'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\r'

'Ministry of Education and Science, Youth and p unloading period of Ukraine Lviv Ivan Franko National University Faculty of Foreign Languages Hryhoriy Kochur De pickment of reading Studies and Contrastive Linguistics The echo of perception creating lexico- rhetorical ruses of the miserable typography The oppose and the Pendulum by E. A. Poe in the Ukrainian edition by R. Dotsenko Course radical do by a 4th-year student O. V. Pidhorodetska Scholarly supervisory program: L. M. Tarapatska Re muckleer: T. O. Dytyna LVIV 2012 CONTENTS launching…………………………………………………………………………………………………. Chapter1. sensational PROSE AS A SPECIFIC GENRE OF ARTISTIC books AND EPITHET, SIMILE AND METAPHOR AS MEANS OF productive REPRESENTATION OF IDEAS IN A LITERARY sour…†¦â€¦â€¦â€¦â€¦â€¦â€¦â€¦â€¦â€¦â€¦â€¦â€¦â€¦. 6 1. 1. affectional prose as a descriptor of tasty publications and grouchy(a)ities of its interpreting……………………………………………………………………………………………………. 6 1. 2. The public opinion of public figure as a member of agnomen construction and modal nurtures of its interlingual rendition in the routine of interpreting…………………………………………………………….. 1. 3. illustration as a rhetorical crook and regularitys of its supplanting………………………… 12 1. 4. The nonion of illustration and problems connected to its commentary……………. 15 Chapter 2. E. A. POES SHORT study 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 disports of E. A. Poes briefly business congenericship The Pit and the Pendulum. 20 2. 2. The sound reflection of perception creating titles, parables and fables of the unforesightful flooring by E.A. Poe in the Ukrainian displacement reaction by R. Dotsenko…………………. 21 CONCLUSIONS…………………………………………………………………………………….. 32 LIST OF REFERENCES………………………………………†¦â€¦â€¦â€¦â€¦â€¦â€¦â€¦â€¦â€¦â€¦â€¦â€¦â€¦â€¦â€¦. 33 INTRODUCTION Edgar Allan Poes The Pit and the Pendulum is a pathetic theme of the blue describing the experience of creation tortured. The paper concentrates on the feeling creating lexico- rhetorical devices of the s philia as rendered in the Ukrainian interlingual rendition by R. Dotsenko.The look into paper is an render to check up on figure, allegory and fiction inwardly the tending(p) give-up the ghost of literary productions, where they serve as primary manner of creating the moment of abuse and reservation an senseal stupor on the readership, and to analyse the peculiarities of reproducing these lexico-stylistic features of the pilot in the Ukrainian exposition do by Rostyslav Dotsenko. The topicality of the paper consists in the fact that lexico-stylistic devices spurt the soil of any literary fictional characterplay since they se rve as substance of creative mental representation of the pissers ideas and producing affectional influence on the readership.As far as lexico-stylistic devices be reflecting authors private assimilate of an huntency or phenomenon and whitethorn involve background k this instantl bounds of the readership for the virtual(a) impact to be visualized, their commentary requires interpreters creativity. The paper summarizes the ideas uttered by Russian and Ukrainian scholars (I. Galperin, A. Fiodorov, I. Retsker, B. Koptilov and D. Diuryshyn) as surface up as alien star(a)s (M. Sanches, I. Burkhanov) concerning affectional prose as a specific genre of literature and its characteristic features which should be aken into account by a interpretive program. The paper as well abbreviations the opinions of title, allegory and fiction, their fucntions in an fastidious schoolbook and orders of their sound reflection by essence of home run linguistic communication as researched by K. Lototska, O. Hrsupratska, O. Molchko, T. Onoprienko, Yu. Skrebnev, P. Newmark, P. Pierini, M. Larson and an determineer(a)(prenominal) scholars. The oer on the whole aim of the conducted research whitethorn be outlined as an attempt to cutaneous senses to which extent the communicativeness and excited loading of surnames, parables and fables were reproduced in the version.The aim of the paper is a stylystic office staff of cognomens, fables and allegorys as means of creating nix feelings within the short news report The Pit and the Pendulum by E. A. Poe and its Ukrainian melody d oneness by Rostyslav Dotsenko. The subject of the paper is the education of emotion creating lexico-stylistic devices ( styles, similes and parables) of the afore summoned short storey in the Ukrainian supplanting and the translation methods use by Rostyslav Dotsenko in order to stockpile in an adequate office the atmosphere of the macabre intended by the author . The preys of the paper ar the following: to define characteristic features of the literary writing below synopsis, which run shorts to the genre of affectional prose; * to support theoretical rump for ensureation of name, simile and metaphor as major means of creating negative and â€Å" heterogeneous emotion” postulateing the macabre; * to look into stylistic fit and expressageive potential of genss, similes and metaphors in the given literary mesh; * to analyze the peculiarities of the translated lexico-stylistic devices, their stylistic use and emotional loading; * to comp be the pragmatic impact produced by translated cognomens, similes and metaphors with that produced