Guri and Gura's Three Stories

Guri and Gura’s Three Stories
04073BMU Saori TODA
Introduction
What is a “good” translation of a picture book? In this thesis, I tried to answer that question by attempting a
back translation of Guri and Gura’s Magical Friend (1992). By back translation, I meant that I used a prior
English translation of the book and translate it back into Japanese. By doing so, I was able to see the differences
between the original and the English translation through my own Japanese translation.
First, I introduced Rieko Nakagawa and Yuriko Yamawaki, the author and illustrator of the Guri and Gura
series. Then I introduced Peter Howlett and Richard McNamara, the English translators of the book. Following
these introductions, I gave a brief explanation of the story. Then I reviewed some of the important points related to
translating children’s books. Then I focused on my own back translation. Then I compared my translation with the
original and consider how the differences between the two Japanese versions occur. I also pointed out the
challenges of translating children’s books.
Embedded Cultural Information
A lot of cultural information is embedded in even a children’s book. For example:
Original: 10 時のおやつ
Howlett’s English Translation: some tea and toast
My Back Translation: おやつに にんじんピザ と にんじんスティック
The dictionary says “tea” is a light meal eaten in the afternoon or early evening and actually toast and a cup of tea
is a very typical light breakfast or late morning snack, probably Howlett read “10 時のおやつ” as the latter. In
Japan, talking of “おやつ” , we often say “3 時のおやつ” not “10 時” so it is possible Nakagawa also thought
the same as Howlett. However I think they already had breakfast in the story, and generally Japanese people don’t
have toast at “おやつ” time so in my translation, I wrote “carrot pizza” and “carrot sticks” based on the
information available from the picture. In the Guri and Gura’s story, there are lots of appetizing foods so I
changed specific foods on purpose. Also Kururi-kura is a rabbit, and his room there are many carrots in the picture,
so I emphasized “carrot” in my own translation.
Further Thoughts
What is a good translation? In some ways, Japanese is not as confined by grammar as English, so translators
can make sentences more freely to some extent and also use rich expressions to provide subtle nuances between
characters, so if translators use Japanese effectively, they can make a good translation. English is
phonogrammatical and has good rhythmic sentences, so it is easier to rhyme than Japanese. When translators
consider the rhythmical sentences in, for example, Mother Goose, children read the book again and again. I
approached this story as a translator and not just a reader; I noticed that finally the heart wants to tell the story in
interesting sentences, especially a story for children. In my translation, I considered whether children would like
my sentences, and checked again and again whether the sentences could be reflect the good points of the English
translation.
Before I started this paper, I thought that the translation of a picture book was very easy but that was a
mistake. I learned that even if the sentences are short, translators have to really consider lots of points and have
much concern for their readers.

References
Nakagawa Rieko. Illustrations by Yamawaki Yuriko. (1992). Guri to Gura to Kururi-kura. Tokyo: Fukuinkan Shoten
Nakagawa Rieko. Illustrations by Yamawaki Yuriko. (2003). Guri and Gura’s Magical Friend. Peter Howlett and Richard McNamara. Tokyo: Tuttle
Publishing.

Guri and Gura’s Three Stories
____________________________
A Thesis
Presented to
Multicultural Studies Course
Department of Creativity and Culture
Faculty of Creativity and Culture
Aichi Shukutoku University
____________________________
In Partial Fulfillment
of the Requirements for the Degree
Bachelor of Creativity and Culture
____________________________
by
04073BMU Saori TODA
December 2007
____________________________
Adviser: Beverley CURRAN

Abstract
What is a “good” translation of a picture book? In this thesis, I try to answer that question
by attempting a back translation of Guri and Gura’s Magical Friend (1992). By back
translation, I mean that I use a prior English translation of the book and translate it back
into Japanese. By doing so, I will be able to see the differences between the original and
the English translation through my own Japanese translation.
First, I’ll introduce Rieko Nakagawa and Yuriko Yamawaki, the author and
illustrator of the Guri and Gura series. Then I will introduce Peter Howlett and Richard
McNamara, the English translators of the book. Following these introductions, I will give
a brief explanation of the story. I will then review some of the important points related to
translating children’s books. I will then focus on my own back translation. I will then
compare my translation with the original and consider how the differences between the
two Japanese versions occur. I will also point out the challenges of translating children’s
books.

Acknowledgements
I would like to express my gratitude to my parents for the opportunity to study
at university for four years, my friends to help me all time and especially Professor
Beverley Curran, my supervisor of this paper, for understanding my slow pace and
always waiting generously.

Abstract
Acknowledgements
Contents
Introduction………………………………………………………………… 1
Rieko Nakagawa and Yuriko Yamawaki: Sisters and Author- Illustrator Team
………………………………………………………………… 3
The Guri and Gura Translators: Peter Howlett and Richard McNamara
………………………………………………………………… 5
Story Summary …………………………………………………………… 7
Translating Children’s Books ……………………………………………… 8
Comparing the Japanese Original, English Translation and My Back-Translation
………………………………………………………………… 13
Conclusion………………………………………………………………… 29
References ………………………………………………………………… 31
Appendix A: Original Japanese text:『ぐりとぐらとくるりくら』
………………………………………………………………… 34

Appendix B: English Translation text by Howlett: Guri and Gura’s Magical Friend
………………………………………………………………… 40
Appendix C: My Back Translation in full:『ぐりとぐらのふしぎなともだち』
………………………………………………………………… 47

