"The Narcissus in crystal": a typology of floronyms in the lyrics of Anna Akhmatova

The article is devoted to the study of constructions with references to flowers (floronyms) in A.A. Akhmatova's lyrics. The frequency of usage of phytonyms' nominations, including their specific case – designations for flowering plants, is systematized. The peculiarities of linguistic representation of natural vocabulary are investigated. The main aspects of floronyms functioning are highlighted: reconstruction of a real landscape with elements of psychological extrapolation of characters’ feelings ("psychological landscape"), interpretation of cultural concepts related to flowers (so-called “floriography”, language of flowers), biographical and literary-critical elements in constructions using floronyms. Groups of phytonyms are differentiated according to their semantic and semiotic significance in the artistic worldview of A.A. Akhmatova, which allows relatively accurately reconstructing her individual authorial model of the artistic world that uses names of flowers and other plants, identifying the main trends in the use of floronyms in poetic texts taking into account the level of metaphorization processes and recreation of the "psychological landscape," transmitting feelings and emotions of characters through plant naming in poetic discourse. Cases of variable context naming of particular flora species are generalized, emphasizing unique personal preferences of the author regarding choice of specific denominations from the plant world. Special attention is paid to symbolic content of flower images in Akhmatova’s work, their role in shaping aesthetic space of her poetry, connection between natural motives and emotional state of lyrical heroes as well as autobiographical aspects of poetess’ creativity. Characteristic techniques of image creation built on interaction between natural and psychological components in Akhmatova's poetics are analyzed. The role of floronyms as significant elements of expressiveness and cultural memory underlining uniqueness of Anna Akhmatova's individual creative style is emphasized.

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