-rJ?

/ /

A GUIDE TO LEARNING

HIRAGANA
AND

KATAKANA

? '/ .. ~

A GUIDE TO LEARNING

HIRAGANA
AND

KATAKANA
Kenneth G. Henshall with Tetsuo Takagaki

IV "0 11j ~\\ 11' 14 Ii; :7 Ii; 111 2

-4

<,

-,I

~4

CHARLES E. TUTTLE COMPANY

Rutland, Vermont & Tokyo, Japan

Published by the Charles E. Tuttle Company, Inc. of Rutland, Vermont and Tokyo, Japan with editorial offices at 2-6 Suido l-chome, Bunkyo-ku, Tokyo 112

© 1990 by Charles E. Tuttle Publishing Co., Inc.

All rights reserved LCC Card No. 90-70374 ISBN 0-8048-1633-8 First edition, 1990 Sixth printing, 1997

Printed in Singapore

CONTENTS How to Use This Book An Explanation of Kana PART I: HIRAGANA Practice a - ko Mini Review a - ko Practice sa - to Mini Review sa - to Practice na - ho Mini Review na - ho Practice rna - yo Mini Review rna - yo Practice ra - n Mini Review ra - n Voiced and Half-Voiced Sounds Review of Voiced and Half-Voiced Sounds Review of Double Vowels and Consonants Combined Sounds Review of Combined Sounds Review through Place Names and Period Names General Review PART II: KATAKANA Practice a - to Mini Review a - to Practice na - n Mini Review na - n Voiced and Half-Voiced Sounds Review of Voiced and Half-Voiced Sounds Combined Sounds Review of Combined Sounds and Double Consonants Review through International Place Names 7
9

17
19

24 26 31 33 38 40 44 46
50

52 54 57 59 61 63 65
69

71 81 83
96

98 100 102 104 106

PART TIl: FINAL REVIEW About Japan Food Items Quiz Flora and Fauna Quiz Personal Names Quiz Kana Word Search Quiz Answers Do-It-Yourself Kana Charts The lroha Verse

109 111 113 114 115 116 117 118 120

HOW

TO USE

THIS

BOOK

The main aim of this book is to help students achieve competence in reading and writing

kana, the phonetic symbols that are fundamental to written Japanese. The book starts with a section entitled An Explanation of Kana, which contains everything the student will need to know about the two kana systems of hiragana and katakana. Part I of the workbook section then systematically introduces each hiragana symbol, voiced form, and combination, and provides ample practice and review. Part II does the same for katakana, while Part III
provides an overall review. The Explanation of Kana outlines the function and origin of kana, the difference between the two kana systems, the various sounds, the combinations, and the conventions of usage. It attempts to be detailed and thorough so that it can be used for reference at any stage. Though all the information about kana is grouped together in this one section for ease of reference, it is not expected that the student will read it all before starting on the practice pages. In fact, to do so might give the impression that kana are perhaps rather formidable, which is not really the case at all. (Just ask any Japanese child!) We recommend that the student start work on the hiragana practice pages after reading the first three subsections on the function, origin, and basic sounds of kana. After fmishing practice of the forty-six basic hiragana symbols the student should go back to the Explanation and read the subsection on additional sounds, then work through the rest of the hiragana practice pages before moving on to the katakana practice. The final subsection, on other points to note, is mostly concerned with special katakana combinations and can be left until the appropriate point in the katakana practice pages, just prior to the final review. Students may modify this order, but we recommend fmishing practice of one kana system before moving on to the next. In the practice pages of Parts I and II each kana symbol is allotted half a page, permitting plenty of writing practice in the boxes given. We suggest working in pencil, rather than ink, as this will allow for erasing and repeated use. Stroke order and a pronunciation guide are also given for each symbol. In addition, for each symbol there is an illustration of its graphic evolution from its "parent" character (see Explanation of Kana) and a reference number for that character as it occurs in A Guide to Remembering Japanese Characters (Charles E. Tuttle Company, 1988), together with the character's pronunciation. This may be of interest to readers wishing to continue their studies of written Japanese to an advanced level. (However, some of the original characters are no longer commonly used and therefore are not included in A Guide to Remembering Japanese Characters.)

After approximately every ten symbols there are "mini review" pages for further practice, this time using whole words. These are cumulative, containing symbols not only from the group just completed but from earlier groups. The mini reviews can be used purely for copying practice, or, by covering the cue kana on the left side of the page, as more challenging writing exercises. They can also be used as vocabulary exercises. Part III, the Final Review, contains exercises, quizzes, and "do-it-yourself' charts. Unlike the reviews in the first two parts it combines the two kana systems, as is natural in Japanese texts. And for a more natural effect the boxes used earlier in the book to help achieve even spacing and proper stroke lengths are dispensed with in this final part. The words appearing in the reviews have been carefully chosen in keeping with an additional aim of this book, which is to expose readers to key words related to Japanese society and culture. The prime criterion for selecting review words was their suitability for practicing the kana symbols, but we thought it would be helpful to students if in addition these words could, whenever possible, have particular relevance to Japanese culture. About half of the 450 or so vocabulary items in the book fall into this category. It is beyond the scope of the book to explain these in detail, but students who take the trouble to find out more about them will be rewarded with a broadened appreciation of Japan's society and culture. In short, we intend that these words should be used as a sort of checklist for an exploration of Japan, rather than simply memorized as isolated vocabulary items. Readers will occasionally encounter a semicolon between English equivalents given for a Japanese review word. This indicates that the Japanese word is a homophone, that is, a word having a different meaning but the same sound as another. Normally these homophones would be written with different characters, but when expressed in phonetic kana script or romanization such differentiation is not possible. The English words separated by a semicolon thus refer to different Japanese words sharing the same kana form. (Commas between English words simply indicate nuances of the same word.) It should also be noted that there is sometimes a subtle difference in intonation between "homophones," which cannot be determined from the kana or romanization. Finally, readers are advised to seek specialist or native-speaker guidance on intonation and pronunciation. It should be appreciated that the pronunciation guides given in this book can only ever be approximate, owing to the variety in pronunciation of the same English word in different parts of the world. Also, some Japanese sounds cannot be precisely represented by English letters. The Japanese "r," for example, actually falls between the English "r" and "d" But remember that, with both speaking and writing, practice makes perfect!

AN EXPLANATION

OF KANA

The Function of Kana

Kana are purely phonetic symbols. That is, they are written representations of pronunciation. They can express the entire Japanese language in writing, though in practice the written language uses a mixture of kana and kanji (characters taken from Chinese). There are two kana systems: katakana and hiragana. Katakana is now mainly used for words taken from languages other than Chinese. Hiragana is the more important of the two systems, and is used for everything not written in katakana or kanji. Kanji show meanings of words, though they also have pronunciations. Normally they are used for nouns and the the unchanging part (the stem) of verbs, adjectives, and adverbs, while hiragana symbols are used for the changing parts (notably endings). For example, the verb iku means "go," while ikanai means "not go." The stem is i-, and this is usually written with a kanji, while the variable endings -ku and -kanai are written in hiragana. Hiragana is also used to write particles, and other words where kanji are not appropriate. To all intents and purposes the two kana systems are not interchangeable, and are rarely mixed within a given word. The rule is: katakana for non-Chinese loan words, hiragana and kanji for the rest. The student of Japanese should ideally aim to learn all the two thousand kanji in common use. They playa very practical role in graphically and distinctively conveying the meaning of a written statement, unlike a purely phonetic script, and thereby aid rapid understanding. And naturally, no one can expect to read unedited Japanese texts without a knowledge of kanji. However, learning the kanji is a time-consuming task. Many of them are structurally complex, and many have a wide range of meanings and pronunciations. Kana, on the other hand, are much fewer in number, with only forty-six basic symbols in each of the two systems. They are simple to write, and, with very few exceptions, they have fixed pronunciations. If you don't know the kanji for a particular word, but know the pronunciation, you can just express that entire word in kana (hiragana, that is; remember that katakana is for non-Chinese foreign words). In other words, while not ideal, kana (hiragana) can substitute for kanji. This means that even beginners can express themselves in functional written Japanese with relatively little effort.

