LINGUOPOETICS TODAY

: The article highlights a complex of problems addressed by linguopoetics, the science that concerns itself with the language of fiction and poetry. Linguopoetis as the study of imagery, its rules and means aims at revealing the potential power of tropes in literary texts; more importantly, it provides understanding of the principles that govern text organization in terms of the philosophy of knowledge, the unity of language and thought, the linguistic picture of the world. The system of ideas and images presented in literary discourse requires a holistic approach rather than the discussion of separate text fragments, i.e. the analysis of ‘vertical context’. Comprehension of metaphoricity presupposes generalizations at the level of the semantic structure of the whole text with its colloquialisms and metaphorical imagery, transformations of figurative and non-figurative meanings, stylistically neutral and marked elements, connotative layers and additional new meanings. A distinctive feature of modern literary texts is deviations from codified literary norms; such divergences create ‘freshness’, originality of expression; they create unique images providing deep psychological insight and eloquence. The study of modern literary discourse involves investigation into the general characteristics of national idiolect, its specificity, authors’ ideostylistic features. The analysis of individual styles of writing, on the material of modernist prose and poetry in particular, makes it possible to establish current literary trends and innovative tendencies in modern Ukrainian literature.

study of linguo-cultural, linguo-cognitive, linguo-pragmatic aspects of the whole system of tropes, and metaphors -in the general meaning of the term -in particular.
The analysis of metaphor as a cognitive-linguistic phenomenon involves establishing the mechanism of its creation, linguistic sources and textual means that allow for the transference of meaning. The essence of metaphor can hardly be reduced to its popular definition as 'the use of a word that designates a particular class of objects, phenomena, etc. for the purpose of characterizing or labeling an object that belongs to another class or labeling another class of objects analogous in any regard with the one referred to' [1, p. 296]. This definition is not sufficient because an important factor in creating a metaphor, along with the core word or collocation, is the latter's verbal environment, a broad and/or narrow context in which a metaphorical meaning can reveal itself. It means that we face the problem of defining the boundaries of metaphor as a contextual unit with its core component and dependent members. The extended metaphor can go beyond the boundaries of a word combination or sentence; it can develop throughout a part of a literary work; we cannot exclude the possibility of a comparatively short literary text, for example, a poem, being an extended metaphor with its own inner hierarchical organization. Consider an excerpt from the poem Папороть (Fern) by L. Kostenko): Птиці зелені у пізню пору спати злетілись на свіжий поруб. Green birds came flying down to sleep between newly-cut tree stumps late in the evening. Тихо спустились на жовту глицю птиці зелені, зелені птиці.
Quietly they landed onto yellow needles, green birds, green coloured birds. Крилами били, пера губили, голови сизі низько хилили … They flapped their wings, dropped feathers, and bowed their smoke grey heads low … The key image of the poem is fern -the mythologeme of the plant -presented as green birds; obviously, it is not enough to use the word birds to designate the plant: a reader does not know what kind of birds they are, why they are associated with the fern, what properties they have, etc. The task is to reveal the meaning of a composite metaphorical picture, with green birds as its core component (they are green because they represent fern, and they are birds because birds are a poetic symbol in folk beliefs). Consider another example of a poetic metaphor triggered by subjective associations: 'вії засипують море / по небі торочаться / райські птиці в полум'ї' (V. Vovk) (eyelashes are lulling the sea / birds are gliding through the sky / the birds of paradise in flames); here the poetic image is created through the collocation of words that do not 'fit' semantically: eyelashes are lulling (+ object), are lulling the sea, the birds of paradise that are gliding through the sky, the birds of paradise in flames (the image of the birds of paradise is a biblical motif).
In the context of discourse, the metaphorical meaning of a word can be intensified or weakened, it can receive new connotations and lose old ones; the shifts of meaning in the 'metaphor/non-metaphor' system may be unostentatious; it is difficult to draw a line between one meaning and another, thus our task is to establish both metaphorical and non-metaphorical meanings in the same word or expression, their combination making the overall meaning even more complicated. A reader is not supposed to comprehend the separate nuances of meaning; on the contrary, it is a newly coined complex semantic unit that reveals the artistic essence, the poetic meaning of both a word and the verbal context affected by the impact of this word.
