Ely a in MangaLand 3 Intermediate LevelJAPANESE IN MANGALAND 3 Intermediate Level Marc Bernabe Translation: Olinda Cordukes Cover illustration: Nuria Peris Inside illustrations: Javier Bolado Gabriel Luque J.M. Ken Niimura Barbara Raya Studio KosenMarc Bernabe (L’Ametlla del Valles, Barcelona, 1976) is a Japanese-Spanish / Catalan translator and interpreter, working mainly on manga and anime translations. Apart from his translation works, he also specializes in language and Japanese culture didac- tics for foreigners, with a master’s degree by the Osaka University of Foreign Studies. His published works are: Japanese in MangaLand 1 and 2 (Japan Publications, 2004 and 2005), the Spanish adaptation of James W. Heisig’s Remembering the kanji series, and other books on Japan and the Japanese language aimed at the Spanish speaking public, http://www.nipoweb.com Japanese in MangaLand 3 Intermediate Level By Mare Bernabe © 2006 by Marc Bernabe / Represented by NORMA Editorial S.A. All rights reserved, including the right to reproduce this book or portions thereof in any form without the written permission of the publisher. Published and distributed: Japan Publications Trading Co., Ltd. 1-2-1 Sarugaku-cho, Chiyoda-ku, Tokyo, Japan. First printing: January 2006 Overseas Distributors UNITED STATES: Kodansha America, Inc. through Oxford University Press, 198 Madison Avenue, New York, NY 10016. CANADA: Fitzhenry & Whiteside Ltd., 195 Allstate Parkway, Markham, Ontario 13R 478. AUSTRALIA and NEW ZEALAND: Bookwise International Pty Ltd, 174 Cormack Road, Wingfield, South Australia 5013, Australia. EUROPE, ASIA and JAPAN: Japan Publications Trading Co., Ltd., 1-2-1 Sarugaku-cho, Chiyoda-ku, Tokyo, 101-0064 Japan. ISBN-13: 978-4-88996-187-4 ISBN-10: 4-88996-187-9 Printed in SpainIndex....... : — Introduction 4 Glossary of abbreviations cn 8 Lesson 46: Compound sentences (1) sven 10 Lesson 47: In the restaurant ones 20 sn Lesson 48: Compound sentences (2) 30 Lesson 49: Compound sentences (3) sms 40 Lesson 50: Relative clauses vmmnennnanss 50) sisnsnenn Lesson 51: Unexpected events and accidents... 60 Lesson 52: Honorifics 70 Lesson 53: Casual speech onsen .. 80 Lesson 54: Comparatives ... 90 Lesson 55: Sightseeing ...... o 100. Lesson 56: The conditional form ... seve HO vse Lesson 57: Koto and Mond so. ens AMID Lesson 58: Grammar scramble 130. Lesson 59: Dialects and proverbs 140. Lesson 60: The passive and causative forms......150 Appendix 1: Answers to the exercises 0.0.0: 162.00 Appendix 1: Grammar index Appendix 111: Vocabulary index 182, cnnnnn LR REO BH sn 28 $5 lB 46: AREBRT SD BATRLARFYT BASR: RXEBMTS® BA GR: HREBKT SO 5 OR: MRM BOLR: Wok cee wR md : Bad BBR: KURA SAR: RO RR sono 5 BR: WIHT BS GR: AHORR BSTRI Ihe ES) SSR LOS0SUKH and 5 OR HERB BOOM: HL BR RE Ho: KBR BEAR: RRL Index BR -3—BBO introduction This book is the continuation of Japanese in MangaLand 1 and Japanese in Manga- Land 2. This means that the lessons here expand on the principles already taught in the previous books of the series: if you have not mastered the previous lessons, the contents herein will not be as useful as they could be. This is especially true for the Jessons included in Japanese in MangaLand 2, as in this third book there are a lot of cross-references pointing to contents studied in the second book. Main characteristics As in the second book, again we will not be using any romaji here. This is so that you can study without relying constantly on those Roman alphabet “crutches,” which may appear to be of great help in the beggining, but in reality, this does not hold true in the Jong run. The exclusion of the romaji, combined with the fact that the sentences inclu- ded here have even more difficult kanji contained within them (always with their read- ing indicated in furigana), proves to create an “atmosphere” similar to which can be found in any manga for young readers, a concept which was thoroughly explained in book 2. If you need more information, please consult that previous work. Likewise, in this book, we wanted to teach the “real Japanese” used in colloquial conversations as well as in manga. Thus, we have devoted some lessons to topics such as, among many others, casual speech (1.53) or dialects (1.59), which are often found in Japanese comics. However, we have not left the politer Japanese aside altogether, as 1.52 (Honorifics) testifies. The main aim of this method is to hone your already adquired Japanese skills to reach an intermediate level of the written language. Obviously, listening and speaking cannot be dealt with in a written work, therefore, you should try practicing on your on. The lessons This book has 15 lessons altogether, numbered from 46 to 60, chronologically fol- lowing the numeration of the second volume. Of these 15 lessons, 11 are of a “gram- matical” type and 4 are a “conversational” type. —4— Japanese in MangaLand 3Grammar Lessons, as their name clearly states, deal mainly with grammar issues. In these kind of lessons, you will have complete explanations in English, complemen- ted with many example sentences and claryfing tables that should make comprehen- sion easier. Grammatical patterns are grouped in the lessons according to related sub- jects. This being a self-taught study manual, we feel this is the most appropiate way to help you relate patterns that are similar in use and meaning, but that have different nuances. Giving a specific example, the expression #1} (only) is usually studied at a very early stage, but, in this book, it is taught in 1.58, almost at the end, because it is discussed with other expressions with a similar meaning, such as # and (41) , thus constituting a solid block of grammatical constructions. ConVERSATIONAL LESSONS fill the gap left by the grammar lessons, which strictly concentrate on grammar only. As they revolve around a contextual topic (In the restaurant, Sightseeing), they are useful for learning new vocabulary, practicing pre- viously studied grammatical concepts with lots of example sentences, and even serve as a conversational guide, which is very helpful for possible trips to Japan or conversa- tions with Japanese people. In these lessons, you will find as well a “Cultural Note” section, with insights into different aspects of the Japanese culture and environment. All lessons, grammar and conversational ones alike, have manga-examples and exer- cices. The MANGA-ExAMPLEs keep the same function they had until now: they will provide specific examples for expressions studied in the theory pages. They will also help you to expand concepts, see some new constructions, and revise constructions seen in previous lessons. Do not to skip them, Finally, the ten simple EXERCISES included in each lesson will help you consolidate your knowledge and check whether you have understood what has just been explained. The correct answers can be found in the first appendix, at the end of the book. Appendixes At the end of the book there are three appendixes with very useful extra information: © Answers to the exercises: detailed answers to all exercises included in this book. @) Grammar index: compilation of all the grammatical expressions studied through- out the 60 lessons of the Japanese in MangaLand series’ three books. @®) Vocabulary index: and index of almost 2,000 words, containing all the vocabulary in this book, as well as all the vocabulary needed to pass levels 4 and 3 of the Japa- nese-Language Proficiency Test. Introduction &# 0448 —5—In addition to being a useful way to crown the contents of this course, these indexes were specifically conceived as a guide to cover the specifications for levels 4 and 3 of neers the H &# ft 7 #48 (Japanese-Language Proficiency Test.) The Japanese-Language Proficiency Test fake ous Lie The 8 428 # 7 AB is an internationally recognized test, jointly administered by the official organizations Japan Educational Exchanges and Services and Japan Foundation, and simultaneously held every year on the first Sunday of December at venues all over the world. This test has become a standard to assess Japanese know- ledge of non-native speakers, and it consists of four levels, the most difficult being level 1 and the easiest being level 4. We have created Japanese in Mangaland so it con- tains all the grammatical patterns, kanji and vocabulary required to pass levels 4 (cle- mentary) and 3 (basic). In the indexes you will find indications which will tell you whether a word or a con- struction belongs to one level or the other, thereby providing you with all the neces- sary tools for an in-depth study and to put your knowledge to the test on the next first Sunday in December. Good luck! Specifications for the Japanese-Language Proficiency Test 800 words, 100 kanji. The student can read, write, speak, and unders- Level 4: tand simple texts 1,500 words, 300 kanji. The student has a sufficient level in Japanese Level 3: | to communicate in everyday life in Japan, and can read, write, speak, and understand texts of a medium-clementary level. 6,000 words, 1,000 kanji. The student can hold with no difficulty con- Level 2: | versations with a certain degree of complexity and can read, write, speak, and understand texts of a medium-advanced level 10,000 words, 2,000 kanji. The student has a command of Japanese Level 1: | at an advanced level in all aspects and has a sufficient level to study at a Japanese university with native students. On translations There are many example sentences throughout the book, as well as many manga- examples, with their corresponding word for word translations into English, just like in the first volume. Sometimes, the sentences we offer may “squeak” for not being very natural, since we have chosen more literal translations for an easier understanding of their formation. Trying to create a more natural English translation of every sentence would be a good exercise: it would help you consolidate concepts, make and in-depth —6— Japanese in MangaLand 3analysis of the Japanese sentence, and think about it as a whole rather than a mere group of words and grammatical patterns. Besides, it might help you delve into the world of the translator and to realize the complexity of the work involved. Acknowledgements Before going on and entering the actual study, I would like to thank all the people that supported me, in one way or another, to develop Japanese in MangaLand, to nurture it and to make it grow to the point in which it has now been translated into seven different languages. First of all, my earnest thanks go to you, the readers, for being there, enjoying the books and, from time to time, sending me comments and encouragement to go on. Ifyou wish to do so too, feel free to write in English through www.nipoweb.com/eng. More thanks go to my dearest Veronica Calafell that, besides supporting me all the way (not an easy task!) during the long and strenous process of writing these books, contributed to them giving comments to improve it and supervising every aspect. I owe a lot too to the whole teams at Norma Editorial and Japan Publications, who from the beggining were keen on publishing Japanese in MangaLand and helped it become what it has become today. The Fundaci6 La Caixa and the Japan Educational Exchanges and Services (JEES) gave me the chance, by means of a grant, to learn extensively about Japanese language teaching methodology and resources. This, along with the guidance of professor Sayo Tsutsui #4 #448, of the Osaka University of Foreign Studies, was directly poured into the production of the books. Luis Rodriguez and Josep Sadurni revised my work as I wrote, and Itsue Tanigawa @ IK revised the Japanese sections. James W. Heisig provided his invaluable technical and moral assistance and help at all times; I consider him my dearest mentor. The artists Javier Bolado, Gabriel Luque, J.M. Ken Niimura, Barbara Raya and Studio Kosen created the manga panels that illustrate the books; last but not least, a big thank you to my efficient translator, Olinda Cordukes, and to my dear friend and corrector Daniel Carmona, whose precious comments helped improve this book beyond words. Thank you very much to all of you! Mare Bernabe July 24th, 2005 Osaka, Japan Introduction ARO ##& -7-Excl.: Ger.: Nom.: Noun Suf: Soft.: Suft cp: DOP: DP: EP: 10P: POP: PP: Qe SP: TOP: ‘TP: Glossary of abbreviations Exclamation. Gerund. Nominalizer. Suffix for proper names (people). Sentence softener. Suffix. Cause Particle. (why?) Ex: ® Company Particle. (who with?) Ex: & Direct Object Particle. (what?) Ex: & Direction Particle. (where to?) Ex: ~ Emphatic Particle. Most end-of-sentence particles state emphasis or add a certain nuance. (1.17, book 1) Ex: , £, @, etc. Indirect Object Particle (whom?) Ex: i= Instrument Particle. (what with?) Ex: T Possessive Particle. (whose?) Ex: 0 Place Particle. (where?) Ex: €, {= Interrogative particle. Shows that the sentence is a question. Ex: # Subordinate sentence Particle. This particle is used as a link between a subor- dinate sentence and the main sentence. Ex: & Subject Particle. (who?) Ex: a Topic Particle. Shows that the preceding word is the topic in the sentence. «Ex: tt Time Particle. (When?) Ex: ( —8 — Japanese in MangaLand 3LESSONS 46 to 60Lesson 46: Compound sentences (1) We start this third book with a series of three lessons aimed at introducing several ways to create compound sentences in Japanese. Thanks to the links and structures we will learn, our Japanese will take a considerable step forward qualitywise, allowing us to form quite complex sentences. In this first lesson we will basically study expressions of continuity. The easiest linking We already saw in L.35 (book 2) that we can use the -te form to link sentences: This may be applied to verbs (Ci 5 4 10 sleep and wake up), adjectives ({ CHS. roomy and bright), -na adjectives (£% ¢ Al’ robust and practical) and nouns (44 © Hf professor and researcher). This method of linking sentences is very simple as well as useful, since it can have up to five different usages, namely 1) combination of elements, 2) sequence of actions, 3) mode, 4) simultaneous action or state, and 5) cause / reason: ERA TAY EAS Every morning I drink milk and eat bread. 2) (RSTHE yoece tho THU LOT —# Elk oh T cooked a delicious cake using strawberries. ASA | want 10 wake up early and go on an excursion! 4) i. 29h AG eau BRL fe Tues watchinga movie and my giripiend was listening to musi 5) ‘e 2 om ot i Fa ea Lt Hiroyuki left and (so) Hiroko was relieved. If we want to link negative sentences with the -fe form (which we didn’t see in 1.35) we will use the negative conjugation of this fe form (~ #0) e8eb tw ery 7 eR + % He cooked a hamburger withous wsing salt, oR Ue CHMS S18 Le [passed the exam without studying. ‘There is also an equivalent form used to link negative sentences, formed by replacing the %\\ of the negative -te form with $12 (2G 3 EFI, without sleeping). The only exception is $4: itisn’t L 12 but #F/<. Itis used in written and formal registers. ou el Fe) NY K= 1 Bits te He cooked a hamburger without using salt, o ibe FS SRWS B18 L Fel passed the exam without studying. —10— 463 Lesson 46Another way of linking sentences in the negative The forms we have just studied, and which are used to link sentences where the first verb is in the negative (~ # .» ¢ and ~ ¥(<), can’t be used with the five cases in the affir- mative we saw in the first point. To be precise, ~ 7 \ can’t be used to express “cause / reason,” and we don’t use ~ # (= to express “cause / reason” nor “simultaneous action or state,” but have no fear, because you needn’t know this by heart at this point. To express “cause / reason,” we use the -te form of a verb conjugated in the negative. Ex: ft (10 use) = negative: jb \y = negative -te form: feb % ( T. We already saw the conjugations for the -ie form of verbs in the negative in the table in 1.35 (book 2). ihe HF 6 te CIES 28 L Cute Hiroyuki didn't return home and (50) Hiroko was worried. @ REM GCC Lot I didn’t buy the car, (30) I’m happy. To link two -i adjectives in the negative (not only “cause / reason,” but generally) we also use the -te form of the negative. Ex: x1. (broad) => negative: f(t. => -te form of the negative: E «i ¢ T. In the case of -na adjectives and nouns, we use it 4 ¢ T or, in colloquial register, U » % ¢ T (tp is the contraction of Tit). he na KEM S C2 (CHU CH The apartment is not bright and is old. apts (ciacK oas(th @ RAMBAATIA(L P)B CT. WEATT She is not Japanese, she is Korean. Simultaneous actions: ~ @ #5 To form sentences of the kind “I do x while I’m doing y,” that is, sentences express- ing simultaneous actions, we use ~ i #1. Usage: Verbal root + ~ 2 2°. Ex: {8 3 (to use) = root: hts > we add % 1° iy: {RL W265 (while P'm using). Note: ~ 2 2° is only used with verbs, and the subject (the one who performs the action) must be the same for both verbs (that is, the performed actions) in the sentence. eo SREMsEND, X é CLS While I’m listening to music, I write the book. @varlt Bs BHD abe Cut John Taughed as he watched the movie. jena aR +2 I translate, (while) consulting a dictionary. ce KA RM Be L#L 4% Let’s talk, while we drink (have) a coffee. In sentences with ~ # 4°, there usually is a central action and an incidental action — the verb of the latter takes ~ we — Compare these sentenc: t lech ets tM MBE AL While P'm eating, I read the newspaper. (center: to read) 0 Bik kato 5 Me ASS While I read the newspaper, I eat. (center: to eat) Compound sentences (1) ®& £Hakt 0-H #&eCE A situation remains unchanged: ~ x < We are now going to see the expression ~ # £, which indicates an action or situation described by the verb, to which this expression has been attached, remains completely unchanged. Usage: ~ + # is used after verbs conjugated in the past tense. Ex. £4 (to sleep) = past: et: => we add ~ 2 2: S122 (he is still asleep / there are no changes in the state of his being asleep). This expression is also used with some -i adjectives (we don’t change anything), -na adjectives (we keep “2), and nouns (we add 0). OF LES OUR EERE ICA CLA 5% I went to work, leaving the TV on. @ BSF 1 9A ot #RS 20 Yuriko went to Germany and is not coming back. ets eEEo KETO * Id like to be a student for ever. If the verb before ~ % % is negative, we don’t have to conjugate it in the past tense. 