Introduction
There are certain famous picture book series which fascinate both children and
adults. One of these is Guri and Gura (1967), a story about two mice, written by Rieko
Nakagawa and illustrated by her sister, Yuriko Yamawaki. It has been a bestselling picture
book loved by lots of people for a long time. I also love this picture book and read it over
and over again in childhood. In this book, Yamawaki’s picture of a big yellow pancake
cooked by the mice, who like cooking, looks so delicious that the recipe was actually
published.
The reason I chose this mouse story as my research is that I thought the English
translation was very interesting when I found it. Then I read the whole series of nine
books and compared the original and English translation. Of the entire series, Guri and
Gura’s Magical Friend (1992) was the most interesting, so I decided to use that book for
my research. Why this translation? How is the impression different? What is a “good”
translation for picture books? In this paper, I’ll try to back translate the English
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translation and look at the differences using the original, the English translation and my
Japanese translation.
First, I’ll introduce Rieko Nakagawa and Yuriko Yamawaki, the author and
illustrator of the Guri and Gura series. Then I will introduce Peter Howlett and Richard
McNamara, the English translators of the book. Following these introductions, I will give
a brief explanation of the story. I will then review some of the important points related to
translating children’s books. I will then focus on my own translation, using the English
translation as the departure text for my own Japanese translation of the story. I will then
compare my translation with the original and consider how the differences between the
two Japanese versions occur. In making my translation, I will also point out any particular
challenges that I face as a translator of children’s books.
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Rieko Nakagawa and Yuriko Yamawaki: Sisters and Author- Illustrator Team
This section will introduce the author and illustrator of the Guri and Gura series.
Writer Rieko Nakagawa was born in Hokkaido in 1935. After she became a nursery
school teacher, she used her experience as a teacher to advantage, publishing her first
children’s book The No-no Nursery School (1962) for her nursery school pupils. The
book, illustrated by her sister Yuriko Yamawaki, received many awards, including the
Sankei Jido Shuppan Bunka Award and the Jido Fukusi Bunka Award. Since then
Nakagawa and Yamawaki have kept giving presents to children all over the world.
Nakagawa has worked not only in the field of children's literature but she has also written
songs for the soundtracks of Studio Ghibli productions. Her joyful and tender words are
easy on the ear.
The illustrator of Nakagawa’s stories is her sister, Yuriko Yamawaki, neé
Omura. She was born in Tokyo in 1941 and she was 18 years old when she did the
illustrations for The No-no Nursery School. Yamawaki graduated from Jyochi
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University’s Department of French Language Studies. She has written, translated and
illustrated many children’s books such as her own Yuukonokyabetsuboushi (1997) and
translated French books including the Froux le lievre (のうさぎのフルー)(1964), and
the novel ユーリーとソーニャ―ロシア革命の嵐の中で(2007) she translated was
recently published. Her lovely heartwarming illustrations are highly regarded not only in
Japan but also in other countries.
The main books the sisters have produced together are The Frog Named Elta
(1964), The Blue Seed (1967) and, of course, the Guri and Gura series. The nine Guri
and Gura’s books have sold over 20 million copies since the first one came out in 1963
and have received many awards.
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The Guri and Gura Translators: Peter Howlett and Richard McNamara
I have introduced the author and illustrator of Guri and Gura; now I would like
to turn to the English translators of the series. Guri and Gura’s Magical Friend was
translated by Peter Howlett and his colleague Richard McNamara, who are both members
of the Dr Wildcat Committee, an environmentalist group working on environmental
issues through the works of Miyazawa Kenji, Vandana Shiva, David Suzuki and Oiwa
Keibo, a and others.
Peter Howlett is a Canadian who was born in 1955 and raised in Hokkaido, so he
is bilingual in English and Japanese. He studied in Canada, and is a graduate of
International Christian University in Tokyo. Howlett teaches at Hakodate La Salle
a Each of them is involved with ecology and has many books. Kenji Miyazawa is a famous
Japanese author born in Iwate Prefecture in 1896. He has had various careers as a poet, children’s
story writer, musician, philosopher, scientist, educator and farmer. Vandana Shiva was born in
India in1952. She has a PhD in physics and science philosophy from the University of Western
Ontario in Canada. She established the Research Foundation for Science, Technology and Natural
Resource Policy in 1982. David Suzuki is a Japanese Canadian who was born in Canada in 1939.
He is a biologist, environmental campaigner and the host of a TV program. He presides over the
David Suzuki Foundation, which is concerned with environmental issues. Oiwa Keibo (Shinichi
Tsuji) was born in Tokyo in 1952. He is a cultural anthropologist, environmental campaigner and
professor in the Faculty of International Studies at Meiji Gakuin University. He founded The
Sloth Club in 1999. He recommends a slow life style and works on environmental symbiosis
business.
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Junior and Senior High School. He is also the founder and chairman of the Southern
Hokkaido Natural Energy Initiative, a group that promotes the use of alternative energy.
Richard McNamara was born in England in 1958. From early childhood he spent
a lot of time on martial arts because his father was interested in aikido, the Japanese art
of self-defense derived from judo. After graduating from Bristol University, he got an
MA in pedagogy from Kumamoto University in Japan. On the one hand, he is a lecturer
at Kyushu Lutheran College, while on the other, he is the director of the Aso Wildcats
environmental group and manages the Aso Wildcats Radio Station.
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Story Summary
In this section, I will briefly explain the story of Guri and Gura’s Magical
Friend, the children’s book under discussion in this thesis. Guri and Gura are two field
mice. One day, when they go out to have breakfast, a long-armed rabbit named
Kururi-kura (Bunny Buna) suddenly appears. After having breakfast together, they climb
up to the top of a big tree, make a boat out of clouds, and have a travel adventure in the
sky. Finally they land at the rabbit’s house; the rabbit’s arms shrink back to normal length
when he does magical exercises, and then after having tea, Guri and Gura skip all the way
home.
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Translating Children’s Books
Before I discuss my own translation, I will review some important points about
translating picture books. I will begin with a consideration of the translation of the title,
and then look at word choice, pictures, rhythm and culture.
Title translation
Titles are a kind of advertisement so the title of a work can be an important
factor concerning whether or not a certain published work is successful. Just as movie
titles are readily modified to appeal to a different public, so the title of picture books need
to be considered in terms of their appeal to readers – both to the adults, who are probably
buying them, and the children who are reading them.
Choice of words
Authors must be very careful about the words they use. Translators also must
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take special care. Picture books have limited space for sentences, like subtitles, and also
have a visual counterpart. Accordingly, translators have to use appropriate words that can
fit into the limited space available.
Japanese translations have more considerations because the translators must also
think about which writing style to use. Sentences of picture books are small so the nuance
of each sentence is very important. When translators translate any passage, they have to
consider the proper sentence and proper endings. Ordinary Japanese conversation passage,
leave a subject or postpositional particle out like ぼく、~. If the subject is left out, we
can see whose line it is because the endings change. For example, we can translate “I’m
hungry.” to おなかがすいたわ ´
, はらがへったな ´
, はらがへったぞ ´
, はら、へっちゃ
ってさ ´
´ ´
or はらがへったのう etc, as to the character. Of course representation of the
subject is lots, too. For example, “I” is わたし, わたくし, ぼく, おれ, or わし etc. In
Japanese, we can change the subjects and endings into various types and tell close nuance
by the characters.
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Basically, the style of picture books is –desu, masu style because this style is
close to a narration tone and most easy to listen when it is read aloud. However on certain
occasions, another style is better. If translators use –ta style instead of –desu, masu style,
that will be a crisp and clear manner to the sentences and it will add a feeling of speed.
Also when certain sentences are rendered colloquially among the –desu, masu styles, it
creates a lively linguistic texture that is very effective.
Also translators have to consider the choice of hiragana, katakana and kanji. If
the readers are adults, using katakana and kanji is fine, but sometimes the readers are
children. In that case, it will be easier for them to read sentences written in only hiragana,
and it will be good to write with a space between words.
Pictures
Pictures are very helpful when you translate picture books because a close
