Ely a in MangaLand 3 Intermediate LevelJAPANESE IN MANGALAND 3 Intermediate Level Marc Bernabe Translation: Olinda Cordukes Cover illustration: Nuria Peris Inside illustrations: Javier Bolado Gabriel Luque J.M. Ken Niimura Barbara Raya Studio KosenMarc Bernabe (L’Ametlla del Valles, Barcelona, 1976) is a Japanese-Spanish / Catalan translator and interpreter, working mainly on manga and anime translations. Apart from his translation works, he also specializes in language and Japanese culture didac- tics for foreigners, with a master’s degree by the Osaka University of Foreign Studies. His published works are: Japanese in MangaLand 1 and 2 (Japan Publications, 2004 and 2005), the Spanish adaptation of James W. Heisig’s Remembering the kanji series, and other books on Japan and the Japanese language aimed at the Spanish speaking public, http://www.nipoweb.com Japanese in MangaLand 3 Intermediate Level By Mare Bernabe © 2006 by Marc Bernabe / Represented by NORMA Editorial S.A. All rights reserved, including the right to reproduce this book or portions thereof in any form without the written permission of the publisher. Published and distributed: Japan Publications Trading Co., Ltd. 1-2-1 Sarugaku-cho, Chiyoda-ku, Tokyo, Japan. First printing: January 2006 Overseas Distributors UNITED STATES: Kodansha America, Inc. through Oxford University Press, 198 Madison Avenue, New York, NY 10016. CANADA: Fitzhenry & Whiteside Ltd., 195 Allstate Parkway, Markham, Ontario 13R 478. AUSTRALIA and NEW ZEALAND: Bookwise International Pty Ltd, 174 Cormack Road, Wingfield, South Australia 5013, Australia. EUROPE, ASIA and JAPAN: Japan Publications Trading Co., Ltd., 1-2-1 Sarugaku-cho, Chiyoda-ku, Tokyo, 101-0064 Japan. ISBN-13: 978-4-88996-187-4 ISBN-10: 4-88996-187-9 Printed in SpainIndex....... : — Introduction 4 Glossary of abbreviations cn 8 Lesson 46: Compound sentences (1) sven 10 Lesson 47: In the restaurant ones 20 sn Lesson 48: Compound sentences (2) 30 Lesson 49: Compound sentences (3) sms 40 Lesson 50: Relative clauses vmmnennnanss 50) sisnsnenn Lesson 51: Unexpected events and accidents... 60 Lesson 52: Honorifics 70 Lesson 53: Casual speech onsen .. 80 Lesson 54: Comparatives ... 90 Lesson 55: Sightseeing ...... o 100. Lesson 56: The conditional form ... seve HO vse Lesson 57: Koto and Mond so. ens AMID Lesson 58: Grammar scramble 130. Lesson 59: Dialects and proverbs 140. Lesson 60: The passive and causative forms......150 Appendix 1: Answers to the exercises 0.0.0: 162.00 Appendix 1: Grammar index Appendix 111: Vocabulary index 182, cnnnnn LR REO BH sn 28 $5 lB 46: AREBRT SD BATRLARFYT BASR: RXEBMTS® BA GR: HREBKT SO 5 OR: MRM BOLR: Wok cee wR md : Bad BBR: KURA SAR: RO RR sono 5 BR: WIHT BS GR: AHORR BSTRI Ihe ES) SSR LOS0SUKH and 5 OR HERB BOOM: HL BR RE Ho: KBR BEAR: RRL Index BR -3—BBO introduction This book is the continuation of Japanese in MangaLand 1 and Japanese in Manga- Land 2. This means that the lessons here expand on the principles already taught in the previous books of the series: if you have not mastered the previous lessons, the contents herein will not be as useful as they could be. This is especially true for the Jessons included in Japanese in MangaLand 2, as in this third book there are a lot of cross-references pointing to contents studied in the second book. Main characteristics As in the second book, again we will not be using any romaji here. This is so that you can study without relying constantly on those Roman alphabet “crutches,” which may appear to be of great help in the beggining, but in reality, this does not hold true in the Jong run. The exclusion of the romaji, combined with the fact that the sentences inclu- ded here have even more difficult kanji contained within them (always with their read- ing indicated in furigana), proves to create an “atmosphere” similar to which can be found in any manga for young readers, a concept which was thoroughly explained in book 2. If you need more information, please consult that previous work. Likewise, in this book, we wanted to teach the “real Japanese” used in colloquial conversations as well as in manga. Thus, we have devoted some lessons to topics such as, among many others, casual speech (1.53) or dialects (1.59), which are often found in Japanese comics. However, we have not left the politer Japanese aside altogether, as 1.52 (Honorifics) testifies. The main aim of this method is to hone your already adquired Japanese skills to reach an intermediate level of the written language. Obviously, listening and speaking cannot be dealt with in a written work, therefore, you should try practicing on your on. The lessons This book has 15 lessons altogether, numbered from 46 to 60, chronologically fol- lowing the numeration of the second volume. Of these 15 lessons, 11 are of a “gram- matical” type and 4 are a “conversational” type. —4— Japanese in MangaLand 3Grammar Lessons, as their name clearly states, deal mainly with grammar issues. In these kind of lessons, you will have complete explanations in English, complemen- ted with many example sentences and claryfing tables that should make comprehen- sion easier. Grammatical patterns are grouped in the lessons according to related sub- jects. This being a self-taught study manual, we feel this is the most appropiate way to help you relate patterns that are similar in use and meaning, but that have different nuances. Giving a specific example, the expression #1} (only) is usually studied at a very early stage, but, in this book, it is taught in 1.58, almost at the end, because it is discussed with other expressions with a similar meaning, such as # and (41) , thus constituting a solid block of grammatical constructions. ConVERSATIONAL LESSONS fill the gap left by the grammar lessons, which strictly concentrate on grammar only. As they revolve around a contextual topic (In the restaurant, Sightseeing), they are useful for learning new vocabulary, practicing pre- viously studied grammatical concepts with lots of example sentences, and even serve as a conversational guide, which is very helpful for possible trips to Japan or conversa- tions with Japanese people. In these lessons, you will find as well a “Cultural Note” section, with insights into different aspects of the Japanese culture and environment. All lessons, grammar and conversational ones alike, have manga-examples and exer- cices. The MANGA-ExAMPLEs keep the same function they had until now: they will provide specific examples for expressions studied in the theory pages. They will also help you to expand concepts, see some new constructions, and revise constructions seen in previous lessons. Do not to skip them, Finally, the ten simple EXERCISES included in each lesson will help you consolidate your knowledge and check whether you have understood what has just been explained. The correct answers can be found in the first appendix, at the end of the book. Appendixes At the end of the book there are three appendixes with very useful extra information: © Answers to the exercises: detailed answers to all exercises included in this book. @) Grammar index: compilation of all the grammatical expressions studied through- out the 60 lessons of the Japanese in MangaLand series’ three books. @®) Vocabulary index: and index of almost 2,000 words, containing all the vocabulary in this book, as well as all the vocabulary needed to pass levels 4 and 3 of the Japa- nese-Language Proficiency Test. Introduction &# 0448 —5—In addition to being a useful way to crown the contents of this course, these indexes were specifically conceived as a guide to cover the specifications for levels 4 and 3 of neers the H &# ft 7 #48 (Japanese-Language Proficiency Test.) The Japanese-Language Proficiency Test fake ous Lie The 8 428 # 7 AB is an internationally recognized test, jointly administered by the official organizations Japan Educational Exchanges and Services and Japan Foundation, and simultaneously held every year on the first Sunday of December at venues all over the world. This test has become a standard to assess Japanese know- ledge of non-native speakers, and it consists of four levels, the most difficult being level 1 and the easiest being level 4. We have created Japanese in Mangaland so it con- tains all the grammatical patterns, kanji and vocabulary required to pass levels 4 (cle- mentary) and 3 (basic). In the indexes you will find indications which will tell you whether a word or a con- struction belongs to one level or the other, thereby providing you with all the neces- sary tools for an in-depth study and to put your knowledge to the test on the next first Sunday in December. Good luck! Specifications for the Japanese-Language Proficiency Test 800 words, 100 kanji. The student can read, write, speak, and unders- Level 4: tand simple texts 1,500 words, 300 kanji. The student has a sufficient level in Japanese Level 3: | to communicate in everyday life in Japan, and can read, write, speak, and understand texts of a medium-clementary level. 