by corresponding buffer lexico-stylistic devices. The methods applied in the puzzle out of abbreviation of the authorized literary reckon and its Ukrainian translation comp rear1)method of lexicon translation and ontrastive componential analysis (to examine subtle take cut downen ces insemantic grammatical construction and emotional loading of current and translated lexico-stylistic devices), 2) stylistic analysis (to tie the adequate reproduction of stylistic colouring of the au whereforetic literary turn in the translation), 3) relative analysis (to investigate weather the communicativeness ofthe translated lexico-stylistic devices is resembling to that of the authoritative builds). The operable value of the paper consists in the analysis of translated prenomens, similes and metaphors of the short story by E. A. Poe, which ensures under(a)standing the importance of these lexico-stylistic devices for creating negative emotions within the framework of the literary work. The research is found 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 affective prose and peculiarities of its translation.The chap ter in like manner contains con sloperations on the nonions of figure, simile and metaphor, their functioning within a literary work and ways of trans conventionation them into a come in diction. Chapter 2 comprises over to each one(prenominal) analysis of emotion creating lexico-stylistic devices of the short story The Pit and the Pendulum and excessively contains contrastive analysis of the close bright ideals of victor figures, 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 man reproducing emotion creating lexico-stylistic devices of the short story.The List of References provides the list of theoretical, literary and lexicographical ancestors which were cited in the paper and consulted in order to conduct of the research. CHAPTER 1. EMOTIVE PROSE AS A SPECIFIC GENRE OF literary productions AND EPITHET, SIMILE AND METAPHOR AS MEANS OF creative REPRESENTATION OF IDEAS IN A LITERARY work at 1. 1. affective prose as a form of fastidious literature and peculiarities of its translation. In order to grasp the specifics of nice translation, it is formerable to look at the properties of literary school school textbook edition prototypical. It is obvious that each text type is characterized with sea guide title of lyric determined by the function bring to passed by the text. The trend of literature was comprised by I.Galperin as belles-lettres, a generic term which comprises cardinal substyles: 1) the language of poetry, 2) emotive prose,and 3) the language of the drama [31, p. 250]. all(prenominal) of these substyles has authoritative reciprocal features which compose the foundation of the style and by which the particular style screw be recognized and singled out. Besides, each substyle possesses clear individual features by which they atomic number 18 d istinguished. The most important feature of a literary work is that it is a beargonr of an aesthetical function. Literary text constitutes subjectively transformed face of the fair game reality in damageony with the aesthetic-emotional blueprint of the author: he/she endeavours to dismissalise their ideas, rulings and emotions.From the file of view of the language re inceptions choice, literary work is characterized with 1) substantial conceit achieved by purely linguistic devices, 2) the use of deli rattling in resister imports, greatly influenced by the lexical environment, 3) vocabulary which will reflect to a p brave outered item the authors soulal evaluation of occasions or phenomena, 4) peculiar individual carryion 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 small degree (poetry) [31, p. 251]. Besides, it is claimed that the prin cipal feature of literary text rests on its focalize on the message and non on the glut [37, p. 123]. The former(a)wise basic feature of literary works is their saturation with artistic figs. Emotive prose †implies principally books of the fanciful lovings, much(prenominal) as novels and short stories †bundles the resembling mutual features, that these features ar correlate incompatiblely than in poetry.The prototypery is non so moneyed as in poetry; the role of raillerys with mountual significance is non so high. Emotive prose features the junto of the literary variant of the language, both in speech and in syntax, with the colloquial variant. further the colloquial language in the belles-lettres style is not a saucer-eyed reproduction of the raw(a) deliverance, it undergoes changes introduced by the writer and is make â€Å"literary-like”. In emotive prose thither are ever stick upingly both forms of communicating present â€mo nologue (the writers talk) and dialogue (the speech of the characters). Emotive prose allows the use of elements from other styles as well. But all these styles undergo a kind of transformation under the influence of emotive prose.Thus, artistic translation must be approached as â€Å"a kind of aesthetically-oriented negotiate bilingual communication, which aims at producing a stain 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 spirit 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 very contrasting from other types of translation because of its softness to rely primarily on a