lour, the more so that the pattern is productive and a great number of nonce-words are created after it. You can actually coin an adjective comparing the colour of a defined object with almost anything on earth: the pattern allows for vast creative experiments. This is well shown in the fragment given above. If canary yellow, peacock blue, dove white are quite "normal" in the language and registered by dictionaries, turtle green and rattlesnake brown1 are certainly typical nonce-words, amusing inventions of the author aimed at a humorous effect.
Sometimes it is pointed out, as a disadvantage, that the English language has only one word blue for two different colours denoted in Russian by синий and голубой.
But this seeming inadequacy is compensated by a large number of adjectives coined on the pattern of comparison such as navy blue, cornflower blue, peacock blue, chicory blue, sapphire blue, china blue, sky-blue, turquoise blue, forget-me-not blue, heliotrope blue, powder-blue. This list can be supplemented by compound adjectives which also denote different shades of blue, but are not built on comparison: dark blue, light blue, pale blue, electric blue, Oxford blue, Cambridge blue.
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A further theoretical aspect of composition is the criteria for distinguishing between a compound and a word-combination.
This question has a direct bearing on the specific feature of the structure of most English compounds which has already been mentioned: with the exception
1 R. "цвета гремучей змеи". The father of the family is absolutely against the idea of buying the car, and the choice of this word reflects his mood of resentment.