Japanese in MangaLand 2 Basic to Intermediate Level Marc Bernabe — of 4 ck 5 f " re & § 7 ay EN \ Pay ie e eeJAPANESE IN MANGALAND 2 Basic to Intermediate Level Marc Bernabe Translation: Olinda Cordukes Cover illustration: Nuria Peris Inside illustrations: Javier Bolado Gabriel Luque J.M. Ken Niimura Barbara Raya Studio Késen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 (Japan Publications, 2004), 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. Japanese in MangaLand 2 Basic to Intermediate Level By Mare Bernabe © 2005 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., 1-241 Sarugaku-cho, Chiyoda-ku, Tokyo, Japan. First printing: August 2005 Overseas Distributors UNITED STATES: Kodansha America, Inc. through Oxford University Press, 198 Madison Avenue, New York, NY 10016. CANADA: Fitzhenry & Whiteside Ltd. 195 Allstate Parkway, Markham, Ontario L3R 4T8. 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- 186-7 ISBN-10:4-88996-186-0 Printed in SpainWhen Japonés en vinetas 1 (the original title of the book) was first published in Spanish in May, 2001, I never imagined it would have been received the way it was, even spawning English (Japanese in MangaLand), German (Japanisch mit Manga), French (Le japonais en manga) and Catalan (Japonés en vinyetes) versions, with other versions in Italian and Portuguese being prepared for publication even as I write this, Japan is certainly a special country indeed: it has the overwhelming influence of its entertainment culture, which has spanned borders and invades us via manga, anime, videogames, and electronic gadgets, a fact which undeniably attracts the attention of the young (and not so young). Therefore, the idea of creating a Japanese teaching method using popular manga, a method aimed at such open-minded people, did not prove wrong by any means, as the first volume was very favorably received. I won’t deny that this reception took me completely by surprise and made me extremely happy. Every email I get from a reader telling me how much they like it and how use- ful Japanese in MangaLand is for them encourages me to keep on going. Thanks to the Internet and emails, I have had the privilege of keeping in touch with readers and receiving their encouragement and suggestions. The support of the readers has certainly helped me spur myself on in order to learn more and to keep a watchful eye for improvement, The effort I have made these past two and a half years towards learning and acquiring experience have allowed me to write the book you are now holding as well as a third one. These additional two volumes comple- ment the first one, constituting, between all three of them, a Japanese course which guides you from zero level to an intermediate level. Also, I have continued working, with an increasingly large and select team of enthusiastic contributors at Nipoweb.com, an Internet web page on Japanese language and culture which grows by leaps and bounds, and which has become a reference in the world of Japanese studies in Spanish on the Internet. If you have any question or suggestion, you may submit them in English through the English section of this page: www-nipoweb.comv/eng. Nevertheless, this book would not have been possible without the support of many people, such as my inseparable Veronica Calafell, the genuine driving force behind this book, who revised it and supervised it and who is my official long-life sufferer in Preface wi % —3—moments of desperation, as well as happiness, the whole team at Norma Editorial and Japan Publications, for backing the publication of the three volumes, the Fundacié La Caixa and the Japan Educational Exchanges and Services (JEES), for giving me the chance by means of a grant to vastly increase my knowledge, which has been directly poured into this book, professor Sayo Tsutsui #44, for taking me in her seminar at the University of Foreign Studies in Osaka, Luis Rodriguez and Josep Sadurni, for patiently revising each and every one of the lessons as they were being written — so many months of work and patience!—, Itsue Tanigawa 1143831, for revising the Japanese part in the book, James W. Heisig, for providing me with very valuable advise on typography and layout which have enabled me to give this book its actual form, and for supporting me at all times, the artists Javier Bolado, Gabriel Luque, J.M. Ken Niimura, Barbara Raya and Studio Késen for creating the wonderful pictures that illustrate this book —over 200!—, my kind and patient translator, Olinda Cordukes, my friend and proof-reader Daniel Carmona, and, of course... all of you, the readers, and all of those who have shown affection and personally given encou- ragement. Undoubtedly, were it not for all of you and your support, this project would not have been possible. Thank you very much! Marc Bernabe March 20th, 2005 Osaka, Japan —4- Japanese in MangaLand 2Preface .. a Wes Index mina 5 a BR Introduction .... “ 6 sitecctenrenicaminieininmrienasn ll i OE Gloacy ofabbrviaions 8 Lesson 31: The volitive form se TD ss sl 3: BE LD Lesson 32: Can and must........ as Bs RZQR: TH+ ABs HT Lesson 33: At the airport aiernuniniM Bs BRT SAR: RMA MR Lesson 35: -te form special a od 3 SR: TR Lesson 36: In the hotel of ry0k@t 62 BZOR KT RMT Lesson 37: Particles (1) wa/ga/mo .. R37: WADI + web Lesson 38: Particles (2) ni/de/e 3 BR: MAGIC + T+ Lesson 39: Transport in Japan won 3 92 HAORBFB Lesson 40: Particles (3) 10/0 coo H40R: HHOD+* Lesson 41: Particles (4) tofkara/ nade PALM: MAOL+P5+sT Lesson 42: Shopping... so some BA DRI Yak 7 Lesson 43: Suppositions and conjectures ...... 132 HA SR: HM ORR Lesson 44: Transitive and intransitive verbs .....142 000 PAAR AMAL HS Lesson 45: To give and to receive...... a dBA BR RRORR Appendix 1: Answers to the exercises... . eed HERR OS Appendix 11: Compilation of kanji 172 . RAR: RFK Appendix 11: Vocabulary index .. HEH: ERRI| Lesson 34: Interrogatives and future Index 8% —5—BWBOQRM introduction This book you are holding is the direct continuation of the work Japanese in MangaLand (Japan Publications, 2004) and the lessons herein continue, in content as well as order, from the lessons in the first volume. In other words, it is advisable to study the first volume before you start studying this one. The only exceptions are those students who already have a basic knowledge of Japanese, and have mastered the kana, some kanji, and elementary grammar and vocabulary. If you belong to this group, you can start straight with this book, although it is still advisable to use the first volume for reference. The entrance Many readers used Japanese in MangaLand as the entrance to the world of Japanese language, since this book was planned as an enjoyable introduction to the language. No efforts were spared to make the study as easy and pleasant as possible: for example, the decision to always give the reading of the Japanese sentences in the Roman alpha- bet was taken to make the entry into the world of Japanese language as smooth as pos- sible. The first volume is, then, some kind of “appetizer,” thanks to which anyone can learn basic Japanese in an enjoyable way and with little effort. In other words, it’s a type of “bait” to give people the itch to learn Japanese. If, having studied the first volume, you are now reading this one, then it is safe to say that Japanese in MangaLand has achieved its intended aim. However, “playtime” is now over. Strap a headband with the rising sun on it around your head, just like the Karate Kid did, because you are about to fully enter the world of hard-core study. This time, you had better be prepared to do your work, because things are going to get serious. Don’t panic just yet, though: the book keeps its basic philosophy of “learning while having fun” and you have, of course, a good deal of humor and curiosities which will make your study as enjoyable as possible. Don’t forget learning a language should be a recreational activity rather than an “imposition.” This is why we use manga to illus- trate our explanations and why we sometimes give funny examples: to get a few laughs out of you while you study. Forget spending hours learning by heart boring and never- ending lists of vocabulary, you are here to enjoy yourself, not to torture yourself! —6— Japanese in MangaLand 2Aims of this book The main aim of this method is to establish the necessary basics in grammar and vocabulary so you can learn to read and, to a certain extent, write in Japanese. Obviously, listening and speaking cannot be dealt with in a written work, therefore, you should try practicing on your on. One of the main aims of this work is to help you acquire enough ability to read manga, so you will have to do without the transcription in Roman letters, one of the bonuses in the first volume. This time, all Japanese words are written in kana and kanji, as it should be, although we will always lend a hand by providing you with the reading of each kanji in furigana. We also use kanji with medium-high difficulty in the example sentences — with their corresponding reading, of course— that way, when we read manga for children and teenagers in Japanese, we will find something similar to the example sentences in this book: sentences full of kanji, yet always with their reading shown in furigana. In the examples, we wanted to create a similar “atmos- phere” to the one you would normally find in a manga. In this way you can get used to fast reading in Japanese with kana, kanji and furigana. The lessons This book has 15 lessons altogether, numbered from 31 to 45, chronologically follow- ing the numeration of the first volume. Of these 15 lessons, 11 are of a “grammatical” type and 4 are a “conversational” type. Let’s see their characteristics: Grammar lessons Grammar subjects are chosen for these lessons, and they are thoroughly discussed, with many example sentences and clarifying tables or structure summaries which will make comprehension easier, and which you should be able to use as a basis when you want to review and study those expressions you find most difficult. We present the various grammatical forms in a very different way to the usual one in “regular” Japanese classes. Since this is a book for self-taught study, we have preferred condensing grammatical patterns according to related subjects to make their associa- tion simpler and so that you can more easily link the relationship between them. With regards to the manga-examples, these keep the same function they had in the first part. They will help you to see specific examples, in context, of those 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. The manga-examples Introduction & 0444 —7-are a very important pillar of this book, so try not to skip them. Just like in the first part, manga-examples were originally taken from Japanese manga. For obvious copy- right reasons, illustrations have been redesigned, even though the sentences them- selves, which is what really matters here, remain the same. Therefore, you have real sentences taken from real manga created by Japanese, which guarantees that you are studying with “genuine” material. Finally, every lesson has ten simple exercises which will help you, as a personal challenge, consolidate your knowledge and check whether you have understood what has just been explained. The right answers can be found in the first appendix, at the end of the book: you can use them to check whether you have solved the exercises correctly. Conversational lessons One of the defects in grammar lessons is their focus on formal aspects, which leaves the learning of new vocabulary aside to a certain extent. To solve this problem, a new concept was created: “Conversational lesson,” which revolve around a contextual subject (At the airport, Shopping, In the restaurant, etc.). These lessons have four aims: ©@ Fostering the learning of new vocabulary. With extensive theme-oriented voca- bulary tables to make it easier to study or review vocabulary. @ Practicing previously studied grammatical concepts. Example sentences are con- ceived in order to allow making best use of the knowledge you have acquired in previous lessons. We also indicate the lesson number where the grammatical pattern we have used appears, so you can review it if necessary. @® Providing you with a break between so many lessons full of grammar. This way, you can clear your head learning something completely different and more enjo- yable, but not less important, every three or four grammar lessons. @ Giving a conversation guide. Very useful for possible trips to Japan or conversa- tions with Japanese people. These lessons include as well the so-called “Cultural Note,” a one page section where a specific aspect of Japanese culture is discussed. You can use the Cultural Note to practice some vocabulary, and, of course, you can learn new things, often curious, about the Japanese culture and environment. As you know, mastering a language requires learning a lot more than words alone, —8 Japanese in MangaLand 2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. @ A compilation of kanji: 100 new kanji, added to the 160 learned in the first part of the method, comprehensively explained and with examples. @® Vocabulary index: and index of more than 1,100 words with all the vocabulary in this book. Japanese in MangaLand is conceived as a set of three books (this being the second one) which, apart from helping you learn Japanese in an enjoyable way, contain all the grammatical patterns, kanji and vocabulary required to pass levels 4 (elementary) and 3 (basic) of the HES fe 7 RM (Japanese-Language Proficiency Test), and can, thus, serve as a guide to exactly cover the specifications for these levels. We will give more details about this official test in book three. 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 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 discover the world and the complexity of the work of the translator. Having said all this, we provide you with a glossary with all the abbreviations used throughout this book, and we encourage you to begin. Have you fastened that head- band around your forehead yet? You will need it! Introduction €# 044% —9-cp: pop: DP: EP: 10P: Pop: Exclamation. Gerund. Nominalizer. Suffix for proper names (people). Sentence softener. Suffix. Cause Particle. (why?) Ex: 5 Company Particle. (who with?) Ex: & Direct Object Particle. (what?) Ex: & Direction Particle. (where to?) Ex: ~ Emphatic Particle. Most end-of-sentence particles state emphasis or add a certain nuance. (1.17, book 1) Ex: #, £, 2, etc. Indirect Object Particle (whom?) Ex: I= Instrument Particle. (what with?) Ex: € Possessive Particle. (whose?) Ex: 0 Place Particle. (where?) Ex: © I= Interrogative particle. Shows that the sentence is a question. Ex: 2 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. Time Particle. (When?) Ex: Ic —10— Japanese in Mangal.and 2LESSONS 31 to 45Lesson 31: The volitive form Welcome to lesson 31, which opens this intermediate course of Japanese through manga. Throughout the book, we will refer to lessons and subjects already explained in the first part of the course. Therefore, we will take for granted that they have already been studied and learned. Having mentioned this, we can now enter the world of desiderative expressions in Japanese. ‘The volitive form, or desiderative expression, in Japanese, just like many other aspects of this language, has some special points. First of all, in Japanese you distinguish between “wanting to do something” and “wanting something,” and there is also a big difference in the subtlety level when talking about your own wishes and when talking about what other people want, as we will now see. to teach towakeup ~Siy EET to lend to wait to buy to return to write tohurry to play to drink to die todo to come —12— 3188 Lesson 31 ~SEt | BLAET ~FLET| KLE ~S5et #53t | ~S0at Kort) (ssuas mat, “esse | ~EEt/ BSE) AF ~RUET | MUET | F ~F42T ast | wet Irregular verbs: oY Roky FU Fd g g F QTo want to do something The form “to want to do something” is quite easily constructed adding the ~ ty ending to the root of a verb. First, we need to conjugate the verb we wish to use into the -masu form (1.19). Next, we remove the ending ~ 4 + —so we now have the root of the verb and we add ~ /: (0: with a little bit of practice you will easily pick this up. The verbal root will appear several times further on, so it is highly recommended that you study it carefully now (see table). A verb in the ~f:1» form (such as tw, to want to buy) is no longer grammatically considered a verb and it becomes to all purposes an -i adjective. Therefore, all its conjugations (negative, past and past-negative) will function just like ‘we saw in 1.13 with -i adjectives, Have a look at this table: RCE FERC I don’t want to go rR idok FREC ROK I didn’t want to go The direct object in ~# \» sentences can come either with the particle ~ or the par- ticle #*. There is only a difference of usage: using ** implies a stronger wish than # . Ex: FLeemeY |Frea J2rws. Both sentences mean I want (or we want or they want, etc.) to watch television. In the second case, with 2°, the wish is a burning one. Finally, we will point out that if we add the verb ¢ after ~ 4 \» we obtain a formal sentence. Ex: FL & & Lh C-+ L want to watch television, The structure in this kind of sentences usually is “Subject {2 Direct object & (2*) Verb in ~# \» form (+ optional ¢+).” © £9) NOB OCDE Ke fe #5 fe wanted to buy Metallica’s latest co. ene b okt ha t: ¢ tes I don’t want to read that book. ° ‘eat poeta 1) ft. CF I want to become a lawyer. (formal) Note: The verb % 4 (to become) always comes with the particle i: (1.28). The volitive form &.