structure

Introduction
Theory:

• Symbolism

Inspiration

• Bible: The song of songs

Creative writing exercises
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introduction

Symbols are the foundation of human creativity, offering bridges between the tangible and the intangible. They allow us to communicate feelings, ideas, and truths that elude straightforward language. A rose can be more than a flower; it can evoke love, passion, loss, or even revolution. But why do we turn to symbols?

Symbolism arises from our need to navigate ambiguity. It allows us to express what is taboo, unspeakable, or complex without stating it directly. The symbolic is inherently layered: a veil to obscure and a prism to reveal. As writers, our challenge is not just to use symbols but to wield them with precision, balancing their concealment with revelation.

In this lesson, we’ll examine the dual function of symbols—how they enrich narrative, create subtext, and serve as tools for resistance in repressive contexts. We will also engage in the intimate process of constructing personal symbols, reflecting our unique experiences and emotional landscapes.

theory

Symbolism: A language of its own
Symbols in literature and art are not mere decorative devices; they form a subtextual language. They carry cultural, historical, and emotional weight. A writer who employs symbolism creates layered works, where each image, color, or object holds multiple meanings.

The function of symbols

1. Universal resonance: Symbols like the heart or the cross draw from shared cultural knowledge. They transcend language and evoke immediate recognition.
2. Ambiguity and depth: A symbol can mean different things to different people. This openness allows it to resonate broadly while maintaining intimacy.
3. Censorship and subversion: Historically, symbols have been tools of resistance. In totalitarian regimes or repressive environments, artists and writers encoded their messages in symbols to avoid persecution while ensuring their work's survival.

Case study: Symbolism in repression
In the 20th century, Soviet and Eastern Bloc writers relied on symbolism to evade censorship. Anna Akhmatova, for example, used imagery like winter, shadows, and ruins to describe grief and loss under Stalin's regime. These symbols connected her personal pain to collective suffering, offering a lifeline to those silenced by fear.

The risks of symbols
While symbols can elevate a text, they also risk alienating the reader if overused or too obscure. A delicate balance must be struck between accessibility and mystery. Writers must ask themselves: Does the symbol reveal, or does it obfuscate? Does it connect the reader to the core of the narrative, or does it obscure the essence?

inspiration

Cant.1
​[1] The song of songs, which is Solomon's.
[2] Let him kiss me with the kisses of his mouth: for thy love is better than wine.
[3] Because of the savour of thy good ointments thy name is as ointment poured forth, therefore do the virgins love thee.
[4] Draw me, we will run after thee: the king hath brought me into his chambers: we will be glad and rejoice in thee, we will remember thy love more than wine: the upright love thee.
[5] I am black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon.
[6] Look not upon me, because I am black, because the sun hath looked upon me: my mother's children were angry with me; they made me the keeper of the vineyards; but mine own vineyard have I not kept.
[7] Tell me, O thou whom my soul loveth, where thou feedest, where thou makest thy flock to rest at noon: for why should I be as one that turneth aside by the flocks of thy companions?
[8] If thou know not, O thou fairest among women, go thy way forth by the footsteps of the flock, and feed thy kids beside the shepherds' tents.
[9] I have compared thee, O my love, to a company of horses in Pharaoh's chariots.
[10] Thy cheeks are comely with rows of jewels, thy neck with chains of gold.
[11] We will make thee borders of gold with studs of silver.
[12] While the king sitteth at his table, my spikenard sendeth forth the smell thereof.
[13] A bundle of myrrh is my wellbeloved unto me; he shall lie all night betwixt my breasts.
[14] My beloved is unto me as a cluster of camphire in the vineyards of En-gedi.
[15] Behold, thou art fair, my love; behold, thou art fair; thou hast doves' eyes.
[16] Behold, thou art fair, my beloved, yea, pleasant: also our bed is green.
[17] The beams of our house are cedar, and our rafters of fir.

Cant.2
[1] I am the rose of Sharon, and the lily of the valleys.
[2] As the lily among thorns, so is my love among the daughters.
[3] As the apple tree among the trees of the wood, so is my beloved among the sons. I sat down under his shadow with great delight, and his fruit was sweet to my taste.
[4] He brought me to the banqueting house, and his banner over me was love.
[5] Stay me with flagons, comfort me with apples: for I am sick of love.
[6] His left hand is under my head, and his right hand doth embrace me.
[7] I charge you, O ye daughters of Jerusalem, by the roes, and by the hinds of the field, that ye stir not up, nor awake my love, till he please.
[8] The voice of my beloved! behold, he cometh leaping upon the mountains, skipping upon the hills.
[9] My beloved is like a roe or a young hart: behold, he standeth behind our wall, he looketh forth at the windows, shewing himself through the lattice.
[10] My beloved spake, and said unto me, Rise up, my love, my fair one, and come away.
[11] For, lo, the winter is past, the rain is over and gone;
[12] The flowers appear on the earth; the time of the singing of birds is come, and the voice of the turtle is heard in our land;
[13] The fig tree putteth forth her green figs, and the vines with the tender grape give a good smell. Arise, my love, my fair one, and come away.
[14] O my dove, that art in the clefts of the rock, in the secret places of the stairs, let me see thy countenance, let me hear thy voice; for sweet is thy voice, and thy countenance is comely.
[15] Take us the foxes, the little foxes, that spoil the vines: for our vines have tender grapes.
[16] My beloved is mine, and I am his: he feedeth among the lilies.
[17] Until the day break, and the shadows flee away, turn, my beloved, and be thou like a roe or a young hart upon the mountains of Bether.