translation is not necessary. In fact, the text should be faithful to the picture rather than
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the words. In translating for children, it is important to imagine the story as images, and
then you translate from the picture. Translators should be careful to represent the images
and voices that the story creates.
Rhythm
All languages have their own rhythms so translators need to consider whether
they should make use of the original rhythm or adapt the story to their own. Especially in
the case of songs, grammar, words and the word-count all need to be considered.
Culture
Any text contains cultural information of some kind, as well as original
vocabulary (such as JK Rowling’s “muggles”). When the translators translate a work,
they have to be aware of this, and translate sentences so that readers understand the
cultural information, or modify the information to the culture of the readers.
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As one can see from the brief review of considerations above, a translator has
much to think about. In the following section, I will present my own translation of Guri
and Gura’s Magical Friend. I will be back translating, moving from the English
translation back in to Japanese and then comparing my work with that of the original
Japanese story.
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Comparing the Japanese Original, English Translation and My Back-Translation
With attention to the points mentioned above, I will now present and discuss my
own translation, which is a “back translation” using Howlett’s English translation as my
departure text. Back translation is the process of translating a translation back into the
original language; in this case, I translate the English story back into Japanese. This will
allow me to analyze the changes he made in translation, as well as let me consider the
differences between my Japanese translation based on his translation and the original
Japanese story. In this section, I will begin with the title and then select passages from
my translation and compare them with the English translation and Japanese original.
Title Translation
I will begin the comparative analyses with the title:
Original : ぐりとぐらとくるりくら
English translation: Guri and Gura’s Magical Friend
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My translation: ぐりとぐら の ふしぎなともだち
“Kururi-kura” is the name of the rabbit in the Japanese story, while in English translation
the name becomes “Bunny Buna.” The translator Howlett has said that when he translates
this series, he is very careful not to mar the mood of original. “Kururi-kura” is a playful
language game which reconfigures “Guri” and “Gura” by putting them both together so
his English version incorporates a similar mix in the name “Bunny Buna.” Thus, from
“Gu ri Gu ra” to “Ku(ru)ri ku ra” in Japanese becomes “Bu nny Bu na” in English.
Because the names of the two mice do not change in the English translation, Howlett
employs a similar sound game with the word “bunny.” As mentioned earlier, Bunny Buna
is a rabbit whose arms stretch like rubber. “Buna” is a synthetic rubber developed in
Germany so Howlett is incorporating a further linguistic element in his English
translation of the rabbit’s name. However, with regard to the title, Howlett chooses
“Magical Friend” instead of naming the rabbit. Why didn’t he translate the title “Guri
Gura and Bunny Buna”?
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I would suggest the reason for the title is the important consideration of its use to
attract readers, so it is better if people cannot immediately identify the character. We can
easily imagine Bunny Buna is a rabbit, while Kururi-kura does not give away the
character’s identity to the same extent. In my own translation, I translated “Magical
Friend” as “ふしぎなともだち”. I was interested in attempting language play, too, so I
focused on the postpositional particle. I puzzled over which pattern I should use:
「ぐりとぐら の ふしぎなともだち」
「ぐりとぐら と ふしぎなともだち」
As I looked over the whole series of Guri and Gura stories, I noticed that all the titles
began with “ぐりとぐら(の or と)~.” The different use of the two particles in the
series’ titles depends on the expression of the third character. If it is a name, the particle is
“と”is used, while if it is another expression, the particle used is “の” Since “Magical
Friend” is not a name, I chose ”の” for the particle. Further, because Howlett completely
changed the rabbit’s name into another word, I had to translate the character’s name, too,
ブ ナ
calling him Bunny Buna “ブーナ” by “Buna”.
I could have named him ”ブナ” but it was
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not as cute and seemed unsuitable for Guri and Gura’s rhythmic sentences.
Rhythm
Now I will consider the translation of the following lines:
Original: おひさま そよかぜ よっといで
Howlett’s Translation: Sunshine and gentle breezes,
We are happy little fellas!”
My Translation: おひさま そよかぜ
ぼくらは ようきな なかまたち!
Why did Howlett change “よっといで” to “We are happy little fellas!”? I guess if the
original is translated literally, it might be very strange or disrupt the rhythm of the
sentences because the original makes its rhythm from four kana each.
おひさま [4 kana]
そよかぜ [4 kana]
よ(っ)といで b [4 kana]
b In Japanese, counting “っ” as one kana or not is optional.
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Perhaps the difficulty in making the same rhythm in English prompted the translators to
make new sentences. It was hard for me to back translate the English in this case.
“Fellas” is a word spoken in casual tones. Since the translators used “fellas” instead of
“mice” I too changed the reference to this casual style. However, the important point in
translating Guri and Gura is to maintain the good rhythms of the sentences so instead of
being literal, I attempted to match the rhythm.
Example # 2
Now I will consider the following lines from rhythm:
Original: 「とりかな」
「かぜかな」(p.7)
Howlett’s Tranlation: “Mast have been a bird!” say Guri.
“Maybe it was the wind!” say Gura. (p.7)
My Translation: 「とり だね!」とぐり。
「たぶん かぜ だと おもうな」とぐら。
First of all, I translated this passage close on purpose; please compare the original lines
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and my translation. English translation has spoiled the Guri and Gura’s good rhythm.
Why Howlett use different lines? I think it should be same lines:
“Mast have been a bird!” say Guri.
“Must have been the wind!” say Gura.
or
“Maybe it was a bird!” say Guri.
“Maybe it was the wind!” say Gura.
Then it is interesting that we don’t see which line is Guri and the other is Gura from
original but Howlett has decided that clearly, only look at next lines:
Original: 「あれ、かぜかと おもったら」
「あれ、とりかと おもったら」
ぐりと ぐらが めをまるくすると、(p.8)
Howlett’s Translation: Their eyes wide open with wonder, Guri
and Gura say, “I thought it was a bird!”
and “I was sure it was the wind!”(p.8)
My Translation: ぐりと ぐらは めをまるくして いいました。
「とりかと おもったのに」
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「かぜだと おもったのに」
In this original text says “ぐりと ぐらが めをまるくすると” so we can guess that
Guri says “wind” and in the first line and that Gura says “bird” in the next, but in
Howlett’s translation, Guri says “bird” and Gura says “wind”. How did that difference
happen? Since we call these two mice “Guri and Gura” not “Gura and Guri” perhaps the
translator judged the first line as Guri’s and the next as Gura’s. However, it is interesting
that their lines are switched when we compare page 7 and page 8 in the original, where in
the English translation the lines are not switched. In English, direct speech usually states
who says this or that so perhaps Howlett did not want to switch anything because he did
not want to change the rhythm of “Guri and Gura”. Instead of these lines, Howlett
changed another line on this page:
Original:「あおいぼうし あかいぼうし くるりくら」(p.8)
Howlett’s Tranlation: “Red hat, blue hat on my head,
I’m Bunny Buna in blue and red!” (p.8)
My Translation: 「あかい ぼうし あおい ぼうし
あおい ブーナ あかい ブーナ」
Howlett switched the order of blue and red. It was a good idea, I think. In my own
translation, I tried to take care to keep Guri and Gura’s rhythm.
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By the way can you tell whose clothes are red and whose are blue? Please look
at the following lines:
Original: ぼうしを ぽんと、ほうりました。
すると、あおいぼうしは くるりと
まわって ぐりのあたまに、あかいぼうしは くるりと
まわって ぐらのあたまに のりました。
Howlett’s Tranlation: Pop and pop, they drop right on top of Guri and
Gura’s heads.
My Translation: ブーナは あおいぼうしと あかいぼうしを ポンッポンッ
となげると、きちんと ぐりとぐらの あたまに のりました。
Maybe you can guess but cannot see which mouse is Guri or Gura from the English story,
while in original it is written clearly; the mouse wearing the blue clothes is Guri and the
red ones are being worn by Gura. Didn’t Howlett write clearly on purpose or was there
just too little space? Whatever the reason, we can see that Guri wears blue and Gura
wears red from not only the sentences but the book cover. Rieko colored Guri blue on the
title page and Gura red so you can see their colors before opening the book. In this
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connection, Kururi-kura is green and his clothes are green striped pattern. That’s also
interesting. Anyway, in my translation, I translated here so readers would be able to guess
their color. Children have penetrating sensibilities so maybe they will notice the colors
themselves but I thought it was okay that there was only one hint in the book text.
Pictures
Now I will consider the following passage:
Original:うさぎのくるりくらは、
さかあがりをやって、あしで
ぶらさがったまま、
Howlett’s Translation: Doing a forward flip,
My Translation:ブーナは くるんと ひっくりかえったまま
This is a good example of one of the important points in translating picture books. When
we look at this picture, we cannot see what kind of move Kururi-kura makes with his
forward upward circling so Howlett’s translation of “Doing a forward flip” is a
21