Consider Lesia Ukrainka's poem Дим (Smoke). At first the author says that у ріднім краю навіть дим солодкий та коханий (in [our] native land even the smell of smoke is sweet and dear); smoke is vapor and gas produced by a burning substance, but for the author it is sweet and dear, which presupposes the metaphorical meaning of the expression -the smoke of the native land evokes the feeling of contentment, fills one with inner happiness. Further in the text, the word smoke regains its direct meaning (поглядають на димок (keep glancing at the wisp of smoke); простуючи до лісу, на димок (heading for the forest, for the wisp of smoke); простуймо на димок (let's head for that wisp of smoke); дим влетів мені в вікно (smoke blown in through my open window); поганий дим (bad smoke); дим в курній хатині (smoke in a chimneyless hut); дим гриз очі (smoke was biting the eyes); the context indicates that it is the smoke of the native land, and the word native triggers the transference of meaning -the word smoke returns to the metaphorical plane.

Той дим проник мені у саме серце, …
That smoke has got right into my heart, … So smoke can say something; it has got right into my heart; being personified, smoke becomes the core component of the metaphor (a person experiences a feeling that confirms the initial impression: smoke is sweet and dear). Compare another example: Дихають тихо акації ніжні, / Злегка колишуться в сутіні срібній … / Чом я, скажіть, не акація ніжна, / Нащо думки мене спалюють, мучать? (O. Oles) (Tender acacias breathe quietly / Swaying lightly in silver twilight … / Pray, why am I not a tender acacia, / Why do thoughts burn and torment me?); here the transference from the direct meaning of the word acacia (a tree or shrub) to the indirect one (comparing a girl with the acacia) is ostensively indicated; the word is used as an image.
The use of epithets creates a similar 'twinkling' of meaning; with epithets, the development of metaphorical meanings occurs not simultaneously, but gradually: the emergence of particular figurative features causes the disappearance of some inherent ones. Thanks to a wide range of lexical and semantic variations ('Among all the parts of speech, it is the adjective that has the greatest lexicalsemantic potential' [11, p. 13]), the attribute increases its semantic value, receiving powerful stylistic connotations; around them, it builds up its own image, the structure that sometimes is more powerful than the initial name. For example (an excerpt from a poem by V. Kobylianskyi),
The white glitters of white thoughts.
From the perspective of linguistic pragmatics, in order to draw distinction between 'living' metaphors and stereotypic, fossilized expressions that have lost the freshness of image, we have to establish the associative connection between referent and correlate. In order to understand the extent to which this associative connection is recognized as artistically justified and a particular metaphor, as 'fresh', we have to enter the grey area of subjectivity/objectivity and individual perception. It is necessary to solve the problem of differentiation between the artistic metaphor and the trite one, to establish the degree of novelty of the author's metaphorical expression. Stereotypical comparisons are not perceived as metaphors; consider the expressions ломе, як билину ( Words and word combinations, as components of metaphorical expressions, can get new meanings and enrich their semantic potential 'fixed' in dictionary entries; thus the extension of the semantic meaning of a word or a word combination results in widening the boundaries of their interpretation. Also, one meaning can fall out of use, another can appear; for example, it may occur when a metaphorized word is repeated several times in a text. Consider the following excerpt from Mykola Voronyi's poem: Рани, серця рубіни!.. Wounds, the rubies of my heart!..
Oh, red rubies!.. Here we see the transference from the metaphorical meaning (the rubies of my heart -'painful consequences of the gone feelings') in a highly expressive context to the dictionary meaning of rubies as 'precious gems'.
In this context, the phraseme is regarded as a single whole that becomes a component of the extended metaphor; at the same time, the motivation factor, the inner form of the phraseme is not the object of linguo-poetic studies proper. Consider, for example, the Ukrainian idiomatic expression скочити в гречку (literally -'jump into the field of buckwheat', which means 'to have a bit on the side; extramarital affair', in the following sentence: -Як схоче в гречку скакнути, то й на налигача не вдержиш, ги-ги-ги!.. ('If she wants to have a bit on the side, no leash can restrain her, ha-ha-ha!..') (Віддавали * In the citation below, the author uses the Ukrainian idiomatic expression мотати на вус (literally -'wind [it] round one's moustache'), which means 'to make a mental note'. Consider Yu. Shevelov's vivid example, '… Kotliarevsky used the phraseological unit мотати на вус, i.e. "to make a mental note", in the sentence Вулькан розм'як як кваша, Венера те собі на вус ( Катрю (Giving Katria in Marriage) by Н. Tiutiunnyk). The above idiom is interpreted as a metaphor with the connotation of mockery (leaving aside the motivation of the expression). Compare the examples of 'hidden' metaphors пасти задніх (literally -'to shepherd the back ones') -'to be the worst student/worker in a group'; жаба давить (literally -'the toad presses hard [on someone]') -'be stingy', обухом по голові (literally -'[hit someone] with the butt-end [of …] on the head') -'be shocked by bad news'; the motivation of such metaphors is a factor behind creating the image, but their frequent use results in the loss of associative connections, hence now they are regarded as purely idiomatic expressions.
