The Reproduction of Emotion Creating Lexico-Stylistic Devices of the Short Story the Pit and the Pendulum by E. A. Poe in the Ukrainian Translation by R. Dotsenko

Ministry of Education and Science, Youth and Sport of Ukraine Lviv Ivan Franko National University Faculty of Foreign Languages Hryhoriy Kochur De let outment of displacement reaction Studies and Contrastive Linguistics The genteelness of feeling creating lexico- rhetorical thingmajigs of the soon humbug The Pit and the Pendulum by E. A. Poe in the Ukrainian comment by R. Dotsenko Course reputation Done by a 4th-year student O. V. Pidhorodetska Scholarly supervisory program L. M. Tarapatska Re get newser T. O. Dytyna LVIV 2012 CONTENTS intro. Chapter1. perceptional PROSE AS A SPECIFIC GENRE OF ARTISTIC publications AND EPITHET, SIMILE AND METAPHOR AS MEANS OF creative REPRESENTATION OF IDEAS IN A LITERARY act upon. 6 1. 1. Emotive prose as a cultivate of exquisite lit and remarkableities of its interpretation. 6 1. 2. The conceit of style as a member of agnomen construction and charges of its render in the mould of displacement.. 1. 3. fiction as a stylist ic device and regularitys of its trans sortation 12 1. 4. The notion of all toldegory and problems connected to its adaptation. 15 Chapter 2. E. A. POES SHORT news report THE PIT AND THE PENDULUM AND THE REPRODUCTION OF ITS EMOTION CREATING LEXICO-STYLISTIC DEVICES IN THE Ukrainian TRANSLATIONBY R. DOTSENKO. 20 2. 1. Characteristic boasts of E. A. Poes small s amount of money The Pit and the Pendulum. 20 2. 2. The replication of feeling creating prenomens, allegorys and allegorys of the short story by E.A. Poe in the Ukrainian rendering by R. Dotsenko. 21 CONCLUSIONS.. 32 LIST OF REFERENCES. 33 INTRODUCTION Edgar Allan Poes The Pit and the Pendulum is a short story of the macabre describing the experience of universe tortured. The written report concentrates on the sensation creating lexico-stylistic devices of the story as rendered in the Ukrainian trans multifariousnessation by R. Dotsenko.The enquiry paper is an attempt to investigate style, simile and parable at bottom the addicted naturalise of literature, where they serve as primary intend of creating the printing of evil and make an stimulated strike on the readership, and to analyse the peculiarities of reproducing these lexico-stylistic features of the archetype in the Ukrainian translation done by Rostyslav Dotsenko. The topicality of the paper consists in the fact that lexico-stylistic devices form the basis of any literary establish since they serve as means of creative representation of the authors ideas and producing emotional influence on the readership.As far as lexico-stylistic devices argon reflecting authors individual view of an object or phenomenon and whitethorn involve background knowl beach of the readership for the hard-nosed impact to be realized, their translation requires voices creativity. The paper summarizes the ideas testifyed by Russian and Ukrainian scholars (I. Galperin, A. Fiodorov, I. Retsker, B. Koptilov and D. Diuryshyn) as salutary as unlike ones (M. Sanches, I. Burkhanov) concerning emotive prose as a specific genre of literature and its characteristic features which should be aken into account by a voice. The paper overly outlines the notions of agnomen, simile and fable, their fucntions in an esthetic text editionbookual matterual matter and method actings of their nurture by means of propose manner of speaking as researched by K. Lototska, O. Hr abovetska, O. Molchko, T. Onoprienko, Yu. Skrebnev, P. Newmark, P. Pierini, M. Larson and opposite scholars. The all overall aim of the conducted research whitethorn be delimit as an attempt to drag to which extent the communicatoryness and emotional loading of genss, similes and parables were reproduced in the translation.The object of the paper is a stylystic usance of surnames, similes and metaphors as means of creating shun emotions within the short story The Pit and the Pendulum by E. A. Poe and its Ukrainian translation done by Rostyslav D otsenko. The subject of the paper is the reproduction of emotion creating lexico-stylistic devices ( prenomens, similes and metaphors) of the afore meaned short story in the Ukrainian translation and the translation methods applied by Rostyslav Dotsenko in order to carry in an adequate way the atmosphere of the macabre in die harded by the author. The objectives of the paper atomic number 18 the following to define characteristic features of the literary writing under abridgment, which breaks to the genre of emotive prose * to deliver the goods theoretical basis for con gay faceration of public figure, simile and metaphor as major means of creating negative and fox emotion conveying the macabre * to look into stylistic proceed and expressive potential of epithets, similes and metaphors in the abandoned literary reverse * to analyze the peculiarities of the translated lexico-stylistic devices, their stylistic function and emotional loading * to comp be the pragmatic impa ct produced by translated epithets, similes and metaphors with that produced by corresponding true lexico-stylistic devices. The methods applied in the process of analysis of the skipper literary work and its Ukrainian translation comp nobble1)method of dictionary definition and ontrastive componential analysis (to examine subtle differences insemantic structure and emotional loading of master copy and translated lexico-stylistic devices), 2) stylistic analysis (to trace the adequate reproduction of stylistic colouring of the original literary work in the translation), 3) comparative degree analysis (to investigate weather the expressiveness ofthe translated lexico-stylistic devices is tantamount(predicate) to that of the original tropes). The un creative shelter of the paper consists in the analysis of translated epithets, similes and metaphors of the short story by E. A. Poe, which ensures understanding the importance of these lexico-stylistic devices for creating negative e motions within the framework of the literary work. The research is ground on the corpus of 87 samples from the analized short story. The paper consists of Introduction, Chapter 1, Chapter 2, Conclusions and List of References. Chapter 1 concentrates on the research of emotive prose and peculiarities of its translation.The chapter too contains considerations on the notions of epithet, simile and metaphor, their functioning within a literary work and ways of rendering them into a target language. Chapter 2 comprises overall analysis of emotion creating lexico-stylistic devices of the short story The Pit and the Pendulum and also contains contrastive analysis of the virtually bright archetypes of original epithets, similes and metaphors and the correspinding lexico-stylistic devices in the Ukrainian translation. The Conclusions contain the results of the conducted research, outline the methods of translation applied by R. Dotsenko while reproducing emotion creating lexico-stylistic devices of the short story.The List of References provides the list of theoretical, literary and lexicographical stems which were cited in the paper and consulted in order to conduct of the research. CHAPTER 1. EMOTIVE PROSE AS A SPECIFIC GENRE OF LITERATURE AND EPITHET, SIMILE AND METAPHOR AS MEANS OF CREATIVE REPRESENTATION OF IDEAS IN A LITERARY WORK 1. 