better. For instance, P. Antokol `skiy, M. Auezov, and M. Ryl `s` kyi believe that translator has a right for manifestation in his work of his personality, and of his own style, correspondently. Their position is based on the fact, that any creativity is individual, and translator cannot exclude his personality from the process of translation [qtd. in: 1]. The school of deconstruction goes even further in this respect: translator himself chooses which implications of the original he wants to make explicit, what possibilities presented by the original he will take and develop, and what he decides to ignore. Another approach is close to the hermeneutic project by L. Kolomiets `[13], when lingual, literal and socio-cultural levels, and author s style, correspondently should remain as intact as possible. This approach is characteristic of H. Kochur `s school of translation, the main rule of which is to render and preserve as much as possible. There exists also the third view on this problem. G. Gachehciladze attempts at combining two previous approaches and states that translation should equally combine the author `s style and the translator` s style, thus being a kind of hybrid [5].
In this paper we agree with the position of V. Alekseev: translator s style has a right for existence, but only within the author s style, which should be prior to translator [1]. This idea is supported by the existence of numerous translations, which proved the possibility of adequate transference of the author s style, translations of The Prisoner of Chillon and Sonnet on Chillon among them. Therefore we can assume the existence of some generalized conclusions and norms of style rendering, which can be singled out for the better understanding of the process and then used to help translators in their work. In this paper we will try to find such helpful scenarios at each level discussed., There are no ready-made rules how to render author s style, and each artistic text demands special approach with its unique variation of methods used. It has been noticed that the more translator likes the works of the author he is to translate, and the more his worldview resembles that of the author s one, the less problems translator is likely to encounter and the better rendering of style he is likely to perform. We recognize the impossibility of full rendering of author s style in a translated work; however, we believe that this aim is worth at least trying to achieve.
1.2 Stylistic peculiarities of G. Byron s poem The Prisoner of Chillon ...