The figurative meaning of a phraseme reveals itself when the inner form this phraseme is ruined; there occurs a conscious return to its motivation, its phrasemic meaning is rejected; the primary meanings of the words that comprise an expression give rise to a new meaning; though the metaphoricity of a phraseme is not completely lost in a new collocation; in a new text, some part of the metaphoricity is retained; it is this part that creates a particular linguo-aesthetic effect. Ukrainian literary authors often emphasize the inner form of an expression highlighting the nuances of its meaning; yet the capacity for transformation along the line of 'the combination of words in their direct meaning' -'phraseme' -'the combination of words in their direct meaning' -'phraseme' is far from being exhausted. For example, in one of his poems, I. Drach uses the Ukrainian idiomatic expression oбходити десятою дорогою (literally 'to take the tenth detour road', meaning 'to steer clear of [someone or something]'):

Обходити десятою дорогою To take a ten-times longer roundabout route Це значить -не лиш першу обминути,
Means not only to bypass the first road, А й одцуратись другої дороги, But also to reject the second route,

А третю так забути, що ніколи
And to forget the third one so that you'll never

And it is only the tenth road Якою можна справді обійти … That will really let you steer clear [of someone] … Тож скільки треба тих доріг пройти, So how many roads do you have to bypass Коли ти хочеш обійти когось
When, wanting to avoid someone, you Десятою, найдальшою дорогою … Take the tenth, the longest route … The phraseme oбходити десятою дорогою ('try to avoid someone or something in order not to get into trouble') undergoes the following transformations of meaning: 'the route' (direct meaning)the phraseme loses its motivation -it regains its primary meaning (the tenth route -the longest route).
From the perspective of linguopoetics, we analyze symbolic functions and meanings in metaphorical contexts relying on the capacity of low-imagery words (concept words) [9, p. 15] to carry a set of meanings, sometimes with vague semantic contours. It is linguopoetics that highlights specific linguo-aesthetic effects achieved through the use of symbolic meanings along with primary ones. V. V. Zhaivoronok states that there is 'a close connection between the author's symbols and deep folklore symbols' [5, p.147]; though it is evident that using the existing folklore symbols as linguopoetic means, the author enriches them with new connotative properties; on the other hand, a symbol coined by the author becomes part of a metaphorical context. Consider an excerpt from a poem by O. Oles: Snowdrops and grasses start springing up. It is the context that helps a reader to understand the symbolic meaning of the word snows: the repetition of the imperative Ой не сійтесь, сніги, ой не сійтесь, рясні -Oh, do not ye drift down, don't fall down, ye thick snows addressed to a natural phenomenon is a metaphorical call; a poetic association between snows (their detrimental effect) and glory creates another image; the smile of spring, snowdrops and grasses start springing up also have a metaphorical meaning; thus the symbol of snows enters the context as a component of the extended metaphor.
Another vivid example is the symbol word стигма (stigmata) as it is interpreted by a literary critic V. Riabchuk; stigmata are the wounds of crucified Jesus Christ; the critic defines stigmata as 'wounds that appear on the body of a person as a result of auto-suggestion' [13, p. 328]; in order to illustrate the definition, he cites an excerpt from B. Rubchak's poem: Хоч бурі обличчя зрили, Though bitter storms have ploughed your face, бо ж риють обличчя брил,because they do it even to the toughest ones, у плечах твоїх похилих your drooping shoulders збережені стигми крил.
still bear the stigmata of the wings. The words the stigmata of the wings 'are not only a feature of poetry per se; they are a specific paradigm of the whole Ukrainian history; the stigmata of the wings, the stigmata of culture, the stigmata of historical memory and national identity' [Ibid., p. 331]; thus the historically preconditioned semantic potential of the word stigmata is revealed through the symbolic meaning of the stigmata of the wings.
Analyzing metonymic shifts in words and word combinations from a linguo-poetic perspective, the researcher has to differentiate between phenomena of linguo-aesthetic level and the substitution of linguistic units with wider meanings for units with more specific meanings that are used in everyday speech; the latter may occur in literary texts too (consider, for example, Ivan Franko's words Час нам зі сцени зійти (It is time we pass from the scene), the standardized expression pass from the scene means 'to retire, to quit a job/an activity'). When the author finds a fresh substitute for a commonly used concept word that presents the idea in a new light and enriches its nominative meaning with specific connotative evaluations, they create quite a different linguistic and stylistic context. Consider the following lines by I. The word became the mace.
