Wednesday, October 26, 2011

Through Rose-Colored Lenses

I've been reading a great book, Through the Language Glass by Guy Deutscher, whose previous book, The Unfolding of Language, holds an honored spot on my bookshelf - after the dictionaries, of course. The first part of Through the Language Glass addresses the history of color perception, starting with the British Prime Minister Gladstone (a politician in an era when keen intellect was not viewed as a sin) through the modern day. Although the modern progression of color terms is associated with exotic cultures, the pomegranate in the Garden was Gladstone's observation that Homer, known for his graphic similes, used a remarkably small palette (violet, dark, and pale green). I always imagined the maiden Chloris as having eaten something disagreeable! A language will always have a white/light vs. black/dark distinction; next comes red, the color of blood (from which word the term for "red" is often derived) and ripe fruit; then green or yellow, the color of unripe fruit; yellow, green, and blue follow. Blue is a latecomer, perhaps because few things in nature are vibrant blue. Perhaps we need a captive Smurf breeding program - I'm not sure the blue midgets have returned to the DC universe yet. Just as some languages favor when something was done (tense) against how something is viewed (aspect), so too some languages favor brightness over wavelength separation. Other languages prefer to split the colors in various ways - Russian distinguishes light blue from dark blue and Welsh grey-green from vibrant green. There is an entire amusing story behind the bluish tint of green Japanese traffic!

Regular readers of my blog (or, really, anyone who's seen my Favorite Books list on Facebook) will know I have a taste for dystopias, so it is no surprise that I have read Louise Lowry's The Giver. In that dystopia, all are equal, sharing the same birthday and identical gifts. On one particular birthday, all members of an age cohort receive a red bike. The adjective "red" is only attached to the word "bike", and the only sort of "bike" is a "red" one. It's clear from the narrative that the bikes are, in fact, bikes, but here is the question: if "red" and "bike" are always paired, does "red" actually mean anything in this context? Are they completely colorblind or is red the last remaining vestige of color perceived by their dulled senses? Apparently Lowry did her research! After I had read one of Deutscher's paragraphs on the color/shade orange, I examined the orange juice in the fridge and it was indeed a rich yellow rather than true orange. I had never noticed that before, and after my experience with ejective p in basic Korean  vocabulary, I realize how many things individuals gloss over to cope with the overwhelming data stream that is life.

I'm saving Deutscher's discussion of "an ant is on your south foot" languages for another post, since someone else has brought up such matters recently.

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