If
you were to ask me, what single element in nature has inspired artists more
than anything else? Without a moment’s
hesitation, I would answer, “roses”. Neither
jasmines nor orchids have inspired artists across cultures the way roses have,
for roses—thanks to their scent and unparalleled beauty—occupy an undisputed
place of privilege among flowers since time immemorial. Roses are favored subjects in art and, thus,
used in various artistic disciplines. They appear in paintings, on stamps, in
poems, as ornaments, as heraldic badges, and in films. They have been adopted as the national flower
by many countries, including England and the United States, and even wars have
been fought in their name.
But,
why is it so? Most likely because of the
rich symbolism they evoke. In
literature, a symbol is a character, object, action, name or setting that
signifies something beyond itself. Writers
use conventional symbols as well as personal ones to reinforce an idea, go
beyond the literal meaning of words, and make the reader muse upon their
themes.
Symbols
allow authors to say more with less.
Properly chosen symbols will make readers bring to mind complex ideas without
having to read painstaking explanations where just one word would suffice. Authors such as Eugene O’Neill, Scott
Fitzgerald, and Gustave Flaubert relied heavily upon symbols, while others,
like Vladimir Nabokov, preferred to avoid them altogether.
Pierre Auguste Renoir
A
rose is a classic symbol of beauty, passion, love, and secrecy. The Latin word sub rosa, “under the rose”, means “secretly”. The rose is, in fact, the emblem of Horus in
ancient Egypt, the god of silence. In
Greek mythology, the rose also has a connotation of secrecy. Aphrodite gave a rose to her son Eros, the
god of love; he, in turn, gave it to Harpocrates, the god of silence, to make
sure that his mother’s indiscretions would be kept in secrecy.
Red
roses are a universal symbol of love. When
reading Robert Burns’s lines, “Oh, my luve’s like a red, red rose”, we get a clear
picture of the kind of love he feels. In
the following stanza of “Isabella”, the Romantic poet John Keats compares
departing lovers with roses whose stems are blown apart by the breeze only to be
reunited at each other’s heart:
Parting they seem’d to
tread upon the air,
Twin roses by the
zephyr blown apart
Only to meet again more
close, and share
the inward fragrance of
each other’s heart.
Robert
Herrick uses rosebuds as symbols of the transient nature of life in his carpe diem poem, “To the Virgins, to
Make Much of Time”, by urging maidens to “seize the day” while they are
youthful, because youth, like life, is ephemeral:
Gather ye rose-buds
while ye may,
Old Time is still aflying,
And this same flower that smiles today,
Tomorow will be dying.
Old Time is still aflying,
And this same flower that smiles today,
Tomorow will be dying.
William Blake, on
the other hand, is wary of passion and, to quote Ben Jonson, of “the
sports of love” in the following highly anthologized poem, “The
Sick Rose”:
“Long-Stemmed
Roses”
Cheri Blum
Oh Rose,
thou art sick.
The
invisible worm
That flies
in the night
In the
howling storm
Has found
out thy bed
Of crimson
joy,
And his
dark secret love
Does thy
life destroy.
Like
most poetry, this poem can be read literally or symbolically. To some, the poem may only suggest the fragility
of a rose. Yet, a closer reading will
reveal that the poem is richly symbolic, full of sexual imagery. The following imagist poem, “Sea Rose”, by Hilda
Doolittle can also be read literally or symbolically. A sea rose is native of Asia and grows on the
coast, often on sand dunes.
“Sea Rose Pond”
Claude
Monet
Rose, harsh rose,
marred with a stint of petals,
meager flower, thin,
sparse of leaf,
more precious
than a wet rose
single on a stem--
you are caught in the drift.
Stunted, with small leaf,
you are flung on the sand,
you are lifted
in the crisp sand
that drives in the wind.
Can the spice-rose
drip such acrid fragrance
hardened in a leaf?
marred with a stint of petals,
meager flower, thin,
sparse of leaf,
more precious
than a wet rose
single on a stem--
you are caught in the drift.
Stunted, with small leaf,
you are flung on the sand,
you are lifted
in the crisp sand
that drives in the wind.
Can the spice-rose
drip such acrid fragrance
hardened in a leaf?
