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n
JAPANESE EEADING
FOR
BEGINNERS
AUTHUR ROSE-INNES. \P^
Vol. I. Kana
Vol. n. A Few Chinese Characters.
Vol. ni. More Chinese Characters.
Vol. IV. The Literary Style.
Vol. V. The Epistolary Style.
VOLUBIE IV.
THE LITERARY STYLE.
KYO-BUN-KAN.
1, Shi-ehome, Ginza, Tokyo.
(All rights reserved.)
All the pieces in tliis volume, have been taken from some oltl Ele-
mentary Scliool Rejidei-s, vol. "VI — XI, by kind permission of the dlomhishd,
Altliough the text itself lias not been changed, we have used kanji instead
of Jcana or vice-vei-sa as suited our purpose. The paraplirases of tlie text'
in tlie spoken language, are the work of our Japanese assistant.
The idea of making a list of terminations in alphabetical order was
due to the suggestion of a friend. A tentative list was published in March
192o ; the present list is, we believe, an improvement and is sufficient foi
most purposes.
The synoptical chart is copied with certain modifications from that founc
in Verbeck-Peeke's A Synopsis of the Conjugations of the Japanese Verb
Dr. Peeke has kindly allowed us to print it, and he has raised no ob
jection to our modifications ; though, of coiu-se, we alone are responsible fo
a few unorthodox statements contained therein.
We have also consulted and used Aston's Geammar OF THE JapaneS]
Written Language ; Qiamberlain's A Simplifted Grammar of the Japanes]
Language ; and Millman's The Verb of the J.\panese Written Language.
Indeed, little of the book is our o^vn except the mistakes, and for thes
we crave the Reader's indulgence.
The Student of this volume is supposed to have a fair knowledge c
the Spoken Language.
JAPANESE READING
FOR
BEGINNERS.
VOLUME rv.
THE LITERATIY STYLE.
The Literary Language cliffers considerably from the Spoken. Not
only are many words, plarases, and modes of speech different, but the verbs
and adjectives are conjugated differently ; so that even he who knows collo-
quial Japanese cannot understand something written in the Literary Style.
Words and phrases can, of course, he looked up in a dictionary, but no
dictionary will solve the difficulties arising out of the conjagatiou. That is
•why we have concentrated our efforts on trying to make this subject clear.
Be it understood, however, that we endeavom- only to assist the beginner
to read Japanese ; we do not pretend to teach him how to write in the
Literary Style.
Ways of Studying. Roughly speaking there are three methods by
wiiich we might study the Literary Style verbs and adjectives.
(a) Tlie first method of study is, paradoxically, that in which there is
no method, and, so to speak, no study. It is the way the Japanese children
learn, at least in the stages corresponding to the pieces in this volume.
They know nothing of grammar, conjugations, bases, etc. They are simply
told this is the way high-class Japanese is written, and they are given a
translation in their own tongue, i. e. the colloquial, of what they don't
understand. Thus, to take our first lesson, they are told that Tcasanarite is
kasanatte, that to naric is ni nam, that aru becomes ari at the end of a
sentence, etc. By dint of repetition, the little children begin to recog-
nize some of the new words and modes of speech, and the commoner verbal
jjiflexions begin to have some meaning. If a foreign student wishes to try
this method he can do so wdth this book, as We give a complete paraphrase
in the spoken language of all the original text. He can then leave out all
this grammatical introduction and start immediately on tlie reading lessons.
We advise him, however, to read the paragraph, Useful Hints, p. XXII.
(b) Tlie second method is the exact opposite. The student begins by
thoroughly studying and memorizing the conjugations, bases, terminations, and
the syntax of the verb, so that when he begins his reading and comes a-
JV JAPANESE READING FOR BEGINNERS.
cross ;i verbal form, ho at once kuows what it is, what it means, why it is
used iu tiiat case, why it is followed by so and so, and everything else
about it.
[c) The third method is something iu between tlie other two, and it will
probably appeal to tlie majority of foreign students. You study the verb so
as to get a general idea of how it is conjugated, and how it is used ; and
without memorizing the details or understanding all the examples, you get
sufficient knowledge of the subject to enable you to find the solution of your
difficulties when you want to.
We have followed in our study of the verb two systems of analysis. Ac-
cording to the one the common terminations are given in alphabetical order so
that they are very easy to look up ; another table or chart shows how any
termination, no matter how complicated, is built up. The student can use
whichever of these tables suits him best. We are inclined to believe that
tlie beginner will, at first, prefer the alpliabetical list, as what he wants is
the result, the meaning ; but after he has advanced a little he will wish to
know more about the process of building up the verbal expressions and com-
plicated terminations, and will turn naturally to the synoptical chart where
he will find the answer to his questions.
The general CDnstruction of the Verb. In a general way we may
say that a verbal form may consist of three parts : FOUNDATION, Base, and
Termination {yo-hi-tari) ; however, one or even two of these parts may be
missing.
The Foundation yyo-) is imchanged throughout the whole conjugation
of the verb. In the Beginneks' Dictionary of Chinese-Japanese Characters,
the Foundation is that part of the verb, as given, which comes before the
parsuthesis ; thus, yo(hu).
The Bases are always theoretically five (in the verb yobu, the bases
are hn, hi, bu, ha, be ; and in the example, the 2nd base, bi, is used). The
B.ises of any given verb vary only within narrow limits in tlio ortlinary
table of Kana, as the inspection of the Table of Bases (see page VI) will sliow.
The TiiRMlNATlONS are very numerous ; but each termination is added to
a fixed Base, always tlio same ; (e. g. tari is always ndded to Base 2, no
matter what the Conjugation").
Conjugation. Verbs are classified into conjugation-; according to their
Bases (see Table . There are four regular conjugations which wo will call
A, E, I, O. (/Onjngation A has one base ending in a and is the only conjuga-
tion that has a base ending in a. Conjugation E his throe b;i80s ending iu
J
VOLUME IV. THE LITERARY STYLE. (GrammftticalJEntroductiou).
€, Conjugation I has two bases ending in i. Conjugation O (which also
means zero) has two bases wanting.
Or look at it in this way : the 4th Base ends in a in Conjugation A,
in e in Conjugation E, in i in conjugation I, and is wanting in conjugation
O. These conjugations are subdivided into different classe s according to the
kana column to which the bases belong but there is perfect parallelism in
kana between the subdivisions of any one conjugation as the inspection of
the Table shows ; i. e. all the bases of Conjugation A, for instance, are
formed according to the same pattern, no matter to what column of kana they
belong.
Irregular Verbs. Tlieie are fortunately only a few irregular verbs in
Japanese ; and these few are irregular only as regards Foundation and Bases,
but not as regards Terminations. We designate irregular verbs by the vowel
U (irregUlarj. Seven are given in tlie Table of Bases.
Like aru are conjugated the following : orw, naru, taru, shikaru, haheru,
imasukaru and kotonaru. All these mean ' to be ' except kotonaru which means
'to differ'.
Like sliinuru is conjugated the verb inuru ^ to go, leave : note, how-
ever, that there is another verb muru ^ to sleep, which is regular.
Stiru and Zuru. This latter is merely the nigori'ed form of suru. They
are used very frequently after the on reading of a character, sometimes after
the kun reading. Suru, but not zurzi, is very often used independently.
Kuru irregular, has a brother kitaru wLich is regular. They both mean
about the same and are readings of the same character ^. The kana which
follows the character, and custom, determine which reading is to be used in
each particular case.
Uric f^ to get, and furu |Jg to pass, are irregular only in that they
have no Foundation or unchangeable part ; their Bases are regular and be-
long to conjugation E.
Note that most irregular verbs have alternative Bases ; we will explain
the meaning of this later.
Other irregularities. We wish to call attention to three irregulari-
ties which may puzzle the .student who is conscientiously trying to parse
every verb ho comes across.
(a) The gerund of tlie colloquial is not infrequently used instead of the
corresponding form of the literary style ; e. g. mukatte for mukaite. In our
foot-notes, we call attention to most of these cases when they occur.
{h) Tlie Base la is sometimes changed into w, e. g. /ft^^OtT-'S tsuka-u
(coutiiiued o:i y. VIQ.>
VI
JAPANISE READING FOR BEGINNERS
p:;
s s
BASES
2 ^ 3 .0
Pogiiu
Dictioi
Kana *
Conve:
Notfiti(
1
lientai Attr.
Reny
2
Indef ,
3
Shfishi Concl.
4
Shozen Neg.
5
Kizen Condit.
fbu) It* Ab
bu J<
bi
c/f
bu
j;
bu
ir
be
'^
(gu) i'i Ag
gu <*
g»
^•
g^i
<•
g'l
*'^
ge
ir
(kn) i. Ak
ku <
ki
4
ku
<
ku
i^
ke
IT
(mu) 1: Am
mu ti*
mi
^
mu
t^
mu
i.
me
ih
(tu) f, Ar
ru 5
ri
'J
ru
3
ru
h
re
n
(su) 5 As
su T
sbi
^ se;] tf
su
-r
S!i
?
se
tf
(tsu) T: At
tsu
cbi
^
tsu
ta
t:
te
X
(a) [X All
(f)u i.
(h)i
c/
(f)ii
-5.
wu
H
(h)e
">.
(bem) It Eb
bum M 6
be
■^
bu
M
be
-<
bure
Mti
(deru) f;' Ed
zuru 0* 5
de
<
za
0'
de
<
zure
o-n
(era) ip Ew
uru 5
e
A
u
e
A
ure
in
(h)eru) II Eh
{f)um J>S
(b)e
'^
(f)u
^.
(h)o
^x
(f;ure
j.n
(gerix) i* E2
gum <• i
ge
ir
e}3-
<•
go
If
gure
<m
(kem) i. Elr
ivuru < ;S
ke
It
ku
<
ke
IT
kure
<n
(mem) |i Em
miiru tj" 5
me
y>
mu
t^
me
y)
mure
Vti
(.ieru) U En
nuru J(U 5
ne
n
nu
ya
ne
n
nure
MX
(rem) b Er
ruru ^ 5
re
n
TU
i
re
n
rure
in
(seni) 3 Es
suru T ;5
se
tf
su
-f
se
■tf
sure
-ftt
(teru) T: lit
tsuru ^
te
X
tsu
te
-c
tsu re
^tx
(y)era) -^ Ey
yuru tj) ;?)
e
X.
yu
i<j)
e
1
yure
mx
,':'.eai) $' Ez
zuru -f Z
ze
if
zu
r
ze
€
zure
rn
(biru) It' lb
bum j; ;?>
bi
v^
bu
-j;
Li
^
bure
i^i
(chira) 1: It
tsiiru
chi
^
tsu
-0
chi
^
tsu re
^n
(eirn) /it Is;
euru <* h
gi
^■
gu
<-
gi
^'
gare
en
(h)iru) (1 lb
(f)uru i>;S
(h)i
u
(f)u
^^
(h)i
D^
(f)nre
i.n
(jiru) i: Id
zuru 0* i
ji
V
zu
O'
ji
V
zure
o'n
(kini) i» Ik
kum < ;s
ki
A
ku
<
ki
^
kure
<n
(miiu) J, Im
muru \jh
mi
;^
mu
t^
mi
/I-
mure
vn
(rim) f) Ir
ruru ;S i
ri
^J
ru
;5
ri
')
rure
in
(y)ir\i) -^ ly
yaru (J) ^
i
v
>u
c^
i
V*
jiiru
^>pn
(-m)
ru ;5
-
ru
i
—
re
n
be, etc. h Ur
uru S^ h
iiri
^5lJ
iiri
^l)
niti
#) f.
nre
^n
firu^ ^ i
dio.otc.'fj; Un
sbinuru L ^ ^
sbiu
1 Li:
shii
u Lk^
sbin
i Lfj:
shinure LZ2*1
sbin
0:1 Ln
do 3 Us
suru "T h
shi
L
se;i -tf
su
-r
so
■tf
sure
8t'
tn
y Uz
zuru -^ ;S
ji
ze:i -df
zu
■r
zo
€
z\ire
ze
-rn
come i. L'k
knru < ^
ki
-4
ko;i :
ku
<
ko
-
kur»>
<n
not ib I7a
nru T h
e
r
u
•5
a
X.
ure
Tn
IJiiss (I Uli
furu J,i
h..
•--V
fii
j>
be
-^
l"\ire
j.<i
VOLUME VI. THE LITERARY STYLE (Grammatical Introduction^ VII
TABLE OF K ANA
$) a column
/a t
n h
^ w
^' g
n d „
r
a
i
1 "
* e
:&
^
)5^
;&
ka
ki
< ku
^^ ke
z.
3
ko
5
1^
sa
sbi
t .
so
/2
ta
chi
5 tsu.
■^ te
^
b
to
na
15
jii
3^
5 ne
CO
no
rt
^'«
Lia,wa
a
(li)i
^ (f)u
" (lOe
(5
ho
ma
^
mi
^" mu
•^ me
^
^
mo
^
^
ya
(y)i
I yu
i(y)«
3
yo
ra
b
V
ri
^ ™
/t^
^ re
T3
ro
V
wa
^
^
(w)i
I (^>
^ (w)e
5:
wo
ga
gi
i' g"
?«e
go
za
ji
■s-
zo
n
da
ji
-:.u
t de
K
do
«'
^N*
ba
1)1
^ bu
"i" be
bo
VTTT JAPANESE READING FOR BEGINNERS.
matmireru (pronounced iusko maJtsureru) for tsvikai matsureru.
(c) Tlie Termination ku of an adjective is sometimes changed to u; e. g.
a£ 5 L "C cMka-u shite (pronounced cJdko shitej for chikaku shite ; ^'j'f ^
mattb sum for mattaku sum. This is, of course, analogous to the adjective
consti-uotion before gozaru in the coUoqioial, chiko gozaimasu, etc.
Conventional Notation for the Classification of Verbs and Adjec-
tives. In our analysis a verb is given two letters, a capital letter and a
small one. Tlie capital letter (A, E, I, O, or U) refers to the conjugation
regular or irregidar ; the small letter indicates the kana column to which the
Bases belong, (see the Table of Bases). The sign x serves to show tliat
the word is not a verb but an adjective.
Formation of the Bases. The two letters of the conventional notation
will enable us immediately to determine the Bases of the verb by means of
the Table. Thus all verbs ' Ab ' have for Bases hu, bi, bu, ha, be; if the
^'erb is tobu (Ab) we have : 1 tobu, 2 tobi, 3 tobu, 4 toba, 5 tobe ; in the case
of yobu, we have : 1 yobu, 2 yobi, 3 ijobu, 4 yoba, 5 yobe. It would be more
logical to call these forms Foundation and Base ; but this would be cum-
bersome and we believe no confusion is likely to arise if we speak of yoba
as the 4th Base of yobic. Let us take another example ; We know that all
verbs ' Er ' have for Bases : rum, re, ru, re, rtire ; so we can easily form the
Bases of, e. g,, midaruru (Er), they are : 1 midamm, 2 inidare, 3 midaru,
4 midare, 5 midarure. Note carefully that ' Ur ' serves to designate not only
am but all the verbs conjugated like am : see p.V. Tims if we are told that
om is * Ur ' we know the Bases will be : 1 oru, 2 ori, 3 ori, oru^, 4 ora, 5 ore.
Likewise * Un ' serves not not only for shinuru but also for inuru ^ wliicli
is conjugated like it. Tlais forming of the Bases is of tlie utmost importance
Foreigners use the colloquial form in naming a verb, or if they use
the literary style, they generally use Base 1 (rental) : the Japanese tliem-
selves use Base 3 (shushi). Therefore in an ordinary native dictionary you
must not look, e. g., for homeni (coHoquial), nor for hoiimru (Base 1), but
for homu (Base 3).
Alternative Bases. There are several cases especially among the ir-
regular verbs in whicli alongside the ordinary base a second, alternative base
is given followed a by bracket, thus : shinure, shine']. This alternative base
is to be used only when the termination begins with a bracket ; for instance,
in a case like this : 55 5 + ^ri. (See p. XV.)
It comes to this : terminations, with no bracket are added to the ordinary
base; termiimtions witli an initial bracket are added to the alternative base
VOLUME IV. THE LITERARY STYLE. (Gmtnmatical Introduction). IX
if there is one, or to the ouly base if there is no alternative base. An ex-
ample will make this clear. The bases
of yohu (Ab) are ; 1 yohu, 2 yohi, 3 tohu, 4 yoba, 5 yohe,
of shinuru{\5r) „ 1 shimiru, 2 shini, 3 sldnu, 4 shina, 5 shinure, shine\.
The termination ha which is added to Base 5 gives : yobeba, sMnureba.
The termination [?'i which is also added to Base 5 gives : yoheri, shineri
(not shiniireri).
Three characteristic functions .of Verbs and Adjectives. In the
spoken language we use the same form of the verb or adjective whether it
is used attributively, i. e. before a'noim which it qualifies, or conclusively,
i. e. at the end of a sentence. Thus we say homeru lata the man who praises
(attributive), and hito ga homeru the man praises (couclusive) ; we say sJiiroi
kami white paper (attributive) and Jcami ga sJdroi the paper is white (con-
clusive). In the literary style it is necessary to make a distinction. Taking
the same examples we have homuru Mto the man who praises (attributive) but
hifo ga Jiomu the man praises (conclusive) ; likewise, we have sJdroki Jcami,
white paper (attributive), but Jcami ga sJiirosJd the paper is white (conclusive).
Another important use of the \exh or adjective is one we may call inde-
finite ; it occiu's wlien the verb or adjective is used at the end of a clause
which is not the end of a sentence : it leaves the meaning as if in suspen.^cA
E. g. Tarb ica El-go mo JianasJd Furansu-go mo Jianasu, Taro speaks <jot
only English but also French; Fuyu wa samuku natsu ica atsusld, Itti^
cold in winter and hot in summer. When the verb (or adjective) is it...^
thus at the end of a clause, it has no tense meaning of its own ; it takes
its tense from tlie following ordinary verb. In the above examples JianasJd
and samuku are present, because Jiana.su and atsusJd are present. But
consider other examples. Amari samuki yue jocJiu ni meiji, JiibacJd ni Jd tvo
okosasetari. As it was so cold I ordered tlie servant and made her light the
fire (i.e. I told the servant to light -the fire). In this case mt^iji is past in
meaning like oJcosasetari. Nippon ico ide, zimi ivo koe, riku too koe, JdgasJd
e, JdgasJd e to susumeha, mata moto no Nippon ni kaeri kitaru. If you loave
Japan and cross seas and land, advancing always towards the east, you will
come back again to Japan from where you started. In this example ide,
Jcoe and kce take their tense meaning from smumeba, and form part of a
complex conditional clause.
If we leave out of account such secondary' uses of the verb and ad-
jective as the forming of compounds, being followed by particles, etc., we
may say that all verbal and adjective forms are always used in one of the
X JAPANESE READING FOR 3EGINNERS
tlirce •ways meutioued : attributively, qualifying tlie uoun Avhich follows ;
iudefinitely, at the end of a clause which is uot the end of the seuteuce ; or
conclusively at the eud of the sentence. These three uses correspond to the
typicfil uses of Base 1 (attributive) ; Base 2 (indefinite , and Base 3 (conclusive)
us we shall presently see.
Bases used without Termination. Besides being used as something
to which terminations a e added, the Bases are used in other ways.
BASE 1 is used in three ways :
1 (a) Used typically, i. e. Attributively, like an adjective, before a
lioun or the equivalent of a noun. Note esp?ciaily such nouns as koto, mono,
tokoro, toki, sama, yd, mama, and tame.
Oku MOCniURU mono tea maisu nari. What is most used is pine.
Ware-ware wa sato ico mochiuru koto osJii. We all use a lot of sugar,
SMo u-a taisetsu NAiiU inono riari. Salt is an important thing.
SMchu ICO NAGARURU kaiva wo Yodo-gawa to in. The river that Hows
tlirough tlie city is called tlie Yodo-gavsa.
J^efcween the verb used attributively and the uoun to which it refers
one or several Avords may intervene :
3Iukashi Kawanari to lu nadakaki gako ariki. In older times there
lived a famous artist, called Kawanari. {lu refers to gako.)
Sometimes the word koto to which the verb refers is not expressed :
Hokake-bune no suijb too hashiku, tako no sora takaku agaru, kore mina
Mto no sJiizen no kaze tvo riyo sldtaru nari. (Supply koto after hashiru and
after agaru). The moving of sailing-vessels on the surface of the water, the
flying of kites high up in the sky, these things are done by man's skilful
utilization of the natural (force of the) wind.
1 (b). It is used conclusively in connection with iuterrogative Words and
certain empliatic particles, especially ka, zo and sometimes ya. In this case
it may be followed by one of the particles mentioned in 3 (c).
Kore zo tama naru. It is this which is the jewel.
Sugino u-a ima tenka wo oetaku zo. Ah, now indeed, Sugino Ji.h3
exploded (the shell).
Kore tea nani ni ka mochiuulj '? What is tliis used fox ?
Kono hito ni ko ARU ka ? Has this man a cliild :
Kore ya ivaga motomuru yavia NAiiu. This is the raoimtain of which
we were in search.
1 (c). Followed liy particles, etc. : iva, no, ga, ni, wo, tvo motte, to, to
iedomo, tomo, mo, ka, ya, kana, kara, yori, made, hakan, dani, s^ura, sae, kxkio.
VOLUME IV. THE LITERARY STYLE. (Grauamntical Introduction). XI
80, -nonii, -goto, Jiodo, koro, aida, mae, nocJii, irai, saki, ■mhi, m ; also gotoku ,
also nam, nari, etc. Some of these words, as aida, mae, etc. may be considered
nouns, they would then belong to class 1 (a).
Yakimojw ico tsckuhu ni wa nendo luo mochiu. For making earthenware
you use clay.
Bun ICO KAKU mae ni xoa so too neru beshi. Before writing a book it
must be turned OAer thoroughly in the mind.
Eda 7io TAWAMU Jtodo 7johi minoritari. It is so heavily laden with fruit
as to make the branches bend.
The attributive verb followed by a postposition is sometimes equivalent
in colloquial to a construction in which koto, mono or no, is placed after the
vei-b : {no in these cases has the meaning of koto or mom).
Shio to said to ica mono no aji loo tsukuru ni {tsukuru no ni) talsetsu nari.
Salt and sugar are very important for giving a flavour to food.
Oku modduru mono iva matsu ni sJiite, jbhin naru iva { = 7ia no iva) hi-
noki nari. Pine is the wood which is most used, but Jiinoki is the wood of
highest quality.
Ktmi no tame ni shinuru ica { — skinu no 'wa) umaki kana. What an
agreeable thing it is to die for one's country.
In cases like this last, you might, of course, consider that the verb was
equal to a noun ; you might, however, prefer to consider that it still behaves
as an adjective, qualifying the noun koto or mono which is not expressed.
BASE 2 is u>sed in five ways :
2 (a . Used typically, i. e. Indefiuitely at the end of a clause which is
not the end of the sentence :
Taro tea Ei-go mo hanashi, Furansu-go mo hanasu. Taro speak=; not
only English but also French.
Nib-mon tuo irite Kannon-do luo haisBi, sor-e yori suizokukan wo miru.
Entering by the Nio gate, we worship at the Kannon shrine, and then go to
see the aquarium.
Amari samuki yue jodi,u ni mein, hibacJii nihi luo okosasetari. As it was
so cold I ordered the servant and made her light the fire in the brazier,
(i. e. I told the servant to light etc.)
2 (b). As a noun, e. g. hanashi a tale, a conversatiou, from hanasu to
say ; hakari a balance, from hakaru to weigh ; hojime the beginning, from
hajimuru to begin; shirase news, from shirasuru to make known; etc. We
have also : ori-ori {ni) occasionally, from ori occasion, from oru to bend, to
double ; aud omoi-omoi {ni) as one pleases, from omoi a thought, from oinou
XII JAPANESE llEADlNCi FOR IIEGISXEKS.
to thiuk, in examples like these two last the uoun is repeated.
2 (c)- Used sometimes as adverbs .or cou junctions, as amari too, from
amaru to be iu excess ; oyobi and, from oyobu to attain.
2 (d). As first component of compounds ; i. e. before a verb, adjective
or uouu with which it forms a compound or quasi-compound.
Before verbs as : TOBi-agaru, to fly up, Bvcm-korosit to beat to death,
HUi-JiaosJi, to do over again, etc Note especially the use of Base 2 before
the verbs iru, oru, aru, tamo, tatematsuru, sum, nasu, nasaru ; with these
verbs tlie connection is often only loose.
Before adjectives as : TSlKi-gurusldki harsh (to the ear) ; NASHi-gfatoZri
difficult to do ; sni-yasuki easy to do, etc.
Before nouns as : om-mo7io cloth ; YAToi-mw employee ; KAERI-mic/a the
way back. Especially worthy of note are the nouns, koto, mono, kata, sama,
yd.
When Base 2 is followed by another verb it is not always easy to deter-
mine whether they should be considered a compound or as separate verbs ;
if they are separate verbs the first one, i. e. Base 2, is used indefinitely as
above in (a). To take examples from the corresponding construction iu the
colloquial, probably everybody will agree that in Hon wo katte, kaerimashita,
tlie verbs are separate ; in Hon wo motte kimasJiUa they form a quasi-com-
pound ; in Himo ivo motte, iicaku they are separate ; in Hon ico yonde iru
they form a quasi-compound ; but how about kite iru ? The meaning, of course
is not ' he is coming ' but ' he has come and is still here. ' In a case like
this, we believe it would not be absm'd to consider the verbs as forming a
quasi-compound, neither would it be absiu'd to consider kite as the end of a
clause, and iru an independent verb.
2 (e). Followed by particles : mo, wa, no, ni, to, tomo, dani, nomi, zo>
koso, sura, sae, ya, nocld, nagara.
Hon ICO KAI ni yukitari. He went to buy a book.
Nimotsu 100 tori 7ii kitareri He came for the parcel.
3IesJii wo KUI nagara lianasu. To talk while one is eating
BASE 3 is used iu tlu'ee ways :
3 (a). Used typically, i. e. Conclusively at the end of a sentence :
Hi kasanarite, tsuki to naru. Days added together become a month.
(TJiis nam is the regular verb Ar, not the irregular ITr).
Ivld-ncn ni iva jii-ni-ka-getsu ari. A year luis tMolvo montlis.
3fats-u wa fane iro tsukurn ni mochiu. Pine is used in building sliips.
3 (b). Ill repeated tonn ; in this case it has tlie ftnve of tm
VOLUME IV THE LITERARY STYLE.. (Grammatical Introduction). XIII
adverb :
naJca ica naku-naku {=naki nagara) imashimetari. The mother admonish-
ed him, crying bitterly.
Takumi ica osoRU-osoRU { = osore nagara) cldha-yoritari. Takumi, trem-
bling, drew near.
3 (c). Followed by particles : to, tote, tomo, to iedomo, mo, ya, yo, bakari.
Taiwan nlte 7va hasJio ivo saiisxj to iu. They say that Formosa produces
great quantities of bananas.
' MymicU xairu ' tote Jcaereri. ' I shall come tomorrow ' lie said, and
went away.
EASE 4 is always used with a termination added.
BASE 5 is used in three ways :
5 (a). Conclusively after koso.
Kore koso tama nare. It is this and this only which is the jewel. But
j-ou would say : Kore ica tama nari this is a jewel ; or Kore zo tama nam
this indeed is a jewel ; see 1 (c).
5 (b). Imperative in conjugation A, Ur and Un ; it is then used con-
clusivel}-.
Yaivaraka naru mono mo ni-ju-sJiicJii-do kame. Masticate even soft food
twenty seven times.
5 (c). Followed by particles. When Base 5 is used conclusively it may be
followed by particles like those used after Base 3, especially to, tote and ya.
' Irite Tni-TAMAE ' to iitari. ' Please go in and see ' he said.
Nanori tamae ya. What is your name please ?
Adjective Foundation (referred to by the number 6), is that part of
the adjective which does not change. It can be deduced from the ordinary
colloquial form given in the Beginxers' Dictionary of Chinese-Japanese
CHARACTERS by Suppressing tha final i ; except in the case of adjectives ending
in ji, like onaji, when nothing need be suppressed. It is used in four
ways :
6 (a). As a noun :
Kono moyo ni ica . aka bsld. In this pattern there is a great deal of red.
Kore ga tame ni ikko no ybi sent mizu mo nokori SUKUNA ni naren. On
account of that there remained only a little water out of what the caravan
had brought along with them.
6 (b,\ As first component of compounds ; i. e. before a verb, another ad-
jective, or a noun. E. g. GYilKk-yoru to draw near, from cJdkaki near, yoru to
approach ; Boso-nagaki slender, from hosoki slender, and nagaki long ; KKK-go
XIV
JAPANESE READllfn> FOE BEGINNERS
baby, from akahi reel, and ko child.
6 (c\ In the case of certain special adjectives, viz, those whose foun-
dation ends in shi or ji, the foundation is used conclusively without any
termination being added. In ordinary adjectives shi is added to the foundation
when used conclusively in* the present ; but these special adjectives do not
take this sJd in order to avoid the disagreeable sound of the double sJd. These
special adjectives are referred to, when necessary, by the sign A.
Inu u-a yoru too mamorashlmuru ni yoroshi. A dog is good for keeping
watch at night.
Yd nald toki tsume ico JcaJctisu koto, tora mo neko mo al-onaji. When they
are not using them, they hide their claws ; in this the tiger and the cat are alike t
6 (d). In the case of the special adjectives just mentioned, it is evident
that when the adjective foimdation is used conclusively it may be followed
by particles like those used after Base 3 ; see 3 (c).
Inu tea yoru wo mamorashimuru ni yoroshi to iu. They say that a dog
is good for keeping watch at night.
Short list of verbal and adjectival terminations.
As a rule each entry consists of :
A reference number ; „ -, , . //>x . _ i • t, i.t,«
The verbal base (1, 2, 3, 4. 5) or adjective foimdation (6) to which the
termination is added ;
The termination itself; i. i.- i
A number (1, 2, 3, or 5) in parenthesis which shows the syntactical
functions of the termination, viz : that it is used like Base 1, Z, 6, or o ,
A translation, witli a concrete verb, into the coUoqmal ;
A translation into English.
7 4-i-BA (2); iku naraia; if he goes.
8 5 + BA (2); iku kara; iku to; as, since, he goes. . ^, ^ ,
9 3 + rDEKAKA-ZARU (1); iku koto wa deki-nai, itte ua nara-nai ; that cannot go.
10 3 + CBEKAiiA-zu (3) ; iku koto wa deki-nai, itte ica nara-nai, itte tea ike-nai\
he cannot go.
11 3 4-rBEKEREBA (2); iku kara; as, since, he goes. • n f
12 3 + [BEKi (1); iku darb, iku koto ga dekiru, tka-nakereba nara-nai; that
Avill go, can go, must go.
13 3 + rBEKU (2); iku darb, iku koto ga deki; he will go, can go.
14 3 + 1;beku(m)ba (2); iku ko'o ga dekiru naraba, ikannkereba nara-nai
naraha; if he can go, if he must go.
15 3 + rBEKU MO (2); iku koto ga dekite ino; even if ho can go.
16 :5 + [;beshi (3); iku darb, iku koto ga dekiru, itte. mo u, ike; he will go,
can, may go, go f .
17 4 + DE (2); ika-nakute; (by) not going, (by) not having gone.
18 5-fr)o(Mo) (2); iku keredomo, itte mo; though ho goes.
19 2 + iTAUEBA (2); shitte ita kara; as, since, he knew.
VOLUilE IV. THE LITERARY STYTE. (Gn»mmritical Introduction). XV
20 2 + iTARi (3); sUtte ita; he knew.
21 4 + Jl (3); ika-nai darb, ikumai; he will (probabl}-) not go.
22 6-l-KARAN (3, 1); ii daro ; will (probably) be good.
23 6 + KARASHIM- Derived verb ; bases : 1 karasJdmuru, 2 JcarasJiime, 3 Jcara-
sliimu, 4 Jcarashime, 5 Jcarashimure.
24 6 + kara-zakedo(mo) (2); yoku nai keredomo ; though ... is not good.
25 6 -f KARA-ZARIKI (3) ; 7/oku nakatta ; that was not good.
26 6 + KARA-ZD" (3, 2); yoku nai, yoku nakide; is not good.
27 6 + KARiKi (3); yokotta; was good.
28 6 + KARiSHi (1); yokotta; that was good.
29 6 + KARU BESHi (3); ii daro; should be good.
30 2 + KEN (3, 1); itta darb; he probably went.
31 6 + KERE (5) ; ii ; good.
32 6-fKEREBA (2); ii kara; as, since ... is good.
33 6 + keredo(mo) (2); ii ga; though ... is good.
34 2 + Kl (3); itta; he went.
35 6 + Kl (1) ; ii ; good.
36 1 + KOTO NAKARE (3) ; iktc na, itte tea ike-nai ; go not, do not go !
37 1 + KOTO naku(m)ba (2) ; ika-nai naraba ; if he does not go.
38 6 + ku (2) ; yokufe, yoku ; is good, well.
39 6 + KU MO (2) ; yokute mo ; even if ... is good.
40 6-fKU SHITE (2); yokute; being good.
41 6 4- KU TO MO (2); yokute mo; even if ... is good.
42 3 + [[3rAJi (3); ika-nai darb, ikumai; he probably will not go, should not go.
In conj. O and sometimes in passives, maji is added to 2 instead of
to 3.
43 4 + ME (5) ; ikb, iku darb ; he will (probably) go.
44 1 + MO (2) ; itte mo ; even if he goes.
45 4 + N (3, 1); ikb, iku darb; he will (probably) go.
46 1+NARAN (3, 1); iku darb; he will (probably) go.
47 1 4- NAREBA (2) ; itta kara, iku to ; as, since, he went.
48 1 + NARI (3) ; iku, iku no desu ; he goes.
49 1 + NARU BESHI (3) ; iku darb ; he will (probably) go.
50 2 + NU (3) ; itta ; he went.
51 ^ 4 + NU (1) ; ika-nai ; that does not go.
52 4 + RARE I In E, I, O, Us, Uz Uk, Ua, Uh, part of Passive ; bases: 1 raruru,
53 4 + RARU)2 rare, 3 ra7'u, 4 rare, 5 rarure.
54 4 + RE. In A, Ur, Un, part of Passive ; bases : 1 ruru, 2 re, 3 ru, 4 re, 5 rure.
55 5 + [ri (3) ; (A, Ur, Un, Us, Uz) ; itta ; he went.
56 4 + RU. In A, Ur, Uu, part of Passive; bases: 1 ruru, 2 re, 3 ru, 4 re, 5 rure.
57 5 + Cru (1); (A, Ur, Un, Us {]/.> itta; that went.
58 r)-l-^RU NARI (3); (A, Ur, Un, Us, Uz) ; itta; ho went.
59 4 + SA. In E, I, Us, Uz, Uk, Ua, Uh, part of Causative ; bases : 1 sasure.
2 sase, 3 sasu, 4 sase, 5 sasure.
60 4 + SE. In A, Ur, Un, part of Causative; bases: 1 sum, 2se, 3 su, 4 se, 5 sure.
61 4 4-SESHl. In conj. O part of Causative; bases: 1 sesJdmuru, 2 seshime,
3 sesldtnu, 4 sesJdme, 5 se^ldmare. SesM is also the past *bf suru ; it
may be found after Base 2 with which it forms a quasi compound.
>^YJ JAPANESE READING FOR BEGINNER8
62 6 + SHI (3); yoi\ good. When the adjective foundation ends in «7ii, the
terminatiou shi is omitted, so as to avoid the double shi, in these
cases the adjective termination itself, without any termination, is used
conclusively.
63 2 + [^siti (1); itta; that went \In verbs As, the ordi-
64 13 + ^SHIKABA (2); itta kara; as, sines, ho went ^ [nary Base 2 is often
65 2 + ^SHiKADo(mo) (2) ; itta keredomo ; though he fused instead of the
went. > alternative.
66 ■i + SHIME I In A, E, I, O, Us, Uz, Uk, Ua, Uh, part of Causative ; bases :
67 4 + i<nnwil sJiimuru, ^ sJiime, 3 sJiimu, 4 sMme, rj sJdmure.
68 2-f-[siii NAKAN (8, 1); itta darb; he Xhx verbs As, the ordinary Base
probably went. [2 is often used instead of the
69 2 + [^SHi NAM (;>) ; itta no da; he went. ) alternative.
70 4 + su. In A, Ur, Un, part of Causative ; bases : 1 sum, 2se, 3su, 4se, 5 sure.
71 2 + TAKi (1); ikitai; that wishes to go.
72 2 + TARA-zu (o); nite i-nai; is not like.
73 2 + TAREBA (2); itta kara; as, since, he went.
74 2 + takedo(mo) (2); itta keredomo; though he went.
75 2 + TArJ (3); itta; he went.
76 2 + TARiKi (3); itta; he went.
77 2 + TARiSHi (1); itta; that went.
78 2+TARU (1); itta; that went.
79 2-fTAiiu NAM (3); itta no da; he went.
80 2 + TASHi (3); ikitai; he wishes to go.
81 2 + TE (2); ifte; (by) gomg; (by) having gone.
82 24-TE MO (2); itte mo; even if he goes.
83 3 + TO lEDOMO (2); iku keredomo; though he goes.
84 3 + TO MO (2); itte mo; though he goes.
85 2 + TSUTSU (2); iki nagara; while going.
86 O + u (not/w). [7 after an adjective foundation is equivalent to A:w ;
cJiikau shite = cMkaku slate. U after a verb foundation is equivalent to
hi; tsukau )i.atsureru=tsukai matsureru.
87 4 + YD (3); (E, I, O, Us, U/, Uk, Ua, Uh) ; osJdero; teach!
88 4 + ZARAN (3, 1); ika-nai darb; he will probably ^ ot go.
89 4 + ZAREBA (2); ika-nai kara; as, since, he does not go.
90 4 + ZARED0(M0) (2); ika-nai keredomo; though he does not go.
91 4 + ZAMKi (3); ika-7iakaf(a ; he did not go.
92 4 + ZAMsni (1); ika-nnkatta; that did not go.
93 4 + z.\KU (1); ika-nai; that does not go.
94 4 + ZAKU BEKAUA-zu (:>) ; ika nakereba nara-nai ; he must go.
95 4 + ZAUU BESHI (3); ika-nai darb; he will probably not go.
96 4 + ZAUU NASHi (3); ika-nai koto ua nai; ho goes sometimes; ika-nai
itokoro) wa nai; lie has bi>on to all (those places).
97 l + ZU (3, 2); ika-nai, ika-nakide; he does not go, (by) not going, (by)
not having gone.
98 4 + zurM)BA (2); ika-nai naraha; if he does not go.
99 4 + zu SHH'E (2); ika-nakute; (by) not goiug, (by) not having gone.
VOLUME IV. THE LITERARY STYLE. (Grammatical Introduction) XVII
All tlae above, and only the above, terminations are used in this volume.
The fact that, together with the bases, they number exactly 99 is not due
to purpose, but merely to a lucky chance. For convenience of reference,
this short list of terminations is also given at the back of the Synoptical
Chart. These same terminations, roughly grouped together according to
tenses, will be found in Appendix II. A more complete list of terminations is
given in Appendix I. Examples showing the use of most of the common
terminations, and information about various important words are given in
AppendLx HI. The student may sometimes find it profitable to consult
this list.
Translations. As far as possible we advise the student to rely more
on the translations in the colloquial, and less on the English versions. Fre-
quently, these latter will have to be very much modified before they are
of much use in the translation of a sentence. Especially in the case of the
auxiliary verbs, shall, will, should, would, can, coulc^ maj^ might, must, and
ought to, you must pick out the one that suits the case, and not necessarily
the one given. It is hardly worth while mentioning that the subject (he, I,
tec), the verb (go, know, praise, etc.), and the adjective (good, many, white
etc) given, have no special significance : they must be replaced by the proper
Words according to the text.
Parsing or analysing a verb or adjective consists in stating its inflexion,
how it is built up and how it is related to the sentence. The student should
naturally aspire to being able to parse by himself ; but he may find it easier
at first to follow an analysis worked out for him. Tbit is why we have
given in full the parsing of all the verbs and adjectives of the first twenty
Lessons. If the student studies these, he will probably be able to parse most
of the rest of the book by himself. So from Lesson 21 on, we only give
the parsing of those verbs which are a little diflficult.
It is not strictly true to say that we give the parsing of all the verbs
and adjectives of the first lessons, as we have left out most of those cases
in which Base 2 and the Adjective Foundation are used as nouns, and when
they are used as first component of a compound, (2 b, 2 d, 6 a, 6 b). We
have omitted these because, as a rule, they are extremely simple and ob-
vious, and they are functions with which we are familiar from our studies of
the colloquial. The first part of the analysis only, viz. those numbers which
are less than 100, refers to the above List of Terminations ; the second part,
after the — , with numbers of three digits, refers to the Synoptical Chart
which we shall study later.
