近年來對於周夢蝶詩作的研究，傾向文藝風格學為研究範疇居多，以語言或文化的角度解讀的文獻並不多見。本研究試圖以西方原型範疇理論作為基礎，探討《孤獨國》顏色詞在語言學的隱喻意涵，進一步解釋隱藏在孤獨蝶影背後的生命美學。分析歸納發現在《孤獨國》使用顏色原型範疇以紅、黑與白色為主。尤其在紅色原型範疇中使用「借物成色」詞特別多，以「火」與「血」為主，其次是白色原型範疇中「雪」的使用較多，黑、黃與灰色原型範疇則無「借物成色」詞。整體而言，《孤獨國》在原型範疇色的修辭下，以熱情活潑的紅色襯托了象徵孤寂、憂愁、死亡、生命、時間壓迫的黑與白二色，為原本籠罩一層苦澀黯淡蕭瑟的孤獨國增添了幾許濃豔的色澤

In recent years, the studies of Meng-Tieh Chou's poetry were inclined to the area of literary stylistics. Studies which viewed Chou's poetry from a linguistic and cultural perspective were rare. Based on the western prototype model of categorization, this study attempts to discuss the linguistic metaphor of color words used in ＂Lonely Land＂, and that further explains the life aesthetics hidden behind the loneliness of butterflies. After analyzing and summarizing, we found that the color prototypes mainly used in the ＂Lonely Land＂ were red, black and white. Especially in red prototype category, particularly words like ＂fire＂ and ＂blood＂ and a lot of ＂figures of speech for colors＂ were used. , , and words like ＂snow＂ were used in the white prototype category; however, there was no ＂metonymy＂ used in the black, yellow and gray prototype category. Overall, with the rhetorical of color prototypes of categorization, ＂Lonely Land＂ used enthusiastic and lively red to bring out two colors of black and white, which implied loneliness, sorrow, death, life and time oppressed. Thus, it added a gorgeous color for the lonely country which was shrouded in a layer of bitterness and bleakness