Reunion by John Cheever :: English Literature Essays

Reunion, by John Cheever, is a story told through the eyes of a young boy, Charlie, who is recalling a meeting with his father who he hasn’t seen for more than three years. It is set in New York where Charlie’s father lives. He meets up with his father during a stop over between trains. In the first paragraph we are introduced to Charlie and his father. Charlie is very much looking forward to meeting his father who he hasn’t seen since his parents divorced three years before. â€Å"He was a stranger to me†, shows that Charlie is anxious about his upcoming meeting with his father. But he then goes on to say â€Å"But as soon as I saw him I felt he was my father†. This then implies to the reader that Charlie is a little more relaxed when he sees his father. This sentence is so powerful because of its use of the word ‘father’. The strong connotations, which are related to this word, express the relationship between the two characters. At this stage of the story we are compelled to feel a little bit sorry for Charlie who has been separated from his father. Charlie’s father is also introduced in the first paragraph. He, who is never given a name during the story, forms the image in the reader’s mind of a high-flying businessman. Cheever relays this image with the use of formal language during the communications between Charlie and his father, â€Å"His secretary wrote to say that he would meet me at the information booth at noon†. This in contrast to the less formal style of writing used when Charlie is involved, â€Å"at 12 o’clock sharp I saw him coming†. That last quote also shows that his father is punctual which strengthens the businessman stereotype we have already placed him in. Early on we are lead to believe that Charlie and his father are happy to see each other and have a good relationship with quotes such as, â€Å"I was terribly happy to see him again† and â€Å" Hi Charlie, Hi boy!† But these attitudes towards father and son are short lived. Towards the end of the first paragraph we begin to get more of an insight into what Charlie’s father is really like. The first example of this is â€Å"I’d like to take you up to my club, but it’s in the Sixties, and if you have to catch an early train I guess we’d better get something around here†.

The Strength of Uncle Toms Cabin by Harriet Beecher Stowe :: Uncle Toms Cabin

The Power of Uncle Tom’s Cabin  Ã‚   Harriet Beecher Stowe’s novel, Uncle Tom’s Cabin, has had a tremendous impact on American culture, both then and now.   It is still considered a controversial novel, and many secondary schools have banned it from their libraries.   What makes it such a controversial novel?   One reason would have been that the novel is full of melodrama, and many people considered it a caricature of the truth.   Others said that she did not show the horror of slavery enough, that she showed the softer side of it throughout most of her novel.   Regardless of the varying opinions of its readers, it is obvious that its impact was large.   Ã‚  Ã‚  Ã‚  Ã‚   For instance many of the characters in the book have become the stereotypes of slavery in the South.   An example of this is Uncle Tom himself, whose name was eventually degraded into a nickname for blacks who were too subservient to whites.   He became the stereotype of the passive slave who would do anything his master told him, because it was his duty as a slave.   However few remember how the strength of his faith was what allowed him to tolerate the horrors that were enacted upon him.     Ã‚  Ã‚  Ã‚  Ã‚   Another example of the stereotyping of Stowe’s characters is Aunt Chloe, Uncle Tom’s wife, and her children.   Aunt Chloe is an excellent example because she has become the â€Å"Aunt Jemima† stereotype.   She had a â€Å"round, black, shining face† and wore a checkered headscarf, and she worked in the kitchen, took care of the kitchen, and basically ran the household.   Not to mention for many years black children were still stereotyped as mischievous like Mose, Pete, and, later in the novel, Topsy.     Ã‚  Ã‚  Ã‚   Even the slave owners and traders are stereotypes now.   Mr. Shelby and his wife have become the â€Å"gentlemen and lady† slave holders, who see themselves as good Christian people and attempt to take good care of their slaves, but still don’t see black people as equal to whites.   Simon Legree has become the stereotypical cruel master, who let his estate go to hell, but continued to work his slaves too hard and beat them senseless (or, in Tom’s and other’s cases, to death) when they did not behave as he thought they should.     Ã‚  Ã‚  Ã‚  Ã‚   However there are other ways this novel has been influential to American culture.   After its publishing it helped spread the ideas of the abolitionist movement.

Effects of Medicinal Versus Recreational Marijuana Use :: Biology Essays Research Papers

Effects of Medicinal Versus Recreational Marijuana Use Is there a difference in the psychological/healing effects between the use of "recreational" marijuana and medicinal marijuana? Before researching this question, I could not understand what difference medicinal marijuana would have on cancer patients that was not already known through previous studies on the drug. I thought I fully understood marijuana's effects on the brain until the issues of medicinal marijuana arose. Prior to the research on the subject, I assumed that much of what is known now about the drug is due to the extensive research on its affects on Cancer and AIDS patients. If the use of marijuana is controlled for therapeutic purposes, are the effects different if used regular for non-medicinal purposes? This is the question I attempt to answer through extensive web research. In the past 5 years, there has been an increased debate about the use of medicinal marijuana in treating cancer and AIDS patients. Marijuana has been used in alternative medical treatment by doctors around the country and by patients themselves who seek relief from the pain caused by cancer and AIDS. Controlled use of marijuana has been used to treat a number of diseases: "AIDS. Marijuana can reduce the nausea, vomiting, and loss of appetite caused by the ailment itself and by various AIDS medications. Glaucoma. Marijuana can reduce intraocular pressure, thereby alleviating the pain and slowing -- and sometimes stopping -- the progress of the condition. Cancer. Marijuana can stimulate the appetite and alleviate nausea and vomiting, which are common side effects of chemotherapy treatment. Multiple Sclerosis. Marijuana can limit the muscle pain and spasticity caused by the disease, as well as relieving tremor and unsteadiness of gait. Epilepsy. Marijuana can prevent epileptic seizures in some patients. Chronic Pain. Marijuana can alleviate the chronic, often debilitating pain caused by myriad disorders and injuries." (1) Institutions nationally have conducted studies on the use of medicinal marijuana on disease stricken patients. The Institute of Medicine published a journal on the use of marijuana and the effects it as a recreational drug and medicinal drug. Because the substance, when used medicinally, is monitored/controlled, the psychological effects on the patient is slightly different, and its effects also vary depending on the type of the disease the patient is suffering from. A complete report done by the National Academy of Sciences details the psychological effects of recreational and medicinal marijuana. In the 20th century, marijuana has been used more for its euphoric effects than as a medicine.