XVin JAPANESE READING FOR BEGINNERS
Lot US noAv consider a few examples in detail :
Ou page 3, line 1, we have kofianarite ( Ar, 81 — ). * Ar ' means, as we
have seen, thxt the Bases are : 1 kasanaru, 2 kasanari, 3 kasanaru, 4 kasa-
nara, 5 kasanare. ' 81 ' moans, according to the List of Terminations, that to
lifl^e 2 (kaianari) you jidd te and that this behaves like Base 2, i. e. it is
used at the end of a clause which is not the end of the sentence,
p. 3, 1. 2 : naru (Ar, 3 — ). * Ar ' means that tlie Bases are 1 naru, 2 nari,
3 nam, 4 7iara, 5 nare. ' 3 ' means that this is Base 3 {naru), and as there
is no further indication we know that it is used typically, i. e. conclusively.
p. 3, I. 7: atsusJd ( x , 62— ). ' x ' means that this is not a verb but
an adjective. ' 62 ' means that to the foundation, you add the termination
shi and that this behaves like Base 3, i. e. conclusively.
p. 5, 1. 11: oritaru (Ar, 78— ) mono. ' Ai- ' means that the Bases
are : 1 oru, 2 ori, 3 orn, 4 ora, 5 ore. ' 78 ' means that to Base 2 {ori) you
add the termination tar^ and that this behaves like Base 1, i. e. attributively,
qualifying a noun, viz. mono.
p. 7, 1. 12: tsukuru (Ek, Ic — ) ni. ' Ek ' means that the Bases are:
1 tsukuru, 2 fsuke, 3 tsuku, 4 fsuke, 5 tsukure. ' Ic ' means that this is Base
1 ; not however used in the ordinary way, but followed by a particle, viz. ni.
p. 13, 1. 5 : kamabisusJd (A, 6c — ). ' A ' means that this is a special
adjective whose Foundation ends in the ski. ' 6c ' means that it is used con-
clusively without any termination.
p. 13. 1. 14 : tara-zu (Ar, 97, 3c — ) to. ' Ar ' means that the Bases
are : 1 taru, 2 tari, 3 taru, 4 tara, 5 tare. ' 97 ' means that you add zu to
Base 4 (tay'a) and that this behaves like Base 3 or Base 2. * 3c ' means that
in the present case it behaves like Base 3c, i. e. it is followed by a pir-
ticle, viz. to.
p. 39, 1. 1: nai'u beshi (Ur, 16 — ). ' Ur ' means that the Bases are:
1 naru, 2 nari, 3 nari, naru'], 4 Jiara, 5 nare. ' 16 ' means that [^heshi is added
to Base 3. As the termination ^beshi is preceded by a bracket, and Base 3
in this case has an alternative form, the second form has been taken, viz.
that with the final bracket. * 16 ' also means that tliis inflexion behaves like
Base 3, i. e. it is used conclusively.
p. 23, 1. 11 : mochlitarisld (Ih, 77, c — ) ga. ' Ih ' means that the Bases
are : 1 mochiuru, 2 mocJdi, 3 mochiu, 4 mocJdi, 5 mocJdure. ' 77 ' means that
to Base 2 {mocJdi) you add tarishi, and that tliis behaves liko Base 1. ' e *
means that instead of the typical use of Bjxsc 1 we must take li*. i. e. it it
followed by a particle, viz. qa.
II
VOLUME IV. THE LITERARY STYLE. (Grammatical Introduction) XIX
Derived Verbs. The principal are the passive and the causative verbs
these are all formed from Base 4 and belong to conjugation E.
B
A S £
S
PASSIVE
1
2
3
4
5
in A, Ur, Un
4 + ruru
rer
ru
re
rure
in E, I,0,Us,Uh,
Uk, Ua, Uh
4 + raruru
rare
raru
rare
rarure
CAUSATIV^E
in A [ 44-shimuru shime
(andjor 4 + suru se
in E, I, Us, Uz, [ 4 + shimuru shime
Uk, Ua, Uh (and/or 4 + sasuru sase
shimu
shime
shimure
su
se
sure
shimu
shime
shimure
sasu
sase
sasure
in O
in Ur, Un
4 + shimuru shime shimu shime shimure
and/or 4 + seshimuru seshime seshimu seshime seshimure
4 + suru
se
se
sure
Besides these we have also the passive of the causative.
In the literary style the passive has frequently the force of an honorific.
The passive of the causative is sometimes used with a highly honoiifio
meaning ; c. g, arctserare (from aru to be), mesaserare (from mesu to summon).
The negative of the causative is formed by taking the ordinary negative
of the above causative verbs or by means of the verb 4: + zara^himuru (Conj.
Em).
Besides the above derived verbs which come from verbs, there are some
others which are formed from the adjective foundation. By adding karasJii-
muru (Conj. Em) we get a causative of the adjective, e. g. Jwshikarasldmuru
to cause a person to desire, from hoshiki desirous. Other verbs are formed
by adding garu and mu (Conj. Ar and Am), e. g. itagaru and itamii to pain,
from italci painful ; rarely giiru and muru (Conj. Eg and Em).
Notation of derived verbs in our parsing. The method will be readily
gathered from the following examples :
On p. 23, 1. 9 we have : serardaru (Us, 52, 78 — ) mono. ' Us ' means
XX JAPANESE KEADINt} FOE l{;i(HNNERS
the irregular \erb sum; the bases are: 1 sum, 2 shi, sej, I) sii, 4 se, 5 sure,
se^. ' 52 ' means that to Base 4, se, is added rare, aud that the result is some
iuf liwiou of the passive of sitru ; the bases are : 1 seraruru, 2 sarare, 3 seraru ,
4 serare, 5 serarure. ' 78 ' meaus that to Base 2, serare, of this passive
verb, you add tlie termination tarn, aud tliat this bohaves like Base 1, i. o
it is used attributively before a noun, mono,
p. 39, 1. 3 : tsukurashimetaru (Ar, 6(5, 78 — ) meijo. ' Ar ' means that
the bases are : 1 fsuhiru, 2 tsukuri, 3 tsuJcuru, 4 tsnkura, 5 tsukure. ' 66 '
meaus that to Base 4, tsukura, is added shime, and that the result is some
inflexion of the causative of tsukum ; the bases are : 1 tsukurashimttru, 2
tsukurashimc, 3 tmikurashimu, 4 tsukurashime, 5 tsuktirashimure. * 78 ' means that
to Base 2, tsukurashime, of this causative verb, you add the termination taru, and
that this behaves like Base 1, i. e. it is used attributively before a noun, meijo.
How to parse. As we have said, one tiling is to understand a
given analysis, another and more important thing is to be able to "work out
one's own analyses. The process will be something like this : —
I.jet lis take the case of ^^'fZ Zi Z. h. oshietaru koto. If we look up ^
in the Beginners' Dictionary, we shall find oslii{]i)eru. ' (li)ei'u) ' means, (see
Table of Bases), that the verb is Eh ; the bases will be : 1 oshiuru, 2 os/n'e,
3 oshiu, 4 oshie, 5 oshiure. We are in doubt here whether we are dealing
with Base 2 or with Base 4, as both are oshie. However, this does not
matter, as we know the termination begins with ta ; and the List of Termi-
nations shows that 78, i. e. 2 + tam (1), is the one which meets the case.
* (1) ' shows that the termination behaves like Base 1. We have there-
fore to consider whether it is used as in (a), (b) or (c) ; we can easily see that
liere it is used in the typical way, i. e. attributively, before the noun koto^
^x-^\[X omoeba. The Beginners' Dictionary gives ,§» omo{u). There-
fore the verb is Ah ; the bases are : 1 omaii, 2 omoi, 3 omou, 4 omoioa, 5
omoe. The termination is ba, but the List of Terminations gives two ter_
minations ha, 7 and 8 ; one after Base 4, the other after Base 5. Here
evidently we have termination 8, i. e. 5 -}-/»«.
Lot us take a more difficult case, ^^-^^il araserare. As no kan-j{
is used the Beginners' Dictionary does not help us to dotermino the con-
jugation : however, a moderate knowledge of Jap^inese will lead us to suspect
that this inflexion is part of am ' Ur '. Tlie bases are : 1 aru, 2 ari, 3 ari^.^
am'], 4 ara, 5 a7'e. We see that to Base 4, ara, has boon added serare-
Termination 60 is 4 -f- se, and we are told tliis is part of the causative ; the
leases: 1 arasuru, 2 arose, 3 arasu, 4 arose, 5 arasitre. As the ioflexiou we-
VOLUME IV. THE LITERARY STYLE. (Grammati nl Iiitroaiictioii) XXI
are considering is araserare wo see that we are dealing with either Base 2
or Base 4 of the above, and that the termination rare has been added. Ter-
mination 52 is 44- rare and this is part of the p^issive : so araserare is the
passive of the causative of aru. The bases are : 1 araseraruru, 2 araserare,
3 araseraru, 4 araserare, 5 araserarure ; and as Base 4 is never used by it-
self, the inflexion in question must be Base 2.
Verbal inflexions which have lost their verbal character. We
have seen that Base 2 is sometimes used as an adverb or as a conjunction.
Something similar happens with certain inflexions which beliave like Base 2*
E. g. hajimete (termination 81), Jciivamete (81), tatoeba (8), nohorazu (97), and
taezii (97) may be adverbs ; and sJiikaredomo (18) and shikaraba (7) conjunc-
tions.
Exceptional inflexions and contracted verbs. The termination ku
is added to Base 4 of certain verbs with a present meaning ; e. g. iivaku
(from ill, Kh) he says, negawaku (from negate. Ah) I pray. The termination
raku is added to Base 5 with a past meaning ; e. g. ierakic he said, omoe-
raku (from omou, Ah) I thought. Ail these forms are used to introduce a
quotation. The verbs are all of Conj. Ali.
Saraba, sareba, and saredo{mo) (other inflexions not much used), are
contractions of sa ardba, sa areha, and sa aredomo : they are conjunctions.
Kakaru adjective, and kakuie adverb, are contractions of kaku aru and kaku
arite. Other notable cases of contraction are : nam (Ur) from ni aru, and taru,
the independent verb, from to aru.
Ornamental and honorific verbs. Certain verbs are sometimes pre-
fixed to other verbs without adding substantially to their meaning ; thus,
ai-naru { = naru), ai-kaivara-zu {=kawara-zu), makari-deru ( = deru), makari-
stimu {=sumu), ucld-iosu { = tdsu), uclii-iuasururu (=:ioasururu), sashi-kakaru
{= kakaru), aasJd-fdsu {=:tbsu), kaki-kumoUe {^-kumotte), kaki-kesu ( = kesu).
They are little more than ornaments and serve merely to improve the style.
Likewise, tlie ii-regular verb nam in its \arious inflexions is used very
frequently after all sorts of verbs, serving only to round off the sentence,
very much like the no desu of the colloquial. The verbs tamo, matsuru,
tatematsuru, and nasaru, used as suffixes are honorific ; some more and some
less. The verb soro is used as an honorific suffix in the epistolary style.
Phonetically irregular verbs. The verbs unjbru (Eh) aud yd (Ah) are
worthy of note because they are very irregular phonetically, though per-
fectly regular in kana, as may be seen.
XXn JAPANESE READING FOR BEGINTJERS
5n ^5
'yn ^
^n ^
^n -^
^n ^n
uryoru
uree
urjo
uree
uryore
^ ^
^ a
^ ^
^ n
^ ^
yo
ei
JO
ewa
ee
Other verbs, especially certain verbs belonging to oonjugation Eh, are
also somewhat disconcerting phonetically ; e. g. the colloquial kotaeru is ko-
tbru (ko-ta-fu-rn) in the literary style, kuwaeru is kudru (ku-iva-/u-ru), atae-
ru is atom {a-ta-fu-ru), and so forth. Even common verbs like kau pro-
nounced kb in the literary style, au pronounced o and many others, migh^
trouble the student wlio is translating a romanized text or trying to under-
stand something read aloud to him ^by another ; but all these phonetic
peculiarities will not bother a person who is studying the Japanese text
itself; and this is the usual case.
Useful hints.
( a) Tiiere are • two verbs nam which may easily be confused. One is the
regular verb nam * Ar ' to become, used in the literary style in a very similar
way to that in wliicli it is used in tlie colloquial. However, the ni which
precedes nam in the colloquial, usually changes to to in the literary style ;
thus yama ni naru becomes yama to narni. The other nam is irregular ' Ur ' ;
it means to be : it often corresponds to de am, or to na in the colloquial : ham
nari = haru de aru — ha.ru da; talsetsu nam mono — talsetm no, mono. Remember
that naru to become, is generally preceded by ni or to ; naru to be, never is.
(b) The verb deru ^ is izuru in the literary style ; it belongs to con-
jugation Ed.
(c) Verbs which are written not in kan-ji but in kana are sometimes
difficult to recognize. Note especially some short inflexions of the verb sum
like shi (Base 2) ; su (Base 3) and sen (45) ; also the corresponding nigoried
forms, ji, zu, zen. Remember tliat suru in its original form or in its Jiigori'ed
form zuru is very frequently added to a character to verbalize it. The
character is then almost ahvays road according to the Chinese, on, reading.
(d) The termination m (57) may easily be mistaken for a base. Tiins
3/1 "C ^ tateru in the literary stylo is not the colloquial toteru; but the past
tense of tatsu, viz. Base 5, to^e, + termination 57, ru. The colloquiiU taleru
(Et) is tatsuru (attributive) or tatsu (conclusive) in tlie literary stylo. Like-
wise ^f^^)^ yomern m the literary style is Am, 57; it is not the? eoUoquial
potential yomo.ru can read. The colloquial yomern (Et) wouKl be yomuru
(attributive) or yomu (conclusive) in the literary style.
The Synoptical Chart. TJiose wlio want to know not only the nie.iniug
VOLUME IV. THE LITERARY STYLE. (Grammatical Introduction) XXIII
of the various verbal inflexions, 'but also wish to understand how they are
built up, cannot do better than study the accompanying Synoptical Chart and
learn how to use it. At first sight it looks rather formidable, but on close
acquaintance it will be fovmd to be less complicated than it looks.
This Chart may be considered as a mere amplification of the Table of
Bases given previously. The difference between the two consists in this :
(a) in the Synoptical Chart you will find not only the Bases themselves at
the left of each (5f the principal columns, but at the right are given the uses
to which each Base is put and the terminations which may be added to it ;
(b) the Chart comprises not only the verbs, but also the adjectives.
For convenience of reference the uses and the terminations are num-
bered thus : 100, 101, etc. correspond to Base 1 ; 200, 201 etc. correspond to
Base 2 ; and so forth.
The student will notice that many of the terminations are inflected :
these inflexions behave like the Bases and are capable of taking in their
turn another termination ; if this again is an inflected termination, it may
take yet another one, and we may thus get quite a string of terminations
forming one complex terznination. For instance. Base 3 may take suffix 304
helca, this behaves like Base 4 and may take suffix ra 494, this again be-
haves like Base 4 and may take suffix zaru 421 ; we thus obtain a compound
suffix hekara-zaru added to Base 3.
Not all the theoretically possible combinations are used in practice ; but
all the combinations whicii occur in practice are contained potentially in the
Chart.
The parsing according to the Cliart of all the verbs and adjectives of
tlie first 20 Lessons is given in full ; and we believe that at some point in
his studies, which the student must determine for himself, it will be desir-
able to follow, by means of the Chart, the analyses given; and later, to work
out his o.vn analyses. Tins will be an excellent preparation for whatever
studies he may make later on.
Parsing with reference to the Chart. Let us consider this example :
icaru bekara-zaru ^\h, 304, 494, 421, 100) koto ari (Ur, 300). ' Ali ' shows
us how to form tlie Bases of the verb, viz. : 1 ivaraii, 2 loarai, 3 warau,
4 loara'va, o ivarae. As 304 begins with a 3 we must take Base 3, ivarau
(pronoimcel, in the literary style, ward) ; ' 304 ' is heka, a potential adje-
ctive ; ' 494 ' is ra added to an adjective ; ' 421 ' is zaru a negative ; and * 100 '
tells us tiiat this combination is used attributively, in this case it qualifies
koto. So tlie whole eombinatioa loaro bekara-zaru is the negative potential of
XXIV JAPANESE READING FOR BEGINNERS
warau, qualifying koto.
It is interesting to note that the last digit of 304, is the same as the
first digit of the following number 494 (304, 494) ; the last digit of 494, is
the same as the first digit of the following number 421 (494, 421) ; the last
digit of 421 is the same as the first digit of the following number 100 (421,
lOO). This happens always and in every case until we come to a number
that ends in 0, which shows that we are at the end of our analysis as far as the
possibilities of the present Chart are concerned.
The otlier verb is an (Ur, 300). ' Ur ' tells us it is the irregular verb aru
(or one conjugated like it) ; ' 300 ' that we have here Base 3 used conclusively.
Take another example : • • • • naric beshi (Ur, 303, 300). ' Ur ' tells us
the verb nam is irregular and conjugated like aru ; the Bases, therefore,
are : 1 naru, 2 nari, 3 nari, nam], 4 nara, 5 nare. As * 303 ' begins with
a 3 we must take Base 3. But ' 303 ' is [besJd, with a bracket at the begin-
ning : this means that it is added to the alternative form of Base 3 if such
an alternative form exists. In this case Base 3 has an alternative form,
viz. naru, so we have naru heshi. ' 300 ' informs us that the combination is
used conclusively.
In the text the verbs and adjectives are analysed with reference to tlie
alphabetical List of Terminations, and also with reference to the Synoptical
Chart. As the reference numbers of the List of Terminations are all less than
100, and the reference numbers of the Synoptical Chart are from 100 up-
wards we believe no confusion will arise : however, as a further precaution,
we have separated the two analyses by a — .
We wish to warn the student that the true derivation of many adjec-
tive terminations, in fact of all those beginning witJi kar-, is not that
shown in the Chart. Such a termination as kariki does not really come from
ka-ri-ki, but from ku-ari-ki, the n having been dropped. We have given
ka as Base 4 of the adjective to simplify the Chart.
After the student has had a little practice, he will fimd that it is usually
not necessary to form the bases in order to ascertain the termination. Most
verbal terminations begin at the second kana symbol after tlie kan-ji : ter-
minations ha and domo begin at the thiixl in verbs E, I, Un ; various ter-
minations begin at the first in verbs O, Uk, Ua, Uh and in adjectives. Verbs
O are not numerous ; the commonest are : miru to look, imi to be, kir^i to
wear, dekiru to be able, nirn to resemble, nirii to boil, kirn to dry in the
Bun, iru to shoot with a bow and arrow, and iru to cast metal.
READING LESSONS
TAKEN FROM THE
GOVERNMENT SCHOOL READERS
JAPANESE READING FOR BEGINNERS.
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VOLUME IV.— THE LITERARY STYLE.
DAI ICHI.— ShI-KI. Hi kasanarite (Ar, 81— 202, 200) tsuki to
naru (Ar, 3— 300). Tsuki kasanarite (Ar, 81—202, 200) toshi to naru
(Ar, 3 — 300). Ichi-nen ni wa ju-ni-ka-getsu ari (Ur, 3 — 300). Ichi-nen
wo haru, natsu, aki, fuyu no shi-ki ni wakatsu (At, 3 — 300). San-gatsu
no hajime(l) yori go-gatsu no owari made wa haru nari (Ur, 3 — 300).
Roku-gatsu no hajime yori hachi-gatsu no owari made wa natsu nari (Ur,
3—300). Karu wa atatakaku (x, 38—200), natsu wa atsushi (x, 62—300).
Ku-gatsu no hajime yori ju-ichi-gatsu no owari made wa aki nari (Ur,
3 — 300). Ju-ni-gatsu no hajime yori akuru (Ek, 1 — 100) toshi no ni-gatsu
no owari made wa fuyu nari (Ur, 3 — 300). Aki wa suzushiku (x, 38 — 200),
fuyu wa samushi (x, 62 — 300).
DAI NI.— MoNOSASHi TO Masu to Hakari.
Mono no nagasa wa monosashi nite hakaru (Ar, 3 — 300). Nagasa wo
hakaru (Ar, Ic — 120) ni wa shaku wo moto to su (Us, 3 — 300). Shaku
no ju-bai wo jo, shaku no ju-bun no ichi wo sun, sun no ju-bun no ichi wo
bu, bu no ju-bun no ichi wo rin to iu (Ah, 3 — 300). Monosashi ni wa
kane-jaku to kujira-jaku to ari (Ur, 3 — 300). Kane-jaku wa kujira-jaku
yori sukoshi mijikaku (x, 38 — 200), sono is-shaku wa kujira-jaku no has-sun
CI) Hajime is Em. 2b — 210, i.e. Base 2 used as a noun. We have already
said we do not, as a rule, intend to analyse these cases.
JAPANESE READING FOR BEGINNERS.
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VOLUME IV.— THE LITERARY STYLE.
nl ataru (Ar, 3 — 300). Mono no kasa vva masu nite hakaru (Ar, 3 — 300).
Kasa wo hakaru (Ar, Ic — 120) ni wa sho wo moto to su (Us, 3 — 300).
Sho no ju-bai wo to, to no ju-bai wo koku to ii (Ah, 2 — 200), sho no ju-bun
no ichi wo go, go no ju-bun no ichi wo shaku to iu (Ah, 3 — 300). Mono
no omosa wa hakari nite hakaru (Ar, 3 — 300). Hakari ni mo iro-iro ari (Ur,
3 — 300). Omosa wo hakaru (Ar, Ic — 120) ni wa kan wo moto to su
(Us, 3 — 300). Kan no sem-bun no ichi wo momme, momme no ju-bun no
ichi wo fun, fun no ju-bun no ichi wo rin to iu (Ah, 3 — 300).
OAI SAN. — OrI-MONO. ' Ori-mono ni wa kinu-orimono,
momen-orimono, asa-orimono, ke-orimono nado iro-iro ari (Ur, 3 — 300). Kinu-
ito nite oritaru (Ar, 78 — 221, 100) mono wo kinu-orimono to iu (Ah, 3 — 300).
Kimono, haori, hakama, obi nado no atai takaki (x, 35 — 100) mono wa taitei
kono kinu-orimono nite tsukuru (Ar, 3 — 300). Momen-ito nite oritaru (Ar, 78 —
221, 100) mono wo momen-orimono to iu (Ah, 3 — 300). Ware-ra no kimono
wa oku (x, 38c — 220) kono momen-orimono nite tsukuru (Ar, 3 — 300). Asa
mata wa karamushi no ito nite oritaru (Ar, 78 — 221, 100) mono wo asa-orimono
(1) Ori is Ar, 2d — 230 ; i.e. Base 2 used as first component of a compound..
We shall not as a rule analyse cases like these.
JAPANESE READING FOR BEGINNERS.
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to iu (Ah, 3—300). Asa-ito nite oritaru (Ar, 78—221, 100) mono wa kaya
nado ni tsukuri (Ar, 2 — 200), karamushi no ito nite oritaru (Ar 78 — 221, 100)
mono wa katabira nado ni tsukiiru (Ar, 3 — 300). Furanneru, rasha, merinsu
nado no gotoku (x, 2 — 200), kemono no ke wo tsumugite (Ag, 81 — 202, 200)
oritaru (Ar, 78 — 221, 100) mono wo ke-orimono to iu (Ah, 3 — 300).
DAI SHI.— ShIO to Sat5. Shiowakaraku(x, 38-200),
sato wa amashi (x, 62 — 300). Tsuke-monoC^) wa subete shio nitetsuke (Ek,
2 — 200), miso mo shoyu mo shio wo irete (Er, 81 — 202, 200) tsukuru (Ar,
3 — 300). Kashi no uchi ni wa sato wo fukuma-zaru (Am, 93 — 421, 100)
mono sukunashi ( x, 62 — 300). Ni-mono wo suru (Us, Ic — 120) ni mo sato wo
mochiuru (Ih, 1 — 100) koto ari (Ur, 3 — 300). Shio to sato to wa mono no
aji wo tsukuru (Ar, Ic — 120) ni taisetsu naru (Ur, 1 — 100) mono ni shite (Us,
81 — 202, 200), kono futatsu no mono nakereba (x, 32 — 512, 200), mono no
aji wa umakara-zu (x, 26 — 494, 413. 300). Shio wa yama yori mo izuredomo
(Ed, 18 — 512, 200), waga kuni nite wa umi no mizu yori tsukuru (Ar, 3 — 300).
Sato wa shuju no mono yori toredomo (Ar, 18 — 512, 200), sato-kibi yori
tsukureru (Ar, 57—501, 100) mono oshi (x, 62—300).
DAI GO. — ZaIMOKU. Zaimoku ni wa matsu, sugi, hinoki, kuri,
keyaki nado ari (Ur, 3—300). Mottomo oku (x, 38c— 220) mochiuru (Ih,
(1) Note that tsuke comes from the verb tsukuru Ek, to pickle ; a little
further on tsukuru Ar, means to make.
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1 — 100) mono wa matsu to sugi to ni shite (Us, 81 — 202, 200), johin naru
(Ur, Ic— 120) vva hinoki, kataki (x, 35c— 120) wa kuri nari (Ur, 3—300).
Matsi!, sugi, hinoki, keyaki wa ita mata wa hashira to shite (Us, 81 — 202, 200)
ie wo tate (Et, 2 — 200), hashi wo kake (Ek, 2 — 200), fune wo tsukuru (Ar,
Ic — 120) ni mochiu (Ih, 3 — 300). Sugi wa denshin-bashira ni mochii (Ih,
2 — 200). mata hako, oke, taru nado wo tsukuru (Ar, Ic — 120) ni mochiuru
(Ih, 1 — 100) koto oshi (x, 62—300). Kuri wa kataku shite (x, 40— 240),(1)
nagaku (x, 38c — 220) kusara-zareba (Ar, 89 — 425, 512, 200), ieno dodai, mata
wa tersudo no makura-gi nado to su (Us, 3 — 300). Kiri wa yawarakaku shite
( X , 40—240), yowaki ( x , 35— 1 00) ki nareba (Ur, 8—512, 200), ie wo tatsuru
(Et, 1 — 100) zaimoku to shite (Us, 81c — 240) wa mochiirare-zaredomo (Ih, 52,
90—444, 425, 512, 200), karuku shite (x, 40—240) utsukushikereba (x, 32—
512, 200), tsukue, hon-bako, tansu, hakimono nado wo tsukuru (Ar, Ic — 120)
ni mochiu (Ih, 3 — 300). Zaimoku wo yama yori kiri-idasu (As, 1 — 100) mono
wa soma nari (Ur, 3 — 300). Zaimoku wo hikite (Ak, 81 — 202, 200), ita mata
wa hashira to nasu (As, 1 — 100) mono wa kobiki nari (Ur, 3 — 300). Zaimoku
wo mochiite (Ih, 81 — 202, 200) ie wo tatsuru (Et, 1 — 100) mono wa daiku ni
shite (Us, 81 — 202, 200), tsukue, hon-bako, tansu nado wo tsukuru (Ar, 1 —
1 0) mono wa sashimonoshi nari (Ur, 3 — 300).
(1) This may also be analysed thus: kataku (x, 38c — 220) shite (Us,
81—202, 200;.
10
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VOLUME IV.— THE LITERARY STYLE. 11
DAI ROKU.— YaKIMONO to NuRIMONO. Chawan,
dobin, sara, hachi nado wa yakimono ni shite (Us, 81 — 202, 200), zen, wan,
bon, jubako nado wa nurimono nari (Ur, 3 — 300). Yakimono wo tsukuru
(Ar, Ic — 120) ni wa, tsuchi mata wa ishi no ko wo neri-katamete (Em, 81 —
202, 200) kawakashi (As, 2—200), kama ni irete (Er, 81—202, 200) yaku
(Ak, 3—300). Kaku shite (Us, 81—202, 200) dekitaru (O, 78—221, lOO)
mono wo suyaki to iu (Ah, 3 — 300). Ware-ra no tsune ni mochiuru (Ih, 1 —
100) chawan, sara, hachi no rui wa kono suyaki ni uwagusuri wo kakete (Ek,
81—202, 200), futatabi yakitaru (Ak, 78—221, 100) mono nari (Ur, 3—300);
Kacho, sansui, jimbutsu nado no moyo wa, uwagusuri wo kakuru (Ek, Ic —
120) mae ni egaku (Ak, 3—300). Nurimono wa kuritaru (Ar,78— 221, 100)
ki mata wa kumi-awasetaru (Es, 78—221, 100 ; or else Ah, 60, 78—462, 221,
100) ki, take, mata kami nado ni urushi wo nurite (Ar, 81 — 202, 200) tsukuru
(Ar, 3 — 300). Nurimono ni ki, aka,(l) kuro, ao nado sama-zama no iro aru
(Ur, Ic — 120) wa mina urushi ni iro wo tsuketaru nari (Ek, 79 — 221, 103,
300). Urushi no ue ni kin mata wa gin nite egakitaru (Ak, 78 — 221, 100)
mono wo makie to iu (Ah, 3 — 300).
^^)^A-ais X, 6a; i.e. an adjective foundation used as a noun. We do not
think it necessary to parse cases like these.
12
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VOLUME IV.— THE LITERARY STYLE. 13
DAI SHICHI.— T5kYO KeMBUTSU. Shimbashi tei-
shaba wo idete (Ed, 81—202, 200), Ueno-yuki no densha ni noru (Ar, 3—300).
Ginza-dori no nigiw^ashisa mazu me wo odorokasu (Ar, 3 — 300). Ju-go-fun
hodo nite Nihombashl ni itaru (Ar, 3 — 300). Migi no ho wa uo-ichiba nite,
baibai no koe kamabisushi (a, 6c — 300). Sore j'ori ni-jip-pun amari (Ar,
2b — 210) nite Ueno koen ini tsuku (Ak, 3 — 300). Ueno koen ni wa
hiroki (x, 35 — 100) dobutsu-en arite (Ur, 81—202, 200), shuju no
mezurashiki (x, 35—100) dobutsu wo atsumetari (Em, 75—223, 300).
Sono ta Hakubutsukan, panorama nado ari (Ur, 3 — 300). Koko ni wa
sakura no ki oshi (x, 62—300). Haru no hana-zakari ika ni utsukushi-
karan (x, 22, 3—494, 403, 300). Sakuragaoka yori mi-oroseba (As,
8—512, 200), miyuru (Ey, 1 — 100) kagiri (Ar, 2b— 210) wa mina jinka nari
(Ur, 3 — 300). Saredomo(l) koko nite miyuru (Ey, Ic — 120) wa Tokyo no
sam-bun no ichi ni mo tara-zu (Ar, 97, 3c— 413, 320) to iu (Ah, 3—300).
Asakusa no Kannon-d5 mo higashi no ho ni miyu (Em, 3 — 300). Ueno no
yama wo orite (Ir, 81—202, 200), Asakusa-yuki no densha ni noru (Ar, 3—
300). Kaminarimon nite densha wo orite (Ir, 81 — 202, 200), Kannon-do ni
mukatte(2) yukeba (Ak, 8—512, 200), ryogawa ni amata no mise ari (Ur, 3 —
300). KankSba ni iritaru (Ar, 78—221, 100) kokochi su (Us, 3—300). Nio-
mon wo irite (Ar, 81—202, 200), Kannon-do wo haishi (Us, 2—200), sore yori
(1) See page
(2) The colloquial gerund of mukau, instead of fSlO-T the corresponding
literary-style inflexion.
14
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VOLUME IV.— THE LITERARY STYLE. 15
suizokukan wo miru (0, 3 — 300). Asakusa koen ni wa shuju no mise-mono
ari (Ur, 3—300). Koko wo hito-meguri shite (Us, 81—202, 200) Sumida-
gawa no hotori ni izu (Ed, 3 — 300). Kawa no muko-gawa wa Muko-jima
nite, sakura no meisho nari (Ur, 3 — 300). Hiroki (x, 35 — 100) Tokyo no
kembutsu wa ichi-nichi nite wa tsukushi-gatashi (x, 62 — 300).
Kyo wa mazu Marunouchi ni yukite (Ak, 81 — 202, 200) Kyujo wo
haishi(3) tatematsuru (Ar, 3 — 300). Kyujo no o hori ni wa kanete shashin nite
mi-shiritaru (Ar, 78—221, 100) Ni-ju-bashi kakareri (Ar, 55—503, 300).
Kyujo no mae no hiroba ni wa Kusunoki Masashige no dozo ari (Ur, 3 — 300).
Sakuradamon wo izureba (Ed, 8 — 512, 200), Hibiya koen ari (Ur, 3 — 300).
Kono koen wa atarashiku shite (x, 40 — 240), koboku okara-zaredo (x,
24—494, 425, 512, 200), shuju no kusa-bana uruwashiku (x, 38c,— 220) saki-
midaretari (Er, 75 — 223, 300). Koko ni wa utsukushiki (x, 35 — 100) ike ari
(Ur,*3— 300). Kiroki (x, 35—100) undo-ba mo ari (Ur, 3—300). Koen
wo izureba (Ed, 8—512, 200), Kaigun-sho wo hajime (Em, 2—220), oku
(x, 38b — 210) no kanshS ari (Ur, 3 — 300). Izure mo yofu no renga-zukuri
nite, rippa nari (Ur, 3 — 300). Densha nite Kudan-zaka no ue ni itari (Ar,
2 — 200), Yasukuni Jinja ni sankei su (Us, 3—300). Yashiro no katawara ni
Yushu kan ari (Ur, 3 — 300). Kaeri-michi-ni saka no ue yori mi-oroseba (As,
8—512, 200), koko mo mata mi-watasu (As, 1 — 100) kagiri (Ar, 2b— 210)
C3) Haishi (Us, 2d— 230) is a verbahzed on reading ; it forms a quasi-
compound with following verb.
16
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VOLUME IV.— THE LITERARY STYLE. 17
jinka nara-zaru (Ur, 93c— 421, 120) wa nashi (x, 62—300). Asu wa Shiba
koen wo mite (0, 81 — 202, 200) sore yori Shi-ju-shichi-shi no haka ni moden
(Ed, 45, 3c— 403, 320) to su (Us, 3—300).
DAI HACHI — InU. Inu no shurui wa sukoburu oshi (x, 62 —
300). Dai naru (Ur, Ic— 120) wa ko-uma no gotoku (x, 38—200), sho
naru (Ur, Ic — 120) wa neko yori mo chiisashi (x, 62 — 300). Abara-bone no
kazoeraruru (Eh, 53, Ic— 441, 120) hodo yase-hosoritaru (Ar, 78—221, 100)
mono ari (Ur, 3 — 300). Aruku (Ak, 1 — 100) toki niku no yure-ugoku (Ak,
Ic— 120) hodo koe-futoritaru (Ar, 78—221, 100) mono ari (Ur, 3—300). Ke
no itatte(l) mijikaki ( x, 35 — 100) mono wa yubi-saki nite mo tsumame-nu (Em,
51c— 411, 120) hodo naredo (Ur, 18—512, 200), njgaki (x, 35—100) mono
wa hitsuji no gotoku (x, 38 — 200), tachite mo (At, 82 — 202, 240) sono ke wa
nao jimen ni tassu (Us, 3 — 300). Aru (Ur, 1 — 100) mono wa kashira okikii
(x, 38— 200) maruku shite (x, 40— 240), shishi no gotoku (x, 38—200),
aru (Ur, 1—100) mono wa kao nagaku (x, 38c— 220) togarite (Ar, 81—202,
200), kitsune no gotoshi (x, 62—300). Mimi no taretaru (Er, 78—221, 100)
mono, tachitaru (At, 78—221, 100) mono, o no nobitaru (lb, 78—221, 100)
mono, taretaru (Er, 78 — 221, 100) mono, makitaru (Ak, 78 — 221, 100) mono,
ashi no mijikaki (x, 35 — 100) mono, nagaki (x, 35 — 100) mono nado, ichi-
(1) Itatte, colloquial form of gerund used as adverb.
18
JAPANESE READING FOR BEGINNERS.
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VOLUME IV.— THE LITERARY STYLE. 19
ichi kazoe-gatashi (x, 62 — 300). Subete inu wa hito ni nare-yasuku (x, 38 —
200), kashikoku shite (x, 40 — 240), yoku (x, 38c — 220) shujin no mei wo ma-
moru (Ar, 3—300). Mukashi yori " Inu wa mikka kaeba (Ah, 8—512, 200),
san-nen sono on wo wasure-zu (Er, 97, 3c — 413, 320)." To ieri (Ah, 55 —
503, 300). Inu wa mimizatoki (x, 35—100) dobutsu ni shite (Us, 81—202,
200), nemureru (Ar, 57 — 501, 100) toki mo hito no ashi-oto wo kikeba (Ak,
8 — 512, 200), tadachi ni me wo samasu (As, 3 — 300). Sareba^") yoru wo
niamorashimuru (Ar, 67, Ic — 451, 120) ni yoroshi (x, 62 — 300). Mata sono
nana wa yoku (x, 38c — 220) mono no nioi wo kagi-wakuru (Ek, Ic — 120)
WG motte,('^) kari ni mochiite (Ih, 81 — 202, 200), emono wo sagasashimuru
(As, 67, Ic — 451. 120) ni tekisu (Us, 3 — 300). Gaikoku nite wa inu wo
shite (Us, 81 — 202, 200) ushi-kai, hitsuji-kai no tetsudai wo nasashimu (As,
67, 3 — 453, 300). Ni-san-biki no inu yoku (x, 38c — 220) ni-san-bj'aku-
tc no ushi, ni-san-zen-to no hitsuji wo oi-mawashite (As, 81 — 202, 200),
shujin no yuku (Ak, 1 — 100) ho e yukashimu (Ak, 67, 3c — 453, 320)
to iu (Ah, 3 — 300). Mata samuki (x, 35 — 100) kuni nite wa inu wo
shite (Us, 81—202, 200) sori wo hikashimu (Ak, 67, 3—453, 300). Hak-
ku-to no inu ikioi yoku (x, 38c — 220) su-nin wo nosetaru (Es, 78 — 221, 100)
sori wo hikite (Ak, 81 — 202, 200) yuki no michi wo hashiri-yuku (Ak, 1 —
100) sama makoto ni isamashi (a, 6c — 300), Aru (Ur, 1 — 100) yama-guni
nite wa, inu no kubi ni yakuhin, shokumotsu nado wo iretaru (Er, 78 — 221,
100) kago wo kake-okite (Ak, 81—202, 200), tsukaretaru (Er, 78—221, 100)
tabibito wo sukuwashimuru (Ah, 67, 1 — 451, 100) koto ari (Ur, 3 — 300).
^^) See page
(2) Wo motte, post-positional phrase.
20
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VOLUME IV.— THE LITERARY STYLE 21
Mata chika-goro wa senio ni mo inu wo mochiite (Ih, 81 — 202, 200), taore-
taru (Er, 78—221, 100) heishi wo sagasashimu (As, 67, 3c— 453, 320) to iu
(Ah, 3—300).
DAI KU.~MaTCHI. Matchi wa hito-hako no atai san-yo-rin
nareba (Ur, 8 — 512, 200), ichi-yen nite wa, san-byaku-hako mo ko (Ah, 1 —
100) koto wo u (Ua, 3 — 300). Kaku no gotoku (x, 38 — 200) atai no yasuki
(x, 35 — 100) mono nite, kaku no gotoku (x, 38 — 200) benri naru (Ur, 1 —
100) mono wa yo ni sukunakaru beshi (x, 29 — 493, 303, 300). Ware-ra wa
heizei matchi wo mochii-naretareba (Er, 73 — 225, 512, 200), sahodo ni wa
omowa-zaredomo (Ah, 90 — 425, 512, 200), kono mono no nakarishi (x, 28 —
492, 241, 100) mukashi wo omoi-idasu (As, 1 — 100) toki wa, imasara ni sono
benri naru (Ur, Ic— 120) ni odorokaruru nari (Ak, 56, 48—431, 103, 300).
Shoshi wa imada matchi no seiz6-ba wo mitaru (0, 78 — 221, 100) koto nakaru
beshi (x, 29—493, 303, 300). Matchi no seizo ni wa odoroku beki (Ak, 12—
301, 100) tesu no kakaru (Ar, 1—100) mono nari (Ur, 3—300). Mazu
mokuzai wo kirite (Ar, 81 — 202, 200), yuge nite mushi (As, 2 — 200), kezurite
(Ar, 81—202, 200) usu-ita to shi (Us, 2—200), hosoku (x, 38c— 220) kizamite
(Am, 81—202, 200) jikugi to shi (Us, 2—200), hi ni kawakashite (As, 81 —
202, 200),kashira ni kusuri wo tsuke(Ek, 2—200), sono katamaru (Ar, Ic— 120)
wo machite (At, 81—202, 200), hako ni iru (Ar, 3—300). Kako wa usuki
22
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(x, 35 — 100) moku-hen wo ori (Ar, 2 — 200), sono ue ni kami wo harite
(Ar, 81—202, 200) tsukuri (Ar, 2—200), soto-gawa ni kusuri wo nuru nari
(Ar, 48—103, 300). Kono ue ni yama yori ki wo kiri-idashi (As, 2—200),
kami wo suki (Ak, 2 — 200), kusuri wo seisuru (Us, 1 — 100) to no cesu made
kazoe-agureba (Eg, 8 — 512, 200), hito-hako no matchi ga, ware-ra no te ni iru
(Ar, Ic — 120) made ni wa nan-ju-nin no hito-de wo yosuru (Us, Ic — 120) ka
wo shira-zu (Ar, 97, 3—413, 300). Kore wo omowaba (Ah, 7—400), ip-pon
no matchi mo somatsu ni wa tsuko bekara-zu (Ah, 10 — 304, 494, 413, 300).
Matchi wa ima yori oyoso hyaku-nen zen gaikoku nite hatsumei seraretaru
(Us, 52, 78—442, 221, 100) mono nari (Ur, 3—300). Waga kuni nite wa,
hajime wa moppara yunyu-hin wo mochiitarishi (Ih, 77c — 222, 241, 120) ga,
Meiji hachi-nen yori naichi nite mo kore wo seizo suru (Us, Ic — 120) ni itareri
(Ar, 55 — 503, 300). Konnichi nite wa sono seizo hanahada sakan ni shite
(Us, 81—202, 200), gaikoku e yushutsu suru (Us, 1 — 100) mono nomi nite
mo ichinen-kan is-sen-man-yen no kindaka ni tasshi (Us, 2 — 200), waga kuni
yushutsuhin-chu no juyo naru (Ur, 1 — 100) mono no hitotsu :o nareri (Ar,
55—503, 300).
DAI JU. — I TO ShINTAI. Aru (Ur, 1 — 100) toki kuchi,
mimi, me, te, ashi t5 ichidS moshi-awasete (Es, 81 — 202, 200), i ni mukatte(l)
CI) Mukatte, colloquial form.
