as evidence of the immobility of the Earth. Declares the “notorious” to be fundamentally unsubstantiated. Commenting on , Florensky comes to the conclusion that beyond the speed of light, the non-physical “other world” begins. This otherworldly world of imaginary quantities provides a description of the highest eternal reality. Based on , Florensky calculates the distance to this world as the distance at which a body revolving around the Earth in one day will move at the speed of light. Interest in the cosmological model of antiquity is one of characteristic features contemporary Florensky historical science, who paid much attention to the morphology of space-time of primitive cultures, Antiquity and the Middle Ages.

Antisemitism

In Kyiv, the Jew Menachem Mendel Beilis is on trial for the ritual murder of a 13-year-old student of the Kiev-Sophia Theological School, Andrei Yushchinsky. Without doubting the existence of practice, Florensky sends V.V. Rozanova for anonymous publication of the article “Prof. D. A. Khvolson about ritual murders" and "The Jews and the fate of Christians." V.V. Rozanov includes both articles in the book “The Olfactory and Tactile Attitude of Jews to Blood” as an appendix.

Theology

Florensky took more pronounced positions than, for example,. Florensky expressed himself in the sense that the name of God is God Himself along with the sounds and letters of that name. In addition, Florensky paid great attention to the magical nature of the word and name.

Memory

A street in, a street in the village of Solovetsky (on the former Solovetsky Island) is named after P. A. Florensky.

Bibliography

Kedrov K. “Immortality according to Florensky” In the books: “ Parallel Worlds"AiFprint M., 2002, "Metacode" AiF print M., 2005.

Filmography

“Epiphany-dream about Florensky, or Imaginaries in geometry.” , . Director - Mikhail Rybakov. Script - Konstantin Kedrov. Consultants - and Abbot A. Trubachev.
"Russian Leonardo". St. Petersburg, 2008. Based on the book by P. A. Florensky “Names”. Director, scriptwriter - T. Krasnov. Performers: T. Krasnov, Richard Stans. Cameraman Yulia Balina