58 Zit 28 RRS LU AHL A [ran out of the house, without locking the door. OARS BOR REL HO TOS He works constantly, without taking a break. Non-exhaustive list of actions: ~& J ~kUF% ‘The next expression is, somehow, the version of > (1.41, book 2) for verbs and adjectives. ~h 1!) ~iz 1) F 4 is used to express a kind of “non-exhaustive list” of actions or states, That is, we indicate two or more actions or states, and whether “there could be more” is left up in the air, Usage: verbs are conjugated into the past tense and |) is added. The last element in the sentence is followed by + 4. Ex: 5 (to buy) = past: > % = we add (and +4 ifit is the last element): Jt 5 #0 (4 4) (to buy —and other things). -i adjectives also go in the past tense, like "> f: (44) (expensive —and other things). Whereas -na adjectives and nouns need the verb “to be” in the -tari form (fA). Bx: AIH 5% 0(44) (to be convenient — and other things) and $4 #2 > t: (45) (to be a teacher — and other things). oneCs YI-Ay PELE, Pr yTREB EY, BR bo KuTEe At work, I browse on the Internet, send faxes, write documents (and I do other things). ORM, 2c ERA U HM ERA EU LET Every morning, I drink coffee, read the newspaper (and I also do other things). Sometimes ~7: 1) is used with only one verb or adjective. The connotation is that, even though only one action or state is mentioned, there are more which are not named. oi & 2 LAN LTH Btve Don’t lose the keys (or something like that), OK? eB S AUF SOUK TO | Falling in love (or something similar) is dangerous! —12— 946% Lesson 46tan In the case of: 32 a The word #8 4 (case, occasion, circumstance) can be used to form sentences of the kind “in the case of...” Usage: it can follow verbs and -i adjectives conjugated in any form. After -na adjectives and nouns it requires «. wes he © AFH SPARS, SRITC ( HS vs In case war is declared, please run away (escape). BR KU ROOD bebe © MOBS AAA TRB L t 9 In case of rain, we will train in the gym. Not only X, also Y: ~ L Another very useful way of linking sentences is using ~ |, which gives the connota- tion of “not only x, also v.” Usage: the usage of ~ Lis very simple, as it can follow any verb and -i adjective conjugated in any form. With -ria adjectives and nouns, it requires the verb “to be” (CF/# bie Lith tees OR AURR MSL. MCSTPRUATHBO Tomorrow I have an exam and, besides, I must go to cram school. ba OS as ap @ LOR KOL, RA Not only is this house roomy, the station is also close by. Sometimes we can find more than one ~ L ina sentence, as if forming a list: oes bee pat ae @BAQMROOL, SHOKL, SHSELARBED ! She is intelligent, as well as beautiful, as well as rich... She’s perfect! REERTREDOT ESD and draw a picture, please ‘Drawing a picture without looking at the landscape is difficult WL Spt ( TRS Ie’sa pity I won't meet hi FRERLEN GRE POE While I was looking at the landscape I drew a picture (Note: the drawing doesn’t need to be ofthe landscape) AARNE LEVI VY T took part in the marathon, being tted as I vas WIV VICB MLE, REDOENTSOUR LOTT enjoy taking part in marathons, drawing pictures... (and s0 on) HOR, TI LRA In case of rain, I won't take part in the marathon PIV Vis . RbPVE Tnot only took part in the marathon, Talso drew a picture Compound sentences (1) HXeHRF3O-13-kata Conjunctions So far we have seen expressions we use to create compound sentences. However, at the end of each of the three lessons called “Compound sentences” (this one being the first) we will study some expressions placed at the beginning of a sentence, which are used to link two or more sentences or ideas. In the last lesson in the series (1.49), we will give a summary table with all these conjuctions. 1) For example: #2 (f e UB RAR ORE att. plat, Ral oR 5S DRE IB SOF ove Japanese cuisine, ike, for example, sushi, tempura, oyakodon, ct oF Cone, PRLS SE 8 eb Many martial arts, like for example karate or judo, come from Japan. PERT 2) By the way: & ¢ 4 een ha wisn ne ORES MAOPL IAT. eld FREER? You are 25? By the way, how old do you think Iam? eFHER ARON. LEDBE, BOATS Oe The weather is beautiful today, isn’t it. By the way, shall we go out for a drink? 3) Besides: @ 112 Note: This expression is almost equivalent to ~ (. ORALRRASS, AER Sh oerAUAs 2 Tomorrow I have an exam. And estes (on top of that) I must go to cram school. e Bay ‘mee Wink. BMI? e¥M I: bok Today, I split up with my girlfriend. And besides, (to crown it all off) [had a motorcycle accident. Nominalizing adjectives Curiously enough, up to now we had not seen one of the simplest characteristics in Japanese grammar: the formation of nouns from -i and -na adjectives. This is the time to study such a basic and useful point. -i adjectives: We replace the last «» with x. ‘ G > black = 2% — blackness cn wide IS width hv fal oe eS fitness AS bright > 3% brightness -na adjectives: We replace the last % with x. RLM convenient > HFi% convenience Hint kind => HS kindness BAW beautiful > SHS beauty EX B robust > LS robustness —14— 84688 Lesson 46Manga-examples reel We have now seen many new constructions in just a few pages, so we’d better relax now with a few manga-examples where we will review what we have seen in the theory section, and we will study one or two slightly different usages of some expressions. a) Linking a negative sentence to another sentence: zu ni RA RT ’ oe Hirose: HEGOUTILESTIRATE WAY nobody wound put live come person or other not there is No one has ever lived without hurting anybody. Our first’ manga-example will show us how to link two different sentences when the first one is negative, whether the other one is THona> THOS AE 4S UR or not. We have studied in the theory section that this is achieved with the negative -te form. In this Jas Ren Nitra case, the two ideas to be linked are HE 6) 917 20 (not to hurt anybody) and % % T% tA (person who has lived). If we conjugate the frst one inthe negative -te form and we “add” both sentences, we get HERO OTHE TSPA (person who has lived without hurting anybody). This kind of linking is #4 (simultaneous action or state) in the list we saw at the beginning of this lesson. However, we have also said that there is a similar alternate construction, the one used in this panel. The speaker used in the formal register. This form, ~ 7 is in a tense situation, and he probably chooses ~#{= to give more “weight” to his statement. The formation of ~+ 1 is as simple as replacing the * (» € ending in the . Thus, the final sentence is as we see in the negative ote form of any verb with ¥ example: #4 811+ Notes: There is still another idea linked to this compound sentence: (<> (there isn’t). The word # ¥ (in kanji %) could be translated as etcetera. Also, notice the usage of we (nobody, 1.37) and of ~¢ ¢ & (1.35), and take the opportunity to review these expressions, (person who has lived without hurting anybody). Compound sentences (1) &X@#sk4 $@-15—b) Everything rem ma Kuroda: 2022 TWAS BARCRBMD DOH OIEARH this (no changes) be all ro nuisance sp put (the fact is) ep... The fact is that ifI stay the way ’'m now, Pll be a nuisance to you all... Here we have a small and very common variation of ~ x Z: linking ~ ¥ & to the demons- trative pronouns 20 (this), 4 (sono), and ® (ano) POH StS SRRITOY OFS AHH OM (1.34, book 2). The resultant words could approximately be translated as “as it is.” A typical example (in the supermarket): $4 #1) #44? Do you need a bag? iz, IDE TWOTH No, it’s fine as it is. This sentence means you will take the product or products “as they are,” without the necessity of a bag to carry them. Note: Notice the contraction ~ % » 9 (1.35); the non-contracted version would be '& #8 Kio TL 4 (to cause trouble). v7 5 is the conditional (1.56) of \ 4: if I stayed. c) Non-exhaustive list of actions & bs Calvin: BAUR LAE Ys RoRWLSSOUDALR, A-#YIb.. Isp have fun (or something), laugh (or something) do must not. Susan... I shouldn’t have fun, nor laugh, nor anything. Susan... Here we have a good example of ~#)~A +4 Remember this is used to form a sort of non-exhaus- tive “list” of actions or states. Thus, in the sentence LAUR that “he is having fun and laughing,” but he also sug- %ork FS, the main character indicates LOMO CHES o gests there are more actions which are not mentioned (that’s why we have chosen translating “nor any- thing”). Notice how the verb +4 usually closes the “list” (but be careful, as sometimes it is omitted). Note: ~ L » (tt 2 4 is the contracted and vulgar ver- sion of ~ LC 1d ott 4214 (prohibition, 1.32). The 4 # in the end is a very common soften- ing tag (contraction of #2), which we studied in the manga-example d) in 1.40 (book 2). 16 46% Lesson 46d) A slightly different usage of baai Fujita: Fees oye. CAMS CENT 17M H7!! responsibility recriminate mutually occasion not be true but!! I don’t think this is time to ask for responsibilities, is it?! We saw before that the word BS is used in constructions indicating “in the case of...”. Here we have a somewhat different usage, where the negative inflection of we # (to be the time) is used: ws TU(U PaO. This expression, used very often in films or manga ‘Studio Koren (you seldom hear it in real life) means this is not the time to... An example: it Ti 3 BH Td WL | This is not the time to laugh! Note: Watch out with the triple compound verb #4 J 21160 C4 (-te form of % 2 & 5). The base is 4 4 (to extend), followed by the suffix ~21t 4, which adds the connotation of “pushing, pressing, throwing.” 4% + (J 314 4 is translated as placing the blame on somebody. Finally, ~ 44 makes it a little bit more complicated, adding a connotation of reciprocity, “mutually” (1.44, book 2). e) Softening sentences: shi ted Man: 8 4-7 EH EBOMOELE ‘yes suit also gun also find besides np Boe etl cenideg teemtiad a suited acu, We have studied a few pages ago that ~ Lis used to link sentences and give them a connotation of “not only x, also y.” Here we have an example of this construction, although its usage is slightly different. In spoken Japanese we very often use ~ ( at the end of a sentence to soften a statement or as a simple tag. Sentences like 4 See AKL Today I'm tired and, (besides)... 6 ic Siok LT Lalso went to Taiwan and (bee. indicate the speaker wants to express more things in a veiled form, but doesn’t, so as not to sound long-winded. ~ Hence our tentative translation with “besides” at the end of each sentence. Note: Notice the usage of the end-of-the-sentence particle % (1.17, book 1) in these kind of sentences. It's an informal usage, used sometimes to soften a sentence or to express a wish. Compound sentences (1) #2 #AtSO-17—f) Besides be Yoji: ZHI by A-BSMPSM EG OKOUUOTT IS besides wrecker top money cost because waste be EP Besides, the tow truck costs money, and it would be a waste. Here is an example for ¢ 7 {<, one of the e three expressions used to link different Fite sentences or ideas which we have studied wehuSRE Tudo BOS: etm —aeT in this lesson. 2 (< is used in a similar way to our adverbs or adverbial con- structions “besides,” “apart from that,” “to crown it all,” “moreover,” and so on. In our example, Yuji is going to help someone whose car has broken down on the road. We don’t know the previous sen- tence, but we can suppose, because of the —_Stio Kosen @ 4c, that Yaji had given another reason to offer his help to his interlocutor. Notes: The -i adjective ¢, > f: 4. #24) doesn’t have a direct translation into English, but it mainly indicates that something is “a waste, it’s not worth...” itis gene- ‘a pity,” or rally used with money, time, or other things that can be “spent.” g) Formation of nouns from adjectives HAL Be Powell: ZH A HUVDOREL LTORAL SE that sp that guy pop warrior as pop frightfulness be! Such is his frightfulness as a warrior! We will conclude the lesson with an example of how to turn an -i adjective into a noun, The process is as simple as replacing the last ‘» with . Thus, from the -i adjective 4 U1 (terri- ble, frightful) we obtain the noun % 4 LS frightfulness Tt Ken Rim ; Notes: The literal translation of this Sut sentence would be that is the frightfulness of that guy as a warrior. Finally, <> isa vul- gar term meaning that guy. ~18— 9468 Lesson 46Link BK e#S and wee BCOEE be (ee: yukata (summer kimono), e B:to put on, to wear, J: outside, #4 to go out) Do the same as ‘in exercise 1, but this time the sentence BR & # % must be rine @) gated in the negative. Use both options. Translate the sentence: “This | book is ot thick and i it’s light.” (book: % thick: Bes, light: Bo) Tell the difference between: EERE 5H 9 and HY RAS Bow emes (JL: beer, tk &:: to drink, ha: to dance) Translate into English: 17 2y ®t 22HTL take (27 ay: air condi- tioning, > {7 4 : to turn on, # 4:to sleep) Has rr < Translate using ~f 1): “This summer ‘© swam, walked, rested.” (summe 7, © swim: 5% ¢, to walk: 3 { , to rest: Translate using ~U: “This summer I swam and I walked as well.” (summer: q to swim: Re » to walk: BO Translate into Japanese: “By the way, (8) q shall we go out for a tea (or “satin (To have (drink): tt, tea: Turn into nouns the following adjectives: : \ (spicy, hot), ko * (important), RR it (cheerful), and e vy (white). ‘Translate into Japanese: “This is no time to RY: KY BED € dance the flamenco!” (now (this moment): “Ss, to dance: ia, flamenco: 7 3 * » 3) Compound sentences (1) XE HAT S@O-19—Lesson 47: In the restaurant Japanese food is famous all over the world... Are you ready to enjoy it? You had better prepare yourself, because we are going to see a lot of food vocabulary, so much that we will have you salivating and smacking your lips by the time you are done with this chapter! A new world Indeed, as this title suggests, the gastronomic experience in Japan —or in a Japanese restaurant, of course —, is like entering a new world, as there is a huge amount of ingre- dients, preparations, sauces, and dishes that immensely differ from what the average Western palate is used to. In this lesson, we will learn how to go shopping for food in Japan, how to use the ever-present fast food restaurants and, of course, how to enjoy the genuine Japanese gastronomy in popular and luxury restaurants all over the Land of the Rising Sun. However, you must prepare yourself to study vocabulary, because there are so many things to learn, we have had to devote up to two pages only to this task. Are you ready for this huge task? Then, let’s go! Buying food Before you start, we recommend that you review the section “We are going shopping!” in 1.42 in Japanese in MangaLand, vol. 2, to reftesh your memory on basic sentences to go shopping for anything, foodstufis included, Now, then, we are ready to fill our pantry. We will start with the simplest step: our first test will be an expedition to a supermarket. Even though they may look very simi- lar to Western ones, Japanese supermarkets will surprise the average Westerner with the enormous quantity of “strange” things you can find in them: from giant radishes 8 fo. B, ftom takeaway #51 to vadidionsl Japenese sweets, suchas G14 ot bi ¥ (ome vocabulary tables). ~20~ 98473 Lesson 47In the market or the local shop Going to the supermarket doesn’t involve any “linguistic danger” we can’t overcome using the knowledge you have acquired so far. Aside from what you already know (questions such as will you pay cash? and so forth, studied in 1.42 (book 2) and pre- vious lessons), the cashier may ask you at most: @ 2-7-7 y PKDA-K et ative tH? Do you have the x supermarket card? Obtaining your local supermarket card to get points is very typical, and cashiers almost always ask you if you have one. However, the real acid test entails buying food in the market or at the corner shop run by that little smiling old woman. Make sure to review the counters thoroughly (1.25, book 1) because you will have to use them quite often, VboLenet! Ready to enter the jungle of (v5 > L # \y# ¢? This word, which has appeared a few other times already, means something like “welcome,” and in all shops throughout Japan (absolutely all of them, restaurants and + 2 pinball houses included) you can hear rounds of ts > L » i» £ ¢, when a possible client is spotted. Fishmongers, specially, distort the expression to the utmost: things like 5 > L »\)! are common and typical. The right thing to do when greeted by one of these shouts —very often shop clerks shout themselves hoarse—, is to (oddly enough) ignore it. Even though you might find it embarrassing, you don’t need to answer, or even look at the shop clerk. ernumete 2 What is this? (1.34) Romney th oscmane ont G+ They are “daikon” giant radishes, a speciality from Hokkaido, @ ED RH EA 130 Pll have one of those “daikon” radishes, please. (1.25) eTaAeEAM, LOANS £¢a? Excuse me, do you sell “shiitake” mushrooms? elk, HELIHUAF Yes, they are over there. (1.34) @ GAOL (5TH He How much is the chicken breast? (1.34) 0100 7945n0 8 3 FCF Itis 83 yen per 100 grams, In Japan they use the metric system: 7 9 4 (gram) and + © (kilo). But be careful when buying fruit: it is so expensive you don’t buy it by the gram or the kilo, but by the unit. Asking ) A 2&5. 00794 ¢ #40 Pl have 500 grams of apples, please is unusual. You would normally ask (J 42 & 5 #@( #0 I'll have five apples, please. In the restaurant L Ab 9 YT ~21—Fast-food outlets Like almost anywhere in the world, 7 7 % } 7— f chains are a feature in Japan, spe- cially 77 Fob F and 7 y ¥ y#-~794 '+¥y. You don’t usually have to struggle much if you go to one of these restaurants, because once you can read 4 ¥ 4 +, you will understand most of the items on the menu: sy —#-—, F#¥# yy F 4 yt and 3H 1 — 3 are relatively clear. But take care, as “French fries” are called 7 44 F iK7 b! Bx oRE i218 L ten 2 Have you decided on your order? (Lsaforial: 52) cH ane Be Wl 7 (Pointing the menu) I'll have this and that, please. (1.34) ery N-H-ea-F ok % (Sw A hamburger and a large cola, please. @ EN EKRIT Be \\L £4 Without onion, please. {2 L £2? What would you like to drink? (1.34) a © eR @ LEH THBLEAU THM, HHS HU TH H ? Will you eat here or is it take-out? (1.41/52) However, we recommend that you try indigenous Japanese 7 7 2} 7— : chains 230 such as ane or ee, with outlets all over the country, offer dishes like “eH or 47-34 %, often cheaper than hamburger joints. It is always more interesting than lunch . 7 < ending at 7 7 § +0) f, which you can find in your own aft. snack molec Aa ith backyard. (But, ifyou absolutely must go there, then at dinner “9 te | 9 CHR least try tomething you can not find back home.) To the restaurant! There is no shortage of places to eat in Japan: from small 9— %y, WZ or 9 LA noodle eateries to very luxurious restaurants. Japan is undoubtedly a gourmet country, proof lying in the huge amount of magazines, television programs, and even manga sole- ly devoted to delighting their audiences and readers with sumptuous dishes and recipes. Finding a place to eat won’t be difficult, because most restaurants have a window where they show hyper-real plastic models of the dishes they serve, as well as the price. Thus, it is very easy to decide what to eat, depending on your preferences and your budget. Once you have decided, open the sliding door, be greeted by the loud 4 5 Lew 2 Bu from the waiters, and sit down or wait to be taken to a table. 