Case Study: Cappuccino Wars

1)  The coffee culture of the United States has been taken up by a storm in the United Kingdome as well. The gourmet coffee consumption in the regions increased and the presence of four major chains of coffee in the country have enabled easy access to any type of coffee required or desired by the consumers. The reason for the increase and the popularity of the coffee bars in the region is mostly related to the lifestyle and the environment of the region. The United Kingdom is essentially a very cold region where one can feel cool winter chills even in the summer months of June and July. As a result, coffee as a beverage would have been very popular in the region. However the different hundreds of varieties made available to the consumers piqued their interest as well as their taste buds.Previously the region was used to the unappealing black and grey coffee which did not come in many variations. However with the use of Brazilian coffee and Italian coffee making machines, the gourme t coffee bards were able to provide the customers with a diverse product offering which was delicious and attractive at the same time. The consumer as a result, is also willing to pay a high price for these coffees. The other strategy that was adopted by the coffee bars was to introduce a relaxing atmosphere and ambience at their shops. This attracted the customers to come in the shop, buy their beverages and spend some time socializing or simply catching up on current events or their work.The other reason as to why coffee shops have become so popular in the region of UK is because of the convenience they offer. The wide spread of the shops has made its possible for the competing as well as same retailer owned shops to be located within a hundred yards of each other. This gives the customer the convenience and the choice of getting a coffee when ever they want and wherever they want. Aside from this the various flavours offered by the shops have provided the customers with an array of choices and customisation. The customers love making choices and this makes the experience of buying and consuming a complex and flavourful brew of coffee very attractive for the customers.2)  If I were to be visiting a coffee bar for the first time there would be multiple factors influencing my decision pertaining to the purchase of coffee and the repeat consumption of coffee from the specific shop. These factors would include my mood, my attitude towards the shop, the brand name of the shops, the associations with the image of the shop or the brand, the attitude of my peers with the shop, the reviews that are available for the products and services offered by the shop.Aside from this the factors would also include my personal opinion of the shop, the kind of coffee I want and the various forms of coffees that are offered by the shop. The traffic coming in and going out of the shop as well as the ambiance would also be a important facto of my decision making activity. Aside fo rm this I would want the coffee to be healthy and prepared in a hygiene environment as a result cleanliness and hygiene would also play a crucial part in my decision of going to a certain shop for buying the coffee.However if I have already visited the shop and bought a coffee from there, then my decision making factors would slightly change. By now I would have formed an opinion about the shop and would make my decision according to this. The opinion would be made up of my experience with the staff and the service, the experience of consuming the coffee as well my personal taste of the ambiance in the shop. The satisfaction that I derived form the coffee however would be the most important decision for me in the case of repeat purchase behaviour.My decision to buy coffee can be a high involvement decision as well as a low involvement decision. Initially the decision to go to a shop for the first time would be a high involvement decision as I would be checking the place out and aski ng for reviews form people. However once I have been there the decision for going to the same shop would become a low involvement decision.3)  The leading coffee shops in the UK including Starbucks, Costa Coffee, Cafà © Nero and Coffee Republic have all had been selling large amounts of coffee to the customers, however they have been unable to make any substantial amounts of profits. The main reason for this is that they are currently because of their expansion strategy and the product offering.They are providing the customers with a highly diverse kind of product however the price they are charging is high and premium price based however it is not enough for them to cover the cost of the customizations and the high quality raw materials required in the manufacturing and processing of these coffees. Moreover the intense competition in the industry has made them restrict the level to which they can decrease their prices as the other company in the industry also follows the price d ecrease making the effect the sae. However the margin available to the companies is getting reducesThe other reason is that the expansion strategy especially by Starbucks is eating up into the target market scope and share of the branches of the various coffee bars. This has reduced the traffic coming in per bar, while the number of coffee bars have been increasing. This decrease in the traffic combined with the low margins has made the profitability of these bars almost non existent.The option available to the coffee and related beverage retailers like Starbucks and other serious competitors is to improve the efficiency of their operations. The business will have to perform business process reengineering whereby the have to find out the various inefficiencies that exist in their business processes. Special attention has to be given to the cost inefficiencies present.These need to be identified and improved on or eliminated. By getting more efficient in their operations the stores w ill be able to report profits for their operations. One of the main strategies that the companies might have to take up would be to close down its highly inefficient and loss bearing stores. Aside from this those stores which are not present at strategic location should be eliminated as well in order to cut down the costs of operations.4)  The coffee bars are usually located in the centres of the towns and the streets as this is where most of the traffic tends to pass from. The chance of getting a customer in these regions is very high. However in order to provide the coffee to places where the people actually require them would involve taking the shop to the consumers.This would involve setting up a coffee kiosk in the school during lunch times or in the offices during lunch break. Aside from this the shops can be placed near the vicinity of large schools, colleges and office building. Placing the shop in such strategic locations will allow the customers to conveniently come to t he shop themselves. Aside form this it is also possible to open a coffee bar inside a college campus as well. This is because the study cramming sessions conducted by the students require caffeine laden beverages and they would appreciate the presence of a coffee bar in such convenient vicinity.Other locations where the presence of a coffee shop can be profitable for business as well as satisfactory for the customers would be near political and government offices, near army training camps as well as in hospitals. The presence of such coffee shops would be much appreciated in hospitals as people tend to have a lack of choice for beverages like coffee and snacks in the hospital. The coffee shops can also be located at prominent regional, national as well as international tourism spots and hotels. This would provide the tourists as well as the working staff to the coffee culture providing them will high quality coffee products at their convenience.ReferenceThorburn, S., (2006), Analyst Comment, Marketing, p35-35, retrieved November 10, 2007

Dear John, Book vs Movie

Author Nicholas Sparks added to his list of best sellers with the novel Dear John. Dear John is a love story, love stories make big money in movie form, so the novels are popular to make into a movie. Books and movies are two forms of entertainment that are closely related and we overlook the differences among them. There are many similarities between the two, but there are also major differences. If one has never read a novel and then watched the movie version of the novel they may not have experienced this comparison and contrast to the the two forms Even though Dear John contains similarieties and differences the message still remains the same.. Love. The first major contrast is that each form has a different author. Nicholas Sparks wrote the novel and Jamie Linden turned the novel into a screenplay which was then directed by Lasse Hallstrom. Sparks has written both the novel and screenplays for some of his other works but turned the screenplay writing over to Jamie Linden for this project. When there is a separate author on the novel and screenplay the initial story is almost certain to be written differently based on the second authors interpretation of the original authors work. In some instances there is a third interpretation with a director of the movie. A lot can go wrong when the original story is interpreted differently by the author that writes the screenplay and a director that then directs. Michael O’ Sullivan of The Washington Post, wrote in a review of the movie, â€Å"I think our relationship is in trouble†. O’ Sullivan is trying to get across to the reader of this article that the movie’s story has problems and disappoints him as a viewer. A. O. Scott of the NY Times reports that â€Å"Jamie Linden is careful to respect the vague, whispery tones of Mr. Spark’s writing† but â€Å"did however, change the books ending in a way that both deepens and blunts its impact†. The author of the book or movie explains themes, symbols, and the main plot in different ways. Movies may be easier for the audiences to visualize the story, but, books may leave room for readers to use their own imagination. Ending change is another major contast of these two forms of Dear John. The book version The author of the book or movie explains themes, symbols, and the main plot in different ways. Movies may be easier for the audiences to visualize the story, but, books may leave room for readers to use their own imagination.