Notes

SYMBOLICS OF THE NAME IN THE TEACHINGS OF PAUL FLORENSKY

In the book of memoirs “Special” Fr. Pavel Florensky writes that all his life, in essence, he thought about one thing: “about the relationship of the phenomenon to the noumenon, about the discovery of the noumenon in phenomena, about its identification and embodiment.” And this is nothing more than thinking about the symbol, therefore he “all his life thought about only one problem, the problem of the symbol”1. He interprets the symbol as a reality “that is greater than itself,” for it has an esoteric, carefully veiled, inaccessible to logical knowledge (due to the “irrational gap”), located beyond the boundaries of sensory-tangible objectivity, meaning. A special place in the philosophical and theological research of the great Russian thinker is given to the study of the hidden symbolism of the name. And the name as the name of a thing in general, and, above all, a human name. Florensky is convinced that a person’s name encodes his fate. The name weighs heavily on a person from the moment of his birth to last days life. Names are active “foci creative education personality”, acting as a categorical imperative “let there be”, shaping “in society its members”3. As a result, the well-known formula “By name and life” takes on even more rigid outlines in Florensky: “By name by life, and not by name by life.” Fully supporting this conclusion, Andrei Voznesensky cites a number of bright examples on “human life”. In this problem, he highlights theological and linguistic aspects. Florensky proceeds from the fact that “names are defined and complete in themselves: each name is its own special, self-closed world”5. The symbolism of the name is determined by the “Mountain forces” (theodicy), as well as the “attachment” of the name to a specific person (God-descent, anthropodicy). As a result, names acquire a normative character, therefore “Ivans, Pavels, Alexanders should be like this and not others”6. “According to biblical concepts,” notes P.A. Florensky, “the name itself blesses or curses, and we are only an instrument for its action and the favorable environment in which it acts”7. At the same time, although a person's name represents guiding him through life and “working magic over him,” this requires the “permission of the individual”8. After all, any “name is a whole spectrum of moral self-definitions and a bundle of different life paths”9. The upper pole of the name is a pure oasis of Divine light, the prototype of perfection. The lower pole of the same name “goes into hell” as a complete perversion of Divine destiny. Criminals and villains flock here10. The realization of the original sacred activity of the name is facilitated by the “Dolny”, earthly world. If, Florensky notes, a child is named Napoleon, then from childhood something Napoleonic is expected from him. And this stamping of the baby “like Napoleon” is done hourly, every minute and everywhere, and, naturally, “cannot but affect him and develop some kind of Napoleonism in him.” And even if a person does not have the appropriate inclinations to carry out “living according to his name,” he will try to be what his name requires of him, “and the mask, put on the face in childhood, grows to the face in adulthood.” Otherwise, bearers of the “erroneous” name “would be considered as freaks, as degenerates of society and would be intolerant in society. Hence, everyone has before their eyes the commandment that “life should be by name,” so that the name should be the same.”11 Florensky’s linguistic argumentation of the symbolic phenomenon of a name looks equally “earthly”. Any name, he emphasizes, is an organic unity of phoneme and sememe, sound and meaning. By sucking in his name with his mother’s milk, the child begins to experience “the ultraphysical influence of the phoneme and the infrapsychic influence of the seme”12. The energy of a name (according to Florensky, it is not so important what to call it - ode, astral, fluid, animal magnetism, etc.) with the help of its mental and physical components influences the formation of a person’s personal qualities. By entering a word into another person, “I,” Florensky concludes, “conceive a new personal process in her”13. There is an opinion, notes P.A. Florensky, that a name, due to the insignificant smallness of the energy component of the phoneme of a word, can actively influence a person only as a rational meaning. At first glance, this seems to be how it should be. According to Florensky's calculations, for example, a mass of 50 g at free fall from a height of 1 m accumulates energy sufficient to produce sound with a normal voice for 10 years without interruption. But the energy of a hat falling from a table to the floor would be enough for a simple phonograph to narrate this event for ten thousand years without stopping. But, as Florensky correctly notes, this approach does not take into account that the phonetic energy of the spoken word brings to life electrical, magnetic, thermal, chemical, molecular and other physical processes, which in their integrity are capable of generating significant physiological and psychological changes in the human body14. According to Florensky, the strongest linguo-energetic potential is possessed by “semema” - the soul of the word. “The word is infinitely richer than it is in itself. Each word is a symphony of sounds, has enormous historical layers and contains a whole series of concepts”15. It presents the history of mankind in a concentrated form and focuses the collective will of the people. Therefore, the spoken word (especially a personal name) invades the human psyche, arousing “the pressure of the great will of an entire people, forcing one to experience, feel and think through successive layers of the seme of the word”16. Moreover, a word with “increased power” acts not only on the mental life of the one who perceives this word, but also on the one who expresses it. A number of points in the considered reasoning about the correspondence of a name and its bearer (especially the theological-metaphysical argumentation used) are debatable. At the same time, much of what has been said is confirmed in modern science. In particular, experimental studies with the connection of a computer made it possible to identify hidden symbolism in all sound-letters. It turned out that in any language, hard and sonorous consonants are perceived as strong, rude, and courageous; soft and deaf - as weak, tender, feminine; vowels - like plosives, reactive, fast17. All this ultimately leads to a stable correlation of sound images with the subject’s emotional experiences (joy, sadness, melancholy, irritation, calm, despondency, peace, etc.). As a result, bearers of names with “sound negativity” develop undesirable mental and physiological qualities. It can be assumed that the historical vitality of names is largely determined by the symbolism of their sound. Thus, the “heavy”, “rough” phonetic shell of such names as Thekla, Martha, Matryona, Glafira, etc. has led to the fact that children are practically not called by them today. But the soft, gentle-sounding word “Inna,” which at one time was a man’s name, has been completely adopted by women. There is also convincing psychological and physical evidence of a person’s negative and positive reaction not only to the phonetic, but also to the semantic meaning of the name. A special place in the teaching of Pavel Florensky about the symbolism of names is given to the search for the hidden meaning of the language of poetry (names ). In the lyrical poem “Oro” he emphasizes that the semantic meaning of a poetic image is always “greater than its visual and sensory content. This means that the image of poetry is, by its very nature, a symbol (any reality that is greater than itself)” 18. One of the characteristic features of a poetic text is that, in principle, any of its elements can have a symbolic meaning. The most