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Arts & Communication Advanced macro-image model for poetry translation

Applying the scheme of a poetic work’s macro-image is semantics of the verbal image through non-figurative
essential in minimizing subjective deviations in translation means. This analysis makes it possible to distinguish the
from the original work. nature (immanent or emergent) of its formation and
identify the type of connections (linear, non-linear)
This macro-image structure encompasses essential
elements organized across various levels, such as lexical, between structural elements.
syntactic, morphological, phonetic, intonation-rhythmic, Autologous and metalogical images are integral to the
and graphic levels of the poetic text, rather than focusing autosemantic image level within a poetic work, considering
on individual words, phonemes, or phraseological units. their formation and reproduction in translation.
These elements acquire semantic and esthetic qualities Autology is, in contrast to tropes, the use of words in
within the text, contributing to a richer understanding of a poetic text in their literal meaning. Henry Longfellow,
the poem. The development of the macrostructure allows Robert. Frost, Taras Shevchenko, Evgen Pluzhnyk, Dmytro
for a deeper appreciation of a poem’s unique qualities, Falkivskyi, Yuriy Lypa, Vasyl Mysyk, Leonid Pervomaiskyi,
helping translators avoid the pitfalls of hastily extracting and other poets resorted to autologous writing in some
superficial elements that may lead to an impoverished of their works. However, a more thorough analysis of
interpretation. It also mitigates the tendency to fixate the so-called autologous poetic texts showed that their
on individual sounds or words, which can darken the imagery is formed with the help of other means, such as
ideological and esthetic essence of the original poetic work. syntactic and sound. For instance, Shevchenko’s poem

A key task for translators is to identify artistically “Cherry Orchard Around the House” is frequently cited
significant images by clarifying the general structure of as an example of autologous poetry, yet it demonstrates
the work and reproducing it in translation. Critics and that truly autologous poetic works are rare in the world of
researchers must then assess how closely the structure of poetry. Instead, we often encounter partial image autology
the translation aligns with that of the original work, as or its prevalence within specific works.
the same “general meaning” of the work may be reflected The concept of “autologous image” is quite relative,
differently across various structures. primarily due to the impossibility of the existence of a
It is important to recognize that no structural diagram, word’s meaning outside its external form, sound, and
system diagram, matrix, or model, can capture every visual embodiment. In a poetic text, words inevitably
nuance of poetry; there will always be aspects that elude acquire features and qualities of a synsemantic image.
verbal definition but are crucial to distinguishing true In addition, poetic texts usually consist of two or more
poetry from mere skillful versifications. The intertwining words, which allows for the potential manifestation of
of objective and subjective elements presents a challenge in imagery through the syntactic capabilities of language.
discerning one from the other. Consequently, identifying autologous poems, those
constructed exclusively from autologous images is quite
In addition, any scheme is inherently a simplified conditional. A more thorough analysis of even the most
representation that conveys only the main features of an frequently cited autologous works shows that they often
object. This principle applies equally to both language incorporate various types of imagery.
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system structures and the image structures of poetic works. For instance, Shevchenko’s poem “Cherry Orchard
The first structural component of a poetic work’s macro- Around the House,” frequently referenced as an example
image is the system of autosemantic images. Autosemantics of autologous poetry, is rich with synsemantic and other
refers to a language element’s (word, sentence) ability images. The first line of the poem is a verbless nominative
to express meaning independently of other lexical sentence, a peculiar technique that creates a depiction of
units, syntactic constructions, situations, or contexts. a figurative picture by sketching nominative strokes. The
Understanding how a word functions in everyday language use of the stylistic function of nominative sentences is well-
versus its role in poetry is crucial at the lexical level. known in literary art. In the second line of the poem, we
come across another stylistic technique, which is inversion:
In poetry, a word retains its status as a lexical unit
found in dictionaries but transcends this definition. Хрущі над вишнями гудуть (over the cherries chafers
are buzzing), followed by another inversion Затихло
Its resemblance to a “dictionary word” highlights the все… (fell silent everything), which incorporates another
divergence between common language usage and its poetic syntactic figure – a ring: Лиш соловейко не затих (only the
application. 39
nightingale did not fall silent). Most verbs are positioned
As part of its image structure, each word in a poetic in clauses to enhance their meaning. The rhymes are
text is analyzed using sample identifiers that explain the mainly verbal and light, contributing to the lyrical story’s

Volume 3 Issue 3 (2025) 7 doi: 10.36922/ac.5990