I
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VOLUME IV.— THE LITERARY STYLE 25
iu (Ah, 1 — 100) yo : " \\'are-ra wa tsune ni isogashiku (x, 38c — 220) hatara-
keni (Ak, 57c— 501, 120) ni, nanji wa tada zashite (Us, 81—202, 200) ku
(Ah, Ic — 120) nomi nite, sukoshi mo ware-ra ni mukuyuru (Ijf, 1 — 100)
tokoro nashi (x, 62 — 300). Ware-ra ichido moshi-awasete (Es, 81—202,
200) konnichi yori hataraku (Ak, 1 — 100) koto wo yamu bekereba (Em, 11 —
305, 512, 200), sayo kokoro-eraretashi (Us, 52, 80c— 442, 253, 320)." Tote,
kore yori nochi wa mimi wa shokuji no shirase wo kikite mo (Ak, 82 —
202, 240) shira-nu (Ar, 51—411, 100) fu wo shi (Us, :2— 200), me wa
shokumotsu wo mite mo (0, 82—202, 240) mi-nu (0, 51—411, 100) furi wo
shite (Us, 81—202, 200) sugoshi (As, 2—200), te wa shokumotsu wo kuchi
ni iruru (Er, 1 — 100) koto wo yame (Em, 2 — 200), ashi wa shokud5 e yuku
(Ak, 1 — 100) koto wo yametari (Em, 75—223, 300). Kakute,(2) ni-san-nichi
wo sugoseshi (As, 63c — 241, 120) ni, mimi nari (Ar, 2 — 200), me kurami
(Am, 2—200), te-ashi naete (Ey, 81—202, 200), ugoku (Ak, 1—100) koto
kanawa-zu (Ah, 97, 2—412, 200), hifu no iro sae ao-zamete (Em, 81—202,
200), shintai wa mattaku (x, 38c — 220) chikara naki (x, 35c — 120) ni itareri
(Ar, 55 — 503, 300). Koko ni oite<^^) i wa ichido ni mukatteC^) iwaku :(5)
Shokun wa shira-zu (Ar, 97, 3c — 413, 320) ya, ware wa tada zashite (Us,
81—202, 200) ku (Ah, 1 — 100) mono ni ara-zu (Ur, 3—413, 300). Ware no
shokumu wa shokumotsu wo konashite (As, 81 — 202, 200), kore wo chi no
seiz6-ba e okuru (Ar, Ic — 120) ni ari (Ur, 3 — 300). W^are moshi shoku-
motsu wo konasu koto nakuba (As, 37 — 100 : x, 400) zenshin wo yashino
(Ah, 1 — 100) chi wa ika ni shite (Us, 81—202, 200) eraru beki (Ua, 53,
(2) See page
(3) J\ Oite is an adverb. This word comes from ^ tX (Ak, 81c— 202,
220), but is now written with a different character.
(4) Mukatte, colloquial form.
0^) Defective verb, see page
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12b— 443, 301, 110)? Shokun ware wo kurushimen (Em, 45, 3c— 403, 320)
to shite (Us, 81 — 202, 200), kono sujitsu-kan sukoshi mo shokumotsu wo
okura-zaru (Ar, 93c — 421, 120) ga yue ni, atarashiki (x, 35 — 100) chi deki-zu
shite (0, 99 — 412, 240), shokun wa mina kaette^'^) mizukara kurushimu (Am,
Ic — 120) ni itareri (Ar, 55 — 503, 300). Kore shokun no mizukara maneku
(Ak, 1 — 100) tokoro nari (Ur, 3 — 300). Shokun wa ima ni shite (Us, 81 —
202, 200) shokun no ayamareru (Ar, 57c — 501, 120) wo satorishi naran (Ar,
68, 3 — 241, 104,403, 300). Shokun moshi ware ni shokumotsu wo okuru fAr,
1 — 100) tame ni hatarakitari (Ak, 75c— 223, 320) to iwaba (Ah, 7—400),
ware mo mata shokun wo yashino (Ah, 1 — 100) tame ni roshitari (Us, 75c —
223, 320) to iwan (Ah, 45, 3 — 403, 300). Ima j^ori nochi wa tagai ni shim-
mitsu ni kurasu beshi (As, 16 — 303, 300). Yo wa subete aimochi nari (Ur,
3c — 320)." To iu (Ah, Ic — 120) ni, te, ashi-ra ichido naruhodo to kanshin
seri (Us, 55—503, 300).
DAI JU-ICHI.-TORA TO NeKO. ' Neko de nai shcko
ni take wo kaite oki."(l) To iu (Ah, 1 — 100) koto ari (Ur, 3 — 300). Tora to
neko to wa mottomo yoku (x, 38c — 220) ai-nitaru (0, 78 — 221, 100) kemono
nari (Ur, 3 — 300). Tora mo neko mo ago mijikaku (x, 38 — 200), kubi
futoshi (x, 62 — 300). Ago mijikakereba (x, 32 — 512, 200), mono wo kamu
(Am, 1— 100) chikara tsuyoku (x, 38— 200), kubi futokereba (x, 32—512,
200), ta no ju-rui wo toraetaru (Eh, 78 — 221, 100) toki kore wo hakobi-saru
(Ar, Ic— 120) ni ben nari (Ur, 3 — 300). Ashi mo mata futoku shite (x, 40 —
240), chikara tsuyoshi (x, 62 — 300). Tora wa mae-ashi no hito-uchi nite
(5) ^P Kaette is an adverb. This word comes from iS !? T (Ar, 81c —
202, 220), but is now written with a different character.
^^) This quotation is a kind of poem, called Senryu. It is in the collo-
quial. In these poems. Base 2 is often found at the end of the sentence.
28
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VOLUME IV.— THE LITERARY STYLE. 29
shika nado wo taosu (As, 1 — 100) koto, neko no nezumi wo tororu (Eh, Ic —
120) ga gotoshi (x, 62 — 300). Ashi no saki ni wa surudoku shite (x, 40 — 240)
magareru (Ar, 57 — 501, 100) tsume ari (Ur, 3 — 300). Yo naki (x, 35 —
100) toki kore wo kakusu (As, 1 — 100) koto, tora mo neko mo ai-onaji (a,
6c — 300). Neko no kuchi ni wa ue-shita ni ni-hon zutsu no surudoki (x,
35—100) kiba arite (Ur, 81—202, 200), niku wo saku (Ak, Ic— 120) ni
tekisu (Us, 3 — 300). Mata sono shila ni wa naiho ni mukatte(2) haetaru
(Ey, 78—221, 100) futoki (x, 35—100) ke no gotoki (x, 35 — 100) toge ari
(Ur, 3—300) : hone ni tsukitaru (Ak, 78—221, 100) niku wo kui-toru (Ar,
Ic — 120) ni ben nari (Ur, 3 — 300). Tora mo mata onaji (a, 6c — 300).
Tora mo neko mo ashi no ura yawaraka nareba (Ur, 8 — 512, 200), ayumu
(Am, 1 — 100) toki oto wo tate-zu shite (Et, 99 — 412, 240) shizuka ni taju ni
chika-yori (Ar, 2—200), kyu ni tobi-tsukite (Ak, 81—202, 200) kore wo toro
(Eh, 3 — 300). Tora mo mata neko no gotoku (x, 38 — 200) yoku (x, 38c —
220) ki ni yoji-noboru (Ar, 1 — 100) koto wo u (Ua, 3 — 300). Kono hoka me,
hana, mimi no katachi yori, o no nagaku, (x, 38 — 200) hige no futoki (x,
35c — 120) made ai-nitaru (0, 78 — 221, 100) tokoro hanahada oshi (x, 62 —
300). Tada neko no ke-iro ni wa kuro, shiro, mike nado sama-zama aredo
(Ur, 18 — 512, 200), tora wa ichi-yo nari (Ur, 3 — 300). Neko no naka ni mo
sono ke-iro tora ni nitaru (0, 78 — 221, 100) mono ari (Ur, 3 — 300) : kore
wo tora-neko to iu (Ah, 3 — 300).
(2) Mukatte, colloquial form.
30
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VOLUME IV.— THE LITERARY STYLE. 31
DAI JU-NI. — SeKAI no HaNASHI. Waga Dai Nip-
pon Teikoku wa Ajiya tairiku no higashi no kai-chu ni aru (Ur, 1 — 100)
shima-guni nari (Ur, 3 — 300). Ware-ra moshi kisen ni norite (Ar, 81 — 202,
200), waga Teikoku no minato wo ide (Ed, 2 — 200), higashi e, higashi e to
susumi-yukaba (Ak, 7 — 400), oyoso ni-shukan no nochi ni wa Amerika tairiku
ni tsuku beshi (Ak, 16 — 303, 300). Amerika tairiku wa Kita Amerika to
Minami Amerika to ni wakaru (Er, 3 — 300). Kita Amerika ni wa Amerika
Gasshu-koku ari (Ur, 3 — 300). Nogyo, kogyo, shogyo tomo ni sakan ni
shite (Us, 81—202, 200), kuni hanahada tomeri (Am, 55—503, 300). Kono
kuni nite shogyo no mottomo sakan naru (Ur, 1 — 100) tokai wo Nyu Yoku to
iu (Ah, 3—300). Koko yori kisen ni norite (Ar, 81—202, 200) futatabi
higashi e susumeba (Am, 8 — 512, 200), su-jitsu no nochi Igirisu-koku no
minato ni tsuku (Ak, 3 — 300). Igirisu wa waga Nippon Teikoku no gotoki
(x, 35 — 100) shima-guni ni shite (Us, 81 — 202, 200), shogj'o, kogyo izure mo
sakan ni, kaigun tsuyoku (x, 38 — 200), shosen oshi (. x, 62 — 300). Shufu
Rondon wa sekai no toshi-chu nite jinko mottomo oki (x, 35 — 100) tokoro
nari (Ur, 3 — 300). Yoroppa tairiku ni wa Furansu, Doitsu, Roshiya to no
32
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VOLUME IV.— THE LITERARY STYLE. 33
kuni-guni ari (Ur, 3 — 300). Furansu wa umi wo hedatete (Et, 81 — 202, 200)
Igirisu no mi.nami ni ari (Ur, 3 — 300). Kayaku (x, 38b — 210) yori kogei,
bijutsu no h.attatsu shitaru (Us, 78 — 221, 100) kuni nari (Ur, 3 — 300). Shufu
wo Parii to ii (Ah, 2 — 200), sekai-chu mottomo utsukushiki (x, 35 — 100)
miyako nari (Ur, 3 — 300). Furansii no rin-goku nite sono higashi-kita ni aru
(Ur, 1 — 100) Doitsu wa gakumon no yoku (x, 38c — 220) hiraketaru (Ek,
78 — 221, 100) kuni nari (Ur, 3 — 300). Roshiya wa Yoroppa tairiku no tobu
ni hirogareru (Ar, 57—501, 100) kuni ni shite (Us, 81—202, 200), sono ryochi
hanahada hiroku (x, 38 — 200), Ajiya tairiku no Shiberiya mo mata sono ichi-
bu nari (Ur, 3 — 300). Ajij'a tairiku ni wa Indo, Shamu, Shina to ari (Ur, 3 —
300). Ajiya tairiku no nishi, Yoroppa tairiku no minami ni aru (Ur, 1 — 100)
tairiku wo Afurika to iu (Ah, 3 — 300). Yoroppa yori Shiberiya tetsudo nite,
toho e mukawaba (Ah, 7—400) ni-shukan amari ni shite (Us, 81—202, 200)
Nippon ni kichaku suru (Us, 1 — 100) koto wo u beshi (Ua, 16 — 303, 300)
Yoroppa yori fune nite Nippon e kaeru (Ar, Ic — 120) ni wa Yoroppa tairiku
to Afurika tairiku to no chukan ni aru (Ur, 1 — 100) Chichukai wo sugi (Ag,
2—200), Indo-yo wo watarite (Ar, 81—202, 200), higashi e, higashi e to
susumu nari (Am, 48 — 103, 300). Kaku no gotoku ( x, 38 — 200) Nippon
34
JAPANESE READING FOR BEGINNERS.
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VOLUME IV.— THE LITERARY STYLE. 35
WG ide (Ed, 2—200), umi wo koe (Ey, 2—200), riku wo koe (Ey, 2—200),
higashi e, higashi e, to susumeba (Am, 8 — 512, 200), mata moto no Nippon
ni kaeri kitaru (Ar, 3 — 300). Nishi e nishi e to susumu (Am, Ic — 120) mo
mata onaji (a, 6c — 300). Kore sekai no maruki (x, 35c — 120) ga tame ni
shite (Us, 81 — 202, 200j, moshi hirataki (x, 35 — 100) mono naraba (Ur, 7 —
400), yukeba (Ak, 8—512, 200) yuku (Ak, Ic— 120) hodo shuppatsu-ten ni
tozakaru beki (Ar, 12—301, 100) hazu nara-zu (Ur, 97, 3c— 413, 320) ya.?
\\'are-ra no sumu (Am, 1 — 100) sekai wa maruki (x, 35 — 100) mono
yue na-zukete (Ek, 81—202, 200) chikyu to iu (Ah, 3—300). Chikyu no
hyomen no oyoso sam-bun no ni wa umi ni shite (Us, 81 — 202, 200), sam-bun
no ichi wa riku nari (Ur, 3 — 300). Chikyu wo nam-boku no ryo-hankyu ni
wakateba (At, 8 — 512, 200), kita-hankyu wa minam.i-hankyu yori mo riku-chi
oshi ( x,62 — 300). Kita-hankyu to minami-hankyu to wa jiko mattaku ( x,38c —
220) ai-hanshi(l) (Us, 2 — 200), kita-hankyu no natsu wa minami-hankyu no
fuyu nari (Ur, 3 — 300). Kita-hankyu nite hyak-ka saki-midarete (Er, 81 —
202, 200), cho no tobu (Ab, 1 — 100) haru no iisetsu wa minami-hankyu nite
wa ki no ha chiri-shikite (Ak, 81—202, 200), mushi no naku (Ak, 1 — 100)
aki no jiko nari (Ur, 3 — 300). Kok-kyoku, nan-kyoku ni chikaki (x, 35 —
100) chihS nite wa han-toshi wa hiru ni shite (Us, 81 — 202, 200), han-toshi wa
yoru naru (Ur, 1 — 100) tokoro ari (Ur, 3 — 300). Kakaru(2) chiho nite wa
kik5 tsune ni kanrei ni shite (Us, 81 — 202, 200), utsukushiki (x, 35 — 100)
ka-boku wo miru (O, 1 — 100) koto atawa-zu (Ah, 97, 3— 413, 300). Aru
W Ai-hansuru is a compound verb. Xhe second component is the on read-
ing of a character verbalized by the verb sum.
v") See page
36
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VOLUME IV.— THE LITERARY STYLE. 37
(Ur, 1 — 100) dojin no gotoki (x, 35c — 120) wa kori wo motteC^) ie wo tsuku-
rite (Ar, 81—202, 200) sumeri (Am, 55—503, 300). Mata sekai no uchi ni
wa nen-ju natsu no kiko ni shite (Us, 81 — 202, 200), hanahada atsuku (x, 38 —
200), sukoshi mo hyosetsu wo shira-zaru (Ar, 93 — 421, 100) kuni ari (Ur, 3 —
300). KakaruC^) chiho nite wa hito wa mina hadaka ni shite (Us, 81 — 202,
200), fuhen wo shintai no ichi-bu ni mato (Ah, Ic — 120) ni sugi-zu (Ig, 97,
3 — 413, 300). Waga Nippon no kuni no dai-bubun wa fuyu mo hanahada-
shiku (x, 38c— 220) samukara-zu (x, 26, 2—494, 412, 200), natsu mo
hanahadashiku (x, 38c— 220) atsukara-zu (x, 26,2—494, 412, 200), setsu-
gek-ka no nagame mo ori-fushi ni kawarite (Ar, 81 — 202, 200), omoshiroku
(x, 38 — 200), san-sen no fukei mo uruwashi (a, 6c — 300). Chik\'u-jo ni
sumu (Am, 1 — 100) jin-rui wa so-su ju-roku-oku arite (Ur, 81 — 202, 200),
sono jinshu wa sama-zama nari (Ur, 3 — 300). Yoroppa-jin wa omune hifu
shiroku (x, 38 — 200), kami akaku (x, 38 — 200), me no iro aoshi (x, 62 —
300). Afurika-jin wa hifu kuroku (x, 38 — 200), kami chijire-tari (Er, 75 —
223, 300). \\'are-ra Nippon-jin wa kami mo kuroku (x, 38 — 2C0) me mo
kuroku (x, 38 — 200), hifu no iro wa ki nari (Ur, 3 — 300).
DAI JU-SAN.— NaGOYA. Tokaido noryoko-chO mottomo
oku (x, 38, c — 220) shujin no me wo hiku (Ak, 1 — 100) mono wa Fuji-san
(2) Wo motte is a postpositional phrase.
C^) See page
38
JAPANESE READING FOR BEGINNERS.
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VOLUME IV.— THE LITERARY STYLE. 39
to Nagoya-j6 no kin no shachihoko to naru bsshi (Ur, 16 — 303, 300).
Nagoya-jo wa ima j'ori oyoso sam-byaku-nen zen Tokugawa leyasu ga sho-
daimyo ni kashite (Us, 81—202, 200), tsukurashimetaru (Ar, 66, 78—452,
221, 100) meij5 ni shite (Us, 81 — 202, 200), sono tenshukaku wa Kato Kiyo-
masa no kizukishi (Ak, 63 — 241, 100) mono nari (Ur, 3 — 300). Nadakaki
(x, 35 — 100) kin no shachihoko wa kono tenshukaku no mune no ryohashi ni
ari (Ur, 3 — 300). Takasa has-shaku go-sun, asa-hi, yu-hi ni kagayakite (Ak,
81 — 202, 200), toku (x, 38, b — 210) su-ri no hoka yori mo nozomi(l) miru
(O, 1 — 100) koto wo u beshi (Ua, 16 — 303, 300). Nagoya wa kono shiro
aru (Ur, Ic— 120) ni yorite (Ar, 81—202, 200) nadakaku (x, 38—200),
" Owari(") Nagoya wa shiro de motsu." To utawaretari (Ah, 54, 75—432,
223, 300). Nagoya wa heiya no aida ni ari (Ur, 3 — 300). Shi-tsu hattatsu
no yoro ni atareru (Ar, 57, c— 501, 120) wo motte(3) hayaku (x, 38, b— 210)
yori Tokaido-ichi no dai-tokai narishi (Ur, 63, c — 241, 120) ga, tetsudo no
kaitsu seshi (Us, 63, c — 241, 120) yori, sho-kogyo no hattatsu ichijirushiku
(x, 38 — 200), yakimono, nurimono, ogi, menshi, orimono to no sanshutsu
sukoburu sakan nari (Ur, 3 — 300). Koko mo mata nen-nen ni zoka su (Us,
3 — 300), Nagoya no minami ni Atsuta ari (Ur, 3 — 300). Ima gasshite (Us,
81—202, 200) Nagoya-shi no ichi-bu to nareri (Ar, 55—503, 300). Kin-nen
atarashiki (x, 35— 100) minato mo naritareba (Ar, 73—225, 512, 200), kai-
(1) Nozomi forms a quasi-compound with the following.
(") This quotation is from a poem : it is a popular saying : it is not in the
literary style.
(3) Wo motte is a post-positional phrase.
40
japanesb: reading for beginners.
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VOLUME IV.— THE LITERARY STYLE. 41
riku un-yu no ben masu-masu (As, 3b — 310) hirake (Ak, 2 — 200), sangyo no
hattatsu wa kongo iyo-iyo ichijirushikaran (x, 22, 3 — 494, 403, 300).
DAI JU-SHI.— Osaka. Osaka wa mukashi wa Naniwa to
iite (Ah, 81 — 202, 200), Nintoku Tenno no miyako shiC^) tamaishi (Ah,
63 — 241, 100) tokoro nari (Ur, 3 — 300). Kideyoshi koko ni shiro wo
kizukishi (Ak, 63, c — 241, 120) yori, shidai ni shogyo no sakan naru (Ur,
1 — 100) dai-tokai to nareri (Ar, 55 — 503, 300). Mukashi Nintoku Tenno
wa tachi-noboru (Ar, 1 — 100) kemuri no sukunaki (x, 35, c — 120) wo mite
(O, 81 — 202, 200), tami no mazushiki (x, 35, c — 120) wo awaremiC^) tamaiki
(Ah, 34—243, 300). Ima wa kogyo mo oi(3) ni hirakete (Ek, 81—202, 200),
entotsu no kemuri wa sora wo 5eri (Ah, 55 — 503, 300). Shi-chu wo nagaruru
(Er, 1 — 100) kawa wo Yodo-gawa to iu (Ah, 3 — 300). Yodo-gawa wa iku-
suji ni mo wakarete (Er, 81 — 202, 200) umi ni sosogu (Ag, 3 — 300). Mata
oku (x, 38, b — 210) no hori arite (Ur, 81 — 202, 200), kawa to kawa to wo
tsunageri (A^, 55 — 503, 300). Hori to hashi to no oki (x, 35, c — 120) wo
motte^^) nadakashi (x, 62 — 300). Minato ni wa fune no shutsunyu shigeku
(x, 38—200), teishaba ni wa kisha no hatchaku tae-zu (Ey, 97, 3—413, 300).
(1) Shi forms a quasi-compound with the following.
(■-^) Awaremi forms a quasi-compound with the following.
(3) Oi is a noun.
(4) Wo motte post-positional phrase.
42
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VOLUME IV.— THE LITERARY STYLE. 43
DAI JU-GO.— HaNAWA HoKIICHI. Me wa miyuredomo
(Ey, 18—512, 200), ji no yome-zaru(l) (Em, 93—421, 100) hito wo aki-mekura
to iu (Ah, 3—300). Shikaru (Ur, Ic— 120) ni(2) me wa mie-zu shite (Ey,
99—412, 240), dai-gakusha to narishi (Ar, 63—241, 100) hito ari (Ur, 3—
300) ; Hanawa Hokiichi kore nari (Ur, 3—300). Hokiichi wa go-sai no toki
mekura to narishi (Ar, 63c,— 241, 120) ga, hito ni shomotsu wo yomase (Am,
60, 2-462, 200), kore wo kikite (Ak, 81—202, 200), isshin ni benkyo seshi-
kaba (Us, 64—245, 512, 200), nochi ni wa nadakaki (x, 35—100) gakusha
to nari (Ar, 2—200), oku (x, 38b,— 210) no shomotsu wo arawaseri (As, 55 —
503, 300). Kokiichi no ie wa ima no Tokyo, sono koro no Edo no Bancho ni
ari (Ur, 3—300); oku (x, 38b,— 210) no deshi Hokiichi ni tsukite (Ak,
81—202, 200), manabishikaba (Ab, 64-245, 512, 200), toki no hito, " Ban-
ch6(^) de me-aki mekura ni mono wo k'ki." To iitari (Ah, 75c5 — 223 320)
to iu (Ah, 3—300). Aru (Ur, 1 — 100) yo deshi wo atsumete (Em, 81—202,
200), shomotsu no kogi wo seshi (Us, 63 — 241, 100) toki, kaze niwaka ni
fukite (Ak, 81—202, 200), tomoshibi kietari (Ey, 75—223, 300). Kokiichi
wa sore tomo shira-zu (Ar, 97, 2 — 412, 200), kogi wo tsuzuketareba (Ek, 73 —
225, 512, 200), deshi-domo wa, " Sensei,(4) sukoshi o machi kudasaimase.
Ima kaze de akari ga kiemashita." To iu (Ah, 3 — 300). Hokiichi wa
^^) This is not the ordinary transitive verb yomu. Am ; but the correspond-
ing intransitive or potential verb yomeru in colloquial, yomuru in the literary
style.
(->) Shikaru n/ is a conjunctival phrase.
(^) This quotation is a Senryu poem. See note on p. 27.
(^) This quotation is in the colloquial.
44
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VOLUME IV.— THE LITERARY STYLE. 45
waraite (Ah, 81 — 202, 200), " Sate-sate,C5) me-aki to iu mono wa fu-jiyu na
mono da." To iitari (Ah, 75c, — 223, 320) to zo.
DAI JU-ROKU.-HlROSE ChuSA. Taiho no hibiki wa
ten mo ochi (It, 2 — 200), umi mo sakuru (Ek, Ic — 120) ka to omo (Ah, Ic —
120) bakari nari (Ur, 3 — 300). Hirose Chusa no noreru (Ar, 57 — 501, 100)
Fukui Maru wa ima Ryojun no minato-guchi ni susumitari (Am, 75 — 223, 300).
Bakuhatsu no koe tachimachi funa-zoko ni hibiku (Ak, 3 — 300). Chusa wa
shizuka ni * Sugino wa ima tenka wo oetaru (Eh, 78b, — 221, 110) zo. Soin
boto e." Boto wa yagate Fukui Maru no katawara ni orosarete (As, 54, 81 —
432, 202, 200), icKih nori-utsureri (Ar, 55—503, 300). Mi-wataseba (As, 8—
512, 200) Sugino nashi (x, 62 — 300). Chusa wa shimpai-ge ni, " Yoshi (x,
62—300) ; tazune-kon (Uk, 45, 3c^403, 320)." To, tada hitori kuma naku
(x, 38 — 200) sennai wo tazunetaredomo (En, 74 — 225, 512, 200), Sugino no
(^) This quotation is in the colloquial.
46
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VOLUME IV.— THE LITERARY STYLE. 47
sugata nashi (x, 62 — 300). " Zannen nari (Ur, 3 — 300), ima ichi-do." To,
Chusa vva mata mo sennai wo kake-megureri (Ar, 55 — 503, 300). " Sugino,
Sugino." Chusa no surudoki (x, 35 — 100) koe wa teki no uchi-dasu (As,
1 — 100) hosei no naka ni kikoyu (Ey, 3 — 300). Saredo^l) Sugino wa mi-atara-
zu (Ar, 97, 3 — 413,300). "Ima ichi-do." To, Chusa wa mi-tabi tazune-
mawareri (Ar, 55 — 503, 300). " Sugino, Sugino." Fune wa shidai ni shizu-
mi-yukite (Ak, 81 — 202, 200), mizu wa sude ni kampan wo hitaseri (As, 55 —
503,300). " Ima wa zehi nashi (x, 62c, — 320)." To, Chusa wa boto ni
nori-utsureri (Ar, 55 — 503, 300). Shi-seki no fune wa mina bakuchin shite
(Us, 81—202, 200), join wa omoi-omoiC2) ni kogi-saran (Ar, 45, 3c— 403, 320)
to shi (Us, 2 — 200), teki no hodai yori wa hogan wo abisekakuru (Ek, 1 —
100) koto iyo-iyo sakan nari (Ur, 3 — 300). Naka ni mo Fukui Maru no
boto ni wa teki no hogan ame no gotoku (x, 38e, — 240) ni furi-sosogeri (Ag,
55 — 503, 300). Boto wa mizu ni otsuru (It, 1 — 100) hogan no shibuki ni
tsutsumaretari (Am, 54, 75 — 432, 223, 300). Chusa wa boto ni zashite (Us,
81 — 202, 200), nao mo Sugino wo ushinaitaru (Ah, 78c, — 221, 120) wo nageki
(1) Saredo, see p. xxi.
(2) Omoi-omoi. The first omoi is Ah, 2d — 230 ; the second, is Ah, 2b,
210; both together form thus a compound noun ; with the added ni, they form
an adverbial expression.
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VOLUME IV.— THE LITERARY STYLE. 49
itari (O, 75 — 223, 300). Ip-patsu no hogan wa tachimachi Chusa no mi wo
haraeri (Ah, 55 — 503, 300). Chusa wa ip-pen no niku wo boto ni nokoshite
(As, 81—202, 200), umi no naka ni homuraretari (Ar, 54, 75—432, 223, 300).
DAI JU-SHICHI.— KOTAI JiNGU. Yoyo no Tenno wa
Kotai jingu wo totobi tamo (Ah, 1 — 100) koto kiwamete (Em, 81c — 202,
220) atsuku (x, 38 — 200), kokumin mo mata fukaku (x, 38c — 220) uyamai
tatematsurite (Ar, 81 — 202, 200), issh5 ni ichi-do wa kanarazu Ise ni sampai
sen (Us, 45, 3c— 403, 320) to kokorogake-zaru (Ek, 93—421, 100) mono
nashi (x, 62 — 300). Shoshi wa Kotai jingu no kaku bakari totoki iware wo
shireri (Ar, 55c — 503, 320) ya ? Kami-yo no mukashi Koso Amaterasu-
Omi-Kami, Ninigi-no-Mikoto wo kono kuni ni kudashi tamawan (Ah,
45c— 403, 320) to seshi (Us, 63—241, 100) toki, Yata-no-Kagami wo sazuke
tamaite (Ah, 81—202, 200), " Kono kagami wo miru (O, 1 — 100) koto ware
wo miru (O, Ic— 120) ga gotoku (x, 38c— 220) seyo (Us, 87c— 400)." To
oseraretari.Cl) Sono shinchoku ni yorite (Ar, 81 — 202, 200), yoyo no Tenno
wa kore wo kyuchu ni agame tamaishi (Ah, 63c — 241, 120) ga, nochi shinden
wo ima no Isuzu no kawa-kami ni tsukuri (Ar, 2 — 200), kono Mi-Kagami
wo go shintai to shite (Us, 81 — 202, 200), Koso Amaterasu-Omi-Kami wo
matsuri tamaeru nari (Ah, 58 — 501, 103, 300). Shinden wa mukashi nagara
CI) bseraretari (Es, 52, 75—442, 223, 300) Comes from the verb d.seru):
this verb is more used, as here, in the passive voice, and is then highly honorific
50
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no shira-ki zukuri ni shite (Us, 81 — 202, 200), ni-ju-nen goto ni atarashiku
(x, 38c— 220) tsukurase(2) tamo (Ah, 1—100) on sadame nari (Ur, 3c— 320)
to uketamawaru (Ar, 3 — 300). Kakaru*.'^) totoki on miya nareba (Ur,
8 — 512, 200), ichi-nenju no omodachitaru (At, 78 — 221, 100) sai-jitsu ni wa
chokushi wo sashitate tamai (Ah, 2 — 200), Koshitsu oyobi,(4) kokka ni daiji
areba (Ur, 8 — 512, 200), kanarazu kore wo tsuge tamo (Ah, 3 — 300).
Meiji san-ju-shichi-hachi-nen sen-eki no owaritaru (Ar, 78c — 221, 120) nochi
mo, Meiji Tenno go sampai araserare,(^) heiwa no naritaru (Ar, 78c — 221,
120) wo tsuge tamaishi (Ah, 63c — 241, 120) ga, sono on shiki no sakan naru
(Ur, 1 — 100) koto zenko tagui nakariki (x, 27c— 492, 243, 320) to mosu
(As, 3—300).
DAI JU-HACHI. -Matsushita Zenni. KojoToki-
yori no haha A4atsushita Zenni, aru (Ur, 1 — 100) hi Tokiyori wo shodai sen
(Us, 45, 3c— 403, 320) tote, susuketaru (Ek, 78—221, 100) shoji no yabure
wo tsukuroi itari (Ah. 20 — Ah, 230 : O, 223, 300). Zenni no ani Yoshikage
kore wo mite (O, 81 — 202, 200), " Meshitsukai no naka ni kakaru(l) koto wo
yoku (x, 38c— 220) kokoro-etaru (Ua, 78—221, 100) mono ari (Ur, 3—300).
Sore ni meiji(2) tamae (Ah, 5b, c— 510)." To iishi (Ah, 63c— 241, 120) ni,
(2) Tsukurase (Ar, 60, 2d— 462, 230), forms quasi-compound with
following.
(3) Kakaru, see p. xxi.
(4) Oyobi (Ab, 2c— 220) is here a conjunction.
(5) Arcserarc (Ur, 60, 52, 2—464, 442, 200) ; passive of the causative of
aru, highly honorific.
CO Kakaru, see p. xxi.
CO Ji (Uz, 2d — 230) forms quasi-compound with following.
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VOLUME IV.— THE LITERARY STYLE. 53
" \\'are mo kore hodo no koto wa kokoro-etari (Ua, 75 — 223, 300).
Kito-de wo karu (Ar, Ic— 120) ni mo oyoba-zu (Ab, 97, 3c— 413, 320)."
Tote, obotsukanaki (x, 35 — 100) te-tsuki nite, yaburetaru (Er, 78—221, 100)
lokoro wo hito-ma zutsu hareri (Ar, 55 — 503, 300). Yoshikage kasanete
(En, 81—202, 200), " SarabaC^) kotogotoku hari-kae tamae (Ah, 5b — 510).
Kiribari wa madara ni narite (Ar, 81—202, 200) mi-gurushi ("a, 6d— 320)."
To ieba (Ah, 8 — 512, 200), ''Ware mo nochi ni wa kotogotoku hari-kaen
(Eh, 45, 3c— 403, 320) to omoedomo (Ah, 18—512, 200), subete mono wa
yaburetaru (Er, 78—221, 100) tokoro nomi tsukuroite (Ah, 81—202, 200)
mochiuru (Ih, 1 — 100) toki wa shibaraku wa yo wo nasu beki (As, 12 — 301,
100) koto wo wakaki (x, 35 — 100) mono ni shirasen (Es, 45 3c — 403, 320)
tote kaku suru nari (Us, 48c— 103, 320)." To kotaetari (Eh, 75c— 223, 320)
to zo. Tokij'ori ga kokoro tadashiku (x, 38 — 200), tsune ni sekken wo
mamorite (Ar, 81 — 202, 200), yoku (x, 38c — 220) tenka wo osametaru (Em,
78c— 221, 120) mo kakaru^^^;) haha ni yashinawareta-'u (Ah, 54, 78c— 432, 221,
120) ni yoru naru beshi (Ar, 49—103, 303, 300).
DAI JU-KU.— WaZA-KURABE. Mukashi Kudara-no-
Kawanari to iu (Ah, 1 — 100) nadakaki (x, 35—100) gakS ariki (Ur, 34—243,
C3) Saraba, see p. xxi.
(S) Kakaru, see p. xxi.
54
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VOLUME IV.— THE LITERARY STYLE. 5d
300). Sono tomo ni Hida-no-Takumi tote 3'0 ni kikoctaru (Ey, 78 — 221,
100) daiku ari (Ur, 3—300). Ichi-jitsu Kawanari ni mukaite (Ah, 81—202,
200), "Ware kono-goro chiisaki (x, 35—100) do wo tatetari (Et, 75—223,
300). Sbi-ho no kabe ni e wo kakite (Ak, 81—202, 200) tamawaritashi (Ar,
80c,— 253, 320)." To ieri (Ah, 55—503, 300). Kawanari yukite (Ak, 81—
202, 200) miru (O, Ic— 120) ni, chiisaki (x, 35—100) shi-kaku shi-men no
do arite (Ur, 81—202, 200), shi-ho no to mina hirakitari (Ak, 75—223, 300).
" Irite (Ar, 81—202, 200) mi tamae (Ah, 5b, c— 510)." To iu (Ah, Ic— 120)
ni, nani-gokoro naku (x, 38 — 200) en ni noborite (Ar, 81 — 202, 200), minami
no kuchi yori Iran (Ar, 45, 3c — 403, 320) to sureba (Us, 8 — 512, 200), sono
to hata to tozu (Id, 3—300). Odorokite (Ak, 81—202, 200), nishi no kuchi
yori iran (Ar, 45, 3c— 403, 320) to sureba (Us, 8—512, 200), sono to mata
hata to tojite (Id, 81—202, 200), minami no to hirakitari (Ak, 75—223, 300).
Kita e mawareba (Ar, 8 — 512, 200), nishi no to hiraki (Ak, 2 — 200), higashi
e mawareba (Ar, 8 — 512, 200), kita no to hiraku (Ak, 3 — 300). Iku-tabi ka
mawaritaredomo (Ar, 74—225, 512, 200), iru (Ar, 1 — 100) koto wo e-zu (Ua,
97, 3 — 413, 300): kuchioshiku mo (x, 39 — 240) Takumi no shosei wo ato
ni shite (Us, 81—202, 200) kaereri (Ar, 55—503, 300).
Su-jitsu no nochi Kawanari yori " Mise-moshitaki (As, 71 — 251, 100) e
dekitari (O, 75—223, 300). On-ide (Ed, 2d— 230) aritashi (Ur, 80c,— 253,
320)." To, Takumi no moto ni i^-kitareri (Ar, 55 — 503, 300). Takumi
Kawanari wo otonaeba (Ah, 8 — 512, 200), " Iza, konata e." To iu (Ah, 3 —
56
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VOLUME IV.— THE LITERARY STYLE. 57
300). Saraba(i) tote iran (Ar, 45, 3c— 403, 320) to sum (Us, Ic— 120) ni,
uchi ni wa kurobukure ni narite (Ar, 81—202, 200) kusaritaru (Ar, 78—221,
100) shinin yokotawarite (Ar, 81 — 202, 200), shuki hana wo tsuku (Ak, Ic—
120) ga gotoshi (x, 62 — 300). Takumi odoroki (Ak, 2 — 200) atto koe tatete
(Et, 81—202, 200) nige-idaseba (As, 8—512, 200), Kawanari hara wo kakaete
(Eh, 81—202, 200) warai (Ah, 2e— 240) nagara, " Kaku ware no oru (Ur,
Ic — 120) ni, nani-yue ni iri tamawa-zaru (Ah, 93b — 421, 110) ka ? " To iu
(Ah, 3—300). Takumi osoru-osoru (Er, 3b— 310) chika-yorite (Ar, 81—202,
200) mireba (O, 8 — 512, 200), ko wa ika ni, kano shinin to mieshi (Ey, 63c —
241, 120) wa, fusuma ni e-gakeru (Ak, 57—501, 100) e narishi nari (Ur, 69—
241, 103, 300).
DAI NI-JU. — FuJIWARA-NO-KaMATARI. Imayori
oyoso sen-san-byaku-nen mae, Kogyoku Tenno no mi-yo, Soga-no-Iruka ikioi
wo hoshiimama ni shite (Us, 81 — 202, 200), chichi Emishi to tomo ni fu-chQ
no furumai okariki (x, 27 — 492, 243, 300). Nakatomi-no-Kamatari kore wo
ureete (Eh, 81 — 202, 200), kuni no tame ni Iruka fushi wo nozokan (Ak, 45,
3c— 403, 320) to omoi-tachitari (At, 75—223, 300). Kono koro Nakano-Oe-
(1) Sareba, see p, xxi.
58
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VOLUME IV.— THE LITERARY STYLE, 59
no-Oji to mosu (As, 1—100) kashikoki (x, 35—100) oji ariki (Ur, 34—243,
300). Kamatari hayaku (x, 38b, — 210) yori sono hitotonari wo shitai tate-
matsuri (Ar, 2 — 200), daiji wo nasu (As, Ic — 120) ni wa kono oji wo itadaki
tatematsuru (Ar, Ic — 120) yori ta ni michi nashi (x, 62c — 320) to omoishi TAh,
63c, — 241, 120) ga, imada chikazuki tatematsuru (Ar, 1 — 100) ori wo e-zariki
<;Ua, 91—422, 243, 300). Aru (Ur, 1—100) hi oji tera no niwa nite kemari
no kai wo nashi tamai (Ah, 2 — 200), Kamatari mo mairi-awasetari (Es, 75 —
223, 300). On asobi nakaba ni shite (Us, 81 — 202, 200), mari wo ke tamo
(Ah, 1 — 100) hazumi ni 5ji no kutsu nugetari (Eg, 75 — 223, 300). Kamatari
kore wo hiroite (Ah, 81—202, 200), hizamazukite (Ak, 81—202, 200), oji ni
sasageshi (Eg, 63c, — 241, 120) ni, oji mo mata hizamazukite (Ak, 81 — 202,
200) kore wo uke tamaeri (Ah, 55 — 503, 300). Kore yori Kamatari oji to
shitashimi tatematsuru (Ar, 1 — 100) koto wo ete (Ua, 81—202, 200), dSshi
no hito-bito wo mo kataraite (Ah, 81 — 202, 200), hisoka ni toki no itaru (Ar,
Ic — 120) wo materi (At, 55 — 503, 300). SaruCO hodo ni San-kan no tsukai
mitsugi wo tatematsuru (Ar, Ic— 120) ni yorite (Ar, 81—202, 200), Iruka
no sandai suru (Us, 1 — 100) koto ari (Ur, 3 — 300). Kamatari-ra kono hi wo
motte(2) daiji wo okonawan (Ah, 45, 3c— 403, 320) to shi (Us, 2—200),
arakajime sono tehazu wo sadametari (Em, 75 — 223, 300). Sate iyo-iyo sono
hi to nareri (Ar, 55 — 503, 300). Tenno Daigoku-den ni idesase (Ed, 59,
2d— 472, 230) tamai (Ah, 2—200), Iruka katawara ni jisu (Us, 3 — 300).
Nakano-Oe-no-Oji meijite (Uz, 81 — 202, 200), kyumon wo tojisase (Id, 59,
2 — 472, 200), nagaki(x, 35 — 100) yari wo totte(^) mono-kage ni kakure
^1) Saru is Ar, Ic — 120 ; sen' hodo ni is a conjunctival phrase,
(2) iVo motte, post-positional phrase.
^3) Totte, the colloquial form.
50
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VOLUME IV.— THE LITERARY STYLE. 61
tamo (Ah, 3 — 300). Kamatari wa yumi-ya wo motteW on ushiro ni shitagaeri
(Ah, 55 — 503, 300). Yagate, doshi no ichi-nin On maeC^) ni susumite (Am,
81 — 202, 200), San-kan no hyobun wo yomu (Am, Ic — 120) ni, te wananaki
(Ak, 2—200), koe furu (Ah, 3—300). Iruka ayashimite (Am, 81—202, 200),
" Nani-yue zo ? " To toeba (Ah, 8—512, 200), " On mae chiko shiteCS) (x,
86, 40e,— 240)." To koto (Eh, 3—300). Ta no ni-nin wa kono aida ni
Iruka wo utsu beki (At, 12—301, 100) tehazu narishi (Ur, 63c,— 241, 120)
ga, osorete (Er, 81—202, 200) ide-zu (Ed, 97, 3—413, 300). Ima shibashi
tamerawaba (Ah, 7—400) koto arawaren (Er, 45, 3c— 403, 320) to su (Us,
3—300). Oji korae-kanete (En, 81—202, 200), odori-idete (Ed, 81—202,
200) Iruka no kata wo kiri tam5 (Ah, 3—300). Kore wo mite (O, 81—202,
200) ta no ichi-nin susumi-idete (Ed, 81 — 202, 200) Iruka no ashi wo kiru
(Ar, 3—300). Iruka tsui ni korosaretari (As, 54, 75—432, 223, 300). Emishi
mo mata sono ie nite jisatsu seri (Us, 55 — 503, 300). Nakano~Oc~no-Oii wa
nochi Tenno no kurai ni tsuki tamo (Ah, 3 — 300). Tenji Tenn5 to moshi
tatematsuru (Ar, Ic — 120) wa sunawachi kono on kata nari (Ur, 3 — 300).
