Ministry of higher education, science and innovation of the republic of uzbekistan national university of uzbekistan

part/whole of one another.
Writers use synecdoche in order to emphasize a specific image or encourage 
the reader to think about something in a different way. The meaning of a phrase, 
character’s actions, setting, and more, can change entirely depending on how the 
writer describes it. This is especially impactful in examples such as that found in 
Dickinson’s ‘I heard a Fly buzz-when I died.’ Synecdoche makes expressions and 
language far more interesting as well, especially when they’re used originally and 
differently. Some of the most popular synecdoches, in contrast, are so well known 
that they no longer add anything to a piece of writing. For instance, using “the 
White House” to refer to the US government.
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The function of synecdoche in poetry is to emphasize specific aspects of the 
thing or person that the synecdoche represents and to minimize the importance of 
the thing itself. A synecdoche is a figure of speech in which a part of something 
represents the whole thing or vice versa. Although synecdoche can be used for 
animals and inanimate objects, it often dehumanizes a person, emphasizing a 
certain characteristic or function. 
Synecdoche in poetry comes in many forms. The most basic type is when a 
part refers to a whole. A synecdoche is also formed when a general category is 
used to refer to a specific category or object, such as saying “The Book” to refer to 
the Bible, and when a material refers to something made of that material, such as 
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Kravchuk I. V. Artistic Translation as an Important Aspect of Inter-Cultural Communication. – M., 
1995. 

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“plastic” for a credit card. In addition, each of these types has an opposite 
synecdoche: a whole refers to a part, a specific class refers to a general one, and a 
container refers to its contents. 
One purpose of synecdoche in poetry is to emphasize the function of the 
specific part mentioned. In Robert Browning’s dramatic monologue, “My Last 
Duchess,” the speaker discusses a portrait of his late wife, saying “Fra Pandolf’s 
hands / Worked busily a day, and there she stands.” This synecdoche enforces the 
view of Fra Pandolf as a worker, whose importance lies in what he did with his 
hands, not in him as a person. 
Similarly, Browning used synecdoche in his long poem “The Ring and the 
Book.” Beginning in line 286, he writes “Pert tongue and idle ear / By this, 
consort ‘neath archway, portico.” People are gathering beneath archways, but the 
emphasis is on the talking and listening they do. Poets also use synecdoche to 
diminish the value of the thing represented. 
Synecdoche in poetry is often confused with its close relative, metonymy. In 
a synecdoche, the thing mentioned typically includes or is included in the thing 
represented. Metonymy is when one object, such as a crown, is substituted for 
something closely related, like a king. Many poets use both figures of speech for 
added meaning and imagery. 
The material for the study to identify the specific features of synecdoche was 
the poetic works of Alexander Sergeevich Pushkin, the greatest classic of Russian 
and world literature, poet, writer, translator, stylist, and literary critic. In total, over 
15 variants of translations of various poems were considered, 5 of which will be 
considered in our study.
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In Pushkin's all-consuming attention to the exceptional authenticity of the 
poetic word, the simplicity and at the same time the mystery of Pushkin's poetry 
and his personality. It is simple, for it proceeds only from human measure, the 
general for all people, but it is also mysterious, because the human measure knows 
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Amorim L. M. Translation and Adaptation: Differences, Intercrossings and Conflicts in Ana Maria 
Machado’s Translation of Alice in Wonderland by Lewis Carroll. – London, 2003. 193–209 pp. 

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no limit, how infinite is man himself, who eternally fulfills himself, and therefore 
never reaches full realization. The poet embodies those and other qualities of them, 
therefore, speaking about himself, he speaks about each of us, but at the same time 
about all of us put together. Such is Pushkin's idea of himself as a poet writing "for 
himself", and therefore for everyone. 
In Pushkin's poetry, synecdoche and paraphrase are the main elements of 
style. In this respect, Pushkin continues the tradition of 18th-century poets. Despite 
the nobility and ideal loftiness of style, Pushkin's language nowhere deviates from 
a certain norm of simplicity and accuracy that is familiar to us in spoken language. 
That is why the poet's stylistic devices are so difficult to grasp: we involuntarily 
begin to think that the poetic language in his poetry is no different from the spoken 
language
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. 
Pushkin's semantics is two-dimensional, "free" from one objective meaning, 
and therefore a contradictory comprehension of his works occurs so intense. 
Perhaps our, no doubt, subjective, understanding will also contradictory, however, 
it will be evidence of the versatility of Pushkin's metonymy and the pragmatic 
versatility of the possibilities of its translation into English. 
In total, more than 10 poems of A.S. Pushkin in translation were considered. 
The study contains 1 poem, each of which has one translation option. Let’s analyze 
the first poem of Pushkin called «Брожу ли я вдоль улиц шумных...»: