The Symbolism of Light in Ermil Kostrov's Poetry

The article deals with the research problem of revealing the role of images, symbols and motifs of light in Ermil Kostrov's poetry and trying to understand their connection with oral folk art, ancient Russian Orthodox literature, biblical imagery, Russian panegyric poetry, educational ideology, and Masonic studies. The article analyses Kostrov's works of different genres (odes, epistles, idyll, eclogue, madrigal, stans, etc.) that contain light images. Most of Kostrov's works are associated with events of national importance. It predetermines the author's use of the classic system of poetic expression of state ideology. The plot of light is related primarily to the values of state order: the author of the solemn panegyric, glorifying the Russian monarchy and modern statesmen, presents them within a corona of light that clears up the surrounding darkness. At the same time, the symbolism of Kostrov's light images synthesises various traditions. Firstly, it is possible to single out the connection between Kostrov's light images and Russian folklore, which represents the prince in the form of the sun. This motive becomes the general place of Kostrov's solemn texts dedicated to various official festivities. Comparing Kostrov's works with other odic poets of the 18th century, it is necessary to point out the widespread use of light symbolism in such a plot element of solemn panegyric texts as the topos of historical continuity, when the solar attributes cover crowned descendants who are to continue the lightful activity of the reigning monarch. Secondly, the symbolism of light connected with the traditions of the state's absolutist ideology takes the leading place in Kostrov's works. According to the classic tradition, his poetry creates a myth about the eternal golden age established under the rule of the reigning monarch. The symbolism of light reflects the demiurgic abilities of the monarch, who dispels the darkness. An important motive is the motif of the transformation of space. Thirdly, Kostrov's symbolism of light is associated with the Old Russian Orthodox tradition and biblical imagery. God brings light sending the rays of Divine wisdom into the world. God brings moral commandments and illuminates the monarchy and the Russian people with His patronage. Fourthly, there is a connection between the educational tradition that correlates the concept "light" with Reason that organises space. Fifthly, there is a correlation with Masonic anthropology, emphasising the idea of each person's moral responsibility for building a temple of light in their soul. Throughout Kostrov's works, the struggle of light and darkness is in the first place, and the triumph of light is inevitable. Virtue, wisdom, high patriotic feelings and service to science conquer the darkness of ignorance. Light images in Kostrov's works have not only ideological, but also aesthetic tasks: they make it possible to convey the idea of poetic inspiration. Light images help to transmit emotions of delight, joy, happiness and love. Kostrov's individuality is in the fact that, in his late poetry of the 1790s, light images do not lose their symbolic role, do not have an independent significance. Kostrov continues to meet the aesthetic requirements of the poetics of classicism even adopting new genres of "light" poetry.

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