ovs `kyi, V. Mysyk, M. Kabaliuk, and V. Zhukovs `kyi are its subject.work rests on the following assumptions:
1. Style of a literary work is a combination of content-defining (style-creating factors: imagery, themes, problems touched upon in the text, genre norms) and form-defining (style-creating means: lingual expressive means with their lexical and syntactic structures and acoustic peculiarities) elements, which are interrelated and influence each other;
2. Translators cannot but express their interpretation, views and beliefs in their translation, thus their personality influences translation choices, and correspondently, the style of the translation;
. Translator s style can be considered a style within the style with the variations and small differences within the author s style;
. To achieve such a result, translator has to reproduce both, the content-defining and the form-defining elements in their interconnection, paying attention not only to the general mood of the work and the problems discussed by the author, but also to the formal lingual means of their expression, diverse and numeral they may be, as it is the latter that shape the style the way the tiniest pieces of mosaic shape the picture. present work concentrates mainly on that second part of style reproduction and researches what formal elements create the style at different levels, ways of their rendering and their overall influence on the style reproduction.aim of this paper is to contrast the style of the poem and the styles of its translations, finding the convergent and divergent features in their building elements and defining their impact at the correspondent level as well as generally at the level of a poem. Special attention is dedicated to the graphical level and prosody, which are discussed separately from the other levels of language, as well as to the study of compensation by the means of other levels.the course of research different methods were used, quantitative, comparative, contrastive and oppositional being among them.the material for the research, it was decided to take poem The Prisoner of Chillon and Sonnet on Chillon by G. Byron in the translations by V. Zhukovs `kyi, P. Hrabovs `kyi, M. Kabaliuk, ( The Prisoner of Chillon ) and P. Hrabovs `kyi, V. Mysyk, and D. Pavlychko as the variety of artistic means at all the language levels provides a rich base for the study. Moreover, the Ukrainian translations of