Storm Born Chapter Twenty

I became merely mortal the next morning, the last lingering memories of magic recalled only in theory, not in feeling. I wanted to try to explain the dream-memory to Kiyo, how I'd at last recalled what happened between Storm King and me before Roland killed him. But I didn't know how to explain it. I barely understood magic at all and found recapturing that terrifying yet glorious feeling nearly impossible. Besides, I had other things to worry about today. It was Beltane Eve. I found myself busy almost from the crack of dawn. Beltane – or May Day – ushers in the return of life to the year; many western European cultures consider it a peak day for fertility and conception. Apparently many Otherworldly creatures do too. Like Halloween – or Samhain – the gates between the worlds open, facilitating passage between humans and the Otherworldly alike. Midnight on May 1 was the ultimate opening, but the passages steadily increased throughout the day on April 30. Since my presence at Dorian's party tonight was common knowledge, many must have decided to get in their chance before I left the human world. Fortunately, most of these same gentry and assorted creatures were those who could not have passed through under normal circumstances. This meant they were considerably weaker and hence easier to banish or destroy. Unfortunately, when they came in a steady stream, they also became a huge and exhausting annoyance. I got home around dinnertime, not long before I was supposed to show up in the Otherworld. Hastily, I shed my sweaty clothes and took the world's fastest shower. Afterward, I managed a makeup job rivaling the last one, but it cost me time. With minutes ticking away, I threw on the dress Lara had procured and ran a quick brush through my damp hair. There was nothing else to be done with it. I threw a little mousse into it to avoid frizz, and then I was off to the desert. Dorian had wisely put my Slinky anchor in a more secure place than a flimsy table. I appeared in a small chamber where a servant had awaited my arrival. He gave me a polite bow and then took me straight to Dorian's room. Inside it, I found pandemonium. Male and female servants ran in and out, doing God only knew what. Dorian stood in front of a giant mirror, checking himself out in an azure blue robe. A stout man hovered nearby with about a dozen other robes weighing down his arm. It was the same man, I realized, whose place I'd taken in croquet. â€Å"Eugenie Markham,† announced my escort. Dorian gave me half a glance. â€Å"Lady Markham, so nice to – sweet gods. She's wearing beige.† I looked down. Lara had found me a clingy silk dress in a shade she termed â€Å"champagne†: a warm ivory tinged with gold. I wouldn't have thought the color worked for me, but she apparently knew me better than I did. The strapless bodice was gathered and decorated with a bit of iridescent beading meant to imitate buttons down the middle. From the waist down, the skirt cascaded in smooth, shining folds. It fit snugly against my silhouette, flaring slightly only when it hit my ankles. â€Å"It's ‘champagne,'† I corrected. â€Å"And what's wrong with it?† â€Å"Nothing. It's lovely.† He turned back frantically to his valet. â€Å"It's not going to match any of these, Muran. What else do we have?† Muran bit his lip. â€Å"There's the green velvet, your majesty. Its trim has that shade in it. Paired with an ivory shirt, it would look quite stunning.† Dorian made a face. â€Å"Silk or satin would be better. Grab it anyway, and see if there's anything else we're missing. Oh, and send someone to do Lady Markham's hair.† â€Å"What's wrong with my hair?† â€Å"Nothing, were you sprawled in my bed after a night of passion.† A young woman hurried forward, and he jerked his head in my direction. â€Å"See to her, Nia.† Nia, a tiny thing with olive skin, curtsied to me and led me to the parlor where Dorian and I had first chatted. I couldn't see what she did, but her fingers worked as deftly and intricately in my hair as Dorian did when tying the cords around me. I'd only once had my hair done by a stylist, and it had been for a wedding in which a cruel friend had required me to wear orange taffeta. The event still woke me with nightmares. A slight tingle occasionally brushed my skin as Nia worked, and I realized she used magic in the styling. I supposed it was handier than a curling iron, but geez. What a disappointment to discover you had the magical equivalent of cosmetology when other gentry got healing and the ability to tear buildings apart. â€Å"There you are, my lady.† She took me to a mirror, nervously assessing my reaction. Scattered braids ran toward the back of my head where the rest of my hair had been gathered up into a high ponytail. She'd smoothed and curled most of that hanging hair, but a few tiny braids hung in it here and there. Long, smooth locks framed my face, curled slightly at their ends. Violets and dark ivory sweetheart roses adorned some of the braids. â€Å"Wow,† I said. Nia wrung her hands. â€Å"My lady likes?† â€Å"Very much.† She beamed. With her petite frame and smooth face, she looked about sixteen but could probably actually boast a century. â€Å"I didn't know how humans wore it.† I smiled and gave her arm a small pat. â€Å"It's wonderful.† She looked ready to swoon with joy, and I recalled how eagerly Dorian's staff always jumped to obey his commands. Was I inspiring that kind of loyalty? Or fear? Dorian swept into the room then, resplendent in a forest green robe made of silk. The edging contained an intricate pattern of ivory, russet, and gold, set off by the black slacks and ivory shirt underneath. â€Å"Much better,† he said, taking my hand. â€Å"Come, we're late.† Muran and a few others followed as we headed for the throne room. Dorian didn't actually run, but an urgency underscored his movement. â€Å"Why the rush?† I asked. â€Å"Don't they wait on your every pleasure?† â€Å"Certainly. But I have to be in there before the other monarchs arrive, or we'll create a complication of etiquette. Everyone will bow when we enter, but the other monarchs don't have to. If they're in there before me, it'll be awkward.† â€Å"What do you mean by ‘bow'? Does that mean – â€Å" A herald hurled open the double doors and announced in a booming voice: â€Å"His royal majesty, King Dorian of the House of Arkady, caller of Earth, protector of the Oak Land, blessed of the gods.† â€Å"Whoa,† I breathed. Dorian squeezed my hand. † – with Eugenie Markham, called Odile Dark Swan, daughter of Tirigan the Storm King.† I didn't think I'd ever get used to being titled, but my astonishment over that faded compared to what happened next. Everyone in the room turned toward us and fell to their knees, heads bowed. Dead silence followed. Slowly, almost in a glide step, we walked down the center aisle, and I tried to look straight ahead and not at the sea of obeisance. Civilizations rose and fell in the time it took us to reach the throne. When we did, Dorian turned us around to face the assembly and made a small, nondescript gesture. I don't know how the others saw it with their heads so low, but they all rose and the drone of life and music promptly returned. People moved again, mingling and laughing. Servants scurried to and fro with drinks and trays. It could have been any human party, save for the occasional troll and wraith sipping wine. The men dressed in variations of the Renaissance look Dorian seemed to favor, but the women's gowns ran the gamut of bell sleeves and velvet to Grecian wraps and gauze. â€Å"And now, my dear, we must part ways.† I jerked my gaze away from the assembled throng. â€Å"What are you talking about?† He waved his hand. â€Å"These are the greatest nobles in my kingdom, not to mention the other kingdoms. I must mingle, listen to their simpering, act like I care. You know how it is.† Panic seized me as I looked back at all those gentry faces. â€Å"Why can't I go with you? I mean, we coordinate and everything.† â€Å"Because if I keep you on my arm all night, I'll look possessive and insecure. Leaving you on your own shows I have absolute confidence that you'll leave with me tonight, regardless of other solicitations.† â€Å"Oh, my God†¦I'm going to be hit on all night.† He laughed. â€Å"Don't worry, that's all they'll do – unless you wish otherwise. Anyone who touches you against your will would incur the wrath of my entire guard, not to mention most of the guests. It would be a shocking insult.† â€Å"And yet I could apparently go off with anyone if I wanted to.† â€Å"Of course. You're free to choose as you like.† â€Å"Wouldn't that be an insult to your manhood or something?† â€Å"A bit. But then I'd just take five or so women to my bed and redeem myself fairly quickly.