Kamatari sono nochi mo Tenn5 wo tasuke tatematsurite (Ar, 81 — 202, 200)
ko arishikaba (Ur, 64—245, 512, 200), Tenno omoku (x, 38c,— 220) mochiite
(Ih, 81 — 202, 200), daijin to nashi (As, 2 — 200), Fujiwara no sei wo tamaeri
(Af, 55 — 503, 300). Fujiwara-uji no ichi-mon kore yori nagaku (x, 38c —
220) sakaetari (Ey, 75—223, 300).
(■*) IVo motte is not the post-positional phrase ; this motte is a real verb, viz.
the colloquial gerund of motsu to hold in the hand.
\J^J On mae. The Emperor's person or presence.
^") This sentence is elliptical ; that is why shite is followed by to as if it
were conclusive. We might complete the sentence thus: On mae chiko shite
koe furu.
62
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DAI NI-JU-ICHI.~TONE-GAWA. Tone-gawa wa Nip-
pon tobu no taisen ni shite, zencho oyoso shichi-ju-san-ri, inishie yori Bando
Taro no na ari. Kozuke no tohoku-bu, Echigo no kokkyo nam Tone-dake
yori hassuru sasayaka naru hosotani-gawa wa nagare-kudaru ni shitagaite,
amata no shoryu wo atsume, Numata machi ni itaru. Kore yori nanryu
shite, Agatsuma-gawa wo awase, Akagi, Haruna no ni-san no aida wo
nagare, Maebashi-shi no nishi wo sugu. Maebashi-shi wa jinko shi-man amari,
yumei naru ki-ito no shijo nari. Sara ni tonan ni nagarete, Kozuke, Musashi
no kuni-zakai wo sugi, Watarase-gawa wo awasete, Kurihashi ni itaru, Kuri-
hashi wa Tohoku tetsudo no tsuro ni atari, ichi-dai tekkyo kakareri. Kurihashi
wo sugite ma mo naku futatsu ni wakaru. Kita naru wo Akahori-gawa to ii,
minami naru wo Gongendo-gawa to iu. Akahori-gawa wa Sekiyado no kita
nite futatabi futatsu ni wakare, itsu wa tonan ni nagarete. Tone no hon-ryu wo
nashi, itsu wa seinan ni mukai Gongendo-gawa ni gasshite Edo-gawa to nafu.
64
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VOLUME IV.— THE LITERARY STYLE. 65
Edo-gawa wa nanryQ shite umi ni iru. Sono nagare wa Shimosa, Musashi no
kokkyo wo naseri. Tone-gawa no hon-ryu wa tonan ni nagarete Kinu-gawa,
Kogai-gawa wo awase, masu-masu sono oisa wo masu. Kinu-gawa no ochi-o
tokoro yori sukoshiku karyu ni atarite Funado ari. Koko yori Edo-gawa ni
tsuzuru unga wa Tokyo yori Edo-gawa wo sakanoborite Tone-gawa ni tsuzuru
kisen no tsuro ni shite, suiun no ben sukunakara-zu, Hon-ryu wa kudarite,
Shimosa, Hitachi no kokkyo wo nagarete Taiheiyo ni iru. Shimosa no Tega-
numa, Imba-numa, Naga-numa to no mizu wa minami yori kore ni sosogi,
Hitachi no Kasumi-ga-ura, Kita-ura no mizu wa kita yori kore ni sosogu.
Kasumi-ga-ura, Kita-ura to no goryu suru atari ni wa meisho no chi suku-
nakara-zu. Naka ni mo Katori, Ikisu no ryo-sha wa Kita-ura no hotori naru
Kashima to tomo ni san-sha no na ari. Katori, Ikisu no ichi no torii wa izur^
mo kawa no naka ni tateri. Kako ni Choshi minato ari. Shoyu no sanchi to
shite shiraru (Ar, 56, 3 — 433, 300). Choshi minato no tonan ichi-ri yo,
Inubo-zaki ni wa todai ari. Higashi Taiheiyo ni menshi, fukei no bi wo motte
66
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VOLUME IV.— THE LITERARY STYLE. 67
nadakashi. Tone-gawa wa iwayuru Kanto heiya wo kanryu shi hon-ryu, shi-
ryu no nagasa wo gassureba, is-sen yo-ri ni oyobu. Dai-sho no sempaku kono
kawa wo joge shite, un-yu no ben sukoburu oshi.
DAI NI-JU-NI.— WaGA RiKUGUN. Waga kuni wa koku-
min niina hei nari : danshi wa ju-shichi-sai yori shi-jis-sai made no aida, izure
mo heieki ni fukusuru gimu ari. Kashikoku mo Tenno Heika wa Dai Gensui
to shite, shitashiku riku-kaigun wo sube tamo. Rikugun no heishu ni wa go
ari. Hohei wa senso no shuryoku ni shite, sono su mottomo oshi. Kihei wa
shintai binkatsu ni shite, 5ku wa yugun no zempo ni idete teki-jo wo saguru.
Hohei wa taiho wo motte empo yori teki wo hogeki shi, yugun wo zenshin shi
yasukarashimu (x, 23, 3 — 494, 453, 300). Kohei wa jinchi wo kizuki, michi
wo hiraki, hashi wo kake, tetsudo wo tsukuri, denshin wo tsuzuru to, moppara
68
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VOLUME IV.— THE LITERARY STYLE. 69
gijutsu no koto ni shitago. Mata betsu ni shichohei arite, kohS yori hyoro,
dan-yaku t5 wo hakobu. Kohei, kihei, hohei, kohei, shichohei wa izure mo
senso ni hitsuyo ni shite, sono nimmu ni wa keiju no betsu aru koto nashi.
Shoko ni wa, taisho, chujo, shosho, taisa, chusa, shosa, taii, chui, shoi ari. Sono
shita ni kashi ari, heisotsu ari. Joge no betsu akiraka ni shite, izure mo jokan
no meirei wo mamoru wa shoshi no yoku shiru tokoro naru beshi. Hohei wa
heiji oyoso hyaku-go-ju-nin wo it-chutai to shi, kore wo san-ko shotai ni
wakatsu. Shi-ko chutai wo daitai, san-ko daitai wo rentai, ni-ko rentai wo ryo-
dan to su. Ni-ko ryodan no hohei ni sokobaku no kihei, hohei, kohei, shichShei
wo kuwaetaru mono wo shidan to iu. Meiji ni-ju-shichi-hachi-nen no sen-eki
made wa waga kuni no rikugun wa wazuka ni shichi-ko shidan ni sugi-zarishi
ga, sen-eki go ju-san-ko shidan to nari, san-ju-shichi-hachi-nen no sen-eki go
70
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VOLUME IV.— THE LITERARY STYLE. 71
wa dai is-shidan yori dai ju-has-shidan ni itaru ju-hak-ko shidan, hoka ni
konoe shidan wo awasete, ju-ku-ko shidan to nareri. Shidan shireibu no aru
tokoro wa Tokyo, Osaka, Nagoya, Hiroshima, Kumamoto to, gunji-jo juyo
nam chi nari.
DAI NI-JU-SAN.-YaSUKUNI JiNJA. Yasukuni Jinja
wa Tokyo Kudan-zaka no ue ni ari. Ishin zengo kokuji ni taoretani hito-bico
wo hajime, sono nochi no sho-sen-eki ni senshi shitaru chuyu no shi wo matsu-
reru tokoro nari. Kono jinja wo tateraretaru (Et, 52, 78c, — 442, 221, 120;
wa Meiji ni-nen ni shite, shaden wa joko no fu wo utsushite tsukuri, hon-den
ni wa kashikoku mo Meiji Tenno no gyosei no on uta wo kakagetari. Keidai
ni wa sakura mottomo oku, haru no sakari ni wa hana no kumo tanabikite,
" Kana wa sakura-gi, hito wa bushi " no kotowaza mo onozukara omoi-ideraru.
Shaden no ushiro ni wa utsukushiku tsukuritaru niwa ari. Bokuseki no haigo
omomuki oshi. Shaden no katawara naru seiyo-fu no tatemono wo Yushukan
72
JAPANESE READING FOR BEGINNERS.
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VOLUME IV.— THE LITERARY STYLE. 73
to ii, naigai kokon no buki, sono ta gunji ni kansuru mono wo oku atsumetari.
Shazen naru seido no torii wa mukashi no sho-daimyo no osametaru taiho wo
atsumete tsukuritaru mono ni shite, Nippon dai-ichi no kane no 6-torii nari.
O-torii no mae no o-hiroba ni wa Omura Masujiro no dozo ari. Masujiro
wa ishin no sai gunji ni koro 5karishi hito nari. Honsha no taisai wa shunju
ni-ki ni okonawaru (Ah, 56, 3 — 433, 300). Kinnen made wa haru wa go-
gatsu, aki wa ju-ichi-gatsu ni okonawareshi (Ah, 54, 63c, — 432, 241, 120) ga,
ima wa haru-matsuri wa shi-gatsu san-ju-nichi, aki-matsuri wa ju-gatsu ni-ju-
san-nichi ni okonawaruru koto to nareri. Ryo-do no taisai ni wa kanarazu
Chokushi wo sashitaterare, riku-kaigun shosotsu no sampai ari. Shuju no
yokyo mo okonawarete hanahada nigiyaka nari. Meiji no miyo rinji taisai no
toki gyokokei araserareshi (Ur, 60, 52, 63—464, 442, 241, 100) koto mo tabi-
tabi ariki. Kaku no gotoku kokuji ni taoretaru hito-bito wo awaremi tamo
koto no fukaku katsu atsuki wo miru mono, tare ka wa giyu hoko no kokoro
wo okosa-zaran.
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VOLUME IV.— THE LITERARY STYLE. 75
DAI NI-JU-SHI.— HaKONE-YAMA. Hakone-yama wa
Sagami, Suruga, Izu san-goku no sakai ni matagaru. Tskaido no tsQro ni atareru
wo motte,CO mukashi wa jimba no orai hanahada sakan nariki. Sanjo naru
Ashi-no-ko no hotori ni seki-sho arite, higure yori nochi wa issai ryojin no tsu-
k5 wo sashitometareba, sho-daimyo sono ta ryokyaku no shukuhaku suru mono
oku, kosui no hotori ni wa nigiyaka naru shigai ariki. ShikaruC2) ni Meiji
ishin no nochi wa daimyo no orai mattaku tae, tetsudS kaitsu-go wa ryokyaku
wa mina kisha no ben ni yoru wo motte,CD ima wa kono yama-saka wo koyuru
mono sukunashi. Mukashi no seki-sho wa wazuka ni sono ato wo todomuru
nomi. Shigai wa hai ahada sabishiku nareri. Shikaredomo (Ur, 18c, — 512,
220) kano nadakaki Kakone shichi-to wa hirake-yuku miyo to tomo ni masu-
masu(^) sakaete, yokkaku toshi ni sono sQ wo kuoru ni itareri. Shichi-to to wa
Yumoto, Tonosawa, Dogashima, Miyanoshita, Sokokura, Kiga oyobi Ashi-no-
yu wo iu. Ima wa kono shichi-to no hoka ni atarashiki onsen-ba mo hirake,
CO Wo motte, post-positional phrase.
C2!) Shikaru ni, is a conjunctional phrase.
(3) Masu-masu, more and more, is derived from i^ masu to increase, though
written now with another character; (3b — 310).
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hiroki shindo mo deki, yama no fumoto nam Yumoto made wa densha sae
kaitsu seri. Mukashi wo shireru hito moshi kyudo no ima no sabishisa to
mukashi no nigiwashisa to wo kurabe-miba, yo no tempen no ika ni hanahada-
shiki ni odoroku naran. Shikaredomo shizen no tempen wa sara ni kore yori
mo hanahadashiki mono aru wo shira-zu ya ? Ryojin no orai sakan narishi
Kakone-eki mo, yokkaku no oku atsumareru ima no Kakone shichi-to mo toki
mukashi wa tomo ni osoroshiki funka-zan narishi nari. Moshi tori no gotokii
takaku 6-zora yori Kakone-yama wo mi-orosaba, zentai no katachi no suri-bachi
wo sakasama ni shitaru ni hitoshiki wo miru beshi. Kono suri-bachi no soko ni
atareru tokoro wa oi nam funkak5 ni shite, sore yori funshutsu shitaru mono
no shi-ho ni nadarete, hie-katamaritaru ga ima no Hakone-yama wo naseru
nari. Funka ittan yamice nochi, sono funkako-chu ni sara ni yotsu no funka-
zan wo idaseri. Kami-futago, Shimo-futago, Kamiyama, Komagatake kore
nari. Kono shi-zan no funka mo ima wa mattaku yamitari. Kore-ra no
yama to moto no funkako no mawari no yama to no aida ni mizu no tamari-
78
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taru mono wa Ashi-no-ko ni shite, kosui no afurete nagaruru mono wa
sunawachi Haya-kawa nari. Mizu no shizuku mo tabi kasanareba ishi wo mo
ugatsu to iu. Mashite iku-man-nen no hisashiki aida kono 6i naru kosui yori
nagare-ochitaru mizu no chikara wa hakari-shiru bekara-zu. Yama wo
kezuri, tani wo ugachi, kakarite wa taki to nari, yodomite wa fuchi to nari,
mata kirete wa kyuryu to nari, tsui ni konnichi no gotoki utsukushiki keshiki
to narishi nari.
DAI NI-JU-GO.— RaKUDA-NORI. Mukashi Arabiya no
aru machi -ni Hassan to iu mono ari. Rakuda ni norite taisho no nakama ni
kuwawari, dai-sabaku wo orai suru wo gyo to seri. Aru toki ryokosaki yori
tegami wo okurite, sono ko no Ari ni rakuda wo tsurete, nimotsu wo tori ni
kitaru beshi to ii-tsukawashitari. Ari wa jis-sai bakari no kodomo narishi
ga, chichi no tegami wo yomite kokoro isami, toshi-goro kai-narashitaru
80
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VOLUME IV.— THE LITERARY STYLE. 81
rakuda ni nori, in-yo-sui sono hoka nanikureto vol shite taisho to tomo ni
shuttatsu shitari. Sate iyo-iyo sabaku ni irishi ga, ki no kage hitotsu mo naki
suna-hara tsuzuki nareba, sono kurushisa tatoen ni mono nashi. Hi kurureba
ichidd tento wo harite yo wo sugosu. Ari wa kodomo no koto nareba, hanashi-
aite mo naku, tada chichi ni awan wo tanoshimi ni ichi-nichi, ichi-nichi to
ryoko wo tsuzuketari. Yokka-me no shogo goro o-kaze fuki-okorite, suna-
kemuri wa ten wo oeri. Ichid5 wa yamu koto wo e-zu, shinko wo todomete,
kaze no osamaru wo materi. Subete sabaku no ryoko wa izen ni torishi rakuda
no ashi-ato wo me-ate ni yuku nari. Shikaru niCD kono 6-kaze no tame ni ima
made no rakuda no ashi-ato kietareba, yokujitsu kaze nagite shuttatsu shitare-
domo, ichido wa yuku beki kata ni mayoite, migi ni yuki hidari ni yuki,
munashiku ichi-nichi wo sugoseri. Kore ga tame ni ikko no yoi seru mizu mo
nokori sukuna ni nareri. Sono yo Ari futo me wo samashite, hito-bito no
CD Shikaru ni, is a conjunctional phrase.
82
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VOLUME IV.— THE LITERARY STYLE. 83
kataru wo kikeba, ichi-nin no iwaku,C2^ " Moshi myonichi-ju ni mizu no aru
tokoro ni tsuka-zuba rakuda wo koroshite sono i no naka no mizu wo nomu
yori hoka nakaru beshi." Mata ichi-nin, " Shikaraba (Ur, 7c,— 400) kano
kodomo no noreru rakuda wo korosan." To iu. Kore wo kikeru Ari no
odoroki wa hitokata nara-zu. Sate wa kono mama nite wa sugosare-ji (xAs,
54, 21c,— 434, 400) to, hito-bito no ne-shizumaru wo ukagai, hisoka ni rakuda
ni uchi-norite, soko yori nogare-idetari. Haretaru 5-zora ni wa musu no hoshi
kagayakeri. Ari wa saiwai ni mo hoshi ni yorite hogaku wo mi-sadamuru koto
wo shiri-itareba, sore wo tayori ni shinko seri. Yo akureba suna no ue ni
atarashiki rakuda no ashi-ato ari. Kore ni chikara wo ete, minami e, minami e
to isogasuru (Ag, 70, Ic— 461, 120) ni, sono hi no yugata, hito-kumi no taisho
no yadoreru tento wo mitari. Ari wa soko ni yukite, arishi koto wo monogatari,
nengoro ni doko wo tanomishi ni, ichido kokoroyoku hikiuketari. KakaruC-*)
C^) Iwaku, defective verb, see p. xxi,
C^!) Kakaru, see p. xxi.
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VOLUME IV.— THE LITERARY STYLE. 85
aida ni, mata mukS yori hito-kumi no taisho tochaku seshi ga, sono naka ni
wa Ari no chichi Hassan mo majireri. Kikeba Hassan wa Ari no kitaru koto
no amari ni osokereba, michi-zure no arishi wo saiwai, mukae kata-gata koko ni
kitarishi nari. Tagai ni kokoromotonaku omoi-aishi fushi no, ima buji nite
ai-mishi yorokobi wa ika narishi (Ur, 63b — 241,110) zo ? Yagate oya-ko
uchi-tsurete kokoro tanoshiku hossoku shitari.
DAI NI-JU-ROKU.— D5BUTSU no Taishoku.
Ta ni sumu kaeru watsuchi-iro ni shite, ki no ha ni yadoru ama-gaeru wa midori-
iro nari. Ki-iro no cho wa natane no hana ni muragari, hakushoku no cho wa
daikon-batake ni atsumaru. Hiru wa kuraki tokoro ni hisomi, hi-gure yori idete
tobu komori wa ankoku-shoku ni shite, umi no soko no suna no ue ni sumu
hirame, karei no rui wa sono tai no ichi-men suna no iro ni nitari. Kaku no
86
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VOLUME IV.— THE LITERARY STYLE. 87
gotoku dobutsu no taishoku ni wa sono sumeru shui no mono no iro ni nitaru
mono arite, onozukara sono shui no mono no iro to magirete, tayasuku ta no
dobutsu ni mitsukeraruru (Ek, 53, 1 — 441, 100) koto nashi. ShicagatteCO
teki ni osowaruru (Ah, 56, 1 — 431, 100) ure sukunaku, ware yori teki wo oso ni
wa ben nari. Kono shu no taishoku wohogo-shoku to nazuku. Dobutsu no
uchi ni wa sono shui no mono no iro no henzuru ni shitagattejC'-^^ hogo-shoku
no henzuru mono ari. Tatoeba (Eh, 7c — 400) hok-koku ni sumu no-usagi
wa sono ke-iro kare-ha no iro to onajikeredomo, yuki no furu koro to nareba,
mattaku haku-shoku ni henji, ika wa suichu ni oyogu aida wa mizu-iro nare-
domo ganseki nado ni fuchaku suru toki wa ganseki to onajiC^5 iro ni miyu.
Kogo-shoku no henzuru wa sude ni omoshiroki koto nari. Sore yori mo nao
omoshiroki wa, sono dSbutsu no miburi ni 3'orite, katachi sae sono shui no
mono ni niru mono no aru koto nari. Tatoeba kuwa no ki ni iru eda-shaku-
tori wa, sono taishoku no kuwa no ki ni nitaru ue, sono karada no ato no hashi
wo kuwa no ki ni tsuke, karada wo naname ni tosshutsu suru toki wa, sono
CO Shitagatte, colloquial form of gerund, used as adverb ; (81c — 202, 220).
C2!) Shitagatte, colloquial form of gerund, not used as adverb here, but used
in the ordinary way; (81a— 202, 200).
Ov Onaji, the colloquial form, instead of onajiki. This dropping of the
termination ki when used attributively is a peculiarity sometimes found in onaji
but never in other adjectives.
88
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VOLUME IV.— THE LITERARY STYLE. 89
katachi kuwa no ko-eda ni kotonara-zu. Nofu nado wa ko-eda to mi-chigaete,
dobin wo kake, otoshite waru koto ari. Yue ni aru chiho nite wa kore wo
dobin-wari to iu. Okinawa ni sansuru konoha-cho wa sono hane no omote
no ho ni wa utsukushiki irodori aredomo, rimen wa kare-ha ni nitaru ga yue
ni, hane wo tojite, kusaki no eda ni tomaru toki wa, sanagara kare-ha no gotoku
miyu. Am dobutsu wa kore ni hanshite, shui no mono to magire-zaru yo,
koto ni azayaka naru taishoku wo yusu. Kore-ra wa oku wa ta no dobutsu
no osoruru buki mata wa ta no dobutsu no ito akumi, akushu wo yusuru mono
ni shite, ta no dobutsu wa sono taishoku ni yorite, tayasuku kore wo mitome,
kore ni chikazuku koto naki ga yue ni, kaetteC^) sono mi no anzen wo tamotsu
koto wo uru nan". Kono shu no taishoku wo keikai-shoku to nazuku.
Tatoeba (Eh, 7c — 400) doku-shiru wo yusuru hachi no taishoku wa ki to kuro
to no dandara nite, akumi aru ageha-no-cho no hane ni wa utsukushiki
irodori aru ga gotoshi.
CO Kaette, see note, p. 27.
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DAI NI-JU-SHICHI.-YOJO. "Yamai wa kuchi yori
iru.'" Tsutsushimu beki wa inshoku nari. Kuchi ni umashi tote oku kur5 koto
nakare. Oku nomu koto nakare. Ima hito-kuchi to iu tokoro nite yameyo.
Shokumotsu wa yoku kami-konasu beshi. Hachi-jis-sai wo koete yamai wo
shira-zaru aruCD rojin ni naga-iki no hoho wo toishi ni, " Yawaraka naru mono
mo ni-ju-shichi-do kame." To kotaetari to iu. Jukuse-zaru kudamono,
namanie no niku, kusaritaru uo nado wo kuite, ichimei wo ushino monosukuna-
kara-zu. Kitanaki mizu wo nomite osoroshiki yamai ni kakaru mono oshi.
Sake, tabako no gai wa imasara ni iu made mo nashi. Fuketsu mo mata j'amai
no tane to naru. Shiba-shiba nyuyoku shi, shintai wo seiketsu ni su beshi.
Yogoreshi te nite me wo kosurite me wo wazuraishi hito ari. Ifuku mo yoku
araite, yogoretaru wo ba("-) kiru koto nakare. Sumai mo narubeku kirei ni
seyo. Yoki kokoro-mochi nomi nite mo yamai wo fusegu ni taran. Undo
CO Both shira-zaru and aru are attributive to^rojin.
CO Wo ba, Dost-positional phrase.
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VOLUME IV.— THE LITERARY STYLE. 93
fusoku nareba, shokumotsu no konare ashiku, chi no meguri nibuku, shintai
yowarite, kibun mo fusagu. Tsune ni mubyo ni shite, isha ni kakaritaru koto
naki hito ari : heizei no y5jo-ho wo toebn, " Ware wa tenki ni mo sodan se-
zu, mai-nichi undo suru ga yue ni, isha ni mo sodan suru hitsuyo naki nari."
To ieri. Shikaredomo (Ur, 18c — 512, 220) und5 oki ni sugureba kaetteC^^
yamai wo okosu koto ari. Sugitaru wa oyoba-zaru ga gotoshi." To shiru
beshi. Yoku hatarakan to suru mono wa yoku nernuru beshi. Shintai no
tsukare wo naosu wa yoku nemuru ni shiku wa nashi. Yahan ju-ni-ji mae
ichi-jikan no nemuri wa ju-ni-ji go ni-jikan no nemuri ni masaru." To ieri.
Kayaku ineteCO hayaku oku beshi. Kuki no taisetsu naru koto mo shoku-
motsu ni otora-zu. Tojitaru shitsunai ni wa yogoretaru kuki komoru. Toki-
doki shoji wo ake-hanachite, atarashiki kuki wo ryutsu seshimu beshi (Us, 67,
16 — 453, 303, 300). Hito oki tokai ni sumu mono wa ori-ori yagai ni idete,
atarashiki kuki wo sui, mata asa hayaku okite, kodachi shigeki koen to wo
O') Kaette, see note p. 27.
00 Do not confound this verb ^ inuru to sleep, which is regular. En,
with li inuru to go, which is irregular, Un.
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VOLUME IV.— THE LITERARY STYLE. 95
sampo su beshi. Shitsunai ni nomi ite, gaishutsu suru koto sukunaki hito no,
iro aozamete genki naki wa nikkS ni yokuse-zaru ga tame nari. le wo tatsuru
ni wa hi-atari yoki tokoro wo erabi, yagu, ifuku no rui wa shiba-shiba nikk5
ni kawakasu beshi. Seiyo no kotowaza ni mo : " Yoku nikko no mimo ie ni
wa isha wa mimawa-zu." To ieri. Inshoku ni chui shi, shintai no seiketsu wo
tamochi, tekido no undo wo okotara-zu, hayaku ine, hayaku oki, atarashiki kuki
wo sui, tsune ni nikko ni yokushite, nao yamai ni kakaraba, kore waga tsumi ni
ara-zu.
DAI NI-JU-HACHI. - Saka-no - Ue-no - Ta-
MURAMARO. Ezo wa tohoku no chi ni jushite, hampuku tsune
nara-zu, Keiko Tenno no miyo, Yamato Takeru-no-Mikoto kore wo
seishi tamai, Saimei Tenno no on toki Abe-no-Hirafu mata kore wo
uchishi ga, sono nochi mo tabi-tabi somukite, seito shogun wo tsukawa-
sareshi (As, 54, 63—432, 241, 100) koto shiba-shiba nariki. Kammu
Tenno no miyo ni itari, shogun Saka-no-Ue-no- Tamuramaro kore wa
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VOLUME IV.— THE LITERARY STYLE. 97
heitei shite, dai naru koro wo tatetari. Tamuramaro wa mi no tak^
go-shaku has-sun, mune no atsusa is-shaku ni-sun, taiju wa san-jik-kan wo koei
me no hikari wa hayabusa no gotoku surudoku, hige wa hari-gane no gotoku
kowaku, chikara akumade tsuyoki hito nite, ikaru toki wa takeki kemono mo
osoretari. Saredomo,(l) mata itsukushimi fukaki hito nite, waro toki wa
kodomo mo natsuki shitashimitari to iu. Shogun Tamuramaro no tohoku no
chi wo seisuru ya,(2) on-i narabi okonawarete, mukotokoro teki naku, sashimo
ni rsuyokarishi Ezo mo tsui ni mattaku Koi ni fukusuru ni itareri. Kabakari
no taiko arishi hito yue, Tenno no go shinnin mo atsuku, sono kozeshi toki,
Tenn5 wa fukaku kore wo oshimi tamaiki. Kore wo homurishi toki wa
yoroi, tsurugi, yumi, ya to wo tomo ni osame, kabane wo Kyujo no ho ni
mukaite tatase, nagaku Kojo wo shugo seshimetari to iu.
(1) Saredomo, see p. xxi.
(2) This ya is not interrogative or dubitative, it is equivalent to toki n
when, as soon as.
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VOLUME IV.— THE LITERARY STYLE. 99
DAI NI-JU-KU. — KuKI. Ogi vvo tsukaeba kaze okori, muchi
wo furueba oto wo hassu. Kore ware-ra no shui ni kuki no areba nari. Kuki
wa katachi mo naku iro mo nakereba me ni wa mie-zaredomo, tsukue no hikida-
shi ni mo, tamoto no naka ni mo, fushi-ana no naka ni mo, nigirikobushi no aida
ni mo, oyoso sukoshi nite mo suki-ma aru tokoro ni wa kanarazu sonzai se-zu
to iu koto nashi. Kokoromi ni chawan no soko ni shirushi wo tsuke, kore wo
sakasama ni shite, shizuka ni suichu ni ireyo. Sono shirushi wa mizu ni nururu
koto nakaru beshi. Kore chawan no naka ni kuki arite, mizu no shinnyu
suru wo fusegeba nari. Hi wa kuki nakereba moe-zu. Daidokoro nite hifuki-
dake wo tsuko mo, kaji-ya nite fuigo wo mochiuru mo, mina kuki wo okurite,
hi no ikioi wo sakan narashimuru (Ar, 67, 1 — 451, 100) tame ni shite, hikeshi-
100
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VOLUME IV.— THE LITERARY STYLE. 101
tsubo no hi no kiyuru wa kuki no kyokyu tayuru ga tame nari. Shikiredomo,
(Ur, 18c, — 512, 220) kuki no ryutsu amari ni tsuyoki toki wa, kaetteCO hi no
kiyuru koto aru beshi. Tomoshibi no hi no kaze ni fuki-kesaruru ga gotoki
kore nari. VVare-ra wa tsune ni kono kuki wo suwan ga tame ni kokyu su.
Moshi kuki nakaran ni wa, hito mo choju mo somoku mo oku ( x 38b, — 210) no
seibutsu wa sono sei wo tamotsu koto atawa-zaru beshi. Kuki ryudo suru toki
wa kaze wo shozu. Kokake-bune no suijo wo hashiru,(") tako no sora takaku
agaru,(*"0 kore m.na hito no shizen no kaze wo riyo shitaru nari. Mata hito
wa kuki wo ugokashi, kaze wo okoshite, shuju no yo ni kyosu. Orugan nite
utsukushiki oto wo hasseshimuru ga gotoki,(") tomi no kuruma wo mawashite,
momi to shiina to wo aogi-wakuru ga gotokiC2^ mma shikari.
CI) Kaette, see note, p. 27.
f-) Koto is understood after hashiru, agaru and gotoki.
102
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VOLUME IV.— THE LITERARY STYLE. 103
DAI SAN-JU. — ChOKIN. Ichi-nichi ni is-sen, ni-sen zutsu
nite mo tsumitatsuru toki wa, go-nen ju-nen no nochi ni wa yohodo no kin-daka
to narite, yaya koka naru hitsuyo-hin mo k5 koto wo u beku, kagyo no motode
no ichi-bubun to mo nasu koto wo u beshi. Mata byoki, sono ta no baai ni
mo, tanin no sukui wo ukuru ga gotoki koto nakaru beshi. Kinsen wo anzen
ni takuoru ni wa yubin chokin to nasu wo yoshi to su. Yubin chokin nite wa
ichi-do no azuke-daka ichi-nin jis-sen ijo nari. Ichi-do ni jis-sen ijo no chokin
wo nasu koto atawa-zaru mono no tame ni wa, yubin kitte ni yorite chokin
suru bemp5 ari. Chokin daishi to iu mono wo yubin-kyoku yori morai,
chokin sen to suru kinsen nite san-sen ika no do-shurui no yubin kitte wo
kaite, sono daishi ni haritsuke, zembu hari-oetaru toki, kore wo yubin-kyoku
ni sashidashite, yubin chokin to suru nari. Mata ginko ni chokin suru hoh5
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mo ari. Futsu no ginko nite wa ichi-do ni go-yen ijo no yokin nomi wo tori-
atsukaedomo, chochiku ginko nite wa go-yen yori sukunaki kane nite mo azukaru.
Yubin-kyoku nite mo ginko nite mo, kinsen wo azuketaru mono ni wa, sono
kin-daka wo kaki-iretaru tsucho wo watasu. Kono tsucho wa kono nochi
kinsen wo azukuru toki mata wa hiki-dasu toki tomo ni hitsuyo naru mono
nareba, taisetsu ni hozon su beshi. Ginko chokin nite mo yubin chokin nite
mo, azuketaru kin-daka no shidai ni nobori-yuku wa tanoshiki mono nari.
SarebaO) heizei no shunyu-chu jori narubekuC^) muyo no nyuhi wo habukite,
is-sen, ni-sen zutsu nite mo takuwaen koto wo kokorogaku beshi. Tada'hi
chokin sen ga tame ni hitsuyo naru hiyo made mo oshimu ga gotoki wa homu
beki koto ni ara-zu.
DAI SAN-JU-ICHI.— KaHEI. Baibai to iu koto nakarishi
toki mukashi ni wa hitsuyo no baai ni mono to mono to wo tori-kaete yumu
CD Sareba see p. xxi.
(2) Narubeku, originally Ar, 13c— 302, 220 ; afterwards it became a mere
adverb.
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VOLUME IV.— THE LITERARY STYLE. 107
ai-tsujitaruO) ni sugi-zariki. Moshi ima no yo ni mo nao kakaruC^) koto ari
to seba, sono fuben ika b£.kari naran. Tatoeba (Eh, 7c, — 400) koko ni gyofu
arite, uo wo kome ni tori-kaen tote, mazu ko no nofu wo tazunetari to seyo.
Sono nofu moshi uo wo nozoma-zuba, sara ni otsu no nofu no tokoro ni yuka-
zaru bekara-zu (Ak, 94—423, 304, 494, 413, 300). Otsu no nofu mo mata
uo wo nozoma-zuba, sara ni hei, tei no nofu ni danze-zaru bekara-zu.
KakuteC^^ mochi-aruku uchi ni wa sono uo wa kusarite, ichi-go no kome ni
mo kae-gataki ni itaru beshi. SarebaC^^ izure no kuni nite mo, yo no susumu
ni shitagai, aru shurui no buppin wo sadamete kore wo nakadachi to shi, mono
to mono to wo kokan suru fuben wo habuku ni itareri. Kahei sunawachi kore
nari. Kahei to shitaru buppin wa jidai ni yori, basho ni yorite ittei se-zu.
Kai, kegawa, kokumotsu, ushi to wo mochiitaru koto ari. Uru, ko,C5^ zaisan no
zai, kahei no ka to no ji no ichi-bu ni kai no ji aru wa, Shina no kodai ni kai
wo mochiitaru ga yue nari to iu. Ima no bummei shokoku no kahei ni wa
CO This compound is formed of Base 2 of au, and the verb tsuzuru which
is the on reading of a character followed by the nigori'ed form of suru.
C-) Kakaru, see p. xxi.
(3) Kakute, see p. xxi.
CO Sareba, see p xxi.
Co) Uru, ko are not real verbs here, but merely the names of the characters.
1 he meaning is : ' The character for uru (to sell), the character for kau (to
buy), the first characters of zaisan and kahei '
108
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VOLUME IV.— THE LITERARY STYLE- 109
shu to shite, kin, gin wo mochiu. Kore kin, gin wa atai takaku, hozon suru
ni mo tsugo yoku, mata bungo suru koto mo tayasuku shite, bungo no tame ni
nedan no wariai wo henzuru koto naku, sanchi kotonari tomo, seibun ni ido
naku shite, nedan no hendo mo sukunaki to, kahei to suru ni mottomo benri
nareba nari. Genkon waga kuni no kahei ni wa kinka, ginka, doka no san-
shu ari. Ginka, doka wa hiroku mochiiraruredomo (Ih, 53, 18 — 445, 512,
200), kinka wa nichijo ryiitsu suru koto sukunashi, Kore kinka ni kawaru
shihei no okonawaruru (Ah, 56, Ic — 431, 120) ni yoru. Shihei wa kahei no
daiyS to naru mono ni shite, karuku shite, toriatsukai ni tsugo yoki koto wa
kahei ni masareri. Waga kuni no shihei wa Nippon Ginko yori hakko suru
mono ni shite, ichi-yen, go-yen, ju-yen, hyaku-yen no shi-shu ryutsu su. Kore
wo Nippon Ginko ni mochi-yukaba, itsu nite mo kinka to kokan suru koto wo
u beshi.
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DAI SAN-JU-NI.— NiKKO-ZAN. Nikko no shigai tsuku-
ru tokoro ni Daiya-gawa ari. Iwa ni kudakuru seiryu, yuki to chiri, tama to
tobu. Sono ue ni kakareru shu-nuri no hashi, bikan mazu me wo odorokasu,
Kore sunawachi yumei naru Mihashi ni shite, 'Nikko no kekko" koko ni haji-
maru. Kawa wo watarite saka-michi wo noboreba, Toshogu no shomen ni izu.
Ishi no 6-torii takasa san-jo yo. Hidari ni go-ju-no-to ari. Omote-mon yori
susundCjCl) Yomei-mon ni itaru. Kono mon itsu ni Higurashi-mon no na
aru \va, hi kururu made miredomo aka-zu to no i nari to zo. Kin-gin no
hikan, tansei no iro, me mo mabayukiC-^ bakari nari. Tsugi no mon wo Kara-
mon to iu. Mokuzai wa issai toboku wo mochiitari. Kore wo sugite haiden
ari : haiden no ushiro ni honden ari : izure mo zen tsukushi bi tsukuseri. Kore
yori seinan ni atarite, lemitsu no byo ari. Kenchiku no zembi wo tsukuseruC^])
mata ai-nitari. Tennen no bi wa sara ni jinko no bi yori mo suguretari.
(^^^ Susunde, colloquial form of gerund.
CO Supply koto after mabayuki.
Ov Supply koto after tsukuseru.
112
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VOLUME IV.— THE LITERARY STYLE. 113
Toshogu no nishi san-ri bakari, Nantai-zan no faraoto nt Chuzenji-ko ari.
Shukai oyoso roku-ri, komen kagami no gotoku, shi-ho no yama-yama mina
sakasama ni kage wo utsuseri. Meiji Tenno katsute koko ni gyoko ari, sono
fukei wo shoshi tamaite, Sachino-umi no na wo kudashi tamaeri. Kono mizu-
umi no ochi-guchi wa Kegon no taki to naru. Chokka shi-ju-j6, sokan meijo
su bekara-zu. Kono mizu sunawachi Daiya-gawa no joryu wo naseri. Waga
kuni itaru tokoro meisho no chi ni toboshikara-zaredomo, yoku jinko no bi to
tennen no bi to wo awasetaru wa Nikko ni shiku wa nashi. Sareba ichinen-ju
yuransha ato wo tata-zu : natsu no sakari no koro, aki no momiji no ori ni
wa kitari asobu mono mottomo oshi. Gaikoku-jin no waga kuni ni kitaru
mono mata kanarazu koko ni asobite, Nikko no kekko wo shose-zaru mono
nashi.
DAI SAN-JU-SAN.- Nippon -iCHi no Mono.
Nippon-ichi no kozan wa Taiwan no Niitaka-yama nan. Sono takasa wa ichi-
man san-zen shichi-ju yo shaku ni shite, Fuji-san yori takaki koto oyoso is-sen-
114
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, VOLUME IV.— THE LITERARY STYLE. 115
jaku nari. Mukashi yori Fuji wa Nippon-ichi no kozan to shoserareshi (Us, 52,
63c. — 442, 241, 120) ga, Meiji ni-jii-shichi-hachi-nen sen-eki no nochi, Taiwan
no waga ryodo to narishi yori, Fuji wa dai ni-i ni ochitari. Shikaredomo, (Ur,
18c, — 512, 220) shi-ji yuki wo itadakite isagiyoku, sono katachi hakusen wo
sakasama ni kaketaru ga gotoku utsukushiki wa, nao waga kuni dai-ichi no
yama to iu beku, mushiro sekai-ichi no meizan to mo sh5su beshi. Nippon-
ichi no kosui wa Omi no Biwa-ko ni shite shukai roku-ju-ri. Izuko yori mite
mo yama ni saegirare, (Ig, 52, 2 — 442, 200) kasumi ni hedaterarete, (Et, 52,
81—442, 202, 200) sono zenkei wo miru koto atawa-zu. Omi ik-koku no
senryu wa hotondo mattaku kono kosui ni iri, kosui yori izuru Seta-gawa wa
karyu Uji-gawa to nari, (Ar, 2 — 200) Yodo-gawa to narite, Osaka ni itarite
umi ni sosogu. Nippon-ichi no choryu wa, Chosen no kokkyo ni aru Oryok-
ko wo nozokeba Shinano-gawa nari. Sono nagasa ku-ju yo ri. Nippon-ich'
no dai.tonneru wa Chuo-sen no Sasago-t5ge ni ari. Sono nagasa ichi-man
go-sen ni-hyaku shichi-ju-roku-fiito ; sunawachi ichi-ri roku-cho shi-jik-ken
go-shaku. Kisha wa kono tonneru wo tsuka suru ni shichi-hachi-fun wo tsui-
116
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4
VOLUME IV.— THE LITERARY STYLE. 117
yasu. Sono koji no so-hiyo wa hyaku-ku-ju-man-yen yo ni shite, ichi-ri no
nagasa dake ju-yen kinka wo narabetaru ni hitoshi to iu. Nippon-ichi no furuki
tatemono no ima ni nokoreru wa Yamato no Horyuji nari. W'aga kuni no
tatemono wa omune mokuzo nareba, koshaji to mo mukashi no mama nite ima
ni nokoreru wa hanahada sukunashi. Shikaru niCl) kono tera wa ima yori
oyoso is-sen ni-hyaku-nen izen no mono nite, mukashi nagara no katachi wo
sonseri. Osoraku wa mokuzo kenchikubutsu-chu sekai saikyu no mono naru
beshi. Zenkoku musu no butsuzo-chu, Nara no Daibutsu no okisa no Nip-
pon-ichi naru koto wa shoshi sude ni kore wo shireri. Shoshi yo, kokoromi ni
kono hoka ni shoshi ga Nippon-ichi to omo mono wo kazoe miyo.
DAI SAN-JU-SHI. — HOANRIN. Sumi,takigi, zaimoku to
no shinrin yori izuru koto wa nani-bito mo shireru tokoro nari. Saredo(2)
shinrin no atoru rieki wa kore nomi ni wa todomara-zu, Shinrin no jumoku
CI!) Shikaru ni, see p. 43.
C2) Saredo, see p. xxi.
118
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VOLUME IV.— THE LITERARY STYLE. 119
wa tagai ni sono eda wo majiete, ame no ichido ni chijo ni otsuru wo todome,
mata chijo no suibun no ichiji ni johatsu suru wo fusegu. Shikanominarazu,
ochiba, koke, oyobi ami no gotoku hirogareru ki no ne nado wa, chijo ni ochi-
taru mizu wo fukumi sasoru koto, atakamo kaimen no gotoku naru wo motte,(l)
mizu wo shite sukoshi zutsu shizuka ni nagare-ideshimu (Kd, 67, 3 — 453, 300).
