Ribbon of letters. Educational visual aid for primary school
“Tape of Letters” is a visual educational aid necessary for teaching children to read and write. preschool institutions and students primary school. During the period of literacy training to improve the level of the material being studied. Children become familiar with sounds and letters, acquire reading skills, and develop the ability to carry out sound-letter analysis of a word.
"Letter Tape" illustrates basic concepts from the field of phonetics "sound versus letter"; vowels and consonants; consonant sounds are soft and hard, paired and unpaired, voiceless and voiced, indicating the hardness and softness of consonants.
Material: the manual is made of cellulose cardboard with a density of at least 250 grams, the size of the manual is 140x25 cm, on the front side there is a plastic coating with a thickness of 13 microns.
Place of attachment: the best place in the classroom for this manual is above the chalkboard.
On " Tape of letters", the letters are arranged in 2 rows. Vowels are highlighted in red.
The vowels of the upper row (A, O, U, Y, E) indicate the hardness of the consonant sounds after which they follow.
The vowels of the lower row (Ya, Yo, Yu, I, E) indicate the softness of the consonant sounds after which they follow.
The letters N, M, L, R, B, V, G, D, Z, P, F, K, T, S, X (highlighted half in blue, half in green) - indicate hard and soft sounds.
Ж, Ш, Ц (blue letters) are always hard sounds.
Y, CH, Ш (green letters) - always soft sounds.
The consonants in the top row are voiced. The consonants in the bottom row are unvoiced.
The letters b and b - (black letters on a white background) do not indicate sounds.
Size: 140 cm x 25 cm, laminated with matte film.As a child, did you ask yourself what color is the letter A? What color is number 7? Strange questions, right? But I decided that the Lingoberryjam blog should live up to its name, and added a new section - “Mutants”. This section will be devoted not to natural languages, but to synthetic products of linguistic engineering. Here I will write about universal, constructed languages, unusual forms recording words, magical alphabets and other bizarre linguistics. And I would like to start with color, color alphabets.
I don't know how many such alphabets exist in nature. Apparently, there are a dozen or so complete and logical ones, or even more. But in the hour while I was collecting information for this post, I counted five well-known ones. Each recording system has its own logic, its own “ideological core,” and its own design. Some look like bar codes for cash registers, others look like colored hieroglyphs. Their authors live from Alaska to Rio de Janeiro. I propose to support the domestic manufacturer - consider Tsveto-Alphabet/Colorbet by the Russian scientist Vitaly Vetash. His system seems logical and poetic to me at the same time.
This is what its color form of writing words looks like. Pay attention to the width of the squares. Vowels should be twice as wide as consonants. Sounds under stress are one and a half times wider. The choice of colors is not accidental. Vetash relies on the work of psycholinguists who have studied how people perceive sounds.
They, these scientists, believe that subconsciously we connect sounds and emotions into one semantic node. Listen to the children: they scare with the sound “U”, they rejoice using the sounds “I”, “A”. At the age of six, children begin to fantasize that every sound, letter or number has its own color. This goes away over time, but not for everyone. Some adults have color hearing for the rest of their lives. (For example, the composer Rimsky-Korsakov could see the colors of sounds). The Russian philologist, one of the founders of phonosemantics, A.P. wrote a lot about this. Zhuravlev.
As for Colorbet, Vitaly Vetash writes that the sound palette of any language can be created from three sounds A, I, U. In the same way, any picture can be painted using red, blue and yellow.
“As you know, the whole variety of color shades is based on the mixing of the three main rays of color (red, yellow and blue), as well as light and shadow. We can find a similar pattern in phonetics, where the richness of vowel sounds comes from the combination of the triangle of basic sounds (A, I, U), which form all the other vowels.”
So A is red. I - blue. U – yellow-green. By the way, I have often heard that the letter A is red. But when I was a child, I thought she was white. E – yellow. And - for me it was always red (in Colorbet it is sky blue). O – gray metallic.
