Sound Symbolism and the Aesthetics of Translation: A Study of Ishikawa Takuboku's Tanka and Its Hindi Translation

This study examines the role of sound symbolism i.e., the relationship between sound and meaning in Japanese tanka poetry appearing in Ichiaku no Suna (A Handful of Sand) written by Ishikawa Takuboku, with particular attention to its aesthetic, linguistic, and translational dimensions. Sound symbolism, a vital poetic device in both Indian and Japanese traditions, deepens emotional resonance and enriches imagery. In Japanese poetry, onomatopoeic and mimetic expressions (giongo, gitaigo, and giyōgo) are especially prominent, representing not only auditory phenomena but also movement, emotion, and psychological states. According to the researcher’s limited observation, Japanese and Hindi differ in the frequency and manner of their mimetic usage. These differences can pose occasional difficulties when attempting to convey finer mimetic nuances across the two languages. The paper analyses Takuboku’s tanka poems as instances of complex sound-symbolic expression, illustrating how phonetic patterns evoke emotion, rhythm, and atmosphere. Through close readings of the text the study explores how translators negotiate semantic and grammatical differences while preserving aesthetic integrity. Translation strategies such as direct imitation, addition, and symbolic substitution are discussed as effective means to retain both sound and sense. The research concludes that poetic translation demands more than linguistic accuracy; it requires the recreation of phonetic imagery and emotional texture that define the original. Sound symbolism thus emerges as a vital bridge between linguistic form and aesthetic experience, revealing how the subtle interplay of sound, emotion, and meaning sustain the universality and timeless beauty of poetic expression.