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HARVARD
COLLEGE
LIBRARY
PRACTICAL INTRODUCTION
TO THE
A
STUDY OF JAPANESE WRITING
TtY
1899
\_All ri'/hls reserved]
H D
UNIVERSITY
LIBRARY
PREFACE.
whose useful counsels and unremitting care the work could hardly have been carried to a
successful issue.
Should any Chinese scholars—we mean Europeans versed in Chinese— honour the book
with their notice, they will, it is trusted, remember that its object, so far as the Chinese
characters are concerned, is to teach the way in which tliese are used bif the Japanese. Other
wise, to whatever real shortcomings it may possess they will add sundry imaginary ones, as
tlie signification given to a considerable number of characters varies in the two countries, just
as many English words borrowed from the French no longer retain exactly their French
moaning. Purists even in Japan may censure the treatment of certain other characters, with
regard to whose orthography usage varies. Giles, in the preface to his great Chinese-English
Lexicon, avows his inability to adhere consistently to the " correct " forms. The forms in
Williams vary according to the font of type employed ; and in such a favourite native
^pt^ -^ M^i^LM
Japanese dictionary as, for instance, the 'faf —1^ £=• KWAI G^OKU-HEN, forms "correct"
and "incorrect" of the same character jostle each other on the same page. Usage thus
vacillates, and we have doubtless vacillated with it. If there is error in this, it is an error
to which Japanese writers and printers at large must plead guilty. In any case, the question
is not one for beginners to plunge into. It is a curious detail, best left as a bone of con
tention to purists and lexicographers.
With these acknowledgments and explanations the compiler sends forth this Inirodwtion,
—the result of much thought and labour, —in the hope that it may safely lead honest and
laborious students through the maze of the most intricate system of writing now extant upon
our planet. Suggestions and corrections will be welcome at any time.
I'AOE
Preface. ............ v
SECT. I. INTRODUCTORY REMARKS. ....... 3
SECT. II. ON SOME GRAMMATICAL PECULIARITIES OF THE WBITTEN LANGUAGE. 13
SECT. III. PRELIMINARY EXERCISE IN THE Hirugcma SYLLABARY. . 29
SECT. IV. FOUR HUNDRED OF THE COMMONEST CHINESE CHARACTERS AR
RANGED AS WRITING LESSONS WITH READING EXERCISES
ATTACHED. ......... 39
SECT. V. ON THE STRUCTURE OF THE CHINESE CHARACTERS. . . 103
SECT. VI. A TALE OF THE (IOOD OLD DAYS. ..... 143
SECT. VII. MORE ABOUT THE Kana. ...... 185
SECT. VIII. PROPER NAMES 223
SECT. IX. ADVERTISEMENTS AND NEWSPAPER CLIPPINGS. . . . 247
SECT. X. EASY PIECES BY CONTEMPORARY AUTHORS. .... 29fl
SECT. XL ODDS AND ENDS 3»>7
SECT. XII. THE EPISTOLARY STYLE. 40!)
Postscript .. . 448
INTRODUCTORY REMARKS.
FIRST SECTION.
INTRODUCTORY REMARKS.
It is no doubt possible to loam to talk any language without acquiring its
written system. Thousands in every land speak their native tongue fluently who
are entire strangers to letters. At the same time we feel, in the case of English for
instance, that there is somehow a great gulf fixed between him who merely speaks
by ear and the man to whom tradition reveals the whole past and history and inner
life of our language through the more certain channel of the eye. We should not
even allow that a foreigner really knew our language who should jot it down in
some private and particular notation of his own. We expect him to learn our
orthography, and in short to write English as the English write it. That our
orthography is cumbrous, unscientific, self-contradictory, has nothing to do with the
matter :—it exists, and not to know and practise it is to lack the better half of an
English education.
Now similar considerations apply to Japanese with even greater force. To a
very considerable extent the written system here is the language,—the language
itself and the way in which the natives write it being indissolubly linked together.
True, the introduction of a Romanised transliteration possesses great utility for
foreign students. Many of us hoped at one time to see such a transliteration adopt
ed by the Japanese themselves, and worked hard with that object in view. Ro-
manisation would have served two worthy ends :—it would have vastly simplified
the task of all learners, whether native or foreign, and it would have brought
the mass of the Japanese people into closer relations than is now possible with
the mental habits and the literature of the West. As a matter of fact, the
efforts of the ROMAJI KWAI, or " Romanisation Society," failed completely, as did
also those of the Kana no KWAI, a more narrowly patriotic association started
with the object of substituting the exclusive use of the Kana syllabary for that
of the Chinese character. Neither Japan's signal victory over China in the war
4 FIRST SECTION.
of 1894-5, nor her previous abandonment of Chinese philosophical and other ideas
has affected by a hair's-breadth her dependence on the Chinese written language.
On the contrary, Japan continues to draw from Chinese sources almost every new
term needed for the representation of European things. " Savings-bank," " pro
missory note," " currency reform," " current and deposit account ; " " vaccination,"
" anesthetics," " antiseptic," " hypodermic injection ; " " electoral district," " order
of the day," " standing committee," " previous question ; " " breechloader," " iron
clad ; " " church," " bishop," " sacrament," " predestination,"—well-nigh every
technical term required in every new branch of knowledge is obtained by com
bining two or more well-known Chinese vocables into convenient, self-explanatory
compounds ; and with this ever-increasing multitude of Chinese words, the empire
of the Chinese ideographs becomes riveted more and more firmly as the years roll
by. At the present day, the system of writing employed by the Japanese people
remains essentially the same as it was a thousand years ago, namely, a mixed sys
tem founded on the Chinese ideographs, which are used partly in their full form
with their proper ideographic signification, partly in abbreviated forms having
phonetic values and constituting syllabaries to which the name of Kana has been
given. The most important of these Kana syllabaries is the Hiragana. The Kata-
kana is less widely known.
It seems advisable to state the case thus clearly at the outset, in order, by
disembarrassing students' minds of erroneous notions, to prepare them to face their
real task. Some worthy folks, while compelled to allow the insufficiency of mere
Romanised texts, go on clinging to the belief—shall we rather say the desperate
hope ?—that if they learn the Kana they will have done their duty, that the Kana
is in fact the Japanese written system, that to know the Kana is to know how to
read and write Japanese, and that either the Japanese nation will end by adopting
the Kana as the sole and exclusive national method of writing, or that they may
do so, or that they might do so, and in any case that they ought to do so, because
then things would be so much simplified, and every one would able to learn Jap
anese easily and live' happily ever after.
Good people, you are deluding yourselves, or others are deluding you. The
Kana does not suffice, the Kana by itself is not the Japanese written system, but
only the least important fraction thereof. As for its imaginary future triumph over
the Chinese characters, recent actual experience and all theoretical probabilities
INTBODUCTOBY BEMABKS. -r>
point directly the other way. Besides which, it is not the future that practical
students have to deal with, but the present. Even allowing, for the sake of argu
ment, that foreigners imperfectly acquainted with a language are qualified to pro
nounce judgment on the fitness or unfitness of its written system,—even allowing
this, and it is allowing more than reason herself will allow,—what then, so long as
the natives continue to write on as heretofore ? Anglo-Saxon students should
surely—of all people in the world —be practical. Now this fiddle-faddling with
the Kana is not practical. Not only every popular book, every important news
paper, every official notification, but every private receipt, every estimate, every
play-bill, every advertisement, every letter, even every post-card sent by your
cook or " boy " to his people at home, every written document of every kind con
nected with the life and work of the whole people of Japan, individually and col
lectively, has the Chinese character as its basis. It is all " Mixed Script " (Kana-
majiri), that is, a backbone of Chinese characters with Kana ligaments. And do
not come and tell us—as if they constituted some startling new factor about to
revolutionise Japan—of booklets in Kana or in Roman, which you have lighted
upon in some nook or corner. Such things exist,—have long existed ; but they
possess, for all practical purposes, about the same importance (or unimportance) as
the " Fonetik Nuz," or those English treatises on " Little Mary and her Lamb " and
cognate topics which sometimes drip from the press in words of one syllable exclu
sively. This being the state of the case, any missionary whose attainments are
limited to the Kana will inevitably figure as the intellectual inferior of the meanest
of his flock,—a position not calculated to assist him to gain influence or respect.
In the British and German Consular Services such considerations as these have
been acknowledged and acted upon from the earliest days. The same apply, more
or less, to all European students of the language. If they are to learn Japanese at
all, why not learn it thoroughly ? After all, very dull Japanese boys succeed in
learning the characters perfectly. Then why should not we do so ? The path
though arduous, is really less so than appears at first sight, and all sorts of in
teresting episodes are sure to occur to engage the attention and lessen the fatigue
of him who has the courage to travel along it. Recognise the difficulty, face it
honestly, work hard, and you will be rewarded by a knowledge genuine so far as
it goes, instead of a messy a pen pres.
A few words to explain how and why the 2,350 Chinese characters
G FIRST SECTION.
comprised in this manual were chosen,—why just those and not others—may be
here in place. The Chinese language is said to contain over 80,000, if all rare and
antiquated forms be included in the count. The celebrated " KOKI JITEN " dictionary
registers about 41,000, exclusive of duplicate forms. Dr. Wells Williams's, which
is founded on it, has over 12,000, and Giles's over 13,000 including abbreviated
forms ; but the last named lexicographer remarks that a font of 6,000 suffices for the
printing of a Chinese newspaper, and is moreover " an ample stock-in-trade for any
scholar." In Japan the stock-in-trade ample for a scholar is less. The European
reader might be apt to think that new characters have to be invented for the
representation of new foreign ideas. Such is not the case. All that is invented is
new combinations of characters, as mentioned above, that is, new compound words.
The tendency is rather to let rare characters drop out of sight, and to do new work
with familiar tools. Nor is it only rare characters that are here discarded : —scant
use is made of some which the Chinese employ familiarly, though it is also true
that the Japanese specially patronise certain others, and have even invented a
few of their own to represent words having no Chinese equivalents. These con
siderations mar the usefulness, so far as Japan is concerned, of certain statistics
taken by foreigners in China regarding the relative frequency of the recurrence of
characters,—statistics whose general utility is further gravely impaired by tho
fact that translations made by foreigners or under their supervision,—not genuinely
native works, —were taken as the basis of enquiry. In this dilemma, the only
thing to do was to look about for more trustworthy guidance on a matter of such
paramount importance to practical students. Enquiry at Tokyo printing-offices
then showed the maximum number of characters employed in this country to be
9,500 ; but of these, over 3,000 arc extremely rare, serving the needs of such
writers only as affect archaic and poetical diction. The number kept on hand in
all the usual varieties of size and " face " is 6,100 ; but this again must be regarded
as a maximum, an abundantly liberal limit stretched so far only by precaution, in
order to meet the multifarious requirements of commercial, legal, medical,
administrative, and other technicalities, but never attained to in the practice of any
one writer or even in the knowledge of the general public. Scholars carry over 4,000
characters in their heads, tho general public about 3,000. One thousand characters,
which the experience of forty years has proved to recur with special frequency,
are kept by the type-foundries in larger quantities than the rest ; but a few
INTRODUCTORY REMARKS. 7
additional hundreds on the boundary line- run them hard in the race, and same 800
or 900 more form a needful acquisition. This gives a reduced total of about
2,350 common characters with which students must familiarise themselves, whether
their ultimate object in learning Japanese be mission work, diplomacy, commerce,
or learned research. Just these 2,350 indispensable characters are here brought
before their notice, with explanations thrown in occasionally to case the drudgery
of memorising. A few— a very few—characters of a lower degree of usefulness
may be distinguished by a keen eye among the number. But there is method even
in this madness. Such characters are brought in because they help to explain
others of greater importance/'1 the total result of their introduction being to lighten
the learner's task. The same end is sought to be attained by varying the method
of tuition, a certain number of characters being given singly, others apropos of
certain subjects, such as the study of the radicals or of proper names, others again
in connected texts, which might themselves—in part at least— be committed to
memory, both as a lesson in characters and in Japanese style.
Now with regard to the method of using this manual. The Section on the
Grammar of the Written Language is made necessary by the considerable differences
dividing the written from the spoken speech,—differences which affect both
etymology and syntax. Read this section over first, in order to obtain a general
idea of the subject, and thenceforward consult it from time to time as occasion
offers. You will thus be prepared to understand the Exercises attached to Sections
III and IV and the Extracts from native authors given later on, which are intended
to serve as practice not merely in the characters, but in that form of the Japanese
language which those characters are habitually employed to transcribe.
Section III treats shortly and in a purely practical manner of the Iliragana.
Technical discussions concerning the origin and development of that syllabary, useless
to the beginner, though highly interesting and instructive to the more advanced
student, are reserved for a later section. So is the Katakana, whose utility is far
inferior. With Section IV preliminaries are left behind, and the Chinese characters
are attacked.
The student is strongly urged to take all these and the succeeding sections
* For instance, the doggerel verse introduced apropos of the name of the " camellia " and other useful names of
trees (Nos. 1322-6) happens to include the hisagi, for \vhicli tbere is little or no need; but in such a context it is actually
easier to learn that character than not to learn it.
8 FIKST SECTION.
in the order in which they are printed,—this not only because the method of
compilation followed presupposes in the reader of each section a knowledge of
the contents of the preceding sections, but because the nature of the subject-
matter itself is best understood and assimilated by such a course. Experto crede.
To endeavour to swallow all the varieties of the Kana at one gulp will give you
an intellectual indigestion :—time will be better apportioned, labour better
bestowed by taking them in detachments, the most useful forms first, and mixed
with the Chinese characters with which usage constantly combines them. Then
again the characters. Some beginners would fain learn their rationale, plunge
into radicals and phonetics and ancient forms,—into all sorts of theory in fact,—
before having laid any foundation in practice. This is totally wrong, and can
lead only to disappointment. Plain as it may come to appear later on, the
nature of the Chinese character is too remote from anything in European ex
perience to be clearly apprehended from mere external description. Practical
acquaintance with a certain number of characters, their sounds and uses, is a
necessary preliminary. Avail of memoria technica whenever it offers ; and
whenever possible, learn the characters in groups of two or three rather than
singly. A plan which has been found helpful by many is to have characters
written in a good bold hand on square bits of cardboard, of which a few can
always be carried in the pocket or stuck up about the room.
No directions are given in this work for the technique of calligraphy, because
no mere verbal directions can be of any use. The aid of a writing-master is
indispensable, and it is taken for granted that both characters and Kana will be
duly practised, native brush in hand. The pages of characters printed large are
given with that object. To write the various strokes in the order prescribed by
custom is a matter of vital importance, because that order has determined the
nature of the abbreviations used in the cursive style.
Notwithstanding great additional trouble to the printer, it has been con
sidered worth while to indicate throughout the volume whether the reading of
each character is Chinese or Japanese. This has been effected by putting the
native Japanese in Italics, the Chinese in small capitals, thus ICHI wo kiite, ju wo
shiru. Sometimes a single word may belong half to one language, half to the
other, as zoxzuru, tesiiKYo. The compiler does not advise students to trouble
themselves much about this matter at the outset. He only hopes that they may
INTRODUCTORY REMARKS. 9
Country trips will continue to be taken, comparisons between China and Japan
will continue to be instituted, and questions of morality to be discussed. Hotels
will always be advertised, patent medicines puffed, books reviewed, rewards
offered for lost articles, and chit-chat of much the same tenour will fill the
postman's bag. The letters and post-cards given in Section XII have all been
either actually received or sent, the names only being sometimes changed.
They are not imaginary productions, such as "Beady Letter-writers," both in
and out of Japan, are apt to deal in. The student's native teacher may not
improbably despise some of them as trivial or okashii. In the compiler's opinion
such little leaves, however humble, torn from the page of real life are more
likely to prove useful than high-flown effusions about the New Year, and the
cherry-blossom, and the virtues of ancient heroes.
In conclusion, as some guide to those who might wish to divide up the contents
of this manual into various " standards," the compiler would suggest that the first
standard should include Sections II—V, the second Sections II —IX (for the
earlier portions must never on any account be let drop), and the third the whole
book. Ability to read the cursive texts in Section XII might, however, be generally
excused, or considered as an extra feat for which spacial marks would be given. A
similar consideration applies even more strongly to the list of 1,600 extra characters
printed at the end of Section XI, which do not properly form part of the present
work, but are rather to bo regarded as a finger-post indicating the path to those who
sigh for more worlds to conquer.
SECOND SECTION.
(whence its name) the sentence, unless any of the disturbing influences men
tioned under I, III, and IV occurs to supersede it :—
Yama takashi, " The mountain is high."
III. The proper and original function of the Adverbial or Indefinite form is
that of predicate at the end of every clause of a sentence excepting the last, which
alone takes the Conclusive termination shL Thus :
Yama takaku, KIKO namulcu, JINKA " The mountains (of a certain country)
sukunashi. are high, the climate is cold, and the
human dwellings there are few."
It also serves to qualify verbs, as
Takaku miyu. " It looks high."
Hayaku hashint. " He runs quickly."
IV. The Perfect form replaces the Conclusive at the end of the sentence,
when the latter contains the highly emphatic particle koso : —
FUJI koso takakere, " It is indeed Fuji that is high."—This fourth form,
extremely common in the Classical poetry and prose, tends to drop out of the
Modern Written Language, which dispenses, as far as may be, with the use of
emphatic particles.
This, the first stage of inflection—the fourfold division into Attributive, Con
clusive, Indefinite (or Adverbial), and Perfect—must be gone over and reflected on
till it is quite familiar; for on it the whole superstructure of the conjugation of
verbs and adjectives rests.
Leaving Adjectives for a while, let us now consider the case of verbs. Exactly
the same theoretical considerations apply to them, but their terminations are
different. Take, for instance, the verb nagaruru, " to flow " (Colloquial nagareru).
This verb has
I The Attributive form nagaruru, as Nagaruru Ttawa, " a flowing river." Kawa
zo nagaruru, " The river does flow " (emphatic). Kawa ya nagaruru ? " Does
the river flow ? " Kawa no nagaruru ni yorite, " Owing to the flowing of the river,"
" because the river flows."
II. The Conclusive form nagaru :—Kawa nagaru, " The river flows."
III. The Indefinite (Adverbial) form nagare : —Kawa nagare, yama sobiyu, " The
rivers flow, and the mountains rear their heads on high." Nagare-izuru, "to flow
out," i.e. " to go out by flowing " (an adverbial relation).
GRAMMATICAL PECULIARITIES OF THE WRITTEN LANGUAGE. 15
IV. The Perfect form nagarure :—Kawa koso nagarure, " It is the river alone
that flows."
Though in the case both of adjectives and of the second conjugation of verbs
(to which nagaruru belongs) it happens to coincide with the Adverbial (Indefinite)
form, one more form must, for theory's sake, be added to the above four
fundamental forms, viz.
V. The Negative (or Future) Base. This never occurs as an independent
word, but is the base to which the suffixes indicating negation and futurity are
attached (con/. " Colloq. Handbook," If ^ 225, 227, 256). Negation and futurity
belong together, because both indicate that which has not yet happened.
There being in the Written Language four regular conjugations of verbs, four
irregular verbs, and two conjugations of adjectives, the inflections of which all
these are susceptible may be tabulated as on the next page.* The important items
to take note of with regard to this table are the following :—
That only the three Irregular Verbs kuru, sum, and shinuru (together with
inuru, " to depart," which is conjugated like shinuru),—that only these irregular
verbs have separate forms appropriate to each inflection. The llegular conjugations
are all more or less defective, the 1st, 2nd, and 3rd having each only four forms, the
4th only three forms to perform the five functions. In the 1st conjugation the
Attributive and Conclusive coincide, in the 2nd and 3rd the Indefinite and the
Negative Base, in the 4th the Attributive and Conclusive on the one hand, the In
definite and the Negative Base on the other. In aru, " to Be," the Conclusive coin
cides with the Indefinite. In the Adjective conjugations the Indefinite and the
Negative Base coincide.
That though it is usual in discussing words to speak of, for instance, nagareru,
takai, yoroshii, following herein Colloquial usage, no such forms exist in the
Written Language. Colloquial nagareru represents the Written Language Attri
butive form nagaruru, all such specifically Conclusive forms as nagaru having va
nished from the spoken speech. Similarly, Colloquial takai is from the Attributive
form takaki, Colloquial yoroshii is from the Attributive yoroshiki, the Conclusives
takashi and yoroshi being obsolete (but conf. " Colloq. Handbook," ^f^[ 178-9).
* This table and the following tables of particles ore burrowed by permission (with one or two minor changes)
from Mr. Aston's " Grammar of the Japanese Written Language."
16 SECOND SECTION.
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GRAMMATICAL PECULIARITIES OF THE WRITTEN LANGUAGE. 17
That the 2nd Adjective Conjugation comprises only those words whose stem
ends in shi or ji (the nigori of shi), as yoroshii, " good ; " mezurashii, " strange ;"
majiki, a suffix to be treated of later, etc. The difference between the 1st Adjective
Conjugation and the 2nd is that the former obtains its Conclusive by adding shi to
the stem, while the latter, whose stem already ends in shi or ji, employs that as its
Conclusive without adding anything. The penny-a-liners of the present day some
times display their ignorance by forging such Conclusives as yoroshishi ; but this is
as barbarous as if we in English, already possessing the past " threw " (from " to
throw "), were to add on " ed " according to the analogy of " loved," " invented,"
etc., and were to write " threwed."
U no mane sum karasu mizu ni oboru. " The crow that imitates the cormorant
gets drowned in the water " (sum, Attrib. ; oboru, 2nd Conj. Conclus.).
Sama-zama ari. " All kinds exist " (Conclus.).
Tagai ni ai-chikazuki, ai-shitashimu no kokoro-gake koso KAN-YO nare. " What is
indeed important to remember is that we should be friendly and loving towards
each other " (ai, Indef. ; chikazuki, Indef. ; shitashimu, Attrib. ; nare, Perf.).
TEN ni kuchi nashi. Hito wo motte iwashimu. " Heaven has no mouth ; it em
ploys men as its mouthpiece (both Conclus.).
Kuchi ni YAKUSUT-U wa moroku ; kokoro ni chikau wa katashi. " Verbal promises
are brittle ; heartfelt vows are enduring " (suru, Attrib. ; moroku, Indef. ; chikau,
Attrib. ; katashi, Conclus.).
Kono yo ni wa mata miru-maji. " In this world, at any rate, we are unlikely to
see him again (Conclus.).
From what has been said above, the student will have gathered that the
primary inflections hitherto discussed are—so far as signification is concerned—
but various forms of what would: be termed in European languages the present
tense. More correctly speaking, they constitute a sort of aorist, which serves
to make general affirmations without special reference to time. Such an aorist
does not suffice for the more delicate shades of expression. The Japanese, like
other folks, felt the need of greater precision. How, with so poor a supply of
inflections, did they set about expressing past and future time, negation, proba
bility, and those relations which we term conditional, gerundial, etc. ? They did
it by means of particles,—te-ni-wo-ha, as they call them, from the name of four
of the most important ones, much as we often call our alphabet the ABC. The
18 SECOND SECTION.
peculiarity of the case is that, while some of these particles arc invariable, like
" to " and " if " in English, others are themselves verbs or adjectives, or frag
ments of verbs, and therefore susceptible of the inflections given above. In fact,
they may best be described as a sort of auxiliary verbs and adjectives, which,
being agglutinated according to fixed rule to one or other of the primary
verbal or adjectival inflections, produce compound inflections suited to express
every shade of thought. When time had lopped away redundancies, and had
moulded the verb and its agglutinated particles together by wearing them down
somewhat, the final result was a series of moods and tenses not so very unlike
what we are accustomed to in our European languages. Accordingly the
"Colloq. Handbook" (^j 228 et seq.) treats the Japanese verb from that point
of view, giving paradigms of moods and tenses, that is, it founds the study of
the verbal forms on their respective Colloquial meanings. We shall here follow
the opposite course, enumerating the various particles, indicating to what
primary inflections they are attached, and in many cases leaving the student
to see for himself how the meanings flow spontaneously from the nature of the
suffixes employed. Between the two methods he should imbibe a competent
knowledge, not only of the uses of the Japanese verb, but of its origin and
anatomy. Details necessarily omitted from this sketch will be found in Aston,
Chaps. IV—VII. Note here in limine that particles are less freely agglutinated
to adjectives than to verbs. In many cases it is necessary to intercalate the
auxiliary aru, *' to be." Thus, the past tense is not yoroshiki, but yoroshikariki,
yoroshikarishi, etc. " it was good."
I. PARTICLES SUFFIXED TO THE INDEFINITE FOKM.*
This form'is here tixken first, because in this context it is the most important.
GRAMMATICAL PECULIARITIES OF THE WRITTEN LANGUAGE. 19
Tsuru is simply the verb hatsuru (Colloq. hateru), " to finish," minus its
first syllable. Its indefinite form te has survived in the Colloquial as the
termination of the gerund. Nuru comes similarly by aphseresis from inuru, " to
depart." Both indicate the completion of the idea denoted by the verb ; in
other words, they indicate (as a rule and within the limits of their etymological
signification) past time.
Taru, which is really a compound, as it stands for te + am, often comes
in a roundabout way to correspond to the English Perfect tense, or to the
Imperfect, thus :
YOKUJITSU futari wa TOJI ni tote, SHVTtatsu shitari. " The two set off next
day, saying that they were going to the mineral baths."
Ta, the sign of the true past tense in Colloquial, is a corruption of this
quasi-past tense suffix of the Written Language. [The tarn here treated of must
not be confounded with another standing for to aru, which is frequently suffixed
to nouns (" Colloq. Handbook," Japanese—English Vocabulary.)]
Keru, connected with kuru, " to come," means approximately " it came to
pass that," but often sinks into having very little meaning at all. It is
agglutinated sometimes to the main verb, sometimes to that verb followed by te or
ni (that is, the Indef. form of either tsuru or nuru just treated), thus :
Te wo awasete zo ogami-keru. " They prayed with their hands tightly clasped."
Aki wa ki-ni-keri. " Autumn has come."
Shi, a past tense suffix pure and simple, is commoner in the modern Written
Language than all those hitherto mentioned. It will be useful to note at the
outset that, whereas among the primary inflections of Adjectives we find ki for the
Attributive, shi for the Conclusive form, here in the suffix of the past tense shi is
Attributive and ki Conclusive. Thus :
ATTBIB. ADJECT. Omoshiroki hanashi, " An amusing story."
CONCLUS. ADJECT. Sono hanashi omoshiroshi, " That story is amusing."—But
on the contrary in the case of verbs, thus :
ATTRIB. PAST. Yukishi hito, " The person who went." Yo wakakarishi toki,
" When I was young."
CONCLUS. PAST. Omoshirokariki, " It was amusing."
To employ shi instead of ki in 'the Conclusive relation, as may sometimes be
seen in the lowest class of newspapers, is a sign of crass grammatical ignorance.
20 SECOND SECTION.
Meru and ran both express slight uncertainty. Han stands by aphaoresis for
aran (Colloquial arO, from aru, " to be.")
Beld (conf. " Colloq. Handbook," ^[ 192) corresponds to our " may," " must,"
"ought," "shall," "will," and constantly replaces both the future and the
imperative, especially in the epistolary style. Its negative bekarasu, " must not,"
" shall not," etc., is in very common use. Majiki means "may not," "will not,"
" must not," etc.
Of uninflected particles suffixed to the Conclusive form, note rashi, "
is likely," kashi emphatic, na which sometimes forms the Negative Imperative, to
corresponding to the English conjunction " that," and ya interrogative or
exclamatory.
This naru means " to be." A favourite idiom is the substitution for the
Conclusive verb or adjective of a periphrasis consisting of the corresponding
Attributive form followed by nari, e. g. aru nari, for ari; bekarazaru nari, for
bekarasu ; yoroshiki nari, for yoroshi ; miru nari, for miru, etc.
Na is more often suffixed to this form than to the Conclusive to produce the
Negative Imperative. Ni (see "Colloq. Handbook," ^[ 107, for the difference
between ni suffixed to the Indefinite, and the same word suffixed to what is here
termed the Attributive, there the Present Tense).
Of interrogative particles, Ka is suffixed to the Attributive, whereas ya, as
noticed above, follows the Conclusive.
nu zu zu ne zu
zaru zari zari zare zara
n or mu n or mu n or mu me [wanting]
mahoshiki mahoshi mahoshiku mahoshikere mahoshiku
Nu is the Negative suffix. Zaru is but a periphrasis for the same, standing as
it does for zu aru. N is the suffix of the future, or—to speak more correctly—of
probability (" Colloq. Handbook," fl 273).
Mahoshiki is a Desiderative Adjective, like taki already mentioned. It is
derived from ma, the obsolete negative base of the future suffix n, and the
adjective hoshii, " desirous," which survives in the Colloquial.
Some important uninflected particles are suffixed to the Negative Base, viz.
22 SECOND SECTION.
ba, de, and ji. The particle de forms a Negative Gerund, ji a Negative Future.
For ba, conf. " Colloq. Handbook," flfl 254 and 287- The sensible difference in
meaning between the Negative Base followed by ba which gives a Hypothetical
Mood, and the Perfect followed by the same particle which gives a Conditional,
is well brought out by Aston, pp. 155-8. Baya (ba+ya), suffixed to the Negative
Base, has an Optative sense.
V. PAKTICLES SUFFIXED TO THE PERFECT.
This suffix, a fragment of aru, " to be," is found only in connection with
verbs of the First Conjugation, where it forms a tense to which Mr. Aston has
applied the same name of Perfect. In sense it resembles the English perfect,
denoting, like it, the completion of an action. Suru has the irregular Perfect
tense seri :—
le ni kaereri. " He returned home."
Hito mina kore wo KANSHIN seri. " Every one admired this."
Nochi no yo no hito no kakeru mono miru ni, " In reading what men of a
later age have written."
Do not confound these First Conjugation Perfects with the present tense of the
second conjugation. The likeness in sound is never more than approximate, and
there is necessarily always divergence in sense :—
ZEN wo osamuru mono, " Persons who practise virtue." (The Conclusive
would be osamu).—Mazushiki wo wasururu koto nakare, " Forget not the poor."
Two important uninflected particles are suffixed to the Perfect, viz. ba
mentioned above, and do (for to) or domo (i. e. do+mo) which gives a Con
cessive Mood, as in the Colloquial.
Aru, "to be," takes the suffixes proper to the Conclusive form, not after its
Conclusive ari, but after the Attributive aru, thus aru-beshi, aru-maji. The
same remark holds good of the suffixes keru, taru, zaru, meru, and naru.
Kuru, " to come," often takes shi and shika (only these two, not the others
of the same series) after the Negative Base ko, thus koshi, " came," as well as
kishi.
Suru, "to do," always takes these two same suffix forms after its Negative
Base se, thus seshi, " did," whereas the corresponding Conclusive shiki, " did,"
follows the general rule.
The Imperatives of the various classes of verbs are formed as in the follow
ing examples :—
1st Conj. oku, " to put ; " oke !
2nd ,, nagaruru, "to flow;" nagare-yo !
3rd ,, ochiru, " to fall ; " ochi-yo !
4th „ mini, "to see;" mi-yo !
aru, "to be ; " are !
kuru, " to come ; " ko ! or ko-yo !
Irregular ,
suru, " to do ; " se-yo !
shinuru, " to die ; " shine !
As all Passives and Causatives belong naturally to the 2nd Regular Con
jugation ("Colloq. Handbook, ^[ 303 and 325), the Written Language form of
these two classes of verbs differs from the Colloquial exactly to the same extent
as do other verbs of that conjugation. Thus Colloquial okareru, "to be put,"
and okasern, " to cause to put," appear as follows in the Written Language :—
Suru, " to do," has two causatives, sasuru and seshimuru. The analogy of
this latter may be followed by other verbs (" Colloq. Handbook," ][ 326).
Reference to the " Colloq. Handbook," fflf 304 and 325 N.B., will show that
the Passive and Causative terminations are themselves suffixes of verbal origin,
24 SECOND SECTION.
Or take the verbs in the following ode from the " HYAKU-NIN IS-SHU : "—
N. B. An anthology of one hundred odes by one hundred poets, dating from the
thirteenth century. The compiler was a Court noble (KuQE) of the name of TEIKA KYO.
The striking peculiarities that distinguish the Verb and Adjective in the Written
Language from the Colloquial Verb and Adjective having been thus disposed of,
there remains little to be noted with regard to the other parts of speech.
The Personal Pronouns most in use are :
1st. person :—ware, YO ; also soregashi (lit. " a certain person " ), SHOSEI (lit.
" small born." i.e. " junior "), SESSHA (lit. " awkward person ") ; SHIN (lit. " subject "),
when addressing the Emperor.
2nd. person :—nanji, kimi (" prince ").
Among the Interrogative Pronouns, some earlier forma have been retained
which the Colloquial has corrupted, viz.
26 SECOND SECTION.
00 Z
CD
ZJ
I
* m
x
m
H
ffi
sr CD r 5
H
o
H
m
•H.
B M
fc
?
^
I
rn
C/3
W
O
^ & H
J* CD
^ £
§
HH
O
CD O 3
CO
r
r
O
P
DO
30
n 0*
CD 3
30 THIRD SECTION.
This, like all Chinese and Japanese writing, must be read from top to
bottom and from right to left. In reciting the Hiragana, it is usual to make a
slight pause after each group of seven signs, thus, i ro ha ni ho he to, — chi ri nu
ru (w)o wa ka, — etc.
Except perhaps in the postposition wo, the sign <£* has come in modern
times to be pronounced simply o, like the sign 7^ further on hi the syllabary.
Similarly fo (wi) is now confounded with (/\ (i), while 2» (properly we) and
<y2 (properly e) are both pronounced e (but ye if another vowel precedes).
The Hiragana is a syllabary, not an alphabet, that is to say that our European
analysis of sounds into vowels and consonants was not reached by its framers.
For instance, take the syllable ra. We are accustomed to look on it as a double
sound compounded of r+a. Here it is considered a simple, indivisible unit;
and those Japanese who have not specially occupied themselves with phonetics
do not perceive, as we do at a glance, the intimate relation of ra to, say, ro on the
one hand through its consonant, and to ka on the other through its vowel.
N final is the only consonant for which a separate Kana sign exists.
The name, origin, and peculiarities of the Hiragana will be explained in a later
Section. The easiest plan for the beginner is just to accept the symbols as they
stand, committing them to memory as best he may. There is no royal road, es
pecially at this initial stage. Memory pure and simple must be called into action.
N. B. ~*C (k) should be easily remembered by its likeness in shape to our letter T.
If similar artificial aids can be found for any other of the Kana signs, so much the better.
Foreign students need not aim at reading or writing connected texts in
Hiragana, as the Japanese themselves rarely write or print such. The normal
use of the syllabic signs is to indicate particles (postpositions), popular interjections
and onomatopes for which no ideographs exist, and the grammatical terminations
of verbs and adjectives, as instanced throughout the texts printed in the present
work, that is to say, they do not constitute a complete, independent system of
writing, but are ancillary to the Chinese characters, indicating how the latter
should be read in particular contexts.
Pending this their proper use, practise the three reading lessons in Kana
given below, carefully noting such exceptional cases as the postposition wa written
(not fo but) ^ Japanese orthography, though less lawless than English,
offers many unwelcome irregularities.
PRELIMINARY EXERCISE IN THE HIRAGANA SYLLABARY. 31
ki { ku \fj ke
ga ^ gi <J gu \ff* g* C 9°
> ,. ^ v^ rr
sa iL^ sin 7M SM -*t**— se ') so
V
D* • *~¥* "\*f*
Jl «(" SU -^ 2«
rfa ^ ji
Aa ^ hi fu ~^ he ho
ba £K bi £ bu ~H be \fc bo
\ Pu ^\ Pe Wt° P°
Many writers and even printers, however, seem to consider these diacritical
marks in the light of a counsel of perfection, and continually omit them. The
reader must accustom himself to supply them mentally. He must also mentally
supply punctuation and the breaks between words. The only marks of punctuation
consistently employed are a dot and a small circle, thus » or o , which serve to
separate periods or paragraphs. Sometimes the beginning of a section is indicated in
the same way, and separate items are indicated by the character —. , "one."
Other marks of occasional use, especially in newspapers, are dots at the right
side of characters for the sake of emphasis like our italics, and parentheses
32 THIRD SECTION.
used not only as such, but as an equivalent of our quotation marks. Take it
altogether, such punctuation as exists has little importance, little fixity, and
should not be relied on.
When a syllable is repeated, it is not written twice. The repetition is indicated
by the sign ^ placed below the Kana character. The repetition of two or more
syllables it indicated by the sign
.
f < & o t it
fc
3' L
TRANSLATION.
In. Of. Towards. (Sign of nominative.) Also. (Sign of interrogation.) Till.
(Emphatic accusative.) (Emphatic particle.) That. To be. Is considered. (A verbal
termination). However. Is considered. Having done. Must not. Must not. Must.
(Emphatic.) In. Even than. There is. All that there is. Only. Thing. When.
To be done. Having been done. Probably is. Must do. To cause to do. Having
caused to do. He says it is a thing that must be done. May obtain.
Onomatopes for yelping, glittering, dullness, slowness, lounging, barking.
Roast potatoes. (The name of an edible root). A dish made of KONNYAKU and
soy or bean sauce. House to let. Milk for sale. Resting-place. Yedo House.
Ebisu House. Izutsu House.
Bean curd. Macaroni. Pure buckwheat. Tobacco.
Bruises. Bone-setting. Shampooing.
REMARKS.
Ye. This postposition is written he,—an inheritance from ancient days,
when it was a noun he meaning " side." Similarly the postposition wa stands
for ancient ha, and is still so written. (" Colloq, Handbook," ^ 421.)
Bekarazu. To be always thus read, even when the Nigori mark is omitted,
as hero in tho second instance.
Tada. Observe the Nigori mark printed with the sign of repetition, to
show that the reading is tada, not tola.
lu, " to say," is written i + fu, the consonant " f " becoming, as we
should say in European languages, silent.
Kyan-kyan. Observe how kya is represented by means of the two syllables
ki + ya. Though Japanese pronunciation discriminates sharply between / _^
such cases as kya and kit/a,—the former clearly monosyllabic, the latter
dissyllabic,—the Kana writing supplies no means of marking the distinction.
Thus i-sha, " a physician," and ishi-ya, " a stone-mason," are both written
34 THIRD SECTION.
alike ; but the confusion is little felt in practice, from the fact of all substantives
and other chief words being commonly written with Chinese characters.
Yaki-imo, etc. These notices of a word or two in Kana will often be seen
written up in the streets for the benefit of the ignorant classes.
Edo-ya, etc. This example and the next two are names of shops. Such
are often written up in Chinese characters on one side of the shop front, and in
Hiragana on the other. Somewhat similar is the case of articles advertised for
sale, as instanced in the last paragraph but one of the lesson.
Notice the long o of TOFU expressed by means of the two Kana signs
£ + ^ . RYO just below is jfy, + ^
UNDON, always so written, is generally pronounced UDON.
SECOND READING LESSON IN THE HIRAGANA.
Forty-one Proverbs, of which the student will find the transliteration and
translation in the Practical Part " of the " Colloq. Handbook." They are
there given in the order of the Roman alphabet, but here in that of the
Japanese syllabary from //> (i) to ^ (su).
ft
-9
HT <
11 (^ ' i-
& ft iii * 5 i* L
L ^ ») t> 5 fe * t
PRELIMINARY EXERCISE IN THE HIRAGANA SYLLABARY. 35
h 353 ft & & fr fr t> fr
R L <T> ft L 4 & * 4 t -- 3 ZA & 3" 72
£> f> 5 ti (7) 5 £ ;>' R R
72 5 f *> 3 £r ^i
-9f © t^t 3 HT
•fe It fr ^K
ia
' 5
li
3
T f 72 5 L
5 RA^ t
^
4
4 lit L tt L ^ ' fc
' 72
^
(7)
4 A-
R -e R
36 THIRD SECTION.
3
*• ' A-
t
LA,
5o 9. *>. ' »j?
*
£ I <9
L
TRANSLITERATION.
H1TO-KUCHI-BANASHL—Michi no Iwtori ni fiitari no ROJO ari.
Ai-tomo ni michi wo yuzuritc, iwuku : " Natiji no tosJii wa, ikutsu to ka
sum?" Iwukii : " SHICIH-JIJ miri." Toil, »ioit,o no iwaku : "Ware ima
ROKU-JU-KU nar't. Sureba, MYUNEN uaiyi to oiiajl toshi nai'ii-bcshi"
TRANSLATION.
AN" ANECDOTE.—There were two old women on the side of a
road. Each having pressed the other to go first, one of them said :
" The years of your age, —how many do you make them ?" The other
replied: "I am seventy." The asker of the question said : "I am
now sixty-nine. So next year I shall be the same age as you."
FOURTH SECTION.
FOUR HUNDRED OF THE COMMONEST
CHINESE CHARACTERS ARRANGED AS
WRITING LESSONS WITH READING
EXERCISES ATTACHED.
WRITING LESSON.
Always write (and read) from top to bottom and ft*om right to left,
beginning at top of right-hand column.
16 11
17
w 12
18
*± 13
19 14
ffi -5 1L 15 10
-t
40 FOURTH SECTION.
TRANSLITERATION. —1-14. ICHI, NI, SAN, SHI, GO, ROKU, smciii, IIACHI, KU,
JTJ, HYAKU, SEN, MAN, MAN. 15-16. JlTSU GETSU Ol' M tsilki. 17-18. MEIJI.
READING LESSON.
k - ft- f ~ •— • * •— • *
I- fifflr . •*
. — _ _ Q f-\
I H y\ -I- 0o " f-t
o
H 1 - r • _ - • BJ
- o 00 « A r
A
TRANSLITERATION.—ICHI-ROKU. SAM-PACHL NI-SAN. JD-SHICHI. Jc ni HAK-KU. IP-PYAKU.
MEIJI HOJI-NEN ? SAM-BYAKU EOKU-JC-GO-NICHI. MAN-ICHI. NEN-GETSU or loshi tsuld. Tauki-hi
or GwAP-pj. MEI-JI Ni-jC NI-NEN NI-GWATSU JD-ICHI-NICHI. Futsuka. Mikka. Toka. MYONICHI.
HACHI GWATSU mmka. Ni-JC yokka. SEM-BAX. SAN-JU-NI-NEN. Hatsuka yori misoka made.
Milsu yotsu. HYAKU-MAN.
TI-.ANSLATION AND NOTES. —The ones and sixes of the month. (In the earlier part of the
present reign, before the adoption of the European week, the ICHI-ROKU was instituted as an
official holiday in unacknowledged imitation of our Sunday.) —The threes and eights of the
month.—Two or three. —Seventeen. —Eight or nine out of ten, or in almost every case.—A
hundred. —What year of Meiji ?—Three hundred and sixty-five days.—A myriad to one, or if
unexpectedly.—Years and months.—Read tsuki-fii, months and days ; read a\VAP-pi', date.—The
llth February, 1889 (the day the Japanese Constitution was promulgated). —Two days, or
the 2nd of the month.— Three days, or the 3rd of the month. —Ten days, or the 10th of the
month. —To-morrow. —The 6th August. —The 24th of the month.—A thousand myriads, or very
much.—The 32nd year (1899).—From the 20th to the 30th of the month.—Three or four.—A
million.
Such instances as ICHI-ROKU, misoka, GWAP-/H', and the familiar MYONICHI in the above may
erve to show how many words which the student would hardly have expected to meet so soon,
are written by ringing the changes on a few simple characters.
FOURTH SECTION.
36 31 26 21
37 32 27 22
38 33 28 23
39 34 29 24
40 35 30 25
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS. 43
LESSON.
< A° na
,
in "
, _h * ..! A
A JH <f) « p
B '*, £ f ° « ^ ± A A
L^-
46 41
52 47
58 53 48 4:',
59 54 49 44
(JO 55 60 45
46 FOURTH SECTION.
TRANSLITERATION. —41 —5. sui, KWA, MOKU, KIN, DO, or mizu, hi, ki, kane, tsuch!. — 46.
Yamn. —47. Kawa.—iS. Ta. —49. HON or moto.—50. HAN. —51—4. TO-ZAI NAM-BOKU, or
higashi, ni$h!, minaml, kila.—55. Uana. —56. Cldkara. —57—8. GYU-BA. — 59. Kui'i. —60. Sono.
TRANSLATION AND NOTES. —41 —5. Water, fire, wood (tree), metal, and earth, i. e. the five
elements. Kemember yl^ by its resemblance to a tree, and —fr* by the two horizontal
strata with something growing out of them, which appropriately represent " earth " or " soil "
to the mind's eye. A dot is often added to the character for "earth," thus —I* or ^fc
— 40—8. Mountain, represented by three peaks ; river, whose three lines depict running
water ; rice field,—the cross-lines representing the dykes between field and field, a familiar
feature of Chinese and Japanese scenery. —49. Trunk, origin, also book, formed from yT^
"tree," by the addition of one line. — 50. Half —51 —4. East, west, south, and north Exa-
rl
mine HI " east," and you will see that it represents the sun (No. 15) rising behind a tree
(No. 43). " North," the chill inhospitable quarter, shows us (more or less imperfectly) two men
back to back.—55. Flower.—56. Strength.—57 —8. Cattle and horses. Observe the former's
horn.— 59. Ice, —the same as water, plus a dot. —60. That (Latin iste).
READING LESSON.
)\\ Ul t * ft UJ K % T ft 3- A
)\\ v K K ° n ii n
77 -
At ffl ° <f) vt M A ff) ±
TRANSLITEKATION. —HONGETSU. HANNICHL SEN-KIN. SAN-SUI. Kari-mizu. NIM-BA. TAIBOKU.
~Dote. TO-ZAI NAM-BOKU, or higashi, nishi, minami, kita. Hanabi. Sono ki no sliila ni (or moto
ni) kodomo fatari mii/u. BAKYOKU. Higashi ni ka.wa ari, minami ni yama ari. Yama no
minami ni la ari. SDIRYOKU. KWAZAN. Tanaka, Kaneko, Yamada, Yamamoto, Konisld,
Kitaga wa.— Higashi-ya ma.
TRANSLATION.—This month. —Half the day.—A thousand pieces of gold.—Scenery (lit.
mountains and water). —Iced water. —Men and horses. —A large tree. —An embankment.
(observe the arbitrary method of writing).—East, west, south, and north (always named in
this order).—Fire-works. —Two children are visible under that tree. —Horse-power.—There
is a river to the east, and a mountain to the south. —There are rice-fields to the south of
the mountain.—Water-power. —A volcano.— (The following are common surnames:) Tanaka,
Kaneko, Yamada, Yamamoto, Konishi, Kitagawa.—The Eastern Hills (at Kyoto).
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS. 47
76 71 66 61
77 72 67 62
78 73
s*. 68 63
79 69 64
80 75 70 65
o
48 FOURTH SECTION.
READING LESSON.
Ito 5 R %t K H —
A
H <D iff ±
& f Ui r 4- 4
flt ft o
Jt JSl JJ o
0 o
± A
S sfc CX -C R
o o
o
-Hf*
I* *
p- -"
^.
1
<^P
)/r
U^
w
W
Sw^
if m ^
i/r
VI ^ A
^^
^
-c a li
TRANSLITERATION.—DAI-ICHI. Tadaima. Nixso-wit. SHIZEN. KONNICHI. 5bno
no ue ni miyuru wa, ushi ni arazu, uma nari. HININ. IjO. IKA. KONOETSCT. Koko
ni oi/e. TENNEN. KOJO wo motte. Hiyashi yori nishi ni ilaru. Yama oyobi kaiva.
TAISETSU. Miru ni oyobazu. SHIDAI ni. ISSAI. Sono hito no tame. Kitte. Shikam ni.
Hatsuka. Misoka or SAN-JTJ-NICHI. Yo no naka.
TRANSLATION.—Number one.—Just now. Fortune-telling by physiognomy. —Spontane
ously.—To-day.—Wliat you see on that hill is not a cow, but a horse.— A pariah (compare
Article " Eta " in " Things Japanese."). —Above this, what goes before.—Below this, what
follows. —This month.— Here. — Naturally (TENNEN is a synonym of SHIZEN).—By verbal
message. — It reaches from East to West. —Mountains and also rivers. (Oyobi is really
superfluous, and is for the most part inserted only in imitation of English idiom.)—Im
portant.—It is not worth looking at.—Gradually.—Completely. —For his (or her) sake. —
A ticket.—This being so. —Twenty days, the twentieth of the month. Thirty days, the
thirtieth of the month.—The world.
50 FOURTH SECTION.
96 91 86 81
o
PO
97 9'2 87 82
^
$P
98 93 88
99 94 89 84
95
A 90
ft
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS. 51
member it as having one stroke more than T^ " great." — 93. This, taken
alone, is read yomu, and 94 taken alone is read kaku.—95. Carefully
distinguish "bird" from "horse" (No. 58). "Horse" has ten strokes,
" bird " has eleven.—96. R& naku, "to sing," is simply "bird" plus
"mouth," because a bird sings with its mouth.
52 FOURTH SECTION.
READING LESSON.
* X
fr If it* m v ~*—•-* — _. *•
& *H « 3a X
e»
o ^ _
A o
TBANSUTERATION.— JIBUN. KOFU SAN-NIN. Sono kodomo wa, SHO voo yomi,
BUN wo tsukuru. DAIKU. Nishi mo higashi mo shiranu ko. HAMBUN. Ai-omou.
TOKDHON. JIBUTSU. Sono mushi wa, mukade nari. SUICHU no uwo wo miyo !
BAMBUTSU. Chiisaki uwo. Wasure-mono. Tori mo naki, mushi mo naku. Fu-
JIN. Omoiki ya! Kodomo ga KINGYO wo mini.
TRANSLATION.— Oneself.—Three workmen.—Those children read (books), and
write (compositions).—A carpenter.—A child knowing neither East nor West (i. e.
one perfectly ignorant).—Half (part).—To think of (or love) each other.—A reader
(i. e. a school reading-book).—Things (both abstract and concrete).—That insect
is a centipede.—Look at the fish in the water !—All things, the whole crea
tion.—A small fish.—Something forgotten.—Birds sing, and insects chirp.—A
lady.—Who would have thought it ?—The children are looking at the goldfish.
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS. 53
O O
118 113 108 103
O
119 114 109 101
READING LESSON.
A
A 2 u! A
• A jf O
• * I *
* A• o f
o
137
m132 127 122
138
ft * O
133 128 123
O
139 134 129 124
140
£ 135 130 125
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS. 57
READING LESSON.
A
?) kt
li
A
t
At fc
HPo *)
KAOKU. RIHATSU-SHI. On KWASHI. Ima wa nan-doki naru ya ? KU-JI HAN
nari. SHICHI-JI NI-JU-GO-FUN nari. KINSU. Tabako-ya. Kashi-ya. Kore mo
mala TEX no itasu tokoro nari. /mo or NYUYO. Katie- kashi GYO. Tsukuri-bana.
SANCHU isuko ni mo JINKA iniezu. Go KEMBUTSU. SEI-NAN. TO-HOKU. Migi wa
kashi-ya, hidari wa uri-ya. Go YOHIN.
A house.—A hairdresser.—(Honourable) sweetmeats.—What o'clock is it
(now) ?—It is half-past nine.—It is five-and-twenty minutes past seven.—Money.
—A tobacconist's (shop). (We put tabako in Italics, as if a Jap. word, simply
because it is not Chinese).—A house to let. —This, too, is the act of Heaven (or,
as we should say, God's doing).—Needed.—The profession of a money-lender.—
Artificial flowers.—Nowhere amid the mountains was a human dwelling to be
soon.—Your sight-seeing.^—South-west.—North-east. (Observe, in these last two
instances, the reversal of our English order.)—On the right a house to let, and
on the left one to sell.—An article reserved for the Emperor's use.
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS. 59
L
157
4*. 152 147 142
L
158 153 148 143
159
* 154 149
JL 144
READING LESSON.
tu it & tt <r>
P L r ^> ft f
0 £ £ ° t °
A
0
179 174
3*. 169 164
170 165
62 FOURTH SECTION.
READING LESSON.
•> M ± £ K
i .! ° tt! ° ° H
;* 5 li ?> ^ >j> °
..v
- S n £ I ^fe f
5 f tfe % f #f"A
li
vi
I
,
iS
AfS
5) o ytfc
•!
°
-rj^
^}?
~<
«
4w&
±' a # !) +: ° ^ ^ h
- ~* ' * *' *. 1 <
ff) ^
p • •
t
y^
g v'V -i-
0f o O o
« ,s
Jlfc 'J> ^
3E it^
DOJITSU. MEIJIS. HAKUSETSU or Shirayuki. SHOSEI omon ni. SHOSEI omoeraku.
DAIMYO SHOMYO. KONNICHI TASHO no ame. GO-SHIKI. Kono TOCHI no MEIBUTSU. SEINEN.
HAKUHATSU. SHUN-U or harmame. Mum OJO. D.UKrD. KANAI-JD. Migi no tori. SA no
yotoxhi. Mae ni mo ieru tori. DOjO. GYOKU-SEKI. Tama no gotoki NYOSHI. Kuro-kemuri.
Aomnnn-ya. Akashl ion NIHON no MEISHO narl. Aki no tsuki. DAIUI-SEKI. FUKEI. Mizukara
SEIKEI ivo ilonamu. Tara.
The same day. —An expert or adept —(White) snow. —In my opinion. —la my opinion
(see Aston, pp. 154—5, for verbal forms in aku).—The daimyos and shomyos (see Tilings
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS. 63
Japanese, Article Daimyu).— More or less rain to-day (a phrase frequent in weather forecasts).
—The five colours (they do not count the seven of the rainbow, as in Europe). — The
production for which this locality is noted.— Youth (lit. green years, " green " not having
here the contemptuous sense given to it in English slang, but referring to the tender and
charming green leaves of spring). — White hair.— Spring showers.— MUM alone means
" unreasonable," oJo alone is a Buddhist expression which signifies lit. " going to be born " (in
another world), i. e. " dying ; " the four characters together give the sense of " violently
and against all reason."—A large bow. These characters are often to be seen written
up over establishments for the practice of archery. — The whole household.—As
mentioned above. —It is as follows. —As already stated. —The same as the foregoing.
— Jewels and stones, worthy and worthless; also a jewel-stone, a gem. — A girl
like a jewel (for beauty). — Black smoke.—A greengrocer. —Akashi is a celebrated place in
Japan. — The autumn moon (conf. Things Japanese, Article Poetry). — Marble. — Fathers
and elder brothers. This locution, which corresponds to our " parents and guardians,"
exemplifies the high position assumed in the Far-East by an elder brother, who claims,
respect and obedience as a sort of second father. The very character for " elder brother,"
hi* points the same way. It is lit. " mouth man," because he is the spokesman and in
structor of his juniors. —To work for one's own living. — Codfish.
READING LESSON.
t
n
5.
64 FOURTH SECTION.
IE 197
L
192 187 1852
m o
199 194 189
183
184
L
66 FOURTH SECTION.
TlUNSLITEBATION. —181-5. EN, EN, SEN, BIN, MO. —186-9. ICHI, NI, SAN, JtT.
BEADING LESSON.
219 \ 204
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS. 69
READING LESSON.
a
m-
^_ 1 "P ,i_ /n -/• c.
PO JJX 3i
TT W I
A7J
/>^- /ffl
U feO if
'Of
#
*L
BANGWAI. Doni. DAIDO SHOI. Nam-RANcm. Sliimo ROKU BANCHO Ni-jO BANCHI.
Uikatoa Ji\JO SHO-GAKKO. S/iikari to iedomo. MCRI HIDO. Hanami. HuO no TAIKWA.
KONMCHI nri-klre. HYAKU-KI wo yukii mono, KU-JD-KU-RI wo motle nakaba to SH. GYOSHA to
BATEI. Ko, OTSU, HEI no SAN-NIX. TosHO yori nan-m naru ya ? SAN-RI, JD-GO CHO hodo.
•Olome. Kake-ai. Ulce-tori. NyC'YO, or trivo. ZOSAKU tsuki kashi-ya. HINKO. KYUDAI.
Rui. CHONAN JI-JG. NYCSATSU.
Extra. —Reason, propriety. —Very little difference (lit. " great same, small differ,"—a neat
Chineae phrase).—What number (of a street) ?—No 20, Sliimo Roku BanchO (BaucliO is the name
of a small district iii Tokyo. —The Hikawa Ordinary Primary Sohool. (Hlkawa is the name of a
part of Tokyo. It means lit. " ice river," M being an archaic word for " ice," now called kori ;
eonf. Mem, " to bo chilly "). —Nevertheless (lit. " though it is so," shikar! standing for sfiika
ari. — Injustice and cruelty.—Going to see the blossoms.— An exceptionally large fire. —All sold
out to-day. —He who goes a hundred leagues must consider ninety-nine leagues to be half-way,
—a prudent proverb, like our " Don't crow till you are out of the wood." To su may here l>e
considered to stand for to titt-besJu. —Coachman and groom. We here have /JR] iu its original
sense, of driving ; thence it gained the signification of governing, Imperial, and finally
honourable, its now most common acceptation. BA-TEI is a literary equivalent of the
Colloquial word BETTO, which is written with quite different characters. —Three people, A, B,
and C.— How many Ri is it from this place?—About three m and fifteen CHO. —A maiden. —
rjrt? ^-*
Consultation.—A receipt. The two uke'ft, Spf (No. 206, Chinese sound set) and *:S» (No. 193
Chinese sound ju) are interchangeable in Japan in the sense of " to receive."—Needed.—House
to let with fixtures.—Conduct, behaviour. —Passing an examination.—Superintendence. —The
eldest son and second daughter.— Offering a tender, making a bid.
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS. 71
READING LESSON.
JITA. GENKO ITCHI shi-gniwihl. MOM BAN. MONZEN. NINOEN BANJI jfcane »o yo-no-naka.
TEN CHI JIN SAN-SAI. ICHI-RI, ROKU-CHO, 8HI-JIK-KEN, OO-SHAKU, SAN-ZUN. ,Fw7-«-HON kai-ire-
dnkoro. lent (oo HtVe, JC ?tw «/»*>•». " Yomi-uri SHIMBUN." KEMBUTSO-NIN yama no gotoshi.
BANCHO ni tie, BANCHO shiraza. Saru (or sannuru) J&-KU-NICHI KAITEN sen'. Ono-ono IS-SHAKU, SHI-
SUN, GO-BU. TANIN. Kari-dan-ya. Maguchi go-ken no tana. SHUJIN to KYAKU BOKU-NIN. SE-
KEN. Yunu wo Itiku. JOao. GEKO. KYAKU;«a. SnoKU/na. DOKITO. MENZEN. Ji~biki.
Self and others.—It is hard to make words and actions agree.—A gate-keeper. —In front
of the gate —A world in which money rules everything. —The three powers (who rule
all things), viz Heaven, Earth, and Man.—One BI, 6 cnO, 40 KEN, 5 feet, and 3 inches. —
Second-hand books bought here. —-To know all by hearing a part, —-a proverb applied to mental
acuteness. To the Far-Easterns, as thorough-going desimal system men, " ten parts" mean
the whole of a thing —The " Yond-uri Newspaper" (sea Things Japanese, Article Newspapers,
for the origin of the name). —The sightseers were like a mountain,—a phrase used of great
crowds at a fair, a theatre, etc. —To live in BANCHO (a district of TOKYO), and not know one's way
alxmt it,— -a proverbial expression derived from the labyrinthine tortuousness of its lanes in early
days, and its thickly clustering buildings where the hatamoto and OO-KENIN dwelt crowded to
gether. —The shop (,bank, etc.) was opened on the 19th (lit. on the gone-away 19th). —Each one
foot four and a half inches (long). Bo is a corruption of BUN, the proper and original reading
of the character ^K,No. 84. —Another person, a stranger.—An establishment for wholesale
trade in ice. Don here stands for ton and ton for tol, from tou, " to ask,"—what a catalogue of
changes ! A wholesale establishment is one where the dealers come to " ask" after the merchandise
they deal in.— A shop with thirty feet frontage. —The host and six guests. —The world. —To
draw a bow. —A tippler. —A total abstainer. —A drawing -room. —A dining-room. —Dwelling
together.— Before one's face, in the presence of. —A dictionary.
74 FOURTH SECTION.
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS. 75
BEADING LESSON.
ff)
TEN sAtVw, CHI shiru, SHI s/tirw, iro?'e s^iV?f. SHOGWATSU GWANJITSU. BESSHI
no ton. Sashi-tsukae kore ari, SANJO itashi-gatashi. YO-RI SHI-HO. JINAN wa BEKKE
shite, Shinagawa ni JUKYO su. Ko wa MEIHAKU naredomo, oxsu wa ittate mi- wake- ga-
tashi. Ikan to mo sen kata nashi. BYODO SHABETSU. SHIMBON-SHI. Kimi wo mizaru
koto hisashi. Kami no shiroki wa, yuki no shiroki ga gotoshi. TAJITSU. Hito no kokoro
no onajikarazaru koto, sono otnote no gotoshi. SEisHifra.—IS-SUN, also read chotto.
76 FOURTH SECTION.
(The first sentence of the above will be at once translated and explained by
the following quotation from Mayer's " Chinese Reader's Manual :")
" [YOshin, ifi jl^ , a Chinese worthy of the 2nd century after Christ,]
refusing on one occasion a thank-offering of ten bars of gold, which was pressed on
him by a protege under cover of night, he refused the gift, saying in reply to the
assurances of the would-be giver : ' Heaven knows it, earth knows it, you know it,
I know it : how say you that none will know it ? ' This noble instance of integrity
is called ir& Q\ Hfl An YOSHIN no SHICHI, or " YOshin's four knowings,"
and is used to rebuke the paltry excuse that " no one knows," so often alleged in
palliation of wrong-doing. —
The 1st. January.— Lit. "different paper's way," i. e., as you will see by the
enclosed.—I am prevented from calling on you (Epist. Style). Notice the two cases
of inversion,—kore1 an1 and itashf-gatashi1.—Four EI ( = 10 miles) square,—said to
be the area of TOKYO.—The second son has founded an independent family, and
resides at Shinagawa,— instead of remaining as a comparatively insignificant unit
in his father's house. Such a step is not taken without due deliberation and formal
permission in Far-Eastern lands, where the family counts for so much more than
the individual, and where young married couples do not by any means set up for
themselves as a matter of course. —
A is clear, but B is extremely difficult to make out.—There is absolutely
nothing to be done.—Identity or distinction, there being or not being a difference.
HEITO would seem a more natural reading of the characters ~S1\ =S£ than BYODO ;
this latter is the " GO-ON " pronunciation (see Section XI for this technical term).—
A newspaper.—It is long since I saw you.—The paper is as white as snow.—-
Some other day (in the future).—Men's hearts are as unlike as their faces.—A
paper manufactory.— —. ~n* , read IS-SUN means " one inch ;" read chotto, it
means " just a little."
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
277
278
272
273
t 267
268
262
263
—276. To be.—277. To become. Notice that ;££ signifies simply " to be,"
—e. g. in a place, whereas y£f (250) signifies " there is," " have got," and
iH (No. 300) is the copula at the end of the sentence, and is often meaning
less and simply ornamental. Naru, "to become" (277) is quite different. Its
conclusive present is naru, regularly following the first conjugation,—conf.
paradigm on p. 16.—278. To ride, to be on.—279 means "self; " 280 means
" already." As a memoria technica for distinguishing these two closely similar
characters, observe that the left side of self is open, whereas that of " al
ready " is closed, because "already" indicates past time, which is done
with, closed, finished.
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS. 79
READING LESSON.
"31 ^L
KICHINICHI. MAICHO SHIMBUN u-o yomu. Mono-oki. JIKO. SEKEN no dekigoto wa, hobo
SHIMBUN nite shiru koto ico u. Kore yori OEJO su-beshi. SENJITSU kimi no ie ni yiikishi toJd, GO
FUZAI narishi yue, on me ni kakarazariki. Manabazaru kodomo wa, SEICHO no nochi MUYO no
hito taru-beshi. MONJIN ni MAICHO " SHISHO " wo yomashime, nuayu yumi 100 Mkashimu. ZEHI.
JIGO JITOKU. NIKKI. IBO-TEI. TENDO ZE ka HI ka ? IT-TOKU areba IS-SHITSU an'.
A lucky day.—I read the newspaper every morning.—An outhouse (used to put things in).
—Cause, reason.— One can obtain information about almost all that happens in the world from
the newspapers.—(Eiders) must dismount here.—When I went to your house the other day, I
did not see you because you were not at home. (Notice the two Attributive pasts in «At and
the Conclusive past in ki, according to the paradigm on p. 18). —Children who do not study will be
useless men when they grow up.—He makes his pupils read the " Four Books " every morning,
and practise with the bow every evening. (The " Four Books " of the Confucians are the " Great
Learning "-J^* jt& , the " Doctrine of the Mean " Eft B& , the " Confucian Analects " =jini
_Xj^ -^^ —f* —^ —^ I 7rU . HlllJ
gS: . and " Mencius " ~j± —p* . The Confucian training is not scholastic merely :—military
and gymnastic exercises are deemed worthy to occupy a portion of the disciple's time.) —So or
not, right and wrong. —One's own doing, getting just what one deserves, lit. " self deed, self
get."— A diary. — A (younger) brother by a different mother. —Are Heaven's ordinances just or
unjust ? — [Every action] has its advantages and its drawbacks.
80 FOURTH SECTION.
300
T 290 285
i:
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS. 81
TRANSLATION AND NOTES.—281-2. Lit. " emperor country," i.e. empire, specifi
cally the supreme empire of Great Japan, as contrasted with all other countries,
283-4. A palace, 283 which is read miya, and 284 read tono, each having separately
j_y_^ |_t jrlj
the same signification. 284 is also read dono, and then means " Mr." £4 m4» also
1=1 £vv
means a " Shinto Shrine," as the ideas of the abode of a god and the abode of the
easily remembered as part of 284 and by the jingle of tono and tomo.—286. Im
And so on, etc. (when quoting another's words.) 292 is not properly a character, but
rather of the nature of a diacritical mark, which serves to show that the preceding
say " the same as above," " ditto."—293. Number (so and so) ; 294 is a common
abbreviated form. Many write it "^* . —295 is kami, a Shinto god or goddess ; 296
is yashiro, a Shinto temple ; the two together make JINJA, also a Shinto temple.—
297 is hotoke, a Buddha ; 298 is taka-dono a lofty edifice ; the two together make BUK-
KAKU, a Buddhist temple.—299. To be able, well.—300. One of the verbs for " to
READING LESSON.
L •tltT?
o o I
T
-c
KOTEI. DENKA. KAKKA. KOKOKU. WABUN no MEIKA. KAMBUN wo tsukuru koto
kataxJd. DAI NIHON TEIKOKU. WA-KAN-YO. NAIKAKU. DAI NI-GO. DAI SHI-JU-KU-GO. NIHOX
oyobi SHYO SHOKOKU. TOKON Kanda Otjawa-machi ni JIJKYO ««. WA-YO SEIHON-.IO. Sono
YUiiAi 100 laznnuru ni. Ima too saru koto SAN-JO-NEN ZEN wa, YO-GAKU 100 mawilm Into vkamzu.
SHINTO. Ya-o-i/orozu iw kami. TEN ni kitcld nashi ; Into wo mottc iwasldmu. SEIYO-JIN. CHO-
SEKI to mo FU-ZAI nari. SAIXO.
Mlgi, DOt/adi'ima micJii.
Kore yori
Hiann, Juiyanos/nta mum.
An Emperor.—His or Her Highness (said of princes and princesses). —His Excellency. —
The Imperial country, i. e. Japan.—A celebrated writer of classical Japanese prose. —It is
difficult to write Chinese prose.—The empire of Great Japan. —Japan, China, and AVestern coun
tries. —The Cabinet (ministry).—No. 2.—No. 49.— Japan and the (various) countries of the
"West. — He resides at present in Ogawa Street, Kanda. — (Establishment for) bookbinding in
Japanese and European style.— On enquiry into its origin ( , I find that .... ).—Thirty years ago
few people cultivated European learning. — (The) Shinto (religion). —The eight hundred myriad
gods (of Shinto). —Heaven has no mouth ; it employs men as its mouthpiece.—A European. —He
is out morning and evening.—Talent.
the right
' ' path (leads to) Dogashima.
the left path (leads to) Miyaiioshita.
(Mile-stones are often written thus, partly in Kana • but sometimes they are altogether in the
Chinese character. It is usual for the names of bridges to be written up in characters at one
end, in Kaiui at the other ; characters and their reading may therefore be learnt by comparing
the two.)
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS. 83
READING LESSON.
A tt f
»» if #
tt rf»»>
r f
^ If ft A if* ft
» f
YCBix-f/(V/e nri-sayc-jo. On shUale-doleoro. HONKVOKU. SHIKYOKI*. SHIRITSU JINJO
8HOGAKKO. SEN-KYAKU (or KAKU) BAX-RAI. Hi no YO.TIM. SHINSHO IT-TSP. DENSHIN Ffrsr.
DOSOKU nile NYOJO ico yurttsazu. MURUI. JOTO. YCKAIKI. SHINBUL TAKEN ico yuruwizu.
JIGYO 110 narn to narazaru to tea, SHIN-YO no UMU ni tjorti. TEIKA, KIN SHI-.TC-GO-SEN. ICHI-JI no
HOBEN no tame yamu u-o t.zu, UN-UN. WAGAKU-SHA. KANGAKU-SHA. YOGAKU-SHA. Go FI'YO-HIN
KOKA kai-ire. GYORUI. WAYO komamono TEN.
Place for the sale of postage-stamps. (This and several of the following will he frequently
seen written up iii public places.)— Tailoring establishment. —Wain office. —Branch office. —
Private ordinary primary school.—May a thousand guests come a myriad times. (This and the
next are very common on either side of the paper lanterns hung outside inns.) — Beware of fire. —
One letter (written communication).— Telegraphic communication interrupted. No one allowed
to enter with muddy feet. — Incomparable.—First class. —A written account of the origin and
fortunes (e. g. of a temple).—Kinsfolk.— Strangers are not permitted to look.— The success or
failure of the enterprise depends on (the presence or absence of) credit. — (Fixed) price, 45 SEN.—
In pursuance of a temporary expedient, I have unavoidably, etc., etc. —A Japanese scholar, i. e.
one learned in the archaic native language and literature. —A Chinese scholar. —One learned in
European languages (or sciences). —We will purchase at a good price any articles you do not
require. —(Various sorts of) fish.—Shop for the sale of Japanese and foreign sundries.
86 FOURTH SECTION.
HEADING LESSON.
L«co
ff)
K N
» +1*
-C
* O
A li
Mf O «
if£ *
0
<7) <f) ^y ^ >fe B!^ I/T^
T f
° ^f>
T
88 FOURTH SECTION.
TEN no toki wa, CHI no Ri ni shikazu ; CHI no RI wa Into no KWA ni shikazu. JIYU
no KEN. MAIGETSU HAKKO. NEJIBUTSU. NAIMUSHO. GWAIMUSHO. JU-GO-YA no tauki
wa marushi. Tsuki-yo (OR GETSU-YA). JIMUSHO no nke-tmke. In tokoro kotogotoku
okonau koto wa katashi. NANNYO DOKEN. Nani-nani no Mii/a DENKA. HITSUJO.
NEN no tame. KONNICHI wa, ZONGWAI atnata no KYAKURAI nite, GWAISHUTSU suru
wo ezariki. KUNAISHO. Shirazaru u~o shlrazu to se-yo ! Kore shireru nari.
Kaki-toine YUBIN. Yasumono-kai no seni-ushinai. KOKYO. lenushi. Jinushi. Soba.
KOSEN. Nori-ai KASHA. BETTO. RONYAKU NANNYO wo towazn. JAKUNEN no koro.
RoSHO FUJO. TOSAN.
Lit. " Heaven's times are not equal to Earth's advantages, Earth's advantages
are not equal to Man's concord," i. e. Occasions that arise count for less than
situations that persist, and these for less than that moral strength which inheres in
the union of virtuous men. See Section XI for the whole chapter in Mencius where
these often-quoted words appear.
The right of freedom.—Published monthly.—Invoking Buddha.—The ministry
of the interior.—The foreign office.^—The moon is round on the 15th day (old lunar
calendar).—A moonlight night.—The porter's lodge of the office.—It is difficult to
perform all that one says.—Women's rights (lit. " man woman same power").—His
Imperial Highness Prince so-and-so. (Notice that UN-UN is used at the end of a
clause, nani-nani at the beginning).—Absolutely decided.—For form's sake.—I was
not able to go out to-day, owing to a number of unexpected visitors. —The Imperial
Household department.—Tlecognise that you know not what you do not know :
this is true knowledge (Confucius).—Registered post.— Buy cheap and waste your
money (a proverb).—The Imperial abode.—The owner of the house.—The owner
of the land. —The market rate, rate of exchange.—Brokerage, commission.—An
omnibus.—The word BETTO, now used of a common groom, formerly denoted and
still denotes in literature a certain grade among Shinto officials, also the steward of
an Imperial prince.—Without distinction of age or sex.—In my young days.—
Neither old nor young can be certain (when they will die).—A mountain ascent.
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS. 89
357 347
BB.
li o
L ft •» ti
t
*
h 2 "K-
* ^ $?
pp g
w. •-. r
If c* 3§
^ 9 M Ti I ^
•C'J L
t=t
S li ^
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS. 91
READING LESSON.
PJ
SHOSETSU. BYOSHIN. Mizukake-mx. SEINEN-KWAL "Jui SHIMPO." "YoRozu CHOHO."
" CHCQWAI SHOGYO SHIMPO." BUMMEI KAIKWA. GENRON no JIYD. DENKI no SAYO. ZEN ivo
okotmu tea, NINGEN TOZEN no GIMU nari, " BONGO." Torii. SAMMON. GICHO. TEIKOKU
OIKWAI. BUKKYO. ZENSE. GOSE. MIRAI. HotoTce no mi nori. BUPPO SHINJA. SOHUSHIN
ZEBUTSU. JOJtJ FUHEN. SHOGYO MUJO. KYOKWAI. ZOBUTSU-SHU. SHUKYO. YOSHI-SHA. TfiMPEN
CHI-I. Kami narann mi no shiru yoshi mo nashi. Shiranu ga hotoke. KWAISHA. TENSHU-KYO.