1. Emotive prose as a form of artistic literature and peculiarities of its translation. In order to grasp the specifics of artistic translation, it is reasonable to look at the properties of literary text first. It is obvious that each text type is characterized with legitimate zeal of language determined by the function finished by the text. The style of literature was nominated by I.Galperin as belles-lettres, a generic term which comprises terzetto substyles 1) the language of poetry, 2) emotive prose,and 3) the language of the drama 31, p. 250. Each of these substyles has real popular features which compose the foundat ion of the style and by which the concomitant style great deal be recognized and sing direct out. Besides, each substyle possesses definite individual features by which they atomic number 18 distinguished. The fair(a) about important feature of a literary work is that it is a be atomic number 18r of an esthetical function. Literary text constitutes subjectively transformed reflection of the objective reality in harmony with the aesthetic-emotional heart of the author he/she endeavours to convey their ideas, thoughts and emotions.From the backsheesh of view of the language resources choice, literary work is characterized with 1) genuine imaginativeness achieved by purely linguistic devices, 2) the use of words in divergent meanings, greatly influenced by the lexical environment, 3) vocabulary which will reflect to a certain resideer the authors personal evaluation of things or phenomena, 4) peculiar individual grantion of vocabulary and syntax, and 5) the introduction of the regular(prenominal) features of colloquial language to a full degree (drama), to a lesser degree (in prose), to a slight degree (poetry) 31, p. 251. Besides, it is claimed that the principal feature of literary text rests on its focalisation on the message and not on the contented 37, p. 123. The other basic feature of literary works is their saturation with artistic contrives. Emotive prose implies principally books of the imaginative kinds, such(prenominal) as novels and short stories divides the identical common features, save these features are correlated divergently than in poetry.The tomography is not so affluent as in poetry the percentage of words with contextual meaning is not so high. Emotive prose features the confederacy of the literary variant of the language, both in words and in syntax, with the colloquial variant. merely the colloquial language in the belles-lettres style is not a unbiased reproduction of the natural speech, it undergoes changes i ntroduced by the writer and is make literary-like. In emotive prose in that respect are of all quantify dickens forms of conversation present monologue (the writers speech) and dialogue (the speech of the characters). Emotive prose allows the use of elements from other styles as advantageously. But all these styles undergo a kind of transformation under the influence of emotive prose.Thus, artistic translation moldiness be approached as a kind of aesthetically-oriented mediated bilingual communication, which aims at producing a target text intended to communicate its own form, correspondent with the source text, and accordant with contemporary literary and translational norms of the sense organ culture 28, p. 139. In order to produce a high tincture translation of a literary work of art, the following peculiarities of the given type of translation and problems connected to it should be taken intoaccount. Literary translation is precise unlike from other types of translation because of its inability to rely primarily on a childlike reproduction of language units.Consequently, in the process of translating literary text a method of adequate changes is wide used. This method consists in the idea that for the accurate rendering of the thought the adapter has to distract from original arrange of words, dictionary and phrase correspondences and to search for solutions of the task considering the entire content, ideo formal take awayion and style of the original source 23, p. 310. Very often in translations of artistic literature, particularly fiction, the accuracy is achieved not by means of direct translation scarcely due to deviations from the original and appropriate substitutions it flocknot rely on standard solutions of translation problems.Artistic translation is a specific kind of translation since it consists not in accurate rendering of the content exactly in reflection of thoughts and feelings of the author by means of another language 12, p . 7. As far as every piece of emotive prose is saturated with artistic images to a greater or lesser extent, it is desirable that the translator should analyze artistic images and their structure before translating the work in order to reproduce the authors aspiration in full. The translator should think in images and subscribe to the abilities to describe the image using the diversity of linguistic devices and techniques that exist in the arsenal of a target language. One of the problems of artistic translation is the interrelation between the context of the author and that of the translator.It is obvious that no translation can be absolutely accurate since the very language system of the recipient literature with its objective data cannot convey perfectly the content of the original, which unavoidably leads to a loss of a certain amount of information. D. Diuryshyn also take notes that qualitative rendering of content of a certain literary work also depends on the personality of the translator, who is very likely to omit both(prenominal)thing from the content while recoding the text, and his predisposition to demonstrate or not to demonstrate all the peculiarities of the original7,p. 114. Among the chief(prenominal) objectives aimed by the translator of fiction is that of rendering individual distinctness of the original. Individual distinctness is largely associated with philosophical system and aesthetics of the author. A.Fiodorov identifies several key object lessons of correlation between distinctness of the original and the form of its reproduction 1) smoothing, or depersonalization in order to satisfy requirements of literary norm of the language or tastes of a particular literary school 2) attempts of formalistic accurate reproduction of particular elements of the original notwithstanding requirements of the language which is macrocosm translated phenomenon which finally results in violence towards language and linguo-stylistic deficiency 3 ) deformation of individual distinctness of the original as a result of arbitrary interpretation and arbitrary substitution of some peculiarities by others 4) full-fledged reproduction of individual distinctness of the original with full range of its native features and language requirements 23, p. 400. I. Retsker defines the following qualities of adequate translation comprehensive transfer of semantic content of the text and rendering of this content by equivalent means, i. e. those that perform the function analogous to that performed by the original verbal means21,p. 10. Having considered the master(prenominal) peculiarities and problems of translating artistic literature, emotive prose in particular, the conclusion is reached that translator before rendering an original into a target language should nalyze peculiarities of the literary work he is going to translate, namely its structure on lexical, semantic and stylistic levels. The translator shouldnt strive for simple repro ducing of lexical units but try to render the emotions and engrossedion of the author as well as convey individual distinctness of the original. Special attention should be paid to artistic images, which are to be examined in the original and then rendered appropriately in the translation. 