0198 H+» ? How many people are you? | 2A G+ Two people. (1.25) @LEALLT. £45 C4 Follow me (Ill lead you). This way. —22— #4738 Lesson 47DEESET! Weare now ready to order. Take a good look at the 4 = 2 —, and choose whatever you prefer. However, before you actually begin eating, don’t forget to say tf: #8 #4 (1.27). © Ri 0 X= alt) ETH? Do you have an English menu? eb 44H HUA CF m2 What dishes do you recommend? e EAH 44d? Do you have set menus (main dish with a side of rice and miso soup)? @7-rre ie BRO U4 I'll have ramen and some gyoza. @ HALLO (Pointing) [want that same thing over there. emia siBEHe @ BRAG HMLL AF Ll have some sake as well, please. & ( # &is I want the “oyakodon set” outside (in the window). * @ Y2-AOMHRbI & 4 ES Another juice, please. @ 2525 TLE! It was delicious! | Thanks for the meal! Paying Finally, let's see a few useful sentences when the time to pay comes (review 1.42, in book 2, as well): estes sm s+ The bill, please. eo Siu Cb CF H? How much is it altogether? eH ERA L CK ESO We want separate bills ©2000 MY Its 2,000 yen. In many restaurants, you pay at the cash register, placed near the entrance. Don’t wait for the bill: just stand up, pick up your belongings, head to the regis- ter, and one of the ever-alert waiters will rush to the cash register to ring up your bill. An important fact is ‘to roast, fry tg cook, that in Japan you don’t tip, not even in restaurants! simmer to steam When you are given the change, simply keep it if you to deep fry don’t want the waiter to hunt you down in order to to boil give back the money “you forgot.” to pickle : Saying goodbye witha = 2 5 # © L fs isvery good to stir- a manners. A round of very loud 4) #5 C808 L# will accompany you as you exit... In the restaurant | 4} 37 © —23—Chinese style fried rice with egg, vegeta- bles, meat... “Three variety fried rice” ‘Typical Japanese sweet. Three rice- flour balls in sweet sauce ‘Typical Japanese sweet. A small pan- cake filled with anko (see ingredients) ‘Steamed or fried Chinese dumpling stuffed with meat or vegetables A bowl of rice topped with beef and onion Japanese style fried chicken ‘Curry rice Japanese style) A bowl of rice topped with tonkatsu and sauce Miso soup ‘Mashed rice paste Fermented soybeans Winter hotchpotch with daikon, chikuwa fish paste, meatballs, etc. “Pancake” on a bed of cabbage, to which anything can be added Stuffed rice balls (tuna, umeboshi, salmon, konbu...) Bowl of rice (34) with chicken (38, the “father”) and egg (, the “son”) Noodle soup, originally from China, but adapted to Japanese taste Sashimi, Raw fish (dish) Vegetable and beef stew, with the beef very finely cut and boiled in water Steamed meat dumpling, originally from China Buckwheat noodles served either in hot soup or cold Vegetable, meat, and tofu stew, cooked by the guests themselves Sushi, Raw fish on a rice base or rolled in rice and nori Flour balls stuffed with octopus, very typical in the Osaka region Tenpura. Deep-fried battered vege- tables and fish ot See SE. a | Len bs Lie ie sa) S HOF a Fw mE pi pr Tofu. Bean curd Pork, dipped in a crumb batter and deep-fried, served with a special sauce Thick wheat noodles, usually served in hot soup Meat of different kinds, roasted on a hot plate (done by guests) Fried soba noodles with a special ‘sauce, vegetables and meat Roasted chicken shish kebabs ‘Sweetened bean paste. Also calleda an Giant Japanese radish Soy Soup stock, basic in Japanese cooking, usually made from fish or seaweed Sesame Chinese cabbage Dried bonito flakes Sea tangle, sea kelp, Giant seaweed Cooking sweet sake (rice wine) ‘Miso. Fermented paste made from. soybeans Nori. Very thin and dry, sweetened seaweed Radish, Lotus root Shiitake. Japanese mushroom Soy sauce Bamboo shoots Pickled dry plum Wakame, A type of edible seaweed ‘Wasabi. Very hot Japanese horseradish —24— 347% Lesson 47Food vocabulary Ingredients (SNVESG] Others got | mayonnaise v34#—* Vegetables j bread Ry caer DL ebhee cake yo# oil es carrot cheese t-% pepper = b z 5 cucumber chocolate #s21b—}h salt # eggplant dessert F¥-b sauce Jar garlic ees “ip RE sugar an green pepper icecream 7427-4] vinegar Ea lettuce omelet tary |_Drinks (tet; 0280) onion pasta x9 Jalcoholicdtk Bs potato Cevté | pudding Ty beer wy pumpkin DEBY soup a-7 coffee Spe rice (cooked) yogourt 3—7+ | blacktea aE rice (raw) Petes salad v7 big bowl juice scallion mB bette Bh milk ic a tomato hh bow! fo milk coffee Meat a chopstickrest. "EH % sake beef 28 chopsticks 58 soft drink eptgn an Serre age tea ham Nh fork 74-7 water lamb, mutton 3 fryingpan 794% wine D4y pork glass yor|ao7 Fruit 4; <8) sausage y—t—y | lunchbox | # apple Ac (iKtH) steak Ae knife +47 banana RHF Biker) menu doa- cherry SQ BAB bonito = #5 (a) | napkin $7 HY grape clam a plate pm kiwi crab ac (®) pot a mandarin BDL octopus = (3A) melon prawn, shrimp 2U (38%) orange salmon $13|L vt? @#) | Seasoning 62541)15) peach sardine Wbl (HF) butter Rom pear aL (R) squid wa ginger Leda | strawberry 652 GB) tuna «£4 (8) | ketchup 7447 | watermelon Th” In the restaurant 1%} 9» © —25— ES 47 3BCys Kite: RS TOA Cultural note: Table manners ho re i isa different country in so many aspects. It is worthwhile knowing some basic table manners so you don’t commit any of those typical mistakes characteristic of hh (foreigners). ‘We will start with the famous #3, used in almost all meals (except with Western dishes, although, curiously enough, seeing someone eating 47» 74 or 8x!) 7 with Bei is not unusual). Knowing how to use 6 i is essential if you don’t want to starve to death in B Mk, but don’t worry: with a little bit of practice one any Bets used to them. There are a few taboos with Be: sticking them into the 2% or into the food —leaving them in vertical position, and passing food from one diner to another, directly from #3 % to BE. Why? Both actions remind one of rituals performed at Japanese funerals and, as you can imagine, are not exactly a sign of a good omen. Another curiosity has to do with alcohol (mainly 11), which is consumed in great quantities when there are guests, Never serve yourself: you must wait till someone else does. Raise your 7 9 % and let yourself be served. After which, the right thing to do is for you to serve. Take the U'A, — better with the label fac- ing upwards—, and make as if you are going to Soba noodles can be slurped. (Photo: M. Bernabe) serve: you will see how whoever is sitting with you answers at once raising his / her 7 3 ~ with a wide smile and a loud HURLF More things: you might be surprised by the fact that all the food in 8 * comes at once, in small plates. The usual thing is to nibble from one dish to the next one, eating a lit- tle bit of everything, sometimes from one or several shared platters from which every- body eats. Besides, it is possible, and even advisable, to noisily slurp %— 7: and 3 — Ay, €ld or 3 YA noodles. In fact, they say slurping indicates one is enjoying the dish, and it brings good luck! Last of all, we will mention it isn’t bad table manners raising your "Se of A—7 or ch and taking it close to your mouth to eat with more ease. We could go on with more curiosities, but you can start off with these: (#8 #4! 26-4798 Lesson 47Manga-examples eat This lesson is somewhat peculiar because it only has three manga-examples, due to the long vocabulary tables we have offeres'. {¢ is wert: while learning those terms well because they are very useful and common i» everyday life in Japan. Now, however, let’s go to our panels. a) In the market HED Akiko: WHoL PY YS5o LPO! MELA TTH | Welcome, welcome! Nattd ror how about be gz! Welcome, welcome! How about some natto!? We start with an everyday scene in any market or shopping area in Japan: a shop clerk trying to attract clients by shouting to each and every passerby about how good her products are. Notice the (5 > L » 4», which is just a small distortion of v5 > L pts 4, the greeting used only in business areas (shops of any kind and restaurants). In her next sentence, the clerk usually offers her products asking (nobody in particular, she just fires her question) X it 1. #-C-$ #2 (Do you feel like x2). Remember (#2 is the for- +5 (How about...?, 1.34, book 2). In this case, she’s offering ‘aa, mal version of extremely smelly and sticky fermented soybeans — very healthy though, or so they say. To conclude this example, we will show you a little trick that will surely be great for your economy. Supermarkets in Japan usually close at 8 or g in the evening, and about half an hour before closing time, the staff starts placing discount stickers on fresh pro- duce. You can save a lot shopping at that time! The stickers read 2 (20% off, and other derivatives, or even #4 (half-price), 1.42 (book 1). In the restaurant L % b 9» —27—b) The profound world of sushi SuF Client: } wic4 y#a~ Client 2: 255 77+4:8h toro and squid zp here eel add One toro and one squid! Pll have one more eel. Client 3: E—Jv24 #5 TXT Shoji: a! beer two bring come yes Bring two bottles of beer! Coming! Here we have a restaurant specializing in sushi, that deli- cious and typical Japanese delicacy. Let’s see now a small sushi “guide” to learn even more vocabulary. There are two. basic kinds of sushi: the & & 4 and the #1) % 3]. The first one consists of a roll with the ingredient in the middle, sur- rounded with rice and closed with nori seaweed (& (: 10 roll). The #X&% (tuna rolls) are widely known. ‘The second kind isa thin strip of fish, or other * ¥ (topping), on a base of pressed rice (ig 4 : clasp). Among those you find in the example, + 2 (fatty flesh of tuna), 4% (squid), and 7+ (eel), there are others like £ ‘ a (tuna), aU (prawn), Lett (salmon), t= 2 (octopus), £4 %% (omelet), or #5» (sea bream), just to name a few. Gabriel Luque ¢) Katsudon and donburi cae Terada: RAY FY ..THEEEBID special katsudon... or something receive Qe Could you bring me... a special katsudon? This example shows us a rather informal way of asking what one wants to eat using the verb % 5 4 (receive, 1.28, book 1, and 45 book 2). Notice the usage of € %, studied in 1.37 (book 2). In less “luxurious” restaurants there are small pieces of paper stuck to the walls with the names of the dishes served in the house and their price. In this example, the client looks at the Studio Kosem pieces of paper and chooses %) 7 3 (ctumbed pork on a bed of rice), which, Anoreovets is & i (special). Other dishes on the list include # » —y (fried rice), #1. (egg and chicken on rice), and % 4 ¥ (egg on rice). The kanji # (read YA or ¥ A 5 4)) indicates “bowl of rice on which something is placed.” 28— "47 Lesson 47What do the following words mean: 9 Chis Bo, TS, Fo, Pz and Yi 4? Translate into Japanese the words “cho- colate,” “water,” “cabbage,” “tomato,” “prawn,” and “omelet.” Describe in English these typical. Japa- nese dishes: #3 Zit, BIT, aie and RSH. Name and describe at least five ingre- dients in Japanese cuisine that you can hardly find in the West. You are in the market. Ask the shop clerk for two onions and a lotus root radish renkon. You are in a hamburger joint, and the waiter asks you tka iit Mic lat ® What do you answer? € | You are at a restaurant and you want to order a “tempura set menu.” How do you ask for it? What does the word Whol pode mean, and when and where is it used? RY Ly fo BLD ‘What are the names of the two main kinds of # a and why are they called so? In example c), how much does the dish of fried rice with vegetables and ham cost? In the restaurant | 2b 3 ¢ —29—Lesson 48: Compound sentences (2) Here is the second of three sections we will devote to the formation of compound sentences. This time we will study, among others, expressions of cause / reason, and intention / aim. You should try your best to learn these constructions well: they will be very useful. Cause / reason: #5 We will start seeing expressions of cause / reason, the first of which we already studied in 1.41 and briefly in 1.34, both in book 2: we are talking about the subordinating conjunction 44. In 1.41 we offered a global view of the different usages of #4: the particle of origin (from), the subordinating conjunction, and the construction ~ ¢ Besides its other meanings, such as “since” or “considering,” you will probably remem- ber another usage of #5 (ie: because), used when answering ¥5 After verb or -i adjective, nothing is added. -na adjectives and nouns require the help of the verb to be (t+ / #). The structure is usually “cause / reason + 4% + consequence.” 083 LCHS025E5 GOH ES Why are you leaving? Pm leaving because I'm bored. el DFE IRAE HS, HIF Pve already read this book, so I'll give it to you. OF SYR CHES SWF SES 4 Since John is in earnest, I’m sure he will pass. bh ae > eR KE &. Ha 4 la E He wasa teacher, so he should understand this. Cause / reason: 0 nilar form to 4 5 and is used to introduce a cause in an identical posi- OT isavery si tion, just as 4 does: “cause / reason + © + consequence.” Usage: After verb or -i adjective, nothing is added. -na adjectives and nouns require the help of 2 in the pre- sent tense, but in the past tense this “ is replaced with #2 However, ® € cannot be used when answering ¥ 5 LT (why?), and there are other connotations that differentiate its usage from #4. The fact is that » & is poss “weightier” expression than * 5: it is used when the speaker is convinced that the rea- —30— 94828 Lesson 48son stated before ® T is valid and obvious, and that the listener will agree with him. In principle, using T is wrong when the first part of the sentence expresses conjecture, invitation, request, personal opinion, or wish. However, there is a tendency nowadays among many Japanese, especially the young, to use © € and 75 almost without dis- tinction. Still, it is advisable that you bear in mind the slight differences in the mean- ings between both expressions. owe Boe CoKoe Ati Bok Lcouldn’t go, because it was raining yesterday. bes ret on aa o Ts feb a We a I can’t work because I have a headache. ocomzinoen aoe 2 OCHS LE Because he is stupid, he won't apologize. 2 CHF & Since this town is safe, usually take walks at night en: Aim: f 1c Let’s now see another useful expression: /: # (=, which is also used to express intention or aim. In other words, it means “for” or “in order to.” Usage: After a verb nothing is added, and after a noun we must use (replaced by # > f in the past tense). When expressing intention or aim, this form of # i= is not used with adjectives of any kind. ee eBRAREBOR eoukbeions wr eo RK ORI TEP AS Z Lain do anything for my girlfriend. ctvo if vi $+ Iwork a lot in order to buy myself a car. (ES TOSAKWE It looks like the Japanese live for work. LTO 2 4 [study in order to find a good job. However, sometimes /- is used to express cause / reason, just like #5 or © T. In this case, it can be used with adjectives. -i adjectives don’t require anything, while -na adjectives require *. This usage of * # {2 is rather formal and seldom used, but it is worthwhile knowing. WIC, ECHR To te Because I caught a cold, I rested at home, Bh sb bso oars @ RAE KDI, WHE MLB Because the house is old, it needs repairing. Aim: 01= ‘The usage of «1c is similar to that of # # I<, since it expresses aim and can be transla- ted as “for.” {= is nothing more than the phrase nominalizer », which we studied in 1.40 (book 2), plus the particle «= , which in this case indicates adverbial complement of intention. Usage: This expression is only used after verbs in the infinitive. Compound sentences (2) RX 2 Hat 4O-31— #8Eas s kpans 39 OL eevee SOIT ERK Lused a kitchen knife to cut the potato. OTL FEMS DIA HUB To prepare kimchi you need Chinese cabbage. prune hie 8K e ee BRN FT DISH MURAL To go to Akihabara the train is convenient. eHPekso + Ab *# of It took me two months to make the web page. Note: There is another completely different usage of © {= which indicates “although,” “in spite of.” We will study this adversative meaning in the following lesson. es When: 5} Let’s leave aside now the expressions of cause / reason and aim / intention, and go on to study other useful constructions in the formation of complex sentences. The first construction we will see is of, which indicates time or, for a better understanding, “when.” Usage: Nothing is added after a verb nor an -i adjective. With -na adjectives, % is required, while with nouns we must add ©. In the past, however, both do without wand, respectively, and use #3 th. eneict a ES io oF Ubon ( aa vac bo % When Tas a boy, I used t0 play with my friends 3 ey >t t+ When I went to Korea it was quite hot. You can add (= to af, obaisinn rs. The meaning is the same, although of tc is more emphatic and stronger than just st. eRRom TORR eR ARH we BH A dba Uf When he came, my elder sister went out. HL TOL When /at the time of the exam, I was very nervous. aye Bie ils is used to indicate the interval between two points in time (and is then translated Whi as “while” or “during”) or in space (translated as. “between”). Usage: The same as 5%. ce ns @HRCS nex. 4 2. Fe Boe v want to learn karate while P'm in Japan. BOW, OMB L & Lf [studied very much during the summer holidays. @ BAY Bo Mic OF Mo % S Between Korea and Japan there is the Sea of Japan. Bor Note: In the case of fil!<, the action stated in the main sentence happens “within” the time introduced by the sentence ending in ‘fli. Whereas the expression ‘lon its own indicates both actions happen “during” exactly the same time period. Wigs alt aah sae . akotl, H&A During the weekend (from beginning to end) Iwalked through Kyoto. @ BRO Mic KH eB vA, During the weekend (at some point of time) I walked through Kyoto. —32— %48i4 Lesson 48While: (Ac "The expression 71< has an almost equivalent meaning to fil i:, and is also translated as “while.” In fact, both can be used without distinction in many sentences. Nevertheless, while “Hi: indicates an interval of time with starting and ending points, which can be measured with a watch, (= doesn’t have that connotation, and merely indicates “time interval not necessarily measurable.” Usage: Just like & and ‘1H (=. e Qe KOS AERE L&& While you are at university, you must study. ane sek : @ RNS LOA! £4 9 Let’s finish while it’s not raining (before it rains). FL Lith oe © AEH UAICHOR L 2 9 Let's buy sushi while it’s fresh ane ae bo ent BED = A. ¢ 1-8 Drink your tea while it’s hot. Before and after The last expressions we will see are used to indicate “before” and “after:” they are, respectively, if i and # ey ‘ite Usage: Nothing is added between the verb and ic. With nouns, 0 is required. This expression is not used with adjectives. FLAI AEDS, ‘Since I ike sushi, shall eat alot. RELAPSE OOT, BOOTOTH Since in Shibuya there area lot of people is easy to get lst, BAMT (EI SEMIS OT In order to go to Japan, I worked up to three years FERS OI, MERI, To make sushi, you need fresh fish, RSS VDE TL EG ‘When I’m in Shibuya, I always get lost. PORTS MIC HOME LicfTo To Ld ‘While he's sleeping, I shall go shopping (and come back). BRIS S UCLA ATS EO ‘While I'm in Japan, I want to go to Hokkaido. RSWiMEBITI _ Before going to sleep, brush your teeth ROMCTORRT. RERSE ‘After going shopping, I ate fish, Compound sentences (2) # Xe HAT 4@-33—Ce fo ae ’ @ PARAS METHIZ L416 ok Jim said “hello” before entering the house. os eae be be #&T Usage: Verbs preceding @ ¢ must be in the past tense. Nouns require . Note: AOWICB LL 0 Lwant to talk with you before lunch, Sometimes, in informal register, we can do without the in Re. WERE Ree > Sa Aste I burped after drinking the beer. oki & B EB CANE ££ Li: After watching a movie, I went to the park. eneoRer— Atv gait fe <4 & Let’s go to the video game arcade after class. Conjunctions Let’s now see a few more conjunctions: expressions placed at the beginning of sen- tences, used as connectors with sentences or concepts previously stated. 1) And (later) / and (then) / and (also): LT ODER COR. ELT BULUTRERSE Tent to an amusement park yesterday. And (later) had a delicious dinner. ORE ERLOTT 1 ay hELTORT. ELT BHEL THEFT Because I want to lose some weight, I’m on a diet. And (also) ’'m taking exercise. 2) Then / therefore / later / now: ht euFM CENT, HERCH OK. Che, BER CHILE Twvas born in the Iwate prefecture and raised in Aichi. Later on, I married in Saitama. OT LERECAU EI OK, ENT, OOEBEBONSC URE DOr I couldn’t go to university. Therefore, I couldn't find a good job. 3) Well / well then / then: 2 Cit (ZHU) etsmiicy, enca, 2e-F8 EME 83 Its time now. Well then, Pll start my speech. 4) After that / and then / since then: #5 ob Fe, KX ERE LE. eros, he Sm S5 conve I graduated from university five years ago. Since then, I haven’t seen him again. 