IKYO SHINJA. JOTEL
94 FOURTH SECTION.
READING LESSON.
PAS
<?)*ttt)t
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS. 97
READING LESSON.
9 3. ^s*
pRB
*A ^ ^9 ¥ no 'o
IP
IlL ^
H
5
0
ffl III Jll ^ ffl
00 O O 0
;n iij
o o o o
±
T
o o A
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS. 99
HYAKU-BUN iva IK-KEN ni sldkazu. KYD-GYU no ICHI-MO. "Boxco" yoini no " BONGO "
shirazu. Azuma-otoko ni KYo-onna. Sumeba miyako. Ware Jd-li ni ini-tabi waya mi ico
kaerimiru.
Katakana. Hiragana. " KOJIKI." GISHI SHI-JU-SHICHI-XIX. HOXKE. SHITEN. BCXTEN.
HONJITSU KYUGYO. SHOSETSU kashi-HOX. KtJXAISHO GO-YO. HlBAI-HIX.
" KWAMPO." " TOKYO AsaJd SHIMBUX." " Miyako SHIMBUX." " KOKUMIX SHIMBUN."
GOGWAI. KOKOKU.
III. (Newspapers.) The " Official Gazette," " Tokyo Morning Sun Newspaper," " Metro
politan Newspaper," ami " National Newspaper."—An extra (issue of a newspaper).—An
advertisement.
IV. (Place-names and Addresses.) Kyoto, Nagoya, Kofu, Miyauosliita, Mito, Gotemba,
Shiuagawa, Meguro, Aoyama, Kauda, Koisliikawa, Houjo, Shichi-ri-ga-hama.— No. 82, the
Bluff, Yokohama. —The Foreign Concession at Kobe. —The Imperial University of Tokyo.
V. (Surnames, as transliterated on page 99.)
VI. (Sciences.) Physics, logic, astronomy, anthropology, biology, theology, psychology,
physiology, mathematics, chemistry, geometry, mechanics, geography, the doctrine of evolution.
VII. (Politics.) Government.—An independent country.—Kepublicauism.—The (houses
of the) Diet.—Exterritoriality. —Local self-government.—Democracy.—International law.—The
board of trade. —The bureaii of finance. —The bureau of local administration.—The bureau of
public -works.
Such exercises as the above will make it clear that from even only 400 Characters, if
properly chosen, an enormous mass of words belonging to all subjects, from the most
familiar and trivial to the most abstruse, may be obtained. The single Characters are
more than words. Bather do they resemble the roots of our European languages,—roots
endowed with the power of vigoi'ous growth and of sending out branches in all directions.
FIFTH SECTION.
"XT* orma, " woman," anciently Jcv . She looks as if carrying some burden, woman's
-"^^^ ' \ fc v fc "' ^ ^^t*
usual fate in primitive social conditions. jljr haha, " mother," anciently @c > ^s the
404 same plus two dots for the breasts.
p=| kobe, " head," anciently C£o , a complete picture of the head and face,—hair
and all.
405 Eli uma, " horse," anciently ^^- Notice his sweeping tail and his four legs.
t^| tori, " bird," anciently jligj . In the original form the perplexing likeness of
" bird" to " horse " vanishes. p3» , karasu, " crow," is the same as bird minus "one stroke,
apparently that for the eye ( ! ), it having been anciently USa- .
X-H furu-tori, another character for bird, anciently ^p» , apparently depicts some
short-tailed species different from the long-tailed kind depicted in the preceding. It is not
now used independently, though it enters into the composition of many other characters, as
Nos. 205 and 249 ; con/, pages 68 and 74.
hane, " wings," anciently YaYn .
uu-o, " fish," anciently By , probably the picture of a carp.
mizu, " water," and IF I kawa, " river," anciently, as it should seem, identical in
such slight variants as ./ ' , fff , and Cff , all representing the ripples of flowing
407 water.
J^ Tcai, " a shell," anciently UJ , a cowry or some such shell used for money.
A/if hi, " fire," anciently JJt , representing flames rising up.
|V"1 p3 vtsu, " a mortar," anciently K o or I * • I , showing the grain in it that is going
409 to be ground.
)W|* II take, " bamboo," anciently vfa, a picture of bamboos swaying in the breeze.
-T^ 2/cr, " arrow," anciently "TT" or J^ .
The human hand appears in a variety of forms. One is ip , the original of the
410 modern character -~\» " hand,"—its upper extremities depicting the &\e fingers. Another
*s ^C. ' ^ormer^y written '^^^ and meaning " right hand," but now come to be used in
the sense of "also," "again," Jap. mata. ~j and ~>T* , which we shall meet with again
later on are other variants. ~VT indeed we have already met with, it being No. 233 of
our list, and having in modern times assumed the sense of "inch."
Various characters for "grain" testify to the importance of the cereals from the very
earliest times :— 7|C iwe or nae> anciently ^P , " growing grain," is the picture of a
1 " single plant with the ear hanging down.—^C&, anciently $£? , shows the heads of ripe
grain standing evenly together, and in the alternative form JKK shows it standing together
THE STRUCTURE OF THE CHINESE CHARACTERS. 105
iu stakes. This character has in modern use dropped its material signification, and has
come to be employed metaphorically to mean Jiitoshii, " alike," and totonou, " to be
regular." —yfC*« kome, "hulled rice," is a picture of the separate grains, perhaps contain
ed in a sort of winnow or tray.
Silk is another article of human industry whose influence has been considerable on the 413
^"^ '^fcWV
pictorial vocabulary. —^ ito, " thread," also used iu the double form wrp , originally
depicted a packet of cocoons, thus ^5 or § . — / , more familiar in the compound if
watakushi, " self " (No. 309), " selfishness," was originally written £"j , which is almost
certainly the figure of a single cocoon. Can anything more isolated and self-centred be
conceived?— j—I shiroi, "white," has been conjectured to come from the same source,
though it serves to express a different quality of the original. 415
FR. Id-no-mi, "fruit," anciently ^E* • Comparing this with yjC. "tree," anciently
^E , this is seen to be the picture of a tree with one enormous fruit at the top. Our
No. 129, p. 56, is a later variant. >R itself is now used only in the metaphorical sense
of "results," "as might have been expected," "in fine," Jap. hatashite. Another useful and 416
interesting compound of ylC , " tree " or " wood," is &§% GAKU, " music," also read BAKU
or tanoshimu, " to enjoy." Its ancient form ^2? , though equally elaborate, is transparent
ly intelligible. On " wood " as a stand we see five drums,—one big drum in the centre
and two small ones on either hand,—the Chinese idea of music and hence of enjoyment. 417
Some of the old picture characters were singularly perfect. Such is 'CJ*^ " a jar or
pot," anciently ^^ , where we actually see the lid and the fastening round the neck.
Another of kindred signification was tftl anciently pAj . Students of Japanese will
meet it oftener with the addition of **/ , meaning " fluid," which makes it signify that 418
which the bottle contains, Y|5 that is, " spirits," " liquor," Jap. sake. Another very
pleasing one is J~*t anciently f^t , " a subject of the king," " a minister," whose body 419
i 1 *. ^^^»i
bent almost double to make the kotow shows that the worship paid to royalty was no
less abject at the dawn of history than it remains in our own day.
The gradations by which the character-builders passed from pure pictorial representation
to abstract symbolism are insensibly minute. Sometimes the symbol has almost the obvious
ness of a true picture, as when two large trees put together signify a " forest," /p?f£ Jtaya-
shi, or three small ones a " wood " or " grove," ^ff: mori ; or when " two men " are
<^v|v * . ..
placed on the "ground" to give the meaning of "sitting," Aft ZA; or when ;£-* islti,
- FA • _-*t | 1
"stone," proves on dissection to be simply a square lump of matter under I iioao, "an
422
overhanging cliff" (now disused except in combination, conf. p. 121).— 5k , wazaicai, "a
calamity," is scarcely less obvious, being made up of " water " and " fire," the two greatest
4-23
sources of dire misfortune. The whole series given on p. 71, beginning with t| "door,"
/
going on to |:|||
I* 'I "gate" (a double door),—both of these pictorial—and then proceeding
106 FIFTH SECTION.
to form from this latter the symbols for sucli verbs as " hearing," "asking," "shutting,"
is singularly clear and instructive.
~T^ DAI, "great," formerly a picture, has now faded to a symbol. Originally it
represented the whole of the human body,—tha arms stretched out as welt as the legs,
whereas A , the ordinary sign for hito, "man" or rather "person," shows the legs only.
On the other hand in FT? otoko, " male," was symbolic from the beginning, as it means
"strength for the rice-fields."— -4* tsitchi, "earth," one of the most important of
characters as it enters into great numbers of others, sometimes in most roundabout ways,
represents two layers of earth with something growing out of them. I-* JO " above," and
424 K GE " below," convey their respective meaning to eye and mind by the dot above the
horizontal line in the former, below it in the latter. —*iET ikusa, " war," gives us an insight
into history, proving by its introduction of the character for " wheeled vehicle," t^j, kuruma,
into the compound that in e.irly China, as in early Greece, the warriors availed themselves of
, * ' II
chariots.— (No. 190), takai, "high," anciently £Sj , is a very common character of half-
pictorial, half-symbolic nature. Its inventor had in view as a type of the quality of height
some lofty building in which we can still plainly distinguish the roof, the upper storey,
and the ground floor. Though purely, symbolical, ~^r^ HO (No. 397), " step," is of very
obvious construction, being made up of IP* "to stop," and XJ^ "a little," referring to
the short pause between each step.
Others are much more far-fetched, for example, *^* itaru, " to reach " (No. 75), an-
^^* B —
ciently \xj , the figure of a bird flying down to the earth, which it reaches. — Or take
•jSL " name." This comes from ty yfibe, " evening " (itself half of H the " moon "),
and If kuclri, "mouth," because a man's name spoken is that by which you recognise
him in the durk.— IE| CHOKU or tadachi ni, "straight," "straightway" (conf. No. 200, where
L£MM» k " fc fc
it has its other sense of " price," Jap. ne), is made up of —r* JD, " ten," tj me, "eye," and
1 1-9
a crooked stroke, suggesting that what ten eyes can see must not be crooked. Hence
TOKU, " virtue," (by the addition of ^1 ^ kokoro, " heart "), which presupposes a straight
heart. (IE9L is now generally writteen /pel .)
^^£% ' l*l£»>
Sometimes inversion—standing a character on its head, or turning it from right to left—
was resorted to as an easy means of differentiation. For instance Ip? kisaki, " empress," and
Pi ts"kas(li " rw'cr." ^re originally the same, only turned opposite ways. Less metaphorical,
but extremely elaborate, is ^K KAN or samui, '"cold." The original form is GxSl , made up
of a "man" ^^, among "grass" HI (now written HlHI) four times repeated, under a
" cover " or " roof" *-*-* . and over ice ^' , anciently ^S ,—truly a cold shelter.
Sometimes, as will appear but natural in a subject so recondite, the exact composition of a
character remains doubtful after comparison with the earliest form. But even in such cases
the process of examination may assist recollection of the character as it stands. Take
THE STRUCTURE OF THE CHINESE CHARACTERS. 107
EEI or tamasJiit, "spirit," "supernatural." Wo here see l»nf "rain" (observe its
OK. . . - .-• 1 IJ
drops), 1 I "mouth" thrice repeated, and^|A "fortune-teller" or "sorcerer" (itself com
posed of two " men " yl , doing " work " 1 , sorcery having been in early ages and in all
countries one of the most important of occupations). We may therefore accept the character
pmt as meaning literally "three sorcerers praying for rain;" but other slightly varying
Xl^U _ —1-»
By this time the student will have gathered how similar in its development to a spoken
language is this system of written symbols, which grew up gradually from small and simple
beginnings, and then, by combination, analogy, metaphor, perhaps sometimes misappre
hension, branched out into multifarious elaborateness. It is, however, evident that pictorial
representation, even with its powers liberally extended by recourse to combination, allusion,
and metaphor, would get exhausted long before it had sufficed for the representation of every
shade of thought. Here it was that the homophony which is so marked a feature of the
Chinese language came to the rescue. When a word as yet characterless needed to be written,
what more simple than to write it with the symbol for some other word of like sound, plus
a mark to differentiate the meaning ? We Europeans approximate to such a plan when we
employ various spellings for like-sounding words, such as "rain," "rein," and "reign" in
English, " Mann " and " man " in German. As a matter of fact, though Chinese has no
alphabet, and though common parlance styles its written characters " ideographs," nine-tenths
of the so called ideographs in modern use have been formed by the help of a peculiar phonetic
method. This is true even of some of those deemed simplest, for instance -4^ " metal,"
pronounced KIN. There previously existed another like-sounding character ^^ meaning
" now." So from this and from -I* , " earth," and two little dots to represent the streaks
of ore, the character for " metal " was put together.
More often the constituent parts still remain separate, though closely adjacent ; and foreign
investigators have bestowed the name of " phonetic " on that part which embodies the sound, 433
the name of " radical " on that which indicates (very roughly) the sense. Take /J4& " plum-
108 FIFTH SECTION.
434
tree; " branch ; " *fj? " board ; " ^T (originally a table or bench, hence) " a law-
I/A. | >Tv
435
case," "an opinion. In all these ylC "tree" or "wood," is the radical, while the other
part is the phonetic. Of course the phonetic can tell us nothing of the Japanese pronunciation
of these or any other characters, seeing that they were invented, not in Japan, but in China.
436
As, however, the Japanese make considerable use of the Chinese pronunciation of words.it is,
even from a Japanese point of view, an invaluable help to have the Chinese pronunciation thus
indicated by the aspect of the characters themselves.
In jppi BAI, " plum-tree " (Jap. lime), we recognise the sound of -'TH* MAI, " every."
I m« *~^r
437
In Tf'jf SHI (Jap. eda), " branch," we have the exact sound of ~?cf SHI (Jap. sasaeru), " to
hinder " (No. 257).
438
In *nf HAN, "board" (Jap. ita), we have the sound of nF HAN (Jap. kaeru, somuku),
" to return," " to disobey."
439
In -^S? AN (Jap. tsukue), " table," we have the sound of -/y* AN (Jap. yasushi), "easy,"
"cheap."
440 IT* >Wjy KI-KAI, " machine," we have the sounds respectively of 4rtp KI (see No. 358)
KAI (Jap. imasJihneru), " to warn."
J.A-* P *
441 In many cases,s, e.g. that of yfrBJ. BAI and -55J. MAI above, the agreement is partial only.
Sometimes, as in \& ZOKU, " vulgar," and sf± KOKU (Jap. tani), " valley," the rhyme
442 alone seems to have been thought of ; and this may be reduced—at least in the Japanese
pronunciation—to the mere coincidence of a single final letter, as in a= CHO (Jap. kiku), " to
443
listen," whose sound is just adumbrated by -I* 0, " king," in the left-hand corner. But in
this line of study we must learn to be thankful for small mercies ; even partial coincidences
are far better than nothing. The student, as he goes on, will probably come to place
414
only too much reliance on them as guides to pronunciation.
Here are two more sets of examples of groups of characters under one radical : —
445
KO, "ability," "merit."
N. B. Do not confound No. 444 with No. 74 "Ell kiru,
44(5 " to cut." Inspection will show a difference in both halves
(right and left) of each. All appropriately belonging to JJ
447 tasukeru, " to help." cldkara, " strength," which is found
sometimes to the right, sometimes at
YC, or isamu, " to be valiant."
the bottom, somtimes stowed away
448
kalsu, " to conquer." in a corner.
The appropriateness of the first member of this set, /||n " to creep," must be taken on 462
trust. But from the second onwards we see light ; for the HO which means " to seize " is ap
propriately distinguished by the use of the radical for " hand," that wliich means " sea-
463
coast " by the radical for " water," that signifying " shop " by the character <4P" SHA,* " an
abode," that meaning " to supplement "or "repair" by the radical for "garment," which is
just the very thing most often repaired. In the last example, IBJH " to help," the radical Ett 464
" wheeled vehicle " appears less appropriate, until we learn that the character tjmf originally
served to denote the poles attached to a cart to help it out of the mud.
The agreement in sound between the several derivatives of a single phonetic is unfortunately
not always so perfect as in the series just examined : IrjF and *nf (Nos. 347 and 435) prou-
465
* Not accounted a radical. The radical here (but arbitrarily chosen) is —jP« shita, " the tongue."
110 FIFTH SECTION.
ouuced HAN, wliile Zh{ (No. 353) is HEN, have already supplied an instance. Or take the
following series, — all very useful characters : —
rrqp ji or tcra, " a Buddhist temple."
467 Jfff JI or motsu, " to hold." Here the agreement is apparent only, for the Kana spell
ing of cES is ^- , whereas that of Jti is =^. In Western Japan the two are pro-
nounced differently (" Colloq. Handbook " f 28, first footnote.)
168 j*JC SHI, "poetry "(Chinese or European, — not Japanese). Here the pronunciation and
l~* J - • ->
Kami spelling £/ agree with that of the primitive r~^p, but for the unimportant distinction
of the Nigori.
kf K-*- kV J\ » > fc
•Hi',1 CpS TOKU or kolo ni, "specially," as in the common expression 39f KM . Here an
entirely different pronunciation crops up, and there is nothing for it but memory pure and simple
470 if one would avoid getting laughed at for perpetrating a 7ET l[£t ff^ HYAKUSHO-yonu'.*
In any case and waiving absolute guidance, much practical help will be derived from a
careful recollection of the principal phonetics, as usage gradually brings them to the student's
notice. An alternative and perhaps better name than "phonetic" for the non-radical portion
of a character is "primitive." It alludes to the circumstance that in many cases the non-radical
portion is really the original, while the so-called radical is a subsequent addition made for the
sake of greater clearness, or in order to distinguish two shades of meaning in what was at first
a single word. For instance, -HT was the earlier symbol for a pen, and still appears
in the list of radicals with that signification ; but the radical TpT " bamboo," has been super-
added to the modern form ~—fr , because Chinese pens commonly have bamboo holders. Or take
o5 HO (Jap. katawara) " side," and the same fortified and emphasised, so to say, by the addition
of the radical for " man," thus 455 . The real meaning remains the same ; yet there is a tend
ency towards reserving each of the two forms for different contexts. Thus the word kata-gala
can only be written ^ Yt , not -I*?? . An excellent instance of the way in which both the
sound and the general signification of a primitive may persist through its various compounds
is supplied by the I * series, all of which sound BO or MO and imply the idea of destruction.
itself is BO or horobiru, " to be destroyed," " ruined." Add " heart," and you
have L— BO or urisureru, " to forget " (destruction of the thoughts in the mind). Add
" woman " and you have BO or midari m, " disorderly" (destruction of the propriety which
befits a woman). Add " eyes," and you have V=? MO or mekura, " blind " (destruction of eyesight).f
There are cases where neither the word " phonetic " nor the word " primitive " suits the case,—
476 for instance, and EH , and ^SjK , in which, as already explained (pp. 40, 46, and 105),
* Lit. " peasant's reading." Such a mistake ns reading jfct u, because its phonetic —J[pf is n is popul
arly so styled. The 3Ho(fl4) of HTAKUSHO is generally read SEI in other contexts, and dignifies "a surname."'
t An interesting discussion and list of the " phonetics " or " primitives " will be found in Section VJII of the Intro
duction to Williams's Chinese Dictionary.
THE STRUCTURE OF THE CHINESE CHARACTERS. Ill
both parts of the character are equally radical, in so far as both contribute to form the sense, and 477
neither in any way indicates the sound. Or take another instance—a new one —that of A\f ku-
rai, " runk," Chinese I. The so-called phonetic v t iatsu, " to stand," is Chinese RYt) or RITSU,
which thus differs from -qjjT in sound as widely as can well be imagined. But both halves 478
of \\f are really radical ; for " rank " is " a man's standing," in China as in England. Thus
viewed, the character becomes perfectly easy to remember. —/fly SEN (in Japanese almost al
ways /fl| I II BENNIN), " a man of the mountains," i. e. one of the immortals who dwell hermit-
like in inaccessible mountain fastnesses, offers a similar example. Perhaps, however, in this
case some regard was paid to sound as well ; for the pronunciation of /1|| I SEN closely ap
proximates to that of Ml SAN. In fact, the "Go-ON" of 1 1 1, employed in the reading of Bud 479
dhist names, is SEN. -l_* JIN, " benevolence," exhibits another species of irregularity. Here
it is the radical itself which acts at the same time as phonetic, yl JIN, " man," giving its
pronunciation to <£"* , "benevolence," which is, says Canfucius, the most characteristic of
human virtues. The right half, Nl, " two," helps to express the sense ; for it takes two
to render benevolence possible, just as we say in English (but less amiably) that it takes two to
make a quarrel.
The dissection of characters into their component elements was first undertaken by the
Chinese lexicographer KYO-SHIN = who compiled his celebrated A/ SETSUMON
>v
Dictionary ia A. D. 100. This work enumerate, 540 _l|L-3fK JIBU, i. e. "character-classes "
or radicals, under which all the other characters are grouped for practical convenience' sake,
just as our words are grouped in European dictionaries under the successive letters of the
alphabet. The -4^ £=• " GYOKU-HEN "t Dictionary, which dates from the sixth century and
is still popular with scholars both in China and Japan, had in its earlier editions about the
48?
same number of radicals, but these were later reduced to 360. The compilers of the IB?
, J so-called from the Emperor Koki (A. D. 1662-1722), further reduced the
number to 214, which has ever since been commonly accepted alike in China, in Japan, and by 4S4
3qp is our No. 311 SHIN or tsul/tushlmu, meims " to be careful " or " reverential."
H I
•f jigL HEN originally designated a section o£ bamboo, such as people anciently employed for writing on, hence
several such Blips tied together, hence n section of a book, hence ix whole book. A common Japanese reading o£ the
character is amu, which means " to tie [such baaiboo slips] together," hence " to compose," " to write." The phonetic
Jhji HEN, occurs in numerous other characters, for instance «jn , which is r^nil amu like the preceding and has the
same sense as it ; itjjl hitoe ni, one-sided," " entirely," " earnestly" (and see below for its technical use when read
HEN to denote certain portions of Chinese character).
. f~
J At Peking this name is pronounced K'ang Hsi. The character H? KO (Jap. yasu) means " easy," " peaceful."
It occurs in the celebrated historical name leyasn ^S» J9J and in other familiar compounds. The student need
not trouble about (KB , as it is of very rare occurence. Hff. TEN (Jap. nori) is quite a common character, signify
ing " rule."
112 FIFTH SECTION.
foreign investigators. We do not mean of course that Koki's editors changed the manner
of -writing the characters or diminished their number, but only that, by analysing them in a
different manner, they succeeded in classing them under fewer heads. Curiously enough,
though every one lias bowed in practice to their decision which was imposed by
Imperial authority, almost every one is agreed that they made a great mistake, apparent
simplification having been purchased at the expense of real confusion and error. Many of
Koki's so-called radicals are not really radical at all, but derivative, while on the other hand
some genuinely radical forms have been omitted from the list. Many are useless, being either
obsolete or having extremely few characters liable to be grouped under them. The worst
feature is that many characters have been placed, by rule of thumb, under radicals with which
they have no original connection, on the strength of a merely accidental resemblance.
Anyhow, the 214 radicals, such as they are, hold possession of the field, and must be
accepted in practice, though we hasten to add that there is no need to commit them all to
memory. There is really no need, notwithstanding that one foreign text-book after another
has chosen to lay on European students this heavy burden. No Chinese or Japanese ever
thinks of memorising all the radicals. He learns the characters most likely to be useful,
regardless of whether they be radical or not. The Japanese have not even any name in general
487 use for either " radical " or " phonetic." Many radicals appearing on the left are called
T?rt linl HEN' "side" (No. 484), those 011 the top -rfsj* kammuri, " cap ;" those that enclose the
i88 ^^ rest of the character, >|*Sr kamae, " external arrangement," " enclosure ;" certain others which
protrude a long way below to the right ^L NYP, lit. "entering;" and besides these, there are
special names for a few special cases. For radicals appearing at the bottom there is no general
appellation. The right-hand portion of a character—whether radical or phonetic matters not—
is termed tsiikuri, lit. " make," a name devoid of all apparent appropriateness, though the
character +¥? (No. 472) " one side," with which it is written, suits well enough.
Though to commit all the radicals to memory were a work of supererogation, those of most
frequent occurrence should be so committed. The memorising of the characters in which such
radicals occur will be rendered easier thereby, as will also the task of looking up characters
in Williams, Lay, and the native dictionaries. The plan followed in such dictionaries is to
give the 214 radicals in the order of the number of their strokes, from • ICHI, " one," which
has only one stroke, down to "BUT fue, " flute," which has seventeen. It will therefore be a
further advantage to recollect the position of the chief radicals in the list, as this will obviate
much searching backwards and forwards. It would be best of all, for instance, to remember
that yiC ki, " tree," is the seventy-fifth, and 7|\£ mizu, " water," the eighty-fifth. But if this
is expecting too much, something at least will be gained by remembering that " tree " comes
before " water," and both before |z^ me, " eye " (the hundred and ninth). That this last
• w
must come later in the list than the two others is indeed self-evident, as it has five strokes,
THE STRUCTURE OF THE CHINESE CHARACTERS. 113
489
while yiC, and 7f£ have each only four. The difficulty—and consequently the advantage—
of recollecting, if possible, the order of precedence, occurs with Radicals having the same
490
number of strokes.
It is likewise the number of strokes that determines the order of the characters grouped
under each Radical. For instance, ^Ht tsukai, " a messenger," which has six strokes (six, that
is, exclusive of the Radical A ), comes before -tfc^ okasu, " to violate," which has seven.
The two following lists include all the most important Radicals, with their Japanese names, 492
the numbers indicating their position in the dictionaries, and two or three specimen characters MH
under each, the specimens having been selected for their general usefulness as additions to the ^93
learner's little fund. It will prove a useful exercise to count the strokes of the non-radical
portion of characters ; for this will contribute towards impressing characters on the memory,
at the same time as it gives ease in the xise of the dictionary.
Ninlh Radical. ll " man." When written at the top, it is called hito-kammuri. as
XV ' ^ f
in ^p YO, " I." More often it is found at the side in the abbreviated form A call- • |
ed NIMBEN, thus \n tadashi, "but;" fg? mama, "manner," "state.1
i * Mill* ^Qy
Fifteenth Radical. T/ NI-SUI, lit. " two waters." As an independent character, it means . .
w^ ^ *w ^ m_^ ^£^11
" ice," but is no longer in use. It occurs on the left, as in f-jj hiyayaka, " cool ; " </a[ koru, ^£\\
"to freeze." Both these are easily remembered by their phonetics, which are pronounced 498
REI and To respectively. 515^
Eighteenth Radical. ~Jj katana, " sword,"—originally the picture of a broad blade. 499
Generally to the right and then mostly abbreviated to |J which is called BTTO (lit. " ri ^fefc
sword "), because resembling the Kana letter I) ri, thus $}| itaru, " to reach." Such -A/
500
cases as -fcTl kiru, " to cut ; " ;S£ KEN, " a ticket," are exceptional. I left
Nineteenth Radical. "77 f » chikara,
*'* " strengh," as in ^y >liit ikioi, " force," and compare 1 1 Ji^
f ^^ ^ V i, n
501
p. 108, where several other examples of this Radical occur. Do not confound Jj chikara,
"strength," in which the second stroke pierces the first, with the Eighteenth Radical / / |UJ
katana, " sword," in which the second stroke merely touches the first. 502
Thirtieth Radical. I I kuchi, " mouth." Mostly at the left side (&WC/M-HEN), as in 'rtrf'
ydbu, " to call," but "also
" in various other positions,
* » "l»503
as ml mukau, " to be oppo-
site ; " 'mj MEI, " a command," also " life ; " j?\; utsuiva, " a utensil (this last pourtray-
ing a "dog" guarding four vessels with "mouths").
504
Thirty-first Radical. I I kuni-gamae, so called from ran kuni, " country," one of
the characters classed under it This is distinguishable from It "mouth," by its su
perior size, and also by the fact of its always enclosing its phonet
"to turn round," also written IUI ; fi~|I EN or sono, " garden."
114 FIFTH SECTION.
606 533
Thirty-second Radical. —fr* tsitchi, " earth," sometimes written ~|^ the more effec-
. I « b *-» J^
tually to distinguish it from •—1-» samurai. It is placed at the side, thus T^- (tsuchi-
507 f »» - I -» Hi-rA "^^^ 524
HEN), or at the bottom, thus jjjy sAtVo, " a castle ;" pjX iafai, "hard." Such a case as
-I*L T??*< , * —TV
that of 3£K torn, "to take," is exceptional. — [—1-» samurai is also the Radical (the
508 Is ' —•-* it I 524
Thirty-third) of a few characters, for instance, the two common ones 4rr* so or sakan,
" youthful vigour," and --ESS- JET or kotobuki, " long life."]
509 Thirty-seventh Radical. ~y^ rial, "great." Often written at the top or bottom, but 525
sometimes, as it were, inconveniently hidden away. Examples are Jk? futoi, " thick ; "
510 -flff« nakaba, " middle ; " gEL ebisu, " a barbarian ; " aS chigiru, " to vow." 52G
511
Thirty-eighth Radical. ~fj* onna, " woman," mostly to the left, as in iff* konomu,
^XX f " —^ ^-9
" to like " (what more likable than women ~T7* and children —f~ ?). Less often this Radi-
^^^i I * -J •' *•
cal stands below, as in the painfully similar characters :=P^ SAI, " wife," and . /-» SHO,
r 527
tail is the " hair " 5& (our No. 185) hanging down behind an animal's " body " (" corpse "
519 and " body " being much about the same ). The third 1^4 lias this same " tail " con
tracted at the top, and " insect " f^l at the bottom, intimating that notliing so well belongs
or is attached to anything else as a tail to the insect of which it forms part. Jtf-i is 535
520
often contracted to lift .
/I*J * I
Forty-sixth Radical. Ml yama, " mountain," placed to the left ( \\\ v/awia-HEN),
53G
521 above, or below, e. g. Jg| shima, " island ; " Wun oka, " hillock ; " •*/% iwa, " rock."
Fiftieth Radical, ptj temigui, " a towel," sometimes called KIMPEN from its ON. It
522 li W \ - f *Y
occurs
j»tr in various positions, thus *t* rf-t SHI or ichi, " a market [-town] ;" /fH
'••' nuno, " linen ; "
tobari, " a curtain,"— to be remembered by its constituent parts as a " long towel."
THE STRUCTURE OF THE CHINESE CHARACTERS. 115
537
.•^ Fifty-third Radical. iI * * oviginallj denoting a "shelter," but not used alone. It is 550
rT\ called madare, apparently from Jjffi MA or sum, " to rub," of which it is used as an ab-
538 breviation, though this character is classed under another Radical, ~T\ "hand." Some
551
It'll prefer to derive the name of madare from B3? MA or asa. "hemp." Examples of cha-
MDlL i*^ "" tji-*
f/vv* racters classed under I are supplied by j-4* JO, " preface," — also read tsuide,
539 \j_* J
" a turn " " apropos," and l&k niwa, " garden." 552
Sixtieth Radical. >f (GYONIN-BEN), supposed to represent a man walking ; but when used •fci
540 -^tt> •» I—i
alone, it is read tadazumu, " to stand still." It always stands at the left, as in /tiff kare,
"he," •fuf matsu, " to wait." [Tliis Radical may easily be confounded with the less common "'"'""
One Hundred and Forty-fourth /f~~|* yiiku, " to go," which has the curious peculiarity
I J ^fer*
of being always cut in two by its phonetic, thus -fjfef EI or mamoru, " to protect." This last
I »J _ y^ >t*kJ 554
character occurs must frequently in men's names in the termination Jtrl •tiff BEL]
542 Sixty-first Radical. A ^ Jiokoro, " heart." Sometimes written at the bottom or in the
middle, thus Ei kokoro-lase, " volition," " feeling ; " <jja» urywu, " to grieve ; " but most
frequently at the left side in the abbreviated form if* called RISSHIM-BEN, or "the standing
t—E-* I
heart radical," e. g. Tjjif Jo, " human passions," hence specifically nasake, " kindly feeling,"
"pity;" also the "circumstances of a case."—>Vv^ kanarazu, "positively " (our No. 336), is an
544 exceptional form easily remembered. Another such is ^K. katajikenai, "humbly thank-
Jtrtf ful,"— the natural emotion for the " heart " to approach " heaven " with, as the structure of the
' •* character intimates.
545 r.. 557
Sixty-second Radical. -^ hoko, " a spear," either interlaced with the rest of the
character, or else to its right, thus 5t* ware, " I ;" (our No. 242) ]Wp , taiakau, " to fight."
546 Sixty-fourth Radical. ~r% te, " hand," as in ^^ aneru, " to raise " (also read kozotte,
"all"), but mostly on the left in the abbreviated form J^ (fe-HEN),— the third stroke being then a rt£«
dashmade upwards, e.g. iS yubi, "finger," also read sasu, "to point." In such forms M |*
14 ' as *f~Y~ HAI or ogamu, "to worship;" "^fi£ SHO or ukeru, "to acknowledge," this Radical is 550
more difficult to recognise.
Sixty-sixth Radical, (-xftttsu, "to strike," not used alone, but in the abbreviated form)
as a right hand Radical having no special name, and not to be confounded with /J^ Inm, 500
"a written composition." Examples are 4jV sukuu, "to rescue;" TT&* ade, "ventur-
.•^^ I'v
543 lng-" One or two characters have this Radical in the upper right-hand corner ; for instance,
-r^ Wff SEI or totonou, " to be in order,"—synonymous with No. 412. 561
^^^^^ _• !"». — ^
Seventy-second Radical. R , hi, " the sun " ( H /ti-HEN, when at the side, and Fj
1 1 <C -
hirabi, " flat sun," when at the top or bottom), thus HT^ BAKU, " yester [-day]," but
tatsui, " hot." Such a case as /g7 JUN> " a period of ten days," is exceptional. [Puz-
Oly similar to this Radical is the ~Seventy-third Radical, I—t I—•! iioaku, " quoth he," which
embraces a few very common characters, and occurs either at the top or bottom, or else interlaced
116 FIFTH SECTION".
575
with the other strokes, thus HP magaru, " to be crooked ;" IP sara ni, " anew ;"
W 9 ^^^*f
mollomo, " most."]
(For tl tsuki, "the moon," Seventy-fourth Radical, which should come next, see the
5C3 576
One Hundred and Thirtieth.)
Seventy-fifth Radical. yfrC ^' " *ree-" This has strokes three and four (down, not up, as in
564 fe-HEN ^r ) shortened when it is written to the left and called it'-HEN, as in jfffc matsu, 577
" pine-tree " (lit. prince <^^ , of trees ^/lO- It also occurs in other positions, as jjt..
*^™^ J -• f ^^w^^
soregashi, " a certain person ;" ^^- SA, " official enquiry " (as in JUNSA, " policeman ").
m, If* .. '_ * —
565 The character-iKr Jo, " an item," shows it in an abbreviated form resembling the Katakana 578
character -fa ho.
Seventy-sixth Radical. ?}£ akvbi, " a yawn,"— also read kakeru, " to be missing,"—
566 standing to the right, and sometimes called KEX-tsukuri, from one of its Chinese sounds. 579
YOKU or hossuru, " to wish," and -=fT via, " a Japanese poem," are examples.
Eighty-ffth Radical. ~J\£ mizu, " water," almost always written on the left in the
567 abbreviated form y called SAN-ZUI, that is " the three [dots for] water," e. g. Y& yu, 580
" hot water ; " Yfjjfc umi, " the sea," Chin. KAI, easily remembered by its rhyming with its 4 1 VI
phonetic 4gl MAI, and with Ma BAI, " plum-tree," conf. p. 108. The characters -y[f kori
568 9 J* | Mf* ' s\^ 581
"ice" (our No. 59); -^p^ nagai, "long;" \|\^ molomeru, "to seek;" and .51 izumi,
"a spring" (lit. white |^-| water 71^), show this Radical combined in other less usual
509 positions. 5S2
Eighty-sixth Radical, iff hi, " fire," written at the left side (/U'-HEN) or bottom, as in
4SJ? yaku, " to burn ; " R5 sumi, " charcoal ; " but mostly, when at the bottom, abbre
570 583
viated to four dots 4YVk , called REKKWA, " fierce fire," from >ylj EETSU, hageshii, " fierce,"
one of the characters so formed. US teru, " to shine," is a familiar instance.
571
Ninety-fourth Radical. "T^ inu, " dog," Chin. KEN, as in the difficult but useful 581
character jfmr KBNZMJ-M or tatematsuru, " to offer respectfully to a superior," where,
however, the T^ seems to be in reality not radical at all, -but phonetic, unless we accept
572 the explanation that the character originally denoted fat dogs sacrificed to the gods. Pfrjr 585
JO or kedamono, " animal," " quadruped," is another instance. Almost always " X* appears
^* Vj, jf- * JT ^^ VA - ._• y I—y
to the left in the abbreviated form -^K (kemono-HEy), thus >|IR kitsune, "^OX»">5^3H
573 BOBAI, properly "wolf wolf," but used to signify "consternation" (awateru). The reason 586
gravely alleged by Chinese authorities is that one of these species of wolf has its forelegs
inconveniently short, the other its hind legs, so that each is dreadfully put to unless he
574 can get the other to Avalk along with him and thus compensate his infirmity ! 687
Ninety-sixth Radical. ~-1~ tama, " gem," generally to the left and abbreviated to ^R
as in -ffc CHIN, " precious ; " JH GEN or arawareru, " to be revealed."
THE STRUCTURE OF THE CHINESE CHARACTERS. 117
588 603
Some names of musical instruments have this Eadical at the top in a reduplicated form, for
instance, ^o^ koto, the Chinese and Japanese " lyre."
m mm
58'J One Hundred and Second Radical. \^\ to, "rice-field," variously placed. See our 604
Nos. 27, 152, 201, 214, 219, 220, 255, 273, 290, and 330. Other common examples are
sakai, " boundary ; " -«S osoreru, " to fear."
590 605
One Hundred and Fourth Radical. 3 , called yamai-dare, but not used alone. It is
H
531
the Radical for disease, and always stands (or rather hangs down) as in the following :
Jij TO, "small-pox;" H§6 ilamu, "to pain;" Jfft RYO or iyasu, "to heal." In no
/-i" /rW :^f* 606
series is the phonetic a more trustworthy guide to the ON of each character classed
592
under it.
One Hundred and Ninth Radical. El me, " the eye," mostly to the left ( \~\ or EL- me-
A
607
ttft *—' 33?ik^~" "^
HEN) and below, as in dll GAN or manako, another word for "eye;" _/£=»' KAN or mini,
593 " to look." The two characters Ifcf CHOKU, " straight," also read ne, " price " (our No.
^^ li_i, 608
200), andfg SHIN or makolo, "true," show tin's Radical stowed away between the other
594 strokes.
One Hundred and Ticelfth Radical, jf-j ishi, " stone." It is placed to the left (IS/U'-HEN), 009
595 more rarely below, e. g. Iff}* suna, " sand ;" Iwfe togu, "to polish."
One Hundred and Thirteenth Radical, '.i * sJiimesu, " to declare," mostly to the left
W ~9 _ ». ^. 610
and
, —.,
abbreviated to ^fc
n
(shimesu-HEx)
•_ ~
; more rarely below, thus /llj?.*
1 lijl
FUKU, " happiness ; "
596 ifiB so> " ancestor ; " &*>• matsuri, " a religious festival."—Some fonts of type e. g.
/ILCL -A|S —'. •.
that used in this book, have |K instead of .X^ . 611
597 One Hundred and .Fifteenth Radical. TJJ ine, " the rice-plant," mostly written on
the left and then called ?io-gri-HEN, because resolvable by popular analysis into the Kata-
612
kana letter ^ no, and the character y^C ^'l'» " tree." A common example is furnish
598
ed by *||l SHU or tone, " seed." In some few characters it occurs above, below, or in a
corner, as x3v SHU or Jdideru, " to excel ; " ©5* KOKU, " cereals." 613
XCr . » f_ ^vv v,_
593 One Hundred and Sixteenth Radical, 'it" ana, " a hole," flattened to y\£ and placed atop
. »A s V /yfc»
(ana-kammuri), as in £\* KO, " empty ;" K /a'soAa B£, " secretly."
614
600 One Hundred and Eighteenth Radical. HpT take, " bamboo," placed at the top in the ab
breviated form /^T (take-kammuri), thus SS warau, "to laugh ;"^fcg hako, " a box."
One Hundred and Nineteenth Radical. ~ffi? kome, " rice," mostly to the left ( jr£ kome- 615
001
HEN), as in ASf \H1
TfM TKIJ SEI-SO, " fine or coarse 1^ "iHi"
;" occasionally below, thus J2B. aira,^"millet."
| pj '1- IJ. ,.« -^1^
Do not confound this last, lit. " western rice," with .MH kuri, lit. " western tree," that is,
>tv 616
602 the " chestnut-tree."
One Hundred and Twentieth Radical. *•£* W^ ito, " thread, used on the left (ito-HEN), and
• -/> ; more rarely below. Examples
then abbreviated by most writers and some printers to J&
;ire Jiosoi, "thin;" shiroi, " white " (also read moto, " origin ").
118 FIFTH SECTION.
617
One Hundred and Thirtieth Radical. KM KIKU, "flesh," almost alwa}-s abbreviated in
composition to tl which is called mfiV-zuld, because of its identity in shape with tl
" the moon." It occurs chiefly at the left and bottom ; thus HB koeru, " to be fat ;" Tj=? ya-
618 r-ILU I J
shinau, " to nourish." It is a very common Radical, heading a long list of characters denoting 630
parts and attributes of the body. — [The moon itself (Radical Seventy-four) has comparatively
few classed under it . — As examples we may take IN I KI, " a period of time," and ~vj^( tl )
019 mochi[-zttki], " full moon,"— also read nozomit, "to hope."]
631
One Hundred and Thirty-seventh Radical. 43*/«ne, " a boat," written thus at the left Jjl~
and called /wne-HEN, e. g. H|> (often written -M^c), which also means fune, "boat " or " ship ;"
620
J3H HAKC, "a large vessel." JHJ£> Jjlu SEMPAKU means " vessels of every description." It
\ '•IM ' /v*i /-in " i*ttl
has been discovered that Noah's Ark affords a good memoria technica for the character 4av^, as
A» fc "*
G21 " eight " 11" mouths " suggest the eight persons who were saved in the Ark.
One Hundred and Fortieth Radical, mm kusa, " grass," written at the top in an ab-
' 1 ~--| -i~^ j~—* fc^ -^. 633
breviated form -Ip or ~H* , called S0-/ro (JvL Tf\J* lit. "grass cap." The ON of TfiJ" is
G22 KWAN, not KO ; probably ko is here the first syllable of kdmuri, another pronunciation of kam-
- J W* - 11 ~
muri.) Examples, taken from among hundreds, are fy nigai, " bitter ;" dJEJ KIKU, " chry
santhemum; rftif ha, "a leaf;" ffit, ochiru, " to fall ; " jffi^ kusuri, "medicine." YAKU, 634
which is the OS or Cliinese reading of this last difficult-looking character, helps at once to
623
impress it on the memory, because rhyming with the phonetic ffi& GAKU or RAKU, for
n which see page 105. In like manner the ON of VL BAKU rhymes with ^r KAKU (our -^a 635
624 231), and its signification " to fall " naturally groups itself under the Radical " grass ; " for wliat
falls and fades sooner than grass and the leaves of trees, which have been taken by poets
and moralists in all ages as the symbol of impermanence ? 63G
625
One Hundred and Forty-second Radical. |j-l mushi, " insect," used chiefly on the left
(mws/u'-HEN), as in Ufll| no, " wax," but sometimes in other positions, e. g. YU or
" to circulate ;" ^^ hotaru, " a firefly."
637
One Hundred and Forty-fifth Radical. ^£ koromo, " raiment," chiefly to the left and ab
G2G
breviated to ^/C* (iorowo-HEN, not to be confounded with ,%» shimesu-'EEy, wliich has one stroke
less), thus /jiR* HI or komuru, " to have something done to one," hence used for rarv.ru, the
I-^V _|>|^
termination of the passive voice ; also below, as in -J>li SAI, " to cut out (clothes)." Such 638
627
examples as "AV -^3> HYO-EI, " front and back," are harder to disentangle.
One, Hundred and Forty-ninth Radical. =z iu, " to speak," or koloba, " words," almost
always written on the left, and then called QOMBEN, from GON or GEN its Chinese sound, thus :
628 039
atsuraeru, " to order " (goods) ;B" J"mokeru, " to establish ; " E5E Jianasu, " to speak."
in<itn,i < '. j i-' ' ' ' i<i > ' i < > >ji j i«l^*
^^^ P~*H
This last word offers a good example of what has been said above (pp. 105 and 111) of both halves
of a character being sometimes really radical ; for on the left we have " words," on the right
THE STRUCTURE OF THE CHINESE CHARACTERS. 119
" tongue," appropriately combining to signify " to speak."—The common character 655
• •
liomeru, " to praise," offers the example of this radical in an uncommon position.
641
One Hundred and Fifty-fourth Radical. |=| kai, " a shell," to the left or below, as in C50
H^" SAI or ZAI, " wealth ; " /jp? tsuiyasu, " to spend," " to waste." Its position in njjlj
tanomu, " to rely," is exceptional.
843 One Hundred and Fifty-seventh Radical. JEji " foot," almost always at the left and abridg 657
ed to 9^^r
!|£ (os/ti-HEN), e.g. '^sj
ip]f|> or J^Js^
ft. ^ "_ oto,
^ _A
" traces."
643 One Hundred and Fifty-ninth Radical. mL, kitruma, " a wheeled vehicle," mostly to the 658
left (kuruma-HEH), aa in Htm TEN, " revolving," " cliangiug." Sometimes it is otherwise
placed, as in rtjl/ noseru, " to place on the top of," to " record."
644 659
One Hundred and Sixty-second Radical i SHINNYU. This is the abbreviated form
employed in composition. The character ^K washiru, " to run," from which it is derived, is
643 not in use and need not be remembered. The meaning of the name SHINNYO does not clearly 660
appear ; but the characters grouped under this Radical all have to do with such related ideas
as coming and going, motion, distance, e. g. icA ifr ENKIN, " far and near ; " ijfi i5^
646 661
UNSO, " sending or transporting (goods) ;" i^ made, "till;" SB? T\8suru, " to reach."
^ fc /\ <3 •' *
One Hundred and Sixty-third Radical, trt mum, "village," contracted in composition to
647 662
TJ which is called ozalo, and always placed on the right, thus Jri) yashiki, " a mansion ; "
GUN or kori, " a district."
648 663
One Hundred and Sixty-fourth Radical, ifo " bird," as one of the signs of the zodiac,
distinguished by the name ofhiyomi notofri; but originally it denoted "a wine-jar" (conf. p. 105),
619 whence the fact that most of its compounds have to do with liquor in one way or another. It 664
stands on the left, thus J5O kumu, " to pour out ; " HP kubaru, " to distribute ; " very rarely
below, as in Epg* I, " a physician " ( who gives one medicine to drink).
G50 665
One Hundred and Sixty-seventh Radical. <^f& kane, " metal," almost always to the left and
written thus -^? (faine-HEN), as in jkhl GIN, " silver ; " ^« kagami, " a mirror,"— Far-
651 Eastern mirrors being made of burnished metal. Merely as a memoria technica, assume the 666
sense of this character to be " metal set up to look at ; " but one stroke is missing from
"to look." -^f^ kama, " cauldron," is an exceptional form.
'\t**. _ nit 667
One Hundred and Sixty-ninth Radical. P^ "Sa^e," called noy-gamae, because written
so as to enclose its phonetic, thus E£X| seki, " barrier;" Hi kemi-suru, "to inspect " (as at a
C53 668
barrier or custom-house). The commonest derivatives of this Radical have been given already
on p. 71. [Do not confound with tlu's common Radical the less useful One Hundred and
C54 Ninety-first, \\ tatakau, " to fight," sometimes called TO-gamae. The latter occurs in j^j which 669
has the same meaning and replaces it in modern usage.]
One Hundred and Seventieth Radical. E\ oka, "a mound." In combination it is con-
tracted to I* and called kozato. *" IN-YO, " shade and light, " i. e. the female (or
120 FIFTH SECTION.
670 passive) and male (or active) elements of nature," according to Chinese philosophy, are familiar 683
examples ; but Ijpfi RIKU, " land," better shows the significative force of this Radical. Notice
that whereas the similar form oxato, No 1G3, appears always on the right, this No. 170, kozato,
671 stands as constantly on the left. 684
One Hundred and Seventy-third Radical, njjt ame, " rain," placed on the top ( jj^ J and
called amc-kammuri, as in M^ kumo, " clouds ; " ipjT tH RAIDEN, " thunder and lightning."
672 One Hundred and Seventy-seventh Radical. |5& nameshi-gatva or tsukuri-katca, " leather," 685
mostly to the left, as in JMT kutsu, " boots ; " ~ttf/f kura, " a saddle." The original form
pourtrayed a hide flayed and stretched out.
673
One Hundred and Eighty-first Radical, pj properly kobe, " the head," but now more 086
often used for the English word " page," pronounced peiji. It stands to the right, and is called
ogai, " big shell," because fortuitously resembling the character |E| kai, " shell." But it
674
is really a rude picture of the human face, in fact only a variant of p5T (our No. 404), for
687
which see p. 104. Common examples of its use are J||H JUN, " order " ; ^H su-bekardku,
" ought ; " j|if kashira, " head." ^ """
675
One Hundred and EigJity-fourlh Radical. 'JJF kurau, " to eat," mostly on the left and ab
C88
breviated to "I? (SHOKU-HEN), as in gup YO or amari, " surplus ; " ffH KWAN or yakata,
" a mansion." Both these are excellent examples of phonetics (compare our Nos. 491 and 310),
676
and at the same time of the power of the Radical, as the idea of " food " is naturally connected
689
with excess or satiety and with the mansions of rich men.
One Hundred and Eighty-seventh Radical. JpE^ "horse," generally to the left (wma-HEN)
677
or below, as in Bg OA or noru, " to ride ; " *Wff sawagu, " to make a row."
690
HI One Hundred and Ninety-fifth Radical. ^H mm, "fish," mostly to the left (uioo- HEN). It
includes a large number of fishes' names not '^ * jf£.^£
678 very useful to the beginner. fWR SEN, " fresh
fish," also read azayaka, " fresh," " bright," and Wfp kujira, " a whale," may be quoted.—
The same remarks apply, mutatis mutandis, to the 691
679 One Hundred and Ninety-sixth Radical. FH tori, bird," except that it oftenest stands on
the right side, e. g. 3§& niicatori, " the barndoor fowl ; " igt; tsuru, " a stork."
692
680 E.—LIST OF SEVENTY-FIVE RADICALS OF SECONDARY IMPORTANCE.
First Radical. • ICHI, " one." It is variously placed, as in M~ JO, a measure of 10
693
feet; H katsu, " moreover."
681
Fourth Radical. ^ , nameless and not used alone. It is placed at the top or on the left.
Examples are 7*f sunaivachi, "[if so ,] then;" fa. hisahii, "long" (of time); *K
68-2 nagara, "while." 6M
Fifth Radical. / A OTSU (our No. 202). Variously placed and sometimes altered to
I i . Examples are '-+* koi-negau, " to beg ; " 5J chichi, " milk." IL
THE STRUCTURE OF THE CHINESE CHARACTERS. 121
Seventh Radical, Ni, " two." Found in perplexiugly various positions, thus b
tagai ni, " mutually ; " Jjf iitxin ya, " all the more." In this last it may be easily
mistaken for the Fifteenth Kadical V' (NI-SUI) ; iu fact the Japanese commonly so write
and print that character.
708
Eighth Radical—*-» " a cover," not used alone, but always in composition and at the top, as
rfl SHI or ichi, " a town," " a market ; " >£t> majiwant, " to associate with."
* ir -^^*
C97 Tenth Radical. II. used only in composition. It is a mere variant of the Ninth
|T| signifying " man," but it occurs only at the bottom, thus • iJT* hikari, " brilliancy ; " K|I
chigo, " an infant," often abbreviated to fr. • The top part is intended for a picture of an
698 infant's head before the foutauels have closed up.—[A comparatively rare Eadical (the Sixteenth),
710
tsukue, " a table," may easily be mistaken for No. 10. Observe that in correct calli-
/I
graphy the two strokes of No. 10 do not meet at the top, wrhereas those of No. 16 do meet.
699 t jtj yori-kakaru, " to lean " (as with one's elbows on a table), shows No. 16 in composition.]
~ j\. Twelfth Radical, yl (HAT-TEN, " dots [representing] eight "), as in H.. ou or sonaeru, /!i
•• >^ A, ' ^ -^ ^ ^^t 1
" to provide ; " •JO* kanerit, " to do two tilings at once," " to be unable." It almost always '" J'f*
700
occurs at the bottom.
~n_. Thirteenth Radical. I I nameless, and not used alone. The commonest characters arbitrarily 712
classed under it are -ml* SATSU, "a volume;" and tfa. SAI or futa-tabi, "again." -JHr can •'§ »
700 /"J TT /HJ 1
I £J be easily remembered by its real construction "mr, —two (for several) bamboo slips tied
•* *•* together, such as constituted the most ancient books or volumes of the Chinese previous to the .
701 invention of paper about A.D. 300. T]
|f Tteentieth Radical. / 1 called no-gamae and meaning " to wrap up," but not used
• ^j -J frwt t t
' alone. It is placed outside, as in '/Jl nakare, " don't ; " ^J tsittsumv, " to wrap up." 7U
702 Tioenty-second Radical. I and the Tioenty-third "|~_ both nameless, show by their shape
that they relate to boxes ; the latter of the two has a large lid on, but alike in writing and in
print the two are constantly confounded. Examples are |l^ SHO or takumi, " carpenter " ^ _715
703 (one who makes boxes) ; npf kakiasu, " to conceal " (as inside a box).
*~~ I » | _*.»
Twenty-fourth Radical. I " JO, " ten," variously placed, as in j I* SHO or masu, " &
measure," also read noboru, " to ascend ; " /|« GO, " noon " (properly " the horse," uma, one of 710
704 the signs of the zodiac, whose hour is noon) ; THJ HAKU or Inroi, " broad."
•^1^ Ttoenty-tsixth Radical. M denoting a kind of seal, but not used alone. It is mostly placed
-( ,-
ou the right, thus •Hjj^
IN, "a seal." The caseiftLoft J
'frj'
"^
ayaui,
"
"dangerous," and of "^l£^ 4j5^ «li
KWAN or maku, " to roll," is exceptional ; that of JHH tamago, "egg," still more so. This last
character was originally a picture of the eggs (still recognisable as two dots) inside the body
of some oviparous creature, probably a reptile.
Ttoenty-seventh Radical, f tailed GAS-dare, originally meaning "cliff" (see p. 105),
BV^^ I F *.
but now used as an abbreviation of Ug| GAN, "wild goose," (classed under /££. the
124 FIFTH SECTION.
780 795
One Hundred aivl Tioenty-second Radical. f\u ami, " a net," generally replaced in
practice by *r|u|
ryl**J
when signifying
*
" net," and reduced to BI fit• when employed as a Radical
781 at the top. Many of the characters under it have to do with some unpleasant entangle- 796
ft M ft t••[
ment (as in a net), hindrance, wrong, etc., as ^^F=|t? tsumi, " sin ; " -=|| BATSU, "punishment;"
g~* J^ II
!ftjp kakaru, " to incur," " be involved in,"—as in guilt, distress, or disease.
782 -\f- 796
One Hundred and Twenty-third Radical. -+-.. hitsuji, " a sheep," generally at the top
% »^. " atofe I
or right, as in -=J^ ni, " beautiful ; " TPri <>UN or mure, " a flock.''
*^^ ^^ * H ~^b—A
783 One Hundred and Twenty-fourth Radical. ;>r>| hane, " feathers," variously placed, 797
I thus -afc? okina, " an old man ; " ^z? narau, " to learn." —Both these characters are easy to re-
I "3^ F-* 7\
member, for a venerable old man is princely ( /fe ) and his gray beard flows down like
784 798
feathers. On the other hand, that which tender white ( j—-I ) nestlings learn is to fly with
their wings or feathers.
785 One Hundred and Twenty-seventh Radical. ~f' suli, " a plough," placed to the left, as in 799
" ^1^
KO-UN, " cultivating and weeding,"
" hence " husbandry.""
^^
One Hundred and Twenty-eighth Radical. J3. " *ne ear," variously placed, thus JaRu
786 800
isasaka, " a little ; " jjs£ atsumeru, " to collect ; " PSJf* ko?, " the voice."
One Hundred and Thirty-fourth Radical. p^T usu, " a mortar," sometimes above or
787
below, as in <^j|t furut, " old ; " and more difficult to recognise in such complicated but 801
useful characters as JwL ofont, "to give;" SBi. okosii,' "to raise," where part of the
788 phonetic is wedged in between. JolL ifi sometimes abbreviated to _K .
-^^ —f ~J
One Hundred and Thirty-fifth Radical. ~f* shita, " tongue." Mostly to the left ; mostly 803
Ay~~w ^Ntt^ft
" man," alx>ve it, as in |CH KWAN or yakata (also and better
789
written S our No. 681).
*"^*"^ J&L
803
One Hundred and Forty-first Radical, fjf* torn, " tiger," generally at the top in the
790 fcw-» " * [Sl^ i i^fc " . t^
abbreviated form r called tora-gashira, thus )-*S GYAKU, " cruel ; " H" munashii,
804
791 One Hundred and Forty-third Radical. |m chi, " blood." Mostly to the left ; but in
the common character 4j*r SHD, " many," it is found at the top. Remember this Radical by
its likeness to the Hundred ami Eighth Jill "a plate or dish." It is really derived from 805
792
the latter, the dot at the top representing the blood of a victim flowing into a dish when
a religious sacrifice is performed.
793 808
One Hundred and Forty-sixth Radical. [iff "a cover," but not used alone. It
always stands at the top, as in -H^. yo, or Jcaname, " essential ; " $& FUKU or kutsvgaeru,
791 " to overturn and is then mostly written as if it were HO " west" 807
One Hundred and Forty-seventh Radical. tJ miru, "to see," placed to the right or
below, as in jEt] KWAN, " to inspect ; " ^if satnru, " to discern."
THE STRUCTUBE OF THE CHINESE CHARACTERS. 125
822
One Hundred and Forty-eighth Radical, ffi tsuno, " honi ;" also readfowfo, " a corner."
ffLf^ s **
Mostly to the left, as in ulaj toku, " to loosen," " to explain."
One Hundred and Fifty-first Radical. Q mame, " beans." Mostly below, as in "* 823
809
am ? " how ? " -Si yutaka or toyo, " abundance."
One Hundred and Fifty-second Radical. •$? buta, " a pig." Variously placed, as in
810 ;Mi ZO, "an elephant " (also often read katachi, " shape," "appearance"); T?|& arakajime, 823
" beforehand."
One Hundred and Fifty-third Radical. '££ not used alone and of uncertain meaning,
811 831
except tliat it has something to do with animals. It is found at the left, as in JfH kalachi,
-ili
" shape."
813 One Hundred and Fifty-fifth Radical. Sr^ akai, " red. " Placed to the left, as in nfKf 824
yurusu, " to pardon."—Anciently this Badical was written !^K lit. " great fire," an appro
priate symbol for the colour "red."
813 One Hundred and Fifty-sixth Radical. •7l/ loashirv, " to run," called SONY.O in com 825
position, and written and placed thus : jHj okoru, "to rise up;" THJlQ koeru, " to cross over."
This last character, with its Chinese sound ETSU or ECHI, occurs in some common place-names,
8U 826
6. g. TjHj£ 14-1 ETCHC J jjg xf-» ECHIGO.
One Hundred and Fifty-eighth Radical. J3» mi " self." Placed to the left, thus
which also means mi, " self;" 1181 hadaka, "naked" (for this latter see also pp. 126-7). 827
815
One Hundred and Sixtieth Radical, ^-y* karai, " pungent," " acrid." Mostly to the left,
as in i!«[c wakimaerv, " to discriminate ;" KtV; kotoba, " words."— Note that iS^cE has
816 " knife " between " acrid " repeated, indicating the solving (as by an acid) and cutting asunder 828
which discrimination involves. Another form of the same character is JsJ which indicates
discrimination arrived at by means of words or arguments.
817 829
One Hundred and Seventy-second Radical. A-f* known as furu-tori, lit. " old bird ;" but
|_L* * -JWfc
the "old" seems a misnomer (conf. p. 104). It mostly stands on the right, as in 331: ZATSU or
ZO, " mixed ;" less often in other positions, such as are exemplified in the characters
818 830
atmrneru, " to collect ;" 65 yatou, " to hire."
One Hundred and EigJdy-second Radical. njH kaze, " wind," as in MttL G0. The compound
819 term U& jffil GUFtJ or taumuji-kase, " a whirlwind," is fairly common ; and &UL may be easi 831
ly remembered by its phonetic H.. GtT, our No. 703.
One Hundred and Eighty-sixth Radical. /^b» nioi, " fi-agrance." Placed to the left or
820 833
below, as in jpeg kaoru, " to be fragrant."
One Hundred and Eighty-eighth Radical. *K* hone, "bone." Placed to the left, as in
831
karada, " the body." 833
One Hundred and Ninetieth Radical. -M& meaning hair, but not used alone. It occurs at
the top, as in aci kami, " the hair of the head " (our NO. 139).
12C FIFTH SECTION.
834 844
One Hundred and Ninety-fourth Radical. H4 oni, " a demon," variously placed, as
KWAI or sakigake, " a leader ; " 28JI tamashii, " the soul ; " f|j^ MA, " a devil."
One Hundred and Ninety-seventh Radical. 1581 Ro, properly " salt," but common only iu
835 the expression |5KI ^fmj R°no, " the Imperial cortege." ( yjjjil signifies " a tablet ;" but how
" salt tablet" came to denote the Imperial cortege, we cannot say.) Examples of this Radical are
afforded by P~EJ| the standard character for sliio, "salt;" and (/f-\) vWf SEKKEN, "soap."
It occurs mostly on the left side.
One Hundred and Nimly-eighlh Radical. shika, " a deer," as in REI (the EEI
of KIREI " pretty "). It is variously placed.
One Hundred and Ninety-ninth Radical. £&+ nwgi, " wheat." In composition it is placed
at the left, and the last stroke generally prolonged, as in jpjg koji, " yeast."
Two Hundred and Third Radical. BR kuroi, " black," as in $fl TEN, "a dot;" >yt
TO, " a (political, etc.) part}'." The general appropriateness of " black " as a Radical in both
these words should assist the memory.
Two Hundred and Eighth Radical, pej nezumi, "a rat." The original form was ga ,
in which we may still distinguish the head with its teeth, the four little legs, and the long tail.
TIKO Hundred and Ninth Radical. Bat hana, " nose."
Two Hundred and Eleventh Radical. [Mi ^a, " tooth," placed on the left, thus
840 yoicai, " age " (as we tell a horse's age by its teeth). This Radical is often abbreviated to
Two Hundred and Ticelfth Radical. |?ff HYO, RYU, or talsu, " a dragon."
Two Hundred and Thirteenth Radical. Sg kame, " a tortoise," constantly abbreviated
841 to "S* . The original form was gjw , giving a side-view of the creature, with its head and
beak above, its tail below, its carapace on the right side, and its feet on the left.
Any one knowing these two lists by heart will be better equipped for finding characters in
842 the dictionary than are nineteen-twentieths of the educated natives of China and Japan. 852
It will help towards a working knowledge of the Radicals and their use to cast a glance from
time to time through the Index of Characters given at the end of this volume. Such rare
813
Radicals as I , > , I , etc., will then also gradually loom before the mind as pos 859
sible clues to characters whose construction is not at once referable to any of the larger and
more familiar classes.
Before we quit the subject of Radicals, it may bo well to mention the following miscel
laneous items :—
Some few characters are written indifferently with various Radicals of approximately
the same signification. Thus our No. 605 SK* " cereals," with the Radical 'Jfc ine, " rice,"
also occurs as S&J4 with 'AZ* kome, another Radical for " rice." In the case of
THE STRUCTURE OP THE CHINESE CHARACTERS. 127
" naked " (Radical S* " self "), also written %*& (Radical " clothes "), the appropriate-
ness of the exchange is equally apparent.
Some few allow of the Radical being variously placed. HlSC or ;3§, RYAKU, " abbrevia
tion," is a common instance ; so is |||gL or Ji£ shima, " island " (but Jgi with four
strokes less is the standard form, our No. 530). Others are afforded by or tfir KO (as
in fifl *j|C OENKO, " manuscript " or " copy " for the press, and in B ^JB, sOKO, " a rough
* f^ I iPjl ~~»f%J^ <"W 8* BJ M ^fc t&• I I l^y
draft ") ; also by jHp or ^5J MURE, " a flock ;" by £&• or mja? mim, " a mountain peak ;" and
by >R/£ " pine-tree," sometimes written ^^> for the sake of variety.
Sometimes, on the contrary, change of position in the Radical produces an entirely different 857
character. Thus whereas £7-^ is wasureru, "to forget," »np* is isogasldi, "hurried." Ji§.
*l—•* » »• I I— y'Jv
is izumi, " a spring of water ;" but Ytl is tomarit, " to stop."
A few useful characters are obtained by trebling a Radical. Such are ->>/£ KAN, " im
morality," " adultery " (representing intrigues with three women at a time) ; .& SHO,
used in ~nf ^« SUI-SHO, " crystal," which we may suppose to be as bright and clear
as three suns; sSl mvshi, "insects;" -gg> used in the common though obscure compound
B HHKI, "patronage," "favour;" ^^ todoroku, " to rumble."
We have alluded above to the arbitrary manner in wliich many characters are classed in
the dictionaries, till
i \ MON-gramoe, "gate," the Hundred and Sixty-ninth Radical, for instance,
is made to include RH EH \tt\ e^c>> ^u^ no'1 fol au(^ lS\ which are placed
under the Radicals II and _BT respectively. 31? motomeru, "to seek," has no etymolog
ical connection with ~t\£ mizu, " water," neither have ttf yoshi, " circumstance ;" HI
KO, " firstly;" and •-§-» *-*-* H-i
H-| nv'jsu, " to say," any connection with »-p| ta, " rice-field." The dic
1 863
tionaries class them under "rice-field" on the strength of a merely superficial resemblance.
This is a matter in wliich nothing but practice can avail.
Some few characters occurring in Japanese books will not be found in the ordinary dic
tionaries at all under any Radical, because they are local Japanese inventions, and therefore lack
the sanction of the learned. The most useful members of this small class are :
tsuji, " a place where four roads meet," " cross-roads." 866
komu, " to be crowded ;" also komeru, " to stuff in."
4HJ tote, "saying (or thinking) that."
liala, " a (dry) field,"—as contrasted with a wet rice-field.
Jtatake, " a (dry) field," a " vegetable garden."
tdge, " a mountain pass."
In inventing such new characters to suit their own special needs, the Japanese did but
follow the example set by every provincial Chinese dialect.
128 FIFTH SECTION.
435 427
7 419 411 403
58C 570
a 502 554
587
ft579 571 503 555
it
666 658 650 j 642 634
a 670
671
662
663
654
655
646
647
638
639
J. 683 675
705 698 690
49
708
ft 700 693 686 678
710
JLIL 702 695 680
FIFTH SECTION.
786 778
IK*770 762 754
jUL IT
138 FIFTH SECTION.
819
3L
811 803 7!)G 788
a
SCO 852 844 836 828
8G4
it
865
866
867
868
869
SIXTH SECTION.
*>
< 7C
«
l/t <7) ft
M
A 4 B
3" t < IP
If
4 T I
A, A t
< ft
a IP
*-t »>
£ A L
JM IS t
-c
-c M A
-c -fr< A A 0
ti M|? nc*
'J> pp i»|) i
144 SIXTH SECTION.
^ • -w li
K.
iS w3- -9rt 1ft L
* |
% ft #
i -< $
!) A \ ? tf T L 4? A
A ^ * R t
fi|? i
L ft
&
ft
t < A
A -r- 3y>
^
-«-
L
Tf
_LL HrV
**+ "T^T
/tl
t t
-c 3t '_'
ft -tf
c
5^
-c
A L * li
*?> pi"'
* -t>
* iS*H
n«• fcl ^ wr
-tf tf
L T M L
t
ffi m
^ -c -c -c <D
A TALE OF THE GOOD OLD DAYS. 145
ft ft tt
•9 * g J) f
t -C ?> <& L £
< ti ti ^ £ < -c
fr I :*pt
^ (7) IS <±*
^c A^
& * L ft
-c * HI" »> LI
li 3 t
Id:1 fS it L
f "I" 'H' kf
£ £ j$
ft ^ ^> ® *
t ») ft A ti £ 5
K. ^J? t1' ft K
JE A * h < A
a L ftf> ^
£• A \
it
Si n l/J.
tc li ft
< fct
A^
se *•
^ t »> 0
^
5 ft
K * ft r>
I ifl <
14G SIXTH SECTION.
4&
in »)
*J L % A A
l£ T it <f) HP
-c ? jg
L L
fe ft <
< 0 -c L ft
Jfc A a
L HP it
«* r
J& <t n
«|i
it L © J|- R A r
-c T L ± a "0
-c
ft ? ~^z
L^ I I
L ft C -C 0
-c
JL
^
A -c
1 I
HP H ft
It A
£ ft r
It «c t ft
7C f- tt L
7C L A
tt It It HT
A TALE OF THE GOOD OLD DAYS. 147
5 *fe z: _ n L
*p li r A
*
JE 5
ft si
( • - PI
if R
T
t
$ fcT ;§ ^ A
* MW- Tii -¥• H^
»
R t
MSA ^C ^ * R fT
5 f ^ a
£
19 «*—•
x n a
% ^^ ^ * ii
^ li f> -c a 5
# ^ H: i
a tap
< £ J50 H -c
* tf. ft
PJ
iW» to ^
y- -c
tf < * L
/V S tl t R
K R © HT
J^~f^ ^T^B^? *^
R f&
• lili^ /3 "sUn X V
3. 3. 1 •C- HT R
At W ^
-c -c r S
-- -in-
^r^ v*
») <*kW ^A t
V 5 i W a
SIXTH SECTION.
DAI IK-KAVAI.
GEXROKU no sue, HONCHO Xi-CHd-nn no ura-ya ni, loshi no koro GO-JU bakari nite, Idtori no
GEJO wo meshi-tsukai, nani FUSOKU naku "kuraslii-oru yamoiue arishi ga,—sono omole ni EcHico-ya
HACHIROBEI to in fulomono-ya ari. Kono HACHIROBEI wa ISE Hatsuzaka no umare ni shite,
Jiiirix yoku, BENZETSU sawayaka narlshi ga, ori-ori ROJO no moto ye de-iri wo nashi, oi-oi kokoro-
yasuku narishi ni,—aru Id itsu mo no goloku kitari, yomo-yama no Jtanashi yori tsui ni mukashi-
gatari ni oyobite, r>6Jo ga mi no we wo kiktt ni, ant SHOKO no KACHU nite REKI-REKI no ie-gara
naru ga, ika naru yue ni ya, iiCxix slate ari-keru tokoro, GO-NEN IZEN olio ni shini-zvakare, kodomo
mo naku, SHIXKUI tote mo arazareba, sen-kala naku kono tokoro ye hild-komi, GOSHO-ZAMMAI
ni kurasu to no lianasld im kikite, HACHIROBEI, " Ixu-kata yori lea GO FUCHI nite mo maeri BWJ
ya?" to tazune-keru ni, KOJO "Ina! ina! FUCHI wa mairanu ga, sukoshi no takuwae-Kis areba,
tamaka ni kuraseba ivasld ya ICHI-DAI wa ANRAKU nari " to in ni, HACHIROBEI, " Sore ica atara !
Kane wo nekashite oka iea, MUEKI nari. Sukoshi zutsu kasJti-idasare ! RISOKU imlori-lamawaba,
nao-nao GO SHOGAi no o tanosJtiini naru-beshi. Nani-hodo o lakuwae no aru ka loa zoxzenedo,
imada o tosld wa GO-JU yurai to o mi-iike-mosu ni yori, KU-JO, HYAKU made mo GO HANJO naran ni
wa, uijoso GO-JD-NEN no o kurashi ni SEN-RYO to ate, sono ucld KWANAN, BYONAN, FUJI no NYCHI
mo areba, kashi-Kis ni shite RIBUN wo e-tamaivaba, oi ni GO ANSHIN naran. Mosld obosld-mesld mo
aozxrabz, nan-doki nite mo o SEWA itasan. Watakusld mo ori-ori wa SHAKUYO itashitashi,"
to makotoshiyaka ni m'jsu ni zo. EOJO wa tsura-tsura kangaeru ni, tukuwae-K.i$ loa SHI-GOHYAKU
KYO naredomo, hoka ni FUCHI tote mo araza.ru, yue, HACHIHOBEI ga miJsu goloku kasld-dasldte HISOKU
wo eba, ANSHIN naran to omoi ; sore yori HACUIEOBEI ni SUDAN shite, GO-BYO JU-HYD zutsu kashi-
dasesld ni, SHIDAI-SHIDAI ni ko wo umu wo tanomoshiku omoi ; mala HACHIROBEI ga t'mo no SETSU
wa, RISOKU ni oyobazu tote, JU-RYO NI-JD-RYO zutsu \0date-keru ni, HACHIROBEI icaitsu mo NICHIGEN
?u lua macldgai naku HENKIN naseshikaba, itsu to naku MU-SHDMON nite kashi-atae, nochi-nochi wa
GO-JL'-RYO HYAKU-RYO to TAiKiN ni narishikadomo, ai-kawarazu HENKIX wo nasu yue, ROJO mo oi ni
yorokobi-itarishi ga,— sude ni ROKU-SHICHI-NEX tatsu mid ni, kano ROJO wa ama to nari, na wo
CHIKD to yobi, korotno wo CHAKUS/W', makoto ni INKYO no arisama nite, HACHIROBEI to wa MUNI no
KON-I to nari, ake-kure de-iri nashi-itari.
