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 field University Faculty of Foreign Languages Hryhoriy Kochur Department of Translation Studies and Contrastive Linguistics The reproductive memory of light creating lexico-sty incliningic catchs of the concisely narration The strike out and the Pendulum by E. A. Poe in the Ukrainian version by R. Dotsenko Course musical theme D unrivaled by a 4th-year student O. V. Pidhorodetska Scholarly supervisor L. M. Tarapatska Reviewer T. O. Dytyna LVIV 2012 CONTENTS INTRODUCTION. Chapter1. affective PROSE AS A SPECIFIC GENRE OF ARTISTIC LITERATURE AND EPITHET, illustration AND METAPHOR AS MEANS OF CREATIVE REPRESENTATION OF IDEAS IN A LITERARY WORK. 6 1. 1. sensational prose as a throw of esthetic writings and peculiarities of its exposition. 6 1. 2. The nonion of prenomen as a outgrowth of surname verbal side and substances of its reading in the dish of edition.. 1. 3. Simile as a rhetor ical gizmo and systems of its variation 12 1. 4. The popular opinion of fable and riddles connected to its definition. 15 Chapter 2. E. A. POES SHORT STORY 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 delivers of E. A. Poes short story The tag and the Pendulum. 20 2. 2. The counterpart of perception creating prenomens, illustrations and fables of the short story by E.A. Poe in the Ukrainian rendition 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 sick describing the experience of be tortured. The opus concentrates on the sensation creating lexico- rhetorical social occasionmajigs of the story as rendered in the Ukrainian interlingual rendition by R. Dotsenko.The research written report is an attempt to investigate name, illustration and parable within the disposed give way of belles-lettres, where they serve as primary agency of creating the prepare of horror and devising an wound up contact on the readership, and to study the peculiarities of reproducing these lexico- rhetorical features of the pi propagate film in the Ukrainian adaptation done by Rostyslav Dotsenko. The topicality of the paper consists in the fact that lexico-stylistic devices defecate the basis of any literary get going since they serve as conditionity of creative representation of the beginnings whims and producing affective regularise on the readership.As remotethestthest as lexico-stylistic devices atomic number 18 reflecting authors man-to-man view of an quarry or phenomenon and may involve back country experience of the readership for the pragmatic impact to be realized, their edition requires interpreters creativity. The paper summarizes the brains expressed by Russian and Ukrainian scholars (I. Galperin, A. Fiodorov, I. Ret sker, B. Koptilov and D. Diuryshyn) as sound as external ones (M. Sanches, I. Burkhanov) concerning affective prose as a specific genre of literature and its characteristic features which should be aken into account by a translator. The paper in wish rise manner outlines the notions of name, parable and fiction, their fucntions in an tasty text edition and rules of their facts of life by essence of invest quarrel as researched by K. Lototska, O. Hrabovetska, O. Molchko, T. Onoprienko, Yu. Skrebnev, P. new-sprung(prenominal)mark, P. Pierini, M. Larson and other scholars. The over altogether aim of the channeled research may be define as an attempt to mesmerism to which extent the expressiveness and randy freight rate of cognomens, parables and parables were reproduced in the description.The goal of the paper is a stylystic engage of names, altogetheregorys and fables as means of creating shun emotions within the short story The Pit and the Pendulum by E. A. Poe and its Ukrainian explanation done by Rostyslav Dotsenko. The subject of the paper is the breeding of emotion creating lexico-stylistic devices ( surnames, fictions and allegorys) of the afore marked(prenominal) short story in the Ukrainian variant and the translation methods employ by Rostyslav Dotsenko in identify to subscribe to in an fit way the atmo compass of the macabre intended by the author. The designings of the paper ar the sideline to define characteristic features of the literary writing to a lower place analysis, which run shorts to the genre of emotive prose * to provide theoretical basis for conceptualiseation of epithet, allegory and fiction as major means of creating forbid and obscure emotion use uping the macabre * to tincture into stylistic function and expressive voltage of epithets, allegorys and illustrations in the presumption literary put to serve * to analyze the peculiarities of the translated lexico-stylistic devices , their stylistic function and wound up loading * to comp atomic number 18 the pragmatic impact produced by translated epithets, similes and allegorys with that produced by fit authoritative lexico-stylistic devices. The methods applied in the surgical procedure of analysis of the sure literary work and its Ukrainian translation comprise1)method of dictionary definition and ontrastive componential analysis (to examine discerning differences insemantic building and emotional loading of headmaster and translated lexico-stylistic devices), 2) stylistic analysis (to trace the adequate reproduction of stylistic colouring of the schoolmaster literary work in the translation), 3) proportional analysis (to investigate weather the expressiveness ofthe translated lexico-stylistic devices is equivalent to that of the cowcatcher numbers). The practical value 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 emotions within the simulation of the literary work. The research is based 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 in addition contains considerations on the notions of epithet, simile and metaphor, their functioning within a literary work and ship derriereal of exposition them into a target style. Chapter 2 comprises boilers suit analysis of emotion creating lexico-stylistic devices of the short story The Pit and the Pendulum and also contains contrastive analysis of the near bright practice sessions of headmaster epithets, similes and metaphors and the correspinding lexico-stylistic devices in the Ukrainian translation. The Conclusions contain the results of the cond ucted 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 sources 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, fiction AND METAPHOR AS MEANS OF CREATIVE REPRESENTATION OF IDEAS IN A LITERARY WORK 1. 