translation based on the picture. While I translated the English translation more simply
because I thought “forward” or “backward” was equal, we really can’t see this from the
picture so I haven’t translated it literally.
By the way, a characteristic point of these pages is that the English translation is
divided into two parts and the first half is laid out on a page that is blank in the original.
If I lay out, I will fill my translation in the blank only one sentence matched with picture.
Example # 2
Now I will consider the following another passage:
Original:「みてごらん、ぼくのちからこぶ」と、うでをさすりました。
「きみたち、ぼくのかたに のってくれ」
くるりくらは、ぐりと ぐらを かたにのせると、
Howlett’s Translation: …Bunny Buna jumps up and
says, “let’s go for a ride!”
My Translation: それから とつぜん とびあがると、
「ぼくにのって!さあ いこう!」
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The English translation is changed simply. I guess the next song’s sentences on the same
page are long so there is not much space here. In the picture, Kururi-kura doesn’t show
his biceps so it’s not strange for the first sentence of the original to disappear. Also, the
translators have added a new phrase: “Bunny Buna jumps up” and “Let’s go” so I
translated it more cheerfully. I think both versions are satisfactory. I took care to make all
the lines of Kururi-kura lively and I didn’t hold back from using exclamation marks even
though primarily it is not formal Japanese grammar so most writers do not use them. I
consider it important that picture books are written in correct Japanese but also I believe
that they have to be written so they are very readable.
Culture
Now I will consider the following lines:
Original: 10 時のおやつ
Howlett’s Tranlation: some tea and toast
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My Translation: おやつに にんじんピザ と にんじんスティック
Here is some cultural information embedded in the translation. The dictionary says “tea”
is a light meal eaten in the afternoon or early evening and actually toast and a cup of tea
is a very typical light breakfast or late morning snack, probably Howlett read “10 時のお
やつ” as the latter. In Japan, talking of “おやつ” , we often say “3 時のおやつ” not
“10 時” so it is possible Nakagawa also thought the same as Howlett. However I think
they had a breakfast once in the story and generally Japanese people don’t have toast at
“おやつ” time so in my translation, I wrote “carrot pizza” and “carrot stick” from the
picture. In the Guri and Gura’s story, there are lots of appetizing foods so I changed
specific foods on purpose. Also Kururi-kura is a rabbit and his room has many carrots in
the picture so I emphasized “carrot”.
Example # 2
Now I will consider the following another line:
Original: 「ぼくたちも きのぼりしたいなぁ」
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Howlett’s Translation: “Let’s climb a tree!”
My Translation: 「きに のぼろうよ!」
In Japanese culture, Japanese often imply rather than express their real intention. I also
have been warned before that when I want someone to teach me something, I have to say,
“I don’t know something.” In this passage the true meaning of this original line is “Please
climb a tree with us.” Howlett knew that but he didn’t translate directly because before
this line, he translated below:
We wanna jump, we wanna dance,
We wanna play with you, too, yeah!”
Thus he translated such line as Guri and Gura are able to share the pleasure with Bunny
Buna.
Choice of words
Now I will consider the following lines:
Original :「え、それぜんぶ あさごはん? ぼくのぶんも つくってく
25