​Cant.3
[1] By night on my bed I sought him whom my soul loveth: I sought him, but I found him not.
[2] I will rise now, and go about the city in the streets, and in the broad ways I will seek him whom my soul loveth: I sought him, but I found him not.
[3] The watchmen that go about the city found me: to whom I said, Saw ye him whom my soul loveth?
[4] It was but a little that I passed from them, but I found him whom my soul loveth: I held him, and would not let him go, until I had brought him into my mother's house, and into the chamber of her that conceived me.
[5] I charge you, O ye daughters of Jerusalem, by the roes, and by the hinds of the field, that ye stir not up, nor awake my love, till he please.
[6] Who is this that cometh out of the wilderness like pillars of smoke, perfumed with myrrh and frankincense, with all powders of the merchant?
[7] Behold his bed, which is Solomon's; threescore valiant men are about it, of the valiant of Israel.
[8] They all hold swords, being expert in war: every man hath his sword upon his thigh because of fear in the night.
[9] King Solomon made himself a chariot of the wood of Lebanon.
[10] He made the pillars thereof of silver, the bottom thereof of gold, the covering of it of purple, the midst thereof being paved with love, for the daughters of Jerusalem.
[11] Go forth, O ye daughters of Zion, and behold king Solomon with the crown wherewith his mother crowned him in the day of his espousals, and in the day of the gladness of his heart.

The song of songs (FULL)

The Song of Songs, or Song of Solomon, is a treasure trove of symbolic language. Often considered the first love poem in recorded literature, it celebrates human desire and connection while cloaking its passion in natural imagery.

Symbolism in The Song of Songs

1. Nature as a veil: The poem uses fruits, flowers, and landscapes to describe physical beauty and erotic desire. For example:
   • "Your breasts are like two fawns, twins of a gazelle."
   • "Your neck is like the tower of David, built with elegance."
     Here, the physical is spiritualized and symbolized, creating an interplay between the sacred and the sensual.
2. Hidden eroticism: The Song of Songs is remarkable for its ability to suggest intimacy without explicitness. By weaving its eroticism into symbols, it becomes timeless and universal, avoiding the trappings of literal depiction.
3. Ambiguity of ownership: The poem’s symbols allow it to be read as both a celebration of human love and a metaphor for divine love. This duality reflects the enduring power of symbols—they belong to multiple realms simultaneously.

Questions for reflection:

• Why does the poem veil its sensuality in symbols?
• What might it lose—or gain—if its meanings were explicit?
• How do the symbols of nature make the poem accessible across centuries and cultures?

creative exercise

I. Warm-up exercise: Mapping symbols
Symbols are deeply personal, yet they draw from collective understanding. Before diving into the writing prompt, take time to reflect and list:

1. Personal symbols: Think of objects, images, or elements from your life that carry emotional significance. Examples:
   • A childhood toy.
   • A specific tree you always notice.
   • An heirloom.
2. Collective Symbols: Identify symbols widely recognized in your culture or globally. Examples:
   • A red rose (love).
   • A broken mirror (bad luck).
   • A crescent moon (change or divinity).

II. Writing prompt: The symbol-striptease

1. Step 1: Overdress your text
   Write a passage entirely cloaked in symbols. Describe a simple event—a walk in the woods, a moment of anger, a memory—but avoid stating anything directly. Use symbols as layers to conceal the underlying narrative.
2. Step 2: Undress your symbols
   Now begin the symbol-striptease. Remove the layers one by one. Gradually, the underlying meaning should emerge. By the end, your text should be stripped to its raw, emotional truth.

Reflection questions:

• Did the symbols enhance or obscure the narrative?
• Which symbols were most effective in conveying your intended meaning?
• How did it feel to strip away the layers? Did it change your understanding of the text?

stay grounded and motivated!

"Symbols are not just tools for writing; they are ways of seeing. In my summer camps, I often send participants out on “symbol walks.” I ask them to collect objects that catch their attention—a crumpled leaf, a lost key, a shard of glass. These objects, initially meaningless, become imbued with personal significance as we write about them. This exercise is a reminder: we give meaning to the world. A stone is not just a stone when it holds a memory. Similarly, your personal symbols are potent because they are yours. They reflect your history, your perspective, and your unique way of interacting with the world. By learning to see and create symbols, you’re not just writing—you’re reclaiming your voice, your vision, and your way of expressing what others might not dare to say. Carry this practice into your everyday life. Pay attention to the objects, images, and moments that resonate with you. Trust your intuition to find meaning in them. Let your symbols be tools of connection, curiosity, and courage."

​​​​​​​—Anna Ádám
Founder of the School of Disobedience

Photo: Anna Adam