Aru toki HACHIROBEI wa BIKUNI ni mukai, " Kono SETSU Muro-macld ni yoroshiki uri-ie
ti.fi. Kono ie too kai-tori, mise wo idaseba, shi-dasu koto ulagai nakeredomo, SEN-RYO hodo mo
kakaru ni tsiiki, ZANNEX-wograra mi-awaseru" to no lumashi wo, CHIKO-NI loa tsura-tsura
A TALE OP THE GOOD OLD DAYS. 149
kiki, " Sore iva oshiki kolo nan, SHO-SHO naraba GO Yd-dale-indian ni, —SEN-RYO to moshite wa,
watakushi no chikara ni oyolazu " to mom ni, HAOHIROBEI, " Sore iva SEM-BAN katajikenashi.
Watakiishi mo sukosJd wa takuwae aru ni yorl, SAM-BYAKU-RYO o kasld kudasarenaba, kono nozomi
yuki-todoku nari" to in too kikile, " Sono kurai no koto nara, GO YO-cfofe mosu-bekereba, hilo no
ii-komanu ucld ni hayaku sono ie ye moshi-komi-tamae" to, CHIKO-NI wa osldye mo naku- kasld-
atoru ni yori, HACHIROBEI oi ni yorokobi, SOSO tacJti-kaerite, KICOI-NICHI wo erami, mise biraki wo
nasJti, GOFUKU-WOTJO mo issO oku sld-komi, wakai mono too mo masJdte, ito sakan ni akinai-keri.
Kono HACHIROBEI wa, ITTAI SHOBAI no michi ni kazldkoku, JIMBO ante, toi-ya no nomi-komi mo
yoroshikereba, BHLDAI ni HANJO nasld, NI-SAN-NEX no ucld ni DOZO wo tatc, JIMEN mo kai-ire,
nannyo mo JU-SAN-NIN no kurasJd nite, inia wa YCFUKU no mi to zo nari ni keru. Sono GO kano
CHIKO-NI no kata ye wa, nan to naku iiici sono hoka toki no mono wo tsukawashi nado shiie, ICHI-NEN
YO mo suylshi to iedomn, kano SAM-BYAKU-RYO no kane no koto wa, nan to mo iwazaredomo, KON-I
no koto yiie RDNI wa SAISOKU mo sezu ; mata ICHI-RYO-NEX wo sugoseshi ni, nao nan no lianasld mo
naki yiie, RONI tea ikaya to omoi, urn Id HACHIROBEI ni mukai, " SENNEN GO \0-date-taru SAM-BYAKU-
RYO no KINSU on kaesJd kudasare-taktt ; kono SETSU iva SHOHO /ye kasM-idasesJti kane mo iro-iro to
macJdgai, temoto FG-maivari nite komaru ni tsuki, cKzo o kaesld kudasare-takti" to ieba, HACHI
ROBEI iva moto yori famu Kl nareba, oi ni odorokitaru TEI nite, " NaruJtodo ! 8ESSHA NANGI no SETSU
iva, JD-RYO Ni-JC-RYO ica o kari-moseshi koto mo arisJti f/a,—kono SETSU wa, toiija no Jtoka ni
SHAKKIN to iu mono IS-SEN mo nasld. TOJI futa-hako ya mi-hiko no kane ni wa sas/u-tsukaenu
ware-ra, nani sJd ni karita kane ivo kacsanu to musu koto aru-beki ya? Sore wa oboe-cldgai
naran" to mosu ni zo. E.ONI mo mata oi ni odorokl, " Kore iva kealdkaranu koto wo oseraruru
mono kana! SENNEN Huro-macJd ye Jdki-kosJd-tamau toki, KINSU FUSOKU yiie yitki-todokanu to no
koto nareba, JTTSU ni KINODOKU ni omoi, SAM-BYAKU-RYO 710 kane GO \Q-datesld koto wo yomoi/a o
wasure wa aru-maji " to ieba, HACHIROBEI, " It/a! iya ! sore wa Idto-cJdgai. Koto ni hiki-ntsuri
no toki, SHAKUYO-KiN nado itasu SESSHA de wa GOtA.ran. SAYO ni monld-lcake sJd-tamau-na /" to,
sora-usobidte ii-keru ni zo. KONI wa oi ni KE.SHIKI wo kac, " Ko wa omae ni mo ni-awanu koto.
SAM-BYAKU-RYO no TAIKIN wo tada nbai-toru wa, nusubito DOZEN nari. SosO mimi wo soroete
kaesare-yoT to iki maksba, HACHIUOBEI mo GANSHOKU wo HE.vy't, " Ko ioz RYOKEN-cAiV/ai to
araba, KAKUBETSU. Kasanetc SAYO no katari-gamashiki koto iwarureba, nambo onna de mo YOSHA
wa senu " to, kotoba araku, me ni kado tatete nonoshiru yite, CHIKO-XI mo oi ni iknrii to iedomo,
arasoi-gataku ya omoi-ken, sono mama tatte kaeri-keri.
NEW CHARACTERS.—870. ^g Jo, " a lock." .~r^ ^S te-Jd generally means " liand-
cuffs," though here, as will be seen when the story develops, the signification is slightly
different.—871. 4&. KEN, "a case," " an affair." It is often read kudan, "aforesaid."—872.
-•{• I I
jlfSt ROKU, "official emoluments,"—here part of the compound GESROKU, a "year-
'** /•*• II I*
name " (_trl ak') which lasted from A. D. 1688-1704, and is one of the best-known periods
of Japanese history. All the arts for which Japan has since been famous then sprang into
150 SIXTH SECTION.
vigorous growth, the theatre flourished, the Forty-seven Rouins enacted their famous drama
in real life, etc., etc.—873. -Z? menu, properly " to send for."— 874. J||£ kurerit, "to grow
dark," hence kurasit, " to spend time."—875-6. J£f* is properly KWA, " few " (sukunai), hence
" solitary ;" Tftj? is FU, "a woman," " a wife ; " the two together are read yamome, " a widow."
The character Traf well indicates a wife's household duties, being composed of //* " woman,"
and rfBjii Juki, " a broom " (877). This last is now generally written with the Radical for
" bamboo," showing the material Far-Eastern brooms are made of, thus >jlij .—878. Hlj
properly Ro, " a man," but occurring chiefly in proper names, and abbreviated to RO when
BEI follows (con/, p. 153).—879. ^St I properly means kore, " this," but its use in nineteen cases
out of twenty is phonetic merely. The natives of the province of Ise are credited with aptitude
for trade, but their reputation for honesty leaves something to be desired.—880-1. Saka, " a hill."
Tn7 and WKF are used indifferently, Radicals 32 and 170 being each equally appropriate to
the idea of "hill."—882 3K taken alone, is read sau-ayaka, "clear," hence " fluent." The same
reading persists when it is compounded with HH^ (our No. 380), KWAI or kokoro-yoi " plea-
J** > I' ^
Bant."—883. «f/l* properly oru, " to break,' hence used when doubled for like-sounding ori-ori,
" sometimes."—Observe SL^Hp (our No. 311) KYO or yuntsu, " to allow," here read moto which
means " place," " presence,"—singularities of the use of the characters which must just
>j^
be taken on trust, and if possible remembered.—884. 4G properly ou, " to pursue ; " hence,
when doubled, oi-oi, "gradually."— l/Ll rt 1 1 1 read yomo-yama, is a corruption of yo-mo
ya-mo, DO ' fj it J-j .—885. ||jjj , JianasJn, " talk," what " comes out " £U of the
" mouth " pj .—886. jj^ tsui ni, " at last."—887 :S1 mukasld, " anciently."— 0J/
properly aruuva, is here read aru, " some," " one."—888. 45* KO is properly " a marquis."
That |fjFi 'fi^ lit- " several marquises," should mean " a DAIMYO " in the singular, is a
freak of usage.— Pp^ /% REKI-REKI (our No. 745 doubled) means " illustrious," because a
family becomes so when it has "passed through" (Jf^fc Jieru) several generations.— 889. >MM
Properly e, a handle," but borrowed to represent phonetically the suffix gara, which signifies
" kind," " quality," " appearance."—890. YEl RO " the waves of the sea (Jap. nami) :"— a RoNiN
IJ^v
is lit. " a wave-man," i. e., one who wanders about having no fixed lord or occupation. Read
Mitford's admirable version of the story of the Forty-Seven Ronins, in his " Tales of Old Japan."
—891. }ti? MAI properly "dark" (from T^ "not yet," and R " sun "); but "^" Jfclr
JY\ * 'j^" I—I ^ ^f^*
denotes " absorption " (as in religious devotion).—892. Here we find kurasu written differently
from the same word in 874, it being here lit. "extinguishing" (Ytt kesu) "light" ("Tin
hikari).—893. \%2 ^ verJ common abbreviation of the honorific prefix MH\ Qo, on, or o.—
894 rffc read alone is tasukeru, " to assist " (the character showing one lending " a hand " to
"a man") ; "»fJ^ J~E is FUCHI, "official rations," such as, in feudal days, the Daimyos
distributed to their dependants.—895 £/U is a familiar abbreviation, 896 iR^ the standard
form of soro, " to be," the commonest word in the Epistolary Style, often used, as here, in
A TALE OF THE GOOD OLD DAYS. 151
liness."—931-2. M* is here BI, &* is KV, and F3 is NI (read amn in No. 926), all used
phonetically to transcribe a Sanskrit word signifying " mm." But JT* taken alone is HI.S-N/V/,
" to compare ; " and FT- is oka, " a hillock."—933. tg» muro, " a cellar," " a hothouse."—
-• '..+ -1 1 *f
934. 'jej* yoroftJiil, "fit," " right," "good."—935. _Ej^ SO, £«yf«, "early," " quick."—936.
i3£ erctmu, "to choose," also written «P£p . —937. Err- Go is properly the name of an
ancient Chinese kingdom ; and a haberdasher's shop retains the name of F-rt~ Rfif /3p> fiOFUKr-
ya, lit. " Chinese clothes house," in memory of the early days when Chinese fashions in
tailoring prevailed. The native Jap. name for Go is Kure, whence this character, borrowed
phonetically, is also often read kuivrn, " to give " (to an inferior). — 938. KnF SO, " a layer,"
" a tier ; " compare, both for sense and form, the next, 939. NJT masu, "to augment."—940.
4A£, TAI or TEI, a common abbreviated form of Yfl=r (No. 833). — 941. *py KEN or kashikoi,
" wise."—942. ^5ti nornu, " to swallow " (from II" mouth," with H? TEN as the pho
netic, it being read TON). —9K5. Hp£r zO or kitra, " a godown."—944. TjJF KEN or latent, " to
erect." — 9J5. IM KESortxiikdwafttt, "to send."— 946. infl xiii/lrn, "to pass by," " to exceed." —
947-8. > // SAISOKU .s'wcw, " to urge."—949. j KEI or //e>-«, " to pass by," "to elapse."
| F&. |Afc. •/»!? "/Ist I—L-Ttlfl
It is often abbreviated to aKp. —950. fl]{l| or ^|H| maiearit or iiieyitru, " to turn round,"
interchanged with its primitive ml (No. 504). —951. htl knmarii, "to be in trouble"
(like a " tree " shut up in an " enclosure " ). — 952. Jfg* fwnit, " to tread on," liere metaph.
" to repudiate."— 953. -j&i'j"
|ggr KEI or odoroku, " to be frightened*~? " " (like a sliy " horse " ). Ee-
jWJf ~t£%f
member at the same time (954) l^jg KEI or imasldmeru, "to warn," which is the KEI of
KEinu, " a police sergeant," who warns people and frightens evil-doers. =1 is as appropriate a
Radical for " warning " as pfcl is for " taking fright."— 955. JrH SETSU or txidanai, " awkward."
—956. 4^ KWAI or ai/adi-ii, " strange."— 957. /|Ul atxjit, " to look up ; " hence o-se, " your
words," or " commands."— 958. -^g; DOKV, " poison."— 959. y£t koto ni, " particularly."
— 960. AxC vtsunt, "to remove."—The student need
\.Jr ||J^ /,•»!
not yet trouble to remember the rather
rare character IMS mobukn, " to whistle."— 961. qLJ «!>«, "to resemble."— 962.
-f/Jk* "-^\ jr»».
" to rob."—963. JiA- ^V^ rrA
TO r»v n/i,'irtnii '*
or niixumu, frv of-dol
" to '*
steal."—964.Q(^J. Lttll ftnroe.ru,
J«|l £?/^i*ri^i>>/ "
" ^n
to cequalise."
-OIL JnJ j^.
wo soroefe leaesu is a common expression for " complete repayment."—965. 1=1 " breath " (as
it were the " heart " of one's " self," it being the most important thing to life). —966. gH GAN
or kao, " the face."— 967. J RYO or oioaru, " to finish." J E3 is here written merely
phonetically.—968. yfe£ KAKU, "a rule:" >*Bl " exceptional."—969. '' omni,
"heavy ; " also read kasaneru, " to pile up."—970. IjjO katarl, " a cheat" (much dishonesty is
_i*yv ^y^m u *. *
connected with "horsiuess ").— 971. ily& SHA or stiteru, "to throw away."— 972. Tj? arai,
" rough."—973. && nonosMru, " to rairat." Eamember the compound Hi -=5* (9'74), same
t=t
meaning.—975. 3&>C j'i-«rw, " to te angry.
A TALE OP THE GOOD OLD DAYS. 163
CHAPTER I.
At the beginning of the eighteenth century, in a back house in the Second Ward of Honcho,
there lived a Avidow of some fifty years of age, who kept a servant-girl and wanted for nothing.
The front was occupied by a draper called Hachirobei, who traded under the style of Echigo-ya.
He was a native of Matsnzaka in Ise, had a pleasant appearance and a fluent tongue, and from
time to time visited the old lady and gradually established an intimacy with her. One day,
when he had come as iisual, conversation on all sorts of topics at last brought them to speak of
bygone days ; and his enquii'ies concerning the old lady's circumstances elicited the informa
tion that she came of an excellent family, retainers of a certain Daimyo, but that for reasons not
specified her husband had become a Ronin, that he had been taken from her by death five years
before the present date, that she had neither children nor yet any other relations, and that so—not
knowing what else to do—she had retired to this place, where she spent her time in preparing
herself for the life to come. Hachiiobei then enquired whether she drew any feudal allowance.
The old lady said not,—that she drew no such allowance, but that some small savings of her
own made her comfortable for life, provided she practised frugality. " Oh ! " said Hachirobei,
" that is wicked waste. You shouldn't let your money lie idle. Lend it out in small sums. The
interest coming in will contribute to your comfort during your whole life. What your savings
may amount to, I know not ; but from your appearance I take yon to be not more than fifty
years of age, and who knows but what you may live to ninety or a hundred ? Supposing there
to be a thousand dollars devoted to your support during the next fifty years or so, during which
period extra oiitlay in case of fire, sickness, or other accident must also be provided for, how
much easier in mind you will be if you lend it out and get the interest ! If you wish, I shall
be happy to assist you at any time in the search for suitable investments, and I myself
should like to borrow from you occasionally." The old lady revolved these plausible
speeches in her mind, and came to the conclusion that as she had no feudal allowance to look to,
—nothing but the four or five hundred dollars which she had saved,—she would best consult
her own peace of mind by following Hachirobei's advice and lending her money out at interest.
Having therefore consulted Hachirobei, she began so to lend it out, five or ten dollars at a time,
and to rejoice at its gradual increase. To Hachirobei too, whenever he required money, she
154 SIXTH SECTION.
would supply ten or twenty dollars at a time without interest ; and as he always carefully re
paid it at the due date, she fell into the way of lending money to him without asking for any
voucher, while he continued to repay it even when, later on, it grow to such large sums as
fifty dollars or a hundred. All this gave great pleasure to the old lady, who, after six or seven
years had elapsed, become a nun under the name of Chiko, arrayed herself in religious garb,
and completely assumed the character of a recluse, while remaining on the friendliest possible
terms with Hachirobei, who would come to visit her morning and evening.
One day he said to her : " There is a capital house for sale in Muro-machi. I am sure I
should make a fortune, if I were to purchase it and set up my shop there. But it costs about a
thousand dollars, and so I am unfortunately compelled to abandon the idea."
Chiko, who had listened attentively, replied : " That would be a pity. I should be
delighted to supply your need, if the sum were a smaller one ; but a thousand dollars is beyond
my means.''
" Ten thousand thanks," said Hachirobei. " I have some small savings myself. If you will
kindly but lend me three hundred dollars, my hopes can be realised."
" If that is all," retorted she, " I will furnish the money you want. So you had bettor
apply for the house without delay, before any other applications are sent in."
This loan made by Chiko in so ungrudging a manner greatly pleased Hachirobei, who at
once went off. He then chose a lucky day for the opening of his shop, laid in a far larger
stock of drapery than before, engaged more apprentices, and did a very successful business.
Now as Hachirobei really had a talent for trade, was popular, and enjoyed credit with the
wholesale houses, his prosperity continually increased, and in the course of two or three
years he became quite a rich man, building storehouses, purchasing land, and keeping up a
household of thirteen men and women. In the mean time he occasionally sent Chiko presents
of dresses or other things appropriate to the time of year, and in this manner one whole rear or
more passed by ; and though no allusion was ever made to the three hundred dollars, she
abstained from dunning him on account of the friendly terms they were on. But when another
year or two had elapsed, and he persevered in absolute silence on the subject, the old nun
began to think it strange, and said to him one day :
" I should like to have those three hundred dollars back, which I lent you some years ago.
I am rather in straits through inability to get hold of my money, owing to trouble of various
kinds which I have recently had about loans to various persons ; and this is why I ask you
kindly to repay what you owe me."
Hachirobei, whose intention from the beginning had been to repudiate the debt, affected
an air of great astonishment.
" Oh ! certainly," said he, " I remember borrowing ten or twenty dollars occasionally of your
worship when I was in poor circumstances. But now I do not owe a penny in the world, except
A TALE OF THE GOOD OLD DAYS. 155
to the wholesale houses. What could possibly lead a niau in my position to neglect to pay
such debts,—I who at present can lay my hand without the slightest difficulty on two or three
thousand dollars at a time? You must be labouring under some misapprehension."
Now was it the old nun's turn to be astonished. " Really," cried she, " what an outrageous
assertion to make ! You surely cannot have forgotten my lending you the sum of three
hundred dollars, because I was so sony for you when you were about to remove to Muro-machi
some years ago, and found yourself hampered by want of cash."
" No ! no ! " retorted Hachirobei with supercilious unconcern, " you are in error. I am not
the man to go and contract debts just at the time of removing my establishment. I will thank
you to make no such imputations."
A change came over the old nun's countenance as her fury mounted. " This is not like
you," she cried. " To rob me of such a sum as three hundred dollars is to be no better than a
tliief. Do you just make haste, and pay me back the uttermost farthing."
" Assuming," said Hachirobei, changing colour too," that you have fallen into some mis
conception, I will make allowances for you. But if you again attempt any such extortion, I
shall have no mercy, for all that you are a woman."
This abuse, conveyed in such downright language and with his eyes starting from his head,
made ChikO very angry too. Yet she got up and went away without saying more, feeling per
haps her powerlessuess to continue the dispute.
-c t
£ (J< -< -c
£ 4 t £
L
i/t
-c ± i
** *
T
li t. 1 a
15G SIXTH SECTION.
L L R
— 5
A Ji
V)
x
6 L ft R
<f (7; »)
R
•f«
It a L
f> t
ft
JS © t
-c < 4- ^
ft
5 ^
/r P -e
* =ft * A ft
'«>
ft
* A t n ^ gfc % -c
A »J <
Jft
*
tS tt' * A * ^
< S ^C ^ +
L ^
*I
± T^c &^ mA ^_
*1CV /.!• -I>kl&
19.
TT*
^
«f a M•^s.
n- v
s f.
I>f
A
A ^ ^r © M * s a ^t
* tc/ ^A sSii^
^^l^:' z?> ^
£«• 5C
life <
Jt,
mt •tat Pj5 A-t 5S;t> it: MR
* ffl J& * 5 _h
A TALE OF THE GOOD OLD DAYS. 157
HT ^
m" Hi1? < ft
tt; # 4 i
ft 0 3* § ' fl
•L
^ ?N t> iifc "C
0 -fe
^%yj I)
Hi '*$
& A ^ t:- ,@> Hi 31
— -s. A- n i/z. ;fl| ft
I
f\a\ tf «S W i t L
RM ft ft 5 j) *J
i ^ tf
I L HT Rt
r P It t J ^
Hi t Jt -
-c « a ...
Hi Hi T
i fU- IS
»H>
t t
M {2 ^ ft
*)
T li ^
i 5 I ^ Hi
ft / ^
ft S
* n Hi
t t L
ft tn % ft it
158 SIXTH SECTION.
5
^ ^ ft $ A R ^
l/£ £ n i) A A £
n 1 s£* -f
ftL fB R
aR mto ^ A
R
L
»>
A ft -n
-t ft
BT
a A
L I
1^ f2
«• 1 -c
iiC »,
t ib «Fu
L ^
5B I ft
(?) .
» R
3 R
rv ») 1
R t)
< £ ib ^
IS IL n R
A
A TALE OF THE GOOD OLD DATS. 159
•C
R
•te tfe ft R g h
vK
ft
A ft -£ ttfc
"^ © *) L it
L ft -C ft L ft ar
n *h WT n
t IB t—»-*
L A
V) L
< -C te Av
ft
L
r» nr -fe
L & ^f * f *=*?
«. t
v -C L L
I 3" 5 ^ ^ & ft
2 CO * & #
n ft
"C % ft ft R
1£ M n t ft S r <
t 1 ft
H £ ig P n _h
IP ^ ^ 'la ^ ft ^ t
ICO SIXTH SECTION.
A A L
£ HP
^
0lf
L
L
L
If 5 t IB]
A n
-Jgr & rft
MM
ffi JL -T H* fl L
*>S m L a A-J)L *y v»
ft -IX C e
5 w ft
L nr
NI BP A If f
A
HP
A A
R
4IS^
fc J£ a r> -C
t a if a f«
ft ft A
13 R ^n,
t)
1/z. fe -c
< 5 Y
n
it n
1(1
L
Jft
\i ib
^ '% ft L ft ft
^r ^9 A
*
fc
? n
i tt -C
•*^
a s; 3
4V*\
^ *
?>
3 «j
fe
HP
* #
C7)
L ^ 5
ji1 n K
^C r ±
R 1ft 4
5
ft
ft m'*£ |L
i rv 2 -t i§ t «? ft |Pp
-J
^*s
4 k*1*
A TALE OF THE GOOD OLD DATS. 161
^& V P * LIT. —»
M
tf B flf H 'It A Ufc
S W < HP ftfl
\ ^ ^ t> l/^
W rt I- m PI
*)
i ^ Q ta »u;> «)
r ft
<
n ^2
^ ja^.
3>iL
A s/v ^ f2
H
*F lll
t
H:
IB] fe % 5
/^
* -i*
ft I) £ g ^^ \ »)
_ n* ffi ?> (7) fe 3.
»ft tr %t
ft») •¥>
^ t 4 t>
£ L -c
<
5 fc
^ ^ ft £
fl? 5 £ m n a -C *
«• — 5 ») IK
II *> HtjF jj^\ K
R |L te -c IB 5E t£ I"J «G—H-A
^? nr ^^ /r ^ 3f Jfc X
ft n ft £•
^L L -tf * <
5 £ a ft »|JU> 5 R
Y ? s: A 5 f f* t
^ n ^
^»»> fct B|5 R R
M* fi L -C
t e> s ^tt -C tf ia
^c & *» -c 0 I
^ ^ ^ R ^C * r 1ft
^ A n «
A n R B^ L < iz.
162 SIXTH SECTION.
Iff
T < ft
f> fci
ft *£ L
**J*" 'C^* -c
« rf ft a-c J^.
>iL
A te
L f)
-C L
-c -c 5
-<
ft A It tA L
JH
L
It
-t m % Li- 10
^f ^
IB
H -c
nr
It -c •cL
DAI NI-KWAI.
Kakule CHIKO tya &i ni ikidori, kono mama ni okit-beki ka to, SASSOKU ie-nusld ye SODAN nt
oyobishikaba, ie-nushi, " Sore vxt, KEshikaranu koto. Sidle, SHOMON nite mo aru ka ? " to ktku
ni, " KON-I no naka yue, itsu mo MU-SHOMON nile kasld-tsukaioaseshi nari " to ieba, ie-nushi
" SHOKO nakute wa, koto muzukasfdku • sude ni SHOMON-KIN sae tcibi-tabi walakusld ga o seioa
mbsu ni, tori-kanuru yo no naka ; koto ni ECHIGO-J/O wa cldkagoro shi-daseshi SHINDAI ; omae
san ni tea ROJIN no o BIKUNI nareba, KOSO to naru to katari-gamashiki YO ni kikoe, o tame ni
yoroshikarazn. Yotte, o hara mo tatan ga, nan to ka akiramete uchi-sute-tamae ! " to, sara ni
tori-agezu. (Kore wa, ie-nusld no kokoro ni, RONI ima ROKU-JD-NEN naredomo, JD-NEN IZEN tva
BIREI naru GOKE yue, EcHiQO-?/a no TEISHU kokoro-yasuku ucM-soto no SEWA mo ilaseshi ga,—
sono koro to chigai, kono SETSU wa IKKO kamaioanu yue, Jiara wo tatete, KINSU de mo torn to
iu takumi naran to omoi, yoki Jiodo ni AISATSU seshi to nan.)
A TALE OF THE GOOD OLD DAYS. 163
Sore yori CHIKO wa tabi-tabi EcHiao-ycz ye itari, kake-aedomo, sara ni tori-awanu nomi
ka, " Tosld wo torn to, YOKU ga fukaku nari ; hito no kane made hoshigaru mono nari " to,
CHORD nasu yue, iyo-iyo kucld-osldku omoedomo, senkata naku-naku mata ICHI-EYO-NEN talsu
ucM ni, CHIKO tea DANDAN KONKYIJ ni narishikaba, GEJO ni mo iioma wo tsukawashi, hitori-
gurashi no mi to naru ni shitagai, masu-masu HACHIEOBEI wo urami, to ya sen kaku ya to
cld-ji ni kokoro too kudakedomo, onna no mi nareba SEN&afo naku; kono ve loa HACHIEOBEI ga
ie ni hi wo (suke, sore nite Jiara wo isen to,—aru yo yotsu-nrnw ni /w'-DOGU too YOi shite,
shinobi-shinobi ni EcniGO-ya no toaki naru EOJI ye hairi, koko kashiko to mi-maioasu ni, KATfe
no toaki ni mono-oki art; kore saiioai to omoedomo, ori-ori hito no de-iri mo arela, mi-tsuke-
rarete toa ICHI-DAIJI to, shibashi YOsu wo mi-aicase-ishi uchi yo mo fuke-watari, Itaya kokonotsu
mo sugi, SEKEN mo hissori to seshikaba, ima koso to onioi, soro-soro hi-uchi-bukuro wo
tori-idashi, furue-nagara Id wo ucldte, toara-kuzu yori takigi no na.ka ye utsmhi, sugu ni soto
ye iden to seshi ni, EOJI no kido shimaritareba, izuru koto kanazoazu, noki-shita ni tadazumi,
YOSU wo miru uchi ni, hi iva tachimachi mono-oki no yane wo moe-nuke-kereba, KINEIN no mono
" Sore, KWAJI yo ! KWAJI yo I " to yobawaru ni, EcHioo-ya loa in ni oyobazu, ura-nayaya no
mono-domo oi ni awate-sawagi, hi wo kesan to sum mo an, mata wa ni wo hakobi, DOGU wo
mochi-4dashi, tie wo shita ye to 80DO su. CHIKO wa kono hima ni magire-iden to, isogi EOJI-
gucld ye nige idasu tokoro wo nagaya no mono-domo mi-tsukele, ayashiki BOzu to omoedomo,
ono-ono KAZAI wo katazukeru yue, togameru mono mo nakereba, yoyo omote ye tachi-ide, ISSAN ni
waga ya wo sashite kaen-keri.
Ori-fusld kono yo wa kaze mo naku, koto ni OZEI uchi-yori keshi-tomet-areba, mono-oki hito-
mune mode, kato-zumi-taredomo, hi-keshi mo ide, KWAJi-6a-YAKUNiN mo SHUTCHO sareshi yue,
BHUKKWA no basHO ico tadasare, o todoke ni oyobu tokoro, nagaya no mono nado " SHCKKWA
SAICHD ni ayashiki BOzu wo mi-kaketari. Kare ga Id wo tsukeshi naran " to mosu ni yori,
ayashiki hi no YOSU nari to todoke-izuru ni zo. Ooka Dono wiac/a-YAKUNiN narabi ni HACHnto-
BEI wo yobi-idasare, " Nanzo kokoro-atari wa naki ya ? " to tazuneraruru ni, TTIOC/II'-YAKUNIN
HACHIEOBEI no EYO-NIN kotoba wo soroete, "Nagaya no mono-domo ICHI-DO ni moshi sorb wa,
KVFkJi-sawagi SAICHU ni hitori no BOzu nige-idashitari to no koto nareba, moshi ya hi-tsuke wa
migi BOZU ka to zoxji-tatematsuru ' ' to mosu too, Ooka Dono kikare, " Sono HO-ro \nani ka
BOzu ni kokoro-atari ari ya ? " to tazunerarureba, HACHIEOBEI shibashi kangae, " BOzu ni
kokoro-atari to mosu wa, HONCHO Ni-CHO-me ni JtiKVOtsukamatsuru CHIKO to mosu BIKUNI
tsune-zune nedari-gamashiki koto too moshi svrd yue, chikagoro de-iri too todome soro ga,—moshi
ya sore wo IKON ni zoN/t, hi wo tsuke soro ya mo Jiakari-gataku ; hoka ni kokoro-atari
kore naku soro" to moshi-tate-keru ni yori, sugu ni migi BIKUNI wo meshi-tori, GIMMI ni
oyobare-keri.
Kore wa K.YOHO NI-NEN SAN-GWATSU no koto nite, Ooka Dono o macfo'-BUGYO wa SHIN-
YAKU no told yue, nani ka omosldroki sabaki wo nashi, kumi no YOEIKI DOSHIN ni KIFUKU sasen
164 SIXTH SECTION.
to omotcareshl orikara nareba, SOSO CHIKO wo shirasu ye yobi-idasare, tolcu to mirarurii ni,
5EENTEI NYUWA ni sldtc, ld-tsiike nusumi nado itasn hito-gara ni arazareba, ayashiku omoware,
" Sono HO SAKUYA Muro-machi EcniGO-ya HACHIEOBEI kata ye tsuJcebi seshi naran. Massugu
ni HAKUJO itase ! " io areba, CHIKO-NI, " Ika ni mo, ivatakusld Id wo tsukeshi ni cldfjai naku
sorb " lo mbsu ni, Ooka Dono, " Shikaraba, sono magire ni nani ka nusumi-tari ya ? Massugu
ni muse ! " to iivareshikaba, CHIKO wa kobe ico furl, " Ii/a .' iya ! nusumi nado to mbsu osoro-
sldki kokoro tea naku; ivatakusld koto EcHiGO-ya HACHIROBEI ye SENNEX kane wo kashi-atae
sbrb tokoro, kare sono kane nite DANDAN SHINSHO wo sld-age-nagara, sono ON ivo wasure, kane
100 karisld oboe nashi Me, kaesazaru nomi ka ? tsui ni wa AKKO ZOGON wo haki-chirashi, katari
nado to ii-kake, sara ni yose-tsukezaru yue, amari no kuyashisa ni tsukebi seshi tokoro, ie wa
yakczu shite, mono-oki bakari yaketaru loa ZANNEN SHIGOKU / tatoe o shi-oki to narite ai-Jtate
sum to mo, KOMPAKU wa kanaraeu urami ivo hara.su zoxji-yori nari " to, ika ni mo MUNEN no
TEI ni mbsu ni zo. " Sono KINSU wa, nani-hodo nari ya ? " to towaresld ni, " SAM-BYAKU-RYO
nari to kotaeshiJcaba, " Sono SHOMON ga aru hi ? " to mosaruru ni, " Sono Gi wa, KON-I no
naka yue, hajime HACHIROBEI i-o-SHiNDAi no JIBUN, JU-RYO NI-JU-RYO zutsu YOrfafe, itsu mo
MU-SHOMON nite Icasldtaredomo, sono koro wa todokori naku HENSAI tsukamatsurishi ga,— SAM-
BYAKU-RYO kashite tsukawasu to, sono IGO wa IKKO kaeshi-mosazu " to ICHI-ICHI HENTO ni
oyoUshikaba, Ooka Dono kikare, " Sa MO aru-beshi. Izure otte yobi-idasu " tote, JURO mosld-
tsukerare ; sono GO HACHIROBEI ivo yobi-idasareslu ni yori, 77zac/u'-YAKUNiN sashi-soe, shirasu ye
makari-iziireba, CHIKO-NI mo Idki-idamre-keri. Toki ni ECHIZEN no Kami Dono HACHIROBEI
ni mukaware, " Sono HO wa kono BIKUNI ni KINSU wo karisld oboe aru ya ? " to towaruru ni,
HACHIROBEI " Hei ! IKKO SHAKUYO tsukamalsuritaru oboe QOZA naku soro " to m^shi-tatsureba, CHIKO
wa me-iro wo kac, " Osore-nagara moshi-agcmasu. HACHIROBEI GI, ROKU-NEN IZEN made HONCHO
ni makari-arite, loatakusld ga SHOJI no KINSEN wo SEWA itashi, RIBUN wo tori-tate-kure soro ni
tsuki, HACHIROBEI NYDYO no SETSU wa, itsu mo MU-SHOMON nite kashi-tsukaioashitaru ni sOi
kore nashi " to ikareru mama ni, koe wo furuwasldte moshi-tatsuru ni zo. ECHIZEN no Kami
Dono DAI-ON nite, " Ikani, HACHIROBEI ? Nanji karitaru oboe nashi to iu wa, itsuwari naran.
IZEN wa karitaru koto mo aru-beshi. Arir-TEi ni moshi-tate yol" to niramareshikaba, HACHIRO
BEI, " Osore-irimashita. Mattaku wa karitaru koto mo GOZ&redomo, SEMPO wa onna no koto
yue, sono tabi-goto sumiijaka ni HENSAI tsukamatsuri, isasaka mo todokvri svrb Gi GOZA naku
soro " to iu ni zo. Ooka Dono, " Nani, CHIKO ? Kasldta KINSU ni todokori nakuba, IKON wa
aru-majiki ni, nani yue tsukebi itashitaru zo ? " lo ari-kereba, CHIKO wa, " Ose no tori, SAISHO
ni todokori wa aranedomo, TOJI no tokoro ye mise wo idashi sorb toki SENRYO YO mo kakaru ni
tsuki, KINSU FUSOKU nite, yuki-todoki-gataku, ZANNEN nari to no mono-gatari yue, KIKODOKU ni
zoN/t, ari-gane 100 nokorazu kashite, mise wo idasase sorb ni yori, sono TOZA wa loatakusld kata
ye nani ya ka ya tsuke-todoJce seshikaba, sa nomi SAISOKU mo tsukamatsurazu, ICHI-NI-NEN YO
mo tachite, KINSU ni sashi-tsukae sorb ni tsuki, SAISOKU ni oyobishi tokoro, kare nasake naku
A TALE OF THE GOOD OLD DAYS. 165
TTio, karitaru oboe nashi tote, IKKO tori-ai-mosazu soro ni yori, to ya sen kaku ya to omoedomo,
onna no koto nareba SEN/cofa naku, SHIAN ni tsuki-hi wo okuru uchi, HACHIBOBEI wa masu-masu
HANJO itashi, loitakusld GI wa HISSHI to NANGI tsukamatsuru ni tsuite mo, amari kuchi-oshiku
ZON/I, tsukebi itashi sorb" to mbsu wo, — Ooka Dono yoku yoku kikare, "HACHIROBEI! nanji wa
migi no SAM-BYAKU-RYO wa karita oboe aran. SASSOKU kaeshite tsukawase ! " to iwaruru ni,
HACHIROBEI, "Sono SAM-BYAKU-RYO wa, IKKO SHAKUYO tsukamatsuritaru oboe kore nashi. TOJI
sa nomi KINSU ni FU-JIYO mo GOZA naku soraeba, karita oboe areba HENSAI itasanu to iu GI
wa sorawazu. Koko no tokoro wo GO KENHYO asobasare soro YO ni " to mdshi-tatsuru wo,—
Ooka Dono, " Ina I ina ! Hito ni wa, mono-wasure to iu koto areba, yoku yoku kangaete mi-yo !
Karita oboe aru-beshi " to mosaruru ni, " Nan to oserare sorote mo, kono HACHIROBEI karitaru
GI kesshite oboe nashi " to GOJO ni ii-Jiareba, ECHIZEN TIO Kami Dono, " Ware-ra kodomo no
toki mono-wasure senu majinai nari tote, kami wo motte yubi wo shibari-okishi ga, hatashite
omoi-idasu mono nari. Yolte kare ni mo majinai wo itashi-tsukawase I " to, YAKUNIN ni
MEi/ife, HACHIROBEI ga SA-YD no te no oya-yubi wo NI-HOX kas'ane, kami wo motte maki, rD-m
wo tsukesase, Ooka Dono, " Set ! HACHIROBEI ! Kore nite yoku omoi-idase ! Shite, sono kami ni
sukoshi nite mo kizu wo tsukenaba, JURO mdshi-tsukeru zo. Mala ICHI-NICHI oki ni aratamuru
aida, sOi naku makari-ide-yo ! " tote, SOHO tomo ni sagerare-keri.
NEW CHARACTERS.—976. *Ppf ikidbru, " to be indignant," " exasperated."—977.
SOKU or sumiyaka ni, " immediately.—978. trrt (sb)shite, (shikb)shitc, " and."—979. offl KYO
--"-t^* * ' ** t~W~fr •!/ *vV
or yoru, " to rely."—980. SFC 80 or uttae, " a lawsuit."—981. Hjl properly IN, " cause "
mV 9 r—I
(the " great " thing inside, which moves externals) ; hence yotte, " owing to," " therefore."— 982.
flQ liara, " abdomen."—983. »fT utsu, " to strike," but often meaningless, as here.—
984. P=C TEI, a pavilion," " a shed ; " JBU ^t " a householder," " husband."—985. "^
i or yasui, " easy ;" also EKI, " change," " divination."—986. J7» takumi, "skill."—987
•F5? Tpi? AISAT8U' " rePly>" " greeting." Learn these two characters together.—989.
fukai, " deep."—990-1. JJtJH is OHO or deafen*, " to ridicule ;" ~ffZ is RO or mote-asobu, "to
play or trifle with." The two together mean " ridicule," " sneering." Eemember [ml] by its
phonetic, ~ftl by its composition as of "hands" (TT*) toying with a "jewel" ( -1^ J.
—992. kbM iyo-iyo, " more and more."—993. jSj5F KYD or kiwamaru, " to be at the last
extremity (the " body " in a " hole," with " bow " as the phonetic).—994. HK itoma,
" leisure," " dismissal."—995. £& shitagau, " to follow."—996. 'H KON or uramu, " to
feel spiteful." Conf. note to Nos. 919. —997. /JM kudaku, "to smash to pieces:" kokoro wo
kudaku is not " to break one's heart," but " to think of all sorts of plans."—993. p^3^ SEN,
here used phonetically for sen, the future of suru, " to do," written ideographically
"~ ^t^ ^ A
in previous passages of the story. Its commonest use is in aft =£$* SHOSEN, " after
*-
all," " at last."— 999. J^* I or nagusameru, " to soothe."—1000-1. ^fe i, " the hog,"—
one of the —T-* *5£_ or " *welve torary characters," or, as we might say, Chinese signs of
166 SIXTH SECTION.
the zodiac. In the old reckoning of time it corresponded to our ten o'clock at night. Bemember
this character as the HEN of the next more iiseful one, KOKU, " a period of time,"
originally kizamu, " to chop up," " to cut out " (Radical / / " knife " therefore quite
appropriate).—1002. ^j/ sJdnobu, " to endure," hence "to go softly."—1003. \m\ waki,
" arm-pit," " side."—1004. ^jj* halt, " to creep," sometimes " this." Notice that the Colloq.
Jap. hairu, " to enter," comes from hai-iru, " to creep in."— 1005. -t|yf sldbasld or shibaraku,
**ft* | | •
" a short time."—1006. 7 Iff wataru, " to cross," here meaningless. —( —f+ commonly ko
" child," is here read ne for nczumi, " rat," one of the twelve horary signs, equivalent to our
twelve o'clock at night. —1007-8. 3:j? JE=£ SEKI-BAKU, "still," "silent." Observe the phonetic
lEjA. read BAKU, BO, or MO in several useful characters : 1009 fe^. itself is BAKU or nasld, " is
not ; " 1010. yRjsL M0 or igata, " a mould," " a pattern," hence also ntsusu, " to copy " (some
•write it JE^, but this is more properly saguru, " to grope ''). 1011 Jgl is BO or haka, "a
grave;" -Jjj*$ (874) is BO or kiireru, " to grow dark ;" 1012 VS. is BAKU or Idroi, "wide,"
" vast; ".1013 j|!v^ is BO or tsunoru, " to levy," " to collect,"—the Radical in almost every case
fairly pointing towards the signification.— 1014. jo, " gently. " — Do not trouble
about )C|; Jd-ucJd, " flint and steel for striking fire."— 1015. ^S fukuro, " a bag."—1016.
§furueru, " to tremble," " to shake. This is the SHIN of -tHj ^& JISHIN, " earth-
e."—1017. <||>» icara, " straw." (as if " herb " from " high " " tree,"—very inappro-
^xf"^. | •
priate ; remember it as such !) —1018. RIJ kuzu, " rubbish," also read isagiyoi, " pure."—1019.
.'•jfflf takigi, " fire-wood."—1020. 3JJJ& shimaru, " to be shut ; " it occurs in the common
expression JJ]7 iftrjfi tori-sJumari, " superintendence," etc.— 1021. fj-r kanau, " to suit."—
1022. fflnr nolci, " eaves," or KEN, the auxil. numeral for " houses."—1023. &/ tacJdmacJii,
" suddenly."—1024. MJj moeru, " to burn."—1025. J^ ™ku, " to pull out," hence " to
A»vtt 4&\
go through."—1026. Egf EIN or tonari, " next door."—1027. WJJ DO or ugoku, " to
move."—1028. jwrr1 magireru or midareru, "to be confused" (as "silk" not properly
'•^ f~*\ **•!
" divided ") —1029. jSr KYD or isogu, " to huiTy."— 1030. .Wl* nigei-u, " to run away," also
* f I" * lrf>^ V V J^m^r W W t
written iJfl| (1031).—1032. Tfe BO, "a Buddhist priest's dwelling;" Tfc itT "a
Buddhist priest," hence any one with a shaven pate.—1033. ffi-r properly toga, " fault,"
"blame."—1034. jffli yoyaku or yoyo, " hardly," " at last."—1035. SV SAN or cldru, "to
disperse ; " often used in names of medicines (" dispersed " as powders).—1036. ^§p KI
or yoru, " to come together," etc.—1037. /MS TO or mune properly " a ridge-pole ; " but mune is
taken as the auxil. num. for a set of buildings under one roof.—1038. ¥®£ sumu, " to come to
an end."—1039. /t& YAKU or EKI, " employment," " office."—1040. 4»| tadasv, " to ex
amine."—1041. JKJK KEN or kakeru, " to hang up," etc. Remember it by its phonetic
lH5l (No. 389).—1042. i© nogareru, " to escape."—1043. ifa I, YUI, or nokosu, " to
leave behind."—1044. (Ml zu, " a plan," " a drawing ; " hence Jiakaru, " to reckon."—
A TALE OF THE GOOD OLD DAYS. 167
1015-6. D~^ alone is Giftzuru, " to intone " (as poetry) ; \nr' alone is ajizvai, " taste ; "
rt/^. n f' ' ~*
V^-l *PK. GIMMI means " examination."—1047-8. KYOHO, a year-name which lasted from A.D.
1716 to 1736. ££ alone is ulceru, " to accept " or " enjoy ;" ^£* alone is tamotsu, " to
hold."—1049. ifi|| sabaku, " to distribute " ("handing" things to " different " people),
hence " to decide a lawsuit " (by distributing justice).—1050. w50 kumi, "a set" of people
Mil • *|3JIL
or tilings.—1051. jpPM SHD or su, " a sandy islet," sometimes " a continent." Here shirasu
refers to the " white sand " (suna) spread over the court where criminals knelt for examination.
—1052. pR TOKU properly means " careful, serious kindliness," but comes to mean little
more than yoku, " well," " properly."—1053. -**j^ NYtJ, jp, or yaivarakai, " pliable," " soft."
—1054. iffn? furu (aAsofuruu), " to shake ; " closely similar both in shape and meaning to
No. 1016.—1055. -^ osore, " fear."—1056. E§I ON, "kindness," " benefits."—1057.
tj-p Itaku, "to spit " (as with the "mouth" on the "ground").—1058". jjqb KYOKU, "the
extreme point ; " GOKU, " very."—1059. ^^ KEI or seshimuru, " to cause to do ; " but fKJ
£^ is read tatoe, " even though," or tatoeba, " for instance".—1060. Hlg HAKU or tamaslrii,
" soul," " spirit ; " 5® fife KOMPAKU, ditto.—1061. 7^2< urami, " resentment."—1062.
UH? /tare, " clear weather " (from " sun " and " blue " sky), hence Mrasu. —1063. ,£•+,
kotaeru, " to answer."—1084. tf*3 Jiajime, " beginning."—1065. YS§ todoJcoru, to be
obstructed." The phonetic alone (1066) 3c$ means M or TAI, " a girdle."—1067. £P[
no, " prison " (from a " cow " under " cover ").—1068. Y^C TEN or soeru, " to add."—1069.
E»& makaru, " to go."—1070. ^ !• properly mamoru, " to guard ; " here kami, a title of
territorial nobility in feudal days.—1071. $% itsuivarl, " a lie " (tliat which a " man "
" makes up " to supplant the truth).—1072. 5& kono, " this ; " more often koko ni,
" here," " hereupon."—1073. tjS BYO or omompakaru, " to consider " (from 6* " to
think," and )•&* " tiger," KO, which gives the rhyme).—1074. ifOl YD or asdbu, " to amuse
/ J \^^ %• » rCi^v
oneself," " to be pleased." Often interchanged with 1075 YJB the first denoting rather
sauntering on land, the second ditto in the water, as by " swimming," oyogu.—1076. v4j-
zsssuru, " to decide."—1077. W? or ^? majinai, " a magic spell," more often norou, " to
curse " (from two "mouths " and "man "). Learn at same time its opposite lljjr (1078), SHUKU
or iivau, " to bless," " to congratulate,"—only the Radical differing.—1079. J»m[ shibaru, " to tie."—
ft ~ ' ' /rvr
1080. 47)? yoru, " to lean " or " depend on," because " clothes " lean on the " man " who
wears them).—1081. rjsj FTJ/tra, " to seal."—1032. jjfc Uzu, " a wound."—1083.
80, " both " (from two " birds " in one " hand ") ; often abbreviated to
CHAPTER II.
Well, Chiko was so angry, and so thoroughly determined not to let matters rest there, that
she hastened to consult the proprietor of her house, who agreed that the conduct ;the complain
168 SIXTH SECTION.
ed of was outrageous, and asked whether she could produce a voucher. On her replying that she
had been in the habit of lending Hachirobei money without taking any receipt, on account of the
intimacy subsisting between them, the proprietor refused to move in the affair, pointing out the
difficulties entailed by the absence of such a document, how he himself had frequently, when
rendering assistance in such cases, found that in this world it is hard enough to get one's money
back even when the loan is certified by a voucher, how in this particular case the Echigo-ya
was a firm that had recently made a fortune, whereas she was only an old nun, and how, if it
came to a lawsuit, people would look upon her claim as an imposture, that she could but lose by
the attempt, and in fine that her best plan would be to swallow her anger and resign herself to
letting the matter drop. (In reality the proprietor had put her off with excuses ; for his
opinion was that though the old nun was sixty now, she had ten years before been a handsome
widow with whom Hachirobei had been on terms of intimacy, and whom he had assisted in
various ways great and small, but that he now no longer cared about her, that this had made
her angry, and that she was artfully endeavouring to blackmail him.)
After that, Cliiko went frequently to the Echigo-ya to urge her claim ; but so far from
minding her, Hachirobei now bestowed on her nothing but ridicule. " When folks grow old,"
he said, " they become so avaricious that they even covet other people's money." Such
speeches did but increase her vexation. However, as there was absolutely nothing to be done,
another year or two slipped by, during which Cliiko gradually fell into poverty and had to
dismiss her maid-servant. Her new life of solitude naturally increased her ill-will against Ha
chirobei, and made her revolve all sorts of schemes in her mind ; but being a woman, she was
helpless. At last she determined to wreak her vengeance by setting fire to his house ; and so
one night, at about ten o'clock, having provided herself with flint and steel, she stole into an
alley beside the Echigo-ya, and on looking about her in every direction, saw an outhouse that
stood close to the kitchen. Here was a good chance ; but people were still passing in and out,
and it would never do to be discovered, so for awhile she kept watching her opportunity.
Meantime it grew late, it was already past midnight, and the world was hushed in sleep. Now
or never was the moment ; so she quietly drew out her bag of fire-gear, and with trembling
hand struck a light. This she set to some bits of straw, which she put among some fire-wood
and then at once made for the street. The door of the alley, however, had been shut, rendering
exit impossible. So she loitered under the eaves, to watch what should happen. The flames
suddenly burst through the roof of the outhouse, and cries of " Fire ! fire ! " broke from the
neighbours, causing a violent commotion, not only in the Echigo-ya itself, but among all the
inmates of the row of houses at the back. Some tried to extinguish the fire, others shouldered
their goods or carried out their furniture, and everything was topsy-turvy. ChikO, availing
herself of the confusion, fled hastily towards the entrance of the alley ; and though some of the
people noticed her and were struck by her suspicious appearance, each was so busy putting
A TALE OF THE GOOD OLD DAtS. 169
his property in safety that no one stopped her, and she managed to get out into the street and
make for her own abode as fast as her legs could carry her.
The night chancing to be windless, and such a crowd of people having run together to
extinguish the flames, nothing more was burnt than the one outhouse. Nevertheless, as the
firemen had come to the rescue, and the officials charged with all matters relating to fires had
also made their appearance, the site of the conflagration was inspected and a report drawn up,
on which occasion the inmates of the above-mentioned houses testified to having seen a suspi
cious-looking woman with a shaven pate just when the fire was at its height, and added that
they supposed her to be the incendiary. In accordance with this testimony, the report stated
the fire to be of suspicious origin. My lord Ooka was pleased to summon the Ward magistrate
and likewise Hachirobei, and to enquire of them whether they had any clue to the criminal.
Both of them replied in concert that the inmates of the neighbouring houses unanimously assert
ed that when the confusion caused by the fire was its height, they had seen a woman with a
shaven pate running away, and that consequently, with all due respect for what his lordship
might think, they inclined to the opinion that she was probably the incendiary. On hearing
this, my lord Ooka was pleased to enquire whether they had any clue whereby to trace such a
person. Hachirobei reflected a moment and then replied, " The only shaven-pated woman I
can think of is a nun called Chiko, who lives (so may it please your lordship) in the Second
Ward of HonchO, against whom I have recently shut my door on account of her continual im
portunities. Who can tell but what she may have set fire to my house out of spite ? I know of
no other clue. This deposition led to the immediate arrest of the nun and to a trial of the case.
All this took place in April, 1717, when my lord Ooka had only just been installed as May
or of Yedo, and he was consequently anxious to give some interesting decision which should im
press the policemen and constables, his subordinates. His lordship therefore sent for ChikO
into the judgment hall without delay; and on earnestly gazing at her, suspected some mistake,
for her countenance was gentle and her whole appearance not that of one capable of theft or
arson. So he addressed her thus :
" No doubt it was you who set fire last night to the house of Hachirobei, who trades in
Muro-machi under the style of Echigo-ya. Confess it without prevarication ! "
" Certainly," said she, " I it was who set fire to the house."
" If that is the case, did you profit by the confusion to steal anything '? Tell me without
prevarication ! "
" Oh ! no, Oh ! no," cried she, shaking her head. " I had no such wicked design as theft.
I lent Hachirobei money several years ago. With this money he made his fortune ; but he has
been ungrateful, and not only does he deny the debt and refuse to repay it, but he now treats
me to abuse and scurrilous language, calls me an impostor and other names, and to crown all
won't let me in to his house. I couldn't stand it any longer, so I set fire to his place ; but to my
170 SIXTH SECTION.
bitter regret only an outhouse was burnt down,—not the house itself,—and even if I end by
being put to death for it, I intend that my ghost shall carry out my vengeance."
After this expression of regret at her failure, she was asked by the judge to state the
amount of the debt, to which she replied that it was three hundred dollars. He then enquired
whether she had a voucher. She replied, no,—that the friendly terms they were on had led
her first to lend Hachirobei ten or twenty dollars at a time, without ever asking for a voucher,
in the days when he did business on a small scale, and that he had at that time always punctu
ally repaid her, but that after the loan of the three hundred dollars he had never refunded a
penny. My lord Ooka, hearing her answer thus point by point, said he supposed she spoke the
truth, and that she should be called again. Meantime he committed her to prison.
Later, Hachirobei being summoned, and the Ward officer accompanying him to the hall of
judgment, ChikO was likewise dragged forth. Then my lord Ooka, addressing Hachirobei,
asked whether he acknowledged having borrowed money of the nun there present. To which
Hachirobei replied, " No ! my lord. I have never been to the slightest extent in her debt."
At this assertion ChikO changed colour, and, with a trembling voice which intarpreted her
anger, said, " Excuse my boldness, my lord. The facts regarding Hachirobei are that up to six
years ago, when he lived in HonchO, he used to help me with my money matters and collect the
interest for me, and so, whenever he himself was in want of cash, I always let him have it
without any voucher. This is the absolute truth."
"How now, Hachirobei V " thundered out my lord Ooka, glaring fiercely as he spoke. " Your
denial of all knowledge of the debt is doubtless a lie. You must have borrowed other money
before as well. State the exact truth."
" I beg pardon, your lordship," Hachirobei replied. " I did borrow from her occasionally ;
but as she was a woman, I always repaid the money at once, and have never been in arrears to
the very slightest extent."
" What is this, CliikO ? " said my lord Ooka. " If he is not in arrears with the repayment of
the money you lent him, you should bear him no grudge. Why then did you set fire to his
house ? "
To which ChikO made reply : " As your lordship says, at the beginning he was never remiss.
But when he was starting business at his present address, he told me how he regretted being
hindered by laok of cash, for that it would cost him a thousand dollars. So I felt sorry for him,
and lent him all the money I had, which was what enabled him to start his shop. As he made
me various presents at that time, I hesitated to urge repayment. But I did urge it when a year
or two had passed by and I was in need of money myself, whereupon he cruelly denied all
knowledge of the debt and totally refused to listen to me. I thought of all sorts of schemes,
but being a woman, could carry out none of them ; and while I spent days and months ponder
ing, Hachirobei grew more and more prosperous and I became miserably poor. This filled me
A TALE OF THE GOOD OLD DAYS. 171
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H .£ '—«-j* ^*+
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172 SIXTH SECTION.
t § p ft rr
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£ L A
V. -C
ffi )Q
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A TALE OF THE GOOD OLD DAYS. 173
f ft j
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DAI SAN-KWAI.
/Safe EcHioo-yo HACHIROBEI tea, sa nomi AKUSHIN aru mono ni mo aranedomo, YOKUSHIN yori
BIKUNI no kane ico kae-sazani SHINTEI ivo Ooka Dono hayaku mo SUISATSU arite, yitbi-te-Jd wo
kakerareshi ni yori, HACHIROBEI ica ne.ru ni mo nerarezu, SHOKUJI mo JIBUX ni ktimii koto narazii,
DAI-ICHI fude ivo tori, KAN/O-CM mo deki-gataku, BANJI FU-JIYO naru koto nani ni tatoen YO mo nakit,
TiQJi-liatete itarishi tokoro,—nana-yoka sugite yobi-dtmld no toki, " Ikani, HACHIROBEI? SAM-
BYAKU-RYO karita koto wo omoi-idcifseshi ya? Okata HENSAI slnta to kokoroe-thi wa, imada kaesann,
no de aro. Sono kane yori shite CHIKO ga bsukebi ni oyobitareba, kono koto no loakaranii ncld iva
shi-oki, ni okonai-gatashi. Yolte TOKU to kangade mi-yo ! " to mosare-kereba, HACHIROBEI ima tea
8EN-iafo naku, " DAN-DAN CHOMEN ico shirabe s</ro tokoro, 'SAM-BYAKU-RYO SHAKU-YO-KIN' to Imkari
nite, na-ate GOZA naku soraedomo, sono kane ga mattaku CHIKO yori SHAKUYO no kucld to zox-jimre
si/rit" to moshi-tatsuru ni, Ooka Dono " Slakaraba, CHIKO yori SHAKUYO ni SOi naki ya?" to oskite
tazunerareshikaba, HACHIROBEI, " Osore-irimasJiita. Sore ni SOi kore naku sijro" to moshi-tatsurit
yue, Ooka Dono, " Sono HO SHICHI-NEN IZEN SAM-BYAKU-RYO kari-uke, tsuki-zuki ni SAN-RYO zutsu no
174 SIXTH SECTION.
RISOKU ico KANJO surebct, GO-HYAKU-RYO YO ni mo naru. Sore wo nokorazu Icaeild tstt,lcawa.<ic.
Sliikaslri, ICHI-DO ni idasu mo TAIGI narit-b?shi. ICHI-NEN ni NI-JO-RYO zutsu to nashi, sore im
GO-RYO zutsu yo-vo ni HENSAI shite tsuka loaae /" to mCsM-watasare ; mata CHIKO no tos/ii wo
tazuncrarcshi ni, TONEN HOKU-JD-SAN-SAi ni ai-naru mune kotaeshi ni yori, " Sluknraba, OWANRI
awasete GO-HYAKU-RYO no KINSU wo tadnimn HACHIROBEI ye moshi-ioataseshi tori, NEN-NEN
itJce-toru-beshi. Nokorazu ai-sumis/d tie, sld-oki ni motfd-tsukuru " to ii-watasare ; mata ie-nushi yc
" CHIKO moshi BYOSHI itasalxi, SASSOKU ai-todoke-yo ! Moitomo KEXSHI ni wa oyobazu," to ose-
u-atasare, koto RAKUJAKU ni oyobi-kcrL
Kono koto tarn ya, ROKU-JD-SAN-SAI no CHIKO GO-HYAKU-RYO no kane wo NEN-NEN NI-JD-RYO
zutsu torn ni tea, NI-JL'-GO-NEN kakar! ; nao mata BYOsni-toMe liakari, KENSHI wa tsukawasanu to
iicoreshi wa, lii-tsukc 110 tsumi ni ochi-irasezaru YO no SAIKYO to zo sJiirare-keru, Yotte knmi-s/iita
no YOitiKi DOSHIN tea nijjsu ni oyobazu, ICHIDO Ooka Dono no JIXCHI ni WKVsJiite, kono HYOBAN
ka mabisusli ika r!ki.
NEW CHARACTERS.—1084. /^^ sate, " weU then !"—1035. %&. YOKU, the same as
(570), except that the latter is used of mere "wish' or "desire," whereas ^K. expresses
I • -• 'li»»
"inordinate desire," " greed," or " lust."— 1086. Ijjv TEI 01> soko, "bottom;" not to be con-
fff- /*-*+ A»t«
founded with (1087) AW TEI or Jtikui, "low."—1088. |Slf BIN or satoi, "quick-witted."—
1089-90. ^||^ SUISATSU," surmise. "—1091. ttfe iniiru, "to sleep;" coif. No. 903.—1002.
kitrau or kuu, "to eat" ("mouth" and "food"),— a useful character, though not
Jauthorised by the dictionaries. —1093. AH| alone is kangaent, "to consider" or "investi
gate."— 1094. tatoent, "to compare."—(Obsen-e BKJ KON (951) semi-Japonised to
Kp/iYw by dropping n final.) —1095. sK| sMraberu, "to investigate."—1096. «f||| osu, "to
f\? ty j t^^ ' J i
push."— 1097. -Tfl* shikcwhi, " nevertheless."—1093. t3* mune, "the sense or substance of
words spoken by some on« else," or equivalent to our quotation marks.—1099. /I* mottomo,
" however."—1100. Jnii KEN or sliiraberu, " to examine." The phonetic is important ; we
lA/» /—y»\ JjAto
have had it already in \jf-\ ] HUB SEKKEN, "soap "(No 841); another common instance is
1101, (iltjjiiiit SEKKEN, "thrift," "economy."—1102. KQ ochi-iru, "to fall__into."—1103.
yP CHI, " wisdom "(" knowledge " uttered through the "mouth"). —1104-5. g3i HYO alone
is " criticism " (" Avords " " equalising " things to their just proportions) ; ^Ji|| HAN or BAN
alone is " a decision," " a judgment " (remember it by Solomon's order to cut the child in
" halves " with a " knife ") ; g3i ^|J HYOBAN together is the public's critical judgment, i. e.
"rumour," "fame."—1106. IpT kuinalisusldi, " vociferous " (the idea aptly rendered by "four
mouths round one head.")
CHAPTER III.
My lord Ooka had quickly seen to the bottom of Hachirobei's heart, divining that, though
not a particularly wicked man, he had been led by greed to refuse repayment of the nun's
A TALE OF THE GOOD OLD DATS. 175
money. The thumb-tying which ensued prevented Hachirobei from sleeping at night and from
feeding himself at meal-times ; above all, it interfered with his taking pen in hand to balance
his accounts, and made everything more uncomfortable for him than can be imagined. He
was really at his wits' end, when, after the lapse of seven or eight days, he was again
summoned to attend and was addressed as follows :
" How goes it, Hachirobei ? Has the loan of the three hundred dollars come to your
recollection ? No doubt you never repaid it, though you thought you had. Seeing it was that
money which led Chiku to commit arson, she cannot be executed until the matter is cleared up.
So make haste with your ponderiugs !"
Hachirobei could endure no longer. " My lord !" said he, " careful investigation of my
ledgers has brought to light an entry of ' Borrowed three hundred dollars ;' and though no
name is attached, I make no doubt that the item referred to is the sum borrowed from Chiko."
" Then you admit that you borrowed it from Chiko ?" insisted the judge.
" Yes, my lord, with all due respect. I admit it."
" You borrowed the three hundred dollars seven years ago ; so the sum will now amount to
over five hundred, allowing interest at the rate of three dollars a month You must refund the
whole of this. However, as it may inconvenience you to produce the entire sum at once, you
shall pay it back at the rate of twenty dollars yearly in four instalments of five dollars each."
Having thus charged Hachirobei, his lordship was pleased to enquire Chiko's age ; and on
being informed that she was then sixty-three, he said, " Well, you will receive the five hundred
dollars, principal and interest, in the manner I have just directed Hachirobei, —year by year.
"When the whole debt shall have been settled, you will be executed." And to the proprietor of
the house where she lived, he said : " Give notice at once if Chiko dies, but no coroner need be
sent for."
This sentence brought the whole matter to a close. The reasons underlying it were that
at the rate of twenty dollars a year, it would take twenty-five years for the whole sum of five
hundred dollars to be received back by Chiko who was then already sixty-three years of age,
while furthermore the order simply to report her death without holding a coroner's inquest
was diotated by the desire to save her from the capital punishment due to arson. The result
of the judgment was to impress, not only the policemen and constables, but the whole city with
admiration for my lord Ooka's mercy and wisdom, and it became very famous.
176 SIXTH SECTION.
909 901
7 893 885 877
ajJJ
WKITING LESSON. 177
ii&
s&X,
944 936 0 921 913
PI
945 937 930 922 914
1021
7 1013 1005 997 989
1093 1085
*
fi> 1080 1073 1065
JS
1098 1090 i 10771 1070
1100
tt 1101
1102
1103
1104
1105
W 1106
SEVENTH SECTION
* See Aston's " Early Jnpnnese History," in Vol. XVI of the Transactions "/ the Asiatic Society of Japant
for .i discussion of this difficult question.
f Bead according to the usual pronunciation of the characters, these names onght to be SHIN-NO, i:u-s6, BO-
MO, TAM-HA, and BHUN-KA respectively.
186 SEVENTH SECTION.
earliest poems in this collection are written in a sort of bastard prose, whose exact reading has
to be guessed at. Here and there, a character which makes no sense in the context must be
taken phonetically, but not neccessarily as the reading of a single syllable ; for the analysis of
the language into simple syllables, like the a, ka, sa, ta, etc., of the modern Kana, had not yet
* fc.fr*
been made. Thus RIB properly kamo, " a duck," often stands for the two grammatical
ta^y » *. "B^ ^*
particles lea mo ; and pfcl properly NAN, " south," ragl properly RAN, " an orchid," and
113 Pr*J
various others, serve to transcribe verbal terminations in such cases as aranan, aruran, etc.
Often, too, a sort of rebus or writing in riddles was resorted to, as when the syllables kuku
were represented by yV I * • , because nine times nine (ku kit ~~j\. ~T\. ' make
eighty-one !
Meantime the use of single characters for single syllables gradually increased, till in those
poems which date from the eighth century we find it dominant. The desirability of obviating
the least chance of error on the reader's part came to be recognised, and the poets naturally
desired to preserve their works from all possibility of blemish and alteration, with which object
whole stanzas were laboriously written down, syllable by syllable. The following specimens
— one of an earlier, the other of a later " MAN-YO-SHU poem — will exemplify what is meant.
Such excursions into ancient literature may by some be deemed foreign to the character of an
Introduction such as this. But is that really the case, if they result iu giving the student a
firmer grip of his subject ?
(^
fr 1 4
7 •
* £
Iftsusemi no
Inochi ico nagaku i. e. " I, who remain behind, will wait in prayerful expecta
Ari koso to tion that thy life on earth may be prolonged,"—a little
Tomareru ware lua * poetic send-off to a nobleman about to start on a journey.
Iwai-machinan
Here vtsusemi is the " pillow-word " for inochi, " life." It properly means what is actual or
visible (compare vtsntsu, " waking reality," as opposed to yume, " a dream"). Probably it comes
* Ha in the earlier pronunciation, now corrupted. Similarly iioai was i/i«/u, as the Kunu shows.
MORE ABOUT THE KANA. 187
from 'Ufsushi mi, " transitory self ;" but the scribe writes it as if were utsu, I I "to beat," plus
semi, Will " a cicada !" The next six characters are used ideographically (even "H^« , which
is a particle in Chinese), •=*^ phonetically for the sound to (it is properly TO). But only a
knowledge of metre and of the usage of the language can enable the reader to provide F5*
f •*• J-^-
nagaku, and A^t ari, with precisely these terminations, there being nothing in the text to show
which termination is intended. Similarly in the case of ^J3 here to be read tomareru, be
cause the sense is best suited by the attributive perfect, and the metre requires four syllables.
It and the next two are ideographic, the character ;f5 having much the same force in Chinese
as wa has in Japanese. The final line Ihahi-rnachiiian (iwai-machinan in modern pronunciation)
is a fine example of mixed rebus, phonetic, and ideographic writing : —the sound i is represented
by -t-j I * " fifty," because iso anciently meant " fifty " (t meaning " five ") ; the sound ha is
. I •< I ~Jt 'M ' I—\
represented by ^|>I ha or hane, "feathers;" hi by .-sp; AijVtt], "to dry," and ma-
chinan, "will wait," *$by iKf*
i\&f •f^Sp-
-^~H properly masa m matan* to su, "am about to wait." After
this explanation, the student may not be surprised to learn that considerable doubt attends tlio
deciphering of some of these poems, and that editors often differ in their readings. We assume
that he does not need to be told that the Hiragana flanking the square characters is an
addition by modern editors.
71
188 SEVENTH SECTION.
Tani cMkakn
le wa oredomo, which may be thus freely rendered in to English
Ko-dakakute verse: —
Sato wa aredomo, Near to the valley stands my humble cot,
Holotogisu The village nestles 'ueath the cooling shade
Imada ki-nakctzn.
Naku koe wo Of loft}' timber ; but the silent glade
Kikamdku hori to,* Not yet re-echoes with the cuckoo's note.
Asldtu ni iva
Kculv ni ide-tacM, The morning hour e'er finds me, sweetest bird !
Yule ni wa
Before my gate ; and when the day doth pale,
Tani ico ml-watasJii,
I cast a wistful glance adown the vale ; —
Eilo-koe dani mo But Qot one ^ ^ , may yet ^ heard>
Imada kikoezu.
The reading of this poem is as plain as the meaning ; for each syllable is transcribed sep
arately. Comparing the transcription with the table of Kana given below, the student will
notice that many of the characters here employed established themselves in permanent phonetic
use, being the parents of familiar Kana signs. — The system of writing exemplified in this
poem, and known as JEsT TeE /iK jfL MAN-YO- Gana, is still sometimes resorted to when
i»*y >*TV Ic^v "I—| -_» llr*
a word has no appropriate ideograph, as J\t _HJl* OASU, taken from English "gas."
Sometimes, too, recourse is had to it for the sake of variety or ornament, even where suitable
ideographs exist.
It is possible that, instead of the square characters printed in modern editions of the
" MAN-YO-SHU," the running or "grass hand," which the Chinese had already evolved, was resorted
to—sometimes at least —for the purpose of such transcriptions in which case the Hiragana may
be said to have already existed at that period ; for the Hiragana is nothing else than the cursive
form of characters employed phonetically. With so many to choose from, it was quite natural
that, from the very beginning, each sound should have been represented by a variety of charac
ters. The greater part seen to have come into use spontaneously from their frequent recurrence
and consequent familiarity, others to have been chosen of set purpose for the opposite merit of
rarity, which would help to distinguish them, as phonetic novelties, from the ideographic
symbols.
The following table presents a conspectus of the Katakana and the commonest forms of the
Hira-gana, the original Chinese character from which each Kana symbol was obtained being
given in a circle below each.
• Kikamakv hori = Colloquial kikitai, hori being the same word an modern hossuru. After to supply omotte.
t EC>ru=kou, the fundamental sense of both being "yearning," whence "asking" and "loving."
MORE ABOUT THE KANA. 189
-«
en
W is/
PQ
en
/ /
r-6
>
D
W © fJI
ffi
H '8
a a
c o
190 SEVENTH SECTION.
03
C
A f
0
tp
AW
4S
©
c
GO
m -H
@
o
A
^ -t
MORE ABOUT THE A'ANA. 191
0)
H
• ' M
TV
%
_i__1 '
o
c X
©
192 SEVENTH SECTION.
03
a:
CD A 1
.
ON?
03
g
®
03
32
53
K
MORE ABOUT THE KANA. 193
The word Kana iK» <2i means literally " borrowed names." As usually explained, it
alludes to the " borrowing," for phonetic purposes, of characters properly ideographic. The term
IIH jfi Mana, " true names," has been sometimes applied by contrast to the latter. The
Hiragana 3& \cf ^f-» *s believed to be so-called because it is 3& >El HEI-I, that is,
" easy," or, to use an almost literal English equivalent, " plain '*—Kana, such as is understood
even by women and ignorant folks, to whom the ideographs and the Katakana are a mystery.
The Katakana, Kj* oK» jp-\ lit. " Side Kana" has more claims than the Hiragana to
the title of an invention, most of the letters included in it having been obtained artificially by
taking one portion or side of certain Chinese characters and omitting the rest, whence its name.
The Katakana, with its single symbol for each sound and the much greater ease and simpli
city of its forms, always appeals to foreign students. Curiously enough, in Japan itself it
has never achieved popularity. Its commonest use is for the transcription of foreign words.
Though less often than the Hiragana, and never in anything intended to reach the lower classes,
it is sometimes employed along with the square Chinese character in books and newspapers.
The symbol given first under each Hiragana heading, and already committed to memory by
the student at an earlier stage of this course (compare p. 29), is the commonest of all. More
especially since the recent reintroduction of movable types* for printing newspapers and cheap
books, there has been a natural tendency on the part of type-founders to restrict themselves to
this single series. The same consideration does not apply to hand-written texts. Accordingly
signboards, many notices in public places, and even printed matter in which (for elegance' sake)
block-printing has been preferred, continue to wander at will in the calligraphic maze, and he
who aspires to read Japanese currently must learn at least all the forms given in onr table.
Other rarer ones will be found in the pages of Aston and of Lange's " Ein/Uhrung in die Japa-
nische Schrift." The number of Chinese characters which may be employed phonetically, either
in the square or the cursive form, is practically unlimited.
Some ease to memory will be obtained by noticing that under most of the headings two or
more of the Hiragana signs tabulated come from a single original, being in fact but succes
sive stages of simplification, or else due to mere difference of handwriting. For instance ATI
cki, became first /^ , then ^ , the middle stroke being dropped for the sake of speed in
writing. Again for he some write >g) , others %^ . There is here no fundamental distinc
tion,—nothing more than the fact that one writer adheres a little more closely to the original
*. Movable types were already employed in Japan in the IGth century, if not earlier ; but the difficulties of this
method of printing in the case of a language having so many thousands of characters, made it foil into desuetude
for a long period, block-printing superseding it. (See Satow's " History of Printing in Japan," in Vol. X. of the
Transactions of the Asiatic Society of Japan, p. 60 et seq.)
194 SEVENTH SECTION.
by giving the final stroke a bigger sweep from left to right, while another, to save time,
unconsciously begins it further to the right, and omits the first portion at the left. Parallels to
all such vagaries of penmanship occur plentifully in our own Roman handwriting. —Furthermore,
the Katalcana sign comes in most cases from the same original as the simpler form of the Hira
gana. The syllable clii here again affords an example, •^ as well as ^ being derived
from WJ\ though by a different process of abbreviation.
