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Dear Reader: In order to view all colored text and non-English text
accurately, please ensure that the PUBLISHER DEFAULTS SETTING on
your reading device is switched to ON. This will allow you to view all non-
English characters and colored text in this book. —Tuttle Publishing
Easy Japanese
 The Tuttle Story: “Books to Span the East and West”

Most people are surprised to learn that the world’s largest publisher of books on Asia had its
beginnings in the tiny American state of Vermont. The company’s founder, Charles E. Tuttle,
belonged to a New England family steeped in publishing. And his first love was naturally books
— especially old and rare editions.
Immediately after WW II, serving in Tokyo under General Douglas MacArthur, Tuttle was
tasked with reviving the Japanese publishing industry, and founded the Charles E. Tuttle
Publishing Company, which thrives today as one of the world’s leading independent publishers.

Though a westerner, Charles was hugely instrumental in bringing knowledge of Japan and
Asia to a world hungry for information about the East. By the time of his death in 1993, Tuttle
had published over 6,000 books on Asian culture, history and art—a legacy honored by the
Japanese emperor with the “Order of the Sacred Treasure,” the highest tribute Japan can
bestow upon a non-Japanese.
With a backlist of 1,500 titles, Tuttle Publishing is more active today than at any time in its
past— inspired by Charles’ core mission to publish fine books to span the East and West and
provide a greater understanding of each.

Published by Tuttle Publishing, an imprint of Periplus Editions (HK) Ltd.

www.tuttlepublishing.com

Copyright © 1957 Charles E. Tuttle Co.

Copyright © 2006 by Periplus Editions (HK) Ltd.
All rights reserved.

Library of Congress Catalog No. 57006763

ISBN: 978-1-4629-1308-4 (ebook)
First edition, 1957
Second edition (revised and enlarged), 1959
Third edition (revised), 1962
Fourth edition, 2006

15 14 13 12 87654 1201CP

Printed in Singapore

TUTTLE PUBLISHING® is a registered trademark of Tuttle Publishing, a division of Periplus

Editions (HK) Ltd.

Distributed by:
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Tuttle Publishing
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 Contents
Introduction

PART1
Say It With a Word—or Two
Lesson 1. Hello and Goodbye
Lesson 2. Excuse Me, Thank you, and Please
Lesson 3. Who?
Lesson 4. What?
Lesson 5. Have You Got Any?
Lesson 6. Where?
Lesson 7. Whose?
Lesson 8. When?
Lesson 9. How Much?
Lesson 10. How Many? How Old?
Lesson 11. How Many People?
Lesson 12. What Time?
Lesson 13. How Long?

PART2
Add a Bit of Action
Lesson 14. Did You?.
Lesson 15. Do You? Will you?
Lesson 16. Shall We? Let’s.
Lesson 17. What Kind?
Lesson 18. Is, Am, and Are.
Lesson 19. What’s Doing?
Lesson 20. Please Do!
PART3
Sprinkle in a Few Particles
Lesson 21. Where From? Where To?
Lesson 22. Where Shall We Eat?
Lesson 23. Me Too; Me Neither
Lesson 24. Who Does What?
Lesson 25. A Sentence Opener (wa)
Lesson 26. What Did You Say?
Lesson 27. Is It or Isn’t It?
Lesson 28. Can You? Probably
Lesson 29. Because and But
Lesson 30. How To Be Emphatic.

4
PART
3000 Useful Japanese Words

5
PART
Writing Charts
Introduction This little book will have you talking Japanese
in no time at all. Each lesson presents a few of the most common features
of the language in sentences which are short, easy, and immediately
useful. The first thirteen lessons show you there is a lot that can be said
with just a word or two. The later lessons introduce more variety and
explain a few of the fine points. I have tried to keep the sentences short
but colloquial, abrupt but not rude. Each lesson contains first a number
of PHRASES; these should be memorized. There is only one way to learn a
language, and that is to TALK it. As soon as you have memorized a phrase,
START USING IT. Once you know how to say “hello” and “goodbye” in
Japanese, never let a Japanese hear you use English in those situations.
Japanese are pleased to hear you talk their language, and the more you
talk it, the better you will get along. After the phrases, there is some
material for PRACTICE. These are short conversations made up entirely of
the phrases you have learned in the lesson (or in preceding lessons). Each
of these conversations is built around a rather simple situation; see if you
can figure the situation out. Finally there are some TIPS to help you learn
the material and to tell you a few other things helpful in talking with your
Japanese friends. A key to the practice exercise is included at the end of
each lesson. You should consult this only after you have tried to puzzle
out the exercise without it. After looking at the key, go back and practice
the exercise again. Try to get the situation in Japanese terms, not English
ones.