The color of other vowels and consonants depends on how close they are to A, U, I. This refers to the position of the tongue in the larynx, muscle tension, and so on.
“According to the “front” I (blue) and E (strontian-green), the anterior and middle lingual, dental sounds (S, Z, T, D, etc.), which have blue-green and gray shades, are colored. The labial consonants (B, P, V, F, etc.) are colored according to the labial U (green) - from warm green to emerald shades.”
Remember yourself, ask your children and compare their answers with the sound system of Vitaly Vetash.
Interestingly, Vitaly and his wife Samira have been involved in psycholinguistics (the connection between sound and color in human perception) since the 1980s. Before the Color Alphabet, Vitaly developed and created Interbet, an alphabet combining the Cyrillic and Latin alphabet. In addition, the Vetash spouses are famous and respected astrologers. By the way, astrology is a very interesting language in itself. If you are interested in learning more about this, leave a comment and I will write.
Yes, and more. You can learn about Colorbet, Interbet and color forms by following this link. Enjoy!
Why? Maybe because drawing an analogy between 7 primary colors and 7 basic notes suggests itself, or maybe because musicians are less likely to disagree in their assessments of color and its correspondence to sound. Much has been written about the color hearing of A. Scriabin, who saw musical sounds in color. An entire direction in art - color music - is based on this property of music sounds.If we talk about the correspondence between letters and colors, then we find ourselves in a very ambiguous situation. Many writers and linguists made such analogies in their time, but their assessments most often do not coincide and are rather subjective and emotional. So A. Rimbaud even wrote a sonnet “Vowels”, in which he colored the sounds like this: “A - black; white - E; I - red; U - green; O - blue: I will tell their secret in my turn...”. But the French linguist K. Nyrop attributed completely different colors to vowels: he considered I to be blue, U to be bright yellow, and A to be red. The German linguist A. Schlegel wrote that for him I is sky blue, A is red, O is purple. But the Russian poet A. Bely claimed that to him A seems white, E - yellow-green, I - blue, U - black, O - bright orange. If we continue to name individual judgments about the color of vowels, then each sound will turn out to be painted in all the colors of the rainbow.
So, in this case, are there any definite sound-color correspondences at all? Isn't this fantasy? Or perhaps randomly arising unstable associations between sound and color? Is it possible that sound connections are a consequence of exceptionally finely designed perception mechanisms of individual people?
Various answers were given to these questions, but most often they agreed that the connection “speech sound - color” is a rare, purely individual phenomenon. Let's try to understand this issue, leaving aside the emotional perception of both colors and letters. First, let's figure out what we mean by the concept of LETTER.
Linguists consider the vowels A, O, E, I to be the main ones, supporting ones for the human speech apparatus and the main ones in all languages. Indeed, these letters are present in all European languages. Precisely European ones.
When we talk about the correspondence of musical sound to color, we also consider exclusively the European mentality, European perception. Firstly, 7 notes are the same symbol, like 7 colors. The eastern pentatonic scale is no worse or better than the European 12 semitone system, or, say, the ancient Greek tetrachord, this system is simply based on a different principle of sound temperament. European musical culture has long used a common terminological base and has a rich music library represented by world-famous composers, performers, and musicologists. Music is a pan-European language, understandable without additional explanation or adaptation, both in Rome and in Moscow.
Now let's get back to the LETTER. The first problem that has already become obvious is the lack of a common European language. Or rather, our native, national language influences not only the way of thinking, but also our perception of the world around us. It follows that, say, French A and Russian A are not the same letter, which means they will not only have a different physiological effect on a person, but also cause other psychological associations. In this work I will turn to the analysis of the Russian language, although this technique can be applied to any other European language.
The basic letters of the Russian language, as mentioned above, are the vowels A, O, E, I. The letters E, E, Y, U, Y, Yu are intermediate or composite, that is, formed from two main vowels, as well as auxiliary ones . Four basic letters are included in the names of the basic colors: RED, ORANGE, YELLOW, GREEN, BLUE, BLUE, VIOLET.