The quickest and siirest way, in our opinion, to learn the various forms of the Hiragana is
constantly to take into consideration the square character from which each originally springs,
noticing how here a twirl does duty for three or four straight strokes of the original, how there
certain strokes have been entirely omitted, and so on. In this way convolutions at first labyrin
thine come to have significance for the eye, especially when it is discovered that certain proces
ses of disintegration tend to repeat themselves. Thus,—to recur to the example of J_ or
*£% chi,— the final semi-circle stands for ^7 in the original character 4fft but precisely the
same thing occurs in /S ro for £1 , and in fa tva for /K\\- Similarly, the final bottom
stroke of j«) lie, represents the Radical SHIXNYU ^C (see p. 119), not only in that letter,
€•• V-B .. >^N<1^
but also in *ty ico for ic* • The careful student will discover other analogies equally
available for the purposes of memoria tedmica ; and if the Chinese original of each Hiragana
sign is familiar and ever ready to hand, slight differences—even wide differences—of calligraphy
will have so much the less power to perplex him. In fact at this, as at almost every other step
in our studies, we are brought face to face with the supreme importance of Chinese and the com
parative insignificance of everything else.
The following common abbreviations must be remembered :—
\f in Hiragana, ~1 in Katakana, for koto. The rest are all in the Katalcana, viz.
for told, /t f°r tomo, j? (properly me) for shite, J^ (properly mu) for GOZA,
for yorl, | for the prolongation of a sound. V^ is the sign of repetition ; / shows
that more than one syllable is repeated, whether in Katakana or in Hiragana.
An exhaustive theoretical study of the Kana would require a treatise to itself, in the course
of which several doubtful questions would be raised. Some scholars, for instance, contend that
certain Hiragana signs should be used for Nigori'ed syllables only, as ?S? for ga but not for jfco,
^ for gu but not for leu, because the original characters "Tj and Ht from which they
come are pronounced respectively .GA and GU, both with the nigori. We have not found such a
rule to be observed in actual practice. Again, some doubt hangs over the derivation of certain
TO (our No. 666);
but can the derivation be made out ? Even with regard to the Hiragana forms for the same
syllable, there is room for doubt whether P^J or P*j (our No. 222) be the true original.
The most interesting aspect of the Kana—theoretically considered—is the light it might
MORE ABOUT THE KANA. 195
be made to throw on the ancient pronunciation of Japanese. Thus the character -*-» " king,"
now pronounced 0 in Japan, but " wang " iu China, supplies one of the Hiragana forms for wa
*£ , indicating that at the time the Kana was establishing itself in current use, WANG or—
as seems more probable from other considerations—WAU was the Japanese sound of the charac
ter in question. Why, with innumerable simple monosyllables to choose from, the Japanese
went for so many of their Kana forms to characters whose sounds had first to be mutilated
before they could serve their purpose, is another curious point. Why, for instance, not be con
tent with Jk derived from -^C TA, without going on to borrow <£" derived from *Kl*
TO (" tang " in the Chinese pronunciation) ? Why not rest content with <fa for ne, instead
of adding («. from /rjp nen, where a final " n " had to be mentally suppressed in the reading '?
Such are some of the lines of thought that suggest themselves to the curious investigator.
But the practical student need not trouble himself any further about them. His time will be
better spent in committing to memory as many Kana forms as possible. Several of the more
complicated kind will be met with daily in signboards by any one sauntering past a row of
Japanese shops.
THE KANA-ZUKAI.
Kana-zukai, i|EJ ^f^ iifr lit. " Kana usage," is the name bestowed by the
• r^v t—I AUr
Japanese on what we should call the "spelling" of their language. Previous to the
revival of native learning in the eighteenth century, it was the only branch of grammar
that had attracted their attention. During the Classic age (eighth to tenth century) men
had spelt phonetically, just as they spoke. But the orthography remained after the pro
nunciation had changed; what had been natural and self-evident came to appear artificial
and difficult, whence the necessity for rules and explanations. It should be added that,
except in avowedly literary circles, the Kana spelling continues to be much neglected,—
another of the many results of the supremacy of the Chinese character. To misspell is no
badge of social inferiority. Public official notices are frequently misspelt. The foreign
student therefore lies under no absolute necessity for spelling correctly, though if
he do so, it will be all the better. The following considerations will help him over the
chief difficulties:—
I. (Native Words).—Classical Japanese—which, as already remarked, the Kana orthography
represents—tolerated no hiatus, no rencounter of two vowels in the same word. Con
sequently no such words as Tcai, " shell ; " Jcoi, " love," can end in the letter A i. By
far the greater number end in \^ hi, thus ~^J \>t , 33 ^ , as much as to say that
the pronunciation was originally kalri, kohl, etc. In some few cases w, not h, was the original
letter, thHS "7* 4r- ai (properly auri), " indigo."
Now, what has here been said of the modern sound i, represented by the three letters
196 SEVENTH SECTION.
i, Jf~ [to]i, and \^ [A] i, applies, mutatis mutandis, to other members of the three
following series : —
a u c o
ka hi fu he ho y\ ^ ^7 ^\ T]\
whence such representative spellings as -^ -'X mae, " front ; " £/ ^ shio (also
pronounced shiico), " salt." The instances of an original w, as iu 32 Vt &oe (properly Axwe),
" the voice ; " ^ "^ s«e (properly awtee), " the end ;" ^7 ^- uo (properly uwo), " fish ; "
jt^ T^ j/i«e (yuwe), " cause," are much rarer. Some instances occur of j£_ , which represents,
however, not e but ye, noticeably in such verbal terminations as mie (properly mii/e),
£ -T " seeming ; " Idkoe Jf~ 33 ~K (properly kikoye), " sounding," from the verbs
miyuru, and kikoyuru.
The specially important case of verbs with vowel stems will be easily understood by
comparing the paradigm given in the " Colloq. Handbook," beginning of 1 236 and what
is said in the latter part of 1 239, thus :—
Present Indef. Form Condit. Base Neg. Base
shimau shimai shimae sliimawa
u t e wa
Of course all those substantives which are, properly speaking, indefinite verbal forms follow
the latter iu having \^ , as mil, ^ \^ " embroidery ; " tataJcai, % Si T!? fc
" combat ; " uraso'i, ~J* ~f \7 \^ " contention."
The numerous ether words having the sound wa iu a middle or final syllable follow
the same analogy in an overwhelming proportion of cases, thus iwa, >f y\ "rock;"
kaioa, -fo y\ "river;" kawaru, -jj y\ /lx " to change ;" etc., etc.
It goes without saying that when a word originally of the to series —koe, 3J T^ .'for
instance,— changes its vowel, the new vowel must belong to the 10 series also, thus kowz-iro,
13 5? ->f 17 " tone of voice."
The only class of cases in which hiatus occurs —or, to express it differently, in which
one vowel follows another in spelling,—is when phonetic decay has caused a letter to be
dropped, as for instance in saiivai, " good fortune," written -y~ A f\ ^ sa-i-ha-hi,
the word having originally been sakihaJii, but the k having dropped out of pronunciation.
The same thing occurs in such forms of adjectives as chiko, written -^ ~fy ***? for
chikaku, " near ; " atsu, written ~J* *y ^7 for atsttku, " hot," etc.
As for the beginning of words, no rule can be given to show which should have initial
A jt^ -4* , that is, true i, e, o, which -^F- _T^ ^- [w]i, [w]e, [zp]o. The dictionary and
much reading of ancient poetry and romance, where Kana is plentifully interspersed, must
instruct the searcher in that field.
The assimilation of ^' (properly zu) to y* (properly dzu, anciently du), and of
££• (properly French' ji) to ^^ (properly English ji, anciently dl) in the pronunciation
of Tokyo and the Eastern provinces generally (compare " Colloq. Handbook," foot
notes to T 28), makes the spelling of some words a matter of doubt. The important nega
tive verbal terminations zu and ji are written ^ and ^/ , as in arazu ~J* ^ ^ " not
being ;" araji ~f ^ ^ "will not be."
Onaji, "same," is
Fuji, the famous mountain, is "7 ^/ ', fuji, "wistaria," is ^7 ~^~ •
Every modern syllable containing a long vowel represents two— sometimes three—
original syllables, and is therefore written with two or three Kana letters, as exemplified
in the following common words : —
kyo written ^* ^ (&/«) "to-day."
^ H rfc |J (ko-ho-ri) "ice."
sho (or shiyo) „ ^/ -^ ^ (shi-ya-u) " shall do."
wa.ru „ ^7 /l^ **? (wa-ru-u) " badly."
Jioki from ^\ \^ Jf- (Jia-Jia-ki) "a broom."
II. (Chinese Words).—The Kana spelling of Chinese words has profound philological
interest, as proving how much more closely Japanese speakers of the Classic age ap
proached the Chinese standard than do their modern descendants. Thus, modern pro
nunciation has a distressing number of HO's, KO'S, sO's, TO's, KYO's, SHO'S, etc.; but the
spelling shows that at first certain distinctions were made between them,— so much so that
198 SEVENTH SECTION.
any one speaking Chinese will liave little difficulty with the Kana spellings of Chinese
characters. Examine the following representative instances : —
HAFU,
mnn
in "Kan-on'M
(Chinese "feng's" and " p'eng's ").
CHIYAU, THT Eli. (Chinese " chaug " or " ting "}.
*^-J A*tii»
CHIYOU, (Chinese " chung " or " clung ").
CHO
TEU, fL H (Chinese "chao," " tiao," or "niao").
TEFU,
7- 7 this last pronounced Jo, because Nigori'ed
(final consonant in Cantonese).
The foregoing examples show incidentally how often long 6 is represented
by the help of >fr final, also how often this >fr corresponds to ng, which is so common as a
final nasal in Chinese. The same remark applies to long u, as iBu *y ~^7 T8tJ, Chinese
" t'ung."
The sound i at the end of such Chinese words as ~n£ sui, 2E@ RUI, where a u pre
cedes, is written with -^r , thus ^ -^r- , jil/ Jr- ; in all other cases with A , as
MEI-SAI, in Kana ^f A -y~ A , never with \^ .
The original presence, in the Japanese pronunciation of Chinese characters, of differen
ces still felt in Chinese itself may be further exemplified by such series as
IM Hi "tap —all " i " in Chinese.
I ( jf wi) 4 \f ^SB fljw —all " wei " in Chinese.
|JJL» ,!££; >|»-i^
AU ( -f Chinese " ying."
WAU ( ^7 -l-» Chinese " wang."
wou ( J- Chinese " weng."
lAFU (-f Cantonese " at " or " ap."
MORE ABOUT THE KANA. 199
Similarly, all characters dissyllabic in Japanese and ending in KI or KU, CHI or TSU, such
as ~Tt JUKI or BYOKU, " strength ; " J-* SHICHI, " seven ;" ^5^ NETSU, " heat," " fever,"
LU <Y*> ~+ ^istl'
belong to what Chinese grammarians call the "entering tone," Ji Ftf* an<^ en<^ *n a
mute consonant in Cantonese,— Te, t, or p.
In such words—and they are very numerous—as
BETTO, BEPPIN, HAKKO, KESshite, the Eana syllable tsu is
? absorbed in modern pronunciation, and sinks into being
^~^.j>> |U £>' *^»7^ a mere sign of the reduplication of the consonant which
I -J " HH/v - follows it. People have thus been led to adopt tsu as a
symbol of reduplication even in cases where etymology would not sanction
its use, as in kitte, " cutting," " a ticket " (properly kirite from Tdru, " to
»1 y v'p cut "^ When tsu has this reduplicative force, it is often written small and
slightly to the right, as shown in the margin. But correct writers do not
favour the popular expedient: —they prefer to write, for instance,
ki-ri-te, as etymology demands, and leave the reader to pronounce it kitte if he is so minded.
Here nmst terminate this very brief sketch of the Kana-zukai. The theoretical interest of
the subject is considerable, and he who aspires to become a Japanese philologist must have it at
his fingers' ends. But the practical student need not trouble himself with the Kana spelling of
words in general, because— be they of native or of Chinese origin—he will commonly both read
and write them in the ideographic character, and it will suffice for him to know the character
and its pronunciation. The only Kana items of real importance to him are the spelling of the
postpositions tea, ye, and wo, and the treatment of the final syllables of verbs ending in a vowel
stem, as explained on page 196.
-tf t 8 t ^ %
O O s j^ O O
o
— « -.— ovv - y ~4^ v -• o
O O O
^ ,-
' This exercise being identical (except for the more complicated forms of the letters) with that given in the
Third Section, students nre referred to pp. 32-3, etc. for the transliteration and translation,
200 SEVENTH SECTION.
L &
° -f & 6
o o o o „,
** o
& t
^«JP* *
•.V t««»Tit.r,ir.a
^(P)^^,r\^T\^
' > »& »j. > >
3 ^> 4r: ^° in3
oto
ft Mr t w2 3
^ -r /v ^ it "
^ » ° 0
as ? 0 t
^
**!
„„ ^ vi£>-
^ '^ « t 3
* ^ * <? t
n
t *• \, t i
* ^
* The proveTbinl sayings which form this Exercise will be found in the Heading Lessons on the first Four Hundred
Characters, beginning on p. 63,
MORE ABOUT THE KANA. 201
t t
t
t
ft
- t L^
*? ^ t -r- ^ a.
•e f
t
5 -of A « '
3
» ft *tt V
3 ^ t
* Transliteration nnd t rnnslut ion of this story will be found in the " Colloq. Handbook," 3rd Edit., 11 452. (II 435
in 2nd Edit.)
202 SEVENTH SECTION.
% t J 1,
tf t t
t
' -f
Here, for comparison's sake, is the same anecdote in Mixed Script (Kana-majin
fl ), which would be by far the most usual way of printing it. The particles are put in
- ^
Katakana for a change, instead of the Hiragana heretofore employed in this book.
MORE ABOUT THE KAtTA.
y
7- ^
r
7* >>
7 1- r i§ -
&
!) ^ h
^T ^ r ^ r
r - r *' ^ M flfc
— T 1; f
^ P 7
r $?
r i-* r
—* r y ^ JR M P
-U
^
r
j * M r if n
^
i§L ^
M
« * -— if if
r r
ix 9
m- v
— -k
-^v r
204 SEVENTH SECTION.
•r X if
ix 7 IX
k,
7 !) 7 >x h
A IX y
3t v- A ? -k
T 7 r
*"
i)
FOURTH EXERCISE.
i
t It
(r- it
tJ
£ « £
L t
ft 4 ? a
L
£- t 4
* L
* The first seven, of thirty-one syllables each, are uto l* or WAKA 0^?' mostly taken from the "KOKINSHO,"
Q'J3^ or "Songs Ancient and Modern," a celebrated anthology dating from the tenth century, which still
***^
serves as a model to the poets of to-day. The last three, each of seventeen syllables, are UOKKU
•who flourished at the end of the seventeenth century.
MORE ABOUT THE KANA. 205
£ 4 t
-9
fe
H: r
L
Jt
t fit r
*ft I T Ufc a
jt/ © </) T
* L •t
Transliteration and Translation.—
(1) !To«/(i no wc/ii ni Spring has come before the New Year.
ZTarw tra ki-ni-keri. The nightingale's frozen tears will now
Uguisu no
perhaps be melted.
Koreru namida
Ima ya tokuran.
(5) Hana cldrasu Who kuoweth the abode of the winds that
Kaze no yadon wa scatter the blossoms ? Teach me it ! I will
Tare ha chiru ?
go and upbraid them.
Ware ni oshie-yo !
Yukite uramin.
(7) Momiji-ba too A thing more fleeting even than the sight
Kaze ni makasete of maple-leaves abandoned to the wind, is
Mifu yori mo,
HakanaJd mono loa [human] life.
Inocld narl-keri.
(10) Furu-ike ya, The old pond—aye ! and the sound of the
Kaioazu toli-komu frogs jumping into the water.
Mizu no oto !
For the subject of Japanese poetry and the simple rules of its prosody, see " Colloq. Hand
book," 1 465 at seq. ; also " Things Japanese." Lange's " Altjapanische Frttlilingslieder " has excel
lent translations into German verse of considerable portions of the " KOKINSHC."
MORE ABOUT THE KANA, 207
As exemplified in the preceding extract, the Katakana may replace the Hiragana, in the
" Mixed Script " (Kana-majiri), for the purpose of denoting particles and terminations. The
other most common use to which it is put is the transcription of foreign words. Many such,
it is true, have risen to the dignity of being invested with Chinese characters,—KOMPETTO
"sugar-candy," for instance, which is derived from some Continental word allied to the
English "comfit," but is now written ^f& ">TC* 7FH* ^s if signifying " golden rice sugar j" and
KURABU " a club," written . % - " mutual gladness section,"—no bad ideographic
l*~\ xTv MH
pourtrayal of the social resort in question, while the sound both of the original and of the
characters is likewise pretty fairly adhered to.* Mostly the sound alone has been followed ;
and numbers of diseases, medicines, and all sorts of other words have been fitted with
i_ * characters after the fashion of the poem given on p. 187. One or two have
Al *«\\
. naturalised themselves otherwise, by going to the Hiragana, for their transcrip-
<i
J tion. The most familiar instance is ka-vuteira, as shown in the margin, which
means " sponge-cake," and is derived from " Castilla " or " Spain," whence a
I * knowledge of that delicacy was obtained. But a large number of European
words —most of those which still strike the linguistic sense as aliens—are
V 6%. habitually written and printed in Katakana. The following Beading Lesson gives
some of the commonest of this class.
READING LESSON.
7 f — Jl *7 V X !) h I 7
•f Tt I -F* -P >* -V <•>
/ y% I 17 —L. ,A XX
OOO, y^ OO O OO
^ i ' x - n x - ^ K x x
A-o _y '"
4»
f *o *, xo *, -zr* y v' xo fP ^./ ^
~* 7 " , \ ? ^ x - -
o yx 7 o —--
^ 7ft ,l/ 7 . . lX
X
-* .r. ^. ^ x ^ JL. X ^
7, j^ 7 - ,ix ^ I ^ n , 1" -r
* * ^ o V ^ 1, L 7 * X ,X « o . ,
* The Jopunesc transliteration Perurl comes from an attempt, in early days, to conform as closely as possible to
the spelling, rather than to the pronunciation which was then not actually known. Other instances of such a tendency
might be quoted. Of course Peri would better render the real pronunciation of the name.
MORE ABOUT THE KAXA. 209
* Apparently BO transliterated through ignorance that the a of " Thames " is short. Similarly Sawara for
'• Sahara," as A tendx to pass into tc in the middle of Japanese words.
210 SEVENTH SECTION.
TELEGEAMS.
Though neither book-printers nor letter-writers ever employ the Katakana for more than
single words, there is one class of documents—highly important in modern life—in which, by
official fiat, resort must be had to it, viz. telegrams. The names and addresses may, it is true)
be in Chinese characters (for the order to flank these with Katakana is not strictly insisted
on) ; but the body of the telegram must be in Katukuiia only. Note that each Nigori'ed
syllable counts double, and that a space should be left blank after it to facilitate the counting.
The following specimens will serve the double purpose of a Katakana reading lesson, and a
lesson in the composition of Japanese telegrams. It will be noticed that the style is mostly
Colloquial, besides being compressed for the sake of brevity. A single message I -• \~^ \ Fl
ICHI-ONSHIN) consists of ten Kana characters or numerals, addresses being free. The first is
given in a fac-simile of the official telegraph form. It may be noticed that all the characters
occurring in this form should already be familiar to the student, with the exception of
and -Nos
Hearing that telegrams are sent in Kana, and naturally assuming that such would
not continue to be sent year after year in ever-increasing thousands if the recipients
did not understand them, a foreigner might be led to ask why all written and printed
documents should not be clothed in the same simple form. The answer is that the
Kana is by no means the most convenient vehicle either for writing telegrams or for
reading them, but only the most convenient vehicle for telegraphing them. The mechanical
difficulties in the way of wiring the " Mixed Script " are enormous. Otherwise it would
certainly be preferred ; for the present system entails frequent error and difficulty of com
prehension, especially in long messages and in those containing many Chinese words. It is
thus seen how " circumstances alter cases." In China itself, where no alphabet or syllabary of
any kind exists, a code has been evolved whereby all the characters in current use, to the number
of several thousands, are fitted with figures, which latter are sent by wire and re-translated
into the corresponding characters at the other end. It is a cumbrous system, and the Japanese
have preferred to retain their own, which was devised for them by foreign experts in imitation
of that employed in Europe ; but it does not suit their language nearly as well as ours does
our Western tongues. ] t is merely the best make-shift which unfavourable circumstances happen
to allow of. The student himself, by the time he has got thus far on his way, will probably
see the case as here stated. It is to the beginner,—more still to the outsider absolutely
ignorant of local conditions,—that the attitude of the Japanese towards their written system
appears unreasonable. But the real unreasonableness is on the side of him who undertakes to
argue about any technical subject with which he lacks practical acquaintance.
MORE ABOUT THE KANA. 211
J=|3»
Jfc^
a
0
X
tt
0
IX * . A
it
m
•'N
r
ft
r -k
7
A" A
t
-T-fc-h * -t-
212 SEVENTH SECTION.
DEMPO RAISHINSHI.
(TELEGRAPH FOEM.)
* A lunch freer official translation will be found in the form need for sending telegrams in English. Or rather, as
in so many other cases, the English is the real original, while the so-called Japanese original is a translation partially
altered to suit local needs.
MORE ABOUT THE KANA. 213
IX
kitare.—Come immediately.
KYOBYO swgrw oicfe ?ra matew.—Sudden illness please come immediately.
^isw -yasumi kuru ni oyobazu. —Holiday to-morrow you need not come.
Kesa tatsu BAN JC-ICHI-JI KTTAKU. —Starting this morning reach home eleven evening.
(Notice "eleven" written i. e. 11, instead of ~J~*; similarly -^* below instead of f£.
This semi-European method of writing the numerals is obligatory in telegrams, and is also
now much employed in book-keeping. It will probably end by superseding the old native
method altogether.)
Asu GO SAN-JI Hama CHAKU.—Arriving Yokohama to-morrow three afternoon.
Asu kcue.ru. —Returning to-morrow.
Kyo BYOKI yulcarenu.—111 cannot go to-day.
• sugu kaere.—Urgent business return instantly.
214 SEVENTH SECTION.
NEW CHARACTERS OCCURRING IN THE PRECEDING SECTION. — 1107. Krj|r SAT8U, has no
meaning, but only a phonetic use, especially in the word (1108) ."ffi. Kjr "a
i |t|^ I—I |v 1 -.
Eodhisatva " or Buddhist saint, "inr* was originally the bo or pepul, the sacred tree of
the Buddhists. Japan is still Buddhist enough to make the word BOSATSU a necessarj" one for
the student to memorise. — 1109. Yf=^ NO or luA, "thick" (as liquids), -"dark" (as colours).
Learu in this context its tsukuri (\ 1 10) f=? " agriculture," which has the same sound NO. —
_*t f,J^ ''
1111. jjv BU, " military " (from "stopping" and "spear," i. e. "stopping fighting,"—the military
*"^ ^^ _*Vy Mr
evolution most congenial to the Chinese mind!), as in "7PT* —p* BUSHI, "a warrior."— 1112.
tf.fft >-f i*'\i —L*
fjfff SHUN or ftayai, "swift."—1113. Ypl kaiva, "a river,"—properly a big one, small rivers
being III ; but the Japanese rarely attempt any such distinction. — 1114. B*& "wild-
duck." — 1115. [sjj\ RAN, "an orchid," also used phonetically for RAN (Oranda), "Holland,"
"Dutch." — 1116. HH|I semi, "a cicada." — 1117. • *f • here the postposition ico, but more
^*- I " I __^ b
often used for the interrogative ka ? or ya ?— Observe that T|f~r SHA is sometimes read koso.
—1118. Jli, KAN or Idderi, "drought."—1119. |j|g nanji, "thou;" also sJtikarl, "just so."—
The character [jill/ HEI in the text is less used than its homonym and synonym (1120.)
I'lJA agj^. -— »" ^l
HEI or yabureru, "to be torn," " vile," hence " my," " our," as in WX- Tlfr" "our firm."— 1121.
ylff HA or nami, "waves."— 1122. TfiS REI, "propriety," "ceremony."—1123. Kg TO
or noltoru, "to ascend."—1124. /rfc SA or tasukeru, "to assist." — 1125. jjjj^ GEI, "an art" or
"accomplishment."— 1126. q^Ki or GI, "skill," "ability," used in the common word •§{
;B5 'li^ KABUKI, " a theatrical performance," lit. " skill in singing and dancing." 3S
or ma.u, " to dance," is our No. 1127. —1128. -^^ used phonetically for the sound na; less often
readifon? "how?"—1129. JER KEI or E (for WE) or megumi, ";kindness."—1130. .*yt RO,
originally a picture of the spinal vertebrae, but mostly
l^» used phonetically, as in /•**%
lull I—I
ii
FURO, "bath" (u is short here, though long in IjjH Ftf, "wind," used alone).—1131.
HAN or BAN, "a platter" or "plate," as in /-+ dgSj SEKIBAN, "a slate."—
1132. ^J* NI, used in Japan only as a contraction of (No 1119) m .—1133. - TAN,
"the colour of vermilion," read id in old Japanese, whence its phonetic force. The dot denotes
MORE ABOUT THE KANA. 215
a fragment of the vermilion cinnabar inside -\ I* the" well " or " pit," whence it is dug out.
— 1134. lea HEN or hotori, "side," "place."—1135. Tf DO (NU) or yakko, "slave." Learn it
together with (975) "auger" (the "heart" a "slave" to its passion).—1136. Vtj» EYO or
nagareru "to flow."— 1137. 4'tft REN or tsuranaru, "to be in row" (like a file of "car-
riages" in "motion"). Remember at the same time (1138) jj REN or Jiasu, "lotus."— 1139.
Jcatsute, " formerly," " ever," " never ;" used for the syllable so in several proper names.
—1140. ^3i so, "thorny," also the name of an ancient Chinese kingdom. — 1141.
A&
(from "step" and "walk"), TO or kachi, ''afoot;" hence TO means also "follower," "disciple,"
as in Af» >f/|r SEITO ; it is also
m ». l^^^f r^ & fr_. _ a
read itazitra ni, "vainly."—1142. j4?
%~T~^
tsu, "a port" or
" mart."—1143. jKP (properly -rHji ,but often thus abbreviated), used phonetically for the sound
ne in ^wfl ^ci* nejri, a Shinto priest.—1144. HffK NA or ncnizo? "what?"—1145. jfctt: RA,
properly " a bird-net," but chiefly used as a phonetic sign. This character, though it may-
look complicated, is easily remembered by its three component parte, "net," "silk," and "bird.''
—Do not trouble about 3£ • —1146. • I * ni, "in;" koko ni oite, "hereupon,"—a synonym of
(65) "nsS • Do not confound it with (727) '~r KAN, whose last stroke is not jerked upward.
—1147. YHS MAN OTmichiru, "to be full."— 1148. x^V KO, a synonym of ^fijn (270), originally
depicting the last three leaves on a twig of bamboo, but now used only phonetically for the
^-*^ KI or koi-negau, " to
sound ko or Tea. The Katakana letter rf ke comes from it.—1 149. ^A."
hope ; " sometimes read mare, " seldom ; " but this is more often written (1150) JhAt • — 1151.
£» FU or tomi, " riches."— 1152. Y | e, in China " a river," e. g. IS ^^ Y | tlie Yang-
tsze-kiang; but in Japan "an inlet."—1153. IS YO or agent, "to raise.— 1154. Urn A, used
as a phonetic sign.—1155. tt~ KI or yorokobu, " to rejoice."—1156. ^£t! KEI or E, " ingenious,"
—the E of •y : CHIE, " wisdom." Do not confound it with (No. 1129) £ft " kindness."—
1157. :fli| HI or tobu, " to fly." One may still trace in it something of the original form, which
depicted a bird flying.— 1158. ipft? MO or shigeru, " luxuriant," as foliage. —Do not trouble about
*A*. —1159.ff!j|$ REN or koi, " love." For approximation both in shape and sound, compare this
character with (No. 373) jfP^ HEN, "change;" 1160 Jw!* BAN, "barbarian;" 1161 ^^
WAN, "drawing or bending a bow; and 1162 V||y WAN, "a bay" (whose shape recalls
a bent bow). Characters 1159-62 are often abbreviated to
respectively.~1163.'ia£ RAN or at, "indigo." Herewith compare (1164) Egg* RAN, "to look,"
as iQ 'fin] *fii" GORAN, "your looking;" also 1165 jjjljE? KAN, "a war-vessel." as in E&
JB6|jf GUNKAN.— 1166. aisJI HO or nuu, "to sew."— 1167. J§£ KAN or kawaku, "to dry;"
"J^t* J W , ta f
read KEN in the compound By" Jffl (1168), KEN-KON, "heaven and earth."—1169. 251^
NETSU, " fever," or atsui, " hot." Atatakai, "warm," is (1170) R^B DAN.—1171. 1r$& TO or
fuji, " the wistaria."— 1172. %^ HO or takara, " a treasure." Notice how -1^ "a gem,"-HY
" a vase," and B^ " a [precious] shell," " enter into its construction, and how they are
216 SEVENTH SECTION.
placed under *"*> , "a shelter," as a "treasure" should be.—1173. \ HO or kuni, "a
country," synonymous with jgjfl (No. 282).—1174. jr^g au, "to meet." Learn it with
(1106) aftf? WMM, " to sew," as " sewing " makes the different bits of cloth " meet " by means of
"thread." -1175. HH
'•v-t HO, "a friend," as in 'V-t
HH "fy£^^- HOYU, "a friend." '.'* HH does not
_
really come from two moons, as might be thought. It comes from two phenixes, that bird
being the symbol of friendship, perhaps because a true friend is a thing almost as rare as a
phenix. "Phenix," Jap. HO-0, is written (1176-7) I§U Bg( the former being properly the
male, the latter the female bird. A good memoria technica for ra[ is to dissect it into J\
" all," l^i " bird," because the phenix is the chief of all birds ; but in reality the character
is pictorial, the original shape having been JXh , which depicted a bird having a mass of
splendid tail-feathers ; |Ml may be remembered as the " emperor " ift (or rather " empress")
—^^^ ' "~^^* .» . _j 1 ^
of birds.—1178. ~^ BO or tobosMi, "poor."—1179. 5»T KO or kurenai, "red;" also beni,
"rouge."—1180. Kl. KO or hiromeru, "to spread abroad," as in the name of the great
apostle of Jap. Buddhism, KouO DAISHI, Hf ^-fc ~J^ Fmj ^- " *ae S*®^ teacher who spread
the law."—1181. -ja|? KO, 0, or ki-iro, "yellow."—1182. fjjf CHO or mesu, "to summon,"
as in fj|jr JGl CHOHEI, " levying troops," "conscription."—1183. ,UK CHO or kizashi, "an
omen." The original form )H|I represents the lines on a tortoise-shell when scorched, as in
the ceremonies of ancient Clu'nese divination. — 1184. frJE CHO or fuda, "a tablet," "a
record." Compare for form and rhyme (No. 627) ~H|? YO or IM, " a leaf."—1185. jag* tatami,
" a mat." Its Chinese sound JO is used to compute the size of rooms.—1186. /(§& sakura, " the
cherry-tree,"—whose double blossoms are " treasures," but as delicate as a " woman."—1187.
j£g£ BA or baba, "an old woman."— 1188. TOB? yome, " a bride " (appropriately composed of
"woman" and "house"). —1189. "ffs muko. "a son-in-law," "a bridegroom."—1190. fljv
J^rJ _LA rns*
HEI or kakusu, " to hide ;" conf. No. 1120.—1191. TlH musume, " a girl," specifically "daughter;"
ccnf. (No. 878) BK "a man." Another form of this character is T&& , which has an honorific
^^|» ^4^C
tinge, signifying rather a " young lady," and which can therefore not be applied to one's
own daughter. —1192. 'faff EN, "connection," "affinity." Do not confound it with (1193) J&itt
BYOKU or midori, " green." The lower part of the former's tsukuri appropriately suggests
the idea of " house," or " family," while the corresponding part of the latter suggests
the colour of " water."— 1194. ;fck KETSU or musubu, " to tie;" also yuu, " to bind " (as
» t 'I PJ [[»..
the hair}.—1195. £m NO or osameru, "to pay in" (as taxes).— 1196. fe!ap morau, "to
receive (as if receiving a "world" of " wealth ").—1197-8. THE BAI and mf SHAKU
both moan nakodo, "a go-between for marriages."—1199-1200. h MEI or mayou, and ,
WAKU or madou, both denote " perplexity." ^X is appropriately formed of " heart " and
" perhaps " (indicating doubt) ; y is founded on the phonetic ~K^ .—1201. p TAN or
ashita, " morning " (the " sun " above the " line " of the horizon) : -- ^ it-tan, " once."—
1202-3. xfa ^faf YAKUSOKU, " an agreement," both characters meaning "to bind."— 1204.
MORE ABOUT THE KANA. 217
kado,"& corner," hence "an item," hence "cheap." —1205. 7jl£ HA or yaburu, "to
break."— 1206. j|fc itsuwari, " a lie," " fraud."—
(Characters suggested by the poems here given in Hiragana). 1207. 'rjj KU, " a line of
poetry" "a phrase."—1208. *|p* iiguisu, " the nightingale."—1209. jjS namttla-, "tears."—
1210. gf£ fare? "who?"— 1211. jffipjio, "a moor. "—1212. pit /fcasuwu', "mist," "haze."—
1213..!^. OKU, "innermost recesses." — 1214. [o^ saku, "to blossom."— 1215. -iS au, "to
meet," "to meet with." A\ -ton Fuo^ means "unlucky." Observe how many characters
there are in common use for au, " to meet," <£*+• , yJ? , JH? , 4rfi . Yet another is (1216)
jU J SO. The compound -jffiJ ipn S^GO often occurs.— 1217. '4-f* i NINZJWM "to appoint;"
also makaseru, "to commit to the will of."— 1218. Eg; kncJiibh-u, "the lips."—1219. V-ttJ
tie, "a pond"—1220. jW» kawazu, "a frog."— 1221. (Tjflr) )||j| SATO, "sugar." Re
member at the same time its phonetic (1222) r|3~ the To or " T'ang " dynasty of China,
also read MorokosM and Kara to denote China itself. This is the TO of P=f? yl TOJIN, a
contemptuous word for " foreigner."— 1223. -TEL tomo ni, " together."— 1224. >p^ kabit, "a
tree stump," hence "stocks" or "shares." — 1225. -vV" SHIKI, "a rule," " a ceremony."—
1226 <^* nuru, "to smear."—1227. Y?Jc KO or minato, " a harbour."— 1228.— $Ij| BAKU
or taki, "a large waterfall" or "cataract."—(1229) ME taki is a very common synonym.
Notice the phonetic SB "dragon:"— dragons are always connected with water in Far-Eastern
folklore.—1230. llflfe KYO," a strait;" compare (1231) ^fife semai or KYO, " narrow." —1232.
IH'V J,x V
vV SA or swta, " sand," interchanged with (No. 597), /|'J^ The Radical of tliis latter shows the
material of which the sand consists, the Radical of the former shows the water in which sandbanks
are so often found. V'y is read SHA in WH P*! SHAMON, a Buddhist priest " (a corruption of
Sanskrit "sramana.)" —1233. @9 MEI or c/rikau, " to swear."—1234. Ij|| kata, " the shoul-
JL1LL. »-• /I~J
der " (which resembles " a door " hung over the " flesh," H being here, as usually, NiKU-aufa',
"flesh," not tsuki, "moon"j.—1235. m|l| JIKU, an "axle" (that which a "carriage" "relies
on"), "pivot," "roller," "handle."— 1236. £|? or £S? mado, "a window." The ancient
form y\A or (5|^ , afterwards altered to |y| , was a representation of a sky-light, to which
the Radical for "hole" has been added in order to determine the sense more exactly.
Primitive windows closely recalling the ancient picture may still be seen in Japanese huts. —
1237. HJt CHO, "pasting "or "sticking" "(a stamp, etc.).— 1238. i^ atsukau, " to manage."
rr .
— 1239. EE;^ NIN or mi-tomeru " to recognise ;" also often shitatameru, "to write."—1240.
H*L>
sosogu, " to pour ;" hence Y_l. rt CHU-I, " to pay attention " (as we say " to pour
over " a book, etc.).
218 SEVENTH SECTION.
J5T
1153 1143 1134 1124 1114
H
1155 1145
iff. 1136 1126
-fit
WRITING LESSON. 219
MWS
1-212
SL
1202 1192 1185 1175 1165
1235 1225
jfc
1220
1236 1226
1230 1227
1237 1228
1238 1229
1239 1230
EIGHTH SECTION
PROPER NAMES.
A
EIGHTH SECTION.
PROPER NAMES.
Though numbers of proper names have occurred incidentally in the previous Sections
notably on pp. 46 and 98-9, both interest and usefulness may be served by gathering together
in one place the chief facts relating to that species of word. Several Chinese characters
needing to be memorised will also naturally come to the fore in this connection.
PLACE-NAMES.
Class I includes such names as
Nagasaki Hiroshima Miyajima
" long cape " " broad island " " temple island "
On take Hayakawa
m Yokkaichi
£|fe " august peak" III " swift river " a: fair on the fourth day "
rff
Karuizawa Shiba Tsu
" light well swamp " " turf " "port "or "mart"
etc., etc., whose meaning is transparently clear, and the characters appropriate to the meaning.
Such names are legion. Not a few belonging to this class are Chinese :
SHIKOKU SENDAI
" the four countries " " the nine provinces " " the genii's terrace"
TAIWAN
" terrace bay " " new temple " " western village "
SHINDEN Z TOKAIDO
" main village " " new
" reclaimed land "
224 EIGHTH SECTION.
Tsukin I j e «< reclaimed laud," the quarter of Tokyo so-called having formed
in " ) Par* °f *ne ^aJ as ^a^e as tlie middle of the seventeenth century.
Jtfr earth filled
GOTEH&a
'§»»*
" the well of prosperity" £v)Q. » site of august palace " iHf* " dark sea reach "
^
Some few include Kana signs, mostly J (no) or ^f (read not Tee but ga), as in
ft
Koma-ga-taJce Seki-ga-hara t^t Yotsuya
* " pony's peak " ' " moor of the barrier " ' " four valleys '
^
PROPER NAMES. 225
, properly KOKU or tani, is read ya only in certain place-names. The *y is often left
unwritten in the last and similar instances.)
Clase II. Names (mostly unintelligible and therefore) written phonetically, as
Kaga, Tosa, Kai (properly Ka-hi), Ikao
(I-ka-ho), Kiso, Nayoya, KOMPIRA (RON is the
" GO-ON " pronunciation of -cc? whose " KAN-
^ *"^*r
ON " is KIN ; the word is a transcription of the
Sanskrit " Kumbhira." Kolohira, the new so-
called native Japanese name of the same much-venerated shrine in Shikoku, with branches
all over the country, is perhaps but a farther corruption of the same original ; in any
case, the characters are merely phonetic.
The tendency to regard two characters as the normal number wherewith to write a name
seema to have motived the adoption of some phonetic transcriptions where a single ideograph
would have done the work, as in the case of Nara, which may simply have been derived
" ^ from nara, the " evergreen oak." An Imperial edict was actually issued in A. D. 713,
enforcing the use of two characters in all names of provinces. It is in this way that the
province of Shima—so called probably from its numerous islets or penin-
sulas—came to be written as in the margin. The province of Ki—so named jfcH
9 ^rt^^L
from its forests—left off being written ylv^ and was written as if KI-I. Ki-
i^
no-kuni-ya is still a common name for inns and shops.
Class HI. Mixed transcriptions, that ia part ideographic (T\
part phonetic, such as Ulsunomiya and Sata-saki (where the last
character must be read according to sense, the others according
to sound), Yokosvka and Uraga (where the reverse plan has
to be followed).
Class IV. Irregular transcriptions of various sorts, mostly a mixture of ideographic
and approximate phonetic, some containing mutilated words, or words now obsolete : —
Kasliima, as if ahika-shima, the first
Akashi, Wfl being read aka, as if from syllable being dropped ; but a " deer,"
aku or akeru, and ;g wki being deprived now called sJuka, was called Tea in an
of its initial i. cient days, so that the irregularity is
apparent only.
Naniwa (OsaJea), as if nami-hana,
Tottori, as if tori (" bird ")
" wave-blossom." But the real deriva »7 fit
tori (" taking"). —Atami, as if
tion is believed to be nami-haya, " wave
alataka-umi.— Yanaitsu, as if
swift," in allusion to the rapid current
near the local river's mouth.
226 EIGHTH SECTION.
Kasuga. Perhaps the character ^EK " spring" may here stand for kasumi, " the
m^m spring mists." Ka is an archaic word for "day," still preserved in futsuka, "two
0 days ; " mikka, " three days," etc.
Names of provinces, most of which are very ancient, are apt to be highly irregular. Here
are the most important of those not already incidentally mentioned, with occasional ex
planations to impress them on the memory : —
>r^ |-rt ABi d i Hyuga (as if hi-mukai, " opposite to the sun," in allusion to its
lUr |^*| I/IQ ^Pv I—I geographical situation facing East).—BUZEN (BU is the " GO-ON "
Y I mjs 14-1 Pn ml of -§=!> , more often read with its " KAN-ON " sound HO, or with the
I—•-• TW I I -J I J .*rr*
" KUN " toyo).—BUNGO (an epenthetic n inserted).—Sanuki (as if
|H|j ' /Illl r**"\
-KS SAN-KI).—Nagalo I Pn read to as if t| J .—SuwO (as if SHU-HO).
~*fi* —Aid (as if AN-GEI).—BIZEN (regular) ; but BITCHU has an unex-
™ * pected t, and BINGO an epenthetic n,— Oki (as if ON-KI).—Mimasaka
. t > ITffik t-f-> ffijj (as if BI-SAKU).—Indba (as if IM-BAN.)—Harima (as if HA-MA).—
* Yamato is specially curious, as the sound is entirely neglected in
the writing, which latter is obtained by the use of AJJ1 *° repre
sent Wa, a name anciently applied by the Japanese to themselves,
^•w riM .^»-% with -K-*
Iff - •**> ||._L. -^ V
prefixed for vainglory's
*
sake.—Izumi should be XJVJJ8>
''KK |3|l my merely ; but two characters being needed (conf. what was said above
apropos the provinces of Ki and Shima), the auspicious character
was borrowed from the name of Yamato, and prefixed BO as to satisfy the eye, though
it is not sounded to the ear.— Oml comes from [chika- ff'jt* . » . •—•-* m m * m
tea*-] aica-umi, "the neai-er foam-sea;" Totomi from Tu- l^g ~jf£ P Ll P F*
isu-aica-umi, "the distant foam-sea," the reference being HO ^g, J^Q J^fi^ UJS [H^C
to Lake Biwa and to the Hamana Lagoon respectively ; but
Y I is not so appropriate as ftifc or JjH would have been. — Owari (as if o-harl).—hit, written
phonetically in " MAN-YO-jrana."—Kotsuke stands for kami-tsw-ke, " the upper ; Shimoisuke is
" the lower —& ke, lit. " hair," probably referring to the cereals grown there. Kazusa and
Shimosa stand respectively for kami-isu-fwa and shimo-tsu-fusa, lit. "the upper and the
lower tassel." These two provinces originally formed one under the name of Fusa no
kuni, which is traced to the excellent quality of the hemp grown there.—Aioa (as if AM-BO).—
Hichinoku (as if WH'C/U'-MO-OKU, the furthest recesses of the land) ; also read Mutsu, and now
divided into j^B Kjjf BIKUZEN, and two other provinces with names derived from the same
I M » 19 -9
original.
The character AM SHU means " province," and almost all the provinces have alternative
designations obtained by its help. One of the characters of the name—in most cases the first—
is taken with its normal Chinese pronunciation, and SHU is suffixed, the total result being thus
either a mere shadow of the original sound, or something totally alien to it. For instance,
* Tsv, here and in other names, in an archaic particle equivalent to no, " of."
228 EIGHTH SECTION.
AM becomes GEISHD
Kui KOSHC
Kii KISHU
_h JOSHU
Nayuto CHOSHD
Omi GOSHU
Owari BISHC
Sayaini
ffi* SOSHU
Shimotsuke YASHC
T T
i
SHINSHU t
Shinano
» l ft
Ttiomi ENSHU
Harima 4tt£ F5p , whose alternative name Jflt )J»M should be HASHO, is called BANSHD,
—probably a case of HYAKUSHO-yomi, arising from the fact that BAN is the reading of <£Kf , a
more familiar character (conf. p. 110). Usage has sanctioned the error. That Y | J*M should
be read GosnO (rather than KOSHU) is another irregularity ; but in this department of Japanese
reading and writing, lawlessness is almost the only law. Those provinces which go in trios,
as BIZEN, BITCHC, BINGO, etc., do not commonly make use of their alternative names in SHt.
For the sake of brevity and elegance,—for nothing is so elegant in the Chinese style as
terseness,—two names are often halved and then run into one. The process will be best
understood from a few examples: —
KEi-HiN, i.e. " Tokyo and Yokohama," the second—because in this case more im
portant, character of each of the two names EH^ Cl " Tokyo " and jfi\f yJj|f " Yoko
hama " being taken, and the other discarded. The characters chosen assume their Chi
nese sound, as HIN for liama ; and KEI the " KAN-ON " reading of JCt is preferred to the
corresponding " GO-ON " KYO.
The names of railway lines are constantly formed on this principle, as Bu-So for the line
_ ~-W-» / — • U*t \ /— -^. \ * jfc
For the majority of foreign place-names recourse is had to the Katakana, as shown on
p. 208. But some of the most familiar have been fitted with Chinese
characters. There are two ways of doing tin's. One—not much availed
of—is to translate the name, as in the accompanying instances of
mn GASSHC-KOKU, " the United States ;" TAIHEI-YO, " the Pacific Ocean ;"
CHICHU-KAI," the Mediterranean;" KiuO-HO, "the Cape of Good Hope."
The more usual plan is to write phonetically, with a greater or less adherence to the
•ftrt original :—YOROPPA or OsnC, " Europe ; " AJIYA, " Asia ; " AFUIU-
/JM KA, " Africa ; " " America ; " " Canada ; " INDO, " India ; " Dorrsu,
" Germany " (" Deutschland") ; EJIPUTO, " Egypt " (the characters
•pfi /\f AI-KYC make but a feeble approach to the sound) ; PAM,
*f«JE •*
Jj,-. " Paris ; " ROMA, " Borne," (that JKffc should serve for BO, not
'Jj\\ KA, is owing to modern Chinese influence) ; SEIHON, " Ceylon " (the
10 t_l m characters G&M Islf rea^ SHAKU-BAN) ; "London " (the characters
HP l8/] ' ck°sen *n China where they sound " lung-t'ung,"
shoiild properly be KYC-DO in Japanese) ; " Berlin " (the charac
ters /4Q >PfC> chosen in China, should be HAKU-BIN in Japanese ;
" New York " (the cliaracters *Jt li? make CHU-IKU).
Contractions and other irregularities occur. Thus " San
Francisco " is written SOKO as in the margin, Jft^ -^?^ (" Fusaug " in Chinese, FusO in
Japanese) being a Far-Eastern land of Chinese mythology, and
Y-VI'V meaning " harbour." " Australia " is called GOSHU,—why
y II I ^J*i does not appear, unless it be from the vague similarity of sound
between " Au " and Go. Vffl 5/fJC for " Vladivostock" is a con-
~ litJ itL
traction of the longer phonetic form given in brackets (it would properly read ura-s/iio-SHi-TOKu).
»7iSf llrrt ^R^ L, ~T^ -IL». The following are a few modern Chinese
J ^K /lltxf \—| I 9^^ ^il
*r^ : | ^S» '^^JT >^fa[ ^*r^ place-names constantly met with, and usually
M TH ^ W ^ M pronounced cl la Cliinoise : " Peking," "Tientsin,"
" Shanghai," " Hongkong," " Foochow," " Hankow," " Canton," " Nanking." But most Chinese
names, whether of places or persons, including all such as are ancient and historical, take the
usual Japanese pronunciation of the characters.
Though the few explanations given in this Section are intended as practical helps
merely, some of them may serve to adumbrate the importance of the study of place-names
to Japanese philology and history. Our own monograph on " The Language, Mythology,
and Geographical Nomenclature of Japan Viewed in the Light of Aino Studies " attempted,
now many years ago, to lift one corner of the veil of this difficult subject; and it is our
belief that some younger student might do valuable service in the same field. North
PROPER NAMES. 231
eastern Japan, as far as a line drawn across country from Mount Fuji to the province of
Noto, is indisputably littered with Aino names. But what of the South ? What of Shikoku,
for instance, all four of whose provinces —or three in any case—have names undecipherable
*^ at - > B -> _ -"-fr-fr
in Japanese? Again in Kyushu, what of such names as Aso ujll 4aE and Sobo 11m
IVt -|i« >Jj* I J *R«I» /Illl.
J>h and Salsuma teat jjffi and a hundred more, all reaching back unchanged beyond
the ken of history? What of the coast of the Sea of Japan, with its Wakasa's, its
To/ima.^, its Inaba's, its Izumo's,—to mention but a few of the most important names, all
incomprehensible? A thorough sifting by some competent hand would surely throw light
on the migration and early seats of the Japanese race or races, besides informing us of
sundry other facts as interesting as unexpected. But the would-be investigator must arm
himself with a thorough knowledge of archaic Japanese, to be gained from such books as
the " MAN-YO-SHC " JEgf j& /f|C and the " KOJIKI " "dt J&* gFl , and also with a
spirit of extreme critical caution. An instance will exemplify the necessity for the latter.
Take NlKKO, a familiar name. Nothing can be founded on the characters R -T!^ NIKKO,
lit. " sun's splendour," as they are but an arbitrary substitute for the earlier "~
. • >^ ' "' »
"i^f NI-KO, lit. " two rough," and were bestowed on the locality for the sake of
greater elegance and good luck by Kobo Daishi in the ninth century. Now NI-KO
^" " tJI *>
itself is but the Chinese reading of two characters ( Thr^ as jnst given), which were
* JIL*
originally pronounced Japanese fashion Futa-ara, referring to two " rough spirits "—a class
of Shinto deities belonging to the early mythology of that mountainous region.
This destructive criticism of the word NIKKO is certain. Not certain, but probable, is
ill "HtT *^e Denial °f a^ etymological value to the orthography of such names as SaJca-
jbrf jL,Z nasJti and Yamanashi, which are written as if signifyingre spectively " no hill " and
^•^ii cl*H*
"7K *US " mountain pear-tree." Judging from intrinsic probability and from the aspect
of the localities, we believe nashi in both instances to stand for n'asJii (i. e. no ashi, T/^ Jrl±)>
so that Sakanashi would signify " the foot of the ascent," and Yamanashi " the foot of the
mountains."
NAMES OF PEOPLE.
There exist a few surnames of a single Chinese character, and a few of three
characters. The commonest are Hara, Hayashi, Mori, Hori, Tsuji, Seki ; Saleuma, Sasaki,
I^ Okubo, and Hasegaica. The student will notice that the
^\
^ ^rs'i B™—*^e 8ing^e character names—are all transparent-
j££i /Ji £f /Ji %\* ?MC ^ intelligible, whereas the others are in whole or in part
*^o o phonetic transcripts of words whose meaning does not
• » v **-^ fc" t~trt HH ^_jL-*
111 ^iK^ >lC Rfl l4ni ^^ appear. There is a celebrated holy place in Yamato call-
'*\ K|V ' l* I"J IVrJ /^fv |-^ S£*
° ° ° ° ° ° ed Hose (anciently Hatsuse), written 'f^j? >£V > whence the
l^'*^^^ •"""*
like-sounding surname is derived- Indeed, Japanese surnames may constantly be traced
232 EIGHTH SECTION.
back to geographical names. The utter want of connection between the characters and their
reading in this special instance may perhaps be accounted for by regarding the name itself as
a traditional one whose origin and signification had long been forgotten, while the characters
would have been applied at a later date to describe the appearance of the locality, which
is in fact a long and narrow valley.
Leaving exceptions aside, Japanese surnames consist each of two Chinese characters
in an overwhelming majority of cases. Many of the commonest have already been put
before the student incidentally, especially on pp. 46 and 98-9. Others not yet mentioned,
but extremely common, are (in the order of the I-ro-lia, beginning with //> and ending
with ):—
ooooooooooooo o
trww
*O OCOOOOOO
ffi If P H ifilS ffl If W H
v.—x O O O O O
x—% O
read Morita. That considerable liberty is taken in the matter of the Niyori need scarcely
I
bo mentioned ; A* for instance, here read by us Osawa, may be heard as Ozawa
from the lips of many speakers.
~ t|~ '_ 1 1^
*
_ 1 1^ ~ 1 1*
Numbers of familiar surnames end in i, written with the character
- !!*• -44^ -II* "yp > as Imai, Iskii, Nagai, Arai, Sakai, Sakurai, Matsui. —Here both
o x—>. o . |j « —|4* iVr* —H*
-tf\. j^ ~7~* Tpf yp an^ VtcTf yP are reac^ -^'/w'> b^ the names belong to different
1^^ ^|V I I—I wVi^
-14* -44* -44* families. For the reading of JjEJf as om in this context, compare the
< ^ N—^ ° words orate and ataraslm. —Jffir' rH- and >p^ -4p , both sounded
n, are separate surnames.
Surnames read Chinese fashion and ending in TO or DO are as
familiar in Japan as " Dicksou," " Jackson," and " Robinson " are
in England, though their construction is far less clear; for why should n5X "wistaria"
have become such a favourite ending ?—ITO (but some families write it
mf ), KATO, NAITO, GOTO, KONDO, EN»O, ANDO, SATO, SAITO. When
occurs, not at the end, but at the beginning of a
surname, it has its Japanese reading fvji, as in F>iji-
icnra, Fvjita, Fuji!. On second thoughts, may not the
prevalence of the ending j^S T0 i11 modern surnames have taken its
origin in the ascendancy of the Fujiwara family during medieval times ?
It is still customary for a pupil to be granted half (that is, one of the two
characters composing) his teacher's name.
The following common names will appear more difficult,
especially the first two, and most of all the first, in which
writing and pronunciation part company altogether: — ^f^ iK2£ F) 3%| JSSC P|
Hatlori, Watanale, Kijiin (but some persons follow the character and read Kawano), Kawai,
Tanalc, Enoinoto.
A few aristocratic names end in koji, written }\\ JK-* (ko-micJii). Madenok^ji
supplies a familiar, but frightfully irregular example, as one would read it BANRI-
no-komichi unless specially instructed. But our English *' Cholmondeley," " Mar-
^ joribanks," and " Beauchamp " keep it in countenance. KONOE is another aristo
cratic name of difficult reading.
-k
S*-
oooococoooooo
si?
5s Ji& ^ A A H w IP HI? IP
oooooooooooo
* A precis of the difficult subject of Japanese names will 1>3 found in " Things Japanese." The student will
clear his ideas considerably by perusing it in connection with the present Section.
PEOPER NAMES. 235
and >ptf P-J EMON, " guarding the gate," preserve for us an echo of mediaeval times, when all
Japan was a camp, or rather many camps, being rent with civil strife. Observe the final zo
written in three ways. Jfpa/ i|-t and —* » in which last the sound zo is a corruption
of SAN. Observe too that the character Jt-t in SOEMON, the last name given, is not read
at all in such contexts, but stands there merely for the eye.
Here are a few specimens of the difficult class, — difficult not because the characters
employed are rare, but because unusual readings are often given to them when thus borrowed
to form personal names : —
. . . ., ..^ , -. _ j> MT£ Aki-ie. Munetaka. Yukichika. Sukenori. Shige-
j*** In. vj*^ tFl -^R rt«i| nobu. Hirobumi. Yoshinori. Yoshitane. Harufusa.
htt tpL -4=5 4j£f Kazumasa, Michiaki. Sultesada. Yasutoki. Katsumi.
•^T Z7* Itt ?f+
° ° Tomoyuki. Kuniomi. Masataka. Sadao. Hideo.
Nobuo. Tdru. Tamotsu. Iwao. Yasushi. Kiyosld.
Hisoka. Tsuyoshi. Mitsugi.
II- We leave the student to ponder and sigh over this
60
little collection, which is but a drop in the ocean.
.r—«»^ r - *-\E« »_r. ^—»
^yr 7j7 iQ .fUr /f~T* ^je^ ^^in ta^e heart, however. Though he must know
something about these personal names, he is advised
not to exert himself overmuch to acquire them, for the
f»_»j* simple reason that time and labour may be more
IS 'l^tl ^Ps£ 3C profitably bestowed. They form an excrescence on
• f* trt El Kj|[ jgrj the Japanese graphic system, and frequently puzzle
00000 even the natives themselves. A striking proof of
this was afforded on the occasion of the opening of the Diet in 1889. Among the resolutions
passed on the very first day was one to the effect that the special readings of members' names
should not be attended to, but that all should, for the business purposes of the assembly be
sounded with the ordinary Chinese pronunciation of the
—r* -fijj I ^ /|l| ^|^ ^^ characters composing them, for instance, • |T» not
"T—1 'I W ''V IW xplv irj as Kazumasa, but as ISSEI ; J5S1 not Tsuyoshi, but Kr, etc.
til /_L. ^ *^n8 which the Japanese Diet itself thus stuck at, may
•^ lit well be deferred by the foreign student to some more con
venient season.
A certain correspondence of meaning between the
/ [4 personal name and the surname is sometimes sought
after. The cases given in the margin illustrate this: —
Sldmizu Wataru, Mori EINTABO, SESGOKU Mitsiuji, Oijama
Iwao, FuKUzuwti Kuzo, Ishiyama TOTABO.
23G EIGHTH SECTION.
•^ v>> i )_l> Women's personal names offer no difficulty, and are generally
j? •• written in Kana, as here shown, thus //are, Alicia, Kane, KIKU, Sada,
N <*& 'W- a) Tsuyu. The character —p* ko, " child," is often suffixed for the sake
of elegance, as KiKU-io.
The following names, chiefly historical, are among those most likely
o to be met with in reading. Take them one by one, and make your
teacher tell you something about each. This will at the same time help you on in the
Colloquial, besides opening out fresh vistas of interest : —
ssiiir - •
frflc
&v;n)\\ «:! £ff
~*
*00
IS is it
JK*: r^r .„„ rr. "§£ ^
\• jtR
HH .in.
iF J^L
^ £xo JnL
&
1 I V ' *
^o ^ ,/h
SZS+- '+ ' *•*
+ i&K
mr -At ^
T^IJ /Jv &k ic
rtr ^k TP
^ P
The Emperor JIMMU. The Empress JINGO. TakenoucJti no Stikune (the Methuselah of
Japan). Yamato-take no Mikoto. Prince SHOTOKU (the Constantino of Japanese Buddliism).
Sugawara no Micldzane. JIKAKU DAISHI (a great Buddhist abbot). Murasdkl SHIKIBU (Japan's
greatest female writer). Minamolo no YorUomo. Taira no Kiyomori. (The Taira and the
Minamoto were the Yorks and Laucasters of medineval Japan.) Tokliva GOZEN. Mlnamoto no
Yoshitsune. Musashi-BQ BENKEI (Yoshitsune's henchman). Kumagai Naozane. Taira no
Alsumori. Knsunoki Masashige, also called NANKO from the Chinese reading of the first character
(a celebrated mediaeval loyalist). Ashilcaga Tukauji. Akazamc EMON. Ota Nobunaga. Toyotomi
HideyosJii. Tokugawa leyasu (founder of the last dynasty of Shoguns). DATE Masamune (who
sent an embassy to the Pope in A. D. 1614). Milo KOMON (a Japanese Maecenas). II Kamon no
Jt-~~\- ~ V»*-» "—^~y*
Kami. (The characters JtSff nlj S@ S'SU'^ literally " head of the sweeping department "
J I %9 »* I ^*^'^
of the Imperial Household, but had come in time to denote the " prime minister " of feudal
days. The word Kamon is supposed to be a contraction of kani-mori, " crab guard," because
PROPER NAMES. 237
in early days it would have formed part of the duty of the household officers to sweep away the
crabs that would crawl up from the shore to where His Majesty was seated on the beach!)
SAIGO Takamori (who headed the Satsuma Rebellion in 1877). KouO DAISHI Ono no Komachi
(a famous poetess). SOGA KYODAI (the actors in a famous vendetta). SAIGYO HOSHI (an abbot
who was one of Japan's best poets). SEN no RIKYC (the most famous of esthetes). IKKYD
OSHO (an abbot famed for his wit). Hidari JINGORO (Japan's greatest sculptor). Kaivj
Motonoba (a great painter,—one of a whole line of such ; m is irregular for no). 7<msA jl/afaHF.i.
ITO JINSAI (a great Confucian scholar). Ami HAKUSEKI. OisJd Kuranonuke. Motoori
Norinaqa (the most brilliant scholar of the Shinto revival school), ll.u SAN-YO. KYOKUTEI
BAKIN (a celebrated novelist). KATSCs/u&a HOKUSAL
NEW CHARACTERS OCCURRING IN THE PRECEDING SECTION. —1241. llf&f saki, " a cape."—
> •j . ,. *»^ r9 J
1242. jlgr take, "a mountain peak ; " its *-£ is GAKU. Better remember at the same time the
phonetic (1243) ^llr " a prison," whose pC* is GOKU, and which is formed of two "dogs"
" speaking," because dogs act as guardians.—1244. ffiS Jcarui, " light " (in weight) ; often
abbreviated to |fi3j .—1245. jtS sau'a, " a broad valley with a stream running through it "
( >£W tani is deeper and steeper). The common word TAKUSAN, " a lot," is written Y3a I J I
lit. "valleys and mountains."— 1246. ~~-£ shiba, " turf."—1247. ilJ4 also written JBL SHU,
" a province." Do not confound it with (1051) \JJJ also read BHU, but meaning "a sandy
islet," " a continent."—1248. £Jjfr DAI> less* often TAI, " a terrace " (from **F* " extreme," ~~jf
" to go," and «E3| " high," the last two altered in combination, meaning thus " the extremest
high part of a building to which you can go up ").—1249. ffiK KYO, or GO, or sato, " a village ;"
238 EIGHTH SECTION.
notice the appropriate Radical |\ ozalo, and the part to the left, M , which is the same
reversed. This chai'acter is easily mistaken for (1250) JuE|J KEI or KYO, " a minister of state,"
hence naiyi, " thou."—1251-2. "fccr Trj BIWA, the Chinese and Japanese " guitar ; " conf.
No. 588. Learn at same time (1253) P^ tomoc, the name of the figure fT\ , which is a
favourite in Japanese art ; Kg is called milsu-domoc. — 1254. VAll KO or mizu-umi, " a lake,"—
^Bl^^ irv -J
as good an example as *]S> TJj of how characters are formed phonetically.—1255. *eE TEI
(less often DAI) or haxlilyo, " a ladder,"— another phonetic character easy to remember. —1256.
£HE: KWA or hana, " a flower," whose original form represents a plant covered with flowers.
Its synonym and homonym At* is more used of actual blossoms. This character 3EE is ein-
~fi^ I./ - —•
ployed metaphorically for " floweriness," " elegance," etc., as in ^fff; "HE " flowery families,"
i. e. " the nobility."— 1257. fljtl EN or sat-a, " a monkey."—1258. *§£ KYO or JtasJii,
" a bridge."—1259. 'Jjfc CHIKU or kizuku, " to construct."— 1260. ~*f GEN, " dark," "black "
(obtained partly from 1L " to insert," as the original form 'o* represents two
cocoons put into the dye-pot)—1261. VSac nada, " a stretch of sea (" water " with "difficult"
waves).—1262. JtAf °gi> "a reed." Easily confounded with (1263) =£»JU Jiayi, the "lespedeza
bush." Remember the latter by its phonetic /Kfff aki, " autumn," as the difference between
\s y ttT/ t
the two words Jiagi and aki consists only in the aspiration and the Nigori.— 1264. ffip] Jcorna, "a
pony." — 1265. ^p=t " congratulation," often also used phonetically.—1266. ^E HI, "elegant;"
but its chief use is phonetic in this word and name, kai.— 1267. jKM KI, " a chronicle." Ask
_ * v + _, |^^^ f rf" »
your teacher about the pj >A^ -6M or " Clii-onicles of Japan.—1268. Mill UYD or yana-
rji, " a willow." Another common character for this common tree is (1269) >K5 Yo, and
the two are often thus combined *& tUjJ YOHYU.— 1270. ^3K /im.fl) » a [^road straw] hat,"
—not " an umbrella," which latter is (1271) ;%fe aiRl seems simply a picture of that useful
article, through it is more elaborately explained as " four men " under a " cover " upheld by a
% ^k ^^^^ JVt*
" handle." An umbrella of European make is YT* "^jjt VOSAN. — 1272. HE kuma, " a
t tl I *»»>
p (No. 299) is a very common character meaning " can ; " the four
strokes below look like claws ; so remember " bear " as an animal who " can " use his " claws."
—1273. V^ asai, " shallow."— 1274. *$& AI, " love."—1275. *£-* TO, " a cave " or " cover
ed way," but used chiefly in this common place-name *9& ~p? ATAGO.— 1276. isrf KAN or
araslti, " a storm" (in which the " wiad " sweeps down from the "mountains").—1277. g&
ilr-l-* f-^*
SAN or Jtomeru, " to praise," " to sing the praises of."— 1278. HRr KI or chimata, " a fork in a
road " (fairly appropriately formed of " mountain " and " branch "). Remember the important
town of |lRr jyL GIFU (con/. No. 667).—1279. KJ SHD or amaneku, " everywhere ; " also
mcyuru, " to revolve." Interchanged with wjj snti or meyuru, " to revolve," hence [the re
volution of] "a week."—1280. KT» BO or fuseyv, "to ward off ;" the original sense is" dyke,"
which the composition of the character (the " side " of a " mound ") fairly conveys to the eye.—
1281. -ilm BI or someru, " to provide." — 1282 |JKJS Junta, " a pennant " or " streamer ;"
PROPER NAMES. 239
most used in the name ll JJPJS HACHIMAN or Yawata given below. —1283. JoKi makit, " to
JLffJ ' TfJ J T'l
sow."— 1285. *ra so or fvm, " a tassel." The fundamental idea being a " tying into one " or
" uniting," it is used for suberu, " to govern," and subefe, "all." Instead of -wel the Japanese
fUf, |—t 'IML*
often write £KJ . —1285. ER BO or tnubon?, "a chamber " (fairly indicated by "door" and "side,"
though, as in No. 1280, j-» is at the same time phonetic).— 1286.Tyi KAI or sakai, " a bound-
ary." Always thus written '"* in the name of the town of Sakai; but^?*
in HI EB SEKAI, "world,"
ly* |S,
and other contexts (589) 5fii > arifl iQ boundaries between countries generally (1287) TQ
-J\ ' ^5t
.saiat or KYO. This last offers an excellent example of the ideographic system, being lit. " the
end of the earth, " as (1288) E3 KYO or moan means " end."—1289. *S ine, " rice when
growing."—1290. i3 8HO or maneku, " to beckon," " to invite." (By comparison with No. 873,
it will be seen that this ideograph consists of "summoning" with the "hand.")—1291. Inff
GWAN, " a vow ; " also net/an, " to wish."—1292 tefj£ IN, " a hall," " college," " Buddhist
temple."—1293. ^j|| SEI or kiyoi, " pure," " limpid " (like " blue water ").—1294. j(& RO,
lofty house," principally used in the names of houses of entertainment. —1295. VHM CHO or
" the tide."—1296. 3§F> Y° or yashhiau, " to nourish" (the character is composed of HK " sheep,"
and 'jg " to eat " : —one nourishes oneself by eating mutton). —1297. IS'i'used phonetically
for the sound 0; properly speaking, it is interchangeable with (1298) III.'™1, flrt* - -
O-DO,
"vomit" (notice the appropriate Radical "mouth" or "yawn ").—1299. rib A, used phouetic-
. mm* •«-•»• "|T| t
ally ; also in the sense of tsugu, " to come next," " to be second," as Cp (1300) Jig ASEI, " the
sage next in order " [to Confucius], i. e. Mencius.—1301. IK? used phoneticlly for DA, as in
Kp| fypM KTL? AMIDA. —1302. ~W ITSU or nogareru, "to escape." This character cleverly re
presents a " hare going."—1303. j25 A1 or hokori, " fine dust." Learn at same time the
synonymous character (1304) BJB JIN or chiri, " thick dust," as the compound BE XE JIN-AI,
"dust," is very common, Bj& can be easily remembered by its composition, —"deer" and "earth,"
as deer kick up the earth and make a dust when herding.—1305. CkJJL suzn, "tin."—1306. •f»tt*
CHC or himo, " braid." — 1307. ^jfe 80 or kuwa, " the mulberry tree."—1308. ^f£ GO or
Aon, "a moat with water in it."—1309. jaw Jtoru, "to dig."—1311. 'ffitf HAN or mezld
(archaic ii), " boiled rice. — 1312. 5L SEI or hoshi, " a star."—1313. |^K tsuka, " a mound,"
" barrow."— 1314. InK same as (215) >fci»f SON or mura, "a village."— 1315. ~j\ GWAN or
~l r »• A I -J ii'i^ .-^^Li
marui, " round," as in "if Jffife GWAN-YAKU, " a pill."—1316. ~jH sJuba, " brushwood." Do
not confound it Avith (1246) --^ also read fiJiiba, but signifying " turf ; " the Radicals inti
mate the difference.— 1317. jpjltj /" or toi, " a water-pipe " (" wood" for water to "pass through").
—1319. Wg ,te, "a reach of a river."— 1319. Jffc -^tg>, " a crj-ptoineria."— 1320. ^^ suzu,
" a bell," mostly small and jingling.— 1321. ^^^ SAI or mono-imi, " purification," as by fasting
or penance. Do not confound it Avith its Radical tfjB» , oitr No. 412. The »| * below may
senre as a hint that >^ffi» has something to do with religion ; compare ififfl " a god ; " Ijr*
" a Shinto temple," and several others. —1322. *l|l enoki, the name of an evergreen tree,
240 EIGHTH SECTION.
—a species of nettle-tree, the " Celtis sinensis." The following very ancient doggerel will im
print on the memory the way of writing the names of this and four other species of trees,— all
common, excepting the liinagi: —
H(n~u tsttbaki,
Nairn tea enoki ni,
a retired and secret place, with jyj\ HITSU as the rhyming phonetic. A kindred character
also pronounced MITSU is (1351) £K " honey,"—the Radical appropriately changed to
"insect."—1352. ;&y KL OT tsuyoi, " resolute ;" takel, " intrepid." —1353. ^3 KO or mitsugi
"tribute," " taxes in kind."— 1354. jl^soN or tattoi, "venerable;" hence sometimes Mikoto,
the title of Shinto gods, also written 'nrf (502). The opposite of ~g^ is (1355) iB HI or
•^f i"rt ~S^
iyashii, "low," "mean." 1=3, H3 SOM-PI, "rank," is a common " synthesis of contradictories"
(see " Colloq. Handbook," 1 48).—1356. *fl=J£ sxge, " a rush," " sedge." Do not confound it
with (1357) £HF kuda, " atube."-1358. &£ ji, "mercy."—1359. *$£ murasaki, "purple,"
"lilac." -1360. Ij KEI or yorokobu, "to rejoice." —1361. -§V atsui, "warm [-hearted]."—
i *. A5c *t^ -feftt
1362. MM NAN or kusunokl, " the camphor laurel," better written (1363) >TH SHO, when the tree
itself, and not the surname, is intended. Kemember ywSf as the " tree " which grows best in
I ftf _L~A*
the most " southern " part of the Japanese empire, viz. in Formosa, and >« as that which is
used, on account of its purifying, insect-destroying odour, to make boxes to hold papers such as
" literary compositions."—1364. vfe SEN or someru, " to dye " (from madder " wood " dipped
"nine" times in "water"). —1365. •fjjjiJ oru, "to weave."—1366. J/jV sO or harem, "to
sweep." Learn this character with Nos. 876 and 877. The common word jis |«T sOJi
" cleaning," lit. " sweeping and removing," should, properly speaking, be SOJO, as (1367) IS 1^ is Jo
xJ^ l^i^
oTwzoku, to remove."— 1368. rit SHO or tattobu, " to venerate ;" also nao, " still more." Notice
the irregular reading Jjl J Tp? OSHO, " a Buddhist priest," where one would expect WASHO. —
1369. $j£ kari, " the chase " (from " dog " and " to guard "). Observe the doubly irregular
reading of the surname Kano, —kari deprived of its second syllable, and no read mo.—1370. tE|
SEN or noberu, " to proclaim."—1371. Jtpf kaisura, "a creeping plant," specifically the kuzu or
'T^J &tr*
" pueraria," whence a palatable starch is obtained. —1372. Tjtn SHOKU or kazaru, " to adorn."
The so-called Kadical ^H* is here really the phonetic which serves to give the sound SHOKU,
Jp< " •
while the significant right-hand portion of the character was originally a " person " IV
wearing a " napkin " 1 1 1 —a primitive style of adornment. — 1373. '^^* Idko (etymologically
Id R , ko |* , " son of the sun "), " an illustrious person," " a prince " or " Shinto deity,"
used in proper names, especially in Southern Japan. — 1374. H-J" KO or ka-no-e (for kane-no-e,
" metal elder brother") is the seventh of the —i~* -—I-* or " ten celestial stems ; " fH SHIN or
+ ,_ ^. t ^ IV I
* -^^
jAT or " twelve signsuL*
of the
t-l-» zodiac," is the same
character as our No. 255, but used in a totally different sense. EH- |T| KOSHIN is the 57th
of the sexagenary cycle. (See " Thinys Japanese" article " Time," for a succinct explanation of
the whole system, and Bramsen's " Japanese Chronological Tables " for more details.) Compare
also p. 69 of this work, where Hi f ^ pfaj J^ are treated of.— 1275. jjeSc SHAKU or
9 %i»**w w -9 » i I * l*rt
toku, " to loosen," " to liberate ; " also used phonetically in Sanskrit names. — 1376. -jJJ|| KA,
used phonetically in this and other names borrowed from the Sanskrit.
