Colour symbolism in the "Lake Poets" works / Цветовой символизм в поэзии «Озерного края»
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Introduction 3
Chapter 1. 8
1. Colour Symbolism in Linguistics 8
1.1. Linguistic Approaches to Colour Words 8
1.2. Defining Colour Terms 12
1.3. Lingua-Cultural Remarks on Some Colour Terms 17
2. Peculiarities of Colour Terms in a Poetic Text 18
2.1. The Notion of a Poetic Text. 18
2.2. Role of Colour Terms in Poetry 21
2.3. Functions of Color Terms in Poetry 23
3. Method of Analysis of Colour Terms in The ‘Lake Poetry’ 24
3.1. Symbolism in The ‘Lake Poetry’ 24
3.2. Main Aspects of the Analysis of Colour Terms 26
Chapter 1 Summary 33
Chapter 2. 38
1. Basic colour terms in the ‘Lake Poetry’. 38
1.1. Green 38
1.2. Red 47
1.3. Yellow 50
1.4. Blue 53
1.5. White 54
1.6. Black 58
2. Mixed colour terms in the ‘Lake Poetry’. 62
3. Prototypical referents in the ‘Lake Poetry’. 66
4. Examples of Colour Palettes in the ‘Lake Poetry’. 68
4.1. “An Evening Walk” by W. Wordsworth 70
4.2. “Descriptive Sketches” by W. Wordsworth 72
4.3. “The rime of the Ancient Mariner” by S. T. Coleridge 75
4.4. “Christabel” by S. T. Coleridge 80
Chapter 2 Summary 82
Concluding remarks 85
List of references 88
Chapter 1. 8
1. Colour Symbolism in Linguistics 8
1.1. Linguistic Approaches to Colour Words 8
1.2. Defining Colour Terms 12
1.3. Lingua-Cultural Remarks on Some Colour Terms 17
2. Peculiarities of Colour Terms in a Poetic Text 18
2.1. The Notion of a Poetic Text. 18
2.2. Role of Colour Terms in Poetry 21
2.3. Functions of Color Terms in Poetry 23
3. Method of Analysis of Colour Terms in The ‘Lake Poetry’ 24
3.1. Symbolism in The ‘Lake Poetry’ 24
3.2. Main Aspects of the Analysis of Colour Terms 26
Chapter 1 Summary 33
Chapter 2. 38
1. Basic colour terms in the ‘Lake Poetry’. 38
1.1. Green 38
1.2. Red 47
1.3. Yellow 50
1.4. Blue 53
1.5. White 54
1.6. Black 58
2. Mixed colour terms in the ‘Lake Poetry’. 62
3. Prototypical referents in the ‘Lake Poetry’. 66
4. Examples of Colour Palettes in the ‘Lake Poetry’. 68
4.1. “An Evening Walk” by W. Wordsworth 70
4.2. “Descriptive Sketches” by W. Wordsworth 72
4.3. “The rime of the Ancient Mariner” by S. T. Coleridge 75
4.4. “Christabel” by S. T. Coleridge 80
Chapter 2 Summary 82
Concluding remarks 85
List of references 88
This paperstudies the colour terms, which are words or phrases referring to a specific colour, in poems by William Wordsworth, Samuel Taylor Coleridge and Robert Southey, the poets of the Lake District. Theycontributed to the English Romantic poetry. It focused on sensual and personal experiences, offering new imagery and tropes among which were means of colour rendering. Considering the innovative approach of the ‘Lake Poets’ to language of artistic expression, it deemsvalid to research colour terms in their poetry. Therefore, it would be possible to establish whether they contributed to further development of colour metaphors in the English language.
The relevance of the work is the study of literary material in the framework of linguistic and lingua-cultural paradigms. The papers on the analysis of the poetic text do not provide the completed methodology on the analysis of the words and phrases with a component “colour”, however colour terms are often observed on the lexico-semantic field. This paper providessuch a method of analysis of colour terms and a colour-based lexical unity, which is called a colour palette, in a poetic text (based on the poetical works of the Lake Poets works).
The scientific novelty of this study is an attempt to identify and classify the colour terms in poetry of W. Wordsworth, S. T. Coleridge and R. Southey within a linguistic framework. Their functions, most frequently used colour terms and interconnections between them are investigated.