† â€Å"Whoa. I feel like I'll be holding you back.† â€Å"Don't worry. I'll recover once you're gone tomorrow.† I swallowed and looked around, the jokes unable to allay my anxiety. â€Å"I don't even know anybody.† He turned me to him and gave me a soft kiss on the lips. I had to consciously work to keep my body relaxed. It was still a shock each time he did that. â€Å"You'll just have to meet them, then,† he said. He strolled off toward the first group of people he saw, and I heard a flurry of exuberant greetings at his approach. Feeling stupid and awkward, I wondered where I should go and whom I should talk to. I didn't really do big parties. Too much of my time was spent in solitude to really know how to interact in a group like this. That wasn't even taking into account that these were all Otherworldly residents. Two of my deepest phobias combined into one long evening. â€Å"Wine?† asked a servant who had suddenly appeared at my side. â€Å"Yes, please.† I seized one of the goblets from her proffered tray and took a hasty gulp of a sweet, fruity red. Picking a direction at random, I took five steps and was immediately intercepted by a tall gentry in scarlet velvet. He had black hair and a neatly trimmed beard. â€Å"Lady Markham,† he oozed, taking my free hand and kissing it. â€Å"It's a pleasure to meet you at last. I am Marcus, lord of Danzia in the Rowan Land.† â€Å"Hi,† I said, knowing I would never again remember his name once he left. He kept holding my hand and let his eyes run over me from head to toe. I suddenly wished the dress wasn't so tight or the neckline so low. â€Å"I must say,† he murmured, â€Å"I'd heard reports of your beauty, but they are paltry things compared to the reality.† â€Å"Thanks.† I tried to take back my hand, but he held on to it. â€Å"My family's nobility extends all the way back to the migration to this world. We are renowned for our fierce warriors. Magic runs strong in our blood, usually calling to one of the elements. My own inclinations run toward control of the air.† As if to emphasize the point, I suddenly felt the slightest of breezes blow against my arms. â€Å"My heirs will inherit a vast estate. My house has always served in an advisory capacity to royalty. Even now, I am a close personal friend of Katrice, the Rowan Queen. She is a powerful ally.† I realized then he was laying out his pedigree for me, quickly and efficiently, much as a breeder might show off a prize dog's papers. I opened my mouth, ready to tell him I wasn't interested, but he just kept going. â€Å"Some men would fear having a warrior consort. They would seek to control you and seize the power for their own uses.† He inclined his head ever so suggestively toward where Dorian conversed with a tall, dark-skinned woman. â€Å"Not me. I would not use you to further my own ends. You would rule by my side as an equal, sharing in the guidance of our children.† Yikes. This wasn't even our first date. I managed to break my hand free of his. â€Å"Thank you, but this is all kind of sudden. It's been really great talking to you, though.† Anxiousness flooded his face. â€Å"But I haven't even told you about my famed reputation as a lover – â€Å" â€Å"I've got to be somewhere right now. Sorry.† I took two steps back, turned, and practically ran into another man. Beyond him, a few others attempted to linger inconspicuously. In fact this one, I realized, had simply been waiting for me to reject Marcus. He gave me a dazzling smile. â€Å"Lady Markham, it's a pleasure to meet you at last†¦.† I sort of lost track of time after that. I never got much farther than that spot and my wine remained forgotten and undrunk. Listening politely to each guy's sales pitch, I amused myself by considering just how much I could push the limits of the hospitality rule before getting in trouble with Dorian. Yet, no matter how annoying each guy got, I squashed my rebellious instincts and kept to good behavior. After a couple hours, I caught sight of Shaya, the black-haired woman who had captured me that first night. She walked alone through the room. Brushing off my current suitor, I broke free of the next contender and hurried over to her. â€Å"Hey, Shaya, how's it going?† She looked at me in astonishment, not surprising considering I hadn't spoken to her since my capture. Her gown was midnight blue velvet with a full skirt, tight sleeves, and a high collar. I didn't entirely understand her whole background, but apparently she was the younger daughter of some noble and had ended up in a military career as part of Dorian's guard. â€Å"Lady Markham,† she returned. Mild curiosity showed on her face. â€Å"What can I do for you?† â€Å"Oh, nothing. Just thought we'd†¦you know, talk.† One delicate eyebrow rose. She glanced over at the eager throng of men and turned back to me with a half-smile. â€Å"It seems like you have plenty of guests to talk to.† â€Å"Please,† I whispered. â€Å"I know we aren't friends, but just talk to me like we are. Just for a minute. I can't stand it. I need a break. I'm so tired of hearing about how big each guy's estate is†¦not to mention other things.† She laughed, the sound rich and sweet. Linking her arm through mine, she led me idly around, like we were indeed friends. â€Å"I've heard stories about the things you've faced down. And yet, in the end, it's a group of desperate nobles who undo you.† She allowed me a few minutes' solitude, and we talked about trivial things. As we did, I realized something: She was really funny. And intelligent. And†¦nice. I'd dismissed her upon our first meeting as a prissy gentry bitch, my attitude fueled partially by my capture and partially by the antagonism at dinner. But here she was, hanging out with me like any other person would, her comments both witty and astute. â€Å"I have to go. Rurik's looking for me,† she said at last, letting go of me. She smiled again, amused and compassionate. â€Å"Put up with them a little longer. They're nothing more than a nuisance.† I shook my head. â€Å"They're so blunt and straightforward. It's strange.† Kiyo and I had once mocked the pretenses in dating, but right now, a little less honesty had its appeal. â€Å"Then be blunt back. If you're too nice, they'll think they have a chance and will try another time. Most now consider you a high-ranking noble; arrogance is expected. They won't think you're rude.† I thanked her and watched her leave, just as a hand tapped my shoulder. I sighed. Time to face the wolves again. Or fox, as it turned out. â€Å"Hey,† I said. â€Å"Nice threads.† Kiyo stood before me in a beautifully tailored tux, its clean black and white lines standing out in sharp contrast beside the flowing colors of the other men. â€Å"I wore it for you. Figured you might like a change from velvet and silk. And as for you†¦Ã¢â‚¬  His smoky eyes did a quick assessment of me. â€Å"I've been hearing a lot of guys drool over your dress tonight.† â€Å"You've been here for a while? And didn't come talk to me?† He grinned. â€Å"You looked pretty busy.† â€Å"Well, stay with me now. Maybe they'll leave me alone if they think I'm occupied with someone.† We found a two-seated bench against a wall, padded with brocade-covered cushions. I sighed and leaned my head against his shoulder. He put an arm around me. â€Å"I wish I was out patrolling like I usually do tonight. Fighting spirits and whatnot isn't half as exhausting as this.† â€Å"And so Tucson goes undefended, eh?† â€Å"Roland's on it, much to my mother's dismay. I just hope I've drawn a lot of the action here instead of back there.† We sat quietly for a while, watching the party. It reminded me of the bar. Alone but not alone. Like any other party, people were getting more drunk as the night progressed. That unabashed sexual contact popped up more and more frequently, and a number of people danced wherever they found room. They moved in graceful strides, reminiscent of ballroom styles I knew. â€Å"I've been thinking†¦about last night.† I looked up at him. â€Å"Yeah. I've thought about that a few times myself.† â€Å"You were†¦I don't know. I've never seen you like that. Not that we've done it all that much, but†¦wow. You marked me up pretty good.† â€Å"Is that a bad thing?† He smiled. â€Å"No. I don't think so.† His fingers brushed my chin and tipped my face up. â€Å"But what was going on? How'd a nightmare bring that on?† I turned my face away. â€Å"It wasn't exactly a nightmare.† â€Å"What, then?† â€Å"Just a dream†¦or a memory. It was about my father. And magic.† â€Å"What happened?† â€Å"I†¦well, it's hard to explain.† â€Å"Eugenie – â€Å" I kept my demeanor light and playful. â€Å"Forget about it. For tonight at least, okay? It isn't the right time. We can talk later.† He hesitated, then nodded. I moved my face closer, and he brushed his lips against my forehead, down to my cheek. I closed my eyes and sighed, luxuriating as his lips moved delicately down the side of my neck. We turned toward each other, our mouths drawn by some unseen force. And as we kissed, I forgot all about the crazy propositions tonight. There was only this. Me and Kiyo. â€Å"No groping,† I warned, seeing his hand slyly move toward forbidden areas. â€Å"I don't care how many other people are doing it. Or how much attention we don't draw to it.† â€Å"Then let's go somewhere private,† he murmured, trailing kisses along my shoulder. â€Å"I can't. You know I have to leave with Dorian. Nothing's going to happen,† I added, seeing him open his mouth. â€Å"It's just for appearances. We can get together tomorrow.† He considered and nodded. â€Å"All right. But I'm giving you a good sendoff tonight.† He moved back, and we continued our kissing for a bit until a voice said, â€Å"The gods know I've seen some strange things in my life, but never did I expect to find a kitsune trying to make himself ruler over all of us.† We looked up in surprise. I hadn't expected another suitor while clearly busy with Kiyo. Aeson stood there.