6,000 words, 1,000 kanji. The student can hold with no difficulty con- Level 2: | versations with a certain degree of complexity and can read, write, speak, and understand texts of a medium-advanced level 10,000 words, 2,000 kanji. The student has a command of Japanese Level 1: | at an advanced level in all aspects and has a sufficient level to study at a Japanese university with native students. On translations There are many example sentences throughout the book, as well as many manga- examples, with their corresponding word for word translations into English, just like in the first volume. Sometimes, the sentences we offer may “squeak” for not being very natural, since we have chosen more literal translations for an easier understanding of their formation. Trying to create a more natural English translation of every sentence would be a good exercise: it would help you consolidate concepts, make and in-depth —6— Japanese in MangaLand 3analysis of the Japanese sentence, and think about it as a whole rather than a mere group of words and grammatical patterns. Besides, it might help you delve into the world of the translator and to realize the complexity of the work involved. Acknowledgements Before going on and entering the actual study, I would like to thank all the people that supported me, in one way or another, to develop Japanese in MangaLand, to nurture it and to make it grow to the point in which it has now been translated into seven different languages. First of all, my earnest thanks go to you, the readers, for being there, enjoying the books and, from time to time, sending me comments and encouragement to go on. Ifyou wish to do so too, feel free to write in English through www.nipoweb.com/eng. More thanks go to my dearest Veronica Calafell that, besides supporting me all the way (not an easy task!) during the long and strenous process of writing these books, contributed to them giving comments to improve it and supervising every aspect. I owe a lot too to the whole teams at Norma Editorial and Japan Publications, who from the beggining were keen on publishing Japanese in MangaLand and helped it become what it has become today. The Fundaci6 La Caixa and the Japan Educational Exchanges and Services (JEES) gave me the chance, by means of a grant, to learn extensively about Japanese language teaching methodology and resources. This, along with the guidance of professor Sayo Tsutsui #4 #448, of the Osaka University of Foreign Studies, was directly poured into the production of the books. Luis Rodriguez and Josep Sadurni revised my work as I wrote, and Itsue Tanigawa @ IK revised the Japanese sections. James W. Heisig provided his invaluable technical and moral assistance and help at all times; I consider him my dearest mentor. The artists Javier Bolado, Gabriel Luque, J.M. Ken Niimura, Barbara Raya and Studio Kosen created the manga panels that illustrate the books; last but not least, a big thank you to my efficient translator, Olinda Cordukes, and to my dear friend and corrector Daniel Carmona, whose precious comments helped improve this book beyond words. Thank you very much to all of you! Mare Bernabe July 24th, 2005 Osaka, Japan Introduction ARO ##& -7-Excl.: Ger.: Nom.: Noun Suf: Soft.: Suft cp: DOP: DP: EP: 10P: POP: PP: Qe SP: TOP: ‘TP: Glossary of abbreviations Exclamation. Gerund. Nominalizer. Suffix for proper names (people). Sentence softener. Suffix. Cause Particle. (why?) Ex: ® Company Particle. (who with?) Ex: & Direct Object Particle. (what?) Ex: & Direction Particle. (where to?) Ex: ~ Emphatic Particle. Most end-of-sentence particles state emphasis or add a certain nuance. (1.17, book 1) Ex: , £, @, etc. Indirect Object Particle (whom?) Ex: i= Instrument Particle. (what with?) Ex: T Possessive Particle. (whose?) Ex: 0 Place Particle. (where?) Ex: €, {= Interrogative particle. Shows that the sentence is a question. Ex: # Subordinate sentence Particle. This particle is used as a link between a subor- dinate sentence and the main sentence. Ex: & Subject Particle. (who?) Ex: a Topic Particle. Shows that the preceding word is the topic in the sentence. «Ex: tt Time Particle. (When?) Ex: ( —8 — Japanese in MangaLand 3LESSONS 46 to 60Lesson 46: Compound sentences (1) We start this third book with a series of three lessons aimed at introducing several ways to create compound sentences in Japanese. Thanks to the links and structures we will learn, our Japanese will take a considerable step forward qualitywise, allowing us to form quite complex sentences. In this first lesson we will basically study expressions of continuity. The easiest linking We already saw in L.35 (book 2) that we can use the -te form to link sentences: This may be applied to verbs (Ci 5 4 10 sleep and wake up), adjectives ({ CHS. roomy and bright), -na adjectives (£% ¢ Al’ robust and practical) and nouns (44 © Hf professor and researcher). This method of linking sentences is very simple as well as useful, since it can have up to five different usages, namely 1) combination of elements, 2) sequence of actions, 3) mode, 4) simultaneous action or state, and 5) cause / reason: ERA TAY EAS Every morning I drink milk and eat bread. 2) (RSTHE yoece tho THU LOT —# Elk oh T cooked a delicious cake using strawberries. ASA | want 10 wake up early and go on an excursion! 4) i. 29h AG eau BRL fe Tues watchinga movie and my giripiend was listening to musi 5) ‘e 2 om ot i Fa ea Lt Hiroyuki left and (so) Hiroko was relieved. If we want to link negative sentences with the -fe form (which we didn’t see in 1.35) we will use the negative conjugation of this fe form (~ #0) e8eb tw ery 7 eR + % He cooked a hamburger withous wsing salt, oR Ue CHMS S18 Le [passed the exam without studying. ‘There is also an equivalent form used to link negative sentences, formed by replacing the %\\ of the negative -te form with $12 (2G 3 EFI, without sleeping). The only exception is $4: itisn’t L 12 but #F/<. Itis used in written and formal registers. ou el Fe) NY K= 1 Bits te He cooked a hamburger without using salt, o ibe FS SRWS B18 L Fel passed the exam without studying. —10— 463 Lesson 46Another way of linking sentences in the negative The forms we have just studied, and which are used to link sentences where the first verb is in the negative (~ # .» ¢ and ~ ¥(<), can’t be used with the five cases in the affir- mative we saw in the first point. To be precise, ~ 7 \ can’t be used to express “cause / reason,” and we don’t use ~ # (= to express “cause / reason” nor “simultaneous action or state,” but have no fear, because you needn’t know this by heart at this point. To express “cause / reason,” we use the -te form of a verb conjugated in the negative. Ex: ft (10 use) = negative: jb \y = negative -te form: feb % ( T. We already saw the conjugations for the -ie form of verbs in the negative in the table in 1.35 (book 2). ihe HF 6 te CIES 28 L Cute Hiroyuki didn't return home and (50) Hiroko was worried. @ REM GCC Lot I didn’t buy the car, (30) I’m happy. To link two -i adjectives in the negative (not only “cause / reason,” but generally) we also use the -te form of the negative. Ex: x1. (broad) => negative: f(t. => -te form of the negative: E «i ¢ T. In the case of -na adjectives and nouns, we use it 4 ¢ T or, in colloquial register, U » % ¢ T (tp is the contraction of Tit). he na KEM S C2 (CHU CH The apartment is not bright and is old. apts (ciacK oas(th @ RAMBAATIA(L P)B CT. WEATT She is not Japanese, she is Korean. Simultaneous actions: ~ @ #5 To form sentences of the kind “I do x while I’m doing y,” that is, sentences express- ing simultaneous actions, we use ~ i #1. Usage: Verbal root + ~ 2 2°. Ex: {8 3 (to use) = root: hts > we add % 1° iy: {RL W265 (while P'm using). Note: ~ 2 2° is only used with verbs, and the subject (the one who performs the action) must be the same for both verbs (that is, the performed actions) in the sentence. eo SREMsEND, X é CLS While I’m listening to music, I write the book. @varlt Bs BHD abe Cut John Taughed as he watched the movie. jena aR +2 I translate, (while) consulting a dictionary. ce KA RM Be L#L 4% Let’s talk, while we drink (have) a coffee. In sentences with ~ # 4°, there usually is a central action and an incidental action — the verb of the latter takes ~ we — Compare these sentenc: t lech ets tM MBE AL While P'm eating, I read the newspaper. (center: to read) 0 Bik kato 5 Me ASS While I read the newspaper, I eat. (center: to eat) Compound sentences (1) ®& £Hakt 0-H #&eCE A situation remains unchanged: ~ x < We are now going to see the expression ~ # £, which indicates an action or situation described by the verb, to which this expression has been attached, remains completely unchanged. Usage: ~ + # is used after verbs conjugated in the past tense. Ex. £4 (to sleep) = past: et: => we add ~ 2 2: S122 (he is still asleep / there are no changes in the state of his being asleep). This expression is also used with some -i adjectives (we don’t change anything), -na adjectives (we keep “2), and nouns (we add 0). OF LES OUR EERE ICA CLA 5% I went to work, leaving the TV on. @ BSF 1 9A ot #RS 20 Yuriko went to Germany and is not coming back. ets eEEo KETO * Id like to be a student for ever. If the verb before ~ % % is negative, we don’t have to conjugate it in the past tense. 