Dictionary of Iconic Expressions in Japanese: Vol I: A - J. Vol II: K - Z 9783110809046, 9783110128109

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Dictionary of Iconic Expressions in Japanese

W G DE

Trends in Linguistics Documentation 12 Editors

Werner Winter Richard A. Rhodes

Mouton de Gruyter Berlin · New York

Dictionary of Iconic Expressions in Japanese A-J Hisao Kakehi Ikuhiro Tamori Lawrence Schourup with the assistance of

Leslie James Emerson

Mouton de Gruyter Berlin · New York

1996

Mouton de Gruyter (formerly Mouton, The Hague) is a Division of Walter de Gruyter & Co., Berlin.

© Printed on acid-free paper which falls within the guidelines of the ANSI to ensure permanence and durability.

Library of Congress

Cataloging-in-Publication-Data

Dictionary of iconic expressions in Japanese / [edited by] Hisao Kakehi, Ikuhiro Tamori, Lawrence Schourup : with the assistance of Leslie James Emerson. p. cm. — (Trends in linguistics. Documentation ; 12) Includes bibliographical references and index. ISBN 3-11-012810-1 (cloth : alk paper) 1. Japanese language - Mimetic words - Dictionaries. 2. Japanese language - Dictionaries — English. I. Kakehi, Hisao, 1930. II. Tamori, Ikuhiro, 1946. III. Schourup, Lawrence C. (Lawrence Clifford), 1947IV. Series. PL685.D453 1996 495.6'321-dc20 95-45183 CIP

Die Deutsche Bibliothek —

Cataloging-in-Publication-Data

Kakehi, Hisao: Dictionary of iconic expressions in Japanese / Hisao Kakehi ; Lawrence Schourup ; Ikuhiro Tamori. With the assistance of Leslie James Emerson. - Berlin ; New York : Mouton de Gruyter. (Trends in linguistics : Documentation ; 12) ISBN 3-11-012810-1 NE: Schourup, Lawrence:; Tamori, Ikuhiro:; Trends in linguistics / Documentation A - J (1996)

© Copyright 1996 by Walter de Gruyter & Co., D-10785 Berlin All rights reserved, including those of translation into foreign languages. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Printing: Gerike, Berlin. Binding: Lüderitz & Bauer, Berlin. Printed in Germany.

DEDICATED TO PROFESSOR YUICHI ΜΙΤΟ AND TO PROFESSOR TOSHIKO WAIDA FOR THEIR INSIGHT AND THEIR ENDEAVORS

Acknowledgments

We wish to express our appreciation to the many people who have contributed to the completion of this work since the project began in 1980. We are particularly indebted to the late Professor Toshiko Waida who was closely involved in all the early stages of compilation and supervised the gathering and cataloging of published examples. With her warmth, humor, and ebullient good cheer, Waida-sensei also very much set the tone of our afternoon editorial meetings. She is dearly missed. Leslie James Emerson worked with us steadily until his departure from Japan in 1990. Although he contributed to many aspects of compilation and editing, his primary responsibility was to produce draft English translations of Japanese examples, a task for which his dexterity in both languages immediately recommended him. A number of people who worked on the project for shorter periods, also made significant contributions. Kenichi Kadooka joined the team during the final years and served in a variety of roles. He was importantly involved in the process of editing definitions and examples. Masaaki Yano joined the group during the same period and served both as a usage consultant and technical assistant. He played a key role in readying the index for publication. Roy Young, involved in the project until 1982, was responsible for producing preliminary drafts of definitions. We also express our gratitude to Masayoshi Shibatani for very useful suggestions in regard to the organization of the dictionary; to Werner Winter for suggestions he made as Series Editor for Mouton de Gruyter and for participating in the workshop on Japanese onomatopoeic expressions conducted by the editors at the 14th International Congress of Linguists in East Berlin in 1987; to Haruya Matsumoto, Shinzo Kitamura, and Katsumi Tanaka for many valuable discussions of particular issues; to Kazuhiko Ibuki and Hideo Ikarugi for generous technical assistance; and to Kazuyo Takemoto, Noriko Imazato and the other students in the English Department, class of 1989, at Osaka Women's University, who assisted in gathering examples from published sources. We extend very particular thanks to Hideo Tominaga, who graciously undertook to read the entire manuscript in the final stages of preparation, and to Terumi Yumoto and Sujeet Pradhan, who carried out the laborious work of formatting the dictionary. We also wish to thank Seiko Tamori for her efforts as business manager.

acknowledgments

We are grateful to the Japanese Ministry of Education for financial support of the data-base used for this project, during the three-year period from 1988-1990, and to the Academic Support Fund of Kobe University of Commerce for additional funding. Finally, we wish to express our deep gratitude to the late Professor Yuichi Mito, senior co-editor of the first dictionary of Japanese iconic expressions with English translations and definitions, which appeared in 1981. Several other dictionaries of iconic forms have been published since then, but all implicitly subscribe to Mito's original view that familiarity with the use of iconic words is indispensable to an appreciation of Japanese as a living language.

Kobe, 1995

Hisao Kakehi Ikuhiro Tamori Lawrence Schourup

Contents

Acknowledgments Introduction Dictionary of iconic expressions in Japanese List of abbreviations Index

vii xi 1 1338 1340

Introduction

The vocabulary of Japanese includes a large number of words that may be broadly characterized as iconic or mimetic, that is, words whose phonetic form is felt by speakers to be imitative of natural sounds, actions, and states. Many Japanese iconic words do not appear in either monolingual or bilingual dictionaries despite the fact that these words are well known to native speakers. The omission of many iconic words from English-based bilingual dictionaries is perhaps understandable: it is in some cases difficult or impossible to provide even approximate English equivalents for these terms; moreover, those English expressions which do seem partially equivalent to Japanese iconic forms are often considered by native speakers of English to be childish or informal and of marginal lexical status. Under-representation of such forms in monolingual Japanese dictionaries is harder to explain, but is probably also due, in part to the feeling that such highly expressive forms are not properly considered to be part of the standard language. As against the impression that mimetics may not be part of mainstream Japanese, there is the evidence of actual usage. When we examine the occurrence of iconic words in both spoken and written Japanese, we must conclude that such words enjoy a position in the language that is anything but marginal. Such forms are indispensable to daily communication. Iconic expressions occur frequently in conversation, especially in informal conversation; they are widely used in newspapers and magazines, in most forms of advertising, and in literature, from children's stories, where they are used lavishly, to popular novels. Facility in using such forms to express subtle gradations of expressive meaning is widely recognized as a mark of fluency. The important role that iconic expressions play in Japanese has been brought into clearer focus in recent years with the appearance of a number of specialized dictionaries and handbooks of iconic forms, and even a learner's thesaurus of iconic words. These reference works differ in their goals and organization, but all give overdue treatment to a much neglected sector of the Japanese lexicon. They help to fill, for translators and students of the language, the 'information gap' created by the sparse representation of iconic forms in general-use Japanese-English dictionaries. The present dictionary is an attempt to provide a comprehensive resource that will be useful to all those who require information about

introduction

Japanese iconic forms or about related English forms. While intended primarily to meet the needs of linguists who have an interest in Japanese, in expressive language, or in sound symbolism, the dictionary should also be of use to those concerned with learning or teaching the expressive vocabulary of Japanese to English speakers (or that of English to speakers of Japanese); to students and teachers of Japanese literature, or of English literature to speakers of Japanese; and to translators. To answer the needs of such users, we have attempted improvements over existing dictionaries in several areas, which will be discussed in detail in later sections of this introduction. In particular, we have attempted to provide (1) coverage of a greater number of iconic words; (2) more complete and reliable definitions; (3) explicit information concerning syntactic usage; and (4) a balance between constructed typical-case examples and natural-source examples. This dictionary is an attempt to further the descriptive effort which began in earnest with the publication of dictionaries of Japanese iconic expressions by Amanuma and Asano in the 1970's, and which is still now in its early stages. Detailed studies are still needed to clarify the meaning of individual iconic forms as well as the often intricate semantic relationships among words referring to the same general area of meaning. Studies of syntactic, semantic, phonological, and stylistic variation in the iconic vocabulary of Japanese, and studies of the acquisition and historical development of iconic forms, remain to be carried out. Such studies will not only illuminate the role of Japanese iconic expressions but more generally will shed light on broad theoretical questions concerning the function and status of expressive language.

Organization of the dictionary Main text 1. Entries Iconic forms are listed alphabetically in roman spelling. Words containing geminate consonants (such as sappari, spelled in this dictionary as sa'pari), and other words whose spelling contains an apostrophe, are alphabetized as if the apostrophe were not present. The only exceptions to this practice are cases where two relevant words are identical except that xii

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one contains an apostrophe in a particular position while the other does not. In such cases the word that does not contain an apostrophe is placed before the one that does. Thus, for example, supori appears before su'ροή. The iconic words listed in this dictionary are intended to be those generally known to speakers of Japanese. With a few clearly noted exceptions, we have excluded words that are rare, slangy, used in highly restricted dialect areas, or that seem to us to represent nonce formations. The concentrated use of sound-symbolic elements in Japanese lends itself to new creations, many of which never become widespread and are often short-lived. We have tried to include all iconic forms which are established in standard Japanese. In practice this criterion has meant excluding forms and usages for which an example could be found but that were not recognized by us or our informants, including a few items listed in earlier dictionaries of Japanese iconic terms. Note, in this regard, that reduplications and forms with the suffix -ri are listed only if the reduplicated or suffixed form is in common use; thus, for example, the common form kachin-kachin 'an originally soft or liquid substance becoming hard' has been included, while the very uncommon boton-boton 'sound of small objects falling onto a soft or wet surface' has been excluded. The meanings of the excluded reduplications and -ri suffixed forms can usually be surmised from the meaning of the listed root form. Forms which have the phonological shape of iconic forms but are written with Chinese characters and consist of combinations of independent non-iconic roots (e.g. doo-doo 'magnificently', raku-raku 'easily') are also not listed. A few words which may originally have been iconic but have now become simple adverbs (e.g. cho'to 'a bit') are also excluded.

2. Definitions Within a single entry sound definitions are given first, followed by manner definitions. There may be various separate sound and manner definitions for a single entry. In such cases each definition is given a number (S1, S2, etc., M l , M2, etc.). No particular importance should be attached to these numbers; they are given only for ease of reference. Within each Μ definition, or numbered sub-definition, there may also appear additional figurative definitions, designated 'Fig'. These figurative definitions, listed after the non-figurative examples, are not always very closely related to the more general numbered definitions within which they are included. This point should be kept in mind when using the index [see Index below].

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Note also that when a figurative meaning is easily predictable from the main definition, no special figurative definition is listed. We would like to emphasize that the definitions given in this dictionary are very general. They are not attempts to express delicate subtleties of meaning, and they do not always provide a clear-cut way to differentiate between distinct forms. Our rationale for following this procedure is as follows. First, definitions written with too much delicacy cannot be easily reconciled with the full range of actually occurring examples. Previous work on Japanese iconic expressions has often attempted to provide more detail than data will consistently support. Such over-refined definitions, while they seem to distinguish conveniently between forms that are closely related, mask the fact that closely related forms are often interchangeable in particular contexts without any noticeable change of meaning. In our experience, native speakers of Japanese can, if pressed, provide enormous detail about the differences between semantically related forms, but the information thus provided is often unreliable: different informants typically provide different, often contradictory, subtleties of meaning for a given form. For this reason we have attempted to define iconic words in this dictionary in such a way that the whole range of meaning of each form is included within its various sound and manner definitions. Even with definitions of such breadth, however, it is occasionally the case that a particular usage is only weakly related to the general definition under which it is subsumed. We have tried throughout to strike a balance between generality and detail so that definitions will contain enough specificity to direct users to the appropriate range of meanings but not so much that broad affiliations of meaning are lost from view. In practice this means that definitions for different items are often identical or nearly identical. For finer discrimination, we leave the reader to examine the examples themselves. This is in accordance with our general view that the work of describing the finer aspects of the meaning of Japanese iconic words has yet to be accomplished. The classification of definitions into two general groups, sound and manner, is not intended to be strict. No claim is made that these two categories are theoretically distinct, though they do exhibit some syntactic divergence (-suru forms, for example, rarely involve sound iconics). An attempt has simply been made to divide the forms into those which seem to be primarily sound related and those which are primarily felt by native speakers to designate manners or states. Sound forms frequently have manner associations as well, and, though this happens less often, manner xiv

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forms may also have sound associations. Some forms which designate actions which, in particular circumstances, may produce no actual physical sound have been listed with S definitions (e.g. zuru-zuru 'slide') when this corresponds to native speaker intuition. In a few cases a form is not obviously to be placed more in one category rather than the other, and in such cases the definition has been listed as S/M.