1. 2. The notion of epithet as a member of epithet construction and ways ofits rendering in the process of translation. Some scholars, for casing T. Onoprienko, believe that epithet may be outlined as a generating centre of the whole system of tropes since any trope can be transformed into an epithet.Since it may be metaphorical, metonymic, ironical, or based on a simile, epithet is not a pure trope and is often treated as a stylistic mixture, a hybrid. K. Lototska defines epithet as a stylistic device based on the interaction of logical and emotive meanings of the word, which expresses the individual, evaluative, emotionally coloured attitude of the author towards the object/person described by emphasizing a certain property or feature 15, p. 90. Epithet expresses characteristics of an object, both existing and imaginary. The basic feature of this stylistic device is its emotiveness and subjectivity the characteristic attached to an object to qualify it is always chosen by a speaker unit himself. It is possible to say that in epithet it is the emotive meaning of the word that is foregrounded to suppress the denotational meaning of the proceed mentioned 13, p. 31. In a sentence epithet usually fulfils the syntactic function of attribute or predicative, thus being denotative in ecumenic by adjectives, sometimes adverbs, and very rarely by nouns . It is important to mention that any trope implies semasiological ii-dimensional use of a word in which its material form concurrently substantializes two types of meaning direct and synecdochic 3, p. 481. However, trope can be realized only in the context, in binary formation. T. Onoprienko defines this formation as trope configuration which consist of wo components the actualizator of trope (I) (the component always used in direct meaning) and the core of trope (II) (the component used in figurative meaning) 16, p. 4 e. g. bleak (II) horror (I) 39, p. 103. Thus, it would be more than logically to consider epithets not separately but as a member of epithet construction. Three connotative components of the meaning are actualised in semantic structure of epithet construction evaluative, emotive and figurative 6, p. 7. Such semantic structure makes epithet construction diametrical from logical attributive construction where logical attribute is objective and non-evaluating, e. g. black-robed judges 39, p. 102. Even if the epithet names typical characteristic, it always contains individual comprehension of the object or phenomenon, e. g. frequent and thoughtful endeavors to remember 39, p. 103. A do of scholars, including I. Galperin, folkify epithets into two main semantic types associated and unassociated. Associated epithets point out typical features of the objects which they describe. Such typical features are implied by the meaning of the nouns themselves, e. g. frail web 39, p. 102, bitter tears. Unassociated epithets ascribe to objects such qualities which are not entire in them, e. g. ravenous eyeball 39, p. 106, immovable resolution 39, p. 102. As a result, the created image is fresh, original, unexpected and expressive. A wide range of epithets among those of the second group are figurative ones as far as they are formed of metaphors, metonymies and similes expressed by adjectives, e. g. 38, p. 216 simile-based epithet construction. Associated epithets, on the contrary, are mostly language epithets. Their customs duty with certain nouns has become traditional and stable. Unassociated epithets are also called speech epithets since they are created in the process of communication. From the point of view of their distribution in a sentence, epithets may be used in pairs (e. g. hideous and repulsive devices 39, p. 106) and in chains (e. g. feeble, scarcely sane, scarcely definite thought 39, p. 108). The chain of epithets gives a many-sided description of the object, but in this many-sidedness there is always a suggestion of an ascending order of emotive elements, which culminates in the closing epithet. Z. Proshina mentiones another distributional model the transferred epithet which is originally logical attribute generally describing the state of a human being, but made to refer to an inanimate object 20, p. 211. The meaning of the logical attributes in such combinations acquires a definite emotinal colouring, e. g. Even then, while I gazed, they rats came up in troops, hurriedly, with ravenous eyes, allured by the olfaction of the meat 39, p. 106 (the word ravenous is logically tieed with they, syntactically with eyes). In the English and Ukrainian languages there are such epithet constructions which coincide not only in gene ral content but also in their componential structure and stylistic, emotional and expressive shades. These are full epithet equivalents, and majorly fixed epithets belong to them. Sometimes epithet constructions differ in their componential structure but are almost equal in their emotional, expressive and stylistic characteristics. These expressions are overtone epithet equivalents and ensure full adequacy of translation.Todays artistic literature is characterized by the great role of epithet as a decorative element able to express the authors attitude to the character, idea and narration in general. To convey the authors intent, the translator must be very detailed in selecting words with the same explicit and connotative meanings. agree to O. Hrabovetska, the most widespread method of translating epithet constructions is calquing. Calques are those epithet constructions which convey the denotative or connotative sense layer. Sometimes the use of calquing method without penetrat ing into the depth of epithet construction semantics may lead to the transformation of translated work into the enumeration of foreign and incomprehensible concepts.In this instance it would be more sensible to use decompression,or partial tone calquing when side by side with calque its explanation is provided. This is curiously reasonable when the original is full of allusions and units of vertical context which may be unknown for the target reader. Descriptive paraphrase is used when translation requires a high level of explicitness. This method servicings to actualize the unvoiced content of the original in translation and to avoid unnecessary associations 6, p. 14-16. The conclusion may be made that epithet is a stylistic device based on interplay of logical and emotive meaning of the word. It is characterized with a high level of emotiveness and subjectivity.This stylistic device should not be considered separately, but as a part of two-member construction which consists of the epithet and the word it refers to. Semantically epithets are classified into associated and unassociated. Associated epithets are mostly language epithets, while unassociated epithets are referred to as speech epithets. Epithets may be used in pairs and in chains. There are also transferred epithets, or epithets syntactically joined to a word to which they do not belong logically. Epithets play a signalizeificant role in imaginative literature since they are bearers of ingrained emotional and expressive load of any literary work. Thus, while rendering epithets into target text, translator should select words carefully to avoid possible losses of meaning and expressiveness.The main ways of of epithet translation are calquing, decompression and descriptive paraphrase. 