58 Zit 28 RRS LU AHL A [ran out of the house, without locking the door. OARS BOR REL HO TOS He works constantly, without taking a break. Non-exhaustive list of actions: ~& J ~kUF% ‘The next expression is, somehow, the version of > (1.41, book 2) for verbs and adjectives. ~h 1!) ~iz 1) F 4 is used to express a kind of “non-exhaustive list” of actions or states, That is, we indicate two or more actions or states, and whether “there could be more” is left up in the air, Usage: verbs are conjugated into the past tense and |) is added. The last element in the sentence is followed by + 4. Ex: 5 (to buy) = past: > % = we add (and +4 ifit is the last element): Jt 5 #0 (4 4) (to buy —and other things). -i adjectives also go in the past tense, like "> f: (44) (expensive —and other things). Whereas -na adjectives and nouns need the verb “to be” in the -tari form (fA). Bx: AIH 5% 0(44) (to be convenient — and other things) and $4 #2 > t: (45) (to be a teacher — and other things). oneCs YI-Ay PELE, Pr yTREB EY, BR bo KuTEe At work, I browse on the Internet, send faxes, write documents (and I do other things). ORM, 2c ERA U HM ERA EU LET Every morning, I drink coffee, read the newspaper (and I also do other things). Sometimes ~7: 1) is used with only one verb or adjective. The connotation is that, even though only one action or state is mentioned, there are more which are not named. oi & 2 LAN LTH Btve Don’t lose the keys (or something like that), OK? eB S AUF SOUK TO | Falling in love (or something similar) is dangerous! —12— 946% Lesson 46tan In the case of: 32 a The word #8 4 (case, occasion, circumstance) can be used to form sentences of the kind “in the case of...” Usage: it can follow verbs and -i adjectives conjugated in any form. After -na adjectives and nouns it requires «. wes he © AFH SPARS, SRITC ( HS vs In case war is declared, please run away (escape). BR KU ROOD bebe © MOBS AAA TRB L t 9 In case of rain, we will train in the gym. Not only X, also Y: ~ L Another very useful way of linking sentences is using ~ |, which gives the connota- tion of “not only x, also v.” Usage: the usage of ~ Lis very simple, as it can follow any verb and -i adjective conjugated in any form. With -ria adjectives and nouns, it requires the verb “to be” (CF/# bie Lith tees OR AURR MSL. MCSTPRUATHBO Tomorrow I have an exam and, besides, I must go to cram school. ba OS as ap @ LOR KOL, RA Not only is this house roomy, the station is also close by. Sometimes we can find more than one ~ L ina sentence, as if forming a list: oes bee pat ae @BAQMROOL, SHOKL, SHSELARBED ! She is intelligent, as well as beautiful, as well as rich... She’s perfect! REERTREDOT ESD and draw a picture, please ‘Drawing a picture without looking at the landscape is difficult WL Spt ( TRS Ie’sa pity I won't meet hi FRERLEN GRE POE While I was looking at the landscape I drew a picture (Note: the drawing doesn’t need to be ofthe landscape) AARNE LEVI VY T took part in the marathon, being tted as I vas WIV VICB MLE, REDOENTSOUR LOTT enjoy taking part in marathons, drawing pictures... (and s0 on) HOR, TI LRA In case of rain, I won't take part in the marathon PIV Vis . RbPVE Tnot only took part in the marathon, Talso drew a picture Compound sentences (1) HXeHRF3O-13-kata Conjunctions So far we have seen expressions we use to create compound sentences. However, at the end of each of the three lessons called “Compound sentences” (this one being the first) we will study some expressions placed at the beginning of a sentence, which are used to link two or more sentences or ideas. In the last lesson in the series (1.49), we will give a summary table with all these conjuctions. 1) For example: #2 (f e UB RAR ORE att. plat, Ral oR 5S DRE IB SOF ove Japanese cuisine, ike, for example, sushi, tempura, oyakodon, ct oF Cone, PRLS SE 8 eb Many martial arts, like for example karate or judo, come from Japan. PERT 2) By the way: & ¢ 4 een ha wisn ne ORES MAOPL IAT. eld FREER? You are 25? By the way, how old do you think Iam? eFHER ARON. LEDBE, BOATS Oe The weather is beautiful today, isn’t it. By the way, shall we go out for a drink? 3) Besides: @ 112 Note: This expression is almost equivalent to ~ (. ORALRRASS, AER Sh oerAUAs 2 Tomorrow I have an exam. And estes (on top of that) I must go to cram school. e Bay ‘mee Wink. BMI? e¥M I: bok Today, I split up with my girlfriend. And besides, (to crown it all off) [had a motorcycle accident. Nominalizing adjectives Curiously enough, up to now we had not seen one of the simplest characteristics in Japanese grammar: the formation of nouns from -i and -na adjectives. This is the time to study such a basic and useful point. -i adjectives: We replace the last «» with x. ‘ G > black = 2% — blackness cn wide IS width hv fal oe eS fitness AS bright > 3% brightness -na adjectives: We replace the last % with x. RLM convenient > HFi% convenience Hint kind => HS kindness BAW beautiful > SHS beauty EX B robust > LS robustness —14— 84688 Lesson 46Manga-examples reel We have now seen many new constructions in just a few pages, so we’d better relax now with a few manga-examples where we will review what we have seen in the theory section, and we will study one or two slightly different usages of some expressions. a) Linking a negative sentence to another sentence: zu ni RA RT ’ oe Hirose: HEGOUTILESTIRATE WAY nobody wound put live come person or other not there is No one has ever lived without hurting anybody. Our first’ manga-example will show us how to link two different sentences when the first one is negative, whether the other one is THona> THOS AE 4S UR or not. We have studied in the theory section that this is achieved with the negative -te form. In this Jas Ren Nitra case, the two ideas to be linked are HE 6) 917 20 (not to hurt anybody) and % % T% tA (person who has lived). If we conjugate the frst one inthe negative -te form and we “add” both sentences, we get HERO OTHE TSPA (person who has lived without hurting anybody). This kind of linking is #4 (simultaneous action or state) in the list we saw at the beginning of this lesson. However, we have also said that there is a similar alternate construction, the one used in this panel. The speaker used in the formal register. This form, ~ 7 is in a tense situation, and he probably chooses ~#{= to give more “weight” to his statement. The formation of ~+ 1 is as simple as replacing the * (» € ending in the . Thus, the final sentence is as we see in the negative ote form of any verb with ¥ example: #4 811+ Notes: There is still another idea linked to this compound sentence: (<> (there isn’t). The word # ¥ (in kanji %) could be translated as etcetera. Also, notice the usage of we (nobody, 1.37) and of ~¢ ¢ & (1.35), and take the opportunity to review these expressions, (person who has lived without hurting anybody). Compound sentences (1) &X@#sk4 $@-15—b) Everything rem ma Kuroda: 2022 TWAS BARCRBMD DOH OIEARH this (no changes) be all ro nuisance sp put (the fact is) ep... The fact is that ifI stay the way ’'m now, Pll be a nuisance to you all... Here we have a small and very common variation of ~ x Z: linking ~ ¥ & to the demons- trative pronouns 20 (this), 4 (sono), and ® (ano) POH StS SRRITOY OFS AHH OM (1.34, book 2). The resultant words could approximately be translated as “as it is.” A typical example (in the supermarket): $4 #1) #44? Do you need a bag? iz, IDE TWOTH No, it’s fine as it is. This sentence means you will take the product or products “as they are,” without the necessity of a bag to carry them. Note: Notice the contraction ~ % » 9 (1.35); the non-contracted version would be '& #8 Kio TL 4 (to cause trouble). v7 5 is the conditional (1.56) of \ 4: if I stayed. c) Non-exhaustive list of actions & bs Calvin: BAUR LAE Ys RoRWLSSOUDALR, A-#YIb.. Isp have fun (or something), laugh (or something) do must not. Susan... I shouldn’t have fun, nor laugh, nor anything. Susan... Here we have a good example of ~#)~A +4 Remember this is used to form a sort of non-exhaus- tive “list” of actions or states. Thus, in the sentence LAUR that “he is having fun and laughing,” but he also sug- %ork FS, the main character indicates LOMO CHES o gests there are more actions which are not mentioned (that’s why we have chosen translating “nor any- thing”). Notice how the verb +4 usually closes the “list” (but be careful, as sometimes it is omitted). Note: ~ L » (tt 2 4 is the contracted and vulgar ver- sion of ~ LC 1d ott 4214 (prohibition, 1.32). The 4 # in the end is a very common soften- ing tag (contraction of #2), which we studied in the manga-example d) in 1.40 (book 2). 16 46% Lesson 46d) A slightly different usage of baai Fujita: Fees oye. CAMS CENT 17M H7!! responsibility recriminate mutually occasion not be true but!! I don’t think this is time to ask for responsibilities, is it?! We saw before that the word BS is used in constructions indicating “in the case of...”