The Origin or Kana

The word kana derives from karina, meaning "borrowed name," for the kana symbols are simplified forms of certain borrowed Chinese characters used for their sound (though, confusingly, the same characters lent their meaning in other contexts). The prefix hira- means "ordinary," with connotations of "informal" and "easy," and in this particular case "cursive." Thus hiragana means "ordinary (cursive) kana," and indeed hiragana has traditionally been the more commonly used of the two systems, and the more cursive. The hira-

gana symbols are simplifications of whole Chinese characters. For example, the kana ~
(pronounced like the "a" in "car") derives from a cursive rendition of the character ~ (pronounced "an"). Kata- means "one side" or "partial," pointing to the fact that katakana symbols derive from one part of a Chinese character. For example, !{ (pronounced like "ee" in "meet") is the left-hand part of the character (also pronounced "ee").

1t

Both systems evolved around the end of the eighth century. In those early days hiragana was used mostly by women, while men preferred to use the more angular katakana. However, these associations have long since disappeared.

The Basic Sounds Represented by Kana

Kana symbols basically represent syllables, and the kana systems are therefore syllabaries
rather than alphabets. Generally the syllables are crisp and clear combinations of one consonant and one following vowel, or one vowel by itself. There is only one consonant that exists as a syllable and kana symbol in its own right, n. The use of English letters to refer to Japanese sounds and symbols can produce a number of apparent irregularities. Among other things a combination of consonant and vowel in Japanese will not necessarily have the same pronunciation as in English. For example, while ",~, is found in the h group (see the table that follows), its pronunciation is actually closer to the English sound "fu" than "hu." To facilitate pronunciation the romanization used in this book is a version of the Hepburn system, which transcribes ",~, asfu rather than hu, but readers should appreciate that there is no direct equivalent in Japanese to an English "f." Similar cases of convenient but seemingly irregular romanization are found in the s group and t group. This may begin to seem complicated, but in fact correspondence in Japanese between kana spelling and pronunciation is much simpler than in the case of English and its alphabet. Attempts to express certain loan words in katakana can seem

10

awkward, but that is really a problem relating to the Japanization of non-Japanese words, rather than to the kana system itself. Each of the two kana systems contains the same basic forty-six syllables, arranged in the same order. The basic syllabaries are as follows (combined for convenience, with the katakana written slightly smaller).

VOWELS

e
u

·ch I -p"
k
S
til

1}\tiL
"~.

\; \
~

A
i
~

,
~

--tJ
sa
ta

ka

t n

t: ~- 1?
t.. Lt:d-

sl shi
4chi ni

ki

s
til

~i

m
y r
W

i
,

na 1\ ha

t:

»e
ya
ra

rna

V J-r

- tIJ ,
I::::
hi
~

<

__!L
ku su

__L {t

*Lt

:IJ}

;11'
"")

'-f
0

_2L nu _2_ .... ) \ fu ~

-:J ~ tsu

<.

ke ,tz se

'-

.:;te

LL so
_L

:J ko

-k..
ne
~

t ~ to
Q)

mi

L:J

_L_

- ~)Hi'J
wa

cL Yb
~

mu
;J_

tb

-f..

he

~1ho
~

It,

rio

me

vu
~ ru

I~rf
Wi (~/

fL ire

t mo J: _;L vo
J;; __Q_ 'ro

g '3wo

This order is known as the gojiionjun, meaning "the fifty sounds order." In fact, there are now only forty-six basic symbols (sounds) officially in use. Yi, ye, and wu do not exist.

J/:) and

we

(j_, / _:e.)

were officially removed from the list in 1946 since the

sounds were considered sufficiently close to i and e to be represented by the symbols for these. However, the symbols for wi and we are still encountered on rare occasions. The gojiionjun is the standard order followed by dictionaries and other reference works. It

11

is therefore particularly important to remember it. To this end, the following mnemonic, which is a modified version of one taught by Professors Dunn and O'Neill of the University of London, may be helpful.

Ah, kana signs! Take note bow many you read well (n).
The reader will have taken note of the fact that the first letters of these words follow the gojiionjun consonant headings. With apologies to mathematicians, even the syllable n (Iv) is represented, by the mathematical symbol "n" indicating the utmost number (in this case 92, the sum of the two kana systems). The syllable n (Iv) is sometimes called the "independent n" but in fact it can never be used truly independently. Nor can it ever start a word. When working from romanization it is sometimes difficult to tell whether a non-initial n followed by a vowel is a syllable from the could be either t-:.. t:::,(valley) or p:.Iv\l \(unit). Context usually makes this clear. To avoid ambiguity some romanization systems use an apostrophe after the n that represents Iv. n- group, or whether it is n ( Iv) followed by an independent vowel. For example, tani

Thus t:.~ It 1can be romanized as tan'i. Note also that in romanization Iv is sometimes written as m before a p, b, or m, as in shimbun for shinbun (newspaper). This practice is by no means universally followed (and is not followed in this book), but its existence does said to vary slightly according to context.

indicate one of the exceptional cases where the pronunciation of a kana symbol could be

Additional

Sounds Represented

-.

by Kana

In addition to the forty-six basic symbols, there are sixty-one classified modifications and combinations in each system, and a few further special combinations as well. This may sound alarming, but in fact it involves only a handful of new points to learn. The first is the dakuon, meaning "voiced sound" or "hardened sound." Sounds starting with the unvoiced consonants k, s, t, and h are voiced as g, zlj, d/z/j, and b respectively if the diacritical marks " are added to the upper right side of the basic kana symbol, as shown in the following table. (See also pp. 52-56.) The table also shows handakuon, meaning "half-voiced sound," which applies only to sounds starting with h. The addition of a small circle 0 to the upper right side of the appropriate basic kana symbol changes the pronunciation from h to p (as opposed to changing it to b in the case of the full dakuon ).

12

VOWELS

a
g z/j dlz/j b

e
gu

Il~'fI" ga
-'--

~
-...;..

~"

....,-.,
za

..

..

---'-

'~'

da
J \"

L:' ?"

, ,:/

gi

4-"
ji e_" bi

ji

~i'ba 1J"
~~o

\0 pa
J

VO

CO
pi

.....

F' ->" ~ zu 1" c" do de , " 7" It,' -s- bu be li" bo "" t.z; ~ "' ~ l~o __g "' ) po pu
\Q \

r"

<"

-L
~

tt"
~'

ge ~"
're

'1"

.., .,
'-

::l"

go

zu

::;-tI

.. ~ zo

pe

Ji and zu are written 1..:' and except when they clearly derive from chi (1? ) and tsu (-:::» in compounds or repeated symbols, For example, hanaji (nosebleed, from hana [nose] and chi [blood]) is

t·;

~ct1;;:ij'; and tsuzuku

(continue, from tsutsuku ) is ~

/"< .

7-/L
A combination of a consonant and y- is known as a yoon, meaning "contracted sound." Any of the seven basic consonants k, s, t, n, h, m, or r, or voiced or half-voiced consonants, can be used. The symbol that represents these consonants plus i, for example! (ki) or l (shi), is followed by a symbol from the y- group - either ya, yu, or yo as appropriate. This second symbol is written smaller, while the i sound is barely pronounced and is dropped in romanization. Thus kyo is expressed as ~ J: and shu (syu in some romanization systems) as L~ . If the J: or loP of our examples were written the same size as the preceding symbols, then they would be treated as uncombined symbols and read kiyo or
shiyu respectively. Full tables are given below. (See also pp. 59-62.)
.:

u
~l(1

f I

0
~::L.

a
kyo

ky sh ch ny hy my
ry

~~

kya sha

~~

kyu ~j

~3 ,...._,__

l-t

7~

~::~ L=.p nyu t=l nyo nya I::::.~ t::.-v hyu o- hya V~l:::;l.. V.r. hyo .:-~ J+~mya Jt~mvu J-tJ. ~myo
~.:L ~3

-?~-~ cha

L~ 7:1.. L~ 5"9 shu sho

17.p
.4-3chu

_::..~

:;:.,_

1)J: ~ cho

_. :l

by
py

V~

t)~

I}"" rva

').p

lJ~

rvu

tJet Wb-. rvo

Note that

+'

combinations rarely occur.

13

Some consonants - essentially k, s, t, and p - can be doubled by inserting a small tsu (.., or \~) in front of them. This combination is known as a sokuon (double consonant). Thus is not pronounced as such, but the consonant that follows it is given, as it were, a double amount of time for its pronunciation. It is important to apply this extra time to the consonant only, and not to the fol'y

gakki (school term) is expressed as fJ\'~~. The little -e or

lowing vowel. Thus the word in our example should be pronounced gakki and not gakkii. These double consonants can never begin a word. (See also pp. 57-58.) Students commonly make the mistake of trying to write a double n, as in words like annai (guide), with a small r> • The correct way is to use Iv to represent the first n. Thus annai should be written

;i,Iv ts: ~'.