common symbols in poetry are verbal. The functions of an artistic symbol are successfully performed by individual words denoting inanimate and animate objects, their properties, connections and relationships, phraseological units, quotes, mythological stories, biblical characters, titles and even poetic text in its entirety. Rhythm, rhyme, intonation, alternation of vowels and consonants, special prosodic means provide the unique sound of verbal matter, its melody, musicality. Sound, as a carrier and executor of the semantic element of a word, has a number of physical characteristics (propagation speed, strength, timbre, length poetic text sound wave , oscillation frequency, etc.). And the “reasonable ear” is capable of grasping not only the direct phonetic meaning, but also sound. What is directly “caught by the ears” forms the material and objective basis of very subtle, not visually perceivable, sound symbolism. A sound symbol is a kind of sound image with the help of which non-sound content is expressed, associatively associated with the corresponding sound. The simplest phonetic symbolism of poetry is based on onomatopoeia (onomatopoeia), the imitation of sound phenomena. Skillful manipulation with “whistling”, “hissing”, “rattled”, “growling” and other sound-letters, thoughtful alternation of vowels, various sound repetitions, paronymic attraction (bringing close-sounding words together) make it possible to quite successfully imitate crackling, roaring, roaring, squeaking , whistle, rustle, whisper, murmur, etc. Often all this is done only in order to more clearly describe something sounding in poetic form. This is the case when the poet conveys the sound of the phenomenon he is talking about through the sounds of the verse. More often, however, “sound words” (thunderstorm, rain, wind, blizzard, rustle, etc.) are used in poetic texts in figurative meaning, act as verbal symbols with esoteric meaning. In this case, the onomatopoeic effect does not act as an end in itself, but as a means for “highlighting” the disguised symbolic content. The focus on expressing a non-sound essence turns an onomatopoeic image into a specific symbol. Onomatopoeic symbolism is just one of the ways of expressing abstract ideas using the sign-phonetic means of poetry. With skillful sound organization of verbal material, acoustic images with hidden symbolism are born without onomatopoeia.” (A.S. Pushkin), he comes to the conclusion that from the point of view of pictorial imagery, these works represent aniconic texts. Their verbal fabric mainly consists of abstract concepts: boredom, sadness, mental adversity, life, deity, inspiration, love, purity, genius, etc. They do not carry any hidden symbolism. “And now some very complex and unexpected metamorphosis is happening here before us: a lyric poem either does not contain any images, or these images play a completely extra-artistic role; and with all this, before us here is not only a wonderful poem, but, one might say, a world masterpiece of lyrical creativity”20. What makes these poetic lines, written in the language of dry abstractions, so information-rich and emotionally expressive? “How did this happen,” asks A.F. Losev, “that a masterpiece of artistic lyricism arose on an aniconic basis?”21. The scientist avoids answering, noting that this is not the purpose of his research. But an answer must be given. And we find it in Pavel Florensky. He shows that the lack of pictorial imagery and, as a consequence, visually perceived symbols is largely compensated by the presence of sound symbolism. It is not a picturesque, visually figurative word, but a sounding word that works wonders here. states of mind. Shklovsky27, the wordless cry of our distant ancestor, his indistinct muttering (as, indeed, the speech of a baby) - “this is the language of sensing the world with sound”, “pre-word chaos”, “pre-words”, “sub-words”. And today, similar sound symbols, “under-words, rise from the bottom of consciousness, from our memory, the memory of our ancestors, who shouted on a tree about something still incomprehensible to them” - and shouted “eventually to our language.” Any sound, especially one organized into a melody, structured, musical, is the primary source, the root of all artistic imagery. The barely perceptible, almost ephemeral sound of a poetic text (not associated with onomatopoeia) leads, as Florensky puts it, into the “behind-the-word” connotative depths, revealing that part of the content that cannot be retold, translated, presented - melancholy, sadness, loneliness, love delight and others not directly subject to verbal description musical means, the best that can be achieved is to penetrate into the mysterious meaning of phenomena, to express common language poetry and, above all, its vocabulary. Noting the enormous role of sound in the creation of poetic creations, Pavel Florensky could not ignore the attempts of “radical sound symbolists” (A. Bely, V. Khlebnikov, A. Kruchenykh) to create a special “absentient language” (a language without lexical meaning). In their opinion, the main value of a word lies not in the presence of a lexeme, but in the fact that it creates a “world of sound symbols”28. “Every word,” notes A. Bely, “is first of all a sound”29. Gogol wrote that there are words that are more expensive than the thing they denote. Here it is believed that the sound accompanying the spoken word is more important than the word itself. It is the direct and most adequate form of expression of the poet’s experiences and thoughts. The word in its lexical part only serves as a “background cover”. Since this is so, there is nothing to value words. They can be freely manipulated. It is not the word that is valuable, but the rows of vowels and consonants. When the interests of semantics, morphology and phonetics collide, preference should always be given to sound. “It’s better,” says A. Kruchenykh, “to replace the word with another, similar not in thought, but in sound...”30. He, in particular, did not like the “ugly, captured and raped” word “lily,” which meanwhile means a beautiful flower. “That’s why I call the lily euy - the original purity has been restored”31. Florensky is looking for rational meaning in the desire of the “revolutionaries of the word” to give sounding poetic speech the greatest possible information load. “Who,” he notes, “does not know the joy that fills the chest with strange sounds, strange verbs, incoherent words, half-words, and not even words at all, forming themselves into sound spots and patterns, similar to sonorous verses?”32. This is the case when “speech - singing, “abstruse sound speech” flows from heart to heart, without conditions and agreements, similar to the sounds of nature, pouring from an open soul and directly into an open soul...”33. But with all this, Florensky places the articulate, meaningful human word above the most meaningful sound. “A word is smart or stupid, deep or shallow - but it is the greatest that a given person in in this regard could give”34. Referring to his favorite poet Afanasy Fet, Pavel Florensky notes that only words can convey “the dark delirium of the soul and the unclear smell of herbs.” Only with a word, he writes, “the cognitive process is resolved, something that was still subjective before the word and did not even appear to us as a known truth”35. Continuing this thought, Florensky notes that the spoken word “summons the inner yearning for reality and confronts us with a cognitive impulse... how achieved goal and the value attached to consciousness”36. Therefore, it is necessary not to replace words with sounds, but to improve and enrich them. “Let’s make the tongue more flexible, more receptive, peel off the frozen bark from it and expose its fiery, whirlwind, boiling stream”37. This call is extremely relevant for all those who are involved in the research and development of the greatest creation of mankind - the word, the name.