When we talk about the correspondence of sounds and colors, we rely on sound-color associations. Apparently, the “collective intuition” of native speakers is manifested here: the color structure of the world is reflected in the color structure of the language. The names of the main colors occur most often in speech, and the sounds O, A, E, and I are the most frequent of the vowels. That is why we can talk about the relationship between the names of primary colors and vowel letters: a connection can be traced - the name of a certain color contains the corresponding “colored” sound, and it occupies the most important position in the word - the stressed position (red, blue). Looking ahead, I will say that the remaining vowels have a tint, as do the colors with which they are associated.
It is worth noting that the names of some colors came into our language from other languages, so it is difficult to talk about the impact of color on its names and mental associations caused by the influence of color. It is also impossible to consider using the proposed method those names of colors that are derivatives that have taken their properties from an object or phenomenon: coffee, lilac, cherry, etc.
Here it is worth drawing your attention to the fact that these are only theses that cannot be confirmed without a comprehensive study and a series of experiments. Research conducted by other authors cannot be used in its entirety in my work, because The researchers set other goals and objectives and used their own scale to summarize results.
If we turn to the research conducted by A. Zhuravlev, we will see interesting results. The idea of the experiments is simple: the reactions of many subjects to a certain stimulus are recorded, and then statistical processing of the resulting material follows in order to identify the main trends in the reactions. The recording technique is varied: subjects are either presented with speech sounds - they need to select colors to match them, or they are presented with various color cards- you need to write sounds on them, or you are given the task to arrange the sounds by color, say, from “the reddest” to the “least red,” “the bluest” to “the least blue,” etc.
Many such experiments with thousands of informants have shown that in the overwhelming majority of subjects, at least the vowels are colored quite definitely. Opinions are especially unanimous regarding the three vowels - A, E, I. The sound and the letter (sound letter) A are quite consistently called red, E is clearly green, and I is definitely blue. Everyone considers the sound letter O to be light and bright, but although most subjects call it yellow, the answers “white” are still quite common. It turns out that it is sunny. If we do not delve into the experiment, but simply use its results, we will see the following picture of color-letter associations:
And deep red
O light yellow or white
E green
And blue
This experiment once again confirms the fact that color is directly dependent on the name we give it. There is one feature here - the personal factor. The fact is that the name of the color and the color corresponding to it are what we learn from childhood, perceiving the associations of parents, teachers, and friends. This fact is easily visible when we talk about ambiguous, mixed colors: purple, lilac, turquoise, light green, emerald, scarlet, etc. If you offer a respondent 5 cards with colors that are similar in tone, he often finds himself in a difficult situation when he cannot choose a color that matches the name and vice versa. This is due to the fact that we have not developed any system for studying color; most often, from an early age, children use a palette of 12 or even 6 colors, while their names are always arbitrary, because Paint manufacturers rarely adhere to any standards. It seems to me that this situation is one of the main reasons for the lack of research on this topic, an objective assessment of color-sound associations. Therefore, in my work I turn to primary colors and their corresponding sounds, leaving aside studies of sounds such as U, E, Y, E, Ya, Y, Yu, Yo.
Of course, in the list of reasons for the lack of development of this topic, a large place is occupied by the fact that not everyone has sound-color correspondences equally firmly fixed in the subconscious. There are subjects who in all experiments show clear and uniform results that coincide with the “collective opinion” of all respondents, and there are also those whose answers in different experiments are contradictory, unstable, and no specific coloring of sounds can be traced from their answers. It is important that the majority of subjects, in general, consistently and fairly uniformly establish very definite connections between sound and color, although almost no one is aware of this.