After the lessons, there is a basic vocabulary of some common

Japanese words and their English equivalents. In this, the Japanese verbs
are presented both in the polite present (-mas’) and the plain present (-u
or -ru). When the two forms would come close together in alphabetical
order, they are given on one line; in other cases, you will see two entries.
You will find it useful to get a copy of the author’s forthcoming BASIC
JAPANESE CONVERSATION DICTIONARY. This dictionary, in addition to a
Japanese-English part, includes 3000 common English words with their
Japanese equivalents in both Romanization and Japanese writing.
 At the end of the book there are some charts of Japanese writing.
When you have finished the lessons, you may want to learn to read some
of the simple symbols you see on the signs around you.
The Japanese is presented in a modified version of the Hepburn
romanization. Most of the consonants are pronounced about as in
English, the vowels as in Italian: a as in father. e as in met or yes, i as in
marine or macaroni, o as in solo or Pogo, u as in rule or Lulu. These
vowels are shorter than our English vowels; the long varieties (marked ā,
ō, ū, ii, and ei or ē) are a little longer and tenser than the English sounds
like them. In everyday speech, many final long vowels are shortened. The
apostrophe (as in s’koshi arimas’) represents a short u or i which is
suppressed in ordinary speech. The tongue is pushed farther forward
(against the teeth) for Japanese t, d, and n than for the English sounds.
The Japanese r may sound like a combination of r, l, and d to you. Your
English d (if you say it very quick) is probably the closest. But don’t mix it
up with a Japanese d! The Japanese g never has the “soft” j - sound as in
gem or gin; it is either “hard” as in get or gift or it has the “ng” sound in
sin ger. If you have trouble with the “ng” version, forget it and use the
“hard” g everywhere. The n which comes at the end of a word sounds a
little bit like a weak “ng” instead of a full-fledged n; try to imitate this if
you hear the difference.
If you want to find out more about Japanese, get a copy of the author’s
complete textbook ESSENTIAL JAPANESE. This explains the grammar in
more detail and gives many additional examples. You might like to
continue your study of Japanese with that book when you have finished
this.
PART 1
Say It With a Word—or Two
LESSON 1
Hello and Goodbye

Phrases
Good morning. Ohayō.
Hello (during the day). Konnichi wa.
Hello (in the evening). Komban wa.
Goodbye. Sayonara. (Sayōnara.)
Good night. Oyasumi nasai.
So long. (or See you later.) Mata. (or Mata ne. or Mata
aimashō.)
Hello (on the telephone). Moshi moshi.
Hey! Moshi moshi.
Uh... (or Hey! or Say!) Ano ne.
Hey! (or Just a minute please!) Chotto.
Yes. Hai. (or Ē.)
No. Iie.

Practice
1. A: Ohayō. B: Ohayō.....
A: Mata aimashō. B: Hai. Sayonara.

2. A: Konnichi wa. B: Konnichi wa....

A: Ano ne. B: Hai....
A: Sayonara. B: Sayonara. Mata aimashō.

3. A: Moshi moshi. B: Moshi moshi.

A: Ano ne. B: Hai.
 A: Mister Smith? B: lie. Brown.

A: Sayonara. B: Sayonara.

4. A: Moshi moshi! Ano ne! B: Hai.

Chotto! Chotto!

5. A: Komban wa. B: Komban wa....

A: Sayonara. Oyasumi B: Oyasumi nasai.
nasai. Sayonara.

6. A: Mata aimashō. Oyasumi B: Hai. Oyasumi nasai

nasai.

