s that the question about visual semantics is more fundamental one than the question about semantics of colour. In order to explore the semantics of colour terms, it is necessary to explore the context of more fundamental analysis. The whole field of visual semantics is still largely framed in terms of colour: colour is its cornerstone and the validity of this notion as an analytical tool continues to be taken for granted (Wierzbicka +2006, p. 1-3) .to the psychologists, there is a mental model of colours in people s mind. Consequently, it does not make any difference to see the colour or to think about it in terms of our psychological reaction. When we think about a particular colour, our mind immediately finds the appropriate colour model (Dmitrieva 2002, p. 1). Similarly R. Frumkina maintains that the mind of a native speaker models the associations between colour terms and their connotations, fixed in the language. Though, the interrelations between terms and connotations are not understood by the speaker (Фрумкіна 1984, p. 32)., Language is used to describe facts and situations in order to communicate with others. From the denotational perspective, the search for meaning is the way to conceive how the symbols of language relate to reality.
1.3 The Symbolic Meaning of Colour Terms
everyday life, people mainly identify colours by their names and describe their characters by semantic terms, for example, light red, strong blue, etc. Colour names can be employed to generate semantic interpretation, describe the appearance of the image and finally to identify important semantic symbols. In this section, colours are conceptualized as emotions, feelings, reflections and associations due to visual perceptional reasons.symbolism is definitely an integral part of symbolism, especially in literature. According to Juan Eduardo Cirlot, colour symbolism is commonly the outcome of one of the following aspects: a) a fundamental element that each colour has, intuitively understood as a fact of reality; b) the connection between colour and the planetary symbol which is related to that symbol by tradition; or c) the interrelation that is based on elementary logic (Cirlot 2001, p. 53)., in literature, colour terms are one of the most important methods of expressing meanings and ideas in a remarkable and metaphorical way. Yuliya Nelzina proposes the idea that colour symbols generalize and connect the real subjects with ideal ones. Whilst in literary text, symbolic generalization is based on the associative-semantic field of a colour lexeme, ie concepts that stand behind the lexeme, its content. (Нельзіна 2007, p. 145). Colour lexemes express direct, figurative (metonymical or metaphor-metonymical) or symbolic meanings, depending on the relations between colour and the object it is associated with (ibid, p. 143)., The following JE Cirlot s statements are particularly relevant: ( a) Nothing is meaningless or neutral: everything is significant. (b) Nothing is independent; everything is in some way related to something else (Cirlot +2001, p. xxxvi). For instance, if the structure of any object is investigated (whether it is a colour or material), it is always divided into two components: real and symbolic (ibid). According to Jack Tresidder, at the beginning, the most significant symbols were the endeavour to expose the mysterious meaning of humankind existence. Most of them are widely used in psychology due to the fact that they reflect mind and cognition. On the other hand, symbols are able to be imaginary and optional (Tresidder 1999). Hence, colour terms as symbols might have a whole range of various meanings such as direct, literal, traditional, metaphorical and connotative.
2. THE ANALYSIS OF COLOUR TERMS IN JOHN MILTON S POEM PARADISE LOST
prime topic of Paradise Lost is the idea of ??the Fall. The book opens immediately after the fall of Satan and closes on the fall of mankind. Along the way, this fall theme appears again and again in smaller contexts, but always paralleling the idea of ??falling away from the goodness, the grace and light of God. It can also, however, be extrapolated out to hold theological and religious messages, as well as political and social themes. Therefore, Paradise Lost still has the significant interest among scholars even it has been studied from several distinct perspectives.
2.1 The Concept of Red in J. Milton s Poem Paradise Lost
early legends, the different colours are sometimes supposed to be symbolic of various virtues or feelings. Thus, red typified love, green - hope, and blue - truth or faith (Tennyson +2004, p. 149). According to M. Matchi, red has a positive notion if linked to l...
