'The world will be saved by beauty': The Revival of Romantic Theories of the Symbol in Pavel Florenskii's Works

Abstract

From a study of Pavel Florenskii's (1882–1937) works on the symbol from the 1920s, it is suggested that Florenskii's understanding of symbolism bears witness to the revival of romantic theories at the end of the nineteenth and the beginning of the twentieth centuries. The continuity between romantic theories of the symbol and Florenskii's understanding of the symbolic image has not previously been noted. However, the closeness of Florenskii's writings and Viacheslav Ivanov's on the symbol has been noticed, while Ivanov's indebtedness to the German romantics has long been known. Thus, another relatively little studied dimension of Florenskii's work is uncovered and, in particular, his involvement with Russian Symbolism and with its main theoretical spokesman. Florenskii's understanding of the symbol is seen in the context of developments growing out of the October Revolution, but also, more broadly, as a response to the crisis of modernity. The romantic definition of the symbol, as accepted by Florenskii, is an attempt to restore the lost sense of belonging to 'higher' reality through the ontological identity between 'being' and 'thing'. The mission of art in this project is of fundamental importance and it can be summed up in the famous words of Dostoevskii's character, Prince Myshkin, in The Idiot: 'beauty will save the world'.