In my work, I want to pay special attention to the mental associations that arise when drawing analogies between color and letter. So:
Letter A: scarlet, red - flame, sunset - danger, attention. Red color - exciting, revitalizing, active, energetic; The letter A, standing in an unstressed position, emphasizes the strength, density (opacity) of color; another interesting fact is that the sound A is like a derivative, added percussion sound gives the effect of power, intensity and color saturation: BLUE, BLUE, BLACK.
Letter E: green, yellow-green - forest, greenery - relaxation. Green- calm, creates a peaceful mood; The sound E gives the color transparency and fade.
Letter O: yellow, sunny - fire, sun - vigor, freedom. Yellow color is warm, invigorating, cheerful, attractive, cheerful, fiery; In naming a color, the sound O speaks of fluidity, ambiguity, and the possibility of transition to another tone. Yellow-green, red-yellow, etc.
Letter I: blue - lyrics, poetry - silence, loneliness; Blue color - calm, serious, gentle, sad, melancholy, sentimental;
Using the most common color and sound associations developed in my work, it is possible to analyze works of poetry and prose. Moreover, the result can be achieved in two ways: in different ways:
1. Analysis of the text of the work and identification of several dominant vowels that are in stressed position in the work. This will make it possible to give the entire work a certain unified, dominant color. Thus, turning to the results of a study conducted by A. Zhuravlev, one can see the following results
Alexander Blok
"Gamayun, the prophetic bird" - dark red, dark blue-green
Sergey Yesenin
"The golden grove dissuaded..." - yellow, green
“The scarlet light of dawn was woven on the lake...” - red, dark blue-green
"The air is clear and blue" - blue
"Green hairstyle, girlish breasts..." - green, dark blue-green
Arseny Tarkovsky
"Before the leaves fall" - yellow, red
I stanza - yellow
Stanza II - dark blue
III stanza - red
"Tits" - blue
"You lilacs, lilacs" - blue-green
"Rain" - dark blue-green
"Peter's Executions" - crimson
"May Vincent Van Gogh forgive me" - yellow, dark blue
A. Voznesensky
"Chagall's Cornflowers" - blue, greenish
"Fire in the architectural" - red, blue
"Lilac "Moscow - Warsaw" - blue-green
"Cleansing" - dark blue, white and yellow.
I will not dwell in detail on the results of this study, since they have been published and are quite well known; if you want to learn more about them, you can refer to the book by A. Zhuravlev.
2. Method of line-by-line analysis of a poem, isolating changing color “stripes” and slides. This is one of the most interesting issues that modern multimedia is designed to solve; for a complete and voluminous perception of poetry, it is possible to create color slides that will be designed to fully convey the mood of the poem, to create a base, a foundation on which the perception of poetry will be built.
Somehow we came across the sonnet “Vowels” by the French poet Arthur Rimbaud. I quote it in translation by A. Kublitskaya-Piottukh:
A - black; white - E; I - red; U is green.
O - blue: I will tell their secret in turn,
Which buzz above the stench of sewage.
E - whiteness of canvases, tents and fog.
The sparkle of mountain springs and fragile fans!
U - tremulous ripples of wide green waves,
Calm meadows, peace of deep wrinkles
On the laboring brow of gray-haired alchemists.
What is this - a strange fantasy of the poet? Or some peculiarity of the perception of sounds by a finely organized poetic soul? Or maybe vowels are really “colored” in the perception of all native speakers?
We decided to conduct a simple test experiment. On the board, six vowels E, O, Y, U, I, A are written in a line. On the side in a column are the names of six colors: red, black, blue, yellow, green, white. Assignment to informants: write which of the six colors, in your opinion, each of the vowels is painted in; If you can’t decide, write at random.
The experimenter should not explain anything and, of course, in no case should he give any examples, evidence or his own considerations in favor of certain decisions. Informants work independently and anonymously.
Already the first results simply stunned us: almost everyone wrote “red” against A, And for the majority “blue”, O - “yellow” or “white”, Y - “black”.