% + BZ —13—To want something In case we want to indicate we want “something,” we will not use ~ # \y —which is used when we want “to carry out an action” -, but (3 L \». After the direct object we will always have the 7 particle or, sometimes, (t (we never use # in this case). Ex: 7» # 4% Lv I want a manga. Remember that by adding t+ at the end of the sentence, we obtain a formal sentence. Ex: 7 7 ati Liv t+ I want a manga. (formal) It is important to bear in mind that, just like ~ #1, 1¢ L » functions the same way as -i adjectives, and therefore it is conjugated like them: 13 L\\, 1d L ¢ #4» (neg.), 1d L Do t (past), IZ L < 2A & (neg. past.) Ex: 7 > awe L > I wanted a manga. e@ml wie #8 & Ls» I want a new girlfriend, ORY ay RRL OCT want a computer. (formal) a a e E-lth& LCG. 2-9 Atk Ly I don’t want a coffee. I want a cola (drink). @VACIERL ( Bok CT didn’t want an apple. Another usage of | L \», also explained in the table below, is in the formation of desiderative sentences of the sort “I want someone to do something.” We will only use this kind of sentence in a very limited form, since it implies the speaker is, or at least feels, “superior” in hierarchy to his interlocutor. , ‘These imperative sentences are formed with the verb conjugated in the -te form (1.24) plus 13 L ty. We will add ¢ + at the end to give the sentence a more formal tone. Shlsd Borks KH EER b> Tis LL want the students to understand this sentence. Be a @CORHBL AVHRR TEL TF I want you to see this movie. oe aw @ 2 MAB BL TEL L want you to love this man. A; I want something Subjectit Thingata& Ly (t+) H&: dictionary bee tl: ow it HH NRL (CF) 88: Tanaka * I want a dictionary. B: I want someone (inferior to me) to do something Subjectit Someoneiz Thing % -te verb+ # LL (CF) be Ree cls $ld BP SABE Ro TR LG (TH) I want Tanaka to buy (or “to buy me”) a dictionary. —14— 983138 Lesson 31Another person No one can truly know what other people want to do. You can guess or have a strong idea, but you can never be certain. Putting this subtle statement forward, we under- stand why we cannot use the ~ #\ and 14 L \y forms in Japanese, the way we have just explained, when talking about other people. There are, of course, strategies to overcome this hindrance, like, for example, the ~#'% form. With ~ #4 , a sentence takes the meaning of “it looks like the other person wants to do x.” To use this expression you only need to replace the last ty in~ A 4) or ind Lv with ~ 4°. Thus, UY HL © AE aL #5 TI could be translated as I ooks like he wants a new car. An important point is that this form can only be used in the gerund (-te form, 1.24), that is: ~ 4° > C4. This sentence ik tt Re 2% is wrong, you must use the gerund for a correct one: TRULIA 9 CAV It looks like he wants to sleep. © BOL FL ELH UL M5 COS It looks like that man wants to play with the child. © RIL LORE EL 15 TOS It looks like he wants a new girlfriend. @ SR sh SY ay EAL A> TOE LA It looks like Mr. Mitsui wanted a computer. The negative form of sentences with ~ #4 is an exception to this rule, because both the normal negative form and the negative gerund are allowed. bh toss © It FHC S KG BW It looks like he doesn’t want to go to school. Alternative strategies However, using certain strategies, we can make sentences with the ~7=\. and the 12 Lb forms, seen above, with another person as the subject. You don’t need to study them now, but we can have a look at some examples: I think, he says. Using £25 (I think) or & & 9 (he says) at the end of the sentence. These structures give the sentence a connotation of impersonality because, instead of a categorical statement, we are given a hypothesis (with & #23) or a quotation of somebody else’s words (with & 3 3 ). We will study this in detail in 1.41. auc ae © Hah RES 2.2 + [think you didn’t want to go to Korea. BRC RPOEA It seems, apparently. Using forms such as 4/1, £ 3 or 5 Lv at the end of the sentence, expressions with the general meaning of “apparently.” We will study these expressions in 1.43. e Re id Leib LW Apparently, she wants to get married. The volitive form #25 + MY -15-l intend to... 2% 1) is a construction that doesn’t exactly have a desiderative meaning, but it can be included in the same group. Using > & |) we will give our sentences the meaning of “J intend to.” The usage of this construction is very simple: you only need to make a normal sentence and add, after the verb in its simple form (1.20), the word 3 J, always with the verb “to be” in the end. Remember the verb “to be” is conjugated 7: in its colloquial form and ¢ + in its formal one (1.9). nee ‘ eR LOY IYER OHUE bk UA @kF, BAN (2b CH Next year, I intend (I want) to go to Japan. @ itech eo AMY MHF 44 0 CF Lintend/1am going to marry Miho. intend to buy a new computer. We should stress that > 1) is never conjugated, what we conjugate is the verb before or after it. Notice what happens when we conjugate the verb before 3 4 1) : Bh naw @ EB ZF WE Lintend not to fight. au © LB LBL BO9 4 I TF intend not to marry Miho. Notice now what happens if we use 3% i) tw (9) GN £#/ in its formal form), a negative after > % 1). It is a rather strong negative: ge Hosa @ @ YF 494 0 tH £4 A I don’t intend (at all) to marry you. aedctth 23L29 KERHF 5% U) 1d GW Lam not going (don’t intend) to negotiate with the Chinese. More about > % 1) It is important to state that, just like with ~£\» and {ZL \», the expression > % #) cannot be used directly with other people. You must use the same strategies we saw in the subsection “Alternative strategies” (I think, he says, apparently). The ~ 4' 4 form cannot be used with > % |). However, > & i) is not only used with the meaning of “I intend to.” Very often, depending on the context, this expression is used to indicate the idea of “being con- vinced that” or “believing that.” eR LRROEUTH My mother is convinced she is healthy (although I think otherwise). Note: When 7 % !) functions with a -na adjective, that adjective keeps the 2; it doesn’t lose it as in other cases (1.14). @ 2B. AD y Tid Bu Ldon't believe I am an important person. | I don’t think I am an important person. Note: With nouns, we must use the particle ® before > % #) . -16— #3138 Lesson 3172/47) | Manga-examples We have reached the manga-examples section. Let’s see, through manga panels, some usages of the expressions we have learned in the previous pages. In this case, we will analyze how to use desiderative expressions in Japanese. a) | want 1M. Ken Niimura Our first example shows a very clear usage of the ~ #1 form to indicate one’s own wish, The root verb, in this case, is the irregular + 4 , to do, whose ~ = \\ form is, as shown here, Lf: ts. As we saw in 1.24 when we add the verb +4 to a noun (i, conversation), we obtain a verb (to talk). We almost always use the particle % between the direct object (# here) and the verb (+4 here), but in this case 1 is used. The reason for this, as we discussed earlier, is that using 4° implies more emphasis, a stronger urge. To conclude, we will comment that Masao must know his interlocutor well (or, either, he treats him as an inferior) because he doesn’t add the verb ¢ + after ~ 7: \y. Adding ¢ +, the speaker would have formed a politer sentence. The volitive form #2 + B® -17—b) I don’t want to Ueda: 5S 805k G1 F7E-OLURADM SEC BO! noisy I say! Rugby pop nom. not even want to hear , Shut up! I don’t want to hear anything about rugby! Bete SRC aches! twice mouth pp take out (prohibition) Don’t mention it again! Ueda has hurt himself badly playing rugby and comes out with this sentence when teammates try to cheer him up. was t ¢ @» comes from the verb HK (to hear). Just as we saw earlier in the conjugation table, the ~#\) form of verbs ending in ~ ¢ is Root + . Therefore, we would have fi ft» (I want to hear). The negative is formed like the negative of -i adjectives, so we will replace the last ~\) with ~ ¢ ts, Thus: BE t: ( 20s (don't want to hear) In 1.17 we studied the end-of-the-sentence particles and we glanced at the particle “. As we see here, # after a verb in its simple form, at the end of a sen- Tore | “THATS SOI SMTA OTF EM OH Iavier Bolado tence, functions as a negative imperative, that is, we use it to give orders such as “don’t do x.” A very clear example would be: B 28 # %36 4 % | Don’t study Japanese! c) | want something of course I want ep. is Howes Lads Teru: PolfVRLOR... REVVER... . conclusive proof sp. Of course I want... to find conclusive proof. We find here the typical structure “Direct object+ The nucleus of this sentence would be a& 3% a+l4L 4,” but with reversed sentence order, something very common in spoken Japanese. a L\ I want (a) proof. Everything else just embelli- shes the sentence adding nuances. * > (f 1) is an adverb with no clear translation, that we have translated as of course, but in other contexts it can Barbara Raya also mean too, still, after all... —18— % 3138 Lesson 31d) I want you to do something Even though Shimane is talking to a stranger, in a rather formal way, he must collect the taxes owed by the taxpayers. Therefore, although he is using formal Japanese, he uses the expression “T+ l@ Ls,” which, as we saw earlier, implies an imperative tone, as well as implying that Wacken iene the speaker feels superior to his interlocu- tor. Shimane’s linguistic strategy is aimed at making his interlocutor feel embarrassed so that he pays, in a polite but firm and imperative way. baz Ro? woae Bb Shimane: €, 253A, BML TOSRSE Mo TKRLEOA TIM. well, Kaneko (noun suf) fail to pay tax pop pay want to be but ‘Well, Mr. Kaneko, I want you to pay the taxes you owe us. CUD Lewy cesta seers BOSH, 127378. car tax 12 “man” three thousand yen The automobile tax costs 123,000 yen. When talking about somebody else’s wishes, you cannot use the ~ f: \» or I L \» forms directly, because it is impossible to know for certain if someone wants something or if it only looks like he does. Therefore, we use the ~ #4 form, which gives the connota- tion of “it looks like.” This form is obtained replacing the last « of ~ few and lé LO with ~ 24 (Wr #4, l£L #4). The resultant verb < ICH Au Sitryp> is conjugated in the gerund. In this . TS panel we have the expression 21. /= Bo TWELA Apparently, he : * wanted to meet somebody. 2 \» f= i* > TL is nothing but past gerund (-te form) of 2wAnS, which comes from (ft (I want Kyoko: cSt to toe let ‘you 10P meet apparently Ep ;, he wanted to meet you... to meet), which in turn comes from : the verb 5 (to meet someone). The volitive form #2 « H@ —19—f) | intend to... af L tone Bailey: 34 COMBERAZ0GNEW! know qe Ep this character change intend there isn’t What do I know? I’m not going to change my character! Here is a good example of > 1) , which we use to say “I intend to.” The negative is con- structed conjugating the verb in the nega- tive form and adding > & 1), although, to obtain a flatter refusal we use the form 2 Ul 8, In our example, then, the speaker's intentions are very clear. Another aspect worth pointing out is the particle # in $94 %, which is a more colloquial and shorter formof 80 C4. Gonetmne ‘The connotation expressed by $03 * is How do you expect me to know...? Or What do I know?, We will see this construction in more detail in 1.57 (book 3). Don’t mistake it for the interrogative particle # (1.17). g) I’m convinced that... In this last example, we will see a different connotation of the 1) form, which has little to do with desiderative expressions. We saw earlier that > 4 1) had the implicit meaning of “I intend to,” in other contexts the expression can have the meaning of “?’m convinced that” or “I believe that.” In this case, Sonia asks Jan to walk properly, that she’s had enough of his halfhearted pose studio Kosen when walking. Jan’s answer is, literally, “I believe I walk nor- Sans Jan: HPT 5 38 UCHR mally.” That is, the speaker real- normally walk I believe to be Ee I believe I walk normally. ly believes his way of walking is correct, even though it isn’t from Sonia’s point of view. =20— 983138 Lesson 31@ Conjugate the present ~#\> form of the verb % > (to buy). Conjugate the past negative ~ 71» form 2) of the verb 4 (to see). Hint: this om @) belongs to Group 1. Translate into Japanese: “T want to drink sake.” (to drink: tke, sake: Translate into p eae | the | Sentence: * Bee rai Translate into formal Japanese the sen- «3 tence: “I don’t want shoes.” (shoes: #t) Translate into English the sentence: Re 8kEHo TATEL oct. (RE: tea, ho rE RS %: to bring) @® Translate into English: Jk 42 HR ciel Ans fo TH RHA. (tk: Koba- yashi, ‘ii #8’: business trip) What strategies are there to indicate a third person wants to do something if we want to use ~ 1) or 1d Lun? Translate into Japanese the sentence: “I intend to learn Japanese.” (to learn: #3, ste Japanese: 8 ®28 What function does the particle % some- times have at the end of a sentence, = © cS a verb in simple form? The volitive form #23 « @ —21-72) i: BY RE EHS + BF DT Lesson 32: Can and must In this lesson we will study the potential and obligational forms in Japanese, that is, we will learn how to form sentences such as “I can do x” and “I must do x.” The simplest structure We will now see how to form sentences such as “I can do x.” Without a doubt, the simplest way to construct this kind of sentence is by using the pattern “sentence + = & #C & 4” (which can be translated as to be able to or can). The formation is as simple as making a normal sentence (with the verb in the simple form) and adding = x #48. eo ite vy ERNS Teat green peppers. eit 7 y ERAS = UMTS Lean eat green peppers. ‘The formal form, the past, and the negative are obtained by conjugating the verb in the same way we have already seen: past € % f=, negative T % 4 \), past negative T % #2 to te. Very often we will find it in kanji: 4% % (formal way: b& £4). oxide ted oe ZTBU LYS ERB SL MTS You can eat good bread here. L® We enjoy kabuki. Lic & aR wy We can’t enjoy kabuki. e With suru verbs (1.24) the verb + 4 is left out and we just add € * 4. RAL RT RE MRT 2 She flies a plane. © REIL RATIRE RBC & t She could / knew how to fly a plane. ‘There are also some punctual cases where you can make potential sentences with only the help of the verb © & after a noun, using the particle #*, @ BRE AIATE VHT S EF Satomi can (speak) Swahili. @ it-¥ 9 2° 5 HU Fcan’t (play) the guitar. —22— 932% Lesson 32A more complicated structure The strategy of “sentence + = & 2° € 8 4” is more of a formal register. However, it is very practical for beginners, because all that is required to make a potential sentence is to add = ¥ 4% % to the sentence. You can stick with the simple structure until you get used to the “authentic” way of making a potential sentence. The above mentioned “authentic” way is obtained conjugating the verb you need into its potential form. As usual, conjugations are relatively easy, but not obvious, so you should study the following table carefully. Let’s have a look at the conjugation rules: @ Verbs in Group 1 (if you don’t remember them, you can review 1.20), replace the last ~4 with~ 53. Ex: 4 (to see) > Mons (can see). @ Verbs in Group 2, replace the last -u with -e and add -ru. Thus, kau > ka- = kae- = kaeru | asobu=> asob- = asobe- = asoberu, etc. The only special conjugation is that of verbs ending in -tsu, which are conjugated -teru and not -tseru. @ As usual, irregular verbs must be learned by heart. Note the potential of +4 (to do) is © * % (can). Are you beginning to see how it goes? BAR| MACHA REY) RICH T RO | HE HE ARB | HEE ALE Roe Rosita HERO | MERA to write Been) Brant to hurry BRT | BNA to play WIR | BEA as to drink MER | KAVA to die Rew | KARAT todo — Lau | Lana tocome -77ule Rav | RowHE Can and must fe + M+ #7] —23-The usage of the potential form Let’s have a look at some examples of this new grammatical form. So that we can get a clearer idea, we will try to transform the sentences seen in the first section. The verb in the first sentence (fit U—7 v & fe 3) is, logically, #4. Since this verb belongs to Group is we must leave out the last ~ 4 and replace it with ~ 54. Indeed: @ te-wye k <5H4 Tecan cat green peppers. In the second sentence (ex RR Lb), the verb, # Lt, belongs to the second penny therefore, we must replace the last -u with an -e, and add ~ 4. Thus: WH RRA EE Lt We can’t enjoy Kabuki, Besides the potential form, we have also conjugated the resultant verb, # L s 4, in the simple negative form. Remember that the resultant verb is, to all purposes, a normal verb (be careful, as it always belongs to Group 1), and can be conjugated as such. Note: The only difficulty in this kind of conjugation lies in knowing when a verb end- ing in -eru or -iru belongs to Group 1 or 2 (for example, 4 < 4 belongs to Group 1, but #5 belongs to Group 2) Being aware of this will allow you to conjugate the verbs properly. However, you always have the strategy of using the practical structure “sentence + e #%*%%,” with which we can successfully avoid this type of obstacle. eens @ RL £814 2 My friend can’t write a thesis. (Alt 6 0 v3 ne en % Satoshi can run 60 kilometers (Group 2). aCe 8 @ Milt 6 BR Ices XA I can’t wake up at 6 o'clock (Group 1). On particles In the example sentences we have seen that #, the direct object particle (vor), remains unchanged in the sentence. In fact, we have explained it this way to make it simpler, even though in potential sentences you can use either * or & after the vor. That is, these sentences could have perfectly been Hild U—7y HRSG HS and fie BRA LEO. There are small nuance differences between the usage of one particle over the other, but they are so subtle and subjective that it isn’t worth, at least not at this level, to go into this topic any further. Therefore, we can state to a certain degree that it makes no difference, at this time, whether we use particle 4° or % in this kind of sentences. —24— 3288 Lesson 32Need-obligation The second kind of sen- - tences we will learn to con- f WURITA VERA struct here are need or obliga i EATERY EER tion sentences (I must do x). : MES eA There are many ways to ) Rrynweaey eo construct this kind of sen- Ho CREB tence, most of which are % RAH BL illustrated in the adjoining i HQuAUEDE table, ordered according to their degree of formality. The most basic and useful is ~HAERY LEA with its casual form ~ it hid a5 ay. Knowing this form should be sufficient. To form sentences of this kind you must conjugate the verb into the negative form and replace the last ~«) with any of the forms illustrated in the adjunctive table. In the table on page 23 we have seen exactly how to make those changes, so before going on, it would be better if you studied that table carefully once more. oi Have Ie eu alge wy £44 My husband has to cook, °. Be & ERUAILE DE I (you, we, etc.) must read a book. e. MASERU RA PU EL We (I, you, etc.) must feed the cat. © Re HLS & p | The room must be tidied up! Permission and prohibition The third and last set of expressions we will see will allow us to form, on the one hand, sentences giving permission and, on the other hand, their opposite, sentences forbidding something, They are both constructed with the help of verbs in their -te form, which we already saw in 1.24 and which you should review carefully to be able to make the most of this lesson. Let’s have a look at how permission sentences are constructed. Can and must ii + AB + #5] —25-Permission To give or ask for permission Ges 36 ~THLSUNTH Ho THLALtt is in Japanese we will add % and A~TEMEVEEA foTEMPEVELA : : any of the following expressions: eee oT BOUTS LALWET, PEOEEA or at ATEPEDEY Ho TEMEHEY (ou CF to a verb conjugated into the -te form. Take a look at : ay CEN toTenn the adjunctive table to find out about their usage and the for- mality registers of the various options. The basic form is ~¢ 4 (ts, followed by the verb 7 if we want to create a formal sentence. To turn the sentence into a question, that is, to make a request, we only have to add 7 after the sentence and give that 4 an interro- gative intonation, a very easy construction studied in 1.17. Let’s go over some examples: th : Bo TH TH You (I/we, etc.) can sit here. @rch & @ LOT -FERNTHELSLOTH HM? Can/eat this cake? O88 Ro TU You can use the dictionary. Prol ion To condude this dense lesson, = we: will eeady preliBiiibn, gen : a eee tences. Prohibitions are also based : fo taunaed | on verbs in the -fe form, to which fo taneen lt (being a particle, pronounced | ; fo taunnen wa here and not ha) and one of i Se ocihie the forms in the adjunctive table os ro tobe ey are added. The most basic forms are ~ TIF ZO and ~T id Ea) #. Keep an eye out for the colloquial expressions which contract the T It form and replaces it with + »; it is very common and we will run across it sooner or later (1.53, book 3). el Dr-* eh Tldvvit € A You must not eat this cake, ul: on @ 8% Ro TA EH You mustn't use the dictionary. —26 — %3238 Lesson 32if] + +Manga-examples Potentiality and prohibition expressions in Japanese are not excessively hard to assimilate due to the relative simplicity of the verbal conjuga- tions, The manga-examples here will help us illustrate and expand on the lesson. a) Can (Verbs in Group 1) i Client: 27#Ho TE THLETIRAHBE body/taste sp have absolutely other place pp sp eat EP They are very tasty, you can’t have them anywhere else. Javier Bolado In this example, characteristic of one of the many typical cuisine mangas, we have the hero sitting at the counter of a ramen noodle restaurant. Just then, the hero makes the remark we have emphasized. ‘The client declares these ramen “can’t be eaten” anywhere else, so he uses the negative potential form of the verb to eat (4t-* 4 ). Take a look at the first table in this lesson to check how this verb is conjugated (it belongs to Group 1): you remove the last ~ 4 and add ~5 £4, therefore, the verb should be aeru (#24, can meet somebody). Once you S84” «n get used to it, learning how to conjugate these verbs isn’t difficult at all. The best way to learn them quickly is to practice with all those verbs we've