tag:blogger.com,1999:blog-27162317.post115035644179680926..comments2023-05-02T03:50:11.195-07:00Comments on Haiku Topics, Theory and Keywords .. (WKD - TOPICS ): Sound of WaterGabi Grevehttp://www.blogger.com/profile/16362456518166174106noreply@blogger.comBlogger18125tag:blogger.com,1999:blog-27162317.post-78263729149688421552018-03-25T22:50:00.171-07:002018-03-25T22:50:00.171-07:00Kiyosumi Teien 清澄庭園 Kiyosumi Park
.
https://edoflo...<b>Kiyosumi Teien 清澄庭園 Kiyosumi Park</b><br />.<br />https://edoflourishing.blogspot.jp/2018/03/kiyosumi-district.html<br />.Gabi Greve - Darumapediahttps://edoflourishing.blogspot.jp/2018/03/kiyosumi-district.htmlnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-38882077997299144062013-12-01T18:00:01.017-08:002013-12-01T18:00:01.017-08:00Sen Rikyuu, Sen Rikyū 千利休 Sen Rikyu, Sen no Rikyu ...Sen Rikyuu, Sen Rikyū 千利休 Sen Rikyu, Sen no Rikyu <br />Gabi Greve - Darumapediahttp://darumapedia-persons.blogspot.jp/2013/12/sen-rikyu.htmlnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-5894729974657123752013-01-20T13:17:01.253-08:002013-01-20T13:17:01.253-08:00"When you hear the splash
Of the water drops ..."When you hear the splash<br />Of the water drops that fall<br />Into the stone bowl<br />You will feel that all the dust<br />Of your mind is washed away."<br /><br />Sen no Rikyu 千利休 <br />1522-1591Gabi Grevehttps://www.blogger.com/profile/16362456518166174106noreply@blogger.comtag:blogger.com,1999:blog-27162317.post-61018514276572166422012-10-07T23:14:46.463-07:002012-10-07T23:14:46.463-07:00old pond –
after jumping
no frog
furu ike ya
sono...old pond –<br />after jumping<br />no frog<br /><br />furu ike ya<br />sono go tobikomu<br />kawazu nashi<br /><br />by Kameda Bōsai (1752 – 1826)<br />a bored calligrapher and<br />Confucian scholar.<br />.<br /><br />http://www.haigaonline.com/issue9-1/feature/je-p2.htm<br />.<br />with a painting<br />.Gabi Grevehttp://www.haigaonline.com/issue9-1/feature/je-p2.htmnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-57190256703911866252012-02-14T17:20:19.541-08:002012-02-14T17:20:19.541-08:00Translation-adaptation by the portuguese writer wh...Translation-adaptation by the portuguese writer who lived 30 years in Japan, <br />Wenceslau de Moraes <br />(Lisboa, 1854-Tokushima,1929):<br /><br />A temple, a mossy pond,<br />Soundless, only cleaved by the sound of frogs<br />Jumping in the water, nothing else <br /><br />.<br />Joys of JapanJoys of Japanhttp://www.facebook.com/groups/joysofjapan/noreply@blogger.comtag:blogger.com,1999:blog-27162317.post-51135666194109936212011-08-14T19:16:40.615-07:002011-08-14T19:16:40.615-07:00>2、芭蕉や一茶の時代はどう区別していたのか?
近世前期を代表する俳諧作法書「毛吹草」(岩波文庫...>2、芭蕉や一茶の時代はどう区別していたのか?<br /><br /> 近世前期を代表する俳諧作法書「毛吹草」(岩波文庫)の「巻第三 付合」のリストの中では、「蛙(かへる)」の項には「蛇(くちなは)、梢(こずゑ)、井戸、仙人、月、蜒(なめくじり)」が、一方「樂(がく)」の項に「鶯、蛙(かはづ)、天王寺、住吉、行幸、法事、神前」とある。従って、日常・生活上での蛙は「かへる」であり、特にその音楽的な鳴き声を採るときは「かはづ」ということなのでしょうか。<br />初蛙/遠蛙/昼蛙/夕蛙などは「かはづ」と読むが、その他の「痩せ蛙」など、その一般的な特徴では「かへる」もしくは「かいる」ということでしょう。<br />...<br />http://soudan1.biglobe.ne.jp/qa3066121.html<br /><br />.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-3992545107554262782011-08-14T19:13:17.612-07:002011-08-14T19:13:17.612-07:00>1、古い時代、「かはづ」と「かえる」はどう区別されていたのか?