242 EIGHTH SECTION.
1289 1280
JJL 1271 1261 1251
Jif 1242
U-r
1290 1281 1272
4
1262 1252
m
1291 1282 1273 1263 1253 1244
-^
12!)5 1285
jit 1277 1267 1257 1247
fc
1341 1331 1321 1311 1309 1299
1346
I
1336 1326 1316 1304
1376 1366
1367
f1357
1368 1358
1369 1359
NINTH SECTION.
temporarily removed on the 15th instant to No. 2, Helmet Street (at the rear of the pre
sent premises).
Interest allowed on deposits at the following rates :—
On Fixed Deposit for 1 year, 7 per cent.
„ C months, 6£ „ „ .
On Current Account, !,]• SEN per 100 YEN on daily balances.
On Petty Current Account, Ifo SEN per 100 YEN on daily balances.
0 X
A ffl
«
Stt
^H
&
fflP
on
II Hafe^
Ki-rr
K —if
*t PJi
*U
»
I)
K
0 « T X
A
X
0 fa
*
/^
CO
SAN-YO TETSUDO.
NIHOX SA.X-KEI no /n-it:Hi Mh/njima no momiji-gari. (TtJRAN-^ipPU NI-SHDKAN uchi-toshi
HAT8UBAI.)
Miyajima YCBAN-yipru 100, CHINGIN HANGAKU, sunawachi (Kobe Miyajima KAN) SAN-TO
OICKU »/fe KIN ICHI-EX BOKU-JC-OO-SEN (NI-TO JWl, SAN-TO ?JO OO-MWn moski ; IT-TO JOT, SAN-TO
ADVERTISEMENTS. 249
CHINGIN no BAIGAKU) nUe, SAKI KAKU-EKi yorl /iWfl made MAl-DOYOii ni kayiri HATSUBAI no
tokoro, ima ya Miyq/ima KWAMPU no KO-KISETSU ni mukacru ivo mode, YURAN-KAKU no BEN ico
hakari, JD-ICHI-QWATSU ICHI-NICHI yorl oiwjiku jv-yokka made hiki-tsuzukl NI-SHUKAN MAINICHI
HATSUBAI sit. (TadasJd CHINGIN HANGEN wa, SHASEN-NAI to su):—
KYOTO, Osaka, Kijbe, HYOGO, Himeji, Okayama, Onomichi, Milajiri, no HACHI-EKI.
SAN-YO RAILWAY.
Trip to the Maples of Hiyajhna, tlie greatest of Japan's " Three Great Sights." (Ex
cursion tickets issued continuously for a fortnight.)
Heretofore excursion tickets to Miyajiraa at half-price, viz. (Kobe to Miyajima) third
class return, $ 1.65; second class, 50 % added to the third class fare; first class, double
the third class fare, had been issued at the undermentioned stations on Saturdays only.
But as the proper season for viewing the maple-trees of Miyajima is now drawing on, the
convenience of excursionists will be consulted by the daily issue of such tickets during the
fortnight extending from the 1st to the 14th November inclusive. (N. B. The reduction
applies only to the Company's lines.)
The stations are :—Kyoto, Osaka, Kobe, Hyogo, Himeji, Okayama, Onomichi, and
Mitajiri.
BANSUI-RO
A YMKHZUMI KUZU.
Go TSUKO HO 8ET8U WO, ZEHI 0)1
tachi-yorl, Go NYDYOKU kudasare, TEN-
NEN no ONSEN ni RYOCHU «0 GO HIRO
GO ISSEN ai-neyai now.
|Mp><pfp|)^^
This hotel is conveniently connected by tram with Kozu Station on the Tokaido Railway,
whence it is reached in ouly 1 hour.
Travellers passing this way are respectfully solicited to alight here and try the baths,
in order to wash away their fatigue in the natural hot water.
OiVSHUKURYO
KlN ICHI-EN.
8AN-JD-ICHI-NEN, SHI-OWATSO,
SSL NI-JD-SAN-NICHI.
Charge per night [including dinner and breakfast], Special Extra First Class $ 1.
Luncheon ditto $ 0.30
Charge per night, First Class $ 0.65
Luncheon ditto $ 0.23
The above charges have been agreed upon after deliberation among the members of the
Innkeepers' Guild, in consequence of the extraordinarily high price of all articles at the
present time.
23rd April, 1898.
Superintendent's Office of the Innkeepers' Guild, Kochi.
Note. —This is a specimen of the notices often hung up iu Japanese inns, to inform
travellers of the charges.
ADVERTISEMENTS. 251
1SHITSU-3/OM0 KOKOKU.
Saru jD-oo-NiCHi GOOO HACHI-JI goro, Akasaka Tameike yori SmttbasJd made no TOJO ni oite,
SHOSHO NI-TSD oyobi SHIHEI ZAiCHO SEiYO-grata kami-ii-e ISHITSU itasld adro ni tsuki, migi SETTAKO
made GO JISAN no Tcala ye loa sOTO no SHAREI tsukamatsuru-beku soro.
MEIJI SAN-JU-ICHI-NEN, JD-NI-GWATSU, JO-ROKU-NICHI.
(Translation.) KANO KWANJI is deeply sensible of the kindness of those who, on the
occasion of the funeral of HIS FATHER, KANO KWAN-ICHI, came from a distance to honour the
ceremony with their presence. He trusts they will excuse his expressing his heartfelt thanks
through the medium of the newspaper. The other relatives of the deceased join witli the
son in this expression of gratitude.
25th February, 1898.
Notes. — BF / , lit. " true father," means simply " father, but in implied contradis-
-ff^+ ^^^r '*t*L ^^\
tiuction to an adoptive father, >&J QL YOFU- —Such similarity of personal names
between a father and his son as is here exemplified in pa and |=j (others
would write ~f=j "V^ '» *s ^' no raeans uncommon. These particular names contain an
allusion to a text in the Chinese Classics;— ICHI motte kore wo tsuranuJcu, "I seek
a unity all-pervading,"—an utterance of Confucius to a disciple in a discourse on the
object of knowledge. *j\ "male," "man," here means "son;" in some contexts it
may mean "baron." —This advertisement, like the preceding, is one of those whose terms are
consecrated by usage. It and the four immediately preceding it exemplify the Epistolary
Style, explanatory details of which will be found in Section XII. Speaking briefly, this style
iff*.
is distinguished by the use of surd 1B^ > a substantive verb corresponding more or less to
the polite termination masu of the Colloquial language. Thus Epistolary mosld-age-sorb is
equivalent to Colloquial moshi-age-masu.
ax
It
4+
CD— KtC
ii
nn-
it?
u im
Li?5 V_K Ttr 2?® -T'
K
^J ^-^ AAi* V-
% LM>
OP '-*•>.» nrr jffi
fflj?
"JfcJ
ra^i B ffiP
(7) < L
254 NINTH SECTION.
Note. — How enormous the change effected during the course of a single life-time !
Down to the pariod of the recent opening of Japan, advertising scarcely existed. It was
" bad form " for a business firm to puff its goods, as it still is with us in the West for a
doctor or a lawyer to puff his abilities. The Japanese of the present day have abandoned their
old canon of good taste in this as in many other matters, and imitate our methods of advertising
down to the minutest details. The next Extract will serve to show with what marvellous fidel
ity they have also transferred to their own language the whole stock-in-trade of our common
places of literary criticism. No one fresh to the country, or who should study contemporary
literature only, without comparing it with that of thirty years ago, can form any adequate notion
of the degree to which European ways of thought and expression have moulded the Japanese
language of to-day. He will be apt to remark on the similarity of many idioms and set phrases,
aud will—if he reflect at all on the matter — probably attribute it to the identity of human meth
ods of thought at all times and in all places. This theory, though applicable to many other
countries, does not agree with the facts in either ancient or modern Japan, whose similarity,
whether to China or to Europe, springs, not from natural likeness, but from artificial transference ;
it is inorganic. Many, even of the Japanese themselves,—those belonging to the younger gene
ration,—are unaware of these considerations, just as in the rural districts persons may be
found who, ignorant of the very recent importation of railways, telegraphs, etc., from abroad,
naively imagine these to be Japanese inventions, and enquire of the European traveller whether
his country has adopted them.
i± LAL
7C» °-5
M4i Jgftfc
«
,
IB ff **-*
it
256 NINTH SECTION.
its first appearance. We append a few of the very numerous newspaper critiques :—
(" NATION.") This stout volume of eight hundred pages is a work of rare merit. The
unusual talent of the author may be inferred from the fact that it was composed at odd
moments in the intervals of business. What specially rouses our admiration is the unerring
dexterity with which he seizes on the salient points of history.
(" HISTORICAL MAGAZINE.") We desire to express our unstinted thanks to the author who
could conceive such an idea, and bring before the public the results of his investigations at a
time like the present,— a time so poor in historical works fit to serve as books of reference for
educated readers. We find his book replete with power. A perusal of it constantly carries
conviction to the mind. In a word, it must be considered a suggestive book.
0 ^ us
^ ^ tl —
[~i 60 "~" f^ pg
^ "
ICHI, Ni, SAN, Sm:—Kita mata tea
higashi no kaxe, dmwic kumori, tadashi
ema-MOYo ari.
^h Go, ROKU, SHICHI : — Kita mata ica
higashi no haze, dmunc hare, tadashi ynki-
(D MOYO no lokoro an'.
m * HD
TOKYO no Bu :— Kita NAISHI higashi
mm n /B\
m
to
no kaze, hare, noclti Icumori. SAKUJITRU
ONDO :— SESSHI, SAN-DO GO-BU ;
KWASHI, SAN-JP-HACHI-DO SAM-BU.
AH KAIJO FUON no osore ari. JTi-yokka.
H2f (7) GOZEN KU-JI SHI-JU-GO FITN, OTiajiku GOGO
ra L ffl SAN-JI GO-JIP-rUN, TOBU NI-SAN-KU ENKAI
L
U'O KEIKAI KU.
WEATHER FORECAST.
(From 0 P. M. yesterday to fi P. M. to-day.) 1st, 2nd, 3rd, and 4th Districts :—
Northerly or Easterly winds, mostly cloudy, threatening rain.
5th, 6th, and 7th Districts :—Northerly or Easterly winds, mostly fair, snow threaten
ing in places.
258 NINTH SECTION.
Tokyo :—Northerly and Easterly winds ; fair at first, later cloudy. Temperature yester
day :— 3°£ Celsius, 38°-*,- Fahrenheit.
Rough weather expected at sea. Warnings issued on the 14th inst. at 9.45 A.M. and
3.50 P.M. to the Second and Third Districts, Eastern coast.
Note. For meteorological purposes, Japan is divided into seven districts, from South
west to North-east. Tokyo stands in the fourth of these districts. The weather forecast
will be found daily in most of the newspapers, and also pasted up in the streets on large
boards. —Notice " Celsius " represented phonetically by the character •fjrjr SETsr, and
" Fahrenheit " by -ffl^ KWA. We surmise the latter character to have been chosen by
some scholar in China, as it is read fa in certain districts of that country. Here in Japan
the resemblance to " .Fahrenheit " has dwindled down to something very shadowy.
raLwsFwX-rJBBT
t H ^ ft S Br
<
* The •fl- is really conBiderably over an English quart ; bnt in snch n translation as this we cannot enter
into fractions, and there is no other convenient term to hand.
NEWSPAPER CLIPPINGS. 259
SUGITA NO BAISfflN.*
Kanayawa KEN Kuraki-yori Suyita-mura no BAIKWA wa, Id-atari yolci iasno iva, mohaya
BV-kata hokorobi-sometani tja, ISSAKU JC-ICHI-NICHI tea, KIGEN-SETSU Me, ZEN-YA no KO-
SETSU ni mo kakaiaarazu, DOSHO ni tsue wo hikitaru mono oku ; Yokohama Kawalnme-G\fjasH\
nite ica, tame ni Sugita-mura ye ICHI-NICHI SAN-KWAI no OFUKU wo nasldtari.
L ^ GWA1SO-TEI NO KYOEN.
Ifi -4r- I- "A -H £N
v7 yv -C /v. L x|
i,* Pi **! Z, ttt ifcB A7(*7<1 GWAIMU DAIJIN Wtt SAKUJITSU GOGO SUI-
-)fc bi * 6 H^f TO
-& O * "T\ jffit l|| J* J* FFR CUI-JI yon KWANTEI HI Oltt BANSAN HO KYOEN
v£» ^t "^ -~*_ /\ I ) h (7^ wo moyoshitaru yoshi nitc, BAIHIN wa ITO SHUSHO
<X TT I /^p A -jwj L_ X
* JE?
in when used in the sense of " [true] tidings," has the =l|[ *•" * ofozure.
t Properly, " about three-tenths."
t More lit, " those who went thither trailing (i. e. leaning on) their staves were many."
260 NINTH SECTION.
Marquis Saionji, Viscount Katsnra, Viscount Sone, Baron Ito, and Baron Suematsu, the British
minister Sir Ernest Satow, the Kussiin miuintar Baron Rosen, the American minister
Colonel Buck, the Italian minister Count Orfiui, the Chinese, Korean, Belgian, Dutch, Swedish,
and Mexican ministers, and the German and French Charges d'affaires.
Notes. Jf\\ may be thus used as an equivalent of ""A"*1 j~~| DAIJIN, " minister of state."
m f~~w .-^ ^fc- \ J-_-*
Sometimes it is read so, as here ; more often SHO, as below in p| yfcn SHUSHO, prime minister,"
"premier."— Hup 4J=fi Q^) ZJ^i *J2* ^- " a banquet-feast of an evening meal." Hup 4=|J
is used in Christian parlance for " the Lord's Supper."— Observe the omission of the titles of
Baron Nishi, Marquis Ito, etc., occasioned by the mention of their official rank as ministers. It
is like the American idiom " Prime Minister Salisbury," " Ambassador Pauncefote," etc., which
strikes so strangely on English ears. — . . . . Q^\ Sci Ex ' " ^ue vari°as Messieurs," viz. the
•"• 9—I *0^"^t
British, Russian, etc., ministers just enumerated. Observe, too, the use, which is elegant in the
Written Style, of single characters to denote each of the countries mentioned. This cannot be
availed of in speaking. ^J« SEI (No. 1293) takes the Hf? p£ SHIN (Pekingese ch'ing), when
employed as the proper name of [the present dynasty of] China. —» fcJEjt was the collec
tive name of the three kingdoms into which Korea was anciently divided. |—| HAKU comes
to stand for the first syllable of BEHUGI 1—4 tT jte " Belgium," because the Pekingese
I—I f *f5^ Iwl
pronounce it PE, which is almost the same as BE ; similarly jag; BOKU represents " Mexico,"
because the Pekingese pronounce it ME.
The Japanese journalist is, we believe, mistaken in the diplomatic rank he attributes to
some of the foreign representatives ; but the student of the written character will doubtless not
be much concerned at such slips in matters of fact.
III . fT\
K V "Hi! *> * rU M O
a— L 3r !) EgpgH *0$I3
^mmtiftt® m n & m ^ \5 H
M ^ U ^Tfr* _h
5 n -c M j; WT L m*?
£ ^ *)
>6 iSft *) £ -C
* L t& % H ft ^
L n 12 * ^>
^0f o < ^
(7)
•tf ** « t J4 ± ^. LWT S ^«5t4
*> m L L f* « w
X < *> -C (3c BT L
* ft 2T
. 9 < » /\Ji
ftq-n-ir^m „ ±fi LAr- -b
*A±««U *? 4> >P u
NEWSPAPER CLIPPINGS. 261
T ^ 0$ *•&
ISSAKU-J1TSU NO BOFU-U.
(YOMI-VRl SHIMBDN, MELJI SAN-JU-ICHI-NEN ROKU-GWATSD KAXUKA.)
ISSAKU-JITSU iva KINKAI mare naru BOFD-u nite, kazc-atari no ie nado Jwtondo to iw afe-YO
naku, michi yttku Into mo ICHI-JI wo, ato too tatsw sama narisJd ga,—SHUSSUI FCSON no KASHO wa
FDKA CHIHO to mo sukoburu oshi, Ima SA ni sono GAIKYO wo shirusu-beshi.
Yotsuya Ku.— Nagasumi-CHQ Aisumi-GRQ TO no Tamagawa JOsui FUNSHUTSU sld ; SAN-n-goro
ni itarl MANSUI shite, afure-idasM, Yotsuya Idugaya Kata-macld to Tsunokamizaka-machi ye
SHINSUI shi ; noki-shita yori SAN-JAKU YO Jtodo agari, ICHI-JI wa TSDKO-SHA wo shite icni-NiN-wiae
SHI-SEN nite TOSEN seshime, HUO iw SOJO wo kiiuameshi ga,—yoyaku GO-GO KU-JI ni ilari GENSUI seri.
Mata Kata-machi to Saka-machi ni oile SUIBON 100 Idki-okoshi, sude ni CHINJI* ni oyoban to suru
ivo, SHOBO-FU no CHtJSAl JINKYOKU nite HEION ni sumitari to.
Azubu Ku.— Tani-machi l^av-madd HEN iva, mizu no hakeba naki yori, kore mata DOBO
wa ICHI-MEN no mizu to .nari, TsCKO hotondo deki-gatakarishi ga,—DDJITSU GOGO GO-JI garo
Tani-machi SHi-Jtr-iCHi BANCHi-saii no gake HAK-KEN YO HOKWAI shi; Torii-zaka no CHUO
Sdkurai TEI no DOfe KOK-KEN bakari mo mata HAKWAI shi, saka no HAMPUKU made oshi-dashitari.
Saiwai ni FUSHO seshi mono wa nakarishi to.
TOKAIDO KISHA FUTSU. —TOKAIDO TETSUDO SENIIO Wtt, ISSAKU-JITSU GOGO NI-JI gOfO 1/Ori
ZENJI FUTSU to uari ; sonu HASON no KASHO wa, Oiso KfJzu KAN, Kozu Mateiida KAN, Yaniaklta
Oijanui KAN, Ejiri Sltizuoka KAN, Sldmnda Kanw/a KAN, Washizu Toyoliashi KAN, GOYU Okazdki
KAN no SHICHI-KASHO nitc, mkanzuku DAI-H\SON sesld wa Shimada Kaniya KAN ni slate yaiita,-
knzurc an to iu. SHOSAI wa imcula sJtimzaredomo, SAKUYA-RAI TETSUDO-KYOKU KOMU-KWA ni
oite tva, GISHI oyoii KOFU wo n\shi, MOKKA SHUZEN KOJI-CHU naru <ja,—naniBVN sono KASHO
Jdfoki wo motte, SHI-GO-NICHI GO ni arazareba, ZENTSU no mikomi nakamn to.
lof *
i^° m
it° ** * ,« *»
A>\~»
°J f
IE I""
Iffll
/*
5 glj^ •^ A* &BI >
* T
* -r
iii *' B IE • ^ '
A
-f- I® * a
M *w*
««
in
wr
•—•
it T
K ft I
H
to« +
WT
JS ffl y
B Bf ^
264 NINTH SECTION.
KONGO NO TAIKWA.
SAKUOYO NI-JI SAN-JIT-PUN goro, HONGO KU Haniki-inacJt! Ni-CHO-wfi ROKU-BAN-CHI naru
DOCHO IT-CHO-MJP SAN-JD-NI BANCHi tmkf-niono-HHO Yokoiiicikura SHOTAUO SHOYC no motio-oki yori
SHUKKWA nefihi c/a,— orikara TO-HOKU no koze tiuyokii, M tea MORETSU no ikioi wo motte yake-
smumitaru n!, ori-a.ih!ku KAKUSHO no SHOBO-jTMnit wa BEKKO ni KISAI seru Ueno Sakurayi CHO no
KWAJl-io ni liase-atxuinari-orifilti koto tote, iznre mo okure-tase ni kake-kltarl, siiOBO I no gotoku
narazn, KWASEI iyo-ii/o tmnorile, ttui ni KINNEN mare, naru TAIKWA to naritari.
SHOSHITSU KOSO. —KONZATSU-CHD no koto tote, Imada SEIKAKU ni sltini wo ezarMii mo,
SAKUJiTsu GO-GO KI-JI (/oro no CHOsA n! yorelxi, ZENSHO KU-HYAKU ROKU-JC-SAN-KO, HAN-v/ofc SAN-
JD-KU-KO nariki.
SHOSHI-NIN. (NI-NIN.)— HONGO n-cno-me KU-BANCHI Koyiw Ttimnosulce SHOYU
NEWSPAPER CLIPPINGS. 265
ZATSUBUN SDSOKU.—KONKWAI no KWAJI wa, SENNEN Kanda no TAIKWA IRAI no O-KWAJI naru
ga,—saru NI-JC-SAN-NEN HONGO TAIKWA to sono tsuki-M wo onajiku shi, koto ni Mmoto mo SENNEN
no to JIKKEN mo hedatari-orazaru iva, Kl to iu-besld.
JUNTEN-DO BYOIN wa mak-kaza-sMta to nari, ima ni mo ENSHO sen to suru ni yori, SATO INCHO
ico Jtajime, i-iN-ra wa HISSHI to narite KANGO-FU wo SHIKI sld, SCMEI no KEIKWAN mo SHUTCHO shi,
NY0m KWANJA wo HINAN sesJdmuru tame, HIJO no KONZATSU wo nasldtaiisld ga,—saiivai ENSHO wo
manukaretari.
YusJdma, HoN-GO Motomachi HEN wa, SAISEI GAKUSHA, sono TA KAKU GAKKO ZAIGAKU
SETTO no SOKUTSU ni sldte, GESHtKU-ya noki tvo narabe-itaru ga, —TAITEI kono KWASAI ni
kakarisJd wo motte, SEITO wa SAN-SAN GO-GO WANSHA wo yatoi ; tsukue sono TA too tsumi, Kanda
KU no GESHUKU-ya ni ITEN suru mono JtanaJtada okariki.
(" Tomi-uri SHIMBUN.")
2G6 NINTH SECTION.
theatre for 15,000 yen had been made on the 19th instant to the Tokyo Fire Insurance Joint-
Stock Company ; but as the premium on this sum (495 yen) had not yet been paid, we are
informed that the bargain was void.
ORIGIN OF THE FIRE.—The origin of the fire remains obscure ; but report traces it with
some probability to an act of incendiarism.
SPARKS FLY AS PAR AS SHINAGAWA. —Sparks from this conflagration flew as far as the
neighbourhood of the post-town of Shinagawa, and it would seern that the fall of charred
fragments of play-bills from the Haruki-za in front of No. 88 in South Shinagawa gave
early intimation to the inhabitants of the burning of that theatre.
MISCELLANEOUS ITEMS. —It must be considered a curious coincidence that this fire—
the most destructive since the great conflagration at Kanda a few years ago— took place on
the same day of the same month as the great Hongo fire of 1890,—stranger still that it
broke out within ten houses of the identical spot.
The Junten-do Hospital, which stood exactly to leeward, was in immediate peril of
catching fire. So all the medical attendants, from the superintendent Dr. Sato downwards,
set to with desperate energy; and under their direction the nurses, aided by a number of
police officers who appeared on the scene, placed the patients out of reach of danger. The
turmoil was indescribable, but fortunately the hospital was saved from the flames.
The neighbourhood of Yushima and of Moto Street, Hongo, was lined with lodging-
houses, the haunts of students attending the Medical Academy and other schools. As nearly
the whole of it fell a sacrifice to the flames, great numbers of students might be seen—in
threes and fours — engaging jinrikishas, piling into them their tables and other effects, and
making off for the lodging-houses in the district of Kanda. ( " Yomi-uri SHIMBUN." )
£> T l^
fin "\. if?5M-I > H*- ^Ti li'J / f~\ '
v L^ftiW < /2» L-t (
— "C
RID — iKoi>feHS
i o ""
*»""
^ ft £
ft
2C8 NINTH SECTION.
ft < ^ £ y
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NEWSPAPER CLIPPINGS. 2G9
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kaerimizu shite, FU-TOKUGI naru JISEN TOKYO wo HAISEKI sltita.ru wa, appare ! apparc ! (to
de mo iute nagusamu-bcsld.)
Nao DOKU ni okeru ir-PYO no MUKO TOHYO ni teidte iva, IK-KO 720 MONDAI koso are. Su-
nawacld kono MUKO to narishi IP-PYO wa, Rvjimacld KU SAM-BAN-CHO abura maki SHO CHUJO
EIHEI SHI no TOKYO nite, SHI iva sono SHISOKU CHUJO EIKICHI SHI to kanete torno ni
Sueyoshi HA no YtJKEN-SHA nareba, ISSAKU-JITSU mo GO-GO T/O-JI goro oya-ko DODO nite NYUJO
shi, EIKICHI SHI iva " Sueyoshi Tadaliaru " to HISEN-SHA no SEIMEI wo sJiirusJntaru ni, chichi
EIHEI SHI wa TAN ni " Sucyosld KUN " to SEI dake wo sldrusld, JIKO no KIMEI CHOIN wo
nasldte TAIJO sen'. Sldkaru ni SAKUJITSU KAIHYO no SAI, SENKYO-CHO to tachi-ai-yis to wa
kono " Sueyoshi KUN" to sMrushite, " Tadaliaru" no NI-JI wo Icaki-morasldtaru TOKYO wo MU-
KO ni Kiscshimetari. Kore ga tame Sueyoshi SHI wa UAKUSEN suru koto to narishi SHIDAI
nareba, Siteyoshi HA wa SAKUJITSU SENKYO-CHO ni mukatte GEN ni FUSHI DOHAN shite NYOJO
shi, kanete yori tomo ni SueyosJd Tadaliaru SHI wo TOHYO suru kangae narishi mono nareba,
kore ico MUKO to suru vxt, KOKU nari tote, semaru tokoro arislti to iu. KEKKYOKU aruiwa TO-
SEN SOSHO wo okosan mo sldrezu to no koto nari.
(CHURYAKU.)
DAI GO-KU. (HONJO, Fukagawa.}—TORU loa GOZEN SHICHI-JI ni TOHYO wo KAISHI shi,
DO HACHI-JI ni owa.ru. TOSEN to JTTEN to no aida ni HYAP-PYO 720 SA arishi mo, OWANRAI
Tosldmitsu SHI iva GIKWAI ILUSAN-GO tadaclii ni UNDO ni CHAKUSHU shi, Fulcagaica, KUNAI
?io YDKEN-SHA ni mukatte. wa ICHI-ICHI SANSEI no KIMEI CHOIN wo motomuru made ni te wo
mawasldte, HISSHO idagai naki ni itari, hotondo hitori-BUTM no swjata naru yori, HONJO KU
NAI TIG YUSHI-SHA wa ika ni mo ZANNEN nari tote, tatoe SHOSAN obotsukanaki mo, ITSU ni iva
mikata no JIBAN wo tsiikuri, rrsu ni wa TEKI wo shite UNDO-HI wo TOJIN se-shiimiru mo IK-KYO
naran to no KEIRYAKU yori, SENKYO majika ni itarite Tatsuta Akinobu SHI wo oshite, sakan ni
UNDO wo hfijimeshi ni, KWAZEN Toshimitsu SHI wa oi ni ROBAI shite, Tatsitta SHI wa sOsni wo
SHIYO suru to no FCSETSU wo SHlNy'i'fc, izuko yori ka su-JD-MEi TZO sOsni wo yatoi-ireru nado, tsui ni
SAN-ZEN YO-EN ?io UNDO-HI wo fOshifarii mo, Tatsida HA wa wazuJca ni NI-HYAKU-EN bakari nareba,
makete mo sa made IRAN ni arazu to wa, Tatsuta-biiki no SHIMPOTO-IN no make-oshimi-rashiki
BENKAI nariki.
(MEIJI SAN-JU-ICHI-NEN SAN-GWATSU JU-SmCHI-NICHI, " YOMI-UIll SHIMBUN.")
FIRST DISTRICT (KojntACHi, AKASAKA, AZABD).—The chief electoral officer and the witnesses
assembled at 7 A.M., and with the prescribed formalities proceeded to open the ballot, conclud
ing their labours at 9.30. The result, as recorded in another column, was a victory for Mr.
Takenouchi Ko by the small majority of a single vote. Victory or defeat is no doubt the
natural fortune of war. Nevertheless, what vexation must not this loss of the election by a
single vote have caused to the Sueyoshi party ! Neither is it likely that the electors of that
party will be the only persons to sigh over the trickiness of their opponents' victory, when it
becomes known that the single vote majority registered by Mr. Takenouchi was the result of
his having voted for himself. What the leaders of the Sueyoshi party assert is that
Takenouchi's people had determined from the outset on a contest fierce enough to cause a
certain proportion of the majority of thirty odd votes so positively counted on by the Sueyoshi
party not to be cast at all, and others to be captured for their own side, to the grave peril
of the foe. With matters in this pass, Sueyoshi's council of war had urged him to vote for
himself ; but this he peremptorily declined to do, on the plea that voting for oneself is a moral
impossibility. So it ended, five minutes before closing time, by his entering the office and
casting a vote for Mr. Kusuda Eisei. Had he voted for himself, as Mr. Takenouchi did, both
candidates would have registered exactly the same number, and Mr. Sueyoshi would have been
elected as the senior. But a true man would rather be a jewel smashed than a tile intact.*
Bravo Mr. Sueyoshi, who, mindless of his peril, refused to act so immorally as to vote for
himself ! (This is how we suppose his supporters console themselves.)
Again there is quite a question concerning an invalid vote in the same district. It seems
that this vote, which has been pronounced invalid, was cast by Mr. ChujO Rihei, an oil and
firewood merchant at Sambancho in the district of Kojimachi. This gentleman and his son
Mr. Chujo Eikichi, as electors in the Sueyoshi interest, went together to the electoral office at
about 4 P.M. the day before yesterday, and Mr. Eikichi wrote on his ticket "Sueyoshi
Tadaharu "—the surname and Christian name of their candidate— ; but his father Mr. Eihei
simply wrote " Mr. Sueyoshi " on his,—the surname only, and affixed his name and seal to the
document But when the ballot was opened yesterday, the chief electoral officer and the
witnesses decided the vote to be invalid because of its bearing only the words " Mr. Sueyoshi,"
and omitting the Christian name "Tadaharu." We are informed that as this lost Mr.
Sueyoshi the election, his party yesterday strongly represented to the chief electoral officer the
hardship caused by his decision, seeing that it was publicly known that father and son walked
into the electoral office together, and had both of them all along intended to vote for Mr.
Sueyoshi Tadaharu. It is said that the final result may be a lawsuit.
FIFTH DISTRICT. (Hoxjo AND FUKAQAWA). —In this district the ballot-box was opened at
7 A. M., and the proceedings concluded at 8. The elected candidate, Mr. Toshimitsu, had a
majority of one hundred votes over Mr. Tatsuta Shoshin, who came out second. The latter's
supporters, the Progressists, give the following explanation, which sounds rather like sour
grapes. Mr. Toshimitsu, they say, set to work immediately after the dissolution of the Diet.
He even went so far as to solicit each individual elector in the district of Fukagawa to sign
a document pledging them all to elect him. He was positively assured of victory, and had
the field completely to himself. This roused the ire of those who, in the district of Houjo,
sympathised with the other side. Accordingly, though with little hope of carrying the
election, they decided that it would be fun on the one hand to clear the ground for their friends,
and on the other to exhaust the resources of the enemy. Following out this scheme, they,
on the eve of the election, put forward Mr. Tatsuta and commenced vigorous operations Mr.
Toshimitsu was greatly alarmed, just as they had expected him to be ; and, giving credence to
the rumour that Mr. Tatsuta would employ roughs, he himself engaged some scores of roughs
from somewhere or other, and ended by expending over three thousand dollars on the election,
as against a paltry two hundred or thereabout spent by the Tatsuta party. Thus the latter
experienced little. vexation even in defeat.
(" Yomi-uri SHIMBUN," 17th March, 1898.)
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274 NINTH SECTION.
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TEXTO SAL
MEIJI Ni-jD-icHl-NEN 8HI-GWAT8U toka TENTO no SHUKC8AI wa ayeraretari. Wa<ja TENNO
KOGO RYO HEIKA tea Jcore ni nozomaaetari. Jtfakoto ni kore KISEI no SEIJI, SHODAI no IKWAX
ni zo aru.
Kore yori saki lia>ia-r/umori to in wo, hune mini ko>io (joro rto sora-JiO\0 avltiku shite, ZEX-YA
made tea noki no amadari oyami mo w~) kikoesld cja,— TOJITSU no osa wa YOKO KI-KI, NIITON-
bare to iu KWAISEI wo Jtanachinu. Kano I-IN KWAI-IN nado lu miiki iw yorokobi ya iki naran!
Izure mo YOTEI no JIKOKU yori SHINCHO no harerji mmshiku slate,—mlnami wa Sakurada yori,
higashi wa Wkdagura TlAbasaki yori KYCJO no moto ye to tsudou sono ikioi ya usldo no yotosld.
(SHIKIJO no MOYO.) Kumo no gotoki KWAI-IN wa ono-ono sadame no tento ni tmki, EAIHIX tea
GOBAN-vTO no SAYC naru SANKWAN-JO ni alsutnarite, SHIKIJO no yaya SEITON wo mitaru iva QOZEN
JtJ-jl ni cJiikakaru-besJii. Somo-somo kono GOHANJO tea, KYDjO NuD-iasAt yori Sakashita ni
itaru o horibata no shiba-fu ni moJcelari. ZENTAI no KEKKO wa CHCO no SEIDEN tco KYCDEN-
zukuri ni shite, kokera nife faki, sono Jiako-mune TO wo sviji no ao-ba nite tsutsumitaru, mazu
tea isagiyoahi. DEN no cnCO ni RYO HEIKA no GYOKDZA ari. UENDEN woba kono GYOZA no
whiro ni zo shitsuratcarekeru. Sono SAYt naru RAIHIN-SEKI ni wa, ip-ro ni tea DAIJIN,
K08HI, SHINNIN-KWAN, KWAZOKU ari ; IP-PO ni WO, CHOKUNIN-KWAN, SHOSHO 80TO IJO BU-
KWAN, sono TA SHINSHI no miiki kano KIRA hoslii to i-nagantc, me mo aya ni mictariki.
276 NINTH SECTION.
kumina-yose 110 UHO ni, KAKUSHO CHOKUNIN-KWAN, DO FU-JIN, KIKKAI-OUN SHIKWAN, DO so-
TO-KWAN SHIMBUN KISHA-m wa HAHO no xldltqftt ni, TOKUBETSU TSUJO BYO-KWAI-IN WO, 8HIKI-
JO SHOMEN no shilbafu, ni, SHINAI KAKU SHO-GAKKO SEITO wa Nuu-&a.s7ii aoto no sldba-fu ni,
iznrc mo SEIIIETSU sJiilc machi-tatematsuni. Tacldmacld ni slate GOHO M-HATSU ari : —kore
GO sHU'rauMox im HOZ«?-M nari. DOJI ni SAKUKAI UGU naru GUNGAKU-TAI wa YOYO taru ne
u~o idascri : " Kimi ga yo " wo suisO sum narikl.
(RiNKO no on MOYO.) TEXNO HEIKA ni wa TOKUDAIJI jup CHO wo GO BAUD, Okazaiva JUO
BUKWAN-CHO IKA, JIJO BUKWAN to WO QUBU J KOGO HEIKA ni Wtt Tokakura l-ENJI WO GO BAIJO,
Kayawa TAYD JOKWAN TO ico GUBU nile, DO JO-Ji GO-JD-GO-FITN SHIKIJO mi-kuruma-yose ni CHA-
KUGYO am, kono toki HO-GEi no SHOIN SAI-KEI-BEI su. TENXO HEIKA ni wa Oliabe. KWAI-
CHO no GO SENDO nitc, KOGO HEIKA ni wa Kagawa TAYO no GO SEXDO nite, LEXDEN «i
XYCGYO ; XAXJI GO KYOKEI no nocJii, JD-iCHi-ji jip-PUN GYOKU/A ni noxoniaseraru. Kono
toki SOGAKU ari; SHOIX wa moke no SEKI ni SEIBETSU shile, SAI-KEIUEI su. EYO HEIKA
ni wa ka&Mkoku mo GYOKUZA ni RITSUGYO ari ; TOKUDAIJI JuDcuo, Tanaka KUXAI DAIJIX
tea, sono USOKU ni, Kagaica TAYD JOKWAN-ra tea sono SASOKU ni B&iseraru. Kakute KWAI-
CHO Okabe SHISHAKU, FUKUKWAI-CHO SMbusaica EI-ICHI SHI tea ai-tomonaite KAIKA
yori SHIKIJO ni nolori, GYOKUZA ni SHISEKI shite, KIBITSU sld ; KWAICHO wa FUKU-KWAI-CHO
yori mazu SHUKUGA KWAI-IN no latematsurcru SHOTOKU-HYO (BEKKO ni on') wo ukete, sOJO
sld owaru ya, TOKUDAIJI jiJtJ-CHO sono SOKUHEN yori siisumi-ide, ts>UsusJiinde SHISSO
sidicki mune wo nobctc, kore tea nke, sono SEKI ni FUKu.verara. Tanaka DAIJIN tsuide
smumilc, GO KASHI no FUKIN GO-SEN-EN wo KWAICHO ni saznkemru. KWAICHO tea BYO HEI
KA ni mukai-tatemalsuri, SAI-KEIKEI shilc, HAIJU no SHIKIN wo HO/i, KAI wo kudarite, HOKKI-NIN
SODAI Nakaiio BUEI SHI ni sazuke, fittaiabi SHOKAI shite GYOKUZA ni SHISEKI sld,
SHISANJI KWAI-IN yori iatemaixHrcru SHOTOKU-HYO (DOJO) wo HODOKU su. JiJtJ-CHO no kore
wo ukuru SHIKI mae no gotoku shite, KWAICHO wa KAI wo kmlaru. Tsuyi ni Shibmawa
EI-ICHI SHI TOKYO SHOGYO KWAIGI-SHO KWAITO no SHIKAKU wo motle DO KWAIGI-SHO yori
talemateureru SHOTOKU-HYO (DOJO) wo HODOKU slti, JiJD-cnO mala kore wo ukuru koto mae
no SHIKI no goloku nariki. Migi owarite, RYO HEIKA ni wa BENDEN ni NYOGYO, DO JU-ICHI-
ji SHI-JIP-PUN on KESHIKI uriiwcuhiku, SHOIX no HOsO to GAKUTAI no suisO to no ucld ni
KWAXGYO araseraru. (CHDUYAKU.) .ffbno hi TENNO HEIKA ni wa GO GUMPUKU nite, TSUJO no
ao liElsO ; KOGO HEIKA ni tva, nezumi-Ji ni medetaki MOYO aru GO YOsO to oyamarenu.
NEWSPAPER CLIPPINGS. 277
allotted tents, and the invited guests assembled in the galleries to the right and left of the
Imperial Pavilion which had been erected on the lawn lining the moat that runs from the
Niju Bridge of the Palace to the Sakashita Gate. The total effect produced by it was
charmingly simple, roofed as the central building was with shingles, and having its square
roof-ridge covered with fresh cryptomeria twigs. Thrones for their Imperial Majesties stood
in the centre of this Pavilion. As for the Imperial withdrawiug-roonis, these had been erected
behind the throne-room. The places set apart for the invited guests to the right and left of
the Imperial Pavilion were arranged as follows :— on one side the ministers of state, the foreign
representatives, the members of the nobility, and those high officials who receive their
appointments direct from His Majesty ; on the other side the officials of the second rank,
officers ranking with or above major-geuerls, and other distinguished gentlemen,—a brilliant
array stretching into the distance like the stars, and quite dazzling to the eyes.
Well, at'.10.30 A.M. (the hour appointed for Their Majesties to leave the Palace was 10.30,
but to suit their Imperial convenience it was changed to 10.45), the two Imperial Processions
being momentarily awaited, all stood up in rows in respectful expectation,—Viscount Okabe,
President of the Celebration Society, accompanied by Viscountess Okabe, on the left of the spot
where Their Majesties were to alight ; Mr. Shibusawa Ei-iclii, Vice-President of the Celebration
Society, on the right ; the promoters of the Society and the members of the City Council
beyond the paling that fenced off the ground exactly facing the throne ; the highest officials, the
nobility, the foreign representatives with their wives and the members of their legations, to the
right of the spot where Their Majesties were to alight ; the officials of the second class serving
in the various ministries, with their wives, the generals, admirals, and those ranking with
them, as also the representatives of the press, on the lawn to the left ; the members, both
special and ordinary, of the Celebration Society on the lawn facing the throne ; and lastly
the pupils of all the primary schools in the city on the lawn outside the Niju Bridge.
Suddenly two signal cannons were discharged, announcing that Their Majesties had quitted the
Palace. At the same moment the military band stationed in the right-hand corner inside the
paling gave forth sonorous harmonies: —"Long live the Emperor! " was the tune it played.
Details of the Inqmt-'ud Proyre.w. —His Majesty the Emperor, accompanied by the Grand
Chamberlain Marquis Tokudaiji, and attended by the Aide-de-camp in Chief Daron Okazawa
and other aides-de-camp ; and Her Majesty the Empress, accompanied by the Mistress of the
Bobes Lady Takakuni, and attended by Viscount Kagawa, Grand Master of Her Imperial
Majesty's service, and several Ladies-in-waiting, arrived at the place for alighting at 10.55,
amidst the profound salutations of all those who had the honour to welcome them. His
Majesty the Emperor was escorted by Viscount Okabe, Her Majesty the Empress by Viscount
Kagawa, to the withdrawiug-room, where a few moments were given to rest before Their
Majesties proceeded, at 10 minutes past 11, to take up their places on their thrones. At
NEWSPAPER CLIPPINGS. 279
that moment the band struck up, and all present, ranged in their respective places, made
a profound salutation. Their Majesties were graciously pleased to rise from their thrones,
having the Grand Chamberlain Marquis Tokudaiji and the Minister of the Imperial House
hold Viscount Tanaka on their right, and Viscount Kagawa and the Ladies-in-waiting on their
left. Thereupon the President of the Celebration Society, Viscount Okabe, and the Vice-
President Mr. Shibusawa Ei-ichi ascended the steps leading up to the platform. There,
standing close to His Imperial Majesty, the President received from the Vice-Presideut the
address presented by the Society (which will be found in another column), and read it aloud.
At the conclusion of the reading, the Grand Chamberlain Marquis Tokudaiji advanced from
the side, stated that he would take charge of the document to deliver it to His Majesty,
received it, and returned to his seat. Then Viscount Tanaka advanced, and handed to the
President of the Celebration Society a sealed packet containing a contribution of $ 5,000 from
Their Imperial Majesties. The President made a profound salutation to Their Majesties,
received the gift, descended the steps, and handed the packet to Mr. Nakauo Buei as
representative of the organisers of the Society. Then he again ascended the steps, approached
the throne, and read an address presented by the City Council (printed in another column).
The same ceremonial as before having been observed by the Grand Chamberlain in receiving
this address, the President of the Society descended the steps. Next Mr. Shibusawa Ei-ichi
read an address (printed in another column) from the Tokyo Chamber of Commerce, in his
capacity of President of that body, at the conclusion of which the Grand Chamberlain received
it with the same ceremonial as before. When this was concluded, Their Majesties entered the
withdrawing-room, and at 11.40 A. M. they were pleased to retire, smiling graciously, the
band playing the while and all present bowing respectful adieux On this occasion
His Majesty the Emperor wore undress military uniform, while Her Majesty the Empress was
attired in European costume, of grey stuff with a charming pattern.
Confusion in tJte Refreshment Tent. —Arrangements for a standing collation had been made
on the lawn at the back of the seats for the Special Members of the Society, in a large tent
erected for the purpose, where several hundred tables, each ten feet long and tliree feet wide,
had been screwed into the ground and laid with snow-white cloths, while flower-vases set here
and there displayed a mixture of peach and cherry-flower in full bloom, whose fragrance should
scent the garments of the guests. According to the programme, the collation was not to
commence until the historical and other processions should have passed by. But tlu's arrange
ment was disregarded ; for no sooner liad Their Majesties retired tlian a general headlong rush
ensued. The preparations, as a matter of fact, were not yet completed, and the persons in charge
endeavoured to obtain a delay. But no heed was paid to their representations, the front
places were fought for, the servants sought out, and refreshments demanded of them by
gentlemen arrayed in tall hats and frock-coats, or else in elegant native garb,—black silk Jiaori
280 NINTH SECTION.
with the crest in five places, and Jutkama too of the finest silken stuff. All these gentlemen by
birth or fortune, forgetting the respect clue to such a place, were to be seen hustling and
jostling, snatching foreign viands from the dishes, shoving fruit into their trowser pockets, in
fact carrying impropriety and bad manners almost to every length. Meanwhile, the purple
waves in the numberless great wine-jars surged up and down, as these gentry kept pouring out
and drinking, .and pouring out and drinking again. Nor was this all :—one man would attempt
to make off clasping in his arms two, it might even be three, bottles of Kiriu Beer, when the
human tide would surge up from behind, rendering all movement impossible, and there would
be cries of "Oh! I am hurt! don't push! don't push! "—in fact a scene of almost indescribable
confusion. Those who, ignorant of what was going on in the refreshment tent, had remained
unconcernedly in their places on the grounds, and also numbers of ladies, ended by being unable
to obtain anything and went home hungry. At any rate all those who had invested in tickets
of Special Membership could boast that, however low their place, they were, without any room
for doubt, gentlemen who had hobnobbed with Royalty. And yet, when we contemplate their
offences against etiquette and decorum, what remains for us but to heave a deep sigh ? We
believe it is also alleged that many, on the day in question, carried home bottles of beer and
eatables wrapped up in parcels as presents to their families. We would earnestly deprecate
recourse to such economical principles in future on similar public occasions.
Note. This piece—a good example of newspaper description—is taken from the " NICHI-
NICHI SHIMBUN " of the 12th April, 1898. The festival described was that held to commemorate
the thirtieth anniversary of the selection of Tokyo as the residence of the Emperor, and con
sequently the chief of the three capitals of the Empire,—Kyoto and Osaka being the other
two. The student will here find considerable profit to his knowledge of the delicacies of the
language by an analysis of the use of honorific words and terminations applied to Imperial
Personages. To do justice to such in English is impossible ; and the fact that the Imperial
Household was reorganised on a German basis, occasions further embarrassment in the effort to
render the names of certain official titles. Indeed the present translator is dissatisfied with
his whole rendering of this piece, and believes that it would l)e within the power of many to
produce a more pleasing version.
NEWSPAPER CLIPPINGS. 281
NEW CHARACTERS OCCURRING IN THE PRECEDING SECTION.—1377. TJfc sui or atsumeru, " to
collect." «fA? (1025) being " to pull out," the compound .£// 7&^ BASSUI perfectly expresses
the double process of selection and collection. —1378. RP kalmto, " a helmet." We seem to seo
the man's head in the middle, with something surrounding it on either side, and his legs
» • ' '
beneath. —1379. TPkf YO or miihirn, " to take charge," or azulxm, " to give in charge." This
character is identified with (No. 814) T^SjJ YO or Imiwte. or orakrtjime, " beforehand." The distinc
tion of meaning between the two forms is maintained in Japanese with tolerable consistency.—
1380. aKjl want, " to cleave in two," to divide." Formed ideographically from " knife "and (1381 )
SJt GAI or sokonan, " to hurt," " to injure."
1382. gSI/ TETSU, "iron," also written ^fc and ^kiji, all three forms being common.—
1383. -EJJF KEI, " a view." The " three great views " of Japan are Miyajima, Matsushima, and
Ama-no-Hashidate.—1384. Kjt? zui or sliitagau, " to accord," "comply."—1385. /fU- FU or
wari/u, "a slip" or "tally,"—originally of bamboo, now of any material. — 138(5. |=f
CHIN, " rent," "fare."—1387. Sg KAKU, properly ftJiitni, "the forehead," but generally tahi,
" an amount " or " sum of money." Also read GAKU, " a framed tablet " or " picture." Easily to
be remembered by its.'phonetic >§L . — 1388. /fW FUKU or kaerit, "to return;" also read mata,
" again." Remember it by its phonetic, which is the same as that of (982) nj9 Jiara, " abdo
men," the latter having appropriately the Radical for " flesh," while " to return " has with equal
appropriateness the Radical for " a man walking." — 1389. BAI, " double," "....fold."—
1390. Kfffi EKI, " a post-town," " a railway station." The Radical intimates it to have been
formerly a place where travellers changed horses. —1391. KfC YO, properly the refulgence of
the sun or stars, but used chiefly to form the names of the clays of the week, H [02 R
dff it^j i—i P*
Nicm-YO-ii' ; tl nf& H GETSU-YO-W, etc. Observe how these are formed in Jap. from the
,/ -w l*fxl I—I
names of the sun, moon, and five great planets that rule the five elements, exactly translating
the European terms.— 1392. Mm FC" or kaede, "the maple-tree," hence less correctly momiji, "the
red [autumn] leaves," ijjl" 'Bi? of which the maple-tree exhibits the most brilliant specimens.
_-—f^ /|* L. -^j^
— 1393. xay KI, "a season ; " also sue, " the end " (of a time). Do not confound it with (1394)
•^y* RI or sumomo, "a plum," or with (1309) ^CM. lii or naslti, "a pear."—-1395. *@ ZOKU or
tsuzuTiu, "to contiirue."—1396. jfKJi SEN or siiji, " a line,"— originally of course "silken thread."
— 1397. ray KO or kura, " a military storehouse." Conf. |m^ " war," both characters having
reference to war- chariots. In fact /||j shows us literally such " chariots " under " a shelter."
— 1398. "jftfij Jtime, " a princess."— 1399. 16? xJtiri, "the rump."
1400. -JS TEI or todomarn, " to stop," like a " man " at a " shed " (con/. No. 984).— 1401.
1BR KIN or wazuko, " a little," " only."—1402. jS& ROKU or fuiiioto, " the base of a mountain."
The so-called Radical HR ROKU, " stag," is here really phonetic, while the two " trees " at the
top serve to indicate a wooded mountainous region. — 1403. VS ON or atatakai, " warm."—
1404. 75? sui or mi<lori, "green." The Radical "wings" at the top refers to the feathers of
282 NINTH SECTION.
the kingfisher, which the character originally depicted,—1405. Ygp YOKU or aliru, " to bathe."
It rhymes with its phonetic ^?V KOKU (or tani), "valley."—1406. Jut HI or tmkare, "fa
tigue."—1407. V4p SEN or arau, "to wash," and (1408) TJEJL TAKU or sosogu, "to sprinkle,"
combine to form the common expression for " washing clothes," Y^p Jfl5 SENTAKU.
1409. T*y CHU or Mm, "daytime." Remember it as having one stroke more than the charac
ter !-=Hk SHO, " to write."— 1410. »1«L KYO or kctncm, " to agree," " suit," " harmonise,"—the
character prettily representing the "heart" and "united strength." Another form is
which shows us " ten " persons uniting their "strength."— 1411. ^g kago, "acage:""j
liatayo, " lodging," is thus lit. " a cage for travellers."
1412. VSI tameru or famaru, " to collect " (as water in a puddle), the character appro
priately showing us " water remaining" (mizn todomani). — 1413. 4p3^ TO or micJii, " a road,"—
less used to denote an actual road or highway ( ift" jfX ) than iu such semi-metaphorical
Jb ov i§i tf* "ou the way;" lif
expressions as J5=|e h* or JJ3= l+* " ou the
enter the path of officialdom," i. e. " to become an o. -1414.
HEI, properly " riches," " precious gifts," hence the nusa or GOHEI offered to the Shin-
to gods. The Radical I II iudicates
iudici that the gifts originally meant to be represented were
strips of cloth or silk. (Coiif- No. 1120 tlBC yabwern, "to be torn.")—1415. _^» TAKU, "a
(Gonf.^o.
house."—1416. ||J- HHA, " thanks."
itdfci^" -**F»
1417. VJJ& GYO or akateiiki, " dawn."— 1418. j^ sD or JiasMru, "to run."—1419.
YR RON or mctjint, " to be mixed up," "confused."—1420. [>^» SAI, "a limit" (of time or
place), " when."—1421. Tpl itkogau, " to wait upon," "to enquire." The character shows a
* "» -I
"man" sent from the "office," as p I (No. 427), though commonly read teukasa, "ruler,"
has the secondary meaning of the " office " in which the ruling administrator sits.—1422.
Ym moreru, properly " to leak," but more often used metaphorically for "to be omitted,"
" overlooked." Actual " leaking," morn, is generally written (1423) ^S— composed of " water,"
" bod}-," and " rain," as if to depict the rain coming in and wetting the bodies of the inmates
of a house. — 1424. p|r SHI, sometimes "a [book-] shop;" sometimes read Jioshii-mama ni,
" recklessly," the original meaning being that of " spreading out " or " setting forth " in great
quantities. Sometimes it is used phonetically for \}l\ SHI, " four."
, >"w >.. P~ •
1425. [=1 KWAN, " a string of a thousand cash (the old-fashioned brass and iron coins"
had holes in the middle, to enable them to be strung together) ; hence twrannfat, " to
string," " to pierce," " to permeate."—1426. £fe so or homunt, " to bury." The character
shows some one " dead " ( AJ* ) under the " sod " or " grass " ( -f"-f* ), supported by " hands "
( ~TT*, con/, p. 104), which last apparently refer to the pious care of those who inter the corpse.
—1427. 1^ KO or atmi, " thick," hence " kindly."—1428. tfcu SEKI, properly " to grieve,"
uryuru, hence those whom one grieves with or for, viz. " kindred."
JL.JEtf*
1429. Ift4> Jtqclti, " a wasp," " a bee." The same phonetic, read HO in every case, occurs in
NEWSPAPER CLIPPINGS. 283
(1430) ^fr kissaki, " the sharp point \pf a weapon," and (1431) frg? noroshi, "a beacon" or
9* i * y* i ~
" signal fire,"— the one made of metal sharp as a wasp's sting, the other hot as the pain which the
sting causes. Compare also (855) ^t* " a mountain peak ;" (1174) j^g " to meet," and (1166)
aSf? " to sew," all with perfectly appropriate Radicals.—1432. IF=| ZAN or nigeru, " to skulk
away " or " hide " (as a " rat " PE* in its " hole " *jf* ), as in the familiar compound irfK
m *""*•* VL* . rj_. J|~ S*L~,
TOZAN, " to run away." Hence " to secrete " or " store."—1433-4. -flR ./iet BUDO,
" the vine." Remember ^£jt\ by its phonetic ttl HO or FU (see p. 109), and -SEt by the common
like-sounding character (1435) Kfw TO, " pottery."—1436. E| TAKU, " eminent ; " also " a table."
— 1437. jfSm ZETSU or tatsu, " to sever ; " also taeru, " to become extinct," hence taete, " extreme-
ll—i ^r* -J-*
ly." The original sense—that of cutting a thread—survives in »pA " silk," and II " knife," two
out of the three elements that compose the character.— 1438. fiT** HAi> "a tablet," "token," "cred
ential."—1439. yam DO or akagane, " copper," to be remembered by its familiar phonetic ml .
—1440. Tj|| K*O» "management," "jurisdiction." Appropriately composed of -^ff1 "to
order," and j^f " the head."—1441. JEjf KYO, " vast."—1442. ij|l TEKisuru, " to suit," or
yuku, " to go to."—1443. £& KA or yoki, " good," " beautiful."—1444. ^ wataru, " to
cross over" (as the "sun" from the top to the bottom of heaven). — 1445. hg omom-
pakaru, " to cogitate, " to be anxious," also osoreru, " to fear (one would be extremely anxious if
- t-^ -jr..
a " tiger " Hp4 were prowling about !).—1446. :^~r KO or liokoru, " to boast." Akin both in
//Li UA* "^ zZ-ti?
structure and signification are (1447) }fS matagaru, " to bestride," and (1448) /«£» Jtakama,
•^ »* *- »%*- | */
" large loose Japanese trowsers."—1449. JM[ KC, " dysentery."— 1450. ^Jy cno or ichljlnisJdi,
" conspicuous;" also arawtuiu, "to manifest, "to publish."— 1451. -Vfl KO, "effect," "merit."—
1452. JJSsp GI, " comparison," " similarly," as in *& |K^ MOGI, " imitation." Maylmwasldi,
" confused," " counterfeit," is more often written with the character (1028) jRjr FUN, as im
mediately below in the text.—1453. *|K SHO or tonaeru, " to designate."—1454. «»ffi HYO, "a
signal," " a mark." The phonetic is (1455) . HYO, " a ticket," the two being thus akin in
signification as in sound.—1456. BH KO or kaeri-miru, " to look behind one," " to consider."—
1457. JELJJ* KI or axamuku, " to deceive."— 1458. ^^ ju or motoiiiern, " to require," " to demand."
—1469. C» TAI or okotaru, " to be remiss."— 1460. iKS; HEKI, " remote," " rustic." The
same phonetic occurs (but the sound oscillates between HEKI and HI) with appropriately varied
Radicals in (1461) ijS: HI or HEKI, Jap. sakeru, " to shun," as in ilSr Jl» , HISHO, [going into
the hills] to avoid the heat ;" (1462) /Kf* HEKI or kale, " a wall ;" (1463; Jgjfc HEKI or ktisc, " a
bad habit;" (1094) JIH HI, "a comparison."— 1464. ^^ HAN, "seUing," "dealing in." The
formation of this character reminds us of the English phrase " to turn [an honest] penny."— 1465.
KAKU, " solid," hence tashika, " certain."
1466. Jh*\~ KWA, " a series," " a sort," " a branch of study." Used in such compounds as
e-r- NAIKWA, " the inner sort [of treatment]," i. e. " medicine; " /^K TKL GEKWA, " the
• I -f»f S I ^T\ khtt
outer sort [of treatment]," i. e. " surgery." Do not confound yK»L KWA with (737) TK»|» , the EYO
284 NINTH SECTION.
of RYOM, " cookery," which has one stroke more. — 1467. RJ SHI, "history." Observe the
" mouth " [I which relates it.—1468. ^& ZEI, " a tax," composed of " grain " and (1475) " ex-
I P §^tj ' I t "*
changing," referring to the okl taxes in kind.— 1409. ^S •^tr MAKU, "acurtaiu;" also BAKU
^tP1 when
speaking of curtain, i. e. tent, i. e. military, feudal, or " shogunal " affairs. —1470. YU/ METSU
\/7n
or liordmu, " to destroy." Notice in it the destructive elements " water " and " fire."—1471.
ZAI, " timber,"J' materials," "ability." Interchanged with (228) -^T in the two latter
meanings.—3472. HnC SHIKI or sJtiru, " to know."—1473. 'f| Kl or ayashii, " strange,"— same
.-
as No. 775, but considered more correct. — 1474. Ira? KEN or kirau, "to dislike : " —one "woman"
arV^^Vl^
is " unable " to bear another woman. — 1475. "tr DA, "exchanging," "permeating."—1476.
JTr Hi, "criticism," lit. "the hand comparing."—1477. »KS| TEKI or tsumamu, "to pick out."
—1478. 4j,(ft KOKU or shirusu. " to record."—1479. ifll! JUTSU or nobcru, " to state."—1480. ^Ot.
y***. JiLr /v ~tt
HEI, " a fraction," " a cipher " (as it were a tiny drop of " rain," /^^ HEI being the phonetic).
—1481. ]jj|jjr KEI or uyanuiu, " to reverence." Conf. 953 and 954.— 1482. J&£ HAN, "sort,"
" time."—1483. |Kj , HO or idakn, " to embrace," " hold in the arms." (ffi con/. 708 HO,
" to wrap.")—1481. Itfi KEN or ntiyaku, " to rub," " to polish."—1485. ^J* KYU or kiwameru,
" to investigate carefully " (as if peering into a "hole," with j\^ as the phonetic). Conf. (993)
J&jt wliich in Jap. has the same readings.—1486. Igl/ KANZ«>-«, " to feel " (metaph.). This
character naturally comes under the Eadical for " heart." Curiously enough, yet another " heart "
may be added at the left, making (1437) •Kp^ KAN or uramn, " to regret," " feel vexed."— 1488.
Knf1 HA, " the head inclined to one side," as in liiA ftH HEMPA, " partiality ; " hence also suko-
buru, " very."—1489. «r7t TAKU or Jtiraku, " to open " (like a man's " hand " breaking " stones ").
1490. DON or kumoru,"to cloud over" (the "sun" with "clouds").—1491. 3j|p
ON or odayakfi, " quiet," " secure." Same t-sttkuri, though there read IN, as in (929) |»=F kakure-
ru, " to hide,"—hiding and security being cognate ideas. The phrase given in the
margin— "TENKA TAIHEI KOKUDO AN-ON" is often to be seen inscribed on stone slabs;
P it is a pious wish for absolute peace to the whole world, and quiet security to the
empire. — 1492.^^^ TAI here means oi narti, "great." It is also read yutaka, " fertile"
and yasui, " pacific." It is often interchanged with (511) ~fC •—1493. •jmtt SETSU,
" control," " direction." Used phonetically in the name of the well-known province
of 4 jjrf y^R SETfoM, and here for the proper name " Celsius."—1494. V-Qf EN or sou, " to go
V^V^T % P 1 |—|
by the side of," " to follow along."
1495. ^^ YO or katachi, " appearance," as in 5gt ^H YOBO, " appearance ; " also ireru,
t-f 75rb+ *-* Q'^
" to inseii."—1496. -feS^ HIN or mazusldi, " poor," the character indicating a [very small]
" share " of " treasures."
1497. *jS hokorobu, "to rip" or "split open," as a seam.— 1498. AM KO or toraeni,
•P^C -t"J II-
"to clutch" or "restrain," hence kakaivaru, to be concerned with."—1499. TpQT tsuG,&,,
NEWSPAPER CLIPPINGS. 285
staff" or "stick."— 1500. Jnku, " to trail," " to drag." Memorise this rather unusually
constructed character with the analogous (No. 1422) Jtt| moreru, " to leak."
<fljit . . 1 -Xi
1501. £ps; KYO, "a banquet." This alarming-looking character contains No. 1249 as
its phonetic. The same occurs in (1502) ^Bl, KYO or hibikl, "a reverberating or echoing
sound," lit. "a sound" 'pC* from the "village" Scly Lean these three characters, as it
were, on each other, remembering each by the other two. —1503. gC EN, " a feast."—1504.
Jful BAN, "evening."— 1505. ^S SAN, "a meal."—1506. ^pf HIN, "a guest," the dis
tinction between it and ^X, KYAKU being that the former is always a real "guest" in the
"T^J . m -
proper English sense of the word, whereas >X, is often rather a " customer," " passenger,"
*T—r_ «trf*
etc., i. e. one who pays for the attention he receives. ^^3 may be best remembered as the
*frj^» -^ ~^ Jr^^* *&-*;* Ft
phonetic of Yjpf in the familiar place-name Yokohama /fff**J£* • —1507. /I^E katsura,
I.S* 1-5^4 • -** I I»
the "cinnamon" or "cassia-tree," familiar to residents in Japan as the fragrant MOKUSEI
with its clusters of small, deep-yellow blossoms. —1508. jlSiL no or tsuyu, "dew," used phone
tically for " Russia."—1509. Efia KAN, "Korea." — 1510. jaS zui, " an auspicious omen."
usea puoni
Used phonetically for the first syllable of " Sweden " 155 JHL and of " Switzerland "
SSiS .—1511. jjg£ BOKU or sumi, " Indian ink " (appropriately composed of
"black," and
ar -f- "earth").
1612. ;JS& B°> "violent" (weather would be such in which one suffered from a
"combination" of "sun" and "water ").— 1513. irB SON, "damage," "pecuniary loss"
(such as is likely to befall those whose " treasures " are spent from "hand " to " mouth").—1514.
PS FUN, " to spurt," " to spout." Kinship of signification, with appropriately varied Radical,
is found in (976) *j*Q FUN or ikuloru, " to be indignant."—1515. Vz^. ofureru, " to overflow "
(from water and No. 904, ^Si " more and more "). 1516. j£^» SHIN or hitasu, " to soak."—
1517. »|>Ai io or mulasu, "to embarrass," "to disturb" (from "hand" and 4fig» " sorrow ").—1518.
hiku, " to provoke," " to elicit."—1519. qttl CHU, a synonym for H-l " middle."—
~~ J I J>-|T n >f -/I" 9
1520. JIN or tsukmu, " to exhaust."— 1521-2. 'jjf' ^Sf TANSU, "a chest of drawers,"
" a cabinet."—1523. HO or kuzure.ru, " to fall to pieces," as a mountain by a landslip.
HH /(nil HOGYO means the death of an emperor, the honorific being put after, instead of
before, the other character. Other instances of such inversion with /fin] occur.—1524. J13
KWAI or kuzureru, " to break down," " to go to ruin."—1525. 4jj£ SHO or itamu, " to hurt."—
1526. \aifr KI, " steam," a specialised form of (378) ^pf " vapour " in general. Sometimes
the Radical alone (1527) ^? is employed for " steam," as if it were an abbreviated form of
\|j|[ .— 1528. UnF iso, " the sea-beach " (lined with "ever so many stones "). —1529. pfB1
BEI or sldzuka, " quiet."—1530. ^pF tvashi, " an eagle " (appropriately formed of " bird,"
>\Vi^ ^ *
" metropolis," and " very," it being the very greatest of birds).—1531. Yin YU or abura, " oil,"
"grease."—1532. |Hh SHO or tsumabiraka, "minute," "detailed," hence "plain."—1533.
KWA, nearly the same as (No. 1466) ^L.—1534. Jr$f 01, "skiU," "the arts,"
286 NINTH SECTION.
as in Jpfp <5jS± GIGEI, "the mechanical arts;" Jny K|tj OISHI, "an engineer." The char
acter seems to pourtray the very primitive art of lopping off the branches of trees.—1535.
jF> a^so written iffr SHf> or osamcru, " to adjust," " to repair."—1536. &£*& ZEN or
tsukurou, " to mend " (" silk " used to set torn garments to " rights ").
1537. VfeT tsukeru,"io soak," "to pickle."— 1538. Tiff CHIN or inakum, "a pillow."
The choice of the lladical here well exemplifies the difference between Far-Eastern pillows and
ours. The other most familiar character having the same phonetic is (1539) Vjf* CHIN or
B to Iff'mt'
shizumu, "to sink." —1540. -¥p SHO or noboru, "to ascend" (from the "sun" "rising"). —
1541. >BE* MO or takeslti, " brave," " fierce." —1542. TH KO, properly wiaji, " the nape of
the neck," hence " sort," "item," " article."— 1543. |&|l CHI or Jiaseru, "to gallop," "to run."
It combines with No. 818 -jt? which also signifies " running," to form the term /urn PsHl
•»L. GOCHISO, " a feast ; " but why so written is not plain, unless it be that folks all run
together to eat the tasty dishes. — 1514. Isff Itascru, " to run " (as a " horse " does "uphill").
—1545. Tll>» iyo-iyo, "more and more;" also icru, "to get better."—1516. MgJl KWAN or
susumeru, "to encourage."— 1547. Ijntf KEN or keicashii, " precipitous," "dangerous."— 1548.
jflp GO or maniofit, "to protect."— 1549. flj)l] hatarakit, "to work" (from "man"
"moving"). — 1550. i$j£ makit, " to roll," practically identical with (No. 716) 4^.— 1551.
*ra£ SAN, ZAN, or mugoi, " cruel " (what " goes " to one's " heart ") : ^Hfe Tap means the same ;
it is not negative. —Klpp Ku> krtnt, or kakent, "to urge on," "to race," "to rush." Often
compounded with No. 1543, thus JHJI Bi[jj| CHIKU sum, "to drive fast"— 1553-4. <J3E t^g?
HAirCr, "an actor." ftjjjt alone is sugureru, "to excel."— 1555. Ky|| KAI, "a storey" in a
house, originally kizahaslii, " stairs."— 1556. |jDK TAI or karada, " the body," a favourite Jap.
equivalent of the more complicated (833) Trer • Its formation from ^/fc JJ*1 HONSHIN, " one's
own self," makes it easy to remember.—1557. S|j GEKI or Itagesltii, '• violent" (suggested
by the combination of " a tiger," " a pig," and " a knife !") ; also " a play " or " drama." — 1558.
KI or rnotol, "a foundation" ("tliat earth" on which the building rests). — 1559.
TOKU or tailasu, " to enquire into," " to superintend," as ia &T KANTOKU, " superintend
ence," hence " a bishop," (1560)^ &r alone being read kangamiru, " to examine."
together form the standard, though imperfectly phonetic, transcription for the name of
f-f— ' ' te_i_m
" Christ."—1561. njf SEKI, " a seat " or "iplace," as at a dinner. It is formed of •111
» . /r|j !"*_ " napkin "
and (1562) l-|j* SHO or moromoro, " people," " multitude " (contracted), in allusion to the
courtesies paid to guests.— 1563. >j»_ir hashira, " a post"—1564. >Fcr T° or tonwshibi,
" a light," " a lamp " (" fire lifted up ").—1565. ffiy JUN or meguru, " to go the rounds."—
1566. "fcfr* HO or hanateu, " to let go," " to let off."—1567. TJ2V FUN or ko, " powder "
^^ DC^ ts-J
(" rice divided " into minutest fragments).— 1568. Sta KYO or Jtedatoru, " to be distant from "
(" foot " indicating the sense, and 1441 t| giving the sound).—1569. jgjfc EN or nobiru,
" to extend," " to spread."—1570. f| m, " number," " member."—1571. .^ Kl orfuruu,
NEWSPAPER CLIPPINGS. 287
" to wield," " to animate " (as a general's " hand " does his " army ").—1572. ttt KWAN or urybm,
" to be afflicted ' ' (represented by the joint wailing of " two mouths " to a sympathising
" heart "). — 1573. BJL SO or su, " a nest " (the lower part being of course the tree on which
the nest is built, while the square in the middle probably represents the nest itself, and the
three crooked top strokes the heads or feathers of the birds popping out of it). —1574.
l|ji KUTSU or iwaya, " a cave."—1575. jfpTEi or atom, " to strike against:" • A* •Hf "for
tnemost part."— 1576. Bftjj WAN or vile, "the arm." —1577. AjT KI or tsukue, "a table"
(interchanged with JT , the Radical y*^ being prefixed for greater clearness).— 1578. *j-jf
SEKI or tsumu, " to pile " or " heap up."
1579. jljlr SHUKU or iwau, " to congratulate."—1580. /JvK HAI or sakazuki, " a wine-
cup." (On the htcus a non lucenJo principle, remember it as being " not " of " wood," but
of porcelain). This character is an alternative of (No. 771) <XJ* •— 1581. H^T HAI or ycibu-
Jill. ^?^» I»^»'
rent, " to be defeated " (" treasures struck," i. e. taken away by robbers). —1582. >Jr§ also
written toi and practically identical with (1583) •jfl , both being read EN or Jiano,
" flame," " blaze."—1584. gjT SHI or kokommiru, " to experiment."—1585. *|j(j| KO or
tsuna, " a rope " (" thread " of the size of a " hillock "). — 1586. ipS* To or nageru,
" to throw " (from " hand " and " spear ").—1587. HeaT or HftT TAN or rwycku, " to
sigh " (" mouth or yawn " as the appropriate Radical ; the phonetic is read KAN in some
other characters, e. g. in vlff KAN, "China").— 1588. Y@J GEKI or JtagesJtii, properly " water
in violent commotion," hence " violent " (" water " " striking " in " white " foam on the
"side" of a rock).— 1589. - Ui; KI or suie.ru, "to throw away."—1590. fijS EO or lialcari-
goto, " a plan," " a stratagem " (" certain words ").— 1591. Jtj KYO or kobamu, " to ward
off," " to reject." Comparing JTJ and (1568) jfa , note the fundamental kinship of
signification which the Radicals appropriately diversify,—"warding off" (distancing with the
hand), and " being distant " as through having walked away on one's feet. The phonetic
(1441) |"1 "great" indeed has traces of the same fundamental meaning; for greatness
keeps at a distance from, and wards off the crowd.—1592. o** sldme " shutting," " con
cluding," a vulgar symbol which can hardly be considered as a character. The real
character for sldmeni, "to shut" is (1020) -feS?.— 1593. 4^ adakamo, "just as," "fitly"
(the " heart " " joined ").-—1594. Tt|\ CHI or Jiaji, " shame " (from " ear " and " heart,"
**§ w " ^h/~ I _LIf
because the ear reddens when a person is ashamed). Often also written Hip . — 1595. »BR
HAI or Idrdku, "to push open."—1596. FP SEKI or sJiirlzokeru, "to drive away," " to expel "
(as with the stroke of an " axe ").—1597. B|l DM, " a subject," " a title."— 1598.
tH cHtJ, " loyalty " (a " heart " " centering " in the right). Read tada in personal
names, through allusion to the tadof/Jtii or " correct " nature of loyal conduct. A use-
g t
fnl kindred character is (1599) tt* cHt}, Jap. uchi, " the inside," hence makoto,
" truth,"—formed metaphorically of " inside garments," the character yfi? " garments "
288 NINTH SECTION.
being, as will lie noticed, cut in two by Fpt . Do not confound it with (1(100) Ct. AT
or knnnnldmn, "to grieve,"—the "mouth" of one clad in mourning "garments."—1601.
TAN or Jtitoc, "single," " simple."—1602. ij| TAI or sldrizoku, "to retire."—1603.
KOKU, " cruel," also hanaJiada, " extremely." *|^C PrE ZANKOKU is the common ex-
O
pressiou for "cruelty". — 1604. iTJ HAKU or w»iaru, "to l>e harassed." The corres
ponding active verb se.meru, " to attack," " to harass," is written with the character (1605)
JK/* KO (formed of " work " and " to strike)."—1606. g^> SHO or vttae, " litigation " (i. e.
