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

With arms outspread in cruciform 
Like two wings of an angel. 
All February the blizzard raved, 
Yet ever and anon, unchanging, 
Candle and table still remained - 

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A candle ever flaming.
64
 
For analysis and comparisons, we chose linguistic metaphor воск слезами с 
ночника на платье капал и жар соблазна вздымал два крыла. In the translation 
of Christopher Barnes on her gown the waxen flare shed tears that oozed and 
spattered (literally, воск слезами с ночника на платье капал и жар соблазна 
вздымал два крыла), we observed redundant verbs, among which shed - 
проливать (слёзы) refers to a metaphor, and oozed and spattered are introduced, 
perhaps to enhance the image. In the original, the verb drip (капал) is combined 
with both drops of tears and drops of wax, in English the verb drop (капать) - 
corresponds to tears, but not to wax. 
In Pasternak, the metaphor is realized in the noun with tears, on the basis of 
the verb капал by similarity in Barnes’ translation - with the verb and noun shed 
tears, which is a stable expression, but there is no similarity between wax and 
tears. The translator realizes the metaphor by paraphrasing; part of the image is 
lost. Anthony Kline is the only translator, who does not omit the noun nightstand 
(ночник). His version sounds like this: a candle on a nightstand shed wax tears 
upon a dress (свеча на ночнике проливала восковые слёзы на платье). Just as 
Barnes used the verb shed, the similarity of tears and drops is transformed into a 
noun with the epithet wax tears (восковые слёзы), and the translation is done by 
paraphrasing. 
The metaphor of the heat of temptation raised two wings, it can certainly be 
divided into two paths: the metaphor of the heat of temptation and the 
personification raised two wings, but in order to preserve the integrity of the image 
and a more complete analysis of the translations, we will use it inseparable. 
Christopher Barnes, when translating, focuses attention and transfers the image 
from the heat of temptation to the hands, like two wings of an angel ). Keeping the 
comparison like two wings of an angel, the translator loses the original metaphor, 
but adds a new fires enkindling. 
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Baring M. World Poetry. – London, P. 1338. 

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67 
Pasternak-Slater translates the metaphor in such a way that the structure of 
heat of temptation it lifted up two crossing wings as of an angel is preserved (the 
passion of temptation raised two crossed wings like an angel). The preposition of 
in English corresponds to the genitive case in Russian, in addition, the noun heat is 
combined in the same way as the Russian heat, therefore, the trope is translated in 
the first way according to Newmark, when readers of the target language fully 
understand the metaphor of the source language. Kline has the white fever of 
temptation upswept its angel wings that cast a cruciform shadow (the white heat 
(fever) of temptation raised the wings of an angel that cast a cruciform shadow) 
fever is a disease, which B. Pasternak does not have, therefore the trope is 
translated by paraphrasing with the loss of the original image. It is necessary to 
dwell separately on the verb uplifted, in dictionaries it is marked obsolete and 
bookish. Translators use the verbs upswept, lifted up, outspread, which are neutral, 
only outspread is combined with wings (wings). The meaning of the image is clear 
to the reader, but the pathos is lost. 
In the translation of the poem "Winter Night" by L. Pasternak Slater, the 
metaphor it swept is a literal transfer of Russian melo (cf. a blizzard sweeps), an 
erased metaphor, in English, the verb swept (sweeping, chalk) is not combined 
with the image of snow and a blizzard. As a result of literal translation, an image 
appears completely alien and unusual for the translating language. In such cases, a 
non-metaphorical explanation should be resorted to. E. Kline also literally 
translates the blizzard sculptured designs - the blizzard creates sculptural 
structures, which is not a suitable metaphor for creating an image, rather makes it 
difficult to understand.
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The analysis carried out leads to the following conclusions: dense 
metaphorical the early work of Boris Pasternak caused difficulty for translators, the 
more “transparent” later poetry is also difficult to convey images. The authors of 
poetic translations often resort to paraphrasing metaphors, which is not always an 
65
Кнеллер M. http://speakingintongues.vladivostok.com/pooshkin3htm. 

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adequate option. Comparison, which rarely acts as an equivalent of a metaphor, 
more accurately conveys the image, makes it clearer to the reader. 
It is obvious that in order to create a beautiful English verse from a great 
Russian original, a poet-translator is required, no less talented than the author of 
the original, but then it will be a new and unique work of original creativity, 
probably far from the original in spirit, like Pasternak’s own Russian versions of 
Shakespeare and Goethe. However, it should be noted that the translators did not 
neutralize the metaphors, preserving the expressiveness and emotionality of the 
text in English verse. This allows us to conclude that when translating metaphors, 
the translator may experience difficulties due to the lack of an adequate equivalent 
in the target language, differences in the realities of the two languages, their 
cultures and value systems, which inevitably lead to the impossibility of direct 
translation. But you can always find a translation technique that can convey the 
meaning as accurately as possible metaphors. As Newmark notes, the translator 
makes a choice regarding whether to keep or remove a metaphor in translation 
based on what type of text he works with, how many individual author's metaphors 
are in the text (whether the text is overloaded) and how appropriate it would be in a