Aangesien die konsep van kleur vaag en abstrak is, verskil die ervaring én beskrywing daarvan van individu tot individu en van kultuur tot kultuur. Aldus word die waarneem van kleur dikwels ʼn persoonlike en subjektiewe ervaring. In die geval van historiese tale, egter, is die uitdaging om kleurbeskrywing korrek oor te dra, nie sielkundig of esteties van aard nie, maar kultureel, aangesien daar onderliggend aan hierdie tale ʼn unieke linguistiese sisteem gekoppel is. So byvoorbeeld moet die ontleding van Latynse kleurwoorde en die toewysing van relevante betekenismoontlikhede op ʼn besondere wyse aan die Afrikaanse idioom geanker word, sonder om die uniekheid van elk van hierdie tale in te boet. Dit is gevolglik die taak van die navorser om moderne wetenskaplike beskouings oor kleuraanwending met sensitiwiteit en oordeelkundig op die antieke kleursisteme toe te pas.
Die bestudering van kleur en kleurgebruik in die Oudheid was vir ʼn lang tyd in omstredenheid gehul. Navorsing in hierdie verband het aanvanklik slegs op die tegniese en argeologiese aspekte van kleurproduksie en -gebruik in die Griekse en Romeinse kuns en argitektuur gefokus. Daarenteen is teoretiese kwessies oor die funksie van kleur in die non-tegniese, estetiese letterkunde selde aangespreek, veral weens die invloed van linguisties-semantiese en kleur-psiogologiese vraagstukke.
In hierdie proefskrif val die kollig op Vergilius se keuse en aanwending van dié kleurterme wat beide eksplisiet en implisiet in die Georgica voorkom. Aangesien ʼn sinvolle analise van hierdie digter se kleurgebruik nie tot die Georgica beperk kan word nie, moet die ooreenstemmende terme nie net in sy Eclogae en Aeneïs nie, maar ook in die werke van sy voorgangers, die digters Lucretius en Catullus, betrek word.
Uit ʼn beperkte omvang selekteer en gebruik Vergilius kleurwoorde met ʼn delikate presisie van betekenis. Hoewel die stelselmatige ontleding van hierdie terme se betekenismoontlikhede kontekstueel beperk is, toon hierdie benadering in watter mate Vergilius innoverend en verbeeldingryk voorkom. Hierdie inligting dien vervolgens as parateks vir die studie wat volg: Vergilius se gebruik van kleurterme deur die verloop van die vier boeke van die Georgica met die fokus op die letterkundige impak en literêre effekte wat deurgaans as ‘eg Vergiliaans’ beoordeel kan word. .
Sou hierdie kleurterme geïgnoreer of net nie raakgelees word nie, kan die leser nie daarop aanspraak maak dat die Georgica waarlik verstaan word nie. Dit is dus die doel van hierdie navorsing om die leser toe te rus met middele tot die vind van ʼn dieper insig in en groter waardering vir hierdie werk as uitnemende poësie.
Since the concept of colour is vague and abstract, the perception of colour differs from individual to individual and from culture to culture to become a highly personal and subjective experience. In the case of historical languages, however, the description of colour is challenging. Conveying colour description correctly is not a psychological or aesthetic exercise, but cultural, as each language has a unique underlying linguistic sensitivity. Consequently, in this dissertation which is written in Afrikaans, the analysis of Latin colour words must be anchored to the Afrikaans idiom in such a unique way as not to detract from the differences in cultural feel between these two languages. Therefore, and in spite of obvious differences, it is the task of the researcher to apply modern scientific views discerningly and sensitively to any ancient colour system.
The study of colour and its application in antiquity has long been controversial. Initially research on these aspects of Greek and Roman societies focused only on the technical and archaeological aspects of colour production and its application in their art and architecture. In the wide array of theories regarding linguistic-semantic issues, colour-psychology and also colour aesthetics, theoretical issues regarding the function of colour in non-technical (‘literary’) works were rarely addressed,
This dissertation focuses on those colour terms which Vergil uses both explicitly and implicitly in the Georgica. A meaningful analysis of this poet's use of colour must of necessity also include the application of the corresponding terms in his Eclogae and Aeneid, as well as those in the works of his poetic predecessors, Lucretius and Catullus.
Selected from a limited range, Vergil applies colour words with a delicate precision of meaning. Although the systematic analysis of these words indicates a range of meaning which can be contextually limited, this approach highlights Vergil’s innovative and imaginative use of colour. With these findings as basis the focus shifts to the consecutive use of colour terms throughout the four books to indicate extraordinary and innovative literary effects which can only be described as ‘thoroughly Vergilian’.
If these colour strategies were to escape the reader’s attention, it would result in a poorer understanding of the poem. It is therefore the purpose of this research to equip readers with strategies that will lead to a greater appreciation of the Georgics as exceptional poetry.