5) Therefore that’s why / consequently / so: 8 ORB, Hci. EMG, SULTS BATHS sen at a on last nee That’s why I'm tired. eNRaksic Bee HOA. em. SUAOMEL CLUE LE ‘The president squandered money. Consequently, the company went down. —34— 984838 Lesson 48Manga-examples izeifyl As usual, the manga-examples will help us see in practice how to use the constructions we have just studied. These panels should help you clarify the explanations on the new structures and give you a more concrete idea of their usage. a) Cause / reason: no de ite BEA Taku: BLE UM AN DEOT, DORETANE Rok, MELTICESY. so much stomach sp decrease because, inadvertently without permission. forgive please I was so hungry I ate it without permission. Please, forgive me. Let’s start with the first example. Someone has eaten the sweet on the table, and the characters are arguing about who’s done it. Suddenly, the boy in the panel confesses he is the “guilty” one: he explains the reason in this sentence Seretunte using ® %. Notice how the reason TENSE (BAS VAS >t, Twas very hungry) precedes the consequence (2+ 2 fz Late it without permission). The verb before ®t must be in the simple form. In this case we have ik 3, decrease, which is part of the set phrase ff #3 4 —which literally means the stomach decreases, although its real meaning is to be hungry (1.27, book 1). © @ is used when the cause or reason expressed by the speaker is rather clear, and it is assumed the listener will accept it as something understandable and obvious. In our example, the connotation of is not that strong, and the almost synonymous word » could have been used instead with no problem. Last of all, it is worth mentioning that © is used in formal situations more often than #5 : it sounds more “serious.” Notes: #4 21) is a distortion of 44 4), an expression indicating in this case “so much” which we studied in 1.45 (book 2). Notice the contraction £* » 9 fits non- contracted form is #*‘C L £5. Take the opportunity to go back to 1.35 (book 2) and review this last form. Compound sentences (2) ®#X Hm 4@—35—b) Cause / reason tag at the end of a sentence: kara BE OF Lin: $5 BORTILRAMD, BAEBOMS.. any more regret thing (emph.), nothing there is because... So, there is nothing else I can regret.. After ® T, the turn has come for #4, also used to indi- cate cause / reason. In this example, we see #5 at the end of the sentence, cutting it. It could be the answer to aquestion with Y 3 L T (why?), or a simple explanation about the cause or reason why something is done. There is another explanation for this last usage: some- times a sentence is ended with the tag #4, ambiguous- 3 A ly implying, by way of excuse, that there is a reason for o what one is doing, but without putting forward a speci- fic explanation. Sentences like %. 432... P’'m 3 Tie Ken Nas going now, (s0...)or 6s 2 LHLULEMS... Pmalittle busy (so...) are very common. Notes: * 4 (2 & is the distortion of {4 4 (nothing, 1.37, bool 2). Review as well the usage of 3 (1.40, book 2). c) Idiomatic usage of dakara YES dos Sayaka: 5 4,..20 52 BORG, THRO yes... that’s why Saturday pop movie, go PE Yes... I've already told you I can’t go to the movies on Saturday. At the end of the theory we have seen the version of #5 at the beginning of a sentence: / #5, which is used to state a reason or a cause, as in: i Lag ty ts ZRRERFE. EDD, HERS 12. Heis a vegetarian. That’s why he . Sto Rosen doesn’t eat meat. However, in this example, we find a slightly different usage of #2 5, which is, never- theless, very often seen in spoken language: 7 4° is used, at the beginning of a sen- tence, to show the interlocutor certain “annoyance” or insistence on something. It could be translated as “for goodness sake,” “I’ve already told you...,” “but you...” Note: > 4 is the informal way of saying “yes,” while 5 3 4 means “no.” —36— 384838 Lesson 48d) Aim: tame ni Bh 5 Teruo: #ILCDRHIEZNTSE! I Top this for born come! I was born for this!! A few pages ago, we learned that #: % {= means “for” or “in order to:” here is a good example of its usage. The speaker indicates the “aim” for which he was born, using fa) |<. PHO AA IE TSASHE However, he says it with the pronoun <= (th therefore, unless we know the context, we can’t tell what he’s talking about. Since he appears to be playing soccer in the image, we can imagine the original sentence could have been something like {14+ y 4&4 5 fapick tn Ch (Iwas born to play soccer). Using the kosoado pro- _rrrante nouns (1.34) 2 (this), £ (that), and ® (that over there) in conjunction with grammatical constructions is very common. We will see another instance in example f). e) Whe oki Tee Teeher >, GE SW ERCRURE, <3 BOL eo THR ao, [sp teacher ce lst lephone all when, in this way said ‘Wall, when Tlast spoke with the teacher on the phone, that’s what he said. Let’s now study how to say “when” in Japa- nese using #f. As we can see in the example, the process is quite easy: all you need to do is add the word i after the sentence with which ARG TRE ORS OT we want to indicate “when.” In the example, the teacher said something Kix €i TH es U8, that is, when I last spoke with him on MOA uvseCusH SC ETFCER the phone. Try making your own sentences with #4: it is simple and with practice you will master it. Note: Depending on the inflection of the verb or adjective preceding t, the meaning changes. If conjugated i in the Past tense, it refers to something that happened in a pre- vious stage: te B. BEELTOR Es het Rh Yesterday, when I was cooking, he came. In the infinitive, it refers to something 1 that, we eno | will inevitably happen in the future or something that usually happens: i284, BBE WCLH3 When / whenever I (u52). 37- sleep, I have bad dreams. Note 2: # > L» is a formal synonimous verb o} Compound sentences (2) @X EAT 4 euee ae es Charlie: 49 WIKBHOBN LHS ES that before you por neck break ep Before that, I’ll break your neck. Let’s now see an example on how to say “before” using the word i (before), which we already know. We simply add if ic (before) after a sentence, like in the example: # % & FISH AL Te Kiss me before you kill me. The opposite of i, fic is €, which comes from the word a (after, behind) and means “after.” ‘As we mentioned in example d), it is common seeing the kosoado pronouns 2), ,and 6m together with gram- ‘Gabriel Logue . matical constructions: here we have 7 ee (before that). More examples: < tk € (after this), 4 3 1c (in that way, 1.43, book 2), 2 Olt FE Ubu ie (that is almost certain, 1.43, book 2), 2 0344 (in this case, 1.46), £0 A = (one of these days, L.48), =D % (just as it is, 1.46). g) Starting a speech: sore de wa EAC tot) HZneiti LUABOBRE— err... then new staff pop introduction pop Err... Well, let’s introduce the new staff and... Kitano: ~ We will conclude this intense but useful lesson with an example of @# T !2, which, as we see in 4 AE Se>cc8 AT Ssv— Me this panel, is usually used in speeches or intro- ductions as a “sign” that we are about to start talking, like our “now” or “well, then.” 2A Tit is also used when saying goodbye, but in this case, lt is contracted into ¢ » when speaking: one of the first expressions we saw in L.4 (book 1) was HU, ELMAR WE Seonoen LEZ 3 Well, let’s meet again tomorrow. This expression can be contracted into ZU», 31TH Well, (see you) tomorrow, and even more so to tein, #f: Well, see you (notice how even the / is “cut”), There is also the concise but extremely common U » 4a (literally “well” or “well then,” but used with the meaning of “see you later”). -38— %48zR Lesson 48Answer with “Because Llike him” the question vo Lime Ase 2Cen? (5 sa: that one kes, tzhe, #3 4 3: :togoout with) Translate: “Because I’m thirsty, I (will) drink @) water.” Use both » € and #5. (tobe thirs- ty OLA Hh (, to drink: tke, water: 2k ) B) Tanste the sentence: #3 ( AiZUh te Ot ponelad. (iE #: Masao, igi Z:tofallinlove, SoA 4 :to split up) Translate: “To dance 7 + 7 7S you needa (4) litle bitof grace.” (to dance: 5 we © SER nallitle bit of PLO, grace: hits) Translate: NRE L const as Ae Tyslte ( aR + % :to be hospitalized, EM: nurse, + Y 184 4 sto pick up on) Translate: = con Ric HAE ue (Ci: food, > Wrwarm, RA: its . ‘Translate into Japanese: “Kiss me before going to sleep.” (to kiss: +274, to sleep: #4) ‘Translate into Japanese: “I went to thai (8) land. And later, I also went to Vietnam.” =@ go: 47 ¢, Thailand: 9 4, Vietnam: « | +4) What basically spoken usage can the expression £5 have at the beginning of a sentence? Where does the expression U #2 come from, and what does it literally om @ What is its actual meaning? Compound sentences (2) #X 2 HALT 4@)-39— € | e hy hy le BE DgLesson 49: Compound sentences (3) The time has come for the third and final touch in our intensive series of lessons on compound sentences. This time, we will study essential adversative constructions so that your Japanese sounds as natural and fluent as possible. But / however: ith vs/ipnU/sy Usa First of all, we will study the most typical adversatives: the constructions used to form sentences such as “x, but y” or “x, however y.” The basic word is 11 # Y % (but, howe- ver), although it is quite formal and is usually reduced to i ¥ (also formal, but less so). This can be reduced even more to the informal expression |} ¥ . On the other hand, we have #*, with an equivalent meaning (we already studied its usage as “but” in 1.37 (book 2); you should review it before going on). Usage: We add nothing after verbs and -i adjectives. Nouns and -na adjectives need the verb to be in its simple form, #. Bae Bt ent he EYRE, & * é D# RW CF Bob is a teacher, but he doesn’t like teaching. on 2 eRe With Y, BS Aw I want to buy a camera, but I don’t have money. O17 RCS BL, 7 08 6 Lean drive motorcycles, but don't have a motorcycle. ° it ake ais SEO 7 = 12878 Cla-aiy He likes cinema, but not animation, ORAURAE LIL, SAU KKAL Yesterday I was sick, but today I'm fine. Just like with 4* (1.37, book 2), sometimes the variations of i} # Y are used to link sentences and dont necessarily have the adversatve meaning “bu.” em CME CY, ae 4% ? Later, I'll go to Umeda, will you go too, Miho? ® LAVATHA, FM a VEtH? I would like to consult with you about something, do you have time? on ‘The same words are used in spoken language to soften sentences, especially when making Fequestes or siving excuses: they are placed at the end, leaving the continuation in the air. esbr5 vie LUA THHH YB... Now I'm a little busy, but... @TONYVIAVE BR WATE U... [would like to see that computer, but... —40— $4938 Lesson 49Although / in spite of: o1< Be very careful with this construction, because it has nothing to do with its homo- phone — i= with the meaning of aim / intention—, which we studied in the previous lesson. The |< we are about to study is, like |} 1 ¥ and its “family,” an adversative expression meaning “although” or “in spite of.” The adversative expression {= has a quite distinct “subjective” and “emotional” component: we use it to indicate that some- thing that was almost a fact finally has not been possible and it, therefore, provokes in the speaker a feeling of surprise, frustration, or even annoyance. If you want to form normal adversative sentences, that is, without adding any subjective or emotional nuance, then you had better use 1} HY %, 1} ¥, 1 Y, or #*. Usage: Nothing is added after verbs or -i adjectives, while nouns and -na adjectives require the usage of *. OFA ty hELTOSON, SROEDO I'm on a diet and, in spite of that, I’m not losing any weight. be ton eR PSK Ol, WR * LX L& Although I was sleepy, I worked all through the night. pote + ik © RK NG ¥ BOIS A TE ¥ ZL Although I like her, I'm unable of declaring my love. = eU FAROE, KISHS NLU In spite of this nice weather, I can’t go out. In a colloquial register, sentences cut by |< are common. These sentences express displeasure or frustration, and could be translated as “and to think that...” e aut o¢ a4 4% O1c... And to think that he’s so rich... OBA CENMKL (POMP KE ROI... Why don’t you want that? But it’s free... Although / in spite of: ¢ #1 Here we have a very similar expression to the adversative ©! we have just seen: ¢ #15. While 91: can be used both with formal and colloquial sentences, the usage of ¢ #1 is restricted to colloquial and even vulgar sentences. Its meaning, despite being “although” or “in spite of,” just like =, implies something which could be even defined as “pejora- tive,” and seems to lay blame on the subject. Usage: Nothing is added after verbs ot -i adjectives. With nouns, is required, and with -na adjectives, we use “2. ehemonn er, BEE eR Fn 5 TH40? You don’t know anything what are you saying? $2 e584 2 Although he’s a doctor, he’s unable to cure sicknesses. Just like with 2, we will sometimes find ¢ (= at the end of a cut sentence. et, 20? a4 0 C #IC... What'swith that attitude? You're nothing buta litle brat... Compound sentences (3) ®X£#Mt 5@—41—TT __ Interrogatives + ~ Even / even if: ~T% Bech No muterwhat he says. In L.32 (book 2) we saw the expression ~ & Bichocs Nomatter who he says it to. a (sts, which, as you probably remember, was ¥Y98STH No matter how he says it. LAA WAL-CH No matter how he explains... used to form sentences to ask for permission. YENT5TH No matter where he goes... We are now to study a related expression, since offs ‘No matter when he goes... : eee. ee the basic structure is exactly the same: ~ € 4. WC BAS TB No matter how much he pys.. The expression ~<% means “even” or “even if,” and is used only to give an adversa- tive meaning to sentences expressing hypothe- sis or conjectures —unlike iz, which is used with sentences whose certainty is ensured, Usage: Verbs, nouns, and adjectives of both kinds must be conjugated in the -te form (1.35, book 2), to which % is added. eB Th ae ite 2 Even if it rains, the match will be held. eRe an Tb, SONd7 & 5H C8 4 Even withouta license, you can drive this motorcycle ony av eho tent Le 8 Lis) No matter how difficult it is, I want to pass the exam. avs Even if I buy a computer, I can’t work, eS OM, 7 Cb ARIES Even a fool can solve this problem. On the other hand, if we add an interrogative pronoun or adverb (1.34) toa verb + € %, we obtain sentences such as: “no matter what I do...” or “no matter what itis...” (see table). : att Offs TH, SOEUMS > C4 No matter when I go, that shop is closed. E85 TH. SERFS WEB No matter what you say, I won't forgive you. Strong recommendation: ~ FI Re Let’s now leave aside adversative expressions, and go on to take a look at other types of constructions. The first one, ~% #'\\4s, is used to make recommendations or suggestions of a strong kind, which are not quite orders, but almost. Usage: This expression is only used with verbs, which must be conjugated in the past tense —except with uepative expressions, when verbs are conjugated in the negative present tense. eek “t eau BB x 2 3 £ I think you should give her some flowers. on hemroe BABOR MOE Hl were you, Fd forget about killing him. e aonke tes a Mn BNE r recommend: that you not drink that water. e Bots Do ADK ERNE wand Don’t eat the mandarins, because they are rotten. ~42~ 493% Lesson 49More usages of the -6 conjugation Let’s now see two expressions using the -d conjugation, which we studied in 1.34 (book 2), and which on its own meant “let’s, All you need to do is add ~ ¥ + 4 or ~ & B34 toa verb in the -d form to create two new expressions with different meanings, which can be very useful. We will start with the construction -6 form+& + 4 . It means “to try to” or, more lite- rally, “to be in the process of doing something,” eva eat FELTHSIEY, BL iia Pm trying to draw a comic book, but it’s difficult. = eNOS RHEIN SI LU THS Even though i'm stupid, P'm trying to enter university. eo ile RITE U9 LLCO Iwas trying to rob a bank. @ NAIRS IU LEB HEA When he was going to get on the bus, he died. As to the expression -0 form + ¥ 5, it is used to indicate something like “I think Pm going to...” that is, it is nothing but the simple combination of the -6 form (lets e ne 8a tL 2 ys oh e Db, BRLEDE e ee ePHLS es 3 4 I'm thinking about abandoning my studies. .” 1.34, book. 2) plus ¥ 5 (“I think that...” 1.41, book 2). 2 CF Tm thinking of declaring my love to her. Because I’ve failed, I think I'm going to commit suicide. eK SAU RE RBI LR oC Mr, Suzuki is thinking of buying a house. Compound sentences (3): general summary table MABAETHINLS, HEMI REL oo ae a » __ Heisa dentist, but he can’t pall out a tooth. (formal) eee Sth However: “Neverthetes? RURARENY, ERIE AY. (it hz bs formal, ~i¢h E:neutral, Hye js a dentist, but he can’t pull out a tooth. (informal) ‘~1) informal, ~#': neutral (formal) (RABEL, BERIT LEA eis «dentist, hovever he can’t pullout a toth, (neutral formal) MIRHECOI, BERT In spite of the fact that he isa dentist, he can't pull outa tooth, ~at DIZ “Although,” “In spite of” Care “Albough “in spite of SRE CHIC, aeRO i informal / pejorative) Although hes a dents cat even pl out tooth! (pejorative) at remit “Although” AURA CD. BEI EL nhypothetcal sentences) _=Evem ihe isa dents, he can pull out a tooth By “You had better...” “You should.. BOROESD PHARITOAFMOUE APSO (strong recommendation or suggestion) Your tooth is painful sti You shoul goto the dentist. “To try to," “To be in the proces of MARESRERIILL TOR doing something” ‘The dentist was trying to pull out a tooth, BIHODS, BABS ERoThS ince my tooth is hurting, [think I'm going to go to the dentist. “I think Pm going to..” i © pullout | 7-0: painful |) ¢:to go. Compound sentences (3) RX HRT 4@—43- KeConjunctions We will finish this third lesson in our series devoted to the formation of compound sentences by studying a few essential conjunctions. On this page you also have a sum- mary table with all the conjunctions we have seen thus far. 1) But / However / Nevertheless: EUHYB/HUHY/ EGE CHI LAL ePRUL CERLOTH, HURL, CORFURAROEM LOTT The director is very kind. However, his son is so demanding, he’s like an ogre. zd, Ba res OR SAALKH SE. CB. Sw UORS HAL EAL Tove makizushi. But I hate cucumber makizushi! eSPITZO WL NCDERUIRiT OR. LOL. BIHNONK DL I went to buy Spitz’s new CD. However, it had already sold out. 2) In spite of that / However: 2 O12 /# OIE em SLUL CERES TH, eneO weet Mr. Kato is very rich. In spite of that, he is extremely stingy. oy wet @Ritd > lL, BOK, AHF > To Bi Tm handsome. However, the girls don’t come near me. TES TH, ALE, PRO ABS CT [like flowers. For example, [like sakura and camellias very much. WORKED, CBT RELIVE? Isn't the weather fine? By the way, have the sakura bloomed yet? MUMMTT, THC, REENOTT ‘The camellias are in fall bloom. And besides, the sakura are pretty too. BOMERNE. ELT REMIT OR Tae went to see the sakura, x FB, ROMERNE DOL, ENT, FUTEBMATOTOS ‘haven't had lunch today. Therefore, I'm very hungry now. BULI LOST IANTE, REMCATSI | Good morning! Well then, let’s go and see the sakuré FERRE RCTRET. TNS, BORERNE DE ITH “Today, Pm going to sewa. After that, intend to have lunch, Bes pb, RISA LI __ The sakura have bloomed, Therefore, I went to ste them Hue ROTORT, FREE, RBULEROTOREA ‘The camellias have already bloomed. However, the sakura haven't bloomed yet. BIBCOMERSE, Ch, LEBMMTOTOS have alzeady had lunch, But Pm still hun SAROORACH. LPs MAURIS €9-CT ‘Today the weather is fine, But, apparently, itis going to rain tomorrow. BHKOTHS, BOK, RITATHT The sakura have bloomed. In spite of that, I can't go to see them. —44— 3.4938 Lesson 49eel Manga-examples We are sure you have noticed how the rhythm and the difficulty have increased in the last lessons: we have been studying more and more complicated aspects of the language, so that our Japanese improves at a very fast pace. Don’t give up now, you are doing very well! a) kedo at the end of a sentence and no ni (although) hy e % OREO Hw ASH > Heres Kosen tF th. BUC htt Hh? Mam Enzo Le cue. this, how much be az that (cond.) cheap put but... How much is this? i can make that cheap for you... ECE Man: HA IBAROI, TaPABAI BABBLER. you foreigner oe strange thing top interest there are be EP Despite being a foreigner, you are interested in very strange things, aren’t you? We get to see two expressions in this example. To start with, take a look at the clerk’s George: first sentence, 2025 #6 LE (UY... and the HY closing it. The meaning of this ‘4 & is not exactly a “but” (as usually is the case in the word’s most orthodox usage), but it is used to leave the sentence unfinished, thus softening the statement. Here, it implies something like “but... why the hell would you wana buy something like that?!” Regarding the I= in At: {RELA 2D 12, notice how, as it goes placed after a noun GREK, foreigner), it needs the help of *. Here, the speaker expresses some surprise, therefore, it is not unusual that he uses =, as you will remember that this construction has a relevant ingredient of subjectivity. Here, i= can be translated as “despite.” Notes: The prefix # before the word <5 (how much) is honorific and implies respect ( (1 52). The~& ¢ in #4 L& ¢ isa spoken contraction of ~ t # ¢ (1.35). The adverb #12 (here written in katakana) is difficult to translate: it has the connotations of “strange,” “unexpected.” # 4, is the colloquial contraction of the word # (thing). Compound sentences (3) RX# HRT SO—45—Eds b) Shikashi and no ni at the end of a sentence at Satoru: LLU 5 L TIA BIEKMIZ To TZ ORS I? heavy rain neither fall although... But it hasn’t rained that heavily... Here we also have two expressions to com- ment. The first one is L #L meaning but, however, nevertheless... It is certainly a very useful word, although in colloquial register €& (but) is used more often. The second expression is I<, closing the panel and leaving the sentence’s conclusion in the air. Its meaning is adversative (it could be translated as “although”) but in this con- Gabriel Tuque, text we can interpret it as To think it hasn’t rained... or But it hasn’t rained... Note: J % » 4.20 is the contraction of 9 Tli ty 2 (it hasn’t rained). Notice the emphatic particle ~ in this construction: go back to 1.37 (book 2) to review its usage. ©) A pejorative expression: kuse ni 2 22) Oe ge Kisaki: 6 TE BO (UAB ADSE HD LORS nothing can in spite of... strange person por heart pop move (vulg) Despite his incompetence... he can oddly move people... We have learnt how the expression ¢ #12 means “although,” “in spite of,” but with a pejorative nuance. With this same pej rative intention, we have translated the {4 & TSW #IC part, literally In spite of not being able to do anything, for Despite alan his incompetence, because the word “incompentence” can give the connotation of “superiority” or “disdain” in ( #12. Note: The construction ~% #4 shows violence, extreme roughness, threat... We will study it in 1.53. As you have probably noticed, using ¢ # (= and > #*4 in the same sen- tence gives it a layer of “threat” or “disdain” almost impossible to convey in a translation. —46— 493% Lesson 49d) Even: -te mo eae Tetsuya: ZOLHCHEA TERE L BOE | that for die regret rop do ep! prm hacer ! Even if I die for that, I won’t regret it! It is now time to review the usage of the cons- truction -te form + % (or ~T %, as we have seen in the theory pages) which, you will remember, has the meaning of “even” or “although,” and is used in sentences expressing hypothesis. In this sentence, the speaker expresses the hypothesis % 4 ¢ & (even ifI die), onan and then the result if that supposition finally became true: lt L% ts (I won't regret it). Notes: Notice the usage of ¢: = (for), which in this case comes with the kosoado 0) (that), forming 2 #% = (for that), as we saw in 1.48. Notice, too, the emphatic usage of the particle it in @i8 lt L 42 (won't regret it) (1.37, book 2). e) No matter how... uP Tie Seiji: ws ¢ BERL TER LOO TORI ST, REAEAE how much telephone do go out since worry become come try be Since no matter how much I called, no one answered, I got worried and came. We have also studied in the theory pages that if we combine an interrogative plus a verb and the ~T# construction, we obtain sentences such as: “no matter what I do...” Here we have one of them: & (5 @8§ LC (no matter how much I call..). Usually, ¢ & has the meaning of “how much” when talking about quantity of money, but here it is used in a more general meaning of jhow much / many. ” Another option would be Stie Kesen ae (how many times): 19 #4 Notes: Take the opportunity to review € (since, because, 1.48), and notice, as well, the LT % (no matter how many times I call ~T&4% construction (giving the nuance of “try to do something,” 1.35) of § TAK. Last of all, the 4 # closing the sentence is the typical tag used to give “security” or to “soften” the sentence, and which we studied in the manga-example d) in 1.40 (book 2). Compound sentences (3) WX 2 HRT 4@—47—f) Strong suggestion: hé ga ii t Chie: HEL PSLVKA KEI MOWAT Lafter all die better if a2 ep After all, it is better if I die, isn’t? And now we focus on ~ 4 #'\.\: it indicates “suggestion” or “advise,” and it is rather strong; it is not quite an order, but it comes very close. Usually, ~ 464.4» is used to advise other people. However, we see here a slightly different usage: the speaker is consulting about something that she thinks might be necessary to do with herself: & fs Lit A tE [£5 H\.M 4? (should I die?). Notice how the pro- posed translation above is more “poetic.” Remember that the verb before ~ Fa UW Studio Kosen must be conjugated i in the past-affirmative (RAR TAL, you should die) or present- negative (72 40% #0, you shouldn’t die). Note: *? > [f )) has no direct translation: ’s something like “after all” or “I knew that.” to suru Noriko: bb 5% Lith LIEROOPOLIICBILIELTOS.. aah ro... ror again someday like in the process of. T'm trying to escape, like some other time... The example closing this intense lesson — and the series of three lessons which has shown us countless constructions to form much more complex sentences than the ones we were used to—, will help illustrate the usage of the ~89 U4 construction (to try to, to be in the process of doing something). Gabwiet Luque In our sentence, Noriko says #if.£39 LC \4, that is, I’m in the process of escaping or I’m trying to escape. In order to master this construction, you should thoroughly review the -¢ form (1.34, book 2). Note: Notice the (5° £9 1 part. 9-3 means some time, and we studied it in 1.41 (book 2). 9.3 will study in depth in 1.54. (9 2 £ 9 {2 means like (I did) some other time. is a comparative (like) we briefly saw in 1.43 (book 2), and which we —48— 94938 Lesson 49Translate into formal Japanese: “I’m hun- gry, but I don’t have any money.” (to be “ hungry: 5 BLA Fwy TOS, money: 5 &) What differences of formality are there (2) between the expressions: #1 ¥ 8, 4°, If Kand Whe? What is 17 & used for in the sentence THETA, LARRLOAE He... (44 8-# Asexcuse me, dt L 0: t0 want) Translate “Rugs COL, youths (4) ORO? a fish, 4 & 2: that one likes, # 4] : sushi, rs \@: that one dislikes) nots bee Translate this sentence i tt AAD fae EAR MER TOS CRE: she, KA: adult, ce clothes, da: to wear) Translate: “Even if I go to Japan, I won’t learn Japanese.” (to go: 7 { , Japan: a © to learn: # 5, Japanese: 848) Translate: “No matter how much I study, Idon’t learn anything.” (to fai +4, to learn: 95, nothing: a Translate: “I think you should / had bet- ter kiss the teacher.” (to kill: #444, teacher: E¥) Trandlate, ieevay 4 eBL5UL Cus. (ue: Yamamoto, i X: thesis, # ¢: to write) Translate into colloquial Japanese: “There’s TRIES eT a patty today. But you should not go.” (today: ‘Ay party: S—F 4 —, to go: 4) Compound sentences (3) #X & Hat 4@—49—Lesson 50: Relative clauses In this lesson we will learn how to give more depth to our sentences by means of relative clauses, used as subordinate sentences to provide additional information about a noun. We will also enter the world of expressions with t 5. Relative sentences Let’s first define a relative clause: they are subordinate sentences acting as the com- plement of a noun; in other words, they give extra information about a noun. Relative clauses (underlined) would be: “The house which is near the school is blue,” “That man who is walking in the town is my uncle,” or “The dog whose fur is black is big.” The re- lative clauses we have underlined give extra information about the nouns (in bold type) “house,” “man,” and “dog,” respectively. Notice how in English we use relative pronouns such as “which” or “whose” to intro- duce these kinds of clauses. Fortunately, in Japanese, we don’t need any such particular pronoun, although we must bear in mind that the order followed by these kinds of sen- tences is, more often tan, not, the total reverse of the English order: the noun comes last. enone it Eox a 3 \) C+ The house that is near the school is blue. @ ae oP WTOZHD yi tt BRR F That man who is walking around the town is my uncle. © BOR OL ORY LS 0-4 The dog with black fur / whose fur is black is big How to form relative clauses Forming relative clauses is not difficult, but you must bear in mind the following rules: = The noun about which information is offered must go after the relative clause. = If the relative clause ends in a verb or an -i adjective, these must be conjugated in the simple form. With -na adjectives, we require %, and with nouns, we must add 0. However, in the past tense or in the negative, they both need the verb to be conjugated in the simple form. —50— 50% Lesson 50= The subject in a relative clause can never be marked with the topic particle 12: using the subject particle 2 is compulsory. As we saw in 1.37 (book 2), in subordinate sentences we must use 7, unless we are looking to add emphasis. See this example: Ex: ‘ae Hes i Bit Bor The fish that the cat ate was expensive. (With {i after we would explicitly express that it was the cat and no one else who ate the fish.) = Sometimes, when there is nothing between the subject and the verb of the relative clause, the 4° (indicating subject) can be replaced by without distinction. ak te i Bylo Bo kane 4 The road where the car passed was narrow. “Internal” relative clauses Let’s now go over a more complex Pe eR CRRIRE BE ‘The boy showed a book to his friend in the warchouse aspect of this subject, and distinguish two kinds of relative clauses: “inter- | #BCABICRE Re Theboy who showed book PERERTRERE, “nal” and “external.” “Internal” relative clauses are those Die RWB LEA honk ih ey wed where the noun (about which infor- mation is provided) is part of the ori- ginal sentence from which the rela- tive clause is derived. Refer to the table and you'll get a clearer idea: FE, fei, SE and & are part of abasic hypothetical phrase, and they can all be “embellished” by the other words in order to “stand out.” Let’s now see a few sentences of this kind so you can form a clear mental diagram: ° a i z aa: cs aot LIP That woman who is learning Japanese is kind. . Es aor OBikits 5 [like very much the CD that Lheard yesterday. oka itl Pt wis y Jn t [put the towel that he used in the washing machine. eg i Hf t z Bok Kes op 2 ot There were few people who were good at Japanese. Be hit @BHLMOKAL CI iTok z Where has the woman whose clothes were dirty gone? oe OEY AME ROAR ES AMRIT OG AI ED OO I must go to a place where people who don’t have style meet. (two relative clauses) Relative clauses [Mi (&#%—51—“External” relative clauses On the other hand, there are also relative clauses where the noun (about which infor- mation is provided) is not a part of the basic hypothetical phrase (see table in the pre- vious page). Some of these nouns cannot be directly linked to the sentence; to do so, they require & 5 (or > in its colloquial form). Never take & 4.5: nouns expressing feelings (4 sound, 91. smell, Hi 4 pain...) or those that can be perceived throngh the senses (i photo, #98 musics.). eBorko gone Yt H The smell of rotten fish is disgusting. © = b OB EH HF & X I like music with a strong beat. Always take & 4.5: abstract concepts expressing, thoughts or assertions (3 » % rumor, 2% fact (thing, #0 opinion, go reason, “Ba thought...). oi 2 Wes eau #1) 34%? Is your opinion that the government is bad? Rh oD As SH ATHML Ro LI DSBAS ON? Is the rumor that they want to get married in Las Vegas true? In other cases, it doesn’t matter whether we use ¥ 4. 4 or not: Baee eLeTEBRt Ala eed Li) The job of translating manga is fun. OA HRA Kia) A > % There was an incident in which a man died. The many usages of £3 Let’s now briefly forget about relative clauses and go on to study another subject. In Japanese there are several expressions and grammatical constructions, which use £3. Bringing them all together in one same lesson and having a look at them all at once might be interesting, since studying them gradually and separately could be confusing. We will review now the I 5 constructions we already saw in 1.43 (book 2). To begin with, we have 4 , used at the end of a sentence to indicate “apparently,” when the speaker has direct information on something and his degree of certainty is high: e Kaw in a enka es Alt tat host 3 #2 Apparently, her younger brother is tall. enw ex EMME Loe L9 CH Apparently, the teacher scolded my daughter. = ta Apparently, the weather has worsened. Weealso have the £5 % and £94 variations, which act as simile (454): e is 0} oL9 aRE, pO IT hate that teacher who is like an ogre. e ‘ut Pe ® OL 919 £7 ¢ #2 He lies (tells lies) like a politician. —52— #5038 Lesson 50In order to: £5 1c Let's now begin to study those “unseen” usages of £ 3, the first of which is the usage of £ 5 {< after verbs (only), usually in the simple form, and indicates “in order to” or “so that.” This usage is for expressing that a certain action be implemented to urge or cause someting to be done; thus, enabling us to obtain the desired outcome. ‘The structure of this kind of sentences is always “/result} 5 {2 [action].” That is, before £ 3 [= we specify the result we want to obtain and, afterwards, we detail the action or actions that must be done to achieve it. BRAS 9K e BARE ke wots ke 4 I shall hide the fish so that the cat doesn’t eat it. esecssts ORDO TIER TCE . 3 T P’m working in order to go to Japan. 1. I want to pray so that I can pass. \s Be careful (in order) not to have an accident. |'% 9 shall apologize so that my father doesn’t get angry. Soft command or request: J 3 iz + verb Knowing how to use the expression £9 12, combined with a verb like & 4 (to say), ‘Ge: (t0.0sk), or 3 + & (to commtand), is very convenient. Ithas the implication of “to do as...” and it that can also be used with other verbs to form sentences which are not necessarily imperative or for requests. However, you can’t give an order or make a request using this structure directly. “£5.12 + verb” is normally used either to indicate what kind of order or request oneself or a third person has received, or to describe an order or request in an indirect way or which was previously performed (in the past). It might sound somewhat intri- cate, but take a look at the following example sentences and you will understand much more clearly what we mean. Note: Since we are talking about orders, you can review t.30 (book 1), where the L9H te The president told Yamazaki to resign. = <8 A. She asked me to wait there. ON FCAT 1 RANKS LTEES TK SW Please, tell Kawai to come to the office. o fait 5 eT 5 9H S Lt Lordered my son to study, Relative clauses fAi@#}—53— SEE50 To get to the point of: £5 i2%@4 Another expression with {5 {= is ,t 5 {2 & 4, which is used to indicate changes that are usually gradual (despite some exceptions), and indicate the end of processes that are usual- ly long. It is translated as “to get to the point of...”, “to finally manage to...” or “to become able to...” This expression can only be used with verbs conjugated in the simple form. ° ‘ime (£31 tt He managed to (learn to) swim. © BAH EH #5 L914 1) Ru want to become able to speak Japanese. erna eh HWWL IIR f I managed to not smoke. (I managed to quit smoking.) B30 OPS LMAAR HS LI Bok Ihave finally managed to understand statistics. To try to do something: £5254 The last £ 3 expression we will see is £ 3 {+ 4, used to express an intention or deci- sion, An exact translation of this expression is very difficult to suggest, but we could define £ 5 (+4 more or less as “to decide to do something...,” “to try to do some- thing....” “to have the intention of using all the necessary means to do something...” etc. tend 34u5 e@ 4%, BHT 44512 Lt I want to try to exercise every morning. te & @ RIAL URNS ROL FILL TOS He is trying not to eat much. ORE, FaickS £9IL TC SU Tomorrow, make sure you come at 10. ance ORR I TEOMBOL IN LAO WU BW Politicians must try not to lie. ‘ela ___ Apparently, he went to the caste Ritmo L 5 He lives in a house that looks like a caste. HORM LR ‘That house is as spacious asa castle. Z 4 pcre Setar Sib alrcor yon ttn oleate potent ts (ie ani MIHHERC LFS et He told / asked me to drawa map. i. s MISH E RS LIT oe ee lehes pice the pokd othetageble w drow HB, ME CHOC LIFTS eM ex going to try ran tothe cote cvery dy. —54— 5038 Lesson 50Manga-examples As usual, we will take the opportunity by means of manga panels to see in a working context the expressions we have just studied. On the one hand, we will review relative clauses and, on the other hand, we will try to give a clearer idea of the numerous usages of £ 5. Narrator: HOBHS VOLE, SRABFOTLETI CTT eye pop big person Top, stomach sp empty die be The man who had big eyes was starving to death. We start with this excerpt from a story written in hiragana alone. The author copies the style of children’s stories, which are usually written in hiragana PBS HOF SPAIN TEE OP MSE OFS because children can’t read kanji yet. TE Az sentence would actually be: Bo 8 12% AMAT OTHE xCT. ‘The relative clause is 9K & 2 (with big yes), and it provides information about the noun 4 (person). Notice how, as we commented in the theory pages, some- Inver Boat ‘ " Soy Eee times the subject particle #* is replaced with . Therefore, 94° 4% A (the man with big eyes) would also be valid. An interesting thing about Japanese is that the concepts of restrictive and non-restric- tive relative clauses don’t exist. That is, the sentence HO KS WARM both The man, who has big eyes, is kind (non-restrictive) and The man who has big eyes is kind (restrictive). Consequently, we will only be able to tell this nuance through the an mean context. In this case, the relative clause is restrictive. ne \ Notes: Notice how the sentences 5A #1) T4» (to be hungry) and Hic = 9 C+ (he looks like he is going to die) are linked by the -te form (1.35 and 46). Notice, too, the U usage of the suffix for conjecture~@ 9 # in RICE 3TH. Relative clauses fi{f#—55—Bee b) An “internal” relative clause HORE Lbs RL ty 9 hie a Zange: Kilt, 3 avNVvREO CRORE OEE ales he ror, Miinchen university pop library pp I sp gun 1p shoot man be He is the man I shot with a gun in the library of the University of Munich! Here we have a sentence with a long relative ne be pet eas clause: § 2 yNY RE ft CHART Ro t (I shot with a gun in the library of the Ss Tose ASE ESS Wn TER University of Munich) is the relative clause ABH identifying the noun § (man). It is an “internal” relative clause because the noun "is part ofa basic hypothetical phrase: #2 pavrnyR¥OMeRCH ERT Rt (I shot a man with a gun in the library of the University of Munich). In this example we observe an important point you should bear in mind: the subject of the relative clause (in this case 4, 1) can never take the topic particle Iz: it needs #* c) An “external” relative clause 23a ORY dt 8 Sayama: BEA MA IRM BANAL THOS > THM TSE you sp son-in-law candidate support do say rumor Top hear EP Thave heard the rumor that you support him asa candidate for son-in-law. Let’s now see an instance of an “external” relative clause, named so because the noun about which the information is given is totally independent. In other words, it is not part of a basic hypothetical phrase. In this case, the noun is “& (rumor), and the relative clause is BRA MA ITRMI BAHL TOS (you support him as a candidate for son-in-law). We mentioned in the theory pages that some nouns require & 5 when linked to a relative clause. To be precise, we use £1) when the noun expresses abstract concepts, like thoughts or assertions. *@ is one of those very concepts, therefore we will use either & 1.5 ot the shortened colloquial form > €, like in this example. Socio Kosen —56— 385028 Lesson 50d) Two usages of yo bots Ltt Bie Doctor: Rk, RAGTCTIOCTRLLIFL, SHETSS LI BIK she appetite too a little go out apparently besides, conversation too to get to. Apparently, she has recovered some of her appetite and, what’s more, she is able to talk now. We will now leave the relative clauses behind, and we will focus on the usages of the multipurpose £ 4. In this sen- tence we have two different usages. On the one hand, in ROSE EOMTARLS her appetite), we have the well‘known expression £5 (she has recovered some of indicating “apparently,” which we studied in depth in 1.43. Next, in SHETSS LIED OM, we see LICR, which indicates a change that has gradually happened. The phrase would be literally translated as She has become able to hold a conversation (after a certain adaptation period which has taken place gradually and which has already concluded). Note: Notice the usage of L, indicating “not only x, but also y” which we saw in 1.46. e) In order to: yd ni seca Ane Boss: BERIROC EMAC SAHVETLIKCCTR TH! ‘Mr. client 1op good thing sp many there is so that here pp pay attention Ep! Stay here and pay attention in order to make sure the clients have everything they need! In this panel we can see a usage of .t 3 Ic expressing an aim and the action that must be performed to achieve it. It could be translated as “so that” or “in order to.” In this case, the aim is BEHIC ROC EMR C EADY £4 (that there are many good things for the clients) and the action to be performed in order to achieve iti 45 < (stay here and pay attention). & 9 (2 is placed in the middle — after the sentence indicating the “aim”~ to link both sentences and give the meaning of “in order to.” Note: Before .