The interconfessional Chichewa translation (publ. 1999) uses the ideophones pisu and phwii in Song of Songs 5:4. Pisu is used to emphasize soft, sliding, stealthy motion of the hand slipping in (and suggest intimacy, gentleness, and expectancy) and phwii describes a sudden pop in the chest, a rush of emotion (“heart exploded”), creating a tense juxtaposition of emotions. (Source: Ernst Wendland)
Ideophones are a class of sound symbolic words expressing human sensation that are used as literary devices in many African languages. (Source: Philip Noss)
The interconfessional Chichewa translation (publ. 1999) uses the ideophones noninoni and chuchuchu in Song of Songs 5:5. Noninoni is used to emphasize a smooth and slippery substance with a tactile and sensual component (“my hands were slick with myrrh”) and chuchuchu describes a the sound of a gentle, continuous dropping. (Source: Ernst Wendland)
Ideophones are a class of sound symbolic words expressing human sensation that are used as literary devices in many African languages. (Source: Philip Noss)
See also his lips are lilies dripping liquid myrrh.
The interconfessional Chichewa translation (publ. 1999) uses the ideophone fumu in Song of Songs 5:6 to describe a sudden drop and a lovesick weakening (“As he spoke, my heart collapsed within me”). (Source: Ernst Wendland)
Ideophones are a class of sound symbolic words expressing human sensation that are used as literary devices in many African languages. (Source: Philip Noss)
The interconfessional Chichewa translation (publ. 1999) uses the ideophone tseketseketseke in Song of Songs 2:3 to describe exquisite sweetness (“you can almost feel it crackle/tingle”), pleasant sharpness, juicy delight. (Source: Ernst Wendland)
Ideophones are a class of sound symbolic words expressing human sensation that are used as literary devices in many African languages. (Source: Philip Noss)
The interconfessional Chichewa translation (publ. 1999) uses the ideophone noninoni in Song of Songs 5:13 to emphasize a smooth and slippery substance with a tactile and sensual component (“his lips are like lilies, dripping smooth with liquid myrrh”). (Source: Ernst Wendland)
Ideophones are a class of sound symbolic words expressing human sensation that are used as literary devices in many African languages. (Source: Philip Noss)
See also my hands dripped with myrrh / my fingers with liquid myrrh.
The interconfessional Chichewa translation (publ. 1999) uses the ideophone / intensifier kaone in Song of Songs 1:4 at the end of the phrase “all the women love you,” resulting in a meaning like “all the women adore you — indeed they do!” or “all the young women are crazy about you — just look at them!” (Source: Ernst Wendland)
Ideophones are a class of sound symbolic words expressing human sensation that are used as literary devices in many African languages. (Source: Philip Noss)
The interconfessional Chichewa translation (publ. 1999) uses the ideophone tayetaye in Song of Songs 6:8 to describe a “teeming multitude” (“the king also has young women beyond counting”. (Source: Ernst Wendland)
Ideophones are a class of sound symbolic words expressing human sensation that are used as literary devices in many African languages. (Source: Philip Noss)
The interconfessional Chichewa translation (publ. 1999) translates this phrase as “why should I be left wandering all around” and uses the ideophone zunguliruzunguliru in Song of Songs 1:7. Zunguliruzunguliru is a reduplication of zungulira (“go around in circles”) and is used for the notion of aimless circling or restlessly drifting. It conveys embarrassment and vulnerability (“left roaming about like a stray girl”) as well as confusion. (Source: Ernst Wendland)
Ideophones are a class of sound symbolic words expressing human sensation that are used as literary devices in many African languages. (Source: Philip Noss)
