Stratyfikacja słownictwa z komponentem nazwy barwy złotej w lirykach Leopolda Staffa: część druga

Having compared the distribution of the colour gold in the poetical output of Adam Mickiewicz, Julian Tuwim, Maria Pawlikowska-Jasnorzewska, Stanisław Grochowiak and Zbigniew Herbert with that of Leopold Staff, I conclude that it is by far most widespread in the poetry of the latter - a classicist. Apart from some standard vocabulary, which was commonly used by all seven of the above-mentioned poets (złocisty, złocony, złoto,zloty) and well established in both spoken and written variants of early 19th century Polish, Staff used various lexical individualisms. They were mostly adjectival (often compound), but occasionally also nominal and verbal (in their singular form), e.g.: brzęczyzłotka,przezłacać się. rozzłocić, purpurowozłoty, rudozłoty, złocistokiłosy, złotoszczery. Such frequent occurence of lexical components designating colour gold provided light reflexesto the pictures painted with the poet's words. Semantic poetisms, such as: topaz słońca, ciepły bursztyn lasu, dźwignęłaś lasy [...] w bursztyn i topazy, etc., deserve a separate attention, since they greatly deepen poeticisation of the landscapes and other elements of the represented world. Designations of colour gold are especially prominent in the early volumes of Staff's poetry, i.e. those published by the 1920's. In the later period, the poet's use of the designations of all colours (not only colour gold) becomes increasingly rare,due to Staff's turn towards more concise and condensed lyrics at the cost of abandoninglonger poetic forms, i.a. his long beloved sonnet.