Ely a in MangaLand 3 Intermediate LevelJAPANESE IN MANGALAND 3 Intermediate Level Marc Bernabe Translation: Olinda Cordukes Cover illustration: Nuria Peris Inside illustrations: Javier Bolado Gabriel Luque J.M. Ken Niimura Barbara Raya Studio KosenMarc Bernabe (L’Ametlla del Valles, Barcelona, 1976) is a Japanese-Spanish / Catalan translator and interpreter, working mainly on manga and anime translations. Apart from his translation works, he also specializes in language and Japanese culture didac- tics for foreigners, with a master’s degree by the Osaka University of Foreign Studies. His published works are: Japanese in MangaLand 1 and 2 (Japan Publications, 2004 and 2005), the Spanish adaptation of James W. Heisig’s Remembering the kanji series, and other books on Japan and the Japanese language aimed at the Spanish speaking public, http://www.nipoweb.com Japanese in MangaLand 3 Intermediate Level By Mare Bernabe © 2006 by Marc Bernabe / Represented by NORMA Editorial S.A. All rights reserved, including the right to reproduce this book or portions thereof in any form without the written permission of the publisher. Published and distributed: Japan Publications Trading Co., Ltd. 1-2-1 Sarugaku-cho, Chiyoda-ku, Tokyo, Japan. First printing: January 2006 Overseas Distributors UNITED STATES: Kodansha America, Inc. through Oxford University Press, 198 Madison Avenue, New York, NY 10016. CANADA: Fitzhenry & Whiteside Ltd., 195 Allstate Parkway, Markham, Ontario 13R 478. AUSTRALIA and NEW ZEALAND: Bookwise International Pty Ltd, 174 Cormack Road, Wingfield, South Australia 5013, Australia. EUROPE, ASIA and JAPAN: Japan Publications Trading Co., Ltd., 1-2-1 Sarugaku-cho, Chiyoda-ku, Tokyo, 101-0064 Japan. ISBN-13: 978-4-88996-187-4 ISBN-10: 4-88996-187-9 Printed in SpainIndex....... : — Introduction 4 Glossary of abbreviations cn 8 Lesson 46: Compound sentences (1) sven 10 Lesson 47: In the restaurant ones 20 sn Lesson 48: Compound sentences (2) 30 Lesson 49: Compound sentences (3) sms 40 Lesson 50: Relative clauses vmmnennnanss 50) sisnsnenn Lesson 51: Unexpected events and accidents... 60 Lesson 52: Honorifics 70 Lesson 53: Casual speech onsen .. 80 Lesson 54: Comparatives ... 90 Lesson 55: Sightseeing ...... o 100. Lesson 56: The conditional form ... seve HO vse Lesson 57: Koto and Mond so. ens AMID Lesson 58: Grammar scramble 130. Lesson 59: Dialects and proverbs 140. Lesson 60: The passive and causative forms......150 Appendix 1: Answers to the exercises 0.0.0: 162.00 Appendix 1: Grammar index Appendix 111: Vocabulary index 182, cnnnnn LR REO BH sn 28 $5 lB 46: AREBRT SD BATRLARFYT BASR: RXEBMTS® BA GR: HREBKT SO 5 OR: MRM BOLR: Wok cee wR md : Bad BBR: KURA SAR: RO RR sono 5 BR: WIHT BS GR: AHORR BSTRI Ihe ES) SSR LOS0SUKH and 5 OR HERB BOOM: HL BR RE Ho: KBR BEAR: RRL Index BR -3—BBO introduction This book is the continuation of Japanese in MangaLand 1 and Japanese in Manga- Land 2. This means that the lessons here expand on the principles already taught in the previous books of the series: if you have not mastered the previous lessons, the contents herein will not be as useful as they could be. This is especially true for the Jessons included in Japanese in MangaLand 2, as in this third book there are a lot of cross-references pointing to contents studied in the second book. Main characteristics As in the second book, again we will not be using any romaji here. This is so that you can study without relying constantly on those Roman alphabet “crutches,” which may appear to be of great help in the beggining, but in reality, this does not hold true in the Jong run. The exclusion of the romaji, combined with the fact that the sentences inclu- ded here have even more difficult kanji contained within them (always with their read- ing indicated in furigana), proves to create an “atmosphere” similar to which can be found in any manga for young readers, a concept which was thoroughly explained in book 2. If you need more information, please consult that previous work. Likewise, in this book, we wanted to teach the “real Japanese” used in colloquial conversations as well as in manga. Thus, we have devoted some lessons to topics such as, among many others, casual speech (1.53) or dialects (1.59), which are often found in Japanese comics. However, we have not left the politer Japanese aside altogether, as 1.52 (Honorifics) testifies. The main aim of this method is to hone your already adquired Japanese skills to reach an intermediate level of the written language. Obviously, listening and speaking cannot be dealt with in a written work, therefore, you should try practicing on your on. The lessons This book has 15 lessons altogether, numbered from 46 to 60, chronologically fol- lowing the numeration of the second volume. Of these 15 lessons, 11 are of a “gram- matical” type and 4 are a “conversational” type. —4— Japanese in MangaLand 3Grammar Lessons, as their name clearly states, deal mainly with grammar