れたの? よかったなぁ」
Howlett’s Translation: “It looks like you have more than enough for all of us,”
says Bunny Buna, “So, thank you very much, I will join you.”
My Translation:「わぁ ぼくがたべても じゅうぶんありそうだ。」
「ありがとう! じゃあ おじゃましまーす。」
I felt something uncomfortable in these original lines but the translators digested it very
well so I consider my own translation more natural Japanese than the original. It’s
important that translators not only translate but also understand the meaning of the
sentences well and consider the character’s personality. There is a little difference in
nuance in the original and my Japanese back translation. In the original, Kururi-kura
utters without reservation which the translators render, but they add a feeling of gratitude
and changed his words to give a more polite impression. Kururi-kura has a bold
personality and it does not suit him to be too polite is so I translated this line less politely
and more joyfully than the original.
26

Example # 2
Now I will consider another passage:
Original: 「ぴょん ぴょん きのぼり
おてのもの
てながうさぎの くるりくら」
Howlett’s Tranlation: “Hippidy hop, swingly swop,
Climbing trees is as easy as pie,
‘Cos I’m Bunny Buna,
the long-armed rabbit, that’s why!”
My Translation: 「スーイ スイ ぴょ-ん ぴょん
きのぼり おまかせ ブーナ ブナ
てながうさぎの ブーナ ブナ」
Please look at first line: “Hippidy hop” is a phrase in common use for children while
“swingly swop” is a creative translation by Howlett, and original vocabulary. A difference
in the onomatopoeia is that we represent it directly in Japanese but in English, it is often
represented by verbs and noun. Therefore there are not words to represent “ぴょん ぴ
ょん” directly, Howlett changed the verb and made a new phrase. It’s interesting that
these match each other in rhythm, but I’m afraid that there are too few onomatopoeic
words in the English picture book because I am used to Japanese books including lots of
them. For example, we can express ”むしゃむしゃ” (Nakagawa’s 13) in other words,
“もぐもぐ”, “ぱくぱく” etc, but English is “munch” or “munch- munching,” so the
27

epresentation of onomatopoeia depends on the translators. Japanese translators have to
select the best one and English translators have to make the best one. Here I translated
“スーイ スイ ぴょ-ん ぴょん” and I translated the sentences after like the
seven-and-five-syllable meter. This meter is used in the original, too. When we want to
make rhythmic sentences, using meter is easy for children to listen to and enjoy.
28

Conclusion
In this paper, I learned about what translators have to focus on when they
translate by considering Howlett’s translation of Guri and Gura’s Magical Friend (1992)
and trying my own translation. Translators have to make the best translation by noticing
the original’s special features and changing the cultural information, wordplay, and
rhythm into their translation; they need to think about how to soak all of that up into their
own translation by trial and error. In addition, if they can mix in their own originality in
working with the sentences, words and pictures, it will be a good translation.
What is the good translation? Japanese is not too confined to sentences by
grammar like English, so translators can make sentences freely to some extent and also
use rich expressions to provide subtle nuances between characters, so if translators use
Japanese effectively, they will make a good translation. While English is
phonogrammatical and has good rhythmic sentences, it is easier to rhyme than Japanese.
When translators consider the rhythmical sentences in, for example, Mother Goose,
29

children read the book again and again. I translated this story as a translator; I noticed
that finally the heart wants to tell the story in interesting sentences, especially in a story
for children. I considered in my translation whether children would like my sentences,
and checked whether the sentences could be reflect the good points of the English
translation, again and again.
Before I started this paper, I thought that the translation of a picture book was
very easy but that was a mistake. I learned that even if the sentences are short, translators
have to really consider lots of points and have much concern for their readers.
30

Books
References
Haijima Kari. (2005). Ehon honyakukyoshitsu e yokoso. Tokyo: Kenkyusha
Nakagawa Rieko. Illustrations by Yamawaki Yuriko. (1992). Guri to Gura to Kururi-kura.
Tokyo: Fukuinkan Shoten
Nakagawa Rieko. Illustrations by Yamawaki Yuriko. (2003). Guri and Gura’s Magical
Electronic Sources
Friend. Peter Howlett and Richard McNamara. Tokyo: Tuttle Publishing.
“Aasu・Demokurashii Tikyuu to seimei no tayousei ni nezashita minshushugi.
Hanmoto Dottokomu.” 1 November 2007.
http://www.hanmoto.com/bd/isbn978-4-7503-2581-1.html.
“Canada・Ekusupuresu. David Suzuki hakushi.” 1 November 2007.
http://blog.goo.ne.jp/mikura2005/e/4ca432be7cffe867539afe7d24096e37.
“David・Suzuki: purofiiru.” http://www.yukkurido.com/ds/profile.html.
1 November 2007.
“Dokushotokusyuu dai 3kai.” http://www.yomiuri.co.jp/nie/special/03.htm. 5 June 2007.
“Ehon Nabi “Yuuko no Kyabetsuboushi” no kuwashii jyouhou.” 29 Oct 2007.
http://www.ehonnavi.net/ehon00.asp?No=354.
31

“ELT News: Teaching English in Japan - Special Feature.” 5 June 2007.
http://www.eltnews.com/features/special/020.shtml.
“Fukuinkan Shoten|Minna no ninkimono|Guri to Gura.” 5 June 2007.
http://www.fukuinkan.co.jp/ninkimono/gurigura/book.html.
“Guri to Gura:Rakuten bukkusu.” Rakuten uchiba. 5 June 2007.
http://item.rakuten.co.jp/book/1723900/.
“Guri toGura.” Wikipedia. http://ja.wikipedia.org. 5 June 2007.
“Japanese Children's Books Fuyugou.” 2004. 5 June 2007.
http://www.yamaneko.org/mgzn/eng/jcb_j0104.htm#manga.
“Miyazawa Kenji – Wikipedia.” http://ja.wikipedia.org/. 1 November 2007.
“Morioka ~ Morioka no kankoujyouhou saito.” 1 November 2007.
http://www.odette.or.jp/citykankou/frame/frame.html.
“Nougyou ni okeru bouryoku to hibouryoku2:Vandana・Shiva.” 1 November 2007.
http://www.sloth.gr.jp/library/others/shiva2.htm.
“Oomura Yuriko: Hon.” . 29 October 2007.
“Rojyankofusukii no ehon.” http://www.pippo.co.jp/rojan1.htm. 21 November 2007
32