歌語(かご)と古語と俗語
「主...>1、古い時代、「かはづ」と「かえる」はどう区別されていたのか?<br /><br /> 歌語(かご)と古語と俗語<br />「主として和歌をよむ時だけに用いる言葉。鶴(つる)に対する「たづ」、蛙(かえる)に対する「かはづ」など」(小学館「国語大辞典」)<br />1)かはきぎす(川雉(子))<br />川で「きぎ」と雉(きじ<古名>ぎぎし/きぎす)のように鳴く河鹿蛙/かわず。別名:金襖子(きんおうし)/錦襖子(きんおうし)/石鶏(せきけい)。(東京堂「類語辞典」)<br />2)かはづ(川津)<br />万葉集では「鳴川津(なくかはづ)」は「石本去らず(澄んだ川瀬の石の下)」であり、「川津妻(かわづつま)」も「上つ瀬に(澄んだ川上の浅瀬で)」であり、川瀬のとおり澄んだ河鹿蛙の鳴き声が詠われている。(東京堂「古典読解辞典」)<br />3)かいろ<br />「牡鹿が雌鹿を恋い慕って鳴く声を、古くは「かひよ(カイヨ)」と聞き取ったが、これを「帰ろ」の意にとりなしていったもの。」(「古語大辞典」)<br />4)かへら/かへる/かいる(蛙)<br />蛙の古語、川雉子とも。「田火(でんか)/玉芝(ぎょくし)/風蛤(ふうこう)/活東(かつとう)/かわず」(東京堂「古典読解辞典」)<br /><br /> 雄雉のキギと鳴く、あるいは牡鹿のカイヨと求愛する声に近いことから、澄んだ川辺での鳴き声のきれいな蛙を、特にかわづとして歌語にしたものでしょうか。そういう意味からすれば、「蛙の目借時」という季語も、実は川津の雌狩(めかり)、あるいは媾離(めかり)時なのかも知れません。Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-26465832192603031872009-08-13T05:01:51.395-07:002009-08-13T05:01:51.395-07:00old pond
a frog leaps in
ah, water's sound
sh...old pond<br />a frog leaps in<br />ah, water's sound<br /><br />sheilasheila windsornoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-72178622151109022792008-12-15T14:14:00.000-08:002008-12-15T14:14:00.000-08:00you listen too, because that sound is not even a s...you listen too, because that sound is not even a splash and so brief very hard impossible to sound locate, and the ripples are gone by thge time you have the direction. By the time the brain processes the "sound of water" it's lost the immediacy of the silence.<BR/><BR/>And especially, there is a cut between pond and fog, so IMHO, to my ear, stopping to process "the sound of water" creates in English a second cut between frog and sound, a cut not in the Japanese I am told, and the whole point is the interdependant co-arising of frog and silence: it's the continuity of transformation of frog into silence, return of frog to silence. So cutting off the sound from the frog and from the pond decimates the verse.<BR/><BR/>I awaken to the reality of frog is silence, pond is silence... all exists in the unity of pond without seperation, without distance, without pause stop thought. The first cut, between frog and pond are trancended by their unity in the silence which we hear only because of that subtle frog. A frog who's disappeared before we even see it, or even see its ripples. Their existence itself makes the silence real and their absence real.<BR/><BR/>Existence and non-existence are not two.<BR/><BR/>If you cut the sound from the frog, all of that interdependant co-arising is cut.<BR/><BR/>I can't believe Basho was so clumsy. I have to believe his Japanes must stitch his frog into its silent sound.<BR/><BR/>Also, as a country boy I hear all those frogs and their predator avoidance behavior. Frogs are tasty. And they prefer to leave your mouth tasting nothing. The silence is also the taste of no frog for dinner.<BR/><BR/>isaAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-27942496987305910222008-05-18T15:12:00.000-07:002008-05-18T15:12:00.000-07:00old pond/frog(s) jumping-in water's sound. Literal...old pond/frog(s) jumping-in water's sound. <BR/>Literal translation by Kai Hasegawa<BR/><BR/>My first thought is how is this poem not realism? I'm just started to get interested in poetry so I don't speak the lingo. <BR/>If realism is defined as "compositions based only upon those things you have directly seen", then this could certainly fit that definition. Although I realize it predates the school of realism. <BR/> <BR/>I'm guesstimating that this haiku goes beyond realism because there is something timeless, eternal, of stillness about it. If the pond represents stillness and the frog's jumping represents action, then the sound of the water is where stillness and action meet. I'm sure I'm not explaining this well but the scene described in the poem transcends, it has a deeper meaning.<BR/> <BR/>While I was out for a walk, I came up with another meaning for the poem. Unfortunately I don't recall how I got here but the old pond maps to eternity and the frog an individual person. It suggests that our lives are as transient and as beautiful as the sound made by a frog as it jumps into the water.<BR/> <BR/>So, I'm guessing that realism does not go beyond what it objectively sees; realism does not transcend.