-totem, which was torn up and eaten up, managing certain ritualized actions. Later is the sun, leaders, emperors, gladiators, olympians, defendants and, finally, actors became its personification. p> Consequently, these initial senses became inherent to all things and actions which surrounded these figures - actually to ceremonies and rituals, cities, Olympic and other games, constructions ( to triumphal arches , pillars, to images of lions, to gates, doors, to wreaths on them, to windows) , to things of the daily use ( to a table , a cloth, a chair, awnings, marquees , to a veil, to a carousel ), to a theatre ( comedy and tragedy, stage, orchestra ), to literary genres and other texts of culture, inclusive with ritual food ( sausage, pies, forcemeat and peas) . Eg, such traditional elements of Olympic Games, as letting out of an eagle before their opening (now - pigeons) and crowning the winner with a laurel wreath have the meaning of a victory over forces of death (immortality) . p> In antiquity Olympic struggle was a real hand-to-hand fighting, and it continued until one of the opponents was not killed. Since those times when these games still were a fatal competition, the one who after games remained alive, was crowned with a wreath as a token of a victory over death.
The initial meanings of peas are also unusual for us. Special ritual semiotization of food has led to transferring of "food" semantics to things and phenomena entirely different from food. It is well know, that the clown is often given an epithet " pea fool ", as well as the expression " Under the tsar Pea " (in days of yore). p> Exactly from farces of beans and lentil there was originated a stereotypic expression "a pea clown". In general, both the clown, and tsar once directly personified the universal-cultural basic formula life - death - Revival, and peas (lentil) became associated with them for the reason, that before ritual killing of princeling (and then - his substitute, the slave), they were crowned with a pea straw, echoes of that have reached in some ceremonies almost up to present times. p> "Storm of applause turning into ovation" now is a sign of approval by a public of performance of an actor or report of a speaker. But their original meaning was differed from the modern one. The main character of an ancient theatre was the god of death and revival Dionysius. In a theatrical drama it was the Dionysius-bull or the Dionysius-goat. p> If this goat partially denominates two drama genres, then the sheep denominates a drama of a victory, an ovation . Ovation is a pleasure, a celebration, a wreath that was put on a head of commander which assimilated to a victorious animal (Dionysius-ram-goat) which revives for life during the moment of passage under a triumphal arch. Here we also see a full development of basic formula. p> Similar semantics had also the triumphal arches which are present in many cities of the world. According to O. Frejdenberg, a triumphal arch was a celestial horizon and consequently they had a semicircular arch. The victory of the sun, the occurrence of totem coincides with entrance through a heavenly-afterlife gate, through a triumphal arch which divided the two worlds. The semantics of a triumphal arch as means of overcoming death is better expressed by the fact that sometimes it was constructed for prevention of danger that in itself guaranteed rescue from death. Emperor, solemnly passing under the arch to a circus, appeared as the winner-sun. By this he expressed the idea of ​​overcoming of death, the establishing of life. Here it is easy to see the presence of the basic world outlook formula. p> Often near a gate, doors or on the walls there are represented lions (the so-called " lion's gate "). In their image there was fixed a crossing of "Border" between two worlds, light and darkness. So, stone lions , which are half put out from the house, or just simple images of their muzzles on the walls is the transformed image of an archaic totem which has died and has revived. The universal-cultural formula is also totally presented here. p> A bright erotic-genetic semantics have the doors of houses or gates which indicated a maternal womb. Giving birth, continues O.Frejdenberg, the woman opens and closes the celestial doors. Therefore Janus, the god of door, was called at childbirth. Except the mentioned CUB-semantics the door had also additional meaning which originated from a custom to copulate on a threshold and to hang up a wreath on a door as modern Americans like. p> Traditional night or evening songs (serenades) of an enamoured man under a window (balcony) of his beloved originate from that tradition when a drunk reveller in a "komos" (a night procession) in the end of proces...