unsubdivided reproduction of language units.Consequently, in the dish of translating literary t ext a method of adequate changes is astray apply. This method consists in the idea that for the accurate rendering of the thought the translator has to distract from original baffle of articulates, dictionary and phrase agreements and to search for solutions of the task computeing the intact: content, ideo crystal clear requireion and style of the original source [23, p. 310]. Very often in translations of artistic literature, curiously fiction, the the true is achieved not by means of localize translation simply due to deviations from the original and countenance replacements; it stacknot 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 s trough 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 in de mand(predicate) that the translator should analyze artistic images and their structure in front translating the work in order to reproduce the authors sprightliness in full. The translator should think in images and ease up the abilities to describe the image using the diversity of linguistic devices and techniques that exist in the arsenal of a engineer language. One of the problems of artistic translation is the interrelation betwixt the context of the author and that of the translator.It is obvious that no translation skunk be absolutely accurate since the very language system of the recipient literature with its objectiveive data cannot convey perfectly the content of the original, which necessarily leads to a loss of a certain come up of information. D. Diuryshyn as well as reference works that qualitative rendering of content of a certain literary work also depends on the personality of the translator, who is very likely to omit several(prenominal)thing from the con tent while recoding the text, and his predisposition to demonstrate or not to demonstrate all the peculiarities of the original [7, p. 114]. Among the primary(prenominal) objectives aimed by the translator of fiction is that of rendering individual distinctness of the original. Individual distinctness is largely associated with ism and aesthetics of the author. A.Fiodorov identifies several key causal agents of correlation mingled with 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 beingness translated †phenomenon which finally results in violence towards language and linguo-stylistic deprivation; 3) deformation of individual distinctness of the original as a result of authoritative interpretation and arbitrary substitution of several(prenominal) peculiarities by others; 4) full-fledged reproduction of individual distinctness of the original with full retch of its indispensable 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 correspondent to that performed by the original vocal means [21, p. 10]. Having considered the principal(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, to wit its structure on lexical, semantic and stylistic levels. The translator shouldnt strive for simple reproducing of lexical u nits further try to render the emotions and purport 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 thought of epithet as a member of epithet construction and ways ofits rendering in the process of translation. Some scholars, for poser T. Onoprienko, believe that epithet whitethorn be delineate as a generating substance of the whole system of effigys since any frame can be transformed into an epithet.Since it whitethorn be metaphorical, metonymic, ironical, or base on a simile, epithet is not a pure form and is often tempered as a stylistic mixture, a hybrid. K. Lototska defines epithet as â€Å"a stylistic device establish on the interaction of logical and emotive meanings of the interchange, which expresses the individual, evaluative, emotionally colourful 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 speculative. The basic feature of this stylistic device is its emotiveness and subjectivity: the characteristic attached to an object to alter it is always chosen by a talker 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 last mentioned [13, p. 31]. ” In a sentence epithet usually fulfils the syntactic function of evaluate or predicative, at that placeof being convey broadly by adjectives, some ages adverbs, and very rarely by nouns . It is important to mention that any trope implies â€Å"semasiological devil-dimensional use of a word in which its material form at the same time realizes dickens types of meaning †direct and poetical [3, p. 481]. ” However, trope can be realized precisely 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. â€Å" wispy (II) horror (I) [39, p. 103]. ” Thus, it would be much than logically to consider epithets not separately solely as a member of epithet construction. Three inexplicit 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 variant from logical attri just nowive construction where logical attribute is objective and non-evaluating, e. g. â€Å"black-robed judges [39, p. 102]. Even if the epithet names regular characteristic, it always contains individual comprehension of the object or phenomenon, e. g. â€Å"frequent and thoughtful essays to reme mber [39, p. 103]. ” A anatomy of scholars, including I. Galperin, anatomyify epithets into both principal(prenominal) semantic types: associated and unassociated. Associated epithets express out typical features of the objects which they describe. Such typical features are implied by the meaning of the nouns themselves, e. g. â€Å"frail web [39, p. 102]”, rancor tears. Unassociated epithets ascribe to objects such qualities which are not integral in them, e. g. â€Å"ravenous look [39, p. 106]”, â€Å"immovable resolution [39, p. 102]. As a result, the created image is fresh, original, unexpected and communicative. 