issues. In these kind of lessons, you will have complete explanations in English, complemen- ted with many example sentences and claryfing tables that should make comprehen- sion easier. Grammatical patterns are grouped in the lessons according to related sub- jects. This being a self-taught study manual, we feel this is the most appropiate way to help you relate patterns that are similar in use and meaning, but that have different nuances. Giving a specific example, the expression #1} (only) is usually studied at a very early stage, but, in this book, it is taught in 1.58, almost at the end, because it is discussed with other expressions with a similar meaning, such as # and (41) , thus constituting a solid block of grammatical constructions. ConVERSATIONAL LESSONS fill the gap left by the grammar lessons, which strictly concentrate on grammar only. As they revolve around a contextual topic (In the restaurant, Sightseeing), they are useful for learning new vocabulary, practicing pre- viously studied grammatical concepts with lots of example sentences, and even serve as a conversational guide, which is very helpful for possible trips to Japan or conversa- tions with Japanese people. In these lessons, you will find as well a “Cultural Note” section, with insights into different aspects of the Japanese culture and environment. All lessons, grammar and conversational ones alike, have manga-examples and exer- cices. The MANGA-ExAMPLEs keep the same function they had until now: they will provide specific examples for expressions studied in the theory pages. They will also help you to expand concepts, see some new constructions, and revise constructions seen in previous lessons. Do not to skip them, Finally, the ten simple EXERCISES included in each lesson will help you consolidate your knowledge and check whether you have understood what has just been explained. The correct answers can be found in the first appendix, at the end of the book. Appendixes At the end of the book there are three appendixes with very useful extra information: © Answers to the exercises: detailed answers to all exercises included in this book. @) Grammar index: compilation of all the grammatical expressions studied through- out the 60 lessons of the Japanese in MangaLand series’ three books. @®) Vocabulary index: and index of almost 2,000 words, containing all the vocabulary in this book, as well as all the vocabulary needed to pass levels 4 and 3 of the Japa- nese-Language Proficiency Test. Introduction &# 0448 —5—In addition to being a useful way to crown the contents of this course, these indexes were specifically conceived as a guide to cover the specifications for levels 4 and 3 of neers the H &# ft 7 #48 (Japanese-Language Proficiency Test.) The Japanese-Language Proficiency Test fake ous Lie The 8 428 # 7 AB is an internationally recognized test, jointly administered by the official organizations Japan Educational Exchanges and Services and Japan Foundation, and simultaneously held every year on the first Sunday of December at venues all over the world. This test has become a standard to assess Japanese know- ledge of non-native speakers, and it consists of four levels, the most difficult being level 1 and the easiest being level 4. We have created Japanese in Mangaland so it con- tains all the grammatical patterns, kanji and vocabulary required to pass levels 4 (cle- mentary) and 3 (basic). In the indexes you will find indications which will tell you whether a word or a con- struction belongs to one level or the other, thereby providing you with all the neces- sary tools for an in-depth study and to put your knowledge to the test on the next first Sunday in December. Good luck! Specifications for the Japanese-Language Proficiency Test 800 words, 100 kanji. The student can read, write, speak, and unders- Level 4: tand simple texts 1,500 words, 300 kanji. The student has a sufficient level in Japanese Level 3: | to communicate in everyday life in Japan, and can read, write, speak, and understand texts of a medium-clementary level. 6,000 words, 1,000 kanji. The student can hold with no difficulty con- Level 2: | versations with a certain degree of complexity and can read, write, speak, and understand texts of a medium-advanced level 10,000 words, 2,000 kanji. The student has a command of Japanese Level 1: | at an advanced level in all aspects and has a sufficient level to study at a Japanese university with native students. On translations There are many example sentences throughout the book, as well as many manga- examples, with their corresponding word for word translations into English, just like in the first volume. Sometimes, the sentences we offer may “squeak” for not being very natural, since we have chosen more literal translations for an easier understanding of their formation. Trying to create a more natural English translation of every sentence would be a good exercise: it would help you consolidate concepts, make