. Here we have a somewhat different usage, where the negative inflection of we # (to be the time) is used: ws TU(U PaO. This expression, used very often in films or manga ‘Studio Koren (you seldom hear it in real life) means this is not the time to... An example: it Ti 3 BH Td WL | This is not the time to laugh! Note: Watch out with the triple compound verb #4 J 21160 C4 (-te form of % 2 & 5). The base is 4 4 (to extend), followed by the suffix ~21t 4, which adds the connotation of “pushing, pressing, throwing.” 4% + (J 314 4 is translated as placing the blame on somebody. Finally, ~ 44 makes it a little bit more complicated, adding a connotation of reciprocity, “mutually” (1.44, book 2). e) Softening sentences: shi ted Man: 8 4-7 EH EBOMOELE ‘yes suit also gun also find besides np Boe etl cenideg teemtiad a suited acu, We have studied a few pages ago that ~ Lis used to link sentences and give them a connotation of “not only x, also y.” Here we have an example of this construction, although its usage is slightly different. In spoken Japanese we very often use ~ ( at the end of a sentence to soften a statement or as a simple tag. Sentences like 4 See AKL Today I'm tired and, (besides)... 6 ic Siok LT Lalso went to Taiwan and (bee. indicate the speaker wants to express more things in a veiled form, but doesn’t, so as not to sound long-winded. ~ Hence our tentative translation with “besides” at the end of each sentence. Note: Notice the usage of the end-of-the-sentence particle % (1.17, book 1) in these kind of sentences. It's an informal usage, used sometimes to soften a sentence or to express a wish. Compound sentences (1) #2 #AtSO-17—f) Besides be Yoji: ZHI by A-BSMPSM EG OKOUUOTT IS besides wrecker top money cost because waste be EP Besides, the tow truck costs money, and it would be a waste. Here is an example for ¢ 7 {<, one of the e three expressions used to link different Fite sentences or ideas which we have studied wehuSRE Tudo BOS: etm —aeT in this lesson. 2 (< is used in a similar way to our adverbs or adverbial con- structions “besides,” “apart from that,” “to crown it all,” “moreover,” and so on. In our example, Yuji is going to help someone whose car has broken down on the road. We don’t know the previous sen- tence, but we can suppose, because of the —_Stio Kosen @ 4c, that Yaji had given another reason to offer his help to his interlocutor. Notes: The -i adjective ¢, > f: 4. #24) doesn’t have a direct translation into English, but it mainly indicates that something is “a waste, it’s not worth...” itis gene- ‘a pity,” or rally used with money, time, or other things that can be “spent.” g) Formation of nouns from adjectives HAL Be Powell: ZH A HUVDOREL LTORAL SE that sp that guy pop warrior as pop frightfulness be! Such is his frightfulness as a warrior! We will conclude the lesson with an example of how to turn an -i adjective into a noun, The process is as simple as replacing the last ‘» with . Thus, from the -i adjective 4 U1 (terri- ble, frightful) we obtain the noun % 4 LS frightfulness Tt Ken Rim ; Notes: The literal translation of this Sut sentence would be that is the frightfulness of that guy as a warrior. Finally, <> isa vul- gar term meaning that guy. ~18— 9468 Lesson 46Link BK e#S and wee BCOEE be (ee: yukata (summer kimono), e B:to put on, to wear, J: outside, #4 to go out) Do the same as ‘in exercise 1, but this time the sentence BR & # % must be rine @) gated in the negative. Use both options. Translate the sentence: “This | book is ot thick and i it’s light.” (book: % thick: Bes, light: Bo) Tell the difference between: EERE 5H 9 and HY RAS Bow emes (JL: beer, tk &:: to drink, ha: to dance) Translate into English: 17 2y ®t 22HTL take (27 ay: air condi- tioning, > {7 4 : to turn on, # 4:to sleep) Has rr < Translate using ~f 1): “This summer ‘© swam, walked, rested.” (summe 7, © swim: 5% ¢, to walk: 3 { , to rest: Translate using ~U: “This summer I swam and I walked as well.” (summer: q to swim: Re » to walk: BO Translate into Japanese: “By the way, (8) q shall we go out for a tea (or “satin (To have (drink): tt, tea: Turn into nouns the following adjectives: : \ (spicy, hot), ko * (important), RR it (cheerful), and e vy (white). ‘Translate into Japanese: “This is no time to RY: KY BED € dance the flamenco!” (now (this moment): “Ss, to dance: ia, flamenco: 7 3 * » 3) Compound sentences (1) XE HAT S@O-19—Lesson 47: In the restaurant Japanese food is famous all over the world... Are you ready to enjoy it? You had better prepare yourself, because we are going to see a lot of food vocabulary, so much that we will have you salivating and smacking your lips by the time you are done with this chapter! A new world Indeed, as this title suggests, the gastronomic experience in Japan —or in a Japanese restaurant, of course —, is like entering a new world, as there is a huge amount of ingre- dients, preparations, sauces, and dishes that immensely differ from what the average Western palate is used to. In this lesson, we will learn how to go shopping for food in Japan, how to use the ever-present fast food restaurants and, of course, how to enjoy the genuine Japanese gastronomy in popular and luxury restaurants all over the Land of the Rising Sun. However, you must prepare yourself to study vocabulary, because there are so many things to learn, we have had to devote up to two pages only to this task. Are you ready for this huge task? Then, let’s go! Buying food Before you start, we recommend that you review the section “We are going shopping!” in 1.42 in Japanese in MangaLand, vol. 2, to reftesh your memory on basic sentences to go shopping for anything, foodstufis included, Now, then, we are ready to fill our pantry. We will start with the simplest step: our first test will be an expedition to a supermarket. Even though they may look very simi- lar to Western ones, Japanese supermarkets will surprise the average Westerner with the enormous quantity of “strange” things you can find in them: from giant radishes 8 fo. B, ftom takeaway #51 to vadidionsl Japenese sweets, suchas G14 ot bi ¥ (ome vocabulary tables). ~20~ 98473 Lesson 47In the market or the local shop Going to the supermarket doesn’t involve any “linguistic danger” we can’t overcome using the knowledge you have acquired so far. Aside from what you already know (questions such as will you pay cash? and so forth, studied in 1.42 (book 2) and pre- vious lessons), the cashier may ask you at most: @ 2-7-7 y PKDA-K et ative tH? Do you have the x supermarket card? Obtaining your local supermarket card to get points is very typical, and cashiers almost always ask you if you have one. However, the real acid test entails buying food in the market or at the corner shop run by that little smiling old woman. Make sure to review the counters thoroughly (1.25, book 1) because you will have to use them quite often, VboLenet! Ready to enter the jungle of (v5 > L # \y# ¢? This word, which has appeared a few other times already, means something like “welcome,” and in all shops throughout Japan (absolutely all of them, restaurants and + 2 pinball houses included) you can hear rounds of ts > L » i» £ ¢, when a possible client is spotted. Fishmongers, specially, distort the expression to the utmost: things like 5 > L »\)! are common and typical. The right thing to do when greeted by one of these shouts —very often shop clerks shout themselves hoarse—, is to (oddly enough) ignore it. Even though you might find it embarrassing, you don’t need to answer, or even look at the shop clerk. ernumete 2 What is this? (1.34) Romney th oscmane ont G+ They are “daikon” giant radishes, a speciality from Hokkaido, @ ED RH EA 130 Pll have one of those “daikon” radishes, please. (1.25) eTaAeEAM, LOANS £¢a? Excuse me, do you sell “shiitake” mushrooms? elk, HELIHUAF Yes, they are over there. (1.34) @ GAOL (5TH He How much is the chicken breast? (1.34) 0100 7945n0 8 3 FCF Itis 83 yen per 100 grams, In Japan they use the metric system: 7 9 4 (gram) and + © (kilo). But be careful when buying fruit: it is so expensive you don’t buy it by the gram or the kilo, but by the unit. Asking ) A 2&5. 00794 ¢ #40 Pl have 500 grams of apples, please is unusual. You would normally ask (J 42 & 5 #@( #0 I'll have five apples, please. In the restaurant L Ab 9 YT ~21—Fast-food outlets Like almost anywhere in the world, 7 7 % } 7— f chains are a feature in Japan, spe- cially 77 Fob F and 7 y ¥ y#-~794 '+¥y. You don’t usually have to struggle much if you go to one of these restaurants, because once you can read 4 ¥ 4 +, you will understand most of the items on the menu: sy —#-—, F#¥# yy F 4 yt and 3H 1 — 3 are relatively clear. But take care, as “French fries” are called 7 44 F iK7 b! Bx oRE i218 L ten 2 Have you decided on your order? (Lsaforial: 52) cH ane Be Wl 7 (Pointing the menu) I'll have this and that, please. (1.34) ery N-H-ea-F ok % (Sw A hamburger and a large cola, please. @ EN EKRIT Be \\L £4 Without onion, please. {2 L £2? What would you like to drink? (1.34) a © eR @ LEH THBLEAU THM, HHS HU TH H ? Will you eat here or is it take-out? (1.41/52) However, we recommend that you try indigenous Japanese 7 7 2} 7— : chains 230 such as ane or ee, with outlets all over the country, offer dishes like “eH or 47-34 %, often cheaper than hamburger joints. It is always more interesting than lunch . 