“Tsuji Shinichi. (”Namakemono Kurabu” sewanin.) “Eco to eco wo tsunagu ~ suroo
toiu shisou~.”(2002.05.30).” 1 November 2007.
http://www.kyoto-seika.ac.jp/assembly/2002/0530.html.
“Tsuji Shinichi purofiiru.” http://www.sloth.gr.jp/tsuji/profile.html. 1 November 2007.
“Utrecht[Yutorehito] | Jinbutsu lisuto”. http://www.utrecht.jp/person/?p=23 5 June 2007.
“Utrecht[Yutorehito] | Jinbutsu lisuto”. http://www.utrecht.jp/person/?p=115.
5 June 2007.
“Vandana・Shiva ryakureki.” 1 November 2007.
http://www.tsukiji-shokan.co.jp/mokuroku/chosya/vandana-shiva.html.
“Yokohamashi Yochien Kyokai.” 5 June 2007.
http://www2.kids-yokohama.or.jp/~yokohama/contents1/books/0209-1.html.
33

Appendix A: Original Japanese text
『ぐりとぐらとくるりくら』
p.2
はるのあさ、のねずみの ぐりと ぐらが まどをあけると、
おひさまが へやいっぱいに はいってきました。
p.3
「なんだか わくわくする」と、ぐりがいうと、ぐらも
「なんだか うれしくて、じっとしていられない」といって、にひきは
「あさごはんは はらっぱで」と、きめました。
p.4
にんじん ピーマン ゆでたまご
チーズ たまねぎ ほうれんそう
キャベツ じゃがいも
ぐりぐらサラダ
ピーナツバター ママレード
たんぽぽ クローバ パセリとセロリ
パンに はさんで
ぐりぐらサンド
p.5
ぐりと ぐらは、サラダと サンドイッチを どっさりつくって
かごにいれると、
p.6
「あおいぼうし あかいぼうし
ぐりと ぐら
34

おひさま そよかぜ
よっといで」
と、うたいながら はらっぱに いきました。
p.7
きのしたを とおりかかったときです。
ふいに、だれかが ぐりと ぐらのぼうしを
ひっぱりました。
「あっ、なにするんだい、よせよ」と
おさえたときには、もうありません。
「とりかな」
「かぜかな」
ぐりと ぐらが みあげると、
p.8
おや、きのうえに、ぼうしをふたつ あたまにのせた
うさぎがいて、
「あおいぼうし あかいぼうし くるりくら」と、
うでをくんですましています。まぁ、てのながいこと。
「あれ、かぜかと おもったら」
「あれ、とりかと おもったら」
ぐりと ぐらが めをまるくすると、うさぎは
くすっと わらって、
p.10
「ぴょん ぴょん きのぼり
おてのもの
てながうさぎの くるりくら」
というなり、ぼうしを ぽんと、ほうりました。
すると、あおいぼうしは くるりと
35

まわって ぐりのあたまに、あかいぼうしは くるりと
まわって ぐらのあたまに のりました。
「うまい!」
ぐりと ぐらが てをたたくと、
p.13
うさぎのくるりくらは、
さかあがりをやって、あしで
ぶらさがったまま、
「ちょっと しつれい。あさごはんは、
はらっぱで」と、たんぽぽのはっぱを
ちぎって、むしゃむしゃ たべだしました。
p.14
「あさごはんは、ここにもあるよ」
「いっしょに どうぞ」と、ぐりと ぐらは、かごをみせて さそいました。
「え、それぜんぶ あさごはん? ぼくのぶんも つくってくれたの? よかっ
たなぁ」
p.15
くるりくらは ぴょんと かごのまえに とびおりました。
「おいしい、おいしい。こんなにおいしいあさごはんは、たべたことがない」
くるりくらは、サラダも サンドイッチも むしゃむしゃ もぐもぐ たべると、
p.16
「みてごらん、ぼくのちからこぶ」と、うでをさすりました。
「きみたち、ぼくのかたに のってくれ」
くるりくらは、ぐりと ぐらを かたにのせると、
「はるかぜ そよかぜ くるりくら
とびたい はねたい おどりたい」
と、ぴょん ぴょん はねまわりました。
36

p.17
ぐりと ぐらも、
「はるかぜ そよかぜ ぐりと ぐら
とびたい はねたい おどりたい」
と、うたって、
「ぼくたちも きのぼりしたいなぁ」といいました。
p.18
すると、くるりくらは、
「よしきた、いこう」と、
ながいてを
のばして、えだに
ぶらさがったかとおもうと、
「ぐりぐら
ぐりぐら
くるりくら」
と、ちょうしを
とりながら、えだからえだへ、
p.19
うえへ うえへ うつって、
とうとう、きのてっぺんまで
きました。
「こんなに たかいところに
のぼったのは、はじめてだ」と、
ぐりがいうと、ぐらが、
「こんどは、くもに
のりたいなあ」と、
いいました。
37

p.20
すると、くるりくらは、
「よしきた、いこう」と
てをのばして、そらじゅうの
くもを あつめて、ボートを
つくりました。
p.21
ぐりと ぐらは、おおよろこびで くるりくらと ボートにのりました。
「オールさばきは おてのもの
てながうさぎは ふねをこぐ
ぐりぐら ぐりぐら くるりくら」
p.23
ボートは そらをひとまわりして、おかにむかいました。おかのうえに、
はたけと いえがあって、うさぎがたっています。
くるりくらは、こえをはりあげて、
「おかあさーん、ヤッホー」と、てをふりました。
p.24
あまり むちゅうになって てを ふったので、
ボートがゆれて ひっくりかえりそうになりました。
あぶない!
おかあさんうさぎは、いそいで くまでを
もってきて、
「おっとっとっと」と、ボートをひきよせました。
おかげで、ぐりと ぐらと くるりくらは、
ぶじ くさのうえに おりることができました。
p.26
「あらまあ」と、おかあさんは さけびました。
38