<BR/> <BR/>Judy<BR/><BR/>http://groups.yahoo.com/group/simply_haiku/message/21777Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-4291672852610597462008-02-29T18:17:00.000-08:002008-02-29T18:17:00.000-08:00Leap Year of the Frog 2008 leap day - the haiku fr...<A HREF="http://haikuandhappiness.blogspot.com/2008/02/leap-day.html" REL="nofollow">Leap Year of the Frog 2008 </A><BR/><B><BR/>leap day - <BR/>the haiku frogs jump <BR/>to new hights </B><BR/><BR/>GabiGabi Grevehttps://www.blogger.com/profile/16362456518166174106noreply@blogger.comtag:blogger.com,1999:blog-27162317.post-5432982730238733922007-07-26T19:13:00.000-07:002007-07-26T19:13:00.000-07:00Quote from http://www.bopsecrets.org/gateway/passa...Quote from <BR/>http://www.bopsecrets.org/gateway/passages/basho-frog.htm<BR/>Bureau of Public Secrets<BR/><BR/>(Thirty Translations and One Commentary)<BR/><BR/>Commentary by Robert Aitken <BR/><BR/>THE FORM<BR/><BR/>Ya is a cutting word that separates and yet joins the expressions before and after. It is punctuation that marks a transition — a particle of anticipation.<BR/><BR/>Though there is a pause in meaning at the end of the first segment, the next two segments have no pause between them. In the original, the words of the second and third parts build steadily to the final word oto. This has penetrating impact — “the frog jumps in water’s sound.” <BR/><BR/>Haiku poets commonly play with their base of three parts, running the meaning past the end of one segment into the next, playing with their form, as all artists do variations on the form they are working with. <BR/>Actually, the name “haiku” means “play verse.”<BR/><BR/><BR/>COMMENT<BR/><BR/>This is probably the most famous poem in Japan, and after three hundred and more years of repetition, it has, understandably, become a little stale for Japanese people. Thus as English readers, we have something of an edge in any effort to see it freshly. The first line is simply “The old pond.” This sets the scene — a large, perhaps overgrown lily pond in a public garden somewhere. <BR/><BR/>We may imagine that the edges are mossy, and probably a little broken down. With the frog as our clue, we guess that it is twilight in late spring.<BR/><BR/>This setting of time and place needs to be established, but there is more. “Old” is a cue word of another sort. For a poet such as Bash・ an evening beside a mossy pond evoked the ancient. Basho presents his own mind as this timeless, endless pond, serene and potent — a condition familiar to mature Zen students.<BR/><BR/>In one of his first talks in Hawai’i, Yamada Koun Roshi said: “When your consciousness has become ripe in true zazen — pure like clear water, like a serene mountain lake, not moved by any wind — then anything may serve as a medium for realization.”<BR/><BR/>D.T. Suzuki used to say that the condition of the Buddha’s mind while he was sitting under the Bodhi tree was that of sagara mudra samadhi (ocean-seal absorption). In this instance, mudra is translated as “seal” as in “notary seal.” We seal our zazen with our zazen mudra, left hand over the right, thumbs touching. Our minds are sealed with the serenity and depth of the great ocean in true zazen.<BR/><BR/>There is more, I think. Persistent inquiry casts that profound serenity. Tradition tells us that the Buddha was preoccupied with questions about suffering. The story of Zen is the story of men and women who were open to agonizing doubts about ultimate purpose and meaning. The entire teaching of Zen is framed by questions.<BR/><BR/>Profound inquiry placed the Buddha under the Bodhi tree, and his exacting focus brought him to the serene inner setting where the simple incident of noticing the morning star could suddenly disclose the ultimate Way. As Yamada Roshi has said, any stimulus would do — a sudden breeze with the dawn, the first twittering of birds, the appearance of the sun itself. It just happened to be a star in the Buddha’s case.<BR/><BR/>In Basho's haiku, a frog appears. To Japanese of sensitivity, frogs are dear little creatures, and Westerners may at least appreciate this animal’s energy and immediacy. Plop!