Yue ni moshi midari ni shinrin wo kiri-arasu toki wa, su-jikan no bou ni mo
tachimachi o-mizu ide, su-jitsu no hideri ni mo kawa-mizu mattaku kare-hatsu
beshi. Shinrin wa yoku bofu wo sasae, sono chikara wo sogu wo motte,^-)
dosha no hisan wo fusegi, mata tsune ni tochi wo uruoshite, dosha wo ochi-
tsukashimu (Ak, 67, 3 — 453, 300). Shinrin nakereba, dosha fukin no ta-hata
ni tobi-chirite, sono tochi wo arasu koto oshi. Subete gyorui wa kuraki tokoro
wo yorokobi, shinrin no kage sasu suichu ni wa oku atsumari-kitaru mono
naru wo motte,^^!) shinrin wa gyogyo no tame ni mo oi naru rieki wo at6»
(1) Wo motte, post-positional phrase.
120
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VOLUME IV.— THE LITERARY STYLE, 121
Kaigan mata wa kagan no shinrin wo kiri-haraitaru tame ni gyogyo no ri wo
ushinaitaru chih5 mo sukunakara-zu. Sono ta shinrin wa kiko wo yawarage,
dosha no ryushutsu wo fusegi, jinja, bukkaku mata wa meisho no chi ni isshu
no fukei wo soruC^) to, sono koyo agete kazo bekara-zu. Shinrin no koyo kaku
no gotoku ichijirushiki wo motte,C^) kinnen ittei no shinrin wo shitei shi, sono
jumoku wo ichiji ni kiri-toru koto wo kinzeri. Kaku hogo seraretaru (Us, 52,
78 — 442, 221, 100) shinrin wo hoanrin to iu.
DAI SAN-JU-GO.— KaNSHO. Kansho no na wa chi-
ho ni yorite kotonari. Kanto nite wa Satsuma-imo to ii, Satsuma nite wa Ryu-
kyO-imo to ii, Ryukyu nite wa Kara-imo to iu. Meisho no kaku kotonaru wo
motteC^) mo, kono imo no shidai ni seiho yori denrai seshi koto wo shiru beshi.
Gen-sanchi wa Amerika ni shite, Amerika yori Ruson ni tsutawari, Ruson yori
Shina ni irishi ga, Shina yori Ryukyu, Ryukyu yori Satsuma ni tsutawari, tsui
C2) Supply koto after ioru.
(^) Wo motte. post-positional phrase.
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ni zenkoku ni hirogarishi nari. Kono imo no hajimete Ryukyu ni tsutawarishi
wa ima yori sam-byaku-nen izen ni shite, naichi e no torai wa sono go hyaku
yo nen no koto nari. Shikaru niC^) konnichi no gotoku zenkoku itaru tokoro
ni tsukuraruru ni itarishi wa, shu to shite, Ido Heizaemon to Aoki Kon-yo
to no jinryoku ni yoru. Ni-nin ga kore wo hiromen to seshi wa, fusaku no toshi
uejini suru hito no oki wo awaremi, kore wo sukuwan to suru gishin yori oko-
reri. Heizaemon wa Iwami no kuni no yakunin nite, hyaku-shichi-ju yo nen
hodo mae no hito nari. Higoro kokurui no hoka ni tami no joshoku ni su beki
mono wo to kokorogakeshi ga, aru toki tabi-so yori kono imo no hanashi wo
kikite, 6i ni yorokobi, tadachi ni tane-imo wo Satsuma yori tori-yosete, kore wo
shishoku seshi ni, sono deki hijo ni yokarishi wo motte, su-nen nara-zu shite
Iwami ikkoku ni hirogari, kore yori nochi wa go-koku fusaku no toshi ni mo,
kokuchu ichi-nin no uejini suru mono naki ni itareri. Ringoku no hito mo
kiki-tsutaete kore wo ue, tsui ni wa Chugoku chiho zentai ni oyobu ni itareri
^1) Shiaru ni, see p. 43.
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to iu. SarebaC^) Heizaemon no shiseshi toki wa Chugoku no hito-bito shiru
mo shira-nu mo fubo ni wakaruru gotoku kanashimitari to nari. Kon-yo wa
yumei naru gakusha nite, Heizaemon yori wa sukoshi nochi no hito nari. Toji
wa ento to shoshite zainin wo toki shima ni nagasu koto arishi ga, kore-ra no
shima ni wa sakumotsu no deki-zaru are-chi okereba, zainin-domo wa gyorui,
kajitsu to nite inochi wo tsunagu nomi nite, uejini suru mono nen-nen sukuna-
kara-zariki. Kon-yo wa kore wo sukuu ni wa, kono imo wo uuru ni shiku wa
nashi to omoi, aru toshi kokoromi ni kore wo tsukurishi ni, sono kekka hana-
hada yokariki. Yorite kuwashiku sono tsukuri-kata, chozo no hoho to wo
shirushite bakufu ni tatematsureri. Bakufu wa kono shomotsu ni tane-imo wo
soete shima-jima wo hajime, naichi no shosho e haifu seshikaba, ma mo nakii
zenkoku ni tsukuraruru ni itareri. Kon-yo wa shichi-ju-ni-sai nite shiseri. I'o-
kyo no seinan, Meguro naru boseki no men ni "Kansho Sensei no Haka'' to an'.
C^^ Sareba, see p. xxi.
126
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DAI SAN-JU-ROKU.-Hana-Mushiro. I wa
suiso nari. Kuki wa maruku shite, nagasa shi-shaku bakari, mijikaki wa ni-
shaku gurai naru mo ari. Ware-ra no ie ni shikeru tatami no omote wa kono
kuki wo amite tsukuritaru mono nari. Mata kono kuki wo some-wakete, kacho
to no utsukushiki moyo wo ori-idaseru hana-mushiro wa waga kuni yushutsu-
hin no itsu nari. Kana-mushiro wo mottomo oku sansuru wa Okayama, Hiro-
shima, Fukuoka, Oita to no shoken ni shite, sono ori-kata wo hatsumei shitaru
wa Okayama-ken no Isozaki Minki to iu hito nari. Meiji ku-nen goro yori
moppara hana-mushiro no kairyS ni kokorozashi, mazu kore wo oru kikai no
seisaku ni kufu wo koraseshi ga, shippai no ue ni shippai wo kasanete, ichiji
wa sekihm aro ga gotoki arisama to nareri. Shikaredomo sukoshi mo sono
kokorozashi wo tawame-zu, iyo-iyo yuki wo furuite k5an wo tsuzuke, Meiji
ju-ichi-nen ni itari, yoyaku isshu no kikai wo hatsumei seri. Minki wa kono
kikai wo mochiite, mizukara hana-mushiro su-jis-shu wo ori-idashi, kaigai nf
128
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VOLUME IV.— THE LITERARY SrVLE. 129
yushutsu sen to kokoromishi ga, kono toki wa nao sejin no chumoku suru
tokoro to nara-zu, tada ichi-shonin arite, sono uchi no su-shu wo kai-toritaru
nomi nariki. Sono shonin wa kokoromi ni kore wo Ei-Bei ni-koku e okurishi
ni, yoku-nen Ei-koku yori chumon arishi wo hajime to shi, Doitsu, Amerika t5
no shokoku j'ori mo zoku-zoku chumon wo uke, hanro shidai ni hirake, kono
gyo wo itonamu mono mo mata oioi ni zoka shi, tsui ni konnichi no seidai wo
miru ni itareri. Kinnen no yushutsu-daka wa nen-nen go-rop-pyaku-man-yen
wo kudara-zu to iu. Minki ga isshin ikka wo wasurete, nesshin ni kono gyo
ni kokorozashi, kikai wo hatsumei shi, kokusan wo hiromeshi wa oi naru koro
to iu beshi.
DAI SAN-JU-SHICHl.-AsHio Dozan. Waga
kuni d5zan no naka nite mottomo sakan ni d5 wo sanshutsu suru wa Ashio,
Kosaka, Besshi to nari. Ashio dozan wa Nikko-zan no seinan ni ari : ima yori
sam-byaku-nen zen kono chi no hito hajimete kore wo hakken seri to iu. Kono
130
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dozan wa hakken no tosho yori sanshutsu-daka sukoburu oku. Edo-jo oyobi
Nikko Toshogu to no zoei ni mochiitaru do wa taitei kono yama yori sanshutsu
shitaru mono nari to iu. Shikaredomo, sono koro wa hori-torite fuki-wakuru
hoho nao fu-jubun narishikaba, sanshutsu-daka no wariai ni wa hito-de wo
yosuru koto okarishi nari. Meiji nj-ju-nen goro shinshiki no kikai wo mochii-
shi irai, oi ni jinryoku wo habuku koto wo ete, sanshutsu-daka mo ichijirushiku
zoka shi, koko ni hajimete sekai yusu no dai dozan to nareri. Kono dozan ni
wa suko no dai kodo ari. Sono sayu, joge, sara ni musu no kodo ari. Mata,
joge ni tsQzuruCO oi naru tate-ko ari. Kantera no hikari wo tayori ni su-sen-
nin no kofu ga doko wo hori-toru koto chiiya yamu toki nashi. Hakkutsu
shitaru doko wa aruiwa denki-jikake no kikai nite maki-age, aruiv^a konai ni
CI) Tsuzuru qualifies tate-kZ.
132
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VOLUME IV.— THE LITERARY STYLE. 133
shikitaru reru ni yorite kogai ni hakobi-idashi, kore wo senkojo ni okuru. Sen-
kojo ni wa shuju no kikai ari : kono kikai ni kakete, ichi-ichi sono ryohi wo
eri-waku. Kaku eriwaketaru mono wa kore wo seirenjo ni okuru. Seirenjo ni
wa koto ni 5i naru ro arite, dokS yori do wo fuki-wakuru nari. Kono atari,
tnoto wa sankan no sabishiki sonraku narishi ga, kogyo no seidai ni omomuku
to tomo ni shidai ni hattatsu shite, ima ya Ashio machi wa jinko oyoso sam-
man wo yusuru ichi-tokai to nari, gakko, byoin, ginkS t5 mina sonawara-zaru
nashi. Dozan no sakan naru koto kore nite mo oshihakararu beshi (Ar, 56, 16
—433, 303, 300).
DAI SAN-JU-HACHI.-IsAMASHiKi Sh5jo.
Ei-koku tokaigan no it-to ni todai ari. Aru yo niwaka no arashi ni fukarete,
kono todai fukin no iwa no ue ni nori-agetaru homaesen ari. Sentai futatsu ni
kudakete, ip-pan wa haya o-nami ni sarawaretari (Ah, 54, 75 — 432, 223, 300),
134
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VOLUME IV.— THE LITERARY STYLE. 135
Iki-nokoreru suifu wa yaburetaru sentai ni sugari, sakamaku nami ni momarete
koe wo kagiri ni sukui wo yoberi. Todai-ban no musume ni Guresu Daringu
tote, kokoro yasashiki shojo ari. Nami-kaze ni majirite kikoyuru himei no
koe ni me wo samashi, nemureru chichi wo yuri-okoshite, iku-tabi ka isobe ni
idete nagameshi ga, sumi wo nagashitaru gotoki sora-moyo nite, is-sun saki wo
mo mi-wakuru koto atawa-zu : kokoronarazu (Ur, 97, 2c — 412, 220) mo
yo-ake wo machitari. Yo akete mireba, iwa no ue ni is-seki no nampa-sen
yokotawareri. Suifu-ra wa nao hobashira ni idaki-tsukite, iki mo tae-dae ni
sukui wo yoberi. Shojo wa kore wo mite, Aware nari : chichi-ue, hayaku
fune wo idashite sukuwan. Hayaku, hayaku.'Cl? To sekitatsu. Chichi wa
kono o-nami ni nani tote, yukaru beki (Ak, 56, 12b — 433, 301, 110) to
omoishi ga, musume no yasashiki kokoro ni hagemasarete, (As, 54, 81 — 432,
202, 200) boto wo yoi su. Yagate, ni-nin wa ara-nami ni uchi-kaesaruru (As, 56,
1 — 431, 100) fune no kashira wo tate-naoshi, tate-naoshi, shiryoku wo tsuku-
shite kogi-susumu. Iwa ni chikazukeba, nami wa masu-masu (As, 3b — 310)
(1) This is evidently elliptical, the verb must be supplied.
136
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VOLUME IV.— THE LITERARY STYLE. 137
araku, boto wa^ iku-do to naku uchi-modosare (As, 54, 2 — 432, 200) uchi-
modosaruru wo, karaku shite nampa-sen ni kogi-tsuketari. Chichi wa tadachi
ni tsukare-hatetaru suifu wo tasukete, boto ni utsusu. Kono aida iwa ni mc
ate-zu, nami ni mo makase-zu, iwa to nami to no aida ni boto wo ayatsuri
itaru shojo no hataraki wa ningen-waza to wa mie-zu. Chichi wa boto ni
hiki-kaeshi, ni-nin wa mata aran kagiri no yuki wo furuite, tsui ni kishibe ni
kogi-tsuketari. Suifu wa kotogotoku todai-ban no ko-ya ni ireraretari (Er, 52.
75 — 442, 223, 300). Yama nasu 6-nami wo mono to mo se-zu, otoko masari
no dairiki nite, boto wo ayatsurishi Daringu no te wa ima ya yasashiki otome
no te ni kaerite, han-shi, han-sho no suifu wo shinsetsu ni kango seri, Su-jitsu
no nochi, suifu wa kono shojo no te ni atsuki kansha no namida wo sosogite»
ono-ono waga ie ni kaeritari to zo. Guresu Daringu no seika ni hodo chikaki
jiin no teijo ni wa migi-te ni kai wo nigireru shojo no dozo ari. Nagaku kono
isamashiku, yasashiku, katsu wa uruwashiki mukashi monogatari wo katareri.
138
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VOLUME IV.— THE LITERARY STYLE. 139
DAI SAN-JU-KU.—OnSEN. Chikyu no naibu ni \va
nekki ari. Sono nekki ni atatamaritaru mizu no shizen ni chijo ni waki-izuru
mono sunawachi onsen nari. Taezu (Ey, 97, 2c — 412, 220) waki-izuru mono
to, toki wo sadamete waki-iz«r'j mono to ari. Onsen no waki-izuru tokoro wa
omune kazan no fukin ni arite, shi-i no fuko uruwashiku, shinki onozukara
sawayaka naru wo oboyu. Sono yu ni wa taitei is-shu no shuki ari (Ur,
2 — 200), aji ari (Ur, 2 — 200), iro ari (Ur, 3 — 300). Kore shuju noembun wo
fukumeru ga yue nari. Onsen no shoshu no yamai wo jisuru wa, tada ni sono
fukumeru kobutsu no ko nomi nara-zu, hitotsu ni wa yokkaku ga chi wo
tenjite seishin naru kuki wo sui, birei naru fuko ni sessuru ni yoru naru beshi.
W'aga kuni wa kazan-koku ni shite, zenkoku itaru tokoro ni onsen ari. Izu
hanto nomi nite mo san-jik-ka-sho wo kazo. Onsen no oki koto jitsu ni
sekai dai-ichi nari. Naka ni mo mottomo yo ni shiraretaru (Ar, 54, 78, c
140
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VOLUME IV.— THE LITERARY STYLE. 141
— 432, 221, 120) wa nishi ni Dogo, Arima, higashi ni Kakone, Atami, Ikao
to ari. Dogo wa Shikoku no lyo ni ari. Yu no waki-izuru kuchi wazuka ni
ik-ka-sho ni shite, sono bunryo mo sukunaku, teito wo saru koto tokeredomo,
kodai yori yo ni araware, oseki Tenno no gyok5 shi tamaishi koto mo su-kai ni
oyoberi. Dogo ni tsugite hayaku yo ni shiraretaru wa Arima no onsen ni
shite, Kyoto, Osaka ni chikakereba, yokkaku oku atsumari, sukobuni han-ei
seri. Hakone wa onsen-ba no su mo oku, kodai nam ryokan mo sukunakara-
zaredomo, chikaku Tokyo, Yokohama wo hikaetareba, seika no ko wa izure
no ryokan mo kushitsu naki ni itaru wo tsune to su. Atami wa Izu no logan
ni ari. Zemmen wa umi ni nozomi, ushiro wa yama wo oi, fuyu atataka ni
natsu suzushi (a, 6c — 300). Yu no waki-izuru tokoro ni-ju yo ka-sho, Oyu
to shosuru wa it-chuya ni su-kai funshutsu su. Funshutsu suru toki wa yuge
142
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VOLUME IV.— THE LITERARY STYLE. 143
tachi-noborite, meido no oto susamaji. Ikao mo mata furuku yori shiraretaru
onsen ni shite, Karuna-san no fumoto ni ari. Yumoto \va ik-ka-sho ni shite,
kore wo ko-goto no yokushitsu ni hikeri. Ryokan wa yama ni yori, tani ni
nozomite, san-sui no nagame wo hoshii mama ni suru wo u beshi. Kono chi
mo mata natsu hanahada suzushiku shite sho wo sakuru ni yoroshikereba, kaji
yokkaku afururu bakari nari.
DAI SHI-JU. — HiTO NO ShINTAI. Shintai no chubu
wa mune to hara to ni shite, sono ue ni kashira wo itadaki, sayu no te wa kata
yori wakare, ni-hon no ashi wa zenshin wo saso. Zenshin ni ni-hyaku yo no
hone ari. Kone wa kinniku ni tsutsumare, hifu sara ni sono ue wo o5.
Mune no sayu ni wa hai ari. Hai wa hana, kuchi yori sui-iruru kuki wo
motte chi wo seiketsu ni su. Ryo-hai no aida ni shinzo ari. Shinzo wa haizo
yori kitaru atarashiki chi wo zenshin ni okuri, mata shintai no kakubu yori
kaeri-kitareru chi wo atsumete, kore wo haizo ni okuru. Hara no naka ni wa
144
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VOLUME IV — THE LITERARY STYLE. 145
i to cho to ari. I wa kuchi yon iri-kitareru shokumotsu wo konashi, cho wa i
nite konashi tsukusa-zaru mono wo konashite, sono fu-yo naru mono wo taigai
ni idasu. Kono hoka hara ni wa shuju no naizo ari. Shintai no sai-jobu
naru kashira no naka ni wa n5 ari. No wa seishin no yadoru tokoro ni shite,
zenshin wo shihai su. Monogoto wo shiri-wakuru mo, zen-aku wo wakimoru
mo, yorokobu mo ikaru mo kanashimu mo mina no no sayo nari. Me, mimi,
hana, kuchi wa izure mo no ni chikaki ichi ni ari. Me wa iro, katachi wo mi,
mimi wa onsei wo kiki, hana wa ka wo kagi, kuchi wa aji wo ajiwaite,
ono-ono kore wo n5 ni hokoku su. No wa sono hokoku ni yotte hambctsu
shi, te, ashi, kuchi t5 ni meirei shite katsudo seshimu. Toru mo sutsuru mo,
yuku mo todomaru mo, shokumotsu wo ku mo, gengo wo hassurii mo, mina no
no meirei ni yoru. Subete juj'o naru kikan aru bubun wa, koto ni kyoken
naru hone nite tsutsumaretari (Am, 54, 75 — 432, 223, 300). Kashira no hone no
kataki wa no wo mamoran ga tame nari. Kyobu no yoroi no gotoki hone nite
146
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VOLUME IV.— THE LITERARY STYLE. 147
owaretaru (Ah, 54, 78c— 432, 221, 120) wa haizo oyobi (Ab, 2c— 220)
shinzo wo hogo sen ga tame nari. Tsuyoki chikara wo yosuru bubun ni Tra
tsuyoki kinniku ari. Mata kinniku wa kore wo mochiuru ni shitagaite
hattatsu su. Gekken-ka, suifu-ra no te no futoki, yubin haitatsu-nin, shafu-ra
no ashi no tsuyoki, daiku, kaji-ya to no tanagokoro no kataki wa, yoku kore
wo shiyo suru wo motte nari. Mata rikishi no gotoki wa tsune ni zenshin ni
chikara wo iruru wo motte, izure no bubun mo yoku hattatsu seri. Shintai no
k6z5 wa kiwamete (Em, 81c — 202, 220) fukuzatsu naru mono nite, is-sh5
bubun no shogai mo tadachi ni zenshin no genki ni kansuru mono nareba,
tsune ni shintai wo taisetsu ni shi, kore wo kyoken ni se-zaru bekara-zu.
Seiyo no kogo ni iwaku,(^) " Kenzen naru seishin wa kenzen naru shintai ni
yadoru." To. Shintai no kenzen naru toki wa seishin mo mata tsune n'
kaikatsu ni shite, nanigoto wo nashite mo yoki kekka wo miru naru beshi.
DAI SHI-JU-ICHI.-AiNU NO FUZOKU. Ainu no
danshi wa kami to hige to wo nagaku nobashi, mimi ni kinzoku-sei no wa wo
(1) Iwaku, exceptional inflexion, see p. xxi.
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hame, koshi ni ko-gatana wo sagu. Joshi wa mimi ni mimi-wa wo hamuru
koto danshi ni onajiku, mata kuchi no shui, te-kubi, te no ko to ni wa irezumi
wo hodokoseri. Shikaredomo (Ur, 18c — 512, 220), irezumi wo hodokosu koto
wa ima wa mattaku kinzeraretari (Uz, 52, 75 — 442, 223, 300). Ainu no
fuzoku wa kore nomi nite mo sude ni naichi-jin to onajikara-zu. Sono ifuku,
shokumotsu, kaoku no arisama ni itarite mo kotonaru tokoro oshi. Danshi
mo joshi mo samuki toki wa inu no kawa nado nite tsukureru haori no gotoki
mono wo mochii, mata atsushi-ori no mijikaki tsutsusode wo ki, ashi ni mo
atsushi-ori no kyahan wo haku. Atsushi-ori to wa ohyo to iu ki no kawa wo
hosoku sakite oritaru orimono nari. Shokumotsu wa awa, hie, ubayuri no ne
to wo shu to shi, shika no niku wa chimmi to shite kore wo shobi su. Sono
ie wa hottate-goya no gotoku, yuka mo naku, tenjo mo nashi. Tada kazura
nado nite, kaya wo musubite kabe ni kae, mata kaya wo narabete yane to
150
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VOLUME IV.— THE LITERARY STYLE 151
naseri. Okunai ni wa chuo ni irori wo tsukuri, ik-ka kore wo kakomite
dansho su. Ainu wa toki-doki ko-guma wo torae kitari, ichi-nen no aida
yashinaitaru nochi, kore wo koroshite seidai naru gishiki wo okono koto ari.
Ainu no kuma-matsuri tote yumei nari. Koroshitaru kuma no atama wa kaki
ni kakete, nagaku kore wo hozon suru wo motte, kaki no ue ni wa oku no
zukotsu fuu ni sarasarete (As, 54, 81 — 432, 202, 200) nokoreri. Ainu no
gengo wa Nippon-go to wa mattaku kotonari. Kare-ra wa moto wa yomi-
kaki mo shira-zu, sansu no kangae mo toboshikarishi ga, ima wa naichi-jin to
onajiku, yomi-kaki keisan wo mo nashi uru mono aru ni itari, naka ni wa
shogakko ky5in to nareru mono mo ari. Ainu no su, inishie wa hanahada
okarishi ga, kinnen shidai ni gensho shite, ima wa wazuka ni ni-man-nin ni
tara-zu. Sareba,^!) Kokkaido kyu-dojin hogo-ho to shosuru horitsu arite,
nogyS wo itonaman to suru mono ni wa tochi wo atae, nogu, shushi to wo
(1) Sareba, see p. xxi.
1
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VOLUME IV.— THE LITERARY STYLE. 153
kyushi, mata seifu no hiyo wo motte gakkS wo tatsuruC^) to, atsuku hogo no
hoh5 wo kozeri.
DAI SHi-JU-NI.-CH5 Ry5 to Kan Shin.
Cho Ryo, kyojo nite hakuhatsu no ichi-rojin ni o. RSjin kata-ashi no kutsu wo
kyoka ni otoshi, Ryo wo kaerimite, " Hiroi kitare " (Ar, 5b, c — 510). To iu.
Ryo burei nari to wa omoedomo, rojin no koto nareba, mei no mama ni hiroi-
torite sasagu. Rojin ashi nite kore wo uke, waraite saru. Odorokite mokuso
sureba yaya arite hiki-kaeshi kitari, ' Nanji wa oshiuru ni taru mono nari : itsuka-
me no asa kono tokoro nite ware wo matsu beshi." To ii-sutete sareri. Itsuka-
me no asa yukite mireba, rojin sude ni kitarite, Ryo wo materi. Oi ni ikarite,
" Choja to yakushite okururu wa rei ni ara-zu. Ima yori nochi itsuka-me no
asa futatabi kitaru beshi." To iu ni, Ryo yamu wo e-zu shite kaereri. Tsugi
no itsuka-me no asa mo mata rojin ni saki-dataretari (At, 54, 75 — 432, 223,
300). Rojin ikarite itsuka-me no asa wo yakusuru koto mata mae no gotoshi.
Ry5 kono tabi koso wa to, yahan yori okite kyojo ni itareba, shibaraku arite,
C2) Supply koto after tatsuru.
154
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VOLUME IV.— THE LITERARY STYLE. 155
kano rojin kitareri. Futokoro yori ik-kan no sho wo tori-idashite iu yo,
" Nanji yoku kono sho wo manababa, tsui ni osha no shi taran. Ju yo nen
no nochi ware mata nanji wo miru beshi.' Tote, sono sho wo ataete sareri.
Ukete mireba yo ni mo e-gataki heisho nari. Ryo oi ni yorokobite, choseki
kore wo yomi, tsui ni heih5 wo etoku shitari.
Kan Shin taito wo obite shi-chu wo yuku. Burai no shonen-ra kuchi-
guchi ni nonoshirite yama-zu. Sono uchi no ichi-nin iwaku, " Nanji ch5dai
ni shite, ken wo obii to iedomo, kokoro hanahada yowashi. Moshi yuki araba
ware wo korose. KorosuCl) atawa-zuba, waga mata no shita wo kugure "
(Ar, 5b, c — 510). To.(2) Kan Shin shibashi sono omote wo uchimamorishi
ga, yagate hara-baite mata no shita wo kuguru. Miru mono azakeri warawa-
zaru wa nashi.
Nochi Ch5 Ryo, Kan Shin tomo ni Kan no Koso ni tsukae, Ryo wa uchi
ni hakarigoto wo megurashi. Shin wa soto ni hei wo mochiite, tsui ni Koso wo
shite, sono taigyo wo nasashimetari (As, 66, 75 — 452, 223, 300). Ryo ya
(1) Supply koto after korosu.
C") Elliptical ; supply the verb iu.
156
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VOLUME IV.— THE LITERARY STYLE. 157
rojin no burei wo togame-zu, Shin ya shonen no sh5ba ni ikara-zu. Sono
hajime shoji ni shinobishi wa, nochi taiko wo tatsuru ni itarishi yuen nari.
DAI SHI-JU-SAN.-MlTSU-BACHF. M'tsu-bachi
wa gun wo nashite kyodo no seikatsu wo itonami, ichi-gun no sosu su-man ni
oyobu mono ari. Gunchu ni wa kanarazu me-bachi, o-bachi, hataraki-bachi no
san-shu ari. Me-bachi wa joo to mo ii, tada ip-piki ni shite, o-bachi wa ni-
sam-byap-piki, yo wa mina hataraki-bachi nari. Shujitsu rodo shite, ichi-gun
no seikei wo iji saru mono wa hataraki-bachi nari. Hataraki-bachi no wakaki
mono wa uchi ni ite yochu wo sodate, mata wa sono kyoshitsu wo itonami,
chikara tsuyoku sakan naru mono wa soto ni idete hana no mitsu wo sui-kita-
ru. Hyakka mankai no ko ni wa gaieki no hachi wa asa yori yu ni itaru made,
eiei to shite sunji mo yasuma-zu. Aki, fuyu no hana sukunaki kisetsu ni irite
mo shokumotsu ni fusoku suru koto naki wa, itsu ni sono roeki no kekka nari.
158
JAPANESE READING FOR BEGINNERS.
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VOLUME IV.— THE LITERARY STYLE. 159
Hataraki-bachi-chu ni wa hachi no atsume-kitaru mirsu wo kensa suru
kensa-gakari ari. Mata kore wo uketorite takuoru chochiku-gakari ari.
Okotarite mochi-kaera-zaru mono areba, kensa-gakari wa uchi ni iru wo
yurusa-zu. Shiite iran to sureba tachidokoro ni sashi-korosu. O-bachi wa
tada hataraki-bachi no atsume-kitaritaru mono wo shokushite seikatsu suru
mono ni shite, nanra no rodo wo mo nasa-zaru wo motte, aki no hajime ni wa
mina hataraki-bachi ni sashi-korosaru. Joo no nimmu wa tamago wo umu ni
ari. Kiko no atataka naru aida taezu (Ey, 97, 2c — 412, 220) kore wo
sanshutsu suru wo motte, ichi-gun no sti wa shidai ni zoka su. Sono su
amari ni oku naru toki wa, joo wa atarashiku umaretaru me-bachi ni sono
kurai wo yuzuri, shinka wo hikiite bunri su. Kono toki hako, taru to wo
tekito naru tokoro ni okeba, bunri shitaru ichi-gun wa tadachi ni sono naka ni
iru. Yue ni shiyo-sha no chui ni yorite wa, shidai ni sono gun no su wo z5ka
suru koto wo u beshi. Dogun-chu no hachi wa kiwamete shimmitsu ni
160
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VOLUME IV.— THE LITERARY STYLE. 161
seikatsu suredomo, tagun no hachi wa hanahadashiku kore wo tekishi shi,
tagun no hachi, waga gun-chu ni iri-kitareba, tadachi ni kore wo sashi-korosu.
Sareba kiko fuiun ni shite, hana no toboshiki toki wa hachi- gassen no okoru
koto mezurashikara-zu. Hataraki-bachi no buki wa tai no koho ni aru eiri
naru hari ni shite, kogeki ni mo bogyo ni mo tsune ni kore wo mochiu.
Mitsu-bachi no gunshu seikatsu wo itonamu wo uru wa, kyodo danketsu shite
rodo wo itowa-zu, yuryokii naru buki wo sonaete teki-gun ni atari, dantai no
tame ni wa shimmei wo oshima-zaru ni yoru.
DAI SHI-JU-SHI.-SeTO NaIKAI. Hondo no nishi
chikaku Kyushu to ai-sessen^^) to suru tokoro, Shimonoseki-kaikyo ari. Shikoku
no nishi ni wa Sadanomisaki nagaku tsuki-ide, Kyushu ni semarite Hoyo-kaikyo
wo nasu. Awaji-shima no hoppo, hondo to ai-nozomu tokoro Akashi-kaikyo to
nari, Shikoku ni chikaki tokoro, Naruto-kaikyo to naru. Kono shi-kaikyo ni
tsutsumaretaru hoso-nagaki naikai wo Seto Naikai to iu. Seto Naikai ni wa
(1) The first component of this compound verb is Base 2 of au; the
second component is the on reading of the character, setsu, followed by the
verb suru, ses-suru; here in the future ses-sen.
162
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VOLUME IV.— THE LITERARY STYLE. 163
itaru tokoro ni misaki ari, wan ari, daisho musu no shima-jima wa kakusho ni
sanzai su- Fune no sono aida wo yuku toki, shima ka to mireba misaki nari.
Misaki ka to mireba shima nari. It-to imada sara-zaru ni it-to sara ni
araware, suiro kiwamaru ga goroku ni shite, mata tachimachi hiraku. Kaku
shite, shima tenji, umi megurite, sono tsukuru tokoro wo shira-zu. Karu wa
shima-yama kasumi ni tsutsumarete (Am, 54, 81 — 432, 202, 200) nemuru ga
gotoku, natsu wa sankai mina midori ni shite me-samuru bakari azayaka nari.
Aki no yama wa momiji no nishiki wo ori, fuyu no ki wa hakusetsu no wata
wo kasanu. Ryo-gan oyobi shima-jima mi-watasu kagiri den-en yoku
hirakete, mosen wo shikeru ga gotoku, hakuheki no minka sono kan ni tenzai
su. Umi no shizuka nam koto wa kagami no gotoku, asa-hi, yu-hi wo oite,
shima-gakure, yuku shira-ho no kage mo nodoka nari. Tsuki-kage no
sazanami ni kudake gyoka no nami-ma ni shutsubotsu sura yakei mo mata
ichidan no omomuki ari. Seto Naikai no engan ni wa Takamatsu, Tadotsu,
164
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VOLUME IV.— THE LITERARY STYLE. 165
Takahama, Onomichi, Ujina to no minato 5kii, kisen taezu (Ey, 97, 2c — 412,
220) tsukS shite, toku chikaku kokuen no ao-zora ni tanabiku wo miru. Naikai
no engan oyobi (Ab, 2c — 220) shima-jima ni wa meisho no chi sukunakara-zu.
Itsukushima wa inishie yori Nippon san-kei no itsu ni kazoerarete (Eh, 52,
81 — 442, 202, 200), koto ni nadakaku, Yashima, Dannoura wa Gempei no
mukashi-gatari ni hito no kankyo wo ugokasu koto hanahada setsu nari.
Waga kuni ni asoberu seiyo-jin wa kono Seto Naikai no fukei wo shoshite,
sekai kaijo no ichi dai koen nari to ieri.
DAI SHI-JU-GO.-KuRUMA to Fune. Kotsu
un-yu no ben wo atSru mono, riku ni kuruma, mizu ni fune, sono shurui mo
5ku, sono keijo mo sama-zama nari. Joko no shQsha to konnichi no kisha, kisen
to wo kuraben ni wa, tare ka jinchi no shimpo no dai naru ni odoroka-zaran.
Ni-butsu aimatsu ni ara-zareba yo wo nashi-gataki wo ' Kuruma no ryo-rin
no gotoshi." To iedomo, Shikoku no neko-guruma, Taiwan no sakucha no
gotoki wa tada ichi-rin nari. Jitensha no ryo-rin ga zengo ni naraberu mo
166
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mata sama kawareri. Waga kuni ni mottomo futsu naru wa ni-guruma,
jinrikisha to ni shite, ni-guruma ni wa hito no hiku ari, gyuba ni hikashimuru^l)
ari. Mukashi miyako oji wo neri-yukitarishi itoge no kuruma wa ika ni yubi
nariken. Ima wa ryo Heika mo basha ni meshi tamaeba kof u no ushi-guruma
wa Hakubutsukan ni yuka-zuba miru bekara-zu. Tokai no chi ni wa
densha, jidosha to mo shidai ni oku okonawarete, hitoe ni sokuryoku wo kiso
yo to wa nareri. Ko-uta majiri ni ro send5 no saosashi yuku noriai-bune no
nodokesa yo.^^'^) Kinkotsu takumashiki waka-mono ga ro wo soroete kogi-dasu
gyosen no isamashisa yo. Nitari, cakase, chabune, yanebune t5 sono mokuteki
ni yori, daisho, kozo, sensa bambetsu ari. Wasen no dai naru wa go-hyak-koku-
zumi, sen-goku-zumi to arite, kinkai wo koko suredorno, ho-bashira wa 5mune
ip-pon nari. Seij'o-gata no homaesen ni wa ni-hon, sam-bon no ho-bashira aru
mo ari. Ho no un-yo jizai nareba, kaze no hoko ni kakawara-zu, jubun ni
furyoku wo hyo suru koto wo u. Suchibunson no tsukurishi kikansha wa
(^) Supply mono after hiku and after hikashimuru (Ak, 67, 1 — 451, 100).
(2) Nodokesa yo. The sentence is elHptical ; the style, rather poetical.
168
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VOLUME IV.— THE LITERARY STYLE. 169
konnichi no kambi seru kikansha ni kurabu beku mo ara-zu. Furuton no
hajimete tsukurishi kisen wa, ima no chiisaki kawa-joki hodo no okisa narishi
naran. Sono go hyaku-nen-kan no hattatsu wa joki kikan no ue ni tadai naru
kairyo wo kuwaetaru wo motte, ima ya ressha no sokudo wa ichi-jikan
shichi-jQ-go-mairu ijo ni oyobu mono ari. Shi-man-ton zengo no dai kisen wo
mo seizo suru ni itareri. Kaku no gotoku ni shite, kisha, kisen no shimpo wa
sekai shokoku wo shite hi ni masu-masu sekkin seshimu (Us, 67, 3 — 453,
300). Omoeba ima yori roku-ju-nen izen ni wa waga kuni ni ichi-mairu no
tetsudo mo, is-seki no kisen mo nakarishi nari (x, 28, c — 492, 241, 103, 300).
Ima ya zenkoku tetsudo no encho roku-sen-mairu wo koe, mata Shina engan
wa oroka, Indo, Nan-yo yori Amerika, Yoroppa no koro wo mo hiraku ni
itareri. Kokuun hatten no sumiyaka naru koto jitsu ni odoroku ni taetari.
Gunji-jo ni mochiuru kuruma ni wa hosha, zairyosha, shichosha to shuju ari.
i
170
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VOLUME IV.— THE LITERARY STYLE. 171
Juhosha no gotoki wa jit-ro no uma wo shite hikashimu (Ak, 67, 3 — 453,
300). DaishS ikuta no gunkan wa kaijo no uki-shiro to mo shosu beku, toku
shi-ho ni k5ko shite, itaru tokoro ni kokko wo kagayakaseri. Kinnen wa
kokuki no hatsumei shokoku ni okorite, sude ni gunji-jo ni mo oyo seraruru
(Us, 53, Ic — 441, 120) ni itareri. Kuchu kotsu no kaishi seraruru mo (Us,
53, 44 — 441, 120) kesshite zajo no kudan ni ara-zaran to su. Jinchi no
shimpo wa saigen nashi to iu beshi.
DAI SHI-JU-ROKU.-Waga Kaigun. Shoshi
wa amata aru waga gunkan no na wo shireru naru beshi. Kokumei wo motte
nazukeraretaru (Ek, 52, 78 — 442, 221, 100) mono ni wa Settsu, Kawachi,
Aki, Satsuma, Hizen, Izumo to ari. Yama no na wo fuseraretaru (Es, 52,
78 — 442, 221, 100) mono ni Mikasa, Kongo, Hiei, Kirishima, Haruna,
Kurama, Ibuki, Asama, Fuji to : kawa no na wo fuseraretaru mono ni Tone,
Yahagi, Yodo, Sumida to ari. Mata Suma, Akashi, Hashidate, Uji to wa
172
JAPANESE READING FOR BEGINNERS.
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VOLUME IV.— THE LITERARY STYLE. 173
meisho no chi wo motte nazukeraretaru mono ni shite, Kashima, Katori wa,
jzure mo joko no bushin wo matsureru jingu no na nari. Kuchikukan no na
koso sara ni yubi nare (Ur, 5a — 500). Kaze no na wo oeru mono ni
Umikaze, Yamakaze, Hayate, Matsukaze, Oikaze, Nowaki to ari. Ame ni
wa Shigure, Yudachi, Murasame : yuki ni wa Hatsuyuki, Shirayuki, Fubuki,
sono hoka Shirakumo, Shiratsuyu, Hatsushimo to ari. Kisetsu no na ni wa
Hatsuharu, Kisaragi, Yayoi, Uzuki, Minazuki, Nagatsuki to ari. Usetsu wo
mono tomo se-zu, kaze no gotoku kyushin suru yuso naru arisama mo
omoi-miru beku, mata yu ni yasashiki bujin no furyu mo shinobaru. Suirai-tei
ni wa Kibari, Kari, Otori, Kiji, Kamome, Uzura, Sagi, Tsubame, Hato to no
gotoku tori no na wo mochiitari. Sono binsoku naru kodo wa tori no ku-chu wo
hiko suru gotoku nareba naru beshi. Mata sono sho naru mono wa dai nan-go-
tei to nomi iu mono ari. Sensui-tei mo mata shikari. Shoshi wa senkan, jun-yo
senkan, jun-yokan, kaibokan, hokan, kuchikukan, suirai-tei, sensui-tei to no
174
JAPANESE READING FOR BEGINNERS.
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VOLUME IV.— THE LITERARY STYLE. 175
nimmu wo shireri ya .f* Senkan wa gunkan-chu mottomo yusei naru mono ni
shite, sono na no gotoku dodo teki to kessen suru mono to su. Yue ni izure
mo dai naru taiho wo sonae, mata kan no yobu wa kiwamete atsuki kotetsu
nite tsutsumeri. Fuso, Settsu, Kawachi, Aki, Satsuma, Kashima, Katori to
kore nari. Jun-y5 senkan wa kogekiryoku, bogyoryoku no dai naru koto wa
senkan to taisa nashi. Sono dai naru sokuryoku wo riyo shite, senkan to tomo
ni teki no shuryoku ni atari, mata teki kantai no josei wo saguri, aruiwa kore
wo tsuigeki suru wo nimmu to su. Kongo, Hiei, Kirishima, Haruna
Kurama, Ibuki to kore nari. Jun-yokan wa gunkan-chu mottomo nimmu no
oki mono ni shite, senkan, jun-yo senkan to tomo ni teki ni atari, aruiwa sono
jimoku to narite, teki no kowan oyobi (Ab, 2c — 220) teki-kan no josei wo
saguri, aruiwa waga kuchikukan, suirai-tei, unso-sen, shosen wo hogo shi,
aruiwa teki no kuchikukan, suirai-tei, unso-sen, shosen mata wa kore wo hogo
suru gunkan wo gekichin hokaku suru to no koto ni ataru. Sono kantai ni
daisho no sa aredomo, izure mo tary3 no sekitan wo tsumi, dai naru sokuryoku
176
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nite cho-jikan kokai sum koto wo u. Izumo, Iwate, Asama, Tokiwa, Hirato,
Yahagi, Chikuma nado kore ni zokusu. Kaibo-kan wa moppara jikoku no
engan wo mamoru koto wo nimmu to su. Fuji, Iwami, Sagami, Hashidate to
kore nari. Hokan wa aruiwa teki no engan ni chika-yori, aruiwa kako wo
sakanobori, teki no jinchi wo kogeki suru wo nimmu to su. Sareba^l) kantai
chiisaku, senkyaku wa asashi. Yodo, Mogami, Uji, Sumida, Fusbimi, Toba
to kore nari. Kuchikukan wa kantai karuku, sokuryoku mottomo dai ni
shite, tekikan ni chikazuki, gyokei suirai wo hassha shite kore wo gekichin
shi, mata teki no kuchikukan, suirai-tei, sensui-tei wo kuchiku, gekiha suru
wo nimmu to su. Suirai-tei wa keitai hanahada sho ni shite, sokuryoku
kuchikukan ni tsugu. Tekikan ni chikazuki, gyokei suirai wo hassha shite,
kore wo gekichin suru wo nimmu to su. Sensui-tei wa suichu wo senko shi,
suirai wo hassha shite, teki-kan wo gekichin suru wo nimmu to su. I jo no
hoka, nao suirai bokan, kosaku-sen, kyutan-sen to no gotoki, rokubetsu nimmu
^1) Sareba, see p. xxi.
