verb (P. Hrabovs `kyi); conversion of adverb + verb into epithet + noun (P. Hrabovs` kyi); and conversion of the emphasis and connotations onto the noun (M. Kabaliuk). All of these methods are equally creative and preserve the stylistic effect.to the other lexical means that may influence the style, these are archaisms; but all the obsolete grammatical forms used in The Prisoner of Chillon were at G. Byron `s time almost an obligation for the poetic work [12: 59], especially in Romanticism: hath, I found him not. Thus, the one way of the archaism rendering in this case is to translate them by correspondent Ukrainian archaic words. The example of such translation may be the translation of W. Shakespeare `s sonnets by I. Kostets `kyi, who in this way wants to achieve the same effect as the W. Shakespeare `s poetry has on the contemporary reader. The other method is to use traditional Ukrainian forms and characteristic features, peculiar for the Ukrainian Romantic poetry: for instance, shortened/lengthened formes of words. The example of such a method may be the translation by P. Hrabovs `kyi, who used однії, вража, обляга. However, it is worth noting that this translation was done in 1894 when such forms were more common. The third method is the one used by V. Mysyk, D. Pavlychko and M. Kabaliuk, and it presupposes the omission of archaisms in translation, substituting them for the common words, as they were a norm for G. Byron `s style, but were not at the time of the translation. Each method has its merits and drawbacks, though the first one is more of an experiment as it complicated the comprehension of the poem by readers. The second may be also a cause for misunderstanding and creation of the wrong stylistic effect if its usage is not regulated by the contemporary norms of the Ukrainian language, as with the development of the language some words or constructions may become outdated. For instance, though the translation by M. Kabaliuk is very good and many of the translator s findings are more than adequate; and it was published in not so far 1982, it already needs editing. That is why we feel it would be reasonable to review this translation as to the changed language norms:
На мене Із-за мокру грат [29: 17, VI, 14]
Мов звіра, посадивши между грат. [29: 17, VII, 12]
І я радів судьбі такій [29: 18, XII, 10]
Могла звесті мене з розуму [29: 17, XI, 12]
Хоч крізь гратоване вікно [29: 17, XI, 14]
Sonnet on Chillon may be regarded as a combined extended trope on itself, as almost every line contains personification (addressing abstract notions, in particular), simile, and epithets. Their reproduction by P. Hrabovs `kyi has already been discus...
