Japanese in Mangaland Vol3

Elle _in MangaLand 3 Intermediate LevelJAPANESE 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 KésenMarc 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 Marc 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 L3R 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- ISBN-1 978-4-88996-187-4 4-88996-187-9 Printed in SpainInd eX eres ve Introduction .o.sisnnimnninnnnni Glossary of abbreviations cone 8 Lesson 46: Compound sentences (1) £10 Lesson 47: In the restaurant - 20 Lesson 48: Compound sentences (2) 30 Lesson 49: Compound sentences (3) 40 Lesson 50: Relative Clauses somn sours §0 Lesson 51: Unexpected events and accidents... 60 Lesson 52: Honorifics.... Lesson 53: Casual speech 80 Lesson 54: Comparatives 90 Lesson 55: Sightseeing eno 100. Lesson 56: The conditional form no Lesson 57: Koto and mon0 sure 1120 Lesson 58: Grammar scramble 1130 ene Lesson 59: Dialects and proverbs ....cnmem-140, Lesson 60: The passive and causative forms .....150 Appendix 1: Answers to the exercises 162. Appendix m: Grammar index 172. Appendix 1: Vocabulary index 182 10 PD mi Bx REO tt 8 HR oe 46 MRKEBMTSO BATR LAR AYE BAM: ALERT 3O BAIR: HLEBMT SO 5 OR: MURR SR: Hokie LR 5 2: HCE vB 5 BR UE ARB SAR ROR BS SR: MET BS OR: REDRR BST TREES HS SMRIVSVS TRH BSR ECB 6 OR: BH CARR RAH S ROAR: KOK ENR ERR Index. Bak -3—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 lessons 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. TI 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 long run. The exclusion of the romaji, combined with the fact that the sentences included here have even more difficult kanji contained within them (always with their reading 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 following the numeration of the second volume. Of these 15 lessons, 11 are of a “grammatical” type and 4 are a “conversational” type. -4 Japanese in MangaLand 3GRAMMAR 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 #14 (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 1% 1), 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 previously 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 informatio: @ Answers to the exercises: detailed answers to all exercises included in this book. @ Grammar index: compilation of all the grammatical expressions studied throughout 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 -*% #8 —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 the 8&8 i 2 #H (Japanese-Language Proficiency Test.) The Japanese-Language Proficiency Test The 4 4 iKB 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 knowledge 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 (ele- mentary) and 3 (basic). In the indexes you will find indications which will tell you whether a word or a construction belongs to one level or the other, thereby providing you with all the necessary 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 understand simple texts. Level 4: 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 ata 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 Mangatand 3analysis 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. If you 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 Fundacié 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 ##f%, 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 # ji 3831 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 Késen 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! Marc Bernabe July 24th, 2005 Osaka, Japan Introduction &# #6 —7—EP: 1oP: re: PoP: PP: Qn SBP: SP: Top: TP: -8 Exclamation. Gerund. Nominalizer. Suffix for proper names (people). Sentence softener. Suffix. Cause Particle. (why?) Ex: ® 5 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: #8, £, €, etc. Indirect Object Particle (whom?) Ex: t= Instrument Particle. (what with?) Ex: © Possessive Particle. (whose?) Ex: © Place Particle. (where?) Ex: €, (= Interrogative particle. Shows that the sentence is a question. Ex: 2 Subordinate sentence Particle. This particle is used as a link between a subor- ot dinate sentence and the main sentence. Subject Particle. (who?) Ex: 2* Topic Particle. Shows that the preceding word is the topi Ex ld Time Particle. (When?) Ex: #2 in the sentence. Japanese in MangaLand 3LESSONS 46 to 60Lesson 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 1. 35 (book 2) that we can use the -te form to link Renton This may be applied to verbs (4 C#2 8 4 to sleep and wake up), ~i adjectives (i ¢ C914» roomy and bright), -na adjectives (%%-¢ ®#1% robust and practical) and nouns (42 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: 1) am FA ERA CRY ERR Every morning I drink milk and eat bread. a) ¥ eS ca RISES AW | Twant to wake up early and go on an excursion! Bo CBULOY —48 iE & Tcooked a delicious cake using strawberries, 4) Hisakare-c, iektt ay 5) WO > ChEMESLE Hiroyuki left and (so) Hiroko was relieved. 3) 5 17 Twas watching a movie, and my girlfriend was listening to music. If we want to link negative sentences with the -te form (which we didn’t see in 1.35) we will use the negative conjugation of this -te form (~ #2 \\C). 7 #46 > tz He cooked a hamburger without using salt. eR eH EOTNy © Mi L wi CARBS S18 L&I passed the exam without studying. ‘There is also an equivalent form used to link negative sentences, formed by replacing the 1° of the negative -te form with 42 (34% + Hc, without sleeping). The only exception is + 4: itisn’t L 4c but #-4'1<. Itis used in written and formal registers. ORS RETIN Y N— 7 & ff ot He cooked a hamburger without using salt. o 364 FIER: SB L AI passed the exam without studying. 10~ % 463K Lesson 46Another 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 ~4'1<), can’t be used with the five cases in the affirmative we saw in the first point. To be precise, ~ #2. 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: #3 (to use) => negative: ji 4% \\ > negative -fe form: jb % ¢ C. We already saw the conjugations for the -te form of verbs in the negative in the table in 1.35 (book 2). pany #2 east © BLAH SRC CREM oko @ RE Rb uw (Cm >% I didn’t buy the car, (so) I’m happy. @ LC (te Hiroyuki didn’t return home and (so) Hiroko was worried. ‘To link two -i adjectives in the negative (not only “cause / reason,” but generally) we also use the -te form of the negative. Ex: JK.) (broad) = negative: i ¢ %\. = -te form of the negative: if ¢ # ¢ €. In the case of -na adjectives and nouns, we use Tid # ¢ T or, in colloquial register, U » % ¢ € (U is the contraction of ¢{4). a ey EBS CC CHO CH The apartment is not bright and is old. e RRUBRATI(L OT 4, BACH She is not Japanese, she is Korean. er Simultaneous actions: ~ % 4° 5 ‘To form sentences of the kind “I do x while I’m doing y,” that is, sentences expr ing simultaneous actions, we use ~ % #' 5. Usage: Verbal root + ~ 4°. Ex: 18 3 (to use) = root: fis > we add % 485: HA # 45 (while I’m using). Note: ~% 4° 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. e #3 & a 28GB, RES OTOS While I’m listening to music, I write the book. @ Pav tt Rw 0 wb wee HCO % John laughed as he watched the movie. e ae & ai * 7 #5 RF 4B I translate, (while) consulting a dictionary. @ 2b etka RGM AL > 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 ~2:#5.~ Compare these sentences @ cme & AEM int eh & While I’m eating, I read the newspaper. (center: to read) eHvehanaec #&%4 While I read the newspaper, I eat. (center: to eat) Compound sentences (1) RX E WAT SO=11—A situation remains unchanged: ~ ¢ = 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: $e: > we add ~ #2: 4/4 & (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), -1a adjectives (we keep %), and nouns (we add 0). OF EES R BEE Hak b Ral I went to work, leaving the TV on. BSF 4 YN oe ER BLU Yuriko went to Germany and is not coming back. Ig ot e@ toe PEN ELTOAK WG I'd like to be a student for ever. If the verb before ~ # # is negative, we don’t have to conjugate it in the past tense. oe 1 RIVE RR H GLU ML Tran out of the house, without locking the door. ee @ REGO LLG x TOS He works constantly, without taking a break. Non-exhaustive list of actions: ~# ) ~# U4 ‘The next expression is, somehow, the version of (1.41, book 2) for verbs and adjectives. ~~ 1) +2 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 1) is added. The last element in the sentence is followed by + %. Ex: © 3 (to buy) > past: ff > + > weadd 0) (and + 4 ifit is the last element): 5 #: 0 (+ 4) (to buy —and other things). -i adjectives also go in the past tense, like ‘#2 = # ($4) (expensive —and other things). Whereas -na adjectives and nouns need the verb “to be” in the -tari form (# > / 1) ), Bx: 4 fat (44) (to be convenient — and other things) and 2 12 > % 0) (3°) (to bea teacher —and other things) ORE Cy 7H RY hELEU, Pry 7RERORY, SHE HO RUTEL At work, I browse on the Internet, send faxes, write documents (and I do other things). aia Usk ORR, SLA ERA RUM ERA RULES Every morning, I drink coffee, read the newspaper (and I also do other things). Sometimes ~f: 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. eR ER. LAY UTIZUU 20042 Don’t lose the keys (or something like that), OK? FSO KZ! Falling in love (or something similar) is dangerous! —12— 46% Lesson 46ta In the case of: 38 The word 38 (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 0. Es ey 8 18 SPARS, RIT (#2 Xv In case war is declared, please run away (escape). bp ae bh bales © OWS A He CMB LL 4 Incase of rain, we will train in the gym. Not only X, also Y: ~L Another very useful way of linking sentences is using ~ L, which gives the connotation of “not only x, also v.” Usage: the usage of ~ L is very simple, as it can follow any verb and -i adjective conjugated in any form. With -na adjectives and nouns, it requires the verb “to be” (t+ BLE (aA tit ee HAAR ASSL. BibT RIATT ERO Tomorrow I have an exam and, besides, I must go to cram school. Be os es ae © LORE ROL, RAL Not only is this house roomy, the station is also close by. Sometimes we can find more than one ~ Lina sentence, as if forming a list: nots bet ene pend @RKIBKOWL, SMOEL, SHSLL.ARRES! She is intelligent, as well as beautiful, as well as rich... She’s perfect! REERTREMOT CE Look at the landscape and draw a picture, please REERAVT (ATK) MED. OUMBLOTH Drawing a picture without looking atthe landscape is difficult, RE SHE TAS: esa pity 1 won't meet him FEERAM DRE DUT ‘While I as looking at the landscape, I drew a picture (Note: the drawing doesn't need to be ofthe landscape) BMiaBN RAT IY VBL te took part in the marathon, being tired as was VIVE ML IY, REDE ITS OURLOTT enjoy faking part in marathons, drawing pictures. (and 80 0m) Hl kA, In case of rain, I won't take part in the marathon POV riSML RL. MEMO Tot only took part in the marathon, Talso drew a picture Compound sentences (1) ®X £ RATS O-13—Bae Conjunctions So far we have seen expressions we use to creaté 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: #12 if OR ARNR OAH SCT, WRU, RIOR OMS HOE ACT 1 love Japanese cuisine. like, for example, sushi tempura, oyakodon, ee e S { ORBHIL, PAUSS ee “Rab ta BBADER TOS Many martial arts, like for example karate or judo, come from Japan. 2) By the wa nea cewaz ai ha tase een? SREOPECAT, HAMMEL EI? You are 2s? By the way, how old do you think Lam? OSAKA ORAL ESC, thal Toow? The weather is beautiful today, isn’t it... By the way, shall we go out for a drink? 3) Besid Hic Note: This expression is almost equivalent to ~ L. va wt ORG ERH HS SB. ENKBC ST OCHHITERW Tomorrow I have an exam. And besides (on tp of that) I must goto cram school. bots be OFF, REE BINA, SHINE? CRI BOR Today, I split up with my girlfriend. And besides, (to crown it all off) had a motoreyele accident. Nominalizing adjectives Curiously enough, up to now we had not seen one of the sitnplest 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. ziadjectives: We replace the last ‘» with i SS wide = wide Ro black > Hs — blackness shee fat > % 4% fatness oy 3 bright > ws & brightness ia adjectives: We replace the last % with *. fRA% convenient > Hi convenience ‘Wtrxekind + Pes kindness RAH beautiful > ¥HO% beauty LKB robust > LFS robustness ~14~ %$463% Lesson 46Manga-examples ize 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 ao g oe Hirose: #EMOWUFICES TREAT E OGY 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 na EDS Oe RE sentences when the first one is URC negative, whether the other one is se! eS or not. We have studied in the theory section that this is achieved with the negative -te form. In this Ta Ren Nine case, the two ideas to be linked are SE 1B 8 v (not to hurt anybody) and © ® T ¥ f & (person who has lived) If we conjugate the first one in the negative -fe form and we “add” both sentences, we get: Hb Bolt ww CAS TELA (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, used in the formal register. This form, ~4'{<, is the one used in this panel. The speaker is in a tense situation, and he probably chooses ~#'!= to give more “weight” to his statement. The formation of ~#!< is as simple as replacing the % ts ending in the negative -fe form of any verb with 312. Thus, the final sentence is as we see in the example: i % jot #1 SCS HA (person who has lived without hurting anybody). Notes There is still another idea linked to this compound sentence: (06> (there isn’t). The word % ¥ (in kanji ®) could be translated as etcetera. Also, notice the usage of * % (nobody, 1.37) and of ~T ¢ 4 (1.35), and take the opportunity to review these expressions. Compound sentences (1) #XZHRT SD-15—b) Everything remains the same: kono mama Bob Kuroda: ©O 2 TVEH AARIRRM PD Pob IBA. this (no changes) be all 1op nuisance sP put (the fact is) EP... The fact is that if I stay the way I'm now, Pll be a nuisance to you all... Here we have a small and very common variation of ~ £ 2: linking ~ £ to the demons- trative pronouns 20 (this), #® (sono), and 4% (ano) (1.34, book 2). The resultant BERTHS Y RO rept use OTT SH SEH words could approximately Javier Blade be translated as “as it is.” A typical example (in the supermarket): #48 % ) #44? Do you need a bag? 1s. 2 DX TWW TH No, it’s fine as it i. 