Village Volvo free essay sample

? Introduction and Overview Village Volvo was recently opened by two former experienced Volvo dealer mechanics. The owners of Village Volvo focus on provided their customers with custom care service at an affordable price. By providing their customers with a custom care service that is unavailable at other local dealers, they differentiate themselves from the competition. Village Volvo has four work bays, an office, a waiting room, and a storage room. In order to provide individual attention to each customer, they set aside specific times each week to devote to customers who need routine services preformed to their vehicle. If customers require a diagnosis and repair, Village Volvo’s encourages its customers to make an appointment. Upon bringing in their vehicle for service, a mechanic speaks with the customer to assure they understand exactly what is going on with the vehicle. From the moment the vehicle is dropped off until the time the customer picks it up, Village Volvo is in constant communication with their customers. We will write a custom essay sample on Village Volvo or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page They make the preliminary diagnosis and give the customer an estimation of the cost if unexpected problems occur before additional work is performed. When the customer picks up his/her vehicle, it has been cleaned and parts are returned to the customer. In addition, Village Volvo informs its customers of any problems that may occur in the near future. Village Volvo hopes that their customers leave with an experience that they have not had at any of the competing dealerships. Question 1: Describe Volvo’s service package. A service package is defined as a bundle of goods and services with information that is provided in some environment. The bundle of goods for Village Volvo is as follows: Supporting facility: The suburban structure that houses Village Volvo is the supporting facility. It is a Butler Building located in a suburban area with four work bays, an office, a waiting area and a storage room. In addition, the facility has an office, waiting area and storage room. There are some amenities in the waiting room to provide some extent of comfort to the customer while they wait for the quick, routine services such as tune-ups and oil changes. Facilitating goods: The goods that facilitate the service product include the vehicles brought in by the customers and the mechanical components identified by the mechanics that are required to repair customer’s vehicle. Information: Information provided by the customer to the mechanic who will be working on the vehicle. In addition to that, another source of information is the CCVD, which is a continuing file with the service history performed on the vehicle. Moreover, since Village Volvo develops a closer relationship with the customers, it allocates specific hours of discussions between the owner-mechanic and the customer to go through all aspects of the vehicle existing problems before the service is done. Feedback is continuously provided thru the CCVD records. Explicit services: The explicit services include the face to face customer consultation, the relaxing waiting room, the diagnostic and repair and/or maintenance of the vehicle, and the customer leaving Village Volvo with a smooth-running vehicle after the service has been performed. Implicit services: Customized service is provided to each customer by scheduling non-work hours during heaving customer contact times so that owners-mechanics can spend time with customers and discuss their issues. This customized care not only attracts, but maintains customers. Additionally, customers have the assurance of a reliable and on-time service within a reasonable cost, without exploiting the customers with unfair practices of changing car components without the proper need. Village Volvo also has a deeper understanding of the customers vehicle thru the database developed – CCVD. The following table illustrates the service bundle of Village Volvo: Service Bundle Matrix Element Core Service Example Busines Out-of-warranty Volvo Vehicles Core Quality repair at a resonable cost Peripheral Goods CCVD vehicle dossier Peripheral Service Waiting room amenities Variant Experience, customer-mechanic interaction, transparency on the repair, scheduled appointments, specific hours for tuneup and oil change, vehicle cleaning, vehicle test drive for quality assurance of the repair Question 2: How are the distinctive characteristics of a service firm illustrated by Village Volvo? Customer Participation in the Service Process Customers at Village Volvo rate their customer service by their experience. The quality of service is enhanced if the service facility is designed form the customer’s perceptive. The location of Village Volvo must be convenient for its customer base. If the repair shop were located in an area where people might not drive/be able to afford Volvos, it might miss an opportunity to locate itself closer to its customer base so that vehicle drop-offs and pickups are convenient. Village Volvo involves its customer in the service process by having the mechanic consult with the auto owner to discuss the repairs performed and repairs that will be needed in the future. Because the customer can wait onsite, they are also part of the service process by nature of the facility. Perishability The time-perishable capacity of the service offered by Village Volvo is illustrated by the fluctuations in demand experienced throughout the day and the fact that Village Volvo could miss out on a service opportunity if a mechanic is not available to service a walk-in guest.

Toreilla Flat essays

Toreilla Flat essays In the town of Tortilla Flat above beautiful Monterey lived a group of men called the paisanos. They were drunkards, thieves, ruffians, and vagabonds, but they were also surprisingly good at heart; requiring little more from life than friendship and a little wine. Among these paisanos were Danny, Pilon, Pablo, Jesus Maria, and Big Joe Portagee. When the First World War broke out, these paisanos decided to enlist in a fir of drunken patriotism. None of them actually made it anywhere near combat, and soon returned to Monterey to find it more or less as they had left it. One thing was different however, Danny's grandfather had died and left Danny two houses. Pilon is the first to find Danny after the war, and Danny allows his friend to rent the other house from him. Gradually, the rest of the group turns up, and Pilon convinces them to rent rooms in the second house. One night, after a good amount of wine, the house burns down, and though Danny is angry at first, he allows the friends to move in with him. At Danny's house, they form a group, which Steinbeck often compares to the Knights of the Round Table. Indeed, they engage in many quests, some noble, and some downright sinful, enjoying companionship and the comfort of a roof to the fullest. Most of the group's quests revolve around the acquisition of money, but in one case, they find a new friend instead. There was a paisano in town named the Pirate who was somewhat slow witted. He could be seen walking the streets and perusing the restaurants for scraps with his five dogs (his best friends and protectors). He chopped wood every day and sold it for a quarter in town. Pilon noticed that the Pirate never spent any money, and deduced that he must be hiding it somewhere. Pilon follows the bum all over trying to locate the stash, going so far as to invite him to stay in Danny's house so that they can keep a better watch over him. In living with the pirate, the friends grow compass...