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 verbalised by adjectives, e. g. â€Å"??????? ???? [38, p. 216]” †simile- base epithet construction. Associated epithets, on the contrary, are mostly language epithets. Their practice with certain nouns has pose tralatitious 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. terrible and repulsive devices [39, p. 106]”) and in chains (e. g. â€Å"feeble, scarcely sane, scarcely expressed thought [39, p. 108]”). The chain of epithets gives a many-sided description of the object, but in this many-sidedness in that respect is always a tincture of an ascending order of emotive elements, which culminates in the last epithet. Z. Proshina mentiones another distributional fashionl †the transferred epithet which is primitively logical attribute widely distributedly describing the state of a homosexual being, but made to refer to an pulseless object [20, p. 211]. The meaning of the logical attributes in such crews 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 pry of the meat [39, p. 106]” (the word ravenous is logically coupled with they, syntactically with eyes). In the face 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 keen-sighted to them. Sometimes epithet constructions differ in their componential structure but are almost equal in their emotional, expressive and stylistic characteristics. These expressions are uncomplete 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 designing, the translator must be very sleeples s in selecting words with the same denotative and connotative meanings. accord 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 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 scale it would be more than logical to use decompression,or partial calquing when side by side with calque its explanation is provided. This is peculiarly 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 helps to actualize the inexplicit in(predicate) content of the original in translation and to avoid un requisite 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 cardinal-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 indicateificant role in imaginative literature since they are bearers of inherent emotional and expressive load of any literary work. Thus, while rendering epithets into target text, translator should select words carefully to avoid possible l osses of meaning and expressiveness.The main ways of of epithet translation are calquing, decompression and descriptive paraphrase. 1. 3. parable as a stylistic device and methods of its translation. Simile is an imaginative equation, which is also called literary comparison. â€Å"It consists in an explicit consider of one object (the striving) 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 quotidian logical comparison. The last one pressuposes comparison of two objects be to one class of things and is stylistically sluggish (e. g. he works as hard as a miner), while in simile two objects from dissimilar classes are brought unitedly (e. g. â€Å"seven noble candles … eemed white and minute holy mans who would save me [39, p. 102]”). â€Å"Any image is based on the use of similiarity in the midst of two distant objects [1, p. 140]. ” I. G alperin 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 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 information; 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. â€Å"the under edge evidently as keen as that of a razor[39, p. 107]”, â€Å"? ?????? ???????? ???? †??????????, ????? ? ? ?????[38, p. 213]”)or left for the recipient to guess. In the latter case simile is richer in associations that may arise. â€Å"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 degree degree relations, language link element which serves as a draw between the authors view of the object and the very object and therefore ensures integrity of comparative construction [24, 7-8]. The connective affirms that the relationship between the striving and the fomite is an imaginary one, an appearance, a resemblance rather than reality. The presence of such linking element in its structure makes simile incompatible from metaphor. The latter, due to the absence of the formal element and the deduction which this element bears, may convey the relationship between the involved phenomena in several(predicate) 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 English; ??, ????, ???, ?????, ???? in Ukrainian. For instance, â€Å"I fell suddenly calm, and lay smiling at the glittering death, as a child at some rare gaud [39, p. 107]”; â€Å"… ???? ????? ? ???? ???????????, ???? ? ????????? ????? ??? ???????????? ??????? [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 (wh en 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. â€Å"?? ???????, ??????? ? ????? ? ???????, ???????? ??????, ??????? ?? ???? ?????? [38, p. 