been studying through- out the course, trying to put them in their potential form. There is a complete list in APPENDIX IIL. c) Koto ga dekiru then Ubb me, RAE Ee Gotd: KS OALUFELEMST SEM TREAT H-? they pop life sp happy be ssp affirm do can qv...? Can you affirm that theirs is a happy life? The main sentence in this manga-example is (4 # tt) BETS (Grou) assert/affirm), which has been turned into a potential sentence via the useful expres- sion = & #°C ¥ 4. Notice how = & is written in kanji FF> Sow here (3). In fact, the expression we are now studying can be entirely written in kanji ($ #'d% 4 ), although ¥ t ez Ze a a = j its use depends on one’s own preferences. What would be the potential form of this verb? is +4 being a suru verb (1.24) means that we only need to conjugate the + 4 part. In the conjugation table in page 23 we see that the potential for + 4, as an irregu- lar verb, is € * 4. Therefore, its potential form would be tS C&S (can affirm). JM. Ken Niimura —28- 3218 Lesson 32d) A special case: kikoeru and mieru ‘The potential form for the verbs 4 (to see) and Bi < (to hear) is somewhat special because in Japanese we distinguish between what one can see or hear uncon- sciously or passively and what one can see or hear because one specifically wants to. In the first case (unconsciously) the verbs %2% and me 2% are used and the particle 4* is compulsory. Whereas in the second case (consciously) the normal potential forms JL5n4 and pit 4 are used with 4 or &. However, both are translated as “can see” and “can hear.” In this panel, for example, we don’thear the waves (3) because we want to, but because the sound is there and it reaches our ears. Thus, we use fi] = 2 3. On the other hand, if we “can hear” a record because that is what we want, we will say L 3 — 4° Biltt 4. (See 1.44 to expand on this.) e) Must do x We will now see an example of the need-obligation forms. As we saw in the theory sec- tion, there are many ways to construct these types of sentences, from formal expressions to colloquial and vulgar, although the most basic one is, without a doubt, ~13 #122 5 21). In this case, we have one of the most colloquial expressions, ~ * », its base being ~lthlg@ 5 ZW, but it has contracted the first part (/7 HZ), turning it into a simple * », and left out the last part (@5 20). The conjugated verb in this case is BI? 3 (to save). To create the need- obligation form we must conjugate the verb in the negative (Bit % 1»), remove the last ~\» and add ~ Itt f25 20, thus obtaining By ey awe oko (must save). Just as we see in the Gabrie! Luque example, the colloquial form “y is B)It 2% > (1.53). Can and must ie + a8 + ¥ -29-f) Ask for permission Here an example of is how to request some- thing politely. Remember you must conju- gate the verb into the -te form and then add tut), adding ¢-+ when creating a formal sentence. When requesting for permission, you must add the interrogative particle pat Z the end. In this ease, we have the verb at (to break), its -te form being #L T, to which we add ~ $0 TFA to ae uct ( Mario: BO BRL CHOU THM? ayaa % that wall... break can qr wut t+» (Can I break?/ Do you Do you mind if I break that wall? mind if I break?) form a request sentence: g) Prohibition In this last example we see a prohibition sentence, the exact counterpart to a permis- sion sentence. As we studied in the theory section, these sentences are also formed with verbs in the -te form plus ~iz (914 # .». Indeed: (34 3 (to fall in love) -te form (aT = prohibition form |Z 4 T ltt It 24 (you must not fall in love). In the colloquial regis- ter, contracting the Td part and turning it into a simple 4 > (1.53), asin this example, is very common. We will now answer Mario, from the previous example, with the nega- tive form. 384 = -te form # L C= formal prohibition form (he has made his request formally, so the answer should be a formal one) * LTE tA, or a Loerie 4 if we contract the T(t part into 4 >. Birbara Raya emichi: EI, FLICMNS POUBOE, Mayuko, I 10? fall in love no must ep Mayuko, you mustn’t fall in love with me. —30— 383228 Lesson 32Conjugate, 5 31% 5 (tosteal), BY 4 (todan- i) G2), Ke (to swim), + % (to do), and ry %% (to think, G.1) into potential forms. We have a & (to see) and & (tocut), but (2) we don’t know which group they vine @) to. How can we form the potential, then? @ = into Japanese the sentence “You can’t fly.” (to fly: #5%) Translate pd English the sentence = TSAREMEBT CUM CSET I? (3828: English, % +: to speak) Translate into informal Japanese the sentence “I must go to school.” (school: 29 $k, to go: {7 () Translate into English the sentence ‘kit ANDY FA ERS EPO B. (Re: she, 4/*" » F 4: spaghetti, BAS : to eat) Translate into formal Japanese: “Can he read the newspaper?” (he: ‘th, to read: its, feeapapen #8) Translate into informal Japanese the sen- tence {Don’t read the Bewspaper.” ® read: i t2, newspaper: #f i) Q) Translate into English: Riklc #05 © % | (BA: blackboard, Fe: to write). What is this 5 »? Translate “You can see Mt. Fuji from here” and give an argument forthe verb you = @ chosen. (Fuji: et i from here: z <5) Can and must 3g + RH + #57 —31—Lesson 33: At the airport Now we will start a new kind of lesson, where we will choose a situation and develop possible conversational strategies. You can use these lessons to learn different options in the spoken language, to practice structures already seen, and finally, to learn a little bit about Japanese culture. Some basic sentences To be honest, airports and airplanes, even if they are Japanese, are the most “linguis- tically safe” places in the world, because almost everybody can speak English fluently and expects us (if our features are non-Japanese, of course) to speak in English, as well. Japanese, unfortunately for us students, will only be an unnecessary bonus, although it may come in useful in certain moments. However, we will avail ourselves of this lesson to review grammatical structures and learn a lot of vocabulary. Let’s start with the simplest and most useful sentences. As a rule, we will only use those grammatical expressions we already know from previous lessons, so you can take the opportunity to review as you study. peol 47 counter DILI aK delay Lao departure wR oe es oe excess baggage BAH first lass 77-2792 eptsses, boarding gate #0 Bers seat belt yobAwe ‘ meen business class EYRA7FA~ landing, capiin wR | mumberx x —32— 338 Lesson 33© BRIEF OY) 2 EA Idon’t understand Japanese. © DAME BEBE A I don't speak much Japanese. 6 © XTHL CC HSU Could you please talk in English? ° Bibires =F»? Do you speak English? Wit 7 49) 4H REL Tcome from the US. In this first lot of examples, some interesting things have appeared, such as a verb in the negative potential form (1.32, Ht £ #4), a request of the -te form + ¢ kind (1.24, book 1), the verb © & 4 (1.32)... There are a few new things, such as the word # # '), which means “not much” when it comes with a verb in the negative (1.45), and the word #4 , which means “from” and which we will study in depth in L41. In the last sentence you can change the word “US” for the name of your own country using the PH (sa5c0) list on the left. #)) AAPA Tae which lesson you can find more information about 470K DIVA the grammatical structures in each sentence. KAy eye Cc in TAWIYE lieck ARGEW Let’s start (or finish) our trip safely checking in From now on we will use (1.x) to indicate in our baggage in Japanese: ets IA YELEVATTM I would like to check in, (1.32) eB ts oie 01 Blo e wu 2 A window sen please etary osm hn (ocT He BOL bY oyT YAR |g He se ae is i103 C44? When is boarding time? (1.12) How many bags do you have? (1.25) RUAIEMA UKE Rasa7 707 ena Raith i OBTUSE TIN? Which number is my boarding gate? (L.5) acien eGH7—bhaLO THA? Whereis gate 6? At the airport @38°¢ -33—On the plane Well, we are on the plane and it is probably full of Japanese passengers, so one of these sentences could come in useful before, during or after the trip. By way of review, remem- ber the words & 1) #°& 3 (thank you), ¥ 3 Wt LUT (youare welcome), 2 4 tt 310 (excuse me), and + & #4 (I’m sorry / excuse me), which are essential (1.4, book 1): elk CHELT, XTF How do you do, my name is x. (1.4) e X#omu “=x tt»? Could you please tell where seat number x is? (L.9) ome Bro T(E Sy Could you please change my seat? (1.24) ec: othe BE HOT BUT HH? Can I put my bag here? (1.32) @rv-t £6 LTH LUC HH ? Do you mind if I lean my seat back? (1.32) etasetA, ALE f ZKOA THM... Excuse me, I need to go to the toilet... (L.31) OFAEEA, MLC HSL Excuse me, could you let me through, please? (1.24) Another very common situation in plane cabins is interaction with flight assistants, who, even though they always speak English, very often they will be surprised or amused if we talk to them in Japanese. At this stage, expressions with “please” (X & ( Sw and XH L £4) which we glanced at in 1.4, will be very useful, OHARA) BHD TK Be yiz22-2 Fasten your seat belt, please. beer ew eure 4h id (2 L& +H ? What would you like to eat? o to OLAUKA MMS VETO? What sort of drinks do you have? (1.18) chicken 074 ye BRU LZ Wine, please. @5-E-DBPH)) & (LS More coffee, please. oR BLEREC ESO A pillow and a blanket, please. om ARIEL ETH? At what time do we arrive in Osaka? (1.12) t OKOR UM TCMCS OS TH? Will we get there in time for the next flight connection? Sik he (tue whisky 9 94 24— @RPPEVOTCR EBB LED wine Bay I don’t feel well, could I have some medicine, please? —34— 3388 Lesson 33Flight connections and baggage claim If we ever need to make a flight connection in a Japanese airport, this section should be helpful. We will also find useful sentences when claiming our bags. PerrhUSE Ah orb 123i: $V BEX 04 C4 A] want to make a connection with flight y1.133... (1.31) ona sonia 0 ae 07 918 SH 2 Wheat ana cote for fight connection? e ‘ y fe sie Ir fies Bu £4 TL Ihave missed my flight connection. Useful information: There are two big Japanese airlines, which are Japan Airlines Gat, | HB or abbreviated $5). > 2 e Rhos hum Yctta? Where is the baggage claim? Hers th Ki fi ®) and All Nippon Airways (ANA, + @v-bhiEY ic) EFM? Where are the trolleys? e ROR ROH REA Lean’ find my bags. Customs and money change We will conclude by going through passport control and changing some money. Then, we will leave the aseptic airport and breathe the air of our destination, Japan! But, first, let’s go to customs: af ehec «£80 Show me your passport, please. FRUHECT He ead How many days are you planning to stay? cays ot e150 MCF 15 days. $0 8CC8 th @ HAM Belt CF A? What is the purpose of your visit? one t Tourism. ov ar BENS XF#? Anything to declare? @ HN SF | HUTA Yes.|No. Now, we can change money at any foreign exchange office: . ae i lt¥c C+ a? Where is the foreign exchange office? eBBE EOL TTA. I would like fo change some money... © SHEMICBL TC HSU Change this into yen, please. etl © FUH ILO 5 C422 What commission do you charge? At the airport 98% -35—Kite et Cultural note: the visa A visa (& +) is a document issued by the embassy Gethin) or consulate é 8 A ¥h ) of a foreign country, which guarantees the recipient an entry to that country for a certain period of time, as long as it is shown together with the passport (1s 2 18 — b ). As far as Japan is concerned, many foreigners can enter the country without previously obtain- ing a visa thanks to bilateral agreements. For example, visitors from Austria, Germany, Ireland, Liechtenstein, Mexico, Switzer- land and the United Kingdom are permitted a stay of up to 6 months without a visa, and visitors from Argentina, Australia, Canada, Chile, France, Hong Kong, Israel, Italy, New Zealand, Poland, Singapore, Spain and the United States, among others, are per- mitted a stay of up to 3 months without a visa; whereas visitors from Brazil, China, India, Russia and South Africa, among many others, require a visa. South Koreans always require a visa to enter Japan, except when they are part of a school group on a visit, and in that case they can only stay for a month*. V Fy * (deck), oe — (lobby) or + = y South Terminal 74x (check in). In an airport we will never have any orientation or compre- hension problems, because all. signs are (almost) always in English. Re- member, though, that once outside of parture Lobby the airport, it's a whole other world! eal To conclude, we will just mention the aR other words in the sign, “i” (south) and & ¥ (observation). —40— 3338 Lesson 33Write in Japanese the following words: “booking,” “departure,” “toilet,” and “airplane.” Translate int words: i Write in Japanese the following sen- tence: “Can you speak English?” Translate into English the following @ sentence: SOU EEA, Give at least five names of European countries in Japanese. You need to go to the toilet while on a plane, but you have a window seat "© can’t get out. What do you say? You feel like having some more orange juice, (you already had some before). What do you say to the flight attendant? At assport control you are asked: # D @® i C+» 2 How do you answer? 2s shcs Translate into English: We, it, a0, t# and Bf. How do we say in Japanese the typical 7) @) phrase: “Fasten your seat belts, please”? At the airport 238-¢ —41-Lesson 34: Interrogatives and future Until now, we have seen quite a lot of conjugations and different usages of verbs, the interrogative included. However, we have hardly talked about adverbs and interrogative pronouns, which are very useful when asking all sorts of things. We will also talk about Japanese having no future tense. Interrogative Here and there, throughout the course, we have seen how interrogative sentences are constructed, and we even have seen some of the words used when forming them, such as i (what), Y= (where), (5 (how much), etc. This time, we will discuss these kinds of words in depth, to give our interrogative sentences a much wider dimension. To review, we will remember that the basic interrogative construction consists of adding the particle 4 at the end of a sentence, and pronouncing it with a rising into- nation (asking). At the colloquial level, the particle » is sometimes used. There are also times when we even do without particles altogether and directly pronounce the sen- tence in an interrogative way. It a. C+ Yokohama is close. (formal statement) What, when, where, who? Let’s start with the typical what?, useful when asking all sort of things. All we need to do is replace the Direct Object (vo) with (1, very often pronounced {4 for phonetic reasons, and remember to add 7 at the end of the sentence. S145 | cI RAS What és there here? | There is a turtle here. fe“ tb» What do you want to eat? | I want to eat fish. eh CTH? | ehlt+—*CH What is that? | That is cheese. —42— %343% Lesson 34In the case of when?, where? and who?, the usage is the same: we only need to replace the relevant object. We will use 1. for when?, ¢ < for where?, and if for who?. e DONDAAT ORM Vee NTA Attork When did you go to Hawaii? | I went to Hawaii last year. Tea BN RTH? [FEIT TIBURT Where is my underwear? | Your underwear is on the sofa. ORK VERA O? | RBS DAME-WERAE Who drunk the beer? | Miho drank the beer. How much? ‘There are several variations to express how much?. The | vie aiy how much? two most basic expressions are \y ¢ 5 (when talking about an economic quantity), and ¥# ¢ % \» (basically, to ask about distance, weight, etc.). OLDER HTT? [LOA HATE 200Mtt How much is this cabbage? | This cabbage is 200 yen. emp ene bitotr ? |a4o bioct How far is Shinjuku? | It’s a few kilometers away. ‘The other way to express how much is related to “counters,” which we have already gone over in 1.25 (book 1), so you should review that lesson before going on. eK EHH MOF? | GH -CF How many books are you buying? | Four. theo t sae e837 & EHO TOS 2 | 28 How many computers do you have? | Three. Let’s remember that practical ~>, whose interrogative is \ { >. It will be useful when we don’t remember the correct counter or when we don’t know how to conjugate it properly. ee Coes asm? |Z -C+ How many persimmons will you eat? | Three, Why? We will use & 3 LT before an interrogative sentence to ask why?. The orthodox way to answer is by adding #5 (because) to the end of our reply. Therefore, we only need to construct a normal sentence and simply add 25. OLS LETIETIT SRO? | TIETHEREL EDS Why do you want to go to Arabia? | Because I want to study Arabic. Interrogatives and future SMA + #82 —43—The kosoado group In 1.9 (book 1) we already learned about those words called “kosoado.” They are pronouns |=65 thisway | €55_ that way OD this that which always share the prefixes ko- (close to the speaker), so- (close to the hearer), a- (far from both), and do- (interrogative). Ex: < h (this), hn (that), %h (that over there), and ¢h (which?) Refer to the table for more information. Be careful with the semi-exceptions (in bold type): &€c and 4 & are not 42 nor 53. Using the kosoado to make questions is extremely useful and simple: all you need to do is use the corresponding interrogative. eBORVEE ATTN? | 1) forms, which we saw earlier in 1.31). We are talking about the expressions “let’s...,” for invitation and “I’m going to / I mean to” to express one’s will. This is how the conjugations work: @. Group 1: Replace the last ~ % with ~.t 5. Ex: 84 (Isee) 3 £9 (lets ee). @ Group 2: Replace the last -u with -ou (-0). Ex: & ¢ (to hurry) => > B23 (let’s hurry) | Bs (to play) > Fi (25 (let’s play). Note: Be careful with verbs ending in -tsu, they are conjugated -0 and not -ts0. @ Irregulars: As usual, we must learn these by heart. In the case of the formal conjugation (in the -masu form) of these verbs, all we need to do is replace the last ~+ of the conjugation in the -masu form of the verb in ques- tion with ~ L 1 3,no matter what group the verb belongs to: Hic 2 + (to die) > #2 2 £ 3 (let’s die). Now you should study the conjugations of the table below in depth. hae to teach | a to lend | 5 #LELe towait | 5 HEL 2 to buy 5 5 Rogcs to return 5 MEELI to write a eS & | 8225 to hurry Es <3 |evst | avaceo to play BUELL to drink hat ls to die = RIZE LG 1 | todo a 5 iets) | = : 3 __ to come RELEI Interrogatives and future $B) « 428 2H2 —45—Some examples When the-0 form is used in the volitive sense, we will sometimes need the help of ¢ "23 (I think, I believe) to clearly express the idea of “intention,” except in exclamations or sentences with a lot of “feeling.” (We will see more about ¥ 5 in L.41.) ° RAS (to eat) > 3 LARK SARS 3 ¥25 Iwill eat a lot of udon. © bIFS (to give) > Ws AL IHESH LD eu + I'mean to give this to Tetsu. @ Kt: (t0 read) = F Hlke Seb 94 | Iwill read the whole book today! With the meaning of invitation, however, we can use the conjugated verb alone: ys eH 49»? Shall we dance the samba together? 34 (to dance) > —¥ ‘ SAE vols ‘ ett < (togo) > $k, HI ay TNT te ee 0%) (to invite) 3 RAE R-F 4 (2 LE Ls 9 Let’s invite the teacher to the party. Let’s go to Congo in the near future. Deciding on something One of the example sentences in the previous lessons went like this: #53 it lc L +? (What would you like to eat?). What does the expression (2 L £¥ (or $4 in its simple form) exactly mean? This expression is used when deciding on something, that is, to form sentences such as: “I choose x” or “I'm inclined to go for x.” It’s usage is very simple, because we will always use {2 44 after a noun or a nomina- lized sentence. In 1.57 (book 3) we will see in more detail how a sentence is nominalized, but for the time being, adding = ¥ should be all you need to know. Ex: Bf ¢ (to {go to Japan) | HAST << & (the fact of going to Japan). e BREW LAF H 2 What would you like to eat? 5H L 9— Aye LAF LM have (choose) fried chicken and ramen, eo UA e—¥—EWS 2 LICL EO? What sort of sweater did you end up buying? RSBL— 7-1 LAL I chose (bought) a large one. To end this lesson, take a look at this miniconversation: eA: RE, MEMES SON CTH 2 A: What are you going to study next year? Bi 3~Au BIC L £9 #2? B: Hum... Imight decide on Economics. In scarcely two lines, we have reviewed everything we saw in this lesson: a question with ff, a future time adverb (4 #), the fact of deciding on something (= +), and, finally, a volitive form of the -6 kind (L £ 4 ). And we have even used > % 1)! 