「くるりくら、おまえのては どうして そんなに ながいの!」
「ぼく、ちょっと てながうさぎに なりたかったの」と、
くるりくらは くすっと わらいました。
「それで、おまじないたいそうしたら なったんだよ、こういうふうにね」
p.27
くるりくらが、
「いち に さん し」と、
たいそうをしてみせると、
p.28
おやおや、もとのうさぎになりました。
おかあさんは、ぐりと ぐらと くるりくらが
10 時のおやつを たべているあいだに、毛糸で
なわとびを 3 本 あみました。
p.29
「とびたい はねたい
おどりたいときは
なわとびがいちばんよ」
p.31
ぐりと ぐらは、くるりくらと おかあさんに ありがとうと さようならをい
うと、
「はるかぜ そよかぜ
ぐりと ぐら
とびたい はねたい おどりたい」
と、うたいながら、なおとびで おかをおりて、はらっぱをとおって、
p.32
かごをもって、いえにかえりました。
39

Appendix B: English Translation text by Howlett
Guri and Gura’s Magical Friend
p.2
One fine spring morning, the two field
mice Guri and Gura wake up and draw
the curtains. Streams of sunlight pour in,
filling every corner of the room.
p.3
“What a fine day it is!” says Guri.
“Far too fine to be indoors!” says Gura.
Then together they exclaim, “That’s it!
Let’s have a breakfast picnic!”
p.4
“Carrots, green peppers, cheese and boiled eggs.
Onions, spinach, cabbage and potatoes. Toss
them all together for a Guri and Gura Salad!”
“Peanut butter and marmalade on two slices of
bread. Dandelion leaves, parsley and celery on
two more slices of bread. They look yummy, these
Guri and Gura sandwiches!” sing Guri and Gura.
p.5
Packing their salad and sandwiches into a
big picnic basket, off go Guri and Gura …
p.6
40

…to a grassy field, singing:
“Red hat, blue hat,
We are Guri and Gura!
Sunshine and gentle breezes,
We are happy little fellas!”
Suddenly they feel something pull
on their hats. Guri calls out, “Hey,
what’s happening!”
p.7
They try to grab their hats back but are too
late. With a “whoosh!” the hats are gone.
“Mast have been a bird!” say Guri.
“Maybe it was the wind!” say Gura.
Then, looking up at a nearby tree, they see…
p.8
…not a bird, but a rabbit sitting high in
the bows. And, oh my, what long arms he
has. With his arms crossed, there on top
of his head are Guri and Gura’s hats.
Looking up at the sky, the rabbit sings,
“Red hat, blue hat on my head,
I’m Bunny Buna in blue and red!”
Their eyes wide open with wonder, Guri
41

and Gura say, “I thought it was a bird!”
and “I was sure it was the wind!”
p.10
Then the rabbit chuckles and begins to sing again.
“Hippidy hop, swingly swop,
Climbing trees is as easy as pie,
‘Cos I’m Bunny Buna,
the long-armed rabbit, that’s why!”
He throws the red and blue hats into the sky…
Pop and pop, they drop right on top of Guri and
Gura’s heads. Guri and Gura clap and shout
With joy, “Brilliant! Amazing!”
p.12
Doing a forward flip, Bunny
Buna says, “Excuse me, I’ll
have my breakfast now!”
p.13
Swinging over to a patch of
dandelions, he plucks some
leaves and munches them up.
Munch munch, crunch crunch.
p.14
“We are going to have our breakfast too,” says Guri.
“So won’t you join us?” asks Gura as they take their breakfast from the big picnic basket.
“It looks like you have more than enough for all of us,” says Bunny Buna, “So, thank you
very much, I will join you.”
42

p.15
With a hop, Bunny Buna joins Guri and Gura for break fast. Taking a bite of a Guri
and Gura Sandwich and munch- munching on some Guri and Gura Salad, he says,
“Wow! This is a scrummy yummy breakfast! I’ve never had better in my life!”
Then all of a sudden…
p.16
…Bunny Buna jumps up and
says, “Let’s go for a ride!”
Dancing around, he sings,
“Spring breezes, gentle breezes,
I’m the one and only Bunny Buna.
I wanna jump, I wanna dance,
I wanna play with you all, yeah!”
p.17
Guri and Gura continue the song:
“Spring breezes, gentle breezes,
We are Guri and Gura.
We wanna Jump, we wanna dance,
We wanna play with you too, yeah!”
Then they say, “Let’s climb a tree!”
p.18
“Alright!” says Bunny Buna,
“Here we go!”
Reaching for a branch with
One of his long arms,
He dangles from it
and begins to sing,
43

“Guri, Gura and
Bunny Buna.
Guri, Gura and
Bunny Buna.”
Swaying to the
rhythm, they swing
from branch to branch…
p.19
…and climb up, up and up,
until they are at the very top
of the tree.
Guri says, “Wow!
I’ve never climbed
So high in my life!”
Then Gura looks at the
sky and says, “Now, if only
we can walk on the clouds!”
p.20
“Altight!” says Bunny Buna,
and he gathers all the clouds
he can reach to make a cloud- boat.
p.21
Guri and Gura are having the time their lives
as they sail through the sky on the cloud- boat.
Bunny Buna, feeling fine, begins to sing again.
“Rowing this boat is as easy as pie,
44

‘Cos I’m Bunny Buna,
The long-armed rabbit, that’s why!
We are Guri and Gura and Bunny Buna!”
p.23
They circle once around the sky and then head towards the hills.
There on one of the hills is a house with a rabbit doing the laundry.
Bunny Buna waves his arms and calls out, “Hi, Mom! It’s me!”
p.24
Bunny Buna Waves his long arms so hard
that the cloud-boat almost tips over.
Mother Rabbit comes to the rescue, saying,
“Buna dear, slow and steady now!”
Using her rake, she pulls the cloud-boat
down so they can all get off safely.
p.26
Mother Rabbit sees Bunny Buna’s long arms and asks, “Oh, my dear
Buna, what happened to your arms? How did they get so long?”
Bunny Buna says, “I wanted to know how it would feel to have long
arms, so I did these magical exercises to make them long. This is
how they are done.”
p.27
“One two, three. One, two, three…”
sings Bunny Buna.
And then something magical happens.
Bunny Buna’s long arms…
p.28
45

…shrink back to their normal length.
Guri and Gura then join Bunny Buna
for some tea and toast.
p.29
As they eat, Mother Rabbit knits three
jump ropes and says, “If you want to
exercise, I think jumping rope is wise!”
p.31
Thanking Bunny Buna and his mother, Guri and Gura
head home, jumping rope down the hill and singing,
“Spring breezes, gentle breezes,
We are Guri and Gura.
We wanna jump, we wanna dance,
We wanna play with you, yeah!”
Over the hills and through the fields they go…
p.32
…and, not forgetting their big picnic basket,
Guri and Gura jump rope all the way home.
46