Alha Udal Essay Example for Free

Alha Udal Essay Essay Topic: Deva , Indra Choose cite format: APA MLA Harvard Chicago ASA IEEE AMA company About StudyMoose Contact Careers Help Center Donate a Paper Legal Terms & Conditions Privacy Policy Complaints Alha-Udal(from Bhavishya Purana-Part-2) 1 Sootjee said:-â€Å"In vaksara village there lived an abhiri girl named Vratapa. She was fond of doing nava durga vrata in every starting year. She worshipped Chandika Mata for a boon that she asked for herself .She said:-â€Å"Please devi please with my worship and give me a beautiful boon of great child like Valarama and Krishna. Only this I ask from you hey mata swetaishwari†.There lived Vasumaan named king.He saw the abhiri girl and got pleased with her beautifulness. He married her . He begat with her and produce two sons namely Deshraj and Vatsraj . Vatsraj was powerfull and so was Deshraj. Vatsraj’s power was equal to 100 elephants. They won Magadhdesam and they ruled there. There was a Mlechchha king named Satayatta and ruled in Vanaras. His son was strong like bhimasena and always follows his father’s words . He was tall like Taalvriksha(Paam Tree). Therefore his name is Talana.Under his command there is 100s of soldier. By wish Talana came to King Jaichandra for friendship.There came king Jaichandra to Talana but only brought three soldiers with him to test Talana. 2 Soot jee said:-â€Å"In Indraprastha there ruled king Anangapala. To have his own sons he started doing yagya to satisfy lord Shiva. Then lord Siva got pleased with him and king Anangapala got two daughters namely Chandrakanti and Keertimalini. Granddaughter Chandrakanti got married with king Devpala of Kanyakubja and smaller daughter Keertimalini got married with Ajmer king Someshwara.Jai Sharma is Anangapala’s brother who went to Himalayas to do tapasya by this juncture Anangapala gained concentration to rule his empire. Chandrakanti had two sons Jaichandra and Ratnabhanu. Jaichandra was handsome good warrior and with his brother Ratnabhanu won many battles and defeated many kings. Jaichandra ruled east side of Kanyakubja and Ratnabhanu ruled northside of kanyakubja.Jaichandra saw in gauda, banga and other states of maru, sins got expanded. There jaichandra went and punished those sinners of their weightage of sins. Agnivamsa’s lineage was king Gangasimha whose siste r is Biramati. Ratnabhanu got married with her and as prediction of Shiva they got a beautiful child named Lakshman. He was strong enough and  was well known for Khhanda yuddha(Strife war).After seven years Ratnabhanu went to swarga and got pitriloka. Kirtimalini got three sons elder was Dhundukar, middle was Krishna Kumar and small was Prithviraj(Mahiraj and also called some times Bhu raj or Bhupati and Mahipati (not the Mahipati of Mahismati )in the purana). Twelve years they pass their childhood days. When their childhood days were over, Anangapala gave his kingdom and went to Himalaya for tapasya. Dhundukara got Mathura kingdom and Krishnakumara got Ajmer kingdom. All kings obey their parents and always think about their state’s peoples. There were two Kshatriyas who were Chandravamsins namely Pradyota and Vidyota. Pradyota’s son was Parimala and under him was 1 lakh soldiers. Vidyota’s son was Bhishma Simha and he was the senani(captain) of elephantry.When Anangapala died Prithviraj got the kingdom of Indraprastha. He loved his kingdom very much. One day Devi Shakti appeared before him said:-â€Å"Donot conquer the abhiras and extent your kingdom beyond that which may create a big problem in your life and your control for kingdom†. Then Devi disappeared. Jaichandra received two great chandravamsin in his army. By them he made aksahini army. Pradyot, Vidyot and Parimala were mantris of Jaichaichandra and Bhishmashimha got chief of elephantry of King Jaichandra of Kanyakubja. There was a circular shaped kingdom named Mahoba. That kingdom’s king was Mahipati.King Mahipati has two sisters Agama and Malana. He was very upset that till now his sisters were unmarried.He went with marriage welcome to different kingdoms. At last he gave Agama to Prithviraja and Malana to king Parimala. He became happy . After the end of ceremony Prithviraj demanded a fort from king Mahipati. Mahipati then built a fort in Indraprastha. Beyond that fort four caste :Brahmana,Kshatriya,Sudras and Vaishyas living places were also built. That place come to be known as Deholi(Delhi).Prithviraj got control over the village named Deholi. Jaichandra to expand his kingdom took 60 lakh soldier to capture deholi. By that time Prithviraja worshipped Shiv-Shakti for winning and took soldiers for fight. Seeing great number of soldiers in front Prithviraj got afraid. He sent message to Mahipati. Getting the message king Mahipati took 20 lakh soldiers and came to the battle ground. Jaichandra heard the news and warned king Mahipati. Seeing that cleverish chandravamsin arranged extra 20 lakh soldiers and put 60 lakh soldiers in front.by order of kings the war began. By order of Chandravamsin the army  got divided into several parts and attacked deholi soldiers and by this many got injured. Many soldiers of deholi died of unnamed arrows. Seeing that King Mahipati stopped the war. The soldiers of Jaichandra said:-â€Å"Jaichandra is stronger and Prithviraj is fearfull and weaker†. Then Jaichandra said :-â€Å"From today Prithviraj’s state is under my control.† Prithviraja accepted that but in mind he took vow that he will destroy Agnivamsa dynasty.† 3 Sootjee said:-â€Å"One day Ratnabhanu served Prithviraja. By seeing the scene everybody was impressed. Ratnabhanu had a nice necklace which wears by his only wife, the beautiful one Viramati.Prithviraja got awestruck by seeing the necklace.They had son named Lakshana who is stronger.Gangashimha’s second daughter named Divyabibhabari got married with jaichandra. There was a woman slave named Surabha. She was a master of Kama. King Jaichandra was attracted to her. They begat themselves and got a daughter named Samyogini. After 20 years she became the eligible one for marriage. For sayamvara, king Jaichandra arranged everything. He welcomed Prithviraja in that Sabha. He made mind that he will give his daughter to lakshmana only. It for insulting he called Prithviraja.He arranged everything for Kanykubja prince Lakshmana.He called his Brahmin general Chandrabhatta and said:-â€Å"For kanyakubja you built a swarna murti(golden statue) for gift and it will be like Prithviraja.†By hearing this Chandrabhatta went to worship Maa Bhavani to start his work quickly.Jaichandra also invited many kings of different kingdoms.Then the sabha started and chandrabhatta had kept the statue in middle of the sabha.Samyogini saw the statue and got inspired the man and he made his mind that she will marry only the man who is like statue.But in the sabha everybody’s mouth was fulled with name of lakshana. Then Chandrabhatta said to Jaichandra:-â€Å" It was awesome scene outside in our place please sir do observe it†.Jaichandra observed as Chandrabhatta said. From Prithviraj there came 1 lakh elephantry and 7 lakh horse men. 1000 charioters and they are all trained arrow mens.1 lakh foot soldiers in them 1200 mens are with strength . 100s of footsoldiers protecting Prithviraja infront .Hundreds of hundred family member came from Prithviraja in which his wife also was present.King of Kanyakubja Ratnabhanu came there . Dhundukara came with his elephantry.There also came Krishnakumara.They were the doorkeeper seeing that if anybody will do mischief will be sent out of the place.In betwwen  200 km the strenghiest army is being placed.In between there was Jaichandra and Prithviraja who were surrounded by 1 lakh elephantry and 7 lakh foot-soldier. There was 8 lakh soldiers protecting the place.Those surrounding soldiers of Prithviraj were Suklavamsin. Everywhere there was standing soldiers for wars. In Ishana direction there were kurmahara who sat and building the vocal musical equipments.There also present Mahipati, Bhishma Shimha,Parimala and Chandravamsin warriors Pradyot and Vidyot.They were surrounded by foot-soldiers who were ready to do a continue war for five days.There were 10 thousand elephantry and horse were in lakhs. Also present there 5 lakh footsoldiers near them.There present 300 chariots. There present king Ratnabhanu who is protected by 100 elephantry , 3 lakh foot soldiers and 1 lakh horsemen. Thus that place creates an illusion of heaven(Swarga puree) . In one side Sanyogita(Sanyogini also called Samyogini) was thinking of getting Prithviraja as her husband.She heared of the name coming around the sabha was lakshana and she saw lakshana was not the person alike the statue.Therefore she became sad and again and again calling Mahadeva and Mahadeva in mind.MahaDeva got pleased with her and released Maya on Prithviraja. Prithviraja got deluded in the maya and looked over Sanyogita and got attracted to her beautifulness. He then arrived towards her and by seeing him she got fainted.He took up her body and arranged all soldiers of him which he brought into the sabha. He forcefully took the body of Sanyogita and fled to his country Deholi with all of his Deholi soldiers. When these news reached to ear of everyone present in the sabha , there started a chaos. Then king Jaichandra kept half of the soldiers in entrance of the state and his house. His soldier chieftain chandravamsin brothers Pradyot and Vidyot reorganize the rest half of the soldiers present in the state.They all declared war on Prithviraja and came to Kurukshetra region for the war.Suddenly the war began.Horsemen fought with Horsemen and elephantry fought their opponent’s elephantry.It started to build a fearful in shape. In the end of the day they lost their strong soldiers.They all feared and with King’s order they stopped the fight and took their respective places to spend the night. In morning with the order of Pradyot , they began the fight with chieftains of Deholi.Vallama(a pointed metal headed weapon) sounded with opponent’s Vallama. Dhundukara continuously shot arrow towards Pradyot. The well-known Varuna-astra when  struck to Pradyot he got senseless and fell down.There came Dhundukara and put pradyot to death.In that mament Krishnakumara was doing war with elephantry.By angry mood Krishnakumara shot Surya-ashtra. With that divine arrow many got dead.Vidyot also died from that arrow with his soldiers.Ratnabhanu then came to that pace and started the fight.Then Prithviraja arranging 1000 elepnahtry and went to do war with Lakshana.With Shiva’s boon King Prithviraja was strong and agry with Bishmasimha and Parimala he shot fearful Rudra-astra to Lakshana.To save Lakshana Ratnabhanu went there and took the arrow in his body and got fainted and fell down.The illusion of Rudra-ashtra had deluded Dhundukara which is seen by his brother Prithviraja. He then to cut off the illusion shot Vaishnava-astra.Therefore by maya-cutter vaishnava-ashtra Ratnabhanu also got his sense.He got up and fought with Krishnakumara violently.Both were dead under the paws of elepha nt.Others were died by naga-ashtra(snake creating arrow) and Kharga(rounded shaped big knife).Many paths opened in the fierce full war but the path of winning is still very far. After the end of the day the deadbodies of great warriors were carried off in their resting region region. The soldiers of Kanyakubja when saw teir king was dead they got feared.About five lakh died soldier’s wives were present there crying in grief ,falling and fainting by seeing their family membersare dead. Kings of both side got fear by the scene .Ratnabhanu and those who were dead were cremated by hidu dharma(were burnt in fire).The army of Jaichandra want to surrender themselves in the next morning to Prithviraja.When Suryadeva appeared in the morning and it’s rays fall every-where. Both-sided flags were raised again. Bhishmasimha, Parimala and Lakshmana were in sadness as their fathers were dead.They came out and laid friendship with Dhundukara.There army of Prithviraja sang Prithviraja won and king Jaichandra lost. Therefore Jaichandra and others laid friendship with Deholi king Prithviraj. Jaichandra of kanyakubj and Deholi king started a big ceremony with happiness in mind. 4 Sootjee said:-â€Å"In ganga dynasty the first worshipped god is Indra. Bhishmasimha also after birth ,started to worship Indra.(Shakra deva).Oneday he started to do strong tapasya of Indra by worshipping Surya deva.He prayed:-â€Å"Please god give me a divya (magical) boon and please with my  prayer god Indra!†.Indra got pleased and gave him a divne female deer(divya harini).Bhishmasimha was very happy with this and every day to satisfy Indradeva praised Indra with his stotra(prayer) and meditate on him.One day king Parimala was very sad because his father was dead.He praise the earth and stated to worship Shiva.Shiva to examine him gave him a strong disease named Sarparoga.After five months went the strength of the king Parimala broke down.† He knows that if he did pray lord Shiva in mind , many strong diseases will get vanished.Therefore he did not stop praying lord shiva in mind.With his fatal health,king took his own family to Kashi.Under the banyan tree they spend their night.King said in mind :-â€Å"Your name is always in my mind†.Hearing this beautiful words lord shiva took form of snake and went there.King to get well praising shiva again and again falling on the floor of kashi temple saying:-â€Å"If you lord did not remove the disease from my body,I will not drink water and take food†.Hearing this lord shiva immediately healed the disease.The happiness got filled in his mind and body.Expressing the happiness he said everybody present there what had happened to him and how did he got cured? . Then king Parimala tells to bring oil to bath Shiv linga.†Sootjee then said :-â€Å"Who will hear this story will get cured from sins attached to body.† Sootjee said:-â€Å"Painting a picture of snake bearing shiva in mind,king Parimala started bathing linga of Shiva situated in Kashi temple.The the king did Sashtanga pranayama- mudra to praise lord Shiva.His wife gave Bhoga(a hindu belief of giving food to god ,so that god may eat and touch the food and make it a divine one) to Lord Shiva. Then King sarted to praise shiva with this stotra:- â€Å"Thatho jaatam sayam lingam mam gushtavyam sanatanam. Jyoti rupam sarva laksha samanvitam. Nishi thhe tha maththadadha the dikshu suryatvam aagatham.† By this for one month of worship king pleased lord Shiva.He painted lord Shiva in mind to please Shiva.Having pleased with king lord Shiva appeared before him and told to ask a boon from him.By hearing this King Parimala said:-â€Å"if you god truly pleased with me then please stay in my house always.†Shiva blessed him with the boon and vanished in the linga.Every day king distribute gold to peoples.Having pleasing everybody king with happy mind went to mahavati-puree.Every-body was astonished to see the fully cured king.After the end of the year he went to the state of kanyakubja to meet king Jaichandra.Seeing king Parimala everybody got happy and  over-joyed.Every body is seeing the miraculous king who had cured the fatal disease.Seeing the cured king Raja jaich andra was also overjoyed.He said to Parimala:-â€Å"The peace will not stay for so long in the states and you caused happiness to every of my subjects also me ,hence I assure you of future help when you will be in need. †By hearing the pleasant assurance of help from King Jaichandra, King Parimala went to his kingdom.† Sootjee continued :-â€Å"To get boon Lakshmana everyday worship Lord Vishnu and every day pray by these words:-â€Å"I you were not there ,I may not be alive today.You are the real protector O Vishnu!.Please give me a divya (divine) vahana(carriage,in hindu, an animal who used to carry men from one place to another) by which every enemy can be destroyed easily.†Then Jagannath dev from his leg created a divine chariot carried by elephant named airavat sent it to lakshman through king.After that with everybody king Parimala went to Mahavati puree.There great Talana the son of king Venarasa was drinking a sweet intoxicating drink made of honey. Mahavatee puree’s king Mahipati was sitting in his own place.Then Talana went there and said to king :-â€Å" Hey rajan please kind with me and give me what I want.†At the end of the month the great Talana repeated the same word,then rajan realized of his want.To please him and to remove sadness from his mind he went to Venaras and gave the kingdom to Talana after consulting to Venras king Satayatta. Mahipati then came to his home and gave a fort to Deshraj and Vatsraj ,the abhiri kings .That fort was situated in between mountains and decorated with flowers ,creepers.The gentle winds blows there making the place lively. The two sons :- Vatsraj and Deshraj was like his parents strong and brave. Then Talana the mlechcha king of venaras having declared as Yuvaraj of his kingdom was very happy.He was fond of Rakshashas. Therefore he called the mlechchas of his kingdom to have a great ceremony in mahavati puree for worship of May danava(a famous danava created by Vishnu,does works like Vishwakarman in rakshasha kula and a famous character in Ramayana).To attained that ceremony there came Deshraj and Vatsraj after crossing mountains.Many kings came to attained the ceremony.There present 60,000 warriors surrounding Talana.There present ministers,brothers,and kings who are chandravamsins.Everyone praising the great Talana. 5 Sootjee said:-There was a king named Jambuka ruled in Mahismati who is  freared of Prithviraj .With prince Kaliya he lived in the place which is situated near Narmada river.He is the friend and general of Prithviraj.King Jambuka does worship of the earth and different dev devis(god and goddesses) .Then he started to do worship of lord Shiva.For want of boon King Jambuka everyday does worship of Lord Shiva. The king said:-â€Å"Hey Mahadev what boon you want you give it to me.†Then Lord Shiva appeared before him and said:-â€Å"Hey king you are the best worshipper of me.Let you and your soldiers be undefeated.†The lord Shiva disappeared.The Rajan to show his love towards Lord Shiva ,he went to Maheshwaram teerth with his prince Kaliya and took his soldiers there. Seeing the beauty of the place everybody got wonderstruck and they all praised that place. Rajan said:-â€Å"Everyday we must worship Pritri deva† and by saying this he went to ganga for tarpan(an hinduic tribute to pitri deva i.e forefathers) .King said :-â€Å"hey pitri dev please keep my body and soul purified†.By doing sradhdhic tarpan rajan praised Mata Ganga with vidhis the king went to his own house.Kaliya’s sister name is Vijayasini.Kaliya asked his sister :-â€Å"what should I give you that is beautiful and precious in your eyes†. Then his sister said:-â€Å"Give me necklace and precious jewels.†Kaliya then went with lakhs of horsemen and did bath in ganga.Then after doing bath in ganga implying all vidhis(rituals) he gave many danas(gifts) to brahmanas. Afterbathing, Kaliya looks for the necklace, first in Kanyakubja (Kanauj), but learns Kanauj is wealthless.He saw king is strong but the state is filled with dues and there is shortage of wealth. Then he then learns to attack Mahoba as he saw that Mahoba is filled of wealth and j ewels.Prince Kaliya then went with 1 lakh Horse men to Mahavatee puree to get necklace and jewels for his siter.There went general Mahisena with king and his soldiers and warned that to give all the wealth they has or fight with them. Mahipati got feared and called Lord Shiva again and again saying either you give welth or please protect me and my soldiers from wrath of king Jambuka.Then Lord Shiva appeared and said to king :-â€Å"Hey king please say the thousand names of Mata Chandika to protect you and your Soldiers.†Then king said the thousand names of Mata Chandika and protected him and his soldiers.Then kings send his generals for fight.He took help of Kanyakubj ruler Jaichandra. Another side for not getting their demand Mahisena and his soldiers get ready to fight.Then king Jaichandra came to fight with the soldiers.There came Deshraj with thousand Naga  warriors.There came Vatsraj with 16000 horsemen.At last came the soldiers of big Talana.There started a fierce full war between them.It goes on till night.Jaichandra was about to win the war. Suddenly there entered the friend of Prithviraja, Jambuka with soldiers of mahismati.The soldiers,Kaliya and king Jambuka went everywhere and started fighting .Jambuka went middle of the battlefield with half of the soldiers and put Mahadeva(Lord Shiva’s) Moha(illusive) arrow in his bow and shot it to the opponent soldiers. The arrow is full of Sidhdha mantra by which the opponent soldiers fell down to ground.Then with sword they started to kill the opponent soldiers. The soldiers of mahismati started to praise their king.Everywhere spread fear.There came Bhisma Shimha with soldiers.With Surya-datta(Surya-astra) arrow he cut of the maya i.e illusion. Then everybody of his friendly soldiers got up but getting their senses.Then taking sword they cut off the opponent’s soldier’s body. Many fall senseless,other got pressed under the paws of elephant and many got wounded by number of arrows.Then mahismati soldiers accumulated themselves and started fating with opponents.Sword tore and fell to the ground and many got killed and fell to the ground.There came big Talana and stared stomping over his opponent and tearing them apart with sword. He defeated his opponent Kaliya and his soldiers.Many got killed and King jambuka was injured and fall to the ground. With very strength he prayed to sankara(shiva).By that time both side’s half of his soldiers are dead.Shiva spread his maya.Then King Jambuka got up and gathered his half of his soldiers and went from the battlefield.Thus king Parimala defeated his opponents.Everybody sang of their win.Seeing they have won the battle Jaichandra was surprised. Talana organized their half of the army. Then Bhishma Shima went to his house. After five months all kings went to house Bhishmasimha. Because his wife ,the daughter of Gurjara(gujrat)king named Ravyadaalasaa gave birth to a divine child .Every king gave number of wealth to Bhisma-simha.By the order of lord shiva the portion of Sahadeva took birth in the house of Bhismashimha.The child’s name is Deva-simha, a well-known warrior and knowledge-able person of the future. Alha Udal. (2016, Apr 14).