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

Ministry of Education and Science, Youth and Sport of Ukraine Lviv Ivan Franko National University Faculty of Foreign Languages Hryhoriy Kochur Department of Translation Studies and Contrastive Linguistics 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 Course paper Done by a 4th-year student O. V. Pidhorodetska Scholarly supervisor: L. M. Tarapatska Reviewer: T. O. Dytyna LVIV 2012 CONTENTS INTRODUCTION†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Chapter1. EMOTIVE PROSE AS A SPECIFIC GENRE OF ARTISTIC LITERATURE AND EPITHET, SIMILE AND METAPHOR AS MEANS OF CREATIVE REPRESENTATION OF IDEAS IN A LITERARY WORK†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â ‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 6 1. 1. Emotive prose as a form of artistic literature and peculiarities of its translation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 6 1. 2. The notion of epithet as a member of epithet construction and ways of its rendering in the process of translation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 1. 3. Simile as a stylistic device and methods of its translation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 12 1. 4. The notion of metaphor and problems connected to its translation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 15 Chapter 2. E. A. POE'S SHORT STORY THE PIT AND TH E PENDULUM AND THE REPRODUCTION OF ITS EMOTION CREATING LEXICO-STYLISTIC DEVICES IN THE UKRAINIAN TRANSLATIONBY R. DOTSENKO†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 20 2. 1. Characteristic features of E. A. Poe's short story The Pit and the Pendulum. 20 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†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 21 CONCLUSIONS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 32 LIST OF REFERENCES†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 33 INTRODUCTION Edgar Allan Poe's The Pit and the Pendulum is a short stor y of the macabre describing the experience of being tortured. The paper concentrates on the emotion creating lexico-stylistic devices of the story as rendered in the Ukrainian translation by R. Dotsenko.The research paper is an attempt to investigate epithet, simile and metaphor within the given work of literature, where they serve as primary means of creating the effect of horror and making an emotional impact on the readership, and to analyse the peculiarities of reproducing these lexico-stylistic features of the original in the Ukrainian translation done by Rostyslav Dotsenko. The topicality of the paper consists in the fact that lexico-stylistic devices form the basis of any literary work since they serve as means of creative representation of the author's ideas and producing emotive influence on the readership.As far as lexico-stylistic devices are reflecting author's individual view of an object or phenomenon and may involve background knowledge of the readership for the pragm atic impact to be realized, their translation requires translator's creativity. The paper summarizes the ideas expressed by Russian and Ukrainian scholars (I. Galperin, A. Fiodorov, I. Retsker, B. Koptilov and D. Diuryshyn) as well as foreign ones (M. Sanches, I. Burkhanov) concerning emotive prose as a specific genre of literature and its characteristic features which should be aken into account by a translator. The paper also outlines the notions of epithet, simile and metaphor, their fucntions in an artistic text and methods of their reproduction by means of target language as researched by K. Lototska, O. Hrabovetska, O. Molchko, T. Onoprienko, Yu. Skrebnev, P. Newmark, P. Pierini, M. Larson and other scholars. The overall aim of the conducted research may be defined as an attempt to trace to which extent the expressiveness and emotional loading of epithets, similes and metaphors were reproduced in the translation.The object of the paper is a stylystic function of epithets, simi les and metaphors as means of creating negative emotions within the short story The Pit and the Pendulum by E. A. Poe and its Ukrainian translation done by Rostyslav Dotsenko. The subject of the paper is the reproduction of emotion creating lexico-stylistic devices (epithets, similes and metaphors) of the aforementioned short story in the Ukrainian translation and the translation methods applied by Rostyslav Dotsenko in order to convey in an adequate way the atmosphere of the macabre intended by the author. The objectives of the paper are the following: to define characteristic features of the literary writing under analysis, which belongs to the genre of emotive prose; * to provide theoretical basis for consideration of epithet, simile and metaphor as major means of creating negative and â€Å"obscure emotion† conveying the macabre; * to look into stylistic function and expressive potential of epithets, similes and metaphors in the given literary work; * to analyze the pecul iarities of the translated lexico-stylistic devices, their stylistic function and emotional loading; * to compare the pragmatic impact produced by translated epithets, similes and metaphors with that produced by corresponding original lexico-stylistic devices. The methods applied in the process of analysis of the original literary work and its Ukrainian translation comprise1)method of dictionary definition and ontrastive componential analysis (to examine subtle differences insemantic structure and emotional loading of original and translated lexico-stylistic devices), 2) stylistic analysis (to trace the adequate reproduction of stylistic colouring of the original literary work in the translation), 3) comparative analysis (to investigate weather the expressiveness ofthe translated lexico-stylistic devices is equivalent to that of the original tropes). The practical value of the paper consists in the analysis of translated epithets, similes and metaphors of the short story by E. A. Po e, which ensures understanding the importance of these lexico-stylistic devices for creating negative emotions within the framework 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 also contains considerations on the notions of epithet, simile and metaphor, their functioning within a literary work and ways of rendering them into a target language. Chapter 2 comprises overall analysis of emotion creating lexico-stylistic devices of the short story The Pit and the Pendulum and also contains contrastive analysis of the most bright examples of original epithets, similes and metaphors and the correspinding lexico-stylistic devices in the Ukrainian translation. The Conclusions contain the results of the conducted research, outline the metho ds 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, SIMILE AND METAPHOR AS MEANS OF CREATIVE REPRESENTATION OF IDEAS IN A LITERARY WORK 1. 