Tips
Try not to stare at a Japanese when you talk to him. Many Japanese feel it
is rude to look a person directly in the face; “if the person has an ugly
face, he will feel uncomfortable”—this is the way it was once explained.
The Japanese are very considerate not to hurt other people’s feelings.

1. A: Good morning. B: Good morning....

A: See you later. B: OK—goodbye.

2. A: Hello. B: Hello....
A: Say.... B: Yes....
A: Goodbye. B: Goodbye—see you later.

3. A: Hello. B: Hello.
A: Uh.... B: Yes.
A: Mister Smith? B: No. Brown.
A: Goodbye. B: Goodbye.

4. A: Hey! Say there! Just a B: Yes.

 minute! Hey there!

5. A: Good evening. B: Good evening....

A: Goodbye. Goodnight. B: Goodnight. Goodbye.

6. A: See you later. Goodnight. B: Yes. Goodnight.

LESSON 2
Excuse me, Thank you, and Please

Phrases
Excuse me. (or ThankSumimasen. (or Dōmo sumimasen. or
you.) Dōmo.)
Not at all. Iie. (or Dō itashimash'te.)
Excuse me. Gomen nasai. (or Gomen nasai ne.)
I've been rude. Shitsure (i). (or Shitsurei shimash'ta.)
A little bit. Chotto.
Excuse me a moment. Chotto shitsurei.
Please wait a minute.
Chotto matte. (or Chotto matte kudasai.)
Please. Dōzo.
Please come again. Mata dōzo.
Thank you. Arigatō. (or Arigatō goza imas'. or Dōmo
arigatō.)
Hello—anybody home? Gomen kudasai! (said at front door)

Practice

1. A: Sumimasen. B: Iie.

2. A: Sumimasen. Dōmo. B: Iie. Dōitashimash'te

3. A: Arigatō. Dōmo arigatō. B: Iie, iie.

4. A: Chotto shitsurei. B: Hai dōzo.

A: Sumimasen. B: lie.
LESSON 5
Have You Got Any?

Phrases
Have you got any?
Arimas'? (or Arimas' ka?)
Have you got one?
I've got some.
I've got one. Arimas'., Imas'.
There is some (one).
I don't have any.
Arimasen., Imasen.
There isn't any.
Have you got a light? Matchi (or Raitā)—ari mas'
ka?
Do you sell beer? Biiru—arimas' ka?
Can I have some milk? Miruku—arimas' ka?
Is there any meat? Niku arimas' ka?
Please give me some. Kudasai.
Give me a ticket please. Kippu kudasai.
Hand me that book please. Ano hon kudasai.
Pass the bread. Pan kudasai.
Bring some vegetables. Yasai kudasai.
Have you got any money?
O-kane arimas' ka?
Is there any money?
I'm broke. O-kane arimasen.
Give me some money. O-kane kudasai.
Does your wife have any?
Ok'-san — arimas' ka?
Do you have a wife?
Does your wife have any money? Ok'-san o-kane ari-mas' ka?
Do you have a ticket? Anata—kippu arimas' ka?
Yes—that's right. Sō des'.
a little bit s'koshi
a lot, lots tak'san

Practice

1. A: Chotto shitsurei. Kippu B: Watashi? Watashi—

arimas' ka? kippu arimas'. Kore—
kippu.
A: Hai, arigatō. Tomodachi B: Tomodachi—kippu
—? arimasen. O-kane ari-
mas'.
A: Sō des' ka? Sumimasen. C: Hai, dōzo.
O-kane kudasai.
A: Sumimasen. Dōmo.

2. A: Chotto, ano! Waitress: Hai, hai.

A: Miruku arimas' ka? W:Sumimasen. Arimasen.
Biiru arimas'. O-sake
arimas'.
A: Sō des'ka? Biiru, o-sake, W:Hai, hai.... Dōzo.
arimas'? Biiru s'koshi
kuda sai.
A: Domō arigatō. W:Dō itashimash'te.

3. A: Chotto! Clerk: Hai.

A: Sono f'ku— waf'ku? C: Sō des'. Waf'ku arimas'.
Yōf'ku arimas'.
A: Sore kudasai. C: Hai. Dōmo Arigatō
gozaimas'.

