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THE POETICS OF THE COLOUR “WHITE” IN THE SONNETS OF SHAKESPEARE
AND RAUF PARFI
Qayumova Nigora Muxtor kizi
a teacher of Bukhara State University
Abstract
: The poetics of colour have often been studied in literary criticism, folklore studies, and
comparative literature. Comparing how two poets use colour within the same genre allows for
meaningful conclusions. This article explores the poetics of the colour white in the sonnets of
Shakespeare and Rauf Parfi.
Keywords
: colour, poetics, comparative literature, sonnet, Shakespeare, Rauf Parfi, artistic
expression, contrast, portrait, quatrain.
In sonnet artistry, colour holds a unique place. Poets use the same colour differently, and likewise,
different poets use the same colour for specific poetic purposes. Philosopher and poetry theorist
Abu Nasr Al-Farabi, in his work “Philosophical Questions and Their Answers” responds to the
question “What is colour?” by stating: “Colour is the boundary of what makes a shiny object
shiny; it is expressed on the surface of objects.”[1;74]. Colour is something visible to the human
eye, found in nature, and humans replicate the colours they see in nature using various materials
— for instance, dyeing fabric. Colour is a visible marker, and understanding it first requires sight.
Since ancient times, people have attributed symbolic meanings to colours based on their effects on
life. White, for example, has been perceived as a symbol of purity, innocence, and the transition
from one world to another — a perception that is also reflected in literature. Thus, studying the
poetics of white in the sonnets of Shakespeare and Rauf Parfi carries special significance.
In the sonnet 12 of Shakespeare, white is used for comparison:
When I behold the violet past prime,
And sable curls all silvered o’er with white;
When lofty trees I see barren of leaves,
Which erst from heat did canopy the herd…[7]
In this context, Shakespeare uses the phrase "silvered o’er with white" to figuratively depict the
natural process of aging, symbolized by the graying of hair. Here, white is not portrayed as a
symbol of beauty or purity, but rather as a representation of the passage of time, mortality, and
inevitable decline.
In the sonnet 99 the colour white is used as a symbol of Beauty and Envy:
The lily I condemned for thy hand,
And buds of marjoram had stol’n thy hair;
The roses fearfully on thorns did stand,
One blushing shame, another white despair. [8]
In this sonnet, Shakespeare accuses the flowers of stealing the beauty of the beloved. In particular,
the white rose is depicted as representing "white despair," as it attempts to imitate the purity of the
beloved, but this attempt fails. In this context, white symbolizes innocence, elegance, and
unsuccessful imitation. The poetic irony lies in the fact that even nature itself cannot match the
beauty of the beloved, through which Shakespeare portrays a unique, direct, and unparalleled
beauty that transcends natural beauty. In the sonnet 99, focused on flowers, Shakespeare uses
white and intensified “whiter” to express clarity and depth in the beloved’s beauty. Creating a
floral portrait of the beloved, Shakespeare uses colour to highlight physical traits. The term
“white” (then intensified as “whiter”) isn’t merely for poetic meter but serves to emphasize purity
and delicacy.
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In Shakespeare's 127th sonnet, white is portrayed as a social construct and a reflection of
changing beauty standards. Although Shakespeare does not directly mention white in this sonnet,
its meaning is implied. Shakespeare critiques how beauty standards once favored whiteness (fair
skin, fair hair), but now darker features (dark skin, dark hair) are preferred. In this context, white
symbolizes traditional beauty, and its diminishing significance reflects cultural changes, possibly
offering commentary on race or social class:
In the old age black was not counted fair,
Or if it were, it bore not beauty’s name;
But now is black beauty’s successive heir,
And beauty slandered with a bastard shame. [9].