"words" in " public "). — 1607. •^P SAN, properly tanttkeru, "to assist," "to second;" also
used for (1277) ~jfl!$ liomcni, "to praise."— 1608. 3j& strata, "appearance," " figure " (that
" according to " which a " woman " is estimated). — 1609. _§jl^ SAN or kazoerv, " to cj-pher,"
"to estimate;" also written 3b^ .— 1610. 3?V TEKI, "a foe" (with the appropriate Radical
"to strike"). Same phonetic in (1611) ||3| TEKI or xliiznleu., "a drop."— 1612. j=j£ SHO
or ara ica.su, "to display;" also read akiraka, "clear," whence akira or aki in personal
names. The original force of the character was that of a Imautiful bird displaying its fea-
Jk> ° ~~ TJ^
tliers, the Radical -^^ representing " feathers," while one of the significations of |=|_ is
aya, " ornament," " elegance."
1613. "|S£ TEN or sadameru, "to set up" "to fix." (The character shows libations of
" liquor set up on a " stand," ~T^ being here a corruption of jl "a stand "—for presenta
tion to the gods.)—1614. KjJ? HEI, the steps of the throne" (can/. " Colloq.
Handbook," 1" 67, N. B.)— 1615. EJJS KIN or nozomu, " to behold (patronisingly)," " to
approach." We may remember the character as pourtraying the " mouths " of three
" servants " visited by their lord and master ; for r * here, as often, is a contraction of
.— 1616. V'fl makoto nl, " truly."-1617. snO or akiral-a, " luminous " Conf. (580)
A * 1-1 "
The two are cognate ; but H>*t denotes rather " luminosity " itself, while Rn gives rather the
"U /+*+ Fit*''"*
verbal idea of " shining."—1618. THf I or oi naru, " grand."— 1619. joF yarnu, " to rest
l-f* *tl/V
a little," " to halt." Tlie force of tin's character is well seen in okori or KANKETSU-NETSU,
" intermittent fever."— 1620. -^> I or yudancru, " to commit," " to entrust "
(the character pourtrays a " woman " bending under the burden of the " gi'aiu
entrusted to her care). — 1621. ttfa KIN or yorokobu, "to rejoice". —1622. *H yaya, " gra
dually," "somewhat" (the character represents "grain" "like to" ripen); for (1623)
B* SHO or niru means " to lie like." A^ /B* FUSHO, " unlike [my father]," that is,
" degenerate " is a self-depreciatory term for " I ". — 1624. JUH TON, " to bow the
head"(JHH p| 1 ; also read yriyctte, "forthwith." It naturally has the Rfidical for "head,"
whereas the homonymous (1625) qjju TON or nibui, "blunt," "dull," has that for "metal."
-L/V? j|£ U
—1626. »HJj properly YOKU or osacru, " to repress ; " hence used for somo-somo, a con
junction serving to introduce a new subject, "now," "well then". —1627. Am kaki, "a
persimmon ; " also used for kokcra, " shingles for roofing."— 1628. -EU fuku, " to roof,"
NEWSPAPER CLIPPINGS. 289
" to thatch," " to tile."— 1629. Vw KETSU or isagiyoi, " pure."—1630. WlJ CHOKU or mikoto-
iiori, " words uttered by the Emperor," " an Imperial edict " (which " binds " with
" strength "). —1631. jfem SHIN, originally " a large sash," such as the Chinese officials and
gentry were alone privileged to wear ; hence " a gentleman." The character pourtrays " silk
extending" round the waist. — 1632. /5v KEI or Mraku, "to open," "explain," "state."—
1633. H|| FUKU or soeru, " to put along with ; " hence " vice," " second."—1634. JXX SHU
or shibui, " astringent " (" liquid stopping thrice " on the palate, and refusing to be swallow
ed).—1635. iflfl saku, "a palisade," "a railing" ("slips" of " wood ").—1636. lS\\ KETSU
I lilt T^frt
or tsuranaru, " to be in a row."—1637. nm HO, " a gun," " the report of a gun " (the
r*l»J
Radical dating from times when great " stones " were the projectiles employed.—1638.
Ppa GU or 8Urni' " a corner."— 1639. j^ TAI, " a squad," " a band."—1640. ^^ so, " a
report to the throne ; " also leanad&ru, " to perform music." Distinguish it from Xp»
tfdematsuru.— 1641. T-S Ji or Jiambent, "to wait on."—1642. K-^t IJAI, "to accompany." —
1643. .jXJJ GEI or mukcieru, " to go out and receive."—1644. A@L DO or michilrikii, " to
lead" ("an inch on the road "). — 1645. |5ff KEI or ikmi, "to rest." (Rest is " sweet " alike
I II i rflB"
to " tongue " and " heart.") —1646. M^ SHI, " a foot measure " (" only " a " foot measure");
it is smaller than a f^ SHAKU, read SEKI in the compound J?F{ 1^ .— 1647. ^W
8HO or Jiomeru, "to eulogise" (as a "prince" to his "face").— 1648. jp^£ SHU or
owaru, " to end." Remember it by the end of a piece of " thread," and " winter " which
is the end of the year. — 1649. Km SHO or tsugu, " to follow closely." — 1650. BEL SHI or
tamau, "to bestow on an inferior" (the character shows "treasures changing" hands). —
1651. iS ju or saziikeru, " to grant," " to confer " (from " hand " and " to receive '').—1652.
Jk/ik HO or sasageru, "to offer to a superior" ( ~F« and yK well render the meaning).—
1653. -TBR; HITSU or owaru, " to finish." We thus have no less than four common charac
ters for the single verb owaru, viz. | jp^ E3 an(l _lfu ; for Chinese is a rich
language ; but we have no right to complain, seeing that English uses the four synonyms
" end," " finish," " terminate," " conclude," and perhaps others yet to express the same idea.
—1656. ita KWAN or kaeru, "to return," "to go away." —1655. ^K? SO or yosooi, "get
ting ready," hence " dress." In the specialised sense of " adornment," the kindred character
(1656) vptU so or SHO is preferred.—1657. p^ HAI or se, " the back ;" also read mmukn, " to
^/A* rj
turn one's back on" (from "flesh" and "north," intimating that the pleasant and auspicious
way to face is southwards.)—1658. JI1S liaba, " width."— 1659. Kn KYAKU or ashi, " the
° I I" I" i /J^^l
leg," " the foot," hence the auxiliary numeral for chairs and tables. The phonetic
(1660) ^3j KYAKU means slnrvzoke.ru, "to send away;" hence kaette, "on the contrary."
The rationale of K|J (from " flesh " and " sending away ") is that the legs are hung down
and disused in sitting.—1661. KK TO or momo, " a peach." —1662. 33* FUN, " fragrance "
l/u >/"•/" -+p?
(from "plant" and "to divide," because a flower diffuses fragrance). —1663. ~g^ KUN or
290 NINTH SECTION.
kaoru, " to smell sweet." The same phonetic and a distantly related pleasant sense
are found in (1664) Wit KUN or isaoshi, " merit."—1665. \&* KEI or kakawam, " to
mt/v
be concerned," "connected •with" (like a "man'1 bound |/l\
by a "silken cord"):
the compound KH 'p& is very common.—1666. jjjjr tsume-ru, " to pack," " to stuff."—
1667. & kinu, "silk."—1668. rfjl BO, " a hat;" appropriately formed from "towel" and
i—§
(1669) pi , also read BO and originally signifying a " head- covering," but now olta.su, "to
brave."—1670. sate, " well then ! " The word sate is also written (1671) . — 1672.
JMf MON, " a crest," also read aya, " pattern " (a " mark " sewn on in " silk ").—1673. if3C
'K^ ' -{•Oil J-/lv
momu, " to rub," " to shampoo " (making "pliable" with the "hand"). —1674. JfjK, KAKU or
tsukamu, "to clutch."—1675. *UH| JO or amaru, "to remain over" ( »Ul& givestne sound,
J *^1^^ M^ I
while the Kadical for " knife " indicates something left over from cutting).—1676. MM. or
|JII» , KYO or sakebu, " to cry out."—1677. YiB* TA, properly " to rinse," but it chiefly occurs
phonetically in the Colloquial word SATA.—1678. Eg TO or usaai, " a hare " (a rude picture
of a rabbit squatting with its tail perked up). In to ni kaku, both characters are used phone
tically to and kaku being really native Jap. words, gj not T-—1679. 'm yascru, " to
be lean," " thin," —one of the ills incidental to old age, whence this character is composed
of " disease " and (1680) £& SO, " an old gentleman."—1681. jtft KO or kareru, " to
"-^*p t- T- ' *~^
wither " (like an " old tree "). Learn in this context (1682) TfjjC KO or shutome, " a mother-
in-law " (lit. " old woman ").—1683. jjg BEN, " the Imperial chariot " (from " carriage "
and two " men " -J^ to drag it).—1694. ^g& KOKU, " the hub of a wheel." Eemember
it by means of the commoner character sK» " cereals," also read KOKU.—1685. mE tada,
jLta sfy+ P*
" merely."—1686. JfH? KEI or tazwaeru, " to carry," " to take."
WRITING LESSON. 291
— m w
1427 1417 1108 1398 1388 1380
* I
1432 1422 1412 1403 1393 1383
i
•292 NINTH SECTION.
1487
jit
1477 1467 1457 1447 1437
1450 1440
Jfc
1482 1472 1462 1452 1442
1543 1535
\ 1526 151G 1506 1496
1544
-I 1^
1536 1527 1517 1507 1497
A
1545 1528 1518 1508 1498
1587
1588
1579
1580
1577
1578
1467
1468
•J
1557
1558
1547
1548
1589 1581
* 1569 1559 1549
1590
Jfc
1582 1570 15GO 1550
B4-
1591 1582 1571 1561 1551
1593
k1584 1573 1563 1553
644
I'J
1634 1624 1614
J&. ft
1606 1597
h
1645
VUlh
1635 1625 1615 1607 1598
>
1641 1631 1621 1612 1604
F§ ^oP ffl
296 NINTH SECTION.
Plf
1677 1668 1658
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u
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ft 1B:
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tt-
ZAYUMEI.
(KENSHO BosHti.) USOKU SAIO.
(Hitotsu.) ICHI 100 kikite JD zoo s/«uv« *t-« yasuku ; JO ;t'o sldrite ICHI zoo okonau wa katashi.
(Hitotsu.) Sake wo musaboru mono wa, I ?oo SON/'J / ZAI rei z/oz« >/<wto zoa, /zone zoo GAISM.
(Hitotsu.) Okonai wa, yo to utsitre; kokoro ica, toki to kawaru koto nakare.
(Hitotsu.) Kiichi ni f\KUsuru wa moroku ; kokoro ni chikan ^va katashi.
(Hitotsu^ GIMU to KWAHzureba, kurushi. KENBI to satoreba, tvnoshi.
(Hitotsu.) BOTA-WIOC/U' mo<o tana ni nashi. Tana ni irete, Jtajimete ari.
(Hitotsu.) Tsutomuru toki wa, TA too ivasurete tsutome ; SHOKUswrz* toki iva, TA too wasureie
9HOKUS/U / inuru toki wa, TA too toasurete ine-yo !
300 TENTH SECTION.
NOTES.
§^i*fc ^ _ i-f-g
-SW 3w " Yorozu CHOHO," having offered a prize of $ 100
~isl .Tl~
egrns in Kana-majiri style, to make altogether not less than
eighty, not more than one hundred characters, a large number were sent in, and on the 20th
March, 1898, the eleven best were published in a special literary supplement. The piece here
printed took the prize. AVe reproduce it by courtesy of the editor.
ICHI wo kikite JD wo shiru is a proverb that has already been noted in these pages. Another
proverb alluded to in the "Maxims" 13 UN wa TEN ni ari, BOTA-woc/ti wa (ana ni ari, "Luck is
in Heaven's keeping, rice-cakes are on the shelf," as much as to say that things are in the hands
of fate and must be taken as they come. A kindred saying is Aita kucJti ni BOTA-moc/n',
" Bice-cakes to an open mouth," i. e. " unexpected gain."
ZAI ni you, etc. seems to mean that he who wallows in wealth will injure his health. The
writer has been carried by the search after " parallelism " ( rjeM" 'p J TSUIKU) into what is either
^ -^ ^ > ^ . Ifc - yfc^^ ^^•~ J 9 V-J
obscurity or tautology. Iff* *yR *jtt£ :£c\ is a mere pseudonym assumed by the writer,
whose real name is MatsiiJbara Nishiki >p/£
1^^
EASY MODE11N PIECES. 301
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302 TENTH SECTION.
90 ^ S ft ft
H, KOKAI to li, SAKUSEN to U, 771WIO GAKUJUTSU-TEKI 910 CHIRYOKU WO IQSUTU mono HOrU «t,
tvaga NIHON JINSHC ni wa JUBUX nl kore wo BIKAI sum no CHIRYOKU aru mo, SHINA JINSHU
ni lua kono CHIRYOKU wo kaku. Kore MAISKN mina yabururu ymn iiarazu ya ?
hi UklOHI CHO "RAKUTEN RoKU " J/Ori BASSUI.)
NOTES.
1. This piece is borrowed by permission from a work by Mr. Taguchi Ukichi, a well-known
political economist and journalist, the simplicity and directness of whose style is much admired.
His literary labours include the publication of the best Japanese biographical l~i t^
dictionary, and of a small but highly useful encyclopredia,—titles given in the margin. S\.
He has also been a member of the Imperial Diet during several sessions. His
ill f •1"~T*
literary pseudonym is Ift* WT TEIKEN. _^ I
flC-l^
2. Sldt'igaite : — so printed in the text in strict conformity with the grammar of '101
the Written Language ; but Colloq. shitayattti is more usual in reading. — 3. SJiibal, ^f *.. A
written r^ H^ lit. " turf dwelling," and still the common term for a " theatre," Ep -^p|
preserves the memory of days when Japanese lovers of dancing and marionette —f*-
performances sat out on some grassy sward or some dry river-bed to witness them.
The word koya, " hut," which often serves to denote a theatre, points to an almost
equally primitive state of things, when theatres were but flimsy temporary structures rigged up
for a few days, such as may still occasionally be seen in country towns.
4. Sorai or Bussorai (A. D. 1666-1728) was one of Japan's most eminent Confucian scholars,
the contemporary and rival of Hayashi Doshnu, who was philosopher en tltre to the
Shogun's Court. When the latter endeavoured to save the Forty-seven Eonins from
being condemned to the performance of harakiri, Sorai it was who insisted that such an
acquittal would entail social and moral anarchy, and he carried his point against the
popular heroes. His various designations Avell exemplify the labyrinthine state of the
Japanese system of names, which is set forth under that heading in " Things Japanese." His
I—I ' 1 1 *" j * j,
"kabane" ( r* ) was Mononobe, his surname ( frt "¥*, ) was Oyyu, his personal
(" Christian") name or "JrrsuMYO" ( pf -^^ ) was SQmatsu, his " ZOKUMtO" ( •T^y
^5l ) or common name was SOEMON, his " azana " ( ~f~) or nickname was MOKEI,
his "Go" ( TOT? ) or literary pseudonym was SORAI, and not improbably he had
other designations yet. He is often mentioned in literature as BUSSORAI, which
>f£ji£
Kl>
A-f-* word is formed by" putting' together the first character ip/7l
• I « St~t ^tvtf t/J
BUTSC of Mononobe, and
JH Jtyfc •— Sato Issai (A. D. 1772-1859) was philosopher en tltre to the Shogun's
Court.— Interesting details of the Japanese Confucianists will be found in Rev. Dr.
G. W. Knox's study of the Subject in Vol. XX. Tart I. of the " Transactions of
the Asiatic Society of Japan." That the Japanese Confucian scholars eclipsed or
even approached their Chinese contemporaries, is a thesis which, we imagine, none
-/•••' but Japanese would be found to maintain.
•~* 5. Shiru-leshi. This construction exemplifies the influence of Chinese on
Japanese style. The natural way for a Japanese to express this thought would
be Shina no BUMMEI .... CHOJO !<}>itaru koto nan to sldru-lesln ; but the inversion
EASY MODERN PIECES. 305
a la chinoise has come to sound more elegant.— 6. Taru, 1st. conj. =Colloq. tariru, 3rd. conj.,
" to suffice," i.e. " to be able," " capable." —7. Instead of BAKUSHU, we might read these
characters tiiru —8. Wakaru, here not " to understand," but having the more primitive sense of
" to be divided," " to run off on different sides," hence " to turn or depend upon."
&
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306 TENTH SECTION.
YUME NIKKI.
(DAI JCHI-MAI.) Koda RoJtan.1
Kyt> yori yume too hi-bi ni sldruaan to omou. Ywne narade ivi, ima hata ngni wo kg sJdru-
san ? Sldrusu-beki liodo no koto wo ima wa shi-idaehi mo sezu, sld-idasan to mo sezu. Kute, nete,
kogane mote kawanu asobi nomi shite, amareru inocld wo oshi to mo omowanu kawari ni wa, suteyo
to mo omoivade ; tomo nasJii, KYODAI nasld, tsiuna-ko nasld ni Jeufasu1 mi nareba, naku mo wa-
rau mo mukashi ni narinu. Koi mo urami mo utsutsu-yo ni wa nazld. Tada yume no veld ni wa
•mo yoi koto ari, loarui koto ari. Inocld aru ue wa, manukarenu teutons to shite, hito no osamuru ZEI
to mo iu-beki mono-omoi wo mo e-shirenu3 mono ni sascigu. Sareba suga-no-ne no* nagaki Jiaru no hi,
aruwa nezame-gachi naru aki no yo wo, tabako bakari notnite mo orarenu mama,—kyo yori wa, yoru
no yume wo akatsuki no kaze suzusldu kayou* mado no moto ni sldrusld; Idru-ne no yume lua, tomoshibi no
cldrateuku ni oi no me no hana ni mnyou to mo,* sono yoru sldrusliite ; yume no uchi nite waga suru
sMbai' wo, ftamete no waga mi ga mi-te ni narite, ICHI-NEN SAM-BYAKQ-ROKU-JD-QO-NICHI ugokazu sa-
'razu ni KEMBUTSU sen to su. TAKUSHA ga oaamaru no, ofsamnranu no no MENDO mo naku ; &ODAI ga
takai no, yaxui no no RON mo naku ; DAI no Idiki wa Idtori aredo, sore ni MAKU yart? no SHIMPAI mo
iranu, sate sate SEWA no nai yoi sldbai kana ! KYOGEN wa " Yume NIKKI hitotsu CHOcnO." Ogyd !
ogyd ! no SAMBA kara liajimatte, warqji de deru ucld-dasld no do-don-don ga donzoko no yoshi*
Yumewaka shirusu.
any disputes concerning the price of seats, by any anxiety concerning the gift of a curtain, even
though I alone be the chief patron ! The play will be entitled " A Dream Diary or the Single
Butterfly." Already I hear the hero's first puling cries. Soon he will leave his nurse's hands,
and march forth into the world ; and let the last act be the merriest of all, when, amidst loud
tom-tommings, the audience is cleared from the hall ! Such are the lucubrations of a dreamer.
NOTES.
1. lloliau, the author of this piece, is one of the leading novelists and feuilletonists of the
day, much admired for his lively imagination and for a style which continually prepares delight
ful surprises. Our extract, one of a series that appeared in the " NICHI-NICHI SHIMBUN " in
1898, has been borrowed by permission of the publishers.
2. £f V t** properly SEIKWATSU, " livelihood," here offers a good example of the
—«-» t II
way in which the Kana is used to alter a reading. The final ^ alone would adumbrate the
fact that kurasu, " to spend one's life," is the reading to be here selected ; but as many even
among the Japanese might be perplexed, / fa is put alongside to obviate all possibility of
doubt. Af» • — \\T\
"I** below might be read SEIMEI, but inochi is here more elegant, jte"X 3>d j&a
\/J might
be—is properly— GIMU ; but here again, the author prefers the simpler Japanese reading, and ac
cordingly indicates it by means otfuri-gana (Kana placed at the side of a character to show its
reading). — 3. E-shirenu, lit. " cannot know." Potentials thus formed by prefixing -fiat belong to
the language of bettes-lettres. But in this context we must translate into English by the simple
negative indicative without " can." The following mono is sfb not JFyl. that is to say, it means
" person," not " thing : "— the author has neither wife, nor child, nor friend, so he dedicates his
thoughts to the unknown public.—4. Siuja no lie no (suga — suge) is the "pillow-word" for
nagai, " long," and cannot well be rendered in the English translation. The fundamental idea
of it is a comparison of anything long to the long roots of the sedge.—5. -jrm with /l^ as
sute-gana (the Kana written after a character to indicate its termination) would be torn, with
^ tosit ; the ~J here shows that the less common reading Iwyou (~jj -^ ^ ) must be
selected. K might well have th&furi-gana ^ [» to show that it must here be read
moto rather than shita.—6. Hana ni mayou, etc. : —the idea is that the flickering of the candle
looks to him like flowers,—a dainty conceit such as Japanese literature loves to indulge in. —
7. J HH ESJI ENGEKL The Japanese reader does not requirefuri-ganu to read this as sldbui.
(mi-te), the characters here mean lit. " looking guest." 3F w? HAIYU is the
Chinese term for an actor. One may read it off as YAKUSHA (/f^ XT?)> *he common word for
a " play-actor," for the sake of easier comprehensibility.—8. MAKU yard, etc. The patrons of a
theatre or of a special actor often testify their appreciation by the gift of a curtain for the stage.
Considerable sums are expended in this way, and the number of curtains possessed by
Japanese theatres is often so large that several are displayed between each act.
308 TENTH SECTION.
9. The difficulty (to foreign students) of the last two or three lines of this piece comes from
the allusions contained in them,— all perfectly familiar to the Japanese. KYO-GEN wa " Yume
NIKKI liitotsu CHO-CHO," lit. " the play is the Dream Diary, the Single Butterfly," is an adaptation
of " Kuruwa NZKKI/«tofe« CHOCHO," the title of a well-known drama founded on the amours of,
two men called respectively Chokichi and Chogoro. The first syllable of the names of each
taken together, makes CHOCHO, " butterfly ; " and " butterflies " and " dreams " are two ideas
constantly associated in Far-Eastern fancy. The titles of Japanese theatrical pieces deal con
stantly in such plays upon words, allusions, and various conceits, in which terseness of expres
sion is much sought after, and are therefore apt to be untranslatable. Ogyd ! is supposed to
represent the first cry of an infant when born, and is therefore applied to the beginning of any
thing. SAMBA contains another play upon words, as it signifies " midwife " (an idea suggested
by the infant's cries), and also suggests SAMBASO, an ancient dramatic prelude which is still
daily performed as a semi-religious introduction to the day's entertainment at all the theatres
of the empire. Notice the connection of ideas between " infant's cry," " midwife," and
" prelude." Waraji de derit is to "become a man," " to enter life." Uchi-dashi is the " end," the
"drumming out," such as marks the conclusion of the piece. Do-don don is an onomatope for
the beating of the dram. Donzoko is the very bottom or end of a thing. No following it must
be construed as ga or wa : " the very end is good,"—a finale reminding one of the medela>ihi !
mcdetaslti! (more or less = " and they lived happily ever after") of the old fairy-tales. Waka
is a termirnation of several celebrated personal names, as Umewaka, Ushiwaka ; so the author
here applies it to himself. —It will be perceived that these last lines of the Japanese are more or
less a farrago, founded on jeux-de-mots with but a slender thread of meaning. Such a manner
of writing is constantly practised by popular writers ; and an attempt must be made, not indeed
to understand each sentence logically,—that would not be possible,—but to enter into the spirit
of that peculiar sort of fun in which the Japanese take pleasure.
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EASY MODERN PIECES. 309
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SHI wa naiftt wo matte bata wo pan ni nurite kuraii. Pan wo kurau koto hito-kucli iti shite,
SHINSHI wa sara ni NIKU-SCM/W wo motte GYDNIKU wo kurau. Kaku shite SHINSHI wa QOSAN wo
owarinu. GOSAN wo owaritaru told, KISHA masa ni TEisHA&a ni TASshi-kereba, SHINSHI wa kaki
NI-KO wo kaite kurainu. Kedashi SHOKUGO KWABUTSU wo mochiyuru wa, sukoburu I ni TEKISUTU
wo motte «art. Kaki wo kurai-owarite, SHINSHI wa kami-ire no naka naru utsukushiki chiisaki
fukuro yori fezcma-YOJi wo tori-idasldte, tsukai-tamau. YOJI wo tsukai-owarite, SHINSHI ira Ma-
nira no hamaki wo tori-idasld, YCvD to sid-tamau. Kono SHINSHI SAN-SHU no tabako wo sui-
tamau nari. Ana ya ! ozoku mo mi-otosan to sldtavi-keri :— foKEi, yubi-wa, megarte no Jioka ni,
ima hitotsu no KIN koso are! TOKUSHA wasure-tamau-n,a! So ica SHINSHI no on Jia nari.
Kdkute SHINSHI wa, Manira wo sui-nagara, mala kaban no naka yori ICHI-MOTSU wo tori-
idashinu:— KOSUI-BIN kore nari. Aa ! ware wa Jiaya kaki-tsvkaretari. Ato wa, tada SHINSHI
no mochimono wo BEKKI sen :— iicaku hankcchi, iwaku kagami, iwaku kushi, iu-aku mimi-kaki,
iwaku tsume-tori-basami, iwaku nani, iwaku nani. ( " Yomi-uri SHINBUN " TENSAI.)
An up-to-date gentleman, who got into the second-class car at a certain station, had on a
tall hat and an Inverness cape of diagonally striped stuff, on his removing which there appeared
a yellowish gray overcoat, and oh ! the showiness of the stripes adown his pantaloons ! As
for the larger of two valises and his tall hat, he was pleased to place them in the rack.
A smaller valise he hugged with his right hand ; and having spread a shawl on the seat, sat
leisurely down, and put on a cap which he drew from the pocket of his overcoat. No need, I
hope, to mention his umbrella, gloves, etc. The glasses of his gold-rimmed spectacles were of
pale " London Smoke " colour, but not apparently suited to any special defect of vision. So far
as rings were concerned, he wore on the little finger of his right hand a gold one with some
precious stone, and on the fourth finger of the left hand a plain circle of agate.
"When his overcoat was unbuttoned, the sparkle of gold appeared again, —a gold chain and
heavy-looking watch, having pulled out which and gazed at it, he muttered fussily that the train
was three minutes late in starting. When the train did begin to move, he took out an air-pillow
from somewhere or other, and having inflated it and placed it against the window, lent his
head back, and struck a wax match and set to smoking a " Cameo " cigarette. The cigarette-holder
no doubt also had some special name. When the train had passed two or three stations, our gen
tleman felt in his pocket for the " Traveller's Guide," after gazing at which he began smoking
again. It was not a "Cameo" this time, but some foreign tobacco whose name I could not tell,
which he himself deigned to roll with the help of a machine. A few more minutes passed, and the
train came out on the sea-shore, whereupon our gentleman instantly pulled out the most elegant
of opera-glasses to spy where the islands wore. Soon it was midday, and so the passengers bought
812 TENTH SECTION.
Japanese food in little boxes. Not so our fine gentleman. With suave deliberateness did he
open the smaller of his two valises, and extract therefrom half a pound of bread. What, per-
adventure, might be the two tins—one big, one small—brought forth at the same time? I looked
to see. An instrument resembling a chisel was drawn by our gentleman from the bottom of the
valise, wherewith he deigned to cut tho lid of his tins in an off-hand manner. The big one contained
beef, the small one butter. Thereupon our gentleman stood up to search in the larger valise,
and drew therefrom a bottle of beer. With a corkscrew and a glass he was of course provided.
Having gulped down some beer, he buttered some bread with his knife and ate it. Having
swallowed down the bread, he made a fresh start, taking up the fork to eat his beef. On such
•wise did our gentleman conclude his luncheon. The train happening to reach a station just as he
had concluded it, he purchased and ate two persimmons : —for you must know that the enjoyment
of fruit after meals is a thing highly favourable to digestion. When he had finished his persim
mons, our gentleman used a toothpick which he took out of a pretty little bcig in his pocket-
book. When he had finished picking his teeth, he took out a Manila cheroot and smoked it
leisurely. No less than three kinds of tobacco did he smoke in all. Oh ! but what a dullard I
am, so nearly to pass things over unnoticed ! Why ! there was more gold about him than his watch,
his rings, and his spectacles. Reader, forget it not ! It was his lordship's gold tooth. Well, as
he smoked his cheroot, he pulled forth yet something more from the interior of the valise, — a
smelling-bottle. Oh ! I am tired of writing by this time. All I will do for the rest of our
gentleman's possessions is to enumerate them, — viz. his handkerchief, viz. his mirror, viz.
his comb, viz. his ear-pick, viz. his nail-scissors, viz. his what's-his-name, viz. his what-d'ye-
call-em.
(Taken from the " Yomi-uri SHIMBUN.")
NOTES.
This piece is reproduced by kind permission of the " Yomi-uri SHIMBUN." Observe the
vein of irony—not always easy to reproduce in English—of the wording, as exemplified in
the repetition of the word SHINSHI, " gentleman," and more particularly in the repeated use
of the ultra-honorific tamau, " to be pleased to do," " to deign." Ommnuro, .t*ri too, here
rendered " suave deliberateness," is a Classical expression applied to such things as the
rising of the moon, and too grand for this occasion except in satire. The same might almost
be said of the Classical future imruran, while the on lia, " august tooth," near the end is open
mockery, or, as the Colloquial Japanese phrase runs, Into u~o VA.lca ni sum.
- + III! • * wff
The rendering given of ,/-* fcS TT-^ as " a circle of agate " is a bow drawn at a
venture, enquiries at the largest jewellers both in Tokyo and Yokohama as to the exact
nature of the ring in question having been unsuccessful.—Paipu comes of course from our word
" pipe ;" but it has assumed in current Japanese the signification of cigar or cigarette
EASY MODERN PIECES. 313
holder." Koppu, which has come to be employed not " cup " but " glaps," is another instance
of such change of meaning.—Sudare, properly " a bamboo blind," is also used by smokers
to denote a certain kind of little machine for rolling cigarettes.
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314 TENTH SECTION.
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BOSHU IK-KEN NO KI.1-
(^£B^l KOSON.)
Waga ISHIN DOTAi TZO fomo RyCSEN KOJI 2 </a BYOKO no susume ni norite, BosHD IK-KEN too
omoi-tachitaru ni, DOKO' no toino yo-tHEi mo tomo ni shio-Tcase ni fuki-kuromaran no negai nite
tachi-idetari. Sono micld-yiiki no JUNJI 200 icbv, GOZEN BHICHI-JI ni EcniZEN-Aoj-i1 no BOsnO
KYORITSU-GWAISHA ni itari ; Tcore yon BosnC-j/ayoi no JOKISEN ni tsumi-komaretari. Moto yori
kono fune niuOTSU ivo onto ni shite, Mto ivo nosuru wo motte moppara to sezareba, JOTO KATO
no KUBETSU naku, tada osld ni oshi-komite, ZUIBUN no ZATTO nari. Ware-ware IK-KO no m'Morsu-
zoroi mo, QETA wo sage, tmtsumi wo otaru Mto to, awa ya ! DOSEKI sen to shitarishi ni, SENCHO
no nasake nite sono Jteya wo kasld-ivatasaretareba, SAISEN lua onaji JIS-SEN naru mo, tachimachi
JOBON JOSHO no BAKU wo uJce ; Icanete YOl no biiru nado ton-idete, futatsu miteu kotoba. wo
majiyuru itcJii, haya migi Jtidari ni me wo Jianateba, Shiba-ura mo sugi, VAiba mo koshitari.
Ima made wa soyo to mo naki kaze mo, sasugn umi no ite tote suzushisa, iivan kata mo naku,
"Haneda no oki yo ! HOMMOKU yo ! Fvrtsu no D&iba no miyuru wa ! " to sakebu uchi ni, fune wa
shizuka ni nami wo yaburite, Nateusldma Sarusldma ivo migi ni mite, Uraga WAN ni iri,
shibaraku ashi wo todomureba, koko kashiko yori kobune wo kogi-tsurete, " Sushi wa ! " " KWASHI
wa ! " to uri ni izuru mono osld. Fune no KYAKU toa awatadashiku koko ni hiruge wo
EASY MODERN PIECES. 315
shitatame; mata nori-ori suru mono mo ari. Kore yori nami sukoshi arakeredo, sashite DOYO
wo dboyuru liodo ni mo nashi. Me wo tatete mini to, KWzeshi Nokogiri-yama makoto ni
nokogiri no gotoku naredo, Suzume-jima* ni ima wa suzume okarazu. Fune iva Hoda (NoTco-
giri-yama nofumoto nari) too Jiajimete, Kachiyama, Tadara, Funakato, Nalco, nado ni KIKO
shite, WZ'MOTSU JOKAKU im age oroshi, GO-GO GO-Ji goro ni Tatcyama ni wa, tsukitari. Kono atari
no WAN ivo Kagami-ga-ura to tonoru yoshi nite,—maruku, kagami no gotoku, SUIMEN akiraka ni
shite, nami shizuka narcba, KAISUI-YOKU wo nasu ni wa mottomo TEKITO no hamabe nari. Tate-
yama tea, HOJO to tonarite, KOSU GO-HYAKU GO-JU YO-KO, JINKO SAN-ZEN ni cldkasld. Hi-bi
KISEN no OFDKU aru tame, ZENKOKU no BUKKWA ofcu koko ni atsumarite, HANJO nari. HOJO too,
KOKO tomo ni Tatcyama ni oyobazaredo, GUN-YAKUSHO, KEISATSU-SHO, CHIAN SAICANSHO, BYOIN TO
ari ; FUGO no ie mo oki YOsu nari. Tateyama wa, Satomi Yoshiyasiir' no shiro-ato nite, KINSEI
Inaba SHI no JIN-YA arishi to. Ima sono ko-dakaki tokoro ni noborite nagamureba, iri-hi wo
arau oki-tsu-nami koga.no no gotoku kagayakite, KIKWAN iu-bekarazu. Mazu kono tabi tco omoi-
tadiitaru kai ari to yorokobite, Kimura-ya to in KAPPO-TEN ni itari-tsiikcba,, azarakcki mco wo
CHOjite, kazu-kazu susumuru naka ni mo, " old-namasu " tote, kochi wo hone-gurumi ni yoku tataki-
te, su-miso ni aetaru wa, km-M ni mezurashiku, mii/ako no teuto ni mo to iitashi. Kono CHI
wa, TOKYO yori wa iku-DO ka atsusa mo masan to KAKUGO shite idetaru to iva chigai, umi yori
fuki-okuru kaze suzuslnku ; yo ni irite wa, kare-gare ni tobu hotaru, kuina no koe no magaki ni
chiknki mo omomuki ari. Umi wo koshite kono CHI ni kitari, kono KYOMI wo shimuru mono
tvare-ware IK-KO nomi naran nado hokoritaru ni, omoiki ya ! saru KIKWAN wa KAZOKU EOKU-
BHicHi-NiN ico tuzusaerare, ZAIYA no MEISHI nanigashi mo JUBOKU to tomo ni kono EYOTEI ni
ari. " Sate mo asobi-dokoro wo erami-tamau koto ni via, satoki koto yo ! " to hisoka ni shita wo
hakinu.
Accepting the proposal for a trip made by my friend Ryusen Koji (lie and I are one body
though two souls), I resolved on taking a peep at the province of Awa ; and four of our set started
off with us, anxious to share in the bronzing to be gained from the salt breezes. The order of
our going was as follows. At seven o'clock in the morning we presented ourselves at the Boshu
Union Company's office in Echizen-bori, and were there packed on board the steamer which does
the Awa trip. This steamer, as a matter of fact, is more a cargo-boat than anything else. So
little account does she make of the passenger traffic, that there is no distinction of classes on
board ; it is all hustling and jostling,—a dreadful confusion. Our own party, pack and sack,
were about forsooth to share the accommodation of peasants carrying their clogs in their hands
and parcels round their necks, when the captain kindly lent us his cabin, so that for the same
ten cents in the plate we suddenly found ourselves lifted to the seventh heaven of delight.
316 TENTH SECTION.
The beer and other things with which we had provided ourselves were brought forth ; and
hardly had we begun chatting, when a glance right and left showed that we had passed the
shore of Shiba and got beyond the forts. So far there had not been a breath of wind ; there was
now only enough to show that we were at sea, and most deliciously cool it was. Amidst shouts
of " Oh ! that is the offing of Haneda ! " " Oh ! there is Hommoku ! " " Ah ! I see Futtsu fort ! "
the ship gently cleft the waves, and leaving Webster Island and Perry Island on the right, en
tered Uraga Bay, where a short stoppage was made, and small boats rowed out from all sides
to the ship, bringing vendors of fruit and of rice and fish-balls. The passengers here hurriedly
partook of luncheon ; some too got out, and new ones came on board. After this the waves grew
rather rough, but not sufficiently so to make one feel any particular motion. Sharp eyes could
make out that Nokogiri-yama, notwithstanding irregularities, is truly shaped like a saw, but could
not discover many sparrows now on Suzume-jima. The ship called in at several ports, begin
ning with Hoda at the foot of Nokogiri-yama, then Kachiyama, Tadara, Funakata, and Nako,
taking up and setting down passengers and cargo, and about five o'clock in the afternoon arrived
at Tateyama. It seems that the bay here is called Kagami-ga-ura. As it is round and like a
mirror, the surface of the water clear and the waves smooth, the beach is specially well-suited
for sea-batliiug. Tateyama, adjacent to Hojo, is a town of over 550 houses, with a population
of nearly 3,000. The quantities of merchandise brought here from all parts of the country by
the daily steamer traffic give prosperity to the place. Hojo, though inferior to Tateyama in size
and population, boasts a district office, a police-station, a court-house, and a hospital, and
appears also to have a number of wealthy dwellings. I was told that Tateyama was formerly
the castle-town of Satomi Yoshiyasu, and more recently the seat of the Inaba family. On climb
ing the low hill whore their castle once stood and looking around us, we had an indescribably
grand spectacle of the waves out at sea, sparkling like gold as they washed the setting sun. De
lighted at the good result so far of the trip we had proposed to ourselves, we went to an eating-
house called Kimura-ya, where they cooked us some fresh fish and recommended various other
dishes, especially one which they called oki-nautasu. It consists of raw ox-tail fish well-pounded,
bones and all, and served up with a mixture of beau-sauce and vinegar, and tastes so delicious
that I wish I could send some of it home to Tokyo as a present.
We had come prepared to find this locality several degrees hotter than Tokyo. But on the
contrary, the breeze blowing in from the sea was cool ; and when night fell, it was quite
poetical with the fireflies flitting hither and thither, and the note of the water-rail close to our
fence. We had prided ourselves on being doubtless the only party who would cross the sea and
seek out this spot in order to obtain pleasure of it ; but lo ! and behold, staying at the inn was
a certain high official accompanied by his family of five or six persons ; also a well-known man
in private life with a retinue of servants 7. So we silently grinned at the quickness of these
great folks to pick out the best places in which to find amusement.
EASY MODERN PIECES. 317
NOTES.
1. Except for a slight vein of fun,—too slight to reproduce in a translation,—the style of
this piece is perfectly simple, and offers a model of easy narration. The " Mura-take," or
" Bamboo Grove," from wliich it is taken, is a collection of this author's travelling notes, sketches,
and short stories. His real name is Aeba Yosaburo ; but literary pseudonyms, as already
explained, are the fashion in Japan, and to readers at large he is known either as Aeba Koson
or as Takenoya Shujin. Our thanks are due to him for parmission to make use of this piece,
of which we have, however, omitted the final chapter. —2. These first seven words are the most
difficult of the whole extract. JpjpL A\ [pi fti? (or C& ^or s^01*) (7) ~/5L means smiply
the author liimself ; for though each man has but one body, which of us but does not feel in
himself two souls? Sometimes they pull in different directions; sometimes, as here, one
persuades the other. 1}B Isi FB ~"r* > the a^er e?°'s name, offers a good example of a
tJ Li xXv /|_| —L.
literary pseudonym, the " dragon's spring " containing, we believe, some Chinese literary allusion,
while for /• H£
~ B —r*
^ m ^ . see* Hepburn
^_ ^ or Brinkley.
L In other compounds /F& m _ M is more often read
KYO than KO.— 3. ml "iff " the same liking," " people sharing the same tastes," belonging
to the same coterie.—4. Echizen-bori at Eeigan-jima in Tokyo, near the mouth of the Sumida,
is the starting-point for the various uncomfortable little steamers that ply across the bay and up
the rivers, dul \f 'pi* Tiff" is lit. "the standing together company."— 5. The translation
^~\ . " • t4 '|LJ-»
cannot render the play on these two proper names. The word me, too, refers to the " teeth "
(Jap. " eyes") of the saw as well as to the eyes of the spectators.—6. Satomi Yoshiyasu, who
flourished in the sixteenth century, was lord of broad acres in the peninsula that shuts in Tokyo
Afry^ /cf:?
"yC '1JB " HAKKKNDEN," or " Tale
of Eight Dogs."—7. Or " with his valet." In German it might ba rendered by mit Dienerschaft,
leaving vague the question as to whether there were many servants or only one.
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318 TENTH SECTION.
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EASY MODERN PIECES. 319
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BOSHU IK-KEN El.
(SHOZEN.)
EAISUI tco otite Id ni sarasu koto nareba, o-mekashi no RKNJO mo tada ICHI-NICHI nile hito-
shibu hikaretari. Saredo, TOCHI no hito no ni-nurl no gotoki ni kurabde iva, nao Azumi-otoko
no SHIKAKU wa ushinaioazaru-beshi. Kaku KENKO-iro to naritaru kara ni wa, Jtikage nado
eramite, yama no naka ni toji-komoru-beki ni arazu. " Aku made kuroku nitre ya ! mono-domo," to
iu ikioi nite, Jiamabe nomi meguru koto to sadametaredo, ate nasld ni wa hashiri-gatashi. Ko-
minato no TANJOJI ye moden to, Tateyama wo tachi, HOJO yori SHINDO wo Matsuda no kata ni
itaru. DOBO no SHtJzEN yoku todokite, micld aru mi-yo to KOJIN wa mina utau-beshi. FUJI 100
usldro ni shi, mata hidari ni nagame ; oka ni ki no hnetaru gurai no koyama ni sote yuku.
Ta ni wa oitaru wakaki tochi-irite kusa wo torn sono arisama u-o mireba, se nifuruki kasa,
mata iva kire-gomo, sudatv no ddgiretaru nado 100 kake ; naka ni wa, ki no eda wo sa-nagara
mori no gotokic aashi-kazashi ; teri-kagaijaku Id ni ta no mizu wa wakite, awa-dachitaru naka
ni ashi fumi-komi, se wo sarasu kurushimi omoi-yarttrbeshi. Ware-ware no atsusa wa iu ni
tarazu. Mateuda wo de-Jianarureba, hamabe nite QA>fKAi arato nan. Shirasu, Maura, Wada,
nado iu tokoro wo sugite, masu-masu KAICKVN no KESHIKI omoshiroshi. Takaki nami no iwao ni
kakarite, yuki no gotoku cldru wa, BONQWA no gotoku ; hama-kaze no tame ni yoko ni nomi eda
wo sasu matsu no awai yori aoki unabara wo nagamureba, Yamato-E no yold feHON nari to
omoioaru. Koko nite " ZEKKEI ! MYOKEI ! " to liometaru ni, yitkeba yuku hodo, susumeba susumu
ni shitagai, KESHIKI no omoshirosa iu bakari nasld. TAYP-swK to iu tokoro no hidari-te no
yama ni Yoshitsune no noriia.ru MEIBA TAYD-JTMTO no idesJii hora to iu ari. Kono Jiama ni
wa, BATEI-SEKI tote, ima mo uma no hizume no ato aru isld oku ; Jioka ni taete naki tokoro
nari. " Nozomi-tamatoaba, aivabi torn ama ni oserare sorae ! " to, TOCHI no Into magao nite
hanasu. Naruliodo ! kono CHI tea Mineoka no maki no teuzuki nareba, TAYtJ-grwro mo ideshi
320 TENTH SECTION.
naran ga,—Jiora yon arawaretaru wa hora1 naran. Izuko no TOCHI no hito mo ltdkaru
KIKWAI ivarau-leki Mo nomi ico hokori, kaette KESHIKI no yold wa shirazaru ga gotosM. Kore
yori Nabuto to iu tokoro made HONSHU DAMCHI no KESHIKI nari. Kitsune-jima, Yokojima, BEN-
TES-jima, Ajika-jima nadn MCSU no knjima KIFU RARETSU sum naka ni, Yomogi-jima (Nabuto-
jima to mo iu) to iu ari. Kolto ni wa JiSHO2 NENKAN yori Hirano NIEMON to iu mono tada
IK-KE sumite, GYOGYO wo koto to ,sw. Yue ni TOCHI no mono wa NiEMoNT/t?no, mata Shima no
NIEMON to SHOSW. Kono sJtima no SHUI JU-NI-CHO Imlo nite, MENSEKI ROKU-SEN SAM-BYAKU tsubo
bakari nari to. Ika naru sama naru ya, watarite mitakarisld ga, liatasazu. Kore yori Ino-
mura, Maebara, TOJO, Hamaogl wo sugitc, Amatsu ni itnru. Amatsit wa, Kosu SEN-KO ni
amari, JINKO GO-SEN ni oyobu. GYOGYO no iu to mo, kono kuni DAI rr-TO no tokoro nari.
Kore yori Jiama wo hanarete, yama ni iri, ncigasa GO-JIK-KEN to SHI-JIK-KEN Itodo no ionne.ru
futatsu wo kugitri, Kominato ni TASSM. TANJOJI u-a sasuga ni NICHIREN-SHU IT-CHI-HA no DAI-
HONJI dake ante, RITPA nari; tstine ni mo SANKEI oslti. Moto wa KENGE-TAN to iu tokoro ni
arishi ga,—tsunami no tame ni torare, Tac-no-ura ye utsuriftJii ga,—soko mo GENROKU NENKAN
no tsunami ni torare, tsui ni ima no CHI ni KODAI no GAEAN wo KONRYO seshi ga,—KAEI NENJD
SHOSHITSU shi, ima no HONDO u-a cMkagoro no KONRYO nari to wa, ZUIBUN taU-taU no GO NAN ni
kakarishi o tera nari. Tae-no-ura wa ima Tai-no-ura to tonae, SESSHO KINDAN naru tame
tai katsuo nado bleu ; fune nite KEMBUTSU ni maioaru mono, e wo makite funalMta wo tatakeba,
atsiimarite ukami-izuru koto ike no higoi no gotoshi. Mata KKWAN nari.
(" Mura-take")
shaded themselves, forest-wise, with natural branches of trees. I leave you to imagine their
sufferings as the sun beat fiercely upon the rice-fields, making the water bubble, and they
themselves stood with their feet in the frothy ooze, and their backs exposed to the glare.
Our party felt the heat indescribably.
On leaving Matsuda, the beach opened out a new world before our eyes. The scenery of
the shore became prettier and prettier after passing Shirasu, Maura, and Wada. The big
waves breaking on the rocks and falling in spray like snow reminded one of the miniature
landscape-gardens which people arrange in flower-pots ; and the peeps of the blue sea
between the pine-trees that shoot out only horizontal branches on account of the wind from
the strand, suggested themselves as excellent models for pictures in the Japanese style. While
we uttered exclamations of admiration at the beauty of the scene, it grew more and more
unutterably delightful, the longer we walked on and the further we went. In a hill to the
left of a place called Tayu-zaki is a grotto, whence Yoshitsune's celebrated steed Tayu-guro is
said to have come forth. In the sea near this strand there are numbers of stones, called
" horses' hoof-stones," marked with the trace of this horse's hoofs. There are none elsewhere.
" If your Worship wishes for some, please say so to the divers who catch sea-ears." This is what
the natives tell you with a serious countenance. No doubt as this place lies close to the
Mineoka pastures, Tayu-guro may well have come from here ; but to derive his origin from a
grotto is of course absurd. Country-folks everywhere seem to have a way of priding themselves
on some such ridiculous marvel, while remaining blind to the beauty of the scenery around
them.
From here on to a place called Nabuto is the finest scenery in this province. Among
numberless other islets spread out like the men on a chess-board,—Kitsune-jima, Yokojima,
Benten-jima, etc.—is one named Yomogi-jima or Nabuto-jima. Here, ever since about the
year 1180, has dwelt a single family,—that of Hirano Niemon—who gain their livelihood by
fishing. For this reason the country-folks call the island Niemon-jima, or else Shima-no-
Niemon. It is said to be about four-fifths of a mile in circumference, with an area of only a
little over five acres. I should like to have crossed over and seen what it was like, but did
not manage to do so. After this we passed through Isomura, Maebara, Tojo, and Hamaogi,
and arrived at Amatsu. This town has over a thousand houses, with a population of five
thousand, and is also the chief centre of the fishing industry in the province. Here we left the
shore, entered the hills, plunged into two tunnels respectively a hundred yards and eighty
yards long, and reached Kominato. Tanjoji is a splendid edifice, worthy its rank as metro
politan temple of the " Itchi " branch of the Nichiren sect, and is constantly visited by
crowds of pilgrims. Formerly it stood at a place called Eenge-tan, but was swept away by a
tidal wave and rebuilt at Tae-no-ura. There another tidal wave swept it away about the end of
the seventeenth century, and an immense temple was erected on the present site ; but this was
322 TENTH SECTION.
destroyed by fire somewhere about 1850, and the present main edifice is of recent construction.
"What a catalogue of misfortunes, poor thing ! The name Tae-no-ura [" the wondrous coast "]
is now pronounced Tai-no-ura [" coast of the sea-bream "], and bream and bonitos are very
numerous here, owing to all taking of life being prohibited, —so much so that when sight-seers
who go round in boats strew bait and strike the gunwales, the fish rise to the surface like
goldfish in a pond. This, too, is a strange sight.
NOTES.
1. This is a play upon words, as hora signifies not only a " grotto," but " boasting,"
" lying." Hora icofiikn is to " blow one's own trumpet," regardless of truth.—2. The period
styled Y ~J& (Jisno) lasted from AD. 1177 to 1181 ; Tr" l& mentioned a little lower
down, lasted from 1688 to 1704, and from 1848 to 1854.
-c a^
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EASY MODERN PIECES. 323
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326 TENTH SECTION.
KEIJU wo BHIKIBETSU shite, hajimete kore ni SHAswrw no ICHI-NEN mo HOKKI su-beshi. Tatoeba,
ivare-ivare ga FUBO no ON tvo SHAshite ari-gatashi to iu wa, FUBO wa shitashiku waga FUBO
ni shite, BINKA no 0-0 ni arazu ; ware ni TAishitc TOKU ni ON arw gra yue nari. Yue ni TENDO
mo TA ni nani ka HIKAKU su-beki mono arite, kono TEN wa hito ni KAncm, kano TEN 100, hito ni
FUKA nan to BYO-RYQ ai-narabi, NINGEN wa saiwai ni kano FUKA naru TEN wo satte, kono KA-
naru TENDO ni SHIHAI seraruru to areba, aruiwa TOKUON to shite SHAsu-beshi. Mata aruiwa hi-
toshiku NINGEN nite ari-nagara, kono ICHI-BU no hito ni wa TEN-ON atsuku shite, kano ICHI-BU
fit usushi to areba, sono KO-ON ni YOKUSMJ-M mono wa TOKU ni suAsu-beshi to iedomo, ware- ware
no KWANZWU tokoro wa, YUI-ITSU no TENDO aru nomi ni shite, sono KUDOKU wo oydbu tokoro
ni Tcatsute KOHAKU aru wo mizareba, TOKU ni SHA?«r« ni yoshi nashi. Aruiwa shikarazu shite,
KOHAKU no 8ABET8U an to sen ka? SHUON ni YOKUsAife, HAISHA suru mono aru to DOJI ni,
IP-PO ni iva kore ni morete, EMBO suru mono naki wo ezu. Tur-rrsu FUHEN no TENDO, SHAsen
to shite, BUAsu-bekarazu ; uraman to shite, uramu-bekarazu. Kore, sono KODAI naru yuen ni shite,
ware-ware NINGEN no BUN to shite, aete kore wo HAISHA sezaru wa, EMBO sezaru ga yue nari
to shiru-beshi.
Mata aruiwa NINGEN ga NINGEN no SEI wo ukete, kono yo ni umaretaru iva, ari-gatashi
nado iu mono aredomo, moto yori MUKEI no RITSUGEN ni shite, kiku ni tarazu. Sono NINGEN
to wa, AN ni KINJU 100 HIKAKU ni tori, iyasldki KINJU narazu shite, tattoki NINGEN ni umare-
shi wa shi-awase nari to no IMI naran naredomo, kore too slii-aioase nari to sureba, SEKAI-CHO
nani-mono ka shi-awase narazaran ? Vivo ni mukatte, " Nanji wa mushi narazaru ga yue ni sai
wai nari " to ii ; tori ni mukatte, " Nanji wa uwo narazaru ga yue ni KOUN nari " to ii ; neko
ni mukatte nezumi no FUKO wo toki ; inu ni mukatte neko no MURYOKU too awaremi ; saru ni
mukatte usagi no GU tco warau ga gotoku sureba, KO FUKO no sOi SAIGEN aru-bekarazu. Chi-
kaku wa NINGEN ai-tagai no uchi nite mo, SAN-JIS-SAI no DANJO ni mukatte, " Nanji wa SHI-JIS-
SAI ni arazu ; ZENTO nao nagaku shite, saiwai nari " to ii ; SHI-JIS-SAI no hito ni mukatte wa, GO-
JIS-SAI wo HIKAKU ni tori ; GO-JtJ ni ROKU-JC wo ii, ROKU-JD NI SHIOHI-JD wo ii ; HACHI-JD KU-
JU, SHI ni itaru made, ZENTO nao nagaku shite, shi-aioase narazaru mono wa nakaru-beshi. MU
KEI ni arazu shite, nanzo ya? KYOSHIN HRTKT ni kangoreba, NINGEN no NINGEN ni umaretaru
wa, uwo no uwo taru ga gotoku ; tori no tori taru ga gotoku, mata SAN-JIS-SAI no DANJO ga SAN-
JIS-SAI laru ga gotoshi. TOKU ni yorokobu-beki ni araxu, mata odoroku-beki ni arazaru nari.
TENDO hito ni KAnari, TENDO BAMBUTSU ni TEKISM. Sunawachi TENDO no TENDO taru yuen
ni shite, TOKUSHU no SHION ni arazu. TENDO moshi hito ni KA nanarazu shite, mono ni FU-
TEKITO naron ni wa, kono CHIKYU-MEN ni ima no NINGEN BAMBUTSU wa SONZAI su-bekarazu,
— ina / CHiKYtJ sono mono mo GENZAI no arisama ni aru-bekarazaru ftazu nari. Sareba TENDO KA-
naru ga yue ni mono no SONZAI suru aru nomi. Mono no SONZAI suru ga yue ni tote, TENDO
TOKU ni KAnarw ni arazu ; mono wo mite koto-sara ni HI-IN suru ga gotoki wa, NINGEN-KAI no SA-
TA ni koso are. Kakaru SHOSAKU wo motte TENKO wo Iiakaru wa, imada sono DAI-KIKWAN no
828 TENTH SECTION.
DAI ico shirazaru mono nari. TENKI no KODAI Jcatsu MUHEN naru, UCHU no BAN-YU ono-ono
sono tokoro wo ete, MURYO EMMAN narazaru mono nashi. JITSU-GETSU SEISHIN no DAI yori
CHIKYU ico hajime to shite, CHIKYU-MEN no KINJU SOMOKU, KONCHU no BI ni itaru made mo, ivare-
icare JINRUI wo goloki SEISHIN araba, ono-ono JIKA no KYOGU ni yasunjite, kanarazu MANZOKU
no I wo HYO.SWTM koto naran. Mata kore ni MANZOKU suru to DOJI ni, kore ico SHAsuru no MO-
KUTEKI wo ezu shite, YU-YU mizukara oru koto naran. Ikan to nareba, UCHO no DAI-KIKWAN
wa, JITSU-GETSU SEISHIN no IRA no mono wo HORA shite, nokosu tokoro naku ; ICHI-MIJIN mo
KIKWAN-CHU no ICHI-BUBUN ico nashi-nagara, TOKU ni SHASMJ-M ni yoshi naki sono JiJO wa
JINSHIN TAICHU no ZOFU KiNNixu ai-tac/ai ni JINSHIN ico nashite, ai tagai ni sono KORO ONGI
wo suMuru tokoro naki (ja gotoku nareba nari. ZOFU KINNIKU wo kazoe-tsukushite, JINSHIN
naki ni hitoshiku ; BAN-YU wo kazoe-tmkushite, UCHU nashi. BAN-YU-CHD no ixure ga SHU ni
shite, izure ga KAKU naru ya, TOTEi KUBETSU su-beki kagiri ni arazu. Ware-ware NINGEN mo
mata sono uchi no ICHI-MIJIN nareba, mizukara sono BUN ni MANZOKU shite, DAI-KIKWAN no FU-
KA-SHIGI ico KWANj'r, aoide sono id naru wo SASshi, fuslrite mizukara SHO naru wo saloru to
iedomo, kore ga tame ni SHAON no ICHI-NEN wa HOKKI suru ni yoshi nashi. Tada ware-ware
wa NINGEN no ko ni shite, BUMMEI SHIMPO-TEKI no DOBUTSU naru wo shiru ga yue ni, Ki-0 wo
SOKI shite, SENJIN no TOKU ni SHINKU KEIEI shitaru DAION too SHA.S/U; KOSEI SHISON no tame ni
wa, tsutomete CHTTOKU HATTATSU no CHO wo nolcosan to hossuru nomi.
(IjO no GIRON aruiwa BONZOKU CHURYU IKA no hito ni ZJ^ishi-gataki tokoro aru-
beshi. Sono KfJshi-gataki wa KAnari to iedomo, iwayuru HANKAI ni shite, NINGEN SK-
KAI ni kami mo hotoke mo nashi, BOON REIHAI ISSAI MUYO nari to Aaya-GATEN shi,
imada SHUSHIN KAICHI no YO 100 ezu shite, hayaku sude ni oCHAKU-mowo to nari, motte
SEAN ico QAisuru no uree nashi to sezu. HIKKYO SHAON no NEN wa hito no SHINJIN
yori SHQzuru mono ni shite, sono SHINJIN no moto iva mayoi nite mo KANJO nile mo, to
ni kaku ni kore ico samatagezu shite, GUMIN no TOKUSHIN wo ui suru koso iina no
ZOKU-SEKAI ni oite CHISHA no koto ware. Yue ni HONRON wa tada GAKUSHA-RYU no
SHISO wo SHASHUTSU shitaru made ni shite, kore ni yotte SHUKYO-KAI no MEISHIN wo
18-80 sen nado no I ni arazaru nari.)
YUKICHI CHO " FUKUO HYAKU-WA."]
sustain appropriate forms of life in peaceful order. Man's happiness, in particular, is provided
for by his liberty of action both mental and physical. Provided no hindrance arise from the
vice or ignorance of his fellow-creatures, everything in external nature forms part of a fund
spontaneously contributed to his use, wherewith to nourish the body and delight the mind.
More still, as this world is a living theatre of progress and improvement, where one step after
another leads on to infinity, even granting that many things at the present day may not equal
our desires, still perfect trust in the future, founded on the development of wisdom and virtue,
justifies us in anticipating for the world a golden age, while the happiness even of those now
living is certainly considerable.
Such is the condition of man, swimming in a sea of happiness. Nevertheless, when we
proceed to ask whether he ought or ought not to feel grateful for these favours,—whether,
to speak colloquially, he should say thank you for them, —a doubt naturally suggests itself.
For mark the word " favour." It includes the notion of benevolence, kindly action ; and
gratitude for these presupposes the existence of some person by whom the benevolence is
exercised. But the great machine of the universe, marvellously as it is constructed, shows no
trace of any special constructor; and even if, for argument's sake, we coin the word "Creator"
and apply it in this context, attaining thereby to apparent logical satisfaction, then we must
find some maker for this Creator, and then some maker for the maker of the Creator. Thus
we should go on ad infinitum, and when all was said and done, the only conclusion arrived at
would be that the world is a great machine marvellously constructed. It is a great machine
originated by chance, and we human beings too are born by chance, and really form part of the
machine. We may illustrate this by the case of an engine which should move of itself in a
marvellous manner, while yet there was absolutely no means of ascertaining the existence of the
motor power, steam ; and man would correspond, say, to one nail, or to a minute particle
of the iron of that engine, in all whose revolutions he would participate ; but as he would
naturally ignore the causes which brought it all about, no search on his part would bring to
light any one whom he ought specially to thank for the favour of whirling him round. All that
can be done is to contemplate the vastness, the infinity, the immeasurableness, the
marvellousness of the great machine, and to discern ever more and more clearly our own
insignificance and weakness.
Again I hear some say : " The air we breathe, the light which shines on us, the food and
raiment that maintain our existence, are all boons granted by Nature to man,—favours for
which we should accordingly be grateful." This contention wears an appearance of plausi
bility. But if one goes a step further and adopts my view, then, as already explained, what
people call " Nature " is merely a marvellous and spontaneous series of events, from which
it is impossible to deduce the existence of any person causing those events to be what they are.
Moreover, as gratitude is a sentiment dependent on the idea of reciprocity, it caa arise only as
330 TENTH SECTION.
the result of a comparison between two alternatives,—of discrimination, that is, between the
presence or absence, the abundance or scarcity, of kindliness in the conduct of two persons
towards us. For instance, our gratitude to our parents is excited by the special favours which
they confer upon us because they are our parents, and not the old gentleman and old lady next
door. In like manner, therefore, might we thank Nature for special favours, if there were any
other order of Nature with which the Nature we know of might be compared, so that one
might set the two side by side and say, " This Nature favours man, that Nature does not," and
if man, happily escaping from the unfavourable Nature, could place himself under the rule of the
favourable. Again if among the members of the same human species, Nature conferred her
favours more copiously upon one set of men, and more sparingly upon another, then those
indulged with the more copious share ought to show special gratitude for it. But from all I
can see, there exists but a single order of Nature, and this never manifests any partiality in the
distribiition of its favours, and wo have therefore no occasion for any special gratitude. Or
shall we take the opposite view, and say that Nature does treat men differently, favouring some
more than others ? In that case, while some render thanks for the special favours with which
they are indulged, others must resent being overlooked. A single, immutable order of Nature
can justly excite neither gratitude nor resentment ; for it is plain that, being so vast as it is,
we, in our position as human beings, can no more dare to praise than to blame it.
Again there are those who say that human beings have cause for gratitude, inasmuch as
they have been born into this world with the gift of human life ; but this is an altogether
absurd contention, not worth listening to. It evidently rests on an implied comparison between
men and animals ; and the drift of it is that we should think ourselves lucky to have been
born as exalted human beings, and not as lowly animals. But if this is to be deemed good
luck, what creature in the whole world is not lucky too ? If we are to congratulate fishes on
their good fortune in not being insects, or birds on not being fish, if we are to point out to the
cat the inferior luck of the rat, or deplore with the dog the inferior strength of the cat, or
laugh with the monkey over the stupidity of the hare, there will be no end to the distinctions to
be drawn between the various grades of happiness in all creation. Without going so far afield,
and restricting ourselves to a comparison of human beings with each other, we might con
gratulate a man or woman of thirty on not being forty, and so liaving a longer future to look
forward to. One of forty we might console by reference to fifty, one of fifty by reference to
sixty, one of sixty by reference to seventy, and so on to eighty, ninety, and to death itself, every
creature in the world being made to appear lucky because enjoying a longer prospect of life
than some other. What is this but a reductio ad alsurdum? Calm, unbiassed reflection
shows us that the fact of human beings being born as human beings belongs to the same order as
that of fish being fish, or birds being birds, or a man or woman of thirty being thirty :—there is
in it no special cause for joy, or yet for astonishment. Nature suits man and all other living
EASY MODERN PIECES. 331
creatures. Tliis is simply because Nature is Nature; it is no mark of any special and particular
favour. If Nature did not suit man and other creatures, then men and things as we now
know them would not exist on the surface of this globe,—nay ! the globe itself could not then
wear its present aspect. Thus it is only because Nature is suitable to their origination that
things exist at all :—it is not because things exist that we are justified in inferring any special
favour towards them on Nature's part. To notice things and then treat them with particular
kindliness, is an exclusively human trait, and it argues want of appreciation of the greatness of
the great machine to judge Nature's handiwork by our petty schemes. In the vastness, the
impartiality of Nature's machinery, each of all the myriads of existing things has its place, and
the whole is immeasurable and perfect. If all things, from such great ones as the SUM,
moon, and stars, down to our earth and to such minutiae) as the animals and plants and the
very insects on its surface, had minds like those of us human beings, each would enjoy its owu
environment and would doubtless express a feeling of satisfaction. Moreover, together with
this feeling of satisfaction, it would discover no object whereon to expend gratitude, but would,
I suppose, continue its quiet career self-contained. For the great machine of the Universe
includes everything without exception, whether above or below the sun, moon, and stars ; aud
even a single grain of dust forms part of the whole machine. Thus does it come about that
there is no more any special reason for gratitude in this case than there is any reason for
gratitude for trouble taken or favours granted by one organ or member of the human body to
another,— that body which arises only from their presence and interaction. For if you
enumerate all the organs and members separately, there is, so to say,, no body left apart from
them. If you enumerate all existing things, there is no Universe left apart from them;
neither is it feasible in any manner to decide which of all existing things are the principal ones,
and which merely accessory. We human beings, too, are one atom in the whole ; wherefore,
resting content with our lot, we may contemplate the marvels of the great machine, looking up
to praise its greatness and looking down to recognise our own littleness ; but there is no reason
for the feeling of gratitude to be excited in our breasts. All that becomes us as sons of men,—
creatures conscious of the capacity for civilisation aud progress,— is to call to memory the past
with gratitude for the great favours bequeathed to us by the laborious efforts of previous genera
tions, aud on behalf of our descendants in the future to endeavour to leave a foundation for the
further development of wisdom aud virtue.
( The above discussion may contain passages hard to be comprehended by plain folks
and members of the lower classes. Such failure to comprehend matters not. Where
harm is to ba feared is in the so-called half-comprehension which rushes to the conclusion
that neither gods nor saints exist in this our human world, aud that gratitude and
worship are alike useless, and which, having failed to imbibe the essence of morality and
culture, plunges into villany and disturbs the peace of society. In fine, gratitude being a sen
332 TENTH SECTION.
timent which springs from piety, the proper course for wise men to pursue in the present
uncultivated condition of the world is to foster virtue in the foolish by leaving such piety
undisturbed, whether its origin be superstition or emotion. The argument here advanced
therefore claims no more than to be an exposition of the opinions of the learned. We do not
aim hereby at making a clean sweep of the superstitions of the religious world.)
NOTES.
This piece is borrowed by permission of the " Jiji Shimpo Sha " from the " Fukuo
Hyaku-wa," or "Hundred Essays by the Aged Fukuzawa," which appeared in 1897 and created
a great sensation. Edition after edition has since been rapidly exhaiisted. No other Japanese
writer offers so perfect a model of a style at once simple, forcible, and idiomatic, no other
thinker is so thoroughly representative of his time and country, as Fukuzawa ; neither can any
of his voluminous works be so warmly recommended to the foreign student as these short essays,
which, taken together, well-nigh cover the whole field of contemporary Japanese activity in
matters intellectual, while on the other hand any one of them may be considered separately, as
each is complete in itself. The preference shown by this writer for easy terms may be gauged by
the fact that though the piece here given treats of deeper matters than any of those preceding
it in this Section, fewer new characters occur in it than in any other proportionately to its length.
Here, at externals, our praise of Fukuzawa must stop. His thought is shallow, his philosophy a
crude materialism with a veneer of utilitarian morality and amiable optimism. The essay here
selected fairly typifies his views. But—and this is a consideration worth pondering—it typifies
the views of the overwhelming majority of educated Japanese at the present day. If such be
the doctrines of the leaders, what will be the practice of the led when these doctrines shall have
filtered down to the base of the social edifice, and shall have washed away what small fragments
remain of the old Confucian ethics? The present Japanese epoch styles itself RR 7p
MEIJI, " enlightened peacefulness." But if the light that is in it be darkness, how great is that
darkness ! Nevertheless, if we view the matter properly, these considerations in no way unfit such
books for the use of European students. On the contrary, and even assuming that most of those
employing the present work will be missionaries,—surely it must be advantageous for them to
make acquaintance at once with the genuine mental attitude of the people among whom their
life is to be spent.
Fukuzawa's style is not quite so easy to translate into English as its clearness and charm
might lead one to expect. Nor is the reason far to seek. Though he often interprets European
thought, he always does interpret it, in the real sense of that word. He does not translate
literally, he does not fill his pages with " Englishisms," as many contemporary Japanese authors
do. Everything he gives to the public has been passed through a Japanese filter, melted down
in a Japanese crucible, digested, assimilated, thoroughly naturalised and subdued. The hands
EASY MODERN PIECES. 333
may be those of a Western utilitarian ; but the voice is that of one brought up in the Chinese
schools. Now what is perfectly natural and idiomatic in one language, —one mental atmosphere,
— is precisely that which is apt to be not quite natural, not quite idiomatic in another. More
particularly are certain general terms of vague import,—" nature," " force," " influence," etc.—
apt not exactly to cover each other in different intellectual spheres. Fukuzawa's -T^ or
• o ^ \^* "^ ^^
-Jr* i la f°r instance,—a term inherited from the Confucianists,—has no satisfactory English
-XVAtL
equivalent. Sometimes it is little more than the visible heavens ; sometimes " Heaven " (with a
capital H) comes nearer to the intention ; sometimes one is almost tempted to translate it by
" God ; " at others—most often perliaps—" Nature " seems nearer the mark. It is not the stu
dent who is at fault in such cases, but the subject itself that admits only of approximate defini
tion. At other times, difficulties of translation—they are never difficulties of comprehension—
may be met by noticing Fukuzawa's elegant habit (traceable, this too, to Chinese influence)
T—^*T_ \ ^ *_
of breaking up iffa -~f- (compounds) into their elements. An instance occurs near the
beginning of this piece, (lines 4-5 of the Japanese text), where we find Ap Tp? SEI-IKU broken
up thus : SHttew-Je/a wo SHOJI, musu-leki wo iKV-skite, which can be more tersely rendered " they
duly produce and sustain appropriate forms of life." It would not do in such a case to follow
the rhymical order of the original with pedantic exactness. —Having stated that Fukuzawa's
pure style does not deal in " Euglishisms," we must modify the assertion by granting that
CHiKYtJ sono mono, " the globe itself," near the end of p. 324, is a glaring one now unfortunately
current. Probably NINGEN no Jco, "sous of men," is another. Thus even the most idiomatic
writers succumb at times to the new influence.
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KANGAKU-SHA.
(BUNGAKU HAKUSHI* KVTO Hiroyuki.)
KANOAKU-SHA no ^aj/a i"?mi MO KAIMEI ni KOKUN KENCHO naru wa, ima-sara noszuru wo
Koto ni ToKUj/cwa SHI SAM-BYAKU NENKAN ni iva SEKIGAKU KOJU HAISHUTSU shite,
SHIRYU no no KAIMEI wa Jiotondo mattaku KANGAKU-SHA no chikara ni yotte narishi koto ni shite,
Icono KANGAKU no SOYO arltareba koso KINNEN niwaka ni 0-BEi ni SESsuru ni itarite mo, aete
oi ni sono BUBETSD ivo uku.ru koto nald nomi narazu, yoku mizulcara O-BEI no SHlN-smsO wo
tolte, sara ni kore wo u-aga GAKUJUTSU GIGEI to nasu wo etaru mono nareba, KANGAKU-SHA no
KOKUN wa JITSU ni vi nari to iwazaru wo ezu. Shikaredomo, KONNICHI nao SEISON shite,
SHITEI wo KYOIKU suru tokoro no KANGAKU-SHA naru mono wa sude ni JISEI no HEN-I wo shirite,
ISHIN-ZEN no KORO-SHUGI wo SHUSHU suru no FUKA naru wo satoru-beki hazu naru ni, KONNICHI
SHIN-SEKAI TIG JIJO wo KAKurw koto atawazaru ga tame ni, nao KORO ni yasunzuru mono no
sukunakarazaru wa hanahada oshimu-beshi. Ghikagoro CHU-GAKKO mata tea sono TA no GAKKO
ni KYOm to narite KYOJU suru tokoro no KANGAKU-SHA wo miru ni, KONNICHI RIGAKU no yurusa-
zaru KODAI TIO KIKWAI-SETSU wo motte suru mono sukunakarazaru nomi naraxu, TOKUHON no tagui
ni shile kaku no gotoki KIKWAI-SETSU wo HENNYU suru mono mo 0-0 mi-ukuru tokoro nari.