<BR/><BR/>“Plop” is onomatopoeic, as is oto in this instance. Onomatopoeia is the presentation of an action by its sound, or at least that is its definition in literary criticism. The poet may prefer to say that he became intimate with that sound. Thus the parody by Gibon Sengai is very instructive:<BR/><BR/>The old pond!<BR/>Basho jumps in,<BR/>The sound of the water!<BR/><BR/>Hsiang-yen Chih-hsien became profoundly attuned to a sound while cleaning the grave of the Imperial Tutor, Nan-yang Hui-chung. His broom caught a little stone that sailed through the air and hit a stalk of bamboo. Tock! <BR/><BR/>He had been working on the koan “My original face before my parents were born,” and with that sound his body and mind fell away completely. There was only that tock. Of course, Hsiang-yen was ready for this experience. He was deep in the samadhi of sweeping leaves and twigs from the grave of an old master, just as Bash・is lost in the samadhi of an old pond, and just as the Buddha was deep in the samadhi of the great ocean.<BR/><BR/>Samadhi means “absorption,” but fundamentally it is unity with the whole universe. When you devote yourself to what you are doing, moment by moment — to your kn when on your cushion in zazen, to your work, study, conversation, or whatever in daily life — that is samadhi. Do not suppose that samadhi is exclusively Zen Buddhist. Everything and everybody are in samadhi, even bugs, even people in mental hospitals.<BR/><BR/>Absorption is not the final step in the way of the Buddha. Hsiang-yen changed with that tock. When he heard that tiny sound, he began a new life. He found himself at last, and could then greet his master confidently and lay a career of teaching whose effect is still felt today. After this experience, he wrote:<BR/><BR/>One stroke has made me forget all my previous knowledge.<BR/>No artificial discipline is at all needed;<BR/>In every movement I uphold the ancient way<BR/>And never fall into the rut of mere quietism;<BR/>Wherever I walk no traces are left,<BR/>And my senses are not fettered by rules of conduct;<BR/>Everywhere those who have attained to the truth<BR/>All declare this to be of highest order.<BR/><BR/>The Buddha changed with noticing the morning star — “Now when I view all beings everywhere,” he said, “I see that each of them possesses the wisdom and virtue of the Buddha . . .” — and after a week or so he rose from beneath the tree and began his lifetime of pilgrimage and teaching. <BR/><BR/>Similarly, Basho changed with that plop. The some 650 haiku that he wrote during his remaining eight years point precisely within his narrow medium to metaphors of nature and culture as personal experience. A before-and-after comparison may be illustrative of this change. For example, let us examine his much-admired “Crow on a Withered Branch.”<BR/><BR/>On a withered branch<BR/>a crow is perched:<BR/>an autumn evening.<BR/><BR/>kare eda ni <BR/>Withered branch on<BR/><BR/>karasu no tomari keri <BR/>crow’s perched<BR/><BR/>aki no kure <BR/>autumn’s evening<BR/><BR/>The Japanese language uses postpositions rather than prepositions, so phrases like the first segment of this haiku read literally “Withered branch on” and become “On [a] withered branch.” <BR/><BR/>Unlike English, Japanese allows use of the past participle (or its equivalent) as a kind of noun, so in this haiku we have the “perchedness” of the crow, an effect that is emphasized by the postposition keri, which implies completion.<BR/><BR/>Basho wrote this haiku six years before he composed “The Old Pond,” and some scholars assign to it the milestone position that is more commonly given the later poem. I think, however, that on looking into the heart of “Crow on a Withered Branch” we can see a certain immaturity. <BR/><BR/>For one thing, the message that the crow on a withered branch evokes an autumn evening is spelled out discursively, a contrived kind of device that I don’t find in Basho #146;s later verse. There is no turn of experience, and the metaphor is flat and uninteresting. <BR/><BR/>More fundamentally, this haiku is a presentation of quietism, the trap Hsiang-yen and all other great teachers of Zen warn us to avoid. Sagara mudra samadhi is not adequate; remaining indefinitely under the Bodhi tree will not do; to muse without emerging is to be unfulfilled.