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

Theoretical and practical value of research results. The theoretical part 
can be used for searching information about Pragmatics and its elements. 
Especially, speech act theory and its classification were studied; it will be useful in 
further researches. 
The structure of dissertation work. The dissertation work includes
introduction, three chapters, conclusion and a list of used scientific literature.
Chapter one is devoted to the study the concept of a poetic text and its 
specific features. Several theoretical viewpoints and hypotheses of both Russian 
and English linguists were investigated. 
Chapter two analyzes the translation process of English poetic texts and its 
main specific peculiarities and also, identifies the translation transformations and 
lexical transformations in poetry translation from English into Russian. 
Chapter three discusses and analyzes the usage of the metaphor, synecdoche 
and simile in the poetic texts in both English and Russian languages and identifies 
the specific features of translation of metaphor, synecdoche and simile in the poetic 
texts from English into Russian. 
 

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CHAPTER I. SPECIFIC FEATURES OF POETRY 
1.1 The concept of a poetic text and its features 
Poetry, as it is a well-known fact, belongs to the main genres of fiction. The last 
two or three decades have been characterized by the ever-growing interest of 
linguists in the language of fiction, especially from the point of view of functional 
properties. An important feature of the development of linguistic research is that 
the linguistic and speech patterns of constructing an aesthetically significant text 
are considered both in linguistic and extralinguistic aspects. The use of language to 
convey meaning, the correct recognition of the meaning of a message, the optimal 
choice of language form depending on the goals and conditions of communication 
- all these issues are currently in the focus of attention of linguists. Modern 
versification is a highly developed field of science, it should be noted that the basis 
of numerous works on this issue, which have received international recognition, 
are the studies of the Russian school of versification, which originates from A. 
Bely and V.Ya.Bryusov and such scientists as B.V. Tomashevsky, B.M. 
Eikhenbaum, V.M. Zhirmunsky, Yu.N. Tynyanov, M.P. Shtokmar, L.I. Timofeev, 
S.M. Bondi, G. Shengeli, who have greatly contributed to the field of fiction and 
poetry research.
1
The concept of "poetic text" combines a fairly wide range of range of 
literary works: lyrical poems, poems, epics, fables, etc. The philological analysis of 
a poetic text is oriented, as a rule, to the consideration of a whole work of a small 
genre, which is why we will talk about one type of poetic text - a lyric poem that 
most fully embodies all the generic features of poetic speech and is the main object 
of study in the classroom of philological analysis.
2
The literary functionality of the poetic language is designed to reflect the 
aesthetically significant, emotionally affecting transformation of reality. Ya. 
Mukarzhovsky wrote that the only constant feature of poetic language is its 
"aesthetic" or "poetic" function, which he defined as "the orientation of poetic 
1
Vorkachev S. G. Linguocultural concept: typology and areas of existence. – Volgograd: VolSU, 2007. 
P. 400. 
2
 
https://elib.bsu.by/bitstream/
  

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expression towards itself: "... Thus, the poetic language is set; on a par with 
numerous other functional languages, each of which means the adaptation of a 
language system to some purpose of expression; the purpose of poetic expression 
is aesthetic impact. However, the aesthetic function, which thus dominates in 
poetic language (being only a concomitant phenomenon in other functional 
languages), makes the linguistic sign itself the center of attention, thus acting as a 
direct opposite of the real one; orientation towards the goal, which is the message 
in the language.
3
Thus, the scientist defines poetic language as an integral part of the language 
system, as "a stable formation that has its own natural development, as an 
important factor in the overall development of the human ability to express himself 
with the help of language."
4
But then poetic language, like natural language, is 
capable of performing a communicative function, i.e. convey some message about 
the world external to the text. The linguistic feature of the poetic language is that 
any linguistic structures (phonetic, derivational, grammatical, rhythmic, etc.) can 
be endowed with meaning in it, thus becoming a kind of material for building new 
aesthetically significant linguistic objects
5
.
Ya. Mukarzhovsky distinguishes two linguistic sides of poetic language: 
sound and semantic, considering them from the point of view of the structure of the 
linguistic sign and the participation of individual elements in the construction of a 
poetic work. He refers to the sound side of poetic language: the sound composition 
of linguistic manifestation (the ratio of individual sounds); and a sequence of 
sounds, (euphony), rhythm, rhyme, syllable (as the basis of clauses), intonation 
(expressed graphically by punctuation), expiration (stress as a carrier of rhythmic 
pattern), voice color or timbre (emotional shades of content), tempo (duration of 
rhythmic segments and pauses). The semantic (or in the narrow sense - 
grammatical) side is represented by the following elements of the poetic language: 
morphemes (namely, producing morphemes), representing the internal structure of 
3
Mukarzhovsky Ya. 1994: P. 240. - 
https://cyberpedia.su/19x60af.html
  