1. 3. Simile as a stylistic device and methods of its translation. Simile is an imaginative comparison, which is also called literary comparison. It consists in an explicit likening of one object (the form) to an other object (the vehicle) on the basis of some common feature/characteristic (the ground) 15, p. 102. It is important not to confuse simile with customary logical comparison. The last one pressuposes comparison of two objects belonging to one class of things and is stylistically deaf(p) (e. g. he works as hard as a miner), while in simile two objects from various classes are brought together (e. g. seven tall candles eemed white and sylphlike angels who would save me 39, p. 102). Any image is based on the use of similiarity between two distant objects 1, p. 140. I. Galperin believes that comparison takes into consideration all the properties of the two objects, stressing the one that is compared, while simile excludes all the properties of the two objects except one which is made common to them 31, 167. According to N. Shapovalova , the structure of simile is formed by combination of the following elements 1) subject (comparandum), i. e. an object or phenomenon which featur es are being uncovered via other one 2) object of comparison (comparatum), i. e. n object or phenomenon which possesses vividly expressed and well-known to the speaker features and, consequently, is used by him for characterization of the object or phenomenon under lore 3) the ground of simile (tertium comparationis), i. e. the property on the basis of which the two objects are compared. It is either mentioned explicitely (e. g. the under edge evidently as keen as that of a razor39, p. 107, ? , ? 38, p. 213)or left for the recipient to guess. In the latter case simile is richer in associations that may arise. If the foundation of a simile is not clear from the context, the author supplies it with a key, making it extended 15, p. 102. 4) The indicator of comparative relations, language connection element which serves as a link between the authors view of the object and the very object and therefore ensures integrity of comparative construction 24, 7-8. The connective affirms t hat the relationship between the tune and the vehicle is an imaginary one, an appearance, a resemblance rather than reality. The presence of such linking element in its structure makes simile unlike from metaphor. The latter, due to the absence of the formal element and the tax write-off which this element bears, may convey the relationship between the involved phenomena in different way, partially eliminating the authors point of view and giving place for the readers viewpoint.According to the nature of language means expressing comparative relations, O. Molchko devides comparative constructions into two groups with conjunctions or conjunction-like phrases and without them. Besides, the researcher claims that comparative constructions with conjunctions in both English and Ukrainian languages are a lot more numerous than those without conjunctions 16, p. 294. Among conjunctions frequently used in similes, as well as in logical comparisons, are like, as, such as, as if, seem in Eng lish , , , , in Ukrainian. For instance, I fell suddenly calm, and lay smiling at the glittering death, as a child at some rare bangle 39, p. 107 ? , ? 38, p. 207. In similes without conjunctive elements the link between comparandum and comparatum can be expressed by way of (1) lexical indicator of comparativeness (when subject and object in comparative construction are linked to each other by adjective, verb or participle I such as to resemble, to look, to suggest in English and , in Ukrainian (e. g. , ? ? , , 38, p. 215) or (2) adjective in comparative degree (e. g. They lips appeared to me white whiter than the sheet upon which I trace these words39,p. 102).The stylistic function of imaginative comparison consists in enrichment of the expressiveness of a literary work by bringing together quite different objects and, consequently, helping to uncover in the object of comparison, besides its main qualities, a number of additional ones, often quite unexpected. The greater the semantic distance between the tenor and the vehicle is in a simile, the more dramatic essence the stylistic device will produce. Thus, an original simile is one of the most powerful image creating devices. Yu. Skrebnev mentions that simile has manifold forms, semantic features and expressive aims. Simile can be expressed by a simple sentence (e. g. There was a unpleasant grating as of a thousand thunders 39, p. 110) or a complex sentence with an adverbial article of comparison (e. g. I felt every fibre in my frame thrill as if I had affected the wire of a galvanic battery 39, p. 102) it is often seen in a single abstruse word (e. g. giant-like). Great number of similes render become hackneyed in consequence of long usage and are used as idioms, e. g. as alike as chalk and cheese. These similes are deprived of imagery and expressiveness but still may be encountered in artistic literature. What makes creative similes stryking is the authors indication of previousl y ignored similarity between objects belonging to different classes. Thus, simile may pose a challenge for a translator, who should convey the expressiveness of the image in full.P. Pierini indicates the following translation strategies applicable to simile 1) literal translation (retention of the same vehicle) 2) replacement of the vehicle with a different one 3) reduction of the simile, if idiomatic, to its sense 4) retention of the same vehicle plusexplanation of similarity features 5) replacement of the vehicle with a gloss 6)omission of the simile 36, p. 31. A number of scholars, including M. Larson, mention the following techniques for translating simile 1) retentivity the same simile 2) replacing by another simile, but keeping the original meaning 3) keeping the same simile, but spreading it 33, p. 246.The Translation Studies scholars share the idea that in some cases the application of a combination of more than one strategy is needed to convey mightily the expressiveness of a simile. E. Fadaee assumes that translator before rendering the stylistic device should first assess the