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 ~ & » 4 (1.35); the non-contracted version would be Bao TLD (to cause trouble). (st 5 is the conditional (1.56) of ts 4: if I stayed. of actions c) Non-exhaustive ; a Calvin: BAUR LAE. Rok VLSEOURELE. A-HY ih 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 ~~ is 143. ‘ST 8 & oS PUCsiy: SHhOCwaS Remember this is used to form a sort of non-exhaustive “list” of actions or states. Thus, in the sentence © LAEU Ko t+, the main character indicates that “he is having fun and laughing,” but he also suggests there are more actions which are not mentioned (that’s why we have chosen translating “nor anything”). Notice how the verb +4 usually closes the “ist” (but be careful, as sometimes it is omitted) Note: ~ LS » tI} 122 is the contracted and vulgar version of ~ LT ikts17 21» (prohibition, 1.32). The 4 # in the end is a very common softening tag (contraction of » #:), which we studied in the manga-example d) in 1.40 (book 2). —16~ 4638 Lesson 46d) A slightly different usage of baai Tae, wn Fujita: FELT VO Ho COBSCPROTL I IMST I 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 38 is used in constructions indicating “in the case of..”. Here we have a somewhat different usage, SH oCDE OA VHRTS where the negative inflection of 38 (to be the time) is used: ETI2(C > )& by. This expression, used very often in films or manga (you seldom hear it in real life) means this is not the time to... An example: $ 12% 5 CWS BS TLL | This is not the time to laugh! Note: Watch out with the triple compound verb #4 J 317 > TS (-te form of #4 51 & 5). The base is % 4% (to extend), followed by the suffix ~> 1} 4, which adds the connotation of “pushing, pressing, throwing,” #-F 1) 217 4 is translated as placing the blame on somebody. Finally, ~ & 3 makes it a little bit more complicated, adding a connotation of reciprocity, “mutually” (1.44, book 2). e) Softer g sentences: shi a Man: 54 A-Y HE AODoKLY ‘yes suit also gun also find besides zp Yes... And besides, I have found a suit and a gun. 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 ~ Lat the end of a sentence to soften a statement or as a simple tag, Sentences like #8 RAL Today I'm tired and, (besides)... or pia t ff> ?#=L% I also went to Taiwan and (besides)... Gal cue 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 of to express a wish. Compound sentences (1) #®@% £ amt S@-17— x eT esf) Besides a E CHIL yA-BRPPSPSSOAVELTHS 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 2 1 (=, one of the three expressions used to link different sentences or ideas which we have studied in this lesson. 2 its is used in a similar way to our adverbs or adverbial constructions “besides,” “apart from that, “to crown it all,” “moreover,” and so on. In our example, Yoji is going to help someone whose car has broken down on the road. We don’t know the previous sentence, but we can suppose, because of the #(:, that Yoji had given another reason to offer his help to his interlocutor. Notes: he -i adjective > #4» #1» doesn’t have a direct translation into English, but ‘a pity,” or “it’s not worth. rally used with money, time, or other things that can be “spent.” it mainly indicates that something is “a waste, is gene- g) Format n of nouns from adjectives wae ee Powell: ZH HVNTORELLTORSLAE! that sp that guy pop warrior as pop frightfuulness bel 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 Lt (terri- ble, frightful) we obtain the noun } U& frightfulness. Notes: The literal translation of this sentence would be that is the frightfulness of that guy as a warrior. Finally, # v7 isa vulgar term meaning that guy. TMeken sera =18 — #463 Lesson 46@ Link #4 eH and Hew COR ED. GR: yukata (summer kimono), #3: to put on, to wear, 7h: outside, ib % to go out) Do the same as exercise 1, but this time the sentence $$ #2 must be conjugated in the negative. Use both options. Translate the sentence: “This book is moe thick, and it’s light.” (book: ‘%, thick: o>, light: #6») Tell the difference between: Ene he © OHSS and Boren ennekes (em: beer, Translate into English: = 7 3» 221 fe £2RCL BOK. (27 2»: air condi- tioning, 314 4: to turn on, # 4: to sleep) Translate using ~# t): “This summer 1 swam, walked, rested... ” (summer %, to swim: 5k ¢, to walk: 3 ¢, to rest: #R22) Translate using ~U: “This summer I swam and I walked as well.” (summer: FZ. to swim: 3k ¢, to walk: $ ¢) ‘Translate into Japanese: “By the way, @) ¢| shall we go out for a tea (or eaetinge @ (To have (drink): he, tea: 5 *). ‘Turn into nouns the following adjectives: ©. (picy, hot), “8 t (important), RH 1 (cheerful), and &1» (white). Translate into Japanese: “This is no time to RY hy WP ED ¢ dance the flamenco!” (now (this moment): 4, to dance: fii , flamenco: 7 7 % » 3) Compound sentences (1) 8 € Hat 4@—19—LAK A7+Tt 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 ingredients, 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 refresh your memory on basic sentences to go shopping for anything, foodstuffs 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 similar 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 48 io. A, Eom takeaway #4i'to traditional Japanese sweets, sucha Mid-OF V Lik S (Hee vocabulary tables). —20- 147% Lesson 47In 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 previous lessons), the cashier may ask you at most: @ KANATAT y KKH KEM 3 TVET? 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. DBs LeHee! Ready to enter the jungle of (5 5 L » (9 #2 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 4 2 pinball houses included) you can hear rounds of > L #4, when a possible client is spotted. Fishmongers, specially, distort the expression to the utmost: things like 5 > L ts 1 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. eh MCF He What is this? (1.34) Bit BOR C4 They are “daikon” giant radishes, a speciality from Hokkaido. & BS ig eFREEAM, Livtitit su a+ 2 Bxcuse me, do you sell “shiitake” mushrooms? \s PI have one of those “daikon” radishes, please. (1.25) OI, BECICHU RT Yes, they are over there. (1.34) eo BA mila ¢ BCH? How much is the chicken breast? (1.34) ocean ad 01007544 R i 83 CF Mis 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 ) 42% 5 You would normally ask A <& 5 fl ( 5 \ Pll have five apples, please. Ls PI have 500 grams of apples, please is unusual. In the restaurant Lb 4b 9» —21—47 Fast-food outlets Like almost anywhere in the world, 7 7 % } 7— chains are a feature in Japan, specially ¥ 7 F tu) k and + vy ¥ » #-7 94 k ##. You don’t usually have to struggle much if you go to one of these restaurants, because once you can read 4 9 4 +, you will understand most of the items on the menu: \yS—#—, FAY HY Rt y F and 34 are relatively clear. But take care, as “French fries” are called 79 4 F AF b! TRE WISH LAA? Have you decided on your order? (1..44/formal: 1.52) eLbkit © Lh Y BME BML LU EF (Pointing the menu) Pll have this and that, please. (1.34) ORY KAH=L 3-9 ORE (EAL A hamburger and a large cola, please. hte ezhe ia at Pd 4. & $ Without onion, please. @ Bika tia fic Lk 9? What would you like to drink? (1.34) oo ee @ LSE CHBLEMN THM, HHS BY CFD? Will you eat here or is it take-out? (1.41/52) However, we recommend that you try indigenous Japanese 7-7 +7 : chains such as # #7 or 48, with outlets all over the country, offer dishes like '# # or 4L—34 2, often cheaper than hamburger joints. It is always more interesting than ending at 77 F +/) F, which you can find in your own backyard. (But, ifyou absolutely must go there, then at 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— x», Zt or 5 YA 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 (5 5 L »t. 2 # from the waiters, and sit down or wale to be taken to a table. e ae ec $*? How many people are you? | 2 ‘A CF Two people, (1.25) @ LBALRF, 245 CH Follow me (I'll lead you). This way. =22.— 472% Lesson 47DRESET! We are now ready to order. Take a good look at the % = 2 —, and choose whatever you = 2% (1.27). prefer. However, before you actually begin eating, don’t forget to say Us f= oko It & ly) £44? Do you have an English menu? baru ee © BF FHA It T+ mw 2 What dishes do you recommend? robs e @RiLS 1 LFA? Do you have set menus (main dish with a side of rice and miso soup)? roses eo -AYERMFEe BMY LEFT have ramen and some gyoza. be . © HAL ME LOE LF (Pointing) I want that same thing over there. BIRTH E fee (Xv T want the “oyakodon set” outside (in the window). e BAB SSMU L E+ Pil have some sake as well, please. © %2-ADHKH I E (LS v Another juice, please. @ 2625 #TLE#! It was delicious! | Thanks for the meal! Finally, let’s see a few useful sentences when the time to pay comes (review 1.42, in book 2, as well): eB MRE BM WL 2+ The bill, please. 0 BE Cu ( CFM? How much és it altogether? eB EWA IS LT CES We want separate bills. ©2000 ACF Iris 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 register, 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 te cook, é that in Japan you don’t tip, not even in restaurants! simmer x tosteam 3 When you are given the change, simply keep it if you to deep, ay "4 s cae don’t want the waiter to hunt you down in order to to boil 3 give back the money “you forgot.” topickle Saying goodbye with a <5 € 941 L fs is very good to stir-fry Z manners. A round of very loud § 1) #23 280 L & will accompany you as you exit... In the restaurant Lb 7 € ~23Chinese style fried rice with egg, vegeta bles, meat... “Three variety fied rice” ‘Typical Japanese sweet. Three rice- flour balls in sweet sauce ‘Typical Japanese sweet. A small pancake filled with anko (see ingredients) Steamed or fried Chinese dumpling stuffed with meat or vegetables A bowl of rice topped with beef and 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, chikwewa fish paste, meatballs, ete. “Pancake” on a bed of cabbage, to ‘which anything can be added ‘Stuffed rice balls (tuna, umeboshi, salmon, konbu...) Bowl of rice (#) with chicken (4, the “father”) and egg (7, 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 rofu 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 vegetables and fish Tofu. Bean curd Pork, dipped in a crumb batter and deep-fried, served with a special sauce ‘Thiek 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 art 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 dey pham Wakome, A type of edible seaweed Wasabi. Very hot Japanese horseradish =24 — 847% Lesson 47Food vocabulary | Hrigredients (Fw 29) | Others Zot | mayonnaise 7 3%—-X [ees les HR ae ty mustard DBL cabbage Bay cake es oil . carrot Emlem cheese FAK pepper tls3 cucumber = 93) | chocolate. = #521—-} salt = eggplant at dessert F¥oh sauce J— A garlic Fg eg “pl EE sugar om green pepper el ey icecream 7427'—4| vinegar ar lettuce bea omelet AAvY Drinks (#249 3 0460) onion he pasta SA9 | alcoholic drk. a potato Certs pudding Ty beer pumpkin. soup 2-7 coffee rice (cooked) yogourt black tea tice (raw) green tea salad big bowl 4 juice scallion bottle BA OR) milk | tomato bowl Ee milkoofee 47241 | Meat chopstick rest es sake 4 beef chopsticks Be soft drink chicken dispose) Hutt tea aF ham fork 7a-7 water * lamb, mutton fryingpan 774 <> wine DAy pork glass ParlayF Fruit (R47 5 (#b0) sausage lunchbox #4 apple yA = (RIK) steak knife FA? banana Set Fish menu Aoa- cherry SCBA bonito napkin +7eY grape clam plate bm kiwi crab pot i mandarin octopus smallwettowel LIZ 1) melon prawn, shrimp 2 (38%) |__spoon AT orange salmon = 84/77 @) Seasoning 69H 25 peach sardine 9 OL (MH) | butter Reo pear squid vis ginger Lada | strawberry tuna 264 (th) | ketchup 7 ++» 7_| watermelon In the restaurant Lb 97 € —25—A Rit: RA TOMA Cultural note: Table manners aug B% is a 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 3}. (foreigners). We will start with the famous 4%, used in almost all meals (except with Western dishes, although, curiously enough, seeing someone eating 25/F y F 4 or 81) 7 with 88 is not unusual). Knowing how to use # # is essential if you don’t want to starve to death in ‘B'&, but don't worry: with a itl bit of practice one quickly gets used to them. There are a few taboos with ##: sticking them into the ='ft or into the food —leaving them in vertical position—, and passing food from one diner to another, directly from 8 to 838. 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 & — 1. ), which is consumed in great quantities when there are guests. Never serve yourself: you must wait till someone else does. Raise your 79% and let yourself be served. ‘After which, the right thing to do is for you to serve. Take the Uf 4, — better with the label fac- ing upwards—, and make as if you are going to ‘Soba noodles can be slurp. (Photo: M. Berna) serve: you will see how whoever is you answers at once raising his / her 7 9 % with a wide smile and aloud # 0) a 9. 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- ing with 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 5 — AY, ZU or 5&4 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 #3 of A—7 or iM and taking it close to your mouth to eat with more ease. at! We could go on with more curiosities, but you can start off with these: \» —26— 94738 Lesson 47Manga-examples ier This lesson is somewhat peculiar because it only has three manga-examples, due to the long vocabulary tables we have offered’, {t is wort! while learning those terms well because they are very useful ard common in everyday life in Japan. Now, however, let’s go to our panels. a) In the market Lav Ken Nima Akiko: (9 LPW DBOL PDL MELORATT DH | Welcome, welcome! Nato ror how about be Qe!! 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 U4, which is just a small distortion of 5 3 Lets 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) X21 #C $4? (Do you feel like x?). Remember t+ 4° is the formal version of & 9 (How about...?, 1.34, book 2). In this case, she’s offering #i & 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 9 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 #1 (20% off), and other derivatives, or even #4 (half-price), 1.42 (book 1). In the restaurant Lh 9y © —27—CaS b) The profound world of sushi =a Client1: } viz 4 wh~ Client 2: 256775 i8h0 toro and squid ep here eel add One tora 3 and one squid! Til have one more eel. Client 3: oe Bots coy Shoji: at beer two bring come yes Bring two bottles of beer! Coming! Here we have a restaurant specializing in sushi, that delicious 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 4] and the # i) 41. The first one consists of a roll with the ingredient in the middle, sur- rounded with rice and closed with nori seaweed (& (= roll). The %&%% (tuna rolls) are widely known. The second kind isa thin strip of fish, or other #7 (topping), on a base of pressed rice (3# 4: clasp). Among those you find in the example, } a (fatty flesh of tuna), 4 (squid), and 7+ (eel), there are others like # ¢ a (tuna), %U (prawn), Lit (salmon), t= = (octopus), ¥ Fi % (omelet), or 4» (sea bream), just to name a few. c) Katsudon and donburi Zen Terada: HHA RY. CEEBBID special Katsudon... or something receive or 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 > (receive, 1.28, book 1, and 45 book 2). Notice the usage of ¢ 4, 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 pieces of paper and chooses 4” # (crumbed pork on a bed of rice), willl, moreover, is #8 (special). Other ais es on the list include + + —/s> (fried rice), # - a (egg and chicken on rice), and RF YA or LA (egg on rice). The kanji # (read ) indicates “bowl of rice on which something is placed.” 