178
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VOLUME IV.— THE LITERARY STYLE. 179
wo yusuru mono ari. Alata kinnen wa hikoki mo shidai ni shiyo seraruru
(Us, 53, Ic — 441, 120) ni itareri. Shi-men mina umi naru waga Teikoku wa
kokka bogyo no ue yori iu mo, shogyS hogo no ue yori iu mo, tsune ni kyodai
naru kaigun wo yuse-zaru bekara-zu.
DAI SHI-JU-SHICHI.-WaRAI. " WarO kado ni wa
fuku kitaru." To ieri. Oya-ko, fufu, kyodai, shimai yoku wago sureba, tagai
ni ai-tasukete, ono-ono sono kagyo wo tanoshimu wo motte, kaun onozukara
hirakete, ik-ka no uchi waro koto oshi. Yue ni waro beshi. Ik-ka kozotte^)
waro beshi. Warawan to hosseba, ik-ka no wago wo hakaru beshi. Ik-ka
wago se-zaru toki wa kado shidai ni otoroete, warai-goe no to yori moruru
koto nakaru beshi. Shintai kenzen naru hito wa seishin mo mata kaikatsu ni
shite, jimoku ni fururu mono mina tanoshi. Kokoro tanoshikereba onozukara
waro. Yue ni waro beshi. Tsune ni war5 beshi. Warawan to hosseba eisei
(1) Kozotte, colloquial form.
J 80
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ni chui shi, shintai wo kenzen ni su beshi. Tensei kailcatsu naru hito mo,
shinrAi no kenzen wo gaisureba, iki mo mata otoroete waro koto sukunashi.
Komei seidai ni shite, shinchu it-ten no kumori naki mono wa yoku waro.
Uchi ni kaerimite, j'amashiki koto areba, tsutomete omote ni waro tomo,
shinchu no kurushimi wo ika ni sen. Yoku warawan to hossuru mono wa,
tsune ni sono okonai wo tsutsushimi, kami ten ni haji-zu, shimo chi ni haji-zu,
soto hito ni haji-zu, uchi onore ni haji-zaru kufu wo nasu beshi. Warai wa
shinshin no ryoyaku naredomo, toki to baai to ni yorite war5 bekara-zaru koto
ari. Onore hitori tanoshi tote, tanin no kanashimi wo omowa-zu shite waro
wa dojo no naki hito nari. Kingen naru beki baai ni waro wa rei wo
shira-zaru hito nari. Gishiki, kokai t5 no seki nite dansho wo tsutsushimu wa
ware-ra bummei kokumin no bifu nari. Tanin no akuji, tansho wo azakeri
waro wa, onore no hin-i wo kudasu yuen nari. Iwan ya(^) ware ni masareru
C-) Iwan ya, adverbial expression often used in combination with ni oite wo
ya, at the end of the sentence.
182
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VOLUME IV.— THE LITERARY STYLE. 183
hito wo netami, sono seiyo wo kizutsuken to shite waro mono ni oite wo ya.
Tanin no kanshin wo kawan to shite hetsurai waro wa sono shinji mottomo
iyashimu beshi. Kakaku ni sesshite aikyo wo tsukusu wa shonin no bitoku
naredomo, midari ni seishoku wo tsukurite hetsurai warai, chushin kaette
shinsetsu no nen naki mono wa mushiro bu-aiky5 nari tomo, shinjitsu no
kokoro aru mono ni shika-zu.
DAI SHI-JU-HACHK— JlKAN. Jinsei shichi-jn-nen to
miru mo, roku-ju-man-jikan ni sugi-zu. Sono uchi shinshoku, danwa, yugi,
bySki to no tame ni tsuiyasu jikan wa sam-bun no ni wo shime, jissai shugaku
oyobi gyomu ni mochiuru jikan wa wazuka ni ni-ju-man-jikan wo koe-zaru
beshi. Mi wo tate, fubo wo arawasu mo, san wo yaburi, sosen wo hazukashimuru
mo, kogyS wo nashi, koeki wo hiromuru mo, hata mata mui ni shite issho wo oru
mo, tada kono ni-ju-man-jikan wo riyo suru to se-zaru to ni ari. Kyaku-sai
no chomei wo tamochite, issho wo zashoku ni tsuiyasu mono ari. Ni-san-
184
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VOLUME IV.— THE LITERARY STYLE. 185
jis-sai no tammei ni shite bimei wo bansei ni todomuru mono ari. Jinsei no
chotan wa jigyo no daisho wo motte hakaru beku, nenshi no tasho wo motte
hakaru bekara-zu. Kore wo omoeba, is-sun no koin mo karonzu bekara-zu.
Kojin no hengen, sekiku mo ware-ra ga shi nari. Robo no is-so, ichi-boku
mo gakumon no tane nara-nu wa naku, gaijo ni ochitaru garasu no ip-pen wo
saru mo, koshu no rieki nam beshi. Ware-ra no shui ni wa yomu beki sho
oku, manabu beki mono oku, nasu beki koto kagiri nashi. Jikan no tattoki
wo shireru mono wa mui ni kurushimu koto nashi. Shikaredomo (Ur, 18, c
— 512, 220) hito no seiryoku ni wa kagiri ari. Katsudo suru nomi nite
kyuyo suru koto nakereba shinshin itsu ka tsukarete, tsui ni wa katsudo ni
tae-zaru ni itaru. " Yoku tsutome, mata yoku asobu," wa yoku jikan wo riyo
suru yuen nari. Gyomu ni juji suru aida wa nesshin ni kore wo okonaite taji
ni kokoro wo rosu bekara-zu. Mata koto sude ni sugite omo mo eki naki
186
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koto ni kokoro wo rosuru wa, jikan wo tohi suru koto hanahadashi. Nashitaru
koto ni ayamachi naku, kokai suru koto naki mono wa kofuku ni shite
kashikoki hito nari. Moshi ayamachi araba fukaku kore wo kuite, sono
ayamachi wo futatabi se-zaran koto wo chiko beshi. Omoite mo kaera-nu
koto wo kuyo-kuyo to shimpai suru wa miren ni shite oroka naru hito no suru
koto nari. Hito wo homon suru toki wa gy5mu wo samatage-zaru jikan wo
erabi, yoji owareba tadachi ni saru beku, mata hito yori homon wo ukuru toki
wa tadachi ni idete osetsu su beshi. Yakusoku no jijitsu wo tagoru ga gotoki
wa jikan no zoku nari. Koto ni shukai no jikan wa tadashiku mamora-zaru
bekara-zu. Ichi-nin no okururu tame ni ta-ninzu wo shite, kicho no jikan wo
kuhi seshimureba nari. Tatoeba (Eh, 7, c — 400) roku-ju-nin no shukai ni
sono uchi no ichi-nin moshi jip-pun wo okuru to seba, roku-ju-nin no jikan no
sonshitsu wa gasshite ju-jikan to naru beshi. " Toki wa kane nari." To iu
kogen aredomo, konnichi no gotoku tsushin kotsu no kikan hattatsu shi,
188
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VOLUME IV.— THE LITERARY STYLE. 189
shakai no katsudo binsoku naru jidai ni arite wa jikan wa kinsen yori mo
tattoshi. Tanin wo shite jikan wo sonshitsu seshimuru (Us, 67, Ic — 451,
100) wa sono tsumi kinsen wo sonshitsu seshimuru yori mo omoshi.
DAI SHI-JU-KU.— BaKUFU. Mizu no kikan wa bakufu
ni shiku wa nashi. Waga kuni ni wa amata no bakufu ari. Korai oku shika ni iri,
gato ni noboru. Nikko-zan ni wa Kegon-no-taki wo hajime to shite, Kirifuri,
Urami, Hoto, Hannya to sono na yo ni shiraretaru (Ar, 54, 78 — 432, 221, 100)
mono sukunakara-zu. Naka ni mo Kegon, Kirifuri, Urami wo Nikk5 no san-
dai-bakufu to shosu. Mottomo sokan naru wa Kegon ni shite, chokka shi-
iu-jo no mizu wa zeppeki ni suisho no sudare wo kaku. Chuo ika wa kiri to
chiri, ame to tobite, suien shinkoku wo 6i, sono taki-tsubo no fukasa wa iku-
jis-shaku naru wo shira-zu. Urami-no-taki wa ushiro no hoso-michi yori taki
no rimen wo nozomi-miru wo motte kono na wo etarishi ga, sennen tai-fuu no
tame taki-guchi no ik-kaku kuzure-ochi, ima wa sono kisho wo miru koto
190
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VOLUME IV.— THE LITERARY STYLE. 191
atawa-zu, Kirifuri-no-taki wa j5ka ni-s6 ni wakare, takasa ono-ono ju-shi-go-
jo : sam-bakufu chu, mottomo bikan wo motte kikoyu, Kii no kuni Nachi-
san ni wa shi-ju-hachi-daki ari. Mottomo dai naru wa dai-ichi no bakufu ni
shite, takasa hachi-ju yo jo to shosu. Taki no ushiro yori yama-michi wo
noboru koto shi-cho yo : ichi-jo no tani-gawa ari ; kono mizu sunawachi
kakatte(l) dai-ichi no bakufu wo nasu nari. Sara ni kawa ni soite noboreba,
dai-ni no taki ari. Mata is-san wo koyureba dai-san no taki ni itaru. Nobo-
ru ni shitagatte,C2) taki wa iyo-iyo sho, sakai wa masu-masu shizuka nari.
Ksbe-shi ni chikaki Nunobiki-no-taki wa shiyu ni-baku ari. Utsukushiki
taki ni shite, shin ni hakufu wo saraseru ga gotoshi. Shimin yuran no chi ni
shite, mata Kobe-shi suido no minamoto tari. Mino no Yoro-no-taki wa
koshi no densetsu wo motte sono na tenka ni takashi. Sekai dai-ichi no dai
bakufu wa Hokubei Gasshu-koku no Naiyagara nari. Naiyagara bakufu wa
sayu futatsu ni wakare, sa-baku wa haba sam-byaku yo jo, u-baku wa hyaku
Cl^ Kakatte, colloquial form.
C"> Shitagatte, colloquial form
192
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VOLUME IV.— THE LITERARY STYLE. 193
yo jo, takasa ono-ono yaku ju-roku-jo ari. Nibaku ai-narandeC^) yu wo arasoi,
sono hibiki banrai no todoroku ga gotoku, daichi mo tame ni furui, fukin su-
hyap-po no chi ni arite wa, utsuwa ni moreru mizu tsune ni hamon wo shozu.
Mata gento no koro wa bakusui otsuru ni shitagai, hyoketsu shite, ichimen
gyokuzan gindai to nari, mizu no shibuki kare-ki ni hyoketsu shite, suisho no
hana wo sakasu. Sono kikan shin ni meijo su bekara-zu.
DA! GO"JU. — UkAI. U wo tsukaite uo wo tororu koto, waga
kuni nite wa korai hiroku shosho ni okonawaretari (Ah, 54, 75 — 432, 223,
300). Naka ni mo Mino no Nagara-gawa no ukai wa mottomo nadakaku,
ukai to ieba Nagara-gawa wo omoi, Nagara-gawa to ieba ukai wo omo ni
itareri. Nagara-gawa wa Gifu-shi no kita wo higashi yori nishi e nagaru.
Shi woidete hashi wo watareba Nagara-mura ari. Kono kawa-kami ni Sejiri-
mura ari. Ukai wo gyo to suru gyofu wa mina kono ni-son ni sumeri. Ukai
wa go-gatsu chuju'^ ni hajimari, ju-gatsu chujun ni owaru, Kono aida mai-yo
C3) l^^rande, colloquial form.
194
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VOLUME IV.— THE LITERARY STYLE. 195
tsuki naki toki wo ukagaite gyoshu wo idasu. Kankaku wa yusen wo churyu
ni ukabete, u-bune no kudari-kitaru wo matsu. Kawa-kami ni kagaribi no
akari mazu mie-somete, hoho to yobu koe wo kiku uchi ni fune wa hayaku
mo mokuzen ni semari-kitaru. U-jo wa kofu no kazaori eboshi wo kaburi,
koshi-mino wo tsuku. Kagaribi mo mata kodai no fu wo sono mama nari.
U-jo wa ichi-nin nite ju-ni-wa no u wo tsukai, ju-ni-jo no hoso-nawa wo
kata-te ni nigiri, uo-sao omoi-omoiC^) ni fuchin suru wo takumi ni sabakite
motsureshime-zu (Er, 66, 97, 3 — 454, 413, 300). Kono ma ni u wo hiki-
agete nomitaru uo wo hakase, futatabi kore wo mizu ni hanachi, mata kagaribi
ni takigi wo soruC") nado, sono shuren jitsu ni odoroku beshi. Funabata wo
utsu oto, hSho to yobu koe, mizu ni tobi-chiru hi-no-ko no hikari ni hage-
masarete, (As, 54, 81 — 432, 202, 200) u wa sakan ni katsudo shi, hi.asura
sono emono no okaran koto wo kiso. U no kubimoto wa hoso-nawa nice
shibaritareba, toraetaru uo wo fukuchu ni nomi-kudasu koto naku, dai naru u
0-) Omoi-omoi, see note p. 47.
C2) Supply koto after soru.
196
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wa yoku ju-ni-sam-bi no ayu wo nodomoto ni fukumu to iu. U no ayu wo
nomu wa kanarazu atama yori su, Kuwaetaru uo wo furikaete, atama yori
nomi-kudasu haya-waza wa u-jo no nawa-sabaki yori mo isso no mimono nari.
Unagi wo kuwaete kuchibashi ni makitsukare, moteamashite miyuru mo oka-
shi. Kagaribi wo taku wa uo wo atsumen ga tame naru nomi nara-zu, mata
u wo hagemasu ip-po tari. Uo wa hi no hikari wo oite atsumari-kitari, suitei
ni utsuru u no kage ni osorete suimen chikaku ukabu ga yue ni, u wa fukaku
shizuma-zu shite, tayasuku uo wo tororu koto wo uru nari. U wa kuguri-iru
goto ni emono nakushite ukabi-izuru koto sukunakereba, gyofu wa ichi-jikan
yo ni shite su-sen-hyaku-bi no ayu wo uru wo tsune to su. Su-seki no gyoshu
ai-narabi, nami ni kudakuru kagaribi no moto ni, hyaku ni mo chikaki u, ko-
nata ni ukabi, kanata ni shizumi, kashiko ni kakure, koko ni araware, kore wo
torikakomite, su-jis-seki no yusen Gifu-jochin no hikari wo mizu ni utsuseru
kikan wa fude mo kotoba mo tsukushi-gatashi. U-nawa wo hiki-agete u na
198
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VOLUME IV.— THE LITERARY STYLE. 199
funabata ni tachi-naraberu toki, han-getsu Kinka-zan no ue ni idete, kawa-kaze
tamoto wo haro mo kokoroyoshi.
DAI GO-JU-ICHL— BOSEKI. Waga kuni no kikai kogyo-
chu mottomo sakan naru wa boseki jigy5 ni shite, koto ni menka boseki sono
daibu wo shimu. Nen-nen ichi-oku-yen no menka wo yunyu shite menshj
mata wa mempu to shi, naikoku no shoyo wo mitashite, nao kaigai ni yushutsu
suru mono go-sen-man-yen ijo ni oyobu. BSseki kojo ni irite miyo. Joki
kikan no chikara ni yorite jid5 suru kikai wa iku-dai to naku tachi-narabite
kaiten su beku, sono sagyo no sumiyaka ni shite, seizen taru ni wa nani-bito
mo odoroku naru beshi. Mazu menka wo tawara yori dashite hogushi dosha
sono ta no zatsubutsu wo sari, tetsu-bo ni makite, nagasa shi-shaku bakari,
chokkei shaku yo no mushiro-wata to su. Kore wo boseki sagyo no dai ichi-
dan to su. Mina kikai ni yorite nasaru. Sono sagyo no aida ni wa menka no
200
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VOLUME IV.— THE LITERARY STYLE. 201
saihen shi-ho ni hisan shite fubuki no kaze ni kuru ga gotoku, kikai no mae ni
tateba, zenshin tachimachi shiroshi. Sude ni mushiro-wata to nareba somenki
ni kaku. Kore ni wa saishS no hari-gane nite tsukuritaru burasshi no shikake
arite, mushiro-wata wo hiki-nobashi nagara komakaki zatsubutsu wo saru.
Atakamo hito no tohatsu wo kushikezuru ni nitari. Somenki yori izuru men-
ka wa shimpaku yuki no gotoku» shi-shaku hodo no haba to narite susumu
sama, seiko naru resu no nagare wo miru ga gotoshi, Kono nagare wa ono-
zukara atsumerarete. (Em, 52, 81 — 442. 202, 200) oya-yubi dai no shino-gata
to narite, tekkan no naka ni iru. Sude ni tekkan ni mitsureba, kore wo ren-
joki to shosuru kikai ni kakete. aruiwa gasshi, aruiwa nobashi, mata sara ni ta
no kikai ni utsushi, iyo-iyo nobashite, iyo-iyo hosoku shi, shidai ni yori wo
kakete ito no katachi ni chikazukashimu (Ak, 67, 3 — 453, 300). Sate saigo
ni seibSki ni utsushite, tekito no futosa to nashite, sara ni yori wo kake, tsumu
ni maki-torashimu (Ar, 67, 3 — 453, 300). Kojo wa tsune ni sono mae ni
202
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VOLUME IV.— THE LITERARY STYLE. 203
tachi, taezu (Ey, 97, 2c — 412, 220) ito ni me wo sosogite, kirurebaO) tadachi
ni kore wo tsunagu. Jukuren to kibin to wo yosuru koto dai nari. Jozu naru
mono wa ip-pun-ji ni yoku ju-su-hon no ito wo tsunagu to iu. Mukashi no
ito-guruma nite tsumugu toki wa ip-pon no tsumu ni ichi-nin wo yosu beki ni
ima wa wazuka ni roku-shichi-nin no kojo nite, yoku ni-sem-bon no tsumu wo
atsuko koto wo u beshi. Kuoru ni, kano r5soku no shin to suru futoki ito,
kumo no i no gotoki hosoki ito, saidai i no mama ni shite, te-tsumugi no goto-
ku fu-zoroi to naru koto nashi. Kikai no chikara wa odoroku beki mono ni
ara-zu ya ?
DAI GO-JU-NI.-MusHi no No-Kogy5. Kaiko
no ito wo hakite mayu wo tsukuru wa b5seki no gyo ni hitoshiku, hamaki-
mushi no ito nite ha wo tsuzuri-awasuru wa saiho no gyo ni onaji. Mitsu-
bachi no mitsu wo haki, mata takumi ni su wo tsukuru wa jozo no gyo to ken-
chiku no gyo to wo kanetari to iwan ka ? Kumo wa sono karada yori ito wo
CO (Er, 8 — 512, 200). This comes from kiruru, the intransitive and
potential form of kiru (Ar) ,• the corresponding colloquial verb is kireru.
204
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VOLUME IV.— THE LITERARY STYLE. 205
. — ■ — ■ — — ^ .
idashite ami wo haru. Ami wo haran to suru toki wa, mazii iku-suji ka no
yaya futoki ito wo watashi, kore wo moto to shite shidai ni hosoki ito wo k^ke,
tsui ni kanzen naru ami wo tsukuru. Kono ami nite mushi wo tororu wa
gyogyo no rui to mo miru beshi. Mimizu wa chika ni ana wo ugachite sumi
taryo no tsuchi wo nomikomite wa kore wo chijo no ana no kuchi ni idasu.
Kakute su-nen no nochi ni wa jimen ni chikaki tsuchi wo ba mattaku joge ni
uchi-kaesu to iu. Nofu no ta-hata wo tagayasu ni nitara-zu ya ? Ari wa abu-
ramushi wo yashino. Aburamushi wa shokubutsu no waka-me, waka-ba nado
ni muragari-tsukite, sono shokubutsu no shiru wo sui, shintai yori taezu (Ey,
97, 2c — 412, 220) amaki shiru wo idasu mono nareba, ari wa kono amaki shiru
wo en (Ua, 45, Ic — 401, 120) ga tame ni aburamushi no fuchaku seru shoku-
butsu ni atsumarite kore wo hogo shi, aruiwa sono tamago wo ta no shoku-
butsu ni utsushite seicho seshimu (Us, 67, 3 — 453, 300). Kore sunawachi is-
dush no bokuchiku nari. Ari wa sono shurui ni yorite shuju no su wo tsukure
cm ,o5ku wa chika ni ana wo ugachite, heya, roka wo tsukuri, sono naimen-
206
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VOLUME IV.— THE LITERARY STYLE. 207
WO kabe no gotoku ni katamu. Atsuki chiho no shiro-ari wa shiii jik-ken
takasa san-gen ni mo tassuru ko-yama no gotoki su wo tsukuri, bokushitsu nite
naibu wo kakomu to iu. Jukuren naru doboku gishi tomo iu beshi. Amerika
no itchiho ni sansuru ari no is-shu ni shukaku-ari to iu mono ari. Is-shu no
kusa no mi wo shokuyo to suru wo motte, tsune ni kono kusa no oku shozuru
tokoro wo erabite sumi, shui no zasso wo kui-kirite, hitasura kono kusa no
seicho wo hogo shi, sono mi no jukushite chi ni otsuru wo machite, sono su ni
hakobi-saru. Kore sunawachi nogyo no shukaku ni kotonara-zu.
DAI GO-JU-SAN.— Mono no AtAI. Mononoatai
wa koyo aru koto to, zuii ni erare-zaru (Ua, 52, 93—444, 421, 100) koto to
ni yorite shozuru mono nari. Yue ni zuii ni erare-zaru mono nari tomo, koyo
naki mono wa atai aru koto naku, koyo aru mono nari tomo, zuii ni eraruru
(Ua, 53, 1—441, 100) mono wa mata atai aru koto nashi. Tatoeba (Eh, 7, c
208
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VOLUME IV.— THE LITERARY STYLE. 209
— 400) koko ni is-shu no ishi ari; kiwamete (Em, 81, c — 202, 220) mare ni
shite, zuii ni erare-zaru mono nari tomo, kazari ni mo jitsuyo ni mo nara-zaru
mono naraba kore wo ko mono naku shitagatteCO atai aru koto nashi. Nikk5,
kuki no gotoki wa hito no seimei wo tamotsu ni hitsuyS naredomo, zuii ni
eraruru mono nareba, kore wo ko hitsuyo naku shitagatteCO mata atai aru koto
nashi. Mizu no gotoki mo mata shikari. Saredo,C2) mizu wa dai tokai nado
nite wa toki to shite atai wo shozuru koto ari. Kore inryosui toboshiku shite, i
no mama ni kore wo uru koto atawa-zareba nari. Mono no atai no koge wa
shu to shite juyo to kyokyu to no kankei ni yorite sadamaia mono nari. Shika-
shite kyokyu no juyo yori mo sukunaki toki wa mono no atai wa takaku nari,
oki toki wa yasuku naru nari.C^) Tatoeba (Eh, 7, c — 400) koko ni ik-ko no uri-
ie arite, kore wo kawan to suru hito go-nin aru toki wa, sono go-nin wa ono-ono
sono ie no tanin no te ni wataran koto wo osorete, arasoite takaki atai wo tsuku
beshi. KakuteCO sono ie no atai wa dan-dan takaku narite, mottomo takaki
CD Shitagatte, colloquial form, used as adverb. (81, c— 202, 220).
C2^ Saredo. See p. xxi.
C3) The first naru is Ar ; the second, Ur.
CO Kakute. See p. xxi.
210
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VOLUME IV.— THE LITERARY STYLE. 2U
atai wo tsuketaru hito no te ni wataru beki nari (Ar, 12. c — 301, 103, 300).
Kore ni hanshite doyo naru uri-ie go-ko arite, kawan to suru hito tada
ichi-nin naru toki wa uri-ie no mochi-nushi go-nin wa ono-ono sono ie
no ure-zaranC^) koto wo osorete arasoite sono atai wo hikuku su beshi.
KakuteC^^ sono ie no atai wa dan-dan yasuku narite, mottomo atai wo
hikuku shitaru hito sono ie wo uru koto wo u beki nari. Mono no
atai wa kaku no gotoku juyo kyokyu no kankei ni yorite, aru toki wa
takaku, aru toki wa yasuku naru mono naredomo, tsune ni sono mono wo
seizo suru hiyo to soto no rieki to wo awasetaru kingaku ni hitoshikaran to suru
katamuki aru mono nari. Kono kingaku wo futsu no atai to iu. Tatoeba
kutsu wo mochiuru koto ryuko shite, kai-te niwaka ni masu toki wa, kutsu no
atai wa niwaka ni takaku narite, kutsu-ya no rieki hijo ni okaru beshi.
KakaruC"^-) toki wa kutsu-ya wa sara ni 5ku no shokunin wo yatoi-irete, sakan
ni kore wo seizo su beku, mata ta no shokugyS ni juji suru hito mo kutsu-ya
no rieki aru wo mite, kore ni tengyo suru ni itaru beshi. Kakaru^^") toki wa
Ov Ure-zaran. From ururu (Er) the intransitive and potential of uru (Ar),
the corresponding colloquial verb is ureru.
C^^ Kakuie. See p. xxi.
CO Kakaru. See p. xxi.
212
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kutsu no kyokyu shidai ni mashi-kitari. kutsu nc atai wa yoyaku yasuku narite,
futsu no atai ni fukusuru ka, baai ni yorite wa nao sore ika ni sagaru beshi.
Mata kore to hantai ni atai shidai ni yasuku narite. futsu no atai yori mo sagaru
ni itaru toki wa, shidai ni sono seizo-daka wc genzuru ga yue ni ky5kyu mo
shitagatteCS^ genjite, mata futsu no atai ni fukusuru ka. baai ni yorite wa nao
sore ijo ni noboru beshi. Sunawachi mono no atai wa futsu no atai wo moto
to shite joge su to shiru beshi. Mono nc atai wa kaku joge suru mono nare-
domo, kyokyii ni kagiri aru mono, tatoeba nadakaki kojin no shoga, ko-kibutsu
nado no gotoki wa, juyo masu ni shitagaite,C9) sono atai masu-masu takaku
nari, juyo no genzuru ni ara-zaru yori wa yasuku naru koto naki nari (x, 35, c —
103, 300). Sunawachi kyokyu wo z5ka shi uru mono to wa oi ni sono omo-
muki wo koto ni su to shiru beshi.
C8) Shitagatte, colloquial form, used as adverb. (81, c — 202, 220).
C9) Shitagaite, the literary form ; we have already had shitagatte, the col-
loquial form, three times in this piece. Compare p. 87.
214
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VOLUME IV.— THE LITERARY STYLE. 215
DAI GO-JU-SHI.-HeIWA NARU MuRA. Waga
mura ni wa ko-su sam-byaku, jinko sen-shi-hyaku yo ari. Zenson nogyo wo
motte seikei wo tatsu. Mura no zaisan-ka ni kangyo ni nesshin naru hito ari,
mizukara sakinjite kosaku, yosan, yokei, yogyo to no mohan wo shimeseshi
wo motte, kinnen sakumotsu no kairyo mo deki, mata kuwa wo ue, kaiko wo
yashino mono oku, niwatori wo kawa-zaru ie nashi. Izure no ie nite mo
tamago wo ureba, sono daikin nite ichi-nen-ju mochiuru shio, shoyu wo
ko ni amari ari. Ike ni wa taitei koi, funa to wo yashinaite, ni-nen-goto ni kore
wo uru ni, sono ri sukunakara-zu. Mata bakkan sanada wo ami, hana-
mushiro wo oru koto okonaware, (Ah, 54, 2 — 432, 200) ju-ni-san-sai no
shojo mo te wo munashQ suru mononaki ni itareri. Sareba(l) zenson sukoburu
yutaka ni shite, mina sono kagyo wo tanoshimeri. Mura-yakuba to gakko to
wa ai-narabite mura no chuo ni ari. Soncho wa mura no kyuka ni umare,
kiwamete shinsetsu kohei naru hito nareba, fukaku sommin ni keiai serare,
CI) Sareba, see p. xxi.
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VOLUME IV.— THE LITERARY STYLE. 217
(Us, 52, 2 — 442, 200) iku-tabi no kaisen ni mo tsune ni senkyo serarete, ni-ju
yo nen-kan kinzoku seri. Kocho mo chakujitsu onko naru hito ni shite, seito
wo aisuru koto ko no gotoku, seito mo mata kocho wo shito koto fubo no
gotoshi. Sono ta no kyoin mo kocho wo.mohan to shite, shokumu ni benrei
suru ga yue ni, jido wa mina yoku kore ni natsukite gakko wo omo kokoro
atsuku, sotsugyo-go mo nao gakko no mon ni shutsunyu suru wo tanoshimi to
seri. Sonkai giin mo zenson itchi shite kore wo senkyo shi tagai ni kyoso suru
ga gotoki koto sara ni nashi. Sonkai nite sompi wo gisuru ni mo, taitei gen-an
wo kaketsu suru wo tsune to su. Aru toshi bofuu no tame ni fusaku narishi
koto ari, sono yoku-nen gakkd no keihi wo gisuru ni atari, sonkai nite wa
sono yosan no fusoku naru beki wo ureete kore wo z5ka sen to seshi ni, soncho
wa, ' Fusaku no nochi nareba narubeku keihi wo setsuyaku shitashi, to no
kocho no iken ni yorite yosan wo hensei shitaru nari." To setsumei shitareba,
saraba^2) tote, gen-an no mama ni ketsugi seri. Kochi seiri wa kenka shoson
C2) Saraba, see p. xxi.
218
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VOLUME IV.— THE LITERARY STYLE. 219
ni sakinjite chakushu shi, sakunen sude ni kore wo kansei seri. Kore ni yorite
ySsuiro no kaishu okonaware, kangai, haisui, sono yoroshiki wo ete, suiden wa
kanden to nari, futakesaku wo nashi uru ryoden go-ju-roku-chobu wo uru ni
itareri. Mata hiryo no kikime mo ichijirushiku, sakumotsu no hatsuiku mo
medachite yoku narite, mura-bito no yorokobi hitokata nara-zu. Rido no
kaishu mo mattaku nari, sonnai no omo n&ru doro wa ni-guruma, jinrikisha
wo tsuzuru ni itareri. Seinen no kifu wo yashins.i, chitoku wo migaku wo
mokuteki to seru seinen-kai ari. Sono ichi-jigyo to shite sugi, hinoki to no
shokurin wo itonami, sono rieki wo motte gakko no kihon-kin to shi, sono
ichi-bu wo sakite isson kyodo no yueki naru hiyo ni atsuru koto to seri. Ju-
shi-go-nen no nochi ni wa sommin wa kyoiku no tame ichi-rin no shishutsu wo
yose-zaru ni itaru beshi. Banji kono arisama nareba is-son wa ik-ka no gotoku
wago shite, ni-ju-nen-rai imada ichi-nin no hanzaisha wo mo idashitaru tame-
shi nashi.
220
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VOLUME IV.— THE LITERARY STYLE. 221
DAI GO-JU-GO.— KUMAO MaRU. Yoshino no Cho
no koro Akamatsu Mitsunori, Kusunoki Masanori to Settsu no Sumiyoshi ni
tatakaite, san-zan ni uchi-yaburaretari (Ar, 54, 75 — 432, 223, 300). Kono
toki uchijini seru Uno Rokuro no is-shi ni Kumao to iu mono ari, ichi-nichi
Mitsunori ni mukaite, " Masanori wa shukun no teki nite, waga tame ni mo
chichi no ada nari. Ika ni mo shite uchitori m5su beshi. Kore yori o itoma
tamavvari, Kawachi ni yukite Masanori ni tsukaen. Imada osanakereba, teki
mo kokoro wo yurusu beku, tatoi yojin kibishiku tomo, nagaki aida ni wa kana-
razu uchitoru beki ori ni deo beshi." To namida wo nagashite iu. Mitsunori,
" Osanaki mi wo tada hitori teki-koku e yaran mo kokoromotonashi. Mata ware
ni kawarite uchijini shitaru Rokuro no katami to mo omo mono wo." Tote,
kataku todomeshi ga. " Toshi chojite wa teki mo chikazuke mosu-maji.
222
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VOLUME IV.— THE LITERARY STYLE. 223
Osanaki toki ni mairite koso/'W To, shikiri ni nozomeba, chikara oyoba-zu,
" SarabaC^) kore nite hon-i wo togeyo." Tote, tsune ni mi wo hanasa-zarishi
meito wo ataete yukashimetari (Ak, 66, 75 — 452, 223, 300). Kumao tadachi
ni Kawachi ni yukite, Akasaka-jo no hotori ni tatazumu. Masanori no shin
Hyogonosuke Tadamoto ayashimite, " Nani-mono zo.f"' To toeba, " Akamatsu
Mitsunori no shin Uno RokurS no ko nari. Sumiyoshi no tatakai ni chichi no
uchijini shitaru nochi, ichi-zoku no mono ryochi wo ubaite, ware wo oi-idashitari.
Mitsunori to kokoro wo awasete no koto tote, ikan to mo shi-gatakereba,
Butsumon ni irite chichi no ato wo toburawan tote, kaku shokoku wo meguri-
aruku nari." To koto. Tadamoto awaremite, ono ga ie ni tsure-kaeri, sama-
zama ni itawarite, kaku to Masanori ni tsuguru ni, Masanori wa nasake-
bukaki bushi nareba, yobi-idashite meshitsukaitari. Tsuki-hi wa nagaruru
mizu no gotoku, Kumao ju-go-sai ni narinu. Masanori wa Kawachi nite
CO The sentence is elliptical.
C2) Saraba, see p. xxi.
224
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VOLUME IV.— THE LITERARY STYLE. 225
ryochi wo ataen to shitaredomo, Kumao wa, ' Nan no senko mo nakereba."
Tote uke-zariki. Akuru toshi wa Rokuro no shichi-kaiki nari. lyo-iyo kijitsu
ni narite, Kumao kon-ya koso Masanori wo utame (At, 43, a, c — 405, 500) to
hitori kokoro ni omoi-sadametaru ni, Masanori wa kaku to mo shira-zu,
" Kyo wa kichinichi nari ; gembuku seyo." Tote, motodori wo agete,
\A'^ada Kojiro Masahiro to nanorase, (Ar, 60, 2 — 462, 200) Tenno yori tama-
warishi gusoku ichi-ryo wo tori-idashite ato. Kumao on ni kanjite namida
seki ae-zu. Yo ni irite, utsu beki wa ima nari to, kokoro wo torinaosedomo,
toshi-goro no on-ai, koto ni wa kyo no gembuku no koto to omoi-tsuzukete wa,
ika de ka utaru beki (At, 56, 12, b — 433, 301, 110). Iku-tabi ka omoi-nao-
shite utan to suredomo, sukoshi mo utago kokoro naki Masanori no sama wo
mite wa, katana no tsuka ni te wo kaku beki yo mo nashi. Omowa-zu o-goe
wo agete naki-sakebinu (Ab, 50 — 213, 300). Masanori odorokite, " Ika ni
shitaru (Us, 78, b — 221, 110) zo ? " To toeba, Kumao nenrai tsutsumitaru ko-
226
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koro no uchi wo uchiakete, Ima wa mizukara shinuru yori hoka nashi."
Tote, katana wo tori-naoshite, hara kaki-kiran to su. I-awasetaru hitobito
namida ni kure nagara, ' Nani tote inochi wo sutsuru ni oyobu beki.'' (Ab,
12, b, c — 301, 110). To, totteO'^) osaete ugokase-zu, Kumao ima wa senkata
naku, sono katana nite motodori wo kiri-hanachi, sate Ojoin ni irite so to nari,
Masanori yori tamawaritaru na no Masahiro wo sono mama ni Shokan Koshi
to nanoreri. Kakute Mitsunori no ataetaru katana ni wa koto no yoshi wo
kaki-soete okuri-kaeshi, kokoro no kawaru koto mo aru beki ka tote, sono
nochi wa ichi-do mo in no mongai e wa ide-zariki to zo.
DAI GO-JU-ROKU.-Gako no Kushin. Sen-
shu Sakai ni Ikkokuji to iu tera ari. Sono zashiki no hito-ma no sugi-do ni hi-
noki ip-pon wo egaki, ta no hito-ma no fusuma ni tsuru ni-ju-go-wa bakari
egakeri. Kono e no dekitaru yurai koso omoshirokere (x 31, a — 500). Kono
e wo kakeru gako hisashiku kono tera ni kishoku shite arishi ga, nani hitotsu
C3^ Totte, colloquial form.
228
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VOLUME IV.— THE LITERARY STYLE. 229
egaku koto mo naku, mai-nichi asobi-kurashite san-nen wo hetari. Juji wa ko-
koroe-nu koto ni omoite, aru toki gako ni mukai, 'Kimi wa gaka to shite ikka wo
naseru hito naru ni, san-nen no aida imada ichi-do mo gahitsu wo tori tamaishi
koto nashi. Ware ishoku no hi wo ito ni ara-zaredomo, izuko e nari tomo
idete asobi tamae (Ah, 5b — 510). Guso mo shoy5 arite Kyo e nobori, ichi-ni-
nen zaikyo sen mo hakari-gatashi." To ieba, gako, " So wa ito nagori-oshiki
koto nari. Saraba(l) nenrai no shaon ni nani ka kakite mairasu beshi " (Ar,
70, 16, c — 463, 303, 320). Tote kokoro-gamae seshi yo narishi ga, mata fude
mo tora-de shi-go-nichi sugitari. Aru yo kozo juji no i-ma ni kitarite, " Ka-
shiko ni yukite, kano eshi no arisama wo mi tamae " (Ah, 5b, c — 510). To
sasayaku ni, yukite ukagaeba, shoji ni mi wo yosete sama-zama ni sugata wo
kae tsutsu ne-oki suru sama nari. Samatage sen mo kokoro-nashi to omoite,
sono mama ne-ma ni kaereri. Yoku-jitsu gako no socho ni oki-idete egakeru
wo mireba, mina fushitaru tsuru nari. Hissei hibon ni shite, tansei no my5 iu
(^) Saraba, see p. xxi.
230
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VOLUME IV.— THE LITERARY STYLE. 231
bekara-zu. Kakute tsugi no yo wa ika ni to ukago ni, mae no gotoku yomo-
sugara ine-zu shite, ashita wa kaku egakan nado hitori-goto ii itari. Juji wa
shira-nu kao shite sugoseshi ni, toka amari ni shite tsuru ni-ju-shi-go-wa wo
egakeri. Sono nochi mata yo fukete ukagai miru ni, kondo wa hiji wo hari,
ashi wo nobe, te wo kuchi ni atete, nao mo tsuru no fushitaru sama wo naseri.
Yo akete nochi, juji gako ni mukaite, ' Kyo kaki tamawan tsuru no sugata wa
kayo naru beshi." To, yachu nozoki-mitaru sugata wo shite misuru ni, eshi
wa odorokite, " Waga egakan to omoi-kamaeshi koto wo ika ni shite shiri
tamaeru ka ? " To to. So wa saku-ya nozoki-mite shiritari." To ieba,
eshi sore yori ato no ni-mai ni wa egaka-zu ; tada sugi-do ni hinoki ip-pon
wo egakite Togoku e shuttatsu seri. Shikaru ni(2) imada hito-tsuki mo tata-
zaru uchi, mata futatabi hikikaeshite Ikkokuji ni kaereri. Juji wa odorokite,
(2) Shikaru ni, is a conjunctional phrase.
232
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VOLUME IV.— THE LITERARY STYLE. 233
" Togoku e yuki tam5 to kikishi ni, futatabi kaeri-kitarareshi (Ar, 54, 63, c —
432, 241, 120) wa nani yue zo?" To toeba, gako : "Saki ni egakitaru hinoki
no eda ni hito-eda tara-nu tokoro ari ; ki ni kakarishi ga, Togoku e kudaru
michisugara, Kakone sanchu nice yoki edaburi no hinoki wo mite, sono i wo
erareba, kore wo kaki-soen tote, waza-waza kaeri-kitaritaru nari." Tote, hito-
eda wo kakisoe, wakare wo tsugete ide-sareri to nan.C*^)
DAI GO-JU-SHICHI.-Shokatsu Komei.
Shina no mukashi Go-kan no sue tenka asa no gotoku midarete, eiyu shi-ho
ni okoreri. Ryu Bi wa Kan-Cho no matsuryu, eimei ni shite, taishi ari. Kan-
Cho no fukk5 wo hakari, shikiri ni kenshi wo motomu. Kono toki Shokatsu
Komei to iu hito ari ; minkan ni arite kosaku wo koto to seshi ga saimei yo
ni kakure (Er, 2b — 210) nakereba Ryu Bi wa mi-tabi made mo sono iori wo
toi, tsui ni mukaete jushin to seri. Ryu Bi fukaku Komei ni shinrai shi, ichi-
ichi sono gen wo mochiishikaba, Kan U, Cho Hi ra no shosho kore wo yoro-
(^) Nan is an emphatic particle about equivalent to zo.