Needless to say, our entire group immediately switched to sound and color experiments. We carried out many of them, using different methods, interviewing more and more new informants. We checked and rechecked the results. Until, finally, we were finally convinced that the vowel sounds of speech in our perception are quite definitely and basically the same color for everyone, although we do not realize this.
If we also take into account the results of measuring the significance of vowels on “light” scales (“light - dark” and “bright - dull”), then for vowels the sound-color correspondences can be characterized as follows:
A - bright red,
O - bright light white or white,
And - light blue,
E - light yellow-green,
U - dark blue-green,
S - dull dark brown or black.
The colors of the vowels turned out, however, not at all the same as in Rimbaud, but we forgot about the sonnet for now - after all, we discovered a new and incredibly interesting property of vowels.
With consonants the situation is more complicated - there are many sounds, and the work becomes very complicated. For now, we can only say quite definitely that P is clearly perceived as “dark red.”
It is difficult to say what these “colored” properties of sounds depend on. It is possible that A and P are associated with the color red because they are included in the word red. Moreover, the sound A in this word is stressed, just like I in the word blue, and O in the word yellow. But why then is Y “blue-green” and Y is “brown”? Maybe because U and Y are the “darkest” of the vowels, and darker colors are chosen for them?
And perhaps vice versa - the word red began to denote color because it contained the accent “red” Eh? After all, once this word had nothing to do with color, but meant “beautiful.” Then the corresponding color was called “red”, and in this word there is not a single A. The word blue also once did not mean “heavenly color”, its meaning was “brilliant”. Was it not “blue” that gave this word a color meaning?
But then where did the original colors of sounds come from? Maybe And because “red” is that it is the loudest, strongest, and therefore the most “bright” sound? It is associated with the most catchy, brightest color.
Note also that it is especially clear that only three sounds are painted in pure colors - A, I, O. But all the richness of colors and their shades can be obtained by mixing in different proportions of three colors - red, blue and yellow. Is there not an amazing correspondence here between the nature of color and the sound structure of language?
Questions, questions... And there are no answers yet. But one thing is clear: sound-color correspondences exist. And since they exist, it means they must be used somewhere, manifested. And of course, first of all, this interesting feature sounds must appear in poetry.
For example, the poet writes about the blue sky. Poetic talent and a sense of language help him select the most expressive language means so that the picture turns out bright and visible. Here we could force speech by its very sound to evoke the color blue in the depths of the reader’s consciousness (or subconscious?). To do this, words must be selected in the poem that contain many sounds of the corresponding color, i.e. sounds I. The poet, of course, may not be aware of these sound-color correspondences, but the artist’s subtle instinct will tell him that the selection of just such vowels enhances the desired emotional and figurative impression.
We already know how to test these assumptions. We need to count the frequency of sounds in the poem we are interested in and see which vowels will be more than normal and which will be less.
The first to analyze was Yesenin's poem from the cycle "Persian Motifs". Here are its opening lines:
The air is clear and blue,
I'll go out into the flower thickets.
A traveler leaving for the azure,
You won't reach the desert.
The air is clear and blue.
The color blue is named here three times (counting “azure”). This means that, according to our hypothesis, “blue” I should dominate in this poem. And so it turned out: And it dominates, exceeding the norm almost twice!
It is interesting that the second most common word, also slightly higher than the norm, is U (“dark”, “blue-green”, “sad”). Ditch his role? Anyone who loves poetry will probably notice that the blue in this poem by Yesenin is not a bright, joyful tone, it is rather a blue haze, and this work itself, like the entire “Persian Motifs” cycle, is shrouded in light sadness. One can only be amazed at the poetic instinct of the artist, who, in the selection of sounds, managed to establish proportions that emphasize both the “color” and the general emotional coloring of the verse. Indeed, if the artist had chosen only I, the sounds would have contributed to the image of a bright, festive blue color; pressing U would have given the color of a stormy sea or a thundercloud; and the poet, leaving the light blue-blue dominant, muffles it, makes it sound in a light, but minor tone.