The lengthening of vowels (including the vowel sound of syllables in which a consonant precedes the vowel) can also cause errors, especially in the case of the long o. In romanization long vowels are usually indicated (if at all) either by writing the vowel twice or by a macron, as in uu or for a long u. For loan words in katakana, a barlike symbol - (or I with vertical script) is used. Thus rablf (rubber) is written ::;/";''-. In hiragana, the vow-

els a, i, u, and e are doubled by simply writing ~, ~), oj ,or respectively after the preceding symbol. Thus okdsan (mother) is written 'J,'IJ\a, ~ Iv. (The doubling of a and e actually occurs infrequently in hiragana. What sounds like a long e is usually e followed by i, as in adding

*-

-l:t Ivttlr l, sensei

[teacher].) A long

can sometimes be formed by doubling in the

same way as with other vowels, that is, by adding

-? (u).

h', but it is more

0

commonly formed by

Thus so (so, thus) is written ~., . The long

0

nounced slightly differently from the long

that takes
0

1,but that is no longer true, and it

t
These include

that takes ;1;' was once pro-

is necessary to learn each word with a long

sound case by case. Fortunately, there are

only a few common words that require the addition of

okii (big,
road,

t 1)' L J).

11' ,~ p), oi 1

(many, ~'-J;' ~ toi (far, to (ten, I)'), and tori (way, Students should take particular care not to be misled by the common romani0

»,

t.,,· ~\),

1J' as opposed to ~.

zation practice of writing a long

as 00, when in hiragana it is usually

'h' (0) plus J.; (u).

Caution is also needed when transcribing from kana to romanization. Always check that an apparent long vowel really is a long vowel, and not two unlinked vowels. A typical case of the latter is a verb whose variable ending starts with the same vowel as the last vowel of the stem, or appears to combine with it to make a long o. For example, the verb ~..;, meaning "go with," should always be romanized as sou and not so or soo. (By contrast, romanization for the verb

rot.,

meanthe

ing "thus," being a genuine long vowel, is romanized as so or soo.) Similarly, suu is the

t 1(suck), rather than SU, and kiite is the way to romanize

suspensive ~ ~) '( (listening), rather than kIte.

14

Other Points to Note

There are three common cases where kana usage is distinctly irregular. They all involve particles, namely the topic particle wa, the object particle 0, and the directional particle e (meaning "to"). These words are written ~cl:, ,and A,. respectively, and not *,,1,', and as might be expected. The irregularities result from the failure of writing conventions to keep pace with pronunciation changes over the last century or so.

it

Certain further usages need to be noted with regard to katakana loan words only. These are relatively recent attempts to express non-Japanese words with greater accuracy, and tend to be an extension of the yoon principle (~.t etc.) seen earlier. That is, they combine two kana symbols, the first one lending only its consonant sound and this fact being indicated by the small size of the second symbol. For example, "f' sounds can be approximated by following fu (7 ) with a small vowel. Thus fa, fi,fe, and fo are written as 71', 71, 7:r., and 7;(' respectively. Similarly, "q" can be represented by ku (1) plus a small vowel, as in 7.".-,9-(quarter). A German-style "z" (as in "Mozart") can be shown by tsu (0/) plus a small vowel, Le.,;£:'- '1'1' JLf<Mozart). "She" (as in "shepherd"), "che" (as in "check"), and the

voiced version "je" are written as 7:t, *~and Though not a consonant, U (17) is used in a similar type of combination, to produce "w" sounds. As mentioned earlier, the sounds wi and we are still occasionally found expressed by..:q: and 1!- respectively, but nowadays are usually written as 1-71 and as .fJ-I A ~ - . Theoretically ==J could be used for wo, but this has become so associated with the object particle 0 that 17,.,r is used instead. (Wa, however, is represented by '7 .) In similar fashion, i can be followed by a small .x;. to express "ye." Thus "Yemen" is an extension of the use of has seen diacritical marks added to it in order to express "v." Thus "Venus" is fA. The English sounds "ty" or "ti" (as

:V,,:..

'J:r.. Thus "whisky" (uisukl) '7

is usually written

1:c.- j. _/. Remarkably, f

(-1 )

r7:f-

in "party") and their voiced equivalents "dy" and "di," which were once expressed rather unfaithfully by giving and ;_.,"respectively, are now written as ::;--1and is 1\°-71-. The "tu" of "tuba" and the "du" of "due" can be expressed bY::;-:J-andf";_, by ~ 7 (a voiced version is also possible).

-f'1.

Thus "party"

*:1--) " (tuba) and .:;.:;,_:I:":"Kduet), while the "Tou" of "Toulouse" can be shown

These combinations have very recently received offtcial approval, particularly when used in proper nouns such as place names and personal names. However, there is also offtcial recognition of established usage, such as of b for v. This means that in practice some words can be written in a number of ways. "Violin" can be eitherrJ:;',..f it I) /' or J ,,'1 y, for example. In cases where a certain usage has become particularly firmly entrenched in the Japanese language the old rendition is favored, such as ~ ) 1...-7

if ~

e- .:f (mirukuseki)

for

15

"milkshake" (but note that "Shakespeare" is 7:&. -jA tOr). At the same time, it is also possible to make up new combinations as appropriate, such as ;::_ (ni) plus a small s: (e) to express the nye sound of the Russian nyet. In short, the student should be prepared for a range of creative and sometimes inconsistent usages. Katakana is very occasionally used for words other than loan words. For example, it can be used to emphasize or highlight words, such as entries in academic reference works, and is also used in telegrams and certain military and official documents. In such cases, when used for purely Japanese or Chinese-derived words, its conventions of usage are identical to those of hiragana. Long vowels, for instance, are formed by adding the appropriate vowel and not by a bar. Thus gakkO (school) is

tJ':'/ :J \7, rather

than

tJ':y

:I -.

A kana symbol can be repeated by the special symbol \. This can also be used when the second symbol is a voiced version of the first, in which case it becomes \". Where more than one syllable is repeated, in vertical script only, (or {" if the first of the repeated sounds is voiced} can be used, with the symbol covering two spaces. These repetition symbols are known collectively as odoriji (jump symbols}. Students need to recognize them, but should only use them, if at all, with caution. They are not compulsory, and have a number of restrictions on their usage. For example, they cannot be used where the first symbol of one word is the same as the last symbol of the word that precedes it (as in kuroi ishi meaning "black stone"), or similarly in compound words where the first symbol of the second word coincides with thelast symbol of the first word (as in tama-matsuri meaning "festival of the dead"), or where the-first symbol of a variable word ending is the same as the last symbol of the word stem (as in ki-kimasu meaning "listen"). Some examples of correct usage: I)'"
l"

<

v\
iroiro (various)

s
~

Jr
mimi (ear) kagami (mirror)

<

samazama (various)

<-

Finally, students should learn the basic Japanese punctuation marks, known as kutoten. Full stops are written 0 (maru), and commas are written \ (ten). Quotation marks (kagt), are written r
.l in

horizontal script and

.,

L.

in vertical script

16

I HIRAGANA

lllRAGANA

ORIGIN

(AN 223)

STROKE ORDER

&)
1~,,3

a
as "a" in "car," but shorter

PRACTICE

ORIGIN

(1 419)

IJ-:J- II,_ l; It.> It, )

STROKE ORDER

I I

l~\;'\

\
• I

/'

I\; I\;\ I I
PRACTICE
: ,

as "ee" in "meet," but shorter

'"

19

HIRAGANA

.,
j
./
/

ORIGIN

(U 811)

U
as "u" in "hula," but shorter
" ..~

2;
i

Itl11 1 ~ 111
PRACTICE

7 11 1
11

...

STROKE ORDER

"

....

ORIGIN J /
1

(ElI 420)

e
as "e" in "get"

2fl
~ 3

1:Rlkl~lil
STROKE ORDER

PRACTICE
: .::.~

..

.....

20

HIRAGANA

ORIGIN

(0)

STROKE ORDER

o
as "0" in "or," but shorter

PRACTICE

I no I VV1 I,;') II)' I

STROKE ORDER

ORIGIN

(KA 431)

ka
as "ca" in "car," but shorter PRACTICE

p/t": -,~:
...
'.

21

HIRAGANA

ORIGIN
3 1~

(Kl 1129)

ki
as "ki" in "keep," but shorter

4~,2~

STROKE ORDER

PRACTICE
"'-:' . a-·:
....