1. Emotive prose as a form of artistic literature and peculiarities of its translation. In order to grasp the specifics of artistic translation, it is reasonable to look at the properties of literary text first. It is obvious that each text type is characterized with certain style of language determined by the function performed by the text. The style of literature was nominated by I.Galperin as belles-lettres, a generic term which comprises three substyles: 1) the language of poetry, 2) emotive prose,and 3) the language of the drama [31 , p. 250]. Each of these substyles has certain common features which compose the foundation of the style and by which the particular style can be recognized and singled out. Besides, each substyle possesses definite individual features by which they are distinguished. The most important feature of a literary work is that it is a bearer of an aesthetic function. Literary text constitutes subjectively transformed reflection of the objective reality in harmony with the aesthetic-emotional intent of the author: he/she endeavours to convey their ideas, thoughts and emotions.From the point of view of the language resources choice, literary work is characterized with 1) genuine imagery achieved by purely linguistic devices, 2) the use of words in different meanings, greatly influenced by the lexical environment, 3) vocabulary which will reflect to a certain degree the author's personal evaluation of things or phenomena, 4) peculiar individual selection of vocabulary and syntax, and 5) the introduction of the typical 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 content [37, p. 123]. The other basic feature of literary works is their saturation with artistic images. Emotive prose – implies principally books of the imaginative kinds, such as novels and short stories – shares the same common features, but these features are correlated differently than in poetry.The imagery is not so rich as in poetry; the percentage of words with contextual meaning is not so high. Emotive prose features the combination of the literary variant of the language, both in words and in syntax, with the colloquial variant. But the colloquial language in the belles-lettres style is not a simple reproduction of the natural speech, it undergoes changes introduced by the writer and is m ade â€Å"literary-like†. In emotive prose there are always two forms of communication present –monologue (the writer's speech) 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 mediated bilingual communication, which aims at producing a target text intended to communicate its own form, correspondent with the source text, and accordant with contemporary literary and translational norms of the receptor culture [28, p. 139]. † In order to produce a high quality 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 different from other types of translation because of its inability to rely primaril y on a simple reproduction of language units.Consequently, in the process of translating literary text a method of adequate changes is widely used. This method consists in the idea that for the accurate rendering of the thought the translator has to distract from original set of words, dictionary and phrase correspondences and to search for solutions of the task considering the entire: content, ideological direction and style of the original source [23, p. 310]. Very often in translations of artistic literature, particularly fiction, the accuracy is achieved not by means of direct translation but due to deviations from the original and appropriate substitutions; it cannot 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 but 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 w ith 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 author's intent in full. The translator should think 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 absolutely 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 loss of a certain amount of information. D. Diuryshyn also mentions that qualitative rendering of content of a certain literary work also depends on the personality of the translator, who is very likely to omit something from the content whi le recoding the text, and his predisposition to demonstrate or not to demonstrate all the peculiarities of the original  [7,  p. 114]. Among the main objectives aimed by the translator of fiction is that of rendering individual distinctness of the original. Individual distinctness is largely associated with philosophy and aesthetics of the author. A.Fiodorov identifies several key cases of correlation between distinctness of the original and the form of its reproduction: 1) smoothing, or depersonalization in order to satisfy requirements of literary norm of the language or tastes of a particular literary school; 2) attempts of formalistic accurate reproduction of particular elements of the original notwithstanding requirements of the language which is 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 arbitrar y substitution 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 means  [21,  p. 10]. Having considered the main peculiarities and problems of translating artistic literature, emotive prose in particular, the conclusion is reached that translator before rendering an original into a target language should nalyze peculiarities of the literary work he is going to translate, namely its structure on lexical, semantic and stylistic levels. The translator shouldn't strive for simple reproducing of lexical units but try to render the emotions and intention of the author as well as convey indivi dual distinctness of the original. Special attention should be paid to artistic images, which are to be examined in the original and then rendered appropriately in the translation. 1. 2. The notion of epithet as a member of epithet construction and ways ofits rendering in the process of translation. Some scholars, for example 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 treated as a stylistic mixture, a hybrid. K. Lototska defines epithet as â€Å"a stylistic device based on the interaction of logical and emotive meanings of the word, which expresses the individual, evaluative, emotionally coloured attitude of the author towards the object/person described by emphasizing a certain property or feature [15, p. 90]. † Epithet expresses characteristics of an o bject, 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 attribute or predicative, thus being expressed mostly by adjectives, sometimes adverbs, and very rarely by nouns . It is important to mention that any trope implies â€Å"semasiological two-dimensional use of a word in which its material form simultaneously actualizes two types of meaning – direct and figurative [3, p. 481]. † However, trope can be realized only in the context, in binary formation. T. Onoprienko defines this formation as trope configuration which consist of wo components: the actualizator of trope (I) (the component a lways used in direct meaning) and the core of trope (II) (the component used in figurative meaning) [16, p. 4]: e. g. â€Å"vague (II) horror (I) [39, p. 103]. † Thus, it would be more logically to consider epithets not separately but as a member of epithet construction. Three connotative components of the meaning are actualised in semantic structure of epithet construction: evaluative, emotive and figurative [6, p. 7]. Such semantic structure makes epithet construction different from logical attributive construction where logical attribute is objective and non-evaluating, e. g. â€Å"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. â€Å"frequent 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. â€Å"frail web [39, p. 102]†, bitter tears. Unassociated epithets ascribe to objects such qualities which are not inherent in them, e. g. â€Å"ravenous eyes [39, p. 106]†, â€Å"immovable resolution [39, p. 102]. As a result, the created image is fresh, original, unexpected and expressive. A wide range of epithets among those of the second group are figurative ones as far as they are formed of metaphors, metonymies and similes expressed by adjectives, e. g. â€Å" [38, p. 216]† – simile-based epithet construction. Associated epithets, on the contrary, are mostly language epithets. Their usage with certain nouns has become traditional and stable. Unassociated epithets are also called speech epithets since they are created in the process of communication. From the point of view of their distribution in a sentence, epithets may be used in pairs (e. g. hideous and repulsive devices [39, p. 106]†) and in chains (e. g. â€Å"feeble, scarcely sane, scarcely definite thought [39, p. 108]†). The chain of epithets gives a many-sided description of the object, but in this many-sidedness there is always a suggestion of an ascending order of emotive elements, which culminates in the last epithet. Z. Proshina mentiones another distributional model – the transferred epithet which is originally logical attribute generally describing the state of a human being, but made to refer to an inanimate object [20, p. 211]. The meaning of the logical attributes in such combinations acquires a definite emotinal colouring, e. g. Even then, while I gazed, they [rats] came up in troops, hurriedly, with ravenous eyes, allured by the scent of the meat [39, p. 106]† (the word ravenous is logically linked with they, syntactically with eyes). In the English and Ukrainian languages there are such epithet constructio ns 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 belong to them. Sometimes epithet constructions differ in their componential structure but are almost equal in their emotional, expressive and stylistic characteristics. These expressions are partial epithet equivalents and ensure full adequacy of translation.Today's artistic literature is characterized by the great role of epithet as a decorative element able to express the author's attitude to the character, idea and narration in general. To convey the author's intent, the translator must be very careful in selecting words with the same denotative and connotative meanings. According 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 u se 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 partial calquing when side by side with calque its explanation is provided. This is especially 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 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 constru ction 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 carefully to avoid possible losses of meaning and expressiveness.The main ways of of epithet translation are calquing, decompression and descriptive paraphrase. 