In the text, the two words designating the same object have different semantics: берлo (mace) * ; is 'the symbol of power'; скіпетр (sceptre), 'the symbol of the tsar's power'. The text implies historical changes: the period of foreign rule (sceptre) has been ended; the new ruling power is not so grand, but it is the national ruling force (mace); both words are dated, but the connotation of mace (the sign of honour and dignity) makes the glamour of the official sceptre fade; here both mace and scepter, being used as substitutes for 'power', perform the metonymic function. The text communicates the following message: even in the absence of state sovereignty, the Ukrainian nation did not disappear; the foreign power is gone, the country has its national leaders.
In literary texts, we often deal with the interrelation of tropes: simile, symbol, metonymy, epithet, hyperbole turn into metaphor [7, p. 215]; the creation of metaphorical similes, symbolic metaphors, etc. or extended metaphors, transformations of one trope into another are complex, contextually specific, artistically ambiguous processes. In one way or another, two tropes interact between themselves; additionally, the primary meaning of each archetype reveals itself at a deep level; thus there emerges a complex meaning, in which each trope has its own function, but it is only the integrity of the whole new image that fully reveals the true meaning. Consider an excerpt from Ye. Hutsalo's story Удосвіта
The mechanisms of transition from direct to metaphorical meaning in discourse, the development of additional word meanings and stylistic colouring should also be discussed. These transformations are especially conspicuous in the contexts that are close to folkloric materials, in tales and legends, where a reinterpreted word acquires the features of mythologeme. Consider an excerpt from H. Tiutiunnyk's Степова казка (Steppe Tale)
The linguo-poetic approach allows for comprehending the value of metaphorical collocations that are the core components of an excerpt or a whole text; their stylistic function is more than organizing the textual space, as they also provide new connotative colouring, create poetic environment, determine the value of tropes as an inherent feature of narrative. From a linguo-stylistic perspective, core collocations should be analyzed within 'vertical context'; the syntagmatic aspect of the analysis is subordinated to the paradigmatic one, and literary text is assessed through discourse analysis. It means that in a text, we establish dominant idiolectal forms, metaphorical collocations, whose function is to ensure the unity of its imagery system. Focused on such key components of a literary text, the researcher can find the correlation between elements depicted as real and those belonging to the sphere of phantasmagoria, they can find literary 'touch points' that make a text a work of art.
Consider the image of the voice of grass in the novel Дім на горі (House on the Mount) by V. Shevchuk: Вона почула голос трави, і це не цвіркун співав під ногами. Не був це голос ні птаха,  ні звіра, ні людини, ні комахи -так могла говорити тільки трава. Ішов той голос приглушено,  мов шепіт, але вона його розуміла. Знову-таки не так, як розуміють людську мову чи  тваринні поклики, -був то інший вимір, і вона не могла розказати який. (She heard the voice of grass, and it wasn't a cricket chirping under her feet. It wasn't the voice of a bird, or an animal, or a man, or an insect -only grass could speak like that. The voice was muffled, like a whisper, but she understood it. Not the way you understand a man speaking or an animal crying. It happened differently, although she couldn't explain how [19, p. 22]). This is the beginning of the story. At the end, another female character, who also haі her forerunner's ability, 'hears the voice of grass', Відчула, що ноги її стоять на траві і та знову промовляє до неї. Тоді вона вислухала тихий і сокровенний голос, адже до неї він віщав. (She felt her feet standing on the grass, and she heard it speak to her again. She listened to what the voice had to tell her, since it spoke to her [19, p. 60]).The symbolic metaphor the voice of grass conveys a complex meaning: it is the feeling of contentment, the joy of life, the happiness of being useful to others; also it is the idea of continuity of generations, the immortality of nature.