and in-depth —6— Japanese in MangaLand 3analysis of the Japanese sentence, and think about it as a whole rather than a mere group of words and grammatical patterns. Besides, it might help you delve into the world of the translator and to realize the complexity of the work involved. Acknowledgements Before going on and entering the actual study, I would like to thank all the people that supported me, in one way or another, to develop Japanese in MangaLand, to nurture it and to make it grow to the point in which it has now been translated into seven different languages. First of all, my earnest thanks go to you, the readers, for being there, enjoying the books and, from time to time, sending me comments and encouragement to go on. Ifyou wish to do so too, feel free to write in English through www.nipoweb.com/eng. More thanks go to my dearest Veronica Calafell that, besides supporting me all the way (not an easy task!) during the long and strenous process of writing these books, contributed to them giving comments to improve it and supervising every aspect. I owe a lot too to the whole teams at Norma Editorial and Japan Publications, who from the beggining were keen on publishing Japanese in MangaLand and helped it become what it has become today. The Fundaci6 La Caixa and the Japan Educational Exchanges and Services (JEES) gave me the chance, by means of a grant, to learn extensively about Japanese language teaching methodology and resources. This, along with the guidance of professor Sayo Tsutsui #4 #448, of the Osaka University of Foreign Studies, was directly poured into the production of the books. Luis Rodriguez and Josep Sadurni revised my work as I wrote, and Itsue Tanigawa @ IK revised the Japanese sections. James W. Heisig provided his invaluable technical and moral assistance and help at all times; I consider him my dearest mentor. The artists Javier Bolado, Gabriel Luque, J.M. Ken Niimura, Barbara Raya and Studio Kosen created the manga panels that illustrate the books; last but not least, a big thank you to my efficient translator, Olinda Cordukes, and to my dear friend and corrector Daniel Carmona, whose precious comments helped improve this book beyond words. Thank you very much to all of you! Mare Bernabe July 24th, 2005 Osaka, Japan Introduction ARO ##& -7-Excl.: Ger.: Nom.: Noun Suf: Soft.: Suft cp: DOP: DP: EP: 10P: POP: PP: Qe SP: TOP: ‘TP: Glossary of abbreviations Exclamation. Gerund. Nominalizer. Suffix for proper names (people). Sentence softener. Suffix. Cause Particle. (why?) Ex: ® Company Particle. (who with?) Ex: & Direct Object Particle. (what?) Ex: & Direction Particle. (where to?) Ex: ~ Emphatic Particle. Most end-of-sentence particles state emphasis or add a certain nuance. (1.17, book 1) Ex: , £, @, etc. Indirect Object Particle (whom?) Ex: i= Instrument Particle. (what with?) Ex: T Possessive Particle. (whose?) Ex: 0 Place Particle. (where?) Ex: €, {= Interrogative particle. Shows that the sentence is a question. Ex: # Subordinate sentence Particle. This particle is used as a link between a subor- dinate sentence and the main sentence. Ex: & Subject Particle. (who?) Ex: a Topic Particle. Shows that the preceding word is the topic in the sentence. «Ex: tt Time Particle. (When?) Ex: ( —8 — Japanese in MangaLand 3LESSONS 46 to 60Lesson 46: Compound sentences (1) We start this third book with a series of three lessons aimed at introducing several ways to create compound sentences in Japanese. Thanks to the links and structures we will learn, our Japanese will take a considerable step forward qualitywise, allowing us to form quite complex sentences. In this first lesson we will basically study expressions of continuity. The easiest linking We already saw in L.35 (book 2) that we can use the -te form to link sentences: This may be applied to verbs (Ci 5 4 10 sleep and wake up), adjectives ({ CHS. roomy and bright), -na adjectives (£% ¢ Al’ robust and practical) and nouns (44 © Hf professor and researcher). This method of linking sentences is very simple as well as useful, since it can have up to five different usages, namely 1) combination of elements, 2) sequence of actions, 3) mode, 4) simultaneous action or state, and 5) cause / reason: ERA TAY EAS Every morning I drink milk and eat bread. 2) (RSTHE yoece tho THU LOT —# Elk oh T cooked a delicious cake using strawberries. ASA | want 10 wake up early and go on an excursion! 