7 < ending at 7 7 § +0) f, which you can find in your own aft. snack molec Aa ith backyard. (But, ifyou absolutely must go there, then at dinner “9 te | 9 CHR least try tomething you can not find back home.) To the restaurant! There is no shortage of places to eat in Japan: from small 9— %y, WZ or 9 LA noodle eateries to very luxurious restaurants. Japan is undoubtedly a gourmet country, proof lying in the huge amount of magazines, television programs, and even manga sole- ly devoted to delighting their audiences and readers with sumptuous dishes and recipes. Finding a place to eat won’t be difficult, because most restaurants have a window where they show hyper-real plastic models of the dishes they serve, as well as the price. Thus, it is very easy to decide what to eat, depending on your preferences and your budget. Once you have decided, open the sliding door, be greeted by the loud 4 5 Lew 2 Bu from the waiters, and sit down or wait to be taken to a table. 0198 H+» ? How many people are you? | 2A G+ Two people. (1.25) @LEALLT. £45 C4 Follow me (Ill lead you). This way. —22— #4738 Lesson 47DEESET! Weare now ready to order. Take a good look at the 4 = 2 —, and choose whatever you prefer. However, before you actually begin eating, don’t forget to say tf: #8 #4 (1.27). © Ri 0 X= alt) ETH? Do you have an English menu? eb 44H HUA CF m2 What dishes do you recommend? e EAH 44d? Do you have set menus (main dish with a side of rice and miso soup)? @7-rre ie BRO U4 I'll have ramen and some gyoza. @ HALLO (Pointing) [want that same thing over there. emia siBEHe @ BRAG HMLL AF Ll have some sake as well, please. & ( # &is I want the “oyakodon set” outside (in the window). * @ Y2-AOMHRbI & 4 ES Another juice, please. @ 2525 TLE! It was delicious! | Thanks for the meal! Paying Finally, let's see a few useful sentences when the time to pay comes (review 1.42, in book 2, as well): estes sm s+ The bill, please. eo Siu Cb CF H? How much is it altogether? eH ERA L CK ESO We want separate bills ©2000 MY Its 2,000 yen. In many restaurants, you pay at the cash register, placed near the entrance. Don’t wait for the bill: just stand up, pick up your belongings, head to the regis- ter, and one of the ever-alert waiters will rush to the cash register to ring up your bill. An important fact is ‘to roast, fry tg cook, that in Japan you don’t tip, not even in restaurants! simmer to steam When you are given the change, simply keep it if you to deep fry don’t want the waiter to hunt you down in order to to boil give back the money “you forgot.” to pickle : Saying goodbye witha = 2 5 # © L fs isvery good to stir- a manners. A round of very loud 4) #5 C808 L# will accompany you as you exit... In the restaurant | 4} 37 © —23—Chinese style fried rice with egg, vegeta- bles, meat... “Three variety fried rice” ‘Typical Japanese sweet. Three rice- flour balls in sweet sauce ‘Typical Japanese sweet. A small pan- cake filled with anko (see ingredients) ‘Steamed or fried Chinese dumpling stuffed with meat or vegetables A bowl of rice topped with beef and onion Japanese style fried chicken ‘Curry rice Japanese style) A bowl of rice topped with tonkatsu and sauce Miso soup ‘Mashed rice paste Fermented soybeans Winter hotchpotch with daikon, chikuwa fish paste, meatballs, etc. “Pancake” on a bed of cabbage, to which anything can be added Stuffed rice balls (tuna, umeboshi, salmon, konbu...) Bowl of rice (34) with chicken (38, the “father”) and egg (, the “son”) Noodle soup, originally from China, but adapted to Japanese taste Sashimi, Raw fish (dish) Vegetable and beef stew, with the beef very finely cut and boiled in water Steamed meat dumpling, originally from China Buckwheat noodles served either in hot soup or cold Vegetable, meat, and tofu stew, cooked by the guests themselves Sushi, Raw fish on a rice base or rolled in rice and nori Flour balls stuffed with octopus, very typical in the Osaka region Tenpura. Deep-fried battered vege- tables and fish ot See SE. a | Len bs Lie ie sa) S HOF a Fw mE pi pr Tofu. Bean curd Pork, dipped in a crumb batter and deep-fried, served with a special sauce Thick wheat noodles, usually served in hot soup Meat of different kinds, roasted on a hot plate (done by guests) Fried soba noodles with a special ‘sauce, vegetables and meat Roasted chicken shish kebabs ‘Sweetened bean paste. Also calleda an Giant Japanese radish Soy Soup stock, basic in Japanese cooking, usually made from fish or seaweed Sesame Chinese cabbage Dried bonito flakes Sea tangle, sea kelp, Giant seaweed Cooking sweet sake (rice wine) ‘Miso. Fermented paste made from. soybeans Nori. Very thin and dry, sweetened seaweed Radish, Lotus root Shiitake. Japanese mushroom Soy sauce Bamboo shoots Pickled dry plum Wakame, A type of edible seaweed ‘Wasabi. Very hot Japanese horseradish —24— 347% Lesson 47Food vocabulary Ingredients (SNVESG] Others got | mayonnaise v34#—* Vegetables j bread Ry caer DL ebhee cake yo# oil es carrot cheese t-% pepper = b z 5 cucumber chocolate #s21b—}h salt # eggplant dessert F¥-b sauce Jar garlic ees “ip RE sugar an green pepper icecream 7427-4] vinegar Ea lettuce omelet tary |_Drinks (tet; 0280) onion pasta x9 Jalcoholicdtk Bs potato Cevté | pudding Ty beer wy pumpkin DEBY soup a-7 coffee Spe rice (cooked) yogourt 3—7+ | blacktea aE rice (raw) Petes salad v7 big bowl juice scallion mB bette Bh milk ic a tomato hh bow! fo milk coffee Meat a chopstickrest. "EH % sake beef 28 chopsticks 58 soft drink eptgn an Serre age tea ham Nh fork 74-7 water lamb, mutton 3 fryingpan 794% wine D4y pork glass yor|ao7 Fruit 4; <8) sausage y—t—y | lunchbox | # apple Ac (iKtH) steak Ae knife +47 banana RHF Biker) menu doa- cherry SQ BAB bonito = #5 (a) | napkin $7 HY grape clam a plate pm kiwi crab ac (®) pot a mandarin BDL octopus = (3A) melon prawn, shrimp 2U (38%) orange salmon $13|L vt? @#) | Seasoning 62541)15) peach sardine Wbl (HF) butter Rom pear aL (R) squid wa ginger Leda | strawberry 652 GB) tuna «£4 (8) | ketchup 7447 | watermelon Th” In the restaurant 1%} 9» © —25— ES 47 3BCys Kite: RS TOA Cultural note: Table manners ho re i isa different country in so many aspects. It is worthwhile knowing some basic table manners so you don’t commit any of those typical mistakes characteristic of hh (foreigners). ‘We will start with the famous #3, used in almost all meals (except with Western dishes, although, curiously enough, seeing someone eating 47» 74 or 8x!) 7 with Bei is not unusual). Knowing how to use 6 i is essential if you don’t want to starve to death in B Mk, but don’t worry: with a little bit of practice one any Bets used to them. There are a few taboos with Be: sticking them into the 2% or into the food —leaving them in vertical position, and passing food from one diner to another, directly from #3 % to BE. Why? Both actions remind one of rituals performed at Japanese funerals and, as you can imagine, are not exactly a sign of a good omen. Another curiosity has to do with alcohol (mainly 11), which is consumed in great quantities when there are guests, Never serve yourself: you must wait till someone else does. Raise your 7 9 % and let yourself be served. After which, the right thing to do is for you to serve. Take the U'A, — better with the label fac- ing upwards—, and make as if you are going to Soba noodles can be slurped. (Photo: M. Bernabe) serve: you will see how whoever is sitting with you answers at once raising his / her 7 3 ~ with a wide smile and a loud HURLF More things: you might be surprised by the fact that all the food in 8 * comes at once, in small plates. The usual thing is to nibble from one dish to the next one, eating a lit- tle bit of everything, sometimes from one or several shared platters from which every- body eats. Besides, it is possible, and even advisable, to noisily slurp %— 7: and 3 — Ay, €ld or 3 YA noodles. In fact, they say slurping indicates one is enjoying the dish, and it brings good luck! Last of all, we will mention it isn’t bad table manners raising your "Se of A—7 or ch and taking it close to your mouth to eat with more ease. We could go on with more curiosities, but you can start off with these: (#8 #4! 