4. A: Anata—Ok'-san arimas' B: Hai, arimas'. Anata—

ka? arimas' ka?
Another random document with
no related content on Scribd:
 And now we will finish by saying a few words concerning the
plump chubby-cheeked one.
His name was Santiago Morcillo. He was a native of Leon, had no
parents, and was one of those quiet beings whom it is difficult to
rouse, either through anger or pleasure. When anything unpleasant
happened, he said only, “God’s will be done,” and if he had reason to
feel pleased, showed it only by a smile or by going to church to thank
God for the favors which he bestowed on him. His father’s conduct
had been disorderly, and he left but few unencumbered possessions,
his affairs being in confusion, but the good-natured Santiago did not
mind this. He was quite the opposite of his father and, by force of
work, economy and shrewdness, he recovered what was lost, and
even improved his condition so far that finally he was free from debt
and in easy circumstances. Until then he had never thought of
women, and when he did, he said,
“I shall take a rest now. It would be folly to begin a dangerous
experiment immediately. My mother was a very virtuous woman, but
all women are not alike.”
The good Morcillo was not only economical, but somewhat
avaricious, and it occurred to him to use the influence of his relatives
to obtain some sort of office, and with this object in view he had
come to the court at Madrid. One morning he went to mass at St.
Joseph’s Church, and standing near the entrance, and turning aside
to let a caballero pass, he saw Doña Estrella, who was kneeling in
prayer, her virgin lips moving in religious fervor, and her eyes raised
to Heaven with a most sweet and tender expression. For the first
time Señor Santiago felt a vivid impression, and involuntarily he
made a somewhat impious comparison between the sublime young
girl and an angel. He was always timid in the presence of women,
but this being was not a woman, she was a cherub. Being a good
Catholic, the hidalgo instantly repented of his sinful attention to
worldly affairs, and turning his back upon the young lady, began to
repeat his prayers; but he was unable to forget the cherub with the
blue eyes, and ten minutes later, moved by an irresistible attraction,
he turned and looked again. He saw her a second time, and felt his
heart beating. When the mass was over, the good Morcillo could
contain himself no longer. He turned quickly round and looked for
her. The mother was very near her daughter, and in front, one behind
the other, were her two sisters. However, in the crowd it was not
easy to see that the four belonged together, and besides, the hidalgo
had no eyes for any except the fair one. He tried to get nearer to her,
but every one rose at the same moment, and he again lost sight of
her for a few moments. He tried his best to force a way for himself
through the crowd, but, being quite confused, he paid no attention as
to where he planted his feet, and many of the faithful accosted him
roughly, while others threw themselves against him and prevented
his getting out. The poor fellow was almost suffocated, crushed and
choking. He could hardly breathe, and perspired freely, while his face
became livid. His stoutness was his great misfortune, and he missed
the lady.
“Is it possible that I have fallen in love?” he asked himself when he
got into the street.
He could not forget the fair face, and began to think the matter
over with as much calmness as he could muster in his
embarrassment. Having met such an angel of a woman, why should
he not marry her? A bachelor’s life was very nice, but only up to a
certain age. He went to mass the next day, and again he saw
Estrella, and lost her in leaving the church. At last, on the day when
our story begins, Morcillo, like the others, discovered by accident the
residence of the charming maiden. He saw her on the balcony.
Nothing else happened, but, feeling sure that he was in love, and
that his will power was not strong enough to resist his passion, he
made up his mind to go on with his wooing, and not to stop, unless
this marvelous being with the face of an angel should prove to be a
demon, which was, of course, impossible.

Now we know the three hidalgos, who did not resemble each other
in the slightest degree.
(To be continued.)
 QUATRAIN.
To dash irradiant on the barren shore
The wave is born; the lark to sing and soar;
To traffic with the sun upsprings the tree—
Man only has no certain destiny.

—H. C. H.
 EXTRACTS FROM THE LOG OF THE
“RITA”
BEING A DISCONNECTED ACCOUNT OF THE DOINGS OF SOME
ARTISTS ON A SUMMER CRUISE....