28— 47% Lesson 47What do the following words mea ae SH Ros, TS, HG and Wh 3? Translate into Japanese the words “chocolate,” “water,” “cabbage,” “tomato,” “prawn,” and “omelet.” Describe in English these typical Jay nese dishes: #* if, HI 80, aH Name and describe at least five ingredients 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 enbuteer Jou waiter asks you Bis Mid WIC LET * ® What do you answer? q You are at a restaurant and you want to order a “tempura set menu.” How do you ask for it? What does the word Wao LPO ee mean, and when and where is it used? SdOSIDAOX. What are the names of the two main kinds of 4 5] 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 Lb 97 —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 t.q1 and briefly in 1.34, both in book 2: we are talking about the subordinating conjunction #,. In 1.41 we offered a global view of the different usages of 4°: the particle of origin (front), the subordinating conjunction, and the construction ~< #5. Besides its other meanings, such as “since” or “considering,” you will probably remember another usage of # 5 (ie: because), used when answering & 5 \-¢ (why?), Usage: After verb or -i adjective, nothing is added. -na adjectives and nouns require the help of the verb to be (¢-+ / #2). The structure is usually “cause / reason + #5 + consequence.” LIL THSDPDES TOM #3 Why are you leaving? I'm leaving because I’m bored. eS ORE I MAEDS, HIS L've already read this book, so I'll give it to you. Fa vILE CH EMGSH TS ES I Since John is in earnest, I'm sure he will pass ORI REL On MD, CHK PHSET = He was a teacher, so he should understand this. Cause / reason: 0 t © © isa very similar form to 5 and is used to introduce a cause in an identical position, just as 45 does: “cause / reason + C + consequence.” Usage: After verb or -/ adjective, nothing is added. -na adjectives and nouns require the help of # in the present tense, but in the past tense this “2 is replaced with #2 > #:. However, » cannot be used when answering ¥ 5 Lt (why?), and there are other connotations that differentiate its usage from #5. The fact is that © © is possibly a “weightier” expression than # 4: it is used when the speaker is convinced that the rea- —30~ 84838 Lesson 48son stated before ¢ is valid and obvious, and that the listener will agree with him. In principle, using »¢ 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 # + almost without distinction. Still, it is advisable that you bear in mind the slight differences in the meanings between both expressions. ° a WH TORO CHE BA >t Lcouldn’t go, because it was raining yesterday. OF HR OTHE MK 2 Lean’ work because I have a headache. z ocomee ee BO CHIE Lt CMH & Since this town is safe, I usually take walks at night. e fat TIRED CHS Wit Because he is stupid, he won’t apologize. Aim: & t= Let’s now see another usefull expression: 7: #1, 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 # > # in the past tense). When expressing intention or aimy this form of #1 ip not used with adjectives of any kind, . ‘e £9 feebicwso 2h & 44 [work a lot in order to buy myself a car. BRA EHO IES TS ALOE It looks like the Japanese live for work. euukee fou Bw LTOET I study in order to find a good job. ORK DK IZM TH PHS Z Loan do anything for my girlfriend. However, sometimes 7: # (= 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 # #12 is rather formal and seldom used, but it is worthwhile knowing. ic, RCRA Tor Because I caught a cold, I rested at home, oat & Blu eRe Sw Rawle, (se sw e Because the house is old, it needs repairing. Al i DE The usage of #{< is similar to that of #: # (=, since it expresses aim and can be transla~ ted as “for.” «(= is nothing more than the phrase nominalizer 0, 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) #X# Hat 4]—31—OU PRUE EMSORRTER > h Lused a kitchen knife to cut the potato. pegerers OF LF ERS OARS To prepare kimchi you need Chinese cabbage. = To go to Akihabara the train is convenient. HP & if 4 m1 27 A&A > K 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. When: if 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 8, 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 : and © respectively and use #2 onB ton rs ire 3 Boor t+ When I went to Korea it was quite hot. oF LeoURE ( ae 238 & caste When Iwas a boy, I used to play with my friends. is more You can add t to if, obtaining tf 2. The meaning is the same, although emphatic and stronger than just & ie es shes) 5k LCs £ When / at the time of the exam, I was very nervous. nt oF ane While: fiiz tH as “while” or “during”) or in space (translated as “between”). Usage: The same as a. = BAS Lt ditt When he came, my elder sister went out. is used to indicate the interval between two points in time (and is then translated eB Aiwa Mic, 23 x Bow Lwant to learn karate while Pm in Japan. eR KAOM, £6 WEL ELA Istudied very much during the summer holidays. BIA BLE hee cae ho 0 FA x 8B o Bic BA i 0° 4 Between Korea and Japan there is the Sea of Japan. Note: In the case of fil!=, the action stated in the main sentence happens “within” the ‘Whereas the expression ‘fi, on its own time introduced by the sentence ending in fi indicates both actions happen “during” exactly the same time period. eB. & During the weekend (from beginning to end) I walked through Kyoto. oR Mic RA & 3 Ls % During the weekend (at some point of time) Twalked through Kyoto. —32— 48% Lesson 48a While: Wie mut ‘The expression #412 has an almost equivalent meaning to ‘Ti!iz, and is also translated “while.” In fact, both can be used without distinction in many sentences. Nevertheless, while fi indicates an interval of time with starting and ending points, 4 which can be measured with a watch, 1 1© doesn't have that connotation, and merely indicates “time interval not necessarily measurable.” Usage: Just like ng and “ft. v5 uses e ate Wav toes ome BOR Tt Late 98 eo ADEM BALCH OE La 9 Ler’s buy sushi while it’s fresh. @ BE Ewe DU AIC RRA © ¢ HX Ly Drink your tea while it’s hot. % L&E SW While you are at university, you must study. Rt) La 9 Let’s finish while it’s not raining (before it rains). Before and after ‘The last expressions we will see are used to indicate “before” and “after:” they are, respectively, Wiz and % T. ‘Hz Usage: Nothing is added between the verb and ijl. With nouns, 0 is required. This expression is not used with adjectives. TLIBSED BS, Wolfs £9 Since like sushi, Pshall eat a lot. REGAMSOOT, BOOT OTH there area Jt of people is ews to get lost. BAN ( Robt 8 EMS MOK In order to go to Japan, I worked up to three years. FL EMS DIS, METAS “To make sushi, you need fresh fish. RSS. Voto TL AD ‘When I'm in Shibuya, T always get lst BETS MICK OVE List Tl £9 __ While he's sleeping, 1 shall go shopping (and come back). BRIS ANCSeRA TAO “While I'm in Japan, I want to go to Hokkaido. EMRE Before going to slep, brush your teeth. RvMCT oR, RERSE After going shopping, Late fish. Compound sentences (2) RK £HRF 5Q—-33— DeOPA RICA SMES LI ILS 5 A Jim said “hello” before entering the house. ts OB UA OMICS LE LAU I want to talk with you before lunch, be be 4&-C Usage: Verbs preceding # ¢ must be in the past tense. Nouns require «. Note: Sometimes, in informal register, we can do without the T in %T. OL ERAEE(T) oS Avs Rae 2 kk @RG eR LR TOM 1 S&L & After watching a movie, I went to the park. eREOR TILEY F- I burped after drinking the beer. 4 Let’s go to the video game arcade afier class. Conjunctions Let’s now see a few more conjunctions: expressions placed at the beginning of sentences, used as connectors with sentences or concepts previously stated. 1) And (later) / and (then) / and (also): @ UT UBM Ifok. ELT BULOTRERSE T went to an amusement park yesterday. And (later) had a delicious dinner. CHLOE ROOT ey hELTORT. ELT BHEL THIET Because I want to lose some weight, 'm on a diet. And (also) I’m taking exercise. 2) Then / therefore / later / now: 2 € Fok, EH BER CHHLE @EFRTEENT, RH I was born in the Iwate prefecture and raised in Aichi. Later on, I married in Saitama, OF LERPIC ATED OR. ENT, VOEME MONS EMME Or I couldn't go to university. Therefore, I couldn’t find a good job. 3) Well / wel then / then: 2heit (Eh +) eect, ened, AEF EEL ED I's time now, Well then, I'll start my speech. 4) After that / and then / since then: £5 eck, REESE LA. enn, he SASo cone I graduated from university five years ago. Since then, I haven’t seen him again. 5) Therefore / that’s why / consequently / so: #225 ORB. RACH on, ROB, SUE TERATHS I went on a trip last week. That’s why I’m tired. : pote bse OUR MEIC BSE Ron, ROG, SE OELTUROELE The president squandered money. Consequently, the company went down. —34— 48g Lesson 48Manga-examples ize 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 ae z Taku: BA FUR AAShOT, DORM TENS ok. WELT. 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. oU Someone has eaten the sweet on. the table, and the characters are ASTD PUB ARF 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 Gabrie! Luque using © ©. Notice how the reason be (BA £ UMMA 5, Twas very hungry) precedes the consequence (> +> ili TF >t Late it without permission). The verb before ® @ must be in the simple form. In this case we have iit 5, decrease, which is part of the set phrase i #3 — 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 1 ¢ is not that strong, and the almost synonymous word #5, could have been used instead with no problem. Last of all, it is worth mentioning that © is used in formal situations more often than #4: it sounds more “serious.” Notes: 54 =!) is a distortion of # #1, an expression indicating in this case “so much” which we studied in 1.45 (book 2). Notice the contraction “5 9 9 f, its non- contracted form is #&<"C L £ >. Take the opportunity to go back to 1.35 (book 2) and review this last form. Compound sentences (2) #X# HAT 4Q—35—Xe i) ES b) Cause / reason tag at the end of a sentence: kara oe Lin: 6) B0RFSLRAM, BALBRODS.. any more regret thing (emph.), nothing there is because... So, there is nothing else I can regret... After ©, the turn has come for #5, also used to indicate cause / reason. In this example, we see #5 at the end of the sentence, cutting it, It could be the answer to a question with & 3 LC (why?), ora simple explanation about the cause or reason why something is done. There is another explanation for this last usage: sometimes a sentence is ended with the tag 25, ambiguous- ly implying, by way of excuse, that there is a reason for TER ice what one is doing, but without putting forward a specific explanation. Sentences like #, $3945... I'm SOT rey oy SH ATO he Inc Ren Niirure going now, (s0...)or b ro ERLOL EMS... Pmalitile busy (so...) are very common. Notes: % 4/I< & is the distortion of f & (nothing, 1.37, bool 2). Review as well the usage of 9 (1.40, book 2). ©) Idiomatic usage of dakara vise ive op Sayaka: 3 4, FEPAORB, FUROO ‘yes... that’s why Saturday por movie, go px Yes... P'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: #& GERERGE. AOS, MES 2 He is a vegetarian. That’s why he Studio Rosen doesn’t eat meat. However, in this example, we find a slightly different usage of #2 25 , which is, nevertheless, very often seen in spoken language: iS is used, at the beginning of a sentence, 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: 3 4. is the informal way of saying “yes,” while > 3 4 means “no.” —36— #4828 Lesson 48d) Ai tame ni Be Teruo: fli 2 Oe DISEAA TSE! L rop this for born come! Iwas born for this!! A few pages ago, we learned that /: # i: 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 # #2. AE HE Be nc TO we Te re However, he says it with the pronoun 2 (this), and, 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 felt} 7-24 MIEEA CS % (L'was born to play soccer). Using the kosoado pro- ETN nouns (1.34) © (this), ¢ (that), and ® (that over there) in conjunction with grammatical constructions is very common. We will see another instance in example f). e) When: toki a 1 Blethen >, ROE URRI EE CELE, 23 BOLE OTOR no, I sp teacher cp last hone ip talk when, in this way said ‘Wall, when I ast spoke with the teacher on the phone, that’s what he said. Let’s now study how to say “when” in Japa- nese using 1}. As we can see in the example, the process is quite easy: all you need to do is add the word #6 after the sentence with which ARBAB CRE Ld we want to indicate “when.” In the example, the teacher said something Ba ECE Let, that is, when I last spoke with him on Hodvecudt Sr BCR kee the phone. Try making your own sentences with af: it is simple and with practice you will master it. Note: Depending on the inflection of the verb or adjective preceding tf, the meaning changes. Ifconjugated in the past tense, it refers to something that happened in a previous stage: 8B, BME LTO, RAG t Yesterday, when Iwas cooking, he came. In the infinitive, it refers to something that we know will inevitably happen in the future . B#ERCLLI When / whenever I sleep, I have bad dreams. Note 2: # > |» & isa formal synonimous verb of #3 (1.52). or something that usually happens: #2 13 4 Compound sentences (2) wx ##mkt 4@—-37—f) Before: mae ni Tae Charlie: 29 WIT BMOBN LHS ES that before you pop neck break EP Before that, P'll break your neck. Let's now see an example on how to say “before” using the word # (before), which we already know. We simply add HAS (before) after a sentence, like in the example: # # +H AL Cia Kiss me before you kill me. na ae ‘The opposite of #ji= is % T, which comes from the word ‘& (after, behind) and means “after.” ‘As we mentioned in example d), it is common seeing the kosoado pronouns 2, ~M, and #@ together with gram- eile matical constructions: here we have @ i= (before that). More examples: = 048 © (afier this), 0. 