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Disguised in another vocable, another object or another idea, the symbol appears on a quite frequent scale in Alexandru Philippide s poetry. Being fond of the past, of myth and archaic ideals, the poet Philippide configurates traditional symbols, in which he fosters modern seeds. The first part of his poetic creation lies under the sign of romantism, of pozitive onirism which heads to the stars. The lyrical ego kneels in front of the Sun, begging it to cast away the darkness that left its veil upon his world.
The solar light is the embodiement of his dream, a new dream, different from the one he had been living in for so long. Longing after the solar rays actually reveals the nostalgia of the good times, of the new beginnings, of breaking all the old bonds. The palpable touch of the long plotted dream becomes feasible through the usage of pozitive tools resembling their target, the ideal, through their structure. Pozitive tools are actually symbols of kindness, of purity, symbols which may connect in a final point to the target, this being the accomplisment of the ideal.
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The ascension that the lyrical ego engages himself into is a ceremonial journey, where the prayers blend with sacrifices and beginnings blend with endings. The lyrical ego summons the stars in his own process of transformation, in which his soul, which he already calls old, because he no longer recognizes it as being his, will get another embodiment.
Being the voice of his world, the poet fills the verses with a few spiritual petitions. He asks for plenitude for he sees the world empty, he longs for light in an almost always nocturnal background and dreams about a world of lilies, a world of hope and purity.
The world populated with lilies is an edenic world that the poet sees as possible at least in the first part of his poetic creation: The abundence of the white, the depth of the lilies signify the paradisiac space so confined and soon lost of Philippide s poetry. It is precisely this type of aestheticization of the lyrics that brings him close to Dimitrie Anghel. As well as Philippide, Anghel imports in his poetry elements as the lily, the reverie and the preference for the colour white.
The presence of the lily in iconography, art and literature dates back to the early times, its simbology being a solid one, enclosing in itself a series of mytical dimensions. In Christian iconography, the Virgin Mary is holding a lily in her hand, this being the floral correspondent of her purity and virginity. Philippide invokes this flower in the hope of purification, of spiritual cleaning of a world lost in darkness.
The longing for primordial purity actually hides the hope of a new beginning, unshattered by the complicated ways of the soul. The ancestral Egyptians worshipped him until identifying themseves with it.
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The hieroglyph representing the lily was the symbol of Egypt. The lily was also the witness of death, but paradoxically, it wasn t associated with the end of life, but with its continuation into a higher framework, generating eternal happiness.
The lily is an equal of pure and chaste love but also with the love for divinity: Take a look at the way the lilies grow; they do not tire themselves and they do not spin. It appears like a hypostasis of the dream, a mediator between the aspiration and the reached ideal, as an avatar of the Sun, as a dimension of eternity, and not lastly, as a poetic womb.
Hypostasis of the dream. The lily, whose ethers are astounding, luring you to detach yourself from the real topos, can be an image of the dream itself. Its strong perfume creates narcotic, hallucinogenic effects in the one sniffing it, determining him to let himself carried to the illusory: The lily, Philippide s novalisian flower, through its narcotic effects, disposes yourself towards romantic reveries, satisfied in the field of art, not without a shade of baudelairian thrill Gibescu, They are described through the personifying epithet, moi softmeaning that the harshness of life softens once you let yourself imbued by the elixir of the paradisiac flower.
At the same time, the word moi intercepts a kinesthetic image, meaning that the ethers of the lily do not install themselves only in the olfactory space, but it invades the entire system.
The lyrical ego feels the scents in his inner self, as well as in a tangible manner, dripping down his body: Single verse contains three artistic images: Philippide s flower impresses both on a visual and an olfactory level, eventually transferring you to a space where the flower itself gets impenetrable meanings. The hallucinogenic sensation which is similar to the state given by narcotics is deeply felt by the lyrical ego: The perfume of the lily instantaneously installs the state of dreaming.
Detaching yourself from reality is performed gradually. The beatitude initially planted in the lyrical ego s psyche continues with a floating sensation, of silent senses. The epithet molatice attributed to the eyelids confirms the great passing, the ascension towards the oneiric. The senses get blurred, the eyelids fall helplessly, obstructing the sight, the way of access towards reality. The lily becomes a hypostasis of the dream through the effects it emits towards its admirers.
Initially showing itself like a converter of perceptions, altering the communication with the reality, the lily eventually takes the embodiment of dream, becoming a sort of avatar of the flower He leaves. Personified, the lily becomes a present character generating physical and psychical changes that it operates at body and conscience level in what regards the lyrical ego.
The uranic flight is done with the aid of the lily, Philippide s auspicious flower. The astral background is the space where the weight of the soul disappears, where anxiety fades away, where the paradisiac quietness rises. The lyrical ego worships the lily which he sees as matrix of good dreams: WhatsApp spy is an app you can use to remotely monitor and track calls, text, image, video and audio messages sent and received on WhatsApp.
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