Thanks for a great job, Larry san!

I will keep my eyes open for now and appreciate any more online LINKS
on this subject.

Got to run ...

GABI



> Gabi san,
>
> Well, since you singled me out...
>
> Here is the url for a list of "Japanese Sound effects and what they mean,"
which is useful in attempting to understand manga:
>
> http://www.oop-ack.com/manga/soundfx.html
>
>
> Blyth discusses onomatopoeia in "Haiku," Vol. 1, "Eastern
> Culture," "Section V The Technique of Haiku, 4. Onomatopoeia."
>
> To summarize:
>
> According to Blyth, "of all languages, Japanese is by far the richest
> in onomatopoeic elements..."
>
> Blyth identifies three types of onomatopoeia: "(a) The direct
> representation of the sounds of the outside world by the sound of the
> voice. ... (b) The representation of movement, or physical sensation
> other than that of sound. ... (c) The representation of soul
> states. ..."
>
> Blyth quotes the following examples:
>
> (a)
>
> Ochikochi
> ochikochi to utsu
> kinuta kana.
>
> Here and there,
> There and here,
> Beating fulling-blocks.
>
> Buson
>
> Ichi boku to
> poku poku aruku
> hanami kana
>
> He ambles along
> With his man-servant:
> Cherry-blossom viewing.
>
> Kigin
>
> Butsudan ni
> honzon kaketa ka
> hototogisu.
>
> "Is the main image
> Set on the altar?"
> Cries the hototogisu.
>
> Soukan
>
>
> (b)
>
> Ishikawa wa kawarari inazuma sarari kana.
>
> The Stony River rippling,
> The lightning
> Flickering--
>
> Issa
>
> Yusa-yusa to haru ga yuku zo yo nobe no kusa.
>
> Spring departs,
> Trembling, in the grasses
> of the fields.
>
> Issa
>
>
> (c)
>
> Hito chirari konoba mo chirari horari kana.
>
> People are few,
> Leaves also fall
> Now and then.
>
> Issa
>
> Utagauna ushio no hana mo ura no haru.
> (Blyth says in a footnote, "notice the u's, and a's.")
>
> Do not doubt it,
> The bay has its spring too,--
> The flowers of the tide.
>
> Basho
>
> Osoki hi no tsumorite touki mukashi kana.
>
> Slow days passing, accumulating,--
> How distant they are,
> The things of the past!
>
> Buson
>
> Osoki hi ya kodama kikoyuru kyou no sumi.
>
> The slow day;
> Echoes heard
> In a corner of Kyoto.
>
> Buson
>
>
> After giving these examples, Blyth goes on to say:
>
> "We should remind ourselves once more of Basho's advice to his
> disciples:
>
> 'Repeat (your verses) a thousand times on your lips.'
>
> Haiku, no less than waka, are songs; they are meant to be read aloud,
> and repeated aloud. Onomatopoeia is not a matter of the eye, though
> it may help; the full and perfect meaning of a haiku is not realized
> until it is heard by the physical ear."
>
>
> Here is another (well-known) haiku taken from another part of Blyth's
> discussion of onomatopoeia:
>
> Haru no umi hinemosu notari notari kana
>
> The spring sea,
> Gently rising and falling,
> The whole day long.
>
> Buson
>
> I would say this is an example of (b).
>
>
> In "The Haiku Handbook," Higginson reiterates Blyth, adding his own
> thoughts, and also discusses the visual aspect of onomatopoeia (see
> the book's index).
>
>
> Joan Giroux, in her book, "The Haiku Form," also discusses
> onomatopoeia. She gives some of what she describes as "innumerable
> repetitious and onomatopoeic words" in the Japanese language, such
> as "'perapera' (fluently), 'pikapika' (shiny), 'pachipachi'
> (crackling), 'pakapaka' (galloping), 'parapara' (patter), 'wakuwaku'
> (nervously), [and] 'tsurutsuru' (slippery)--all of which are used to
> great advantage in haiku."
>
> Ms. Giroux gives one Japanese example of onomatopoeia in haiku:
>
> Uma hokuhoku
> Ware wo e ni miru
> Natsu-no kana
>
> I find myself in a picture
> The cob ambles slowly
> Across the summer moor.
>
> Basho
>
>
> I'm confident that there are additional fruitful discussions of the use of
onomatopoeia in haiku in other books and in online articles.
>
> Larry
>
>
> > Onomatopoetic Words are rather hard to translate.
> >
> > http://wkdhaikutopics.blogspot.com/2007/12/onomatopoetic-words.html