9.1: (in that way, 1.43, book 2), 2 018-77 & (int this case, 1.46), =O WIE (one of these (that is almost certain, ..43, book 2), = 039 days, 1.48), 20 & % (just as itis, 1.46). g) Starting a speech: sore de wa Bas UAE agUg? Kitano: 4-2 CH LUAK ORR E— then new staff pop introduction Dor ‘Well, let’s introduce the new staff and... We will conclude this intense but useful lesson with an example of 4 © iz, which, as we see in this panel, is usually used in speeches or intro- ductions as a “sign” that we are about to start talking, like our “now” ot “well, then.” A Tid is also used when saying goodbye, but in this case, Tit is contracted into tp when speaking: one of the first expressions we saw in 1.4 (book 1) was Zhe, £EHBS02 TR Lx 5 Well, le’s meet again tomorrow. This expression can be contracted into Zh > es 791A Well, (see you) tomorrow, and even more so to Lia, £ Well, see you (notice how even the ¢# is “cut”). There is also the concise but extremely common » 4a (literally “well” or “well then,” but used with the meaning of “see you later”). 38 — 96489 Lesson 48Answer with “ “Because [like him” the question es Ute ASB oth? OF 8B: that one likes, i@:he, (t & 9 : to go out with) “Translate: “Because I’m thirsty, I (will) drink @® water.” Use both 9 © and a5. (to be thirsty: 9 YM (to drink: at, water: %) Translate the sentence: ERK AR aR net, pre he ee (ER: Masao, (gn 3: to fallin love, Ban # %: to split up) Translate: “To dance > + sz youneeda (4) litte bit of grace.” (to dance: Ha, necessary: Bw te, alittle bit of L 0, grace: IES) ‘Translate: ABEL TOT SMBS AE oe Ute (Ad 4: to be hospitalized, #8: nurse, +» $F 4: to pick up on) Translate: = used to form sentences to ask for permission. (0s, which, as you probably remember, was Lento} No matter where he goes... We are now to study a related expression, since ae No matter when he goes. . . Mae oe = the basic structure is exactly the same: ~¢ we Btho ce Nori how much he ey The expression ~¢% means “even” or “even if,” and is used only to give an adversative meaning to sentences expressing hypothesis 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. ORNs TE. MA ET WEF Even ifit rains, the match will be held. eRe CTH, O87 BY EMS COLNE S GU Even if Lbuy a computer, can't work. ON 4 7 AH CS & Even withouta license, you can drive this motorcydle. eH LTR. RM ec of, 7k COM S Evena fool can solve this problem. L tts No matter how difficult it is, I want to pass the exam. On the other hand, if we add an interrogative pronoun or adverb (1.34) toa verb + Tt, .” (see table). or “no matter what i s. ‘we obtain sentences such as: “no matter what I d & ae ODM > TH, HOAME > TS No matter when I go, that shop is closed. ee E5 Th, BERTIE ULE LO No matter what you say, I won’t forgive you. Strong recommendation: ~ 2's Let’s now leave aside adversative expressions, and go on to take a look at other types of constructions. The first one, ~ 7 #°uvts, 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 negative expressions, when verbs are conjugated in the negative present tense. eee BITE THO 218 5 £ I think you should give her some flowers. ORERT OTH SHOR EROOL Il were you, Pd forget about killing him coke meee RL &£ Frecommend that you not drink that water. ORS TOSS AML E RAMU Fat L Dow'tent the mandarins, because they are rotten. 42— 9494 Lesson 49More usages of the -6 conjugation Let’s now see two expressions using the -2 conjugation, which we studied in 1.34 (book 2), and which on its own meant “let's...” All you need to do is add ~ e+ or ~ #5 toa verb in the -d form to create two new expressions with different meanings, which can be very useful. We will start with the construction -0 form+ + 4. It means “to try to” or, more literally “tobe in the proces of doing something.” om ev sete SELTOBU LY, BL sta L'm trying to draw a comic book, but it’s difficult. YON’ IE LTO Even though i'm stupid, 'm trying to enter university. ois Rit ewe bl? & L-Curt [was trying to rob a bank. @ SAH AI ELEM, WA 1 When he was going to get on the bus, he died. at As to the expression -0 form + ¥ 1 3, it is used to indicate something like “I think I'm going to...,” that is, it is nothing but the simple combination of the -6 form (*ets..” 34 book 2) plus = "25 (“I think that..” 1.41, book 2). oes BaLLIEBOtH 2:4 Pm thinking of declaring my love to her Lema, ARLES LB Because I’ve failed, I think I'm going to commit suicide. one pets eh Cis I'm thinking about abandoning my studies. ee ot oS SKIERS RBS UB > CUS Mr. Suauki is thinking of buying a house. AOMHRTTVNLS, MERILEL ee ss He ies dentist, but he can't pull outa tooth. (Formal) escent EBA PETC, ERIE | (HY bs formal,~ ie Yi neutral ye is a dentist, but he can’t pulll out a tooth. (informal) (~V :informal, ~2#: neutral / formal) lt MA 7A, Be RIT RA Hes a dents, however he ex pull outa tooth. (neutral / formal) AUER TOI, BERIT In spite of the fact that he ia dentist he cant pall out a tooth. PUEMABO (ic, MRR ‘Although he isa dentist, he cnt even pullout a tooth (pejorative) REBAR TH. HRI Even ifhe is a dentist, he can't pull outa tooth AI PMARICT ORAM E ‘Your tooth is painful, isn't it? You should go to the dentist. MAME ILLTOR ‘The dentist was trying to pull out a tooth, BORONS, MARIA C IES THIS Since my tooth ie hurting, Ithink I'm going to go to the dentist. Compound sentences (3) RX& Ht 4@)—43—Conjunctions We will finish this third lesson in our series devoted to the formation of compound sentences by studying a few essential conjunctions. On this page you also have a summary table with all the conjunctions we have seen thus far. 1) But / However / Nevertheless: 2 ith &% / RNREL AYE LCS I Lat ehkiae TE RL Ott, LUNE, coaFthar we L Ott ‘The director is very kind. However, his son is so demanding, he’s like an ogre. OA SAALRESE, TH, SIV ORSAAWRMOE | J love makizushi. But I hate cucumber makizushi! Aegy bee eH eSPTZO RL OCDE RUKTOR. LOL, BI RNOR HOR I went to buy Spitz’s new CD. However, it had already sold out. 2) In spite of that / However: € #1 @ D1=/# Oi et obey ome SABE THRESH, EhROL, HRC STT ‘Mr. Kato is very rich. In spite ofthat, he is extremely stingy. mie 2 etitrs cou, WOK, KM > T = es Pmt handsome. However, the girls don’t come near me. FEDAE ECT. RE, REP HT RIES CF Ike flowers. For example ike sakura and camellias very much, DURRER, LOST, BIS IRVE? WURMTT, Shc, HE ANHOTT lias are i And besides, the sakura are pretty 100. [went to see the sakura, FB, BOMERRUD OK, ENT, FLT haven't had lunch today. Therefore, I'm very hungry now. DAP LENTR, REMIT 1 fell then, lets go and see the sakura SHERERCHT SET, ThOH, BOMERNS OE ITH ‘Today, I'm going to sce the sakura. After that, I intend to have lunch, Shb. RITSELE. HIS IRO TORT, rhe, PAL EER TOA "The celine SEEM rel Hrpere, tie our even loomed yw EORCMERSE, Coy LEDMIF OCS ‘Uhave already had lunch, But P'm. ot hus FAUQURATH CP ly HARARE £9 TP Posty we a eu BOROTOS, BOI, BL he sid hare or Eg —44— 49% Lesson 49‘2 (7] | Manga-examples We are sure you have noticed how the rhythm and the difficulty have increased in the last lessons: we have been studying more and more complicated aspects of the language, so that our Japanese improves at a very fast pace. Don’t give up now, you are doing very well! a) kedo at the end of a sentence and no ni (although) BEE OeEEIO or PERI Sw ee George: 2H. BUCH TEM? Man: 2nwbe< Le cite. this, how much be a that (cond.) cheap put but.. How much is this? I can make that cheap for you... Oe Saha Man: SL EMIBAROI, FaVUbAIMRSSAL A, ‘you foreigner aie strange thing 10P interest there are be ep being a foreigner, you are interested in very strange things, aren't you? We get to see two expressions in this example. To start with, take a look at the clerk’s first sentence, 2% 5 #<¢ L& (it ¥.. and the it ¥ closing it. The meaning of this 17 & is not exactly a “but” (as usually is the case in the word’s most orthodox usage), but it is used to leave the sentence unfinished, thus softening the statement. Here, it implies something like “but... why the hell would you wana buy something like that?!” Regarding the I= in #4 7 ‘hu O12, notice how, as it goes placed after a noun ORBK, foreigner), it needs the help of *. Here, the speaker expresses some surprise, therefore, it is not unusual that he uses 2 , as you will remember that this construction has a relevant ingredient of subjectivity. Here, {2 can be translated as “despite.” Notes: The prefix # before the word 1s < 5 (how much) is honorific and implies respect (1,52). The ~% ¢ in #< LE ¢ isa spoken contraction of ~ Ca ¢ (1.35). The adverb #1z (here written in katakana) is difficult to translate: it has the connotations of “strange,” “unexpected.” #4 is the colloquial contraction of the word 4 (thing). 44@-45— ‘Compound sentences (3) &#b) Shikashi and no ni at the end of a sentence at Satoru: LA L..U> LTIABIEKMIZ To TOS ORS D..? however... why like this water sp muddy pop be...? However... I wonder why the water is so muddy? Bean AM Sob POBOOIE heavy rain neither fall although... But it hasn’t rained that heavily... Here we also have two expressions to com- ment. The first one is l 4 meaning but, i HNTE SOF! AONTER BET however, nevertheless... It is certainly a very ASTRS URGES useful word, although in colloquial register Eb (but) is used more often. ‘The second expression is t=, closing the panel and leaving the sentence’s conclusion in the air. Its meaning is adversative (it could be translated as “although”) but in this con- Gabriel Tuque text we can interpret it as To think it hasn’t rained... or But it hasn’t rained... Note: fo 5 (tt (> is the contraction of Hf > T lis» %t © (it hasn’t rained). Notice the emphatic particle %, in this construction: go back to 1.37 (book 2) to review its usage. ©) A pejorative expression: kuse ni aie Ape OY San Kisakis A$ CA (BIE ADOE WD LEMS. nothing can in spite of... strange person pop heart pop move (vulg) Despite his incompetence... he can oddly move people... We have learnt how the expression ¢ 12 means “although,” “in spite of,” but with a pejorative nuance. With this same pejorative intention, we have translated the {7 BTS BOC EIS part, literally In spite of not being able to do anything, for Despite saver oR his incompetence, because the word “incompentence” can give the connotation of “superiority” or “disdain” in ¢ #72. Note: The construction ~~ #4 shows violence, extreme roughness, threat... We will study it in 1.53. As you have probably noticed, using ¢ 412 and 4°4 in the same sentence gives it a layer of “threat” or “disdain” almost impossible to convey in a translation. —46— ¥49%8 Lesson 49T an Tetsuya: M72 HHA CORBI LAOS | that for die regret ror do ep! prm hacer ! Even if I die for that, I won’t regret it! It is now time to review the usage of the construction -fe form + % (or ~C%, as we have seen in the theory pages) which, you will remember, has the meaning of “even” or “although,” and is used in sentences expressing hypothesis. In this sentence, the speaker expresses the hypothesis A © & (even if I die), Timea - and then the result if that supposition finally became true: 1H it L 2 Ls (I won't regret it). Notes: Notice the usage of #= 5 {= (for), which in this case comes with the kosoado 2.0 (that), forming <0 f= (for that), as we saw in 1.48. Notice, too, the emphatic usage of the particle tt in #4 Ut L 1 Us (I won't regret it) (1.37, book 2). e) No matter how.. ib = Tats Seif (FEB UL TER ROO TRIER. T, RTARAE how much telephone do go out since worry become come try be Since no matter how much I called, no one answered, I got worried and came. We have also studied in the theory pages that if we combine an interrogative plus a verb and the ~T construction, we obtain sentences such as: “no matter what I do...” Here we have one of them: (s¢ % GLC (no matter how much I Ey tA CHB: call...). Usually, «» ¢ 5 has the meaning of “how much” when talking about quantity of money, but here it is used in a more general meaning of “how much / many.” Another option would be "Sa" jae (how many times): (1:9 E48 LC (no matter how many times I call...) Notes: Take the opportunity to review © (since, because, 1.48), and notice, as well, the ~T& construction (giving the nuance of “try to do something,” 1.35) of ¥ CA 2. Last of all, the 4 7: closing the sentence is the typical tag used to give “security” or to “soften” the sentence, and which we studied in the manga-example d) in 1.40 (book 2). Compound sentences (3) #X# Ht 4@—47— #Sf) Strong suggestion: hé ga if v Chie: HEL POLVRA LILI MOLAR & Lafter all die better if a2 BP After all, it is better if I die, isn’t? BNE daca) ye ao Rew od Ena rat ae And now we focus on ~%#%\y: it indicates “suggestion” or “advise,” and it is rather strong; it is not quite an order, but it comes very close. Usually, ~ 2st» is used to advise other people. However, we see here a slightly different usage: the speaker is consulting about something that she thinks might be necessary to do with herself: #% LEAK 12.5 ALM 4 2? (should I die?). Notice how the pro- posed translation above is more “poetic.” Remember that the verb before ~ # Ht ty Studio Keser must be conjugated in the past-affirmative (74 4 #0, you should die) or present- negative (38% % WH AUN, you shouldn’t die). Note: #7 id!) has no direct translation: it’s something like “after all” or “I knew that.” g) To be i the process of: -6 fo suru Noriko: bE LWW LEER OOPOLICRPLIL ETS. aah I ror... I rop again someday like in the process of... Aah, I... I’m trying to escape, like some other time... The example closing this intense lesson — and the series of three lessons which has shown us OEIC Crore IOS countless constructions to form much more complex sentences than the ones we were mv used to—, will help illustrate the usage of the ~&3¥F% construction (to try to, to be in the process of doing something). Caneel cue In our sentence, Noriko says #179 © LC \, that is, I’m in the process of escaping or I’m trying to escape. In order to master this construction, you should thoroughly review the -d form (1.34, book 2). Note: Notice the DO £3915 part. 034 means some time, and we studied it in L.41 (book 2). 