AUCA Essay Example | Topics and Well Written Essays - 1250 words

AUCA - Essay Example Also, their stories captivate people such that for instance the tale of Ghismunda and Tancredi is translated into so many languages like Latin severally and Italian among others because it appeals to people’s emotions greatly. These two stories are similar in a number of ways. Both Ghismunda and Madonna Filippa stand up for themselves. Nobody would stand up for them and they both brave up and speak up to defend themselves. Moreover, they both stand up to defend their love. Filippa Madonna is accused of adultery and she is encouraged to plead innocent but she boldly pleads guilty and even goes ahead to speak against the cruelty that the society has on women. She sees it unfair for all the blame to be put on the woman yet even the man in adultery and the husband of the adulterer could be at fault. She explains that, â€Å"†¦Sir, it is true that Rinaldo is my husband, and that last night he found me in Lazzarinos arms, in which I enjoy myself. And because of the good and perfect love I have for him, many times I have done this, which I would never deny. But as I am certain that you know, the laws must be fair and made with the agreement of those who are affected by them. In this case it is not so, sinc e this law affects only the unfortunate women, who much better than men could satisfy many. And besides this, no woman agreed when the law was made, and no woman was ever consulted. Therefore, we could justly define this law as unfair.† â€Å"†¦Is it not much better to serve a gentle man who loves more than himself than let it wither or go waste?† On the other hand, Ghismunda stands up to her father for her right as a woman and states all the reasons she actually took matters to her hands and found for herself a lover. She also gives her reasons for choosing the man she chose despite the father’s seemingly displeasure for choosing

American History (Political Parties) Essay Example | Topics and Well Written Essays - 750 words

American History (Political Parties) - Essay Example It is also important to realize that the party leadership originally consisted of the former anti-slavery members of the Whig Party and the Democratic Party and they argued that free men on free soil was a superior system to slavery, in view of moral and economic aspects of the system. When the Free Soil Party evolved in the 1840s, it functioned as a third party which developed out of the split between pro- and anti-slavery movements. "National politics was controlled primarily by two parties, Democratic and Whig. Within both parties there were supporters and opponents of slavery, and the issue became more heated as the U.S. added territory. Proponents of slavery wanted to extend it into the newly acquired territories, while opponents wanted the territories to remain free. The issue grew especially heated among members of the state Democratic Party in New York." (Free-Soil Party) This is the platform upon which the Free-Soil Party was established in August 1848 at a meeting of anti-s lavery members of the Whig Party and the Liberty Party. The most important slogan of the Free Soil Party was "free soil, free speech, free labor, and free men" and it rigorously opposed the extension of slavery into the western territories. The Free Soil Party, though a short-lived political party, illustrates the Second Party System in the U.S. ... The historians and political scientists refer to the Second Party System to name the political party system which was in existence in the United States from about 1828 to 1854. The First Two-Party System in the U.S. politics incorporated the Federalists and the Republicans during 1780s - 1801. During the period 1836 - 1850, the Second Two-Party System was in place incorporating the Democrats, led by Andrew Jackson, and the Whigs, under the leadership of Henry Clay. The minor parties during this period included the Anti-Masonic Party, the abolitionist Liberty Party, and the anti-slavery Free Soil Party in 1848 and 1852. There have been several pertinent reasons for the death of the Second Party System and one of the major reasons is the Kansas-Nebraska Act and new political parties. "The Kansas-Nebraska Act fatally weakened America's second two-party system, splitting both parties along regional lines. Northern Whigs found themselves at odds with southern members of the party; souther n Whigs abandoned the party altogether to join the Democrats, who were more clearly supporting slavery. Many Northern Democrats were increasingly sympathetic to parties like the Free Soilers. At the same time, several new political parties emerged, all of which spoke mostly regional issues. By 1856, there were no longer any national political parties." (Schultz, 224) Therefore, there are various pertinent reasons behind the Death of the Second Two Party System and new political parties arose in place of this system included the Anti-Masonic Party, the abolitionist Liberty Party, and the anti-slavery Free Soil Party. It is important to realize that America's Second Two-Party System was destroyed mainly due to the

Earth Science Essay Example for Free

Earth Science Essay Stars are one of the celestial bodies found in the solar system. Such celestial object produces heat, light, and different forms of radiations such as x-rays and ultraviolet rays caused by its cosmic energy engines. All stars are made up of gas, plasma, and matters comprised of subatomic particles that are extremely heated. From the earth, it may appear that stars are near because of their radiance shining over. However, stars are very far away that most of the scientists have to develop methods in order to calculate their distance. Two of the most notable methods are the parallax technique and the use of Cepheid variable (National Geographic, 2008). The parallax technique is used in order to identify the distance of the stars that are closest to the earth. Due to the revolution of the earth to the sun, the stars that are near to the earth shifts position against the stars that are in farther positions. These changes in the position of the nearby stars are known as the parallax shift. The parallax method functions by observing the distance of the shifting process and determining the earth’s orbit diameter. From there, astronomers are able to determine the parallax angle of the star’s distance. The main principle behind the method is that â€Å"the smaller the parallax shift, the farther away the star is from the earth† (Windows to the Universe Team, 2000, n. p. ). Such method is only applicable for stars that are within the range of few hundred light years from earth. Thus, when stars exceed the given range, the parallax shift could be too small to be measured through this technique (Windows to the Universe Team, 2000). For the countless distant stars that are in the range beyond 100 light years and are in clusters found in a different galaxy, the measurement is identified through the star’s property known as Cepheid variable. Stars that have this property undergo a fixed cycle where they get brighter and dimmer. This property is common among stars that are in â€Å"old age† (Berger, 2002, n. p. ). Because of their abundance in space, astronomers measure their distance by determining the number of cycle when stars are bright (Berger, 2002). There are many ways to measure the distance of the stars. It may be obtained from the stars spectral properties, temperature, brightness, and luminosity. Because of the major efforts in improving the measurements of the distances of the stars, various ways are also formulated in order to determine the cosmic distance of other celestial bodies present in the sky. References Berger, W. H. (2002). Measuring distance to the stars. In Intro to Astronomy: Discussion of the Field of Astronomy, University of California, San Diego. Retrieved September 17, 2008 from http://earthguide. ucsd. edu/virtualmuseum/ita/06_3. shtml. National Geographic. (2008). Stars. Retrieved September 17, 2008 from http://science. nationalgeographic. com/science/space/universe/stars-article. html Windows to the Universe Team. (2000, September). How do astronomers measure the distance to stars? Is it accurate? University Corporation For Atmospheric Research. Retrieved September 17, 2008 from http://www. windows. ucar. edu/tour/link=/kids_space/star_dist. html.