3. Usage categories Within each S or Μ definition, 'usages' are included for each form. These usages are the basic syntactic combinations that are relevant for each form. Though the information contained in these usage categories was not explicitly included in earlier dictionaries of Japanese onomatopoeia, it is essential for appropriate use of each form in discourse. In the case of S forms, normally only one usage is listed per S definition; however, for Μ forms, there may be various usages, listed in the following order: manner adverbial usage [with or without the particle to]; adjectival usage [with no]; resultative adverbial usage [with ni]; predicative usage [with da]; degree and frequency adverbial usages [with no particle]; and verbal usages [with -suru, etc.]. These various usages, discussed later in this introduction, are listed in bold print in the main text. Note that the abbreviations Ν and V in usage categories refer to nouns and verbs, respectively; the symbol 0 is used in unusual cases where the particle to cannot be used. Note also that only usages that are well established have been included. Since all S forms are used as manner adverbials, they never appear with no, ni or da. Use of the particle to is optional with reduplicated sound iconics (e.g. goro-goro (to), gata-goto (to)), but is preferable with bisyllabics ending in Ν and -ri (e.g. dokan-dokan, busuri-busuri). For other types of sound-based manner adverbial S forms, the use of to is obligatory (e.g. goro' to, gorori to). The situation is more complex for Μ forms. Reduplicated forms fall into three categories: (i) for manner adverbials to is optional (e.g. kira-kira (to) hikaru 'glitter'); (ii) for ordinary resultative adverbials ni is obligatory (e.g. kuta-kuta ni tsukareru 'become dead tired'); (iii) for resultatives that modify nouns or are predicative, the particle is obligatory, as in yore-yore no zubon 'worn out pants' and kuta-kuta da 'is very tired'. With Μ forms having the phonological form CV+Q/N+CV+π (see 'Phonological form' below) to is always optional, whether the forms are manner adverbials or resultatives. Manner examples are po'kiri (to) oreru XV

introduction

'snap off' andfun-wari (to) ukabu 'float lightly'. Resultative examples are gu'tari (to) tsukareru 'be dog tired' and kon-gari (to) yaku 'bake until golden brown'. All other manner adverbial forms take obligatory to. (All resultatives are either reduplicative or have the form CV+Q/N+CV+π and thus fall exhaustively under the previous generalizations.) When Μ forms are combined with verbs to form complex forms, the verb is suffixed and is usually -suru. When manner adverbial iconics ordinarily requiring to enter into such combined forms, they retain to. Those in which to is optional generally do not appear with to. Note that the forms with suffixed -suru may be listed in one of three ways: i) -suru; ii) -shite-iru; iii) -shita N. Such listings should be understood as forming an implicational hierarchy; that is, if the -suru form is listed, both the -shite-iru and -shita Ν forms are possible; if the -shite-iru form is listed, the -shita Ν form is also possible but -suru is not; and if the -shita Ν form is listed, neither -shite-iru nor -suru is possible. There are few exceptions to this hierarchy. Verbs formed with -tsuku , -meku , and -keru are derived from reduplicated forms (e.g. beto-tsuku from beto-beto; see 'Syntactic categorization' below) and are listed under the appropriate reduplication. Nominal usage usually takes the unaltered dictionary form (e.g. wanwan 'dog'). However, combined forms such as the blend gari-ben (from gari-gari benkyoo-suru) are listed under the corresponding reduplication.

4. Examples Throughout the dictionary both fabricated and quoted examples are used. The fabricated examples were created by the editors; quoted examples, numbering about 3,700, are taken from aprroximately 850 twentiethcentury literary sources, usually novels written in the last twenty-five years, and in some cases from newspapers. When the source of an example is not specifically noted, the example should be assumed to have been fabricated. Use of both fabricated and quoted examples provides maximally accurate information about meaning and usage. Quoted examples do not always clearly exemplify the most representative uses of a form; fabricated examples, although designed to illustrate the most typical uses of a form, tend not to adequately represent the semantic range of the form. Use of both types of examples is intended to remedy the deficiencies of a purely intuitive or purely data-based approach. In general the number of examples provided for a particular form gives a rough indication of the form's commonness: very common forms xvi

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are amply exemplified in the dictionary; less common forms sometimes appear with only a single example. If a form is uncommon and its use is equivalent to that of a more common form, no example is provided, but the form is cross-referenced to the dominant form. Each example is given in three versions: the original Japanese, a romanization, and an English translation. Romanization follows the Hepburn system of romanization, with two adjustments: nonfinal moraic nasals [N] are followed by a raised dot [e.g. zun-guri], and the moraic consonant [Q] is represented by an apostrophe (e.g. gyo'). Note also that reduplications have been hyphenated and numerals represented with Arabic numerals in the original example are spelled out in the romanization. Iconic forms are given in hiragana in fabricated examples, and in either hiragana or katakana in quoted examples, depending on the original. Our use of the hyphen in romanized versions of examples is influenced by native speaker intuitions about syllabic structure and is not intended to indicate morphemic boundaries; thus, for example, we write yoma-reru and yoma-seta where a strictly morphemic analysis would require yomare-ru and yom-ase-ta. Note also that the colon used in romanizations of non-iconic words (e.g. suke:to) corresponds to a dash indicating vowel length in a form given in katakana in the original example. This convention is not followed in our romanizations of iconic words, however. Vowel length in mimetics like kyaa is inconsistently represented in ordinary orthography, either as a double vowel or as a dash after a single vowel. We therefore follow the prevalent practice of romanizing iconics consistently with the double vowel spelling in all such cases. We must stress that translations given for iconic forms are only approximations, Japanese iconic forms rarely correspond closely to English forms with related meaning. Note also that an English translation of a Japanese sound form may be primarily associated with manner, and vice versa. In a small number of translations, the lack of a contextually suitable form in English made it necessary to forego a direct translation of the Japanese iconic form being exemplified; in such cases readers must examine the verbal and non-verbal context (and the definition) to determine the value of the iconic form used in the Japanese version. (See, for example, the translation of kata ο pitari to yosete-ita as pressed her shoulder in example #3 under pitari Ml). When multiple examples are given for one form, we have tried to make use of a variety of English translations in different examples whenever doing so did not seem to result in distortion. In the case of quoted examples, the source of the example is given following the English version. Author's names are written, as is xvii

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customary, without indication of vowel length and without raised dots following moraic nasals. The author's given name appears first, followed by the family name. Page numbers are followed by the name of the publisher in abbreviated form. Abbreviations are expanded in the section called 'List of abbreviations' immediately preceding the index at the back of the volume. Publication dates refer to the particular edition from which the example was taken, not necessarily to the earliest edition. Within an example the portion of the example immediately relevant to understanding the use of the iconic form in question is shown with emphasis. In the original Japanese version, this emphasis takes the form of underlining; the emphasized portion appears in plain form in the romanized version and in italics in the English translation. Syntactic differences between Japanese and English occasionally result in a slight semantic mismatch between the emphasized portion in the original and that in the translation. In addition to the emphasized portions enough surrounding text is included in each example to enable the reader to contextualize the form being used. In some cases, and particularly so in the case of quoted examples, a fairly long section of discourse has been included, but an attempt has been made to include no more than is helpful. Irrelevant portions of quoted texts have been elided; when an elided portion falls within the material quoted, the elision is marked with square brackets enclosing ellipsis points ([...]).

5. Index An index of English words and expressions used in definitions and examples appears at the end of the dictionary. Only words and expressions related to the meaning of iconic forms have been included. This index is not intended as a list of English synonyms for Japanese iconics. The English entries listed in the index are often related only to a single aspect of the meaning of the Japanese term or to its use in a particular highly limited context. Moreover, it is only in very exceptional cases, for example in the representation of certain animal noises, that Japanese and English iconics correspond closely in meaning. For these reasons it is necessary for those not already proficient in the use of Japanese iconics to refer to the index first and then also to the relevant Japanese entries in the main text, when looking for Japanese counterparts to English items. Those already adept in the use of Japanese iconic expressions can make use of the English index in a more direct way, as an aid to recalling the Japanese forms which might be appropriate to render the meaning of a given English word. But in all cases, it is important to recognize that a direct word-for-word translation is often not possible in the case of iconic forms. xviii

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The index lists English words alphabetically followed by an alphabetical list of the relevant Japanese forms together with an indication of which definition should be looked under within the main entry for each form (unless the form in question has only one definition). We draw attention to the following additional conventions which have been adhered to in constructing the index: (1) Word class: Many noun/verb pairs such as knock (n.) and knock (v.) are not listed separately. Since it is possible to render a Japanese term with either form ('There was a knock'/'Someone knocked'), it was considered most useful to collapse entries whenever the meanings were not substantially distinct. The same procedure was followed, for the same reason, for many adjective/adverb pairs such as exact/exactly (both listed under exact), and in other cases. When word class is important to the meaning it is separately noted, but this has only been done when not doing so was likely to lead to confusion (e.g. crop (v.)). (2) Inflected forms: Entries are usually listed in their uninflected form. Exceptions are extremely common participial forms Qdepressed, exciting) and cases in which the inflected form has a distinct meaning (e.g. opening). (3) Multiple word entries: When an English item consists of more than one word, it is listed under the main word in the expression. For example: flurry, in a. The abbreviations s/o 'someone', s/t 'something', and w/o 'without' are used. (4) Optional elements: When items are collapsed parentheses are used to indicate optionality (e.g. stick(y)), especially when a user might be equally likely to look under either the expanded or basic form. (5) Subcategorization: In cases of polysemy, a note on the intended meaning is sometimes given in square brackets. These meaning notes may take two forms: a) a synonym or near-synonym preceded by an equal sign (e.g. pickled [-drunk]) or an indication of context (e.g. play [music]). (6) Alphabetization: Alphabetization of English entries ignores material following commas (except to distinguish otherwise identical entries) and material enclosed in parentheses (again, except to distinguish otherwise identical entries). Hyphens are ignored. Meaning subcategories for a single form appear alphabetically. Alphabetization of Japanese forms is strict, with hyphens and other marks of punctuation being ignored, but indications of which sub-definition should be referred to do not affect alphabetization; rather they appear in the order in which they are listed in the main text, that is, SI, S2, etc., Ml, M2, etc.

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Iconic expressions in Japanese In this section we offer a brief sketch of the phonological, syntactic and sound-symbolic characteristics of Japanese iconic forms. Those wishing to pursue these topics further may consult the works listed in the bibliography following this section.

Phonological form Most Japanese iconics fall into one or another of the following three canonical forms (where C = consonant; V = vowel; Q = moraic consonant; N= moraic nasal; ( ) = optional element): A. Reduplications (bura-bura, kasa-kasa, musha-kusha, kasa-koso, basari-basari, burun-bururi) B. CV(Q/N)CVn (e.g. basari, darari, gorori, be'tori, gu'tari, bon-yari, kon-gari) C. CV(CV)Q/N (e.g. ha', sa', ban, gon, keen, basa', goro', gatan, patan) Most reduplications are exactly repeated CVCV structures (e.g. burabura, kasa-kasa), but a minority of CVCV root reduplications are inexact {musha-kusha, gasa-goso). VCV reduplications are common (uja-uja, oro-oro) but occur far less frequently than CVCV reduplications. A rather small number of reduplications are trisyllabic, produced through suffixation of -ri to a root (e.g. sakuri-sakuri, basari-basari). With only one exception (rero-rero), bisyllabic reduplicated roots do not repeat the same consonant in both syllables. Forms not falling into one of the three canonical groups listed above are relatively uncommon: there are a few simple CV(V) structures, as in fu, gaa and zui; a few simple CVCV forms (e.g. soyo, gaba), a modest number of combined forms such as don-pishari and su' ten-kororv, and a scattering of other shapes: ata-futa, chigu-hagu, aan, guusuka, hon-waka, pii-pii-po'-po, etc. For further discussion of phonological properties of Japanese iconics see Hamano 1986, which includes a useful discussion of the accentual properties of iconics in a Kanto dialect. We omit further discussion of accent here because accentual structure is not referred to in the main text of the present dictionary. We would note, however, that while Hamano's characterization of accent in Kanto manner adverbials carries over largely unchanged to Kansai dialects, resultative adverbials appear to differ markedly in accentual structure between the two dialects (see Tamori 1984 for discussion).