9 £5 is a comparative (like) we briefly saw in 1.43 (book 2), and which we will study in depth in 1.54. (99 #0 £ 9 (© means like (I did) some other time. —48— #499R Lesson 49Translate into formal Japanese: “’'m hungry, but I don’t have any money.” (to be hungry: BRATOTHS, money: Bs) What differences of formality are there (2) between the expressions: AUS, #17 Kandny? What is 17 ¥ used for in the sentence FHREL, CHPALOAERY, (4 & # # Asexcuse me, tk L 0: to want) Translate: fines Beol, LOL cma (@) BHO ED? (A: fish, #3 4 8: that one likes, # 8): sushi, #€ (2: that one dislikes) Translate this sentence #¥ U2 KAD Oe ame teow Be (&#: she, KA: adult, ‘a: clothes, 4 %: to wear) ‘Translate: “Even if I go to Japan, T won't learn Japanese.” (to go: # ¢ Japan: B®, to learn: 9 5, Japanese: 8 #58) Translate: “No matter how much I oe Idon’t learn anything.” (to study: HE TB, to learn: B. nothing: a) Translate: “I think you should / had be- @) ter kiss the teacher.” (to kill: +24, teacher: it) Make Tranilate: TES AMR EBS TEL rate ©iVB. (dis: Yamamoto, eX: thesis, #¢: to write) Translate into colloquial Japanese: “There's a party today. But you should not go.” (today: 3°68, panty: 8% 4 —, to go:f7<) Compound sentences (3) #X£HRF 3@—49— $dSID49X]Lesson 50: Relative clauses In this lesson we will learn how to give more depth to our sentences by means of relative clauses, used as subordinate sentences to provide additional information about a noun. We will also enter the world of expressions with £3. Relative sentences Let's first define a relative clause: they are subordinate sentences acting as the complement of a noun; in other words, they give extra information about a noun. Relative clauses (underlined) would be: “The house which is near the school is blue,” “That man who is walking in the town is my uncle,” or “The dog whose fur is black is big.” The relative clauses we have underlined give extra information about the nouns (in bold type) “house,” “man,” and “dog,” respectively. Notice how in English we use relative pronouns such as “which” or “whose” to introduce these kinds of clauses. Fortunately, in Japanese, we don’t need any such particular pronoun, although we must bear in mind that the order followed by these kinds of sentences is, more often than not, the total reverse of the English order: the noun comes last. o AOSHI UAH VCH The house that is near the school is blue. 0 He BUTS HO Bt RCT That man who is walking around the town is my uncle. 0 BOB VE ORY KS CH The dog with black fur / whose fur is black is big. How to form relative clauses Forming relative clauses is not difficult, but you must bear in mind the following rules: = The noun about which information is offered must go after the relative clause. = If the relative clause ends in a verb or an -i adjective, these must be conjugated in the simple form. With -na adjectives, we require #2, and with nouns, we must add 0. However, in the past tense or in the negative, they both need the verb to be conjugated in the simple form. —50— #5038 Lesson 50= The subject in a relative clause can never be marked with the topic particle it: using the subject particle #* is compulsory. As we saw in 1.37 (book 2), in subordinate sentences we must use #*, unless we are looking to add emphasis. See this example: Ex: Baoh- wn ecvanr cw hus 236m I must go to a place where people who don’t have style meet. (two relative clauses) Relative clauses Nth#}—-51— DUAR BO“External” relative clauses On the other hand, there are also relative clauses where the noun (about which information is provided) is not a part of the basic hypothetical phrase (see table in the previous page). Some of these nouns cannot be directly linked to the sentence; to do so, they require «9 3 (or 5 in its colloquial form) Never take ¥ 1» 3: nouns expressing feelings (# sound, #1. smell, 4 3 pain...) or those that can be perceived through the senses ($¥ photo, % % music...) eo Barb Guru LCF The smell of rotten fish is disgusting. at RAKE @ Eb OF RA XH I like music with a strong beat. Always take 4) 3: abstract concepts expressing thoughts or assertions (5 b* ‘ ne rumor, = & fact / thing, #8 opinion, ®t reason, YX thought...) wie BRI 4 |) ZF % 2 Is your opinion that the government is bad? re ‘ ORE KIA AHACHML Rio TI DSURED Is the rumor that they want to get married in Las Vegas true? In other cases, it doesn’t matter whether we use & \s 3 or not: exe semet sax ebee Lu» The job of translating manga is fun. BARLEY 3H AS > % There was an incident in which a man died. The many usages of 5 Let’s now briefly forget about relative claus and go on to study another subject. In Japanese there are several expressions and grammatical constructions, which use 3. Bringing them all together in one same lesson and having a look at them all at once might be interesting, since studying them gradually and separately could be confusing. We will review now the £ 3 constructions we already saw in 1.43 (book 2). To begin with, we have J 5 #, used at the end of a sentence to indicate “apparently,” when the speaker has direct information on something and his degree of certainty is high: @ KAA ne £9 14a Apparently, the weather has worsened. RED Bs Ki24bo Bok 9 & Apparently, her younger brother is tall. @KEUME Lo Ld TH Apparently, the teacher scolded my daughter. We also have the 49 8 and J 9 1© variations which at as simile (154): © BORO LAE DHE Thate that teacher who is like an ogre. ta. eece © RTH OL 91S 9 S¥7¢ ta He lies (tellls lies) like a politician. —52— 350% Lesson 50In order to: £512 Let's now begin to study those “unseen” usages of 3, the first of which is the usage of £5 = after verbs (only), usually in the simple form, and indicates “in order to” or “so that.” This usage is for expressing that a certain action be implemented to urge or cause someting to be done; thus, enabling us to obtain the desired outcome. The structure of this kind of sentences is always “fresult] £ 5 = [action].” That is, before £ 4 (= we specify the result we want to obtain and, afterwards, we detail the action or actions that must be done to achieve it. ans ea NAT BEDI HL Tu Tm working in order t0 go t0 Japan. ERNG Ae 3 ne 3 I shall hide the fish so that the cat doesn’t eat it. . on TALS e ioe wld heon T< ES Be careful (in order) not to have an accident. fy teu» want to pray so that I can pass. oes BL 9K 4 9 I shall apologize so that my father doesn’t get angry. Soft command or request: £ 5 = + verb “Knowing how to use the expression .t 5 tz, combined with a verb like 3 9 (to say), ‘Be (to ask), or 2+ % (to command), is very convenient. It has the implication of “to do as...” and it that can also be used with other verbs to form sentences which are not necessarily imperative or for requests. However, you can’t give an order or make a request using this structure directly. “£542 + verb” is normally used either to indicate what kind of order or request oneself or a third person has received, or to describe an order or request in an indirect way or which was previously performed (in the past). It might sound somewhat intricate, but take a look at the following example sentences and you will understand much more clearly what we mean. Note: Since we are talking about orders, you can review 1.30 (book 1), where the imperative is explained, as well as the usage of ~~ ¢ i, which we studied in 1.45. eo REM Pic REMOTE > The teacher told me to read a book. e Yea dg ic PHEIIE mre eek HET thos Be MB Af She asked me to wait there. The president told Yamazaki to resign. e il [He * PAAan Re £5 ke T< %» Please, tell Kawai to come to the office. oe Hit BF MBH 4s 4914S LK ordered my son to study. Relative clauses RAR —53— PaTo get to the point of: £51224 Another expression with J: 9 1 is £5 2% 4, which is used to indicate changes that are usually gradual (despite some exceptions), and indicate the end of processes that are ustial- ly long, It is translated as “to get to the point of...”, “to finally manage to...” or “to become able t This expression can only be used with verbs conjugated in the simple form. 59 ot He managed to (learn to) swim. @ G Fige it 2 t 512% ye L want to become able to speak Japanese. © PNIERHLOLE I Ke > % I managed to not smoke. (I managed to quit smoking.) eo LRH MSHS £5 Ic woh Ihave finally managed to understand statistics. To try to do something: £512 +4 The last 5 expression we will see is £ 3 4, used to express an intention or deci- sion. An exact translation of this expression is very difficult to suggest, but we could define £51244 more or less as “to decide to do something...,” “to try to do something...,” “to have the intention of using all the necessary means to do something...” etc. tons jays eH, EHF 3151 List I want to try to exercise every morning. nn 2 eo Rite Dmerivd = BLE Gene OH, Peck S £91 L TK Ht) Tomorrow, make sure you come at 10. worn @RVERIITEDOBOL IL BOL Wt BW Politicians must try not to lie. TiS He is trying not to eat much. MUI oI IE Apparently, he went to the enstle, USB L 9 CRIEA TOS BORGO LIL ‘That house is as spacious a a castle, 3 #25 Adverbial form of > “In order to.” ("0 that.” : Z cae ts Soh eC as He has got tothe point of being able to deaw a ma “To try / decide to do something” HB, METRIC LIETS Pm going to try run to the castle every day. —54— 98502 Lesson 50Manga-examples ize As usual, we will take the opportunity by means of manga panels to see in a working context the expressions we have just studied. On the one hand, we will review relative clauses and, on the other hand, we will try to give a clearer idea of the numerous usages of £ 5. a) A simple relative clause Narrator: HORS GOL, BRAMFOTLIESI THF eye Pop big person Top, stomach sp empty die be The man who had big eyes was starving to death. We start with this excerpt from a story written in hiragana alone. The author copies the style of children’s stories, which are usually written in hiragana SS SHO TI OT OS FOS jiyet. The sentence would actually be: #1 RAHA BMA CRIS 2 tr. ‘The relative clause is Bo St (with big eyes), and it provides information about because children can’t read MA spAC Ad the noun ‘ (person). Notice how, as we commented in the theory pages, some- Inver soln times the subject particle #* is replaced with ». Therefore, 4 43 4% A (the man with big eyes) would also be valid. An interesting thing about Japanese is that the concepts of restrictive and non-restrictive relative clauses don’t exist. That is, the sentence Ba %% #@ Ald #472 can mean both The man, who has big eyes, is kind (non-restrictive) and The man who has big eyes is kind (restrictive). Consequently, we will only be able to tell this nuance through the context, In this case, the relative clause is restrictive. Notes: Notice how the sentence: ai MF OT IS (to be hungry) and Rice 9 CH (he looks like he is going to die) are linked by the -te form (1.35 and 46). Notice, too, the usage of the suffix for conjecture ~2 9 # in Ric 9 TH. Relative clauses Niki —55-An “internal” relative clause he Bone ELghe BAU Uy) BEE Mit, 22 NY KPORSM CHM RCE OBE | 1 he Tor, Miinchen university por library pp I sp gun 1p shoot man be He is the man I shot with a gun in the library of the University of Munich! Here we have a sentence with a long relative 2 CRAB T Bo #& (I shot with a gun in the library of the clause: $ ayy REO STs HORA ABRE Sk University of Munich) is the relative clause identifying the noun % (man). It is an ternal” relative clause because the noun “gis part ofa basic hypothetical phrase: 1d La vAYRPEOMER CE ERC OA (1 shot a man with a gun in the library of the University of Munich). In this example we observe an important point you should bear in mind: the subject of the relative clause (in this case #2, 1) can never take the topic particle (2: it needs 4°. c) An “external” relative clause Ta eeu os Sayama: 8 £20 L 2M RAL TOS > THM TSE you sp son-in-law candidate support do say rumor ror hear ee Thave heard the rumor that you support him as a candidate for son-inJaw. Let’s now see an instance of an “external” relative clause, named so because the noun about which the information is Edu OTACAH given is totally independent. In other words, it is not part of a See TBRUP basic hypothetical phrase. In this case, the noun is » (rumor), AML DRM AML TOS (you support him as a candidate for son-in-law). and the relative clause is # We mentioned in the theory pages that some nouns require &% 4 when linked to a relative clause. To be precise, we use ¥i05 when the noun expresses abstract concepts, like thoughts: of awwertions Al ii cone! oF those-verp concepts; therefore we will use either & (s 3 or the shortened colloquial form > T, like in this example. Suto Kosen —56— 350% Lesson 501) 4 d) Two usages of yo note anh Doctor: ik, PREECE OCTER LIBEL, REETRSL INGE she appetite too a little go out apparently besides, conversation too to get to ‘Apparently, she has recovered some of her appetite and, what's more, she is able to talk now. We will now leave the relative clauses behind, and we will focus on the usages of the multipurpose .t 3 . In this sentence we have two different usages. On the one hand, in Rat ECS IM TSH LIL (she has recovered some of her appetite), we have the wellknown expression £3 #5 indicating “apparently,” which we studied in depth in 1.43. Next, in Rwecsat 3 which indicates a change that has gradually happened. The - =, we see £4 3, phrase would be literally translated as She has become able to hold a conversation (after a certain adaptation period which has taken place gradually and which has already concluded). Note: Notice the usage of L, indicating “not only x, but also ¥” which we saw in 1.46. e) In order to: yo ni tee aie Boss: BERICRUC EME SASVRTEIKCO CRF OTAL Mr. client 1or good thing sp many there is so that here Pp pay attention xP! Stay here and pay attention in order to make sure the clients have everything they need! In this panel we can see a usage of 5 [2 expressing an aim and the action that must be performed to achieve it. TER It could be translated as “so that” or “in order to.” Sea IS RUS CBRE SAB 24 (that there are many good things for the clients) and e Rf > T (stay here and pay attention). £ 5 1 is placed in PHATE LT In this case, the aim is A OSREAN IE TU HSSE the action to be performed in order to achieve it is, the middle — after the sentence indicating the “aim”— to _ link both sentences and give the meaning of “in order to.” Note: Before £ 5 (= the verb comes usually in the simple form, but since the register in this case is quite formal, she has chosen to leave the verb & 1) # + (to be, there is / are) in the -masu form. Relative clauses pi (@i—57—f) Request: yd + verb Pao eae Man: BH 34, REORERIBHEROLIKE eI Kh mom, bank pop branch director rop funds pop wait (requ) say looks like be FP Mom, you've told the bank manager to wait for the funds, haven’t you? Let’s now see another usage of 5, used for soft orders or requests: it is the construction formed by +9 (2 + verb for request or order. In our sentence, we must take a look at #9 £512 & 2% (you told him to wait). Although % 3 (to say) is used, the sentence is obvioisly a request. Other possi- RA 1 (vou Lt (you ordered him to wait), etc. Barbara Raya ble sentences could have been: #2 x % asked him to wait) or # “agp Fac: Notes: Notice the expression of the conjecture ~ @ 5 #2 —be careful, this expression is different to the one we have seen in the manga-example a) ~ used to give information which has been obtained from another source (t.43, book 2). Thus, #7 £31235 & 4 # literally means I’ve heard / been told that you have told him to wait. g) To try to do somethi yo ni suru pots Be Naoya: = ek CBI LRU S. this