Tatoeba, " Ni-JU-SHI Ko " no tagui wo agete KOKO TIO HYOJUN to nashi, aruiwa TORO no REISEN
wo toite TEN no KO ni KANzwrw tokoro to nashi, mata wa SHUJU no SHOzui KYOCHO wo toku TO
MAIKYO su-bekarazu. Kore-ra wa KANGAKU-SHA JISHIN ga ssmzuru wo motte, JITSU ni KAKU arishi
koto to kangae, mata JIKON mo kaku aru-beki mono to omou ga yue naru-bekeredomo, shikashi
KONNICHI no RIGAKU wa KESs/tife kaku no gotoki KIKWAI-SETSU wo yurusu mono ni arazareba,
mattaku SEITO wo MEIBO ni michibiku mono to iwaxaru wo ezu. Yo ga SENNEN aru KEN no
aru GAKKO ni itarite, sono JUGYO wo mitaru SAi, aru icm-KYOJO ni iritareba, sono KYOJO wa
SHIHAN GAKKO SOTSUGYO-SEI ga KYOIN to narite RIGAKU TIO KYOJU wo nasu koto nareba, sono
JUGYO TIO HOHO mo yoroshiki ni TEKishi, katsu sono KOJU TIO JIKO mo mattaku RIGAKU-TEKI no
koto narishi ga,—tsugi ni sono RINSHTTSU ni irishi ni, sono SHITSU iva GO-JU ZENGO TIO KANGAKU-
SENSEI ga SAKUBUN ioo osJiiyuru koto narishi ga, sono BUNDAI no sukdburu CHIMTU ni shite, sude
ni RIGAKU no yurusazaru koto naru ni, mashite SENSEI no KUJU HIYU tomo ni JITSU ni HOFUKU
ZETTO ni taezaru hodo no koto nariki. DOITSU GAKKO no DOITSU SEITO ni shite, KOSHITSU nite
tatoeba sake naru mono wa KVTAGAKU-TEKI SAYO ni yotte, kome mugi mata wa sono TA no mono
yori SEEZO suru mono nari to toku ni HANsAife, OTSU-SHITSU nite wa TEN ga KOKO no TOKU ni
KAN/ife, izumi wo HEN/tfe sake to nashitaru koto mo ari to tokaba, SEITO no KANKAKU suru
tokoro ikan ? Moshi SENSEI no toku tokoro ni tsuite SHUSHA SENTAKU suru atawaxaru SEITO
naraba, tachimachi madoi wo SHOzezarw wo ezu; moshi mata KOSHITSU SENSEI no RIGAKU-TEKI
KOJU WO ZE to Shi, OTSU-SHITSU SENSEI 710 KANKO-SETSU WO HI to SUTU HO SAISHIKI aru SEITO
naraba, OTSU-SHITSU SENSEI TIO CHIMPU-SETSU wo warawazaru wo ezaru-beshi. SEITO wo shile
aruiwa madowashime, aruiwa waraivashimuru ga gotoki KYOm wo oite, nan no EKI Tea aru?
Tada GAI aru nomi. Shikaru ni GAKKO no KANTOKU-SHA taru KOCHO wa MOCHIRON, SHIGAKU-
IN TIO gotoki mo nao kaku no gotoki koto ni Kl tsukazu ; TOKAN ni FUs/tife, kaku no gotoki KYOm
ni SEITO no KYODO wo TAKUSWW ?ii itatte wa, JITSU ni GAITAN ni taezaru nari. Mottomo migi-
ra KIKWAI no koto to iedomo, REKISHI-JO nite kore 100 toku wa yamu wo ezaru koto nareba, YO
338 TENTH SECTION.
I
wa aele kore ivo FUKA to sezaredomo, SHUSHIN-KWA mata wa BUNDAI nado ni kaku no gotoki
KIKWAI no REI wo hiku wa yamu wo ezaru koto ni arazareba, kaku no gotoki koto wa kanarazu
kokoro su-beki nari.
KAMBUN too osldyuru wa, KANOAKU-SENSEI ni shiku wa nashi to iedomo, sono SHISO no
CHIMPU ni shite, EIGAKU no nani taru wo shiranaru ga tame ni, tsui ni KYOJU ni taezaru koto
kaku no gotoshi. KANGAKU-SHA wo mochiyuru ni tsuile wa, kanaraxu JDBUN ni CHUI wo kuwae-
zaru-bekarazu. Sara ni KANGAKU-SHA no KYOJU ni tsuite iu-beki wa, KANGAKU-SHA wa GAKCMON to
sae ieba, tokaku MONJI JIGI wo toku koto wo nomi SHITSUYO naru koto to kangae, iwayuru SHISHO
KISHO no sue ni KODEI shite, kactte GAKUMON no HONSHU wo ushinau mono oshi. Tue wo motte, RINRI
wo oshiyuru ni atarite mo, BUNSHO wo toku to onajikri, mattaku JIGI wo SHU to shite, RINRI no
kotogara wo toko koto wo SOBYAKU ni nasu no HEI an / KEISHO wo toku mo, SHIBUI wo KQzuru mo,
mina ICHI-YO ni shite, sono kotogara yori tva mushiro MONJI JIGI wo SHU to suru ga gotoshi.
Kedasld KAMBUN wa GWANRAI GWAIKOKU no BUN ni shite, hanahada KAishi-gataki ga tame ni,
kotogara wo toku ni wa mazu BUN-I wo KAisezareJa atawazaru wo motte, yamu wo ezu BUN-I-JO no
KOSHAKU ni moppara kokoro wo mochii, tame ni kaette kologara wo SORYAKU ni suru no yamu tvo
ezaru koto to narishi naran. SMkaredomo, KONNICHI ni arite wa, KODAI to chigai, GAKUMON ica
KESshite KANGAKU no IK-KWA ni arazu ; KANGAKU wo SEMMON to nasu mono no Jioka wa, KANGAKU
wa tada HOJO no tame ni GAKUSHC suru ni sugizaru koto nareba, MONJI Jiai no gotoki wa TAI-I ni
todomete, kaette DAITAI no kologara tvo ETOKU seshimuru too motte SHUSHI to sezaru-bekarazaru
nari.
Chinami ni MOMBUSHO no KYOKWA-SHO KEN-ETSU ni tsuite mo IOHI-GEN sezaru-bekarazu.
MOMBUSHO nite wa, JURAI TOSHO wo KEN-ETSU suru ni sono RYOHI TEKI-FUTEKI wo GEN ni KENTEI
suru wa, CHOSAKU-SHA no JIYU tvo samataguru no osore ari to no SHUSHI naru ya, mata wa TA no
SHUSHI arite no koto naru ya wa shirazaredomo,—iyashiku mo GAI naki TOSHO tea, subete kore wo
NINKYO suru no HOSHIN naru yoshi naredomo, sono iwayuru GAI no UMU ni tsuite wa JCBUN ni
KENKYU wo tsukusazaru-bekarazu. Tatoeba, INNVAI ni shite, FtJzoKU wo BINRAN suru no osore aru
mono, mata wa KWAGEKI ni shite CHIAN tvo BOGAI suru no osore aru mono TO wo xnxzuru wa, moto
yori GAI aru mono wo xiszuru yuen ni shite, koto ni sono JDYO naru mono ni SOI naki mo,—shikashi
GAI aru mono wa Kssshite hitori kore-ra ni todomarazu ; KONNICHI KATMEI no yo ni oite Jtanahada
RIGAKU ni HANS«'M KIKWAI-SETSU no gotoki mo, CHBHIKI KAIDO no TEN ni oite oi ni GAI aru mono to
mi-tomezaru-bekarazu. MOCHIRON SHUKYO-JO ni arite wa, kaku no goloki KIKWAI-SETSU mo nao
yamu wo ezaru koto naru-bekeredomo, KYOIKU koto ni CHI-IKU ni oite wa, BIGAKU-JO KEsshite yurusa-
zaru ga gotoki KIKWAI-SETSU TO wa, kanaraxu kore wo GAI aru mono to NINTEI sezaru-bekarazu.
Hatashite shikaraba, KEN-ETSO no HOSHIN no gotoki mo, FUZOKU BINRAN CHIAN BOGAI wo motte GAI
to nasu no Jioka ni, sara ni KONNICHI no KAIMEI ni TEKi-sezaru KIKWAI-SETSU no gotoki mo tomo ni
GAI an to shite, kore wo yurusazaru koto to sezaru wo ezu; moshi kaku no gotoku narazareba,
CHI-IKU wa KESshite CHISHIKI wo KAIHATSU suru ni tarazaru-beshi.
EASY MODERN PIECES. 339
FCZOKU BINRAN CHiAN BOGAi no Jioka ni, sara ni KONNICHI no EIGAKU-SEKAI ni TEKisezaru
KIKWAI-SETSU wo mo, JIKON YDOAi to shite, ECSzezaru-lekarazaru no KI ZENCHIN no gotoshi to iedomo,—
shikashi JDZEN sude ni NINKYO seru TOKUHON no BUI ni wa kaku no gotoki mono mo 0-0 aru koto
nareba, KONNICHI no KYOJU-JO ni tsuite wa SKTGAKU-IN ta.ru mono wa JOBUN CHDI wo kuwaete, koto
ni KANGAKU-SENSEI no KOJU wo KANSHi shi, tsutomete kaku no gotoki KIKWAI-SETSU too matte SEITO
wo madowashimezaru koto ni DOEYOKU sezaru-bekarazu. SHUKYO to KYOIKU to wa KE&shite KONDO
sum wo yurusazaru nari. (" HINSO HYAKU-WA.")
Chinese composition,— the subject something absurd to the last degree and condemned by science,
while the pedagogue's delivery, and his metaphors as well, were simply such as to make any one
shake his sides with laughter. When a student is taught, for instance, in Class-room A that the
liquor commonly drunk in Japan is manufactured from rice, barley, etc., by means of chemical
processes, and the same student at the same school is taught in Class-room B the exact reverse,
namely, that Heaven changed a fountain of water into such liquor as a reward for the virtue of
filial piety, what will be the impression left on that student's mind ? If his nature be such as
to unfit him to pick and choose among the doctrines of his instructors, he will infallibly be led
into perplexity. If, on the other hand, he possess the wit to accept the scientific teaching given
by the man in Class-room A, and to reject the filial-piety-reward doctrine of the man in Class
room B, he will infallibly be led to laugh at this man and his absurdities. Now, what can be
the good of manning schools with teachers who lead the students either into perplexity or into
the habit of laughing at those who are set in authority over them ? Such a system can produce
nothing but harm. And yet the headmasters superintending such schools, and not they alone
but the educational inspectors, pay no heed to the evil ; they slumber on, with the truly lament
able result that to such educators as those we have just described the care of our students is
committed. Not indeed that the present writer would deny the necessity of referring to such
fabulous occurrences as that instanced above when they are met with in history ; but as there
is no necessity for adducing them when teaching ethics or when setting themes for composition,
educators should take their measures accordingly.
Doubtless for teaching Chinese the best man must be a Chinese scholar. Nevertheless, such
are some of the lamentable results to education that flow from the absurd notions of a man so
trained, owing to his ignorance of the very nature of science. When employing such a man,
most thorough-going precautions must be taken. Another point needing to be touched on with
the reference to their system of instruction, is that the one thing needful according to them—the
whole gist of education—is an explanation of the sense of Chinese characters. Their habit,
almost to a man, is to stick fast in the memorising of words and phrases, while letting the
true aim of knowledge slip past them. Thus does it come about that their lessons even in
ethics follow the same plan as their lessons in composition. The signification of the characters
is always the chief point with them ; the ethical subject-matter occupies but a secondary place
in their elucidations. And thus it is with everything :—whether the Confucian Classics or
Chinese history be their theme, all and sundry are treated in the same manner, the subject-mat
ter being relegated to the second place, while an explanation of the characters occupies the first.
Perhaps this is unavoidable. Chinese is a foreign language very difficult to comprehend. In
telligence of the subject-matter presupposes intelligence of the diction, whence inevitably the
chief stress comes to be laid on making the diction plain, while the subject-matter is compara
tively neglected. But the times in which we live are not like the days of old. Knowledge no
EASY MODERN PIECES. 341
longer consists exclusively in Chinese learning. Except for those few who may make it a
speciality, Chinese can no longer be anything more than ancillary to other studies, and our aim
must be to seize the subject-matter in the main, and content ourselves with the chief items of
such matters of minor import as characters and their significations.
While on this subject, I must say a word concerning the examination of text-books by the
Educational Department. Whether it be that the Department lias hesitated to interfere with
the liberty of authors by too strict an enquiry into the merits and appropriateness of such books,
or whether it be owing to some other motive I know not, but the fact would seem to be that
there has hitherto existed a tendency to sanction all books not positively harmful. Now to
determine whether a book is or is not harmful, is a point demanding the greatest care. Thus,
though there can be no doubt whatever that a book should be forbidden if by its obscenity it
may lead to the corruption of manners, or if by its violence it may lead to disturbance of the public
peace, the power of prohibition being framed precisely to meet such cases of harmfuluess, and
these particular cases being so glaringly harmful,—at the same time it must be remembered that
obscene or violent books are not the only ones which do harm to the public mind, but that, in an
enlightened age like ours, grave harm is done to the cause of intellectual training by the circula
tion of fabulous tales that run counter to the teachings of science. Doubtless from a religious
point of view such fables are indispensable ; but in education—especially in the education of the
intellect—fables which science absolutely discredits must be condemned as harmful. This
granted, the tendency of the examiners of text-books ought to be to exclude, not only such as do
harm by corrupting manners or disturbing the public peace, but likewise— and on the same
ground of harmfulness—those containing fables unsuited to our enlightened age. If they fail to
do this, our educational system will not succeed in developing the national intellect.
Such are the reasons for prohibiting henceforth, not only books calculated to corrupt man
ners or disturb the public peace, but likewise those dealing in fables unsuitable to our scientific
age. So far as " Headers " already sanctioned, but possibly containing similar objectionable
matter, are concerned, the persons charged with the office of educational inspection must make
the most careful scrutiny into the methods of tuition. More particularly must they exercise
supervision over the lectures of the profesors of Chinese, and earnestly endeavour to prevent
them from leading the students astray with their fabulous tales. Religion and education must
on no account be confounded together.
NOTES.
This piece is taken by permission of the proprietors of the " Taiyo " or " Sun " magazine
from Dr. Kato Hiroyuki's " Hinso Hyaku-wa," a series of a hundred short essays whose publi
cation began soon after Mr. Fukuzawa's, to which indeed the title alludes, HINSO, lit. " poor
old gentleman," being antithetical to FUKU-O, lit. "rich old man." Kato's thought on
342 TENTH SECTION.
matters social and philosophical runs much in the same lines as Fukuzawa's. Though he is a
highly cultured and most amiable man, all his work (so far at least as we are acquainted with
it) has a profoundly demoralising tendency. It is materialistic to the core,—the materialism
quite naively expressed, as is the Japanese way. Here are the titles of some of the other essays
of the series : " Falsehood is sometimes Essential to Civilisation."—" An Irrefragable Proof that
Altruism is uot Proper to Man."—" Loyalty, Filial Piety, Charity, and Mercy all Originate
and End in Egotism."—" Morality exists solely for the Sake of the Preservation of Society."
—" My Position with regard to Materialism."—" What we Owe to our Parents " (he decides that,
in a civilised state of society, we do owe them something). —"On Colonial Policy."—"On the
Cessation of War and the Establishment of Permanent Peace."—" On Keligious Freedom."
Kato's literary style, though easy and natural, lacks not a little of the charm of Fukuza
wa's. More especially does it suffer from the common Japanese fault of tautology. In the
Colloquial, on the contrary—for some of Kato's lectures have been printed verbatim, as taken
down by shorthand—he carries off the palm.
For the Four-and-Twenty Paragons of Filial Piety, see " Things Japanese," Article
" Filial Piety." For the legend of the fountain of Yoro which was turned into wine, see Murray's
" Handbook for Japan."
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EAST MODERN PIECES. 345
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taru ga tame, NIHON no SHUKWAN nl shitagai kore wo kiri-sutetaru mono ni shite, midari ni
ANSATSU iv) koto wo okonaitaru ni arazu ; mata Shimonoseki no GWAIKOKU-SEN HOGEKI mo,
toki no JiJO ni CHQsureba, HOHATSUSHA to HIHOHATSUSHA to sono BIHI KYOKU-CHOKU wa
izure ni aru ya YOi ni shiru-bekarazu to iedomo, to ni Icdku ni SEKAI TASU no miru tokoro
nite wa YABAN SOBO no KYODO to mitomerarete, kore ni TALSWJ-W no BENKAI wo ezu. Nama-
mugi JIKEN wa JO-MAN pondo no SHOKIN to nari, Kagosldma no yaki-uchi to narite ; Shimo
noseki no HAPPO ica SHO-GWAIKOKU no KENGO KOGEKI wo manekite, SAM-BYAKU-MAN doru no
SHOKIN wo harai, TAN ni YABAN no na wo nashite, KOKKO wo soxshitaru ni sugizaru nomi-
MosM mo kono mama ni shite ANSATSU HOHATSU shiba-shiba okonawarele, sono tabi-goto ni
GWAIJIN no HOFUKU SHUDAN ni au koto mo aran ni wa, NiHON wa iyo-iyo YABAN no na wo
nasu to tomo ni, iyo-iyo KOKKO wo SQNs/a'fe, ika naru KYOGtJ ni oclii-iritaru ya mo shiru-
bekarazu. TOJi no KOKU-JO wa JITSU ni BUIRAN no ayauki ni mmshi-nagara, kano SEISHIN-KA no
tomogara wa mizukara kore wo satorazu shite, HOKOKC no ICHI-JI wa tada GWAIJIN no HAISEKI
ni ari to Ksisjitaru koto narishikadomo, toki naru kana! OSEI ISHIN no KAKUMEI wa adakamo
KYAKUTEI yori HABETSU shite, koko ni MEIJI no SHIN-SEIFD wo GENSHUTSU sum ni itarishi,—
sono SEIFU wa TOJI no YOSHI-KA wo rnotte SOSHIKI saretaru koto nareba, sadamete HAIGWAI JOi
no SHUGI to omoi no hoka, koto no JISSAI wo mireba, ani hakaran ya ! HAIHAN CHIKEN, SAMPATSU
DATTO TO ?io EIDAN ZOKU-ZOKU DANKO serarete, adakamo TENCHI wo kutsugaesu no DAI-HENDO
too MOKUGEKI shitari Kedashi sono KAKUMEI ni azukaritaru tomogara no gotoki wa, mizukara
JISEI no HENKWA ni CHAKUMOKU shi-tsutsu, GWAIKOKU TIG HON-YAKu-SHO ioo yomi, mata wa
shitashiku sono JIBUTSU wo KEMBUN shite, oi ni HATSUMEI suru tokoro ari-nagara, toki no SEI-
FD wo taosu ni wa JOi-BON no FOcHO ni Jfy'ite, kore wo BIYO suru no TOKUSAKU naru wo
mi-tome, HYOMEN ni BATOO wo yosooitaru made no koto ni shi areba, KIKWAI TOBAI MOKUTEKI
wo TASs/u'tarM ue wa, tachimachi sono KAMEN 100 DASshite, ma-SHOMEN ni susumitaru nomv
SEIJI-KA no KYODO to shite GO mo ayashimu ni tarazaredomo,—SEISHIN IP-PEN no tomogara yori
mireba, DOKON-8HA no SENDATSU shika mo TOJI no ANSATSC-SHA tari, HOHATSU-SHA tarishi
mono ga mizukara BOSSES shite, BUMMEI SHIMPO wo tonae, CHAKU-CHAKU JIKKO shite ZENGO
mattdku BETSUJIN no KWAN ari to iu,—adakamo ashimoto yori tori ni tataretaru sugata ni shite,
odorokazaran to Jiossuru mo u-bekarazu. SHDSHO BOBAI sasuga no SEISHIN-KA mo hotondo
JIKA no HONSHIN wo ushinote, yoyaku odoroki no shizumaritaru koro wa TAISEI sude ni IT-TEI
shite, mata ugokasu-bekarazaru no arisama naru ni zo,—sono tomogara mo ima-sara yamu wo
ezu, SHAKWAI no katasumi ni HEISOKU shite, toazuka ni ZANZEN wo tamotsu nomi. IP-PO yori
mireba, sono KYODO wa adakamo KYOGEN ni RUisuru no ato ndki ni arazaredomo, TtQsuru ni
SEKEN Tio KORYD-HAi wo ATTO slti, kuni wo agete BUMMEI SHIMPO TZO IP-PO ni mukawasldme-
ta.ru wa sunawachi EIDAN SEIBYAKU TJO KONO ni shite, JIBAI JD-YO-NEN BUMMEI SHINSHIN
tada SHIMPO wo miru nomi narishi ni,—shikaru ni MEIJI JU-SHI-GO-NEN TIO koro ni itari, hashi
*
naku KOBYC FUKKWATSO no FD too SHO/ife, SEIFU ni oite ica saki no EIDAN ni hiki-kae, ZEN
EASY MODERN PIECES. 347
BTOKU wo furwtte KortJ wo SHDBEI shitaru nalca ni mo, koto ni KYOIKC-JO ni JUKYO SHDGI no
CHtJNYtJ wo tsutomete, yoydku ato wo osamen to seshi HAIGWAI-SHIN wo yobi-okoshitaru ICHI-JI
koso toshika ni wazawai no KONGEN nare. KYOIKU no KONO wa osoroshiki mono ni shite, sono
KEKKWA wa kanarazu aratvarezaru 100 ezu ; sore yori GO-KOKU-NEN no nochi ni itari, Iiatashite
KEKKWA wo milaru sono JIJITSU wa, sunawachi mae ni shirushitaru Mori Okuma no SAINAN to ii,
EOKOKU KOTAISHI no HENJI to ii, KEITO wo tozunureba ixure ma HAIGWAI no smso yori
idetaru mono ni shite, sono GEN-IS Imnaliada MEIHAKU nari to iu-beshi. Shiko shite ima ya
iyo-iyo NAICHI ZAKKYO no KI ni semari-nagara, ICHIJI SAI-KAN no HAIGWAI-NETSU nao samezu
shite, JORYD SHAKWAI no SHINSHI-CHD ni mo GWAIJIN ni TAishite 0-0 odai/aka naranu GENGYO
wo nasu mono sae ari to iu. Sono akatsuki ni itari, moshi MAN-ICHI mo machigai aran ni wa,
YOi naranu SHIDAI ni shite, kuni no DAIJI ni mo tadii-itaru-beshi. Waga-RAi no iyo-iyo
motte KENEN ni taezaru tokoro nari.
The pedigree of the anti-foreign feeling in our country is perfectly clear : —it comes
from a training in the doctrines of Confucianism. The sad fate of Viscount Mori Arinori,
the attack on Count Okuma, the attempted murder of the Czarewitch at Otsu,—each and
all of the episodes that have stained the face of civilisation and injured Japan's reputation
in the eyes of other countries had their source exclusively in the anti-foreign feeling, and
serve to show how persistent is the taint of antiquated doctrines. Nor is it enough to say
that the actual condition of the nation shows such feeling to be not entirely extinct. Why !
there actually are head-masters and teachers in schools, who jeer at foreigners as " hairy
barbarians " and " red-beards," and practically inspire their pupils with the sentiment in
question. And it is with things in this state that it is suggested to open up the interior, and
permit foreigners to live there side by side with our people. But when the two races
shall thus be brought into closer contact, will it be possible to maintain peace and security ?
That is a question which the present writer cannot face without apprehension.
The anti-foreign feeling in Japan, be it observed, is not a thing of recent origin.
Looking back on the time when the country was first opened, previous to the Revolution
of 1868, we find public opinion to have been almost unanimous in favour of the " expulsion
of the barbarians : "—the feeling in fact was intense. Moreover, the advocates of this
policy were all men of perfectly ingenuous mind, who, moved by naught by patriotic
resentment, determined to oust the foe in order to save their hearths and home%. Hence
the predicament in which the government of the day was placed. The officials of the
Shogunate, having ere this recognised the impossibility of preventing intercourse with
the outer world, had concluded treaties of peace and commerce with various foreign
348 TENTH SECTION.
powers. But when, in despite of this, the anti-foreign fervour burnt ever more and more
fiercely throughout the land, the younger .generation could no longer restrain its hot
blood. Gradually deeds of violence —and those not few in number—came to be enacted ;
the fashion of assassinating foreigners was set, beginning with the murder of a Russian
at Yokohama, and going on to that of Heusken, secretary to the American legation, at
Akabane in Yedo. Such acts as these were the work of the Ronins, as they were called,
and their perpetrators were uneducated men. But the fashion, once set, did not confine
itself to the Ronins. It was followed by others on a greater scale, until such results were
produced as the Richardson affair at Namamugi, and the bombardment by Choshu's
batteries of the vessels of various foreign nations passing through the Straits of Shimonoseki,
—all events causing the gravest embarrassment. No doubt such things as the Namamugi
affair should not be classed with unprovoked murders : —Richardson having ridden across a
Daimyo's procession, it was but following Japanese custom to cut him down. The bombard
ment of the foreign ships at Shimonoseki, again, if judged according to the circumstances of
the time, may well leave us in doubt as to which had more right on its side,—the attack
ing party or the attacked. Bat be this as it may, they were considered by the world at
large as acts of barbarous violence, for which no excuse could be alleged. The Namamugi
affair cost us aa indemnity of £ 100,000 sterling and the burning of Kagoshima. The net
results of the Shimonoseki bombardment were a joint attack by the various foreign powers,
the exaction of an indemnity of $ 3,000,000, and a reputation for barbarousness to
sully our national honour. Supposing assassinations and bombardments to have been often
repeated after this fashion, and followed on each occasion by the foreigners' measures
of retaliation, the national honour of Japan would have suffered proportionately to her
notoriety as a perpetrator of barbarous acts, and it is hard to tell what ruin she might
not have sunk into. While the situation of the country at that time was truly as precarious
as would be a pile of eggs, the ardent spirits above-mentioned failed altogether to appre
ciate it, and held patriotism to consist in the single endeavour to drive the foreigner away.
But lo ! the spirit of the age ! The revolution which restored the Mikado's rule burst forth,
as it were, under their very feet, and the new Meiji government stood forth,—a government
which, being organised by the then leaders of politics, must surely endorse the principle
of the expulsion of the barbarian. Such expectations were frustrated ; for, lo ! and behold,
the practical outcome unfolded to the wondering gaze of the retrograde party was the
substitution for feudalism of a centralised bureaucracy, the decree ordaining the cutting off
of queues, another depriving the Samurai of their swords,—a series of drastic measures
whose execution turned heaven and earth upside down, and altered the whole face of the
country.
The truth is that the party which brought about this revolution had itself, while
EASY MODERN PIECES. 349
witnessing the various changes of the age, become considerably enlightened by reading
translations of foreign books and by personal contact with foreign things and ways ;
but perceiving how convenient as an instrument wherewith to overturn the government of
the day the anti-foreign movement would be, they had merely assumed the outward show
of co-operation with it, and then, as soon as the opportunity for realising their aims arrived,
they had at once thrown down the mask and gone straight on their forward course. As
a political move, there was nothing in this to cause the least surprise. Nevertheless, it was
not to be expected that ingenuous minds should be less astonished than a man is when a bird
suddenly rises from under Ms feet. What did these simple folks see? They saw men of
their own school of thought, as they had supposed, their leaders, nay ! the very men who
had assassinated and bombarded but a short time before, now step forward to all appear
ance entirely different men, whose motto was civilisation and progress, and who gradually
put these principles into practice. Such were the general bewilderment and alarm that
even ingenuous persons like these well-nigh lost the use of their reason ; and when at length
they recovered from their fright, the new order was already so firmly established as to be
no longer capable of being shaken. All, therefore, that was now left to the obscurantists
was to hide themselves in nooks and corners of society, and endeavour to keep body and
soul together. From one point of view the policy here described may be held to savour
of comedy. But the suppression of the obscurantists and the guiding of the country on to
the path of civilisation and progress were the immediate effects of the drastic measures
which for over ten years continued to carry all before them However, in about 1881 or
1882, the conservative spirit unexpectedly revived, and the government, acting in a manner
contrary to its former vigorous policy, encouraged the reaction with all the weight of its
authority. More especially did the government foster the introduction of Confucianism into
the educational system ; and this single measure was it,—this calling back to life of the
anti-foreign spirit which had been on the point of fading away,—this it was that proved a
fountain of calamity. Education is a dangerously powerful factor, whose results can never
remain hidden. In this case the results were seen five or six years Utter, in such events as
the murderous assaults on Mori and Okuma and on the Czarewitch, alluded to at the com
mencement of this article. An enquiry into the origin of these outrages shows it to be
perfectly plain in every instance,—clearly traceable to the anti-foreign feeling. And now
when we are on the eve of mixed residence in the interior, we learn that the relapse into
the anti-foreign feeling is not yet cured, and that even gentlemen belonging to the upper
classes of society occasionally express themselves unpleasantly vis-a-vis foreigners. If perad-
venture on the morrow some regrettable incident should occur, we should be involved in
difficulties fraught with peril to our native land. This is a thought which fills us with
ever-increasing apprehension.
350 TENTH SECTION.
Note.—The various matters of history alluded to in this leading article may be availed
of as interesting subjects of conversation between the foreign student and his teacher. The
" Jui SHIMPO," founded by Mr. Fukuzawa and carried on by his pupils, exercises immense
influence on educated Japanese opinion ; for his school—in the wider sense of that word—
extends far beyond the limits of the actual Ejs£ mjE jpfc jjyL KEIO GUUKU Academy.
The latter derives its name from Keio, the name of the year-period (lasting from 1865-1868)
during which it was founded. The construction on p. 342, line 11 of the Romanised text, is
rather curious (KOSUI sum mono sae aru Icdkaru SAICHU ni). It may be best understood either
by dropping kakaru altogether, or by substituting ari and a full stop, and then beginning
a new sentence with kakaru. Two other somewhat similar instances occur further on, this
construction being evidently a favourite with this particular writer. —Perhaps it may be
thought that this piece belongs of right rather to Section IX. It is, however, scarcely a news
paper " clipping," though happening to have appeared in a newspaper, but as careful a com
position as if intended for a volume of essays.
NEW CHARACTEES OCCURRING IN THE PRECEDING SECTION.—1687. |Mf SHO, " a reward "
(" honouring with " treasures").—1688. c£V MEI, " an inscription," hence a " precept "
("names" of illustrious models engraved in "metal"). —1689. jTj u or mawari-doi,
" roundabout," " vague."—1690. ^Pjj£ SOKU or fusagu, " to fill up," " obstruct." Also read
BAI, " a boundary."—1691. jgi DON or mmaboru, " to covet " (wanting " wealth now ").—1692.
^^ I, " the stomach " (that part of the " flesh " into which the produce of the " rice-fields "
goes). Do not confound it with (1693) fl? CHC or kabuto, "a helmet," in which the
to*A-* §~^J
stroke comes out at the top. rff* (No. 1378) is another character also read kabuto.—1694.
§sui or you, " to be tipsy " (from " spirits " and " end," as owaru, " to come to an
t f *.
' is one of the readings of the character -^f*~ , our No. 342 ; it is as if to say
that the drinker has come to the end of his ability to drink).—1695. ^pgjb SEN or
utsuru, " to remove."—1696. ufij ZEI or moroi, " brittle " (from " flesh " and " dangerous ") —
~-kf*" 'J/Li
1697. -?==• SEI or chikau, " to swear." (What a satire this character is on the sanctity of
oaths, formed as it is of " breaking " one's " word ; " for jHp oru, our No. 883, signifies " to
break !")—1698. |3t GO or satoru, to discern," "understand clearly."—1699. fflfc mochi, " a
rice-cake " (from " to eat," and ic. used phonetically, its -$£ being HEI).— 1700. /tj|[| tana,
M^r I * |. p "3fc*t !AF/J
BEN or tsutomeru, " to exert oneself."—1702. ^§* sakana, " any food
taken with sake," specifically " fish."—1703. Si au or oroka, foolish.—1704. 'Nfir REN or
aivaremu, " to pity." Compare it with (1026) Egg RIN or tonari, " neighbourhood " (one
should pity, i. e. love, one's neighbour).—1705. >l-p KYO or kuruu, " to be mad."—1706. IV^i
HW;
•«J—L*
MIN or nemuru, " to sleep." Another common character for " sleeping," more properly
" nodding " or "dozing" is (1707) B|ff» sui or nemuru (lit. " the eyes drooping "); cor/, also re
marks on No. 903, p. 151. SDIMIN [fift H& is a favourite compound signifying " slumber."—
EAST MODERN PIECES. 351
1708. =ffR sui or tareru, " to hang down," " to droop."—1709. fifX MYO or neko, " a cat." The
character intimates that cats eat mice, the destroyers of (1710) pri BYO or nae, " shoots "
or " sprouts " of rice. This latter character is transparently pictorial.—1711. pay TSUI or
ochiru, " to fall."—1712. *r|| JU or ki, " a tree."— 1713. ^ml KU or inu, " a dog ; " inter
changed with ~^ KEN.—1714. £ffi KIN or nishiki, " brocade " (a " white cloth " embroider
ed with " gold "). Kindred in shape and meaning is (1715) yrajj MEN or wata, " floss silk,"
" cotton wool."
1616. jffijr KO or KAKU or Tmraberu, " to compare."—1717. _ip^ SHU or kusai, " smelly "
( a " dog " finds out the scent by " himself," without being told).—1718. 4£lC WAI or hikui,
" low," " short of stature."— 1719. ISS originally " ruinous," but mostly read HAisuru, "to
abolish." Remember it by comparison with -fiOf HATSU. —1720. Tp TAN or taira, " level,"
" plain."—1721-2. JJ& l|8 SHO-JO, a synonym of ^P -tftt , " heaven and earth." Memorise
at same time (1723) 3(81 J0 or yuzuru, " to yield."—1724. TJTf SHO or susumeru, " to en
courage."— 1725. HH KEI or Jiagemasu, " to incite."— 1726-7. /fR M^ SORAI, a celebrat
ed proper name, for which see note on p. 304. /frl alone signifies " to go ; " /M|£ " to en
tertain hospitably." Both may be easily read off by their phonetics. —1728. Ta& Ju, "a Con-
fucianist " (a " man searching after"—Jap. motomeru — the truth).—1729. ictS CHO or
koeru, " to step over," " to surpass."—1730. MJff JUTSU, " an art."—1731. ||jgr aragane, " ore ;"
more often KO, " mining."— 1732." ^3j? RYO or shinogu, " to brave," " to overpass."— 1733-4.
jjfe Tig HARI, the literary word for " glass,"—easily remembered by the phonetics. The lat
ter one is the same as in the very common character (1735) H{ft RI or Jianareru, " to be
parted."—1736-7. jKh Xjji BOSEKI ; both characters mean " spinning," " reeling."—1738. 3>JT
TETSU, "perspicacious," "sage."—1739. jgj? koko ni, " here."—1740. mt. KO, " navigation."
—1741. Jjj|J or Mtj u, one of the twelve signs of the zodiac, viz. u[sagi], " the hare." A
common bush with a small white flower, the Deutzia, is called jJlj (7) Jfi^ u-no-Jtana.
g^f^ j • j_ t=t~ •'1^ •* l"^»»Ut
— 1742. •&£. !i " class," " series." ~~f^ ^S! means " a dictionary." — 1743. Iw TEI or
kanae, "a tripod," "a cauldron," — the sides and lower portion of the character picturing
the body and legs of the utensil in question, while the contents that are being fused or boiled
have come to assume the shape of the character til " eye." l«l is a Radical, but has
I—I Tin
no useful characters classed under it.
1744. JK& MAI, the auxiliary numeral for flat things.—1745. y3± KATSU, " lively," hence
ikiru, " to be alive." —1746. ttf naku, " to weep."— 1747. ffijfc nao, "yet," " still."— 1748.
|H|$[ Kisswrw " to swallow,— said of eating and especially of smoking.— 1749. Jnft EN or noberu,
" to extend," " carry on," " practise." Its force will be appreciated by comparing such com
pounds as y3| G§|| ENGEKI, " play-acting ; " J §H JR ENGI, " a commentary ;" VB5
or V§& ^& ENZETSU, " a lecture." —1750. 4fi| TO or touore.ru, " to fall over."—1751.
CHO, " a butterfly."—1752. rj5r SAN or umu, " to give birth to."
352 TENTH SECTION.
1753. oya alone means " silk damask; " 1754. SHA alone means "gauze;" but
is " woollen cloth," and is " cloth with diagonal stripes."—1755.
TO. In Japanese this occurs only in the word Afn 2p$ gwaita, " an overcoat." Ils original
force of " largeness," " enwrapping," is well shown in the constituent elements of the character,
—" big " and " long," the latter slightly abridged in combination. —1756. HSf DATSU or nugu,
" to strip," " to take off," hence nigeru, " to get off," " to evade."—1757. AS sJdma, " a stripe,"
occurring as a pattern in any kind of stuff. —1758. £§§? NO or fukuro, " bag." Its Radical
" mouth," and the " clothes " meant to be put into the bag, may give some slight help towards
the acquisition of this terrible, but necessary, character. Another character for " bag " is (1015)
L-1759. J0C YD, " far off," " leisurely."—1760. YO or Icosld, "the loins" (from "flesh"
and " important," as being a vital part of the body).— 1761-2. HEMPUKU or komori, " a
bat." The European umbrella is supposed to resemble a bat in shape. —1763. j|||[ HAKU or
usui, " thin," not to be confounded with (839) ffig BO, " a tablet."—1764. JTCT KWAN or tea, "&
ring." (It " turns round " on one's finger ; compare No. 1654 ^£3 KWAN or kaeru, " to return.")
— 1765. fitt botan, " a button " (originally " a metal rim on a cup," which meaning the character
well renders).— 1766-7. HJIJ& HJjjA SANRAN, "glittering." $&£ alone is kirameku, "to glitter; "
ntjA alone is mostly read tadareru, " to be inflamed," as the eyes — 1 768. vPg 8A or kusari,
"a chain."— 1769. BjJ|C CHO or nagameru, " to gaze."—1770. Rift? tsubuyaku, " to mutter," " to
grumble."—1771. ^^ BO orfukureru, " to swell, " to be bloated."—1772. tf^ sui or surtt, " to
rub," "to strike" as a match (whereupon " fire " Jlf " finally " j^ ensues).—1773.
KYC or suu, " to suck" (what " gets up " ^^ to the " mouth ").—1774. <^B KWAI, read iddku,
" to embrace ; " omou, " to cherish ; " fidokoro, " bosom " or " pocket,"—all kindred significa
tions. —1775. if^P TAN or saguru, " to grope," " to search for ; " conf. yW SHIN or fukai, " deep,"
there being a certain kinship of meaning, though little or none in sound.—1776. JP- saki ni,
" formerly," same phonetic as (1723) ^ffi yuzuru, " to yield ; " but mark the Radical I—I Jtira-bl,
tffSC " I—I
appropriate to a word indicating time. Observe also that the similarity of construction to (1758)
*j§t fickuro, " bag," is only partial.—1777. Hp KEM or site/are, "a blind made of split bam
boos." Compare (1204) BE KEN or yasui, " cheap."—1778. f^ OAN or JcisJa, " shore,"
*TIv /~"f
" bank," " beach."—1779. ajjjJL KWAN, " a can " or " tin," as of provisions, also written with the
Badical for " jar," thus n^E .—1780. IK> SAKU or nomi, " a chisel." Often occurs preceded by
the character (1781) %-£ SEN or ugatsu, "to bore." From the primitive meaning of " boring a
hole with a chisel," the compound SENSAKU has come metaphorically to signify " research " in
general. Observe the formation of :^f " to bore : "—it comes from " hole " and (1782)
-J4"*1 kiba, " tusk," alluding to the gnawing of rats in boring through walls. —1783. 'JX'
-^-J 1 11!^ •
gai,
variously read/irfa, " a lid ; " ou, " to cover ; " kedashi, " probably." .The contracted forms
EASY MODERN PIECES. 353
and TjSrC are common.—1784. #4* PEN, " cork."—1785. ml KO orkatai, " firm," " strong ; "
hence moto yori, "of course."—1786. ^,7 mote, " a crotch," " a fork." This character is dis
tinguished by its dot from (No. 410) ^t mata, " again,"— 1787. *on kushi, " a comb." —1788.
iffi kakit, " to scratch," most appropriately compounded of "hand "and (1789) ^£!F nomi,
" a flea." The upper portion of this latter character is a corruption of (753) JlT " claws,"
though " insect with claws " seems scarcely as happy an ideograph for " flea " as might have
been expected of Chinese ingenuity. —1790. jB*K Jiasami, " scissors ; " akin to (1791)
!• ¥* if/*i
jKK Jiasamu, " to pick up or hold between two other tilings," as fingers or scissors. Both
X/V yj .
these are akin to (1231) %QA semai, "narrow."
1792. ^t KO or takamura, " a clump of bamboos."—1793. yy SEKI or shio, " the tide,"
" brine, "—originally " the evening tide, "whence the easily remembered structure of the charac
ter.— 1794. j»jfc (^m } JO[Ki] " steam," also read mwn, " to steam."—1795. Mjh DA, " a load
4* » kt V >T»v ' —.-» |jj • *!*'»V |—j |_. *
for a horse." Occurs also in the common words K Kir GETA, " wooden clogs," and f& JETr
O*/<I'DA, " a higher kind of clogs used in wet weather." — 1796 »flA TEI or sageru or hisfiayeru,
" to carry hanging in the hand," " to lift." — 1797. 3|S PAI> properly " presenting thank of
ferings at a temple," but only commonly used in the compounds «£ **S FAHEN, which
denotes such an offering of " cash," and ^Hc (7) Ynf Jfp sxi-no-katcara, "the river-biiuk
-fi* / 4 J ''¥* =3£^|
in Hades where the souls of children are set to work to pile up stones." — 1798. rjgj SHI or ko-
toba, " connected speech." No. 825 izjy£ also read kotobn, means rather "isolated words."— 1799.
VCt RYO or suzushii, " cool." Observe the Radical for " ice," quite appropriate here, but not so
in the next (1800) 3fft • I oki, "the offing," which however 3i!£»
is also written yrft.—1801.
* * y§r' so
or Jiakolnt, "to transport," hence kotju, "to row."—1802. HV s". "vinegar;" hence smhl, "a
ball of rice plastered with fish dressed with vinegar."—1803.^"^ linn
J&^^
properly Anret, " boiled rice
dried," hence " food for a picnic."—1804. ifcii YO or uyokn, " to shake," " to move." Under the
same phonetic, remember (1805) Iffifr Y-0 or Itfiruka, "distant," and (1806) gap. YO or utau,
"a song," all three Radicals excellently fitting the sense in its various changes.— 1807. ™RB no~
koyiri, " a saw."—1808. £ji JAKU or suzume, " a sparrow " (a " little bit " of a " bird ").—1809.
SHO or tonaeru, " to recite," " to name."— 1810. |=| KWA, " goods," " wares " (" treasures "
for " changing," i. e. exchanging in barter)—1811. Jgy SHO, " a public court " or " tribunal."
—1812. ^^ GO, "excelling," "overbearing," " martial" (from a "tall boar, " .H| being here
contracted as often in composition). —1813. Km. JIN, "a camp;" obseve the [war-] chariot,
which also stands out conspicuously in '^[ " war," and fE " a military store-house."— 1814.
Trffl Kl or kayayaku, " to shine brightly."—1815. ^^ HO or nirit, " to boil," chiefly used in
the compound |fe.|J ^^ KAPPO " cooking." A commoner character for " boiling " alone is
is (1816) ^^ SHO or niru.—1817. PR KO or tataku, " to tap," " to strike." Our word
"kotow" is fiom the Chinese fiM OH , which is pronounced KOTO in Japan. — 1818.
354 TENTH SECTION.
80, used phonetically in the common word |fi^ [|W MISO, " bean-sauce."—1819.
SHU or omomuku, " to go towards," more often metaphorically " to purport." The Chinese
character means lit. " taking a run," the Jap. reading " turning one's face [towards]."—-1820.
|t| SEN or uranau, " to divine," hence shinier it," to take possession of." The character is formed
of I I "mouth "and (1821) l> BOKU or uranai, "divination." This last, which is the 25th
Radical, pictures the lines developed in a tortoise-shell when roasted, such as was a common
method of divination in ancient times all over North-eastern Asia. — 1822. 4=js BOKU, " a menial
servant," hence " I " (from yl "man" and ^g GYO, "occupation " slightly altered). — 1813.
•fS DEN or tmlaeru, "to transmit," " tradition ' ; easily confused with (1824) OjLru orkusJii-
sukii, " to wait on," as a nurse, etc. The two will be best kept apart ia the mind by noticing the
respective sound of the phonetics, 'flS DEN having .Eli SEN which rhymes with it, while 4§L
- r». r*f ' ' vj* -•»>« IM
FU has EH (No. 457) which is read with the kindred sound HO. In practice the EH mostly
1 1J IT t II E3
sinks into a line, |-j-| " rice-field," and a dot. —1825. V^K BAKU or sara.su, " to expose to the
sun," " to air " (from " sun " and No. 1512, " violent)."— 1S26. fjjfc KEN or sukoi/ako, " vigorous "
(a " man " well " set up ").— 1827. /HW HO or aku, " to be satiated (" food wrapped up " in the
stomach).— 1828. Yg| 80 or minato, "a harbour;" oow/X1227)KjC R0> which has the same meaning
in Japanese. — 1829. gujE TAN or utnareru, " to be bom." The original meaning was " big
talk," " bragging," whence the structure of the character, " words protracted."— 1830.
Sri KEIOV modern, "to repair to," as a temple.— 1831. %£ SEKI or senaka, "the back." The
character is more properly " backbone," the original form (which can still partly be made out)
showing the vertebrae above MM the " flesh."— 1832. MiE FUTSIT or waku, "to bubble up."—
1833. ${rt HO or awa, " bubbles," " foam."— 1834. ^j$ SO or omou, " to meditate," " reflect
f ~* *UU» r||
on." This character seems to denote more careful thought than the synonym fljR SHI> a^so
^Itf *||| ILi*»
read omou.—1835. Y;X" nayisa, " shore," here read s>/, as if (1051) V*M4 " a sandy islet"—
183(5. ?IT* BON, " a tray " (a thing like IJTl a " plate," in meaning, and rather like Ap- BUN,
" a part," in sound).— 1837. J||? GWA, " a picture ; " also read KWAKU, " a line," " a plan ; "
er/akit, " to paint." The abbreviated form |RJ| is very common, as is also an expanded third
—B-< , |i M " • •
form rgrj . The elements composing the character remain cpiite clear, viz. |-|-j a " rice-field,"
traced round by .-~HI a " pencil," thus indicating a picture of a landscape. —1838. jrfj? E or
KWAI, " a picture."— 1839. /t§£ HO or homeru, " to praise."— 1840. 'VlHJ DO or hora, " a grotto."
—18*1- HaJ TEI or hizume, " a hoof."— 1842. .^5" KEI or mine., " a mountain peak," for which
UJ v w^.
(855) ^S» HO is another common character. — 1843. ^M* KI or GO, the game of " checkers ; "
also " chess," but then the Radical is generally written to the left, thus jKSL iKI> an(l use(l
in the compound '£& FfSL SHOGI, " chess." A third form, very often employed to denote the
game of checkers, is ^M* . The difference in the Radicals points to the " men " in Far-Eastern
chess beiug of wood, whereas those used in checkers are of stone. —1844. .V=E H° or
EASY MODERN PIECES. 355
a species of " fleabane." It occurs in the familiar compound \jfe 7jjk£ HORAI, " Elysium ; "
Mi" > M+
(1845) xIC RAI occurs in Jap. only in this compound. —1846. VlH GYO or sunadoru, "to fish."
— 1836. |ga| I or kakomu, "to surround." The compound |ja| ^M* IGO, menns "the game
of checkers " (conf. No. 1843), because the object in one variety of that game is to surround the
adversary.—18 48. "Pp fewfio, a land-measure the size of two mats, or about 4 square yards
Eng. —1849. V$5 SEN or leuguru, "to dive;" hence hisomu, "to hide."— 1850. Ypf TAN or
tani, " a deep valley." Remember this character by the similarity of its '^A* and pjl
S"+?\ if-* ff* -
It is a synonym of the more familiar £± • — 1851. IMa SHO or usobuku, " to whistle." The
is read tsunami, " a tidal wave."—1852. Tntl KAor GA, used phonetically i n
transcribing certain Sanskrit words, notably TjH|l Eg£ GARAN, " a monastery."— 1853. &£•
KA, " good ; " hence yomisu, " to eulogise."—1854. njjn] tai, a kind of " gold-bream,"
esteemed by the Japanese as the best of fishes.— 1855. Hl{5* katsuo, " the bonito " (the charac
ter means lit. " the hard fish," which is also the etymology of the Jap. name, as katsun stands
for kata-mvo).—1856. 'ffff e or ejiki, " food for animals," "bait" for fish.—1857. H-**: maku,
•T* i*!-*" •
"to sow" (the character indicating the "time" for sowing "herbs"). —1858. *Kr funalmta, "the
side or gunwale" of a vessel.—1859. yp, FU or ukamu, "to float."— 1860. Wffl koi, "a
carp."—1861. .gB so or kusamura, " a grassy or bushy place ; " hence also read muragaru, " to
be crowded together."
j • * • E. j W
186'2. rt| CHC, not used alone, but always in the compound -r*, rtt UCHU, " the
Universe."—1863. J^ KYC or tarna, " a ball," " a sphere."—1864 ^f KIN or tori, " a bird."
(The strokes at the top are ^^ KIN, " now," used phonetically ; those at the bottom are the
rare Radical tRl "a footprint.)"—1865. /firj/ BI, "small," "insignificant;" hence kasuka,
" obscure."— 1866. JP^ AN, " serene," " peaceful " (the " quiet " " sun " of evening).—1867.
Ar| iyashiku mo, " provided," " if."—1868. TTft BO or samatageru, " to hinder " (a " woman "
in the " way ; " observe to how many characters the Radical for " woman " communicates a dis
agreeable meaning). —1869. <{Jfi GU, properly "an image," but mostly read tama-tama,
"seldom," "accidentally." Cvnf. (1512) iffi " to meet with," " to have happen to one."—1870.
P§r£ YU or tatoeru, " to compare."—1871. y*T Icugi, " a nail." The original character seems
to have been I , or rather \^, the picture of a nail partly driven in, to which the Radical for
metal was added afterwards, in order to give greater clearness to the representation. —1872.
•^ HYO or hakaru, " to weigh," " to estimate."—1873. .Ufa SA, " a little.—1874. HAI
or tomogara, " companions " (originally a " line of chariots "). Observe how the pV °^ c^a-
racters with the phonetic 3J£ varies between HI and HAI.—1875. KS CHIN or noberu, " to
spread out," hence " to state."—1876. =flf GI, " right," " suitable ; " hence yoshimi, " kind-
11 1L
h'ness " (from " words " and No. 934 --gf " good " ). — 1877. flH 0 or uba, " an old dame."
356 TENTH SECTION.
Conf. yJS " warm," and remember the character " old dame " by her warming herself at
the fire. It is curious that the ~r^ should be 0 ; one would have expected it to be ON. —
1878. /&£ KEI or kangaeru, "to consider," "investigate." The compound /RJr rW KEIKO,
" study," wliich means lit. '• investigating antiquity," artlessly renders the Far-Eastern idea of
what true study should be.—1879. Itj AN or kurai, " dark " (formed on the lucu* a nan prin
ciple from I—I " the sun," and the very imperfect phonetic p£* ON). —1880. H-S SEN or
it/nshii, "vile."—1881. ~5& l<azit>, properly the notch in an arrow in which the bowstring
fits; more often "obligation," "must," " should."—1882. ife HI, " shelter."—1883. $3
*/n»i 'J^ >TC
BAKU or Jiakarigoto, " a scheme."—1884 Yn[| SOKU or Jtakaru, " to fathom," " to measure."
I ^» ' IH J
— 1885. fjrrt SHIN or told, " time," hence " heavenly bodies " which mark times and seasons,
/^v »—t
and specifically the "dragon" (tatsu), one of the signs of the zodiac. — 1886. rp. KON, pro
perly " alike," " many " (from |—| " day " and hp* " to compare," because all days are
alike) ; but most used in the compound tni jjnfi KONCHtJ, " insects." — 1887-8.
u, " the " viscera " (the first character depicts what is " stored " in the " flesh," i. e. in
f*+f
the body ; the second is similarly from " flesh " and " treasures ").—1889. lw» KIN or svji,
" the sinews " (from " bamboo," " flesh," and " strength," because of the strength of tliat
plant). —1890. -jiff rvsuru, " to ttoop," " to bend down."—1891. rf-K SON or mago, " a
grandchijd;" cleverly formed of -^^ "child" and (1892) ^3p» KEI, "a link," "connection/'
This Jjr* itself is formed pictorially from —f* " silk " and a stroke above, showing the
connection with something that has gone before.— 1893. 4»fV CHO or itogtichi, properly " the
end of a ball of thread ; " hence " a clue," " introduction," " beginning." — 1894. -«Ep I or
tsunaiju, " to tie," " to connect ; " but it sometimes sinks into meaning simply kore, " this,"
as in the compound *fp jfcjf ISHIN, which, originally a quotation from the Chinese Classics,
is now employed to denote the new regime in Japan.—1895. gj«r YU or satosu, " to in
struct " (with the connotation rather of ordering than of teaching), " to advise " an inferior.
1896. yftg SEKI, " great " (a " face" as big as a slab of " stone ").—1S97. $Cf| KO, a kind
Kf\ —_» \ti*y w
of " stork ; " hence in compounds " great," " vast." Note the phonetic 1 , and the water y
* YT» * K V* *•
near which the bird lives. — 1898. -flfe GA or niicaka ni, " suddenly.— 1899. JS SETSU ortxwju,
IJAi JiA>
" to succeed to," " to join ; " hence this character often denotes " meeting," " associating."—
1900. Tfljl- BU or antuloru, " to insult."— 1901. C& BETSU or naigas/iiro, "worthless: "—nai-
gas/nro ni sum, "to slight."— 1902. Djjlt RO or ii/aslni, "vile," " low."—1903. fffi or ri
JUN or nazorueru, " to liken " (" ten birds in the water " all look quite alike).—1904.
" felicity," " good luck." (The " sheep " here probably refers to sacrifices whereby fortune
was propitiated in ancient China, while the Eadical »| * is one very common in terms
relating to solemn or religious acts, as y^ , |fiS , ifij? , ^9^, etc.).—1905. JISF n&zuru,
^^ft? »-t-» xjS ffSL "I"L xj> HW
"to discourse:" ^g" 14-1 KOJD means "a band" of pilgrims, etc. (to whom their leader
Hrj* I
EASY MODERN PIECES. 357
discourses). Comparing this character with (No. 488.) ypifr > we find a certain kinship of
sense as well as sound ; for /fjfg signifies " the external arrangement " of a building, while
gS] denotes words properly arranged so as to instruct.— 1906. H|£ FU or kmaru, "to rot."
The Radical suggests the idea of rotten meat. Note how this character is distinguished
from (1888) HRx FU, " the viscera ; " same Radical but differently written, same phonetic but
differently placed.—1907. TAJ; taeru, " to sustain," " to be fit for " (from " earth" and " very,"
as if bearing up under a very heavy load). —1908. -f vfe TAKU or eralru, " to select."—1909. iMp
SHI or miru, "to observe," "inspect" (the Radical here is tJ ; "TT^ is phonetic).— 1910.
rtrt ^LJ ' -J *
Kfrl KAN means in Jap. usage Idma, " leisure," for which sense the Chinese prefer the homony-
r^v Illl
mous character (1911) RSl (how quiet and leisurely when the moonlight is streaming through
IJFl /»"'*"• [III
the gate ! ). Compare also (226; Rfl KAN or aida, " interval : " ~"|* BEI TOKAN or naozarl,
" inattention," " negligence," is a familiar compound. —1912. also written *Pr ikRVsum,
J W
" to entrust. —1913. THT GAI or nageku, " to sigh. —1914, JpJL nnclo, " such as," " et cetera.
-^-^ I PL J'l1
— 1915. Sm SHO, " recitation," " reading in a singsong voice ; " hence soranzuru, " to learn by
heart."— 191(5. Vfp DEI or doro, " mud; " also nazumu, "to be bigotedly attached to."—1917.
RIN, " class," " relationship," " principle," " right."— 1918. jScfr NEI or yasunzuru, "to
have peace of mind;" hence musldro, "rather."— 1919. \fcr SHIN or J<ari, " a needle," " a pin."
— 1920. gH , a verb meaning " to say," chiefly occurring in the idioms BJT gS read iwa-
yurtt, " so-called,1' " said to be," and gS -^\ ^ S? omoeraku, " my opinion is that ...."
— 1921. J^K IN, " excess ; " hence " debauchery."— 1922. >|gi. AVAI or midari ni, " disorderly "
(from " dog " and " fearing," as if a disoi'derly person were like a skulking cur).—1923. j&^ BIN
or rnidareru, " to be tangled " (like " thread," with '/L/~ for the approximate phonetic), " to be
>rt»i -"^^^
in disorder."— 1924. ral RAN or midareru, " to be in disorder." It is occasionally found with
the opposite signification of osameru, " to bring into good order ( ! ) "—1925. ~S& DO or tsu-
tomen/, " to exert one's self to the utmost." (Appropriate Radical, " strength ; " do not
confound this No. with No. 975 3j£C DO or ikaru, " to be furious," Radical " heart.")
1926. am* TO or suberu, " to unite in one whole," " to control." Remember the phonetic
(1927) -ft* ju or micldru, " to be full " (appropriately formed of " man "—10th. Radical—
and Tp? " to nourish " contracted). In *& Jjl* JOBUN, " completely " (also written —p*
/^K), it is pronounced JD.— 1928. JSS WAI or kuma, "a bend in a shore," " a cove."—1929.
rt 0 or kegasu, " to pollute."—1930. jKjf SHtJ or osameru, " to gather in," " to bring to an
endj'— 1931. 3j£ Jtige, " the beard."—193± ^g JO, " to clear out," " to expel :" ^j£ ~^p
«FJ(fi ni SON-O JOi, " Honour the King [Mikado], and expel the barbarian ! " was the motto of
those who overthrew the Shugunate in 1867-8.—1933. 4tH KEI or katamuku, "to lean to one side."
— 1934. or j£||: SHt5 or ada, "a foe." -1935. ife!? WAI, " resentment " (" breathed " from
the " heart ").—1936. -^(@!)BOEKI, " trade."—1937. ifijj sm, originally "a thorn;"
358 TENTH SECTION.
hence sasu, " to stab."—1938. P=g TAN or kimo, " the liver."—1939. eg TAI or katachi,
'J/ri Jb,!* rflik1* »—1
" figure," " attitude." Do not confound it with HE kuma, " a bear."— 1940. -Zf-^ TEisuru, " to
I rrt. #»»* ' «
state ;" also arau-asu, " to show."— 1941. TH KWAN or wore, " a habit " (that which constantly
" goes through the heart ; " con/. No. 1425).—1942. Vw KAN or mirfari ni, " recklessly,"
" wrongfully " (like water overflowing). The same phonetic occurs in quite a number of
characters, of which the most useful are (1943) iJgJt habikoru, " to spread " or " ramify," and
(1944) *fpg okotaru, " to be negligent " or anadoru, " to insult." Notice that ^^ slightly
resembles yro in sense as well as in sound.—1945. jjjgjjr GEKI or utsu, " to strike," " to
attack."—1946. •fn snO or tsugunau, "to restore," "indemnify," "compensate."— 1947.
TJjffj REN or tsuranaru, " to be connected." It coincides both in sound and sense with i|ft •
— 1948. mi arazu, " is not so," also now used to write doru, " a dollar," doubtless on account
y\i _L-Ht
of the similarity of the character to our symbol $. Same phonetic in (1949) «j<m harau,
properly " to sweep away," but now used in the sense of " to pay." Remember Nos. 1948-9
together by "paying dollars."—1950. Hlr BU or shiba-shiba, "often" (conf. Sjf "number").
— 1951. or kasaneru, " to pile up ; " also kakaru, " to be involved in."— 1952.
to be on tlie brink," " to be nearly."—1953. H RETSU or sakeru, " to crack,"
" to tear."—1954. *J3fe HAN, "a Daimiate," "a feudal clan."—1955. ^Rl or ^« HO\ or
liifugatni, " to wave " or " flutter ;" henca, through the idea of changing to and fro, JET!
pjfK HON-YAKU comes to mean " translation " Notice the substitution at will of " flying " for
" wings " as the Eadical. — 1956. =j3g wake, " signification ;" also YAKUSW*-!^ " to translate."—
1957. ^yt hikiiru, " to lead ; " also the opposite shitagau, " to follow."— 1958. ^?« sO or mo,
" mourning ;" hence ushinau, " to lose."—1959. kfc HEI or shirizokeru, " to^ avert "— 1960.
&jjj icazuka ni, " barely."—1961. |KS ZEN or aegu, " to pant."— 1962. l^y ATSU or osu,
" to press," "to oppress."— 1963. ||^ SHIN, properly " a fleet horse," hence " rapid."— 1964.
jruu KWAN or kaeru, " to exchange."— 1965. '%& FCN orfuruu, " to exert or wield promptly
and impetuously."—1966. *|^§ tasldka ni, " surely " "verily" (that which is "done" with
the " heart ").— 1967. IJJJ0I KWA or wazawai, " a calamity."—1968. fifi SEI or sameru, " to
/I'lMJ " FtJt
become sober." —1969. Hffi 0, " suitable," " according ;" hence kataeru, " to respond." — 1970.
•gife JUKU, " a school." Change the Eadical to " fire," and we get (1971) S^, JUKU, " ripe."
confound either with (1169) NETSU, " hot."
WRITING LESSON. 359
3GO TENTH SECTION.
£ %
IV
1791 1783 1774 1754 1745
*
1840 1832 1822 1812 1802 1793
m
1841 1833 1823 1813 1803 1794
\
1843 1836 1826 1816 1806 1797
1843
JuL 1837 1827 1817 1807 1798
up
1844 1837 1828 1818 1799
I
1893 1883 1873 1863 1858 1848
ftb
1894 1884 1874 1864 1859 1849
1887
SB. 1877 1867 1852
1889
I 1879 1869 1854
1936
m
1927 1925 1915 1906 1897
*m
1971 1961 1952
1962 1953
ELEVENTH SECTION
ODDS AND ENDS.
364 TENTH SECTION.
*
m
1971 1961 1952
1962 1953
H
1963 1954
ELEVENTH SECTION
ODDS AND ENDS.
ELEVENTH SECTION
ODDS AND ENDS.
v for Hffi Qzuru, " to correspond." for gf£ KEN, " to offer up."
Certain methods of abbreviation are common to numbers of characters related to each other
in form. Instances are supplied by
i, "old." jL ^ t<(
saira, " valley." (as given above)
for fin: iedomo, " although." for I A I. KU, "district." (See above
|"H.
for still further abbreviation.)
e' "vessel."
for takai, " high."
np s/"wa> "g°°d8>" t, " bridge."
course similarly in compounds such as.
ABBREVIATED AND IRREGULAR CHARACTERS. 3GO
Many characters have assumed a slightly different signification in Japan from that belong-
* l~f */H*
ing to them in China. Such are VJ&
VZtl | Jap.
jj "hot water," but Chin, "soup;" JsRC •% \*4 Jap.
"harbour," but Clu'n. "streams;" figf Jap. " storm," but Chin. " mist on the hilltops;"
±X*"*^M % "*vt
Jap. " a samurai," (that is " a warrior of gentle blood "), but Chin, "a" scholar," 7^
•1 B
Jap. "a marsh," but Chin, "a pond" or "tank," etc., etc., and large numbers of botanical names.
When we come to compounds, the divergences grow much more numerous, in fact innumera
ble. Such cases as lljm ij=t used to denote the native " Shinto " religion ; ~~f^ /TH?
the DAIKOX, or giant " radish ;" —pf ^P SHIPPO, "cloisonne enamel;" *-*? H^ sMLai, "a
theatre," etc., etc., start to the mind at once, and every page of Japanese will furnish its quota
to swell the list. Here, as often, Japanese reminds us of English, which, while borrowing
freely from a French or Latin original, has not scrupled to alter the sense of words as
well as the sound.
The reading of certain combinations of characters offers special difficulty ; and yet these
combinations must be familiarly known, as they are in common use. The following list might
easily be extended :—
V-I-» . f *
Vtf? >Ef samiga Ititasum sJiare
Vl1^ or _I3.
(see dictionary) "earnestly" " a joke "
naozan imikade
" neglect " " a centipede " liakanald
«
usage, here adumbrating the sense, while the Radical ITj , as in the case of HUH] , points to
§~""~^ I w^J»"f
the word being a foreign one. All distances on Japanese railways are computed in English
"miles" (Pffl) and "chains," this latter being written ^H SA (No. 1768), which is the
—J—» *^"-J*' %
proper Chinese character for " chain," but often pronounced cfia-in in this connection.
The 181st Radical, jEJ (o-gai), is now commonly used to write the new word peiji (Eng
lish " page "),—why, we have been unable to ascertain.
in II ~Tj ffl[ JTNKIKISHA, but also KIN as in yl left NINSOKC. The reason of this
phenomenon is historical. It is traceable to the fact that Chinese letters did not flow into
Japan from a single source, but chiefly from two, viz. from ETT*., Go, a kingdom in Southern
China with which intimate commercial relations existed at the period when Japan first became
civilised, and also from yap? KAN in the North. As the dialects of these two kingdoms
differed, so did the Japanese imitation of each differ likewise. The case is somewhat parallel
to that of several duplicate words in English, which are traceable to the same ultimate Latin
source, but which were borrowed either directly from the Latin itself, or else indirectly through
the French, such, for instance, as " Arabia " and " Araby," " regal " and " royal," " rotund "
and "round," "pauper" and "poor," "debit" and "debt," "to salve" and " to save." The
GO-ON having been introduced first, many of the commonest words took root in it, and are still
pronounced according to it in every-day intercourse, for instance, Rjt NIKC, "flesh;" Pn
_p « * " - I >l » I -J
MON, " gate ;" ml MEN, "a mask ;" also the numerals -• ICHI, Ni, r^ EOKU, etc., their
B* ( T ^ ^^ 9
KAN-ON equivalents rrsu, ji, BIKU, etc., being heard exceptionally only in certain locutions and
literary quotations, as ~^^ ."-pR RIKU-SHO, " the six scripts " (a technical term of Chinese
calligraphy) ; tH [~|t ~^\ /TT* 5o* CHDSHIN JI-KUN ni tsukaezu, " a loyal retainer
will not serve two lords " (a quotation from the Confucian Classics). The Buddhist priests
have consistently adhered to the GO-ON pronunciation in the recitation of their Sutras. The
Confucianiats, on the contrary, took up with the KAN-ON ; and their influence, combined with
the modern contempt for Buddhism and for anything savouring of the Colloquial, has led to
the acknowledgment of the KAN-on as the standard to which contemporary usage tends ever
more and more strictly to conform, so that almost all newly coined compounds are read
according to it.
No rule can be given for distinguishing the GO-ON from the KAN-ON, but certain analogies
tend to repeat themselves in a considerable number of cases. Thus the preference of the KAN-
ON for thinner, of the GO-ON for thicker, sounds is exemplified in numerous such characters as
THE "KAN-ON" AND "GO-ON." 373
¥ HEI BYO IN n ON
ik El YO TEI if DAI
19 GWAI OB
i3 *»if BYD BU
t
i » KAI GE TjF SHU SU
1
II KWAI E
ik >t SHOKU JIKI
KWA KE
S i CHOKU JIKI
»
KA KB
ii If
BEI
„ MOKU
Afc — fc
ii JU
„
NYC
NAN
it MAI ffi ii DAN
One of the two pronunciations often inserts a y where the other omits it, thus :
KAN-ON KAKU GO-ON KYAKU KAN-ON GYO GO-ON GO
In many characters the KAN-ON and GO-ON coincide. In others, one of the two—though exist
ing theoretically—is never heard in practice; for instance Tjjv is always pronounced JO according
to the GO-ON, notwithstanding that the dictionaries also adduce the KAN-ON pronunciation SEI,—
notwithstanding, too, the analogy of its phonetic fiv in which both pronunciations flourish.
Sometimes the difference between the two affects the Kana spelling only, or—to put the case
differently and with stricter regard to historical accuracy—the two pronunciations formerly
diverged, but have now come to coincide through the process of phonetic decay. A good
374 ELEVENTH SECTION.
example is furnished by the important character >P transcribed ^/\ J HAFU in KAN-
ON, fk ^? IIOFU in Go-ox, both of which are sounded HO in modern iisage.
Earely—very rarely—a different shade of meaning accompanies the difference of pro
nunciation, as 4jp whose KAN-ON BEN means " convenience," while its GO-ON BIN
means "opportunity." A somewhat similar case is offered by I • J^ KOFU and KUFD,
seep. 51. A similar phenomenon may be observed in some of the cases of duplicate English
words above quoted. " Poor," for instance, is not absolutely synonymous with " pauper."
But mostly it is just a question of context. The Buddhistic and the old-fashioned Collo
quial demand the GO-ON, the Confucian and the modern educated speech demand the KAN-
ON. For instance I-* i — |f* " superior and inferior," will
I—| be•» *• read JOGE according to the
former, SHOKA according to the latter ; and similarly nr fcR " brothers," may be either
—ftm m " ^S^^ *^1
KYODAI or KEITEI. fjjB? v/ " to buiJd," will be KONRYU if a Buddhist temple is in question,
^*- • r . t*. •
but KENIUTSU if a municipal hall or a lunatic asylum ; " 1^ /I " lad}"," will be BUNIN
in the case of MAYA BUNIN, the mother of Buddha, but FUJIN in that of a Chinese or
modern lady; *0^ /t&i will bo " MONJO " in the case of a certain ancient book, BUNSHD if
^^ 1ST*
a modern literary selection be intended. Sometimes either reading may be selected in
differently, as ^Hk 3j*c " books," read both (KAN-ON) SHOSEKI and (Go-ON) SHOJAKU ; Ijgfl
-'•=tj£ " maps andbooks," read both (KAN-ON) TOSHO and (Go-ON) ZUSHO. In such cases
men of the elder generation are apt to prefer the GO-ON, while the youngsters fresh from
college seem to esteem the KAN-ON alternative more elegant.
There are also cases of double reading within the limits of each -j5| , entailing a
diversityJ of signification.
' ' For instance, the familiar character -yjt
jl»;^. is sounded AKU when it
means as/u, " bad," but o when it means nikumu, " to hate," whence such variety in the
compounds as fSte .* ZEN-AKU, " good and bad ;" "BH .L KO-o, " loving and hating."
This change has nothing to do with KAN-ON and GO-ON; it is one accompanying the
varying shade of meaning in either pronunciation. Another familiar instance is afforded by
JBg read EKI when signifying " change," i when signifying " easy." Such double readings
of a few characters are the only approach made to inflection by the Chinese language,
which is otherwise absolutely devoid of anything resembling the grammatical system of our
"Western tongues.
Besides
~ ^*
the V|R pV an<^ ^^
l^S^. I •!
*T*- 'pV , there is yet a third pronunciation
^^ §• 9 _
called
rA* , which was introduced by Buddhist missionaries of the OBAKU sect in the 17th
century, and which approximates to the modern " Mandarin." Fortunately the additional
confusion thus caused is not great, as usage has sanctioned this new pronunciation
in but a very small number of instances. Those best worth remembering are : —
THE " TO-IN." 375
ANDON, a kind of lamp with paper shades. FUSHIN, " building " (lit. "universal
• Though the characters mean lit. " a begging " for subscriptions to build a
g°ing light," the ANDON is always temple). The KAN-ON would be FUSEI.
stationary. The KAN-ON would be KOTO. FUTON, " a cushion " (lit. " a circle of
bulrushes "). The KAN-ON would be
Si-\ ANGYA, " a mendicant priest " (lit. "walk HODAN.
I -•* ing legs "). The KAN-ON would be KO- KANKIN, " reciting Buddhist litanies "
KYAKU. (lit. " looking at the scriptures ").
The KAN-ON would be KANKEI.
CHOCHIN, " a lantern " (lit. " a light UEON, " suspicious " (lit. " reckless and
held in the hand"). The KAN-ON - disorderly "). The KAN-ON would be
would be TEITO. IL KORAN.
A few of the best-known place-names in modern China are also generally pronounced
according to the TO-IN. Such are
Similarly Tp| (KAN-ON) SEI is pronounced (TO-IN) SHIN, when used in the sense of "China ;"
and PH (KAN-ON) MEI is pronounced (TO-IN) Mm, when speaking of the "Ming" dynasty.
A complete analysis of the texts given in the present volume might bring to light some
curious facts—statistical and other—concerning the respective positions of the KAN-ON,
GO-ON, and TO-IN in modern usage ; but we doubt whether the labour would serve any
practical end. Time will be saved and the speediest progress made by simply accepting
the various readings, each in its context. Above all, nothing can be gained by argument : —
the language is highly irregular and arbitrary, and must be accepted as such.
Before quitting the subject, we would just draw the student's attention to a few cases
which belong to none of the three standard pronunciations of Chinese, such as ^/~ ~|\
MOJI (more regularly MONJI), pj ^6^. NIHON (more regularly NIPPON). Such clipped pro
nunciations are very ancient, dating from days when the question of Chinese final con
sonants was summarily settled by dropping them. Given, for instance, |-j old Chinese
NIT or JIT, the Japanese at first simply dropped the final t and said NI. Later on this
came to appear slipshod, and—teachers of Chinese insisting on the retention of the word in
its entirety—people tried to say NIT ; but being unable to enunciate a final consonant
without tacking on some vowel, they ended by saying NITU, which has become NITSU in
modern usage, through the general tendency to sibillation which has turned every Japanese
tu into /«« and ti into eld. N final forms an exception, as Japanese organs have become
376 ELEVENTH SECTION.
capable of pronouncing it; so MA MO has been expanded to the orthodox MON in modern
usage, and is always now so read except in a few special combinations. After all, there is
nothing strange in all this ; every language having a long literary past has something of
the kind to show. A good English instance is supplied by such words as " backward,"
"inward," "forward," which were formerly pronounced without the w, but which now,
thanks to scholastic influence, have resumed it. Nautical phraseology, however, with
its "forrard," retains the earlier corrupt pronunciation in this as in numerous other words.
In Japanese dictionaries the KAN-ON pronunciation is commonly written on one side
(mostly the right), the Go-on on the other of each character explained, and the Japanese
translation or translations (Kim) below, thus:
showing that -qfr is read (KAN-oN) KIN or (Go-ON) KON, and called kane,
It
if " metal," or kogane, " gold " in Japanese.
ORDER OF WRITING.
Though all connected Japanese texts are written from top to bottom, motives of con
venience may necessitate the placing of a few characters horizontally. This is often seen in
sign-boards, also in such official notice-boards as, for instance, those serving to indicate the
various departments of a large post-office. The reading is then almost always from right
to left, thus :
Yfims-gitte uri-sage-gucJti.
Window for the sale of postage-stamps.