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Syntactic categorization Japanese iconics are typically used as manner adverbials, as in Kanojo no me ni kirari to hikaru mono ga mieta ( Ί saw a tear glisten momentarily in her eyes.') They are also, however, very commonly used as resultative adverbials, as in Shibakari de kuta-kuta ni tsukareta I was exhausted from mowing the lawn.' There is no segmental phonological difference between forms having these two types of adverbial function, but note that resultatives regularly occur with inchoative verbs like collapse and drench which describe events and actions that result in the creation of a new state. Iconics used as resultative adverbials may also modify nouns, as in kutakuta no kodomo 'an exhausted child,' in which case the particle no links the iconic form and the noun, or may appear predicatively with da, as in Kodomo ga kuta-kuta da 'The child is exhausted.' The syntactic behavior of such iconics parallels in some respects that of nominal adjectives such as kirei 'clean' (cf. Hey a ο kirei ni katazuketa Ί tidied the room (until it was clean)'; kirei na hey a 'a clean room'; Hey a ga kirei da 'The room is clean'). A few iconics are used as frequency or degree adverbials, as in Yamada-san ο choku-choku mikakeru Ί often see Yamada-san' and Tanaka-san wa saikin meki-meki gorufu no ude ο agete-iru rashii Ί hear that Tanaka-san has improved her golf game markedly of late,' respectively. In addition to their adverbial use, many iconics serve as initial components of combined verb forms. Thus, for example, the verb ha'kirisuru 'become clear' is formed by combining the iconic form ha'kiri 'clear' with the general-purpose verb -suru. Such two-part verbs are common in Japanese but usually involve noun-verb combinations (e.g. benkyoo-suru 'study'). In the case of borrowed words, other source-language syntactic classes may be involved, as in a'pu-suru 'increase' (c'up') and rira'kususuru 'relax'. Not all iconics may enter into combined forms with -suru. Although it is not possible to offer a general characterization of which combinations are possible, it may be said that sound iconics rarely form -suru verbs (two exceptions being zawa-zawa-suru 'rustle' and don-don-suru 'romp about') and that all iconics describing psychological conditions, such as ira-ira 'be irritated' and uki-uki 'be elated' do have -suru forms. Other combined verbs are formed by attaching one of four other verbal suffixes to certain roots of reduplicative adverbials. Examples are betotsuku 'become sticky' (based on beto-beto); yura-meku 'sway' (based on yura-yura ); bara-keru 'fall apart' (based on bara-bara); and guzu-ru 'complain peevishly' (based on guzu-guzu). Of these four types, -tsuku verbs are the most numerous. Semantically, all -tsuku verbs and the xxi

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iconics from which they are derived have negative connotations (cf. Izumi 1976, Tamori 1986); the iconic roots, moreover, always combine with -suru as well. The converse is not true, however: not all iconics which combine with -suru and have negative connotations can combine with -tsuku; thus odo-odo 'nervous' forms odo-odo-suru and pun-pun 'very angry' forms pun-pun-suru, but *odo-tsuku and *pun-tsuku do not occur. No generalizations may be made about the -meku, -keru, and -ru suffixed verbs, which are few in number. Only a few iconics may serve as nouns. Examples are gota-gota 'trouble' (as in Soozoku ni wa gota-gota ga tsukimono da 'With inheritances, trouble is inevitable') and gori-gori 'lump' (as in Mune no gori-gori ga ki ni kakaru 'The lump on my chest worries me'). In standard usage such forms are always reduplicative bisyllables.

Sound symbolism Sound symbolism refers to the tendency of particular sounds, usually irrespective of the language in which they occur, to correlate with aspects of the meaning of words containing these sounds, for example the use of the high front vowels to suggest smallness in English words such as little, bit, little-bitty, itty-bitty, itsy-bitsy, tiny, teeny, teeny-weeny, teensyweensy, and wee. It is often stated that sound symbolism in Japanese is highly systematic. This position is developed in some detail by Hamano (1986). Japanese clearly does make use of natural symbolic properties of sounds; however, it is by no means obvious that Japanese differs in this respect from other languages. In particular it seems possible that what appears to be a high degree of systematicity is simply the concurrent presence of three separate factors in Japanese: (1) the relatively clear phonological, syntactic, and semantic separation of iconic forms from the general vocabulary; (2) the restricted phonological shape of iconics; and (3) the exploitation of more or less universal sound-symbolic tendencies. It is possible that the first two of these properties simply make the third much more apparent than it would be in languages, like English, in which iconic forms are not so evidently distinct from the general vocabulary. This possibility is discussed at length in Tamori and Schourup (1996) in which numerous parallel sound-symbolic tendencies in Japanese and English are examined. On the whole, it does not seem correct to claim, without extensive qualification, that the meaning of a Japanese iconic form can be deduced from its phonological shape on the basis of sound-symbolic associations. Probably the most that can be said is that such associations tend to be present to some degree along with non-sound-symbolic associations; xxii

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moreover, the sound-symbolic associations that can be established by examining the entire corpus of Japanese iconics are not highly specific but range across broad spectra of meaning. In general, regularity is to be found only at the level of universale of sound-symbolism-that is to say, associations available to individual languages but never fully or consistently realized in any particular language. For example, we find in Japanese an abundance of labial consonants (usually followed by back vowels) in words designating human fatness, such as bote-bote, buku-buku, buyo-buyo, dabu-dabu, debu-debu, de'puri, fuku-fuku, maru-maru, muchi-muchi, muku-muku, pocha-pocha, potepote, puku-puku, purin-purin, purun-purun, puri-puri, and their many variants. The same general tendency, however, is found in English, though it is less obvious at first because in English the forms showing the correspondence are not primarily found in a single phonologically and functionally distinctive sector of the vocabulary. Thus we find abdominous, adipose, ample, bay-windowed, beer-bellied, big-bellied, bloated, bulky, buxom, chubby, corpulent, dumpy, fat(so), flabby, fleshy, full-figured, obese, overblown, paunchy, plump, podgy, porcine, portly, potbellied, pudgy, puffy, pursy, roly-poly, upholstered, and so on (See Tamori and Schourup 1996 for further discussion). The same type of correspondence is found in many languages apparently unrelated to either Japanese or English. The occurrence of a labial is not enough to establish that the meaning of a word contains a 'fatness' component, but the presence of the meaning 'fat' in a given word does indicate that the form is very likely to contain at least one labial consonant in some position or other. Conversely, labial consonants are extremely scarce in words denoting thinness. Although the meaning of a Japanese iconic form can rarely be deduced entirely from its component sounds, users of this dictionary should be aware of several very general sound-meaning correspondences which frequently recur in Japanese iconics and are often associated with subtle semantic differences between related forms: (1) Voicing contrast. Very frequently iconics with syllable-initial voiceless consonants coexist with those with voiced consonants (e.g. korokoro/goro-goro', pari-pari/bari-bari; ton-ton/don-don; shaa-shaa/jaa-jaa; chii-chii/jii-jii). In the case of iconics indicating sounds, forms with voiced consonants tend to imply larger sounds than their counterparts with voiceless consonants (e.g. ton-ton 'knock'/don-don 'bang or thump'). For iconics indicating manners of action or states, voiced variants tend to indicate one or more of the following: (i) larger objects than their voiceless counterparts (e.g. pasa-pasa 'beat small wings'/basa-basa 'beat large wings') (ii) greater quantity or volume of the objects involved (e.g. taratara 'sweatIdara-dara 'sweat profusely'); (iii) more vigorous actions xxiii

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(e.g. pacha-pacha 'splashing about'/bacha-bacha 'splashing about wildly'); (iv) more intense degree of action or state (e.g. piri-piri 'get a shock'/biri-biri 'get an intense shock'); (v) negative meanings or associations (toro-toro 'glutinous'/doro-doro 'sloppy or muddy'). Negative associations (v) are probably secondary, resulting from speaker evaluation of the qualities in (i)-(iv) as excessive. (2) Reduplication. As in many other languages, reduplication is typically associated with continuous or repeated action (e.g. goro' 'roll once or brieflyΊgoro-goro 'roll repeatedly or continuously'). (3) Presence of Q. Forms with an internal or final Q (see comments on phonological form above) frequently indicate sounds or actions which are intermittent, irregular, jerky, quick, or abrupt, or which end abruptly (e.g. gaku' 'jerk'; pi'tari 'abrupt'); conversely, forms containing Q do not indicate smooth, continuous sounds or actions. (4) Final N. Sound forms with final Ν frequently indicate sound reverberation (e.g. dokan 'boom'); manner forms with Ν suggest emphasis (e.g. kachi-kachi 'hard' versus kachin-kachin 'frozen solid'). For detailed discussion of individual sound segments, see Hamano (1986) and Tamori and Schourup (1996). Note that the frequently occurring suffixed syllable -ri (e.g. basari) should probably not be considered a sound symbol in the usual sense, but rather a morpheme specific to Japanese. The meaning of forms with -ri varies considerably, but it frequently indicates completion of action and may suggest intermittent action, as in potori-potori 'intermittent dripping', which contrasts withpoto-poto 'continuous dripping'.

Selected bibliography Amanuma, Y. 1973. Gion-go-Gitaigo Jiten [A Dictionary of Japanese Iconic Expressions]. To:kyo:do:. Asano, C. 1978. Gion-go-Gitaigo Jiten [A Dictionary of Japanese Iconic Expressions]. Kadokawa Shoten. Aston, W. 1894. "Japanese Onomatopes," Journal of Anthropological Institute of Great Britain and Ireland. 23:332-362. Chang, A. 1990. A Thesaurus of Japanese Mimesis and Onomatopoeia. Taishu:kan Shoten. Gomi, T. 1989. Nihon-go Gitaigo Jiten [A Japanese Iconic Dictionary]. Japan Times. Hamano, S. 1986. The Sound-Symbolic System of Japanese. University of Forida dissertation. Hinata, S. 1986. "Man.ga no Gion-go-Gitaigo" [Iconic Expressions in Comics] Nihon-gogaku 5.7. xxiv

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.1993. "Onomatope no Miryoku" [Charms of Onomatopeia] Gen-go 22.6.

Horii, R. 1986. "Gion-go-Gitaigo no Gen.gogaku" [Linguistics of Japanese Iconic Expressions] Nihon-gogaku 5.7. Inui, R. 1950. "Giseigo Za'ki" [Miscellaneous Notes on Onomatopoeia] Ichikawa Sanki Kan-reki Shukuga Ron-bun-shu: II. Ishigaki, Y. 1965. "Giseigo-Gitaigo no Goko:sei to Gokei Hen.ka" [Composition and Inflection of Iconics] Gen-go Seikatsu 171. Ishiguro, H. 1993. "Onomatope no ' H a ' s e i ' " [The "Appearance" of Onomatopoeia] Gen-go 22.6. Izumi, K. 1976. "Giseigo-Gitaigo no Tokushitsu" [Characteristics of Japanese Iconic Expressions] in Nihon-go no Goi to Hyoigen (T. Suzuki, ed.) Taishu:kan Shoten. Kadooka, K. 1991. "Nihon-go Onomatope no On-in Ko:zo:" [The Phonological Structure of Japanese Onomatopoeia] Kobe Ei-Bei Ron-so: 5. Kobe Ei-Bei Ga'kai. .1993. "Nihon.go no "Giji-onomatope"-Nihon.go to Chu:gokugo no Se'ten" [Japanese Pseudo-onomatopoeia-Contrast of Japanese and Chinese] in Onoma-topia (Hisao Kakehi and Ikuhiro Tamori, eds.) Keiso: Shobo:. Kakehi, H. 1983. "Onomatopoeic Expressions in Japanese and English," Proceedings of the XIHth International Congress of Linguists. 913-18. .1986a. "The Function and Expressiveness of Japanese Onomatopes," Kobe Daigaku Kiyo:. 13:1-12. .1986b. " E i g o no G i o n - g o - G i t a i g o " [English I c o n i c s ] Nihon-gogaku 5.7. .1988a. "On Japanese Onomatopoeia: A functional Approach," Asian Pacific Papers. Occasional Paper 10: 279-186. .1988b. "Amerika-Eigo no Onomatope" [Onomatopoeic Expressions in American English] in Amerika no Gen-go-Bun-ka 11.67-81. Ho:so:-Daigaku. .1990a. "Systematic Investigation of Onomatopoetic Expressions," Proceedings of the XIVth International Congress of Linguists I. 348-350. .1990b. "Japanese Onomatopes: Their Function and Expressiveness," in Essays in Honor of Professor Haruo Kozu 255-262. Kan>sai University of Foreign Studies. .1993a. "Bun-gaku Sakuhin ni Mirareru Onomatope Hyo:gen no Nichi-Ei Taisho:" [Contrast of Japanese and English Onomatopoeic Expressions in Literary Works] in Onoma-topia (Hisao Kakehi and Ikuhiro Tamori, eds.) Keiso: Shobo:. .1993b. "I'pan Goi to Na'ta Onomatope" [Onomatopes Which Have Turned into Ordinary Words] Gen-go 22.6. XXV