from, her cp talk try to want From now on, I want to try to talk to her... We will conclude this lesson with another of the many usages of £ 9 :the 49/294 construction. Although rather difficult to define, it SBSH indicates a nuance similar to “to try to” or “to decide to do something.” In the text in this fate We panel we find the sentence # L385 IC #9, which has the connotation of either I VFTER ORS want to try to talk with her or Iwant to have the Sodio Kear . intention of doing all I possibly can to talk with her. That is, using 4: 5 {= +4 is more or less the equivalent to a declaration of intentions of what one wants to do or is presently attempting to do. Note: < 42% (literally, “from this”) means “from now on,” “after this.” —58— 94503R Lesson 50Indicate which is the relative clause in this sentence: “The man who loved Makiko is called Kaji.” Translate into Japanese the sentence in question 1. (man: ‘sy ito love: as »® Makiko: R24, Koji: Translate: “The motorcycle Akira bought is very fast.” (motorcycle: <4 7, to buy: > Akira: ii, very: YC, fasts BU) Are these sentences correct? Why? Vika % ocuskatius seems © Ch: he, #4: to sell, #: pear, Fu: sweet) Translate: ie 0 7 Fm by ms Ebbok be LOS FEAR cH m2 (HIB: bribe, 45 5: to receive, fF: case, #4: true) In Japanese, temples, people usually leave (6) prayers like Sets 9 ic. What does ~~ © sentence mean? (#8 + 8 :to pass an exam) Translate: “The client told the sales clerk to shut up.” (client: 5 & © 4, to say: $i, sales clerk 16 H, to shut up: #3) Translate the sentence: “I want to be able @) to pick up a Japanese.” (to pick up: +» 84%, Japanese: 1 A) Translate: ‘8. ‘sor fa ee FoeL coat. (i: every day, fi: time, %4:to sleep) Does Japanese distinguish between restrictive and non-restrictive relative clauses? Explain using an example. Relative clauses (i@—59— SdSIDIX]In any stay in a foreign country unexpected events —such as theft, loss, accidents, sickness— can arise. In this lesson we will learn how to face these kinds of situations in Japanese, and we will learn a lot of new vocabulary, as well. The role of the police Japan is a country with an extremely high level of accident safety in cities; so much so that pickpockets hardly eee exist, and the possibilities of being robbed or hurt are bag slim. Therefore, the role of the Japanese police is not eriegency. quite “keeping the peace,” but rather acting like | injured person 17 2° A “social workers,” who watch traffic, take care of lost injury ae children or objects, show the way to those who get pickpocket lost, ete. pe torob thief wallet Another curiosity in Japan are the town police boxes zug or %#, mini-police stations with only two or three policemen who see to the safety in the neighborhood. i witness If you ever get lost, go to the closest % #: there they will kindly and diligently help you find your way. OF RRUAM, Wish TL AOR LK Excuse me, I’m lost. (1.35/37) we ae @ L2H 9 TCH He What is this city called? (1.41) ds\-C-4 > 2 Is this address near here? (1.41) +(e Wz cS 6 Please, tell me the way to the railway station. {SROKA THM... Pd like to go to Tokyo Tower... (1.37/40) BESWTC HATH? Could you draw a map for me? (1.32/45) eh omc EH ® 2 According to my map, where are we now? ARBW 2 CHO CH EF #2 Can I walk to Yoyogi park? —60— 95128 Lesson 51Theft ‘As we have just mentioned, to be the victim of theft in Japan is extremely rare. Nevertheless, let's see a few sentences to practice vocabulary and grammar. rn e-$ Hy Mle ES t+? Where is the closest koban? oy a HOM H LEAK Someone has stolen my wallet. (1.41) an ORR ND Ny SEK 6 > THU te The thief snatched my handbag and ran off. OU FKRERE ZL Yy KARR AAD TORT My wallet and my credit cards are in my (stolen) backpack. o EH ENB & tho CC Su Fill in the theft report, please. Loss Something that is more likely to happen in Japan, like anywhere else, is losing an object. Generally, the Japanese are very considerate when they find a lost object, and they usually take it to the closest % #. If the lost object is a wallet with money that is returned intact, it is customary to give 10% of the recovered money as a token of grati- tude to the person who has found it and given it to the authorities. OL LMM EEA TLD? Wasn't there a wallet here? een (elt Y= C4 He Where is the lost and found office? aia ot ee FIC AE RMT LAOS LA [forgot my digital camera in the subway. © L424 XI CHIH? What kind of camera is it? eMC, A-H AU AY tC It’s silver and its make is Casio. (1.35 | 46) e Romo eS, BLT CHW Ifyou find it, let me know, please. (1.46) OKA FERC LELE. BRT LTORES EDO TTA have lost my passport. I would like you to reissue it... (1.35 / 31 / 45) What's wrong with me, doctor? During our stay in Japan, it could also happen that, at some time or other, we become sick. Now, we will focus on visits to the doctor and hospitals. © 9 HM LCF HT don’t feel good... (1.37) eo RE(RE 8) 44-¢ (HS Call a doctor (an ambulance), please. ° av BATHOT CES Take metoa hospital, please. (1.35) PRO FHE Lo TC MLF HP? Canyoumakean appointment fora consultation, please? (1.45) Unexpected events and accidents [lo 7: < & ¥ ak —61— 51 2BIn the hospital We recommend that you review now the vocabulary of the parts of the body in 1.26 (book 1). Also, on the next page we have given a large vocabulary table. However, you don’t need to memorize it all; just learn the words you think are most important. © LA LIER Ct» What are the symptoms? | How do you feel? | What symptoms do you have? © MAG CT [have a stomachache. (1.26) @ RHE 3 We Ld CH I think ve caught a cold. (1.43) oh 0 0 + Thavea fever. ee 5 HE £1) £4A [can’t stop coughing. (lit. The cough doesn’t stop) eh tm ei HEL I've fallen and hurt my arm. oF EP EL & Lt Dre burnt my hand. he e@XH EAA SLZELK I've sprained my ankle. ena LOT LL #—* Hi) &F P'mallergic to penicillin. @ MRE KA-CUR+ I take (lit drink) this meilicine every day. £58) -C+ Ihave my period. @ernis ote ) &¢» ? How long will I take to recover? ebiniaiee Bak? Can Lcontinue my trip? (132) OF ELES OTHE LES M? Could you please write a prescription for me? (1.45) Talking with the doctor Let’s see some typical doctor phrases so that we can understand what they are telling us: O55 LORI YH ETH? How long have you had those symptoms? (1.41) even on ey FB he (Ext Take your shirt off, please. C+? Where does it hurt you? <4 T (St Lie down, please. \s Breathe deeply. 2 T+ You need to have a blood (urine) test. (1.37) oF L#-lt bs U £4m? Do you have any allergies? . ie (ea )e stu & U2 9 Pm going to take your blood pressure (your temperature). (1.34) e Lé OL ORF ELE ETRE Take this prescription, go to the pharmacy, buy the medicine and take it. (1.35/46) EL y A A It’s nothing serious. ut ot, BERS CRACK —62.— $5138 Lesson 51Accidents We will conclude the theory section with some useful phrases in case of an automo- bile accident; which we hope you will never have to use. eB ERK THE LCST There has been a traffic accident, and I'm hurt. 2:8 eH ictt 5S Lb My friend has been run over by a car. eH APRS £5 IDB LC Sv Call for an ambulance to come, please. (1.50) ORR EFA TC eeMEH OAK 4» Call the police as well. (1.37) \¢-+ I think I've broken my right arm. (1.43) onde 98 L (Cake) SAL Lam bleeding heavily and I can’t stop it. oA EH Ss BUC (EX Fillin the accident report, please. ial very leaving the hospital medicine pain patient pharmacy diabetes diarrhea a joint ite Sed pele gee ues ee fracture liver ‘Sie gastric ulcer lung ie gastritis muscle Pas eae oe of influenza urine hepatitis Doctors (154) ae eons ‘ee Si, owe internist pneumonia x CE |] sheumatism 2-7 | otelaryngo- rhinitis AE pediatrician sprain nLx surgeon sunstroke 8: Others (4.5095) tetanus: AB FA. bandage blood pressure bone breathing blood injection blood vessel pulse heart temperature RR intestines ® 7 Xuray Unexpected events and accidents fo ¥ Zak —63 51ib : EPO Cultural note: Understanding addresses One of the most surprising things in B * is that the vast majority of streets don’t have a name, and that houses don’t have numbers. The question is obvious: how do the poor postmen find their way around? And, if we want to go to a specific address (9), how will we find it? To get your bearings in 8, you will have to learn how to walk along their streets from scratch. We will illustrate the explanation with an example: ‘We have chosen the address of the famous Nintendo's head office, in Kyoto: 7 601-8501 RM Rw ELBE O11 To 1 He RE HRSA. The first number (601-8501) is the zip code (the sign + means “zip code”). Then, we have the prefecture MR (iH: prefecture, only when used with Kyoto and Osaka, with other prefectures we use — except for Tokyo, which is 8, and Hokkaido, which is 2 —), the city % a (th: city), the district i & (Ex: district), the town £8319#% #1 (#1: sector / town), the block within the town 1 T 8 (TH: block), and, finally, the plot number (#4: plot). In the end, we have the name of the person or company, HRY HR SH (AR SE public corporation). Notice how everything is the other way round compared to Western addresses: in Japan, they start from the prefecture and work their way down until they reach the plot of land. Following Western criteria, we would have something like Nintendo, 1-1 Kami-toba Hokodate-cho, Minami-ku, Kyoto-shi, Kyoto-fu. 601-8501. That is, we would have to reverse the order of the elements, because we start from the plot and we finish with the prefecture or state. TF yOu get lst, go to the kata! (Photo: M. Remabe) Consequently, to look for an address, we must have a good map, and look for the city first, then the district, then the town / sector, etc. It is no wonder the Japanese draw maps (usually from the nearest train or subway station) when they want to indicate the location of a place. However, there's a trick to everything: if you ever get lost or can’t reach your destination, you can always go to the closest %# so that the #3 on duty can guide you. They are prepared for this, and will be glad to help you. —64— 5158 Lesson 51iZEf7] +Manga-examples Although, ideally, you should never have to use the knowledge you have acquired from this lesson in real life, it will certainly be useful if you want to understand the jargon which appears in the thousands of comics and movies involving policemen or doctors. Let’s see some examples. a) Police jargon BASIAAS UAB 5A 52S BLL CLEA LEI BDL Polices {-FBEB ET ZTAHMICFRA WER SABRE — err... headquarters headquarters this city 3 block vicinity pp suspicious man discover immediately reinforcements pop... Enr... Headquarters, headquarters. P’ve discovered a suspicious man in the vicinity of the 3” block in this sector. Send reinforcements immediately... In this first example we find two different things. On the one hand, we have quite a lot of police jargon, essential if you want to enjoy police mHe8> Re or yakuza movies and/or manga. AEST HY eS S>BNAaS ‘The character is using very typical words of this jargon, such as xa (headquarters), *% (suspicious), ‘A¥ (person, man, woman), 2% Javier Bolado (immediately), or #4 (reinforcements). Typical words in police jargon which you won't usually find in dictionaries are 7% (colloquial word used when referring to a MM, police officer, detective), ## 4 + (contraction of 4, victim), y (designating the criminal or 4.4), and # + % (gun, also called 9, # bE, UA b i oF NY *). On the other hand, we can review the subject of addresses studied in the Cultural note. Notice how the policeman indicates the place where he is at: STHR already know #1 means city / own and "EB means block. %, in this case, means “this,” “this here,” as in the words & Hs this day = today, #3 this month, “UR: this school, #4: this company, ete. Thus, “Sef is this city / town. Whereas, {14 means vicinity. Therefore, tft is in the vicinity of the 3" block of this city (or town or sector). Unexpected events and accidents ff-o = & & Rak —65—% Ey Ee: b) Asking for directions ee Man: UREA SL TLMERELOOTHH... excuse me a little way or ask be but... Excuse me, I would like to ask for directions... ‘This time we see a man who wants to ask for directions and goes into a % # to do it. Notice how he expresses himself: he first breaks the ice with +1\ £44 (colloquial version of ¥% £4 4, excuse me), and then he asks his question. At the end of the sentence he adds the © ¢+ tag (1.40), and a #* (1.37), all in order to make the question less brusque. This is a very common way of expressing oneself in Japanese. Observe now the 6 4 5 ¥. It literally means “a little,” like in 5 55 ¥ oC (wait a litle bit), but it really has countless usages: to call attention, 625 Ut2EA (excuse mea minute), to soften something difficult to say: ¢ 5 3 C + (I'm afraid thar’s impossible) or as an “aid” when asking something, like in this example: 6:5 e#@ S40 (1 would like to ask for directions). Gabe Laue ‘c) Calling the police i te rr Man: BEY SA FRET] FC ST! police (suf,) accident be! quickly come! Officer, there’s been an accident! Quickly, come! ‘This is what we must say if we witness an accident and we want to call the police. By the way, the amount of names given to policemen is quite interesting. The generic name for the police force is om from which the word or Bi) % 4, like in this example. A crimi- TM. Ren Nima nal’s most typical way of referring to the policemen is + (from %#) or 2 . Note: The telephone number for emergencies in Japan is 1°10 # (be careful with the irregular reading). 66 — 385138 Lesson 51d) Phoning the hospital to report an emergency es Pity un > caes Tel: FXTT ! ey ae CHRNI SC THROES TT! accident be! patient rop chest pop hit breathe sp well can looks like be! It’s an accident! The patient has hit himself on the chest and can’t breathe well! Let’s now enter the doctors’ world. In this example, we can see how the doctor is being informed on the phone about a patient who has just been hospitalized. Since the sentence itself has no difficulty, we will focus on the grammar. We can see (in the #1 > C... portion) two sentences linked with the -te form (1.37 / 46), and an adverb (1.22, book 1) formed from the -i adjective 3 29. 