1. 3. Simile as a stylistic device and methods of its translation. Simile is an imaginative comparison, which is also called literary comparison. â€Å"It consists in an explicit likening of one o bject (the tenor) to another object (the vehicle) 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. â€Å"seven tall candles †¦ eemed white and slender angels who would save me [39, p. 102]†). â€Å"Any image is based on the use of similiarity between two distant objects [1, p. 140]. † I. Galperin believes that comparison takes into consideration all the properties of the two objects, stressing the one that is compared, while simile excludes all the properties of the two objects except one which is made common to them [31, 167]. According to N. Shapovalova , the structure of simile is formed by combination of the following elements: 1) subject (comparandum), i. e. an object or phenomenon which 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. 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 relations, language connective element which serves as a link between the author's view of t he object and the very object and therefore ensures integrity of comparative construction [24, 7-8]. The connective affirms that the relationship between the tenor and the vehicle is an imaginary one, an appearance, a resemblance rather than reality. The presence of such linking element in its structure makes simile 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 author's point of view and giving place for the reader's 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 bauble [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 (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. â€Å" , ? ? , , [38, p. 215]†) or (2) adjective in comparative degree (e. g. â€Å"They [lips] appeared to me white –whiter than the sheet upon which I trace these words  [39,  p. 102]†).The stylistic function of imaginative comparison consists in enrichment of the expres siveness 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. â€Å"There was a harsh grating as of a thousand thunders! [39, p. 110]†) or a complex sentence with an adverbial clause of comparison (e. g. I felt every fibre in my frame thrill as if I had touched the wire of a galvanic battery [39, p. 102]†); it is often seen in a single compound 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 similes are deprived of imagery and expressiveness but still may be encountered in artistic literature. What makes creative similes stryking is the author's indication 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 same vehicle); 2) replacement of the vehicle with a different one; 3) reduction of the simile, if idiomatic, to its sense; 4) retention of the same vehicle plusexplanation of similarity features; 5) replacement of the vehicle with a gloss; 6)  omission of the simile [36, p. 31]. A number of scholars, including M. Larson, mention the following techniques for translating simile: 1) keeping the same simile; 2) replacing by another simile, but keeping the ori ginal meaning; 3) keeping the same simile, but spreading it [33, p. 246].The Translation Studies scholars share the idea that in some cases the application of a combination of more than one strategy is needed to convey 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 variety of syntactic structures. T his 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 complicated and contradictory nature of a metaphor became the main reason for scholarly thought to move in various directions taking into account different aspects of this phenomenon. Thus, P. Newmark under the notion of metaphor means â€Å"any figurative expression: the transferred sense of a physical word, the personification of an abstraction, the application of a word or collocation to what it does not lit erary denote, e. g. to describe one thing in terms 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 characterize 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 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 conne cted 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 incompatible objects and phenomena, thus interpreting them in a new way, revealing their essence, exposing their â€Å"inner nature† by â€Å"pulling† them out of their â€Å"automatic†, traditional perception [15, p. 69]. † Turning 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 parts of it, like topic similarity markers, 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 arti cle.The scholars also believe that simile seems to be preferred in the case of concrete vehicle (the object from which a quality is transferred to another object), whereas metaphor is preferred for abstract vehicle  [qtd. 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 resemblance; metaphor only implies this sign. A. Morokhovsky considers that simile indicates the transitory feature, even occasional, unlike metaphor, which indicates permanent feature [17, p. 176]. Metaphors have been categorized in different ways depending on the aspect taken as the basis of classification.The most widespread is the classification of metaphors according to the degree of unexpectedness, which divides them into genuine (also called stylistic, fresh, original, poetic, imaginative, or speech) metaphors and trite (dead, stale, hackneyed, or language) metaphors. Trite me taphors 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 writer's imagination and are always fresh and striking, e. g. â€Å"   [38, p. 209]. † The stylistic function of genuine metaphor is twofold: 1) it evokes images and suggests analogies/associations; 2) it reveals the author's emotional attitude towards what he describes.Poetic metaphor is likely to appeal to a certain image. While uncovering the essence of verbal images, R. Zorivchak emphasizes that they constitute the basis of any artistic text making it more appealing, picturesque and aesthetically beautiful and, at the same time, increasing the cognitive value of a literary work. Of particular importance is the cognitive and expressive loading of verbal image, which contributes to realization of the author’s intention [8, p. 51-53]. Besides exp ressiveness, 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 utterances, e. g. ; , ; ; ; , etc. Poetical language is characterized by a great amount of varying stylistic devices. Such reversibility of tropes is a means of refreshment of trite metaphors, e. g. decomposition into constituing elements and transformation of metaphor into simile [9, p. 146].The combination of simile and metaphor is an effective device for semantic cohesion of an artistic text: first simile is used and then (sometimes after several phrases or words) the vehicle of the simile is used as that of metaphor [15, p. 71]. For example, 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 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 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 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. 