background cognition of target readers since they may not have the knowledge needed for interpreting the simile. If translator consider the target readership to possess the required information, he will leave the simile unchanged if the target readership does not share the knowledge, some modifications to the source simile may be required, e. g. addition of some explanatory information 30, p. 177.Therefore, simile, which is a stylistic device consisting in likening one object to another on the basis of a common feature, should be distinguished from logical comparison. Simile can be expressed by a variety of syntactic structures. This trope significantly contributes to the overall expressiveness of a literary work. As far as simile contains individual vision of an object by the author and may also require some background knowledge possessed by the recipients of the original a nd not shared by the readers of the target culture, translator must be creative and careful while rendering original similes. A number of scholars, including P.Pierini and M. Larson, outline the main ways of translation applicable to simile. 1. 4. The notion of metaphor and problems connected to its translation. The awareness of a complicated and contradictory nature of a metaphor became the main reason for scholarly thought to move in various directions taking into account different aspects of this phenomenon. Thus, P. Newmark under the notion of metaphor means any figurative expression the transferred sense of a physical word, the avatar of an abstraction, the application of a word or collocation to what it does not literary denote, e. g. to describe one thing in wrong of other 34, p. 106. Nevertheless, all the definitions tend to share common dominant features and may be summarized by the understanding of a metaphor as a trope or figure of speech, which consists in applicatio n of a word, denoting a particular class of objects, phenomena, actions or attributive qualities, to characterize or nominate another object, which is similar to this one in terms of any kind of relationship2, p. 81. George Lakoff and Mark Johnson find it necessary to emphasize that despite the widespread idea of a metaphor as a means of poetic imagination and rhetorical flourishing, this lexico-stylistic device is also permeant in everyday life not only in language but also in our thought and action, which are fundamentally metaphorical in nature 32, p. 3. At the same time, majority of scholars focuses on a metaphor as a powerful means of creating imagery in an artistic work since it is integrally connected with the poetic vision of the world. Of all tropes, metaphor is the most expressive one for it may draw closer or bring together in one synthetic image unfitting objects and phenomena, thus interpreting them in a new way, revealing their essence, exposing their inner nature b y drag them out of their automatic, traditional perception 15, p. 69. Turning back to the jazz of relation between metaphor and simile, it would be resonable to cite the reflection of E. Fadaee who believes metaphor to be a kind of condensed simile that some split of it, like topic similarity patsys, are deleted to convey the meaning connotatively 30, p. 21. Gibb and Wales suggest that the tenor (the object to which the quality of another object is transferred) that is preceeded by a definite article or possessive pronoun is common among items charge the simile form, whereas metaphor is assigned to the items with no definite article.The scholars also believe that simile seems to be favored in the case of concrete vehicle (the object from which a quality is transferred to another object), whereas metaphor is preferred for abstract vehicleqtd. in 35, p. 199. Simile and metaphor are distinguished not only with deal to structural aspect but also semantic one. Simile is more se mantically specified it indicates the sign of resemblance metaphor only implies this sign. A. Morokhovsky considers that simile indicates the transitory feature, even occasional, unlike metaphor, which indicates permanent feature 17, p. 176. Metaphors have been categorized in different ways depending on the aspect taken as the basis of classification.The most widespread is the classification of metaphors according to the degree of unexpectedness, which divides them into genuine (also called stylistic, fresh, original, poetic, imaginative, or speech) metaphors and trite (dead, stale, hackneyed, or language) metaphors. Trite metaphors are word-combinations once metaphorically fresh, which in consequence of long usage have lost their expressiveness and became ordinary entries in dictionaries, e. g. apple of eye. Genuine metaphors are coined by the writers imagination and are always fresh and striking, e. g. 38, p. 209. The stylistic function of genuine metaphor is twofold 1) it evoke s images and suggests analogies/associations 2) it reveals the authors emotional attitude towards what he describes.Poetic metaphor is likely to appeal to a certain image. While uncovering the essence of verbal images, R. Zorivchak emphasizes that they constitute the basis of any artistic text making it more appealing, picturesque and aesthetically beautiful and, at the same time, increasing the cognitive value of a literary work. Of particular importance is the cognitive and expressive loading of verbal image, which contributes to realization of the authors intention 8, p. 51-53. Besides expressiveness, metaphors also differ in their form. They can be single (one-word) or extended (a collocation, an idiom, a senrence, a proverb, an allegory, a complete imaginative text).There is a tendency in artistic literature to use metaphor combined with other tropes, thus it would be relevant to look into the issue of metaphor in its relationship with other stylistic devices. As N. Kozhevnikov a observes, comparative tropes, which also include metaphors of different types, are closely interrelated. One sense connection can be expressed by different concrete utterances, e. g. , , etc. Poetical language is characterized by a great amount of varying stylistic devices. Such reversibility of tropes is a means of refreshment of trite metaphors, e. g. decomposition into constituing elements and transformation of metaphor into simile 9, p. 146.The combination of simile and metaphor is an effective device for semantic cohesion of an artistic text first simile is used and then (sometimes after several phrases or words) the vehicle of the simile is used as that of metaphor 15, p. 71. For utilization, And then my vision fell upon the seven tall candles upon the table. At first they wore the aspect of charity, and seemed white and slender angels who would save me but then, all at once, there came a most deadly nausea over my spirit, and I felt every fibre in my frame thrill a s if I had touched the wire of a galvanic battery, while the angel forms became meaningless spectres, with heads of flame, and I saw that from them there would be no help 39, p. 102. A. Morokhovskyi mentions such trope as simile-metaphor based on metaphorical transference 17, p. 175, e. g. the rank(a) web of some dream 39, p. 102. An important aspect of researching the nature of metaphor concerns the problems arising in the process of its translation. Since a metaphor in source language is, by definition, a semantic novelty, it can clearly have no existing equivalence in target language 29, p. 24. The adequate translation presupposes the rendition of stylistic and expressive nuances of the original and should follow the criteria of 1) verbal correspondence of the created image, 2) delivery of the image intended in the original, and 3) preservation of the conceptual grounding for the verbal metaphor 26, ?. 