“First day out. We can scarcely realize we have left behind the heat, the noise,
and the dust of the city for three weeks. Far to the north, overhung by clouds
of noisome smoke, our late prison is gradually sinking from sight. Only the
tallest spires and houses can be seen. As the distance grows greater our
hearts grow lighter, and dance in unison with the leaping waves. The day is a
miracle of light and color,—
and
we’re
a happy
 crew!”

“Came
very
near
being
wrecked
last night. Even the moon was full—but that fact saved the lives of all on
board. Spike made a sketch this morning that will explain better than words.”
 “The fashionable portrait painter’s man and girl flirting on the shore turned
out to be rather clever devices for frightening crows. He has been advised to
consult an oculist.”

“Fuzzie-Wuzzie and the Languid Aquarellist got together in the forecastle to

hatch a scheme to get possession of the champagne. Nick, the Nipper, woke
up and heard the conversation. He called to Mock-a-Hi. Hi took in the situation
at a glance, and skewered Fuzzie and the Aquarellist with his prize finger-nail
(with which he does his etchings), and thus the villains were balked. The
conspirators had been eating Anti-Puncture, so that when Hi withdrew his nail,
none of the wind came out of their tires. There was little blood and much wine
spilled over this affair. The Skipper instantly had the schemers put in irons,
and Nick, the Nipper, was allowed to torture them in their helpless condition
with a few of his songs and imitations, as a reward for his vigilance.”
 “To-day we took on board a small party of guests, several ladies being
among the number. The finished style in which our fashionable portrait painter
received the latter excited general admiration. There is very little doubt but
that he will be promoted to be Assistant Skipper, with a cook’s pay.”

“The Skipper complained this evening of “feeling queer in the head,” and
the Duke made unkindly reference to the moon (which is known to have a
peculiar influence in certain cases), but got “sat on” for his inopportune display
of wit. Fuzzie’s allusion to the banquet in the cabin last night was perhaps
more truly explanatory.”
 “Sailing
close to
shore,
—and enjoying the
beautiful glimpses of
field and wood seen
through the golden
haze of a summer
afternoon.
What a
glorious
land!”

“The Languid Aquarellist is singing the national anthem. Perhaps he is

being unconsciously stirred by all these
wondrous
beauties of
nature.”
“Here
Truthful
Freddie
—sits by the hour, in
the golden evening
glow, dreaming of—what ?”
 “Salad
day.
Before seven o’clock this morning Curly and the Duke had caught enough
crabs to supply the mess of a man-of-war. The salad—prepared by the Duke,
of course—was pronounced excellent in technique, although somewhat after
the manner of Bouguereau, being extremely smooth and delicate.
But this
can be
forgiven
in a
salad.”
 “Late this afternoon we passed a sailing party homeward-bound. As they
passed, quite close, Spike, with his ever-ready pencil, transferred several of
the most conspicuous members to paper.”

“For his marvelous success in mixing salads, the Duke, who studied the
culinary art in Paris and Rome, has been made Second Mate.”

“Three days out. The Languid Aquarellist insisted this morning on going
ashore and shooting ducks—wild ones. After he had almost decimated a
farmer’s prize flock of pekins (without noticing their barnyard confidence in
man)—he was promoted by the Captain for excellent gunnery, and the
addition to the yacht’s stores.”

“Tomson, (of the Barber’s-Own School), spent the entire afternoon trying to
convince Miss ⸺ that his own peculiar method of painting is the acme of art.
Miss ⸺ seemed delighted with his efforts, and thinks his pictures are “just
lovely.” She wants him to attempt an imaginary portrait of the sea serpent.