46 — 3438 Lesson 34Bi] | Manga-examples This lesson has been quite dense, so a few good examples with comic panels should clear up some of the ideas and concepts. Let’s see, then, the “real” usage in context of interrogatives, lack of future and other things we haves been studying. a) Who? Just a few pages earlier we saw that Eh to ask who? we use #. Then, what is that Y #2 & Keisuke is using, which, apparently, means the same? aR S44 9 8 We have already mentioned several SPI SIAM times Japanese is a very hierarchical TEOMA DSS Sf UA language and that the “politeness” with which one talks must reflect itself in the words one uses, words i ‘we must select carefully. So ¥ % f:"is et the “polite” way of #& and we use it wersonoe in a formal situation. Likewise, there are formal and when asking a stranger who is i informal versions of other interrogative adverbs and pronouns. For instance, as we saw in the manga-example e) in the previous lesson, the formal version of & 3 (inits mean- ing of how about?) is «9 4 # (1.33). In the case of & 3 LT (why?), we have a formal version (# #) and even a colloquial version (% A ©). Finally, the word & 4 t (what kind of?) is really a contraction of YO £5 %,a version which is used in formal situations. Interrogatives and future S24 + sbi —47—b) Where? TELE In the theory pages we learned about kosoado words, which are “conjugated” via pronouns which indicate closeness or distance. In this case, we have two of the four conjugations (closeness and interrogative) of the kosoado indicating “place:? <2 (here) and Y= (where?). The two missing forms are = Gabriel Luque (there) and % @ 2 (over there). Remember this last one is slightly irregular. Mastering the kosoado is essential in trying to sound natural. c) When? ez Bi, SREKRDEDTHTOO. TP, you 10P meet be then We will use this manga-example to do a very interesting exercise: forming a question from an answer we already know. What should we ask Emi, so that she gives us this answer? Since she replies with “when,” we should obviously ask her when?. To do that, we will use (>. For example, (OHI S5 AH? (When did you meet me?) The answer is the manga-example. We can see Emi’s sentence has a 8f |= (usually written in kanji). The word 8 (1.48, book 3) ‘Studio Kosen means time, but when it comes before a sub- ordinate sentence (like in this case), its function is to indicate when or at that moment; that is, a perfect answer when we are asked when something happened. ‘The particle (= after i is optional. Bx: > a 8i8e¥ UE LM? When did you learn Japanese? % citi}, BBS SUE Lt [learned Japanese when I was in Kyoto. | \\ 8B 12 40? When do you bathe? * 3 Ibathe when I'm dirty. —48 — 343% Lesson 34d) Why? Boy: YILTHLSD? Wee ee i are you going? Tak: SEVIEC KE RODDE!L too much nonsense because be! Because this is absolute nonsense! Barbara Raya Here is an example of a conversation where someone asks why? and the other person answers. This combination is easy to use: all you need to do is add the word ¥ 3 LT (why?) to an interrogative sentence. To ariswen, ye just add # + (because) at the end of the reply. Some examples: ¥ 3 L< BABE LOOT ct m2 Why is Japanese difficult 8% 2° % BCT Because it has kanji. | ¥9 UT BARS OCT H? Why are your eyes big? Be finwm 5 Because I want to see you.| YLT DRA UO? Why is your mouth big? z & ks #0 | Because I want to eat you! e) In xx BAR OE 99 bolesee st Git: KoA HR. [ee LeOMMRCeH) oCHOTTHY girl sp appear “you sp a week after rp die” say that one but It’s that one where a girl comes and says “you will die in a week.” A few pages above, we spoke about Japa- nese having no future tense and about the usage of time adverbs implying future to solve the problem. A quite useful way to “create” future adverbs is by adding the suffix ~# (in xx time) to a temporal unit, like in this case, Swed fe (in a week's time). Thus, creating words such as Aut fin six A t& (in three days), 3% tk (in five years), ~ »y A & (in two months’ time), etc. will be very easy. Note: The character is only used to say “x months” and is read hours’ time), = D-H a (one month), @ ” i (four: months). We can also use the character +, with the tr A (nine months) & ago): — 2 Bl it (a) week 480) xa Mh # (six hours ago), ii (three days ago), % % ¥i (five years ago), =» A ¥t (two months ago). same reading and meaning: The opposite of ~& is ~ Interrogatives and future 1205135 + Jaa —49— Tr:f) Volitive be Ey Man: BZ ARTI CB TKAE.. you 1op give spp think be... I was going to give it to you... We use the verbal conjugation -d to a) express the idea of intention, or b) invite or es ee: EE ne Ee] suggest something, In the manga-example A here, the expressed idea is clearly the first "vm one: the old man “had the intention” of giving the ball to his interlocutor. When inten- tion is expressed, using the tag ¥ 5 (I think that... is very common to strengthen the idea. In this case, it has been conjugated in the past tense and gerund: & > Tf: (Iwas pena we done without & #3, the sentence would have been ambiguous: # £ 8 4 5 could 2.5 ((l think) P'm going to buy a car). Had thinking). One more example: be translated as Let’s buy a car! (suggestion) or I’m going to buy a car (intention). g) Deciding on When deciding on something, we have a useful and easy structure: ¢ $4. In this case, the cat-man in the example is trying to decide which sushi dish he is going to eat among those passing before him on the conveyor belt (it isa ‘ae & aj or “revolving sushi” kind of restau- Brbara Rava rant) and he uses |: 4 to decide. Curiously enough, this example is oe Cat: Kid LIS es IPT. some sort of mixture of what we have ee ee Cae seen in this lesson, since the c+ is conjugated in the -0 form (ic Lt 4) and there is even an interrogative of the kosoado kind ( ¥'#, which?) We must stress the fact that the sentence ¥#!< L £3 4% is very common when one has several options and doesn’t know which one to choose. The *% in the end is a combination of the interrogative particle #, which we already know, and the emphatic particle #2, which in this case has a connotation of “doubt.” One more example: il Hak 9% 2 Could he be a comic artist?. —50— 9.3438 Lesson 34Translate and turn into the interrogative this sentence: HU ORAAIL* HW C4. (RSA: wife, $10: beautiful) Translate into Japanese the following (2) two sentences: “What is that?” | “That is a helicopter.” (helicopter: ~)) Translate: HAI STH? | SHIT ce + RUTH. (KI: dollar) Translate into Japanese: “How many (4) apples are you going to buy?” (apple: WAZ, to buy: F 5) * Translate into English: A TF VEER Bus eC awo?| met “OMS, (FE: television, BAU: interesting) Translate into Japanese: “I intend to GQ) to Malaysia in the future.” mio © Wb-y7) Conjugate i in the simple - form: Be (to pray), ae (to break), ba & (to go out, Gu), ft ( (to go), and #3 (to run, G.2). Translate into formal Japanese this sen- tence: “Let's walk, to! the cinema.” (to = @® BG cinema: ae to, as far as: £ T) Translate into English: i Lixyay eRe Boas. (#LU: new, 7 2 Y: computer) eee to study) Interrogatives and future ke Bla] « 46829 —51—We have already studied the -te form in lesson 24 (book 1), and saw that it could be used when forming many different expressions. We are now going to study it in depth. Obviously, we recommend reviewing lesson 24 before going on. Conjugation In 1.24 we saw how the -fe form of several verbs was constructed, depending on their infinitive (dictionary form). If you take a look at the table, you will realize there is a new feature: the negative -te form, — obtained just by adding t to a verb’s simple negative form (1.20, book 1)— and the -te form of a verb’s negative conjugation —obtained by replacing the last ~.y in the verb’s negative with ~ ¢ T. RAGOT RIBOT roa KGW | RSCOT | FITC T ~SoT | MoT | HAG | HAGOT | MATT ~FoT | Hot | Roe | Rhett | Whee toreturn | ~SoT | WoT | HOR | MSROT | MERLT to write went | oT SPAY | SEMAOT | FHACT tohury | ~FOT | AUT] Mee | AMROT) BMRCT toplay | ~sc | BAT | Mitre | mee | MECC todrink | ~#AT MAT | REGU kee | RECT todie | ~#it | Rit | REDO | REAOT | REBT Laut RET 52-3588 Lesson 35A brief review So far, we have seen a few expressions where the -te form is used. Let’s review them briefly. If you have any doubts, you can look up the corresponding lesson: @ Gerund (1.24): # £4 C2 T'm reading a book. © “Please” (L.24): th #2 (HES bs Don’t read a book, please. e@ Wish / order (ua) & & it x Ck Ltt L want you to read a book. @ Prohibition (1.32): ke a AIL} x44 You must not read books. @ Permission (1.32): 821% 4 Cb WOT It's ox if you read books. The combination of ~ Tt 1) and the -te form of the negative conjugation of a verb (see table) will allow us to construct sentences such as: “you don’t have to,” that is, the lack of obligation. Ex: verb: if 2 (to read) = negative: ik & 2s => -te form: 2 2 T => Sentence: = ort it £2 THOw TT You don’t have to read this book. As you can see, the negative conjugation of a verb is considered like an -i adjective and its -te form is conjugated as such. One more sentence: #4 -C%1vt» C+ You don’t have to go. @ Give / receive (1.28): $ £18 4 € & 51s EF Someone reads me a book. In 1.28 we briefly saw the usage of the -te form plus the verbs #174 (to give), £5 3 (1o receive), and ¢ #4 (to receive). We will go over this subject in depth in 1.45. Connecting sentences One of the most practical usages of the -te form is the possibility of joining two or more similar sentences and giving, thus, a higher level of complexity to our sentences in Japanese. © RAILMIRL T, HAF % She does the cleaning and (then) the washing. o MiB AC, KE RAE + I play (have fun) and (then) read a book. We will see this way of connecting sentences again in 1.46 (book 2), but now it is worth knowing adjectives and nouns can also be connected using the -te form. Check the adjunctive table for their conjugations, which are very simple. @ -iadj: ¢ HIE Hi CHE LAW CH This book is cheap and interesting. @ -na adj: 20 © # i RFI-CH OCF That train is convenient and fast. @ Noun: it) 27 G, RIEL BU + My father san office worker and his name is Tomotaka. -te form special 74% —53— RS “Finished action Now we will study some very useful structures which are created with the -te form. Thus, allowing us to easily learn many new types of expressions. The first expression we will see is ~ € 4 4, which has the connotations of “a finished action” and “something has been done — and the consequence of this action remains unchanged.” e391 5-CH 4 The meal is ready. @ ZRF —7 Vie TCHS The bonsai has been put on the table (and it is still there). @ ay lt01t CHS The personal computer has been turned on (and is still on). Going and coming Other common expressions are ~ T( ¢ and ~ T ¢ 4. The first one, ~ T+» ¢ , has the connotation of “going” or “doing something (progressing).” It comes ftom ft ¢, to go. @ To take: a 2 y ARH TU ¢ Til take the comic book tomorrow. @ To go: R Ex ‘fo THEET Pm running to the station. @ Todo something (constant) #12 8:3 £ 838 L To ¢ [study (and carry on with it) Economics. ‘The second, ~< ( 4, has several possible meanings, although all of them imply the idea of “coming,” It comes from the verb #4, to come. eTobring: HE, vy 44> T¢ & Pll bring the comic book tomorrow. @ To come: #4 12 1s T £F The teacher comes walking. @ To go (and the come back): 4 + / 3\4f- T 3 te £ went to Mexico (and came back). @ To come back: 74» £8 > T & I've bought wine (and have come back). ‘There are many connotations here, so it may be slightly confusing. Advice: Think about the equations \ ¢ = to go and ( % = to come, and it will be clearer. After doing... In the previous lesson we saw the lack of a future tense in Japanese and several strate- gies to express the idea of future. The ~ T *% form can also help us in this context, since it means “after doing....” very useful when expressing future actions. oF LERCH REL 4 Tent (Ill eat) after watching Tv. site 9 @ HERA CHS REL s 9 I'l go to sleep after having a drink. cast © KATH RBA & After dying, you go to heaven. —54— $3538 Lesson 35To try The expression ~ C4 4 (very common) has the connotations of “to try to do some- thing” and “to do something just to try.” These examples will help you understand: @ 2D FEBRE TALS Tl try to translate this book. ed & RS Ca Pd like to try and eat sashimi. e947 NH o TAL Pil try and go to karaoke. Note: Most of the expressions we are now seeing are compatible with other structures we have previously seen. For instance, example #2 combines ~ T & 4 with the volitive ~f\) (31) and #3 combines ~ t & 4 with the -d form (1.34). Leave something done ‘The expression ~C # (,, which comes from the verb Hf ( (to place/to put/to leave), is used to give sentences a connotation of “doing something beforehand (so it is useful later)” @ LEM > CHIE I've bought beer (for later). ec ox eit A THz 4 Dm going to read this book (in case it is necessary later on). e BEBE MHL CHDK ALTE) ZEA [must study Japanese (it might be useful later on). Note: In the second example we have also used the - form (1.34) and in the third one, the form for need-obligation (1.32). In spoken language, ~-T # ¢ can be contracted into WEE Hoth S Fok (Mellyou) orinto~¥ (HA TBC BAY, Tread it). Finish doing / regret doing The expression ~€ L & > has two very different connotations. The first one is “to finish doing something completely,” “to get through something,” and the second (very common) is “having done something one regrets,” or “doing something with consequences.” e San cae ERA TL £5 te: [read the textbook through in a week. e ax KEE z # Sa TL 5k Ihave completely forgotten my Japanese. em: tsay ee 3 TL £5 te [called him an idiot (and now I regret it) oR iti FERC L E> Isaw his (illicit) affair (and this could have consequences). Obviously, if we don’t know the context, we could encounter ambiguous sentences: @ hit’ 4 & NTL E> Late (all of? / by mistake?) the cake. Note: ~ TL # 5 can be contracted into~5 p 3 (BTL) 3 $2505, lM tell /blurt it out) or into ~ U3 (GRA TLE 9 > HRA Cv 9, Pll read it through). -te form special F#44% —55— 35To be dying to The last expression we will look at, ~ ¢ ¢: € 5 4 ts (formal version: ~T 2) REA), is used to indicate the intensity of something, the feeling of unbearability, or that we have a very strong desire. It is exclusively used with the -te form of -i or -na adjectives, as well as with verbal conjugations which function as an -i adjective (like the volitive form ~ #:\.). e ea ae (CHES RW! Tcan’t stand the cold today! e ao D wi lt 8H THY XA 4 That woman is extremely beautiful. SEC THES RUS Pm dying to go ona trip. eo CRUE (CHE HL P'm dying to play with my grandchild. Conclusion We have had the chance to review and study many usages of the -te form. Hopefully, you will be able to profit from the study of the il (6 BULTROR 32) Youmustnot lk table in the first page of this les- F BLTELY . Trea you to ale son, since you have probably ; Serine realized mastering the -te form — neha? is essential, as well as extremely fete hie) eet ald, Lone useful. een BL a To conclude the theory sec- ) Trt and become sent tion, on the right you have a a summary-table with those : ee fete taste expressions using the -te form we have seen thus far (we have conjugated the verb i+, to talk). We might see some more expressions throughout the book, but this lesson in itself constitutes a quite complete summary. —56— 354K Lesson 35,73/6) | Manga-examples In the previous pages we have studied some of the many possibilities available once you master the -fe form. Now, in the form of manga panels, we will see practical examples of some expressions which use this verbal and adjectival inflection. a) “Please” in the neg: Gi: AUUE CEeote — One of most useful expressions we can construct with the -te form is the request “please.” We already saw in 1.24 (book 1) how it functioned: all you need to do is add ( %\y (sometimes written in kanji: x 0) to a verb conjugated in the -te form. Therefore, in the case of the verb in this sentence, 8 % (to look), we must conjugate, its -te form (it belongs to Group 1, so we will get fC) andadd ¢ # Sto obtain the sentence it CES (look, please). In this lesson, we have learned a new feature: ‘Statio Kosen the negative of the -te form. To obtain this negative form, we must conjugate the verb we need in its simple negative (1.20, book 1) and then add t. Thus 84 > Baw (simple negative) > i %w-C. Adding ( #20 we will obtain a “negative please:” &&\\¢ ¢ #21» (don’t look, please). If we do without ¢ same meaning, but it will be a lot more colloquial (just like in English, since “come 9, as in this manga-example, the sentence will have exactly the here, please” is not the same as just “come here”). Note: In this sentence we also have an -i adjective (fo, sweet) transformed into an adverb (1.22, book1). Besides sweet, Hf» can also mean indulgent / optimistic, therefore, the sentence would literally mean don’t look at me indulgently, although here we have chosen a more natural version: don’t underestimate me. -te form special 7#4#% —57—b) You don’t have to ae ee Fritz: FESO SAC TOW! nothing remember (don’t have to)! ‘You don’t need to remember anything! Sey In 1.32 we saw the permission form ~ T $ (4s and here we have studied the -te form in adjectives and AAT OEE nouns. This takes us to the creation of sentences such as “you don’t have to,” which are usually -cs, constructed with the -te form of the negative conjugation of the verb (which functions as an -i ag adjective) plus ~T ts). In this case: Boh t (remember) => > %\vth 8 @\ (negative: to not Javier Bolado remember) > Swi @( T (-te form of the bes negative) > Qty * * ¢ T% 14 (permission: you don’t need to remember). Notes: In the colloquial SESE we tend to do without % in ~ T #1») sentences, like in this example. The word 7% means nothing. c) Connecting sentences 22> aie Kuraki: 5.323 ( CHSBOTRZALS I aah, noisy calmly eat can I? Argh, you are so noisy there’s no way I can eat calmly, can I? In the theory section we saw sentences could be linked using the -te form. In mot this example we have two linkages, the Tt first one with an -i adjective, and the ” OTD NR second one with a verb. ‘The -te form of the -i adjective 3 4 3. (noisy) is > %%¢ T,and the -te form of | x-Ken Nimura the verb a # « (to be calm / settle down) B as Bor. Therefore, the sentence, formed by three elements would be 5 4 4 ( CS #WT te} (tocat calmly with noise). Notes: ft 4 4 isthe contracted form of $f 2 #1, the negative potential (1.32) of the vulgar verb, primarily used by men, fe 5 (to eat), which is synonymous of the standard f¢~ 4 (to eat). #4 5 is the simple -d (1.34) of the verb ¢ + (the formal would be € L + 3). In this case it functions as a tag with a nuance of insistence or reassertion of what has been said. —58— 93588 Lesson 35d) To try Helen: ¢ ERE BO? still use (can) Qe Is it still working? Joey: %5..PoTALI (doubsful)... do (try) I don’t know... Let’s try it. Another of the many usages of the versa- tile -te form is ~C4%, which gives a Gave tinue sentence the meaning of “try to do something,” or “do something just to try.” This form is widely used, specially in spoken Japanese. In the manga-example we see it com- bined with the verb 4 (a colloquial verb meaning to do), which belongs to Group 2 and, therefore, its -te form is » > T. Therefore, > C44 would literally mean to try to do, that is, to try, as we propose here. In the example sentence the verb is in the -d form (with a connotation of invitation, 1.34). Since the tag ~~T&4 functions like any other verb, it can be conjugated