The basis of Andreev's worldview was the "new religious consciousness" of the early 20th century, the mystical quest of Blok, Bely, Voloshin.

[1] Olga Dashevskaya defines the genre of Rose of the World as a metaphilosophical treatise, which, first of all, should be studied by philologists, since it is part of the literary processes of the 1930–1950s, having a powerful philosophical and aesthetic background.

The myth of Rose of the World, both cosmogonic and eschatological, is a coherent, systematized metamythology with an extensive chain of characters and concepts.

According to Alexander Gritsanov, "the extravagant categorical and conceptual series inherent in Andreev's constructions were explained by his desire to reproduce in the spectrum of the traditional sound range those unusual names that were perceived by spiritual hearing".

A special role in the mystery of the formation of mankind is played by people of art, who are the messengers connecting the forces of Light with Enrof (the material Universe of the natural sciences).