9 #40 is the colloquial version of i» (well), therefore, 9 £ ¢ Stu means cannot do it well. And, finally, ‘Stdo%m notice the expression of the conjecture 3 € + (1.43, book 2), used to give information obtained from another source (similar to “T've been told that...”). e) A demanding patient Tee ee ere = ho Miura: HARD RA T2BMRo KU EMM uOL, TAIN MEL painkiller drink 2 hours pass but take effect ev. Buscopan ask zp Two hours have passed since I took the painkiller, but it doesn’t take effect. Come on, give me some Buscopan. nother medical example. This time we have a patient 4%) asking the nurse for some medicine (%). There are several points worth seeing. On the one hand, notice the word painkiller (#24), literally something that “stops (i: % 3) the pain (3#2:),”; and then we have the curious thing about the Japanese not “taking” medicine, but always “drinking” it (®t). By the way, the word #¢ means a medicine or something takes effect. In the grammatical aspect, we have a sentence linked with the -te form (1.35 / 46) in the & 4 ©... portion, and an adversative construction with (t & (1.49), indicating “but.” Note: 7% 3/5 (Buscopan) is the brand of a painkiller. Tove Bolado Unexpected events and accidents fio: = & & 8% —67—f) Names of sicknesses waEe tre Depp Ee Doctor: HEU PRO. BEEN CRO. BRRIET OBO... pneumonia not be... food poisoning not be... tonsillitis neither be... It’s not pneumonia... nor food poisoning... nor tonsillitis... Here we find some names of sicknesses (#8 4), among which we find ‘#% t ) (food poisoning), whose synonymous is ‘fe &. Notice the suffix %, the equivalent to our suffix -itis (meaning “inflammation”). Thus, 3 is pneumonia or “lung (¥#) inflammation (3)," i@ 818% is tonsiltis or “consil (BAH) inflammation (%)," and WI is gastritis or “stomach (#) inflammation De etc. There ate ‘more suffixes, like ‘em » indicating “disease:” ‘ia a means heart disease i), and 7 MINA TAH is Alzheimer’s disease, g) Tests and hospitalizations Was Doctor: < AP HODVARHE RY CHEAT this from several tests or take (receive) From now on we will have you o several tests. Baan (bUUER CORTE MEDS SZC ARLEL GD in detail rop result 1p understand because tomorrow from immediately hospitalize The results will give us more details, so tomorrow we shall hospitalize To conclude, here is a good example of medical jargon: notice how the doctor tells the patient she must be hospitalized (F442 ) so that she can take some tests (ie HI 4), and that they will know more when they obtain the results (4°). In the grammatical level, we will highlight <= the~ & 5 > form (1.45), which adds the nuance that the listener will perform the action for the benefit of the speaker, and, besides, the -3 form (1.34) in ABEL # Lx > (we shall hospitalize you). Last of all, note the usages of 2 as the particle “from” (1.41) mr fd i> and # fi # 5), and as.a connector indicating cause / reason (1.48) ( 494° t) #25). —68— 95138 Lesson 51® Translate into English, the following words: Ha, #e, m ‘Ba, bu byy, i. and fi. Translate into Japanese the following (2) words: “doctor,” “hospital,” “injury,” “ambulance,” “cough,” and “cold.” You go into a % to inform them that you've lost a ring. What do you say? (to lose: &¢ +, ring: #898) Translate: “I’ve got a headache, a fever, (4) and I can’t stop coughing.” Translate into English: EOI Y 21k Interpret this address: FREE Hanns é HRS. (i: metropolitan area) How many ways of calling a gun are there? And a policeman? List them. ‘Translate the sentence: % x 3 ® Bi ite wot, WALT CED. Gira: to understand, t+ 4: to explain) Translate: “Because I have a headache, 1 take a medicine.” (painful: Wis, head: “Hi, medicine: #) What does the suffix % mean? Write at least four words with % that we ve @ studied and give their meanings. Unexpected events and accidents [Bo f= < & Y 4k —69—Lesson 52: Honorifics Japanese, like any other language, has strategies to indicate respect and speak in a “polite” way: we are talking about the “formal language.” In the Japanese case, however, this is specially complex because there are three modes of honorifics, its usage varying according to the occasion. bes Honorifics or BG3 ‘The Japanese formal language is called #4, that is, “language ({4) of respect (§i).” We will use 38 when speaking with or about people who are hierarchically superior to us (such as bosses, teachers, elders...) or with people we have just met, as well as in formal occasions like speeches, weddings, work meetings, dealing with clients, and so on, ner enue Traditionally in Japanese, there are three kinds of #38, that is: B38 (language of respect), ®Rik%h (language of modesty), and 1 #i8 (polite speech). Be careful, because each of them is used in different contexts, so it is very easy to mix them up. To end up using one in the wrong situation sounds awful! ehitur, The language of respect (# #33) #8438 literally means “language ee ns Ga) of sespect CH)” We use CRE bol ns BB #928 when talking with fea | ke a bes ow another person, raising his or her a NS < oie a fis foots i The subject of the action is aS Boles PF| PLES! ne CESS “aa BS — SLAMS mally is either someone the speaker SbF Peer REC or about position to express the utmost respect. always the other person, who nor- considers superior or a stranger. —70— 95238 Lesson 52How do we use #838? In English, all we need to do is use relatively learned words and address people by their surname preceded by a title, such as Mr. or Miss, to speak with formality. One of the pecu- liarities of the Japanese formal language, however, is that it implies important grammatical and lexical changes regarding informal language. Bear in mind the following points: ©@ Usage of the formal “versions” of certain verbs. Take a look at the table on the 38 versions of some verbs you probably already know. Let’s see some examples in. 9 previous page and you will see the #83 and i ees, MERS>TO2FH? What are you doing, Mr. Tanaka? e #2 #Bo Le oT (EX Please, tell me what you wish. ats zat @ BASAL 4 9 CAF TH Mr. Suzuki already knows it. fits bk ek ORR METRE. @ Conjugation % + Root - i # . Take any verbal root (1.31), and add # in the >t The teacher gave me a book. (1.45) beginning and {= # 4 in the end. Ex: ® ( (to write) + -masu form: # * & = (without 24): $* 2 weadd # and i224: BH $12 8S. Note: This conjugation is not used with suru verbs (with those verbs we use 1% 3. Ex: Wit 3 = jue 2% % to study). © REE SSR EB ESC 3K The teacher wrote a letter. eFREEL, BEBIC TC ESL Excuse me, please stand up. “he Bika toto TOR OL Zo #F I think you haven't read this book. @ ~5HS Form. There is a special conjugation you should learn from scratch (sce table on the toteach |. ,, ReenS right). Verbs in group 1 replace the towakeup mesons tolend -FXhS PInS | towat -ene| anne tobuy -FHhS|) KbHS last -ru with -rareru, and verbs in group 2 replace the last -u with -a and add -reru, Thus, kaku => kak- =) = kaka- = kakareru. Exceptions: toreturn -=5HS GAS to write Erin rns tohurry -E2HS) AAHS toplay sgn 4| BERS torefuse -ihS | HENS we 2 # 2 x ba i = be careful with 9, which beco- aA mes kawareru and not kaareru, and with 45, which becomes ite ie Bi matareru and not matsareru. e Honorifics #i8—71—way, Ma Hk La keen e(2 EE Hon LEM? Did you go to Sendai? £5 TF Apparently, Mr. Shimizu wrote a book. O (SRAM ERA HATO TH? Do you teach English? eis AUR You have probably realized that in the table there are no verbs ending in ¥ nor the SHTOE TH? Mr. Kimura, are you married? ireegulars + % (to do) and 4% (to come). There is only one verb of common use ending a in 0h, and that is % (to die), which already has its own #3 version: HE (7) 12% (see the first table). + 3 and #4 , even though they have a -rareru version (348 and 5 #4 ), they also have #448 versions: % ¥ 4 and (ss > L » &, respectively. Important observation We will sometimes find ourselves talking about somebody hierarchically superior with someone equal to us. In these cases, we use the different strategies we have seen to express respect towards the superior person but the verbal conjugation is usually left in the simple form to express familiarity with our interlocutor. Since this may seem somewhat intricate, let’s take a look at an example: ORE Gol eb Le (Talking with a classmate) The teacher is not here. Since we are talking about someone we respect (4, teacher) we use the verb \ 5 > Le (to be), but we leave it in the simple form because we are talking to an equal, a classmate. So that you can see this even better, we have also added the colloquial end- of-the-sentence particle 2. Let’s see other examples: eRe 5 BMY IE ‘Bo te & The president has already gone. mes rote © mS A KY x CB Ate ta Mr. Kato walked to university, didn’t he? Neeeas The language of modesty (ei##8) Now we will go on to study the second kind of honorifics, the “#8; literally “language (38) of modesty (H#i).” We will use tii#38 when talking with another person who we consider superior, lowering our position in order to indirectly raise our interlocutor’s position (hence the usage of the term ‘if i, modesty). ‘The subject of the action is always “1” or someone in the uchi circle (1.45). We must never (absolutely never!) use this kind of honorifics when referring to actions performed by someone who is not “I° or doesn’t belong to the uch circle, because it would sound as if we were degrading the other person. —72.— 5238 Lesson 52eas Using skikee Let’s now see the various constructions and usages of aif @ Usage of the modest “versions” of certain verbs. Just like with #858, there are “modest” versions rns of the most common verbs (see the first table in this lesson). ° a i Futy ty a S 2 ) £L# I come from Argentina | I'm from Argentina. OH RES LUBE LTH EF My younger sister is married to a doctor. Lenas x eFareAM, BRU ba CBU RF I'm sorry, but the president has gone out. Note: In the third example, the person performing the action is hierarchically supe- Ursa rior, because he is the 2: (president of the company), but he still belongs to the speaker's uchi circle. Therefore, when talking with someone in the sote circle about anybody in our wchi circle we will use Ey a. @® Conjugation & + Root + F4 / W*F. Take any verbal root (1.31) and add 8 in the beginning and + 4 or (y= in the end (with (+ it is even more formal). Bx: * * * & ( (to write)> -masu form: $ x #4 = root (without #4): & * = we add & and $4:5% 444. Note: With suru verbs, we only add = (not #) in the beginning: bas 43 (drive), 2RA+ 2 (UI guide you). ekEOS e9R4 © CARE Lee Boca 4) 44 I'd like to consult you. ebRA v tt. + Professor, I'd like to read your book. Observations The same happens with {#38 as with #438: when talking to somebody equal or inferior about an action we have performed in the interest of somebody superior, or in his or her presence, we will use of 4834 verbs and structures in their simple form. eo HERE tc FE X LBITH £ (To a classmate) I gave the teacher a book. eG Rott mee EL &z (To a colleague) I’ve seen the president’s project. You have probably seen that sometimes the prefix ~ or 2~ is used before nouns or adjectives: this is a way of showing respect used in the three kinds of formal language. We will put ~ before words of Japanese origin —which are usually written with only one is (early), 8% (car), 8% (your house), & 44% (letter), etc., and kanji, such as =~ before words from Chinese origin —which are usually written with two or more kanji—, such as 2 RI (your family), ©9888 (worry), oF = #95 (consultation). There are some exceptions, such as # f¢¥ (meal), 457% (healthy), 5% (telephone), etc. Honorifies #38 —73— HNXhonns Polite speech (T #33 ) ‘The third and last mode of honorifics is the T #48, or “polite (7) language (#).” This mode is, perhaps, the closest one in usage and concept to our English usage of “titles” (Mr., Mrs. etc.) and the corresponding polite language used with them. It is merely a politer way of speaking, involving no special hierarchies. Using T ## is quite simple, since it is based on always using the T+ and ~ + verbal forms, which we already studied in 1.9 and 19 (book), respectively. obit IA CT Pm a neurosurgeon. SWB a4 + There is a turtle here, @ SOA 1 Ht Baz Le That person stole up to one hundred million yen. If we want to be even politer, in the case of & 4 / 4, we can use © Xs $F or, in the case of ©, we can use COX OET. oun he bo © HL HAA ETO XO F I'ma neurosurgeon. papery OLSEN S ARMS LURG There is a very famous picture here. In T #4, the prefixes #~ and =~ are profusely used before nouns and adjectives, although it is women who, by far, tend to use them more often: 3 @ 29H, SKLW TH 4a This flower is beautiful, isn’t it? at tk @ SET OM eS T EL I have had lunch in the shop. KE, MB LOUk LAD? id you say something, teacher? SWS ALBIS THET ‘Mr. Miura is waiting. HEALER TORT ‘Mr. Miura is waiting, TORT ‘Me. Miura is waiting. CHELEORTORORS ‘This is the teacher's book. REDCSRIEM CHD? ‘iat te teachers pinot —74— 8528 Lesson 52iif] || Manga-examples Now you have realized how complex and difficult it is to master the usage of Japanese honorifics. For the moment, try to concentrate only on understanding what you are being told in formal Japanese; later on, when your Japanese has notably improved, you can try using it yourself. a) Sonkeigo See3e 3S. BEBE STVSDLHSOTIM...? client (noun suf.) what por do be be a Madam, what are you doing? Our first example gives us an instance of the usage of the language of respect or Hk. ‘The normal version, of the sentence in this panel would be 1 & \\30tTt#? Notice how the verb 2: © is used here, it being the “respectful” version of + (to do). An important point is that even when forming the gerund (1.24, book 1), which is usually Stadio Ronen formed with the -te form and the verb (4 (to be), the latter is sometimes replaced with its respectful version 65 > LP 3. Thus, the Ct» part (to be doing) finally becomes # ¥> TH 3 L PS It is worth mentioning that the verbs Who LS, 435, HoL PS and (ESS are slightly irregular, because their -masu forms are, respectively, 95> Lee, BEL 447,65 eb £4 and < 54%, Thatis, before the final £ 7 we add an \\, which, according to the rules, should not be there, Therefore, if we changed the sentence we are now examining into the -masu form, we would obtain 1 #% So TOOL OWETH. Likewise, it is essential to know that there are “formal” versions of some words. The most typical examples are % (replacing ‘A, person), % f= (formal version of if, who?), or the adjective £4 Ls (instead of 4», good, well). Likewise, in formal language, we opt for the kosoado 25%, £55 and 4% 5 instead of = 2, €< and 4 = (1.34, book 2). Honorifics #%38—75—b) Sonkeigo in the simple form Ro Des Mee (WH HIE LES soon Horibe professor sp come Professor Horibe will come soon. EB ET YD ADS nee OFF professor himself operate do sep (nom) be Itwill be the professor himself who will operate. In this example we see two instances of the formal language of respect or 4 38. On the one hand, we have the special verb 55 4, here replacing R43 (to come). On the other hand, the speaker also uses the rarer form of the suru verb tine B (to operate), that INC Keo Nias is, W778 HS. In this last case, 417 2% % could have been used as well (remember 2 5 & is the respectful version of +4 ), with hardly any nuance differences. ia 448 (Professor Horibe), who that’s why he uses #63 Notice how in the sentence, the speaker talks about # when is someone he respects, someone superior to himself: speaking, However, since he is talking with someone who is his equal or inferior, he deliberately leaves his verbs in the simple form to denote familiarity towards him / her. ©) Sonkeigo and kenjago in the same sentence Te = Yoshida: $52 l PHL TH, TATHO THEFT. nothing say (although), everything know be Even if you say nothing, I know everything. ‘The languages of respect and modesty can be used at the same time, combining forms as we see here. On eA TT VOC the one hand, Yoshida is talking with a stranger, so he chooses to use the verb of respect (4 833) 8 > L& (to say), with which he raises his interlocutor’s position. On the other hand, when speaking about himself, he uses the verb of modesty (3# #4) Tver oles 8 (to be), lowering his position to indirectly r that of his interlocutor. Notice how in til the gerund ~ C1. 