{ 3 (2 the verb comes usually in the simple form, but since the register in this case is quite formal, she has chosen to leave the verb & 1) & + (to be, there is / are) in the -masu form. Relative clauses S44 ii—-57—f) Request: y6 + verb nb $i) UCASE “WIL 2 ° Man: BS 3A, RRORERCBReHOL IF okEI KM mom, bank pop branch director top funds pop wait (requ) say looks like be EP Mom, you’ve told the bank manager to wait for the funds, haven’t you? Let’s now see another usage of t 5, used for soft orders or requests: it is the construction formed by 4512 + verb for request or order. In our sentence, we must take a look at #2. 3 >t (you told him to wait). Although 3 (to say) is used, the sentence is obviously a request. Other possi- a A (you asked him to wait) or #9 £9 (24 Lf: (you ordered him to wait), etc. ara Raye ble sentences could have been: Notes: Notice the expression of the conjecture ~ Z 3 7! —be careful, this expression is different to the one we have seen in the manga-example a)— used to give information Fort which has been obtained from another source (1.43, book 2). Thus, #2 3 iterally means I’ve heard / been told that you have told him to wait. g) To try to do something: y6 ni suru pour ae Naoya: Chm S, MELETLIELEOR dW this from, her cp talk try to want ep... From now on, I want to try to talk to her... We will conclude this lesson with another of the many usages of £ 3:the £312 +4 cons- truction. Although rather difficult to define, it Sa indicates a nuance similar to “to try to” or “to decide to do something,” In the in this panel we find the sentence ik 24 tz L 4), which has the connotation of either I OR ROECTH SPER PEE want to try to talk with her or I want to have the Sune Kien : intention of doing all I possibly can to talk with her. That is, using J 4 (244 is more or less the equivalent to a declaration of intentions of what one wants to do or is presently attempting to do. Note: < #1 #°5 (literally, “from this”) means “from now on,” “after this.” —58— 50% Lesson 50Indicate which is the relative clause in this sentence: “The man who loved Makiko is called Koji.” Translate into Japanese the sentence in question 1. (man: ‘8, to love: at *@ Makiko: hed, Koj Translate: “The motorcycle Akira bought is very fast.” _fmotorcycle: N47, t0 buy: 39, Akira: WH, very: & C%, fast: >) Are these sentences corret? Why? Tika ath ocnsdstul orev @ Gifs he, #10 sell, #: pear, #10: sweet) Translate:, her 7H Hm ebbok vos wae cre ( bribe, bb 9: to receive, Hi: case, true) In Japanese temples, people usually leave 6) prayers like Bit £3 12. What does © sentence mean? (ee + 3: to pass an exam) Translate: “The dient, told the sales clerk to shut up. ” (client: BES sh, to say: & sales clerk: & ‘#, to shut up: x a) Translate the sentence: “I want to be able (8) to pick up a Japanese. ” ” (to pick up: +» 18 &, Japanese: ® A) ES US ERA b Translate: 36, SUMS EFL coat. (Bi: every day, of ® 4: to sleep) Does Japanese distinguish between (10) restrictive and non-restrictive relative clauses? Explain using an example. Relative clauses (fi -59— EY ePED e |Lesson 51: Unexpected events and accidents In any stay in a foreign country unexpected events —such as theft, loss, accidents, sickness— can arise. In this lesson we will learn how to face these kinds of situations in Japanese, and we will learn a lot of new vocabulary, as well. The role of the police Japan is a country with an extremely high level of safety in cities; so much so that pickpockets hardly exist, and the possibilities of being robbed or hurt are slim. Therefore, the role of the Japanese police is not quite “keeping the peace,” but rather acting like “social workers,” who watch traffic, take care of lost children or objects, show the way to those who get lost, ete. Another curiosity in Japan are the town police boxes or %#, mini-police stations with only two or three policemen who see to the safety in the neighborhood. If you ever get lost, go to the closest %#: there they will kindly and diligently help you find your way. OPE CAM, HE os otkpi eR OR Af e te ehoeac: eRe —60—- #5188 Lesson 51 Emergencies accident #h ambulance bag emergency injured person 17 0° injury ita pickpocket A\) police See to rob thief wallet witness » 2 What is this city called? (1.41) TL AWS LK Excuse me, I’m lost. (1.35/37) #9 Is this address near here? (1.41) He Hic (2% Please, tell me the way to the railway station. BRI TIAA RUA CH A... Id like to go to Tokyo Tower... (1.37/40) BROT CHET H? Could you draw a map for me? (1.32/48) clk 2 CHM? According to my map, where are we now? ‘SME CHOTA It EF HP Can I walk to Yoyogi park?Theft As we have just mentioned, to be the victim of theft in Japan is extremely rare. Nevertheless, let’s see a few sentences to practice vocabulary and grammar. s3ue SHORE Bh bet ey © OMA BAK Someone has stolen my wallet. (1.41) TRB OT, ‘Re No THAT TCHS eau’ th It’s nothing serious. Take this prescription, go to the pharmacy, buy the medicine and take it. (1.35/46) —62— $513 Lesson 51Accidents We will conclude the theory section with some useful phrases in case of an automo- bile accident; which we hope you will never have to use. eB RK Ho TEL CORT There has been a traffic accident, and I'm hurt. We & Hh fate C4 [think Pve broken my right arm. (1.43) eth AB L (Cam SA Lam bleeding heavily and I can’t stop it. oF MEW BE Sic (5b Flin the accident report, please. | diarrhea joint wie doctor food poisoning kidney Sie hospital ame fracture liver +e Ihospitalization “Xp” gastric ulcer lung i eure ay east Sse i leaving the soca | inflammation i a opie ah of the ear skin a medicine x influenza urine R pain was hepatitis Doctors (B®) : rate high blood — RAS The character is using very typical words of this jargon, such as Re (headquarters), re (suspicious), lair Bolodo AW (person, man, woman), £3 (immediately), or #48 (reinforcements). Typical words in police jargon which you won't usually find in dictionaries are 7% (colloquial word used when referring to a #3, police oficer, detective), 84 + (contraction of ®# 4, victim), ++ (designating the criminal or HX), and $+ % (gun, also called $8, '#H, EX b or 74). On the other hand, we can review the subject of addresses studied in the Cultural note. Notice how the policeman indicates the place where he is at ‘er 3 TAH. You already know “means city 11 town and f # means block. * in this case, means “this,” Bs this day = today, * Fi this month, “RV: this school, 2: means vicinity. Therefore, “this here,” as in the word this company, ete Thus, a is this city / town. Whereas, # rrereey as ‘3 TB Ati is in the vicinity of the 3" block of this city (or town or sector). Unexpected events and accidents >t = ¥ ¥ a —O5—a b) Asking for directions ae Man: PudtA SLoUMERSEVOTHM... excuse me a little way pov ask be but. Excuse me, I would like to ask for directions... This time we ‘see a man who wants to ask for directions and goes into a % @ to do it. Notice how he expresses himself: he first breaks the ice with +1. £4, (colloquial version of FA+tA, excuse me), and then he asks his question. At the end of the sentence he adds the m t+ tag (1.40), anda #* (1.37), all in order to make the question less brusque. This is a very common way of expressing oneself in Japanese. Observe now the x > ¥. It literally means “a little,” like in % £9% #5 T (wait a little bit), but it really has countless usages: to call attention, 5 so UH AXA (excuse mea minute), to soften something difficult to say: 5 4 2 BHT +10 (I'm afraid that’s impossible) or as an “aid” when asking something, like in this example: 6 583 3A0 (I would like to ask for directions). c) Calling the police 7 te ae Man: By 3A FRET! CET! police (suf,) accident be! quickly come! Officer, there’s been an accident! Quickly, come! This is what we must say if we witness an acci- dent and we want to call the police. By the way, the amount of names given to policemen is quite interesting. The generic name for the police force is 'B%, from which the word Be % (police officer) is derived. Other names are i 3 and eH, or the colloquial et O70 or ax 0 SA, like in this example. A crimi- nal’s most typical way of referring to the! Nims policemen i ist (from ee ) or «9 . Note: The telephone number for emergencies in Japan is 11 O ‘s (be careful with the irregular reading). —66 — %§5138 Lesson 51d) Phoning the hospital to report an emergency eee Tel: FRCS | BSW LI CRT EC CEEDEITH! accident be! patient rop chest pop hit breathe sp well can looks like be! It’s an accident! The patient has hit himself on the chest and can’t breathe well! Let’s now enter the doctors’ world. In this exam- ple, we can see how the doctor is being informed on the phone about a patient who has just been hospitalized. Since the sentence itself has no diffi- culty, we will focus on the grammar. We can see (in the #7 3 T... portion) two sentences linked with the -te form (1.37 / 46), and an adverb (1.22, book 1) formed from the -i adjective 5 £1. 3 £1 is the colloquial version of «>t» (well), therefore, 3 £ ¢ “tO means cannot do it well, And, finally, ‘Shot notice the expression of the conjecture <3 T+ (1.43, book 2), used to give informa- tion obtained from another source (similar to “I've been told that...”) e) A demanding patient Ee ole taw s nO SAAS KA TIMARU CMP MOL. TAIN MEL painkiller drink 2 hours pass but take effect er. Buscopan ask EP Two hours have passed since I took the painkiller, but it doesn’t take effect. Come on, give me some Buscopan. Another medical example. This time we have a patient (#4) asking the nurse for some medicine (# ). There are several points worth seeing. On the one hand, notice the word painkiller (34 1.0»), literally something that “stops (ab a ) the pain (4 2),”; and then we have the curious thing about the Japanese not “taking” medicine, but ). By the way, the word #4¢ always “drinking” it ( means a medicine or something takes effect. In the grammatical aspect, we have a sentence linked with the -te form (1.35 / 46) in the ther T... portion, and an adversative construction with (+ ¥ (1.49), indicating “but.” Note: 7 4 27S» (Buscopan) is the brand of a painkiller. aver Bonde Unexpected events and accidents fi > f= & & Fak —67—f) Names of sicknesses ied ur ARE IHL L Doctor: PX UCP... KHEY CP RO.. PRRRTHAO.. pneumonia not be... food poisoning not be... tonsillitis neither be... It’s not pneumonia... nor food poisoning... nor tonsillitis... Here we find some names of sicknesses GAS), among which we find te % tJ) (food poisoning), whose synony- mous is ft ¥. Notice the suffix i, the equivalent to our suffix -itis (meaning “inflammation”. Thus, a ( is pneumonia or “Jung (i) inflammation CO, ” Ba Kis tonsillitis or “tonsil (aka) inflammation oe and # 8 is gastritis or “stomach ) inflammation Gy etc, There are more suffixes, like &, indicating “discase:” Sea means heart disease (28), and 7 9b 94% = % is Alzheimer’s disease. Gabriel aque g) Tests and hospitalizations Was Doctor: LAMB Oa WARE AU CE Bwat this from several tests pop take (receive) From now on, we will have oer rel tests. en d0K, (DLC WER thay VethS Barns 04 ABLE L £3 in detail Top result 1p understand because tomorrow. “Tb ress wil ve us more Geestagtamuotiow ve tell nope ok To conclude, here is a good example of medical jargon: notice how the doctor tells the ‘Patient she must be hospitalized ( NB 3 ) so that she can take some tests (hte Uy), and that they will know more when they obtain the results (is 2 ). In the grammatical level, we will highlight ==> the~ $5 3 form (1.45), which adds the nuance that the listener will perform the action for the benefit of the speaker, and, besides, the -d form (1.34) in ‘Xe L& Ls 5 (we shall hospitalize you). Last of all, note the usages of # + as the particle “from” (1.41) (2 ha» 5 and a Ha 4), and as a connector indicating cause / reason (1.48) (#1) £45). —68 = 5138 Lesson 51Translate into English the following A, BRB, Le bry, Translate into Japanese the following @) words: “doctor,” “hospital,” “injury,” “ambulance,” “cough,” and “cold.” You go into # to inform them that you've lost ating, What do you say? (to lose: KA 7) ting: #8) Translate: “I’ve got a headache, a fever, (4) and I can’t stop coughing.” Translate into English: RO 4 ¥ 71 EY FPELABOA, MRREOOE CH. (KEO:a simple) aa 4 TaN Fc 2 Interpret this address: 101-8010 ‘bk £© tke beh FREE A DB ce raum tis © ee Bi (&: metropolitan area) How many ways of calling a gun are there? And a policeman? List them. Translate, the sentence: 5 4 2k aD bw HOT, WRLC Ces Gore: 0) understand, #44 4: to explain) Translate: “Because I have a headache, [ take a medicine.” (painful: # 4), head: ‘Wi, medicine: ) What does the suffix ¥ mean Write at least four words with ‘€ that we me studied and give their meanings. Unexpected events and accidents Bo Ac & ¥ #8 —69— C} ry SOSIDAAX.Lesson 52: Honorifics Japanese, like any other language, has strategies to indicate respect and speak in a “polite” way: we are talking about the “formal language.” In the Japanese case, however, this is specially complex because there are three modes of honorifics, its usage varying according to the occasion. tor Honorifics or #33 ‘The Japanese formal language is called ad, that is, “language (#8) of respect (#).” We will use %if when speaking with or about people who are hierarchically superior to us (such as bosses, teachers, elders...) or with people we have just met, as well as in formal occasions like speeches, weddings, work meetings, dealing with clients, and so on. Traditionally, in Japanese, there are three kinds of #38, that is: 4 #48 (language of respect), each of them is used in different contexts, so it is very easy to mix them up. To end up 4 (language of modesty), and 1 #8 (polite speech). Be careful, because using one in the wrong situation sounds awful! ens The language of respect (#438) #834 literally means “language a MRE es ) of respect (%%).” We use HC|RS Ob>L 03 $8 aa 4 when talking with or about ees. another person, raising his or her position to express the utmost foots respect. Fe we uIKs . Qe t a Boles Pr| PLES (HE (ERB — BS Se SLAMS mally is either someone the speaker The subject of the action is always the other person, who nor- $59 a eee considers superior or a stranger. —70— %52R Lesson 52Edo, How do we use #833? In English, all we need to do is use relatively learned words and address people by their surname preceded bya title, such as Mr. or Miss, to speak with formality. One of the pecu- liarities of the Japanese formal language, however, is that it implies important grammati- cal and lexical changes regarding informal language. Bear in mind the following points: i) ‘Usage of the formal “versions” of certain verbs. Take a look at the table on the previous page and you will see the 4 #8 and 8H versions of some verbs you probably already know. Let’ se some example in aaa e wes Shy fe BX>TOETH? What are you doing, Mr. Tanaka? #8 &BoLPoT (ES Please, tell me what you wish. e : e BRS SAMI LHe + Mr. Suzuki already knows it. bet eR ea (ie @® Conjugation % + Root - = #4. Take any verbal root (1. a) and add # in the fe (280% The teacher gave me a book, (1.45) beginning and {< # 4 in the end. Ex: s < (to write) > -masu form: es & £9 = (without at): + & => weadd # and In 24: Be % 1224. Note: This conjugation is not used with suru verbs (with those verbs we use 43. Ex: ®i#-t3 > WHS 4 to study). e ee B i £5 #s [2% t The teacher wrote a letter. OFAEEL, BESB T(E Sb Excuse me, please stand up. : a EBMalewS THRO Y ZOeF I think you haven't read this book. @ ~5Ns Form. There is a special conjugation you should learn from scratch (see table on the BANS right). Verbs in group 1 replace the é iter Rsons last -ru with -rareru, and verbs in tolend Fens!) HEH} group 2 replace the last -u with -a towait -$AhnS) ENS and add -reru. Thus, kaku = kak- tobuy Fro) Rons => kaka- > kakareru. Exceptions: toretun -F5nNS HONS be careful with K 5, which beco- towrite -EPnS BFPnS mes kawareru and not kaareru, SEAHS | Arns and with 4, which becomes : suns Bens matareru and not matsareru. torefuse -@inSs nS Honorifics #%88—71—es WKS LU £E MHL 5-CF Apparently, Mr. Shimizu wrote a book. e(serinye O (HU EE)RH EMA ENTOET HY? Do you teach English? hE LEM ? Did you go to Sendai? @ RHE Aa BABS COEF? Mr. Kimura, are you married? You have probably realized that in the table there are no verbs ending in % nor the irregulars +4 (todo) and &% (to come). There is only one verb of common use ending in %, and that is 3¢4 (to die), which already has its own # #i8 version: BE ( % ic %4 (see the first table), +4 and #4, even though they have a -rareru version (3S E anes and #5 #4), they also have ¥ &38 versions: 7 3 4 and (4 5 L + 4, respectively. Important observation We will sometimes find ourselves talking about somebody hierarchically superior with someone equal to us. In these cases, we use the different strategies