234
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VOLUME IV.— THE LITERARY STYLE. 235
koba-zu. Bi satoshite iwakuCl) ; " Ware no Komei aru wa ataka mo uo no
mizu aru ga gotoshi. NegawakuC^^ wa f utatabi iu koto nakare." To. Kore
yori shosho mata iu mono nakariki. KSmei Ryu Bi ni tsukae, idete wa gun-
shi to narite hakarigoto wo megurashi, itteC^^ wa shusho to narite matsurigoto
wo okonai, tsui ni Bi wo tasukete Shoku no kuni wo tate, tenka wo sam-bun
shite, sono ichi wo tamotashimu (At, 67, 3 — 453, 300). Bi hozuru ni nozomi,
koji wo Komei ni yudanete, " Waga ko moshi tasuku bekumba kore wo
tasukeyo. Moshi f usai naraba, kimi mizukara kore ni kaware " (Ar, 5b, c —
510). To iishi ni, Komei namida wo nagashite. Shin aete shiryoku wo
tsukushi, chusetsu wo itasu beshi." To koto. Bi mata sono ko ni mukaite,
Nanji wa Komei to tomo ni koto ni shitagai, kore ni tsukoru koto chichi ni
tsukoru ga gotoku seyo." To iu. Komei kore yori yoshu wo tasuke, masu-
masu (As, 3, b — 310) kokoro wo mochiite, mimpuku wo hakari, chugi wo tsu-
kushite kawara-zu. Shok-koku no Gi, Go ni-kyokoku to ai tairitsu shite, tsune
(1) Both iwaku and negawaku are verbs in the exceptional termination ku
noted on p. xxi. It is interesting to compare these two words : C^) Iwaku
does not take the postposition wa, negawaku always does ; (^) Iwaku is generally
used of the 3rd person, negawaku wa is used of the 1st ; C^) Iwaku is used as a
historical present and can generally be translated by the past tenf^ ' he said/
negawaku wa is used as a real present ' I pray.'
(2) Itte, colloquial form.
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VOLUME IV.— THE LITERARY STYLE. 23.
ni sono seiryoku wo iji seshi wa shu to shite, Komei no chikara ni yoreri.
Komei wa Gi wo semete Shina chuo no chi wo tori, Kan-Cho wo kofuku sen
to shi, mazu nampo no ran wo tairage, tsui ni mizukara shogun wo hikiite
hokusei su. Hassuru ni nozomi, hyo wo tatematsuru. Gen-gen mina chii-
kun no shijo yori hassu. Kojin iwaku, " Suishi no hy5 wo mite naka-zarii
mono wa hito ni ara-zu." To. Komei wa chinchaku ni shite, ki ni nozomi,
hen ni ojite chibo hyakushutsu seri. Saki ni Shoku no nampo midareshi ya,C3)
Komei hakarigoto wo motte sono sho Mokaku wo torae, Shoku-gun no jin-ei
wo shimeshite, " Kono gumbi wo nan to mirnV To to. Mokaku kotaete
iwaku, '' Kaku no gotoshi to shiraba nan zo yaburen." To. Komei waraite
kore wo hanachi, futatabi tatakawashimete (Ah, 66, 81—452, 202, 200)
futatabi kore wo toro. Kaku suru koto shichi-kai ni oyobishikaba, zoku-sho
tanjite, " Ko wa tenju nari. Teki su bekara-zu." Tote, mata hansuru koto
nakariki. Sono doryo no kodai naru wo shiru beshi. Komei wa gensei ni
C3J) This ya is not dubitative, but is equal to toki ni when, as soon as.
238
JAPANESE READING FOR BECUNNERS.
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VOLUME IV.— THE LITERARY STYLE. 239
shite, hanahada kiritsu wo omonjitari, Aru toki shogun Ba Shoku, Komei no
gunrei ni somukite taihai su. Komei Shoku no kyuko wo oshimishikado,
gunritsu wo midasan koto wo osore, namida wo furutteO) kore wo kiri, mata
mizukara seme wo hiite kurai san-to wo kudaseri to zo. Komei Gigun to tai-
jin no uchi ni shussu. Shoku no gun sono kan wo mamorite kuni ni kaeran
to su. Gi-sho Shiba Chutatsu kikite kore wo o. Shoku no gun sukoshi mo
sawaga-zu, hata wo kaeshi, tsuzumi wo narashite Chutatsu ni mukawan to
suru mono no gotoshi. Chutatsu aete chikazuka-zu. Toki no hito, " Shiseru
Shokatsu ikeruCS) Chutatsu wo hashirasu." To ieri. Nochi Chutatsu Komei
no jin-ei no ato wo mite, " Komei wa tenka no kisai nari." To tanjitari.
Mata Gi-gun no Shoku ni seme-irishi toki, Gi-sho wa Komei no haka wo
matsuri, shisotsu ni reishite, sono fukin no kusa wo kari, takigi wo kiru wo
kinjitari to iu.
C'O Furutte, colloquial form.
(5) Ikeru (Ak, 57—501, 100). This verb & is usually ikim (Ik) or ikeru
(Ek); exceptionally, as here, iku (Ak), This happens especially in this in-
flexion.
APPENDIX I.
List of the principal verbal and adjectival termirations.
As a riile each entry consists of :
The verbal base (1, 2, 3, 4, 5) or adjective foundation (6) to which the
termination is added ;
The termination itself ;
A number (1, 2, 3, or 5) in parenthesis which shows the syntactical
functions of the termination, viz : that it is used like Base 1, 2, 3, or 5 ;
A translation, with a concrete verb, into the colloquial ;
A translation into English.
(The sign ^ before a termination means that you must take the alternative
base, if there is one.)
4 + BA (2); iku naraha', if he goes,
5 + BA (2) ; iku haro., iku to ; as, since, he goes.
5 + BA NAEI (3) ; suru kara ; it is because he does.
5 + BA TOTE (2); suru kara to itte; on the strength of having done.
4 + BAYA (3) ; ikitai ; oh, that I could go !
3 + ^BEKARA-ZARE (5) ; iku koto iva deki-nai, itte wa nara-nai ; he cannot go.
3 + ^BEKAKA-ZABEBA (2); iku koto tva deki-nai kara, itte lua nara-nai kara; as,
since, he cannot go.
3 + ^bekaba-zabedo(mo) (2) ; iku koto wa deki-nai keredomo, itte wa nara-nai
keredomo ; though he cannot go.
3 + |[bekara-zabiki (3) ; iku koto iva deki-nakatta ; he could not go, not luive
gone.
3 + [^BEKARA-ZABiSHi (1); iku koto wa deki-nakatta; that could not go, not
have gone.
3 + [^BEKABA-ZARU (1); iku koto wa deki-nai, itte iva nara-nai; that caunot go.
3 + [^BEKARA-ZARU MO (2) ; iku koto wa deki-nai keredomo, itte iva nara-nai
keredomo ; even if he cannot go.
3 + CsEKARA-zu (3); ilcu kofo iva deki-nai, itte wa nara-nai, itte wa ikc-nai ;
be cannot go.
3 + ^bekara-zu(m)ba {'2); iku koto ga deki-nai naraha; if he cannot go.
3 + [bekara-zu to iedomo (2); ikii koto ica deki-nai keredomo, itte iva nara-nai
kereh/mo ; though he cannot go.
3 4- |[BEKARA-ztJ TOMo (2) ; iku koto iva deki-nai ga, iku koto wa deki-nakvte
mo ; though, even if, he cannot go.
JAPAXF-^E llKADrSTr FOR BECJTN^TERS.
3 + [[bekariki (3); iku hazu de atta, it'e mo yol'atta ; lie should have gone.
3 + l^r.EKARiSHi (1); iku hazu de atta, itte mo yokatta \ that should have p;oue.
3 + [[bekereba (2) ; iku kara ; as, since, ho goes.
3 + ^BEKEitEDO(MO) (2) ; iku kercdomo ; though he goes.
3 + ^BEKi (1); iku (lard, ikn ko'o ga dekiru, ika-nakereha nara-nai ; that wil^
go, cau go, must go.
o + BEKU (2); iku daro, iku koto ga deki; he will go, can go.
3 -f [beku(m)ba (2); iku koto ga dekiru naraba, ika-nakereha nara-nai naraba;
if he can go, if he must go.
3 -f ^[^beku mo (2) ; iku koto ga dekite mo ; even if he cau go.
3 + j^BESiii (3); iku daro, iku koto ga dekiru, itte mo ii, ike; he will gn, cau,
mxy go, go I
:)-f[BESHi TO iedomo (2); iku daro keredomo, iku koto ga dekiru keredomo:
though he may go.
4 + DE (2) ; ika-nakute ; (by) not going, (by) not having gone.
54-do(mo) (2); iku keredomo, itte mo; though he goes,
6 + G- Derived verb.
2 + iTAKEBA (2); sJiitte ita kara; as, since, he knew.
2 4- ITAEI (3) ; sMtte ita ; he knew.
24-iTARU (1); sJdtte ita; that knew.
2 + ITE (2) ; sJiitte ite ; he knew.
2 4- I-ZARIKI (3) ; sJiitie i-nakatta ; he did not know.
2 + i-ZARiSHi (1); skitte i-nakatta; that did not know.
4 + n (3); ika-nai daro, ikumai ; he will (probably) not go.
6 Jl (3) ; in a few adjectives like onaji, ji though written in kana after tlie
kan-ji, is really part of the adjective foundation ; without ^luy other
termination it is the conclusive fonn.
G + KAP.ADE (2) ; yoku nakute ; not being good.
64-KARAJl (3); yoku nai daro, yoku arumai; will (probably) not be good.
()-|-KARAN (3, 1, 2); ii daro; will (probably) be good.
() + KARA-NU (1); yoku nai; is not good.
6 + KARASinii- Derived verb.
+ KARA-ZARAN (3, 1, 2); yoku nai daro; will (probably) not be good.
6 + KAR.V-ZARASIIIM- Negative causative of adjective.
«) + KARA-ZARE (5); yoku nai yd ni; bo not good! don't be good 1
+ KARA-ZAREBA (2) yolcu nai kara ; as, since .... is not good.
T) 4- kara-zaredo,(mo) (2); yoku nai keredomo; though .... is not j^ood.
<j + KARA-ZARiia (3) ; yoku nakatta ; was not good.
VOLUME IV. THE I-ITERARY STYLE. (APPENDIX).
4- KABA-ZARISHI (!■; yoku nakatta; tliat was not good.
+ KAEA-ZAiiiSHiKABA (2); yoTcu nokatta kara; as, since .... was not good.
+ KARA-ZAKU (1) ; yoku nai ; that is not good.
+ KARA-z.UiU BESHI (3) ; yoku nai daro ; will (probably) not be good.
+ KARA-ZARU 310 (2); yoku nai ga; though .... is not good.
-f KAEA-zu (3, 2) ; yoku nai, yoku nakide ; is not good.
+ kaea-zu(m)ba (2); yoku nai naraba; if .... is not good,
4- KARA-ZU SHITE (2) ; yoku nakide ; not being good.
-fKARA-zu TOMO (2); yoku nakide mo; though .... may not be good.
+ KAEE (5); a yd ni, yoku ari nasai; be good !
+ EARIKI (3) ; yokatta ; was good.
H-KARIKI TO lEDDjro (2); yokatta keredomo; though .... was good.
+ EARISHI (1); yokatta; that was good.
+ KARISHIKABA (2) ; yokatfa kara ; as, since .... was good.
+ KARiSHiKADO(3io) (2); yokatta keredomo; though .... was good.
+ KARISHI NARABA (2); yokatta naraha; if ... . had been good.
4-KARU BEKARA-ZAREBA (2); yoku nai daro kara; as, since .... cannot be
good.
> 4-KARU bekara-zaredo(mo) (2); yoku nara-nai keredomo; though .... can
not be good.
> 4- KARU BEKARA-ZARiKi (3) ; yoku nara-uakatta daro ; could not have been
good.
J 4- KARU BEKARA-ZARISHI (1) ; yoku nara-iiakatta daro ; that could not have
been good.
3 4- KARU BEKARA-Z.VRU (1); yokide tea nara-nai; that could not be good,
3 4- KARU BEKARA-zu (3) ; yokide ica nara-nai ; cannot be good.
3 4- KARU bekara-zu(m)ba (2); yokide wa nara-nai nara; if ... . should not
be good,
E5 + KARU bekariki (3) ; a liazu de atta ; should have been good.
6 4- KARU beIvARISHI (1); ii Jiazu de atta; that should have been good.
6 4- KARU bekereba. (2) ; ii hazu da kara ; as, since .... is (probably) good.
6 4- KARU bekeredo(mo) (2); ii daro keredomo; though .... may be good.
6 4- KARU BEKE (1); ii daro; that should be good.
6-!- KARU BEKU (2); ii daro; should be good.
f) 4- KARU i:eku(m)ba (2) ; ii hazu naraha ; if . , , , should be good.
6 4- KARU BEKU MO (2) ; M hazu da keredomo ; though .... should be good.
6 4- KARU BESHi (3) ; ii daro ; should be good,
6 4- KARU BESin TO lEDOMo (2) ; ii daro keredomo ; though .... should be good.
JAPANESE r.EADING FOU BEGINNERS.
G + KAKU MAJI (3) ; yoku nai darb ; is probably not good.
6 + KAiiu MAJIKI (1); ijdku nai daro; that is probably not good.
6 + KAJtu MAJIKU (2); yoku nai daro; is probably not good.
6 + KEN (3, 1, 2); a daro; is probably good.
2 + KEN (3, 1, 2); itla daro; he probably went.
6 + KERE (5); ii; good.
2 + KEREBA (2); itta I'ara; as, siuce, he A\cut.
6 + KEREBA 1,2); ii' kara; as, siuce .... is good.
2 + KEREDOMO (2); itta J:ereilomo; though he went.
6 + KEREDOMO (2); u ga ; though .... is good.
2 + KERI (3) ; itta ; he went.
2 + KERU (1); itta; that went.
2-[-Ki (3); itta; he went.
6 + Ki (1); ii; good.
2 + Ki TO lEDOMO (2); itta keredomo; though he went.
1 + KOTO NAKARE (5) ; iku na, itte toa ike-nai ; go not ! do not go !
1 + KOTO naku(]m)ba (2); ika-nai naraha; if he does not go.
4 + KU (2) ; (iiuaku) iu ; he says.
6 + ku (2) ; yokide, yoku ; is good, well.
6 + ku(m)ba (2); ii naraha; if .... is good.
6 + ku mo (2); yokute mo; even if .... is good.
6 + KU SHITE (2); yokute; being good.
C + KU TO MO (2) ; yokute mo ; even if .... is good.
6 + M- Derived verb.
5 + Tmaji (3); ika-nai daro, ikumai; he probably, ^ • ^ i
^ ^ ^ ,_ iJJi conj. O and
will not go, should not go.
. .7 . 1 1 -1 , sometimes lu passives,
3 + rMAjiKi (1); itte wa ike-nai; that had better I ., ^ ...
*- ^ ^ Y these terminations are
^° ^°' . , . . . I added to Base 2 instead
3 + ^MAJIKU (2); ika-nai daro, i.'ciimai; he pro- f t>. . o
bably will not go.
4-1-MASfn (3); ikitai ; he wishes to go.
4 + :me (5); ikb, iku darb; he will (probably) go.
1 + MO (2) ; itte mo ; even if he goes.
4 + N (3, 1, 2) ; ikb, iku darb ; he will (proba^ )ly ) go.
3 + [na (3) : iku na ; go not ! do not go I
2 + naba (2); itta nara; if he went.
1+ NAKARE (5); iku na, i'te wa nara-nai ; go not 1 do not go!
1 + NAKU(m)ba (2); ika-nai naraha; if ho doe^ not go.
VOLUME IV. THE LITERARY STYLE. (APPENDIX).
+ NAKU Ni (2); ika-nai no ni ; if he does not even go.
4- NAN (3) ; ihtt daro ; he will probably go.
+ NAN (3); [expresses hope,]
+ XAiiABA (2) ; ikv. naraba ; if he goes.
+ XAiiAX (3, 1); ikic daro; he will (probably) go.
-}-NAREBA (2): itta kara, iku to; as, since, he "went.
+ XARI (3); iki(, iku no desic; he goes.
+ NARU (1) ; iku ; tliat goes.
+ NARU BESHI (3) ; iku daro ; he will (probably) go.
+ NEBA (2) ; ika-nai kara ; as, since, he does not go.
+ nedo(mo) (2); ika-nai keredomo; though he does not go.
+ NI-KEREBA (2); ki'a kara; as, since, he came.
+ ni-keredo(mo) (2j ; kita keredomo; though he came.
+ NI-KERI (3); kita; he came.
-fxi-KERU (1); kita; that came.
+ X TO SURU (1); iko to suru; to be about to go.
+ XU (3); itta; he went.
+ NU (1) ; ika-nai ; that does not go.
+ NU BESHI (3); itta daro; he Would have gone.
-fxu NARI (3); ika-nai; he does not go.
J + XUREBA (2); itta kara; as, since, he went.
J + NURU (1); itta; that went.
J + ORA-XU (1); yonde i-nii ; that is not reading.
J + ORA-ZAEAN (3, 1, 2) ; yonde i-nai daro; he will (probably) not be reading.
2 + ORA-ZARiKi (3); yonde i-nakatta; he was not reading.
2 + ORA-ZARlSHl (1): yonde i-nakatta; that was not reading.
2 + ORA-ZARD (1); yonde i-nai; that is not reading.
2 + ORA-ZU (3, 2) ; yonde i-nai, yonde i-nakute ; he is not reading.
2 + ORERi (3) ; yonde ita ; he was reading.
2 + ORERU (1); yonde ita; that was reading.
2 + ORl (3); yonde iru; he is reading.
2 + ORiKi (3); yonde ita; he was reading.
2 + ORlSHl ^1); yonde ita; that was reading.
2 + ORU (]); yonde iru; that is reading.
2 + ORU NAR.\:^ (3, 1, 2) ; yoiule iru daro ; he will (probably) be reading.
2 + o\VARAN (3, 1, 2); yonde shimau daro; he will (probably) have read.
2 + ov.'ARA-ZARAN (3, 3 , 2) ; yonde shimaiva-nai daro; he will (probably) not
have read.
6 JArANJiJSE 1UJ.\D1N(t bOli BECilNKEBS.
2 + o\YAiJA-ZAitu BESHI (o) ; yoiuk sJiimaiva-nai darv ; he Avill not iia
read.
12 + OWARA-ZAUU N\i:vx (3, 1, 2); yonde sldmaica-nai daro; lie will not lia.
read.
2 + owAiiu BESHI (o) ; yonde shimau daro ; he Avill have read.
2 + owAiiU NABAN (3, 1, 2) ; yojide sMmau daro; ho will have read.
5 + BAKU (2j ; (omoeraku) omotta ; I thought.
3 + [ban (3, 1, 2); ilcu daro; he will (probably) go.
4 + BABE. In E, I, O, Us, Uz, Uk, Ua, Uh, part of Passive ; bsises : 1 rarur
2 ra7'€, 3 raru, 4 rare, 5 rarure.
4 + BABEYO (3) ; (E, I, O, Us, Uz, Uk, Ua, Uh) ; oshiete hvdasai ; plea; I
teach.
4 + BABU. In E, I, O, Us, Uz, Uk, Ua, Uh, part of Passive ; bases : 1 rarur
2 rare, 3 raru, 4 rare, 5 rartire.
3 4- [bashi (3) ; ihu-rasliii ; appears to be going.
4 + BE. In A, Ur, Un, part of Passive; bases: 1 ruru, 2 re, 3 ru, 4 r
5 rure.
4 + BEYO (3) ; (A, Ur, Un) ; yonde Iciidasal ; please read.
5 + [ri (3); (A, Ur, Un, Us, Uz) ; Via; lie went.
44-RU. lu A, Ur, Un, part of Passive; basas : 1 ruru, 2 re, 3 ru, 4 r<
5 rure.
5 + [bu (1) ; (A Ur, Un, Us, Uz) ; itta ; that went.
5 + [bu nab an (3, 1, 2); (A, Ur, Un, Us, Uz) ; itta daro; he probably wenl
5 + [ru nabi (3) ; (A, Ur, Un, Us, Uz) ; itta ; he went.
5 + [bu nabu BESHI (3); (A, Ur, Un, Us, Uz) ; sldtte iru hazu daro; ho n
dou])t knows.
4 + SA- In E, I, Us, Uz, Uk, Ua, Uh, part of Causative; bases: I sasurt
2 sase, 3 sasu, 4 sase, 5 sasure.
4 + SE. In A, Ur, Uj>, part of Causative; bases: 1 suru, 2 se, 3 su, 4 s<
5 sure.
2 + SEBA (2) ; sldtta naraha ; if he had known.
4 + SESHl- In eonj. O, part of Causjitive ; bases: 1 scshimurn, 2 seshim'
3 sesJdmu, 4 seshime, 5 seshimure. Seshi is also the past of siiru; ii m;i
be found after Base 2 with which it forms a quasi-eompomid.
6 + Sin (3); yoi ; good. When the adjective fomidatiou ends in ahi ; th
termination shi is omitted, so as to avoid the double shi ; in these c;u;e
the adjective foundation itself, without any termination, is ustul eoui-lu
sively.
VOLUME IV. THE LITERARY STYLE. (APrENDIX).
In verbs As, tli9
ordiuary Base 2
2 + [SHI (1); itla; that went W^ ^,^^,^^ ,^^^ ^^^^
2 + [sHiKABA (2); it'a Jcara; as, since, lie Avent. L^.^^^^^^.^ j^^^^ o jg
2 + [sHiKVD0(M0) (2); ifta Jceredomo; though heK^^^^ i^sedmstead of
^®^*- the altenritive.
2-f[^SHi MO ("2); lY/e ?y«o ; even if he went. )
4 + SHi:j:e1 In A, E, I, O, Us, Uz, Uk, Ua, Uh, pa.-t of Causative; bases
i-i-SHiMu) 1 shimuru, 2 sJiime, 3 shiniu, 4 sliim'^, 5 shimure.
2 4- [[SHi NARABA (2) ; itta naraba ; if he had gone
2-f j[SHi XAEAN (3, 1, 2) ; itta daro; he probably went.
2 + [^SHI NAiiEBA (2) ; itta Jcara ; as, since, he went.
2 -!-[SHi naredo(mo) (2); itta no da keredomo; though he went^is oftju used in-
2 + [^SHi NAEI (3); itta no da; he went. stead of the al-
2-f[^SHi NARU BEsm (3) ; itta no daro; he probably went. temative.
2 + [SHi TO lEDOMo (2) ; itta Jceredomo ; thoiigh he went. I
4-'-sc In A, Ur, Un, part of Causative; bases: 1 sum, 2 se, 3 su, 4 se,
•3 sure.
2 + TAKARIKI (3) ; ikitakatta ; he wished to go.
2 -!- TAKARISHI (1) ; ikitakatta ; that wished to go.
2 + TAKEREBA (2) ; ikitai kara ; as, since, he wished to go.
2 4- takeredo(mo) (2) ; ikitai keredomo ; though he wishes to go.
2 + TAKi (1); ikitai; that wishes to go.
2 + TAKU (2); ikitakute; he wishes to go.
2 + TARABA (2) ; iku naraha ; if he had goue.
2+TARAN (3, 1, 2); itta daro; he probably went.
2 + TARAN NI WA (2); itta daro naraha; if he had gone.
2 + TARA-zu (3) ; nite i-nai ; is not like.
2 H- TAREBA (2) ; itta kara ; as, since, lie went.
2 + TAREDO(mo) (2); itta keredomo; though he went.
2 + TARI (3) ; itta ; he went.
2 + tarikereba (2); itta kara; as, since, he went.
24-TARiKi (3); itta; he went.
2 + TARisin (1) ; it!a ; that went.
2 + TARISHIKABA (2) ; itta kara ; as, since, he went.
2 4- tarishikado(mo) (2); itta keredomo; though he wenl.
2+TARiSin NARAN (3, 1, 2); itta no dattaro; he would have gone.
2 + TARI TO lEDOMO (2); ittu no da keredomo; though he went.
2 -I- TARU (1) ; it'a ; that went.
2 + TARU BESHI (3); it'a daro; he probably went.
JAPANESE REAI ING FOR BEGINNERS.
2+TAUU KOTO NAKAWKI (3) J itta koto jva nakatta; lie had not gone.
2 + TARU KOTO NAKARISHI (1); itta koto iva nakatta; that had not gone.
24-TARU NARAN (o, 1, 2); ifta no daro; he probably M-out.
2 -f TARU NAPJ (3) ; itta no da ; he went.
2+TARU NARU BESHI (3); itta no daro; he probably went.
2+TASTii (3); ikitai; he wishes to go.
2 + TASHi TO lEDOMO (2); ikitai no de am keredomo; though he wishes to go
2 + TE (2); itte; (by) going; (by) having gone.
2 4- TE MO (2) ; itte mo ; even if he goes.
3 4- TO lEDOMO (2) ; iku keredomo ; though he goes.
3 + TOMO (2) ; itte mo ; though he goes.
2 + TSU (3); itta; he went.
2 + TSU .... 2 + TSU (3); ittarl modo'tari; going and returning (repeatedly)
2 + TSU BESHI (3); itta daro; he will have gone.
2 + TSURU (1) ; itta ; that went.
2 + TSUTSU (2) ; iki nxxgara ; while going.
2 4-TSUTSU ARI (3); yonde iru; he is reading.
2 + TSUTSU ARU (1); yonde iru; that is reading.
(3 + u (not Fu). U after an adjective foundation is equivalent to ku ; chikat
shite = chikaku sJdte. U after a verb foundation is equivalent to hi ; tsiikai
matsureru = tsiikai mafsureru.
5 + YA (3) ; iki nasai ; go I
4^Y0 (3); (E, I, O, Us, Uz, Uk, Ua, Uh) ; oshiero; teach I
4 + ZARABA (2); ika-nai naraha; if he does not go.
•ifZARAN (3, 1); ika-nai daro; he will (probably) not go.
4 + ZARASHiM- Negative Causative.
4 + ZARE (5); iku na; go not I do not go I
4 + ZAREBA (2 ; ika-nai kara; as, since, he does not go.
4 + ZAiiEDo(MO) (2) ; ika-nai keredomo ; though he doss not go.
4 + ZARIKEN (3, 1, 2) ; ika-nakatta daro ; ho probably did not go.
4 + ZARIKEKEBA (2) ; ika-nakatta kara ; as, since, he did not go.
4-t-ZARiKEREDo(MO) (2); ika-nakatta keredomo; though ho did not go.
4 + z VRIKERI (3) ; ika-nakatta ; ho did not go.
1 + ZARiKERU (1); ika-nakatta; that did not go.
•i 4- Z.VRIKI (3) ; ika-nakatta ; ho did not go.
-i f ZARIKI TO IKDOMO (2) ; ika-nakatta keredomo ; though lie did not go.
4 + ZARISEBA (2) ; ika-nakatta naraha ; if ho had not gone.
4 f ZAUisiii (1); ika-nakatta; that did not go.
VOLUME IV. THE LITERARY STYLE. (API'ENDIX). 9
4 + ZARISHIKABA (2); ilca-nokatta Jcara ; as, since, lia did not go.
4 + zarishikado(mo) (2); ika-nakatta keredorno ; though he did not go.
4 + ZARlSHi MO (2); ika-nakatta keredorno; though he did not go.
44-ZARiSHi NARABA (2); ika-nakatta naraha: if he had not gone.
4 + ZARISHI NARAN (3, 1, 2) ; ika-nakatta daro ; he probably did not go.
4-l-ZARlSHi naredo(mo) (2); ika-nakatta no de aru keredorno; though he did
not go.
4 + ZARISHI Nl YOTTE (2) ,' mi-nokatta kara ; as he did not see.
4 + ZARISHI TO lEDOMO (2); ika-nakatta keredorno; though he did not go.
44-ZARU (1); ika-nai; that does not go.
4 + ZARU BEKARA-zu (3); ^ka-nakereba nara-nai; he must go.
4 4-ZARU BEKI NARI (3); ika-uai hazu da; he should not go.
4 + ZARU BESHI (3) ; ika-'kai daro ; he will probably not go.
4-f^ZARU MO (2); ika-nai. ga; he does not go but.
44-ZARU NARAN (3, 1, 2)-; ika-nai daro; he will probably not go.
4 -f ZARU NARI (3) ; ika-nai no da ; he does not go. '
4 + ZARU NARU BESHI (3) J ika-nai no daro; he will probiably not go.
4 + ZARU NASHi (3); ika-ikii koto lua nai; he goes s(bmetimes ; ika-nai {tokoro)
wa nai; he has beeq to all (those places). i
4 4- ZARU YUE (2) ; ika-nai kara ; as, since, he does inot go.
4 + zu (3, 2) : ika-nai, iku-nakute ; he does not go ; | (by) not going ; (by) not
having gone. j I
4-|-zu(m)ba (2); ika-nai naraha; if he does not go.;
4 + ZUMBA ARU BEKARA-ZU (3) ; ika-ndkereba nara-nai ; he must go.
4 + zu SHITE (2) ; ika-nakide ; (by) not going, (by) not having gone.
4 -f zu TO lEDOMO (2) ; iJ^a-nai keredorno ; though he does not go.
4 + zu TO MO (2) ; ika-nakute mo ; even if he does not go.
APPENDIX IL
In the following Tables, the common verbal and adjective terminations
are grouped according to tenses. Too much reliance, however, must not be
placed on the grouping given, on the names applied to the groups (present,
past, etc.), or on the translations. These Tables only give a rough idea of
the subject.
10
JAPANESE READING FOR BEGINNERS.
AFFIRMATIVE
1. Homuru (1)
3. Ilomu (3)
5. Homure (5)
1. Homuru nari (3)
4. Home-ZARU NASHI (3)
2. homeTARU (1)
2. bomeTARI (3)
2. homeTARU NARI (3)
2. home[SHl (1}
2. liomeKi (3)
2. liome[SHi NARI (3)
2. homeTARiSHi(l)
2. homeTARlKl (3)
2. home-NU (3)
2. home itari (3)
5. (A, Us, Un) yuke[RU
(1)
5 „ „ „ yuke[Ri
(3)
5 „ „ „ yuke[RU
NARI (3)
4. homeN (1, 3)
4. horaeME (5)
1. homuru NARAN (1,3)
2. homeSHi NARAN (1, 3)
2. homeKEN (1, 3)
5 (A, Ur, Un) yuke (3)
4 (E, I, O, Us, Uk, Ua,
Uli) homeYO (3)
VERBS
Indicative Present
praises, is praising
Indicative Fast
praised, has praised,
had praised, was prais-
ing
Probable Present
probably praises, "will
probably praise
Probable Past
probably praised
Imperative
praise
NEGATIVE
home-NU (1)
home-ZARU (1)
home-zu (3)
4 home-ZARiSHl (1)
4 home-zARiKi (3)
2 home-TARA-zu (3)
4 home-Ji (3)
4 home-ZARAN (1, 3)
3 homu [maji (3)
1 homuru koto
NAKARE (3)
VOLUME IV. THE LITERARY STYLE. (APPENDIX).
11
2 home (2)
2 homeTE (2)
4 homeBA (2)
5 homureBA (2)
2 home[SHiKABA (2)
1 liomuru NAREBA (2)
2 homeTAiiEBA (2)
2 home ITAREBA (2)
5 liomiireDOMO (2)
3 homu TO lEDOMO (2)
3 liomu TO MO (2)
1 ho muni MO (2)
2 homeTE MO (2)
2 homeTAREDOMO (2)
2 home[sHiKAD0MO (2)
2 home-TSUTSU (2)
3 homu [eeki (1)
3 homu [BEKD (2)
3 homu [BESHI (3)
3 homu [BEKU MO (2)
3 homu [BEKEIIEBA (,2)
3 homu [beku(m)ba (2)
1 homuruNARU beshi 3)
4 home-ZARU bekara-
zu (2, 3)
2 homeXAKi (1)
2 homexASHi (3)
Indefinite
(by) praising, (by) hav-
ing praised
Hypothetical
if • • • • praise
Conditional
as, since praises,
praised, is praising, was
praising
Concessive
though, even if • •
praises, praised.
Concurrent
while • • • • is praising,
was praising
Potential
may, cau, should, would,
might, could, must
praise, is probably
praising
4 home-zu (2)
4 home-zu shite (2)
4 home-DE (2)
4 home-zu(M)BA (2)
1 homm'u KOTO
naku(m)ba (2)
4 home-zAREBA (2)
4 home-^REDOMo (2)
3 homu [BEKARA-ZU-
(2, B)
3 homu [BEKARA-ZARU
(1)
4 home-ZARU beshi (3)
Desiderative ^
wishes to praise
12
JAPANESE READING FOR BEGINNERS
ADJECTIVES
AFFIRMATIVE
6 shiroKi (1)
6 shirosHi (3)
A yoroshi (3)
6 shiroKERE (5)
6 sliiroKARiSHl (1)
6 shiroKARiKi (3)
6 shiroKARAN (3, 1)
6 shiroKU (2)
6 shiroKU shite (2)
6 sliiroKEREBA (2)
6 shiroKEREDOMO (2)
6 shiroKU mo (2)
6 shiroKU to mo (2)
6 shiroKARU beshi (3)
Present
white, is wliite
Past
wliite, was white
Probable Present
is probably white, will
be white
Indefinite
is white, being white
Conditional
as, since • • • is wliite
if is wliite
Concessive
though -is white,
even if • -is white,
Potential
may, should bo white
NEGATIVE
6 shiroKARA-zu (3)
i
6 shiroKARA-ZARlKi (3)
6 shiroKARA-ZU (2)
6 shirOKARA-ZAREDOMO •]
(2)ii
■
VOLUME IV. THE LIxEIlARY STYLE. (APPENDIX). 13
APPENDIX III
NOTES ON SOME
IMPORTANT WORDS AND AFFIXES
N. B. I— When we say n word is u'=!ecl after Bf»se 1, 2, etc., we refer not only to the base
itself, but also to the inflexions which behave syntactically like that base.
N. B. 11— Our object in presenting this list is to draw attention especially to those usages of
words which are proper to the literary style ; and we have frequently ignored entirely
those others which are also found in the colloquial, and with which we suj>pose the
student to be alrejidy farailiar.
ai, Base 2 of au, sometimes a mere ornamental prefix to verbs, with
ittle or no meaning. Ai-7iaru = naru; ai-sumu = sumu.
aida, used after Base 1.
3Iic1ii yuku aida ni amefureri. It rained while I was on the road.
Iku-man-nen no hisasliiki aida. Daring many thousand long years.
ani, used at the beginning of a rhetorical question, where a negative
reply is expected, "svith ya at the end.
Ani liakarau ya. Would anyone suppose so? (i. e. Of course no one would
have supposed so.)
aru, Ur, (^1 aru, 2 ari, 3 ari, aru], 4 ara, 5 are]). One of various verbs
which express the idea of to be : other verbs are Jiaheru, iru, nam, oru, shi-
karu, taru.
The negative adjective naki, q. v., is generally used instead of the
negative of aru.
Mukashi Kudara-no-Kawanari to iu nadakaki gakb ariki. In olden times
there was a famous painter called Kudara-no-Kawanari,
IcJii-nen ni wa ju-7ii-ka-getsu ari. There are twelve months in a year.
Aru yo deshi 7vo atsumete sJiomotsu no kogi ico nasliitari. On a certain
night liaving called together his pupils, he gave them a lecture from a book.
Nippon ica Ajia tairiku no higashl ni aru sJiima-guni nari. Japan is an
island-country situated to the east of the Asiatic continent.
asobasU, added tD Base 2 of a verb, as an honorific verbal suffix;
especially in the passive, asohasaruru.
ato (a-ta-fu). Ah. One way of expressing potentiality ; other ways are :
heki, hand, kanuru, majiki, uru. Ato is generally used in the negative.
14
JAPANESE BEADING FOR BE }INNER3
Is-sun saki omo mi-wakuru koto a'awa-zu. You could not see an inch iu
front of you.
Sometimes added directly to Base 1: y^thc (koto) atawa-zu, cannot go.
-ba, temiination added to Bases 4 and 5 of verbs, and Bases 2 and 5
of adjectives. Wheu added to zm (414) or to Base 2 of adjectives, it often
takes an m before the b, thus -zu{m)ba, ~hi(m)ba. After Bases 2 and 4 it
means if ; after Base 5 it means as, since ; however, this must not be taken
too strictly.
Matcki wo tsukuru tesu wo omotuaha ip-pon no matchi mo somatsu ni wa
tsukb bekara-zu. If we consider tlie amount of work that goes into the ma-
king of a match we shall see that we must not use a single match without
reason.
Kiri wa yoioaki ki nareba, zalmoku to shite wa mocJdirare-zu. As kiri
is a soft wood it cannot be used for buildiug purposes.
Sakura-ga-oka yori mi-oroseba, miyuru kagiri iva inina jinka nan. On
looking down from Sakura-ga-oka we see notliing but houses.
Kiri wa karuku shite, utsukushikereba, tsukue, tansu, nado ivo tsuktiru ni
mochiu. As kiri is a light wood aud is i^retty, it is used for making desks,
chests of drawers and suchlike things.
Ko7^e ivo shira-zu(m)ba. If he should not know this.
Jloshi haiaraku koto naku{in)ba. If I do not work.
bakari, used after Bases 1 aud 3.
Shinuru hakari ni omoi iri. I am thinking about it so deeply, I feel
like dying.
Nageka hakari nari. He does nothing but grieve.
-baya, used after Base 4, expresses desire or intention.
Kokoro aran hito ni misel)aya Tsu no kuni no Naniiua atari no ham no
keshiki wo. To the man with a heart I should like to show the springtime
scenery of the neighbourhood of Naniwa in tlie province of Tsu (i. e. Settsu).
Yukahaya to omou. I think T will go.
beki, an adjective witli the ordinary inflexions ((301 [heki, 2 [h'ku,
3 [hesM, 4 [leka, \beke'], 5 \l)ekere)), used after Base 3, it expresses potential-
ity, obligation, etc. See also : aid, kanb, kanuru, majiki, uru.
Karera wa yuku beki michi ni mayoitari. They lost their way.
T.Hutmshimu beki wa inshoku nari. Food is a thing about which we must
bo carcfal.
Matchi no seizo ni wa odorohi beki tesu no kakaru mono nari. Vou would
be surprised to know the amount of work that goes into the making of a match.
VOLUME IV. THE LITERAJIY STYLE. (APPENDIX). 15
Fuji-san iva icacja kuni dai-ichi no yama to iu hchu mushiro sekai-icJd no
melzan tomo slid su hesJii. Not oulj must wo consider Faji-san to be tlie finest
mountain in our couutiy, but we must also call it the most famous mountain
iu tiie world.
Nimotsii ivo tori ni Icitaru besJii. Come for the luggage.
Haydku inete, hayaku ohu heshi. Go to bed early and get up early.
Shintai wa seiketsu ni su beshi. Keep your body clean.
Shokumotsu tva yoku kami-konasu hesJii. Masticate yom' food tliorougblj.
Tahako tvo nomu bekara-zu. Smoking is forbidden.
Matclii wo tsukuru tesu ivo omoiodba ip-pon no matcJii mo somafsu ni iva
tsukb bekara-zu. If we consider the amount of work that goes into the ma-
king of a match, we shall see that we must not use a single match without
reason.
Toki to baai to ni yorite icaro bekara-zaru koto ari. There are certain
occasions and circumstances in which we must not laugh.
Konniclii yori hataraku koto u'o yamu hekereha, sayb kokoroerare!ash' .
As we do not intend to work from today on, I wish you to consider your-
self as notified.
Waga ko moshi tasuku bekumha kore ivo tasukeyo. If my son is worthy
of help, please help him.
Yuka-zumba aru bekara-zu. You cannot but go. You must go.
Onwe no fusokit wo sJdra-zumha ant bekara-zu. One must not fail to
know one's own deficiences.
dani, used after Bases 1 and 2.
Ima wa mini dani kataku aru kana. How difficult it is now for me to
see you.
Sore wo mite dani kaerinan. I W'ill return after seeing that at any rate
(having expected more).
-de, used after Base 4.
Fudi mo tora-de slii-go-nichi sugitari. Four or five days passed without
his taking a brush in his hand.
Fukaki kokoro wo sldra-de ai-gatasld. It is impossible to meet him with-
out knowing the depth of his heart.
-do, often followed by mo, used after Base 5.
Sldo ica yama yori mo izuredomo, waga kuni nite tva umi no mizu yor^
tsukuru. Although (in other countries) salt comes from mines, in Japan it
is made out of sea-water.
Hokkoku ni sumu no-usagi tva sono ke-iro kare-ha no iro to onajikeredo-
16
JAPANESE READING FOR BEGINTsERS.
mo, yiiki no furu I'oro to nareha, mattaku hakushoku ni henzu. As for the hares
that are found in the nortli their fur is the colour of withered leaves ; how-
ever, when winter comes and snow covers the ground, the colour changes
completely to white.
furu, to pass, is irregular (Uh) only in the sense that it has no founda-
tion or immovable part ; (1 furu, 2 he, 3 fu, 4 7ie, 5 fure).
ga, used after Base 1 ; is postposition or conjunction.
Fumi ico yomu ga uclii ni tomo kitareri. While he was reading tlie
letter his friend came.
Kore seJcai no maruki ga tame nari. This is on account of the earth
being round.
Hokiiclii u-a go-sai no tokl mekura to narisJii ga, hito ni shomotsu ivo yo~
mase kore wo kikite henkyb sJdtari. When Hokiichi was five years old he lost
tlie use of his eyesight ; however, he got people to read books to him, and
by listening he managed to study.
goto ni, used after Base 1.
Hana saku goto ni miru. I always go to see the flowers in bloom.
gotoki, (fl gotoki, 2 gotoku, 3 gotosM, 4 gotoke'^, used after noim follow-
ed by no or after Base 1 generally followed by ga.
Igirisu tea ivaga Teikoku no gotoki sJdma-guni nari, England (Great
Britain), like our own Empire, is an island.
Atsuki cJdho no sJdro-ari wa ko-yama no gotoki su ivo tsukuru. The white
ants of hot countries make nests like little hills.
Nikkb, kuki no gotoki wa hito no seimei wo tamotsu ni hitsuyb nari. Sun-
light, air and suchlike tilings are necessary for the preservation of human
life.
It
Nikkb lua kuki no gotoku hito no seimei too tamotsu ni hitsuyb nari. Sim- i
light, like air, is necessary for the preservation of human life. -.
Is-son wa ik-ka no gotoku icagb su. Tlie whole village lives in harmony |
like a single family. I
Tora wa neko no gotoku ki ni nohoru koto loo u. The tiger, like the cat, ^
is good at climbing trees. i
Umi no shizuka 7mru koto kagami no gotoshi. The calmness of the sea i
is like a mirror. }
Kakti no go'oshito shiraha nan zo yahuren. If I had known things were ^
like that I would never have been defeated.
Seito wo aisuru koto ko no gotoku, seito mo )iiata kbchb wo shito koto ,
chichi no gotoshi. The headmaster loves his pupils as if they wore his chil- j
J
I
I
VOLUME IV. THE LITERARY STYLE. (APPENDIX). 17
dren : the pupils on their part are as fond of him as if he were their
father.
