ращий цвіт [29: 17, VIII, 1] Мій розум ... то голос пташки був. [26: 327, X, 2] Немов учуліся пташки ... [27: 232, X, 1] У мозок - був то пташки спів [29: 17, X, 2] І мій співак повітряний був: [26: 327, X, 17] Моя пташіночка ясна [27: 235, X, 14] Ту пташку бачив я - вона [29: 17, X, 16] Але хто ж він сам був, мій співак? [26: 327, X, 33] Прихильний братові душа [27: 235, X, 31] Того ж ... Чі, може, Райський гість [29: 17, X, 33]
Translators used the variety of synonyms in order to render symbolic gender of flower and bird as masculine. Although noun птах, пташка is feminine only in Russian, V. Zhukovs `kyi managed to limit its use, and successfully rendered bird as співак in most cases. For the Ukrainian translators this problem is easier to solve, as in Ukrainian there exist feminine and masculine lexical units for both flower and bird : квітка/квіт , пташка/птах . That is why we find it strange that both Ukrainian translations abound in repetition of feminine form пташка , especially, taken into consideration that symbolical gender of these lexemes in G. Byron s poem is obvious, and the fact, that in provided examples from M. Kabaliuk `s translation, for instance, пташка may be easily substituted for птах without violation of rhythmical structure.other problems on the morphological level there are such as rendering of possessive case of abstract nouns (Persecution s rage), use of tenses (tenses used by G. Byron include Present Indefinite, Present Perfect, Past Indefinite, Past Perfect, and Future-in-the-Past), usage of passive constructions, and modals; but all of these bear no special significance for poet s style, and do not present any peculiar problems for the translator, but for the natural difference between the English and Ukrainian, or Russian, if one refers to V . Zhukovs `kyi` s translation, languages.
Sonnet on Chillon does not present any peculiarities worth of detailed discussion on this level.
2.4 Lexical means in poetic style-creating and their transference