'"

ORIGIN
"')

(KU 647)

STROKE ORDER

ku
as "Ku" in "Kuwait," but shorter

1< I
PRACTICE

»:

-.

22

HIRAGANA

ORIGIN

(KEI 105)

l~tl11ILEt@
STROKE ORDER

ke
as "ke" in "keg" PRACTICE
: ~ ;". ....
I

.. .
.'
:

'tl

ORIGIN

(KO 855)

IGlc.lz.121
STROKE ORDER

1
~ 2 ~\.._,

\..,/
ko
as "co" in "core," but shorter

-:

121

PRACTICE
: : .......

......

23

HIRAGANA

MINI REVIEW

~-

~ /A-

KO

ai

love

ue

above, top

12:tl/>:/>1
oka

: Iii
l

1 1
1
moss hill

1h' l 1) \ 1,jr) l;:,r: 1('~; lIt ,

I~ :

I'
I·:

< 1,\ ii'

:,
ike

kiku

hear, ask; chrysanthemum

1
j';

i
.,

12 : L t I"

koke

1......: I) ··\ ••

I:
pond

kau

buy
: 1

eki

station

iku

go

koko

here

I:
au
meet

I
1

1
24

HIRAGANA

I: :I :I :I:I: I:I :I:I :I:I:I:I It- ': 01 : I : I : I : I : I : I IbiJJ\i~ 'I i : I : i I i i I : i I I J?: ¥5: ~ ,I : : : : I : : I~: :n': < I : : I : : I : : I : I lit: t)\: ~ I : I : : I : : I : I
kao ie

I~:;tl : I I I t.J\: < I : I I I n·: ttl : I I 1;0': 1)1 : I I It,l:;tl : I : I Icb: ~ I : I : I

kaku oke
.

koe

:I:
:

VOice

write

:I:

wooden bucket

face, honor

house, extended family

aki

autumn

iu

say

'akai

red

aoi

blue

kioku

memory

ekaki

painter

25

HIRAGANA

~i

\.
sa
•t."

c/

2 I~

1"-.,

as "sa" in "sarcasm," but shorter

liil~It k~I I_'I~ I~ I I

STROKE ORDER PRACTICE

ORIGIN

(SA 22)

.........

"

".

ORIGIN
1 ~

(SHI, part of 1335)

STROKE ORDER

shi
as "shee" in "sheep," but shorter PRACTICE
..........

26

HIRAGANA

ORIGIN

(SUN 909)

Itltltlg-I
STROKE ORDER PRACTICE
.. ,.
", .....,;

,\..

su
as "Su" in "Susan," but shorter

...

ORIGIN

(SE 327)

3,1,

J.

STROKE ORDER

se
as "se" in "set"

PRACTICE

27

HIRAGANA

ORIGIN

(SO, part of

Z6741)

STROKE

ORDER

so
as "so" in "sore," but shorter

...:....;: .. ..
'

PRACTICE

ORIGIN

(TA

164)

STROKE ORDER

ta
as "ta" in "tar," but shorter PRACTICE
: ....

28

IllRAGANA

I*ol!clt 11;1
STROKE ORDER

ORIGIN

(au

169)

chi
as "chee" in "chee k, but shorter PRACTICE
If

ORIGIN

(SU 304)

1 'HI 1 ~ 1 V'J 1"'7 1

STROKE ORDER

I-:JI I I I
PRACTICE

tsu
as "tsu" in "tsunami ."

I
'.'

... -.....
,"

"

29

HIRAGANA

ORIGIN

(TEN 58)

STROKE ORDER

te
as "te" in "ten" PRACTICE

".

ORIGIN

(TO-roaru

129)

STROKE ORDER

to
as "to" in "tore," but shorter PRACTICE
,.~
o

...

..............

30

IDRAGANA

MINI REVIEW ~

C / SA sushi

TO

II: II : I~: -lSI : I~:tl : I~ :ttl : I(:~I : 11t:~1 : Ir:.:~1 : It:51 :

sushi

tsuchi

I:I I:I
1

:
:

IiI:I:I

I:I
outside sake; salmon

soil

I I I

I
1

:
:

I I
I

solo

sake

:I:I:I:
iron, steel

:I :
:

tetsu

seki

tatsu

I:I:I:I:I:I I~: t::1 : I : I : I : I : I : I !2:t! : I : I i ! : I : I : I

uta
song, poem

tochi

I:I:I:I:I I: :I:I: I:I:I:I:I I:I:I:I:I

1 1

seat; cough

stand, leave; dragon

land

I I

koto

thing; Japanese harp

It:11 : I : I

suso

hem

:
31

I:I:I

HIRAGANA

r~:~ : 'I
tai

sea bream

I(:~I 1 L-: ~I

teld

:
:

:
shichi

I
1

I
1

I:I
seven

enemy

:
:
:

:
:

I I I

:
ase sasu

:
:

:
:

:I
:

1~:1t1 : I I~:tl : 1 11:~1 : I

lJS()

I
1

I
1

sweat

thrust; indicate

I I
I

:
:
I I I

:I:I:I

IJ:1t:?1 : : I~: L:r~1 : : I I~: C: ~'I : l I

ashilll satoi

kisetsu

I:I
season

untruth

I I I

sekitei

1{t:~:l:~'1

iIi:I:i :I::I:: !::1l::I

clever, sharp (of senses) rock garden (Japanese style) subway 32

tomorrow

::

chikatetsu

HIRAGANA

l~l5)1J-11l1

ORIGIN

(NA)

l- It I- r~1
PRACTICE
"'.:;''' -:"

STROKE ORDER

11 J4
2 4 ~

<,

oa
as "na" in "narcotic," but shorter

::"::...

It::·1121 ~::Il = I

ORIGIN

(NI 906)

II Il-I .. I
PRACTICE .. '..: '.......
:

STROKE ORDER

13~
2

'-OI
•

~'--

as "nea" in "neat," but shorter

.....,:.

33

HIRAGANA

ORIGIN

(NU/DO

1638)

STROKE ORDER

nu
as "noo" in "noon," but shorter

1\ l&'dl
PRACTICE

~.-':: .:::.:. :

:...::... '.._

ORIGIN

(NE)

STROKE

ORDER

ne
as "ne" in "net" PRACTICE

34

HIRAGANA

ORIGIN

(NO/NAI)

1J3173lnIOJI
STROKE ORDER

I (J) I I I
PRACTICE

no
as "no" in "north," but shorter

. ..

:~,'

. .'

....,....

.'

..

ORIGIN

(HA 367)

STROKE

ORDER

ha
as "ha" in "harm," but shorter
PRACTICE
,
:

. ...
to. .. ~

.
I

0'

•
o

'.~
p"

....

, ••

..

35

HIRAGANA

hi
as "hea ".m "heat " but shorter '
...... :-...
,

Itt·1~ IL ~ I V I R Is;rORr I I
PRACTICE

ORIGIN

(HI 771)

, :
'-

..' ._ .. ......

"

_?RIGIN
1

fo
as ".e ". m "fool " 100 but with softer

).<V

If I~IJJ IJ),_I
2

(FU 572)

4 ~

STROKE ORDER

"f"
PRACTICE

":
'.'

'f· . .,

..

36

HIRAGANA

ORIGIN

(HEIBU 384)

STROKE ORDER

1~

he
as "he" in "hen" PRACTICE
,

ORIGIN

(HO 787)

STROKE ORDER

ho
as "ho" in "horn," but shorter PRACTICE
, 1·

:, ,

:'

.:..,

~.

37

HIRAGANA

MINI REVIEW

ts.1:
1

L~/

NA -

HO

1 ~:L::I : 1
Iwne

nom

I:
bone

what

I~~:tdl

:1
nuno

1
cloth skin

:
I:I

I~: (/)1 : I
hifu

I:
1

1:1:
1

1ZI':~~,I

:1
heta

:
:

1:1:1

1~:r::1
I~~:~I

:
hana

I
:

1:

I
1

clumsy

I
1

I I I

I
1

flower, blossom; nose

:1
June
kani

1:1:
boat crab

: :

I~~,:nl : I :
17J\: t:.1

:I:I
:
1 1

:
~

lu: tJI : I
I~i:GI : I :
kinu

1: I : I :
chopsticks; bridge; edge
I : I : 1 : I :

doll,fledgling

hashi

I
1

silk

I~:~I

1:

1:
38

1:

1:

1:

HIRAGANA

hoshi

star

Ivici

hito

iI

Ii
eaves west

person

noki

I~:,:GI i I I iii Ilj:: l ):< I : : I : :

haiku

nishi

haiku

I::I::I
curved sword carved figurine

I~\:~: ~I : :·1 : : 1 : : 1 i : 1

katana

ItJ:--?:~tl : : I : : I : : I : iii iii iii:

tanuki raccoon dog

netsuke

seifu

government

I~: ~ l :~~ : : I : : 1 : : I : : 'I

1~':tJ):l:ll

inoshishi

:::I:::I
soldier 39

wild boar

heisotsu

HIRAGANA

ORIGIN

(MATSU

587)

STROKE ORDER

rna
as "rna" in "mark," but shorter PRACTICE

.. ' ': .... . '..