in the same way. Note, as well, how in her sentence, Helen uses the potential form (1.32) of the verb (#3 (to use), which becomes if & (can use). Yuki: R229. DUS OID eat (invitation), overcook (EP) Let’s eat, or they'll overcook. We saw earlier how the expression ~ ¢ L # 3 has the TFugorg S Se CHE AP connotations of “finish doing something comple- tely” and “do something with consequences.” This last connotation can be used with actions performed by oneself as well as with voluntary or involuntary actions performed by other people. Here, Yuki remarks the (noodles) will overcook and she uses ~TL #3 to give the sentence the connotation of “and it would be a shame.” In the colloquial register, ~¢ L #3 is usually contracted into~4 » 4 or~ Up 3 (~ 4 pot and~l » of: in the past), as in this case. U4 (to overcook) > NUT (-te form) => DUTL#EI (~TLZ5 form) => => DUS » 3 (spoken contraction). -te form special 748% —59—bt f) To go (and come back) Sachiko: #5 T3234! go (and come back) See you later! In 1.27 (book 1) we already saw the fixed expres- sion #75224, used when you are leaving home. This is the right time to explain where this expression comes from, since we have just studied it a few pages ago. The expression ~ T { 4 has several meanings, but they all somehow imply the idea of coming back / coming. In the case of #1 C < %, the sentence expresses the connotation Bence —very common in Japanese—, of I’m going (but I'l come back). The same connotations are found in very common sentences such as ‘RRA T 444 D'm going to Tokyo (and I'll come back later), and others which use the idea of going (and coming back later). g) It’s a good thin Chiaki: 22 UCT. Tove pop do (5 good Thank goodness I’m in love. To conclude, we will see a new usage of the -te form: the expression ~ T £45, which implies the idea of “thank goodness” or “just as well.” In other words, it’s a way to express relief. £95 f is the past form 1 (well, good), so the literal translation of these expressions would be It has been good that. In this example we have two -te forms. First of all, we have a gerund (which implies a conti- nuous action): % | C1» (literally to be doing Voie Dolado love, that is, to be in love). The resultant verb 3% LTB is also conjugated in the -fe form and then you add ~ £ #7 f to express the idea of “thank goodness:” © LCi T £ a> f: (literally, lucky Ihave been doing love, or, as we have translated here, thank goodness I’m in love / lucky I’m in love). —60— %35aR Lesson 35@ Conjugate: 512 > (tostea) 33 ¥ 8 (to dance, G2), * ¢ (10 swim), and BR % (to think, Ga) into the -te form (normal and neg,) Translate into formal Japanese: “This food (2) is delicious and nutritious.” Goad: © delicious: & (9 L \), nutritious: S484" & 5 ae Translate into English: 6 OREM raat. (om: kitchen, = window, Mig 3: to open) Translate into Japanese: “After eating, (@) let’s go for a walk.” (to eat: ees %, to go for a walk; tts Translate into English: » J Vic fot ARC THEHRWSL, (EY IAM: Mongolia) tos Translate into English: £ ot #4 a ©) SbHOTLEBS, (Sikall, the whole) Translate into formal (and then collo- @ Japanese: “Don’t turn the Tv off.” (to turn off: 34, television: 7 LE) What is the difference between these three @) sentences: RR # Att TRE, D on © Teor and RENT OTL ESR? Translate into Japanese: “We don’t have to write the thesis.” (to write: # is thesis: &@ Translate into Japanese: “Just as. well [ve come to Sapporo.” (to come: RB, Sapporo: 4) -te form special 7#243% —61—You probably remember we arrived in Japan in lesson 33: we concluded the lesson just as we left the airport. Our second conversational lesson is devoted to accommodations and the possible situations that can come up in a hotel, youth hostel, or ryokan. We will also study quite a lot of vocabulary. The booking Hotels with three stars or more, and youth hostels with international vocation are, like airports, usually quite “safe” places, linguistically speaking, since the staff almost certainly speaks English, at least at its most basic level. However, the same cannot be said about cheaper hotels, normal hostels, or ryokan, so you will probably have to make an effort to communicate in Japanese. The first step is calling to book a room, and these are the most useful sentences. @ BR. HR EEE LEA CHD... L would like to book a room for tonight... (1.31) {Be CCF? How much isit for a night? (1.34) e ‘a fe © 65 PLE Wa & EF? Do you have a cheaper room? & 42? Is breakfast included? © <0 RIZ LFF Ml take that room. (1.34) eth ctes te © 82H CBRE MOL EF Can have your name and nationality, please? (1.33) Ay price fia 8 bacon Rb AL shared room } signature tocancel Fy tts sa ase curfew int credit card double room singleroom 2", ing | withshower yy 9—i}s . " a a ith nationality triple room a Hotel candy 2-2an780-1° —62.— 3688 Lesson 36Check in ‘As we have seen in the third example sentence in the previous point, as well as in some of the words in the vocabulary table, the suffix ~¢}% after a noun means “included.” Ex: fe ft % (with lunch) | 7 V-€y bt (with (a) present). ‘The opposite expression, that is, “not included” is ~# L. Ex: tL (without breakfast) | » + 9 —% L (without shower). It’s worth memorizing these two expres- sions, for they are obviously useful. Let’s carry on with the subject of accommodation. You have arrived at the hotel or youth hostel and you want to check in. These sentences will help you: OU REE ORTH FEA TORT My name is Kent and I have a booking. e ts » 74 Y LWA CF A I would like to check in. (1.31) ° mea ARAFWORAI CHILD veto? Do I get a discount with my international youth hostel card? ae a @ BEERTHWW CTH? Can see the room? (1.32) 225 Late @ F855: Oma TM You ae staying for fie nights from today, aren't yout Lsgied ° Biba kei SUC (24 6» Could you fill in the registration card, please? (1.35) Services Our next step will be to interact with the hotel staff, either to ask for some service or to ask how something works. We would like to stress that we are not only giving promi- nence to hotels in this lesson, but to youth hostels as well. So you should find some sen- tences here which should be very useful in this type of situation. eres o 2 #Bu 2.0.6 CF My room number is 206, LkOHESILD eS @ 3123 £oOR*e ¢ HX Could you give me the key for room number 302, please? dea304 at eRER EAU eo 70y Oem eR TCE @cyA-—HUETH? Do you have any lockers? asst ax @ 8 RIE —HY FI-WEBMBOLET \A CF ti Lwould like to put some valuable objects away... (1-31) \\ Use the safe at reception, please. Could I have a morning call (tomorrow) at 8 am, please? ODT eH eRL (48 51» Could I borrow a hairdryer, please? oe 5bAS PCr yy Be & CCF #2 From when to what time is the bath open? In the hotel or ryokan #7 1b + EET —63— 36Requests and problems Lost keys, damaged air-conditioning or heating, noisy neighbors, accidents... All kind of problems can arise in a hotel, although in this lesson we will mainly deal with the most typical. @ TAZA, S19 vio TOBA TH Ht... Excuse me, I have a problem... o HRORE RC LTL £04 LA Pre lost my room key. (135) ee oar a bs © Re MEO PIC EHE LA I’ve left my key in the room. BAS SX CCIE EA The room is s0 noisy I can’t sleep. (1.32/35) . 4 @ SHARE There is no hot water. eK O27 2y + Re FLEMON AHA The air-conditioning / light / rv is not working. ROWE E LCC St Could you clean the room, please? Check out It’s time to leave. On checking out, we pay our bill and... we say goodbye. @FxryI7ITIbELEWA CHA I would like to check out... (1.31) e BLOUSE TTA, FEC TH? Will you pay cash or credit card? oF CMU L E+ Credit card [RE CHA LET Cash, eh ©4045 BHI TY ZL Thank you very much for everything. : ne abate Lan tp ne «Bike Latit | momingeall <=y 72-1 RA ayveyb yoy ay HL var ayk ot RT tees 3 0 table 7-70 | aero: 2k Fle ATRIAYH hay hs RS yr wardrobe EAS window = —64 — %$363R Lesson 36In the ryokan A ryokan, or Japanese style inn, is a very special kind of accommodation with some landlady and owner of the ryokan Japanese style deep bath translucent rice paper placed on doors and windows - slippers (to walk inside the ryokay rules and specific conven- aie vase . Japanese rice straw matting covering the floor tions that must be upheld parlor maid or waitress (see the “Cultural Note” garden head clerk section). It will be very use- ful, then, to analyze some of ia any ome eile the most particular situa- Bb attreaé plate en tne teva t sleep. tions in the ryokan. light kimono used after the bath or to relax | Western style tilt (where one sis on) ‘open-air bath, usually a spa-bath Japanese style toilet (where one squats) Japanese style room (with tatami, futon, etc.) To begin with, when we enter a ryokan we must take off our shoes and put slip- pers on instead. The check is carried out in your own room, having a cup of tea and following the detailed explanations from the staff mem- ber in charge, who will be there with us until we finish the proceedings, obo LEU Ee, HEM TC HEU Welcome! Take your shoes off, please. Lasy see ZA LT < EX by Could you fill in this document, please? When we have finished, the staff member in charge will tell us at what time dinner is served, where the communal bath is, and some other rules and regulations: e OR Fs a De Na & ttt Dinner is from 7 pM to 8 pM. eo BREET RIAU AT HS BARB CHET The bath is on the first floor, but we also have an open-air bath. 052, BREA, (onUT (ESD You may put your yukata on and enjoy your stay. e RH che SAlL #8 ER = £4 After dinner, the maid will lay out your futon. ‘When we come back to our room after dinner and after having a relaxing bath, a soft {futon will be waiting for us, just like the staff member in charge told us: 8 ih 230 | Good night! | Sleep well! In the hotel or ryokan sk-7 1b + sR —65—an a {CMR : GRAB Cultural note: the ryokan The ‘RE that make up the word ryokan cry) give a clear hint about its meaning: travel (i) house (ft). Indeed, the #efi is what we could call a “Japanese style hotel or inn,” radically different in character to Western style hotels. ‘These are called in Japanese *k FL, an obviously foreign word which indicates this style of accommoda- tion was only introduced in Japan in relatively recent times. In the $a, we can enjoy the pleasure of traveling and staying at a typical Japanese inn, with all that this involves. We must comply with certain rules, such as taking our shoes off before entering the place, or bathing in the communal bath (#5) with other clients. However, the possibility of experiencing the pleasure of sleeping in a typical & = ¥ wrapped up in a light BR inside a soft #11, placed ona floor covered with elegant ‘e mats is well worth it. The only inconvenience is that some set only. have Japanese style toilets (#3 4 L), where one must squat. This is, though, changing ata fast pace, and at most of the wie you are now able to choose between Western-: style or Japanese style toilets. Nowadays, many of the most traditional and genuine tee are in rural tourist areas, especially in towns and villages with hot springs and natural spas, such as ai ey ie rf prefecture), fis (i= prefecture), iF aR prefecture), or #& (AM prefecture). The Japanese usually combine a stay 3 ata woe with visits to typical restaurants or with relaxing baths at spas (most of the eth in these areas have their own hot springs facili- ties), specially open-air baths 1&8. Bathing outdoors, in hot water, is an unforgettable experience, especially when it’s snowing! In spite of its relatively high price, it is much recommended to go through the experi- ence of staying in one of these delightful hotels. It is a true immersion in the Japanese ocean of culture. Don’t miss it! —66— %36%R Lesson 36eee Manga-examples As usual, the manga-examples will help us see in practice what we have studied in the theory section. Let’s see, then, how the real Japanese manage in hotels and inns, and let’s learn from their experiences. If you study the sentences in this lesson, you should have no problem in Japanese hotels. a) Before checking in Rap Tanaka: 717 y ay how CHL oTHBATTN, Fiction Constructions por Tanaka booking take (firtished action) (soft.) T’m Tanaka, from Fiction Constructions, and I have a booking. Recepcionist: itty, BPSETTA. xyes, Tanaka (noun suf) be ep Oh, yes, Mr. Tanaka, right? Our first example illustrates how to introduce ourselves on arriving at a hotel where we have previously made a booking. This is a slight va- riation of the example sentence we saw in the second page of this lesson (Fy REBOETA, FHEANT (\ #4), although it has exactly the same meaning. Here, Tanaka first ‘Javier Bolado introduces himself as the member of the firm Fiction Constructions, and then with his surname, because in Japan the “group” one belongs tos given more importance than the person himself. Next, he uses the verb 4 (to take) after * #5 (booking), while we used the verb A. (to put) in our example. The overall meaning of the sentences is exdctly the same in this context. We will underline, as well, the construction used by Tanaka (> T & 4 ), which we saw in the previous lesson (~C 4 4), and which you'll certainly remember meant “already finished action.” On the other hand, we have already said the client is a “god” in Japan. ‘Thus, receptionists use the honorific suffix ~ # (1.15) with the client’s name. In the hotel or ryokan sh « SRA -67—b) “Seeing” the room If we want to see the Bellboy: 2550 NAU RA LICROTHU ETHOS room before deciding fereaelbat ce ank began ices on a hotel or a youth And here are the bath and the toilet, so... hostel, we will have to request it with the sen- tence we saw above (REA TOOTS #9). In this scene the bellboy shows the room to some clients Stitio komen TO HS OF AVHTATAT IND Bore who are anxious to start “using” it. Poor thing, he is terribly embarrassed! The only remarkable point in this sentence is the construction % > € # |) 2 4, a form which is more or less the “humble” equivalent of the verb to be. We will take a quick look at the usage of formal Japanese in 1.51 (book 3). c) The fearsome bill Hh LECERO RC SEAMIRUAIR OUR EUPIA Recepcionist: FROBREKESHELT, 57850 ATT. last night pop meal price pop include, 57,850 yen be Including last night’s meal, the total comes to 57,850 yen. Lis Client: & 5, RUMWILA— FT oh, payment sp card with... Oh, I'll pay with credit card... Here is a very interesting example which shows us how to check out and pay the bill. In the example, the receptionist uses the verb $2 4 (to include) to remark that the price (7%) for last night’s (#9®) meal (B®) has been included in the bill. Besides, he uses the already known -te form (1.35) to link the two sentences (“including last night’s meal” and “the total comes to 57,850 yen”) that (52, IR Kea Nimura form the composite sentence. The client, for his part, informs him he will pay (X42 3) with credit card (— ¥ T). By the way, don’t worry! A hotel in Japan is in no way as expensive as the one in this example. The cheapest ones range between 3,500 and 5,000 yen per person and night. —68— 33638 Lesson 36d) Asking for something at reception Sp 1#o34 sat Client: 7) 7 1) BH Z,2903924—-b SL. can opener please... that’s right, 2903 PoP suite EP Bring me a can opener, please... Yes, it’s suite #2903. Most certainly, one time or other, we will have to ask for some object or service at the hotel. In this example we see how the client calls reception (7 3 y } ) asking for a can opener (eo 0). The woman might appear to be treating the staff with too much familiarity which, in this case, indicates that as client of a suite, she feels superior to them. The standard sentence would be #1) £ 5H 24. \ Typical things we can ask for are a hairdryer ( 3 4 eT Luque 4—), soap (E14 4), or a towel (9 #1). e) Welcome to the ryokan bE ptr Landlady: 05 Lend, fh TLOeBCS Set seelaome. Theta ae ating be (ferraal) andlady of this ryokan. A ryokan is a completely different world. In the example ‘we see the landlady; who introduces herselfas < co 44 (the landlady here). The reading of the Kanji 4 —lite- rally “woman-leader,” that is “boss” which should be read Us Ls 3, is what is called an ateji or “arbitrary kanji2” the reading of the kanji doesn’t agree with the pronunciation it should have. The 44 ¥ A, then, greets uswith 4 5 L-»08-,aword used to welcome clients at a commercial establishment (127, book 1). Likewise, wet, (very formal equivalent of +, to be), and the formal sentence structure “5 + verbal she talks to us very formally, using the verb & root + +4.” Notice, too, how she uses the invitation form -d (1.34). In the hotel or ryokan sk FL + Seite —69—f) All full LM. Ken Niimura Landlady: 42 +A, sn BAL a SRLS IMETCOBENTROATTH L. I'm sorry, today sp already full all empty not be Tm sorry, but today all the rooms are full and there are no openings. Barbara Raya The kids in the example arrive at the ryokan a little bit late, but they still decide to try and see if they can stay there for that night, so they ask the KAS xh if there are any rooms available. The owner of the Sift tells them all rooms are taken ~ if (full), € (room)— and then redundantly says all (¢ z %) are “not empty” (# WC), of, in other words, “full.” In Japanese, repeating the same idea in two different ways in one sentence is quite common. g) In the communal bath Kenji: Bb~oW SA CHS4¥NH3~1 | wow! several bathtubs sp arel! Wow, there are plenty of bathtubs! eo bes Shinji: $5 BACH TOE like place go (permission) ep You can go to any one you like. —70— 363% Lesson 36 ‘The last example shows us some public baths like the ones we can yan B® (hot spring), orina 438 (publich hada hinany big find in a bathtubs and people bathing in them. Be careful, because before getting in the water you must wash your body in the showers at the entry! Regarding the sentences in the manga-example, we will point out the permission form T # \)1» used by Shinji, which we studied in 1.32. Give it a good review.Write in Japanese the words: “price,” “to cancel,” “rooms available,” and “breakfast included.” Translate, into English the words: ¥2 WA, a, PrPybhA-KB,VARZY Write in Japanese the sentence: “ Ne the price for a night?” Translate into English t the sentence: 3 x 4b DEM N CTD, ME CTO? Give at least five objects you can find in Te Sova a hotel room. Go to the hotel reception and ask for a © morning call at 7 AM. q Go to the hotel reception and complain about there being too much noise and not being able to sleep. What is exactly a % and what do you use it for? In which situations do you use SOSIDAAX. Translate: Who Leet! Re ALD CE. HERO TCE SO, Gb: Kyoto, 5 = €: welcome) Translate into Japanese: “You can get in the bath you prefer.” (to get in: x a) In the hotel or ryokan sk Fi « Hkte —71—Lesson 37: Particles (1) wa/ga/mo In lesson 16 we gave a quick look at grammatical particles, but they are such an essential aspect of Japanese grammar that it is worth studying them in greater detail. This is what we will be doing in the following lessons. Now, we will begin with the two most difficult particles to master, (i and 7, and then we will top the lesson off with %. The topic Before properly starting with particles, the grammatical concept we call “topic” must be clear, since it is essential in Japanese. The ENCARTA dictionary description for “topic” is: “a subject written or spoken about.” Let’s see some illustrative sentences: John is eating the bread | The bread, John is eating it, The topic in the first sentence is “John” — talking about “John” who is eating the bread —.Whereas in the second sentence the topic is “the bread” —talking about “the bread” which John is eating—. In English, the topic is usually the grammatical subject of the sentence (as in the first sentence), and sentences like the second one are some- what unnatural, or they belong to the spoken language. In Japanese it’s different: the topic doesn’t always coincide with the grammatical subject. The particle ( The syllable 2, which is read wa and not ha when it functions as a grammatical par- ticle, is the particle indicating the topic of a sentence. Since most times the topic coin- cides with the grammatical subject, it is often mistaken for a subject particle; however, it isn’t. So, we must commit this concept to memory: |t = topic particle. @ ORR IEEE CF “Talking about this Tard,” he isa student. (This Taro is a student.) © OFF LAM “Talking about this student,” he is Taro, (This student is Taro.) Notice how these two sentences are very similar but have different connotations. In the first one, the “topic” we are talking about is &B!, whereas in the second one it is ¥ &. —72~ %$373 Lesson 37\d: basic usages The structure which is possibly the simplest in Japanese, and which we have suffi- ciently mastered by now, is constructed with (4. We are talking about “x lt y +.” o%4#4 CF “Talking about Hanako,” she isa student. (Hanako isa student.) eB z 5 eC “Talking about university,” it’s boring. (University is boring.) Besides this well known usage, the basic rule for + is that we use it to offer informa- tion the interlocutor already knows, either because we have just given the information in the previous sentence or simply because it’s obvious. Examples of obvious informa- tion are identifiable names — sun, star, fire—, or generic names — house, truck, cat—. ¢ Information that has just been given: 3 (: arog t. ‘Eu0s OCT There is a turtle in the pond. The turtle is slow. Notice how the first time the word turtle (4) appears, we introduce it with the subject particle 2', and the second time, being information the interlocutor already knows (since it has become the “topic” in the conversation), we introduce it with the topic = aand |i particle it. For the sake of simplicity, we may say that in English we have: = the. # Proper names: RAF A tt:R209 2 Isn't Minako coming? @ Identifiable names: 12% Cu # + The sky is cloudy. @ Generic names: 4 1112 MA! SF Dolphins (generally) are intelligent. ‘The interlocutor is supposed to know the “Minako” we are talking about. There's only one “sky,” so there’s no possible confusion. And, regarding the third sentence, we are talking about “dolphins in general.” Therefore, all three sentences require [t. (£: contrast and emphasis The topic particle can also be used to indicate contrast between two objects or ideas, both being marked by (2: O17 71k BRU tho 31). 