4) i. 29h AG eau BRL fe Tues watchinga movie and my giripiend was listening to musi 5) ‘e 2 om ot i Fa ea Lt Hiroyuki left and (so) Hiroko was relieved. If we want to link negative sentences with the -fe form (which we didn’t see in 1.35) we will use the negative conjugation of this fe form (~ #0) e8eb tw ery 7 eR + % He cooked a hamburger withous wsing salt, oR Ue CHMS S18 Le [passed the exam without studying. ‘There is also an equivalent form used to link negative sentences, formed by replacing the %\\ of the negative -te form with $12 (2G 3 EFI, without sleeping). The only exception is $4: itisn’t L 12 but #F/<. Itis used in written and formal registers. ou el Fe) NY K= 1 Bits te He cooked a hamburger without using salt, o ibe FS SRWS B18 L Fel passed the exam without studying. —10— 463 Lesson 46Another way of linking sentences in the negative The forms we have just studied, and which are used to link sentences where the first verb is in the negative (~ # .» ¢ and ~ ¥(<), can’t be used with the five cases in the affir- mative we saw in the first point. To be precise, ~ 7 \ can’t be used to express “cause / reason,” and we don’t use ~ # (= to express “cause / reason” nor “simultaneous action or state,” but have no fear, because you needn’t know this by heart at this point. To express “cause / reason,” we use the -te form of a verb conjugated in the negative. Ex: ft (10 use) = negative: jb \y = negative -te form: feb % ( T. We already saw the conjugations for the -ie form of verbs in the negative in the table in 1.35 (book 2). ihe HF 6 te CIES 28 L Cute Hiroyuki didn't return home and (50) Hiroko was worried. @ REM GCC Lot I didn’t buy the car, (30) I’m happy. To link two -i adjectives in the negative (not only “cause / reason,” but generally) we also use the -te form of the negative. Ex: x1. (broad) => negative: f(t. => -te form of the negative: E «i ¢ T. In the case of -na adjectives and nouns, we use it 4 ¢ T or, in colloquial register, U » % ¢ T (tp is the contraction of Tit). he na KEM S C2 (CHU CH The apartment is not bright and is old. apts (ciacK oas(th @ RAMBAATIA(L P)B CT. WEATT She is not Japanese, she is Korean. Simultaneous actions: ~ @ #5 To form sentences of the kind “I do x while I’m doing y,” that is, sentences express- ing simultaneous actions, we use ~ i #1. Usage: Verbal root + ~ 2 2°. Ex: {8 3 (to use) = root: hts > we add % 1° iy: {RL W265 (while P'm using). Note: ~ 2 2° is only used with verbs, and the subject (the one who performs the action) must be the same for both verbs (that is, the performed actions) in the sentence. eo SREMsEND, X é CLS While I’m listening to music, I write the book. @varlt Bs BHD abe Cut John Taughed as he watched the movie. jena aR +2 I translate, (while) consulting a dictionary. ce KA RM Be L#L 4% Let’s talk, while we drink (have) a coffee. In sentences with ~ # 4°, there usually is a central action and an incidental action — the verb of the latter takes ~ we — Compare these sentenc: t lech ets tM MBE AL While P'm eating, I read the newspaper. (center: to read) 0 Bik kato 5 Me ASS While I read the newspaper, I eat. (center: to eat) Compound sentences (1) ®& £Hakt 0-H #&eCE A situation remains unchanged: ~ x < We are now going to see the expression ~ # £, which indicates an action or situation described by the verb, to which this expression has been attached, remains completely unchanged. Usage: ~ + # is used after verbs conjugated in the past tense. Ex. £4 (to sleep) = past: et: => we add ~ 2 2: S122 (he is still asleep / there are no changes in the state of his being asleep). This expression is also used with some -i adjectives (we don’t change anything), -na adjectives (we keep “2), and nouns (we add 0). OF LES OUR EERE ICA CLA 5% I went to work, leaving the TV on. @ BSF 1 9A ot #RS 20 Yuriko went to Germany and is not coming back. ets eEEo KETO * Id like to be a student for ever. If the verb before ~ % % is negative, we don’t have to conjugate it in the past tense. 58 Zit 28 RRS LU AHL A [ran out of the house, without locking the door. OARS BOR REL HO TOS He works constantly, without taking a break. Non-exhaustive list of actions: ~& J ~kUF% ‘The next expression is, somehow, the version of > (1.41, book 2) for verbs and adjectives. ~h 1!) ~iz 1) F 4 is used to express a kind of “non-exhaustive list” of actions or states, That is, we indicate two or more actions or states, and whether “there could be more” is left up in the air, Usage: verbs are conjugated into the past tense and |) is added. The last element in the sentence is followed by + 4. Ex: 5 (to buy) = past: > % = we add (and +4 ifit is the last element): Jt 5 #0 (4 4) (to buy —and other things). -i adjectives also go in the past tense, like "> f: (44) (expensive —and other things). Whereas -na adjectives and nouns need the verb “to be” in the -tari form (fA). Bx: AIH 5% 0(44) (to be convenient — and other things) and $4 #2 > t: (45) (to be a teacher — and other things). oneCs YI-Ay PELE, Pr yTREB EY, BR bo KuTEe At work, I browse on the Internet, send faxes, write documents (and I do other things). ORM, 2c ERA U HM ERA EU LET Every morning, I drink coffee, read the newspaper (and I also do other things). Sometimes ~7: 1) is used with only one verb or adjective. The connotation is that, even though only one action or state is mentioned, there are more which are not named. oi & 2 LAN LTH Btve Don’t lose the keys (or something like that), OK? eB S AUF SOUK TO | Falling in love (or something similar) is dangerous! —12— 946% Lesson 46