The Linguist

22 The Linguist Vol/65 No/3 ciol.org.uk/thelinguist FEATURES Sangi Gurung unwraps Nepali onomatopoeia I have always found onomatopoeia in the Nepali language intriguing; it is unavoidable as it is deeply embedded in the colloquial register of speech. Nepali has a rich tapestry of such words, known as anukaranatmak shabda (au ; 1 'imitative words'). They are extensively used in children's literature and literary genres for their sensory reception (visual and auditory), as well as in conversational communication. Referring to words that imitate sounds and create a powerful impact in communication, onomatopoeia may seem lighthearted but it poses recurring complications for professional linguists. Conveying the intended message is particularly difficult when interpreting because, unlike in translation, there is no time to brainstorm or consult secondary sources. Commonly found across several languages in South and Southeast Asia, onomatopoeia emphasises the natural connection between sound and meaning, conveys sounds that the ordinary descriptive language cannot achieve, and enhances rhythmic, musical and sensory experiences in literature. It also serves a cognitive function as the words are processed faster due to their link to auditory perception, which reinforces memory and engagement. 2 In simple terms, onomatopoeia can be sounds of animals, human actions and movements, as well as nature, environments and physical impacts. For example, jham jham pani paryo ( o; 'pouring down') reflects the rhythmic sound of relentless monsoon rain through the repeated sound jham jham. This immediately conveys the auditory and visual experience, and connects the term to the seasonal phenomenon and geographical region. In linguistics, onomatopoeic words are described as a type of expressive morphology – i.e. word forms that express feelings, attitudes or sensory qualities. In Nepali, expressives are a special group of words with strong sound symbolism whose sounds show their meaning Sound meaning RAINING WORDS Two sisters enjoying the monsoon rain pouring down ( o), rather than the pattering ( ) of lighter rain clearly. Examples include dhoka ghadamma bandha bhayo (o o; 'bang! The door shut') and pani tup-tup parirakheko cha ( ieo ; 'the rain is pattering'). Although some expressives, such as sannakka sankiyo ( io; 'a sudden explosive outburst of anger') and bhuttukai (uu ; 'intense embarrassment, shame and pain with bodily sensation'), are not based on sound, many are. Some sit between onomatopoeia and expressive description. For example, even though there is no identifiable acoustic sound in the word jhamakka (), the phrase jhamakka ujyalo ( uo; 'sudden brightness') portrays the image of a sudden light through the linguistic formation of the double consonant 'ma-kka' and heavy stress on the ending of the word. This is a tricky word as it can also be a descriptive intensifier to describe someone flashy in appearance, and is used in the phrase jhamakka sanjh paryo ( o) to imply 'sudden darkness after dusk'. The sound and feel of words For an interpreter, the extensive usage of onomatopoeic verbs, nouns, adjectives and adverbs in casual Nepali conversation poses challenges. Finding equivalent terms, impromptu, that express the same intensity and symbolic meanings in English is tricky. When interpreters are unable to find an equivalent term, they usually convey the meaning directly by explaining it. In Nepali, onomatopoeic words can express various emotions and psychological states. For example, khyass () can refer to 'sudden soft collapse' but it can also convey a sense of embarrassment or emotional deflation. Usko man kyass bhayo (uo o) literally means 'their heart softly collapsed' but might be translated as 'they were mortified' or 'they were disappointed'. The onomatopoeia form has shifted from describing a physical event to expressing an emotional state.

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