Неоромантическая литовская поэзия: символика цвета

ENThe paper analyzes the characteristics of colour symbolism in Lithuanian late neo-romanticist poetry of the fourth decade of the 20th century produced by jonas Aistis, Bernardas Brazdžionis, Antanas Miškinis, and Salomėja Neris. Traditional connotations of colours help Lithuanian moromanticists create an emblematic depiction of Lithuania and Lithuanians, reflect the most common existential modes of a lyrical subject. Colour is very important for the poets in revealing bonds between human and nature. Each poet conveys the individual poetic worldview in different colours. Antanas Miškinis' poetry has the most universal connotations of colour. He is the poet of visual colour impressions. There is a special indirect colour rendering in his poetry. Miškinis likes to contrast the traditional values of colours with the context of a poem. Bernardas Brazdžionis can be described as a poet of categorical colours. His poetry is based on the universal opposition of black and white. This colour opposition expresses the moral image of both the lyrical subject and the nation, as well as their self-identification. Jonas Aistis, the poet of pain and catharsis, individualizes connotations of colours most of the poets studied. Green and blue colour versions reflect the individual and unique feeling and mood - frustration, tiredness, grief, transparent sadness, and pain. The unique combination of black and red is the colour of creative and liberating passion, that of catharsis. Salomėja Neris is the most optimistic poet in her use of colours. She is the poetess of youth. Salomėja Neris likes white and yellow colours very much. These colours hold the identity of a lyric subject. They denote a dreamer woman, a free demonstration of feelings. To sum up, the colour is much more important in revealing the feelings of the individual states, and reflecting the poets' creative decisions.