Maybe these strange correspondences of sound and color are nothing more than a coincidence? Let's take another poem by Yesenin:
The scarlet color of dawn was woven on the lake.
On the forest, wood grouse are crying with ringing sounds.
Here the frequency of U is noticeably increased compared to the norm and slightly higher than the norm of A. And again, the selection of vowels exactly corresponds to the color picture painted in this poem with the words: the dark blue evening sky, illuminated by the fading red - this is the evening dawn. What about the overall emotional tone?
And let the wood grouse cry with the bells,
There is a cheerful melancholy in the red of the dawn.
And here everything is accurate: “sad” U and “joyful” A - “merry melancholy.” No, this is not an accident. This is the hand of a master, this is a creation of talent!
Of course, not only Yesenin has “colored” poems. The sound melody of many of Blok’s works is very expressively colored. He has a poem written under the impression of V. Vasnetsov’s painting “Gamayun, the prophetic bird.” The painting was designed by the artist in dark violet-blue and crimson-red tones. The poem is written in the same scale:
On the surface of endless waters,
Sunset in purple,
She speaks and sings
Unable to lift the troubled ones with wings...
The yoke of the evil Tatars is broadcast,
Broadcasts a series of bloody executions,
And coward, and hunger, and fire,
The strength of the villains, the death of the right...
Embraced by eternal horror,
The beautiful face burns with love,
But things ring true
Mouths clotted with blood!..
And the same color picture is created by the dominant vowels: the “darkest” of them Y (2 times higher than the normal frequency), “red” A (1.5 times) and “dark blue-green” U (1.5 times ).
Think about this interpenetration different types creativity - the music of sounds, the poetry of words and the colors of painting, feel the harmony of their fusion, and you will comprehend the single meaning of art!
Poets of our time also widely use the color expressiveness of speech sounds. A. Tvardovsky’s poem “Mothers” begins with the lines:
And the first sound of leaves still incomplete,
And a green trail on the grainy dew...
Counting the vowels shows that the poem is instrumented according to the sound-color principle: “light green” E dominates, the frequency of which is 1.5 times higher than the norm.
The study of “verse-color” is an area so new and unusual that the reactions of everyone who gets acquainted with the results of the analysis of sound-color correspondences in poetry are almost always the same:
This cannot be, they usually say. - And all your calculations are nothing more than statistical paradoxes.
Of course, the mention of a color in a poem does not always lead to an increase in the frequency of the corresponding vowel. This is how it should be - after all, it is not necessary for a poet to use exactly the “sound-color” effect in any “color” work. But it is absolutely incredible that the correspondences “calculated” for all the poems given here would be only the result of a successful coincidence of numbers.
One day, students brought to class for analysis a poem by A. Tarkovsky “Before the Fall of Leaves”:
Everyone left. Left for goodbye
A flurry of yellow leaves outside the window.
That's all I have left
The rustle of autumn in my house.
Summer fell like a cold needle
From the numb hand of silence
And disappeared in the darkness behind the shelf,
Behind the plaster of the mouse wall.
Even this fire outside the window.
That's right, the gravel is still crumbling
Under her careful heel.
There, in the troubling peace outside the window,
Outside of my being and home,
In yellow, and blue, and red - what does she need?
My memory? What does my memory mean to her?
It was assumed that in this sad poem about autumn in nature and in the human soul, the sounds should burn with autumn colors. The obtained results of sound-color analysis are quite amazing.
The sound fabric of the poem is dominated first of all by O, then Y and then A. But this is the yellow-brown-red autumn color scheme! However, to some extent it was predictable. This is exactly the result we expected. Isn't it?