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Kashiwagi, Η. 1993. "Onomatope-teki Naru Mono ο Umidasu Sho:hi Bun-ka" [Consumer Culture Producing Onomatopoeic Words] Gen-go 22.6. Kindaichi, H. 1978. "Gion-go-Gitaigo Gaisetsu" [An Introduction to J a p a n e s e Iconic E x p r e s s i o n s ] in Gion-go-Gitaigo Jiten (C. Asano, ed.) Kadokawa Shoten. Kobayashi, H. 1936. Gen-gogaku Ho:ho:ron-ko: [A Study of Linguistic Methodology]. San-seido:. .1965. "Gion-go-Giyo:go" [Iconic Expressions] Gen-go Seikatsu 171. Kotani, M., et al. 1993. "Gen-go ni Yoru On-sei Chikaku no Sooi to Onomatope" [Onomatopoeia and Differences in Phonetic Perception] in Onoma-topia (Hisao Kakehi and Ikuhiro Tamori, eds.) Keiso: Shobo:. Martin, S. 1975. A Reference Grammar of Japanese. New Heaven, Conn.:Yale University Press. Matsuda, T. 1985. Eigo Gion-go Jiten [An English Onomatopoeic Dictionary]. Ken-kyu:sha. Matsumoto, H. and H. Kato. 1993. "'Bau-wau' ka 'Wan-wan' ka" ["Bowwow" or "Wan-wan"] Gen-go 22.6. Mito, Y. and H. Kakehi. 1981. Nichi-Ei Taisho: Giseigo Jiten [Englishb a s e d D i c t i o n a r y of J a p a n e s e I c o n i c E x p r e s s i o n s ] . Gaku-shobo:. Murata, Tadao. 1990. "AB Type Onomatopes and Reduplicatives," Linguistic Fiesta: Festschrift for Professor Hisao Kakehi's Sixtieth Birthday. 257-272. Kuroshio Shu'pan. .1993. "Nichi-Eigo no AB gata O n o m a t o p e - C h o : f u k u k e i To:iko:zo: Hyo:gen no Kan-kei" [AB Type Onomatopoeia in Japanese and English-Reduplications-The Relationship of Expressions in Coordinate Structures] in Onoma-topia (Hisao Kakehi and Ikuhiro Tamori, eds.) Keiso: Shobo:. Newman, S. 1933. "Further Experiments in Phonetic Symbolism," American Journal of Psychology 45:53-75. Nishio, T. 1983. Gen-dai Goi no Ken-kyu: [A Study of Contemporary Vocabulary] Meiji Shoin. Oki, H. 1983. "Chiisana Teido ο Arawasu Fukushi no Matori'kusu" [Matrix of Adverbs Expressing Small Degree] Fukuyo.go no Ken-kyu: (M. Watanabe, ed.) Meiji Shoin. Okochi, Y. 1979. "Onomatopea, Ni'-Chu: Giseigo Taisho: Yo:reishu:" [Onomatopoeia: A Collection of Contrastive Examples of Japanese and Chinese Onomatopoeia] Chu.gokugo. Taishu:kan Shoten. Ono, S. 1984. "Nichi-Ei Gion-go-Gitaigo Katsuyo: Jiten" [A Practical Dictionary of Japanese and English Iconics] Nihon-gogaku 5.7. Sapir, E. 1929. "A Study of Phonetic Symbolism," Journal of Experimental Psychology 12:225-29. xxvi

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Sasaki, Η. 1986. "Gion-go-rui no Gobi ni Tsuite" [On the Endings of Onomatopoeic Words] Matsumura Akira Kyo.ju Koki Kinen Kokugoron Ken-kyu: Ron-shu:. Meiji Shoin. Schourup, L.1993. "Nichi-Ei Onomatope no Taisho: Ken.kyu:" [A Contrastive Study of Japanese and English Onomatopoeia] Gen-go 22.6:48-55. .1994. "Nihon-go no Kaki-kotoba-Hanashi-kotoba ni Okeru Onomatope no Bun-pu ni Tsuite" [The Distribution of Onomatopes in Written and Spoken Japanese] in Onoma-topia (Hisao Kakehi and Ikuhiro Tamori, eds.); 77-100. Keiso: Shobo:. and I. Tamori. 1992a. "Palatalization in Japanese Mimetics: Response to Mester and Ito," Language 68.1. .1992b. "Japanese Palatalization in Relation to Theories of Restricted Underspecification," Gen-go Ken-kyu: 101. Shiraishi, D. 1982. Giseigo-Gitaigo Kan-yo:ku Jiten [A Dictionary of Idiomatic Iconic Expressions]. To:kyo:do:. Suzuki, M. 1965. "Mukashi no Giseigo-Gitaigo" [Iconic Expressions in Former Times] Gen-go Seikatsu 171. .1973. "Giseigo Gitaigo Ichiran" [A Summary of Iconic Expressions] in Hin-shi-betsu Nihon Bun-po: Ko.za 10 Hin-shiron no Shu:hen (K. Suzuki and N. Hayashi, eds.) Meiji Shoin. .1984. "6 Giseigo-Gion-go-Gitaigo" [6 Iconic Expressions] Ken-kyu: Shiryo: Nihon Bun-po: 4. Meiji Shoin. Suzuki, T. 1962. "On Ko:tai to Igi Bun-ka no Kan-kei ni Tsuite-Iwayuru Dakuon no Tairitsu ο Chu:shin to shite" [On the Relationship between Sound Alternation and Meaning Divergence-Focusing on So-called Voicing Contrasts] Gen-go Ken-kyu: 42. Suzuki, Y. 1980. "Jo:tai Fukushi no Seishitsu ni Tsuite no Sho:ken" [A Minor Viewpoint on the Properties of Stative Adverbs] Yamagata Daigaku Kiyo: (Jin-bun Kagaku) 9.3. Takahara, K. 1975-76. "Stative and Manner Adverbs in Japanese," Papers in Japanese Linguistics. 2.1:82-93. Tamori, I. 1981. "Cooccurrence Restrictions on Onomatopoeic Adverbs and Particles," Papers in Japanese Linguistics 7:151-171. .1983. "Onomatope-On-in Keitai to Goisei" [OnomatopoeiaPhonological Forms and Lexical Degree] Jin-bun Ron-shu: 19.2. Kobe University of Commerce. .1984. "Japanese Onomatopoeia: Manner Adverbials vs. Resultative Adverbials," Jin-bun Ron-shu: 20.2:51-56. Kobe University of Commerce. .1986. "Nihon.go Onomatope no Haseigo ni Kan.suru Ichi-ko:satsu" [An Observation on Japanese Onomatopoeic Derivatives] Jin-bun Ron-shu: 21.3:84-105. Kobe University of Commerce. xxvii

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.1988. "Japanese Onomatopes and Verbless Expressions," Jin-bun Ron-shu: 24.2:1-25. Kobe University of Commerce. .1990. "Expressiveness of Japanese and English Onomatopoeic Expressions," Linguistic Fiesta: Festschrift for Professor Hisao Kakehi's Sixtieth Birthday. 287-306. Kuroshio Shu'pan. -.1991. Nihon-go Onomatope no Ken-kyu: [A Study of Japanese Onomatopoeia]. Economic Research Center, Kobe University of Commerce .1993. "Nihon.go Onomatope no On-in-Keitaiteki Tokucho:" [The P h o n o l o g i c a l / M o r p h o l o g i c a l Characteristics of Japanese Onomatopoeia] Gen-go 22.6. and L. Schourup. 1996. Onomatope to On-sho:cho: [Mimesis and Sound Symbolism]. Kuroshio Shu'pan. Tanaka, A. 1978. Kokugo Goiron [A Lexical Study of Japanese] Meiji Shoin. Tomoda, S. 1984. "Onomatopoeia and Metaphor," Coyote Papers 5, University of Arizona. Uemura, Y. 1965. "On-sei no Hyo:shyo:sei ni Tsuite" [On Sound Symbolism] Gen-go Seikatsu 171. Veldi, E. 1990. "Some Aspects of Cross-linguistic Similarities and Differences in Onomatopoeia," Linguistic Fiesta: Festschrift for Professor Hisao Kakehi's Sixtieth Birthday 307-18. Kuroshio Shu'pan. Waida, T. 1984. "English and Japanese Onomatopoeic Structures," Studies in English 36:55-79. Osaka Women's University. Yamaguchi, N. 1986. "Koten no Giseigo-Gitaigo-Kakekotobashiki no Yo:ho: ο Chu:shin ni" [Iconic Expressions in Classical JapaneseFocusing on Paronomasic Usage] Nihon-gogaku 5.7. .1989. Chin-chin Chidori no Naku Koe wa [The Chirp of a Seagull...]. Taishu:kan Shoten. Yasui, S. 1986. "Kodomotachi no Gion-go-Gitaigo" [Children's Iconic Expressions] Nihon-gogaku 5.7.

xxviii

A

a' S: A short cry of surprise, a'to Pachinko-ya ni hai'ta totan,jibun ga oshiete-iru gakusei ni ba'tari a'te, omowa-zu a* to koe ο agete shima'ta. When I entered a pachinko parlor, I accidentally met one of my students, and I could not help saying "ah!" in surprise. M: In an instant [used only in the frozen expression a' to yuu ma]. a' to yuu ma no Ν (l) A' to yuu ma no dekigoto an event occurring instantaneously (2) $> O t 7 raw A 4 . a'to yuu ma no jin-sei a very short life a' to yuu ma ni a)

4 ^-rotiäbo^v^iai^a^ofeo Daigaku no kichoo na yo-nen-kan wa a' to yuu ma ni sugi-sa'ta. My precious four years at college were over in a flash.

X2)m j t, b Z i f r i t x vH_L£o Soshite, sono soba no en-gawa ni koshi ο kakete, "Aan, aan" to, naki-mane ο shiteimashita. Then she sat down on the porch and bawled crocodile tears. [Joji Tsubota, "Oshoo-san to Kozoo-san - Shin-de-Shimau Doku no Hanashi-" in Nihon no Mukashi-banashi, p.149, Ka. 1975] 2

a'-ha'-ha'-ha aha-aha S: The sound of loud laughter. This and many similar forms, such as a'ha-a'ha, a-haha, a'-ha'-haa, a'-ha'-ha'-ha, and ha-ha-ha, portray nuances in the sound of loud laughter. aha-aha (to) >rvii L

t Ό fcv^fiDii^So» ο "Omae toko mitai ni gara no warui yatsu wa ite-hen zo,"to Sakurai kachoo wa donari, sore demo ken-ka-shite-iru no dewa nai. Aha-aha to warai-a'te, shoobai-nin no yaritori to yuu no wa ara'poi no de aru. Though Section Chief Sakurai yelled, "You're as rough as they come!" he wasn't arguing, for the two laughed loudly afterwards; the words of merchants are harsh. [Seiko Tanabe, Higoto no Bijo, p.46, Ko. 1983] a'ha-a'ha: see aha-aha a'ha-a'ha to m*^4nas>oti:aE>otifc£ot, H^SHlΛ:«, Min-na wa a'ha-a'ha to wara'te, uchi e kaeri-mashita. Everyone burst into loud laughter, then went home. [Kenji Miyazawa, "Oi no Mori to Zaru-Mori, Nusu'to-Mori" in Chuumon no Ooi Ryooriten, p.39, Po. 1921] aha-ha: see aha-aha aha-ha to Lfz0 [Kujira ga] au-au wameite-iru to, atama no ue no hoo de, dareka ga aha-ha to waraimashita. As [the whale] was roaring in confusion, someone laughed loudly above its head. [Fumi Morita, Kujira ni Na'ta Ichinen-sei, p.40, Ka. 1976] a'-ha'-haa: see aha-aha a'-ha'-haa to (l) r£i£&t?J

fc L £ & fc^ o m t i f e [fiiTl^o/'o 4

an-guri Mejiro-eki ya, Ikebukuro-eki kara apa:to ni nukeru michi-zoi no a'kerakan-to-shita atari no fuubutsu mo omoshiroka' ta. It was also enjoyable looking at the wide open spaces along the road leading to the apartment from Mejiro and Ikebukuro Stations. aku-seku M: The manner of working hard. aku-seku (to) (

1

)