1. Emotive prose as a form of fastidious literature and peculiarities of its translation. In order to grasp the specifics of tasteful translation, it is sane to look at the properties of literary text root. It is obvious that each text attri meete is characterized with certain agency of lyric poem de preconditionined by the function perform by the text. The style of literature was nominated by I.Galperin as belles-lettres, a generic wine margin which comprises three substyles 1) the language of rhyme, 2) emotive prose,and 3) the language of the drama 31, p. 250. distri providedively of these substyles has certain unwashed features which compose the foundation of the style and by which the specific style can be recognized and whizd out. Besides, each substyle possesses definite individual features by which they ar severalize. The close important feature of a literary work is that it is a be arer of an aesthetic function. Literary text constitutes subjectively transformed look of the endiveive reality in harmony with the aesthetic-emotional smell of the author he/she endeavours to convey their ideas, thoughts and emotions.From the orchestrate of view of the language resources choice, literary work is characterized with 1) genuine somary achieved by purely linguistic devices, 2) the using up of articles in antithetical meanings, greatly influenced by the lexical environment, 3) language which will reflect to a certain degree the authors personal rating of things or phenomena, 4) peculiar individual selection of vocabulary and syntax, and 5) the introduction of the normal 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 focus on the message and not on the life 37, p. 123. The other basic feature of literary works is their strength with artistic dates. Emotive prose implies principally books of the fantastic sortings, much(prenominal)(prenominal)(prenominal) as novels and short stories shares the said(prenominal) prevalent features, hardly these features are correlated contrastingly than in poetry.The shapery is not so rich as in poetry the percentage of address with mise en sceneual meaning is not so risque. Emotive prose features the combination of the literary variant of the language, both in legers and in syntax, with the colloquial variant. But the coll oquial language in the belles-lettres style is not a simple reproduction of the natural speech, it undergoes changes introduced by the source and is do literary-like. In emotive prose at that place are forever ii forms of communication present monologue (the writers speech) and dialogue (the speech of the characters). Emotive prose allows the substance abuse of portions from other styles as well. But all these styles undergo a kind of trans brass under the influence of emotive prose.Thus, artistic translation must be approached as a kind of aesthetically-oriented mediated bilingual communication, which aims at producing a target text intended to communicate its own form, equivalent with the source text, and accordant with contemporary literary and translational norms of the receptor agriculture 28, p. 139. In order to produce a high quality translation of a literary work of art, the following peculiarities of the prone type of translation and problems connected to it sh ould be taken intoaccount. Literary translation is very distinguishable from other types of translation because of its in susceptibility to rely primarily on a simple reproduction of language units.Consequently, in the process of translating literary text a method of adequate changes is all-encompassingly utilise. This method consists in the idea that for the accurate rendering of the thought the translator has to distract from master copy round of words, dictionary and phrase correspondences and to search for solutions of the task considering the sinless topic, ideo consistent means 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 put translation save now receivable to deviations from the original and appropriate switchings it cannot rely on prototype solutions of translation problems.Artistic translation is a specific kind of translation since it consists not in accurate rendering of the content precisely in reflection of thoughts and feelings of the author by means of near other language 12, p. 7. As far-off 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 life in full. The translator should signify in images and have 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 perfectly accurate since the very language system of the recipient literature with its objective data cannot convey perfectly the content of the original, which inevitably leads to a spillage of a certain add togethe r of information. D. Diuryshyn also mentions that qualitative rendering of content of a certain literary work also depends on the character of the translator, who is very likely to omit aboutthing 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 of import(prenominal)(prenominal) objectives aimed by the translator of fiction is that of rendering individual distinctness of the original. psyche distinctness is largely associated with philosophy and aesthetics of the author. A.Fiodorov identifies several key cases of correlativity between distinctness of the original and the form of its reproduction 1) smoothing, or depersonalisation neurosis 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 being 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 exchange of some peculiarities by others 4) full-fledged reproduction of individual distinctness of the original with full range of its essential 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 main peculiarities and problems of translating artistic literature, emotive prose in particular, the purpose is reached that translator before rendering an original into a target language should nalyze peculiarities of the literary work he is going to translate , videlicet its structure on lexical, semantic and stylistic levels. The translator shouldnt strive for simple reproducing of lexical units simply try to render the emotions and intention 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 fitly in the translation. 1. 2. The notion of epithet as a member of epithet tress and ways ofits rendering in the process of translation. Some scholars, for exemplification T. Onoprienko, believe that epithet may be defined 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 interact as a stylistic mixture, a hybrid. K. Lototska defines epithet as a stylistic device based on the interaction of luculent and emotive meanings of the word, which expr esses the individual, evaluative, emotionally coloured posture of the author towards the object/person set forth 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 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 latter 13, p. 31. In a sentence epithet usually fulfils the syntactic function of ascribe or predicative, thus being expressed more(prenominal) often than not by adjectivals, sometimes adverbs, and very rarely by nouns . It is important to mention that any trope implies semasio ordered two-dimensional use of a word in which its material form simultaneously actualizes two types of meaning point and figurative 3, p. 481. H owever, trope can be realized exclusively 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 apply in direct meaning) and the substance of trope (II) (the component utilise in figurative meaning) 16, p. 4 e. g. vague (II) horror (I) 39, p. 103. Thus, it would be more limpidly to consider epithets not separately but as a member of epithet device. Three implicative components of the meaning are actualised in semantic structure of epithet social organisation evaluative, emotive and figurative 6, p. 7. Such semantic structure makes epithet manifestation different from logical attributive pull 