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By Athalya Brenner

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The distinction we make between the 'redness' of the objects referred to by M19 and 0«10 on the one hand and 0*1 on the other stems from two basic factors: 1. We know from experience that no horse or cow skin tone is identical with the colour of blood. 2. Because it modifies words that refer to different classes of extra-linguistic entities, tJTK should be interpreted separately for ms and DID, in contradistinction to 01. In other words, the denotation of the colour term is determined both by its situational context, that is, by its extra-linguistic reference, and by its linguistic context,that is, by its actual 17 or possible collocations.

Is part of arplace name, which brings the total up to six. ' In addition, six lexemes dTX, dinK, •'OIK, nOTK, n»TK, and dn - are phonetically (the TT •;; • -; Tt" TT~ T first five) and also referentially (chiefly d-T) so close to the dTK concept as to merit an investigation of possible root etymology links. 1^ has no secondary or tertiary terms which are derived directly from it apart from the dTtiTK 1i^ which it shares with a segment of the d*TK sector (see above). On the other hand, it is the basis for eight personal, generic, and place names; four terms for objects or concepts, and through the fifth - MJ^ perhaps the ultimate origin of v/1^7 II ('make bricks') and of l^n.

A. Some of the lexemes referring to 'dyes' and 'paints' have a dual sense. They refer to the dye or paint itself, the colour properties of which are its most significant characteristic, but also to the dyed material, the end product of the process of using the dye or paint. This is especially true in the case of textiles. b. Occasionally one or the other of the names acquires a wider referential meaning, especially in poetic diction ("OW in Isa. 1:18). Broadly speaking, these names of dyes and paints are potentially secondary or tertiary colour terms.

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