Literature: 1 Special. From the memoirs of P.A. Florensky. Compilation and introductory article 2 A.V. Gulygi. Moscow worker, 1990. P. 13 3 Florensky P.A. At the watersheds of thought. M.: “Pravda”, 1990. P. 330 4 Ibid. P. 266 5 Voznesensky Andrey. In the virtual wind. M.: Vagrius, 1998. P. 466-468 6 Florensky P.A. At the watersheds of thought. M.: Pravda, 1990. P. 267 7 Ibid. 8 Ibid. P. 331 9 Ibid. 10 Florensky P.A. Names // Sociological Research, 1990, No. 4. P. 176 11 Ibid. 12 Florensky P.A. At the watersheds of thought. M.: Pravda, 1990. P. 267 13 Ibid. P. 268 14 Ibid. P. 271 15 Ibid. P. 261 16 Ibid. pp. 326-327 17 Ibid. P. 263 18 Zhuravlev A.P. Sound and meaning. M.: Education, 1981. P. 90. 19 Florensky Pavel. Oro. Lyric poem. M.: Paideia Textbook Institute, 1998. P. 171 20 Florensky Pavel. At the watersheds of thought. M.: Pravda, 1990. P. 7 21 Losev A.F. Sign. Symbol. Myth. M.: Moscow State University, 1982. P. 420 22 Ibid. 23 Florensky P.A. At the watersheds of thought. M.: Pravda, 1990. P. 166 24 Ibid. 25 Ibid. P. 168 26 Ibid. P.169 27 Ibid. P. 166 28 Shklovsky Victor. About abstruse language. 70 years later // Russian speech, 1997, No. 3. P. 34 29 Bely Andrey. Symbolism as a worldview. M.: Republic, 1994. P. 131 30 Ibid. 31 Kruchenykh A. Kukish for vulgarities. Tallinn, 1992. P. 123 32 Ibid. 33 Florensky P.A. At the watersheds of thought. M.: Pravda, 1990. pp. 166-167 34 Ibid. P. 166 35 Ibid. P. 269 36 Ibid. P. 291 37 Ibid. 38 Ibid. P. 170