The theoretical significance of this research lies in its contribution to the field of linguistics and theory of Literature. The results of this work can be used to further develop these fields, as well as to provide a more structuralized understanding of the use of colour terms in poetry. Additionally, the schemes and patterns developed for identification of the role of colour terms can be useful in clarifying the use of literary devices in courses on theory of poetry or analysis of a poetic text and revising critical analyzes of Romantic-era literature.
Main findings to be defended:
1. Colour terms in the poetry of the ‘Lake District’ are few in number and cannot be characterized as a prominent feature of this literary movement.Basic colour termsprevail over other colour terms. The most frequent colour terms are “green”, “white”, “red”, “blue”. Though the imagery language lacks outstanding colour symbolism, the similes with a colour term as a connective are presented with original vehicles.
2. Colour terms in the ‘Lake Poetry’ contribute to the figurative language and metaphors not only by the singular meaning of the colour lexemes, but by their combination as well. As a result, the combination of colour terms may sustain asserting or contrasting the ideas in the poems. The most popular construction build with the colour terms is the word combination “adj + noun”.
3. The colour term“purple” often represents the symbolic meaning of “royalty”, “crimson” colour term is usually found in the context of closeness to death. Red and white colour terms reveal ambivalence in the meaning as they may be the characteristic of both positive or negative images or characters in the ‘Lake’ poetry.
4. “Green” colour term is the most frequently used colour in poetry by W. Wordsworth and S. T. Coleridge. It is often accompanied by the other colour terms, making combinations with them. Mostly, this colour term represents the symbol of Nature, mainly using it as a setting, which is typical for the Romantic literature. “Orange”, “pink”, “brown”, “yellow” colour terms are rarely performed in the poetry by W. Wordsworth, S. T. Coleridge and R. Southey.
5. The group of colour words describing a property of colour (pale, dark, light) are used more than colour terms. However, they are a characteristic referring not only to a colour, that is why they cannot be counted as colour terms and examined the same way.
...
The relevance of the work is the study of literary material in the framework of linguistic and lingua-cultural paradigms. The papers on the analysis of the poetic text do not provide the completed methodology on the analysis of the words and phrases with a component “colour”, however colour terms are often observed on the lexico-semantic field. This paper providessuch a method of analysis of colour terms and a colour-based lexical unity, which is called a colour palette, in a poetic text (based on the poetical works of the Lake Poets works).
The scientific novelty of this study is an attempt to identify and classify the colour terms in poetry of W. Wordsworth, S. T. Coleridge and R. Southey within a linguistic framework. Their functions, most frequently used colour terms and interconnections between them are investigated.
The theoretical significance of this research lies in its contribution to the field of linguistics and theory of Literature. The results of this work can be used to further develop these fields, as well as to provide a more structuralized understanding of the use of colour terms in poetry. Additionally, the schemes and patterns developed for identification of the role of colour terms can be useful in clarifying the use of literary devices in courses on theory of poetry or analysis of a poetic text and revising critical analyzes of Romantic-era literature.
Main findings to be defended:
1. Colour terms in the poetry of the ‘Lake District’ are few in number and cannot be characterized as a prominent feature of this literary movement.Basic colour termsprevail over other colour terms. The most frequent colour terms are “green”, “white”, “red”, “blue”. Though the imagery language lacks outstanding colour symbolism, the similes with a colour term as a connective are presented with original vehicles.
2. Colour terms in the ‘Lake Poetry’ contribute to the figurative language and metaphors not only by the singular meaning of the colour lexemes, but by their combination as well. As a result, the combination of colour terms may sustain asserting or contrasting the ideas in the poems. The most popular construction build with the colour terms is the word combination “adj + noun”.
3. The colour term“purple” often represents the symbolic meaning of “royalty”, “crimson” colour term is usually found in the context of closeness to death. Red and white colour terms reveal ambivalence in the meaning as they may be the characteristic of both positive or negative images or characters in the ‘Lake’ poetry.
