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Arts & Communication Advanced macro-image model for poetry translation

unforcedness, naturalness, and melody while reflecting indicating a partial domestication of the translation. This
the harmony of the rural world depicted in the poem. The change results in the omission of figurative constructions
repetition at the end of the first line in all three stanzas such as “trees are swinging,” “sunset’s greeting”, “golden
– коло хати (around the house), further emphasizes this slumbers’re lying,” and “girls are vying,” missing in the
synsemantic imagery. We also come across metalogical original, reflecting addition and remetaphorization in the
images, such as the metaphor зіронька встає (the starling translation process.
rises) and the three constant epithets: вишневий садок The isolation of the autologous image within a poetic
(cherry orchard), вечірня зіронька (evening starling), and work is relatively subjective, but it is necessary for
маленькі діточки (little children). distinguishing between autologous and metalogical images
In addition to autologous images, the presence of other at the autosemantic image level as well as synsemantic
images in this poem is supported by Kolomiiets’s research, images within the general limits of a poetic work as a
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which compares two translations by Vira Rich, made over macro-image. This differentiation aids in identifying
a span of half a century. 40 adequate counterparts in the target language and facilitates
To illustrate, here is an excerpt from the original poem: qualitative analysis of existing translations.
Садок вишневий коло хати, / Хрущі над вишнями When translating autologous images, they are
гудуть, / Плугатарі з плугами йдуть, / Співають ідучи reproduced mainly through equivalents, although instances
дівчата, / А матері вечерять ждуть. // Сім’я вечеря of deautology may occur, where a non-tropical image is
коло хати, / Вечірня зіронька встає. / Дочка вечерять rendered as a tropic one. In addition, various translational
подає, / А мати хоче научати, / Так соловейко не дає. // transformations, such as addition and substitution, are
Поклала мати коло хати / Маленьких діточок своїх; / used. The translation of metalogical images warrants
Сама заснула коло їх. / Затихло все, тільки дівчата / particular attention.
Та соловейко не затих. 41 Metalogical images encompass all tropes, including
Kolomiiets’s analysis focused on components of symbols, allegories, semantic ambiguities of the word, and
the poem, such as the brevity of the poetic line, meter, intratextual and extratextual associations.
syntactic structure, and the ratio of metrical and syntactic The dual nature of words – both their direct and
units. These components affect the melody of the poem figurative meaning – along with their polysemantic
along with intonation, tone, tonality, rhyming system, and character enables the creation of tropes, which serve as
phonics. This analysis primarily addresses the synsemantic foundational elements for metalogical images. According
images, rather than autosemantic (autologous) images. to Potebnia, these tropes, such as words or expressions
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In Rich’s translations, the entirety of the original’s used in a figurative sense, are created to characterize
autology is conveyed using direct equivalents. Any lexical phenomena through secondary semantic meanings by
substitutions that occur are aimed at accurately conveying actualizing the “internal form of the word.” 43(p695) The tropes
the synsemantic images of the original text. In addition, enhance poetic imagery by providing expressiveness and
these lexical substitutions did not distort the autological emotional depth, allowing for vivid portrayal of feelings,
imagery of the original work. situations, circumstances, and lyrical heroes. Their essence
In contrast, Henry Marshall’s translation presents lies in assimilating the concept conveyed by a lexical unit
challenges in capturing these nuances: Beside the cottage in its traditional use to the concept it expresses in poetic
cherry-trees are swinging, / Above the cherries May-bugs language while performing a stylistic function. Epithet,
winging, / Ploughmen with their ploughs are homeward simile, metaphor, metonymy, synecdoche, periphrasis,
heading, / And lassies as they pass are singing, / While euphemism, antonomasia, association, irony, hyperbole,
mothers wait with suppers ready. / Beside the cottage all and litote are among the main means of contextual-
the family’s eating, / Above, the evening star the sunset’s synonymous expression of speech that contribute to the
greeting. / The evening meal the daughter serves around, / creation of metalogical images.
When mother chides, from where she’s seated / Her voice by The imagery derived from tropes represents an
singing nightingales is drowned. / Beside the cottage mother’s inexhaustible source for translation studies. Each poet’s
lullabying / Till little ones in golden slumbers’re lying; / She unique stylistic paradigm significantly influences these
herself beside them falls asleep. / All is quiet, only the girls are images, which translators must consider when recreating
vying / With nightingales and can’t their quiet keep. 42
them in the target language. The artistry and esthetic
As we can see, in this English version, the Ukrainian impacts of a poetic work primarily depend on its imagery,
term “hata” (hut) has been replaced with “cottage,” reflecting the uniqueness of the poet’s worldview, talent,

Volume 3 Issue 3 (2025) 8 doi: 10.36922/ac.5990