-

+

E

(

k ) m ^ r , ^ o t i ^ f c v » « , m\t Γ t f o t , Ni-juu-go-nen mo, mainichi aku-seku (to) hataraite, ya'to teinen da to yuu toki, tsuma wa "Moo anata to wa kurashite-ike-nai wa,"to i'te, rikon ο yookyuu-shite-kita. After I work like a dog for twenty five years and finally retire, my wife comes and says, "I can't live with you any more!" and asks for a divorce. Clfci Chan to ge'kyuu ο hakon-de-kuru o'to ga iru no da shi, mada kodomo mo nai no dakara, aku-seku-suru koto wa nai no da ga, ason-de-ite-mo mo'tainai. She had a husband who brought home a regular paycheck, and she still had no children, so there was really no need to wear herself ragged, but it seemed so wasteful to do nothing. [Kuniko Mukoda, "Tonari no On-na" in Tonari no On-na, p.7, Bg. 1981] an-guri M: The state in which the mouth is wide open, especially in surprise or amazement. An-guri usually connotes unconscious opening of the mouth, while aan usually connotes an intentional action. an-guri (to) (DSfcÄäMBWT, Kj—T-ti&A/Cfr (k) nfrPBtfC, „ Omowa-nu gyakuten-geki de, he'do-ko. chi wa an-guri (to) kuchi ο akete, ta'te-ita. The head coach stood with his mouth agape when his team lost what they thought was a won game in the final minutes. ( 2 ) i t t t t e t f f t i t - c , *>A,C) ( k ) • f r B h t T g r ^ * , Kodomo wa asobi-tsukarete, an-guri (to) kuchi ο akete nete-iru. Worn out from playing, the child is sleeping with his mouth wide open. A/COnfrabtt< VilfOtLfco Wani wa, me-dama ο ma'ka ni shite, Miko-chan no hoo e susun-de ki-mashita. Soshite, an-guri kuchi ο akeru to, Miko-chan no ashi ni kami-tsuite, hi'pari-mashita. With blood-red eyes, the alligator approached Miko. It opened its mouth wide, then closed its jaws on Miko's leg, and pulled. [Teruo Teramura, "Zoo no Buro:-kun" in Teramura Teruo Doowa Zen-shuu 10, p.80, Po. 1982] Omoigake-nai Tooru no kotoba ni, atashi wa an-guri to kuchi ο aketa. My jaw dropped at Toru's unexpected words. [Saeko Himuro, Nan-te Suteki ni Japanesuku, p. 140, Shu. 1984] 5

apu-apu apu-apu Μ: The manner of struggling hard to keep one's head above water, or of gasping for breath. apu-apu-suru: to gasp for breath Tsure no gakusei wa, awatete, pu:ru no naka de apu-apu-shite-iru nakama ni te ο sashi-nobeta. Hurriedly, one of the students who had come along stretched out his hand to another who was floundering about in the pool. [Yojiro Ishizaka, Aitsu to Watashi, p.38, Shi. 1967] a'pu-a'pu M l : The manner of struggling hard to keep one's head above water, or of gasping for breath. a'pu-a'pu (to) (U/hSfci&jWc«*,·^ (t) fea^twco Chiisa na kodomo ga ike ni ochite, a'pu-a'pu (to) mogaite-ita. A small child had fallen into the pond, and was floundering about. (2) r * > * o 0 x y f o n J ^ o t f

o

s

x

f

c

"Che'. E'chi noyatsu, oyogeru-n deyagaraa."Ya'pari Goro-chan ga, zan-nen-soo na kao de ko'chi ο mite-iru. Boku ga, a'pu-a'pu oboreru no ο tanoshimi ni shite-ita noni, umaku ika-naka'ta node, mon kara soto e dete-i' te-shima' ta. "Shucks, that darned E'chi can swim!"Just as I expected, Goro was looking disappointedly in my direction. He had hoped I'd be splashing about gasping for breath, but since I wasn't, he left through the gate. [Keisuke Tsutsui, Tsutsui Keisuke Doowa Zen-shuu Vol.4, p.28, Fr. 1983] tifW^tli,

if? !

fcliCbCbtMt,

Nan-ju' -piki mo no iruka ga, tsugi-tsugi ni jan-pu-shi-mashita. Sora-takaku, juume.toru mo, sore ijoo mo, tobi-aga'te wa, doo! to ochiru node, sono tabi ni, umi wa guragura yure, kurage-tachi de sae, a'pu-a'pu, obore-soo ni nari-mashita. Dozens of dolphins jumped, one after another. High into the air they jumped-some as high as ten meters, maybe more-then came crashing down, causing the sea to shake so much that even the jellyfish looked as if they were drowning. [Toshiko Kamisawa, Itazura Ra'ko no Ro'ko, p.50, Ko. 1979] a'pu-a'pu-suru: to gasp for breath (1)

ο ο Ά LΧ ^ * fr b I t M o / ; , "Mizu ο kaeta hoo ga ii yo. Kin-gyo ga a'pu-a'pu-shite-iru kara," to Yooko ga i'ta. "You'd better change the water because the goldfish are gasping for breath," said Yoko. (2)

L T < it.. J i , Λ A-^fcfrttCjWt-C, τϊο "Wa, waruka'ta. Kan-ben-shite-kure..." to, irezumi no wakamono wa,funa-beri ni kata-hiji kakete, mada a'pu-a'pu-shi-nagara saken-da.

6

a'sari "I... I'm sorry. Spare me, please!" shouted the tattooed young man, still gasping for breath with one elbow on the side of the boat. [Yojiro Ishizaka, Aoi San-myaku, p. 195, Shi. 1952] M2: The state of suffering severe psychological stress, especially due to financial difficulties. a'pu-a'pu-shite-iru: to be having severe difficulties (1)

1

Nihon no sarariiman no ooku wa, yasu-ge'kyuu de a'pu-a'pu-shite-iru. Many of the office workers in Japan are hard up for money, owing to their low monthly earnings. (2) i O i l j g c O f W C ^ Kono teido no kyoozai demo, gakusei wa a'pu-a'pu-shite-iru. The students are having difficulty even with this level of textbook.

Seiji-ka wa don-na seikatsu ο shite-iru no daroo. Ookiku me ο akete, shomin ga bu'kadaka ni a'pu-a'pu-shite-iru sugata ο tsubusa ni mite-morai-tai. I wonder what sort of lives the politicians lead. I'd like them to take a close look at how the people are struggling under the high cost of living. [Morning Asahi, April 1987] a'sari M l : The state in which color, taste, make-up, etc., is simple or light, a'sari (to) (1) M S f l - g t t & o S Q (t) B £ t t t t 3 * t T v > S o Kan-sai-ryoori wa a'sari (to) aji-tsuke-sarete-iru. Kansai [the Kyoto-Osaka-Kobe-Nara area] cuisine is lightly and delicately flavored. (2)®&li, Ό (t)mtfttLfzo Kanojo wa.furo kara aga'te, a'sari (to) ne-geshoo ο shita. After her bath she lightly applied make-up before bed. a'sari-(to)-shite-iru: to be light or delicate (l) i ^ m t a b o g 0 L t v T , ^m ^ Β ft ire* t nz> 0 Hiya-ya'ko wa a'sari-shite-ite, shokuyoku no nai mushi-atsui hi nado ni wa toku ni konoma-reru. Hiya-ya'ko [chilled tofu with soy sauce] has a simple and refreshing taste, and is especially welcomed on hot humid days when one has no appetite. T&AJ ii, fco'^cOttSiiliito-c, t Ltv^T, tr^&ffi^&äο En-doo-mame no "an" wa, azuki no ama-sa to wa chiga'te, a'sari-to-shite-ite, kusamochi ni tsutsumu no mo omomuki ga aru. "An" paste made from green peas has a delicate flavor, unlike the sweetness of paste made from azuki beans, and filling kusa-mochi [rice-flour dumplings mixed with mugwort] with this paste produces an interesting flavor. [Sachiyo Imai, "En-doo-mame no Koro," in Kyoto, 1987.5] 7

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Momoko wa tsuke-matsuge ni migi to hidari ga aru koto ο hajimete shi'ta. Momoko mo Rie mo, keshoo wa a'sari-shite-iru hoo na node, tsuke-kata ga yoku wakara-nai. Momoko learned for the first time that false eyelashes had a right and a left. Both she and Rie wear only light makeup, and so don't know how to put them on. [Kuniko Mukoda, "Kurumi no Heya" in Tonari no Οη·ηα, p. 111, Bs. 1984] A'sari-shita iro-ai simple and soft colors; unassuming colors O i t t i & o g p ( t ) glj Ano ko to wa a'sari (to) wakarete-ya' ta yo. I broke off with her without a second thought. ( 3 ) ® # l c T , j f c f l - E f e f e o S P (L·) B ^ Z t f e Z t Z o Yuushoo-sen de, igai ni mo a'sari (to) katsu koto ga dekita. We won the finals surprisingly easily. abog Q&frtifc, Koosoku-dooro de wa, hon-ki ni na'ta gaisha to wa shoobu ni nara-naka' ta. Ta:bocha.ji ο suru kokusan-sha ni mo, a'sari nuka-reta. On the freeway I was no match for a foreign car looking for a contest, and I was even overtaken as if standing still by a turbo-charged domestic model. [Kenzo Kitakata, Himei, p.99, Ka. 1987] Tori-naoshi no sumoo wa, hidari-ashi ni chikara no haira-nai Η ga, a'sari dohyoo ο wa'ta. 8

ata-futa In the sumo rematch, Η., who had little strength in his left leg, was pushed out of the ring without a struggle. [Morning Asahi, 3-16-1987] (6) r e f c Ä & t o o ζ*) J «sHO&ewttiOJ; otc, & 0 3 Ό t m ^ t m - o f z o "Demo zan-nen ne. Daiji na sen-yaku ga a'te doo-shitemo hazuse-nai no." Kinoo no kaiwa no tsuzuki no yoo ni, a'sari to sasoi ο kotowa'ta. "Oh, I'm so sorry. I'm afraid I have an important previous engagement that I just can't break," she said, turning down my invitation as flatly as she had ended yesterday's conversation. [Yoko Mori, Sayonara ni Kan-pai, p. 101, Ka. 1985] a'sari-suru: to do easily or without resistance (1) itz% ο J i ^ t y i i - t i - f t z t t z ^ X ^ ^ XLtitzo $>A*t*?tfitz0 Otooto to fuzakete puroresu-go' ko ο shite-itara, ayatsu wa nani ο onto' ta no ka, ikinari bachi' to zutsuki ο kurawa-se-yaga'ta. While I was fooling around wrestling with my younger brother, he suddenly got serious and butted me smack on the head. S2: The crackling sound caused by an electrical discharge; the sound of flicking a cigarette lighter. bachi' to tiKob'MMIfi Ba'teri: ο juuden-suru toki, purasu to mainasu ο machigaete setsuzoku-suru to bachi' to hi-bana ga tobi-chiru node, juubun ki ο tsuke-nakereba nara-nai. If you get the plus and minus poles mixed up when charging your car battery sparks can fly, so be very careful. (2)AO/N**o /tf-y » - o t t - c g LffilTo A no baka. Buchoo ga tabako kuwaeta toko e, bachi' to raita: tsukete sashi-dashite. Just look at that bootlicking A! Flicking his lighter and holding it out under the nose of the Department Chief as soon as he put a cigarette in his mouth! [So Kuramoto, Shin-Shin-Terebi Jijoo, p.312, Bg. 1983] Fig: The manner in which the gazes of two antagonists clash, bachi' to ( D t t e t i f r f c , waa±o t!kfö*WLh L T . ^ « ^ « » ΐ ο τ ι » tZo Shiai-mae kara, ryoo-ken-shi no surudoi shisen wa bachi' to hi-bana ο chirashite, moo tatakai wa hajima' te-ita. Even before the bout began the two swordsmen were in fact at battle, for sparks flew whenever their piercing eyes met. M: The manner of doing something perfectly; the state of being perfect, bachi' to Ä*x>; - h j S t t v > t z h Μ Ά t S H X ν > £ 0 14

bachiin Nihon de wa, atae-rareta shigoto ga don-na ni kakoku na mono de aroo tomo, nakigoto ο iwa-zu ni bachi' to ya'te-nokem no ga eri:to shoosha-man taru yuen to sarete-iru. In Japan the ability to faultlessly complete without a word of complaint any task given one, no matter how difficult it may be, is considered essential for an elite executive in a business firm.

Higoro wa me'ta ni iken ga awa-nai noni, shoogatsu no ryokoo no keikaku ni kan-shite wa,fushigi ni kazoku zen-in no iken ga bachi' to i'chi-shita. Even though we nearly always disagree about things, when it came to the plan for our trip over the New Year period, for some strange reason the whole family was in perfect agreement. bachi-bachi SI: A loud slapping sound. bachi-bachi (to) (l)SOtt, fctttf^lgt, (t) IS b -tirfc V* «t Ί IZ-r i> ο tifrtiXRW Omoikiri jan-pu-shite ki no eda ni tobi-tsuita totan, eda ga baki' to orete shiri-mochi ο tsuita. When I made a terrific jump and grabbed onto a tree branch, the branch snapped off and I fell on my bottom. t. ο tazote Doon to ooki na kaminari ga ochita ka to omou to, jin-ja no sugi no ki ga baki' to ma'putatsu ni wareta. I heard a big clap of thunder and just then the cedar tree in the shrine split in two. baki-baki S: The repeated sound of hard, slender objects snapping or cracking, baki-baki (to) (l) Φ^Κ^ον^&Ο&Ιί, (t) L X&fZo Mitsuryoo-sha ni ki ga tsuita zoo no mure wa, ki no miki ya eda ο baki-baki (to) nagitaoshi nagara moo-to' shin-shite-kita. A herd of elephants that caught sight of some illegal hunters stampeded, snapping tree trunks and branches as they rushed toward them. ba'kuri M: The state in which something has a large hole or opening in it. ba'kuri (to) (U&^-CitkT&KiÜ^ t Ltzb, ipR^^oTifeTtAK-eoTM), ftiX^fz? · ; f o < t ) (h) ^ - c f c ^ j j * : / ? f k ü L i oft, Isoide chika-tetsu ni noroo to shitara, mukoo kara ya'te-kita hito ni butsukari, mo'teita buri:fu-ke:su ga ba'kuri (to) aite honya shorui οpura'toho:mu ni bara-maite shima'ta. When I hurriedly tried to board the subway, I hit an oncoming person and the briefcase I was holding popped open and books and papers scattered all over the platform. Sono kutsu wa soko ga, han-bun hagare, ba'kuri kuchi ο hiraite-shima'te-iru no desu. The soles of those shoes are half coming off, and hang open. [So Kuramoto, Shin-Shin-Terebi Jijoo, p.234, Bg. 1983] (
π 7t % K ^ o < t , * ο fitz 15fcΚ t> b Λ« b b*PZ> t ^/hSSS'ifc^'i fro LP fcHHpQtfC&ofco Ju'-ton-chikaku tsumeru choojaku-tora'ku da'ta. Un-ten-shitsu ο chuushin ni ari-toarayuru tokoro ni, dai-shoo sama-zama na raito ga, bi'shiri to tori-tsukete-a'ta. It was a long truck which could carry close to ten tons. The whole truck, and the driver's compartment in particular, was covered thickly with a great variety of lights, both large and small. [Yoshio Kataoka, Suro: na Bugi ni Shite-kure, p.39, Kd. 1979]