26-4798 Lesson 47Manga-examples eat This lesson is somewhat peculiar because it only has three manga-examples, due to the long vocabulary tables we have offeres'. {¢ is wert: while learning those terms well because they are very useful and common i» everyday life in Japan. Now, however, let’s go to our panels. a) In the market HED Akiko: WHoL PY YS5o LPO! MELA TTH | Welcome, welcome! Nattd ror how about be gz! Welcome, welcome! How about some natto!? We start with an everyday scene in any market or shopping area in Japan: a shop clerk trying to attract clients by shouting to each and every passerby about how good her products are. Notice the (5 > L » 4», which is just a small distortion of v5 > L pts 4, the greeting used only in business areas (shops of any kind and restaurants). In her next sentence, the clerk usually offers her products asking (nobody in particular, she just fires her question) X it 1. #-C-$ #2 (Do you feel like x2). Remember (#2 is the for- +5 (How about...?, 1.34, book 2). In this case, she’s offering ‘aa, mal version of extremely smelly and sticky fermented soybeans — very healthy though, or so they say. To conclude this example, we will show you a little trick that will surely be great for your economy. Supermarkets in Japan usually close at 8 or g in the evening, and about half an hour before closing time, the staff starts placing discount stickers on fresh pro- duce. You can save a lot shopping at that time! The stickers read 2 (20% off, and other derivatives, or even #4 (half-price), 1.42 (book 1). In the restaurant L % b 9» —27—b) The profound world of sushi SuF Client: } wic4 y#a~ Client 2: 255 77+4:8h toro and squid zp here eel add One toro and one squid! Pll have one more eel. Client 3: E—Jv24 #5 TXT Shoji: a! beer two bring come yes Bring two bottles of beer! Coming! Here we have a restaurant specializing in sushi, that deli- cious and typical Japanese delicacy. Let’s see now a small sushi “guide” to learn even more vocabulary. There are two. basic kinds of sushi: the & & 4 and the #1) % 3]. The first one consists of a roll with the ingredient in the middle, sur- rounded with rice and closed with nori seaweed (& (: 10 roll). The #X&% (tuna rolls) are widely known. ‘The second kind isa thin strip of fish, or other * ¥ (topping), on a base of pressed rice (ig 4 : clasp). Among those you find in the example, + 2 (fatty flesh of tuna), 4% (squid), and 7+ (eel), there are others like £ ‘ a (tuna), aU (prawn), Lett (salmon), t= 2 (octopus), £4 %% (omelet), or #5» (sea bream), just to name a few. Gabriel Luque ¢) Katsudon and donburi cae Terada: RAY FY ..THEEEBID special katsudon... or something receive Qe Could you bring me... a special katsudon? This example shows us a rather informal way of asking what one wants to eat using the verb % 5 4 (receive, 1.28, book 1, and 45 book 2). Notice the usage of € %, studied in 1.37 (book 2). In less “luxurious” restaurants there are small pieces of paper stuck to the walls with the names of the dishes served in the house and their price. In this example, the client looks at the Studio Kosem pieces of paper and chooses %) 7 3 (ctumbed pork on a bed of rice), which, Anoreovets is & i (special). Other dishes on the list include # » —y (fried rice), #1. (egg and chicken on rice), and % 4 ¥ (egg on rice). The kanji # (read YA or ¥ A 5 4)) indicates “bowl of rice on which something is placed.” 28— "47 Lesson 47What do the following words mean: 9 Chis Bo, TS, Fo, Pz and Yi 4? Translate into Japanese the words “cho- colate,” “water,” “cabbage,” “tomato,” “prawn,” and “omelet.” Describe in English these typical. Japa- nese dishes: #3 Zit, BIT, aie and RSH. Name and describe at least five ingre- dients in Japanese cuisine that you can hardly find in the West. You are in the market. Ask the shop clerk for two onions and a lotus root radish renkon. You are in a hamburger joint, and the waiter asks you tka iit Mic lat ® What do you answer? € | You are at a restaurant and you want to order a “tempura set menu.” How do you ask for it? What does the word Whol pode mean, and when and where is it used? RY Ly fo BLD ‘What are the names of the two main kinds of # a and why are they called so? In example c), how much does the dish of fried rice with vegetables and ham cost? In the restaurant | 2b 3 ¢ —29—Lesson 48: Compound sentences (2) Here is the second of three sections we will devote to the formation of compound sentences. This time we will study, among others, expressions of cause / reason, and intention / aim. You should try your best to learn these constructions well: they will be very useful. Cause / reason: #5 We will start seeing expressions of cause / reason, the first of which we already studied in 1.41 and briefly in 1.34, both in book 2: we are talking about the subordinating conjunction 44. In 1.41 we offered a global view of the different usages of #4: the particle of origin (from), the subordinating conjunction, and the construction ~ ¢ Besides its other meanings, such as “since” or “considering,” you will probably remem- ber another usage of #5 (ie: because), used when answering ¥5 After verb or -i adjective, nothing is added. -na adjectives and nouns require the help of the verb to be (t+ / #). The structure is usually “cause / reason + 4% + consequence.” 083 LCHS025E5 GOH ES Why are you leaving? Pm leaving because I'm bored. el DFE IRAE HS, HIF Pve already read this book, so I'll give it to you. OF SYR CHES SWF SES 4 Since John is in earnest, I’m sure he will pass. bh ae > eR KE &. Ha 4 la E He wasa teacher, so he should understand this. Cause / reason: 0 nilar form to 4 5 and is used to introduce a cause in an identical posi- OT isavery si tion, just as 4 does: “cause / reason + © + consequence.” Usage: After verb or -i adjective, nothing is added. -na adjectives and nouns require the help of 2 in the pre- sent tense, but in the past tense this “ is replaced with #2 However, ® € cannot be used when answering ¥ 5 LT (why?), and there are other connotations that differentiate its usage from #4. The fact is that » & is poss “weightier” expression than * 5: it is used when the speaker is convinced that the rea- —30— 94828 Lesson 48son stated before ® T is valid and obvious, and that the listener will agree with him. In principle, using T is wrong when the first part of the sentence expresses conjecture, invitation, request, personal opinion, or wish. However, there is a tendency nowadays among many Japanese, especially the young, to use © € and 75 almost without dis- tinction. Still, it is advisable that you bear in mind the slight differences in the mean- ings between both expressions. owe Boe CoKoe Ati Bok Lcouldn’t go, because it was raining yesterday. bes ret on aa o Ts feb a We a I can’t work because I have a headache. ocomzinoen aoe 2 OCHS LE Because he is stupid, he won't apologize. 2 CHF & Since this town is safe, usually take walks at night en: Aim: f 1c Let’s now see another useful expression: /: # (=, which is also used to express intention or aim. In other words, it means “for” or “in order to.” Usage: After a verb nothing is added, and after a noun we must use (replaced by # > f in the past tense). When expressing intention or aim, this form of # i= is not used with adjectives of any kind. ee eBRAREBOR eoukbeions wr eo RK ORI TEP AS Z Lain do anything for my girlfriend. ctvo if vi $+ Iwork a lot in order to buy myself a car. (ES TOSAKWE It looks like the Japanese live for work. LTO 2 4 [study in order to find a good job. However, sometimes /- is used to express cause / reason, just like #5 or © T. In this case, it can be used with adjectives. -i adjectives don’t require anything, while -na adjectives require *. This usage of * # {2 is rather formal and seldom used, but it is worthwhile knowing. WIC, ECHR To te Because I caught a cold, I rested at home, Bh sb bso oars @ RAE KDI, WHE MLB Because the house is old, it needs repairing. Aim: 01= ‘The usage of «1c is similar to that of # # I<, since it expresses aim and can be transla- ted as “for.” {= is nothing more than the phrase nominalizer », which we studied in 1.40 (book 2), plus the particle «= , which in this case indicates adverbial complement of intention. Usage: This expression is only used after verbs in the infinitive. Compound sentences (2) RX 2 Hat 4O-31— #8Eas s kpans 39 OL eevee SOIT ERK Lused a kitchen knife to cut the potato. OTL FEMS DIA HUB To prepare kimchi you need Chinese cabbage. prune hie 8K e ee BRN FT DISH MURAL To go to Akihabara the train is convenient. eHPekso + Ab *# of It took me two months to make the web page. Note: There is another completely different usage of © {= which indicates “although,” “in spite of.” We will study this adversative meaning in the following lesson. es When: 5} Let’s leave aside now the expressions of cause / reason and aim / intention, and go on to study other useful constructions in the formation of complex sentences. The first construction we will see is of, which indicates time or, for a better understanding, “when.” Usage: Nothing is added after a verb nor an -i adjective. With -na adjectives, % is required, while with nouns we must add ©. In the past, however, both do without wand, respectively, and use #3 th. eneict a ES io oF Ubon ( aa vac bo % When Tas a boy, I used t0 play with my friends 3 ey >t t+ When I went to Korea it was quite hot. You can add (= to af, obaisinn rs. The meaning is the same, although of tc is more emphatic and stronger than just st. eRRom TORR eR ARH we BH A dba Uf When he came, my elder sister went out. HL TOL When /at the time of the exam, I was very nervous. aye Bie ils is used to indicate the interval between two points in time (and is then translated Whi as “while” or “during”) or in space (translated as. “between”). Usage: The same as 5%. ce ns @HRCS nex. 4 2. Fe Boe v want to learn karate while P'm in Japan. BOW, OMB L & Lf [studied very much during the summer holidays. @ BAY Bo Mic OF Mo % S Between Korea and Japan there is the Sea of Japan. Bor Note: In the case of fil!