Wealth and Greed - Do You Suffer from Affluenza? :: Argumentative Persuasive Essay Examples

Affluenza: A Human Created Disease With Profound Consequences Chances are that you haven't come across the disease known as affluenza, even if you have been an avid reader of newspapers and listener of news broadcasts. It is possibly the least discussed of the more debilitating diseases of our time. Strangeness characterizes this disease in many other ways too. Almost every one of us actively carries it. Its effects impact not only the immediate carrier but also society at large. Its symptoms are so commonplace that few people make a connection between the disease and the discomfort that it breeds. It infects rich and poor alike, and is beginning to imbed itself in younger and younger carriers. Oddly, those that do recognize the scourge that it sometimes brings are disparagingly referred to as hypocrites, elitists, party-poopers, or catastrophists. And most confusing, it is a disease that is socially acceptable among many of us. Wow, what a bizarre disease, huh? Yet, fortunately, known cures exist for this disorder but they require our dedicati on and perseverance to eradicate this pernicious malady. Defined by authors of a book with the same title, Affluenza is "a painful, contagious, socially transmitted condition of overload, debt, anxiety, and waste resulting from the dogged pursuit of more" (de Graaf et al.). In simple terms, affluenza is a disease that many of us suffer because we are too fixated on buying and consuming more and more. Do you think you or others you know might have it? But how would you know if you have it? What are the signs of this disease? According to some, affluenza is so encompassing in its effects on our psyches and our bodies that many symptoms of it do not appear different other more common disorders. Other symptoms are more easily distinguishable. Rather than spell out each symptom one by one, let's determine the extent to which you might have this disease through a series of questions. Answer the following questions with yes or no answers: 1. When you find yourself in a depressed mood, do you often get an impulse to buy something to soothe yourself?; 2. Do you often pay close to the minimum payment on your credit cards because of lack of available funds? 3. Do you work a job (either a 2nd job or an additional job to your spouse's) in order to afford the "luxuries" in life?; 4. Do you spend holidays with family members in facilities designated for consuming products-e.

The Singapores Education System Education Essay

In the twenty-first Century Competencies and Desired Outcomes of Education model, the purpose is for our kids to go a confident individual, a autonomous scholar, an active subscriber and a concerned citizen. He is person who is resilient and can believe and communicates efficaciously. He must be able to reflects and take ownership of his acquisition, person who is a squad participant who take enterprises and strives for excellence. He must be rooted to Singapore and is concern with assisting others around him. Looking at the Primary School Curriculum ( MOE Corporate Brochure, 2013 ) , we can see that it is in line with the 21st CC and DOE model. In its nucleus is the acquisition of life accomplishments and values through Character and Citizenship Education ( CCE ) , Civil and Moral Education ( CME ) , Social and Emotional Learning, National Education, Physical Education and Project Work where our kids learn assurance, finding, resiliency, duty and how to work with others. Hence, besides the academic topics like English, Mother Tongue, Science and Mathematics, the kids besides take up topics like Art, Civics and Moral Education, Music, Social Studies and Physical Education. So, how can the kids learn these nucleus values and life accomplishments which are important to their hereafter success? Who can learn them so that they may understand the importance and internalize them? Unlike the academic topics where trials and scrutinies can be used to measure the kids ‘s accomplishments and cognition, there is no manner we can entree values. To help the schools, the Ministry of Education ( MOE ) has come up with the 5Ps attack towards the instruction of CCE. They are Purpose, Pupil, ExPerience, Professional Development and Partnerships. The Purpose of learning CCE must be clear and endorsed by everyone in the school. This will assist to incorporate the CCE programmes into the school course of study. In order for the programmes to be effectual, it needs the right school civilization and a ‘whole-school ‘ attack. Pupil is the Centre of the instruction system. So whatever we do, it must be pupil-centric. As each student is different and from diverse background, schools need to understand the students ‘ profile and their challenges before any programmes can be successful for them. A great resonance between students and instructors will assist to guarantee the smooth execution and success of the programmes, whether it is national programmes and school enterprises. Students must be taught to hold the right mentality and attitude towards larning. In making so, they will hold the desire to larn, either independently or with others. As they work with others, they learn to portion and attention for others. They will larn to stand house for what they believe in while esteeming the positions of others. Though NE and CME activities, they will be proud of their individuality and as a Singaporean. Teaching CCE is non easy and it can non be taught as a topic on its ain. The students need to Experience it themselves either through academic, Co-Curriculum Activities ( CCA ) or other activities. While it can non be taught on its ain, it must be infused intentionally into the course of study and non taught merely when there is a docile minute. There must be a calculated attempt to include CCE in the lesson program and learn them during lesson. And whenever docile minute arises, instructors must be able to catch it and show it to the students so that they experience it. The 4th P is Professional Development. In order to accomplish 21st CC and DOE, we must besides hold twenty-first century Singapore instructors. He must be an Ethical Educator, the Competent Professional, the Collaborative Learner, the Transformational Leader and the Community Builder. The Teacher Growth Model ( TGM ) is a professional development theoretical account which encourages and supports instructors in womb-to-tomb acquisition. Teachers must fit themselves with new cognition to maintain abreast with the current environment and engineerings. They must scrupulously include and infused values learning in their activities. They must hold the passion, believe and motivate the kid to detect his possible and to be the best he wants to be. The 5th P is Partnership and it refers to Home-School-Community partnership. Home is the first topographic point where the students learn values. Once they start schooling, household and school need to join forces to reenforce these values at place and in school. Communication and coaction with the Community is besides of import as they can supply avenues for schools to hold CCE programmes. From the above 5Ps attack, we can see that there are many stakeholders involved in the CCE journey. Not merely does it affect the students and instructors, it besides requires the support from spouses like the parents or health professionals, chief, MOE headquarter ( HQ ) , community, alumnas, school consultative commission and the industry. Parents and health professionals are the 1s who are responsible for the upbringing of the kids. They are the 1s who can put good illustrations for them to follow from immature. By being caring and responsible, they excessively will larn these values. Parents and health professionals can play an active function by being interested in what the kids are making at place, in school and outside school. By being involved in their life, it ensures that they do non allow acquire into the incorrect company and larn the incorrect values. Principal sets the way for the school. He can make an environment that is supportive of the 5Ps model as he translates policies into action programs. He is besides the nexus between parents, alumnas and community. Besides back uping CCE programmes, he needs to take by illustration through both his professional and personal life. Once a individual is in authorization, he can non be unseeable as whatever he does, compensate or incorrect, will set him in the spotlight. MOE HQ sets the strategic waies for schools. They need to listen and join forces with schools and other authorities bureaus to explicate policies and patterns. In order to implement the programmes, it requires the support and cooperation from the instructors and schools. They besides need to back up the instructors and school in footings of resources and preparation required to provide to the demands of the diverse scholars. MOE non merely gives out awards base on academic accomplishment, it besides give out the Edusave Character Award which recognise pupils for outstanding behavior. Communities like SINDA, CDAC and MENDAKI play an of import function in assisting students and their households who need aid. They offer scholarships and bursaries to pupils to assist them in their instruction journey. This inculcates the value of giving back to society and encourages the students to be involved in community work. The Alumni is a great platform to learn the students about trueness and duty. The old male childs and misss are links to the school ‘s history. Turning up in the same civilization, they can be wise mans and function theoretical accounts to the students. Some alumnas besides give out scholarships and bursaries to meriting students. Business and industry can supply chances for students to see working life. They can work with MOE HQ and schools to invent preparation programmes which are relevant to the work force. These concerns can be spouses in the Work Attachment ( TWA ) programme where instructors can use and take up work fond regards in the private or public sectors. This helps to develop the instructors professionally so that they may heighten the students ‘ acquisition. Although there is a model for CCE, it needs the cooperation and committedness from all parties concerned. We can accomplish more merely when all work together towards a common end. As a beginning instructor, I feel that the most of import and most ambitious undertaking will be to make the right environment for acquisition, construct resonance with the students and set up unfastened communicating with the parents or health professionals. I would besides necessitate to construct up my teaching resources within a short period of clip. Bing rawness, supportive and understanding wise mans and co-workers will assist to do the acquisition curve less steep. Taken from a quotation mark by Jim Rohn, â€Å" Character is n't something you were born with and ca n't alter, like your fingerprints. It ‘s something you were n't born with and must take duty for organizing. † Personally, I feel that, at the primary school degree, this duty comes chiefly from the parents and health professionals and instructors who are in direct contact with the students every twenty-four hours. They play the most of import functions in instilling the correct values which are critical to their success in work and life. ( Word Count: 1,480 )

The Reproduction of Emotion Creating Lexico-Stylistic Devices of the Short Story the Pit and the Pendulum by E. A. Poe in the Ukrainian Translation by R. Dotsenko