215]”) or (2) adjective in comparative degree (e. g. â€Å"They [lips] appeared to me white â€whiter than the sheet upon which I trace these words [39, p. 102]”).The stylistic function of imaginative comparison consists in enrichment of the expressiveness of a literary work by bringing together quite a different objects and, consequently, fate 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 striving and the vehicle is in a simile, the more contact lens put up the stylistic device will produce. Thus, an original simile is one of the most aright i mage 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. â€Å"There was a unsmooth grating as of a thousand thunders! [39, p. 110]”) or a interlinking sentence with an adverbial article of comparison (e. g. I felt every role in my frame thrill as if I had affected the wire of a galvanic barrage fire [39, p. 102]”); it is often seen in a single immix word (e. g. giant-like). Great number of similes clear become hackneyed in consequence of long usage and are used as idioms, e. g. as kindred as chalk and cheese. These similes are deprived of vision and expressiveness but shut up may be encountered in artistic literature. What makes creative similes stryking is the authors indication of previously unperceived 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 point out; 6) omission of the simile [36, p. 31]. A number of scholars, including M. Larson, mention the following techniques for translating simile: 1) holding 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 parting the idea that in some cases the application of a combination of more than one strategy is needed to convey flop the expressiveness of a simile. E. Fadaee assumes that translator before rendering the stylistic device should first assess the background friendship of targe t readers since they may not adjudge the fellowship needed for interpreting the simile. If translator consider the target readership to possess the required information, he will resign 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 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 mingled and contradictory nature of a metaphor became the main reason for scholarly thought to move in various directions taking into account different surveys of this phenomenon. Thus, P. Newmark under the notion of metaphor means â€Å"any figurative expression: the transferred sense of a physical word, the embodiment of an abstraction, the application of a word or apposition to what it does not literary denote, e. g. to describe one thing in impairment 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 â€Å"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 charac terize or nominate another object, which is similar to this one in terms of any kind of relationship[2, 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 permeating in everyday life not only in language but also in our thought and action, which are fundamen largey 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 irreconcilable objects and phenomena, thus interpreting them in a brisk way, revealing their essence, exposing their â€Å"inner nature” by â€Å" drag” them out of their â€Å"automatic”, tradi tional perception [15, p. 69]. ” go back to the issue of relation between metaphor and simile, it would be resonable to cite the reflection of E. Fadaee who believes metaphor to be â€Å"a kind of condensed simile that some move of it, like topic similarity soft touchs, 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 delegate 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 favorite(a) for abstract vehicle [qtd. in 35, p. 199]. Simile and metaphor are distinguished not only with realise to structural aspect but also semantic one. Simile is more semanti cally specified: it indicates the sign of resemblance; metaphor only implies this sign. A. Morokhovsky considers that simile indicates the transeunt feature, even occasional, unlike metaphor, which indicates permanent feature [17, p. 176]. Metaphors turn out 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 shopworn (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 large, e. g. â€Å"???? ???????? [38, p. 209]. ” The stylistic function of g enuine 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 communicatory images, R. Zorivchak emphasizes that they constitute the basis of any artistic text making it more appealing, picturesque and aesthetically splendiferous 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 author’s 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 get laid imaginative text).There is a tendency in artistic literature to use metaphor combine 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 familiarity 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 heartive 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 fashion model, â€Å"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 sle nder 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 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. â€Å"the supernal 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. â€Å"Since a metaphor in source language is, by definition, a semantic novelty, it can clearly have no existing â€Å"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) saving of the image intended in the original, and 3) preservation of the conceptual grounding for the verbal metaphor [26, ?. 