186. Different approaches have been proposed with regard to metaphor trans lation, each facial expression into the problem from a different point of view. R.Van Den Broeck suggested to use the following modes of translating metaphors 1) translation sensu stricto (both source language tenor and vehicle are transferred into target language) 2) substitution (source language vehicle is replaced by a different target language vehicle with more or less the same tenor in this case source language and target language vehicles may be considered translational equivalents in that they share common tenor) 3) paraphrase (source language metaphor is rendered by a non-metaphorical expression in target language as a result, target language expression comes up to the level of a commentary rather than of actual translation 27, p. 77.Although personification is sometimes treated as a separate stylistic device, it is a metaphor in its essence since the image creation is based on metaphoric substitution. According to K. Lototska, personification is a metaphor in which abstract ideas or inanimate objects (tenor) are identified with persons (vehicle), i. e. are given human characteristics 15, p. 75. Personification is considered to be a very poverful stylistic device because everything that concerns a man appears to be the most important to him, thus when the human properties, peoples typical qualities and actions are transferred onto inanimate objects, the later begin to assume the tip importance.The main problem of rendering personification in translation consists in the fact that the sexual urge of personificated nouns in the source language and target language may not coincide. It poses a challenge for a translator when the personificated images of the original are based on the resister of masculine and feminine gender nouns and in the translation the corresponding nouns do not create such opposition. Personification may be also individual, without opposition of genders. N. Homon believes that in order to overcome the difficulties in the process of rendering personification into target text lexical substitutes, which allow topreserve the image, are possible 5, p. 40.Thus, poetical metaphor is characterized by significant expressive potential based on transference of some quality from one object to another. Metaphor is clamed to be the most expressive trope which evokes images, reveals the authors emotional attitude towards what he describes and helps to realize the writers intention. The principal classification of this trope is based on the degree of unexpectedness, which devides all metaphors into trite and genuine. The stylistic device can be expressed by different syntactic structures and tends to be accompanied or combined with other tropes in artistic text. Among the methods applied to metaphor in the process of translation the most common are translation sensu stricto, substitution and paraphrase. CHAPTER 2. E. A.POES SHORT STORY THE PIT AND THE PENDULUM AND THE REPRODUCTION OF ITS EMOTION CREATING LEXICO-STYLISTIC DEV ICES IN THE UKRAINIAN TRANSLATION BY R. DOTSENKO 2. 1. Characteristic features of E. A. Poes short story The Pit and the Pendulum. The Pit and the Pendulum is a short story written by Edgar Allan Poe, an American author, poet, editor and literary critic best known for his tales of mystery and the macabre. It was first published in 1842 in the literary one-year The Gift A Christmas and New Years Present for 1843. The story is about the torments endured by a Spanish hunting prisoner, who describes his experience of being tortured. This particular piece of literature by E. A.Poe differs significantly from the rest of the authors works in the fact that it is especially effective at inspiring fear in the reader because of its heavy focus on the senses emphasizing the reality of the story, unlike other Poes short stories which are aided by the supernatural. despite its small size, the story abounds in stylistic devices, namely epithets (44 samples), similes (18 samples) and mataphors ( 12 samples). The stylistic devices used by the author are aimed to express emotions of the narrator and, accordingly, convey the atmosphere of interrogation and torture. As one would expect, emotions which are being created by the above mentioned stylistic device in the story under research are negative and shady in their nature. The most clearly can be traced emotions of horror, disgust and desperation.While conveying emotion of horror with the help of stylistic devices, the author makes use of verbal means refering to the sphere of the otherworld and that of evil spirits, e. g. All sensations appeared swallowed up in a mad rushing de intrude as of the soul into Hades39, p. 102. The emotion of disgust is produced by means of tropes composed of verbal means already containing the seme of this emotion in their semantic structure, e. g. The entire surface of this gold-bearing enclosure was rudely daubed in all the hideous and repulsive devices to which the charnel superstition of t he monks has given rise 39, p. 106. In creating emotion of desperation E. A.Poe avails of stylistic devices comprising words which convey vagueness, powerlessness, or desperate effort, e. g. At length, with a wild desperation at heart, I quickly unclosed my eyes 39, p. 103. Lexico-stylistic devices of the story are the main and major means for creation of negative emotions intended by the author and create the overall atmosphere of the litersry work. Therefore, an adecuate reproduction of tropes is essential, as far as expressive and emotive verbal means combined in emphatic structures of different stylistic devices acquire greater expressive potential. 2. 2. The reproduction of emotion creating epithets, similes and metaphors of the short story by E. A. Poe in the Ukrainian translation by R. Dotsenko. And then there stole into my fancy, like a rich musical note, the thought of what sweet rest there must be in the grave 39, p. 102. * ? , , , - 38, p. 208. The epithet in the example above conveys the emotion of strong horror. Instinct for self-preservation is inherent in human nature, as well as fear of death, but the main character is already so much languid by the very long waiting for upcoming torture that even death for him seems to be a pleasant escape. Obviously, the torture in the story consists not in physical torment but in psychological pressure on the victim, whichis more harmful and unbearable as the development of the plot shows.The epithet construction is paradoxal since it uncovers extraordinary view on traditional lie of the land and, consequently, bears a tinge of irony, especially if to take into consideration that the narrator describes the events after he already overcame the danger and survived. R. Dotsenkos epithet construction can be considered as a full equivalent to the original one as far as both cnostructions are equal not only in general content but also in componential structure and stylistic, emotional and expressiv e shades. The transformation of original place qualifier (consisting from preposition and noun) into adjective in translation is quite justifiable as it makes translation sound smoothly and with abandon. * All sensations appeared swallowed up in a mad rushing course as of the soul into Hades 39, p. 102. * , , ? 