Ministry of Education and Science, Youth and Sport of Ukraine Lviv Ivan Franko National University Faculty of Foreign Languages Hryhoriy Kochur Department of Translation Studies and Contrastive Linguistics The reproduction of emotion creating lexico-stylistic devices of the short story The Pit and the Pendulum by E. A. Poe in the Ukrainian translation by R. Dotsenko Course paper Done by a 4th-year student O. V. Pidhorodetska Scholarly supervisor: L. M. Tarapatska Reviewer: T. O. Dytyna LVIV 2012 CONTENTS INTRODUCTION†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Chapter1. EMOTIVE PROSE AS A SPECIFIC GENRE OF ARTISTIC LITERATURE AND EPITHET, SIMILE AND METAPHOR AS MEANS OF CREATIVE REPRESENTATION OF IDEAS IN A LITERARY WORK†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â ‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 6 1. 1. Emotive prose as a form of artistic literature and peculiarities of its translation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 6 1. 2. The notion of epithet as a member of epithet construction and ways of its rendering in the process of translation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 1. 3. Simile as a stylistic device and methods of its translation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 12 1. 4. The notion of metaphor and problems connected to its translation†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 15 Chapter 2. E. A. POE'S SHORT STORY THE PIT AND TH E PENDULUM AND THE REPRODUCTION OF ITS EMOTION CREATING LEXICO-STYLISTIC DEVICES IN THE UKRAINIAN TRANSLATIONBY R. DOTSENKO†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 20 2. 1. Characteristic features of E. A. Poe's short story The Pit and the Pendulum. 20 2. 2. The reproduction of emotion creating epithets, similes and metaphors of the short story by E.A. Poe in the Ukrainian translation by R. Dotsenko†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 21 CONCLUSIONS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 32 LIST OF REFERENCES†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 33 INTRODUCTION Edgar Allan Poe's The Pit and the Pendulum is a short stor y of the macabre describing the experience of being tortured. The paper concentrates on the emotion creating lexico-stylistic devices of the story as rendered in the Ukrainian translation by R. Dotsenko.The research paper is an attempt to investigate epithet, simile and metaphor within the given work of literature, where they serve as primary means of creating the effect of horror and making an emotional impact on the readership, and to analyse the peculiarities of reproducing these lexico-stylistic features of the original in the Ukrainian translation done by Rostyslav Dotsenko. The topicality of the paper consists in the fact that lexico-stylistic devices form the basis of any literary work since they serve as means of creative representation of the author's ideas and producing emotive influence on the readership.As far as lexico-stylistic devices are reflecting author's individual view of an object or phenomenon and may involve background knowledge of the readership for the pragm atic impact to be realized, their translation requires translator's creativity. The paper summarizes the ideas expressed by Russian and Ukrainian scholars (I. Galperin, A. Fiodorov, I. Retsker, B. Koptilov and D. Diuryshyn) as well as foreign ones (M. Sanches, I. Burkhanov) concerning emotive prose as a specific genre of literature and its characteristic features which should be aken into account by a translator. The paper also outlines the notions of epithet, simile and metaphor, their fucntions in an artistic text and methods of their reproduction by means of target language as researched by K. Lototska, O. Hrabovetska, O. Molchko, T. Onoprienko, Yu. Skrebnev, P. Newmark, P. Pierini, M. Larson and other scholars. The overall aim of the conducted research may be defined as an attempt to trace to which extent the expressiveness and emotional loading of epithets, similes and metaphors were reproduced in the translation.The object of the paper is a stylystic function of epithets, simi les and metaphors as means of creating negative emotions within the short story The Pit and the Pendulum by E. A. Poe and its Ukrainian translation done by Rostyslav Dotsenko. The subject of the paper is the reproduction of emotion creating lexico-stylistic devices (epithets, similes and metaphors) of the aforementioned short story in the Ukrainian translation and the translation methods applied by Rostyslav Dotsenko in order to convey in an adequate way the atmosphere of the macabre intended by the author. The objectives of the paper are the following: to define characteristic features of the literary writing under analysis, which belongs to the genre of emotive prose; * to provide theoretical basis for consideration of epithet, simile and metaphor as major means of creating negative and â€Å"obscure emotion† conveying the macabre; * to look into stylistic function and expressive potential of epithets, similes and metaphors in the given literary work; * to analyze the pecul iarities of the translated lexico-stylistic devices, their stylistic function and emotional loading; * to compare the pragmatic impact produced by translated epithets, similes and metaphors with that produced by corresponding original lexico-stylistic devices. The methods applied in the process of analysis of the original literary work and its Ukrainian translation comprise1)method of dictionary definition and ontrastive componential analysis (to examine subtle differences insemantic structure and emotional loading of original and translated lexico-stylistic devices), 2) stylistic analysis (to trace the adequate reproduction of stylistic colouring of the original literary work in the translation), 3) comparative analysis (to investigate weather the expressiveness ofthe translated lexico-stylistic devices is equivalent to that of the original tropes). The practical value of the paper consists in the analysis of translated epithets, similes and metaphors of the short story by E. A. Po e, which ensures understanding the importance of these lexico-stylistic devices for creating negative emotions within the framework of the literary work. The research is based on the corpus of 87 samples from the analized short story. The paper consists of Introduction, Chapter 1, Chapter 2, Conclusions and List of References. Chapter 1 concentrates on the research of emotive prose and peculiarities of its translation.The chapter also contains considerations on the notions of epithet, simile and metaphor, their functioning within a literary work and ways of rendering them into a target language. Chapter 2 comprises overall analysis of emotion creating lexico-stylistic devices of the short story The Pit and the Pendulum and also contains contrastive analysis of the most bright examples of original epithets, similes and metaphors and the correspinding lexico-stylistic devices in the Ukrainian translation. The Conclusions contain the results of the conducted research, outline the metho ds of translation applied by R. Dotsenko while reproducing emotion creating lexico-stylistic devices of the short story.The List of References provides the list of theoretical, literary and lexicographical sources which were cited in the paper and consulted in order to conduct of the research. CHAPTER 1. EMOTIVE PROSE AS A SPECIFIC GENRE OF LITERATURE AND EPITHET, SIMILE AND METAPHOR AS MEANS OF CREATIVE REPRESENTATION OF IDEAS IN A LITERARY WORK 1. 1. Emotive prose as a form of artistic literature and peculiarities of its translation. In order to grasp the specifics of artistic translation, it is reasonable to look at the properties of literary text first. It is obvious that each text type is characterized with certain style of language determined by the function performed by the text. The style of literature was nominated by I.Galperin as belles-lettres, a generic term which comprises three substyles: 1) the language of poetry, 2) emotive prose,and 3) the language of the drama [31 , p. 250]. Each of these substyles has certain common features which compose the foundation of the style and by which the particular style can be recognized and singled out. Besides, each substyle possesses definite individual features by which they are distinguished. The most important feature of a literary work is that it is a bearer of an aesthetic function. Literary text constitutes subjectively transformed reflection of the objective reality in harmony with the aesthetic-emotional intent of the author: he/she endeavours to convey their ideas, thoughts and emotions.From the point of view of the language resources choice, literary work is characterized with 1) genuine imagery achieved by purely linguistic devices, 2) the use of words in different meanings, greatly influenced by the lexical environment, 3) vocabulary which will reflect to a certain degree the author's personal evaluation of things or phenomena, 4) peculiar individual selection of vocabulary and syntax, and 5) the introduction of the typical features of colloquial language to a full degree (drama), to a lesser degree (in prose), to a slight degree (poetry) [31, p. 251]. Besides, it is claimed that the principal feature of literary text rests on its focus on the message and not on the content [37, p. 123]. The other basic feature of literary works is their saturation with artistic images. Emotive prose – implies principally books of the imaginative kinds, such as novels and short stories – shares the same common features, but these features are correlated differently than in poetry.The imagery is not so rich as in poetry; the percentage of words with contextual meaning is not so high. Emotive prose features the combination of the literary variant of the language, both in words and in syntax, with the colloquial variant. But the colloquial language in the belles-lettres style is not a simple reproduction of the natural speech, it undergoes changes introduced by the writer and is m ade â€Å"literary-like†. In emotive prose there are always two forms of communication present –monologue (the writer's speech) and dialogue (the speech of the characters). Emotive prose allows the use of elements from other styles as well. But all these styles undergo a kind of transformation under the influence of emotive prose.Thus, artistic translation must be approached as â€Å"a kind of aesthetically-oriented mediated bilingual communication, which aims at producing a target text intended to communicate its own form, correspondent with the source text, and accordant with contemporary literary and translational norms of the receptor culture [28, p. 139]. † In order to produce a high quality translation of a literary work of art, the following peculiarities of the given type of translation and problems connected to it should be taken intoaccount. Literary translation is very different from other types of translation because of its inability to rely primaril y on a simple reproduction of language units.Consequently, in the process of translating literary text a method of adequate changes is widely used. This method consists in the idea that for the accurate rendering of the thought the translator has to distract from original set of words, dictionary and phrase correspondences and to search for solutions of the task considering the entire: content, ideological direction and style of the original source [23, p. 310]. Very often in translations of artistic literature, particularly fiction, the accuracy is achieved not by means of direct translation but due to deviations from the original and appropriate substitutions; it cannot rely on standard solutions of translation problems.Artistic translation is a specific kind of translation since it consists not in accurate rendering of the content but in reflection of thoughts and feelings of the author by means of another language [12, p. 7]. As far as every piece of emotive prose is saturated w ith artistic images to a greater or lesser extent, it is desirable that the translator should analyze artistic images and their structure before translating the work in order to reproduce the author's intent in full. The translator should think in images and have the abilities to describe the image using the diversity of linguistic devices and techniques that exist in the arsenal of a target language. One of the problems of artistic translation is the interrelation between the context of the author and that of the translator.It is obvious that no translation can be absolutely accurate since the very language system of the recipient literature with its objective data cannot convey perfectly the content of the original, which inevitably leads to a loss of a certain amount of information. D. Diuryshyn also mentions that qualitative rendering of content of a certain literary work also depends on the personality of the translator, who is very likely to omit something from the content whi le recoding the text, and his predisposition to demonstrate or not to demonstrate all the peculiarities of the original  [7,  p. 114]. Among the main objectives aimed by the translator of fiction is that of rendering individual distinctness of the original. Individual distinctness is largely associated with philosophy and aesthetics of the author. A.Fiodorov identifies several key cases of correlation between distinctness of the original and the form of its reproduction: 1) smoothing, or depersonalization in order to satisfy requirements of literary norm of the language or tastes of a particular literary school; 2) attempts of formalistic accurate reproduction of particular elements of the original notwithstanding requirements of the language which is being translated – phenomenon which finally results in violence towards language and linguo-stylistic deficiency; 3) deformation of individual distinctness of the original as a result of arbitrary interpretation and arbitrar y substitution of some peculiarities by others; 4) full-fledged reproduction of individual distinctness of the original with full range of its essential features and language requirements [23, p. 400]. I. Retsker defines the following qualities of adequate translation: comprehensive transfer of semantic content of the text and rendering of this content by equivalent means, i. e. those that perform the function analogous to that performed by the original verbal means  [21,  p. 10]. Having considered the main peculiarities and problems of translating artistic literature, emotive prose in particular, the conclusion is reached that translator before rendering an original into a target language should nalyze peculiarities of the literary work he is going to translate, namely its structure on lexical, semantic and stylistic levels. The translator shouldn't strive for simple reproducing of lexical units but try to render the emotions and intention of the author as well as convey indivi dual distinctness of the original. Special attention should be paid to artistic images, which are to be examined in the original and then rendered appropriately in the translation. 