<, the action stated in the main sentence happens “within” the time introduced by the sentence ending in ‘fli. Whereas the expression ‘lon its own indicates both actions happen “during” exactly the same time period. Wigs alt aah sae . akotl, H&A During the weekend (from beginning to end) Iwalked through Kyoto. @ BRO Mic KH eB vA, During the weekend (at some point of time) I walked through Kyoto. —32— %48i4 Lesson 48While: (Ac "The expression 71< has an almost equivalent meaning to fil i:, and is also translated as “while.” In fact, both can be used without distinction in many sentences. Nevertheless, while “Hi: indicates an interval of time with starting and ending points, which can be measured with a watch, (= doesn’t have that connotation, and merely indicates “time interval not necessarily measurable.” Usage: Just like & and ‘1H (=. e Qe KOS AERE L&& While you are at university, you must study. ane sek : @ RNS LOA! £4 9 Let’s finish while it’s not raining (before it rains). FL Lith oe © AEH UAICHOR L 2 9 Let's buy sushi while it’s fresh ane ae bo ent BED = A. ¢ 1-8 Drink your tea while it’s hot. Before and after The last expressions we will see are used to indicate “before” and “after:” they are, respectively, if i and # ey ‘ite Usage: Nothing is added between the verb and ic. With nouns, 0 is required. This expression is not used with adjectives. FLAI AEDS, ‘Since I ike sushi, shall eat alot. RELAPSE OOT, BOOTOTH Since in Shibuya there area lot of people is easy to get lst, BAMT (EI SEMIS OT In order to go to Japan, I worked up to three years FERS OI, MERI, To make sushi, you need fresh fish, RSS VDE TL EG ‘When I’m in Shibuya, I always get lost. PORTS MIC HOME LicfTo To Ld ‘While he's sleeping, I shall go shopping (and come back). BRIS S UCLA ATS EO ‘While I'm in Japan, I want to go to Hokkaido. RSWiMEBITI _ Before going to sleep, brush your teeth ROMCTORRT. RERSE ‘After going shopping, I ate fish, Compound sentences (2) # Xe HAT 4@-33—Ce fo ae ’ @ PARAS METHIZ L416 ok Jim said “hello” before entering the house. os eae be be #&T Usage: Verbs preceding @ ¢ must be in the past tense. Nouns require . Note: AOWICB LL 0 Lwant to talk with you before lunch, Sometimes, in informal register, we can do without the in Re. WERE Ree > Sa Aste I burped after drinking the beer. oki & B EB CANE ££ Li: After watching a movie, I went to the park. eneoRer— Atv gait fe <4 & Let’s go to the video game arcade after class. Conjunctions Let’s now see a few more conjunctions: expressions placed at the beginning of sen- tences, used as connectors with sentences or concepts previously stated. 1) And (later) / and (then) / and (also): LT ODER COR. ELT BULUTRERSE Tent to an amusement park yesterday. And (later) had a delicious dinner. ORE ERLOTT 1 ay hELTORT. ELT BHEL THEFT Because I want to lose some weight, I’m on a diet. And (also) ’'m taking exercise. 2) Then / therefore / later / now: ht euFM CENT, HERCH OK. Che, BER CHILE Twvas born in the Iwate prefecture and raised in Aichi. Later on, I married in Saitama. OT LERECAU EI OK, ENT, OOEBEBONSC URE DOr I couldn’t go to university. Therefore, I couldn't find a good job. 3) Well / well then / then: 2 Cit (ZHU) etsmiicy, enca, 2e-F8 EME 83 Its time now. Well then, Pll start my speech. 4) After that / and then / since then: #5 ob Fe, KX ERE LE. eros, he Sm S5 conve I graduated from university five years ago. Since then, I haven’t seen him again. 5) Therefore that’s why / consequently / so: 8 ORB, Hci. EMG, SULTS BATHS sen at a on last nee That’s why I'm tired. eNRaksic Bee HOA. em. SUAOMEL CLUE LE ‘The president squandered money. Consequently, the company went down. —34— 984838 Lesson 48Manga-examples izeifyl As usual, the manga-examples will help us see in practice how to use the constructions we have just studied. These panels should help you clarify the explanations on the new structures and give you a more concrete idea of their usage. a) Cause / reason: no de ite BEA Taku: BLE UM AN DEOT, DORETANE Rok, MELTICESY. so much stomach sp decrease because, inadvertently without permission. forgive please I was so hungry I ate it without permission. Please, forgive me. Let’s start with the first example. Someone has eaten the sweet on the table, and the characters are arguing about who’s done it. Suddenly, the boy in the panel confesses he is the “guilty” one: he explains the reason in this sentence Seretunte using ® %. Notice how the reason TENSE (BAS VAS >t, Twas very hungry) precedes the consequence (2+ 2 fz Late it without permission). The verb before ®t must be in the simple form. In this case we have ik 3, decrease, which is part of the set phrase ff #3 4 —which literally means the stomach decreases, although its real meaning is to be hungry (1.27, book 1). © @ is used when the cause or reason expressed by the speaker is rather clear, and it is assumed the listener will accept it as something understandable and obvious. In our example, the connotation of is not that strong, and the almost synonymous word » could have been used instead with no problem. Last of all, it is worth mentioning that © is used in formal situations more often than #5 : it sounds more “serious.” Notes: #4 21) is a distortion of 44 4), an expression indicating in this case “so much” which we studied in 1.45 (book 2). Notice the contraction £* » 9 fits non- contracted form is #*‘C L £5. Take the opportunity to go back to 1.35 (book 2) and review this last form. Compound sentences (2) ®#X Hm 4@—35—b) Cause / reason tag at the end of a sentence: kara BE OF Lin: $5 BORTILRAMD, BAEBOMS.. any more regret thing (emph.), nothing there is because... So, there is nothing else I can regret.. After ® T, the turn has come for #4, also used to indi- cate cause / reason. In this example, we see #5 at the end of the sentence, cutting it. It could be the answer to aquestion with Y 3 L T (why?), or a simple explanation about the cause or reason why something is done. There is another explanation for this last usage: some- times a sentence is ended with the tag #4, ambiguous- 3 A ly implying, by way of excuse, that there is a reason for o what one is doing, but without putting forward a speci- fic explanation. Sentences like %. 432... P’'m 3 Tie Ken Nas going now, (s0...)or 6s 2 LHLULEMS... Pmalittle busy (so...) are very common. Notes: * 4 (2 & is the distortion of {4 4 (nothing, 1.37, bool 2). Review as well the usage of 3 (1.40, book 2). c) Idiomatic usage of dakara YES dos Sayaka: 5 4,..20 52 BORG, THRO yes... that’s why Saturday pop movie, go PE Yes... I've already told you I can’t go to the movies on Saturday. At the end of the theory we have seen the version of #5 at the beginning of a sentence: / #5, which is used to state a reason or a cause, as in: i Lag ty ts ZRRERFE. EDD, HERS 12. Heis a vegetarian. That’s why he . Sto Rosen doesn’t eat meat. However, in this example, we find a slightly different usage of #2 5, which is, never- theless, very often seen in spoken language: 7 4° is used, at the beginning of a sen- tence, to show the interlocutor certain “annoyance” or insistence on something. It could be translated as “for goodness sake,” “I’ve already told you...,” “but you...” Note: > 4 is the informal way of saying “yes,” while 5 3 4 means “no.” —36— 384838 Lesson 48d) Aim: tame ni Bh 5 Teruo: #ILCDRHIEZNTSE! I Top this for born come! I was born for this!! A few pages ago, we learned that #: % {= means “for” or “in order to:” here is a good example of its usage. The speaker indicates the “aim” for which he was born, using fa) |<. PHO AA IE TSASHE However, he says it with the pronoun <= (th therefore, unless we know the context, we can’t tell what he’s talking about. Since he appears to be playing soccer in the image, we can imagine the original sentence could have been something like {14+ y 4&4 5 fapick tn Ch (Iwas born to play soccer). Using the kosoado pro- _rrrante nouns (1.34) 2 (this), £ (that), and ® (that over there) in conjunction with grammatical constructions is very common. We will see another instance in example f). e) Whe oki Tee Teeher >, GE SW ERCRURE, <3 BOL eo THR ao, [sp teacher ce lst lephone all when, in this way said ‘Wall, when Tlast spoke with the teacher on the phone, that’s what he said. Let’s now study how to say “when” in Japa- nese using #f. As we can see in the example, the process is quite easy: all you need to do is add the word i after the sentence with which ARG TRE ORS OT we want to indicate “when.” In the example, the teacher said something Kix €i TH es U8, that is, when I last spoke with him on MOA uvseCusH SC ETFCER the phone. Try making your own sentences with #4: it is simple and with practice you will master it. Note: Depending on the inflection of the verb or adjective preceding t, the meaning changes. If conjugated i in the Past tense, it refers to something that happened in a pre- vious stage: te B. BEELTOR Es het Rh Yesterday, when I was cooking, he came. In the infinitive, it refers to something 1 that, we eno | will inevitably happen in the future or something that usually happens: i284, BBE WCLH3 When / whenever I (u52). 