Since poetry came into being, women have been compared to beautiful flowers,
so the description of this sea rose breaks free from all conventions associated
with a beautiful rose. Although the poem
speaks overtly about a harsh rose, its hidden meaning could well be a woman who
lives outside the restrictive social codes of her time: a tough rose, alone in
the wilderness.
White Roses in a Glass Vase
Henri Fantin Latour
The meaning of roses may vary according to their color
and number. Apart from love, passion,
secrecy, and beauty, roses may sometimes symbolize death, particularly if they
are white, as it is the case of this elegy by Sharon Olds, “Birthday
Poem for My Grandmother”, where white roses are a recurring symbol,
representing both love and death:
I stood on the porch tonight— which way do we
face to talk to the dead? I thought of the
new rose, and went out over the
grey lawn— things really
have no color at night. I descended
the stone steps, as if to the place where one
speaks to the dead.
The rose stood
half-uncurled, glowing white in the
black air.
Later I remembered
your birthday.
You would have been ninety and getting
roses from me.
Are the dead there
if we do not speak to them? When I came to see you
you were always sitting quietly in the chair,
not knitting, because of the arthritis,
not reading, because of the blindness,
just sitting.
I never knew how you
did it or what you were thinking. Now I
sometimes sit on the porch, waiting,
trying to feel you there like the colors of the
flowers in the dark.
Roses have
transcended mythology, history, literature, and plastic arts to become sources
of inspiration for choreographers as well.
Michel Fokine created the choreography for Le Spectre de la Rose, while Ronald Petit created The Death of the Rose, a ballet with
music by Gustav Mahler from his Symphony No. 5, Adagietto. In it, legendary ballerina Maya Plisetskaya
and Valery Kovtun offer a memorable performance:
No wonder Citizen Kane—considered by many the greatest American movie—revolves
around the protagonist’s final utterance: “rosebud”, and what the word implies. An anecdote is told about Umberto Eco’s novel
The Name of the Rose. When asked about the title of his
masterpiece, he replied that he had the intention to find “a totally neutral
title” and that “the rose is a symbolic figure so rich in meanings that by now
it hardly has any meaning left”. By the
same token, William Faulkner’s reason for giving the main character of his Southern
Gothic tale, Miss Emily Grierson, a rose is equally intriguing. It is important to point out that in “A Rose
for Emily”, the protagonist is nothing less than a murderess. When asked about the meaning of the title,
Faulkner answered: “Oh, it’s simply the poor woman had had no life at all. Her father had kept her more or less locked
up and then she had a lover who was about to quit her, she had to murder
him. It was just ‘A Rose for Emily’—that’s
all”.
Perhaps the quintessential ode
to a rose appears in the play written by Federico García Lorca, Doña Rosita la soltera o El lenguaje de las
flores. The poem depicts a
particular type of rose that lives for a day only, which botanists call “la
rosa mutábile”:
Cuando se abre en la mañana.
roja como sangre está.
El rocío no la toca
porque se teme quemar.
Abierta en el mediodía
es dura como el coral.
El sol se asoma a los vidrios
para verla relumbrar.
Cuando en las ramas empiezan
los pájaros a cantar
y se desmaya la tarde
en las violetas del mar,
se pone blanca, con blanco
de una mejilla de sal.
Y cuando toca la noche
blando cuerno de metal
y las estrellas avanzan
mientras los aires se van,
en la raya de lo oscuro,
se comienza a deshojar.
roja como sangre está.
El rocío no la toca
porque se teme quemar.
Abierta en el mediodía
es dura como el coral.
El sol se asoma a los vidrios
para verla relumbrar.
Cuando en las ramas empiezan
los pájaros a cantar
y se desmaya la tarde
en las violetas del mar,
se pone blanca, con blanco
de una mejilla de sal.
Y cuando toca la noche
blando cuerno de metal
y las estrellas avanzan
mientras los aires se van,
en la raya de lo oscuro,
se comienza a deshojar.
But it is the Bard, with his infinite
wisdom and profound compassion, who expresses concern for the sacredness of the
rose’s life; its right to grow, live, and die undisturbed on its stem:
But earthlier happy is
the rose distill'd
Than that which withering on the virgin thorn
Grows, lives, and dies in single blessedness.
Than that which withering on the virgin thorn
Grows, lives, and dies in single blessedness.
—William Shakesperare
@)—‘,—}—