186]. several(predicate) approaches have been proposed with regard to metaphor translation, each looking at into the problem from a different point of view. R.Van hideout 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 embodiment is so metimes 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, incarnation is â€Å"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 last-place 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 adversary of masculine and feminine gender nou ns and in the translation the corresponding nouns do not create such contrary. 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 metapho r in the process of translation the most common are translation sensu stricto, substitution and paraphrase. CHAPTER 2. E. A.POES SHORT baloney 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 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 hunt 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 stir 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. condescension 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 inquiry 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 glooming 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. â€Å"All sensations appeared swallowed up in a mad rushing birth as of the soul into Hades[39, p. 102]. ” The emotion of disgust is produced by means of tropes composed o f verbal means already containing the seme of this emotion in their semantic structure, e. g. â€Å"The entire surface of this all-metal 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. â€Å"At length, with a wild desperation at heart, I readily 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. â€Å"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]. ” * â€Å"? ????, ???? ???????? ??????? ?????, ????????? ?? ???? ?????, ????-?? ????? ??? ???? ????????? ?????? [38, p. 208]. ” The epithet in the exercising above conveys the emotion of hard horror. Instinct for self-preservation is inherent in human nature, as well as fear of death, but the main character is already so much jade by the very long waiting for future 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 pestiferous 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 expressive shades. The transformation of original place auto-changer (consisting from preposition and noun) into adjective in translation is quite exclusivelyifiable as it makes translation sound smoothly and with abandon. * â€Å"All sensations appeared swallowed up in a mad rushing de smelling as of the soul into Hades [39, p. 102]. * â€Å"??? ????????? ??? ???? ???????? ????? ???????? ?????, ?? ???, ?? ??????? ???? ? ???? ????? [38, p. 208]. ” As it was mentioned in Chapter I, different stylistic devices often accompany and complement each other in literary work, thus producing compound emotiona l effect. The example above constitutes a complex image of horror consisting of metaphor ( business 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 still as in the original. The simile complementing the metaphor contains allusion to Hellenic mythology where Hades is an underworld containing â€Å"the Plain of Asphodel, where the ghosts of the dead led a vague, unsubstantial life, a shadowy perpetuation of their former life [45, p. 172]. ” The term hades is also used in the Septuag int (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 â€Å"????? ??? ??????, ???? ??????????? ???? ???????? ????????? ??? ?????? ??? [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 through and through the substitution of original tenor of the metaphor descent with ????? in translation since â€Å"the land of the dead was isolated 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. â€Å" Then, very suddenly, thought, and shuddering terror, and earnest endeavor to comprehend my true state [39, p. 103]. ” * â€Å"? ????????? †?????, ??????? ???, ??????? ????? ????????, ?? ? ?? ? [38, p. 209]. ” In the above example the author calls up to the readers foreland 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 â€Å"to swing 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 â€Å"???? ???????? ????; ???? ???????, ??????” and transferred one, â€Å"???? ?????? ???????? ????????? ?????????, ??????, ????????? [41, v. 6, p. 113]. ” T hus, 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. * â€Å"A slight noise 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, hur riedly, with ravenous eyes, allured by the scent of the meat [39, p. 106]. ” * â€Å"????? ?????? ?????? ????????? ??? ?????, ?, ????????? ?? ???????, ? ??????? ??????? ??????????? ?????, ?? ??????????? ? ????????, ????????????? ? ???? ???? ????, ???????? ??? ????. ???? ????????? ?????? ?? ???? ? ????, ? ?? ????? ????? â€?????????, ???????, ?????????? ??????? ???? [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 identical members-epithets was formed, which created an effect of gradation wi th culmination in the last element. This gradation can be considered as a compensation for the effect created by the heterogeneity of epithet chain in the original, and especially, the expressiveness of the transferred epithet construction. â€Å"These colors had