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bisho-bisho

Cha-iro no ago-hige ο bi'shiri mimi no sugu shita kara hayashita, Joruju-Musutaki mitai na o-nii-san ga ya'te-kite, watashi no isu no mae ni hizamazuki, Eigo de, "Boku to dan-su ο odo' te-itadake-masu ka." A young man looking like George Moustakis with a brown beard growing all the way from his chin to just below his ears, came up to my seat, got down on his knees, and said in English, "May I have the pleasure of a dance?" [Rie Tanaka, Zoo-san Dan-su de, Sayonara Mosukuwa, p. 15, Ko. 1983] (8) t) i t frW Ul&t fr^ Ό COfi£ i v> η «t Ο i: Ο ί> t i [F L ? Ο Ο L V ^ 0 Natsu no atsui hi ni wa, ji' to shite-iru yori, tenisu no yoo na hageshii supo.tsu ο shite, karada ga bisho-bisho ni naru made ase ο kaku hoo ga, kae'te kimochi no yoi mono da, to yuu hito mo iru. Some people say that on hot summer days, instead of staying still, playing some vigorous sport like tennis and perspiring heavily leaves one feeling much fresher. i

l f z m 5 > b $ f i x , t w w f e o -cv^fco Shin-bori no mizo ga oorai ichien ni afurete-iru node, watashi wa tabi ofutokoro e ireta ga, bisho-bisho ni nureta su-ashi ga ie-nami no ran-pu ni terasa-rete, pika-pika hika'te-ita. The newly dug ditch was flooded in its entirety, so I took off my tabi [Japanese socks] and put them in my pocket, and my wet bare feet were illuminated by the lights of the houses lining the street, and glistened. [Jun'ichiro Iwasaki, "Himitsu" in Shisei, Himitsu, p. 103, Shi. 1969] (4)

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Akira wa juu-ni-ko no medaru ο kake-rarete kubi ga itaku nari, nureta yunifo:mu de daki-tsuka-rete bisho-bisho ni na'te, hajimete ureshi-soo ni wara'ta. It was only when the twelve medals were hung on Akira's neck so that it hurt with the weight, and he was drenched by everyone hugging him in their wet uniforms, that he smiled happily. [Jun'ichiro Uwamae, Akira!, p.341, Kd. 1984] bisho-bisho da H: Φ i z ® t ) m i L i L 3 ) t & v t : i i ' , Ψ Μ Λ - C ^ f c ^ f c f c f c »K ft tfVfcVt: (t) οfcο Asu no ken-kyuu-ha'pyoo no tame ni kiri-hari ο siyoo to omo'ta ga, te ga nori de betabeta ni nari, kami ga bita-bita (to) te ni ku'tsuite koma'ta. I decided to do some cut-and-paste work for a paper I was to read the next day, but my hands became so sticky with glue that bits of paper kept bothersomely sticking to my fingers. bocha' S: The sound made when a heavy object plunges into relatively deep water, bocha' to J: Jll Yo'parai ga jiten-sha de yoro-yoro to hashi ο wata'te-kita ka to omou to, kyuu ni baran-su ο ushina'te bocha' to kawa ni ochita. A drunk who was weaving unsteadily across the bridge towards me on a bicycle suddenly lost his balance and fell with a splash into the river.

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bochari Kuchi no kataka'ta yoogi-sha wa, beteran-keiji ni se' toku-sareta ageku, shitai ni buro'ku no omori ο tsukete, umi ni bocha' to nage-kon-da to tsui ni jikyoo-shita. The suspect who had kept his mouth shut finally broke his silence and, after being interrogated by an experienced detective, finally confessed that he had tied a cement block to the body and had sent it plunging into the sea.

bocha-bocha S: The sound made by water splashing repeatedly. bocha-bocha (to) ( D l ^ S o ' C t , mi&V^y LT, (t) Ä f ^ S o f f c ü K - ä - B * Ltzo [...] [sobo wa] watashi to otooto ga bocha-bocha-ya'te-iru aida-juu, suna-hama ni higasa ο sashite suwari, haha kara karita ude-dokei ο mite wa, ju'-pun-kan tatsu to han-kachi ο fu'te watashi-tachi ni aizu ο shita. [...] While my younger brother and I were splashing about in the water, [our grandmother] would sit on the beach under a parasol, and, referring to the wristwatch borrowed from our mother, signal us every ten minutes by waving her handkerchief. [Kuniko Mukoda, "Hoso-nagai Umi" in Chichi no Wabi-joo, p.75, Bg. 1981]

bochan S: The sound made when a heavy object plunges into relatively deep water, bochan to Ki no ue de asonde-ita saru wa, doo yuu wake kate ο subera-sete shita no ike ni bochan to ochita. The monkey playing in the trees somehow let his hand slip and plunged into the pond below.

bochari S: The sound made when a heavy object plunges into relatviely deep water, bochari to

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bochi-bochi Han-ta: ni uta-rete yama kara korogari-ochita inoshishi ga bochari to kawa ni ochita. The wild boar which had been shot by the hunters and rolled down the mountainside splashed into the river. bochi-bochi M: The manner of something being done or occurring gradually or slowly; also used to indicate that one must prepare for something soon to occur. NB: bochi-bochi is mainly used dialectally, especially in the Kansai area around such cities as Kyoto, Nara and Osaka. bochi-bochi 0 O-toshidama ο takusan mora' ta keredo, ichi-do ni tsukawa-naide bochi-bochi tsukainasai. You received a lot of money for New Year, but I suggest you enjoy yourself by using it a little at a time rather than spending it all at once. (2) Γ

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fz* 7 — F V & g t f f ä i ο X^fZo y Ό fzLtzZ 6, t>tz L t z % i t t i f z Q Sho: no owa'ta sute.ji de wa ban-do no en-soo ga hajima' te-ita. Sute.ji no mae ni dan-su ο odoru ka'puru ga bochi-bochi atsumari-dashita koro, watashi-tachi wa sono mise ο deta. The band had begun playing on the stage following the show. We left when dancing couples began collecting in front of the stage. [Rie Tanaka, Zoo-san Dan-su de, Sayonara Mosukuwa, p. 101, Ko. 1983] (5)

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lvil±J "Kimi wa, maa, furu-kaiten-taipu da kara, doozo doozo. Boku wa, bochi-bochi yarasete-morai-masu." "You, well, you're the type who always runs in high gear, so you should go ahead. As for me,from now on I'm going to allow myself the luxury [of taking it easier]." [Nobuhiko Kobayashi, Hen-jin Juu-ni Men-soo, p.250, Kd. 1983] boin M: The manner of a heavy, resilient object striking something with force, boin to (Dawissifcaits^t,

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Shu'kin-jikoku ni okure-mai to, oo-isogi de kado ο maga'ta totan, futo'ta chuunenjosei ni boin to butsuka'ta. Trying not to be late for work, I rushed around a comer and ran smack-bang into a fat middle-aged woman. boin: (a woman with) large breasts 100

bokan boka' S: The sound made when striking a relatively hard object, typically a person's head, suddenly and forcefully. boka' to Kio Λ Τ KSK i i i t ^ J b i o Ima de wa taibatsu ga kin-shi ni na'te-iru node, seito no kao ο boka' to nagura-nakutemo, poka' to nagu'ta dake de mon-dai ni naru koto ga aru. Nowadays corporal punishment in schools is prohibited, and so one can get into trouble just by rapping a child on the head, much less clouting him. M: The state of having a large, conspicuous hole or gap. boka' to (DlÜJSitW-jL-^SrJKv^TäiBKifoTÄii:, ÜJOflffifftarfro t • £ Bült τ ν» τ, ifLWntomziVtimor^fco Yama-kuzure no nyu:su ο kiite gen-ba ni i'te-miru to, yama no shamen ga boka* to kuchi ο akete-ite, saigai no mono-sugo-sa ο monogata' te-ita. I heard about the landslide on the news and went to take a look, and saw that there was a gaping hole in the side of the mountain, a vivid reminder of the extent of the disaster. (2)i®ff|l±,

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Kono jisho wa, tochuu de pe:ji ga nan-pe:ji mo boka' to nukete-ite, se'kaku ka'ta noni nan no yaku ni mo tata-nai. This dictionary I just bought has many pages missing and is completely useless. boka-boka S: A dull sound made when striking something repeatedly with great force, boka-boka (to) (l)ftB, h i K - y f O ^ t f U i m ^ f· t IfctzlZMZfr (t) Rfr&T/gtt-r. Sakujitsu, sekai hebi:-kyuu taitoru-ma' chi no shiai ο terebi de mita ga, chan-pion mo choosen-sha mo tada boka-boka (to) naguri-au dake de, mita-me wa hade da ga, naiyoo ni toboshii shiai da' ta. Yesterday I saw the World Heavyweight bout on television, and while it made for a great show, with the champion and challenger punching each other violently around the ring, in fact there wasn't much to it. bokan SI: A large explosive sound; the sound of a hard blow, generally to the head, bokan to (DBoarvu

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Tonari no gasorin-sutan-do de, bokan to ooki na oto ga shita ka to omou to, katsute mita koto mo nai yoo na ooki na honoo ga mado-garasu ni utsu'ta. Hearing a loud explosion coming from the neighboring gas station, I saw a huge wall of fire reflected in the widnow, the like of which I had never seen before. 101

boke'

| > o h f o Τ < tz\fotz0 Akisu ga hai'te-kita node, omowa-zu temoto ni a'ta ba'to de yatsu no atama ο bokan to naguru to, gyu' to i'te kutaba'ta. I spotted a burglar in the house and without thinking picked up a baseball bat nearby and whacked him on the head, whereupon he passed out with a grunt. boke' M: The manner of being idle, or wasting one's time; the state of being inattentive or absentminded. (1)

tt'X\ν^Κ ί>m ftgTÜ tf, » Ä R t ^ Ό C l t i x t L i ^ * * ) tZo Natsu no yo-zora ni bon-bon (to) uchi-age-rareru hanabi wa, ikanimo utsukushii natsu no fuubutsu-shi de aru ga, suu-oku-en to yuu kane ga ichi-ya ni shite kiete-shimau soo da. The fireworks which rise and burst in the night sky are a lovely sight and an integral part of the Japanese summer, but it is said that in a single night several hundred million yen disappear into smoke. (2) i t ^ x mzMSL ( t ) m%-tz> be κ . «t 3 κ β * < fco fco Kagaku-koojoo no kaji de tan-ku ga bon-bon (to) bakuhatsu-suru tabi ni, yo-zora ga ma-hiru no yoo ni akaruku na'ta. Each time a tank blew up in the fne at the chemical factory, the night sky was lit up as bright as day.