we have seen to express respect towards the superior person but the verbal conjugation is usually left in the simple form to express familiarity with our interlocutor. Since this may seem some- what intricate, let’s take a look at an example: eo RE Wb 5 eb aU (Talking with a classmate) The teacher is not here. Since we are talking about someone we respect (3, teacher) we use the verb 1s 5 > Le % (to be), but we leave it in the simple form because we are talking to an equal, a classmate. So that you can see this even better, we have also added the colloquial end- of-the-sentence particle @. Let’s see other examples: oki 9 BH yIe% KE The president has already gone. @ ike Aig REE CRNA ta Mr. Kato walked to university, didn’t he? The language of modesty (iki) Now we will go on to study the second kind of honorifics, the ifis#4, literally “language (3) of modesty (#8). We will use S432 when talking with another person who we consider superior, lowering our position in order to indirectly raise our interlocutor’s position (hence the usage of the term sf #, modesty). The subject of the action is always “I” or someone in the uchi circle (1.45). We must néver (absolutely never!) use this kind of honorifics when referring to actions performed by someone who is not “I” or doesn’t belong to the uchi circle, because it would sound as if we were degrading the other person. —72- 5238 Lesson 52eta 2e Using sakes Let’s now see the various constructions and usages of i 18: @ Usage of the modest “versions” of certain verbs. Just like with # #2, there are “modest? versions of: several of the most common verbs (see the first table in this lesson). e "i ia Thy ty i 4b rs ) & Lk I come from Argentina | I’m from Argentina. ita as te & @THECAM, Ek " > CBU Ft I’m sorry, but the president has gone out. e \i LTH YF My younger sister is married to a doctor. Note: In the third example, the person performing the action is hierarchically supe- rior, because he is the 1H (president of the company), but he still belongs to the speaker’s uchi circle. Therefore, when talking with someone in the so‘o circle about any- body in our uchi circle we will use #488. @ Conjugation # + Root + +4 / w%F. Take any verbal root (1.31) and add # in the beginning and $4 or \v:+ in the end (with (s+ it is even more formal), Ex: # « (to write)=> -masu form: $4 £$ => root (without +): @ & = we add # and fe FEBEATS. -Note: With suru verbs we only add = (not in te beginning 44 (Idrive), cee +4 (Ill guide you). age ORE OLR EBRAL OTT Professor, 'd like to read your book. A be ME LEWES 5 CH at Td like to consult you. Observations ‘The same happens with iia as with ##d inferior about an action we have performed in the interest of somebody superior, or in when talking to somebody equal or his or her presence, we will use S38 verbs and structures in their simple form. @ WZ EE 1c FES UHV tt (Toa classmate) I gave the teacher a book. eo LRONMEERRL KZ (To a colleague) I’ve seen the presidents project. You have probably seen that sometimes the prefix #5~ or #'~ is used before nouns or adjectives: this is a way of showing respect used in the three kinds of formal language. We will put ~ before words of Japanese origin —which are usually written with only one kanji-, such as 88. (early), BR (car), BE (your house), 8K (letter), etc., and =~ before words from Chinese origin —which are usually written with two or more kanji—, such as 2 (pou fama, 28 + eonsltaton ). There are some exceptions, such as 8 £¥ (meal), 87K (healthy), BE (telephone), etc. Honorifics §3§—-73—chance Polite speech (7 #33 ) cones cone z ‘The third and last mode of honorifics is the T #44, or “polite (T $) language (##).” This mode is, perhaps, the closest one in usage and concept to our English usage of “titles” (Mr., Mrs., etc.) and the corresponding polite language used with them. It is merely a politer way of speaking, involving no special hierarchies. Using T # #8 is quite simple, since it is based on always using the ¢+ and ~%+ verbal forms, which we already studied in 1.9 and 19 (book 1), respectively. pet on ew @ fAlt WDE TH P'm a neurosurgeon. bp @ SCBA WET There isa turtle here. De UbRCRA OF @ SOA 1 RAY Baz LK That person stole up to one hundred million yen, If we want to be even politer, in the case of 4 3 / 194, we can use 2 ¥ 40 F or, in the case of 4, we can use IYO. BEL OFT eis BASE ORF Pm a neurosurgeon. e@cck aH ee EN WAFS There isa very famous picture here. In 1 $4, the prefixes 4~ and <~ are profusely used before nouns and adjectives, although it is women who, by far, tend to use them more often: @ OB, BALCH a This flower is beautifi, isn’t it? e BES xi eka & & L & Ihave had lunch in the shop. RE, APBoLPURLED? Did you say something, teacher? SALBRE TORT ‘Me. Miura is waiting. WS ARRAN TORT Mr. Miura is waiting. ZORERRLELE I saw that book. db, BRBLTHURLE Ob, was waiting for you. SWS Aldo TORT ‘Mr. Miura is waiting, CHEREDATIROST ‘This isthe teacher's book. RED CBHI TH D2 ‘What is the teacher's opinion? —74— %$523R Lesson 52:Bigif) | Manga-examples Now you have realized how complex and difficult it is to master the usage of Japanese honorifics. For the moment, try to concentrate only on understanding what you are being told in formal Japanese; later on, when your Japanese has notably improved, you can try using it yourself. a) Sonkeigo Pe BR. WI ERS OTS lL PSOTHH Our first example gives us an instance of the usage of the language of respect or of the sentence in this panel would be ff @ LT W2OCFH? Notice how the verb #@ % % isused here, it being the “respect- wa . The normal version ful” version of $4 (to do). An impor- tant point is that even when forming the gerund (1.24, book 1), which is usually formed with the -te form and the verb 4 (to be), the latter is sometimes replaced with its respectful version (5 > Lp 4. Studio Rosen Thus, the L Ct» part (to be doing) finally becomes #33 TUB > LPS It is worth mentioning that the verbs (0 9 Lp 3, 244,HoL eS and ( #24 are slightly irregular, because their -masu forms are, respectively, Who Let, 3 #4, Bol pss and ( ££ iF F. Thatis, before the final £ 7 we add an 1, which, according to the rules, should not be there. Therefore, if we changed the sentence we are now examining into the -masu form, we would obtain HEBSoTHH DL OWETH, Likewise, it is essential to know that there are “formal” versions of some wor ‘ds. The most typical examples are % (replacing ‘A, person), ¥% % (formal version of if, who?), or the adjective £4 Lv» (instead of tt, good, well). Likewise, in formal language, we opt for the kosoado 255, 55 and 445 instead of = =, = and 6 ¢ < (1.34, book 2). Honorifics 338-75—b) Sonkeigo in the simple form ix S2dbo Dr.: ee (BRARM OGL PS soon Horibe professor sp come Professor Horibe will come soon. S253» Beaton odnsns Loer professor himself operate do sap (ntom) be It will be the professor himself who will operate. BS rr OVS OF Ssos4 ys In this example we see two instances of the formal lan- guage of respect or # #23. On the one hand, we have the special verb 15> L #4, here replacing #4 (to come). On the other hand, the speaker also uses the -rareru form of the suru verb 8 14 (to operate), that IW Ren imu is, #97 4 i. In this last case, yin & ¥ 4 could have been used as well (remember 2% & is the respectful version of + 4 ), with hardly any nuance differences “i (Professor Horibe), who is someone he respects, someone superior to himself: that’s why he uses aa when Notice how in the sentence, the speaker talks about a speaking. However, since he is talking with someone who is his equal or inferior, he deliberately leaves his verbs in the simple form to denote familiarity towards him / her. c) Sonkeigo and kenjogo in the same sentence Te be Yoshida: Hbbo lL PHBL TH, FATHOTHU ET. nothing say (although), everything know be Even if you say nothing, I know everything. The languages of respect and modesty can be used at A the same time, combining forms as we see here. On ze, the one hand, Yoshida is talking with a stranger, so OHH SE AAAS oT Vor, Ass: he chooses to use the verb of respect (#838) # > Le (to say), with which he raises his interlo- cutor’s position. On the other hand, when speaking about himself, he uses the verb of modesty aver tote #5 (to be), lowering his position to indirectly raise that of his interlocutor. Notice how in Ge the gerund ~ T\.4 is changed into ~ T 84 (~CHil £F in the -masu form). Notes: We studied the ~ ¢ % form (although) in 1.49. The verb 44 (to understand) is usually written 44 4, but, sometimes, for either style reasons or because of the author's preference, #] 4 is used. —76 — 1.528% Lesson 52ic prefixes and kenjégo seat Kumi: 69-BE8, CARS COMBHS HRS well... client (noun suf.), departure until (nom) recess rest can Ifyou please... Ladies and gentlemen, I’ll get a room ready at once... Bae CAEKL FPO Ce ee room pop prepare do because, go ahead .» Where you can rest until departure time. Come in, please. In all three modes of formal language the ho- norifc prefixes ~ and ¢'~ are very frequent. In this example there are several: 8 4 k % (departure), Bika (rest), & 8 (room), and <#® (preparation). By the ( client), = s way, there are some very common words from which we normally do not separate this hono- tific prefix, even when talking in colloquial ‘Barbara Raye . Japanese: 4% (tea), BE (money), 21 (rice, meal), 8% (hot water), #4 (eke pastry), 8B (bath / bathtub), etc. Notes: Sometimes we will find the °~ or 6~ prefix written in kanji: #?~. Notice in this sentence how the client ( (8) i is usually treated as 4 ‘§ 8, with the suffix of highest respect ~ #f (1.15), and that’s because, as you know, the client is “god” in Japan. e) The uchi-soto relationship in formal language PraeT : Chiaki: AWS NFS OVE TOT... now Kawai sp come because... Kawai will come right away... As we saw in 1.45, the difference between those who form part of one’s own circle (uchi) and those who don’t (soto) is very important. Here, Chiaki says that “Kawai is com- ing” using the verb # 3 (to come), which belongs to the language of modesty (3his#). Moreover, for extra “hum- bleness,” she chooses not to use the honorific ~ x 4, after Kawai’s name, something surprising if we think that he is """"°"*° actually Chiaki’s boss, whom we would expect her to treat him with respect. Chiaki con- siders Kawai as an chi member before her interlocutor (a visitor from another company who clearly belongs to the soto circle), and that’s why she uses ‘Su. Honorifics #38-77—f) A new form of Ub bt Larkes 2 OF BASKLEFOT PR BRE TI. now investigate do because a little wait please Tl check it at once. Wait a minute, please: Recepcionist: There is a very common request form which, despite being Os ORO aS ASA CR quite formal, is not considered part of #38: it is 3 + Root + ( #8 \, equivalent to the request made with ~ T ¢ ADT % ts (1.24 and 3s), but more formal. This construction is formed with the verbal root (1.31), in front of which you add & (or = with suru verbs), and then you add ¢ # & ty —/ Tomorrow I'll read a fantastic magazine. (C) OR BL TLET BoE ORE I® What are you doing, playing? I’ve told you to work, haven’t I? (V) There are other “minor” contractions, such as {4 4 % A (something, v.41) | ¥ 2 a = Yom (somewhere, v.41) | chis/ZH/H RIES = e/Z 1) e151) © (this, that, that over there, L.34) | 2551/2 45/5 553256145 4/54 (this way, that way, Lime that way over there, 1.34) | tk #2 L £3 AW (it’s no use / it can’t be helped). Shortenings Another characteristic of casual speech is cutting or abbreviating certain construc- tions or words. The most typical are: 4 D> A (thing, 1.57) | & = 4% < (place, 1.58) | ®& LAOH & (perhaps, 1.43) | OA FE (emphatic tag, 1.40), among others. Notice as well the elision of & in the potential form of verbs in group 1: #534 + in the second sentence: it is (good morning). The '€4,%-in the third sentence is the simplification of 10 ® (my house). —82— $§53:8 Lesson 53EFF tohavesex zee this guy zo that guy _ BH — totakeso.fora fool BOD thatguyoverthere sezuil FYRFS —twopick up we kid/ brat | zesty handsome/cool| US tobe scared stiff ae you (threat) | 5-431, ridiculous 3817 tomess around BU kid / midget ew aca ecol BrO( to get angry Fr) bicycle ery stingy Expressions 2b face / mug BRO tacky oat hey! (threat) Tha you (threat) TPH huge SEA serves you right RENAE) weird / pervert een horrible #8(523)~ super (very) RY truly, Pith risky / dicey dobo~ very Grammatical patterns Take a look at the table in the previous page. There are a few grammatical patterns only used in colloquial or vulgar language. For instance, ~¢ #* isa very rough and vulgar expression with a very strong nuance of contempt, ~ T f= 2 4 # is used to indi- cate in a rough way that “T'll be damned if..” or “I won’t allow...” and S5~ adds brusqueness to words like i % (to hit) or & (to kill) e CHZ, BHTHMRL DMs |? You do you take me for a fool?! (very V) © 2083, Al CHRSHE! Pll be damned if I lose this match! (V) © HER CAR? SOMTe | What are you laughing at? I'm gonna kill you! (very V) The adverb + < ( comes from + 2, an adjective constantly used in colloquial re- gister to indicate “fantastic, great, wonderful, cool,” etc. # 2 <¢ is an adverb with the meaning of “very.” synonymous of & T & (1.45). The really peculiar thing is that very often +210 is used in the same position and with the same meaning of “very” as + 2; despite this being a grammatically incorrect usage, itis very common. Oe FLUFSOHOK ER, SOULS! Isreal sweet, this apple, isn’t it? (C) Another curiosity is that there are words whose main consonant is “doubled” in casual register: (f°) Sf 9 1) (only, 1.58) | PIL VSP lt) (I knew it) | LU A £4) (not much, 1.45) | ¥ 89% 5% (awhile ago)| LRA % (asit is, 1.47). © X5tf 5» NH 9 TL. BH | Don’tmake only complaints (don’t complain so much), man! (C) Ata, RAED # AE TO ELH L Pm sorry, but I want to remain as friends. (C) ° In the table above you have a list of words almost exclusively used in colloquial con- texts, which should be very helpful when reading manga or watching movies. Casual speech ¢ #17 + 8 #58-83—Questions in the negative In English, like in the sentence Won’t you come?, we sometimes make a request in the form of a question by using verbs in thie negative. We are actually asking our inter- locutor to come, in an indirect or “soft” way. The same happens in Japanese, but it is much more frequent and in all registers (formal, colloquial, vulgar...) BEARTOREW EEA»? Could you come here, please? 2H Catt? You, how about answering the phone? @ BRAC LRVNO, TH? Isn't that very far? The first sentence belongs to the formal register, the second and the third ones are colloquial, and the fourth is colloquial, verging on the vulgar. Be very careful with these kinds of questions as, even though the verb is in the negative, they are actually requests. We also find U » % 1. ? at the end of sentences, used when asserting something and trying to obtain our interlocutor’s agreement (like the English tag questions). Be care- ful as well with the more colloquial version ¢ » 4., used mainly in Tokyo and nearby. e tek Omit te Boe Ue @? Her bag is very expensive, don’t you think? enn aa WU eA ? That manga is interesting, isn’t it? Answering yes / no questions Yes or no questions are those that can be answered with a yes or a no. For example: Are you hungry? or Shall we go out for a walk? From our point of view, Japanese is pecu- liar because it is “logical” in its answers. For example, if we are asked Aren’t you hun- gry?, and we really are not hungry, in English we answer “No.” In Japanese, we must answer “Yes,” that is, “Yes, it’s true that I’m not hungry.” If we are hungry, in Japanese we would answer “No,” that is, “No, it’s not true that I’m not hungty:” in other words, we are denying a negative, which finally gives us an affirmative. It sounds complicated, but if you consider it carefully, you will realize it is more logical in Japanese than in English, although it may be difficult to get used to. OBRERSAC BOA THO? | dO (EXEC EO) Don’t you want to eat meat? | Yes (I don’t want to eat). eo REEMA Ce ROO? | OUd, I ESR) Don’t you like Mariko? | No, you’re wrong (I like her). —84— 9532 Lesson 53Manga-examples zeal After the theory, we will now see a few examples to clarify the usage of colloquial and vulgar language. A word of advice: take this lesson only as a simple guide of casual speech to understand comic books and movies. In real life, avoid using this kind of Japanese whenever you can. a) Pure vulgar language Gabriel Luque Mean es Katsuichi: 5342 1 THRE OMRDZBE | oa THIN! noisy! you 10P relation there isn’t topic be! withdraw (vulgar)! Shut up! This has nothing to do with you! Out! The panel opening this section of manga-examples is a real instance of the most vulgar Japanese there is, full of contractions, rough words and even special grammatical con- structions. Notice first the words 5 4 #& and filff¥a 2, which are very vulgar transformations of the words 54 %4\ (noisy) and if aU (bearing no relation to). In the beginning, contracting the last part of words ending in -ai and -oi into -ee was a characteristic of the vulgar dialect in Tokyo, but it has spread all over the Japanese geography and we will certainly see it extremely often in comic books and movies. The word € ¥ 4 4 is the plural of C# 4, a very vulgar way of saying “you,” with a very strong nuance of threat and insult. C a is a distortion of + if. In this example we have a contraction we haven't studied: it is (< », its normal form being, as you have probably guessed, (< and (x together. To conclude, notice the final ~ € ? #°#, the imperative form of ~ TPH 4.~ TRHA isa very rough and rude form of the gerund ~ T 1.4. You will find ~ ¢ P 4% in comic books and similar places, but never in real life. Casual speech ¢ #17 f: B RB—85—b) Threat 23 DRLTPS (pref.) kill (give) Tm gonna kill you. BYLESR-z@ threat not be EP And I’m not bluffing. Here is another instance of vulgar language. Notice first the end, t » 42%, a vulgar contraction of (' » # \, or the more orthodox form © [x 4+) (it isn’t). Tit is usually contracted in all registers in Japanese into (! p, and the #2 @ in the end Ferbane? is a rough contraction of #2 .. In this example we also have an instance of the usage of the prefix 5: > ~, which adds brusqueness to a word. By just adding 3: ~ to the verb Ht (to kill, to murder), the speaker is strengthening his sentence and adding, as well, the nuances of “threat” and “resolve.” Last of all, the ~ 4 form is very common in vulgar language to indicate disdain towards the interlocutor or to sound more “macho;” it hardly has anything to do with the meaning of “give or do a favor to someone inferior” of the ~ ¢ 4 we saw in L.45. Tokiwa: 3. ¥1) 42 775 lark around (neg. imp.), fat guy Stop fucking with me, fat-ass!! Generally, a girl would never use this type of vulgar language, merely because this register is too rough and “macho” for a woman. However, in this exam- ple, we have quite an exception. The girl uses three S14 (to mess around, — Sasi Kosen very vulgar words: the verb 5 to bug), and the nouns $8 (guy, man), and 77 (fat guy). Except maybe for #7, the other two are extremely vulgar. Notice the 3. ¥1t 4 @. 