.....

.......

.. .

ORIGIN

(BI 376)

STROKE ORDER

rm•
as "mea" in "meat," but shorter PRACTICE
r:::••~ ....
.1

.• :: r

_,'

40

HIRAGANA

1j\1~1ttl ~I
STROKE ORDER
PRACTICE
.... :"', . ....
•

ORIGIN

(MU 781)

.1~

mn
as "moo" in "moon" , but shorter

".1 .. ... ...

,

··

I-£L-k~t Im I I~
STROKE ORDER

ORIGIN

(ME 35)

me
as "me" in "met"
PRACTICE

41

HIRAGANA

ORIGIN

(MO

210)

1-tltl!ltl
STROKE ORDER

mo
as "mo" in "more," but shorter

..: .

... " ,

PRACTICE

\. '

ORIGIN

(YA, part of CHI 167)

J
ya
as "ya" in "yard," but shorter

1-t1~I-\OI~1
STROKE ORDER

PRACTICE

42

HIRAGANA

ORIGIN

(YU 399)

1\331 ~ Itfu IrP

STROKE ORDER

I
yu
as "you" in "you th ," but shorter

PRACTICE

ORIGIN

(YO 1873)

1~1~IJlll

(~°i:tiERI
PRACTICE

./

yo
as "Yo" in "Yor, k." but shorter
---.

· .. · ....·
"',
t •

t ....

"

43

HIRAGANA

MINI REVIEW

i - ct / MA -

YO

I~:~I
10J: &')1

yama

:I:
yume

I:I:I
dream read

mountain, hill

:
I I I

I
1

:1:1:1:1
yomu

:1

let: cGl :
momo

Ii

:I:I:I:I
peach shrine

Ititl

:1i1:1:1:1:1
miya

IJt:~1 :
12: &1)1 l-?iY?1 l~iGI li:-JI

I 1

:I:

I
dew

:I
uncooked rice

I I I

I 1

:I

kome

tsuyu

1:1

:1i1i1i1:I:I
mushi

insect

i1i
matsu

: :
44

Ii
pine; wait

I:I:I
1iI

:1i
ume

I
I

i1i I

:I

11:&01 : I :
mune

Japanese plum

chest, breast

I:I:I

1cG:tJl

:1:1:1:1:1:1

HIRAGANA

!~:t:t1)1 : : 1 : : 1 : : 1 : : I~: l:JtI : : 1 : : 1 : : 1 : :

sashimi
sliced raw fish

kimono

kimono, clothing

I~:~:cl

::I::1::1
yukata
cotton kimono

Yamato

old name for Japan

:1

sumie

India-ink drawing

1-g-:Jt:~1

: : 1 : :1
emaki hanami

::1
picture scroll blossom viewing

:1

1;t:t:~1

: :.1 : : 1 : : 1
mikoshi
portable shrine

:1

!~~:1J:Jt! : : ! : : ! : : !
11: ~:J:: itl : : : I : :
ukiyoe
woodblock print

I{!::c:tid)!

setomono

: : : I:
45

It:~:~:~1

sukiyaki

::! :: :1: :: 1
sukiyaki

porcelain

HIRAGANA

ORIGIN

I
ra
as "ra" in "mirage," but shorter

ttl ~ I~ I s I

(RA/RYO

598)

STROKE ORDER

PRACTICE
: E.- .....

...

..

'

,
J

ORIGIN

(RI 596)

• rl
as "ree" in "reek," but shorter
:

2 ~

IflJ It-? I ~ I L) I
STROKE ORDER

I l I ~) I I I
PRACTICE

" :.

.. , ...

46

HIRAGANA

ORIGIN

(RU 805)

STROKE ORDER

ru
as "ru" in "rule," but shorter
PRACTICE
...... '
" ...... "'

." ...: .-

ORIGIN

(REI 413)

II It'Ll
PRACTICE

STROKE

ORDER

re
as "re" in "red"

47

HIRAGANA

ORIGIN

(RO 256)

ro
as "ro" in "roar," but shorter

STROKE ORDER

PRACTICE
, .. ...... !
'

...::

...

..

ORIGIN

(WA 416)

STROKE ORDER

wa
as "wa" in "watt" PRACTICE

48

IDRAGANA

ORIGIN

(ONIEN 79)

STROKE ORDER

as "0" in "or," but shorter PRACTICE ..:;:..

::...... .... :...

ORIGIN

(MU)

STROKE ORDER

Iu
49

n
as "n" in "sin"

PRACTICE
_

.: .........~

.~

".

HIRAGANA

MINI REVIEW

!;:> - ~ / RA - N
bowl; bay

'

wan

tera

tsuru

I:I:Ii
crane; to fish

temple

kore

this

I:I:I:I:I
furo bath

nori

edible seaweed; paste

I:I:I:I:I
ham
spring; to stretch

rei

shiro

I : I iii
castle; white Japan

politeness; soul; example

It::: l~: ~

Nihon

It,/ :

L~:A- I : : I : : I : : I
cherry blossom

sokura

50

HIRAGANA

11:S:t?17:5:/kJl
1 ~ : ':):
L

uchiwa

::I::
i

round fan

matsuri

I:
1

11 : ':) :

III

:I::
firefly futon

festival

l~i:r:::~ll:z:t;:~ I I~s,: :1v1/5~ : t i A~1 l: IfL:.1: ll/h:~t: t_1 1 h:v~': ~:/?~: 1 < ( I ~ : 3:Ivl II) : ~ :;G I
futon

hotaru

::
::

I:
:
:
I I I

I::I
1

1
history

rekishi

i: i
:

\e

!( ,

~.-',:;

:: :: ::

wafuku

Japanese clothing

I::I::
1 1

I
1

riron

theory

I::I

Iv~,: ~:

L: ~
,

1/), : I) :. L :J I : : :
harakiri harakiri

furodJiki

cloth wrapper for parcels

I
I

Il~:~:~: l) I L "l: ~ l ,Y : l) I : : :
IV:d2:1:{;,1
Hinomaru

: : : I:
51

Rising Sun Flag

::I

samurai

samurai

HIRAGANA

VOICED AND HALF-VOICED SOUNDS

ga

as "ga" in "garden" but shorter

IIIII

gi

as "gee" in "geese" but shorter

gu

as" goo" in "goose" but shorter

IIIII
II

ge

as "ge" in "get"

go

as "go" in "gore" but shorter

II

I~"I~\I I I I I I I I
I L" c'l , , I I ,
zu as "zoo" but shorter
ji as "jee" in "jeep" but shorter

za as "za" in "bizarre" but shorter

,I

,{t', ~\, , , , , , ,
ze as "ze" in "zest" zo as "zo" in "Azores" but shorter

52

HlRAGANA

Ir~lr:"1 I I I I I I I
ji as "jee" in "jeep" but shorter

da

as "da" in "dark" but shorter

II

zu

II

as "zoo" but shorter

de

as "de" in "desk"

do

as" doo" in "door" but shorter

ILi'liL i\1 I I IV"I 7}'11 I I l-v)~'l/s\\\1 II I~I/\\\I I I It i,ol i 1l I I

bi bu be
as "be" in "beg"

ba

as "ba" in "bark" but shorter

as "bea" in "beak" but shorter

as "boo" in "boot" but shorter pu

bo

as "bo" in "bore" but shorter

i

I I I I I

I I I I I

I~111 I~ol I I~~~I I I~I I It aOI I

pi pe po

pa

as "pa" in "park" but shorter

as "pea" in "peak" but shorter

as "poo" in "pool" but shorter

as "pe" in "peg"

as "po" in "pork" but shorter

I I I I I

I I I I I

I I I· I I

I I I I

I I I I II

53

HIRAGANA

REVIEW OF VOICED AND HALF-VOICED SOUNDS obi waist sash for kimono

Jude
Zen
I

writing brush

Zen
: I : I : 1

soba

buckwheat noodles; side

I:I:I:I
biwa lute; loquat

geta

wooden clogs

I:I:I:I
Obon

:I::I
'