Another important thing to be noted is recent attention to idiolect, the author's unique manner of writing. This tendency responds to the search for new literary images, the extension of the sphere of the non-standardized forms of expression, in Ukrainian fine literature in particular; literary authors aspire for the creation of their own unique linguistic pictures of the world, their individual systems of language and thinking; they employ devices that let a reader recognize their individual, author-specific stylistic patterns. Both classical and modern Ukrainian literature demonstrates that the author's individual style cannon but reflect traditional and innovative tendencies in language formation; at the same time, the author's idiolect determines the place of the writer in the structure of the national idiolect. In order to comprehend the author's individual style, we have to consider and evaluate their works as a whole, paying special attention to innovations in their vocabulary and the structure of discourse. For example, V. Yaroshenko's poem До неба фіалкова риза (A Violet Robe) is abundant in tropes; being fascinated by the beauty of nature, the author draws on symbolic imagery in order to convey the feeling of enjoyment; the text seems to overflow with stylistic devices:

[The moon's] half-eye is burning…
The imagery seems excessive, redundant: the metaphorical word robe, the metaphorical epithet violet, the metaphorical hyperbole is pinned to the sky by the stars, the metaphorical collocation sprinkled with gold, the metaphorical epithet dusky blue, the metaphorical epithet transparent, the metaphorical collocation the earth is sprinkled, the metaphorical collocation is burning in the sky, the metaphorical collocation is burning in its violet skin, the metaphorical collocation [the moon's] half-eye is burning. Consider another text, a poem by I. Kalynets (the last quarter of the 20 th century): свіжий хрест a freshly-carved cross недармo плаче з нього космацька живиця it is not in vain that it drops the tears of Kosmach * fir-tree sap (прошу зробити виноску до Kosmach*) о він ще послужить замість іконостасу oh it will still serve instead of the iconostasis у нашому окраденому храмі in our robbed church The expression a freshly-carved cross receives its metaphorical meaning due to the collocation of the epithet freshly-carved ('made of fresh timber') and the word cross, the general meaning being not only 'a cross made of fresh timber', but also 'a new cross, a beautiful cross'; the metaphor it drops the tears of (…) fir-tree sap conveys the meaning of sadness; the metaphor the cross will still serve instead of the iconostasis means that people will use the cross during the service; the metonymic use of the word cross enables the author to create the image of the bearer of holiness, God's grace; the metaphorical expression in our robbed church conveys the generalized idea of the native land (our) as the halidom that for centuries had been robbed by intruders. This piece of text is a poetic generalization, the author's idea of the revival of Christian and national values.
If we regard a literary work as a multi-layered phenomenon with its own subsystems presenting different forms of the author's language and thinking (for example, the use of different styles, monologue and dialogue speech, lyrical and publicistic digressions from the main line of the narrative), we will find in it traces of allusions, antonymic structures, inner contradictions. Using in one's verbal space other people's vocabulary and phraseology, citing documents and even charts is gradually becoming a modern literary trend. Intertextual insertions have to be analyzed as to their textual appropriateness, compatibility, presence, functional and semantic value. Such references to 'the text within the text' typically perform the imagery function and are a factor in the process of literary metaphorization.
Various allusions to literary sources, folk songs, mythology, etc. -even if they are not always understandable, at least for an average reader, even if their content parallels are not traceable -create a specific linguo-aesthetic effect, stimulate a reader's mental processes and make them decode the meanings of precedent texts. In such cases, allusions are perceived not as an indicator of the author's intellectual scope, but as the specificity of their language and thinking, their world view presented as the web of concepts; each allusion parallel is perceived as a different approach to a phenomenon or an * Kosmach (established in 1427) -a Ukrainian village in Kosiv District, Ivano-Frankivsk Oblast, a centre of traditional Hutsul folk art and crafts. event, which is viewed through the eyes of another author, who may be even new to it. Consider an excerpt from the poem Місто (City) by M. Semenko:

де ділось сонце? Вже одсвітило where is the sun gone to? It has already stopped shining де ділась пісня? Вже одгула
where is the song gone to? It has already been sung гамірить місто і дзвонить мило the city is vibrating with noise and chiming sweetly і окропило «Цвіточки зла»...
it has [already] spayed 'The Little Flowers of Evil'… The author creates the picture of a busy and noisy city; the image is a reference to the volume of poetry The Flowers of Evil by Charles Baudelaire that conveys the feelings of anxiety, apprehension, restlessness, the atmosphere of danger.
