Colour denoting vocabulary of Georgian poetry of the 20s of the 20 th Century

Abstract

The following paper ,,Colour denoting vocabulary of Georgian poetry of the 20s of the 20 th Century” studies color-denoting vocabulary-phraseology and color symbolism from the linguistic-culturalperspectives; The work analyzes the words representing the colors in the "Tsisferkantselta’s (A creative union of Georgian symbolist poets and prose writers, which dominated Georgian literature in the 1920s.)" creativity; as well as identifies the symbolic explanation of the color phenomenon in the poetry of "Tsisferkantselta".

The paper begins with the study of the separation of basic colors, but the research is not limited to discussing only primary colors. Apparently, color is sometimes not mentioned in the poems of Georgian symbolists, however, other words are used in such a poetic way that it evokes the association of color and acquires the meaning of color.

In fiction, the symbolic meanings of colors are generally not stable. The same color is sometimes subject to mutually exclusive explanations. In the poems of Georgian Symbolists, blue – mainly sadness, red – is the color of evil,  war and aggression, while yellow is the color of sickness and death. In their poetry, the symbolic meaning of color is multifaceted, sometimes even different. It is true that bright sunshine is the color of nobility, and yellow is the color of life, joy, but this is when the color is in balance.

Every writer appeals to characterize the objects with colours. Some writers’ language is rich with colour indicating vocabulary.

The work reviews existing studies on color theory and the concept of color in general; Chromatic and achromatic colors are grouped according to positive and negative content; The symbolic-semantic aspects of vocabulary are analyzed; It has been researched what are the symbolic meaning of the vocabulary of colors in the poetry of the "Tsisferkantselta", how often the mentioned vocabulary is used and what is the dominant color; The stylistic possibilities of the poetic verse are examined.