In Rauf Parfi’s sonnet “Daryo mavjlariga yozilmish g‘azal” (“A Ghazal Written to the Waves of
the River”) the colour “white” symbolizes tranquility and beauty in nature. The word “white”
modifies “cloud,” conveying calmness. Parfi chooses not to use “black” or even “bluish,” as
“blue” would have overlapped semantically with “sky.” "This word did not fully match either the
rhythm or the meaning. Because the word “sky” was used as a synonym for “blue”, it took the
place of the adjective 'white'."
Qamishlar shivirlar daryo tomonda,
Ko‘kda oq bulutlar kezar bemajol.
Bir tirik nafosat borliq, jahonda,
Kimgadir elanar, qilar iltijo. [3;34]
The English translation of the sonnet:
Reeds whisper near the river’s flow,
White clouds drift in the calm above.
A living grace in the world does glow,
That calls to someone with pleading love.
The poet describes a serene landscape — a calm, poetic space. The poet masterfully explains a
picture of nature; in his description. However, at the end of the sonnet, the sorrow of the lyrical
hero is expressed:
Qaltirab porlaydir bir chiroq g‘arib,
Bir qushcha sayraydir ruhim ichinda,
Bir qushcha yig‘laydir meni axtarib.
The English translation of the sonnet:
A lonely lamp flickers and glows,
A bird sings from within my soul,
A bird weeps, seeking what it knows.
Despite the peace outside, the speaker’s soul is restless. Through “contrast”, Parfi juxtaposes
outer calm and inner suffering, and white becomes a critical element in building that image.
Boshida qora qish, oppoq bahorlar,
Yuragi yarim-u, butun iymoni,
Talotum olamni shivirlab chorlar. [3;34]
The English translation of the sonnet:
At the start — a black winter, white springs,
A torn heart, yet a whole belief sings,
Whispering storms call the world’s ear,
A poet’s fate laid bare in fear.
In the sonnet named “Abdulhamid Sulaymon Cho’lpon” Rauf Parfi reflects on the tragic fate of
the poet Cho‘lpon using colour opposites. Here, “black winter” and “white springs” symbolize
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despair and hope. “White” (oppoq) is an intensified form of “white” (oq), achieved phonetically,
adding emotional depth. “-lar” is used not only for metrical fit but also to underscore spiritual
contrast.
While Italian and French sonnets follow a 4+4+3+3 structure, English sonnets typically use
4+4+4+2. Rauf Parfi’s sonnets follow the former, Shakespeare’s the latter. In both poets' works,
the placement of white within the sonnet structure offers interpretive insight: in the first sonnet
analyzed, white appears in the initial quatrain; in the second, it occurs in the first tercet. In one,
white represents cloud colour; in another, it symbolizes the season of spring, referencing
blossoming trees. In both cases, the colour white symbolizes meaning derived from its natural
context.
In Parfi’s sonnet “Muhabbat” (“Love”) white appears metaphorically in a phrase:
Afsus-nadomatning bordir-ku cheki...
Sening gunohingni yuvsin ko‘z yoshim...
Ayni jasoratdir har qanday sevgi,
Sanga oq yo‘l tilar mening bardoshim.
The English translation of the sonnet:
There is a limit to regret and shame…
Let my tears wash away your sin.
Every love is a kind of brave flame,
My patience prays for your white road to begin.
Here, “white road” implies a path of redemption. Tears become the medium of spiritual cleansing.
The metaphor of washing away sin with tears aligns with the philosophy of repentance.
Conclusion
. Both Shakespeare and Rauf Parfi, though from different eras and cultures, use the
colour white effectively in their sonnets to elevate the artistic quality of their poetry. They apply
white to represent innocence, beauty, contrast, and emotional depth, using it symbolically and
metaphorically across varied poetic contexts.
References
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2022. 416 pages.
3. Rauf Parfi. Tavba: Poems – Tashkent: Yozuvchi, 2000. – p.34. Retrieved from
www.ziyouz.com library.
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Uzbek and English languages." Scientific reports of Bukhara State University 6.82 (2020).
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