37- sleep, I have bad dreams. Note 2: # > L» is a formal synonimous verb o} Compound sentences (2) @X EAT 4 euee ae es Charlie: 49 WIKBHOBN LHS ES that before you por neck break ep Before that, I’ll break your neck. Let’s now see an example on how to say “before” using the word i (before), which we already know. We simply add if ic (before) after a sentence, like in the example: # % & FISH AL Te Kiss me before you kill me. The opposite of i, fic is €, which comes from the word a (after, behind) and means “after.” ‘As we mentioned in example d), it is common seeing the kosoado pronouns 2), ,and 6m together with gram- ‘Gabriel Logue . matical constructions: here we have 7 ee (before that). More examples: < tk € (after this), 4 3 1c (in that way, 1.43, book 2), 2 Olt FE Ubu ie (that is almost certain, 1.43, book 2), 2 0344 (in this case, 1.46), £0 A = (one of these days, L.48), =D % (just as it is, 1.46). g) Starting a speech: sore de wa EAC tot) HZneiti LUABOBRE— err... then new staff pop introduction pop Err... Well, let’s introduce the new staff and... Kitano: ~ We will conclude this intense but useful lesson with an example of @# T !2, which, as we see in 4 AE Se>cc8 AT Ssv— Me this panel, is usually used in speeches or intro- ductions as a “sign” that we are about to start talking, like our “now” or “well, then.” 2A Tit is also used when saying goodbye, but in this case, lt is contracted into ¢ » when speaking: one of the first expressions we saw in L.4 (book 1) was HU, ELMAR WE Seonoen LEZ 3 Well, let’s meet again tomorrow. This expression can be contracted into ZU», 31TH Well, (see you) tomorrow, and even more so to tein, #f: Well, see you (notice how even the / is “cut”), There is also the concise but extremely common U » 4a (literally “well” or “well then,” but used with the meaning of “see you later”). -38— %48zR Lesson 48Answer with “Because Llike him” the question vo Lime Ase 2Cen? (5 sa: that one kes, tzhe, #3 4 3: :togoout with) Translate: “Because I’m thirsty, I (will) drink @) water.” Use both » € and #5. (tobe thirs- ty OLA Hh (, to drink: tke, water: 2k ) B) Tanste the sentence: #3 ( AiZUh te Ot ponelad. (iE #: Masao, igi Z:tofallinlove, SoA 4 :to split up) Translate: “To dance 7 + 7 7S you needa (4) litle bitof grace.” (to dance: 5 we © SER nallitle bit of PLO, grace: hits) Translate: NRE L const as Ae Tyslte ( aR + % :to be hospitalized, EM: nurse, + Y 184 4 sto pick up on) Translate: = con Ric HAE ue (Ci: food, > Wrwarm, RA: its . ‘Translate into Japanese: “Kiss me before going to sleep.” (to kiss: +274, to sleep: #4) ‘Translate into Japanese: “I went to thai (8) land. And later, I also went to Vietnam.” =@ go: 47 ¢, Thailand: 9 4, Vietnam: « | +4) What basically spoken usage can the expression £5 have at the beginning of a sentence? Where does the expression U #2 come from, and what does it literally om @ What is its actual meaning? Compound sentences (2) #X 2 HALT 4@)-39— € | e hy hy le BE DgLesson 49: Compound sentences (3) The time has come for the third and final touch in our intensive series of lessons on compound sentences. This time, we will study essential adversative constructions so that your Japanese sounds as natural and fluent as possible. But / however: ith vs/ipnU/sy Usa First of all, we will study the most typical adversatives: the constructions used to form sentences such as “x, but y” or “x, however y.” The basic word is 11 # Y % (but, howe- ver), although it is quite formal and is usually reduced to i ¥ (also formal, but less so). This can be reduced even more to the informal expression |} ¥ . On the other hand, we have #*, with an equivalent meaning (we already studied its usage as “but” in 1.37 (book 2); you should review it before going on). Usage: We add nothing after verbs and -i adjectives. Nouns and -na adjectives need the verb to be in its simple form, #. Bae Bt ent he EYRE, & * é D# RW CF Bob is a teacher, but he doesn’t like teaching. on 2 eRe With Y, BS Aw I want to buy a camera, but I don’t have money. O17 RCS BL, 7 08 6 Lean drive motorcycles, but don't have a motorcycle. ° it ake ais SEO 7 = 12878 Cla-aiy He likes cinema, but not animation, ORAURAE LIL, SAU KKAL Yesterday I was sick, but today I'm fine. Just like with 4* (1.37, book 2), sometimes the variations of i} # Y are used to link sentences and dont necessarily have the adversatve meaning “bu.” em CME CY, ae 4% ? Later, I'll go to Umeda, will you go too, Miho? ® LAVATHA, FM a VEtH? I would like to consult with you about something, do you have time? on ‘The same words are used in spoken language to soften sentences, especially when making Fequestes or siving excuses: they are placed at the end, leaving the continuation in the air. esbr5 vie LUA THHH YB... Now I'm a little busy, but... @TONYVIAVE BR WATE U... [would like to see that computer, but... —40— $4938 Lesson 49Although / in spite of: o1< Be very careful with this construction, because it has nothing to do with its homo- phone — i= with the meaning of aim / intention—, which we studied in the previous lesson. The |< we are about to study is, like |} 1 ¥ and its “family,” an adversative expression meaning “although” or “in spite of.” The adversative expression {= has a quite distinct “subjective” and “emotional” component: we use it to indicate that some- thing that was almost a fact finally has not been possible and it, therefore, provokes in the speaker a feeling of surprise, frustration, or even annoyance. If you want to form normal adversative sentences, that is, without adding any subjective or emotional nuance, then you had better use 1} HY %, 1} ¥, 1 Y, or #*. Usage: Nothing is added after verbs or -i adjectives, while nouns and -na adjectives require the usage of *. OFA ty hELTOSON, SROEDO I'm on a diet and, in spite of that, I’m not losing any weight. be ton eR PSK Ol, WR * LX L& Although I was sleepy, I worked all through the night. pote + ik © RK NG ¥ BOIS A TE ¥ ZL Although I like her, I'm unable of declaring my love. = eU FAROE, KISHS NLU In spite of this nice weather, I can’t go out. In a colloquial register, sentences cut by |< are common. These sentences express displeasure or frustration, and could be translated as “and to think that...” e aut o¢ a4 4% O1c... And to think that he’s so rich... OBA CENMKL (POMP KE ROI... Why don’t you want that? But it’s free... Although / in spite of: ¢ #1 Here we have a very similar expression to the adversative ©! we have just seen: ¢ #15. While 91: can be used both with formal and colloquial sentences, the usage of ¢ #1 is restricted to colloquial and even vulgar sentences. Its meaning, despite being “although” or “in spite of,” just like =, implies something which could be even defined as “pejora- tive,” and seems to lay blame on the subject. Usage: Nothing is added after verbs ot -i adjectives. With nouns, is required, and with -na adjectives, we use “2. ehemonn er, BEE eR Fn 5 TH40? You don’t know anything what are you saying? $2 e584 2 Although he’s a doctor, he’s unable to cure sicknesses. Just like with 2, we will sometimes find ¢ (= at the end of a cut sentence. et, 20? a4 0 C #IC... What'swith that attitude? You're nothing buta litle brat... Compound sentences (3) ®X£#Mt 5@—41—TT __ Interrogatives + ~ Even / even if: ~T% Bech No muterwhat he says. In L.32 (book 2) we saw the expression ~ & Bichocs Nomatter who he says it to. a (sts, which, as you probably remember, was ¥Y98STH No matter how he says it. LAA WAL-CH No matter how he explains... used to form sentences to ask for permission. YENT5TH No matter where he goes... We are now to study a related expression, since offs ‘No matter when he goes... : eee. ee the basic structure is exactly the same: ~ € 4. WC BAS TB No matter how much he pys.. The expression ~<% means “even” or “even if,” and is used only to give an adversa- tive meaning to sentences expressing hypothe- sis or conjectures —unlike iz, which is used with sentences whose certainty is ensured, Usage: Verbs, nouns, and adjectives of both kinds must be conjugated in the -te form (1.35, book 2), to which % is added. eB Th ae ite 2 Even if it rains, the match will be held. eRe an Tb, SONd7 & 5H C8 4 Even withouta license, you can drive this motorcycle ony av eho tent Le 8 Lis) No matter how difficult it is, I want to pass the exam. avs Even if I buy a computer, I can’t work, eS OM, 7 Cb ARIES Even a fool can solve this problem. On the other hand, if we add an interrogative pronoun or adverb (1.34) toa verb + € %, we obtain sentences such as: “no matter what I do...” or “no matter what itis...” (see table). : att Offs TH, SOEUMS > C4 No matter when I go, that shop is closed. E85 TH. SERFS WEB No matter what you say, I won't forgive you. Strong recommendation: ~ FI Re Let’s now leave aside adversative expressions, and go on to take a look at other types of constructions. The first one, ~% #'\\4s, is used to make recommendations or suggestions of a strong kind, which are not quite orders, but almost. Usage: This expression is only used with verbs, which must be conjugated in the past tense —except with uepative expressions, when verbs are conjugated in the negative present tense. eek “t eau BB x 2 3 £ I think you should give her some flowers. on hemroe BABOR MOE Hl were you, Fd forget about killing him. e aonke tes a Mn BNE r recommend: that you not drink that water. e Bots Do ADK ERNE wand Don’t eat the mandarins, because they are rotten. ~42~ 493% Lesson 49