4
Mukarzhovsky Ya. 1994: P. 240. - 
https://cyberpedia.su/19x60af.html
 
5
 
https://cyberpedia.su/19x60af.html
  

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the poetic word, verbal meaning - the poet's vocabulary (i.e. the choice of verbal 
material), semantic orientation, poetic name (the use of a word in a specific "case), 
semantic dynamics (as opposed to statics) of the context, monologue and dialogue 
(hidden meaning). According to the scientist, the language, the composition of 
which is represented by the listed elements, in its symbolic nature is an artistic 
material for constructing poetic work.
6
The goal of interpreting any literary text is revealing the speech meaning 
adequate to the author's intention. Philological analysis is based on linguistic 
(language analysis) the material of a literary text is a priority; includes elements of 
literary criticism (analysis of compositions, ways of building characters, etc.), 
linguoculturological (the text over time acquires meanings that brings each new 
generation, it is they who have the cultural value). He teaches to correctly 
understand the meaning of the text, to interpret not just the meanings of the words 
that make up the literary text, but the literary value of the entire text. Philological 
analysis allows you to answer the question: “What is behind these lines?”
7
A poetic text obeys all the rules of a given language. However, new, 
additional in relation to the language, restrictions are imposed on it: the 
requirement to comply with certain metro-rhythmic norms, organization at the 
phonological, rhyming, lexical and ideological-compositional levels. All this 
makes the poetic text much more "non-free" than ordinary colloquial speech. 
The informativeness of the text in poetry is growing, which at first glance 
diverges from the main provisions of information theory.
Moving on to poetry, we found that: 
1) Any elements of the language level can be elevated to the rank of significant. 
2) Any elements that are formal in the language can acquire a semantic 
character in poetry, receiving additional meanings. Thus, some additional 
restrictions imposed on the text make it look like poetry. And as soon as we 
6
 
https://cyberpedia.su/19x60af.html
  
7
 
https://elib.bsu.by/bitstream/
  

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classify this text as poetic, the number of significant elements in it acquires the 
ability to grow. 
However, not only the number of elements becomes more complicated, but 
also the system of their combinations. F. de Saussure mentioned that the entire 
structure of the language is reduced to a mechanism of similarities and differences. 
In poetry, this principle acquires a much more universal character: elements that in 
a general language text appear as unrelated, belonging to different structures or 
even different levels of structures, in a poetic context turn out to be compared or 
opposed. The principle of contrasting elements is a universal structure-forming 
principle in poetry and verbal art in general. It forms that "cohesion" of episodes 
(for prose, the plot level is the most significant), which L. Tolstoy wrote about, 
seeing in it the source of the specific artistic significance of the text.
8
Poetry is the most difficult part of the theory of literature. The poetic text is 
characterized by a number of features:
1. In poetry, the subject of the statement and its relation to the depicted is 
important (the author depicts not the world of people and things, but the world of 
ideas, feelings). The lyrical experience presented in the poetic text contains a 
universal meaning, therefore any reader can say that this text is about him, about 
his feelings.
2. Poetic - is a figurative understanding of the world.
3. Poetic text – is a text with installation on expression; poetry creates its 
own kind of possible world.
4. Poetry - is a secondary semiotic system, and the existing language serves 
as the first level language of the common language system.
5. A poetic text - is a system organized aesthetically (form and meaning are 
subject to aesthetic intention).
6. A poetic text is distinguished by metricity and rhyme.
8
Retsker Ya. I. Translation theory and practice of translation: Essays on the linguistic theory of 
translation. – M., 1974. 

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7. In poetic texts, the role of the creative aspect of language is great (brightly 
demonstrated in the phenomena of language creation) as a tool of cognition of 
human soul.
8. Poetry, which arose at the turn of the millennium, brings together several 
sociolects (high language of culture, scientific, daily, reduced, vernacular), creates 
various linguistic spaces and intertexts.
9. The perception of a literary text is slower than other texts; poetic text 
requires slow reading, repeated rereading.
9
The method of analyzing a poetic text has a number of specific features, 
since it has its own rules for organizing material: firstly, levels that are usually not 
taken into account become significant, appear less significant when analysis of 
prose (first of all, the metro-rhythmic and sound organization of the text), and, 
secondly, the lexical and grammatical levels text organization requires completely 
different working methods.
10
The central place in the interpretation of the meaning of a lyrical work is 
occupied by the analysis of the dictionary, which is associated with an increase in 
the role every single word, every grammatical form in the text.
11
(A significant part 
of the techniques and methods of working with a poetic text is focused on 
lexicocentrism: compiling and interpretation of frequency dictionaries of 
individual authors and representatives of poetic trends, analysis of a separate poetic 
text based on its vocabulary, semantic-stylistic, comparative-stylistic, contextual 
methods.)
Optimal, in our opinion, the scheme of analysis of the poetic texts is 
presented in the work of V. A. Maslova. She claims that when analyzing a poetic 
work, one should adhere to the following fundamental statements:
a) all elements of a poetic text are interconnected and woven into a single 
“fabric”;
b) there is nothing accidental in the text;
9
 
https://elib.bsu.by/bitstream/
  
10
Benjamin W. Illuminations. – New York: Shocken Books, 1968. 
11
Bhabha H. K. The Location of Culture. – London: Routledge, 1994. 

