COLOR SEMANTICS IN THE EARLY POETRY OF MAKSYM RYLSKYI

Abstract

The article analyzes the symbolism and functions of colours in the early poetic works of Maksym Rylskyi, a prominent representative of the neoclassical literary school. The symbolism of colour deserves special attention, as it played an important role in mythology, worship, folk rites, heraldry, alchemy, fine arts, etc. The paper highlights the most striking and frequent colour schemes in M. Rylskyi’s early works, defines their symbolism and semantics. The most frequently used colours are blue, white, black, gold, red, and green. Other colours are also used sporadically. The semantic content of these units varies: from traditionally established symbolism to the author’s specific interpretation. Blue is associated with harmony and tranquility. It is this colour that is the consolidating nucleus for imagery and diversity for the writer. The combination of gold (yellow) and blue in one context became the norm of poetic word usage. These colour names are associated with the idea of the national revival of Ukrainians, as well as romantic hopes and a challenge to the grey everyday life. White is associated with the concepts of light, sun, life, joy, festivity, and beauty. For Ukrainians, white has been a sacred colour for centuries. It represents the divine, the eternal, the spiritual. Black is traditionally correlated with negative feelings or unpleasant experiences, connoting fear, longing, sadness, despair, and death; it often objectifies metaphorical meanings related to the emotional and psychological state of a person. Green has long been considered a symbol of hope, as it is associated with spring, the awakening of nature, and green fields that are expected to yield a harvest. With the help of colour names, the author creates complex adjectives. We consider most of them to be individual author’s novelties. In the analyzed texts, along with traditional associations, we come across specific, authorial interpretations of the semantics of the used colour schemes. In this case, the colours that are supposed to show a person’s mood and feelings take on a different, often deeply philosophical meaning, turning into the colours of being.