1. 2. The notion of epithet as a member of epithet construction and ways ofits rendering in the process of translation. Some scholars, for example T. Onoprienko, believe that epithet may be defined as a generating centre of the whole system of tropes since any trope can be transformed into an epithet.Since it may be metaphorical, metonymic, ironical, or based on a simile, epithet is not a pure trope and is often treated as a stylistic mixture, a hybrid. K. Lototska defines epithet as â€Å"a stylistic device based on the interaction of logical and emotive meanings of the word, which expresses the individual, evaluative, emotionally coloured attitude of the author towards the object/person described by emphasizing a certain property or feature [15, p. 90]. † Epithet expresses characteristics of an o bject, both existing and imaginary. The basic feature of this stylistic device is its emotiveness and subjectivity: the characteristic attached to an object to qualify it is always chosen by a speaker himself. It is possible to say that in epithet it is the emotive meaning of the word that is foregrounded to suppress the denotational meaning of the latter [13, p. 31]. † In a sentence epithet usually fulfils the syntactic function of attribute or predicative, thus being expressed mostly by adjectives, sometimes adverbs, and very rarely by nouns . It is important to mention that any trope implies â€Å"semasiological two-dimensional use of a word in which its material form simultaneously actualizes two types of meaning – direct and figurative [3, p. 481]. † However, trope can be realized only in the context, in binary formation. T. Onoprienko defines this formation as trope configuration which consist of wo components: the actualizator of trope (I) (the component a lways used in direct meaning) and the core of trope (II) (the component used in figurative meaning) [16, p. 4]: e. g. â€Å"vague (II) horror (I) [39, p. 103]. † Thus, it would be more logically to consider epithets not separately but as a member of epithet construction. Three connotative components of the meaning are actualised in semantic structure of epithet construction: evaluative, emotive and figurative [6, p. 7]. Such semantic structure makes epithet construction different from logical attributive construction where logical attribute is objective and non-evaluating, e. g. â€Å"black-robed judges [39, p. 102]. Even if the epithet names typical characteristic, it always contains individual comprehension of the object or phenomenon, e. g. â€Å"frequent and thoughtful endeavors to remember [39, p. 103]. † A number of scholars, including I. Galperin, classify epithets into two main semantic types: associated and unassociated. Associated epithets point out typical features of the objects which they describe. Such typical features are implied by the meaning of the nouns themselves, e. g. â€Å"frail web [39, p. 102]†, bitter tears. Unassociated epithets ascribe to objects such qualities which are not inherent in them, e. g. â€Å"ravenous eyes [39, p. 106]†, â€Å"immovable resolution [39, p. 102]. As a result, the created image is fresh, original, unexpected and expressive. A wide range of epithets among those of the second group are figurative ones as far as they are formed of metaphors, metonymies and similes expressed by adjectives, e. g. â€Å" [38, p. 216]† – simile-based epithet construction. Associated epithets, on the contrary, are mostly language epithets. Their usage with certain nouns has become traditional and stable. Unassociated epithets are also called speech epithets since they are created in the process of communication. From the point of view of their distribution in a sentence, epithets may be used in pairs (e. g. hideous and repulsive devices [39, p. 106]†) and in chains (e. g. â€Å"feeble, scarcely sane, scarcely definite thought [39, p. 108]†). The chain of epithets gives a many-sided description of the object, but in this many-sidedness there is always a suggestion of an ascending order of emotive elements, which culminates in the last epithet. Z. Proshina mentiones another distributional model – the transferred epithet which is originally logical attribute generally describing the state of a human being, but made to refer to an inanimate object [20, p. 211]. The meaning of the logical attributes in such combinations acquires a definite emotinal colouring, e. g. Even then, while I gazed, they [rats] came up in troops, hurriedly, with ravenous eyes, allured by the scent of the meat [39, p. 106]† (the word ravenous is logically linked with they, syntactically with eyes). In the English and Ukrainian languages there are such epithet constructio ns which coincide not only in general content but also in their componential structure and stylistic, emotional and expressive shades. These are full epithet equivalents, and majorly fixed epithets belong to them. Sometimes epithet constructions differ in their componential structure but are almost equal in their emotional, expressive and stylistic characteristics. These expressions are partial epithet equivalents and ensure full adequacy of translation.Today's artistic literature is characterized by the great role of epithet as a decorative element able to express the author's attitude to the character, idea and narration in general. To convey the author's intent, the translator must be very careful in selecting words with the same denotative and connotative meanings. According to O. Hrabovetska, the most widespread method of translating epithet constructions is calquing. Calques are those epithet constructions which convey the denotative or connotative sense layer. Sometimes the u se of calquing method without penetrating into the depth of epithet construction semantics may lead to the transformation of translated work into the enumeration of foreign and incomprehensible concepts.In this case it would be more sensible to use decompression,or partial calquing when side by side with calque its explanation is provided. This is especially reasonable when the original is full of allusions and units of vertical context which may be unknown for the target reader. Descriptive paraphrase is used when translation requires a high level of explicitness. This method helps to actualize the implicit content of the original in translation and to avoid unnecessary associations [6, p. 14-16]. The conclusion may be made that epithet is a stylistic device based on interplay of logical and emotive meaning of the word. It is characterized with a high level of emotiveness and subjectivity.This stylistic device should not be considered separately, but as a part of two-member constru ction which consists of the epithet and the word it refers to. Semantically epithets are classified into associated and unassociated. Associated epithets are mostly language epithets, while unassociated epithets are referred to as speech epithets. Epithets may be used in pairs and in chains. There are also transferred epithets, or epithets syntactically joined to a word to which they do not belong logically. Epithets play a significant role in imaginative literature since they are bearers of essential emotional and expressive load of any literary work. Thus, while rendering epithets into target text, translator should select words carefully to avoid possible losses of meaning and expressiveness.The main ways of of epithet translation are calquing, decompression and descriptive paraphrase. 1. 3. Simile as a stylistic device and methods of its translation. Simile is an imaginative comparison, which is also called literary comparison. â€Å"It consists in an explicit likening of one o bject (the tenor) to another object (the vehicle) on the basis of some common feature/characteristic (the ground) [15, p. 102]. † It is important not to confuse simile with ordinary logical comparison. The last one pressuposes comparison of two objects belonging to one class of things and is stylistically neutral (e. g. he works as hard as a miner), while in simile two objects from different classes are brought together (e. g. â€Å"seven tall candles †¦ eemed white and slender angels who would save me [39, p. 102]†). â€Å"Any image is based on the use of similiarity between two distant objects [1, p. 140]. † I. Galperin believes that comparison takes into consideration all the properties of the two objects, stressing the one that is compared, while simile excludes all the properties of the two objects except one which is made common to them [31, 167]. According to N. Shapovalova , the structure of simile is formed by combination of the following elements: 1) subject (comparandum), i. e. an object or phenomenon which features are being uncovered via other one; 2) object of comparison (comparatum), i. e. n object or phenomenon which possesses vividly expressed and well-known to the speaker features and, consequently, is used by him for characterization of the object or phenomenon under cognition; 3) the ground of simile (tertium comparationis), i. e. the property on the basis of which the two objects are compared. It is either mentioned explicitely (e. g. â€Å"the under edge evidently as keen as that of a razor[39, p. 107]†, â€Å"? – , ? [38, p. 213]†)or left for the recipient to guess. In the latter case simile is richer in associations that may arise. â€Å"If the foundation of a simile is not clear from the context, the author supplies it with a key, making it extended [15, p. 102]. 4) The indicator of comparative relations, language connective element which serves as a link between the author's view of t he object and the very object and therefore ensures integrity of comparative construction [24, 7-8]. The connective affirms that the relationship between the tenor and the vehicle is an imaginary one, an appearance, a resemblance rather than reality. The presence of such linking element in its structure makes simile different from metaphor. The latter, due to the absence of the formal element and the implication which this element bears, may convey the relationship between the involved phenomena in different way, partially eliminating the author's point of view and giving place for the reader's viewpoint.According to the nature of language means expressing comparative relations, O. Molchko devides comparative constructions into two groups: with conjunctions or conjunction-like phrases and without them. Besides, the researcher claims that comparative constructions with conjunctions in both English and Ukrainian languages are a lot more numerous than those without conjunctions [16, p. 294]. Among conjunctions frequently used in similes, as well as in logical comparisons, are: like, as, such as, as if, seem in English; , , , , in Ukrainian. For instance, â€Å"I fell suddenly calm, and lay smiling at the glittering death, as a child at some rare bauble [39, p. 107]†; â€Å"†¦ ? , ? [38, p. 207]. † In similes without conjunctive elements the link between comparandum and comparatum can be expressed by way of (1) lexical indicator of comparativeness (when subject and object in comparative construction are linked to each other by adjective, verb or participle I such as to resemble, to look, to suggest in English and , in Ukrainian (e. g. â€Å" , ? ? , , [38, p. 215]†) or (2) adjective in comparative degree (e. g. â€Å"They [lips] appeared to me white –whiter than the sheet upon which I trace these words  [39,  p. 102]†).The stylistic function of imaginative comparison consists in enrichment of the expres siveness of a literary work by bringing together quite different objects and, consequently, helping to uncover in the object of comparison, besides its main qualities, a number of additional ones, often quite unexpected. The greater the semantic distance between the tenor and the vehicle is in a simile, the more striking effect the stylistic device will produce. Thus, an original simile is one of the most powerful image creating devices. Yu. Skrebnev mentions that simile has manifold forms, semantic features and expressive aims. Simile can be expressed by a simple sentence (e. g. â€Å"There was a harsh grating as of a thousand thunders! [39, p. 110]†) or a complex sentence with an adverbial clause of comparison (e. g. I felt every fibre in my frame thrill as if I had touched the wire of a galvanic battery [39, p. 102]†); it is often seen in a single compound word (e. g. giant-like). Great number of similes have become hackneyed in consequence of long usage and are used as idioms, e. g. as alike as chalk and cheese. These similes are deprived of imagery and expressiveness but still may be encountered in artistic literature. What makes creative similes stryking is the author's indication of previously unnoticed similarity between objects belonging to different classes. Thus, simile may pose a challenge for a translator, who should convey the expressiveness of the image in full.P. Pierini indicates the following translation strategies applicable to simile: 1) literal translation (retention of the same vehicle); 2) replacement of the vehicle with a different one; 3) reduction of the simile, if idiomatic, to its sense; 4) retention of the same vehicle plusexplanation of similarity features; 5) replacement of the vehicle with a gloss; 6)  omission of the simile [36, p. 31]. A number of scholars, including M. Larson, mention the following techniques for translating simile: 1) keeping the same simile; 2) replacing by another simile, but keeping the ori ginal meaning; 3) keeping the same simile, but spreading it [33, p. 246].The Translation Studies scholars share the idea that in some cases the application of a combination of more than one strategy is needed to convey properly the expressiveness of a simile. E. Fadaee assumes that translator before rendering the stylistic device should first assess the background knowledge of target readers since they may not have the knowledge needed for interpreting the simile. If translator consider the target readership to possess the required information, he will leave the simile unchanged; if the target readership does not share the knowledge, some modifications to the source simile may be required, e. g. addition of some explanatory information [30, p. 177].Therefore, simile, which is a stylistic device consisting in likening one object to another on the basis of a common feature, should be distinguished from logical comparison. Simile can be expressed by a variety of syntactic structures. T his trope significantly contributes to the overall expressiveness of a literary work. As far as simile contains individual vision of an object by the author and may also require some background knowledge possessed by the recipients of the original and not shared by the readers of the target culture, translator must be creative and careful while rendering original similes. A number of scholars, including P.Pierini and M. Larson, outline the main ways of translation applicable to simile. 