9 Ay di 2 Ivan cain drink sake, but not vodka. eRF sR RLY, R However, the usage of ( which is most difficult to grasp and contains more “impli- SALLE TH Natsuko is kind, but Reiko is cold. cit” or “not directly expressed” meaning is that as an emphatic marker: sometimes, {i is used to reinforce a determinate idea. Let’s see an example: Particles (1) wa/ga/mo HADI + 4 + & —73—eit 7 41M WE Fhate Gucci. In this sentence, the meaning implicit in it goes beyond a simple assertion of the kind “t hate Gucci (and that’s it).” Using U2, the speaker is implying that the brand Gucci in particular is what he doesn’t like. This might make it clearer: eFia 7 y FUE VE (Ut LF 9 ViAHE 12) Thate Gucci (but I like Prada). Let’s see another group of sentences to clarify this usage of 2. The dots on the words indicate the speaker is particularly emphasizing them: e Lite A, ARE MBL YM hI didn’t study Japanese yesterday. (No emphasis) eo fitee nib £82 Re Lt 95 7 [didn’t study Japanese yesterday. (Emphasis on “yesterday”) ehieeee, BR RE LB» 5 F didn’t study Japanese yesterday. (Emphasis on “Japanese”) eo Hise, BRE fase ld L 295. didn’t study Japanese yesterday. (Emphasis on “study”) AAs you can imagine, the second sentence implies “yesterday” I didn't study (but I did the day before yesterday or some other day). The third one implies I didn’t study “Japanese” (although I studied something else), whereas the last one says I didn’t “study” Japanese (but I did something else with the Japanese language, such as speak it, write it... The particle 4 We have insisted that (1 is not a subject particle, but a “topic” one. The particle that indicates the subject in a sentence is #*, and we will now see how to use it. We proba- bly don’t need to mention it, but if you have any doubts about what a particle is or how it works, you should thoroughly review 1.16 (book 1) before going on. 2° is used to mark the subject when it’s introduced for the first time, as in the sentence = 58K CH This is Miho, or the sentence we have already seen ji: @ as 3+ There is a turtle in the pond. That is to say, when the subject is “new information.” © 2 LMHS COAT There is still some rice left. Generally speaking, verbs of existence, such as 4 or (4 (1.18, book1), always require #8 to indicate the subject —as is the case in 3 {c ® at & + —, except when: a) we want to emphasize something, or b) the information is already known, when we will use (2. e@ Normal: #1ic £8 #8 1) £44 There isn'ta letter on the table, @ Emphasis: #486 tt & 0) £4 A, There isn’t a “letter” on the table (but something else). @ Known inf: $8 i M2 & | £4, The letter (we know which one itis) is not on the table. -74— #3738 Lesson 372: further usages Let’s describe briefly some more usages of #*: a) Interrogatives such as i (what?), if (who?) or ¥2 (where) (1.34) always go with #*. This is logical, since we are always asking about new information. e Mak ©? Who came? © fA % L402 Whatis interesting? b) The subject in subordinate sentences is always introduced with **. We will expand on this in the manga-examples. srs pn Lie to BR, AE Ric Ba TOE Os ER When John came, I had gone out shopping. c) In conjunction with certain verbs and adjectives, the particle a° is always used. Take a look at the table on the left to check which ones they are, and study the exam- ples. An obvious exception is when we want to emphasize something, and, consequently, we use It. oF 4 095 SH Tlike milk | + 41835 8 I like milk (but eg. not cheese). at: but #* has also another usage which has nothing to do with marking the subject. We can use this particle to link two sentences with the meaning of “but” (1.49, book 3): eR ERA Ea, MRL 2m k Tread the book, but my boyfriend didn’t es BSH ea, * CF Kawano is rich but unhappy. Sometimes this 4* is used to connect sentences, and it doesn’t necessarily mean “but:” SALT SM, ict ¥ LL. 7 Pm going out for lunch, will you join me? And finally, we use 7° at the end of a sentence (in spoken language, formal or not) to soften a sentence, especially when making a request: eae ak @OKEDRE r WA CHM... Pd like to borrow your (the teacher’s) book, but... Particles (1) wa/ga/mo Bha@ts + a+ & —75-Lb vs. #8 As we have seen, particles |t and #* are closely related and very often can even appear together in the same sentence, like in the construction “x (t ¥ 4° z,” one of the most characteristic sentence patterns in Japanese. @ RUB HKU The elephant’s (x) trunk() is long (z). e+ Ltt dha ius Sam’s (x) height(v) is short (2). (Sam is short.) Likewise, many of the sentences formed with verbs or adjectives in the previous table also have the structure “x (2 ¥ 4° z.” © RIL» 7 — AF 4K He (x) at soccer (x) is unskilled (2). (He isn’t good at soccer.) @ BS A12 8 AH Ls Tanaka (x) cats (v) are frightening / scary (2). (Tanaka is afraid of cats.) The particle % Let’s leave (t and 4° aside for a moment, and introduce another particle, with a much simpler and clearer usage. We are talking about %, whose meaning is “also, too, as well,” or “neither,” if it is a negative sentence. % can totally substitute particles lt, #* and &. G903, BOS There are turtles in the pond. There are fishes too. eULE Cw, HERE Cid WW He is not a teacher. I'm not a teacher either. HERE, Y 4 y BKoK Lbought a pair of shoes and I also bought a shirt. £ isalso used to emphasize an idea of time or quantity, as well as to emphasize a num- ber, when it indicates “very much, very many” or “no less than...” In negative situations, the meaning of this last kind of sentence is “not even.” eo fit ie & Hod H&A > CO LA L waited for her for many hours @ uk & 257 HEH TiS He has no less than 20,000 books. © KEKE 5H Ho CTW She doesn’t even have 5 books. ‘The words #1 & (nothing), if (nobody), as well as the expression “not one,” which is formed by “—-+counter+£” (1.25, book 1), ex: i & (not one page) | — A (not one person), always go with negative sentences. © Bw fic EHSL There is nobody in the cinema. © FOKUF LEE —B Bio TEU That person has not even one television set. ‘The words 1 (always / never) and Y= & (everywhere / nowhere) can go with affir- mative or negative sentences. We will see an example in the manga-examples. —76— °%3738 Lesson 37iz iif] § Manga-examples You are probably able to understand by now the differences and similarities between particles |t and 4‘. We, Westerners, always have trouble learning to use them properly, because in our languages the “topic” and the “subject” in a sentence are usually the same. Let’s study some examples... a) The most basic usage of wa S498 RAMA zp Yamazaki: Stilt AM £384 Fear destroys people. As we have already said, it is the particle for “topic.” Until now we had identified it in the manga-examples as sp (Subject Particle), to simplify matters. However, now that we know exactly how it works, we will call it ror (Topic Particle). In this lesson we have studied the general guidelines for the usage of particles (¢ and #t, which will help us use these particles with relative confidence, JM. Ken Niimura knowing most times we won't be wrong. Anyhow, don’t despair if you can’t fully understand some of their usages or if you do make a mistake every now and then. It's quite normal, and only time and practice can correct it. We will now show some specific examples that will give you a better understanding of the “real” usage of these particles. In this first example, we have seen a relatively simple sentence where we find the most basic usage of [z: its function as the topic particle. In this sentence, “the topic”, 329 Yamazaki is talking about is fear (2848), which is, moreover, an identifiable concept (there is only one concept called “fear” and we all know it). It is natural, then, that the particle {x is to go with 4, because it indicates that this word is the “topic” and that it is an identifiable or generic concept as well. In other words: “Talking about what we all know, fear,” it destroys people. Particles (1) wa/ga/mo Bpi@it + 0 + & —77—b) Emphatic usage of wa ROD Yaguro: Wit LTRS release Top do (give) I will release you (but)... Another much more subtle usage of the topic particle is its function as an emphasizing parti- cle. (3 can replace particles #* and % or com- bine with particles (2 and ~ (1.38) to empha- size the word it is identifying. In this example, the “neutral” sentence, with no implicit nor special meaning, would be # i & L4 Iwill release you. However, replacing the Do particle % with [2 we emphasize the Gabe Logue word #4 (to release). Thus, the implicit mean- ing of our sentence comes to be something like I am going to release you, but I can’t guarantee anything else, or, as we suggest in the translation, I will release you (but)... c) A typical wa - ga sentence You can probably imagine by now that the distinction between (+ and 4* can fill in pages and more pages of susdio Kaen magazines, books and doc- toral theses on Japanese lin- ; ba ay guistics. One of the clearest | Hider # VIKA 51k 4 ahs BA Ew Trop adult (seem) woman sp like be ep EP Ilike more mature girls. usages is the combination of both particles in sentences called “wa-ga sentences,” where the topic is introduced first with {2 and then a charac- teristic or feeling related to this topic is developed using 4°. In this sentence, the topic is I and the feeling described is like wnvatiire girls. Besides, we know the noun modified by the adjective 4 & “ (here, the word “ , woman) always requires 2. Itis, then, a very clear example. . Note: One of the usages of the (rather colloquial) desinence 12+, which is added to nouns and adjectives, is indicating the meaning of “liable to” or “seems.” (he is liable to get angry / irritable), % > 121. (dampish) (1.44). -78— 983748 Lesson 37d) A subordinate sentence Nakajima: BAKER HE SKS OD ( TLLIMRRVAR you Top I sp survive (nom.) sp fear (cannot be helped) It’ only natural that you are terribly afraid that I might survive. We mentioned earlier how in subordinate sentences, that is, sentences inside another sentence, the subject will always be indicated with the particle #*. It is quite logical, then, that since the “topic” (what we are talking BHCAAR SSoGk ot about) will always be in the main sentence, there can’t be BARS St any possible confusion as to what the “subject” of the sentence is. In our example, the main sentence is # A f= eC TLE IRROAL You are terribly afraid. The topic is obviously #4 % (you). The subordinate sen- tence is i 7 0% 310 [survive Other points: the particle ® functions here as a nomi- nalizer: it turns the whole sentence preceding it into a Wada ih noun (1.40 / 57, book 3). The particle 4° follows this Keine nominalized sentence — ii 7 U4 O—, because the adjective ike always requires this particle, as we already saw in the cxineaeniling table in the theory section. Note: The construction ~ TL 5 4°%\\ means very much or it can’t be helped that... e) Usage of ga with the meaning of “but” i aE Kuro: wit kok et doh e good hand be (but) indulgent xp Nice try, but you have been naive. One of the cases where #* cannot be confused with [3 is when the former goes after a sentence, giving it an adversative meaning; that is, to indi- Javier Bolado | cate but or however. In this example we have two sentences, (v1 $#! of: (sentence A) and # #5 f: 1 (sentence B), linked by # in a “sentence A #' sentence B” structure, that is, “sentence A, but sentence B.” Words with the same meaning —but, however— and usage are |} ¥, It ¥ and 4H YH (1.49). Notes: 4 usually means hand, but here it has the connotation of try. Regarding ¥\., we already saw in manga-example a) of 1.35 its main meaning is sweet, but it can some- times mean naive or indulgent, like here. Particles (1) wa/ga/mo ayaIDIz + a + & —79—f) The word «always» Ako: woh O7VERE~U! | always pop mommy not be!! This is not my usual mommy!! Studio Kasen In the theory pages we studied the most common usages of %, although we have also mentioned that sometimes % is com- bined with interrogative pronouns like i barbara Raya (who?) or 14 (what?) to form words with a new meaning, such as ¢ % (nobody) or a % (nothing), which always go with negative sentences. The case of «> , which, as you can guess, derives from (> (when?), is somewhat special, because it can function both in affirmative and negative sentences alike with the meaning of always: 1-3 184 C+ He is always happy. g) A new usage of mo Here we have a new usage of the particle , which expres- ses lack of definition or, as in this example, to evade the issue when asked a question - one doesn’t want to answer % LOUBRXA, ono 2 clearly: we are talking about new father, dislike qr the “A B® @ty” struc Don’t you like your new father? ve Sie ture, which can be transla- Hikari: ~~ 12, Hace ceea particularly, like not dislike I don’t particularly like him him nor dsike him, This construction is used in ted as “neither A nor B.” a somewhat special way: ~i adjectives. Replacing the last \\ with ¢: oes ‘ 2 RS (680 Neither big nor small. -na adjectives, Replacing with : BE ce RMB wv Neither safe nor dangerous. Nouns. Adding €: EE tt Ya C4 Hi) £44 Neither teacher nor student. In our example we find the structure we have just studied with two -na adjectives: 4 x CAM -C% WL I neither like nor dislike, Notes: James does without the particle 2 in his sentence (it should be ¥f Li % 4 #888 .), This is quite common in spoken and colloquial language. The #2 % Hikari uses is a contraction of #». In this context, <~2Iz (IIc) means specially, particularly. —80— 3728 Lesson 37@ In the sentence “The bread, I'll eat right away,” which word is the topic and which the subject? Translate the previous sentence into b Japanese. (bread: /*y, to eat: #%4, right away: + ¢) () Tramsite into Japanese the Sentence @ are slow.” (turtle: ®, slow: 94) eet ‘ Translate into English: #2 It #— Z| fe SHSM PTRERS BAR. (F— %: cheese, } 7 } : tomato) 3ATA © wm meaning does kit HH, hE ER Le teat acquire, if we place It after #4? (#: car, BHF 4: to drive) Use It to form sentences where different bh mL (Be parts of the sentence RISB, BE 34th 8% Lt A> TOS are emphasized. @ Tae into Japanese: “You need 10,000 yen.” (10,000: 7, yen: #4) Translate into Japanese: “I have time but Idon’t have money.” (time: ## Mi, money: he 5e) (g) Translate into Japanese: “I don’ 't want to @: to Japan either.” (to go: #7 (, Japan: Be aa) Translate into English: b gy ie DEIR C c bee: EROMEH TERED 43 8 T 4. (Rt conspicuous, seek: discreet, HR: clothes, $ 4: to wear) Particles (1) wa/ga/mo Bhia@tz + # + ¢ —81—Lesson 38: Particles (2) ni/de/e As in the previous lesson, we will keep the tone of an in-depth study for our next batch of particles: ic, ¢ and ~. We recommend that you review lesson 16, in the first book of the Japanese in MangaLand series, where we gave an introduction to grammatical particles. The particle ic We will start this dense lesson having a look at the different functions of iz, a parti- cle with several usages which you may find a little bit difficult to assimilate. We will try to present those different functions of |< in a simple and organized way so that you won't get lost. Perhaps, the clearest usage of (< is as a marker of Adverbial Complement of Place (acp), that is, the word that indicates “the place” where something is. In this category there are two usages: existence and permanence. ©@ Existence: The verbs of existence (4 and & 4, both meaning “to be” (1.18, book 1), always require the acp to be marked with (2. otic 41.4 There is a turtle in the pond. OB CG w ke &S There is a white castle in Himeji. @ Permanence: Verbs indicating a long stay in a place, such as (4 and % 4 — when they indicate permanence instead of existence-, {£4 (to live in), or 4 (to remain), among others, also require |< with their acp. @ HAS PAUEOESOT A bE A COS Naomi lives in that rundown apartment. eeueag However, you must be careful with this usage, because ic indicates “existence” or { 1) fs want to stay in the pub. “elatively long stay” in a certain place, never indicating something which “happens” or “is done” in that place (even though this is also a acr for us). In this second case, we use the particle ©, which we will study shortly. —82— 33838 Lesson 38Direction, contact and time @ Direction: (= is used to indicate the Adverbial Complement of Direction (ac) with the meaning of going “to / towards” some place. This usage is identical and inter- changeable with that of the particle ~, which we will also see in this lesson. ona. ates cif 3.8 Next week, goto Okinawa, ° Bx Ch eI KAS> TS It seems Takefumi wants to go home. @ Direct contact: We need 1 to mark those ac which indicate “surface over which something happens or an action is performed.” It is also used with verbs of “direction,” such as & (to enter), #% (to ride / get on a vehicle), % (to go up), ete. OA 5 FERRE SL The naughty boy drew grafition the wall. oie Koo AMIC KY XL % The president got on the Shinkansen (bullet train). @ Specific time: We use iz to mark Adverbial Complements of Time (act) which indicate a bpectfic point in time, such as a date, the time or a year. e oa eic fod SSOtELTHY 5 Eaves an appointment at half past six. ec aes tns erkundt fugnt= 2 i America was discovered in 1492. However, i: is never used when the act cannot be determined with a specific date or 35 305 bun beak time. The words 48 (today), a 8 (yesterday), °H (tomorrow), ## (next year) and Re (lately) 80 either on their own or with |i (1.37). The days of the week — A @ a (Monday), x: a (Tuesday), etc.