38, p. 208. As it was mentioned in Chapter I, different stylistic devices often accompany and complement each other in literary work, thus producing enhance emotional effect. The example above constitutes a complex image of horror consisting of metaphor (descent is personified by way of transferrence on it of living being characteristic denoted by phrasal verb swallow up) and epithets and simile which vivify its tenor. It is essential to mention that metaphor makes it possible for readers to cognize the notions belonging to the sphere of abstractions, that is why metaphor as a stylistic device is especially helpful in conveying emotions.The personification was preserved by the translator and, what is more, made more explicit due to elimination of preposition inand use of active voice instead of unresisting as in the original. The simile complementing the metaphor contains allusion to Greek mythology where Hades is an underworld containing the Plain of Asphodel, where the ghosts of the dead led a vague, unsubstantial life, a shadowy continuation of their former life45,p. 172. The term hades is also used in the Septuagint (the ancient translation of the Old Testament into Greek) referring to the abode of the dead in general rather than the abode of the wicked. It has little if any relation to afterlife rewards or punishments.The Ukrainian term (English equivalent to which will be hell) is defined in the dictionary as , 41, v. 6, p. 111. Thereby R. Dotsenko replaced the vehicle of the simile with different one which may be considered more exspressive in terms of conveying horror. The allusion to Greek mythology was conveyed pa rtially through with(predicate) the substitution of original tenor of the metaphor descent with in translation since the land of the dead was illogical from the land of the living by one of the rivers of Hades, the Styx or the Acheron across which the dead were ferried 45, p. 172. Thus, explicit allusion of the original became implicit in the translation. Then, very suddenly, thought, and shuddering terror, and earnest endeavor to comprehend my true state 39, p. 103. * ? , , , ? ?38,p. 209. In the above example the author calls up to the readers mind the emotion of horror by using the noun terror and intensifies its denotative meaning with epithet shuddering (as an adjective from shudder which is defined in the dictionary as to provoke because you are cold or frightened, or because of a strong feeling 43, p. 1360). This is a good example of transferred epithet as far as not the terror itself shudders but the person who is experiencing this emotion. In translation R.Dot senko substituted the original epithet by the word which has direct meaning , and transferred one, , , 41, v. 6, p. 113. Thus, in the original the striking effect was achieved by using originally logical attribute generally describing the state of a human being for referring to an abstract phenomenon, while in the translation the analogous effect was created due to intertwinement of direct and transferred meanings of the word. Although semantically the translated epithet is not equivalent to the original one, it produces the same effect intended by the writer.This fact affords the ground for regarding the translation in the given case adequate since accuracy in the translation of artistic literature is achieved not by means of direct translation but due to deviations and appropriate substitutions which ensure the appropriate rendering of the authors ideas and intent. * A slight noise attracted my notice, and, looking to the floor, I saw several enormous rats traversing i t. They had issued from the well, which lay just within view to my right. Even then, while I gazed, they came up in troops, hurriedly, with ravenous eyes, allured by the scent of the meat 39, p. 106. * , ?, , ? , ? , ? , . ? , ? , , ? 38, p. 214. In this excerpt the author characterizes rats by using transferred epithet construction ravenous eyes and modifying construction allured by the scent of the meat besides, the mode of rats travelling is characterised by epithet in form of adverb hurriedly. The translator desided to refer all three epithets to the actualizator of the trope, rats (for this reason he changed adverb into adjective and eliminated the actualizator eyes in the transferred epithet construction). Consequently, in the translation a chain of homogeneous members-epithets was formed, which created an effect of gradation with culmination in the last element. This gradation can be considered as a compensation for the effect created by the hetero geneity of epithet chain in the original, and especially, the expressiveness of the transferred epithet construction. These colors had now assumed, and were momentarily assuming, a galvanise and most raging brilliancy, that gave to the spectral and fiendish portraitures an aspect that might have thrilled even firmer nerves than my own 39, p. 109. * , ? , ? , ? , ? 38,p. 219. dealing with translation of the first epithet construction in the above excerpt R. Dotsenko substituted epithets expressed by adjectives startling and most intense by combination of epithets expressed by means of adverb and adjective .The translation was made with regard to the overall imagery of the literary work which abounds in verbal means denoting phenomena related to sacred conceptions of hell and evil spirits. Besides, the word combination immediately brings to mind the image of the rousing and burning hell-fire which is considered to be the scariest and the most intense one . Thus, the translation is adequate since the translated variant harmoniously fits the imagery of the translated literary work and conveys the the authors intent being loaded with emotional expressiveness. The second epithet construction the spectral and fiendish portraitures was handled with ease. With regard to the core of the trope, R. Dotsenko applied calque translation having conveyed both denotative and connotative sense layers.The word portraitures was rendered as which has fitted denotative meaning in the given context and also has no connotations as well as the original activator of the trope. Thus, the whole epithet construction was translated adequatly. * These shadows of memory tell, indistinctly, of tall figures that lifted and bore me in stamp down down down still down till a hideous giddiness oppressed me at the mere idea of the interminableness of the descent 39, p. 103. * , ? , , , , - 38,p. 209. In this example R. Dotsenko split the original epithet construction and translated the noun dizziness by means of verb both words share the same denotative meaning. Further in the near context the epithet construction was compensated for by adding epithet , which is fully equivalent to hideous, to the word . The emotion of disgust thereby was preserved in the translated utterance. * They tell also of a vague horror at my heart, on account of that hearts unnatural stillness 39, p. 103. * , , , , ? 