<BR/><BR/>Ch’ang-sha Ching-ts’en made reference to this incompleteness in his criticism of a brother monk who was lost in a quiet, silent place:<BR/><BR/>You who sit on the top of a hundred-foot pole,<BR/>Although you have entered the Way, it is not yet genuine.<BR/>Take a step from the top of the pole<BR/>And worlds of the ten directions will be your entire body.<BR/>The student of Zen who is stuck in the vast, serene condition of<BR/>nondiscrimination must take another step to become mature.<BR/><BR/>Basho's haiku about the crow would be an expression of the “first principle,” emptiness all by itself — separated from the world of sights and sounds, coming and going. This is the ageless pond without the frog. It was another six years before Bash・ took that one step from the top of the pole into the dynamic world of reality, where frogs play freely in the pond and thoughts play freely in the mind.<BR/><B><BR/>The old pond has no walls;<BR/>a frog just jumps in;<BR/>do you say there is an echo?</B>Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-21235180270888541722007-06-27T21:23:00.000-07:002007-06-27T21:23:00.000-07:00Basho first wrote:kawazu tobikomumizu no otoand th...Basho first wrote:<BR/>kawazu tobikomu<BR/>mizu no oto<BR/><BR/>and then spent a year and a half deciding on the first line.<BR/><BR/>Thus, that little 'ya' is far from trivial. It is 'lifeless' pond or dead pond (to be blunt).<BR/><BR/>You avoided that pesky little detail of the okurigana which compliments, though also limits, the cognitive content of the Kanji.<BR/><BR/>Best regards,<BR/>O-cha-ryuMysterionhttps://www.blogger.com/profile/12649237112389489841noreply@blogger.comtag:blogger.com,1999:blog-27162317.post-10789095397072243772007-06-26T19:43:00.000-07:002007-06-26T19:43:00.000-07:00Dead PondJumping FrogSound of WaterIn a (heretofor...Dead Pond<BR/>Jumping Frog<BR/>Sound of Water<BR/><BR/>In a (heretofore) Lifeless (complete stillness) Pond (Universe)<BR/>A Jumping Frog (Life)<BR/>Makes a Quick Splash<BR/><BR/>Translation:<BR/>Life is just a brief interruption in the great stillness of nirvana.Mysterionhttps://www.blogger.com/profile/12649237112389489841noreply@blogger.comtag:blogger.com,1999:blog-27162317.post-28923851499444782262007-05-03T05:10:00.000-07:002007-05-03T05:10:00.000-07:00Why did Basho choose to write "mizu no oto" for th...Why did Basho choose to write "mizu no oto" for the last line of his most famous haiku, rather than something more onomatopoeic in Japanese?<BR/><BR/>Here is Ad G. Blankestijn's comment on this:<BR/><BR/>The mizo [sic] no oto or 'sound of water' is another matter. Many translators cannot resist the temptation to enliven this phrase by translating it as 'Plop,' 'Splash,' or even 'Kdang.' That is strictly speaking not correct, for Basho himself could also have used an onomatopoeic word. The Japanese language is very rich in them, more so than English, but Basho purposefully selected 'sound of water,' perhaps to emphasize the progression from stillness (no sound) to movement (sound) to stillness again. <BR/><BR/>Zen-master and graphic artist Sengai (1751-1837) wrote a parody of the frog haiku (yes, already in Edo-times it was so popular that it invited parodies!) in which he creates a comic effect by using the onomatopoeic pon to, resulting in a very different poem:<BR/><BR/>old pond<BR/>something plop<BR/>jumped in<BR/><BR/>furuike ya | naniyara pon to | tobikonda<BR/><BR/>http://www.xs4all.nl/~daikoku/haiku/meguri/kuhi-2.htm<BR/><BR/><BR/>So this is what Basho's haiku might have looked like instead:<BR/><BR/>furu ike ya kawazu tobikomu pon to kana<BR/><BR/>or something like that! LOL<BR/><BR/>But, and here is my speculation, this altered version doesn't SOUND as good in Japanese as the original. Although in Japanese a frog's croak is "gero gero" (just as in English a frog's croak is "ribbit"), I get the impression of a frog croaking when I hear the haiku outloud. In any event, there is certainly a musicality in the original, with all those "u" sounds, sometimes accompanied by a<BR/>beginning "z", and the "o" sounds, especially at the end, where they 'sound' like the wave-ring on the water, made by the frog's jump, widening out and fading away...