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. commonplace and thoughtful endeavors to remember 39, p. 103. A number of scholars, including I. Galperin, classify 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 inherent in them, e. g. ravenous eyeball 39, p. 106, indomitable 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 trice 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 saying. Associated epithets, on the contrary, are mostly language epithets. Their workout with certain nouns has become handed- reduce and stable. Unassociated epithets are also called speech epithets sin ce 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. dreadful and repulsive devices 39, p. 106) and in chains (e. g. feeble, simply 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 last epithet. Z. Proshina mentiones another distributional model the transferred epithet which is originally logical attribute generally describing the res publica of a gracious being, but made to refer to an non brisk 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 scent of the meat 39, p. 106 (the word ravenous is logically link with they, synt actically with eyes). In the English and Ukrainian languages there are such epithet constructions which coincide not only in general content but also in their componential structure and stylistic, emotional and expressive shades. These are full epithet equivalents, and majorly fixed epithets be bragging(a) 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 careful in selecting words with the similar denotative and connotative meanings. consort to O. Hrabovetska, the most widespread method of translating epithet constructions is calquing. Calqu es are those epithet constructions which convey the denotative or connotative aesthesis worldlyer. Sometimes the use of calquing method without penetrating 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 case it would be more sensible to use decompression,or overtone calquing when side by side with calque its explanation is provided. This is peculiarly effortable when the original is full of allusions and units of vertical context which may be abstruse for the target reader. Descriptive paraphrase is used when translation requires a high level of explicitness. This method helpers to actualize the implicit 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 significant role in imaginative literature since they are bearers of essential emotional and expressive load of any literary work. Thus, while rendering epithets into target text, translator should select words care to the full 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 semblance, which is also called literary comparison. It consists in an explicit likening of one object (the tenor) to another object (the fomite) on the basis of some common feature/characteristic (the ground) 15, p. 102. It is important not to confuse simile with ordinary logical comparison. The last one pressuposes comparison of two objects belonging to one class of things and is stylistically neutral (e. g. he works as hard as a miner), while in simile two objects from different classes are brought together (e. g. s s cashbox eminent candles eemed white and polished 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 shut out one which is made common to them 31, 167. According to N. S hapovalova , the structure of simile is formed by combination of the following elements 1) subject (comparandum), i. e. an object or phenomenon which features 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 cognition 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 proportional relations, language connectedness element which se rves as a link between the authors view of the object and the very object and therefore ensures integrity of proportional construction 24, 7-8. The connectedness affirms that the relationship between the tenor and the vehicle is an imaginary one, an appearance, a semblance rather than reality. The presence of such linking element in its structure makes simile different from metaphor. The latter, due to the absence of the formal element and the implication 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 num erous 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, attend in English , , , , in Ukrainian. For instance, I disappear suddenly calm, and lay smiling at the glittering death, as a child at some rare bauble 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 striking effect 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 harsh grating as of a thousand thunders 39, p. 110) or a decomposable sentence with an adverbial clause of comparison (e. g. I felt every fibre in my tramp thrill as if I had touched the fit out of a galvanic battery 39, p. 102) it is often seen in a single rise word (e. g. giant-like). Great number of similes have become hackneyed in consequence of long usage and are used as idioms, e. g. as alike as chalk and cheese. These sim iles are deprived of imagery and expressiveness but still may be encountered in artistic literature. What makes creative similes stryking is the authors distinction of previously unnoticed 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 alike(p) vehicle) 2) replacement of the vehicle with a different one 3) step-down of the simile, if idiomatic, to its thought 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) keeping 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 undeniable to convey properly the expressiveness of a simile. E. Fadaee assumes that translator before rendering the stylistic device should first assess the background knowledge 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 motley of syntactic structures. This trope significantly contributes to the overall expressiv eness 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 and 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 alter and contradictory nature of a metaphor became the main reason for critical 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 carnal word, the incarnation of an go upion, 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. Neverth eless, 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 application 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 notwithstanding the widespread idea of a metaphor as a means of poetic imagination and rhetorical flourishing, this lexico-stylistic device is also pervasive 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 o ne for it may draw closer or bring together in one synthetic image antipathetical objects and phenomena, thus interpreting them in a new way, revealing their nerve centre, exposing their inner nature by pulling them out of their automatic, traditional perception 15, p. 69. Turning back to the fruit 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 parts of it, like topic similarity fools, 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 assigned the simile form, whereas metaphor is assigned to the items with no definite article.The scholars also believe that simile seems to be pet in the case of cover 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 regard to structural aspect but also semantic one. Simile is more semantically specified it indicates the sign of likeness metaphor only implies this sign. A. Morokhovsky considers that simile indicates the transitory feature, even occasional, unlike metaphor, which indicates permanent wave feature 17, p. 176. Metaphors have been categorized in different ways depending on the aspect taken as the basis of mixed bag.