4. “Green” colour term is the most frequently used colour in poetry by W. Wordsworth and S. T. Coleridge. It is often accompanied by the other colour terms, making combinations with them. Mostly, this colour term represents the symbol of Nature, mainly using it as a setting, which is typical for the Romantic literature. “Orange”, “pink”, “brown”, “yellow” colour terms are rarely performed in the poetry by W. Wordsworth, S. T. Coleridge and R. Southey.
5. The group of colour words describing a property of colour (pale, dark, light) are used more than colour terms. However, they are a characteristic referring not only to a colour, that is why they cannot be counted as colour terms and examined the same way.
...
The discussion of the terminology is under consideration in the first chapter, as the complicity of the words that denote colours reveals the following problems: firstly, there is no unification in the lexical form of colour nominations, secondly, the level of occurrence of colour nominations (especially, hues) is different within cultures, regions, groups of societies, which leads to the struggles in identification of colour words. The first issue has been solved by restriction of the analyzed material in the paper to the colour terms, and giving the additional commentaries to the other colour words as means of sustaining the picked colour nominations. The second issue was the impetus for the proposed classification as the examined material represents a particular culture, region and groups of society. Therefore, the classification suggested in this research is applicable for the Lake District Poetry only.
Regarding the literary ideas that provide the interconnection between the poetic structure and the elements of its layers, it deems reasonable to examine the colour terms as means of the imagery within this structure. In other words, the meaning of the colour terms is identified by the context, first of all, and then by the cultural, regional, linguistic, social, literary peculiarities. Thus, the use of colour terms in poetry is determined by a certain number of colour terms, that stick to some major symbols and introduce a particular for the other set of views. It is impossible to establish the author’s vision of their poetry, but the paper aims establish the meaning of colour words in poetry by W. Wordsworth, S. T. Coleridge and R. Southey as means of colour symbolism identifying their symbolism accepted in the English culture and original symbolism peculiar for these poets.
In order to provide a linguistic analysis of the units of language referring to colours, the study has set a method, which is based on the semantic and lexical repetition, which means that the interconnections of the colour terms were examined only in case, when a colour lexeme, or its part, rendering the property of a colour was repeated through the other colour nominations, or the words containing a semantic component “colour”. From both perspectives mentioned, basic colour term “green” is the most popular in the ‘Lake Poetry’. Approximately a half of poems by W. Wordsworth maintains this word, and even more provide the words and phrases associated with this colour term. Usually this group of words is represented by a lexical field “vegetation”. The similar tendency might characterize the poetry by S. T. Coleridge. The approximate number of colour terms “green” in his poetry exceeds 100 words.
The main direction in symbolism of green is the representation of Nature as a powerful Source. It isn’t represented as a positive setting or value though, quite often the attitude is neutral. The vision of Nature, represented by green locations mostly shows Nature as a genuine, undisturbed place, where some part of a human, his spiritual side, may restore in this “sanctuary” and reunite with his cradle, on the other hand, the other part belongs to the civilization, which characterized sometimes as a sinful place. On the opposite, the Nature symbols, enhanced by green colour term sometimes represents the positive image of the heavenly garden – Eden.
The Lake Poets tend to use single colour terms in their poetry rather than colour palettes.The poems, in which the number of colour terms exceeds 10 words is not typical. When the situation is opposite and the poem introduces imagery, rich by the colour terms, we can examine these units as components of a colour palette, that is to estimate them systematically within one unity of images represented by colour nominations.
The Lake Poets use basic colour terms mostly. Thus, the following colourterms prevail in the literary language of the poets of the ‘Lake District’: green, white, gold, red, blue, purple. Often these colour terms are found in combinations and even the colour palettes, conjuring the unique impression and meaning. “Red” and “gold” accentuate the meaning of the object they denote or a symbol they refer to. “Green” and “white”, as a rule function as a backgrounding, highlighting the meaning of the objects, opposite to these colour terms. “Blue and purple” act both like accents and background in the “Lake poetry” and it seems challenging to establish a unitary explanation of their use.
The colour terms denoting red hues are distinguished more than others, including crimson, scarlet, rosy. The colour terms denoting blue and its hues azure, sapphire, cerulean, teal are often referred to the Heaven and symbolize “faith”.
Yellow and orange and pink hues of the colour spectrum are used the least. To highlight the hues opposite to the triad “green-blue-purple” the referential prototype “gold(en)” is used and a group of lexemes showing the level of brightness “light”, “bright”, “brilliant”.