Owing to the ceaseless motion of the boat, Tomson’s pictures are decidedly
impressionistic.”
 —“And then Bill Weatherbones gave us his version of the great naval
combat at Santiago, in which he took a very prominent part. ‘I tole yer how it
wuz,’ Bill began; ‘it wuz dis way, sur. I wuz a-settin’ on de aft hatch a-smokin’ a
cigar Bill Sampson giv’ me, an’ Bill an’ Winnie Schley wuz a-workin’ out a little
game wid de cards. Bill t’rowed down his papes an’ sed,—
“I
aint
got
no
luck,
I got to shake yuse fellers. Mc. he’s sent me de wire to go over an’ chin dat
man Shafter, wot’s runnin’ de army push, an’ make him git a move on hisself.”
“Don’t go, Bill,” sez I, “send one o’ de gang, it’s too hot fer yer, wot’s de good
yer workin’?” “Dem aint me orders,” sez Bill, den turnin’ to Winnie Schley, he
giv’ him de stern look, an’ sed, “Winnie, yer do de stunts here till I gets back
wid meself, an’ if de Spaniels tries ter get out de bottle squirt de guns on ’em.”
“I’m on,” sez Winnie, an’ he giv’ me de wink, “if de farmers shows up I shoots.”
Den de Admiral he gits in his little ya’t an’ sails off. Winnie den piped up de
grog all eround, an’ de game went on ag’in. I aint much stuck on de game de
navy push puts up, it’s on de squar’, an’ so I set dere gappin’ an’ feedin’ me
face, while de boys plays. All of a sudding I seen over dere where de guy
Hobson sinked de Merrymac some smoke. I wunk t’ meself, but didden say
nothin’ to break de boys up, but soon Winnie Schley looked up an’ seen it.
“Hully gee!” he yelled, “de blokes is a-chasin’ out,” an’ he grabbed a bunch o’
flags an’ did de signal act o’ his life. He worked dose flags till he looked like a
skirt dancer. De udder ships looked like a back yard wid de clothes-line full of
red-flannel shirts from de wavin’ de guys put up. “Git dem guns loaded,” yelled
Schley, “yuse blokes look lively, dere.” Boom! busted out one o’ de big guns,
an’ de noise it knock de win’ outten me works. It hit de Spaniel an’ turned him
bottom upwards; when he come up ag’in he shot his gun at us, but it wuz half
a mile too high. Schley he rung out de joyous laugh. “Dere optics aint no
good,” sez he, den he lets anudder ball go at him dat went clean t’rough him
an’ hit anudder ship two miles off an’ sunk it in a minnit. Den up comes
anudder Spaniel, an’ I seen⸺’”

“The steering gear is a little rattled: a puff of wind blew a lock of Mate
Fuzzie-Wuzzie’s hair into the wheels, and instantly the vessel swung round.
The engine was stopped, and in the excitement that ensued, a case of
champagne was almost lost overboard. We had to run backward for a mile
and a-half to disengage Fuzzie’s hair from the machinery. Fuzzie has been
reduced.”
 “Spike’s interest in the war has grown to be a matter of serious
inconvenience to all on board. He has literally covered the yacht with
Military
and
Naval
cartoons.
The boat will certainly have to be re-painted. This morning he came on deck
with a drawing he did sometime during the night, which represents Uncle Sam
admonishing Spain to stop kicking the “yaller dorg”—Cuba. It’s not half bad,
but his claim of it’s being the best yet made on the war is a little strong. He
has been so busy admiring it all day he has not thought to make any others—
and we have had time to breathe.”
 “We
came
to
anchor
this evening near the wreck of the “Two Sisters,” in the vicinity of which—on
the shore—was situated a dog-pound, containing some two hundred canines
awaiting execution.... We enjoyed a night of delightful rest.”
“The Skipper went out on his bicycle gig to take a survey of the harbor, but the
roadway was running so high he found it difficult to make any headway,
and had to return to the yacht.”

“Curly has been pronounced unfit for the duties of an able-bodied seaman,
and has been handed over to the Duke for treatment. It is suspected he is
afflicted with some curious, and hitherto unknown, form of love. Yesterday the
Duke administered a very carefully prepared shrimp salad, but it failed utterly
to bring about the desired results. He’s still very pensive, and seems to wish to
be alone. Grave symptoms indeed. Ever since our last visit ashore, when he
was seen walking through the fields with a tall, willowy creature of undeniable
attractiveness, he has been very dejected and apathetic.

We shall
try
keel-hauling
as a
last resort,
—but trust it will not be necessary.”
 “The last glimpse of the glorious old Bay, and the last day afloat. The cruise
has been one of continuous delight, but we can not but regret the end has
come, and we must tread the bricks of uninteresting streets instead of the
swaying deck of the Rita. But, as Bill Weatherbones would say, “Wot’s de
use? Man aint born to be happy,
—an’
dats
straight.”

THE END