Numerical Symbolism in M. Y. Lermontov’s Novella Shtoss: Mystical and Philosophical Contexts
DOI:
https://doi.org/10.30827/cre.v21.32822Palabras clave:
numerical symbolism, mystical numbers, Mikhail Lermontov, the fantastic, folklore, literary analysisResumen
This article explores the use of numerical symbolism in Mikhail Lermontov’s unfinished novella Shtoss, written in the spring of 1841 and published posthumously. The work is analyzed as a unique example of the synthesis of mystical, philosophical, and existential elements in Russian Romantic prose. The relevance of this study stems from the growing scholarly interest in symbolic structures in literature and their role in shaping a text’s semantic framework.
The aim of the research is to identify the functions of numerical imagery and to determine its role in constructing the mystical and philosophical dimensions of the novella. The analysis employs comparative and textual methods, cultural commentary, and an interdisciplinary approach that incorporates biblical and archetypal traditions.
The author focuses on four key symbolic numbers: 3, 5, 10, and 27, demonstrating that they serve not merely decorative purposes, but act as structural components of the text. Through these numbers, the narrative articulates themes of fate and predestination, the relationship between the material and the spiritual, and the interconnection of individual and collective experience. For instance, the number 27 is linked to tragic predestination and the intersection of the real and supernatural realms, while the number 10 symbolizes harmony and divine order.
Numerical symbolism is examined as a means of modeling the novella’s philosophical and mystical layers, as well as a tool for expressing the protagonist’s existential crisis. Particular attention is given to the connection between numerical imagery and biblical and cultural traditions, allowing for an interpretation of the work within a broad historical and literary context.
The study concludes that numerical symbolism in Shtoss constitutes a central device in the construction of Lermontov’s artistic world, reinforcing the openness and incompleteness of the text as a deliberate literary strategy.
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