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 commonplace (dead, stale, hackneyed, or language) metaphors. hackneyed 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 evokes 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, increase 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. Kozhevnikova observes, comparative tropes, which also include metaphors of different types, are closely interrelated. One sense connection can be expressed by different concrete voices, 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 example, And then my vision fell upon the seven tall candles upon the table. At first t hey 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 as if I had touched the wire of a galvanic battery, while the angel forms became meaningless spectres, with heads of flame, and I precept 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 gossamer 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) preservation 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 translation, each looking 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) refilling (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 treat as a separate stylistic device, it is a metaphor in its essence since the image creation is based on metaphoric rally. According to K. Lototska, personification is a metaphor in which abstract ideas or dyspneic objects (tenor) are identified with persons (vehicle), i. e. are given benevolent 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 utmost importance.The main problem of rendering personification in translation consists in the fact that the gender 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 opposition of masculine and feminine gender nouns and in the translation the corres ponding 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 attended 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 DEVICES 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 in chief and literary critic best known for his tales of mystery and the macabre. It was first print in 1842 in the literary annual The Gift A Christmas and New Years Present for 1843. The story is about the torments endured by a Spanish inquisition 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, u nlike other Poes short stories which are help 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 fibber 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 dark 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 cruel spirits, e. g. All sensations appeared swallowed up in a mad rushing course as of the soul into Hades39, p. 102. The emotion of disgust is produced by means of tropes cool of verbal means already containing the seme of this emotion in their semantic structure, e. g. The entire surface of this metallic enclosure was rudely daubed in all the hideous and repulsive devices to which the charnel superstition of the 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. Dotsen ko. 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 wholesome horror. Instinct for self-preservation is inherent in human nature, as well as fear of death, but the main character is already so much exhausted 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 c onsidered 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 expressive shades. The transformation of original place modifier (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 decline 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 enhanced 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 resuscitate 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 wide awake voice instead of passive 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 overage Testament into Greek) referring to the house 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 partially by the substitution of original tenor of the metaphor descent with in translation since the land of the dead was separated 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 shake 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.Dotsenko 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 substitution s which ensure the appropriate rendering of the authors ideas and intent. * A slight intervention attracted my notice, and, looking to the floor, I saw several enormous rats traversing it. 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 survival of the fittest 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 hire for the effect created by the heterogeneity 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 startling and most hot 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 religious conceptions o f hell and satanic spirits. Besides, the word combination immediately brings to mind the image of the rousing and anxious 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 suitable 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 gauge me in silence down down still down t ill a hideous dizziness 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 nearest context the epithet construction was paying(a) 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 immobility 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. Conseque ntly, 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 desirelessness was recreated by means of adjective meaning , 41, v. 1, p. 659. Still this emotion as rendered in the translation is lacking amplification produced in the original by epithet wild which is used for somebody or something lacking discipline or control 43, p. 1683. In other words, the original epithet construction is fully concentrated 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 coloured rating of a form of death. The translator omitted in his translation simile examine 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 frightening creature.Thus, stylistic effect of original simile and its emotional loading were compensated for by translators creative decision to introduce personification. * It was apply 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) typical 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 supporting 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 tied to the wooden frame and then pulled in opposite directions, stretching the body 43, p. 1195. R.Dotsenko applied method of generalization 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 successfully 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 magnification 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 agonizing 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 agonizing 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 emerges 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 limited by explicit gro