M: The manner of doing something with vigor or saying something without due consideration; the manner of something being done smoothly or without hindrance. bon-bon 0 (1) A m i - C f f i i

i v r ^ f c J T «111. -J 9 mmz, κ αλέα, b y ι- m ^ L x , Hachi-kai made aite-pi'cha: nipisha' to osae-rarete-ita dasen wa, kyuu-kai no sen-too ba'ta: ga ho.muran ο u'ta no ο keiki ni, bon-bon hi'to ο uchi-dashite, tsuini shoori ο osameta. The batters had been prevented by the opposing pitcher from making even one hit right up until the eighth inning, but after the first batter in the ninth inning hit a home run they found their form and got hit after hit, finally winning the game.

itiCLfco Hisashi-buri ni kisei-suru to, saisho no uchi wa daiji ni sarete-ita ga, ni, san-nichi mo suru to, mata mukashi-doori ofukuro ni bon-bon mon-ku ο iwa-re-hajimeta node, ni'tei ο kuri-agete haya-me ni geshuku ni kaeru koto ni shita. Returning home for a visit after a long absence, I was treated well for the first few days, but after that my mother started nagging on and on, just like she always used to, so I decided to cut my stay short and go back to my boarding house. tram κ * ο < o * « o t s , Ä o A o t o τ < ft/tfry btix Li 7 z>0 Shokutaku i'pai ni narabe-rareta go-chisoo wa, owaru to dooji ni so'kuri sono-mama, kakari no hito no mo'te-kuru ooki na baketsu ni bon-bon sute-rarete-shimau no de aru. All the lovely food remaining on the table after [the meal] was finished was tossed into a large bucket carried by an attendant. [Sadako Sawamura, Watashi no Daidokoro, p.150, Ku. 1983]

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bon.yari Sen-go no bu' shi-busoku no jidai ο keiken-shita mono ni wa tootei kan-gae-rare-nai koto de aru ga, saikin no wakai on-na-no-ko wa, buran-do-mono to mireba, shoo-shoo takakute-mo bon-bon kau soo da. It is impossible for those of us who have experienced the hard times following the war to understand, but today's young women seem willing to buy one well-known brand after another, regardless of the greater expense. mtä±L t O l H ^ o Kan-gae-neba nara-nai mon-dai ο yama hodo kokoro ni kakaete-iru kuse ni, nan ni mo kan-gae-nai de, bon.yari-shite-iru koto no hoo ga ooi. Even though he had a mountain of problems which required his attention, he spent more time dreamily thinking about nothing. [Yumie Hiraiwa, Shita-machi no On-na, p. 15, Bs. 1979] (3) < i>o Γ...1 U f b < t ? ^ ο Mata o'to ga ichi-nichi no shigoto ο oete ie ni kae'te-kuru. [...] Shibaraku bon.yarishite-i-tai no de aru. Again, the husband returns home after a day at work. [...] He wants to spend a while with nothing on his mind. [Kenji Suzuki, Ki-kubari no Susume, p.221, Ko. 1982] (4) K 7 £ ; M t T ® i s T ^ i i } £ o t % i Q < 7 ) & L f z U f - Τ φ ^ X 0 Doa ο akete rooka e deru. Tonari no juunin de aru wakaifujin ga, bon-yari-shita yoosu de aruite-kuru. I opened the door and went out into the corridor. The young woman who lives in the room next door came walking toward me absentmindedly. [Shin'ichi Hoshi, "Tatakau Hito" in Gogo no Kyooryuu, p.l 15, Shi. 1977] Suekawa no fiijin wa shoo-shoo non-ki ο toori-koshite bon-yari-shite-iru. Mrs. Suekawa had gone somewhat beyond insouciance and become quite abstracted. [Jiro Akagawa, Yuurei-tachi no Epiro:gu, p. 138, Shu. 1987] bon-yari-un-ten: careless, inattentive driving

"Bon.yari-un-ten wa abunai kara, ki i tsukete ya," to, jidoosha-kyooshuu-jo no Morita sen-sei ga, wakakute kirei na joshidai-sei nofuto-momo ο so' to nade-nagara i'ta. "Not paying attention while driving is very dangerous, so let's be more careful," said Morita, a driving instructor, to the beautiful coed, as he gently stroked her thigh.

Ill

boo bon.yari: a blockhead Aitsu wa bon.yari da kara, itsumo de-okurete, nani ο yara-sete-mo dame da. He's a real dope and always misses the boat, so I can't let him do anything. boo S: The low, resonant sound of a ship's horn, boo to Minato ni wa June no akari mo ten-ten to mie, haruka ni kiteki no boo to naru oto mo kika-reta. In the harbor could be seen points of light from ships, and from far in the distance came the low moan of a ship's horn. [Tatsuzo Ishikawa, Sooboo, p.23, Shi. 1975] M l : The manner in which a flame flares up or begins to burn well, boo to 1 ^ * LT \l Ί t m ^ f i ^ t z o Tateta bakari no ie na noni, yokushitsu no kabe no tairu ga moo boro' to hagare-ochita. Even though this house has only just been built, already one of the tiles on the bathroom wall has fallen o f f . L i S l C l t T ^ o tz t Ζ tu liftHSffc Κ Κΐ i fr*> ± if tz (Ο> ^ W f KHH^fftarfr O tm.fl X L iotZo Takai o-kane ο hara'te ka'ta nen-dai-mono no Supein no mizu-sashi ο tomodachi ni misete-ya'ta tokoro, yatsu wa mu-zoosa ni to'te ο mochi-ageta node, sono hyooshi ni to'te ga boro* to torete-shima'ta. When I showed my friend the old Spanish pitcher which I had bought at great expense, he roughly picked it up by the handle, and it came off in his hand.

boro-boro Ml: The manner in which relatively small, often round particles or teardrops fall one after another. [N.B.: poro-poro connotes smaller particles falling less frequently.] boro-boro (to) B t ( , h ) totim%tzo Kya'chi-bo:ru no ren-shyuu ο suru no ni, do-bei ni muka'te bo:ru ο nageru to, bo. ru ga ataru tabi ni kabe-tsuchi ga boro-boro (to) kuzure-ochita. While throwing the ball against the earthen wall to practice catching, bits of the wall would come away every time the ball hit. h

(2)

L
i S f ^ T V / ^ i - o J I ^ f t ' i f t o -P*tri:* n s < O X f t t f t f α * π m Κ £ IZtifö Watashi wa moo tamara-naku na'te, uma-soo na an-pan ο hitotsu tsuman-de tabeta. Hito-kuchi kamu to an-gai kataku' te kona ga boro-boro hiza ni kobore-ochite-iru. Unable to resist any longer, I picked up one of the delicious-looking bean-jam buns and bit into it. The first bite revealed it to be surprisingly hard, and crumbs sprinkled down onto my knee. [Fumiko Hayashi, Hooroo-ki, p.71, Shi. 1948] M2: The state of something having lost its original shape or condition as a result of having been torn or damaged.

boro-boro no Ν boro-boro no fuku torn, ragged clothes

Ima no wakai on-na-no-ko mo kodomo no koro wa dare mo ga kirei na hada ο shite-iru noni, keshoo-hin ο tsukau toshi-goro ni naru to min-na boro-boro no hada ni na'te-shimau. Young girls nowadays also have lovely skin as children, but after reaching the age when they begin using cosmetics, their skin becomes rough and coarse. [Makoto Shiina, Akame Hyooron, p.195, Bg. 1987]

boro-boro ni Atarashii un-doo-gutsu ο ara'te niwa ni hoshite-oitara, inu ni kama-rete boro-boro ni yaburete-ita. When I left my new track shoes out in the garden to dry after having washed them, they got chewed by a dog and were torn to pieces. LTvifc«, Mukashi kaitei ni chin-botsu-shita sen-kan no ichibu ο hiki-ageta tokoro, taihoo rashiki bubun ga boro-boro ni fushoku-shite-ita. After raising part of a battleship which had been sunk many years before, we found a part which looked like a cannon and which had almost rusted away. ( 3 ) f c A f c Ä / f c f c ^ f L * ofc...*Cl*oT? [...]-*>tzb L v \ -Ano, ari ga, o-futon ο tabete-shima' ta...desu' te? [...]-Atarashii, asa-no-ha-moyoo no kake-buton deshita noni. Yon-mai tomo, boro-boro ni tabe-rarete.... Er... you said that ants ate the futons'? [...] Oh, and the top futons were new and had flax-leaf patterns, too. All four, chewed to pieces... [Tomiko Inui, Yaman-ba to Sora-tobu Shiroi Όma, p.26, Fu. 1976]

120

boro-boro Boku wa akiramete kaidan ο ori-tsuzuketa. Osoroshiku nagai kaidan da'ta. Marude Irt-ka no ido mitai da. Kabe ni wa boro-boro ni sabita tetsu no tesuri ga tsuite-ita. I gave up and continued down the staircase. It was a dreadfully long staircase, just like an Incan well. On the wall was an iron handrail which was rusting to pieces. [Haruki Murakami, "Toshokan Kidan" in Kan-garu:-biyori, p.209, Ko. 1986]

Sobo no Tane wa yoku, "Kao mo arawa-n-de, kuro-dama nan-zo shabu'te, ima ni ha ga boro-boro ni naru," to, Koosaku ni i'ta. Grandma Tane often used to say to Kosaku, "You don't even wash your face, and you suck away on black toffee and whatnot... Just wait and see, your teeth will be ruined." [Yasushi Inoue, Shiro-ban-ba, p. 17, Shi. 1965] (6)Ξ£ί^< (i, h i Oltfzb^fzO-C, i ihllbiZboX L i ^ t Ltz0 Oo-sama no fuku wa, amari hataraita node, boro-boro ni na'te-shimai-mashita. Hie King had worked so hard his clothes were in pieces. [Teruo Teramura, Boku wa Oo-sama, p.58, Ri. 1961]

boro-boro da

Yachin ga yasui toyuu node mi-ni-i'ta ga, nan-nen mo aki-ya ni na'te-ita rashiku, sono shakuya wa fusuma mo tatami mo boro-boro da'ta. I went to take a look at the house because I had heard that the rent was cheap, but it looked as if no one had lived there for years, for the screen doors and the tatami mats were in tatters. Fig: The state of being emotionally torn,

boro-boro no Ν kizu-tsuite boro-boro no kokoro a heart ravaged by sadness

boro-boro ni bixfzo Kanojo wa sore made kare ο son-kei-shite-ita ga, kare no totsuzen no omoi-yari no nai kotoba de, kanojo no kokoro wa boro-boro ni kizu-tsuke-rareta. She had respected him up until then, but her heart was torn to pieces by his unexpected and heartless words. (2)

fife, ijiJcV^J^o^fcttSfrftV^ Boro-boro ni na'te hiki-agete-kuru heishi-tachi ο mite, dare mo, tatakai ni ka'ta to wa omowa-nai. Looking at the haggard soldiers returning from battle, no one would assume that they had won. [Keisuke Fujikawa, Doowa-meita Sen-shi, Win-daria, p.175, Kd. 1986] (3)Sftfc&fitf 4& 1 2 ^ W / h $ < 4 Ο T ,

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Saigo ni nareba naru hodo koe ga chiisaku na'te, kotoba mo boro-boro ni na'te-kite, nan-daka nasake-naku naru hodo da' ta. 121

bosa' The nearer to the end of his story he got, the smaller became his voice, and the more broken his speech, so much so that he began to seem quite pathetic. [Saeko Himuro, Taeko Ga:ru, p.33, Shu. 1985] boro-boro da fe'frfe tars tariff „ Ο'to ni sha'kin dake nokosa-rete joohatsu-sareta ue, chiisai kodomo ni mo byooki ni nara-rete, kanojo wa ima ya mi mo kokoro mo boro-boro da. What with her husband running out and leaving her with nothing but debts, and her small child becoming ill, she is now weary in body and soul.

bosa' M l : The manner of being idle, or wasting one's time; the state of being inattentive or absentminded. bosa' to < t ? κ , targo Hageshii juken-jigoku no kurushi-mi ο nori-koete, ya'to daigaku ni nyuugaku-shita kare wa, ima wa ki ga nuketa yoo ni, bosa' to mainichi ο sugoshite-iru. He finally managed to struggle his way through "examination hell" and enter a university, and now he spends his days in idleness, as if having lost all interest in study. ioTvf;, Isogashiku iki-kau hito-gomi no naka de, kare dake wa, nani ο kan-gaete-iru no ka, bosa* to yotsu-kado ni ta'te-ita. I don't know why, but he was standing as if in a trance at the crosswalk, among all the busy people going by. bosa'-to-suru: to be idle, absentminded or inattentive ( 1 ) r t a r g p f c - f & & ! J t1&mbfitz0 Era:-tsuzuki no kare wa, too-too kan-toku ni "Bosa'-to-suru na!" to donara-reta. After a string of errors the coach finally yelled at him, " Wake up!" (2)gl±«v*i>< b iv^^SriÜTk, tfrEo t LXii^biX^^o Shoorai wa, san-juu-nin ni hitori gurai shika kan-ri-shoku ni tsuku koto ga deki-nai to yuu koto da kara, otoko-no-ko wa, ikura yoi daigaku ο dete-mo, boya'-to-shite wa i-rarenai. Since it is said that in the future only one person in thirty will be able to rise to a management position, regardless of how good the university he graduates from, a young man must constantly be on his toes. boyaa': Emphatic form of boya' M2 boyaa'-to-suru: to be absentminded or inattentive (l)wli, LTWcggtN Ltz0 [...] I > 2b, fcfcVSJ Ltzo Γ f c IT3J Mama wa, mada bon-yari-shite-ita atama de, Momo-chan no heya ο nozoki-komimashita. [...] "Yaa, tadaima." Papawa ii-mashita. "Doo shita-ndai? Boyaa'-to-shite sa." With her mind still fuzzy, Mama peered into Momo's room. [...][Then Papa came home and said] "Hi everybody, I'm home!" [and continued], "What's up with you? You look all dopey." [Miyoko Matsutani, Momo-chan to Puu, p. 106, Ko. 1976] boya-boya M: The state of being absentminded or inattentive, boya-boya 0 (1) R ^ t ^ j f r ^ T ^ & f r ^ A^KJSotIbtiZAstziio J "Boya-boya aruite-iru kara, san-rin-sha nan-ka ni butsuke-rareru-n da yo." "It's because you were walking along so carelessly that you got hit by the tricycle!" boya-boya-suru: to be absentminded.

