☰ japanonomatopoeia.com
☰ japanonomatopoeia.com Home Book Credits

Table of Contents

Chapter 1
Section 1 Section 2 Section 3
Chapter 2
Section 1 Section 2 Section 3
Chapter 3
Section 1 Section 2 Section 3
Chapter 4
Section 1 Section 2 Section 3
Chapter 5
Section 1 Section 2 Section 3
Chapter 6
Section 1 Section 2 Section 3

Copyright © Kazumi Matsumoto

☰

Definition
Example
Page 69 Ch 5 Art and Sports


主人公しゅじんこうはその 侍さむらいを 助たすけるために、 戦たたかいに 加くわわりました。 戦たたかいは 凄すさまじくて 劇的げきてきでした。 特とくに 弱よわい 家来けらいと 比くらべると、 主人公しゅじんこうは 強つよくてエネルギッシュでした。そのフットワークと 刀かたなさばきはとても 速はやかったです。 だからすばやく 敵てきを 圧倒あっとうすることが 出来できました。 主人公しゅじんこうは 敵てきに 向むかって タタと 走はしって ヒュッとジャンプして、 上うえから 攻撃こうげきしました。 刀かたなで カンと 打うったから、 敵てきは ヨタヨタとよろめきました。そして、 家来けらいの 一人ひとりが ドシンと 倒たおれました。 そのうち、 敵てきの 家来けらいたちは 死しなないように 逃にげ 出だしました。そして、 敵てきの 頭かしらは 主人公しゅじんこうと 戦たたかうために、 下おりてきました。

The main character joins the fight with the samurai, helping him fend off his enemies. The fight is dramatic and ferocious. The main character is strong and filled with energy, especially when compared to the weak soldiers he is fighting. His footsteps and sword swings are much faster, and he quickly overpowers the soldiers. He runs towards them and jumps while he lands a blow from above. The enemy soldiers wobble around after a bit from the swords hitting each other. One of the soldiers falls down onto the ground. Eventually, they flee to avoid certain death. Their commander, the antagonist, comes down to fight the protagonist one-on-one.
Shujinkou wa sono samurai o tasukeru tameni, tatakai ni kuwawarimashita. Tatakai wa susamajikute gekiteki deshita. Tokuni yowai kerai to kuraberuto, shujinkou wa tsuyoku enerugishu deshita. Sono futtowaaku to katana sabaki wa totemo hayakatta desu. Dakara subayaku teki o attosurukoto ga dekimashita. Shujinkou wa teki ni mukatte tata to hashitte hyu to jyanpushite, ue kara kougekishimashita. Katana de kan to utta kara, teki wa yotayota to yorimekimashita. Soshite, kerai no hitori ga doshin to taoremashita. Sono uchi, teki no keraitachi wa shinanaiyouni nigedashimashita. Soshite, teki no kashira wa shujinko to tatakau tameni, oritekimashita.

クライマックスで、ローリーは 鼻はなを グシュグシュしたり、 飲のみ 物ものを ゴクゴク 飲のんで、 ゲップをしました。 すると、 周まわりの 人ひとが ジロリと 見みましたが、ローリーは 気きが 付つきませんでした。 結局けっきょく、 主人公しゅじんこうが 侍さむらいを 助たすけてその 舞台ぶたいはハッピーエンドで 終おわりました。

During the climax of the tense fight scene, Roary ends up disturbing the people around him by sniffling his nose loudly, gulping down a drink, and then burping. He gets a few annoyed looks, but he doesn’t pay any attention to them. Eventually, the play ends on a happy note with the main character succeeding in saving the samurai.
Kuraimakkusu de, Roorii wa hana o gushugushu shitari, nomimono o gokugoku nonde, geppu o shimashita. Suruto, mawari no hito ga jirori to mimashita ga, Roorii wa kigatsukimasendeshita. Kekkyoku, shujinkou ga samurai o tasukete sono butai wa happiiendo de owarimashita.

役者やくしゃが 観客かんきゃくにお 辞儀じぎをすると、 観客かんきゃくは 立たって パチパチと 拍手はくしゅをしました。ローリーとホストファミリーは 劇場げきじょうを 出でて、 公園こうえんに 行いって 野球やきゅうで 遊あそぶことにしました。

As the actors bow in thanks to the audience, the audience stands up and claps in recognition of their talent. Roary and his family exit the theater shortly after, and they decide to go to a nearby park to play baseball together to end their long day.
Yakusha ga kankyaku ni ojigi o suruto, kankyaku wa tatte pachipachi to hakushu o shimashita. Roorii to hosutofamirii wa gekijo o dete, kouen ni itte, yakyuu de asobukoto ni shimashita.
Sec 5.2 Kabuki Page 70

Cuture Notes:

Japanese theater

Japan is rich in cultural and traditional forms of entertainment. Traditional Japanese theater has a long history. There are three well known forms: noh, bunraku, and kabuki. Kabuki is a popular dramatic act form dating back to the seventh century. It’s melodramatic, yet very historical.

Kabuki

There are also unique elements within Kabuki. In 1603, Kabuki originated when a female attendant named from the Izumo shrine performed folk dances. An all female cast was later banned for it was thought to corrupt public morals. From then until the modern times, males play both male and female roles. There are three different types of kabuki: jidaimono (plays with a historical background); sewamono (plays focusing on the domestic life of people and human nature with some characteristics of jidaimono); and shosagoto (plays focused on dance). Another unique element within Kabuki is the make up. The kumadori or makeup is elaborate and the characters, within the play, are differentiated by the color of the makeup. The male actors usually do the makeup themselves and start off by applying a white makeup base called oshiroi. The most commonly used colors are red which represents anger or passion and often times is the main color of the protagonist; and blue which represents sadness or depression is also the main color for the antagonist. There are over a hundred different styles of kumadori makeup.