Appendix C: My Back Translation in full
『ぐりとぐら の ふしぎなともだち』
p.2
ある はれた はるの あさ、にひきの のねずみ ぐりとぐら は
めが さめると カーテンを あけました。
たいようの ひかりが へや いっぱいに さしこみました。
p.3
「なんていいてんきなんだろう!」と ぐりが いうと
「いえのなかにいるなんて もったいない!」と ぐら。
「そうだ あさごはんは ピクニックにしよう!」と こえをそろえて いいま
した。
p.4
「にんじん ピーマン チーズ に ゆでたまご
たまねぎ ほうれんそう キャベツ に じゃがいも
みーんな あえたら ぐりぐらサラダ」
「パンには ピーナッツバター ママレード を ぬって
たんぽぽ パセリ に セロリ を はさむ。
おいしそうな ぐりぐらサンドの できあがり!」
p.5
おおきな かごに サラダと サンドイッチを つめて
ぐりとぐらは
p.6
「あかいぼうし あおいぼうし
ぼくらの なまえは ぐりとぐら
47

おひさま そよかぜ
ぼくらは ようきな なかまたち!」
と、うたいながら はらっぱに でかけました。
と、とつぜん なにかが ぼうしを さらっていきました。
「わぁっ!」
p.7
ぐりとぐら は あわてて つかもうとしたけれど
ぼうしは ひゅーっと どこかへ いってしまいました。
「とり だね!」とぐり。
「たぶん かぜ だと おもうな」とぐら。
そうして きを みあげると…
p.8
とり…ではなく なんと うさぎが すわっています。
そして まあ なんてながい うででしょう。
あたまに ぐりとぐら の ぼうしを のせて うでを くんでいます。
そらを みあげて うさぎは うたいます。
「あかい ぼうし あおい ぼうし
あおい ブーナ あかい ブーナ」
ぐりと ぐらは めをまるくして いいました。
「とりかと おもったのに」
「かぜだと おもったのに」
p.10
48

ブーナは くすっとわらうと またうたいはじめました。
「それいけ ぴょん
きのぼりなんて あさめし まえ
ぼくは てながうさぎ の ブーナ だもん」
ブーナは あおいぼうしと あかいぼうしを ポンッポンッ
となげると、きちんと ぐりとぐらの あたまに のりました。
「すごい!すごーい!」ぐりとぐら は てを たたきました。
p.12
ブーナは くるんと ひっくりかえったまま
p.13
「ちょいと ごめんよ いまから あさごはん なんだ。」と、
タンポポに びよ~んと てをのばし、
はっぱを つんで むしゃむしゃ たべはじめました。
むしゃ むしゃ ぱり ぽり
p.14
「ぼくらも あさごはんにしようと おもってたんだ」と ぐりがいいました。
「いっしょに たべる?」と ぐら は かごから あさごはんを とりだしま
した。
「わぁ ぼくがたべても じゅうぶんありそうだ。」
「ありがとう! じゃあ おじゃましまーす。」
p.15
ブーナは ぴょんと ぐりとぐら の あさごはんに いれてもらいました。
ぐりぐらサンド と ぐりぐらサラダ を むしゃ むしゃ…
「わあー なんておいしい あさごはんなんだろう!こんなの いままでたべた
ことないよ!」
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p.16
それから とつぜん とびあがると、
「ぼくにのって!さあ いこう!」
ブーナは くるりと おどって うたいました。
「はるかぜ そよかぜ
うさぎの ブーナは
ぼくだけさ
とびたい おどりたい
あそびたい きみと!」
p.17
ぐりとぐら も うたいます。
「はるかぜ そよかぜ
ぼくらの なまえは ぐりとぐら
とびたい おどりたい
あそびたい きみと!」
それから いいました。「きに のぼろうよ!」
p.18
「そうしよう!」
「いくよ!」
ブーナは えだに
ながい てを のばし
ぶらーん と ぶらさがると
うたいはじめました。
「ぐり ぐら ブーナ
ぐり ぐら ブーナ!｣
リズムにのって
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えだから えだへ ぶらさがり…
p.19
どんどん どんどん うえへ うえへ…
ついに きの てっぺんまで きました。
「わぁ こんな たかいところ はじめてだ!」とぐり。
ぐらは そらをみあげていいました。
「くものうえを あるけたらなぁ!」
p.20
「そうしよう!」
ブーナは そこいらじゅうの くもを あつめると
くもボート を つくりました。
p.21
ぐりとぐら は くもボート に のって たのしい そらの たび。
ブーナは ごきげんで また うたいます。
「スイー スイ ぴょ-ん ぴょん
きのぼり おまかせ ブーナ ブナ
てながうさぎの ブーナ ブナ」
p.23
みんなで くるりと そらを いっしゅうすると おかへ むかいました。
おかの うえには せんたくものを ほしている うさぎがいました。
「お~い おか~あさ~ん~ ぼくだよ~!」ブーナは てを ふりました。
p.24
でも あんまり ふりすぎて
ボートが ひっくりかえりそうに なりました。
あわてて ブーナママが たすけます。
「ブーナ ゆっくり おちついて」
くまでを つかって くもボート を ひっぱり おろした ので
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みんな ぶじに ちゃくち することが できました。
p.26
ブーナママは ブーナをみておどろきました。
「まあ ブーナ いったい その ながいうでは どうしたの!?」
「ぼく てが ながくなったら どんなかんじか しりたかったんだ。だから
てがながくなる ふしぎな たいそうを したんだよ。こうやってね。」
p.27
「いち に さんっ いち に さんっ…」
すると…
p.28
なんと もとの ながさに ちぢんで しまいました。
ぐりとぐらと ブーナは おやつに にんじんピザ と にんじんスティック
を たべました。
p.29
そのあいだに ブーナママは なわとびを 3ぼん あみました。
「うんどう したいとき なわとびをするのは いいほうほうだとおもうわ」
p.31
ブーナとブーナママに おれいをいうと ぐりとぐらは
おかを なわとびで かけながら おうちに むかいました。
「ぼくらの なまえは ぐりとぐら
とびたい おどりたい あそびたい きみと!」
おかをこえて はらっぱをぬけて…
p.32
そして かごも わすれず もってかえりました。
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