<BR/><BR/>And I like the way the beginning "u" sounds 'open out' with "ya kawa..." as if representing the way a frog's body 'opens out' as it<BR/>goes from squatting to leaping.<BR/><BR/>This haiku of Basho's definitely 'rolls off the tongue!'<BR/><BR/>Larry<BR/>http://groups.yahoo.com/group/translatinghaiku/message/1585Gabi Grevehttps://www.blogger.com/profile/16362456518166174106noreply@blogger.comtag:blogger.com,1999:blog-27162317.post-49359686923167231702007-05-03T02:29:00.000-07:002007-05-03T02:29:00.000-07:00For what it's worth, there is another interpretati...For what it's worth, there is another interpretation of this haiku.<BR/><BR/>Some translators argue that the "a-ha" or whatever of this haiku is that the frog isn't CAUSING the sound, but ENTERING the sound. <BR/><BR/>The lines literally mean that the frog is entering the SOUND OF WATER and not causing a splash, but simply joining in what was already there.<BR/><BR/>At the ancient pond<BR/>a frog plunges into<BR/>the sound of water<BR/><BR/>(Hamill)<BR/><BR/>.....<BR/><BR/>furuike-ya kawazu tobikomu mizu-no oto<BR/><BR/>The ancient pond...<BR/>a frog jumps in<BR/>the sound of water<BR/><BR/>_Basho<BR/><BR/><BR/>The -mu in tobikomu actually acts as a period in archaic Japanese not to signify a modifier as it does in modern Japanese. So in modern Japanese the kawazu tobikomu mizu-no oto would read as "a frog jumps in(to) the sound of water" whereas in archaic Japanese it reads as<BR/> "a frog jumps in. the sound of water". <BR/><BR/>Another possibility is "the ancient pond.... a frog, jumps in the sound of water". <BR/>Of the above Basho can almost certainly have been thought to have made the haiku as in the middle example. <BR/><BR/>The "jumping in sound" concept was probably first thought of by a person (whether Japanese or Western) who didn't understand archaic Japanese to the point that they should have to be translating.<BR/><BR/>Dhugal Lindsay<BR/><BR/>http://haiku.cc.ehime-u.ac.jp/shiki.archive/9507/0341.htmlAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-57535803672234530292007-04-18T15:26:00.000-07:002007-04-18T15:26:00.000-07:00I don't know how the Japanese "works" , but here a...I don't know how the Japanese "works" , but here are some word-for-word translations:<BR/><BR/>furu-ike | ya | kawazu | tobi-komu | mizu-no-oto<BR/><BR/>Harold Henderson:<BR/><BR/>old-pond | : | frog | jump-in | water-sound<BR/><BR/><BR/>Makoto Ueda:<BR/><BR/>...............................| mizu | no | oto<BR/><BR/>old-pond | : | frog | jump-in | water | 's | sound<BR/><BR/><BR/>Haruo Shirane gives the same word-for-word translation as Ueda.<BR/><BR/>David Barnhill translates "ya" with an exclamation point instead of a colon, but otherwise he translates word-for-word the same as Ueda and Shirane.<BR/><BR/>"Water's sound" doesn't sound very evocative in English. To me, it<BR/>almost sounds like a science report. Translators get creative when they decide how to translate "mizu no oto." The translation you have quoted says "plunk."<BR/><BR/>Surprisingly to me, Henderson stays with "water-sound." Ueda<BR/>says "water's sound." Shirane goes more formal, saying "the sound of<BR/>water." Barnhill sticks with the literal "water's sound."<BR/><BR/>Some translators have substituted "noise" for "sound." Not much difference there to me.<BR/><BR/>Other onomotopoetic English words that have been used for "mizu no<BR/>oto" are "splash," "splosh," "plash," "plop," "kdang," "kerplunk,"<BR/>"kersplat," "ploomp," and "blip." I suspect there are probably more.<BR/><BR/>Some translators get around the problem (if it is a problem) by not<BR/>specifying a sound at all, but leaving it up to the reader's<BR/>imagination, with variations on, "listen--a frog jumps into the<BR/>water."<BR/><BR/>Larry<BR/>http://groups.yahoo.com/group/happyhaiku/message/4560Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-27162317.post-1159833523316494452006-10-02T16:58:00.000-07:002006-10-02T16:58:00.000-07:00.> !dnop dlo nA > -ni spmuj gorf A > .retaw fo dno....<B><BR/>> !dnop dlo nA <BR/>> -ni spmuj gorf A <BR/>> .retaw fo dnous ehT </B><BR/><BR/>--Basho, Matsuo (1644-1694)<BR/><BR/>http://groups.yahoo.com/group/cherrypoetryclub/message/28348Anonymousnoreply@blogger.com