Buddhist festival

Kabuki

ojigi

:I:i
bow (head) walk, stroll

Kabuki drama

:I::I
.1 ~ :

Iv:tiOI

sanpo
u~ :)\ :

L"11 : :

I::

monpe

old-style work pants

54

HIRAGANA

keigo

polite language

1 tt :~ ::"1 ':

mikado

old word for emperor

manga

cartoon

mikuji

I~:<:~", : : , : : ., : : , : : ,
yakuza gangster

: I : : , : ': ,
rice ball

written oracle

I~:: !"i t) I : : I : : I : : Ii: I 11:Iv: <"~I : : I : : I : : I : : ,

tengu long-nosed goblin

nigiri

Izatulji

nosebleed

IJt: If::b: ~ I : : : I : : : I J
whisky and water

mizuwari

I~":/v:C': ~I : : : I : : : ,
daibutsu
large statue of Buddha

zonjiru

know, believe

55

IDRAGANA

kamikaze

kamikaze

origami

ongarm

{t: Iv: ~o:~,

l

senpai 1 : :

semor : 1 : : :

bonsai

bonsai

ikebana

ikebana

1:t:Iv:~o:-:>1

enpitsu

:::I:::
sumo grand champion tempura

pencil

yokozuna

I J: :::: ~":~ I : : : I : : : I

11:Iv:v)~: S I : : :
senbei hanafuda

tenpura

rice cracker

IL~: ~:v~\:::'1 : : : I: 1
Fujisan 56

flower cards (game)

Mt. Fuji

HIRAGANA

REVIEW OF DOUBLE VOWELS AND CONSONANTS

o'(aa)

I:I:I:

like that; Oh!

ii

I:I:I:
yes

good

e(ee)

I<:~I

:I
to

I:I:I:I:I
eat ten

sky, void, nothingness

I:I:I:I:I to It:11 : I : I : I : I : I : I It: >; I : I : I : I : I : I :. I

tower, pagoda
lou

ask

kappa

mythical creature

I L: ~:~ I : : I : : I : : I : : I Ir:t:11 : : I : : I : : I : : I
sumo
sumo 57

shikki

lacquerware

HIRAGANA

zijri

sandals

I~~: ? :~ I :: J
suji yugen

::

I:
numeral tranquil beauty

:I

gakkO

school

12:~lJ::~1 : : : I : : :

kOyo

red leaves

In:
1

n:~: v' 1
1

o/di

kendO

:::I:::
kendo :

big

L' : Iv: <,.: );

jingu

l:I::
wind chime Shinto

shrine

lurin

I L : Iv: l::21 : : : I : : :
kukO allport 58

shinto

HIRAGANA

COMBINED SOUNDS KYA-RYO / ~~

L)ct
I

I~!~I I
kya

kyu

kyo
I I

~;~
I
I

I I
I

~~J:
I
I

:
I

I
I

sha

shu

ll~
I

I I
I

l;~
I
I

sho
I

I I
I

L~ct
I
I

I
I

I
I

cha

chu
I

cho
I I

t>~~
I
I

I I
l_

~;H?
I 1

I I
l_

~ ~J:
I
I

•
I
I

nya

nyu
I I I I

t- • .>1::' 'I I
I

nyo
I I
I

•
I
I

~:I*, I
I

t"l -.J:.
I

•
I
I

I
I

I
I

hya

hyu
I I I I

hyo
I I

V~~
I
I

I I
I

'VI"'" I
I

I I
I

(}.~. J:
I
I

I I
I

my a

myu
I I

myo
I I

Jtl.>t
I J

I I 1

d-tl '!P_
I
_1

I I 1

1c7t
ryo

1
I
I

J:

I I
I

rya

111 : ~

I:I

ryu

t) ~~
I I

I I I

~); ~
I
I

I I
I

59

IDRAGANA

VOICED COMBINED SOUNDS GYA-BYO / ~.~ -

Zf'~

gya
I ~" I

gyu
I
I

~I~ I
I

-:'-P
~.'I

gyo
I

~.': .J:
I
I

I
I

I I

I
I

I
I

I I

ja

ja

Il!~1 : I
~":~
I
I
I

ju

l'; vp
I 1

I I I

ju

jo
I

IL!~I I
1

jo

I
I

~"; \1'
I
I

I
I

13";
I
I

J:

I
I

I
I

I
I

I
I

bya

byu
I

byo ,,'
I

z:,(';~
I
I

I
I

VlvP
I
I

I
I

.,1

I I
I

J:.

I I

I
I

I
I

HALF-VOICED COMBINED SOUNDS PYA-PYO /

V~ - {).()J.

pya

pyu
I

Zfo~ ~
I
I

I I
I

til

pyo
I

I,*, I
I

I I
I

(;01
I
I

IJ:

I I
I

60

HIRAGANA

REVIEW OF COMBINED SOUNDS

I~:

~:<1
1

kyaku

guest, visitor

1:
shoji

1:

1:

IL:~:1:l'l : : : I:
V": ~ : ~ :v)~'1 : : :
jinja chanoyu
byobu
1

sliding screen

::
: :

folding screen
:

Ic:~: c':~1 : : : I : : :
I~t':\:L :~ I : : : I : : : ~
geisha geisha

shrine

12: ~ :(/)hpl : : : I : : :
shodO
calligraphy

tea ceremony

l~i1i~i11 iii ?{_:~: L) : Jt

enryo
: 1 I

yakyu

baseball

reserve, restraint
: : I : : :

Iii

I eft: J: : :2 : l'l : : : I : : :
king yo
goldfish 61

myoji

family name

HIRAGANA

I~::: 1:II : : : I : : : ~:

nyiishi

entrance examination

le':~:~:~:11

J ukyo

::::

Confucianism

I:i::I

chOchin

paper lantern

IZA: ct: 1:2:": ~I : : : : I : : i I t) : ~ : 1: ' : < I : l : : I : : : 1)'

ryugaku

hyozan

iceberg

overseas study

kOjo

factory

I C': *:'7 : t": 11 I~~'i i s i J: : 01 ) Il i i :2 i<"i Ivl I~:: J:: :2 : ~i': 1 1 I~~: :te: :11 ~
?

jiuJiJ

Bukkyo

i:::1: iiiiIi iiiiIi

::::I::
announcement wife shogun Buddhism

judo

:I

shOgun

j_

i
:

nylibO

:I

happyo

J:

::::I::
62

HIRAGANA

REVIEW THROUGH PLACE NAMES AND PERIOD NAMES

I~:sl

Nara

:I:I:I:I:I:
place, period 1603 - 1868 Kobe place

place, period 710 -794

l;t: t"l : I : 1 : 1 : 1 : I :

E do

12,:1:~1 : : I : : I : : I : : I
Yayoi period c. 250 B.C. - c. A.D. 250

I~":~:~"I : : I : : I : : I

Ginza

place

:I

Ili:2:nl :
11d::

Hakone

Meiji

place

::

period 1868 - 1912

I I I

::

:":~I : : I : : I : : I :
11:-J:l:11::: I::: I~:~':~:lvl : : : I : : : I
Heian
period 794 - 1185 Showa period 1926 -1989 63 Matsushima place

Nagoya

place

IDRAGANA

It::: " ::: :~ I : : : I : : :

Sapporo place

Nikko

place

1~':h:~:v'l : : : I : : :

Osaka

place

l~iJ::~:tl
1

lryo~

: : : 1: : :
period 1392 - 1573

place

&::: ~ : i : 1 -s

Muromachi

::

1~:\;):1±:l 'I : : : I : : : I t)'i 1: : s I : : : I : : : <

Kamakura period 1185 - 1333

Heisei

period 1989 -

Honshu

place

1 ~:

~ ':

l:~:

Taishn

period 1912 - 1926

01

:
Inmon

1
1

:
:

:
:

:
:

:
:

IC:ct:'7:t:1v1

::::
64

period c. 8000 - c. 250 B.C.