Typically, allusion is an element of extended metaphor. For example, in a heteroclite short story Самсон (Дім на горі) (Samson (House on the Mount)) by V. Shevchuk, Ivan, a character endowed with tremendous physical strength is the allusion to the biblical Samson; in the story, Ivan wrestles with an imaginary lion and defeats it, Хвилі полину покотилися ще густіше -вже не було нічого, крім полину та відчаю, крім гіркоти і лева, що швидко пішов йому назустріч. «Ну от, -встигла мигнути йому думка, -ми знову візьмемося з ним уручки». Лев стрибнув на нього, й вони покотилися по тому полину, яким заросла церква, а на них із гуркотом звалилася темна лавина чи хмар, чи поламаних дерев. (Дім на горі) (The waves of wormwood were rolling ever thicker -and there was already nothing but wormwood and despair, nothing but bitterness and the lion that was approaching him quickly. 'Here we go,' a thought flashed through his mind, 'it's a single combat again.' The lion leaped at him, and they rolled along the wormwood that choked the church, and a dark avalanche -of clouds of broken trees -fell on them with a crashing noise.) The specific linguo-aesthetic effect of this text is achieved through the combination of some Ukrainian national realia (church, wormwood) and a biblical element (lion); the allusion is indirect (the character has been blinded, and he cannot see with whom he is wrestling -a beast or a man). The heroic motif is revealed through the literary dichotomy of 'Ivan vs. an aggressive mob' -"Samson vs. the lion'.
Intertextual elements typically do not interfere with the author's style of writing; they become an inherent feature of their text; consider, for example, a recent tendency to weave verse into prose fabric, thus making a story 'move on'. In their texts, authors use fragments of poems and even whole poems of their own or other people's authorship; for instance, Yuri Andrukhovych uses numerous quotations from the poems by B.-I. Antonych's in the novel Twelve Rings, which tells the story of the poet's life. Authors also employ more complex linguo-poetic methods such as switching from one style to another or combining elements of different styles in the same narrative. For example, using publicistic fragments in literary discourse is a quite popular trend. Obviously, the current social and political situation in Ukraine affects the authors' way of thinking, social consciousness and manner of writing. Then, there arises another question: creating a story, the author is supposed to rely on literary means; so are the author's comments appropriate, are they necessary? It has to be noted that in a literary work, a pronounced publicistic element, the author's subjective opinion can interfere with their artistic style.
Consider The structure, the tone, the syntax of this excerpt are close to those of publicistic discourse; the text is overloaded with abstract words (futurism, pompousness, irrationality, comprehend) and nontranslated borrowings (Campari, Tax Free).
The literary discourse of modernist authors has a number of features that make its analysis rather difficult: first, both poetic and prose texts often involve interpretation of inner deep meanings, especially if the language of such texts is marked by semantic ambiguity; second, from the perspective of form, a text can show signs of destruction; for instance, if it is built on the principle of 'stringing', i.e. adding more and more word combinations, clauses and sentences, comments, insertions; injecting direct and reported speech, inner monologues, interactives, etc.; third, in order to create their own world of images, an innovative author employs an unorthodox organization of tropes, designs new metaphors, hidden symbols. Such texts require new linguistic, cognitive and linguo-poetic principles of analysis.
For example, linguo-poetic approach can be applied to the interpretation of poetic texts, whose imagery is based on unexpected associations, whose typical features are originality, mysterious narrative, discrepancy between artistic and real-life world view. Deciphering the meaning of such texts may present difficulties, as their plausibility is hard to prove, thus their analysis may yield ambiguous results; it is probable that ambiguity is inherent in the author's consciousness; at least, we can maintain that within this trend, deviations from codified norms of collocation (syntactic destructivism) is regarded as a linguo-stylistic norm. Consider an excerpt from the poem by V. Kordun:

Задля жоржинності
For the sake of dahlianess жоржиновий Христос dahlia Christ долонькою маленькою with a small palm of his hand геть відгортає землю moves the soil away від коріння жоржин.
from dahlia roots. In order to interpret the text, we have to decode the author's symbol of dahlia and to understand what Christ means to him; it will allow us to understand the meaning of the collocation dahlia Christ (Christ as the saviour of dahlias?); evidently, we have to rely on the idea of beauty as Christ's gift [10, p. 31]. Consider another example (an excerpt from a poem by Yu. Andrukhovych): Сади будинків -цегляний едем, The gardens of buildings -a brick Eden де лагідно мовчать скульптурні звірі, where stone animals keep an amiable silence, де ранні позивні тремтять в ефірі,where early morning call signs tremble on the air,ми їх на мову птаства покладем.
we will fit them to the language of birds. The poem creates a romantic picture of a big city, hence the semantically related high-imagery word gardens and low-imagery word Eden, the key words in the metaphors the gardens of buildings and a brick Eden; the metaphorical expression keep an amiable silence (stone animals are supposed to keep silence); means and devices. Evidently, comprehensive researches based on comparative literary analysis can help us to establish the unique linguistic and aesthetic creed of leading modernist authors.