4 is changed into ~-c 4S (~CH 1) ¥4 in the -masu form). Notes: We studied the ~-C & form (although) in L.4g. The verb 5% % (to understand) is usually written $4 8, but, sometimes, for either style reasons or because of the author's preference, #1 4 is used. ~76— 5288 Lesson 5252 2B prefixes and kenjogo BR SHES COMBA RS ‘well... client (noun suf.), departure until (nom) recess rest can If you please... Ladies and gentlemen, I'll get a room ready at once... BURECHERLATOT, LIZ. room por prepare do because, go altead ... where you can rest until departure time. Come in, please. In all three modes of formal language the honorific prefixes #~ and ~ are very frequent. In this example there are several: oe (client), CH (departure), 81% (rest), %# (room), and “HS (preparation). By the way, there are some very common words from which we normally do not separate this honorific prefix, en when talking in colloquial Baber Japanese: 8% (tea), 8 (money), © meal), 8% (hot water), 8 #4 (cake, pastry), B&B (bath / bathtub), etc. Notes: Sometimes we will find the =~ or #~ prefix written in kanji: 9?~. Notice in this sentence how the client (.) is usually treated as #' #, with the suffix of highest respect ~ # (15), and that’s because, as you know, the client is “god” in Japan. (rice, e) The uchi-soto relationshi in formal language arr F Chiaki: 2 EWS NFA SULT OT... now Kawai sp come because... Kawai will come right away... As we saw in 1.45, the difference between those who form. part of one’s own circle (uchi) and those who don’t (soto) is very important. Here, Chiaki says that “Kawai is coming” using the verb = 33, (to. come), which belongs to the language of modesty (#38). Moreover, for extra “hum- bleness,” she chooses not to use the honorific ~ % 4 after Kawai’s name, something surprising if we think thathe is. "°° actually Chiaki’s boss, whom we would expect her to treat him with respect. Chiaki considers Kawai as an uchi member before her interlocutor (a visitor from another company who clearly belongs to the soto circle), and that’s why she uses Si 8 Honorifies 9s8—77—f) A new form ee LB OR badies 2 Ce Recepcionist: FE FEASKLEFOT YA SHS TSO. now investigate do because a little wait please Tl check it at once. Wait a minute, please: ‘There is.a very common request form which, despite being quite formal, is not considered part of #32: itis #5 + Root +he 3 (1.24 and 35), but more formal. This construction is \, equivalent to the request made with ~~ ¢ formed with the verbal root (1.31), in front of which you add (or = with suru verbs), and then you add ¢ 3 t behind. In this panel we see # #4 ¢ #2 8 \ (wait, please), which comes from the verb #> (to wait). Other examples would be: BAS (#8 = (rite plese, BENGE EEC ES (be careful, please), which come from the verbs & ¢ (to write), ws & (to sit), and 3 = $4 (to \ (sit down, please), or 2 be careful), respectively. Learn this form well, because you will find it more than once. In the panel we also have 8 #1 £4 (I check), an instance of the structure # + Root + s+, which belongs to Ueki. The verb i Notice how (7:4 is sometimes written in kanji (5+), like in the example. <& means to investigate, to check. 8) Teineigo Ete Aiko: Itt. CHL PAPRORH TOS ORT. yes. here Itami airport pop reception be Yes? This is Itami airport reception office. Finally, we will see an instance of polite speech or : notice how Aiko uses the verb 2% \ £4 instead of ¢+ (to be). The usage of =x \ £+ is one of the most common characteristics in 7 ##- For the moment, you don’t need to master hono- 2 a = = SMR BO ot it (Sait Ear rifics. If it is any consolation, many native Japanese, mainly the young, make mistakes when trying to use it. However, recogniz- ing the different patterns of usage will be helpful, because they are widely used in daily life, mainly in sales clerk-client relationships. —78— %52:R Lesson 52What are the three kinds of honorifics in Japanese, and when do we use each of them? Give the 4 iB version of the verbs % 5, @ yous, Ko, SWS and ##(. To what normal verbs do these SH verbs correspond: cs FORE wtets HUES 8 and “189? Translate: HARE es eB Bs KGS % va Be F A: Nomura, Ee: teacher, a3: ticle, = <: to write) @ Seningsis im she ~ pHs form the © we Be (to walk), 5% (to sleep, g.1), #4 (to kill), and % & (to run, g.2). Is the 8 ig sentence correct: “Hatt Rn SMa cs ues? Why? If it isn’t, correct it. Che 1, Bh: movie) Translate: 5 512 BWW ope ‘Dies SEORT. (BOL: tasty, A shop) In which case would this sentence be correct: & Pucdil crore chia Eee (G2 teacher, 1144 4 : to ask) Translate it Translate: £5 BOWFIBRY (ESO. (4: chair, HF : to sit) To which of the i #4 does it correspond? Honorifics #38 -79—Ga =2))i@ : EME BAB After the intense lesson on formal language, there is nothing better than taking a look at the other side of the coin: the casual speech, that is to say, the spontaneous street language. If you wish to become able to understand comic books and movies in Japanese, this lesson will be essential. Overview Before starting with the contents, we want to make it clear that within the casual speech there are several “gradations” which can give very different connotations to our Japanese. To simplify matters, we have only distinguished two modes: colloquial and vulgar language. You can use colloquial language to speak informally with very close friends, but avoid using the vulgar language, which is only used profusely in movies and manga; in real life you will seldom or never hear it. In this lesson, we will use the mark (C) to indicate “colloquial language,” and (V) for “vulgar language.” Generally, Japanese casual speech has several patterns: elision of grammatical particles, frequent usage of end-of-the-sentence particles, usage of the imperative, disloca- tion of sentences, contractions, shortenings, particular grammatical patterns, phonetic changes, and, finally, special vocabulary. Let’s study them one by one. Particles One of the most obvious characteristics of spoken and spontaneous Japanese is the frequent elision of grammatical particles. You can easily verify this by looking at the many manga-examples in the previous lessons. © X 7. BF Mo kb Mary bought a hat. (female C) eam, TAK \A 1 & Twant to go to the movies. (C) In the first sentence the topic particle tt, which should follow * 7 4 —, is omitted (1.37), and the direct object particle # (1.40), after # # is omitted as well. In the second sentence, the direction particle {= (or ~, 1.38) after 5 ## has been left out. —80— 353% Lesson 53On the other hand, the end-of-the-sentence particles are used all the time in spoken Japanese. Review 1.17 (book 1) very well, because it will be essential to understand casual Japanese. Take a look at the sentences we have just seen: in the first one, we have the female particle for emphatic statement 4; and in the second one, we have the statement particle t. Likewise, the emphatic tag 4 # £ (1.40) to end a statement, as in the second sentence, is extremely common. Imperative, swearwords, and dislocations The Japanese vulgar language (and sometimes the colloquial) is characterized by being almost the only register where we use the direct imperative we studied in 1.30 (plus the ~< ¢ A form in 1.45), and the various swearwords we saw back in 1.23: © SAGE, SAFE! Go t0 Japan, you silly ass! (V) © EL TK HL, OHH Come on, lend it to me, that dictionary. (C/V) OFS OROL EL, 7Y8HA I don’t want to go the damn school. (V) Notice how we often find dislocated phrases, like the second and third ones, where the usual order of the elements has been changed to highlight a certain part of the sentence. | RSAC) RAT MATURES wittzs | RATION AU RATIO RRCGNITL UO | MELEE HARE ORARO RAKE pe ah BAe zi RAGA 3 HLO9 tho T| RTPI | 57d Bolten | ease Casual speech ¢ HtContractions Now take a look at the table on the previous page: we have summarized there the most common contractions in the Japanese colloquial and vulgar registers. You might sometimes find a written contraction that is not there: when that happens, read the sentence aloud and try to imagine where it comes from; you'll probably be able to figure it out. ern, # atk | Ive bought beer (just in case)! (C) eb eo TONO, 7-42 Can leat it, the cake? (C) @ RM > Thi, BE CHR BA The city of Osaka is great fun. (V) eH, FU RM eh A C689 Tomorrow I'l read a fantastic magazine. (C) OBA TLE? Hitt CE ORBI? What are you doing, playing? I’ve told you to work, haven’t I? (V) ‘There are other “minor” contractions, such as rs t% A m (something, u.41) | ¢ 2» => om (somewhere, 41) | CAE HIt/HHUS CY y/20 9/0 » (this, that, that over there, 1.34) | 25 5/€ 65155532 545/%54/h 5% (this way, that way, that way over there, 1.34) | TE 0° w= L 3 A604 (it’s no use / it can’t be helped). Shortenings Another characteristic of casual speech is cutting or abbreviating certain constructions or words. The most typical are: } O=> A (thing, v.57) | & © 4k = (place, 1.58) | Pe LHBOSe +s (perhaps, 1.43) | OHA (emphatic tag, 1.40), among others. Notice as well the elision of & in the potential form of verbs in group 1: #55 AS9 “ in the second sentence: it is sey the abbreviated version of It 4 (good morning). The #4, ®- in the third sentence is the simplification of 9 * (my house). —82— 953 Lesson 53=o this guy ZyFttB to have sex BW9 that guy _ RDS to take so. fora fool o> tutgyoerttee | ey pe PT FYAFS — topickup Be Kid / brat groctsty — handsome/cool| 44S tobe scared stiff ssa you (threat) | ocd %u ridiculous 3H — tomess around BU kid / midget try great / cool to get angry Fr) bicycle eeu stingy xpres a ae a tacky 2b! ‘hey! (threat) CHR you (threat) huge ¥EA4 serves you right FIE(SARY) weird / pervert horrible 8 3)~ super (very) cea truly risky / dicey Hooper very, Grammatical patterns Take a look at the table in the previous page. There are a few grammatical patterns only used in colloquial or vulgar language. For instance, ~¢ > 4° is avery rough and vulgar expression with a very strong nuance of contempt, ~ t= 2 3 2 is used to indicate in a rough way that “'ll be damned if..” or “I won't allow...” and 3: ~ adds brusqueness to words like it 3 (to hit) or + (to kill). @ CHA, BH TRAAMAD as |! ? You, do you take me for a fool?! (very V) ORS, Att ChH*S ME! Tl be damned if I lose this match! (V) BRotAK The adverb $= ¢ comes from + <'\», an adjective constantly used in colloquial re- BoB4 Z| What are you laughing at? I’m gonna kill you! (very V) gister to indicate “fantastic, great, wonderful, cool,” etc. + << is an adverb with the meaning of “very,” synonymous of & ¢ (4.45). The really peculiar thing is that very often + <'v is used in the same position and with the same meaning of “very” as + etc zoos KR, I MUAL! It’s real sweet, this apple, isn’t it? (C) ; despite this being a grammatically incorrect usage, it is very common. Another curiosity is that there are words whose main consonant is “doubled” in casual register: Lf USUf > 9 (only, 1.58) | PIES % oUF Y (L knew it) | 20> BA Ki) (not much, 1.45) | $223 > 8 (awhile ago) | #*>RA = (as it is, 1.47). © X8if 5S 5%, BH ! Don'tmake only complaints (don’t complain so much), man! (C) e ShAn, DEARTH WAH YL I'm sorry, but I want to remain as friends. (C) In the table above you have a list of words almost exclusively used in colloquial contexts, which should be very helpful when reading manga or watching movies. Casual speech ¢ #2 ft BRB-83—Questions in the negative In English, like in the sentence Won’t you come?, we sometimes make a request in the form of a question by using verbs in the negative. We are actually asking our interlocutor to come, in an indirect or “soft” way. The same happens in Japanese, but it is much more frequent and in all registers (formal, colloquial, vulgar...) @ SB BARTOREY EBA Mm? Could you come here, please? bat wba § oe Ra innit ew? Won't you come with me to the museum? oz es HULL ROO, EHF Isw't that very far? BC (EW? You, how about answering the phone? The first sentence belongs to the formal register, the second and the third ones are colloquial, and the fourth is colloquial, verging on the vulgar. Be very careful with these Kinds of questions as, even though the verb is in the negative, they are actually requests. We also find U » % \»? at the end of sentences, used when asserting something and trying to obtain our interlocutor’s agreement (like the English tag questions). Be care- fal as well with the more colloquial version ¢ ~ £., used mainly in Tokyo and nearby. @REOMIEA, BOA CPU? Her bag is very expensive, don’t you think? © BOTH, HALU eA? That manga is interesting, isn’t it? Answering yes / no questions Yes or no questions are those that can be answered with a yes or a no. For example: Are you hungry? or Shall we go out for a walk? From our point of view, Japanese is peculiar because it is “logical” in its answers. For example, if we are asked Arent you hungry?, and we really are not hungry, in English we answer “No.” In Japanese, we must answer “Yes,” that is, “Yes, it’s true that I’m not hungry.” If we are hungry, in Japanese we would answer “No,” that is, “No, it’s not true that I’m not hungry:” in other words, we are denying a negative, which finally gives us an affirmative. It sounds complicated, but if you consider it carefully, you will realize it is more logical in Japanese than in English although it may be difficult to get used to e BRERSE CROATHH? | ttey (her (mo) Don’t you want t eat meat? | Yes (I don’t want to eat) oe RBEAE SEP ROO? |OUR, BI BSE Don’t you like Mariko? | No, you’re wrong (I like her). 84— 953% Lesson 53

Japanese in Mangaland Vol3

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