But what is this line in the last stanza: “In yellow, and blue, and red...”? Is the poet really telling us the colors of the paintings depicted in the first three stanzas? Let's take a closer look. Indeed, in the first stanza it is directly named yellow. The second stanza is "dark" ( in the dark behind the shelf), "gray" ( mouse wall), perhaps with a steely bluish sheen of a “cold needle”. In the third stanza fire outside the window, means red. More precisely, a red-yellow fire of foliage outside the window. But if this is so, then aren’t these color pictures accompanied by a corresponding sound-color accompaniment of vowels? True, that would be too much. In fact, Tarkovsky did not strive to produce a visual aid for the study of sound-color correspondences in verse. And yet, without much hope of success, I invited the students to “calculate” the first three stanzas.
Let's count the first one. Yes, "yellow" O comes first. The norm has been exceeded 2 times! So far everything is confirmed.
Let's count the second stanza. Another confirmation. The “dark” Y and the “blue” I dominate. In no other stanza of the poem do the frequencies of these letters exceed the norm. And here Y is more than 3 times, and I is almost twice as much. True, O is also larger than the norm, but we must not forget that this sound creates the main color background for the entire poem. And its frequency exceeds the norm in all stanzas.
Well, the final word is in the third stanza. One of the students counted first and shouted: “Red!” We sat shocked. Everything is accurate: “In yellow, and blue, and red...”. How amazingly the sound fabric of this poem is executed! How deeply meaningful is the play of sounds and colors in it! How exactly its sound form corresponds to its content!
But what about Rimbaud’s sonnet? Why did he “color” the sounds so strangely? This question sat like a thorn and gave me no peace. Of course, to clarify sound-color correspondences in French it was too much for us challenging task, but the translation is Russian. Did Rimbaud impose his vowel colors on the translator? This is not difficult to check.
Let's think like this. The colors of the vowels in the sonnet are named twice - once directly, and the second time indirectly - in the "decoding" of the color content of each sound. If the translator’s subconscious was pressured by the direct names of the vowel colors, then in the deciphering lines she should emphasize exactly those vowels that she deciphers.
For example, in the lines
A - velvet corset on insect body,
Which buzz above the stench of sewage...
sound A should dominate in frequency. Then we will believe that for the translator A is black.
We count. So what? A is not dominant at all. Y is sharply dominant, exceeding the normal frequency by almost 2.5 times! Incredible! The translator consciously writes: A is black, but subconsciously she emphasizes the truly “black” Y in the lines.
So, A should also have a “normal” - red - color? Let's check the "red" decryption:
And - purple blood, oozing wound
Or scarlet lips amidst anger and praise.
Perhaps there is nothing to count. There is almost no I here, but the lines are clearly oversaturated with A: what is it worth at least oozing wound. But let's do the math anyway. That’s right - A, of course, dominates. Its frequency exceeds the norm by 2.3 times, while I is much less than the norm. That's right: A - "red".
As for I, its frequency, as expected, is highest in the “blue” transcript:
O - the ringing roar of a trumpet, piercing and strange,
Flights of angels in the vast silence of heaven -
Oh, her wondrous eyes, her lilac rays.
Sound-color correspondences are amazingly firmly fixed in our subconscious! The translator was not confused by the “wrong” clues of the original; she organized the sound of the “colored” lines in exact accordance with the actual “coloring” of the sounds.
By the way, according to the observations of French psychologists, A is also “red” for the French. So Rimbaud in the sonnet either demonstrated his purely individual associations, or was simply being original. They say that the poet himself laughed at those who took these poems seriously.
But we decided not to fall for his joke, and a student from our group, V. Shapiro, in defiance of Rimbaud, wrote his own variation on the theme of his sonnet with the “correct” color decoding of the vowels!
I see a bright light when they scream
I hear a scream, a bright light contemplating.
All sounds glow and all colors sound,
And now I am revealing their secrets.
A - the executioner's red shirt,
And - the crowd gasps, looking at the execution.
Y is a black bull that moos at night.
O - autumn: golden maple crown.
E is the freshness of young summer,
Green binding by Yesenin and Fet.
And - a bird whistle over the blue river.
U is the sad light of green and blue
Her eyes, deep as the abyss.
U is the booming color of the sea wave.