Bon-yari, tsu'-ta'te-iru Aya no kao ni, omoikiri bo.ru ga ata'ta. "Manuke'. boya-sun na." Takami ga kuroi kao ο aka-guroku fukurama-sete donaru. 138

Boya-

buka-buka Then the ball slammed into Aya's face as she stood there with her mind on something else. "Idiot! Keep your mind on the game!" yelled Takami, his dark face swelling and turning dark red. [Yoshiko Akagi, Himawari Ai no Ηana, p.22, Ki. 1979] (2) tartar*LTv^S ix/zo "Kanojo wa bijin da kara, boya-boya-shite-iru to hoka no otoko ni tore-reru zo," to yuujin ga chuukoku-shite-kureta. "She's a beautiful girl, so if you don't watch out someone else will get her," my friend warned me. boya: a small fire [originates from boya-boya, which was once used to describe a slow burning action] (1)

fc>^ ÄÄLfcttftlifcib&^o "Boya to omou na kaji no oya" da kara, chuui-shi-nakereba nara-nai. It is said that "a small fire can bring about a conflagration," [a common Japanese aphorism] so you must be careful.

S: The sound made by a burst of air escaping from a narrow opening, bu' to (Dfcji'Ö-vxOJJgT* LfcBStt, ftÄliifft-ffrL^ofco O-miai no seki de, bu' to onara ο morashita toki wa, shinu-hodo hazukashi-ka' ta. When I let out a loud fart at the miai [an arranged meeting between prospective marriage partners and their families], I thought I would die of embarrassment. -buka M l : The state of being loose, or floating free. It typically refers to items of apparel which do not alter their shape, e.g., shoes, hats, collars, etc. buka-buka (to) (l)Ktlä, J E f c d v f r - r f c y K . g f r . g f r f c f t t f ' g - ^ Ufr ο fco / b - y ^ t i t O t v X y f l · ^ fcfeof, f ± f c ' U c & 0 > 9 bÖL*3) KM«:4fco Kutsu wa, ashi ο kawasu tabi ni buka-buka to nuge-soo ni na'ta. Ko-tsuru wa too too zu'ku ο te ni mo' te, hadashi ni nari, urameshi-soo ni kutsu ο nagameta. The shoes were so loose they would almost slip offe\ery time she took a step. Ko-tsuru finally took hold of the canvas shoes, pulled them off, and stood barefoot staring at them spitefully. [Sakae Tsuboi, Ni-juu-shi no Hitomi, p. 107, Shg. 1968] buka-buka no/na Ν (D-SsövS**)«; buka-buka no kutsu loose shoes buka-buka no suka. to a skirt which is loose around the waist (3)#gu±> v t f ^ f z L i > w e # 1 1 m < k % } < m i /h^iöwfcwttiJtsi^otto 139

buka-buka Yoosai wa, heta na mono ga itashi-masu to ookiku buka-buka na mono ga deki-masu ga, ami-mono no hoo wa, chiisa-me no mono ga deki-agari-masu. A poor seamstress will produce a garment which is too big, and a poor knitter will end up with something which is too small. [Ine Kuwai, Zoku-Obaa-san no Chie-bukuro, p.77, Bk. 1977] buka-buka ni

Geta-bako no oku ni daiji ni shimai-kon-de-oita kutsu o, ani-ki ga naisho de chokuchoku haite-ita rashiku, iza de:to ni haite-ikoo to omo'te tori-dashite-miru to, buka-buka ni na'te-ita. It looked like my big brother had often been secretly using the shoes I had carefully put away in the shoe cupboard, because when I took them out to go out on a date I found that they were all loose. buka-buka da Kono booshi wa, ki-ni-iri no doresu ni pi' tari na no da ga, zan-nen na koto ni bukabuka da. This hat goes perfectly with the dress that I like so much, but unfortunately it is too big. buka-buka-shite-iru: [of things worn] to be loose-fitting (1) £ %fcJRt) Kono inu no kubi-wa wa furuku na' te buka-buka-shite-iru node, nige-nai uchi ni torikaeta hoo ga ii yo. This dog's collar is old and has become loose, so you'd better change it before he runs away. M2: The manner of floating buoyantly, buka-buka (to) &ΖηΜΜΆΆtfj&frxfr (t) < tifco Mukashi wa ge-suidoo ga kan-bi-sarete-i-naka'ta node, oo-ame ya taifuu no ato ni wa koozui ga yoku oko'te, tan-su nado no kazai-doogu ga buka-buka (to) ukan-de-iru kookei ga yoku mi-rareta. In the past the drain system was not extensive, and so floods followed heavy rains and typhoons, and it was common to see chests of drawers and other furniture floating about. (2)

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...J "Suijin-sama wa, kyuuri ο tabe-nasaru no?" "Kyuuri wa, buka-buka to nagarete, tooi tooi umi no hoo e i'te-shimau no desu yo. Soredemo omae no kokorozashi dake wa, suijinsama ni tooru no desu..." "Does the water god eat the cucumber?" "The cucumber floats bobbing down towards the sea very, very far away, but even so your wish reaches him." [Mimei Ogawa, "Tooku de Naru Kaminari" in Ogawa Mimei Doowa-shuu, p. 167, Shi. 1951] 140

buku' M3: The state in which a thin surface becomes distorted, forming bulges or ripples, buka-buka no Ν buka-buka no tatami straw tatami mats which have become warped and risen in places (2

buka buka no beniya-ita a warped plywood board buka-buka ni (l) Mil ο Ko'pu ni se'ken-sui ο irete, sutoro: de buku-buku (to) fuku to, kirei na niji-iro no shabon-dama ga tsugi-tsugi to dekiru. After putting soapy water in a cup and blowing air into it through a straw, lovely, rainbow-colored bubbles form one after another. o ) r n m m ^ t i b , j-c£*)i+c Kawa no dote ni wa, haru ni naru to, iro-iro na hana ga saki-masu. [...] Mitsu-bachi mo, bun-bun una'te, tobi-mawari-masu. When spring comes around, many different types of flowers blossom on the banks of the river. [...] And we can also see honeybees buzzing about. [Hatoju Muku, "Doozo Kan-ben" in Hitori-bo'chi no Tsuru, p.82, Po. 1977] miit,

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-e-OlRfcÄlfttiLfco Suu-nin no chin-pira ni tori-kakoma-re, kono-mama dewa yara-reru to omo'te, chikaku ni a'ta boo-kire ο muga-muchuu de bun-bun furi-mawasu to, aite ga hirun-da node, sono suki ni nige-dashita. I was surrounded by a gang of thugs and thought they might beat me up if I didn't do anything, so I picked up a piece of stick lying nearby and swung it about frantically with all my might, and, when they stepped back out of the way, I grabbed my chance and ran off. (4)

£ jfc - f , JZbJZb (t) Saishuu-basu ni nori-okure, doose mon-gen ni wa ma ni awa-nai to omo'ta node, takushi: ni mo nora-zu, bura-bura (to) aruite, ga'koo no ryoo e kae'ta. Having missed the last bus, and realizing that I would not make it home before lock-up anyway, I decided not to take a taxi and instead walked leisurely back to the college dorm. ÜL·fZo O-jii-chan no yuiitsu no tanoshi-mi wa, yuushoku-go, inu ο tsurete kin-jo ο bura-bura (to) san-po-suru koto da. My grandad's one and only pleasure is taking a leisurely stroll with his dog around the neighborhood after dinner. I < 144v\,

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i ± i S f f i t M t L < ΜΌ t OK, ttraKliarafrtjföwiflH 4 ^ f i t z 0 J "On-na wa ii naa, toku da na. Chi'to mo okora-re-naide ie ni bura-bura-shite-i-rarete. Hito, otoko to umareru nakare da." "It must be great to be a woman-Women have all the luck. A woman doesn't get scolded if she hangs around doing nothing at home. A person should never be born a man!" [Hachiro Sato, Abekobe Monogatari, p.9, Ko. 1975] (4)

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Naoko no chichi-oya wa, tashika ni kookoku-gaisha ni tsutomete-ita. Shitsugyoo-shite bura-bura-shite-iru tokoro ο yagaku-nakama ni hirowa-re, machi no chiisa na in-satsu-ya no shita-uke ο shite-iru no da. Naoko's father had indeed been working for an advertising company. But when he had lost his job and was doing nothing, a former night school classmate found him a job doing subcontracting work for a small printing office in town. [Kuniko Mukoda, "Haru ga Kita" in Tonari no On-na, p. 183, Bs. 1984] bura-tsuku: to be idle or without purpose

"Chikagoro kono atari o, etai no shire-nai otoko ga bura-tsuite-iru kara, dekakeru toki ni wa, kichin to to-jimari ο shita hoo ga ii yo." "Lately there's been a strange man hanging around here, so when you go out make sure you lock up. bura-bura-yamai: listlessness; love-sickness

buran M: The state of an object hanging freely, buran to "CW^fc, Κ, 148

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burari "Mairtichi isogashikute, ami ο tsukurou hima mo nai-n da. Ami ni chiisai ana ga hitotsu aite-ita no o, cho'to hoo'te-oitara, kore, kono toori da." Sono kotoba to i'sho ni, Käme no mae ni, buran to, ami ga bura-saga'te-ki-mashita. "I'm so busy every day I don't have time to fix my net. When I leave a tiny hole in the net without repairing it, look at the result!" The net swung down in front of Käme. [Naoko Awa, "Dare-mo Shira-nai Jikan" in Minami no Shima no Mahoo no Hanashi, p. 192, Ko. 1980] buran-buran

M: The manner in which an object which is dangling or hanging sways to and fro. buran-buran to J M ^ ^ T t f T ,

md ZfrLXfLittZo Ι&Ά 77 7 7 > L < M f t τ, η L^Ktf.o/c&^t^ÄU^ ä&b&tivLtio [...] kuroi asa-nuno de koshiraeta tsutsumi ο kata-te ni bura-sagete, furi-ugokashitemiseta. Gen-juu ni himo ο kaketa sono tsutsumi wa, kyasha na te ο shinawa-sete, buran, buran to omo-omo-shiku yurete, ushiro ni ta' ta hinoki-ajiro no byoobu ni, kimyoo na kage ο utsushita. [...] he dangled a parcel done up in a black linen cloth from one hand, and shook it. The parcel was bound carefully with string, and swung heavily, causing the delicate hand which held it to bend under its weight, and it threw strange shadows on the cypress wickerwork screen behind. [Chogoro Kaionji, "Hayato-zoku no Han-ran" in Kaion-ji Chogoro Tan-pen Sooshuu (4), Ko. 1978] buran-buran-sase-ru (1) P f & w i S f r K t t f c K f f l ^ ü f t T ^ t i T , i i i W c ^ o T J S . f r 7 7 > "Kodomo no jibun natsu-yasumi ni inaka e tsurete-ika-rete, en-gawa ni suwa' te ashi ο buran-buran-sase-nagara suika ο tabeta koto ga a'ta naa." "Yes, I remember as a child being taken into the countryside during the summer vacation, and sitting on the verandah swinging my legs back and forth as I ate a watermelon." [Kuniko Mukoda, "Haru ga Kita" in Tonari no On-na, p. 185, Bs. 1984] buran-buran da t Ltz0 & Ί * A , f i - J f it i f i 5 Ä/T, ^ o t m i o / ; ο φ ίζ fcft

g K ^ f r S f f o t - v i S / f t t f l f p f c o 149

burari-burari [...] furu-boketa tsukue ga mi'tsu yo'tsu naran-de wa iru ga, kyoozai rashii mono wa ma'taku mi-atara-nai. Tada hitotsu, kore mo furu-boketa mukashi no Nihon-chizu ga burari, kabe ni bura-saga'te-iru dake da'ta. [...] though there were three or four antiquated desks lined up, nothing resembling teaching materials could be seen, apart from a map of Japan, also antiquated, swinging loosely on one wall. [Satoshi Ozawa, Kuroshio Monogatari, p.32, So. 1983] (2)

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[...] Sazan ga mon-ku ο i'ta ga, shikashi, ureshikute, karada ga zoku-zoku-shita. 0hana mo onaji omoi da' ta to miete, buru' to mi-burui 0 shita. [...] complained Sazan, but he was so happy, he could feel chills run up and down his spine. I guess O-hana felt the same way, for her body gave a shiver. [Satoru Sato, Hoshi kara Ochita Chiisa-na Hito, p. 127, Ko. 1980] buru'-to-suru (l) Γ[...] t o J Γ?>

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j < v X l 0 » Ä O f c i t i t i i , 'J J: J "Gan-ba'te yo. Mono-tari-nakereba, deba-boochoo de, onaka ο busuri-to-yaru ka mo yo." "Try hard! If it doesn't satisfy me, I might stab you in the stomach with a carving knife!" [Akira Sagashima, "Sukiyaki Satsujin-jiken" in Gurume Satsujin-jiken, p.69,1982] 157

butsu'

butsu' S: A dull sound made when a relatively thick, firm object is stabbed, chopped, or snaps once. butsu' to (Ditwf m ^ K t z i x t z ^ m n m z i