Tokyo

place

HIRAGANA

GENERAL REVIEW

No
sabi

Noh

Itt: Jt I : I

semi

I:I:I
I:
cicada

elegant simplicity; rust

I:

I:I:I:I

I~": l) I : I
tako

girl

I:

I:I:I:I
kite; octopus divided skirt

duty, honor

I~1: \:~ I : : I : : I : : I : : I ~
hakama urushi
lacquer

If::: :: I : I : I : I : I : I : I

bonne

one's real intent

kokeshi

stylized wooden doll

haniwa

clay figurine

I? : t":lvl : : I : i I : : I : : I
65

udon

wheat noodles

HIRAGANA

12:~:-:J1 : : I 1~:i:7t1 : : I
amae

kotatsu

::
::

brazier,

I::I::I

footwarmer

childlike dependence

I::I I
::
::

::

I
I

Iill It:

(jr':q I : :
miai

Ebisu

I::I::I::

name of god of wealth

IJt:1J:l;\1 : I~: \;\:~~"I : I~:b:hl I ~':t~:lvl 17)\": t]\": < I 100:fl:1v1

1:v)\ I : :
seibo
I I I

tofu

I:
I

interview for marriage

::
::

I
I

tofu

:
:

I::I::

I L :v~~':JtI : : I
::I
gohon gagaku aware

shibumi

year-end gift

:I::I
pathos

astringency

: :I :
]

noren

I ::I : ::I ::I::I::I

: ::
meal, cooked rice

I I

ancient court music

:I

::I:
66

shop curtain

:I

::

HIRAGANA

I~~: ;h': ~J I : : I : : I : : I : :
me~hi
nruneaud

haori

short coat

I~:v\: ~I : : I : : I : : I : : I 115: ttl: 1 : : 1 : : I : : 1 : :

odori
dance

LJ

kaisha

company

1&?:Iv:~!':<

I:::I:::
shinju
pearl

menboku

reputation, "face"

I C6 :

~t'1:0 :

mugicha

barley tea

kI

: : : I:
tenna
emperor

1.

shOgi

Japanese chess

1n':Iv:-e::/v1

onsen

:::I:::
miso soup 67

hot spring

misoshiru

HIRAGANA

Il:::Iv: [': ~ I:

ninja

:I:::
decorative alcove abacus

nInja

,ci2iO)i1,

tokonoma

,¥:~:~i':~1: : :
soroban bunraku bento dantai

: : iii

ii I:::

puppet theater

box lunch

group

shamisen

sanusen

Shogatsu

New Year

shakuhachi

flute

12,:

V \ : d)

:Lf': l) ,

koinobori

carp streamer

janken

"scissors-paper-stone" game

68

II

KATAKANA

KATAKANA

I fori ~ I 17 171

ORIGIN

(A)

1 _..;,

1"7171
PRACTICE
...... .., ..... , ....

STROKE ORDER

7
a
as "a" in "car," but shorter

11fl11
PRACTICE

ORIGIN

(I)

STROKE ORDER

I
as "ee" in "meet," but shorter

."! .~

,.'

71

KATAKANA

ORIGIN

(U 811)

STROKE ORDER

u
as "u" in "hula," but shorter PRACTICE
........ !' ,

",

ORIGIN

(E 1244)

STROKE ORDER

e
as "e" in "get" PRACTICE
: , .........

..:...

72

KATAKANA

ORIGIN

(0)

STROKE ORDER

o
as "0" in "or," but shorter PRACTICE
~ ::.", .' ~ ,~ :

.. .

ORIGIN

(KA 431)

STROKE ORDER

ka
as "ca" in "car," but shorter PRACTICE ./· .t·.

· · ..

73

KATAKANA

ORIGIN

(KI 1129)

STROKE ORDER

ki
as "ki" in "keep," but shorter PRACTICE

ORIGIN

(KU 647)

STROKE ORDER

ku
as "Ku" in "Kuwait," but shorter PRACTICE

74

KATAKANA

111'1 1'11-f1'T
STROKE ORDER

ORIGIN

(KAI 1059)

ke
as "ke" in "keg"

PRACTICE

ORIGIN

(KO 855)

Iclcl21:J1
STROKE ORDER

:l
ko
as "co" in "core," but shorter

lil:J
PRACTICE

II

~ 2-'1

.... ..... ",

,

.- ....

75

KATAKANA

Ittl ~14+ l-+tI

STROKE ORDER PRACTICE

ORIGIN

(SAN 492)

sa
as "sa" in "sarcasm," but shorter

..~ .:
~ f j. ••••••

~ ~

shi
as "shee" in "sheep," but shorter

IL-l .. 3/ I I~ I); I I
1

ORIGIN

(Sl-ll, part of 1335)

1;z_1~
"

2~

STROKE ORDER

'\..;:j

PRACTICE ..'.
'" .....-"

76

KATAKANA

ORIGIN

(SU)

STROKE ORDER

su
as "Su" in "Susan, " but shorter

PRACTICE
........

:,...
..

.
'

...

ORIGIN

(SE 327)

1-ttt1~ltl~1
STROKE ORDER

l{:
2

se
as "se" in "set"

PRACTICE

,··r:·'· .....

! ....

77

KATAKANA

1~111'?Iyl
STROKE ORDER

ORIGIN

(SO, part of Z(741)

so
as "so" in "sore, " but shorter PRACTICE
..

': ,

"

1~ljl
ta
." as "ta" In tar, " but shorter PRACTICE

ORIGIN

(TA

163)

II

STROKE ORDER

,". ,, .. "'-,,:
",
",

78

KATAKANA

1+1+1 1
PRACTICE
...... "'......
,' " .:

ORIGIN

(em

47)

I
2

IS~T::i+1 I f
.
ORIGIN
(SU 304)

h
chi
as "chee" in "cheek " but shorter '

STROKE ORDER

tsu
as PRACTICE
,.., ...
IttSU ". ill " tsunami"

,.. .~
_-

79

KATAKANA

ORIGIN

(TEN 58)

te
as "te" in "ten"

STROKE ORDER

I-I_::_I-r-I
PRACTICE

........

"""'II

.....
~ I

ORIGIN
1 ... ~

(TO-roaru

129)

1Jt_1~1 r I ~ I
2

to
as "to" in "tore," but shorter

f'

STROKE ORDER

II I ~ I I I
PRACTICE

".

80

KATAKANA

MINI REVIEW

-p - b /A cutlet

TO

111:/1 : I : I : I :

kotsu

:I:I
::
:: ::

IT:1:AI lIT: -:
:\=-1

aim
I I I

II.:-:;zl : : I
kiki

esu

I I
1

Ice

::
::

I::I
I::I

I
I

ace

cake

::
auto siichi

::

:I
1

17:'7: r 1 : :

out (baseball)

::
::
:

1
search

::
:

::I : :

I+J:-:+I
1:1:-:1-1

koto

IY:T':-I : If:A: rl :
1;/:-: 1~:1: ,/1

tsua

::
:
tesuto

I I I
1

coat; court (sports)

tour

:: :: ::
81

test

I I I
1

:I::I
1 1 1 1

:: :: ::

:1 :

::I ::I
:

shTtsu

sheet (bed)

:I::1:

l-I :

sekuto

sect

:I:

KATAKANA

kOchi

coach (sports)

sosu

lI
:I

sauce

IAl~:-1 ::

sukl

::I::I

::
takushl sutiki

ski, skiing

I::I::

taxi

IA:T:-:1-1 : : : I : : : 1~:-:9:-1 : : : I : : :
seta
svveater

steak

sakasu

circus

It:-:fJi-1 l : : I l ILl-li7l-1 : l l I l ITi1J:~:T'1 : : : I : l :

eM
acre

oke

okay

akashia

acacia

suketo

skate, skating

82

KATAKANA ORIGIN

(NA)

STROKE ORDER

I-Itl
PRACTICE
"

oa
as "na" in "narcotic," but shorter

.... :., ..

ORIGIN

(NI 61)

1-==-1;:_ I I I

1
~ 2 _..,

.". ."",....
~

- 1;:.1 1
PRACTICE
......

STROKE ORDER

---

Ol

as "nea" in "neat," but shorter

....

I"

83

KATAKANA

I~I~ Ix 13<I
STROKE ORDER

ORIGIN

(NU/DO 1638)

DO
as "noo" in "noon," .but shorter PRACTICE
11•••••

..)..:

'

-,

ORIGIN
1
~ 2~

(NE)

De
as "ne" in "net"

/3·'....;

STROKE ORDER

PRACTICE
,"
\

"i

".: ..,
»:

.., ,

84

KATAKANA ORIGIN

(NOINA!)