In terms of literary devices, the most popular figurative means with a colour term is an epithet, secondly, a simile with a construction “as X as Y”, then a metaphor.
In conclusion, it is worth mentioning, that the ‘Lake District’ poetry doesn’t exploit colour terms and colour symbolism as means typical for this literary movement. However, the further investigation of the poetry by different authors with the use of the suggested method of analysis of colour terms, may reveal curious tendencies in the use of their imagery.
Regarding the literary ideas that provide the interconnection between the poetic structure and the elements of its layers, it deems reasonable to examine the colour terms as means of the imagery within this structure. In other words, the meaning of the colour terms is identified by the context, first of all, and then by the cultural, regional, linguistic, social, literary peculiarities. Thus, the use of colour terms in poetry is determined by a certain number of colour terms, that stick to some major symbols and introduce a particular for the other set of views. It is impossible to establish the author’s vision of their poetry, but the paper aims establish the meaning of colour words in poetry by W. Wordsworth, S. T. Coleridge and R. Southey as means of colour symbolism identifying their symbolism accepted in the English culture and original symbolism peculiar for these poets.
In order to provide a linguistic analysis of the units of language referring to colours, the study has set a method, which is based on the semantic and lexical repetition, which means that the interconnections of the colour terms were examined only in case, when a colour lexeme, or its part, rendering the property of a colour was repeated through the other colour nominations, or the words containing a semantic component “colour”. From both perspectives mentioned, basic colour term “green” is the most popular in the ‘Lake Poetry’. Approximately a half of poems by W. Wordsworth maintains this word, and even more provide the words and phrases associated with this colour term. Usually this group of words is represented by a lexical field “vegetation”. The similar tendency might characterize the poetry by S. T. Coleridge. The approximate number of colour terms “green” in his poetry exceeds 100 words.
The main direction in symbolism of green is the representation of Nature as a powerful Source. It isn’t represented as a positive setting or value though, quite often the attitude is neutral. The vision of Nature, represented by green locations mostly shows Nature as a genuine, undisturbed place, where some part of a human, his spiritual side, may restore in this “sanctuary” and reunite with his cradle, on the other hand, the other part belongs to the civilization, which characterized sometimes as a sinful place. On the opposite, the Nature symbols, enhanced by green colour term sometimes represents the positive image of the heavenly garden – Eden.
The Lake Poets tend to use single colour terms in their poetry rather than colour palettes.The poems, in which the number of colour terms exceeds 10 words is not typical. When the situation is opposite and the poem introduces imagery, rich by the colour terms, we can examine these units as components of a colour palette, that is to estimate them systematically within one unity of images represented by colour nominations.
The Lake Poets use basic colour terms mostly. Thus, the following colourterms prevail in the literary language of the poets of the ‘Lake District’: green, white, gold, red, blue, purple. Often these colour terms are found in combinations and even the colour palettes, conjuring the unique impression and meaning. “Red” and “gold” accentuate the meaning of the object they denote or a symbol they refer to. “Green” and “white”, as a rule function as a backgrounding, highlighting the meaning of the objects, opposite to these colour terms. “Blue and purple” act both like accents and background in the “Lake poetry” and it seems challenging to establish a unitary explanation of their use.
The colour terms denoting red hues are distinguished more than others, including crimson, scarlet, rosy. The colour terms denoting blue and its hues azure, sapphire, cerulean, teal are often referred to the Heaven and symbolize “faith”.
Yellow and orange and pink hues of the colour spectrum are used the least. To highlight the hues opposite to the triad “green-blue-purple” the referential prototype “gold(en)” is used and a group of lexemes showing the level of brightness “light”, “bright”, “brilliant”.
In terms of literary devices, the most popular figurative means with a colour term is an epithet, secondly, a simile with a construction “as X as Y”, then a metaphor.
In conclusion, it is worth mentioning, that the ‘Lake District’ poetry doesn’t exploit colour terms and colour symbolism as means typical for this literary movement. However, the further investigation of the poetry by different authors with the use of the suggested method of analysis of colour terms, may reveal curious tendencies in the use of their imagery.