38, p. 09. The epithet in the above original sentence describes the horror which is just spawning in the face of something unknown and obscure. The epithet construction was translated as . The direct meaning of is , , from which originates the transferred one, , , , - 41, v. 9, p. 361. Consequently, the form of horror in the translation is much stronger as that in the original since it is so terrible that hinders a person to think or to act, it is a kind of paralysing fear.On the one hand, the translated epithet construction is more striking in comparison to the original one in the framework of contrastive analysis of this particular case. On the other hand, it fits perfectly the overall imagery of the story and significantly contributes to the enspiring emotion of terror. Therefore, the translation is still considered as adequate. * At length, with a wild desperationat heart, I quickly unclosed my eyes 39, p. 103. * ? , ? 38, p. 209. This is a bright example of partial epithet equivalents. The original epithet construction can be literary translated as (, , 41, v. 1, p. 659).This feeling of discouragement was recreated by means of adjective meaning , 41, v. 1, p. 659. Still this emotion as rendered in the translation is wanting amplification produced in the original by epithet wild which is used for somebody or something abstracted discipline or control 43, p. 1683. In other words, the original epithet construction is fully concentrate on the emotion epithet wild amplifes and intensifies the emotion of terror. The original construction is also followed by modifier of place at heart since humans consider heart to be the place where emotions are born, and what is from heart, that is beyond the control of reason.In the translation the focus is shifted from desperation to , the word which is purely a product of the translators creativity. , being defined in the dictionary as , 41,v. 7, p. 252, fits the utterance and relates to the quick move of unclosing eyes. Thus, given epithet costructions are partial equivalents. They differ in their componential structure but are almost equal in emotional, expressive and stylistic characteristics ensuring full adequacy of translation. * Free I had but escaped death in one form of agony, to be delivered unto worse than death in some other 39, p. 109. * , ? , 38, p. 219. The original excerpt contains simile worse than death which contains highly expressive and negatively co loured evaluation of a form of death. The translator omitted in his translation simile comparing one form of death to other by means of comparative degree of adjective (which in its denotative meaning is more expressive than English worse and more helpful in creating emotion of horror). R. Dotsenko compensated for simile by way of adding in translation word and in this manner likening on the basis of metaphorical transferrence abstract notion of death to excite creature.Thus, stylistic effect of original simile and its emotional loading were compensated for by translators creative end to introduce personification. * It was look forward to the hope that triumphs on the rackthat whispers to the death-condemned even in the dungeons of the Inquisition 39, p. 108. * , , , ? 38, p. 217. The excerpt represents an example of personification where abstract notion denoted by noun hope aqcuires ability to act, particularly perform actions (to thriumph and to whisper) t ypical of humans.This personification aims at conveying a spark of optimism which is spawning in the narrators heart. In the English language the word hope has symbolic feminine gender, thus in this personification hope appeares as a woman sustenance a man in all the hardship he undergoes. Fortunately, Ukrainian equivalent is of feminine gender as well, therefore, the image of a supportive woman was preserved. However, there were introduced two changes in the translated variant. Firstly, rack is defined in the dictionary an instrument of torture, used in the past for punishing and hurting people. Their arms and legs were secure to the wooden frame and then pulled in opposite directions, stretching the body 43, p. 1195. R.Dotsenko applied method of stimulus generalisation and translated rack by hyperonym . Secondly, the translator added , which still doent harm the image, but just expresses the tithe of comfort given to the narrator by this hope. The personification was success fully rendered into the target text. The translator managed to preserve the image as well as its expressivenes and emotive loading. * Inch by inch line by line with a descent only appreciable at intervals that seemed ages down and still down it came 39, p. 107 * , , , , , , , ? 38,p. 215. The original simile is small and consists in exaggeration by way of comparing those relatively long intervals, at which the pendulum descended, to the big span of time which lasts for ages, and in this way conveying oppression andmoral horrorsof the narrator caused by the continued expectation of long agonising death. R. Dotsenko retained the vehicle of the trope but shifted the tenor of the simile from intervals to . Besides, the translator introduced the ground of the simile expressed by word combination . The structure of translated simile is much more complicated than that of the original trope. The tenor stands separately in the second part of the main sentence.The part of the simile which follows a formal marker of comparion represents constitutes a full-fledged complex sentence. The original simile, on the contrary, is simple in structure and forms a part of an isolated member of a sentence. Although translated simile is not equivalent to the original one from the viewpoint of structure, it is considered to be an adequate translation substitute for the original trope since it recreates emotion of hopelessness accompanied by agonise suspense. * A deep sleep fell upon me a sleep like that of death39, p. 105. * ? , ? 38, p. 213. In the above example the original simile underwent a few changes in the translation. Firstly, R.Dotsenko eliminates the repeated mentioning of the comparandum instead, the translator adds its characteristic , thereby making the ground of the simile explicit. Besides, like that of death was turned into ? . The substitution is adequate, it conveys the message of the author and creates the intended emotion of fear which emer ges with mentioning all which is associated with death. However, the original simile with implicit ground leaves more space for readers imagination since a range of various characteristics may come to their mind at the same time, thus making the original utterance more expressive than translated one. Thus, translating the simile R.Dotsenko replaced the vehicle and explained the similarity feature. Though being determined and control by explicit gro