1. 4. The notion of metaphor and problems connected to its translation. The awareness of a complicated and contradictory nature of a metaphor became the main reason for scholarly thought to move in various directions taking into account different aspects of this phenomenon. Thus, P. Newmark under the notion of metaphor means â€Å"any figurative expression: the transferred sense of a physical word, the personification of an abstraction, the application of a word or collocation to what it does not lit erary denote, e. g. to describe one thing in terms of other [34, p. 106]. Nevertheless, all the definitions tend to share common dominant features and may be summarized by the understanding of a metaphor as â€Å"a trope or figure of speech, which consists in application of a word, denoting a particular class of objects, phenomena, actions or attributive qualities, to characterize or nominate another object, which is similar to this one in terms of any kind of relationship[2, p. 81]. † George Lakoff and Mark Johnson find it necessary to emphasize that despite the widespread idea of a metaphor as a means of poetic imagination and rhetorical flourishing, this lexico-stylistic device is also pervasive in everyday life not only in language but also in our thought and action, which are fundamentally metaphorical in nature [32, p. 3]. At the same time, majority of scholars focuses on a metaphor as a powerful means of creating imagery in an artistic work since it is integrally conne cted with the poetic vision of the world. Of all tropes, metaphor is the most expressive one for it may draw closer or bring together in one synthetic image incompatible objects and phenomena, thus interpreting them in a new way, revealing their essence, exposing their â€Å"inner nature† by â€Å"pulling† them out of their â€Å"automatic†, traditional perception [15, p. 69]. † Turning back to the issue of relation between metaphor and simile, it would be resonable to cite the reflection of E. Fadaee who believes metaphor to be â€Å"a kind of condensed simile that some parts of it, like topic similarity markers, are deleted to convey the meaning connotatively [30, p. 21]. † Gibb and Wales suggest that the tenor (the object to which the quality of another object is transferred) that is preceeded by a definite article or possessive pronoun is common among items assigned the simile form, whereas metaphor is assigned to the items with no definite arti cle.The scholars also believe that simile seems to be preferred in the case of concrete vehicle (the object from which a quality is transferred to another object), whereas metaphor is preferred for abstract vehicle  [qtd. in 35, p. 199]. Simile and metaphor are distinguished not only with regard to structural aspect but also semantic one. Simile is more semantically specified: it indicates the sign of resemblance; metaphor only implies this sign. A. Morokhovsky considers that simile indicates the transitory feature, even occasional, unlike metaphor, which indicates permanent feature [17, p. 176]. Metaphors have been categorized in different ways depending on the aspect taken as the basis of classification.The most widespread is the classification of metaphors according to the degree of unexpectedness, which divides them into genuine (also called stylistic, fresh, original, poetic, imaginative, or speech) metaphors and trite (dead, stale, hackneyed, or language) metaphors. Trite me taphors are word-combinations once metaphorically fresh, which in consequence of long usage have lost their expressiveness and became ordinary entries in dictionaries, e. g. apple of eye. Genuine metaphors are coined by the writer's imagination and are always fresh and striking, e. g. â€Å"   [38, p. 209]. † The stylistic function of genuine metaphor is twofold: 1) it evokes images and suggests analogies/associations; 2) it reveals the author's emotional attitude towards what he describes.Poetic metaphor is likely to appeal to a certain image. While uncovering the essence of verbal images, R. Zorivchak emphasizes that they constitute the basis of any artistic text making it more appealing, picturesque and aesthetically beautiful and, at the same time, increasing the cognitive value of a literary work. Of particular importance is the cognitive and expressive loading of verbal image, which contributes to realization of the author’s intention [8, p. 51-53]. Besides exp ressiveness, metaphors also differ in their form. They can be single (one-word) or extended (a collocation, an idiom, a senrence, a proverb, an allegory, a complete imaginative text).There is a tendency in artistic literature to use metaphor combined with other tropes, thus it would be relevant to look into the issue of metaphor in its relationship with other stylistic devices. As N. Kozhevnikova observes, comparative tropes, which also include metaphors of different types, are closely interrelated. One sense connection can be expressed by different concrete utterances, e. g. ; , ; ; ; , etc. Poetical language is characterized by a great amount of varying stylistic devices. Such reversibility of tropes is a means of refreshment of trite metaphors, e. g. decomposition into constituing elements and transformation of metaphor into simile [9, p. 146].The combination of simile and metaphor is an effective device for semantic cohesion of an artistic text: first simile is used and then (sometimes after several phrases or words) the vehicle of the simile is used as that of metaphor [15, p. 71]. For example, â€Å"And then my vision fell upon the seven tall candles upon the table. At first they wore the aspect of charity, and seemed white and slender angels who would save me; but then, all at once, there came a most deadly nausea over my spirit, and I felt every fibre in my frame thrill as if I had touched the wire of a galvanic battery, while the angel forms became meaningless spectres, with heads of flame, and I saw that from them there would be no help [39, p. 102]. † A. Morokhovskyi mentions such trope as simile-metaphor based on metaphorical transference [17, p. 175], e. g. â€Å"the gossamer web of some dream [39, p. 102]. †An important aspect of researching the nature of metaphor concerns the problems arising in the process of its translation. â€Å"Since a metaphor in source language is, by definition, a semantic novelty, it can clearly have no existing â€Å"equivalence† in target language [29, p. 24]. † The adequate translation presupposes the rendition of stylistic and expressive nuances of the original and should follow the criteria of 1) verbal correspondence of the created image, 2) preservation of the image intended in the original, and 3) preservation of the conceptual grounding for the verbal metaphor [26, ?. 186]. Different approaches have been proposed with regard to metaphor translation, each looking into the problem from a different point of view. R.Van Den Broeck suggested to use the following modes of translating metaphors: 1) translation sensu stricto (both source language tenor and vehicle are transferred into target language); 2) substitution (source language vehicle is replaced by a different target language vehicle with more or less the same tenor; in this case source language and target language vehicles may be considered translational equivalents in that they share common tenor); 3) pa raphrase (source language metaphor is rendered by a non-metaphorical expression in target language; as a result, target language expression comes up to the level of a commentary rather than of actual translation [27, p. 77].Although personification is sometimes treated as a separate stylistic device, it is a metaphor in its essence since the image creation is based on metaphoric substitution. According to K. Lototska, personification is â€Å"a metaphor in which abstract ideas or inanimate objects (tenor) are identified with persons (vehicle), i. e. are given human characteristics [15, p. 75]. † Personification is considered to be a very poverful stylistic device because everything that concerns a man appears to be the most important to him, thus when the human properties, people's typical qualities and actions are transferred onto inanimate objects, the later begin to assume the utmost importance.The main problem of rendering personification in translation consists in the fa ct that the gender of personificated nouns in the source language and target language may not coincide. It poses a challenge for a translator when the personificated images of the original are based on the opposition of masculine and feminine gender nouns and in the translation the corresponding nouns do not create such opposition. Personification may be also individual, without opposition of genders. N. Homon believes that in order to overcome the difficulties in the process of rendering personification into target text lexical substitutes, which allow topreserve the image, are possible [5, p. 40].Thus, poetical metaphor is characterized by significant expressive potential based on transference of some quality from one object to another. Metaphor is clamed to be the most expressive trope which evokes images, reveals the author's emotional attitude towards what he describes and helps to realize the writer's intention. The principal classification of this trope is based on the degree of unexpectedness, which devides all metaphors into trite and genuine. The stylistic device can be expressed by different syntactic structures and tends to be accompanied or combined with other tropes in artistic text. Among the methods applied to metaphor in the process of translation the most common are translation sensu stricto, substitution and paraphrase. CHAPTER 2. E. A.POE'S SHORT STORY THE PIT AND THE PENDULUM AND THE REPRODUCTION OF ITS EMOTION CREATING LEXICO-STYLISTIC DEVICES IN THE UKRAINIAN TRANSLATION BY R. DOTSENKO 2. 1. Characteristic features of E. A. Poe's short story The Pit and the Pendulum. The Pit and the Pendulum is a short story written by Edgar Allan Poe, an American author, poet, editor and literary critic best known for his tales of mystery and the macabre. It was first published in 1842 in the literary annual The Gift: A Christmas and New Year's Present for 1843. The story is about the torments endured by a Spanish Inquisition prisoner, who describes his experience of being tortured. This particular piece of literature by E. A.Poe differs significantly from the rest of the author's works in the fact that it is especially effective at inspiring fear in the reader because of its heavy focus on the senses emphasizing the reality of the story, unlike other Poe's short stories which are aided by the supernatural. Despite its small size, the story abounds in stylistic devices, namely epithets (44 samples), similes (18 samples) and mataphors (12 samples). The stylistic devices used by the author are aimed to express emotions of the narrator and, accordingly, convey the atmosphere of interrogation and torture. As one would expect, emotions which are being created by the above mentioned stylistic device in the story under research are negative and dark in their nature. The most clearly can be traced emotions of horror, disgust and desperation.While conveying emotion of horror with the help of stylistic devices, the author makes use of verba l means refering to the sphere of the otherworld and that of evil spirits, e. g. â€Å"All sensations appeared swallowed up in a mad rushing descent as of the soul into Hades[39, p. 102]. † The emotion of disgust is produced by means of tropes composed of verbal means already containing the seme of this emotion in their semantic structure, e. g. â€Å"The entire surface of this metallic enclosure was rudely daubed in all the hideous and repulsive devices to which the charnel superstition of the monks has given rise [39, p. 106]†. In creating emotion of desperation E. A.Poe avails of stylistic devices comprising words which convey vagueness, powerlessness, or desperate effort, e. g. â€Å"At length, with a wild desperation at heart, I quickly unclosed my eyes [39, p. 103]. † Lexico-stylistic devices of the story are the main and major means for creation of negative emotions intended by the author and create the overall atmosphere of the litersry work. Therefore, an adecuate reproduction of tropes is essential, as far as expressive and emotive verbal means combined in emphatic structures of different stylistic devices acquire greater expressive potential. 2. 