— are an exception to this rule and can go with i. Indirect object, change, and grammatical constructions @ Indirect Object quences of the action indicated by the verb: in other words, “whom.” is used to mark the 10, that is, the object receiving the conse- ORS © AE RMI 7 KSA 2 L te Itsue gave his friend some advice. ORE UR Rs tM EH LX The teacher teaches mathematics to his pupils oH EUHE Icy AV eb eK The king gave the scientist the Nobel Prize, @ Change: The verbs of change, such as % 3 (to become), 4 & (to change), or Ht 4% (to vary), require the complement to be identified with (<. In 1.28 (book 1) we have already seen how % 3 functions, so we recommend that you review that lesson before going on. ‘eR. Yon “3 ve i He Ie the fture, L want to beoamne (be)sa socoet playen thes ons apt Rb ot The traffic light turned red. Particles (2) ni/de/e ByBI@Iz « T+ \ —83— x Rt ESx ey a Grammatical constructions: To con- clude, we will also mention (= is used in many grammatical constructions we have . . My mother lives in Kyoto already seen or will see in future lessons. eres Here’s a short list: My mother goes to Kyoto ‘ BILE ey NAIRER C => Constructions of the “to go to” or “to My mother paints on a canvas * HILO BERS come to” sort (1.28). Fist 47 ( To go to buy. My mother will come at 6 o'clock . coe BURRESS = Conversion of -na adjectives into My mother gives my father a drawing iat 2 Soda #IRKok adverbs (1.22). £12 $< To write skillfully. iepranlierhaa becouse sire BERET => Constructions with 41/4 (to give), © My mother made me paint #653 (to receive), and ¢ 4 (to receive) (1.28, book 1 and 1.49, book 3). # U3 12 6 5 (Ireceived the book from my father). ued #59 & < t - Imade my friend cook. => Passive and causative sentences (1.60, book 3). = Fixed constructions, such as ~ f: 2 (for, 1.48, book 3), ~i2 8142.» (undoubtedly), te ~I LS Y (according to), ~ tz > T (in exchange of), or ~ 1231s T (based on). The particle ¢ The usages of the particle ¢ don’t usually overlap with any other particle, except when indicating ace, when it can be confused with (<. We will first examine this more “problematic” usage, and then we will go over its other usages. @ Place: We can say there are two kinds of acr in Japanese, because it distinguishes between the “place where one exists or remains” and the “place where one performs an action.” The first type of acp (existence / permanence) requires |=, as you have just seen in the previous pages. Whereas, the second one always uses T. eo Rit BR TFL EARL COS He ison rv in Japan. OPE SAMOOE RCM LINES BU Chicuru must always study home. e LE RAO TT? 1 ATHLOTORL& L worked at an office in Yokohama, Be careful with the verb # 4, because it doesn’t always indicate “existence.” It can also indicate the place where something “happens” ~a public event, for example, in which case, its ace must be indicated with the particle ©. HE, WA THA KS 04S There isa speech contest in Los Angeles tomorrow. —84— 38% Lesson 38Time and manner @ ‘Time: The particle % is used after an act which indicates “end of the action.” 0 Bi SH CH H 1 tev want to finish my homework this week. © HOKE HCH EH GAS That person will be able to leave prison in June. {= can also be used here. The differences are mainly connotative. ° Re a3 a 3a atl feb 4 The contract expires on March, 3. If we use |<, we simply indicate the exact expiry date of the contract. With T, howe- ver, it has a nuance of “the contract is valid until March, 3, and then it expires.” @® Required time: This usage is closely related with the previous one in that it indi- cates the “time spent” in doing something. However, € cannot be replaced with (= here. ° faa “Feet #.t He wrote a book in a year and a half. oS OFRI CER 2 Rb 5 BUHL tus I must finish this job in 6 hours. @ Manner / Instrument / Material: The particle < is also used to indicate the Adverbial Complement of Manner (how), as well as of Instrument (with what), and of Material (from / of what). e iwc: fe % 1 I want to go to Korea by boat. e ee it Te tA? a > t The thief attacked someone with a knife. ° ae oF KtiFo Hi) + Houses in Japan are made of wood. © Cause / Reason: ¢ also marks the Adverbial Complement of Cause (why), although it’s rather weak —we don’t place much emphasis on the “reason” for something. ips Uce et e mes PARR TEE & RAE Rie didn’t go to work because she was sick. oy Le 2 © RC ALMATR-L- 7 2 HES Agile th oe Ryit makes web sites as a hobby. PRI-BTT-4EDS i “The student makes a cake in one day @© Quantity: The last usage of ¢ we PI OMT TF ECB : ‘The student makes a cake in 3 hours will see indicates the Adverbial Comple- PRRA-Ty C7 -4# 968 | The student makes a cake inthe oven ment of Quantity (how much / many). ay See ik Be ee | Thestudent makes. cake with strawberries eHOKEH vi ZOOOMTRAS . per ephareney ‘The student makes a cake as an obligation PEU-ATT FEDS ‘The student makes a cake alone You can buy that toy for 3,000 yen. Gn ce to» @RLLOATHE LVS ILATS We managed to lift the car between the 10 of us. Particles (2) ni/de/e shea@iz + ¢ + ~~ -85—RI) The particle ~ After the great number of usages and functions of the particles |z and , we'd better take a rest. This is just what we will do then, with the particle ~, one of the easiest to learn, because it only has one function. \ — pronounced e and not he when it functions as a grammatical particle— is only used to indicate the Adverbial Complement of Direction (where to). ea * NPS Eto TOS KiRE \. £4 There are many people who want to go to Japan. e BEAKE fe ts @ > f I went to the airport to welcome (to meet) my sister. Note: ~ and (: (when they mean “direction”) can be used in a practically identical and interchangeable way in most cases; there are almost no exceptions. be auaas @ RIZE 1 YN / IRL IC fF ¢ He is going to Germany to study. Usage of two particles at once One of the peculiarities about particles is that two of them can sometimes be com- bined and appear together. This happens, for example, with the topic particle it, which can be combined with (2, and ~ to indicate “topic / emphasis + something” (.37). IE 4°..% “Talking about the pond,” there is a turtle in it. Alf SOA, 6 4. LHFO Ido want to go to China, but it scares me a little, Note: |{ can never be combined with 4‘ and # because it directly replaces them. Other possible particle combinations are CO (ik COABIUBS LS (4 The job in Hiroshima is not interesting), \® (HR \ORMAMULD B 0 There are few planes flying to Japan), i= (RicBAAMWS There is a dog at home too), ~% and 4. The usage of t% The combination t # can have two completely different meanings. The first is a mere combination of both particles (¢ = ac + = also / neither). @ €8.09 Ce HH Cs 4 You can study in the train too. ‘The second % & has nothing to do with particle combinations, and means “even.” We will see more about °¢ +4; in the manga-examples, 0 FL 8 CEL OXHH HHS Even a child can understand this sentence. Note: The words it & (anybody), #47¢ t (anything), 13°C & (any time), and ¥ 2 T% (anywhere) also use the combination t 4. -86— 38% Lesson 38j2if] +Manga-examples As usual, we will now see a few examples in panels which will help us clarify the different usages of particles i, t, and ~. Nothing better than a few situations with real usage to clear up ideas and see Japanese language being used in different situations. a) nias place particle (existence) Christine: 208-74 -EROR Hob, LRU D DE. this party pp op not be Ep. Work top finish ep He wasn’t at this party. Work is over. Here is an example of the usage of the particle iz as an indicator of the Adver- bial Complement of Place in its “exis- tence” mode. It’s the first usage of I= we studied in this lesson. In her sentence, Christine tells us the person she was looking for “was not” or, in other words, “did not exist” (WA 5h) at the party. WERK, as you know, is the simple past-nega- OQ Ns 1 o 4 tive form of the verb (4 (to be, with WSSRTET SHIA T animate objects, 1.18, book 1). Indeed, an. Studio Kosen both verbs of existence in Japanese, \4 and & 4, require the particle |= to indicate the acp that goes with them. ‘The second point to mention in this first manga-example is the simultaneous usage of two particles, the particle of existence for acp (= and the topic particle (2. When adding (a after 12, we stress the acp in the sentence, turning it into the “topic” we are talking about (1.37). Here, and exaggerating the example, the sentence would be literally trans- lated as: Talking about this party, (he / she) was not there. It is very common to use ii after particles ‘= or ¢ when the complement marked by them becomes the topic in the sentence. Particles (2) ni/de/e sya@i= +t « ~ —87—b) nias place particle (direct contact) Kenji: © 218085 here pp written (perm.) It is written here. Here isa new example of the usage of the particle 12, this time as the indicator of the acp expressing direct contact, refer ‘Gimnerteque to #4 which we saw in the theory section. The action of “writing” must obviously be done “on” some surface, be that paper, wood, metal, or any other thing. In this example, we are not told on what kind of surface the writing is, we are just told where it is with the word = = (here, 1.34, obviously an ace), which must be marked with the particle (=. Another, pethaps even clearer, example would be: # It) C 4 It is written on the paper. Note: Notice how the construction ~ t # 4 is used here. This construction was stud- ied in 1.35 and you probably remember it indicates “finished action (and it continues unchanged).” c) nias Indirect Object particle E74 BBLS Locutor: $7 2 0R-Wit M > F Ko Alkbitot ! oh this ball top midfield player Oshima (noun suf) pe Well (now), the ball has gone over to midfielder Oshima! Here we have a good example of the wok usage of 1: asa particle marking the Indirect Object, that is, “whom,” “who for” the action is performed (usage #6). HOARY: = He—-ASH In this case, it is the ball (48-1) that goes over to Oshima. We all learned at school that to identify the 10 we must ask “whom.” Thus: “Whom did the ball go to?” Answer: “Oshima.” Therefore it is obvious that the 10 is Oshima and that it must go Javier Bolado with the particle |: Note: In this example we find as well the usage of the particle (t (1.37) as topic particle (here, “the ball”), and = , a word of the kosoado kind (this, 1.34). —88— 93838 Lesson 38d) de as a cause particle : Emneisas we Yumiko: # LILA MRTELOL EDS AD. Trop exam study cap busy be because EP Let me tell you I’m busy studying for the exams. Here we have an example of the usage #5 of particle €, as a mar- ker of the Adverbial Comple- ment of Cause. The particle © is used to express cause or reason (why?) but in a rather weak manner. In other words, these are cause-effect sen- tences which could almost be considered a pure “link of two sentences,” since their causal relationship is hardly stressed. In this case, the effect is “'m busy” and its cause (marked with €) is “I’m studying for the exams.” In lesson 41, and in lesson 48 of book 3, we will see two cause-effect connectors, #5 and © ©, with a much stronger meaning than this €. But remember we've already had a glance at the usage of #5 as the answer to & 3 LT (why) in 1.34. e) Two combined particles 539) ELA a to Mayeen: BRO KA AS = TEI Earth pop beauty sp here pp Top monster... Beautiful women of Earth are monsters here... ‘A new example of the combination of two particles, © and |z here. The particle |t, as we are well aware of by now, is used to indicate the “topic” in the sentence. ‘The © we see here corresponds to the first studied one, that is, to its usage as the marker of acp. If the acp indi- cates “existence” or “permanence” it is indicated with |<, but if it only indicates “place where the action is per- formed,” we always use ©. In this example, the “action” is the fact of “being monsters” (it isn’t existence nor per-_IM-RenNimura manence, therefore its acP will go with ©), and its acp is the kosoado word = = (here, 1.34), indicated, indeed, by the particle €. Particles (2) ni/de/e Bysq@iz + T+ ~~ —89-f) The particle e We will now study the usage of the Adverbial Complement of Direction particle, that is, “where to” or the place the subject is going to. ~ is only used with verbs of movement such as #7 { ‘Stain Ko=en , RS (to come), H : e (ogo) #8 (0 come) HAE pevarna: RL 7 9 TNE KE | (to move), and other similar verbs. Win dd Baretta bel Til win and F'll go to Brazil In our sentence, the verb is #7 ¢ (to go) and the place the subject is going to is 7 3 41 (Brazil), which is marked with ~. The particle i= (refer to #3 in the theory section) could also be used here. Note: Notice the connection between the two sentences “win” and “go to Brazil,” which is formed with the -te form (1.35). g) A different usage of de+mo Tokurd: 4) C¥CHHEOHU? toilet or something broken Q° ot Is the toilet or something out of order? & can have several usages, like the mere combi- nation of meanings of the particles ¢ (Ac) and % (too), and other usages that have nothing to do with particles. For example, in the theory section ck DT RE nS we saw that ¢¢ has the meaning of “even,” or that added to an adverb or an interrogative pro- noun, it indicates “any.” Likewise, in L.49 (book 3) we will see t # can also mean “but.” However, ¢ % in this example does not fall into any of these Barbara Raya categories, In this case, ¢ thas the connotation of indicating an undefined possibility: in the example, Tokur® doesn’t specifically say “the toilet is out of order” (where the subject particle »' would be used), but he ventures that the “the toilet or something” may be out of order. We will get a clearer idea by analyz- ing the ultimate Japanese sentence “to ask someone out”: 5 %-C% fas lsiv2 9»? Why don’t we go have a tea or something? This © & can include things like tea, coffee, a soft drink, an ice-cream..., whatever. 90 — #3828 Lesson 38Translate into Japanese the sentence: “In the university there is a bookstore.” (university: £4, bookstore: &) ‘Translate into Japanese the sentence: go into the shop.” (shop: #) Geek HOO straightahead = £54 ¢ taximeter AI — taxistop 97 7-RU5h (tothe)Ieft = (A) (tothe) right (4) trafficlight = R due vacant ee 2 « RAK ya 398e —92— %839%% Lesson 39Bus We most probably won't be using municipal buses, because there is a great number of lines and using them can be very complicated, although in some rural areas we'll have no other option. As regards to long-distance services, if we have the JR Pass (see “Cultural Note”), we won’t even consider getting on anything that is not a train. However, let’s see some sentences that can be helpful when we are touring. 0 RRS Fs os2Ru lt LS CFM? Whereis the bus top for buses heading to Kinkakuji? © ONAL IRE KIS HS £4 2 Does this bus go to the Great Buddha in Kamakura? e KR R £ i ¢ 4 C4? How much is it to Osaka Station? (1.34) @ ER SO NAIL ah lee +»? At what time does the bus to the airport leave? eas ais fabs he + m2 At what time does the next bus leave? (1.34) apes tre @ERECEA( HUM aD EFM? How long does it take to Miyajima? Bue > 5 @ BARRE HOES RE T(E U Please, tell me when we arrive at the Tashogi in Nikko. os 8 ©2% CH £4 I'll get off at the next (stop). Note: You have probably noticed there are two words for “change” in the vocabulary a table. The first one, i #, is the “loose change” we are given when exchanging a note for coins. The second one, #34 1), is the “change” we are given when paying for something. Subway and local trains In Japan, trains rule, and we will certainly be using them very often, especially in large cities, Infact, Tokyo's subsoil has been bored for twelve subway lines... And these don’t include the eighteen railway lines which cross the city above ground. The most famous railway line in all of Japan, the Yamanote (1s #), is a JR (Japan Railways) circular line with stops at most key centers in Tokyo, such as RE. 8%, WH HE, RS, Siew, Laat Bil)... If you go to Tokyo, sooner or later you'll get on the Yamanote, as well as on the subway and on the many private railway lines which run all over the city. First of all, we will need to buy a ticket. We will do this from special ticket vending machines. There will be a fare chart above the machines, telling us the price for the jour- ney we want to make. In Japan, you pay depending on the distance, there isn’t a standard price; if we are going further, we'll pay more. Besides, the concept of “multiple-journey subway pass” is almost non-existent, so buying a ticket for each journey is advisable. Transport in Japan 8% zi 4-4 -93—We'll start, then, buying the ticket, perhaps one of the most difficult challenges fac- ing the foreign visitor who is on his own. @lcimse SOA THOR (g¢<2 Ct»? Where is the closest subway station? e arf Ye CKL ETH? Where do you buy tickets? (1.32/34) oes TH Caetne How much is it to Shibuya? (1:34) eno al MORWGEMATC RS Could you please show me how the ticket vending machine works? More situations We will now see more possible situations on our trip by local train or subway. It’s worth mentioning that most sentences can also be applied to trams, although these only exist in cities like Hiroshima, Nagasaki, and a few others. sere &—# (E50 Can have a subway map, please? e gaR % (#8 Can Ihave a timetable, please? e = cee? HItW ¢ & CF ? How much is a one-day pass? (1.34) e war 2 Owh-Alt¥ HCH MH? Which is the platform for Umeda? (1.34) e cone er: ik) £42 Does this train stop at Akita? ooeRe HUREROLTIM, HERETO? Td like to change to the Chao line, what is the platform number? (1.31/34/37) Beware of the ticket gates in stations! Almost all stations in large cities have automa- tic ticket gates which will open once the ticket has been put in, both going into the sta- tion and coming out. The machine automatically calculates if we have paid the right fare for our journey and, if we haven’t..., the gates slam shut! Not letting us out! Not to worry though, aside from a little embarrassment, no harm will be done. If this happens, all: we-need tordo iegertora machine:called GAA (fire ealjusinners machine), putoue ticket in, and pay the remainder. Only then will we be able to leave the station. eH ci Uk YZ C+ #2 Where are the south exit gates? (1.34) e Sea Y= CH»? Where is the fare adjustment machine? (1.34) OHRMOR FERRERS Please, show me how the fare adjustment machine works. oR KT OMI LS Crm? Which is the Kabukich exit? canine tem @11 @ OTF It’s exit number un. —94— 9398 Lesson 39Lateen of KVR a4 voy : Uplas i. noes. AD see ao sercp tole RTS ABR ae ute Long-distance trains and the Shinkansen Finally, we will take a look at some situations which can happen on long-distance trains and on the famous and extremely fast bullet train, the Shinkansen, rar o Di % usb LS Cae Where is the ticket office? (1.34) okt CoRR OR e—H ES A one way ticket to Hiroshima, please, ems unas, En 0 8S OMBM EFM L esd FH Pd like to reserve a seat on the Shinkansen to Sendai 9 ko RAE & OME Ia HO ECF H 2 Atwhat time does the next Shinkansen to Kyoto leave? ° ‘Sieg LT B&W A non-smoking seat, please. tothe taiastenun a4ieas — oke RMT SOHANNUHE HOD RELZ TH? From what platform does the express to Sapporo leave? eS Lio THOU CTH? May [sit here? (1.32) Problems of various kinds Now we will see sentences that can be helpfull when facing the most frequent problems. eH EBL LCL EO LA Ihave lost my ticket. (1.35) @ Leb LHRNE LEM? Where did you get on the train? | #38 C4 In Himeji e & ve LUTL#\& L& I’ve completely past my stop. (t.35) e sige ia % LK I’ve got on the wrong train. eH) BN TL AOA LL Ive completely missed my train. (1.35) 0 FEE REL OCH Aa. Pa like to change my reservation, but... (L.32/37) e RoR LLADOtHH... I'd like to get a refund (for my ticket), but... Transport in Japan HAD*A+A —IS—ib: HR Cultural note: The Shinkansen Literally, the word Hee means new (#) trunk (#) line (#&), although it is really the iyen to the modern Japancse network of bullet trains. The first Hi line, the