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) 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) 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) pa raphrase (source language metaphor is rendered by a non-metaphorical expression in target language; as a result, target language expression comes up to the level of a commentary rather than of actual translation [27, p. 77].Although personification is sometimes treated as a separate stylistic device, it is a metaphor in its essence since the image creation is based on metaphoric substitution. According to K. Lototska, personification is 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, people's 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 fa ct 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 corresponding nouns do not create such opposition. Personification may be also individual, without opposition of genders. N. Homon believes that in order to overcome the difficulties in the process of rendering personification into target text lexical substitutes, which allow topreserve the image, are possible [5, p. 40].Thus, poetical metaphor is characterized by significant expressive potential based on transference of some quality from one object to another. Metaphor is clamed to be the most expressive trope which evokes images, reveals the author's emotional attitude towards what he describes and helps to realize the writer's intention. The principal classification of this trope is based on the degree of unexpectedness, which devides all metaphors into trite and genuine. The stylistic device can be expressed by different syntactic structures and tends to be accompanied or combined with other tropes in artistic text. Among the methods applied to metaphor in the process of translation the most common are translation sensu stricto, substitution and paraphrase. CHAPTER 2. E. A.POE'S 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. Poe's 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 annual The Gift: A Christmas and New Year's 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 author's works in the fact that it is especially effective at inspiring fear in the reader because of its heavy focus on the senses emphasizing the reality of the story, unlike other Poe's short stories which are aided by the supernatural. Despite its small size, the story abounds in stylistic devices, namely epithets (44 samples), similes (18 samples) and mataphors (12 samples). The stylistic devices used by the author are aimed to express emotions of the narrator and, accordingly, convey the atmosphere of interrogation and torture. As one would expect, emotions which are being created by the above mentioned stylistic device in the story under research are negative and 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 verba l 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 descent as of the soul into Hades[39, p. 102]. † The emotion of disgust is produced by means of tropes composed of verbal means already containing the seme of this emotion in their semantic structure, e. g. â€Å"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. â€Å"At length, with a wild desperation at heart, I quickly unclosed my eyes [39, p. 103]. † Lexico-stylistic devices of the story are the main and major means for creation of negative emotions intended by the author and create the overall atmosphere of the litersry work. Therefore, an adecuate reproduction of tropes is essential, as far as expressive and emotive verbal means combined in emphatic structures of different stylistic devices acquire greater expressive potential. 2. 2. The reproduction of emotion creating epithets, similes and metaphors of the short story by E. A. Poe in the Ukrainian translation by R. Dotsenko. 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 example above conveys the emotion of strong horror. Instinct for self-preservation is inherent in human nature, as well as fear of death, but the main character is already so much 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. Dotsenko's 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 modifier (consisting from preposition and noun) into adjective in translation is quite justifiable as it makes translation sound smoothly and with abandon. * â€Å"All sensations appeared swallowed up in a mad rushing descent 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 ac company 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 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 passive as in the original. The simile complementing the metaphor contains allusion to Greek 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 continuation of their forme r life  [45,  p. 172]. † The term hades is also used in the Septuagint (the ancient translation of the Old Testament into Greek) referring to the abode of the dead in general rather than the abode of the wicked. It has little if any relation to afterlife rewards or punishments.The Ukrainian term (English equivalent to which will be hell) is defined in the dictionary as 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 the substitution of original tenor of the metaphor descent with in translation since â€Å"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. â€Å"Then, ve ry 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 reader's 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 â€Å"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 â€Å" ; , † and transferred one, â€Å" , , [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 referr ing 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 author's 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, hurriedly, with ravenous eyes, allured by the scent of the meat [39, p. 106]. † * â€Å" , ?, , ? , ? , ? , . ? , ? †“, , ?' [38, p. 214]. †In this excerpt the author characterizes rats by using transferred epithet construction ravenous eyes and modifying construction allured by the scent of the meat; besides, the mode of rats' travelling is characterised by epithet in form of adverb hurriedly. The translator desided to refer all three epithets to the actualizator of the trope, rats (for this reason he changed adverb into adjective and eliminated the actualizator eyes in the transferred epithet construction). Consequently, in the translation a chain of homogeneous members-epithets was formed, which created an effect of gradation with culmination in the last element. This gradation can be considered as a compensation for the effect created by the 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 startling and most intense 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]. † 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 of hell and evil spirits. Besides, the word combination immediately brings to mind the image of the rousing and burning hell-fire which is considered to be the scariest and the most intense one. Thus, the translation is adequate since the translated variant harmoniously fits the imagery of the translated literary work and conveys the the author's intent being loaded with emotional expressiv eness. 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. * â€Å"These shadows of memory tell, indistinctly, of tall figures that lifted and bore me in silence down– down– still down – till a hideous dizziness 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 i n the nearest 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 heart's 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 comparison to t he 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 quickly 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 hopelessness was recreated by means of adjective meaning â€Å" , [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 â€Å"lacking discipline or control [43, p. 1683]. † In other words, the original epithet construction is fully concentrated on t he 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 translator's creativity. , being defined in the dictionary as â€Å", ;   [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. * â€Å"Free! I had but escaped death in one form of agony, to be delivered unto worse than death in some other [39, p. 109]. † * â€Å"! , ? , [38, p. 219]. † The original excerpt contains simile wors e 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 frightening creature.Thus, stylistic effect of original simile and its emotional loading were compensated for by translator's creative decision to introduce personification. * â€Å"It was hope – the hope that triumphs on the rack–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 noti on 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 narrator's 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 â€Å"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 doen't harm the im age, 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 inch – line by line –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 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. * â€Å"A deep sleep fell upon me –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 a dds 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