西班牙詩人羅卡（1898-1936）在年僅三十八歲時被暗殺身亡，留下的作品雖廣為世人傳頌，但他的寫作生涯隨著生命驟然劃下句點，令人惋惜。羅卡屬「二七世代」作家，是詩人、劇作家，也愛好音樂及繪畫。他的詩如畫作，充滿意象與色彩。羅卡在1927 年出版《歌曲集》，創作的九十首短詩中，如遊戲般將顏色及意象融入景緻。本文運用范傑納和特納提出的閾限概念，探索《歌曲集》的顏色與空間之互動作用，及如何表現存有與隱形的主題。文分三部分：第一部分探討遊戲空間，聚焦〈七姑娘之歌〉；第二部分藉由閾限概念分析詩集裡的過渡空間，舉三首詩為例：〈人群離散〉、〈綠色天空中〉、〈最初願望的小曲〉；第三部分從寫作的格式來看詩人如何書寫景色與故事的平行空間，以〈樹啊樹〉為例，並與《吉普賽故事詩》中的〈夢遊曲〉作為比較。三部分的討論皆闡述顏色的作用與象徵意義，特別是《歌曲集》中常出現的綠色及白色。

Federico Garcia Lorca (1898-1936), assassinated at the age of thirty-eight, left an imprint on world literature as one of the most read Spanish poets. Sadly, his literary life ended abruptly with his sudden death. As a poet, dramatist, musician, and visual artist, Lorca was a leading voice of the “Generation of 1927,” through a poetry rich in symbolism and colors. Lorca’s Canciones (1927) features ninety poems that playfully blend colors and imagery into landscapes. Adopting the concept of liminality by Arnold van Gennep and Victor Turner, this study examines the interplay of color and space throughout Canciones and engages how Lorca expresses the themes of existence and invisibility. This paper has three parts. The first part analyzes the space of playfulness in Canciones, focusing on “Cancion de las siete doncellas.” The second discusses liminal spaces in three poems: “Las gentes iban,” “Sobre el cielo verde,” and “Cancioncilla del primer deseo.” The third investigates the paralleled spaces of landscape and narration by comparing “Arbole, arbole” from Canciones with “Romance sonambulo” from Romancero gitano. All three examine the function and symbolism of color, with specific attention to green and white, the two most frequent colors to appear in Lorca’s Canciones.