i t i —which links the capital, ® % with the second most influential city in the country, Ri was opened on the 1st of October, 1964, on the occasion of the Olympic Games celebrated in Tokyo that same year. However, long before that, in 1939, there were already plans to build a network of high- Leos, speed trains, The then tarist Japanese Empire intended to link ce z with FA, south of the main island, & #H, to make it go all the way to Europe, via Korea and north China, which were Japanese possessions at the time! Obviously, this plan was never realized, but handed down to the future builders of the new line a few half-finished tunnels which sped up the execution of the project. Nowadays, there are several #948 lines which cover the sas country from the city of A? mle neea (north of ##]) to BIE B, the ‘The stylish and aerodynamic Nagano Shinkansen (Photo: M. Bemabe 309 most southern city in the southern island of | na MH. There are also plans to make bullet trains go as far as ALB i in the northern island of i ‘it. Since its opening in 1964, the we has never had a serious accident —except for a derailment with no victims in 2004, due to a very severe earthquake—, and has been amazingly successful, probably due to the strict application of the “3 $” and the “3 C,” which were the slogans during its construction: Security, Speedy, Surely and Cheap, Comfortable and Carefully. The aerodynamic # #8, which can reach 300 km/h (with an average speed of 200 km/h), transports a daily average of 700,000 people through thousands of kilometers of railroad tracks. If you are a tourist in Japan, it is highly recommended that you buy a Japan Rail Pass, a pass allowing you to get on all JR trains, including most of the #f # #8, for one, two, or three weeks, You can find more information in www,japanrailpass.net. —96— #3938 Lesson 39eel Manga-examples Let’s see now a few examples in panels which will allow us to see some dialogues and situations related with the Japanese means of transport. The star in the lesson is, undoubtedly, the train, the true king of Japanese transport. a) Announcement at stations Rees Sign: EAL ER Sengendai station — eae Announcement: #4 RSTSMEVV ET. local express Asakusa direction sp come The local express to Asakusa is entering the station. We have lots of information in this first example. First of all, we will see a station name: #417 4 4- We have already learned that “ station” in Japanese is ®. All stations are called ~R, like RER (Tokyo station), & is R (shibashi station), etc. a Then, we have the word & (local express). Generally, there are three kinds of trains, from the slowest to the fastest: #4 or BRES (normal), ‘Ai (express), and (super-express), even though these names may vary depending on the railway company. The #& in the example is probably equivalent to an express train & Finally, we have part of one of those frequent announcements we can hear in a Japanese station. They are always accompanied by very characteristic and curious melodies, the railway company. The complete version could be: me SHROUET. EROCTHEGROAME THEN ( 42%» Presently, the local express to Asakusa will arrive at platform x. Because it is dangerous, please step back (and wait) behind the white line. Notes: ~As * means bound to x. £14 is the humble version of ®3 (to come) (1.52). Transport in Japan BAO REL —97—b) In the taxi gan 2883629 Rie: KEDOO 12 T Ota pop xx suburb to To the suburb of xx in Ota, Here is an example of what you say when you get in a taxi and you tell the driver where you want to go. It would be better to add am L&+ (please) at the end, of course. aw isa city in the prefecture of ss and #1 isa suffix which we add toa proper name and which means either “suburb of” (fer, suburb of Katakura), or Gabriel Toque “town of” (18367, town of Isobe). Here, the author has not wanted to make the name of the suburb clear, and has used two circles which are used when we don’t want to speci- fy. The Japanese use these circles — which they call 4 2 4 — just like we use the x: 00 x4 Mr. x. 06 ii The city of x. Usually each circle replaces one kanji. Note: The driver answers ~\, which is a twisted way of saying {1 \ (yes). c) Bus stop Emi: 6%#1i? Miho: FHWZ#A, RAR AHS you TOP? Tm sorry, bus stop sp not know... You? Pm sorry, I couldn’t find the bus stop and... BCT Here is a sentence we can use as an excuse if we are late for an appointment. The word we will point out is 2 0 34, bus stop, which we already studied in the theory section. Let’s analyze the rest: Notice how Emi only says # % ¢: (you, 1.7, book 1) and (i (topic particle, 1.37). The sentence is cut, but obviously means (Who are) you? Leaving out parts of a sentence and assuming it is understood in the context is very frequent in spoken Japanese. $1.44 is a spoken distortion of the word + 4% # #4, (I’m sorry). Now take a look at the ~ A DER res the particle #* (1.37). And here it is in the negative -te Asyou know, the verb i % (to know) requi- Sudo Kiar form, indicating the sentence is incomplete. 98 — 383938 Lesson 39d) Ticket gates at train stations SL 8 ths Man: 5 |) pPMRINORMANS vokt. (excl.) period finished pop pass put in EP Damn! I’ve put in my expired pass. In this example we see how the wickets at train stations work: you put in your 4 (ticket) or your © M3 (monthly pass) —used by almost all Japanese 3 ') — » (office workers) to go to work— and the small doors open. If the pass has expired, like in this case, or if the 2 fare we've paid is not enough, the doors will slam shut. IN Ken Nima This is exactly what happens to the guy in this example. Note: The man says \ 1 » 9/2, which is the colloquial form of ATL # >. The verb Xi means “to put in” and the form ~C L # 3, as you will remember from 1.35, gives the sentence the meaning of “doing something one regrets” or “doing some- thing by mistake.” inside the train TAL As you probably know, Japanese trains €# are world famous for being jam-packed with passengers (3 i) at rush hour, just like in the example. However, some people, like our friend Kazuo, enjoy it more than others! No kidding, the fact is that the Japanese rail- way network’s quantity and quality are impressive —delays hardly exist, and the numerous trains arrive almost miraculously on the second—. Were we to compare it to the human circulatory system, the Japan Railways (JR) Shinkansen network would be the main arteries and veins, the main JR railway lines would be the secondary arteries and veins, and the numerous private rail- way and subway lines would be the capillaries. In metropolitan areas, you can go almost anywhere exclusively by train and subway. Transport in Japan BAD zi FAR —99—f) The Shinkansen ‘The Shinkansen bullet train is the most popular means of transport for long distances in Japan. Fast, safe and comfortable, its network stretches to most main cities in the Japanese archipelago, as we saw in the “Cultural Note.” In this example we have @ lot of information, like the words ~® (departing from), ~# & (bound for), the expres- sion ~ 44k L (plasform for line x), or the verb * # + 5 {to depart, in terms of a train, a car...). AIL trains have proper names. In this case it isthe 530 going. from ae to #8 on the Ree ~ ie (from RR to #5) line, the trains are called, from the slowest to the fastest, = # £ (echo), U* 4) (light), and D @% (wish). line. In the case of the famous Lasz9 doicme ws SARAEKED ne i Annow: RR PHBTHESV3 339. 21 SRK- Loewe lst Tokyo departure Niigata going to Asahi 333 numb., 21 numb. platform from depart The Asahi 333 from Tokyo to Niigata will depart from platform 21. g) Ticket prices In this last panel, which illustrates the ticket vending machines (below) and the fare chart (above) that tells us how to determine, our ticket price. The board represents the ke ® monorail (% / von) which goes from He airport to jt #*7 station, where you can change onto the JR company’s famous and practical di $# circular line. To check the price, we must first find in the board the station where we are (marked with aR this station). Then, we must look for the station ‘we are going to and check the Price it shows. Imagine we are going to X # 1% 38 isin this case, from our station (eim38), the adult (eA) fare will cost us 260 yen and the child Ob A ) fare 130. At first, it may seem complicated, but don’t worry, it’s just a matter of getting used to it, and almost all price boards are also in English. —100— $3938 Lesson 39Write in Japanese the words “ship,” “bus stop,” “ticket,” “ordinary express train” and “crossing,” Translate into English the words 2 28, ams, Hem, HER, ae and k= 4. Write in Japanese the following sen- tence: “To the Kamakura ryokan, dane Bets please.” (ryokan: bk tt, Kamakura: 3 #) vaLawais Translate: DONA B B RUBE — AS a 8 SET? (he: Hiroshima, i: atomic bomb. — 2: dome) Give in Japanese the names of at least five means of transport. You are in the street and you want to ask someone where the closest JR station is. What do you say? You want to go to # #2 , but you are not sure that the platform you are on is the right one. Make sure by asking someone. You have just lost your ticket and you can’t get out of the station. Try to explain the situation to the person in charge. You hear this on the PA system: ihe ay mn Dei RMA SOEHRIRT What does it mean? a %® @ (: shortly) According to the manga-example g), how much would a ticket to iid > 9 — station cost? Transport in Japan HD+ —101—Lesson 40: Particles (3) no/o After the “rest” we took with the previous lesson, we are going back to the harder grammar lessons, where we'll study in depth two more particles. With this lesson and the next one, we will have seen most usages of the Japanese grammatical particles. The particle » We mentioned in lesson 16 (book 1), when we gave a very general view of particles, that the particle » is used to mark the “possessive:” this statement was made hoping to simplify and generally introduce this particle. However, now that our knowledge is greater than 24 lessons ago, this is the perfect time for a rigorous and in-depth study of the various usages of 0. Before going on, it’s worth defining what a “noun modifier” is. A noun (1.11, book 1) can be on its own or it can come with other words that describe it or complement its characteristics. These words are called “modifiers.” Thus, it isn’t the same saying “house” as opposed to saying “red house” or “Akira’s red house.” The adjective “red,” as well as the proper noun “Akira” — connected by the genitive “’s”— modify the noun, giving more information about it or complementing it. © as modifier ©@ Noun modifier: The particle is, then, the Japanese way to mark the noun mo- difier when this modifier is either another noun or a noun phrase. In short, we use © to connect two or more nouns. If we simplify, we can distinguish up to five kinds of modifiers in Japanese: posses- sive, descriptive, positional, that of a creator, and appositional. 1-1 Possessive: itis the usage of 0 we already knew. It obviously indicates “possession.” @ ROFL CH The house of I (my house) is roomy OHS KOMEN (CRO CH Mr, Toutsui’s car is red and small —102— 4038 Lesson 401-2 Descriptive: It simply describes the noun, giving more information about it. eS nig RO M4 FCF This isa steel pipe. (ne aa @ LHRH ORTH This isa fruit store, 1-3 Positional: It describes the place where the modified noun is located. fuk tt e AOF THK A tty I want to rest under a tree. eoee uss e i lt 7 Fy ROK¥ CHL TB Akira is studying at a French university. 1-4 Of a creator: It indicates the creator of something. oRane on Be AC (12-0 Read Soseki Natsume's novels, please. Of LOX LE ROKR VCH The Ainu culture is interesting 1-5 Appositional: An apposition, in English, is a construction which isn’t explicitly con- nected to any word — it is usually separated by comas— but which refers or explains some- thing relative to a noun. In Japanese, however, itis connected to the noun it modifies. ebCeRLT. HF Kowa €-+ Pleased to meet you. I'm Tanabe, the head of the department. OREO KES eAUBM LS & Hiromi, my friend, got married. Indefinite pronoun and nominalizer We will now see two usages of , different to those we have studied until now: the indefinite pronoun and the nominalizer. @ Indefinite pronoun: » replaces a 5 ZHLLEORT noun when the interlocutors know from es Ge ect tee a CHIBRORTT the context, or the situation, what they are B Thisisa book on economics , ROLIANG ET talking about. ; On the desk there is a book ERB AS THD? Y-FORERAL oa Lauma aS CTH eee re What kind of films do you like? HIRE OMATT + T'm Okamoto, the teacher Ob 77a vORs TH SHIROCT . ‘This is mine I like action ones. #ER(OBLOTT : . ‘Writing a book is difficult We clearly see here how the o in the se KER (ORBLOO? cond sentence replaces the word 9 i. Dp cineaise vues ee Softstatement 7 —FORERALVO OLABNYIEFS? I'd like to read a book by Goethe eee) FERN TUS OTS Which bun will you choose? (1.34) I'm writing a book e Poomker Ww I want to eat a sweet one. Particles (3) no/o By#IBN + & —103—@ Nominalizer: To “nominalize” a sentence is to turn it into a noun phrase so that it works like a noun. For example, in the sentence “riding a motorcycle is difficult,” the part in italics functions like a noun. Notice how this part can be replaced with a noun, for example, “chemistry is difficult.” This hint will help you identify a verb or a sentence which has been nominalized. In Japanese, then, ® is used to nominalize sentences. We can also use the word = but we will go into this in depth in 1.57 (book 3). ATH tte 04 7 BRET 4 OBL VCH Riding a motorcycle is difficult. oto ko @KKe L (OIE LOCH Going swimming is fun. bat ws Bane + OHEKE MEARE RIHS 2O N05 21) Idon ’t know what kind of music Hiroko likes. At the end of a sentence We saw in 1.17 how ® functions as an end-of-the-sentence particle with the mean- ings of informal question and softened statement, as well as a soft command. @ Question: In the informal register, o replaces #* (1.34) to indicate “question.” It is worth mentioning #t must be placed between and -na adjectives (as well as nouns). sin BAe ea, tag ( @? Atwhat time are you going to Kyoto tomorrow? Brakes teen © HDAUAH (4% & OF Is that person really a teacher? ® Statement / Soft order: This is used basically by women and children. e ei Id, SY An s f >t ® As for me, I’ve been to Paris many times. OLAS PA, ZHICMBATOD | Shin, don’t touch that! The particle & ‘As we briefly studied in 1.16 (book 1), the particle # —which is always pronounced and never wo- is used to indicate the Direct Object (po), that is, “what” receives the verb’s action. However, it has other usages as well. @ AMA Sy ESF Tard eats bread. eB AAS 4Y BEMBL CORT Tetsuharuis studying Spanish. Note: There are certain constructions which we consider po but which are not marked with %, as is the case among those verbs requiring #* (1.37). ‘au send : eit BHI [nore |} % 9 £#L I don’t understand Japanese. —104— #4038 Lesson 40Other usages of & PELL LERSET @ Place of passage: & can also be Teat an apple HIDE RS used to indicate the space where a Tecross a bridge MILER EES movement is done. 1 get off the train ei the RENT A CACLEV eBSERUET a ae oblate Bias fly througieehe sky, Be Pe @ RS TEHE FSET He always walks around town, This usage of & requires, of course, that the verb be-one of movement, such as 3 ¢ (10 walk), % & (10-run), Res (to fy), & (10 pass), 14 (to eros), et. @ Place where a movement starts: & marks as well the Adverbial Complement of Place which indicates the origin of a movement “outwards” (be careful, though, the “movement” may be abstract). It is usually used together with the verbs i (to-go out), 1 & (to get off a vehicle), Ht & (to part from), and similar ones. e Ba Balk Soc ee ite Rina left home at 6. e ee emu a 4 Be LT ¢ Et When you get off the train, be careful. oR AE ERR L CHUL The director has not graduated from university. @ Time period: Finally, can be used as well to indicate the passing of periods of time, although this is a minor usage and not very frequent. ois 8 EM CMS L te Lspent all summer in Okinawa. e feat SAM EaR '< U& He wasted three months. A few adverbs We hope you have understood well the different usages of the particles © and . You have already scen, in these few last lessons, particles can have many different usages and may seem really difficult. However, the fact is that they are indispensable to making grammatically sound sentences in Japanese, and the student must get used to dealing with them as soon as possible. Don’t worry if you get confused right now: with time and practice you'll soon master them. We will now take a little well-deserved break, studying a few time adverbs, widely used in Japanese. Particles (3) no/o BysI@O + & -105—The adverbs % 3 and & 72 The adverbs of time % 3 —which has nothing to do with the particle &, and which is pronounced moh, with a “long” o— and # 7 are usually studied together. Their relationship is obvious, since ¢ 3 can be translated as “already” and & # as “still.” 4 5 indicates something is not in the same state as it was before. eUeSA 6 9BSM ERS Mr. Yamada has already eaten his lunch. 0 FG 69 BE LX LU & Rika has already finished her homework. 9) 785 PEI MHL COWL Rick doesn’t study Chinese any longer. Whereas # # expresses the opposite idea of & 3 : it indicates something is still in the same state as it was before. ODL HREM COEF PH? Is there still some curry left? ese Be teS COE L [still haven't eaten anything. eo Uitk BRAD = & eH CS BU Pm still unable to understand the Japanese. The adverbs ¢ 51. and 24 The adverbs ¢ 5 ( and 2% are usually both translated as “approximately” or “more or less.” However, their usage is very different, so we must be careful not to confuse them. <5 and ¢ 5. are used to indicate an approximate quantity, be it either of vo- lume, money, time, or any other thing. When having this nuance of “aproximate some- thing,” ¢ 56 and ¢ 5 \ have almost no difference of usage or meaning. OOM, HE 240 CHUM tL Theotherday I bought more or less two kilos of pears. OTN ee a a A ( 6. That motorcycle costs about two million yen. Be careful, as < 5 \» is sometimes used in contemptuous tone, meaning “at least.” vote ; th BwANS +, Bi! At least put one point in, kid! Whereas 2% refers to an approximate “period of time:” o 10m 2 41S e het t Wewill leave home at about ten. @ Gt 6 AS 512A AS ¥F In Japan the rain season is some time in June. Last of all, take a look at these sentences to get a clear idea of the difference between [4 and (bu: © fiz 5 OER OS & LK L worked for about five hours te =e @ IES BFS BI (41> f& I went to work at about five. —106— 940% Lesson 40iB (if) + Manga-examples Now let’s go on to analyze, through practice, some of the usages we have studied in the previous pages. Generally speaking, ® and # are among the least difficult particles to master. However, a few examples should help us set in what we've learned. a) 0 in vo and nominalizing no Gene: 2 OE THO ( RERBOERATOSOUMAEEN... this star pp luxurious food pop eat (nom.) top traveler only... On this planet, only travelers can eat sumptuous food... Let’s start the manga-examples with a double example, since we have both an # anda in the same panel. Before going straight into the subject, notice, too, how there is a € of place (1.38), and the omnipresent topic particle |i, which turns the whole sentence into the topic of the conversa- tion (1.37). The sentence marked with (t functions just like a noun, that is, it has been nominalized. And what part of speech has been in charge of this? The 0, which, as we saw a few pages ago, also has this function. The sentence 202 THWE < okey est \% (On this planet they eat sumptuous food), because of a 0), becomes a noun like any other, with its same charac- teristics. As to the %, it functions as a Direct Object particle in the sub sentence <9 &#*

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