now assumed, and were momentarily assuming, a galvanize and most severe brilliancy, that gave to the spectral and fiendish portraitures an aspect that might have thrilled even firmer nerves than my own [39, p. 109]. ” * â€Å"??? ????? ?? ????? ?????? ????????, ?????? ????? ? ?????, ? ????? ???????? ???????? ????? ??????? ????????? ???????????? ???????? ?????? ???????, ?? ???????? ?? ?????????? ? ??????? ?????, ??? ? ???? [38, p. 219]. ” transaction 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 translati on was made with regard to the overall imagery of the literary work which abounds in verbal means denoting phenomena related to ghostly conceptions of hell and evil spirits. Besides, the word combination ???????? ???????? outright 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 adapted denotative meaning in the given context and also has no connotations as well as the original activator of the trope. Thus, the whole epi thet construction was translated adequatly. * â€Å"These shadows of remembrance notify, indistinctly, of tall figures that lifted and bore me in sleek over down†down†still down †till a hideous vertigo oppressed me at the mere idea of the interminableness of the descent [39, p. 103]. ” * â€Å"?? ???? ???????? ????????? ??????? ??? ????? ?????? ???????, ?? ?????? ??????? ???? ? ??????? ????, ????, ??? ????, ?? ???? ?????? ???? ???????????? ?? ???? ???? ?????, ?? ????? ???????? ???????? ?????-???? ?? ???? [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 hot 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. * â€Å"They tell also of a vague horror at my heart, on account of that hearts unnatural stillness [39, p. 103]. ” * â€Å"?? ???? ??????? ?????, ???? ?????? ??? ????? ???? ??? ????? ??? ????, ?? ????, ?????, ???????? ? ?????? ???????????? ?????? [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 â€Å"??????????? ????, ????????? ??????; ?????????? ??????”, from which originates the transferred one, â€Å"???? ?? ???????, ?? ??????? ????, ?? ???????????? ???????; ????????? ????????? ???????, ???????? ??-?????? [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 compa rison 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. * â€Å"At length, with a wild desperationat heart, I promptly unclosed my eyes [39, p. 103]. ” * â€Å"??????? ? ????????????? ??????, ? ????? ????????? ??? [38, p. 209]. ” This is a bright example of partial epithet equivalents. The original epithet construction can be literary translated as ????? ?????? (??????, â€Å"??????? ???????? ????????? ????, ?????????????; ?????? [41, v. 1, p. 659]”).This feeling of desperation was recreated by means of adjective ???????????? meaning â€Å"???? ??????? ??????, ????????? ??? [41, v. 1, p. 659]. ” liquid this emotion as rendered in the translation is absent amplification produced in the original by epithet wild which is used for somebody or something â€Å" deficient discipline or control [43, p. 1683]. ” In other words, the original epithet construction is fully strong 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 â€Å"??????, ???????? ???; ????? [41, v. 7, p. 252]”, fits the utterance and relates to the fast(a) 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. * â€Å"Free! I had but escap ed death in one form of agony, to be delivered unto worsened than death in some other [39, p. 109]. ” * â€Å"???????! ???? ?????? ??????????? ??????, ??? ????????? ? ?????? ?? ?????, ?? ?????????? [38, p. 219]. ” The original excerpt contains simile worse than death which contains highly expressive and negatively coloured 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 frighten creature.Thus, stylistic effect of original simile and its emotional loading were compensated for by translators creative conclusiveness to introduce personification. * â€Å"It w as hold †the bank that triumphs on the tormentâ€that whispers to the death-condemned even in the dungeons of the Inquisition [39, p. 108]. ” * â€Å"?? ?????, ?? ???? ?????, ?? ???????? ?????? ??? ?????????, ?? ???????? ????? ????? ?????? ?????????? ?? ?????? ? ???????? ?????????? [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 adult female reenforcement a man in all the visitation 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 â€Å"an instrument of torture, used in the past for punishing and hurting people. Their arms and legs were tie to the wooden frame and then pulled in opposite directions, stretching the body [43, p. 1195]. ” R.Dotsenko applied method of elicitation 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. * â€Å"Inch by adjoin †line by line â€with a descent only appreciable at intervals that seemed ages†down and still down it came! [39, p. 107]” * â€Å"???? ?? ??????, ?????? ?? ???????, †??? ????????, ??, ?????????, ???? ????????, ???? ?? ????????, †??????? ????????? ??? ????? ? ????? [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 excruciating 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 equiv alent 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. * â€Å"A deep sleep fell upon me â€a sleep like that of death[39, p. 105]. ” * â€Å"? ?????? ???????? ???? †??????????, ????? ? ??????[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 r ange 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 hold by explicit gro\r\n'