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c) behind many single word usages lie deep and universal manifestations, 
often bearing a mythological and archetypal character;
d) for the poetic text was derived "the law of unity and narrowness of the 
verse series"
12
. 
The processes of perception, study, interpretation of the literal works are 
subjective, which follows from the very nature of a literary text - infinity, multi-
layered content, ambiguity and "openness" of the artistic image, which involves an 
unlimited number of interpretations and is capable of be enriched in the process of 
interpretation with new meanings (it is precisely because of these qualities that 
highly artistic literary works do not lose their relevance for many decades and even 
centuries). The capacity of the meaning of a poetic text increases with due to the 
associative links of the word, which are very specific for each reader, which to 
some extent explains the phenomenon of the plurality of understandings and 
interpretations of such a text. Moreover, in poetry one of the leading principles of 
art is manifested in a pointed form - the rejection of the direct naming of ideas, 
therefore the "inexplicable" dominates in poetry
13
. 
Equating poetic texts with communicative acts, one can consider their 
translation as a translation of the totality of all aspects of the concept of 
"discourse", including the pragmatic one. In translation activities, four translation 
maxims play a fundamental role, substantiated in many theoretical and didactic 
works on translation problems. These maxims are enshrined in the following 
paradigm: 
1. Perfect command of the native language. 
2. Perfect command of the target language. 
3. Perfect mastery of the translation technique (techniques, transformations). 
4. An accurate idea of the subject of translation (knowledge of terminology 
and its uses). 
12
Маслова, В. А. Русская поэзия ХХ века. Лингвокультурологический взгляд / В. А. Маслова. – 
М., 2006. 
13
Гореликова, М. И. Лингвистический анализ художественного текста / М. И. Гореликова, Д. М. 
Магомедова. – М., 1989. 

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These maxims, in turn, are directly related to the conventional and conscious 
maxims identified by Grice in his works "Logic and Conversation" (1975) and 
"Further Notes on Logic and Conversation (1978). These maxims are represented 
by the following paradigm: 
1. The maxim of quantity ("make your contribution to the conversation as 
informative as necessary"); 
2. Maxim of quality (“tell the truth”); 
3. Relationship maxim (“be relevant”); 
4. Maxim of manners (“speak clearly”, “speak briefly”, “speak 
consistently”). 
Basil Hatim and Ian Mason note that Grice's maxims are aimed at achieving 
maximum communication efficiency and any deviation from them is perceived as 
the presence of various kinds of implicatures. In translation, the deviation from 
Grice's conventional maxims is caused, firstly, by the lack of correlation between 
them and translational maxims, and secondly, by deeper processes that can be 
analyzed and partially explained using the cognitive models of Jacobson, Van 
Dyck and other scientists
14
.
Having read the works of Shakespeare or Dickens in Russian translation, the 
Russian reader should feel the power of the literary talent of the original author, 
understand why in his homeland he is considered a great playwright, writer or poet. 
If the translator succeeded in achieving this, one can speak about adequate 
reproduction of the communicative effect of the original. More an accurate 
measurement of the ratio of the impact of the original on the English reader and the 
translation on the Russian reader is hardly possible. 
Of the variety of problems associated with the analysis of the relationship 
between original and translation, our work considers the pragmatics of a poetic text 
and its reflection in translation, while the emphasis is on the adequate transfer of 
metonyms as the focus of the pragmatic content of the original. 
14
Belozerova, Chufistova:http://www.utmn.ru/frgf/JVb41 

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Of particular interest to the theory and practice of translation is pragmatics in 
a literary text and the ways of its transmission by means of another language. If we 
proceed from a certain concept that the language not only describes the external 
world, but also actively influences it, “enters into complex interactions with it”, 
then the goal of studying pragmatics in a work of art is to identify specific forms of 
this impact on the outside world both in the original text and in the translation. An 
effective form of influence on the addressee is artistic speech in all its variety of 
linguistic means, which, according to V.P. Rudnev, “one of the genres of speech, 
like prayer, swearing, playing chess, a public lecture, sorting out relationships, 
giving commands, declaring love, checking tickets in public transport, etc. and so 
on.". There is a significant difference between the pragmatics of artistic speech and 
everyday language presented in different speech acts. The action of the Principles 
of Cooperation with their postulates extends to ordinary speech Quantity, Quality, 
Relationship and Mode.