5. S144 isa vulgar contraction of 3. ¥ 1} 4 (the % becomes 4. when talking very fast), and the %, as we have seen before, is used to form the direct negative imperative. Therefore, 5. ¥\t 4. #2 means Don’t bug me. As a curiosity, we will mention that in the most gangster-like register in Japanese some speakers roll their “r,” that is, the Spanish way. —86— $5338 Lesson 53studio Kasen d) A very vulgar negative imperative Kumasaka: 0 RIS Bo TAL Pa | good feeling become not be! Don’t get smart with me! Here is another example of rough language. Collo- quial language is much more obvious and easy to understand, therefore, it is worth looking at examples ay a in the roughest and most distorted language, which, moreover, is the most common in manga. Here we have a negative imperative of the kind exclu- eAutne sively used in vulgar register: “verb + 4 UP. Take a look at the example: 1s. AIS ZS is a set phrase with the meaning of to get smart with, to be 1. Ken Nimuta stuck up. (14%, as you know, is the distortion of L #74, Therefore, (sts SUS % > TAC PRA, its non-distorted version being WOK THSAU OHH, means more ot less don’t get smart. More examples of this kind of (very) vulgar negative i Don’t eat the cakel, 25 CHSAU® >A Ce Bt | Don’t read manga! imperative are: T-4ERNSZAC PUY! 1.1 Don’t play therel, % 7 #% e) Using the negative to ask iA & Asakawa: CD4 A RBITA HY REA? this 4 people see remember not there are? Do these 4 people ring a bell? We will use this example as a transition from the sub- ject of casual speech to that of questions in the nega- tive. Notice how, despite conjugating the verb in the -masu form (% 1) £ #4), Asakawa omits all grammatical particles: it is a very obvious characteris- . . tic of spoken language. The sentence would be = 0 aki RM 2. Y £44.% 2 in its most orthodox form: the speaker has avoided the particles i, #, and # in her sentence, something we don’t generally recommend. On the other hand, notice how the question is in the negative: its literal translation would be Don’t these 4 people ring a bell? In Japanese, the negative conjugation is used very often when asking things, since it works as a “softener” of a direct question. Casual speech ¢ #07 H$H}—87—f) A tag for agreement Ese Kawami: EPG ABPERDEOT LAT LIOR PRUE PRA? $0... yourself dop attack Ep... you pop fault not be not be...? So... don’t blame yourself... It wasn’t your fault, right? We mentioned in the theory section that the tag U » % Ly at the end of a sentence, together with an inter- rogative intonation, was the equivalent to our tag questions looking for the interlocutor’s agreement. The second but last example offers us a peculiar instance of this. The sentence we want our interlocu- tor to agree with is 7» 9 MW Uw Aw (it’s not your fault). If we add the colloquial expression for state- ment Up#u, we obtain 7 FOX PROC Satara aye 2200 2, like in the example. This gives us two Up 20. together, something that may sound really strange but which happens more ofthen than not in colloquial language. Therefore, the literal translation of this sentence is It’s not your fault, isn’t it? Giving this last : » % \ an interrogative tone is very important, because, otherwise, the interlocutor would interpret it as a negative. The tag U » 24? is extremely common in spoken Japanese. g) Answer to a question in the negative 4 Mani 2P FL MRABO? Man 2: itis hey? I sp not see? yes Hey? Can’t you see me? We will conclude with an example of something which might confuse you. Take a look at the con- versation in the panel: literally, it would be You can’t see me?, and then the answer Yes. In English, we would interpret that he can see him, but in Japanese we are saying that, “indeed, 1 cannot see you.” That is, in Japanese we cor- Geattane roborate the speaker’s words “you can’t see me.” In our final translation, however, we have followed the English convention, and have answered No. Don’t feel discouraged if you are not grasping this inmediately, this is a “concept” that takes a while to master. —88— 385338 Lesson 53To what forms are these contractions equivalent: ~5 3, ~Ti> 9 am ~R Ew? Give the casual or vulgar version of Ro Tht aro and Bacar > @ Oho: to buy, {7 ¢ : to go, BS Translate: oT Che, B 1 (5: t0 buy, #: car) Translate: Bhwen ds InoT7k5 BoAKL GS :to say, oh: ® % % Ws: boring) What do we use the construction ~ ¢ > #4 for? Form a sentence with it. Is the following sentence grammaticaly (6) correct! HOR, FOO TH OA? iar © (o: that over there, €: house) Translate this sentence: 41.9, 35 > UPOCABL, FCUENP MoT (+ sat once) Use the negative and the ~T (4 form (@) : to play) (1.45) when translating this: “Can you = @ mea hand?” (to givea hand: $¢ #4) Translate the sentence: a3 BrA, ve EPA? Cen Maiko, ?# 4: to lose weight) You don’t have as stomachache and some- one asks you BR, HC BO? (SAE sto- mach, # $9: painful) What do you answer? Casual speech ¢ #it*: Ha ~89—Lesson 54: Comparatives After a brief interval of two lessons where we have seen the informal and formal registers in Japanese, we shall return to our grammar studies to see how to form comparative and superlative sentences. It is, undoubtedly, a very useful subject in any language. As... as If you go back in the course, and review 1.43 and 50, you will see how we explained the expression .t 3 # with the meaning of “apparently....” and, in passing, we also mentioned how a small variation of this expression could be used to form sentences of the compara- tive kind: “a is as... as .” The basic structure of this kind of sentences is “AliBo £ 3 I<...” Usage: After verbs and -i adjectives, we add nothing, -1na adjectives keep the #, and ‘we must add between nouns and £ 3 (<. Be careful: 4 (< is an adverbial form that always modifies verbs and adjectives, but never nouns. en @RLEOROLINF STH He isas sly as a fox. ocak eB oe 3 121k \ This house is as roomy as a palace. e Fun t ak Boct It is now as hot as in summer. eke bat poe E St Miho can sing (as well as) like Hikaru Utada. To sollish a comparison between nouns, we use the adjectival form £3 2 e iene a0 & 3 REIS BA iS He lives in a house that is like a palace. e ny OmK UT) FO LIBRE Maiko’s boyfriend is a man like a gorilla. Finally, we can also make metaphors and similes with 5 7: oF ORK IEF) F.L5 % Maiko’s boyfriend is (looks like) a gorilla. Remember, like we saw in 1.43, AK Wiz and &7\) 4 are the colloquial versions of &5ic and £ 5 %, respectively. Usage: We don’t need to add or eliminate anything. on ont “ Sonar WEF ROTH He is as sly as a fox. e Rebate BA TOS He lives in a house that is like a palace. on omK ltt) 9 & HV # Maiko’s boyfriend is (looks like) a gorilla. -90— 485438 Lesson 54More... than Let’s now see how to form comparatives of the kind “a is more... than B.” The basic structure to form this kind of sentence is “Ali B.x 1) ...” Usage: We don’t add anything after a verb in simple form, -i adjective, or noun. -na adjectives take #2. Be careful: “Ais B& ) &....” with identical meaning and usage, is another valid form, as well as the dis- located | forms “Be Ane ” or Br BALA. e 4 * ° aa ie 4 a ve AMEN IES Hi 2% Miho can sing better than Hikaru Utada. a x at VRLOESS Japanese is probably more dificult than English eon ED eke This job is tougher than hel, eraxLy, wyatt a 8 I think that manga is interesting, more than anime, eH ALN S. ANT YF 4 & HHL More than sushi, I want to eat spaghetti. An important point to stress is that “AiiB. 1) ...” is only used when we know what we are talking about, that is, the subject has already been raised in the conversation or all interlocutors know about it (1.39). If the subject is not known, we must use the expression “A@ 145 BL i)...” The 913 3 #* part is used to introduce a new subject, to give the interlocutor a hint about what we are talking about. The dislocated form “B £ 1) A 1d 5 2%...” is also possible. ©: 3 DIEG M4 LY HLF John is more handsome than Mike. Od RALLY BOLO Tempura is nicer than curry. e fl ‘O, BOS aia # Shikoku is quiet, more than Kyaishit. Less... than Curiously enough, in Japanese there is no way of saying “a is less... than B,” maybe due to the Japanese aversion to stating things clearly. The closest expression is “A(t Btz Y ...(neg.),” which literally means “a is not as... as ».” Usage: The position of “s” can only be taken by verbs in the simple form and nouns. The overall sentence must com- pulsoriy be the negative. eo BU BRIE LM L (2 v English is not as difficult as Japanese. th eay—ik IBZ BW L (BU Curry is not as nice as tempura, OV 7 ar iREnvtolean Mike is not as handsome as John. eo B5 OU 3 A UR Ae W Singing is not as tiring as dancing, e GLU SAL Ab LB ¢ o Mount Fuji is not as high as Mount Everest. Comparatives Hen &#—91— 4Adverbs of gradation Knowing some adverbs of gradation that can be combined with comparative sen- tences is very important. They are usually combined with sentences of the kind “more... than” and “not as... as,” and they clarify them in different ways. These adverbs immediately follow i) and 13 U, and can give different gradations to our comparative structures. Let’s see them one by one: 1) +: slightly ve Leva eae @HlL4OH Ly) PPE ABW Hide is slightly taller than Tomohiro. ft + 2) PL/S & esa little (% 4 > & is more informal than +L) es IHEL US toLHS ) ma IPA SAt quite (4 v5: 4 is somewhat stronger than # % 1) ) \» Hide is a little taller than Tomohiro, oF 80% £1) 2 9 HA Bi Hide is quite taller than Tomohiro, Ato ek F £1) F> L HH Bo Hide is much taller than Tomohiro, : much more Besides everything we have just seen, we will mention that the adverb % > & (more) can form comparative sentences on its own, without the aid of t 1) or jd ¥. © 204i & LBL L This book is more expensive. ° ROI 3) RB emi (CF He is more intelligent. The same... as / As... as The next structure we will study is “AiZB FIL ¢ 5 ....” used to form sentences of the kind “a is more or less the same... as 8,” of “A is as... as 8.”. The word ‘™) {means the same as, and the adverb ¢ 5 ++ (1.40, book 2), means more or less or about. Usage: We will only find nouns or noun phrases (1.40 / 57) in the position of “s.” Be careful: Although grammatically correct, the structure “Aix BY 7] U...” that is, without ¢5 0, is hardly ever used in real life, probably because, as you know, the Japanese don’t usually say things in a frank manner. oF 0% CBC C5 WEE I Hide is more or less the same height as Tomohiro. Oa YT 1 7 LBL CBW y 9K John is more o less as handsome as Mike. lEO LRU CBOs iy Tempura is more or less as nice as curry. ORF CS eC CB UML CF Thate math more or less the same as chemistry. OORT TRE FIC C5 WU That computer is more or less as expensive as a car. —92— $5488 Lesson 54Questions ' Let’s now see how to make comparative questions of the kind “between a and B, which is more...?” The basic structure in Japanese is “A x Bt i CEB Be careful: in this kind of sentences we always use the interrogative pronoun & 4 5 or its colloquial version ¥ 5% (which?): never use #8 (who?), & 4 (which?) or fi (what). kok ete e@akae Am eben oe te va @ Between Japanese and English, which is more difficult? on eit Rie wc Ce b oe Lt» Japanese is more or less as difficult as English. e $ e wi Tt Bo 4 aah Boo 2 Who is taller: Hide or Tomohiro? e maak vane ¢ tu Tomohiro is not as tall as Hide. e Rb LAL—TALSBMBOL LD? Which is tastier: tempura or curry? th ORNS ALA LU 5 EBL Tempura is much tastier than curry. Superlatives There are two ways of forming superlative sentences (that is, of the kind “a is the most (adj.) in...”) in Japanese. Both structures must always be used with an adjective, and never with a noun or an adverb. The first is “Ald..(0 #C/¢)—#(adj.).” Between 0% and just <, there is a difference of usage: € is used when we are talking about places, and + T is used when we are talking about groups of something. However, both are used without dis- tinction in many cession, so you ont need to worry about this for the moment. re egret JIRAD oe + ROW KE $ Tomie is the most intelligent in the class. OER LARAER co #i oui €+ Mount Everest is the highest mountain in the world. bane e u e ib e BRC # SS4HULS TL 29 Japan is possibly the safest country in the world. 3 Yamanaka is probably the silliest scientist. The second structure used to form superlative sentences is “Alt...(0 eel TC) t sigh (a.).” We use it jus ike its “sibling” “8. OHI 7 FAO PCREMOOUATS Tomie is the most intelligent in the class. @ ELAR LER CH Iu) CH Mount Everest is the highest mountain in the world. eet 7 KEYS 4 9 Yamanaka is probably the silliest scientist. eo PR CREES AB AAS CL 45 Japan is possibly the safest country in the world. Note: -# means the first or, sometimes, the best (as in the sentence ‘iit # #2, He is the first / the best), while i is an adverb meaning the most (something). Comparatives ato #8, -93— 54 RSES ey Too (much) We will end the theory section taking a look at a grammatical structure which doesn’t have much to do with comparatives, but which could, somehow, be in the same category: “too much.” Whereas in English we have the adverbs “too” and “too much” which modify adjectives and verbs, giving them the nuance of “in excess,” as in the sentences To be too sleepy or To work too much; in Japanese we must form com- pound verbs and adjectives (1.44, book 2) with the auxiliary verb ~+ ¥ 4 (which comes from 38 ¥ &, to exceed), Verbs: We add ~+ 8% to the root of any verb. Ex: i (to work) = Root: we add ~> = & 4 8% (to work too much). -i and -na adjectives: we replace 1» (in -i adjectives) or % (in -na adjectives) with ~ $85: feu (wide) > E+ ¥% (too wide) | ia (quiet) > H m+ & (t00 quiet). ODA NDE BLT EF That man always talks too much, doesn’t he? oF gL Be hat ¥h Yesterday, Idrank too much (alcohol). @lO+y 4 y FETS % SW This sandwich tastes so / really bad. Exceptions: (4. (good) > 4 ¥% (too good) | Negative: ~ ii. > ~ uh AT SS. 34 es URLS LSA UC PW? Don't you sleep too little? BSARROL I EMOTH ‘Yur is as beautiful as an angel. HOUR. Saw, ‘Yor as beautifol as an ange BSUARLY SHU ‘Yuri is more beautiful than Kumi BSolk MARL SH ‘more beautiful than Kuri, RRLASIEL SHOU EAE Kami note beaut s Yur, BSUARLAC CHOSAOE ‘Yuri is more or less as beautiful as Kumi. Aisnot as..as5 ‘aismore or less the samen as BSULLOP C—-H SHOE eee eS ‘Yuri is the most heautiful in the company. BSUSLO$ CHE ANOTHER ‘Yuriisthe most beautifal woman in the company. BSH MGT FS ‘Yuri is too short. —94— 95428 Lesson 54iBigif) + Manga-examples And now let’s get on with the manga-examples, which, as usual, will help us see in greater depth some of the aspects we have just studied in the theory pages. We will also expand on the lesson with some new expressions or nuances that we have previously missed. a) A comparative “more than” Falken: 2 ORD FORE LIM DS LATO E this medicine on its part sp drug more than effective perhaps This pill might be more effective than a drug. This is an example of the “a is more... than B” kind, its basic struc ture being “Att Bi y ..” in Japanese. However, this structure is only valid if both speakers are fami- liar with the subject they are talking about. If you want to introduce a new topic in a comparative sentence of the “more than” kind, then remember Tabara Raye that you must use the “An iz 3 4B ty.” structure, just like in this example, = 0 04 0 HHL 3 ( This pill might be more effective than a drug. Note: i 5. is written in kanji (%) here, a perfectly valid option and very common in written Japanese. : Take alook now at ths short conversation: = 0 SEL A 4a This pill is effective, isn’t it? | 2)kb, LORUARL UAC HEL ATO That's ‘ight, this pill might be more effcive than a drug. In this case, we haven’t used 9% 2 because the “pill” (#2) has previously appeared in the conversation, and it has become the topic in it. You can review the concept of topic in 1.37 (book 2). Note: Notice the usage of # % L #1 # \, which we studied in L.43 and which, as you will remember, means “perhaps” or “maybe.” It is always placed at the end of the sentence. Comparatives 180 Ri2—-95—b) Comparative “to be like” Tre z Haruki: $3 CKEOL FIRS completely queen like see She looks just like a queen. This example will help us review the usage of com- paratives of the “to be like” kind, which are formed with the adverbial form £ 5 I= (before verbs and adjectives) and the adjectival form £ 3 7% (before nouns). There are colloquial versions, which are, ‘Sto Rosen respectively, & f= Wvic and & Aut In our sentence, Haruki states that KE DLFICKRS, literally, She is seen like (as if she were) a queen. Remember that between noun and £512 or £5, we must add 9. A more colloquial version of this sentence would be 2 4 f:sI2 fi 2 4 (be careful, with Af wic and & tz, we don’t need 9). Notice, too, the word # 4 ¢, which means something like “completely,” “utterly,” or “just like,” and is often used in these kinds of sentences to strengthen them rhetorically. usage of yori Eph OR Bi5L » Jun: HL YRES FS COMFTVCIELBTSE AAW! this more than 2nd part too now until pop way ip let’s ep! win Ep everybody! Aside from that, in the second part we must play the way we've been playing until now! We can win, guys! Just like we said in the manga-examples d) and f) in 1.48, finding grammatical structures together with the kosoado pronouns (1.34) is quite com- mon. The case of £1) is somewhat special, SR Sheath because it is usually seen only with 4 (that) it is hardly ever combined with other kosoado pro- nouns—, forming the expression <1 £ 1), like in Cabrel Lie this example. =H 4 |) is used when changing subject suddenly in a conversation, as its literal trans- lation suggests “more than that.” ‘This expression is very difficult to translate directly, although we could paraphrase it with expressions such as aside from that or even Lagree with what we've just said, but now we must talk about... —96~ 5438 Lesson 54d) A comparative “not as” oes Hiroshi: VF OSFIAL CP BVGER inside pop Yukiko so much as not be but ep Although she’s not as much as my Yukiko, We have seen in the theory section that in Japanese there are no comparative expressions of the “less than” kind, and that we must use subtleties such as “not as much as.” The basic structure of this kind of sentences is “ Alt B ¥...(neg,).” In our sentence, § BFE Cow She is not as much as Yukiko, there is no comparative element because it has previously appeared in the conversation. Baton Ras Probably, the original sentence of this poor man was something like ela YF OSFEYK STORY, that is, She is not as fat as my Yukiko... That would justify Yukiko’s rage we see behind him! Remember that the verb or adjective to be compared (k Ct in this case) must be in the negative Note: Notice the usage of * + (in kanji 73), a very multipurpose word that can be used when referring to oneself (particularly in the case of women), to one’s family, or to close friends: it is the same concept of uchi that we analyzed in 1.45 (book 2). e) The superlative ichiban BH RN, Yoji: zane xen 2 be Ei peat that sp the most important thing be Ep, sure ‘That's the most important thing, surely. We will now review the superlatives, expressions of the “the most..” kind. There are two ways of forming superlative sentences: using — #, like i in this panel, and with fi b. The basic structure is “Alt... (9) - te -# ladj.),” In our sentence, @hi°— AHO That is the most important thing, the area the speaker is referring to is not JavierBolede mentioned, and | the subject is re laced with the pronoun @# (that). Now imagine the sentence was BHT UAE Cf thing in life, that is, with a word naming a specific area ~ ‘RAT (in life), and the pronoun Zh being replaced with yen + 4 (to pass an exam). Note: Notice how the adverb * > & (surely, undoubtedly) is dislocated to the end of the 3 wx Y Passing the exam is the most important sentence. This is a very common characteristic of the colloquial language (1.53). Comparatives ®t &%—97—