STROKE ORDER

I) II
PRACTICE
.'

no
as "no" in "north," but shorter

IJ \_I I I I
j\

ORIGIN

(HAem

66)

I) I I
J\
PRACTICE

STROKE ORDER

'\

ha

"

as "ha" in "harm," but shorter

85

KATAKANA

......

hi
as "hea" in "heat," but shorter
:

~t

IbtlUlI cit I
STROKE ORDER

ORIGIN

(HI 771)

1--1 t I
PRACTICE

.......
:
t.".'

ORIGIN

(FU 572)

STROKE ORDER

fo
as "foo" in "fool," but with softer "f' PRACTICE

86

KATAKANA

I%~I I~I~I S

ORIGIN

(HEIBU 384)

l~rOiER
PRACTICE
,. ..
", '.. -,

1~

he
as "he" in "hen"

11~1:?, 1*\1 1
STROKE ORDER
3

ORIGIN

(lIO 787)

:;

ho
as "ho" in "horn," but shorter

PRACTICE
,.':

... t••• , .....

..

.
1

87

KAT AKANA

ORIGIN

(MATSU

587)

STROKE ORDER

rna
as "rna" in "mark," but shorter PRACTICE
_

...- ... ::
<r
"

, , ,
• nu
as "mea" in "meat," but shorter

ORIGIN

(MJ

23)

1
2

<,

<,

<,

13-1~1~ 1 'I
STROKE ORDER

11
I -... I

.....

.......

.......

PRACTICE

. .·
"

'

'. · ..·

88

KATAKANA

ORIGIN

(MU)

STROKE ORDER
~

mn
as "moo" in "moon", but shorter

PRACTICE
.. " ..........

ORIGIN

(ME 35)

1-9: l->r 1)<-1) I

STROKE ORDER

me
as "me" in "met" PRACTICE

.. r-.
'.'

89

KATAKANA

ORIGIN

(MO 210)

mo
as "mo" in "more," but shorter

\-L
~~

STROKE ORDER

PRACTICE
....... .... ;...

""

ORIGIN

(Y A, part of

em 167)

STROKE ORDER

ya
as "ya" in "yard," but shorter PRACTICE

90

KATAKANA
ORIGIN 399)

I wi J_IJ-I
STROKE ORDER PRACTICE

(yu

2J_

yu
as "you" in "you th" , but shorter

«»»

.....

I~I-=t-I::t
STROKE ORDER PRACTICE
,

ORIGIN

(YO 1873)

131
yo
as "Yo" in "Yor kIt , but shorter

. ., ..

.....

.....

91

KATAKANA

ORIGIN

(RA/RYO

598)

:!--'"
STROKE ORDER

ra
as "ra" in "mirage," but shorter PRACTICE
......r':

J~
I

J
• rl
as "ree" in "reek," but shorter

JI

t.

IflJ I IJ I [) I I II It) I I I
PRACTICE STROKE ORDER

ORIGIN

(RJ

596)

.. , . ,.
i

92

KATAKANA

ORIGIN

(RU 409)

I JffLI J ILI J L I} ~ I
STROKE ORDER

Jv
2

ru
as "ru" in "ru1 " e, but shorter

PRACTICE .
:

.. ..

:,,'

,•

I~LiLI LI~I
STROKE ORDER

ORIGIN

(REI 413)

vi
.

II
I

re
as "re" in "red"

PRACTICE

1
93

KATAKANA

ORIGIN

(RO 256)

STROKE ORDER

ro
as "ro" in "roar," but shorter PRACTICE
\ ... ~ . ",:
",

........ ..

ORIGIN

(WA 416)

STROKE ORDER

wa
as "wa" in "watt" PRACTICE

94

KATAKANA

ORIGIN

(KO, part of 856)

STROKE ORDER

o
as "0" in "or," but shorter

PRACTICE

ORIGIN

(Nl)

STROKE ORDER

n
as "n'' in "sin" PRACTICE
....

..'..,

.. .
'

95

KATAKANA

MINI REVIEW

+-

y /NA helicoprer

I~: I) I : I : I : I : I : I
memo
memo

hen

I) :f:1

:1:1:1:1:1
hire

1t:: l/I : I : I : I : I : I : I 1~ : Jlr: 71 : : 1 : : 1 : : 1 : : 1 11J:~:-1 :I : 1:

fillet
miruku

milk

kanii
i i i

canoe

'7: --=-: A 1
yl

wanisu

varnish

:
ron naifu

:1

:1: :

10:-:

::
furi

It:1:71 : : 17:~:-1 : : I) :-: ~I : : I :

niilo

I: : 1: : :I::
knife Hooray! note, notebook

loan

:I:
tire (car)

:1

::I

taiya

19:1:~1

:1:
96

1::1::1

KATAKANA

kamera

camera

111:1:=71

::1::I::1::1
nemu name, reputation

1~:-:L41 : :

I::I::I::I
yu~a humor

mainasu

mmus

saran

salary

1'\:>:;7:-1
1,\:/:11:4-1

hanmii

:::1:::
yoyo handkerchief

hammer

yoyo

i::I:: I :L:_::_: 11 : : : I : : -: 1;;r:7:9:~1 : : : I : : :

yunlku
umque

hankachi

nekutai

necktie

homuran

home run

97

KATAKANA

VOICED AND HALF-VOICED SOUNDS

ga

as "ga" in "garden" but shorter

111"1

IIIIIIIIIIIII
as "goo" in "goose" but shorter

I~"I I I I I I I I I I I I I I
gu

gi as "gee" in "geese" but shorter

17"1

I~-I I I I I I I I I I I I I I
I:J"I I I I I I I I I I I I I I
go
as "go" in "gore" but shorter

ge as "ge" in "get"

IIIIIIIIIIIII

l-t'l I I I I I I I I I I I I I
ji as "jee" in "jeep" but shorter

za as "za" in "bizarre" but shorter

Iv'l

zu as "zoo" but shorter

IIIIIIIIIIIII

IA'I I I I I I I I I I I I I I
ze as "ze" in "zest"

1-t"1 I I I I I I I I I I I I I

1/'1 I I I I I I I I I I I I I
98

zo as "zo" in "Azores" but shorter

KATAKANA

17"1 I I I I I I I I I I I I I
ji
as "jee" in "jeep" but shorter

da

as "da" in "dark" but shorter

1+'1
zu
de

IIIIIIIIIIIII
II

I~;/'I I I I I I I I I

as "zoo" but shorter

If'l I I I I I I I I
I ~'I
ba

as" de" in "desk"

do

II
,,

as" doo" in "door" but shorter

I,,,,,,,
pa

I "I I I I I I I,\ I I I I I I I
J

as "ba" in "bark" but shorter

as "pa" in "park" but shorter

't'" , , , , ,
bi bu

as "bea" in "beak" but shorter

1t:1 I I , I I ,
as "poo" in "pool" but shorter

pi

as "pea" in "peak" but shorter

as "boo" in "boot" but shorter pu

11"1
be bo

I~I I I I I I I~I I I I I I I ,t~" I , , , I 1if:' I , , , I ,

as "bo" in "bore" but shorter

as "be" in "beg"

I I I I I 17°' I I I , I I
pe

as "pe" in "peg"

po

as "po" in "pork" but shorter

99

KATAKANA

REVIEW OF VOICED AND HALF-VOICED SOUNDS

It:':)~1 : I

biro

I:I:I

office building

l-ti': 01
IJ\':AI

zero

:
basu giya

I I
:

I I
:

I:I
bus, bath

zero

:I
:
I I I

I:I:I
:

: :

I~":~I
19":Y::A1

gear

dansu

dance

I
:I
:

:1::1
game guide, guidebook

IJf':-:

gemu

1-\1

111": l' :t-: I

gaido

::I::I::I ::
besu

1 1

:1::1
golf

I :J":)~:71 : :

gorufu

I~:-:AI
IA':iK':>'1

base

I:
:

::1::1:
zubon

::
:

1:

:I

trousers

1::

I::1"[ I) : 71 :

gorira

:
1oo

iI

gorilla

::

::

KATAKANA

11":

IY':-: /1

7":) t,,1

daburu

double

::1::I;:1:
zan
zone

::1::1::1:
jiguzagu zigzag repiito
report

jinzu

Jeans

wiipuro

word processor 1

Iryi-i7iOI

iii
pachinko
1 : : :

iii
: : :

1/\:+: Y: :J

Japanese pinball
1

deziuo

dessert

I t:°i - :~ : /1 : : : 1 : : :

plman

green pepper

1-<:1:~:-:AI

mai pesu

::::
101

at one's own speed (limy pace ")

1 : : : :

arubaito

part-time job