Nani ka fuJio no shimmon am ga gotoku iu mono ari. Some speak as
though there were au illegal inquiry.
Naki ga gotoshi. As though there were nothing.
Seisho nl sliirusM-sld (As, 241) gotoku. As Scriptm-e says.
haberu, Ur, ^l haberu, 2 Jiaberi, 3 Jiaberi, haheru], 4 habera, 5 habere}.
One of various verbs which express the idea of to be ; other verbs are : aru,
iru, nam, oru, shikaru, taric.
Ikade ka yo ni liaberan ? How shall I remain in this world ?
hajimete (t^m, 202) sometimes a mere adverb, ' for the first time. '
hodo, used after Base 1.
Miru hodo no koto nashi. It's not a thing one would look at.
Oyuru hodo sakan ni nam. The older he gets the stronger he becomes.
Inu iva abara-bone no kazoeraruru hodo yase-hosoritarit mono ari. Some
dogs are so thin you can count their ribs.
inuru, to go, leave; irregular verb (Un).
irai, used after Base 1.
Shinshiki no kikai ivo mochiishi irai sanshutsu daka ichijirushiku zoka shi-
tari. After the introduction of modem machinery the output greatly in-
creased,
iru, O, ((1 iru, 2 i, 3 iru, 4 i, 5 ire}, used independently, and in tliis
case practically interchangeable with oru; or after Base 2 forming a quasi-
compound. One of various verbs which express the idea of to be ; other
verbs are ; aru., haberu, nam, one, shikaru, taru,
Hataraki-bachi no zvakaki mono ica uchi ni ite ybchu ico soJafsu. The
young workers among the bees remain in the hive and attend to tlie rearing
of the larvae.
Hoshi ni yorite liogaku loo mi-sadamicru koto luo shlri itareba, sore ivo
tayori^ni shinko seri. He knew how to get his bearings by the position,a
of the stars, so guiding himself by them he went ahead.
Itoba lua shoji no yahure ico tsukuroi itari. The old lady was mending
the torn places in the shoji.
Iru may often be omitted when translating.
Yokohama ni iru gaikokujin, the foreigners (dwelling) in Yokohama.
itaru, Ar. The meaning of itaru is somewhat similar to that of oyobu.
Densha nite Kudan-zdka no y,e ni itaru. By electric-car we reach the
top of Kudan-zaka.
18 JAPANESE READING FOR BEGINNERS.
Kijujb ni itardxi shibaraku ante kano rojin kitareri. He arrived at the i
b itlgo and after waiting some time the old man came. j
Yodoiiawa wa Osaka ni itarite umi ni sosogu. The river Yodogawa after \
reacliing Osaka, ilows into the sea. '^
Shokun tua mina kaette hirusJiimu ni iiareri. On the contrary, all of you i
have become sufferers. t
Kin-nen iva kikokl mo sJddai ni shiyo seraruru ni itareri. In recent years *
aeroplanes have also come into use. ►
^ _ ^ J]
ShcQi ni shinobisJd ica nocJii taiko ivo tatsuru ni itarisld yuen nari. The '
bearing patiently of small things is the cause that made Hm able later to i
perform great deeds. J
Tsid ni konnicJd no seidai ivo nfiiru ni itareri. At last we are able ta jj
contemplate the prosperity of the present day. *
iwan ya, has an exclamatory force ; it is used at the beginning of a '
clause, with ni oite too ya at the end. It may be translated by ' how much ^
more ' or ' how much less '. f
. . .... *
Jiji wo kataru mo nao katsu gakusha no liomhun ni ara-zu ; iican ya jiji |
li'o okonau ni oite wo ya ! Even to discourse on passing events is not the *
proper occupation of a scholar ; how much less is it for him to direct pasa |
ing events. |
-ji, termination added to Base 4.
Mukae ide-ji to omoite. Thinking he would not go out to meet him.
Ko7i ya, ko-ji ya? Will he come or will he not?
ka, used after Base 1. Wlien ka occurs in a sentence the coiTespondiug
verb or adjective is generally put in the attributive form. Base 1.
Kono Into ni ko aru ka, naki ka ? Has this man cliildreu or not ?
Nani wo ka nasu beki? AVhat shall I do?
When after a genmd, ka means * doubtless because '.
Kare wa kanzuru tokoro arite ka, jishoku seri. Doubtless for some good
reason, he has resigned his position.
Ka followed by ica at the end of a sentence expresses a merely rhetorical
question.
SJdka nomi ka wa. Is it only so ? (i. e. Of course it is not only so.)
kakaru adjective and kakute adverb, are contractions of kaku aru and
kakn arite.
kaki. Base 2 of kakii, sometimes a mere om;.meatal pretix to v«rl>8,
with little or no meaning. Kaki-kiimorii = kwnoru; kaki-kesit = kesu.
kana, used only after Base 1 ; so if found at the «'nd of a stmtouoo tlia
YOLUME IV. THE LITERARY STYLE. (APPENDIX). 19
preceding verb or adjective must be in tlie attributive form.
OsorosTiiki Jcana 1 How dreadful !
Toku tahuru kana ! What an appetite I
kanO) (ka-na-fii), Ala. One way of expressing potentiality ; other ways
are : ato, beJci, Tcanuru, majiki, uru. Kano is generally used in the negative.
Yuku koto kanawa-zu. I can't go.
kanuru, suffixed to Base 2, expresses impossibility. Other ways of ex-
pressing potentially are : aid, beki, kano, majiki, uru.
Yuki-kanuru. He cannot go.
kara, used after Base 1.
OsJdmu kara koisJdki mono wo. "Whereas it is after we regret things
that they are dear to us.
Kaze no fukislii kara. After the wind blew.
Hototogisu mada naka-nu kara. As the cuckoo has not yet sung.
Torisld kara ni. Since he took it.
-ke, see shi,
-keru, inflected termination added to Base 2, ((231 keru, 2 keri, 3 keri,
keru], 4 kera, 5 kei-e]), indicates past ; other inflected terminations with past
meaning are : -nuru, -ru, -shi, -tarn, -tsuru. Keru is derived from ki aru,
which, contracted to keru, was an old past tense of kwu : see -ru.
Hana zo mukasJd no ka ni nioi-keru. (Men's hearts change but) flowers
have the same scent they had of old.
Hana loa saki-keri. The flowers have at length opened.
-ki, see sld.
kit am, originally past of kuru, but now used as an independent regular
verb, Ar. It often takes the place of kwu.
koro. used after Base 1.
Hana no saku koro. When the flowers are in bloom.
k0S9, used after Bases 1 and 2 ; an empliatic particle. When koso occurs
in a sentence, the sentence must end in Base 5.
Kore koso tama nare. It is tliis and this only which is the jewel,
Yorozu no yamai iva sake yori koso okore. It is strong drink alone from
which all diseases spring.
Yone koso yokere. It is rice and nothing but rice which is good.
Yuku koso yokere. To go would be the thicg to do.
Yidci koso sure. I certainly will go.
Yukite koso mime (405). I'll go and see for myself.
Masame ni kimi wo ai-miieba koso, ivaga koi yamame. (405). Not until
20 JAi''^ ESE HEADING FOE liEGINNERS.
I liave seeu you face to face Avill my lougiug cease.
Occasionally Tioso is found at the end of a sentence, and then the verb
s
or adjective is not affected. ■
Makoto ni aramnhoshiki koto ni koso. Ah I it is indeed a thing one would ?
like to see happen. ?
kotonaru, to differ ; irregular verb, Ur. '
-ku, added to Base 4 of certain verbs, serves to introduce quotations, i
It has a present meaning. Iivaku • • • • I say : • • • • Negaivaku ■ ■ • ■ I pray : • • ^
See also -raku. 3
kuru, to come ; irregular verb, Uk ; frequently supplanted by kitaru, Ar. i
made, used after Base 1. i
Karasu no atama sMroku naru made. Until the crow's head changes to :
white (i. e. never).
31ichi mo naki made. So far, that no road was any longer distinguish-
able. }
maej used after Base 1. '
3Ioyd wa uicagiLSuri loo kakuru mae ni eyaku. The design i:^ painted
before applying the glaze (on porcelain).
majiki, an adjective with inflexions like a special adjective, A.
d'oll [majiki, 2 [majiku, ?> [mqji, 4 [majika, [majikel, 5 [majikere^, used after
Base 3 in most cases ; in conjugation O and in some passive verbs sometimes
used after Bjise 2. Majiki is negative probable or negative potential ;
other words which express potentiality are, ato, held, kano, kanuru, iiru.
Tsukb beki tokoro to tsuko majiki tokoro to an. There are places where
it ought to be used and places where it ought not.
Toslii chojite wa teki mo cMkazuke mbsu maji. When I grow up the
enemy will not allow me to approach.
Kakaru koto iva su majiki koto nari. This ia a thing that should not
be done.
Migi no fori ainaru majiku ya? May it not be carried out as stated
above ?
Scmo tori negaware majiku ya ? May I not beg to have it so ?
3Ii maji. AVill not see.
makari, Base 2 of makaru, sometimes a mere oruameutal prefix to verbs,
with little or no meaning. Makari-deru = deru\ makari-sumu — sumu.
-mashi, used after Base 4 ; found principally in poetry.
Sono toki kikaba yukite mimashi mono. Had I then heard of it I would
have gone and seen it.
VOLUME IV. THE LITERARY STYLE. (APPENDIX). 21
-masu, inflected termination added to Base 2, very common in tlie
colloquial and also used occasionally in the literary style, f261 masu,
2 masJii, mase], 3 masu, 4 mase, 5 masure, mase]]). An honorific.
Shu wa kimaseri. The Lord has come.
matsuru, added to Base 2 as an honorific verbal sufiix.
-mbi, see -ha.
-me, see -n.
mo, used after Bases 1, 2, 3 and 5.
Jitensha no ryb-rin ga zengo ni naraberu mo mata sama kaicareri. A
bicycle, in which one wheel is behind the other, is another kind (of vehicle).
Yuku mo, kaeru mo icakarete mo. To go, to return or to part with.
3Io is sometimes used expletively between the two members of a com-
pound verb.
Ji mo oicara-zu. Not even finishing what he was saying.
Mo .is preceded sometimes by slii a meaningless expletive, and the com-
bination sarv'es to limit a negative, thus : Kanarazu kitara-zu, he certainly
will not come ; but Kanarazu shi mo kitara-zu, he is not cei-tain to come.
motte at the beginning of a clause means ' and thus '.
Gundan wo moke, motte kokka wo hogo su. We raise troops to protect
our native land.
You also meet : hanahada motte very, and ima motte down to the present
See also luo motte.
mu, see following.
-n, sometimes written mu, inflected termination added to Base 4,
^401 \n or mu, 2 [n or mu, 3 [n or mu, 4-, 5 we)); expresses probability
or future, these are also expressed by the inflected termination -ran. N may
also give the verb the force of a subjunctive or optative mood.
Shokuji oiuarishi nocld ni sampo sen. After dinner let's go for a walk.
KasJdra no hone no kabaki wa no luo mamoran ga tame nari. The bones
of the head are hard so that they may protect the brain.
Yukite koso mime. I'll go and I'll see for myself.
The inflexion in -n, followed by to sum, denotes intention, or being on
the point of performing an action.
Yukan to sum. To be about to go.
Sen to sum. To be about to do.
na, nsi'd after Base 3, (alternative Base, if there is one); negative im-
jxjrative. See also -num.
Sore wo S7i na. Don't do that.
.J2 JAPANESE HEADING FOR BEGINNERS.
Kono oslde wo wasuru na. Don't forget this lessou.
nagara, used after Base 2.
Mcfihi too kui nagara hanasu. To apeak Avliile one is eating.
nakare, (11^ 495, olO), imperative of naki See following.
naki, an adjective with the ordinary inflexions, ((111 naki, 2 naku, 3 na-
shi, 4: naka, nake], 5 nakere]), used independently and after Base 1.
Blidd mo naki made. So far, that no road was any longer distinguishable.
Bliru Jiodo no koto naslii. It's not a thing one would look at.
Wasururu nakumha. If he does not forget.
Odoroku nakare (114, 495, 510). Uon't be surprised.
-naku, used after Base 4 ; equivalent to the negative -nu of which it is
an amplification. See also naki.
Sore wo shira-naku. I don't know that.
Matsu no yuki dani kie-naku ni. Though the snow on the pine-trees has
not yet thawed.
-nan, or namu, used after Bases 4 (hope) and 2 (future). After Base 2
it is in reality na-n (214, 403) ; see -num. \
Ima Idto-taLi no Miyuki matanan. It is hoping, no doubt, to receive |
once more a visit from the Emperor. -i
Kimi ga kokoro ivare ni tokenan. Would that I could imderstand 3'our |
heart. I
Fiine ni nori-nan to su. We made to go a^ay on board. ^
naru, Ur, ((101 nam, 2 nari, 3 nari, nam], 4 nara, 5 nare)j. Used inde-l
pendently and after Base 1 ; it is a contraction of ni ant. One of vaiioual
verbs which express the idea of to h^ ; other verbs are : am, haberu, iru,l
oru, shikaru, tarn. After Base 1 it is often merely ornamental. Nite, q. v., is
used for tlie gerund of naru instead of narite. After a noun naru sometimes
serves to form quasi-adjectives. Do not confound naru, to be, with naru, Ar,
to become ; naru to be, is never preceded b}' ni or to : naru to become,
generally is.
San-gatsu no hajime yori go-gatsu no oivari made wa haru nari. From ,
the beginning of March to the end of May it is spring.
Sldo to sato to tva taisetsu naru mono nari. Salt and sugar are important j
things. I
Kiri wa yaiuarakaku shite, yowaki ki nareba, ie wo tat»uru zairyo tc shi- *
te wa rnocJdirare-zu. As kiri is a soft wood without much strength, it can-
not be used for buikhng purposes.
Hako 7io aoto-gawa ni karni wo hari, sono ue wi kusuri tvo nuru tiari. Paper
VOLUME IV. THE LITERARY STYLE. (APPENDIX). 23
s pasted on the outside of the box, and on it is applied a chemical com-
oosition.
SIios7d wa aru ivaga guiikan no na wo sliireru nam heslii. I suppose you
know the names of some of our men-of-war.
MatcM no nakarislii muJcasJd wo omoi-idasti toki iva, sono benri nam ni
odorokamru nari. When one thinks of the old times when there were no
matches, one is impressed by their great convenience.
Nari after the conditional means ' it is because '.
Kare iva Eigo ni takumi nari, yoko shitareba nari. He speaks English
well because he has been abroad.
nasaru, added to Base 2 as an honorific verbal suffix.
-ne, see -nu.
ni, used after Bases 1 and 2. See also -num.
Xagasa wo Itokaru ni wa monosasld luo mocJiiu. For measuring the
length of things we use a foot-rule.
Shio ica mono no aji wo isukuru ni taisetsu nam mono nari. Salt is very
important for giving flavour to food.
Bydki no tame kare tva mattaku cliikara naki ni itareri. On account of
illness he has become very weak.
Yo no tem,pen no JianaJiadasJdki ni odoroku naran. You will be surprised
at the way things change in the world.
Yohi ni kitareri. He came to summon.
Ni oite ' in ', ' on ', ' at '; it often denotes what we should call the sub-
ject. Ni oite wa sometimes signifies ' in the event of ', ' if '.
Shina seifu ni oite kore loo shodaku se-zaru ni oite wa. If the Chinese
government should not consent.
Ni oite wo ya, see iioan ya.
Ni sldte, see shite.
Ni okeru ' in ', ' position in ', ' relations with ', ' compared with *.
Ei no Indo ni okeric ga gotoku. Like England's position in India.
Ni tsuki ' with reference to ', ' owing to ' : • . • ■ no gi ni tsuki, with re-
ference to the matter of • • • .
Ni yori, ni yotte ' owing to ', ' because of ', ' by means of ', ' according
to ' : rei ni yori, according to precedent ; kore ni yotte, on account of this.
nite, corresponds to de in colloquial ; and has like de two distinct uses.
(a) It is an ordinary postposition : Osaka nite at Osaka ; kore nite slum be-
shi, it may be hereby known, (b) It has an indefinite force at the end of
a clause serving as the gerund of nam to be, just as de in the colloquial
24 JAPANESE READING FOR liE.HNNERS.
serves instead of cle atte. Kashira ua Uto nite, karada wa uo nari, her head
is that of a humau being and her body that of a fish.
nOj used after Bases 1 and 2.
Miisubu no kami. The god of marriage.
Yukite no nocJii. After he went.
nochi, used after Bases 1 and 2.
Sliokiiji oiuarisid (241) nochi sampo sen. After dinner let's go for a walk.
Hakone yama wa funka ittan yamite (202) nochi, sono funkakd-dm ni sa-
ra ni yoftsu no funka-zan wo idaseri. After the (principal) eruption of Mount
Hakone, in the resulting crater, four other smaller volcanoes were formed.
nokorazu (Ar, 412) sometimes a mere adverb, ' without exception '.
nomi, used after Bases 1 and 2. About equivalent to bakari.
Nanji wa tada zashite ku nomi nite tvare-ra tea tsune ni isogashi. Tou
do nothing but sit about and eat while we are always busy.
Yoki nomi torn. To take only the good ones.
Kanashiku nomi omou. I am very sad.
Hi ivo taku iva uo loo atsumen ga tame nam nomi nara-zu mata u tea
hagemasu ip-po tari. The object of lighting the lire is not only to cause the
fish to collect together, it also serves to stimulate the cormorants.
After nomi the final verb nai'i is generally omitted.
Nani no nasu heki yd naku, tansoku sum nomi (nari). It caimot be helped
and all I can do is to sigh.
-nu, inflected termination added to Base 4, ^411 7iu, 2 zu, 3 zu, 4 zu,
5 ne)); it has a negative meaning. Negation is also expressed by the inflected
termination -zaru. Nu is also a form of -miru, q. v.
Hototogisu mada naka-nu kara. As the cuckoo has not yet sung.
li mo owara-zu (412) dekaketari. Witliout even finishing what he was
saying, he went out.
Kuri wa kataku shite, nagaku kiisara-zu (413). As walnut is hard, it does
not rot for a long time.
3Ioshi m,ymichi-ju ni mizu no aru tokoro ni tsnka-zuba (414, 4(X)) rakmla
wo korosu heshi. If we don't find some water tomorrow wo sliall have to
kill the camels.
Yoshino yama kasumi no oku wa sliiranedomo (415, 512) miyurn kagiii
wa sakrtra nari-keri. Though I know nothing of tlio remoter parts of Blount
Yoshino as they ai-e in a mist, what I do see is all covered with i'lu>rry-
})lossoms.
-nuru, inflected termination added to Base 2, ((211 nuru, 2 ni, 3 ««,
VOLUME IV. THE LITERARY STYLE. (APPENDIX). 25
4 na, 5 nure)), indicates past ; it is derived from inuru to go, leave. Other
inflected terminations with past meaning are : -Jceru, -ru, -shi, -taru, -tsuru.
Haru iva Jci-ni-keri (212, 233). Spring has at length arrived,
Kare wa 7ion-nen ju-go-sai ni nari-mt. (213). This year he is 15 years
of ac^e. (The nu in this example cannot be termination 411, as it is added
to liase 2, narl ; and also, because here it is conclusive, while 411 is attri-
butive).
Fune ni nori-nan (214, 403) to su. We made to go on board.
Oite, -^ is derived from the gerund of oJcu, g 1$ 11 okite, though written
now with a different character. It is a postposition, * in '. For ni oite. see
ni ; for ni oite tvo ya, see iwan ya.
oru, Ur, {1 oru, 2 ori, 3 ori, oru], 4 ora, 5 ore% used independently
and in this case practically interchangable with iru, q. v., or after Base 2
foi-ming a quasi-compound. One of various verbs which express the idea of
to be ; other verbs are : aru, haberu, iru nam, sWkaru, taru.
Suzume tea U no ue ni atsumari ori. The sparrows are collected to-
gether on that tree.
oyobu, Ab. The meaning of oyobu is somewhat similar to that of itaru.
Sugitarn tea oijoba-zaru ga gotoshi. To exceed is as bad as to be
wanting.
MitsuhacU wa icM-gun no sosH su-man ni oyobu mono ari. The total
number of bees in a colony is sometimes as high as several tens of thou-
sands.
Dogo iva Tennb no gyokb sU tamaishi koto su-kai ni oyoberi. The Em-
perors have deigned several times to visit the Dogo hot baths.
-ra, see -ru.
-raku, added to Base 5 of certain verbs serves to introduce quotations.
It has a past meaning. leraku 1 said Omoeraku 1 thought
See also -ku.
rame, see -ran.
ran, inflected termination added to Base 3, ((321 [ran, 2 [ran, 3 [ran,
4-, 5 [rame}. Expresses probability or future, these are also expressed by
tlie inflected termination -7i. Ran is from aran (Ur, 401), the future of aru
Hbrai to iuran yama. TJie moimtaiu called, if I mistake not, Horai.
Hagi ga hana cJiiruran. The hagi flowers will doubtless become scattered.
-raruru, inflected termination added to Base 4 of verbs E, I, O, Us,
Uk, Ua, Uh, ((441 raruru, 2 rare, 3 raru, 4 rare, 5 rarure}. The result is
a passive verb, conjugation E
26 JAPANESE READJNQ FOR BEGINNERS.
-rashiki, termmaiion with inflexions like a special adjective A, ((1 ra-
shiki, 2 rasJdku, 3 7'asJii, 4 rasMka, rasUke], 5 rashikere}. Added to nouns or
to Base 3 of verbs, (alternative Base if there is one), in order to form
adjectives ; when added to a verb it is only used in the conclusive, rashi.
Onna-rasMki liito. An effeminate man.
Haru sugite natsu kiiaru-rashi. Spring seems to have passed away and
summer to have come.
-re, see -rtt, also -ricru.
-ri, see -ric.
-ru, inflected termination ([501 [ru, 2 [?•^, 3 [ri, [ru], 4 [ra, 5 [re]), added
to Base 5 of verbs A, Ur, Un, Us, with a past meaning ; also ((491 ru,
2 H, 3 ri, ru], 4 ra, 5 re }), added to Base 4 of adjectives. This termination
-ru is derived from aru. In the case of verbs, -i aru became -eru ; thus yohi
arte was contracted to yoberu. In the case of adjectives, -kti aru became
-karu ; thus yoku aru was contracted to yokaru. Other inflected terminations
with a past meaning are : -keru, -nuru, -sM, -taru, -tsuru. Ru is also a
form of -ruru, q. v.
Inu wa nemureru toki mo hito no ashi-oto ico kikeba tadachi ni me loo sa-
masu. Even when a dog is asleep, when he hears a man's footsteps, he will
immediately wake up.
Fumi tvo yomu ga uchi ni tamo kitareri. While he was reading the
letter his friend came.
Kaku no gotohi benri naru mono tea yo ni sukimakaru heslii. There must
be only very few things in the world as convenient as that.
SasJiimo ni tsuyokarisJii (492, 241) Ezo mo tsui ni horohosaretari. Even
the powerful Ezo were at last defeated.
SJdo to satb nakereba, mono no aji iva iimakara-zu (494, 413). If we
had no s-alt or sugar, things would not taste nice.
Oku nomu koto nakare. Don't drink too much,
ruru, inflected termination added to Base 4 of verbs A, Ur, Un,
^431 ruru, 2 re, 3 ru, 4 re, 5 rurc)}. The result is a passive verb, conjugation E.
sae, used after Bases 1 and 2.
Miru sae osoroshiki sama nari. Even the sight of it. is enough to
frighten one.
saki, used after Base 1.
Kare-ra ga yoba-zarn saki ni ware kotaen. Before they call I will answer.
saraba, sareba, and saredomo, are contractions of sa arahi, sa areba,
und .sa arcdonio ■ they are conjunctions.
VOLUME IV. THE LITERARY STYLE. (APPENDIX). 27
saruru, incorrect passive of sum in the literary style ; but the corres-
ponding verb sareru is correct in the colloquial.
sashi, Base 2 of sasii, sometimes a mere ornamental prefix to verbs,
with little or no meaning. Sas]d-kakaru=kakaru ; sasJd-tdsu = tdsu.
-sasuru, inflected termination added to Base 4 of verbs E, I, Us, Uk,
Ua, Uh, (471 sasuru, 2 sase, 3 sasu, 4 sase, 5 sasure)). The result is a caus-
ative verb, conjugation E.
Se, see -sum.
-Seba, used after Base 2.
Yume to sTdriseba. If I had known it was a dream.
Sakura no nakariseha. If there were no cherry-blossoms.
-seshimuru, inflected termination added to Base 4 of verbs O,
^481 sesidmuru, 2 sesldme, 3 sesldmii, 4 sesJdme, 5 sesJdmtrre]). The result is a
causative verb, conjugation E.
-shi, inflected termination added to Base 2, ([241 [sJd, sld, 2 — , 3 ki,
4: ke, 5 [sJdka, sJdka]), indicates past ; other inflected terminations with past
meaning are : -kem, -nuru, -m, -taru, tsuru. In verbs As, the terminations
sJii and sldka are usually added to the alternative base, though, according
to grammarians, they should be added to the ordinary base.
Hokiicld wa go-sai no toki mekura to narisld ga" • ■ When Hokiichi was
five years old he lost the use of his eyesight, however* •••
Kaze no fukisJd kara. After the wind blew.
Koko wa Tokaido no isuro ni atarei^u ivo motte, mukasJd wa jimha wo
brai hanaJiada sakan nariki. As this was formerly the Tokaido road, there
used to be in olden times a great deal of traffic of men and horses.
Mukashi miyako qji wo neri-yukitarisld (222, 241) itoge no kuruma ica
ika ni yuhi nariken (244, 403). What a beautiful sight it must have been
in olden times to see the Imperial ox-cart slowly wending its way through
the streets of the capital.
Hokiicld iva issJdn ni henkyo sesJdkaba (245, 512), nocJd ni wa nadakaki
gakitsha to naritari. As Hokiichi studied most assiduously, he afterwards
became a famous scholar,
shiite (ly, 202) sometimes a mere adverb, ' urgently '.
-shika, see -sJd.
shikaredomo (Ur, 512) equivalent to a conjimction, ' however '.
shikaru, Ur, ^1 sJdkaru, 2 shikari, 3 sJdkari, sJdkarti], 4 sidkara, 5 sTd-
kare'j) ; a contraction of shika aru. One of various verbs which express the
idea of to be ; other verbs are : aru, haheru, iru, nam, oru, fam. The mean-
28 JAPANESE READING FOR BEGIN NERiJ.
ing of aJdkaru is, to be so, to be such. Shikaru ni, and shikaredomo are mere
coujunctious.
Hatashite sldkarL It is just as I expected,
Jltsu ni sldkaru ya, ina ya too shira-zu. We did not know whether it
was really so or not.
shi mo, soe mo.
-shimuru, inflected termination added to Base 4 of verbs A, E, I, O^
Us, Uk, Ua, Uh ((151 sUmuru, 2 sinme, 3 shimu, 4 sinme, 5 shimure}. The
result is a causative verb, conjugation E.
shinuru, irregular verb, Un. The colloquial form is sJd?iu.
shite, besides its ordinary use as the gerund of sum, it is used after
Base 2, especially after the ku of adjectives and the negative -zti (412). It
is also used after ni, to and rvo.
Kurl iva kafahu shite, nagaku kusara-zu. As walnut is hard, it does not
rot for a long time.
Me mie-zu sJdte, dai-gakusha to naritari. Although .he was blind he be-
came a great scholar.
Ni shite ' being ', ' as ', ' in the capacity of ' : Gaikoku-jin ni shite, as a
foreigner. Sometimes it must be translated by an adverb or adverbial
phrase : Saiwai ni sJdte, fortunately ; zanji ni shite, after a little while.
To shite * as ' : Sharei to shite, as a token of gratitude.
Wo shite, with a causative verb, serves to denote the person who is caused
to perform the action : Hei ivo shite kyoheki wo kizukashimu, he made the
soldiers build a parapet.
SOro, (sa-fu-ra-fu), added to Base 2 as au honorific verbal suffix. Now
used only in the. epistolary style.
-SU, see suru, and -sum.
sura, used after Bases 1 and 2.
suru, Us, ((1 sum, 2 shi, se], 3 su, 4 se, 5 sure, se])). This verb in its
original form, or in its nigori^ed form zuru, is very commonly added to the
on reading of a character, thus forming a verb. Occasionally it is added to
the krm reading. At the end of a sentence su, the conclusive form, i:^
occasionally dropped.
Tobun no uchi kyUgyo (su). Closed for the present.
See also shite and -n.
-suru, inflected termiuatiou added to Ba.so 4 of verbs A, I'l-, Uu,
((4G1 sum, 2 se, 3 su, 4 se, 5 sure)). The i-osult is a causative verb;
(ronjugation E.
VOLUME IV. I'HE IJTERAKV STYLE. (APPENDIX). 29
taezu (Ey, 412) sometimes a mere adverb, * coutinuously '.
-taki, termination with inflexions like an adjective, ((251 tdki, 2 taku,
?> (asJii, 4 taJca, take], 5 takere} ; it is added to Base 2 ; it expresses desire.
3Iis€faki e dekitari. I have painted a picture I wish to show you.
Tokyo e yukitasJd. I want to go to Tokyo.
tamo, (fa-ma-fu), added to Base 2 as an honorific verbal suffix.
taru, Ur, ^1 taru, 2 tari, 3 tari, ta^'u], 4 tay^a, 5 tare]). As an indepen-
dent verb it is the contraction of to aru ; it is one of various verbs wiiich
express the meaning of to be ; other verbs are ; aru, haheru, iru, nam, oru, shi-
kar7i. Taru is also a termination (221) added to Base 2 and inflected as
above : as a termination it is the contraction of te aru. It has a past mean-
ing : other inflected terminations with a past meaning are : -keru, -nunc, -ru,
-sJd, -tsuru.
Ko taru mono. One who is a child.
]Sunobiki no taki ica Kobe-shi suido no minamoto tari. The waterworks
of Kobe draw their water from the Nunobiki waterfall.
Gozen taru oto wo nasMte dangan ica, haretsu seri. The shell exploded
with a booming sound.
Dangan iva haretsu shite gozen, tariki. The shell exploding made a boom-
ing sound.
Imi tea ahara-hone no kazoeraruru hodo yase-hosoritaru mono ari. Some
dogs are so thin you can count their ribs.
Hito ni shomotsu U'O yomase, kore ico kikite benkyo shitari He got people
to read books to him and by listening he managed to study.
Su-sen-nen mo hetaran roboku oi-skigereri. Old trees, which had seen,
perhaps, thousands of years pass, were growing in large numbers.
Kinnen atarashiki minato mo naritareba, sangyo no hoitatsu ica kongo iyo-
iyo ichijirusMkaran. As a new harbour was constructed recently, the indus-
tries will no doubt greatly develop.
tatematsuru, added to Base 2 as an honorific verbal suffix.
-te, see -tsurn.
to, used after Base 3 or its equivalent, rarely after Base 2 ; it usually
serves to express one's thoughts or feelings, or to quote words.
Taiwan ica atsuki tochi nari to kiku. I hear that Taiwan is a hot place.
Inu tvo shite, senjo ni taoretaru heisli ivo sagasashimu to iu. It is said
that dogs can be trained to look for fallen soldiers.
Chichi tea kono o-nami ni nani tote yukaru beki to omoishi ga- > • -The
father thought how shall I manage to go there iu tliese big waves, how-
;5() JAPANESE KEVDING FOR BEGINNERS.
ever. . "(beki is 301, 110 ; i. e. Base 1 used conclusively after aa interrogative,
nani).
" Yawaraka nam mono mo ni-ju-shichi-do kame'^ to kotaetari. Masticate
oven soft things 27 times, he answered, (kame is 510 ; i. e. Base 5 used
conclusively as an imperative).
Ari to am. As many as there are.
See also sJiite and -;/.
to icdoino, used after Bases 1 and 3 ; also after nouns.
Yukishi to iedomo. Although he went.
Nanji cJiodai ni shite ken wo ohu to iedomo kokoro hanahada yoivasJii. Al-
though you have a big body and you wear a sword, nevertheless you are a
coward.
Biimmeikoku to iedomo, imada sono gai ico manukarum atawa-zu. Even
in civilized countries, (people) cannot escape its ravages.
tomo, used after Bases 1, 2, and o.
Tatoi ybjin kibishiku tomo, nagaki aida ni iva kanarazu iicJiitoru beki oH
ni de-o be^Jii. Even if he takes the greatest precautions some day or other
an opportunity of killing him is sure to present itself.
• • • - hu-aikyo nari tomo, sJdnjitsii no kokoro am mono ni sMka-zu. Even
though yoru* exterior should be imattractive it matters little so long as you
have a sincere heart.
tote, used after Base 3 or its equivalent. Tote is a contraction of
to iite, to omoite, or to toite.
" Mymiclii m,aim hesTd " tote kaereri. " I shall come tomorrow " h^ said,
and went away.
Sometimes iot» follows the conditional, and then means, on the strength
of (something said, done, or imagined).
Kono koto too naseba tote, aeie hokoric beki ni ara-zu. He must not dai'e
to bo proud on the strength of his doing this.
-tsu, see -tsum.
-tsu----tsu; used after Base 2; it is equivalent to the frequentative
tari of colloquial. This is termination 203, rope ited and used like 310. See
also -tsum.
Nami ni ukabem tori no mietsu kakuretsii sura sama omoshiroshi. Birds
floating on the waves now appearing and now hidden are an interesting
sight.
-tsuru, inflected termination added to Base 2, ^^201 tsuru, 2 te, 3 tsii^
4 te, 5 tsure}, indicates past ; derived perhaps from hatsiim to end. Other
VOLUME IV. THE LITERARY STYLE. (APPENDIX). 31
inflected terminations with past meaning are : -Jceru, -nuru, -ru, -sJii, -tanc.
Uguisti no nakitsurii hana. The flowers where the nightingale has just
been singing.
Hi kasanarite tsuki to naru. Days added together become a month.
Haru sugite, natsu kitaru. Spring having passed, summer comes.
Inu sJiinikereba mon no soto ni hiki-sutetsu. As the dog died I threw it
outside the gate.
Okina no mosan koto kiki tamaiten (204, 403) ya. You will kindly hear
to the end what the old man is about to say to you.
tsutsu, used after Base 2 ; about equivalent to nagara.
3Iizu no ue ni asohi tsutsu uo wo ku. It feeds on fish at the same tim&
that it sports on the surface of the water.
Uchi, used after Base 1.
Shokuji siiru iicJd ni. While he was eating.
UChi, Base 2 of utsu, sometimes a mere ornamental prefix to verbs, with
little or no meaning. Uchi-tosic = tdsu ; uc1ii-toasururu = ivasururu.
ue, used after Base 1.
Tasukeraretaru ue ni kane loo mo ataeraretari. He not only saved my
life, but he also gave me some money.
uru, Ua, (I'l uru, 2 e, 3 ii, 4: e, 5 ure} ; it expresses the idea of to get,.
and a variety of others, among which potentiality. Other words which ex-
press potentiality are : ato, beki, kano, kanuru, majiki.
Imada cldkazuku ori ivo e-zariki. He has not yet had an opportunity of
becoming intimate with him.
Inryo-sui tohosJiiku shite i no mama ni kore ivo uru koto ataiva-zu. If
drinking-water is scarce, one cannot get all one wants.
Boku-sJdchi-nin no kbjo nite yoku ni-sem-hon no tsumu ivo atsukb koto wo
u beshi. Six or seven factory girls are able to attend as many as 2000 spindles.
Gyqfu ica icM-jikan amari ni sliite su-sem-hiki no ayu loo u. A fisherman
in a little more than au hour can catch several thousand trout.
Sldyoslia no chu-i ni yorite wa sJddai ni sono gun no su too zoka sum-
koto wo u besJd. By care and attention the bee-master cau increase little by
little the number of his colonics.
Yamu 100 e-zu shite kaereri. As there was no help for it he returned
home.
Tora wa neko no gotoktc yoku ki ni nohoru koto wo u. The tiger like
the cat is good at climbing trees.
TJru may express potentiality not only when used independently, but it
.JAPANBSE PEA.DING FOR 15E(JIN"NEKS.
may Lave this same force as first or as second member of a compound verb.
Thus : e-iiva-zu or ii-e-zu, I cannot say.
ury5ril (Eh) is irregular phonetically and in roma-ji, but not in Jcana.
Base 1 2irydru 5 41^5, 2 nree ^ i^^, 3 uryd 5 H,->' 4 wee 5^1'^.
-5 uryore ^jJl^H
wa, used after Bases 1 and 2«
KoJco nite miyuru tea Tokyo no sam-htin no ichi ni mo tara-zu. What we
see from here is less than a third of Tokyo.
Saka no ue yori mi-orosela, jinka nara-zaru ica nashi. If you look a-
round from the top of the hill there is not a single place not occupied by
houses.
Oku mochiuru zaimoku tea maisu ni sJtite, kataki tea kuri nan. Pine is
the wood most used iu building, but chestnut is the hardest.
Kiri wa yowaki ki nareha, ie ico tatsuru zaimoku to shits wa mochiirare-zu.
As kiri is a soft wood it cannot bo used for building purposes.
WO, used after Base 1.
Hirose Chusa tva Sugino ivo iishinaitaru too nagekitari. Commander Hi-
rose was deeply grieved at having lost Sugino.
Xintoku Tenno wa tacld-noboru kemuri no sukunaki wo mite, tami no ma-
zusldki wo awaremi tamaiki. The Emperor Nintoku seeing how little smoke
rose from the chimneys, felt great pity for the poverty of his people.
In the compound postposition 7C0 ha, ha is empliatic. It is derived
from u'a ((-l).
Ifaku ivo yokn araite, yogoretaru ivo ba kiru koto nakare. Wash yoiu*
clothes thorouQ;hly and don't wear soiled garments.
In its usual function of indicating the accusative case wo may be found
at the end of a sentence, while the verb has been placed at the beginning
for emphasis.
Kou yoyaku no shokunshi wa dai-shikyu go kamei aran koto wo (for
yoyaku no----2vo kou). Wo trust that gentlemen will hasten to add th-.>ir
nan.es to the list of subscribers.
JVo shite, see shite.
WO motte, used after Base 1 ; it is a postpositional phrase with a very
vague meaniug : it often is equivalent to no de in the colloquial.
Osaka tva hori to hashi to no bki wo motte nalakashi. OvSaka is famous
on account of the great number of its canals and bridges.
Inu wa yokn mono no nioi too kagi-ivakuru loo motle kari ni mochiu. As
dogs have sucli a keen sense of smell, they are used for lamtiug iuul shootiu^.
d
VOLUME IV. THE LITERARV: STYLE. (APPENDIX). 33
Kolco loa Tokaido no tsuro ni atareru wo matte, mukashi loa jimha no o-
rai iianahada sakan nariki. As this was formerly the Tokaido road, there used
to be iu olden times a great deal of traffic of men snd horses.
Wo niotte sum properly means ' to use ', but it can often be dropped in
translating : TVaga Tiai no miru tokoro ico motte sum ni. Looking at it from
our point of view (lit. Using the seeing-place of our company).
Wo molte nari means ' it is because of '.
See also motte.
ySLf used after Bases 1, 2, 3, and 5. It may have an interrogative or du-
bitative force, an emphatic force, or it may refer to time. When the inter-
rogative or dubitative ya occurs in a sentence, the syntax of ya is compli-
cated. The verb is put sometimes in the attributive form, Base 1, and some-
times in the conclusive, Base 3.
Ari ya ? nasJii ya ? Is there or is there not ?
Kind tea kare wo shireri ya ? Do you know that man ?
Kore ya waga motomuru yama nam. This is the mountain of which
we were in search.
Sono tori negaioare majiku ya ? May I not beg to have it so ?
Yome ya ! Read !
Nanori tamae ya ! What is your name please !
Shoku no nampo midareshi ya, Komei hakay-igoto wo motte sono sho Md-
kaku ICO torb. When the southern part of Shoku revolted, Komei made a
plan and took their general Mokaku (prisoner). ( Ya here refers to time).
yO, used after Base 4 in verbs E, I, O, Us, Uk, Ua, Uh, to form the
imperative ; as, lioraeyo I praise ! miyo ! look ! seyo I do it.
In other verbs it is occasionally added to Base 5, the imperative, as
an emphatic particle, though not an integral part of the imperative. After
Base o it is a mere interjection.
yo (Ah) is irregular phonetically and in roma-ji, but not in kana. Base
1 yo $.^, 2 ei ^a, 3 yd ^^, 4 eica ^n, 5 ee ^-..
ycri, used after Base 1.
Kare Ei-koku e yukisJd yori haya ichi-nen wo hetari. It is already a year
since he went to England.
-zam, inflected termination added to Base 4, (421 zaru, 2 zari, 3 zari,
zaru], 4 zara, 5 zare), it has a negative meaning ; negation is also expressed
by the inflected termination -nu. Zaru is derived from zu aru.
Kore-ra no shi7na ni iva sakumotsu no deki-zam are-chi bshi. On these
islands tliere is a lot of baiTen laud on which no crops will grow.
34
JAPANESE READING FOR BEGINNERS.
Eare wa Yokohama ni wa ora-zanki (422, 243). Hn was not iu Yoko-
hama.
Kore wo kangoreba, tare ka odoroka-zaran (424, 401). Who will not bs
Stirprised when he thinks of this ?
Kin tea zaimoku to slate wa mocldira^'e-zaredomo (444, 425, 512), tsukue,
ianm nado wo tsukuru ni mochiti. Though kiri cannot be used for building
purposes, it is used for making desks, chests of drawers, and suchlike thmgs-
za, used after Bases 1 and 2, an emphatic particle. When zo occurs in
a sentence, the final verb is put in the attributive form : this does not apply
to to zo.
Kore zo tama nam heki. It is this which must be the jewel.
Hana zo mukasld no ka ni nioi-keru. (Men's hearts change but) flowers.
have the same scent they had of old.
Ika ni shitaru zo ? How did it happen ?
Sugino iva ima tenka wo oetaru zo. Ah, now indeed, Sugino has explo-
ded (the shell).
— -to atari to zo. • ' • ■ thus he spoke.
-ZU, see -nu.
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