2. The reproduction of emotion creating epithets, similes and metaphors of the short story by E. A. Poe in the Ukrainian translation by R. Dotsenko. â€Å"And then there stole into my fancy, like a rich musical note, the thought of what sweet rest there must be in the grave [39, p. 102]. † * â€Å"? , , , - [38, p. 208]. † The epithet in the example above conveys the emotion of strong horror. Instinct for self-preservation is inherent in human nature, as well as fear of death, but the main character is already so much exhausted by the very long waiting for upcoming torture that even death for him seems to be a pleasant escape. Obviously, the torture in the story consists not in physical torment but in psychological pressure on the victim, whichis more harmful and unbearable as the development of the plot shows.The epithet construction is paradoxal since it uncovers extraordinary view on traditional lie of the land and, consequently, bears a tinge of irony, especially if to take into consideration that the narrator describes the events after he already overcame the danger and survived. R. Dotsenko's epithet construction can be considered as a full equivalent to the original one as far as both cnostructions are equal not only in general content but also in componential structure and stylistic, emotional and expressive shades. The transformation of original place modifier (consisting from preposition and noun) into adjective in translation is quite justifiable as it makes translation sound smoothly and with abandon. * â€Å"All sensations appeared swallowed up in a mad rushing descent as of the soul into Hades [39, p. 102]. * â€Å" , , ? [38, p. 208]. † As it was mentioned in Chapter I, different stylistic devices often ac company and complement each other in literary work, thus producing enhanced emotional effect. The example above constitutes a complex image of horror consisting of metaphor (descent is personified by way of transferrence on it of living being characteristic denoted by phrasal verb swallow up) and epithets and simile which vivify its tenor. It is essential to mention that metaphor makes it possible for readers to cognize the notions belonging to the sphere of abstractions, that is why metaphor as a stylistic device is especially helpful in conveying emotions.The personification was preserved by the translator and, what is more, made more explicit due to elimination of preposition inand use of active voice instead of passive as in the original. The simile complementing the metaphor contains allusion to Greek mythology where Hades is an underworld containing â€Å"the Plain of Asphodel, where the ghosts of the dead led a vague, unsubstantial life, a shadowy continuation of their forme r life  [45,  p. 172]. † The term hades is also used in the Septuagint (the ancient translation of the Old Testament into Greek) referring to the abode of the dead in general rather than the abode of the wicked. It has little if any relation to afterlife rewards or punishments.The Ukrainian term (English equivalent to which will be hell) is defined in the dictionary as â€Å" , [41, v. 6, p. 111]. † Thereby R. Dotsenko replaced the vehicle of the simile with different one which may be considered more exspressive in terms of conveying horror. The allusion to Greek mythology was conveyed partially through the substitution of original tenor of the metaphor descent with in translation since â€Å"the land of the dead was separated from the land of the living by one of the rivers of Hades, the Styx or the Acheron across which the dead were ferried [45, p. 172]. † Thus, explicit allusion of the original became implicit in the translation. â€Å"Then, ve ry suddenly, thought, and shuddering terror, and earnest endeavor to comprehend my true state [39, p. 103]. † * â€Å"? – , , , ? ?  [38,  p. 209]. † In the above example the author calls up to the reader's mind the emotion of horror by using the noun terror and intensifies its denotative meaning with epithet shuddering (as an adjective from shudder which is defined in the dictionary as â€Å"to shake because you are cold or frightened, or because of a strong feeling [43, p. 1360]†). This is a good example of transferred epithet as far as not the terror itself shudders but the person who is experiencing this emotion. In translation R.Dotsenko substituted the original epithet by the word which has direct meaning â€Å" ; , † and transferred one, â€Å" , , [41, v. 6, p. 113]. † Thus, in the original the striking effect was achieved by using originally logical attribute generally describing the state of a human being for referr ing to an abstract phenomenon, while in the translation the analogous effect was created due to intertwinement of direct and transferred meanings of the word. Although semantically the translated epithet is not equivalent to the original one, it produces the same effect intended by the writer.This fact affords the ground for regarding the translation in the given case adequate since accuracy in the translation of artistic literature is achieved not by means of direct translation but due to deviations and appropriate substitutions which ensure the appropriate rendering of the author's ideas and intent. * â€Å"A slight noise attracted my notice, and, looking to the floor, I saw several enormous rats traversing it. They had issued from the well, which lay just within view to my right. Even then, while I gazed, they came up in troops, hurriedly, with ravenous eyes, allured by the scent of the meat [39, p. 106]. † * â€Å" , ?, , ? , ? , ? , . ? , ? †“, , ?' [38, p. 214]. †In this excerpt the author characterizes rats by using transferred epithet construction ravenous eyes and modifying construction allured by the scent of the meat; besides, the mode of rats' travelling is characterised by epithet in form of adverb hurriedly. The translator desided to refer all three epithets to the actualizator of the trope, rats (for this reason he changed adverb into adjective and eliminated the actualizator eyes in the transferred epithet construction). Consequently, in the translation a chain of homogeneous members-epithets was formed, which created an effect of gradation with culmination in the last element. This gradation can be considered as a compensation for the effect created by the heterogeneity of epithet chain in the original, and especially, the expressiveness of the transferred epithet construction. â€Å"These colors had now assumed, and were momentarily assuming, a startling and most intense brilliancy, that gave to the spectral and fiendish portraitures an aspect that might have thrilled even firmer nerves than my own [39, p. 109]. † * â€Å" , ? , ? , ? , ?   [38,  p. 219]. † Dealing with translation of the first epithet construction in the above excerpt R. Dotsenko substituted epithets expressed by adjectives startling and most intense by combination of epithets expressed by means of adverb and adjective .The translation was made with regard to the overall imagery of the literary work which abounds in verbal means denoting phenomena related to religious conceptions of hell and evil spirits. Besides, the word combination immediately brings to mind the image of the rousing and burning hell-fire which is considered to be the scariest and the most intense one. Thus, the translation is adequate since the translated variant harmoniously fits the imagery of the translated literary work and conveys the the author's intent being loaded with emotional expressiv eness. The second epithet construction the spectral and fiendish portraitures was handled with ease. With regard to the core of the trope, R. Dotsenko applied calque translation having conveyed both denotative and connotative sense layers.The word portraitures was rendered as which has suitable denotative meaning in the given context and also has no connotations as well as the original activator of the trope. Thus, the whole epithet construction was translated adequatly. * â€Å"These shadows of memory tell, indistinctly, of tall figures that lifted and bore me in silence down– down– still down – till a hideous dizziness oppressed me at the mere idea of the interminableness of the descent [39, p. 103]. † * â€Å" , ? , , , , -   [38,  p. 209]. †In this example R. Dotsenko split the original epithet construction and translated the noun dizziness by means of verb ; both words share the same denotative meaning. Further i n the nearest context the epithet construction was compensated for by adding epithet , which is fully equivalent to hideous, to the word . The emotion of disgust thereby was preserved in the translated utterance. * â€Å"They tell also of a vague horror at my heart, on account of that heart's unnatural stillness [39, p. 103]. † * â€Å" , , , , ? [38, p. 09]. † The epithet in the above original sentence describes the horror which is just spawning in the face of something unknown and obscure. The epithet construction was translated as . The direct meaning of is â€Å" , ; †, from which originates the transferred one, â€Å" , , ; , - [41, v. 9, p. 361]. † Consequently, the form of horror in the translation is much stronger as that in the original since it is so terrible that hinders a person to think or to act, it is a kind of paralysing fear.On the one hand, the translated epithet construction is more striking in comparison to t he original one in the framework of contrastive analysis of this particular case. On the other hand, it fits perfectly the overall imagery of the story and significantly contributes to the enspiring emotion of terror. Therefore, the translation is still considered as adequate. * â€Å"At length, with a wild desperationat heart, I quickly unclosed my eyes [39, p. 103]. † * â€Å" ? , ? [38, p. 209]. † This is a bright example of partial epithet equivalents. The original epithet construction can be literary translated as (, â€Å" , ; [41, v. 1, p. 659]†).This feeling of hopelessness was recreated by means of adjective meaning â€Å" , [41, v. 1, p. 659]. † Still this emotion as rendered in the translation is lacking amplification produced in the original by epithet wild which is used for somebody or something â€Å"lacking discipline or control [43, p. 1683]. † In other words, the original epithet construction is fully concentrated on t he emotion; epithet wild amplifes and intensifies the emotion of terror. The original construction is also followed by modifier of place at heart since humans consider heart to be the place where emotions are born, and what is from heart, that is beyond the control of reason.In the translation the focus is shifted from desperation to , the word which is purely a product of the translator's creativity. , being defined in the dictionary as â€Å", ;   [41,  v. 7, p. 252]†, fits the utterance and relates to the quick move of unclosing eyes. Thus, given epithet costructions are partial equivalents. They differ in their componential structure but are almost equal in emotional, expressive and stylistic characteristics ensuring full adequacy of translation. * â€Å"Free! I had but escaped death in one form of agony, to be delivered unto worse than death in some other [39, p. 109]. † * â€Å"! , ? , [38, p. 219]. † The original excerpt contains simile wors e than death which contains highly expressive and negatively coloured evaluation of a form of death. The translator omitted in his translation simile comparing one form of death to other by means of comparative degree of adjective (which in its denotative meaning is more expressive than English worse and more helpful in creating emotion of horror). R. Dotsenko compensated for simile by way of adding in translation word and in this manner likening on the basis of metaphorical transferrence abstract notion of death to frightening creature.Thus, stylistic effect of original simile and its emotional loading were compensated for by translator's creative decision to introduce personification. * â€Å"It was hope – the hope that triumphs on the rack–that whispers to the death-condemned even in the dungeons of the Inquisition [39, p. 108]. † * â€Å" , , , ? [38, p. 217]. † The excerpt represents an example of personification where abstract noti on denoted by noun hope aqcuires ability to act, particularly perform actions (to thriumph and to whisper) typical of humans.This personification aims at conveying a spark of optimism which is spawning in the narrator's heart. In the English language the word hope has symbolic feminine gender, thus in this personification hope appeares as a woman supporting a man in all the hardship he undergoes. Fortunately, Ukrainian equivalent is of feminine gender as well, therefore, the image of a supportive woman was preserved. However, there were introduced two changes in the translated variant. Firstly, rack is defined in the dictionary â€Å"an instrument of torture, used in the past for punishing and hurting people. Their arms and legs were tied to the wooden frame and then pulled in opposite directions, stretching the body [43, p. 1195]. † R.Dotsenko applied method of generalization and translated rack by hyperonym . Secondly, the translator added , which still doen't harm the im age, but just expresses the tithe of comfort given to the narrator by this hope. The personification was successfully rendered into the target text. The translator managed to preserve the image as well as its expressivenes and emotive loading. * â€Å"Inch by inch – line by line –with a descent only appreciable at intervals that seemed ages– down and still down it came! [39, p. 107]† * â€Å" , , – , , , , , – ?   [38,  p. 215]. †The original simile is small and consists in exaggeration by way of comparing those relatively long intervals, at which the pendulum descended, to the big span of time which lasts for ages, and in this way conveying oppression andmoral horrorsof the narrator caused by the continued expectation of long agonizing death. R. Dotsenko retained the vehicle of the trope but shifted the tenor of the simile from intervals to . Besides, the translator introduced the ground of the simile expressed by word combination . The structure of translated simile is much more complicated than that of the original trope. The tenor stands separately in the second part of the main sentence.The part of the simile which follows a formal marker of comparion represents constitutes a full-fledged complex sentence. The original simile, on the contrary, is simple in structure and forms a part of an isolated member of a sentence. Although translated simile is not equivalent to the original one from the viewpoint of structure, it is considered to be an adequate translation substitute for the original trope since it recreates emotion of hopelessness accompanied by agonizing suspense. * â€Å"A deep sleep fell upon me –a sleep like that of death[39, p. 105]. † * â€Å"? – , ? [38, p. 213]. † In the above example the original simile underwent a few changes in the translation. Firstly, R.Dotsenko eliminates the repeated mentioning of the comparandum; instead, the translator a dds its characteristic , thereby making the ground of the simile explicit. Besides, like that of death was turned into ? . The substitution is adequate, it conveys the message of the author and creates the intended emotion of fear which emerges with mentioning all which is associated with death. However, the original simile with implicit ground leaves more space for readers' imagination since a range of various characteristics may come to their mind at the same time, thus making the original utterance more expressive than translated one. Thus, translating the simile R.Dotsenko replaced the vehicle and explained the similarity feature. Though being determined and limited by explicit gro