) Kald-tome uke-tauke-guchi,
0 i Window for the receipt of registered correspondence.
| Kawose uJee-harai-guchi.
0 ) Window for the receipt and payment of post-office orders.
Of |
IU ) Window for the receipt of telegrams.
i Ko-zutsumi iori-atsukai-gucJiL
0 ) Parcels attended to at this window.
The names of stations on some lines of railway are similarly written, thus :
Himeji Station
but perpendicularly in Kana, as
Yukuhasld EKI
Yukuhashi Station
u.
OEDEE OF WETTING. 377
* " Issued subject to the railvrny regulations " s printed as the official English translation of this inscription
on railway tickets. But either the Japanese have misunderstood this current English notice, or the official
translator has misunderstood the Japanese.
378 ELEVENTH SECTION.
order intact in writing, re-arranges it in the reading off, so as to make it accord, tant bien qtie
mal, with the requirements of Japanese syntax. With a view of helping the reader to effect
this object, various small diacritical marks are printed beside the characters. Some of these
are Kana letters mostly supplying missing postpositions ; others are numbers or the symbols
for " top," " middle," and " bottom," indicating the order in which the characters are to be
»»—• iri r,
tuken. Such are called 4n{ ™i*t ifcoen-TEN, lit. " marks for turning backwards." The Japanese
•*<_«. j»kl )
reader follows these with his eye, often with his finger, and skips backwards and forwards up
and down the page at their bidding. Occasionally a character must be read twice with two
different interpretations. For instance, AVV near the beginning of the Chinese text printed
immediately below, is first read nao ; later on the reader returns to it again, and reads it gotoJcl,
as indicated by the small Kana letter Jf- on its left side, and as seen still better in the
Romanised transliteration. In fact, a careful comparison of this transliteration with the
original text will unfold the whole system of the kaeri-TEy better than any description could
do. The chief points of the system are that a little hook like the Katakana letter \/ re
marks the simple transposition of two characters, numbers are employed in the case of sets of
two or three characters, and |-» , Fft , p in still more complicated cases. Japanese
editions of the same Chinese work vary considerably in their iaen'-TEN notation. That here
followed for the reading of Mencius is known as the -•• ffiv Seft , from the name of the
great scholar Sato Issai already mentioned on p. 304. Other celebrated systems are the GoTO-
TEN and DOSHUN-TEN. A good edition—perhaps the easiest— of the Chinese Classics is the
" KEITEN YOSHI," with the reading and perpetual commentary in Japa
nese. But for Anglo-Saxon readers, Legge's admirable " Chinese Classics " are the best of all.
We have borrowed his translation of the passages quoted, with one or two slight alterations.
The following characters occurring in the first text quoted from Mencius are not included in
our list and need not be memorised, as they are comparatively rare and of little use ;—
HAI, "a wine-cup; KEN, "a bowl;" SHO or tokonav, "to injure; TAN,
" water whirling round in a corner," " a rapid."
JAPANESE BEADING OF CHINESE TEXTS. 379
mte
A
ft. ^ T
£ A,
380 ELEVENTH SECTION.
TRANSLITERATION.
KOKUSHI licakii : " SEI nao KIRYC no cjotoki nari; or nao HAIKEN no gotolci nan. Hito no SEI
ico mottc JIXGI tm nanu, nao KIRYO wo motle HAIKEX ivo nasu go. rjolosld."
MOoiu iwaku : "Sin yolcu KIRYU no SEI ni sldtagatte, inolle IIAIKEX wo naszj Jta? Jl/asa ni
KIRYU vo SHOZOKU .s7/f'/c, s/ii'/rt s/<iVe reoc7<i wi molle HAIKEX 200 nasan to suru nari. Mould masa ni
KIRYC t«> SHOZOKU sidle, iiioile IIAIKEN ico wiNcm to surcla, sunawacld mala masanildlo WOSHOZOKU
aid motte JIXGI ?«> nasait to suru ka? TEXKA no lalo wo Idk'dle, JIXGI ni wazawai sum mono,
Imnarazti SHI no GEN £a ! "
KOKUSHI iimku : " SEI ««o TAXSUI HO j/oioi-t nari. Korc wo TOiiO HI KES«!«re&«., sunawacld
TORYC" .s7<i ; korc wo SEIIIO ?u' KESsuj-c&a, sunawacld SEIRYC sti. JINSEI no ZEX FUZEN ni wakaru naki
//a, nao iitizu no TOZAI ni loakani nald ga gotolci nari."
Mosm iicalcu : Mizu inaJcolo id TOZAI ni icakaru nasld. SJIOKA ni n-akaru nakaran ya?
JIXSEI HO ZEX ya, nao mizu no Jtikxki ni tsuku <ja (joloki nari. Ilito ZEN narazaru am naku, mhu
kiularctKani aru ntiald. Ima kano mizu utte, korc wo odorasit,—sldtai wo sugosashimu-bcku; GEKi*7aVe,
kore wo ijnru,—yama id arasldmiirbesln. Kore ani mizu no SEI naran ya? Sono ikioi wa sunawa-
<-ld s1dka.ru nari. Ilito no FUZEN wo nasaxhimu-leki, xono SEI mo mala nao kaku no goloki nari."
When men are made to do what is not good, their nature is dealt with in this way."
(Mencius, Book VI, Part I, Chaps. I and II.)
m
.z
z iu m
PS, ill A
382 ELEVENTH SECTION.
TRANSLITERATION.
MOSHI iwaku : " TEN no toki CHI no iu ni sldkazu ; CHI no EI hito no KWA ni shikazu.* SAN-EI
no shiro, SHICHI-RI no KWAKU, kakonde kore 100 semete, katazu. Kano kakonde kore wo seinuru wa,
kanarazu TEN no toki u-o urn mono aran. Shikari shikd shite katazaru mono, kore TEN no toki CHI
no EI ni shikazaru nari.
" Shiro takakarazaru ni arazaru nari. Ike fukakarazaru ni araw.ru nari. HEIKAKU KENEI
narazaru ni arazaru nari. BEIZOKU okarazaru ni arazaru nari. Sutete kore wo saru. Kore CHI
TIO EI hito no KWA ni shikazaru nari.
" Karu cja yue ni iwaku, Tatai wo kayiru ni, HOKYO no sakai wo molle sezu ; kuni ico kato suru
ni, SANKEI no KEN ico mode sezu ; TENKA wo odosu ni, HEIKAKU no EI u-o iiwtlc sezu. Micld wo uru
mono tasuke uku ; -inicld wo ushinau mono iasuke sukunashi. Tatiiike sukiina.ki no itari, SHINSEKI
kore ni somuld ; tasukc old no itari, TENKA kore ni shitagau.
" TEXKA no shitagau tokoro wo motte, SHINSEKI no soniuku tokoro wo semu. Karu (ja yue
ni KUNSHI tatakawazaru ari. Tatakau kanarazu katsu."
prince]. When the being assisted by many reaches its highest point, the whole empire be
comes obedient [to the prince].
" When one to whom the whole empire is prepared to be obedient, attacks those from whom
their own relations revolt, [what must be the result ? ] Therefore, the true ruler will prefer not
to fight; but if he do fight, he must overcome." (Mencius, Book II, Part II, Chap. I.)
(Transliteration.)
FUKYO YAHAKU. — CHOKEI.
Tsuki odd, karasu naite, sldmo TEN ni mitsti.
KorD no GYOKWA SHUMIN ni TAISU.
KOSO JOGWAI no KANZANJI. >5tL
YAHAN no SHOSEI KAKUSEN ni itaru. JsI/V ~^T-
Iff
(Translation.)
" At Anchor at Night by the Maple Bridge."
[A Stanza by] Chokei.
" The moon declines, and the crows caw [mistaking the light which shines on them
through the branches for the dawn ; but still] the frost fills the sky.
" The fishermen's fires from the maples on the river-bank meet my sad sleepy eyes
[as I gaze out, and]
" Beyond the castle of Koso, from the temple on [yonder] cold hill,
" The sound of the midnight bell reaches the boat on which I travel."
The above is what is called a J--* =;* *m 'Hj SHICHI-GON ZEKKU, or "seven sylla
ble stanza," whose first, second, and fourth lines must rhyme together, here H? TEN, PHP- MIN
(an imperfect rhyme to our ears), and 4j|^* SEN. Moreover, the characteis are arranged
according to an elaborate system of " even and oblique tones " (3^ /A)> which distantly
recalls our own English prosody founded on the distinction between accented and unaccented
syllables. But the Japanese reading not only disregards the tones :— by transposing some
words and translating others, it makes even the rhymes unrecognisable, and in fact destroys
the metre altogether. The following is an example of a -« ~=5* j&nj -V| I GO-GON ZEK
KU, or " five syllable stanza," in which the second and fourth lines rhyme. Unfortunately,
stanzas of such extremely simple import are not often to be found.
384 ELEVENTH SECTION.
The Japanese are very fond of writing Chinese poems on screens and on the sliding
doors (fusiuna) that separate room from room. Sometimes the square character is em
ployed for this purpose, more often the running hand. Tablets (z$H) containing brief quo
tations from the Chinese, or original compositions, form a frequent ornament of Japanese
dwelling apartments. Persons of any celebrity are constantly solicited to write such, which
are then framed and hung up in a place of honour. Generally, we fear, the interpretation
of such terse inscriptions— bristling, as they often do, with rare and difficult characters—
will exceed the strength of the foreign student. Still, when he is ensconced in a native
inn on a wet day, or maybe is kept waiting in a friend's reception room for that friend
to appear, there can be no harm in his endeavouring to solve them. In such cases even
half a loaf is better than no bread. Here are half-a-dozen inscriptions picked from among
hundreds : —
CiitiKUN AIKOKU. —Loyalty and patriotism.
Omoi yokosJtima 'naslii.—Have no depraved thoughts.
(Confucius said : " In the ' Book of Poetry ' are three
hundred pieces, but the design of them all may be embraced in one sentence,—' Have no
depraved thoughts '.")
TOKU KO narazu.—Virtue is no orphan, i. e. he who -p^f- —y /-j^
practises it will find others of like virtuous habits. (He- J>f>* 't t*E*
member that, according to Confucius and Mencius, human nature is radically good.)
Ju KINSEKI ni HISH.—May your longevity equal that
of metal and stone. ib
CHINESE INSCRIPTIONS AND PHRASES. 385
CHINESE PHRASES.
By this time, the student should be able to appreciate the neatness and terseness of most of
the ready-made phrases borrowed by the Japanese language from the Chinese. Owing to the
shortness of the words and the absence of terminations and particles, the sense stands out in
such startling relief that no translation into our verbose European languages can do justice to
it. The following phrases of four characters each are all quite common : *
*Not to keep the student forever in leading-strings, we leave him to wrestle with these phrases alone.
386 ELEVENTH SECTION.
S 85 H* » A
*n at •* a
'*" ' *
The Ya-jirushi, or " House-signs," are a system of symbols consisting partly of loans
from the Chinese characters and from the Kana, partly of rude ideographic pictures devised by
the Japanese lower classes. They serve as marks to distinguish certain shops, especially to the
eyes of illiterate persons, and are also availed of as trade-marks. Details will be found in the
" Transactions of the Asiatic Society of Japan," VoL XV, Part I. We here append a few
examples. The subject is one which need not detain the student On the one hand, very
little practice would enable liim to decipher all these signs, as their import soon becomes self-
evident to any one who is steeped in a Japanese atmosphere. On the other, he will suffer next
to no practical loss if incompetent to decipher them at all.
The FUNDO (less well FUNDON), which represents the weights employed in the native weigh
ing beam, is used as a sign by money-changers, referring back no doubt to the days wheu the
precious metals were weighed instead of being minted and counted. Mam is an outline picture
of the utensil still used for measuring rice and oil ; but rice-merchants mostly prefer the
Kome-jirushi, which is merely the Chinese character "/IC* kome, " rice," written stiffly. The
signs for yama, "mountain," and maru, "round," explain themselves. The shop which exhibits
such a sign as Yania-su is probably called Yamato-ya or Yamashiro-ya, and the owner's name is
Suzuki or Suematsu, or something else beginning with the syllable su. Chigai-yama represents
" two mountains crossed," KAKU " a square," hoshi " a star," kane ("metal ") a carpenter's
metal square. —» , K* , -yf- , /f^ , and 'A* are Chinese characters so simple that
* I — /to^+ .^ ^ / ^. -»
every coolie has them by heart. Iri-M is the character Jl iru, with the Kana syllable ki.
Maru-M, the house-sign adopted by the well-known Tokyo bookseller Maru-ya, exemplifies the
way in which scraps of European learning are sometimes utilised nowadays. He also writes
his house-sign f@0 , which gives the name of the firm more fully, this name being itself a
contraction of Maru-ya, the proper ie-na or " house-name," and ZEMBEI jjsfe Ff^ -fKf >
the Christian nama of tli3 head partner. Some such explanation underlies every Ya-jirushi.
As it is possible that the student may hear of the so-called ififfl 'T\, 3<L HT* JINDAI
MoJl, or " Characters of the Divine Age," to which some scholars have attributed a high anti
quity, asserting them to have been invented and used in Japan prior to the introduction of
Chinese writing, we mention the subject in order to warn him that they are a transparent modern
forgery founded on the Korean alphabet. The first allusion to them occurs in the seventeenth
century, after Hideyoshi's invasion of Korea. A mixture of fraud and credulity led to their
acceptance as genuine antiques by some of the leaders of the " Shinto Revival " school, whose
set purpose was to glorify everything purely Japanese and to depreciate all that came from a
Chinese source. Further details will be found by the curious in a paper " On Two Questions
of Japanese Archeology," published in Vol. XV, Part 3, of the " Journal of the Royal Asiatic
Society of Great Britain."
—1981. ^^ abbrev. of j||fc koc, " voice."—1982. |fe abbrev. of ^^ JITSU, " true."
—1983. |J| abbrev. of Kfoj KYO, " both."—1981 XL abbrev. of >|jk Bursu,
™J i TJ I*'* I/1*
388 ELEVENTH SECTION.
" Buddha." — 1985. '£? TAI, properly " exalted ; " but mostly used as an abbre
viation of <j|!* TAI or DAI, "terrace."—1936. £j£* abbrev. of JJ|^ GAKU, "study."—
1987.. abbrev. of igi HEN, " side."—1988. ^p abbrev. *of i|| utsuru, " to
remove." The abbreviation was suggested doubtless by the fact of ^±* SEN, " a thousand,"
being a conveniently easy homonym. — 1989. ttj abbrev. of p|E tatsti, "" dragon."" The
Eadical ~\f at top, also pronounced tatm, may lielp to fix it in the memory.—1990. "JH
abbrev. of l|jf| kamc, " tortoise."—1991. E£ abbrev. of |||* I, "physician."—1992.
t£t abbrev. of Wfi Qzuru "to correspond."—1993. ~^\ . abbrev. of Ijjff EEi, "cere-
/)U» 'ttu* TU "I-S
inony."—1994. ^3£ abbrev. of f& JO, " article."—1995. *jg (a "jewel" under a
" cover "), abbrev. of ^^ ta/otra, " treasure."—1996. H§ abbrev. of KM scK, " barrier."—
1997. j|r|^ abbrev. of Br KEN, " to offer up." Eemember how, in " Southern " China,
" dogs " are brought on to table as savoury food.—1998. f&f abbrev. of fflflfe toku, " to
explain." The abbreviated form shows iis the "horns" of a "sheep;" an explanation helps
fj^th JvV*
us when on the horns of a dilemma.— 1999. i|fi abbrev. of *1| sama, " Mr."—2000.
3-ftl or @^ abbrev. of i£§; Moba, " word."— 2001. i^r or JlH abbrev. of I™ shio,
jj-|* ' p*~r pOr *jnu, n IL
" salt."—1002. |O abbrev. of 4p£ KYU, " old."—2003. v|? abbrev. of
" valley."—2004. SP abbrev. of ffi|8 EKI, " post-station."—2005. ^^ abbrev. of
^ tsiikusu, " to exhaust."—2006. /,jv abbrev. of ^ /itj-w, "noon." Observe that the
" sun " is here as many " cubits " as possible above the ""line " of the earth.—2007. *||| KEI
or tsmju, "to succeed to" ("succession" or "connection" being indicated by no less than
five silken threads). Often contracted to &M; .—2003. HjJ? abbrev. of g|J tatsu, " to
sever." Here, too, observe the "threads" which an "axe" severs.—2009. ^^ abbrev- of ^L
HAN, "confusion." (Eemember the confusion of " tongues.")—2010. JfAjf maro, appar
ently an archaic term of endearment, but now used only as a termination in certain personal
names of men, as Atsu-maro, yy\ Fuji-mam—2011. ka-no-ko or
kago, " a fawn."—2012. HgJ also written 'E^ KYO or mune, " breast." Originilly the
tsukuri alone was employed, and was supposed to represent the thorax enveloping the heart ;
the subsequent addition of the Eadical for "flesh" aimed at still further clearness. -2013.
KEI or tsunagu, " to bind." Compare with it (1945) H* " to strike."— 2014.
Memorise at the same time (2020) JpJR BOKC, often contracted to /1»P. "unvarnish
ed," " simple," as in j~f" 135 or p=f ^K p SHITSUBOKU, " simple-minded." llemark
* * . « ^
that both halves of /nf* have the sound BOKU.—2021. pA G\ or fits it, "to h'e down"
(representing a " man " in the position of a " courtier " making the kotow ; conf. No. 419). It
is often written |jm .—2022. jfajjlj YO or hai, " a fly."—2023. -^ so or ctm, " green."—
2024. lull DAS, "a lump;" hence marui, "round." The interior (724) Jgjft moppara is
approximately phonetic, having the sound SEN.— 2025. IJlpHTON," a ton ;" see p. 371.—2026.
|£fe pondo, "a pound;" see p. 371.—2027. |jM mairu, "a mile;" see p. 37J.—2028. jj&
SEKI or SHAKU, " a book "—especially a book of records, a register. —2029. ^y FU or
amaneku, " everywhere," " universally," "all-pervading " (the " sun equally " in every place). —
2030. waSr garna, " a bulrush. Kaba-yaki »/jf» *£±* in which this character appears,
.lit* inJ /*7C
is a dish of fish roasted with sugar and soy to be seen advertised in every city.—2031.
KO denotes certain barbarous tribes ; also read nanzo, " why ?" " what ?" But its chief
~- " * f*I f H-ii
use is as a phonetic, as in (1254) JSP KO or mizu-umi, "a lake;" (2032) iSH KO or nnri,
" paste." (Observe appropriateness of Radicals).—2033. jiffl JUN or sJtitagau, " to obey,"
" comply " (from " to go " and " honourable," because one should follow what is honourable).
—2034. HcC SEI, " the natural disposition," " temper." Do not confound it with (547)
E^—E-*. |_1* Kfr¥ tr-B-?
Tpf JO, " the human passions," though the two are used together, thus Hoi Tpf BEIJO, to
in -Li~t '•" * *^
mean a person's character or disposition.—2035, >I»M Ki, the name of a tree, —species un
certain; also of an ancient Chinese state, whose people were so much given to useless anxiety
that,— so the story goes—they used to fear lest the sky should fall on them, whence the
phrase /KM ^Jg» KIYD denoting needless anxiety! —2036. Hfl* ZOKU, " a robber," " an insur-
I Lu ^G* F\W4 Oil
gent ;" hence sokonau, " to injure." This character is said to be contracted from R|l "rule,"
_l2* -i | -|A
and ~^j>" " spear," thus indicating armed opposition to law and order.—2037. 331 ntsu,
" to strike."—2038. ftM YAKU or odoru, " to skip," " to gamble " (not " to dance ").—2039.
^H lutai, " the forehead," for wliich (1387) WJ[ is more often used.—2040. ^flR KWAKU,
properly " the outer wall of a city ;" hence kuruwa, " an enclosure." When kurmva has the
sense of a "prostitute quarter," it is generally written (2041) EK properly KWAKU or
»»^ rf\*
in, na.ru, " spacious."—2042. yh^. i, a final particle serving to give fulness or emphasis to the
sense, as shown by the composition of the character, which is from -^^ " arrow," and p-*^
" already done," (contracted) as if to say that the expression has hit the mark. It occurs only in
KAMBUN, and is mostly neglected by the Japanese in reading.—2043. Jm/ IKI, " a boundary,"
" region."—2044. fiS. KYo or kagiri, " a limit," " a boundary." (See the rice-fields with
the lines dividing them, and the strong man defending his " soil " with his " bow ").—2045.
3xV, also written Vjft KEI or tani, "a valley with a stream in it."—2046. JmL T>
"dignity," " imjxDsing," "awful;" hence otlosu, "to overawe."—2047. pi-j Rol HAN or aze, " a
dyke or path separating rice-fields ;" also read somuku, " to disobey." The character represents
390 ELEVENTH SECTION.
the " rice-land " " half " on one side, half on the other.—2048. BjSf TEI or nakit, " to cry,"
" howl," " caw." The same component parts differently placed form (2049) *jrf? tada-, " only."
—2050. T^a SO or sltimo, " hoar-frost."—2051. ^Ef» SHU or uryoru, " to grieve " (as the
"heart" does in "autumn" when the year is dying).—2052. jfffc so or yomi-gaeru, " to
revive" or " rise from the dead." Appropriately boiTowed, both as regards sound and sense,
to transcribe the second syllable of HK 4f*j£ YASO, "Jesus," the first syllable of which is
ffrf t" A*!* "if I"
(2053) H l\ YA or ya or ka, an interrogative particle. In mfc observe, as mcmoria technica,
Tr* ' Awl*
that "herbs" and "grain" both rise again with each revolving year. The " fish " element
seems less appropriate. Do not confound H K YA with (2054) "}fI \ JA or yokosJdma, " de
praved," " heretical." The Japanese used to style Christianity TrK —p" JASHU, " the
wicked sect."—2055. raft SHO or kane, " a bell " (remember it as the "metal set up in the
village," to call to prayer or give the fire alarm). —2056. J^ SOKU, '• oblique," also read
honoka ni, " faintly."—2057. p=f KO or akinau, " to trade," more rarely KA, a Chinese surname.
Learn it with (315) 4j|?
!-&•%
KA or atac, " price."—2058. —g|
• «-
DO or unrobe, " a lad " (one who
"stands about" in the "village" street). This is a very common phonetic, but sometimes only
in so far as the 0 is concerned, e. g. in (2055) jajj| SHO, " a bell ;" also in (852) llg RYO,
" dragon," where the left half is really ^a contracted, and the right half vaguely pourtrays
the shape of the mytliical monster wriggling upwards.—2059. rr?P SAI or toru, " to pick,"
"to gather" (with the "hand "and "claws" from a "tree"). Remember at same time the
closely similar (2060) ~%K SAI, "vegetables," as in Iffi£ ^^ " vegetables."—2061. J|jf
KO or minaslngo, " an orphan."—2062. JKJ& BO, " a club," " a stick."—2063. *yjp? KEN or
hiku, " to pull along " (as a cow, the character being supposed to represent such an animal with
a halter attached to it).—2064. HTj| KO, always in the compound aiS TOF KOGAI, " public-
spirited."—2065. *7^ HI or kanashimu, " to grieve," especially " to grieve for," " to com
miserate " (the " heart " dwelling on "negations," i.e. on things bad and distressful). Very
often in the compound **; ^Jp JIHI, " mercy."—2066-7. &/C *§| EAKU-EKI, " uninterrupted
succession."—2068. §JP SHIN, " investigation ;" hence tsumabiraka, " detailed," " plain,"
" evident." Often in ~^\\ $* FUSHIN, " doubtful." The pronunciation of this character is a
snare for the unwary, who would probably read it BAN.—2039. g^T TO or tttsu, " to smite," as
a foe ; also tazuneru, " to investigate."—2070. rfT TON or tamuro, " a camp."—2071. J^K GI
or ari, " an ant,"—the " righteous insect," because, say the Chinese, it knows the distinction of
prince and minister. Bearing in mind the fable of the ant and the grasshopper, we may
remember it with double ease as the " sc//"-righteous insect.")—2072. '/ty SEKI, " single,"
" one " (of a pair). Best remembered as half of (1083) jjjfe SO, " a pair."—2073. yfc"^ KYU
or kiichiru, " to rot."—2074. /Eg BITSU or nori, " a law " or " regulation."—2075. *R|
CHO, " crowded," " dense " (from " grain everywhere ").—2076. 301^ MOKU, " bathing " (a good
example of Eadical and phonetic).—2077. ^|tl snC or sode, " the sleeve." Kemember also
ODDS AND ENDS. 391
(2078) ytaL BEI or tamoto, another term for " sleeve."—2079. ^X CHO or komsn, " to reprove,"
" warn," " chastise."—2080. ^V KI, " a horseman."—2081. £i£ RETSU or otoru, " to be
inferior," " inadequate " (" few strength ").—2082. tjcj KYO, KEI, or kisou, " to struggle," " to
rivalise." (Originally formed of r=±' "words" above IF " man," and repeated in order to
indicate the bickering of people).
The text of Section XI carries us down so far. For reasons of convenience, the com
paratively small number of new characters occurring in Section XII (the " Epistolary Style ")
is here appended :—
2083. ItS TOKU, " a writing-tablet," but mostly used in the compound IT* Riji SEKIDOKU
" a short letter " or " note."— 2084. jtifc [ j^ ] KAI-SHO, the " normal," i. e. " square " form of
the Chinese characters. — 2085. y*J SHITSU or uruou, " to be moist ; " also shimeru, " to be damp."
/lit MW*
—2086. 'I HI tsukuda, " a cultivated field." (From " man " and " rice-field ; what more obvious ?)
— 2087. Sgjj TO or iru, " to cast " (metal), rS»- JTI, " long life," is here the phonetic, despite the
very slender resemblance in sound.—2088. H|K ^> " a prawn " (sometimes also " a toad ") :
IflB HtC , lit. " prawn barbarians," is read Ezo (Yezo), and denotes the Ainos,—some say on
account of the resemblance of their bushy beards to the aspect of a prawn's head with its long
feelers. —2089. 3H: SAN or atsumeru, " to compile," as writings.—2090. **¥ HEKI, a kind of
precious stone, a sort of green jade : /fjp|j j/^C ^j? G0 HEMPEKI is used in the sense of " I return
your precious "(book, etc. lent me).—2091. j§|f KiorJiata, "a flag."—2092. XStftSKUKVOTchijima-
ru, "to shrink;" hence also cMjimi, " crape."—2093. 2&Z/ 8HO, "to connect;" 2094. Xp KAI or tasu-
~ke.ru, " to assist ;" the two together, «&r3 'JT SHOKAI> sJKulfy "introducing."—2095. /Wt SO,
" hurry " (observe the hair flying wildly in all directions). —2096. j=y?[KAN, " a document," " a
letter" (originally written on a slip of bamboo).—2097. /wpf SHOKU or item, "to plant" (because
in so doing you put a " tree " " straight " into the ground'. Learn at same time (2098) >ym
SHOKU or fueru, " to increase and prosper," also used in the sense of planting colonies, as
Biff til ;tf|J SHOKUMIN-CHI " a colony."—2099. TJH KEN or swzwri, " an ink-stone,"—typical
XlS *-\d ^tmJ tr£***^*
example of Radical and easy phonetic.—2100. *HE kuru, " to reel " silk. The common phrase
jBHH -^i* kitri-auxtse signifies " to arrange one's business so as to get time for something else,"
" to manage." — 2101. 33 YOKU, " the morrow," " next " (day). The character shows wings
ready to take flight as soon as the morrow dawns. Learn at same time (2102) 'B^ YOKU or tsuba-
sa, " pinions," hence tasukeru, " to help " (because pinions shelter).—2103. ^' FUN, " ener
getic,"—only in the common polite phrase /fjf|l ^^ PH GO-FUNRIN, " your attendance," " the
pleasure of your company."—2104. jjfjK Yt? or izanau, " to allure,"—whether to good or to
evil.—2105. BijS KI, " j°y>"— especially such as arises from the divine blessing ; (1155) t^*,
is rather joy pure and simple, without any such conuotation. —2106. < KON, " dark blue "
892 ELEVENTH SECTION.
(the Radical here pointing at stuff so dyed, while "TT* KAN, " sweet," is the rather imperfect
phonetic). —2107. tfif KWAN, " a coffin " (from " wood " and " official," t. e. that which
secures the corpse).—2108. jjjijl ZEN, " sitting rapt in religious contemplation," according to
the practice of certain Buddhists. The character appropriately indicates something solemn by
its Radical, and solitude by its right-hand part. —2109. |jm|| GO or kowai, " hard," " unyield
ing" (as a "hill" and a " knife ").—2110. *K=f also written 4*>§r KO or tsune, "constant,"
i— - • I—*-* fc* -fc
" regular." The second form shows the derivation, viz. a " heart " like a " boat " l||* between
two even banks (represented by straight lines),—the figure of the boat being slightly corrupt
ed.—2161. Hpf SO or okuru, " to give " as a present (" treasures added ").— 2112. oBS* SHI
or kami, " paper." Same as No. 254, only the Radical and its position v'is-u-vis the phonetic
differing.— 2113. ]§w KAN, "a writing," "a document" (observe the "feather" or quill
employed to write it).— 2114. jj||f TEN or kutmgaeru, " to be upset," "overturned" (observe
the Radical for head, suggesting topsy-turviness). —2115. THa habakaru, " to have a feeling of
backwardness," " to feel a delicacy."—2116. raai often contracted to IBS* . Tliis truly awful,
but common, character is read UTSU, and means " dull," " desponding." The component parts,
viz. Jpfc " forest," ^£ " dish," \~~\ " a cover," ^ " millet," and ^ " adornment,"
are supposed to point towards the libations for a sacrifice.—2117. gfflf KIN or tsutsusJiimit,
" to be respectful," " heeding," "guarding against."—2118. >pH KO or osoreru, "to fear"
(from " heart " and " emperor;" for how entirely overcome with awe must be the heart of him
who sees the monarch ! In Old Japan, indeed, it was supposed that such a sight would strike
the beholder blind.) —2119. qffl SHIN or noberu, " to dilate upon;" "to state," interchanged
with (255) rff .—2120. ljR* EN or itou, " to be weary of," hence " to take care of."
(Weariness may be supposed to be here represented by a "dog" sitting for " days " and
— * Mto
" months " under a " precipice.")—2121. ~mjf KI or inoru, " to pray." Often used in com-
-"?;?* .' ~T->"* r^Jbf
bination with its synonym (2122) IJJS TO or inoru, " to pray," thus Ifih* HIpS . Observe, by
comparison with No. 2088, the tendency of .gg« JU, " long life," to give to its compounds the
sound of, not JU, but TO.—2123. j[M KYD or liato, " a dove," " a pigeon." Probably T?
is here a phonetic representation of the " cooing " of this bird. —2124. yfcn kashiwa, a species
of " oak."— 2125. KB. TEN or noberu, " to open out," " unroll." (The original form is com
posed of F* "body," and I "workman" four times repeated, showing united action.) —
2126-7. Jig JS\/ CHODAI, " receiving " (as a present), more lit. " carrying on the head," as
Tj3 TEI or CHO alone signifies itadctki, "the top" or "head," while ffiy is itadaku, "to
carry on the head."
SUPPLEMENTARY LIST OF COMMON CHARACTERS.
The following characters, which have not yet occurred in the course of this work, should
be committed to memory, as they are universally known and generally useful. They are
here given in the order of their Radicals : —
ODDS AMD ENDS. 393
2128. J* YO or ware, "I;" also read ataeru, " to give," as if it were (796) JgtL
which also is read YO.—2129. T7t KYU or ada, " a foe." This is an abbreviated form of
(1934) or fl^fi: .— 2130. fit* yotte, " according to."—2131. A* Kl or kmvadateru,
"to plan" or "plot" (like a " man stopping still" to ponder over a difficulty).—2132. 4-\f
BATSU or Idrn, " to cut down," " to destroy ; " also utsw, " to smite "—the enemy in war, —
(from "man" and "spear").—2133. 4-f CHO or tadazumu, "to stand still." Observe the
fundamental resemblance of signification between this character and (899) HT* " to lay up," " to
/ •- >% 4
hoard,"—remaining iu one place being the root-idea.—2134. 44^ NEI, "persuasive," " insin-
uating" ("man destroyed by woman's " wiles). —2135. lIM Ilit HAI or*^*
obiru, " to wear at the girdle:"
\0 T7 HAITO, " to wear a sword."— 2136. T^E
FTl X •* I I
YO or itsuwaru, " to feign,"
tJ.t
" to pretend."
liemember it, not as a wolf, but a "man in sheep's " clothing. — 2137. vSt SHUN, "emi-
*'^r tfft
nent," "superior;" often read toshi ("quick") in personal names. —2138. 4 p, FP or toriko,
" a prisoner of war." (Kemember it as a " child " in the " claws " of a "man."). —2139. $£.
matsu, "to wait"—2140. qAjk KYO, "bold," "ready to maintain another's cause:"
4xtC 5§jr 'ls read otoko-date, " one who fights for the cause of the weak against the
oppressor."— 2141. /n& HYO or taicara, " a straw bag " for holding rice, etc. —2142. ;pR HO,
" salary " (what a " man respectfully receives," /^ meaning originally " to receive respect
fully " as well as " to present respectfully," taiematsuni).—2143. 'roC KEN or »mu, " to be
weary of." —2144. /fjjjjjjf nasu, " to do "—2145. /^ SAI, " a debt" (that for which a " man "
incurs " responsibility ").—2146. ifff YO or yatou, " to hire," as a labourer.—2147. iSl zo, "an
image ; " hence katadoru, " to make iu the likeness of." —2148. T^jE KETSU, " heroic : " *tjj^
VSJZ GOKETSU, "a hero."—2149. v& SO, "a Buddhist priest" (an approximation to the
sound of the Sanskrit word sanga).—2150. -f^J OKU, " a hundred thousand " (from a " man "
and " thought," to indicate a number beyond the power of thought to conceive). —2151. 135
CHO or mokeru, " to make or lay up (money)," the character showing " all " that a " man "
has.—2152. Tiff Kl or koi-negau, " to yearn," " earnestly request " (one in the inhospitable
" north " yearns for a " different " abode).—2153. Jft JUN or yurttsu, " to allow," " to
ratify;" also nazorau, "to liken." This character is often interchanged with (1903)
yBl .—2154. ffig QYO or koru, "to stiffen," "grow hard" ("suspected" of being like
" ice "). — 2155. bj»j K.VN or hako, " a box," as in bfcj Hpf Hakodate. The synonym
•Jjcj is somewhat more common. —2156. )^|| karu, " to mow." " to cut."—2157. -f||
'T^tl ^ n ' J —•* t ^ —* I w
or -flj KAN, "engraving blocks for the press:" -4*|| ^~T KANKO, "publication."—2158.
~Jw\\ KEI or shi-oki, "legal punishment," "execution" (by an " even sword"). —2159. ~tKu
SEI, " regulating," " governing." It is akin both in sound and signification to ^fr* which
originally denoted the cutting out of garments, and now means " making," " manufacturing."
—2160. R|[ SATSU or sum, "to rub" (blocks for printing). A "body," a "napkin," and
a "knife" are the implements. —2161. ^|| HO or BO or saku, "to tear asunder:"
394 ELEVENTH SECTION.
3£|| KAIBO, " dissection."—2162. "B|j BAKU or kezuru, "to plane," "to scrape off," "to
erase."—2163. Mil TEI or soru, "to shave:" mil J|£ TEIHATSU, "shaving the head" (to
7P J tfit "" *&** />«!
become a Buddhist priest).—2164. H3||J HAKU or hagu, "to flay," "to peel."— 2156. fin||
also written TJjjI KEN or tsurugi, " a double-edged sword," used rather for thrusting than
for cutting. —2166. JB&jl ZAI, "a dose" of medicine (which the druggist "equalises" with
/t" IT fc f
his " knife "). — 2167. ^\l or /-*! SHAKU, a measure of capacity about £ oz. The
character shows the measure with something inside it.— 2168. 'jfl momme, a measure of
_^rt. * ' J*
weight of which one thousand go to the ^ KWAN. —2169. P* HI or saji, " a spoon," of
which the character is supposed to be a picture. It resembles J-* SHICHI, " seven."—2170.
EHIKI, " a piece of silk ; " also the auxil. numeral for animals. —2171. jFlJ oroslii, " whole-
/tt*i "honourable."—2172. Itt
sale " (best remembered as the tsukuri of /fJHJ I—* ^*
YAKU or loazawai,
"misfortune," " distress."—2173. fiBfswio, " that."—2174. ife/ SHUKU, used in nfe/ ^/*
•__. i | rs7\ k^/btf 1^%- ^^W
SHUKUFU, " uncle," and ^Fj7 -jg^ SHUKUBO, " aunt."—2175. Sfft HAN or somuku, "to
rebel" ("turning" on the other " half ").— 2176. fll^ SHJTSU or shikaru, "to scold" (the
" mouth " with J-» as phonetic). — 2177. ff» OHO or tomurau, " to condole with mourners."
Sometimes written J-tJ (a " bow " grasped by a man), because the watchers of the dead
shot at the birds which pecked the latter.—2178. jil Rl, " an official " (from rft " records,"
and • " one," implying unity of purpose in ^^^
the minds of rulers). —2179. .--*^^ "r^T"
xv OAN or
fukumu, " to hold in the mouth " (from I I "mouth" and ^^V KIN as the phonetic).—2180.
jgf* *" l~Jf^
-ff EIN or yabusaka, " stingy." Sometimes written ajK the better to bring out the sense.
"" ~T|I fc*!^fc^ J^C^^ * *"
2181. \mf also written f&it mzuru or ittau, "to sing," "to compose poetry."—2182.
•fl utai, " chanting," " singing."—2183. |ffi CHO or shaberu, " to chatter."—2184.
KEN or kamalnsus/di, " clamorous," " noisy."—2185. IfcS SHI or tashimu, " to relish,"
"delight in."—2186. Rfe£ saxo, "how much I " " indeed."—2187. ttj&f hanashi, "a story.'
2188. n\J SHC or meshi-udo, " a prisoner ; " also read torae.ru, " to capture" (from
a "man" in an "enclosure"). — 2189. ~j£j KIN or hitosldi, "equal," " even." — 2190.
T|r
^W KO or ana, _Lm " a pit : " /x
njc -f rt TANKO, " a coal-mine."— 2191. Ttt
V *>/w kaki, " a
Tr%, ».=-•
fence."—2192. JHJ MAI or uzwne.ru, " to bury " (in the " village earth-").—2193. JJHC HEI,
"a wall." Compare (1959) JpjL—2194. jHi or KB TEI or tsutsumi, "a dyke," "a
bank."— 2195. j^ TO or »o or kaki, " a wall : " 4f ~$£ ANDO, " tranquiUity " (as at
home behind one's walls).—2196. ~\S, TO, " a pagoda."—2197. >ffi; HON or Jiashiru, "to scamper
away," " to bustle about." (The original form represented three cows scattering from fright.)—
2198. TfeaToi, "a singing girl," "a courtesan."— 2199. fmf also written win 8HI or ane> "an
elder sister."—2200. Ifi? MAI or imoto, " a younger sister."—2201. tf)ft TO or netamu,
" to be jealous " (the " stone " referring to the jealous " woman's " wicked heart).—
2202. 3*: metorv, " to take a wife " (as the character literally shows), " to marry."—2203.
KON, " marriage " (from " woman " and " dusk," because weddings take place in the
ODDS AND ENDS. 395
evening ; conf. No. 2241).- 2204. £3T KWAN or mattashi, " finished," " complete," " quite "
(from a " cover " and ~JT* GWAN or GEN as phonetic). —2205. 5f^ *TJ or yurusu, " to ex
cuse ; " also nadameru, " to mitigate " (the offender's transgression " has a shelter ").—2'206.
JEjC ou, "sojourning" (from "cover" and an obsolete character for "monkey," "sojourn
ing " being thus likened to a monkey under the shelter of a tree). — 2207. &n" I, a military
and naval rank corresponding broadly to " lieutenant."—2208. Ilil Kvssuru, " to crouch."
—2209. jljlll misaki, " a promontory."—2210. -ff-f GAKU, " a mountain peak." It serves as
a contraction of (1242) ||£.—2211. jjtjf HAN or ho, "a sail."— 2212. 6jjj sui, "a leader"
or "commander-in-chief;" hence hikliru, "to lead on." Do not confound it with (137)
|jjn SHI, " a teacher."—2213. &S KAN or miki, " a trunk (of a tree) : " fjfe *fe KANJI, " a
business manager."—2214. ^7 GEN or maboroshi, " delusion," " illusion : " jTT «•?£
GENTO, " a magic lantern." This character originally represented two triangles interlocked,
in reference doubtless to magic arts.—2215. £ft YO or itokenai, " tender age," " extreme
youth." (Observe the " strength " which is absent).—2216. nt 80 or yuka, " a floor ; " hence
toko, " a bed laid on the floor."—2217. ffiS- AN or iorl, " a cottage." Often used in the
r \^4 m»» fr V fc t "
literary pseudonyms adopted by authors and esthetes, as -Hj* Am feSf SEGWAI-AN, " the
cottage apart from the world ; " yfC* BB^ BEIAN (the pseudonym of a noted calligraphist,
derived from that of his Chinese teacher).—2218. l^C TEI, " the Imperial Court : " 0U
JpZ CHOTEI has the same sighification. It resembles (540) jj&£ TEI or nitva, " a court
yard," in form as well as sense.—2219. Tfc^ SAI or irodoru, " to colour : " nfc^ TM
SAISHIKI, " colouring," " painting in colours." (The character has reference to a bird,
whose "plumage" is seen to the right, and its "claws" perched on a "tree.")—2220.
•fix El or kage, " a shadow " or " reflection."—2221. jfjC SEI, " to chastise " rebels,
Xj\^ y_F^ A .. | •i «
etc. : ic» //it ENSEI, " a military expedition." (The character shows the king " going to
correct.")—2222. J2« Kl or imu, " to dislike," " to shun " (the " heart " recoiling on
" itself ") ; hence " mourning : " EL pfcl KICHC, " in mourning."—2223. 3EL YO, " unwell ;"
_\P- \ y ^ Li* ^ 1 ** .. *L»A%
hence ^E ^ ^ tsutsuga naku, " safe and sound."—2224. 15^ KWAI or km/wit.
"to repent."—2225. VfP I or omou, "to think of," "consider." Also used for Qffi tada,
" only."—2226. »H|5 GAKU or odoroku, "to be startled."—2227. .jgt BO or sMtan, "to be
fond of."—2228. Tmi^ KEN, " law," whence often read nan (" law ") in personal names :
joS y^ KEMPO, " a constitution," political etc. (This character represents the idea of " law "
pictorially by means of ^1 ^ " heart," | [ "eye," and *~&* "injury" contracted.) — 2229.
T/j/ or JW sate, " well then." — 2230. iTj tataku, " to strike ; " more often hikaerii, " to
draw back," " check," etc. —2231. 4Cj£ koshiraeru, " to prepare " (the " hand " bringing
something into " existence ".) —2232. Jrl t EN (often, but less well, read KEN) or sitteru, " to
J I J . r- _Ltf /^
throw away ;" hence " to subscribe,"as in Jpre ifg -nj? GIEN-KIN, " money subscribed to a
charity." Do not confound it with (1513) ifg SON, " injury."—2233. -Ej~ 8HO or tanagokoro
396 ELEVENTH SECTION.
(for te no kokoro), "the palm of the hand."—2234. JFmi KUTSU or lioru, "to dig." Compare
(1310) JOSH .— 2235. irftj SO or sasM-hasamu, "to insert" (the character depicting a "hand"
inserting a " pestle " into a " mortar "). The Japanese habitually prolong the last (perpen
dicular) stroke ; but properly speaking, this should not be dorse, as the pestle should not make
a hole in the mortar and come out at the bottom.—2236. •RS KO or hikaeru, " to rein in," also
J-J-> Jitj
" to stand aside ; " closely similar to No. 2230.— 2237. IS KEI or kakageru, "to lift up,"
" to hoist ;" hence " to publish."—2238. i^S suru, " to rub," hence " to print."—2239. ife
BU or naderu, "to stroke," hence "to soothe."—2240. JJHH so, properly torn, "to take;"
f£* Jyiv
more often misao, " female chastity."— 2241. 'S* KON, " dusk," " twilight ;" hence used for
H Y*^ \^ ^-
" the sun" and a rare character H^ "descending").—2242. f&*
REKI or koyomi, " a calendar." Compare WjfZ. EEKI, " to pass by," whence B^ j44 REKISHI,
" history."—2243. ^£ SHU, " vermilion."— 2244. VT JU or sMru, " juice."—2245. Y4- KAN or
n.se, " sweat."—2246. Yvv BOTSU, " sinking," " perishing : " R Yv> NICHI-BOTSU means "sun
set."—2247. V/5 KYD or kumu, " to draw " (water). The character shows one " reaching "
(~Hf) to the " water " to get at it. — 2248. V-2 numa, " a swamp."—2249. >JB EKI, any
" fluid secretion," as saliva, sap, etc.: Jut Yfw KETSU-EKI, " blood." Observe that >H£p YA,
" night," constantly has the force of EKI as a phonetic.—2250. j^C TAN or awai, " thin,"
" weak," " insipid " (" heat " thins or carries off the " water ").—-2251. V?|f JO or Idyoi,
" pure : " 5?Si -t* JODO, " Paradise " (of the Buddhists).—2252. M&| DEKI or oboreru, " to
be drowned " (a man " weakened " to death by the " water ").—2253. Y*t? KATSU or name-
ruka, " slippery :" Vt? *5 KOKKEI, " joking," " something humorous." (Observe that the
reading is KOTSU in tliis context.)—2254. Vyy Ji or uruou, " to be moist," " fertile," also
Khigeru, "to be rich or dense:" YyA ^J5* mo, "nourishment."—2255. Yjgl BAKU or nigo-
ru, " to be turbid : " j|j^ V^S SEIDAKU, " clear or turbid," " surds and sonants " (see
" Colloq. Handbook," 1 28 et seq.).— 2256. V1!^ JU or nureru, " to be wet."—2257. jHl| HAN or
tmzuraieasu, "to trouble" (as a feeling of "fiery" heat does an aching "head"). —2258.
|JH SEN or iru, " to parch "or " toast " (toasting is putting " before the fire ") : H|| Tfffr
SEMBEI, a kind—or rather various kinds—of biscuit. —2259. ^*N HAN or okasu, " to trans
gress," "oppose," " invade."—2260. TSfi SHI, in jfifjjfi ^p-SHism, "a lion."—2261. ^T^ RYO
or lean, "the chase," "hunting."— 2262. - SHU or tama, "a bead:" IB -j^ SHINJU,
-^Jy* •^^* I/TV "/^J*
" a pearl. " — 2263. -ggp CHIKU or yasliinau, "to keep" or "rear" domestic animals. (This
character comes from •{/ " black," and 14-1 " field," the reference being to loamy soil
^^* ^j ^ k» • * . •^ •^
good for pasturage.) ( ompare -^f ,O^ CHIKUSHO, " a beast ; " ^5> -^f KACHIKU, " a do-
-f\M FT"* —" ^/T- "^^ *"r f-l rl
rnestic animal."—2264. *iy I migiri, " time," " occasion."—2265. Tpffi ^'so written A*KE CHI or
/rato', " young : " VJl Tpff fijl YOCHI-EN, " a kindergarten."—2266. «& KA or kasegu, "to
jr-J | f Ij, l-^Cl 9^9^
labour." (The character shows sowing " grain " as the natural labour of a " household.")—
ODDS AND ENDS. 307
2267. -^fc TOTSU or tsuku, " to rush against " (as a " dog " out of a " cave ") :
tama-tsuki signifies " billiards."—2268. jElf BYU or tevbni, " a grain " of rice, etc. (from
" rice " and " to stand," because rice supports life).—2269. &A7 KYU, " a series,"
,/" J-* *"^
" grade," " class."—2270. oSD JUN, " pure ; " hence also read moppara, " wholly,"
» * > ^|" ^t
" mostly." — 2271. 3*/y SETSU or tsuzuru, " to compose " (as a book) ; originally the charac
ter meant " sewing," " patching," hence " connecting together."—2272. jf»Bl BAKU or sliibaru,
" to bind," " to tie securely :" jfm OTa ^ /I/ HOBAKU sum, " to arrest."—2273. 2fJH
JO or nau-a, " a cord," " a string."—2274. ^B SEN or urayamu, " to envy," " to long to be
like another."—2275. |H|»f TA* or taeru, "to endure," "forbear." Originally rfrt meant
" whiskers," and the character hints at a punishment in ancient China which consisted in
shaving off the offender's whiskers.—2276. flBl SO, " quick-witted," " sharp : " flH HH
SOMEI, " clever."—2277. HJjC SHOKU, " official duty," " occupation." (The character shows us
one whose " ears " hear the " sound " of petitions, and who bears the " spear ").—2278.
HIT hada, " the surface of the body."—2279. a KEI or gaenzuru, " to acquiesce."—2280.
Brtj HAI, " the lungs."—2281. H]J£ MYAKU, " the pulse." Compare YJfa HA, " branching or
ramifying as streams," whereas \\lVf is the streaming of the blood through the ramified veins
and arteries : til HM£ SAMMYAKU, " a mountain chain."—2282. Y==Y KO, properly " grease,"
hence "ointment:" jEgfe KOYAKU, "a plaster."— 2283. Egfe ZEN, "a dinner tray:"
/{JH] MSB rea(i ° ZEN al80 means " dinner tray ;" read GOZEN, it means " boiled rice ; " hence
" food." (The character represents " flesh " which is " good," the Chinese being great flesh-
eaters.)—2284. Jqffl SO, the auxiliary numeral for ships and boats. —2285. £*i GO, the
" demise " of a prince or nobleman (from xyr. " death," and /*Jj» " dream " contracted,—
life's a dream and death its goal) : 25 -J^. GOKYO, " demise."—2286. ~Jj§£ 8UI or
otoroeru, " to decline," " deteriorate : " /wC j^J SEISUI, " prosperity and decay." Observe
how, in this character, the radical ^/ is divided into two parts—upper and lower—by the
rest of the strokes. Nos. 636, 1599, and 1839 offer parallel instances. —2287. yfc SHO or
mosuso, "a lower garment" or "skirt:" ££ J5*. ISHO, "garments."— 2288. ram SHOKU or
fureru, " to touch " (the character is more properly " to push " or " run against," as an animal
with its horns). — 2289. fjTj HO or faznnerit, " to enquire," " to go and see."—2290. =:_ll
CHU, " a commentary," " gloss :" Sit ^£ CHUSHAKU and g-t fflqc CHDKAI are familiar
compounds signifying " explanation."— 2291. gZ7 SHO or mikoto-nori, " an Imperial speech,"
" an edict " (from " words " and to " summon ").—2292. 3^ GAI or sono, " that."—2293.
^•p icaH.iru, " to apologise," " to acknowledge a fault."— 2294. ipl^ cuftsuru, " to chastise,"
" to punish with death."— 2295. =^{ SHI or shirusu, "to write down," "to record."—2296.
—« •» [I'L |K
KAI or imashime, " an injunction," " a warning." It closely resembles (439) 4l4> .—2297.
398 ELEVENTH SECTION.
KWAI or oshieru, " to admonish," " to instruct." -2298. |Hy. ao or ayamarn, " to
mis'take."—2299. g£j TEN or hetsurau, " to flatter," " to fawn." Comparing (1102) K^ , we
see that the idea of the inventor of this character was to represent flattery as a pitfall composed
of words.—2300. =*¥: DAKU, "assent."—2301. gj|£ GEN or kotowaza, "a proverb."— 2302-3.
f3E 3i£ HIBO, "slander."—2304. g^J BYU or ayamari, "an error:" =jB; g^jj GOBYC,
ditto.— 2305. =j$& KI or soshi.ru, " to slander."—2306. =g| ZAN, " slander," " aspersion."—
2307. JGIF TON or buta, "a pig," —same meaning as (432) ^J£ SHI, but made more explicit by the
addition of "flesh." (The dictionaries place it under the Radical ^Sf .)—2308. 'fc4t' SEKI or
semeru, " to reprimand," " to persecute."—2309. t±t~ ^ " bribery ;" also
tHf WAI or mainai, -*^makanai,
^^ ot~^r
" management of a household," " board " (from " having riches ").—2310. HES SHIN or nigiwau,
" to be lively " or " crowded ;" more properly " to bestow alms " (" shaking out treasures ").—
2311. HS TO or kake, " a wager."—2312. j|g KO or aganau, " to purchase."—2313. ^j*
FU or omomuku, " to go to," " to repair " as jffip >f+* FUNIN, " to repair to a post to which
one has been nominated."—2314. W)T NAN °* yawaraka, "soft" (originally it denoted
muffled wheels).—2315. Jmjd RVO, the auxiliary numeral for vehicles (appropriately formed
from " a pair of wheels ").—2316. Jpntt RiNOr wa, "a wheel."—2317. JR? SHU or atsumeru,
" to collect."—2318. jfw( SHU or itasu (in the sense of okuru, " to send ") ; also maiceru, " to be
beaten : " jjjltf f\\ ji SHUSHUTSU-NYU, " exporting and importing." Some pronounce this
character YU,— a case of p| nfll gBp.—2319. mM KATSU or kusabi, "a linch-pin "
I—I I—*-* H^x I ill
(which prevents "harm to the wheel"); more often metaph. " ruling," " regulating." —2320.
j^g JOKU or hazukashimeru, " to put to shame," " to insult ;" also read katajikenai, " grateful "—
»J * ^» |^
as for favours undeserved. (The character is from Frrt " time," and ~\i " inch," because in
A*-^ -I
ancient Cliina the peasant who let the proper time for sowing pass by was executed on the
border).—2321. ^[04 GYAKU or sakarau, "to oppose," "go counter to."—2322. ^5L T0 or
todomaru, " to stop :" i^ ^f TOBYt, " a sojourn."—2323. 30K CHIKU or ou, " to expel,"
"to push out:" Tjjf J3j{ HOOHIKU is "expulsion."—2324. iS CHI or oaoi, "slow." (The
non-radical part is the not very useful character for " rhinoceros," l^g SAI, so that the adjec
tive " slow " is appropriately represented by a " rhinoceros in motion." The rhinoceros, it will
be noticed, was classed as a bovine beast.)—2325. ^aK HI, " the country," " rustic ;" hence
iyashii, " despicable :" «R fcjK TOHI, " metropolitan and provincial."—2326. <5l£ HACHI,
" a pot " or " bowl." One would have expected this character to be read HON, judging from the
phonetic. -2327. $^ EN or namari, " lead."—232S. <££ JTJ, "a musket," " a rifle " It
is often compounded with No. 2261, and the notice JUBYO WO KIN2M, " Shoot-
ing Prohibited," is often to be seen in rural districts.—2329. ^g& EI or surudoi, " sharp,"
(metaph.) "acute."—2330. ^HH* CHIN or sldzumeru, " to keep in subjection," " to tranquillise."
— 2331. IJII
\h-A BATSU, used in «^% HHI Rgl
the expression I1' Htl MOMBATSU or iegara, "good family."
ODDS AND ENDS. 399
(Observe the " gate " of the family mansion.)— 2332. jiprt KAKU or hedataru, "to interpose," " put
between," or "separate:" liprt R KAKUJITSU, " alternate days."— 2333. RB GEKI or sukima,
"a chink "or "gap." (This character, with "a little," "sun," "small," and the Badical for
" mound " or " place," cleverly depicts a " chink " by showing the sun barely shining through
it).—2334. J*H GA, " esthetic," " elegant." The left part (No. 1782) is here phonetic, while the
right is radical, a bird being the most elegant of all living creatures. —2335. wH HO, "the cheeks."
(It originally also meant " the jaws," and the character accordingly shows us that part of the
" face " which " presses " i. e. chews, the food.)— 2336. ^ftf TAI or kuzureru, " to fall to pieces,"
" to decline :" -&* ^PH SUITAI, " decay," " ruin."—2337. *H BIN or shikiri, " incessant," "press-
•-»>C/6*S Xf\
ing:" *& :|P^ HIMPAN, "bustling," "urgent."—2338. iflT also written f|j|? H or ueru,
" to starve." (The two phonetics may also be taken as indicating the signification, the first
being " food " and " table," the second " how much food?" i. e. not much.)—2339. /Bp| SHI or
kau, " to nourish," " to keep:'"|jji[ "A* kai-inu, "a pet dog."—2340. 'fifl/ OA. OT ueru, "to
be starved."— 2341. fRa KIN, " starvation :" 'gH MB KIKIN; " a famine."—2342. JS/ GYO-
««rw, " to drive " (having the " hand " on a " horse ").—2343. js||[ JUN or nareru, " to be
tame," " affectionate." (An ingenious friend quotes, apropos this character, the proverb " You
may lead a horse to the water, but you can't make him drink.")—2344. JEp CH" or todomaru,
" to stop," (as in " mastering one's horse ") " to sojourn : " JEt //uT art cntiZAi-SHO, " a
residence."—2345. |^ QAI or odoroku, " to be startled," " frightened."—2346. ^^ KYO or
ogont, " to be arrogant " or " haughty."— 2347. ffim KEN or sldrushi, "testing," " proof." The
familiar SHIKEN, " examination," is written ^4 \jf& . —2348. mg BIN or uroko, " a fish's
scales :" £u!( fflmffi GEKIRIN, " the Imperial wrath." (The monarch is constantly likened to
that noble beast, the dragon, whose scales are said to stand on end when it is angry.)—2349.
ffir MOKU or modasu, "to keep silence" (like a "black dog").— 2350. *fjit motarasu, "to
bring " (observe the " treasures " that are brought in " even " hands).
400 ELEVENTH SECTION.
Sfr
WRITING LESSON. 401
2075
'II
2065 2055 2045 2036 2028
2134
7 2127 2117 2109 2099 2089
ft
2185 2177 2168 2159 2150 2140
4
404 ELEVENTH SECTION.
2
2242 2232 2223 2213 2203 2194
M
2243 2233 2224 2214 2204 2195
n
2246 2236 2227
* 2217 2207 2198
t
WHITING LESSON. 405
2300 2290
Y
2280
m. 2270 2261
4. 2251
2301 2291
ffi
2281 2271 2262 2252
2302
IB
2292 2282 2272 2263 2253
m
2350 2340 2331 2321 2311
2345
m 2330 2326 2316
intelligible, aiid soou familiar. Next he should peruse the " Notes on the Epistolary Style " to
1>e found at the end of this Section. Lastly, if he has time and courage, and has come to
recognise the advantage of being able—if not to write letters himself—at least to read those he
receives, he should carefully compare the square form of each character in the key with the
corresponding cursive form, noting how the latter is derived from the former by a process of
contraction and abridgment, and getting his teacher to show him, in difficult cases, exactly
what the successive steps of abridgment have been. Observe that the selection here given is
very short ; moreover all the specimens are in the same handwriting. The letters any one
receives are in every sort of handwriting, many of them slipshod, others peculiarly difficult
notwithstanding that to a Japanese connoisseur in penmanship they appear beautiful. It is
an excellent practice to keep every letter that is written to one,—for whatever may be its defects,
it will at least possess the incomparable merit of being a genuine document, —not something
manufactured for the occasion, such as " Heady Letter-Writers " deal in. This store of letters
might be supplied with square-character keys, and studied both for style and as lessons in
deciphering, according to the plan just proposed. But the present writer does not venture to
advise all students to push on so far. He opines that some having a quick eye and possessing
a natural aptitude for this line of study may derive great profit—even pleasure—from it, but
that in the case of not a few the hours so spent would be time wasted (to say nothing of the
trial to patience), and that such will obtain a more satisfactory total result by confining their
attention to the square character. The mere grammar of the Epistolary Style may, however, be
profitably acquired even by those who dispense with a study of the cursive hand. The
blight trouble involved will be repaid by the ability to read the numerous printed circulars,
etc., above referred to, and to take in the drift of letters when read aloud. Another reason for
learning it is that scraps of the Epistolary Style are frequently to be found embedded in
popular literature, both old and new. In fact, popular literature—whether in novels or
newspapers —long ago hit on the expedient of employing the " Soro Bun " as the literary
representative of the Colloquial speech. This volume offers examples on page 158 (p. 163
of Romanised text) et seq., where the answers of the prisoner and witnesses in the court-
of justice are in this style, whereas the rest is in the ordinary Book Language. The Epis
tolary Style is also employed in the prose portions of the "No no Ufai" np Q^\ gajl
or Lyric Dramas of the Classical Japanese stage, and in the " No KYOGEN " Mp yj-t "=^*
or " Comediettas," which are acted as interludes to the same,—the two together forming one
of the most attractive branches of the Japanese literature of Mediaeval days.
In the translations of letters here given, practical convenience to students has alone been
kept in view. This seemed to demand a peculiar jargon, partly literal, partly free, very
different from anything ever employed in actual English letter-writing. Idiomatic English
versions can easily be produced by the help of these ungainly ones.
THE EPISTOLARY STYLE. 411
412 TWELFTH SECTION.
THE EPISTOLAEY STYLE. 413
414 TWELFTH SECTION.
»o
THE EPISTOLARY STYLE. 415
416 TWELFTH SECTION.
co
THE EPISTOLARY STYLE. 41T
418 TWELFTH SECTION.
THE EPISTOLARY STYLE. 419
f"\yf
420 TWELFTH SECTION.
J^
THE EPISTOLARY STYLE. 421
422 TWELFTH SECTION.
(15) (14)
fig
m ffl. e$
» £
+ B
A'
*a± »
+
ftK A
B
*
±
ft ^ B»
I
V 7"
-H «
nn
IH
RR \v-
THE EPISTOLARY STYLE. 423
^^^6-@*C^
424 TWELFTH SECTION.
(19)
- J.
r
*
7'* -f"
T
« • ^*
*
f
a- m sf K mi a » a ii ft
(.- |$ ffif ^ ^P »
-< us W ffi ES *
181 -
i8& -4* «g ®
tfc ?c m K UK m n.
it ^ /b ft
*
>r .» «i- ^ 4iKft
(|C <u» 5E ffi W
1C ^P a ^T ffl) is
- «r =» M T— ^ ft
fl M
01 ft ft
•'it
THE EPISTOLARY STILE. 425
(24 c) (24 I) (24 a)
-t-
JL
-t-
B ff
-* r.
•*f- Jj?
T
-J
•f fit
«.** &g *
*
41 A
+
V2J T
V
/~ ~\
426 TWELFTH SECTION.
(24 t) (24 h)
y
'*
"°
y
OB
A
*f
(25) (24 j)
•8 |
I
*
THE EPISTOLARY STYLE. 427
(26)
428 TWELFTH SECTION.
-t SAN-GWATSU hatsuka.
f m£ Chamburen.
*^ M» wm m* *$ (Post-card to a servant, announcing return home.)
I respectfully address you. What I have to say is that
^ s * u n I shall return to the metropolis by the train reaching
¥ ^n -c H Shimbashi at ?> P. M. on the day after to-morrow, 22nd
'^ * Ifc R ^ instant, and that therefore you Avill please take note thereof.
~F M Jn This is just a line to tell you.—In haste [i. e. excuse haste].
—20th March. —Chamberlain, (This being a post-card, the name of the addressee is written
only on the face.)
PI A o:
3t
0 L
THE EPISTOLARY STYLE. 429
(3.) ZANSHO Jiageshiku soro tokoro, oi-oi GO KWAIHO no yoshi CHiNCiiO ni zoN/t sorb. Sate
yori KINJITBU SHiNA-CHA-iYe no hako TOCHAKU itasu-beld ham ni tsuki,—sono SETSU wa, sJdmcri-kc
no naki tokoro ni yoku-yoku GO CHCl no ue on sldmai-oki kmlusarurbeku ; muji NEN no tame mo-ihi-
ire sorci. —SOSO.
MEUI SAN-JO-ICHI HEX KU-GWATSU JD-GO NICHI.
Oiambiiren.
SATTO JLicwnosuke Dono.
(Letter to a servant congratulating him on recovery, and directing him how to dispose
of a box of tea.)
I think it rare bliss to learn the news of your gradual recovery, despite the fierceness of the
remaining heat. Well then, as a box containing China tea should arrive at the house in a few
days from Kobe,—when that time comes, you will please stow it away, after having paid particular
attention to selecting a place not damp. I make this injunction for form's sake. —In haste.
15th September, 1898. —Chamberlain.
To Mr. Saito Kichinosuke.
JU-M-GWATSU FUT8UKA.
is Ota YUJIKO.
m
(A note of thanks.)
i Chamburin Dono.
I respectfully address you. With regard to the translation in which I requested your as
sistance the other day, I beg to thank you profoundly for having so speedily sent me the correct
ed manuscript. Just this line in a hurry to express my gratitude. —Respectfully presented.
2nd December. — Ota Yujiro.
To Mr. Chamberlain.
A ?
J: 2 3* ]
o
:rr .*•
-H; J
^u, ;
? *
f E3. -C £
£ I I
x
432 TWELFTH SECTION.
(9.) HAITEI. Nobureba, GO CHOSEI no sutoroberl jamu ICHI ddsit, puramujamu HAN ddsu,
orcnji mamuredo ICHI dtisn SHffiYtJ SAKI TAIZAI-CHI ye GO SOFU ai-nari-taku, GO IRAI mosJii-age sorb.
DAIKA no GI wa, on moshi-koshi SHIDAI, SASSOKU fUBHS-kaivase wo molte GO SOKIN tsukamatsuru-beku
soro.—SosO.
MEUI SAN-JtJ-ICHI NEN SHICHI-GWATSU JC-GO NICHI.
lyo DOGO ONSEN Hana-ya nite.
Chamburen.
Toyoda KICHISABUIJO Dono.
Hoshino Yasunari.
Doi TOTARO Dono, JISHI.
(Note of thanks to an author for a copy of his book.)
It is a matter of regret to me to have been unfortunately not at. home yesterday, when you
condescended to call. For the copy of the book composed by you, with which you have kindly
favoured me, I feel grateful to you a thousand myriad times. I shall in any case call on you to
offer my thanks ; but the immediate and general expression thereof is as here stated.—In haste.
—I bow my head to the ground.
5th February, 1899.—Hoshino Yasunari.
To Doi Totaro, Esq.['s Secretary.]
THE EPISTOLARY STYLE. 433
SB
->
MAN-YU itaslti sbrb ni tsuite wa, kanete ZAI-
Zl Kagosldma ni tea GO CHIKI oki yosJd SHOCHI
HI? H
tsukamatsuri-ori sbrb aida,—Jtanahada KYO-
BHUKU nagara, nani to no SHOSEI no tame GO
SHQK.M kudasare sorawaba, KOJIN kore ni su-
gizu sbrb. Mazu tva, GAN-YO made mbsld-
sbrb.— SosD FUBI.
JC-ICHI GWATSU JU-ROKU NICHI.
Ibuka Kiyoslii.
Hori RENTAKO Sama.
(A request for letters of introduction.)
I respectfully address you. I have the honour to express my congratulations on the
constant increase in your good health, despite the gradual advance of the cold weather. What
I have to say is that I am starting on the 18th instant to make a tour in the Kyushu district.
434 TWELFTH SECTION.
On this occasion, as I know from of old that you have many friends residing at Kagoshima, I
beg, though with the greatest diffidence, that you will condescend to give me some intro
ductions, as nothing could cause me more joy than such a favour. Just this request is all I will
here address to you. — [Excuse this] hasty and incomplete [epistle].
16th November.—Ibuka Kiyoshi.
To Hori Eentaro, Esq.
(14.) HAIEEI. Ktiaru NI-JU-HACHI NICHI (DoYO-6i), GOGO SAN-JI yori, TOKYO TEIKOKU DAIGAKO
SHOKUBUTSU-EN ni oite EN-YE-KWAI ai-moyoshi sard aida, on Jtim-aieafie GO RAIKWAI
takn; kono DAN GO ANNAI mLslii-arje sorb. —KEIGU.
MEUI SANJC-ICHI NEN GO-GWATSU NI-JD-SAN NICHI.
KIKUCHI DAIROKU.
Bashiru Hbru Chiemubdren Dono.
THE EPISTOLARY STYLE. 435
(15.) Kitaru toka (DoYO-&i), GOZEN-JD-JI yori, KEINEN no tori, (Jmori HAK-KEI-EN ni oilc,
HON GAKUIN UNDO-KWAI ai-moyoshi sorb aida, GO RAIKWAN kudasare-taku ; TOKCBETSU KWANRAN-
KEN SHINTEL Kono DAN GO ANNAI ni oyobi si/ro nan.
Tadashi TOJiTSU UTEN nareba, YOKU JD-ICHI NICHI ni JUN-EN.
MEIJI SAN-JU-ICHI NEN jD-GWATSU yokTca.
TOKYO GAKUIN UNDOKWAI-CHO,
Kuribara SHINKOKU.
(Invitation to an athletic sports meeting.)
As, according to yearly custom, an Athletic Sports Meeting of this College will be held
in the Garden of the Eight Views at Omori, on Saturday next, the 10th instant, beginning
at 10 A. M., I hope you will condescend to come and see them, for which purpose I beg
to send you a special spectator's ticket. This it is to which I beg to send you an invitation.
Nota Sene. Should it be rainy weather on the da\- mentioned, the Meeting will be
postponed till the following day, viz. the llth.
4th October, 1898. —Kuribara Shinroku, President of the Athletic Association of the
Tokyo College.
(16.) Kitaru NI-JC-GO NICHI (DAI-SHI KWAYO-&I) HOXKNVAI KWAIKWAN ni oite, GOGO ROKU-JI
HAN yon REIKWAI ai-hirctki, ENJUTSU oioatte nochi GIIN-KWAI kore ari sard ni tsuki, GO FUNHIX
ai-nari-tdhu ; nao SHINSEKI HOYC no kata-yata GO YU-IN no hodo KIBO ilauhi soro nari.
TOJITSU ENZET8U SA «0 /on': —
SHINA FUKKEN-SHO KYOKO DAN.
EIGAKUSHI InovA Hinosuke KUN.
MEIJI SAN-JD-ICHI NEN JtJ-GWATSU NI-JU-SAN NICHI.
KY06os7ii KU, Nishi KoN-ya-cnO JC-KU BANCHI.
TOKYO CHIGAKU KYOKWAI.
(Specimen of the post-card circulated by the Geographical Society of Tokyo, to notify
members of meetings.)
An ordinary meeting of the Society will be held in the Society's hall on the 25th in
436 TWELFTH SECTION.
stant (the fourth Tuesday of the month), at half-past six P.M.; and on the conclusion of
the lecture, there will be a committee meeting which you are invited to attend.* You are
requested to bring also your relations and friends with you.
The lecture on the day in question will be as follows : —" An Account of a Journey in
the Province of Fuhkien in China," by Mr. Inoue Kiuosuke, Bachelor of Science.
23rd October, 1898.
No. 19, Western Kou-ya Street, District of Kyobashi.
Geographical Society of Tokyo.
(17.) Matsudaira Hideomi GI, ittuja-iiarja BYOKI ?to tokoro, YOJO ai-htnawazu, HONJITSU
GO-GO SAN-JI SHI-JD-GO FUN SHIKYO ilashi Sard ni tsilki, kilaru NI-JD-HACHI NICHI GOGO NIJI OJI JITAKU
SHUKKWAN, Asakusa KU Matsuba-CHG KAIZENJI ni olte BUSSO ai-ilonami swu. Korto DAN GO TSDCHI
ni oyobi sorv. — KEIGU.
MEUI SAN-JU-ICHI NEK HACHI-GWATSU Nl-JU-yofc/rtit,
(Announcement of a death.)
With regard to Matsudaira Hideomi, who had long been ill, all care was unavailing, and he
died to-day at 8.45 P.M. Owing to this, the coffin will leave his private residence at 2 P.M. on
the 28th instant, and the funeral according to Buddhist rites will be performed at the temple
of Kaizenji, in Matsuba Street in the District of Asakusa. I beg to inform you of this fact.—
Respectfully presented.
24th August, 1898.
[The deceased's] son, Matsudaira Hideo.
[ The deceased's] relatives, Tamura Kuuisuke and Ozawa Go.
To Okamato Tsuuetaro, Esq.
P. S.—It is requested that no flowers, whether natural or artificial, and no caged birds to
be liberated be sent.
* The manner of expression is imperfect in the original. What is really meant is that ordinary members are
invited to the lecture, and committee-men both to the lecture and to the subsequent committee meeting. The
" relations and friends " are of course invited to the lecture only.
THE EPISTOLAEY STYLE. 437
rff ^ O|| (18.) BESSHI RYOKO MENJO GO SOFU ni oyobi sorb aida,
BY°SHO-SHO on sasld-dasld ai-nari-taku sorb nan.
MEUI SAN-JU-ICHI NEN SAN-GWAT8U NI-JC-HACHI NICHI.
/SI TOKYO TEIKOKD DAIGAKU [& ditto on seal].
•^ ^c/a'- Cldemubdren Dono.
(19.) SHOKAN wo motte KEIJO itashi sorb. Nobureba, wcuja KOTEI HEIKA kitaru muika
KIZOKU-IN ni oite TEIKOKU GIKWAI KAI-IN-SHIKI okonawaserare sbro ni tsuki, KAKKA narahi
ni KI KWAN-IN DOJ1T8U GOZEN JtJ-JI TAI-KEIFUKU CHAKUYO ZUI-I GO SAN-IN di-narl-taku ; kf>HO
DAN KI-I wo e soro.—KEIGU.
MEIJI Ni-JtJ-Go NEN GO-GWATSU yokka, GWAIMU DAIJIN SHISHAKU Enomolo Takeaki.
DAI BURETTEN TOKUMEI ZENKEN KosHi Hiyu Furezoru KAKKA.
(Official note to a foreign legation.)
May 4, 1892.
Sir,
H. M. the Emperor will open the Imperial Diet on the 6th hist. I shall be glad if
your Excellency and the members of your Legation staff will attend at your convenience on
that day at 10 o'clock in the forenoon, wearing full uniform.
I have, etc.
(Signed) Viscount Enomoto Takeaki
His Excellency. Ministerfor Foreign Affairs.
Hugh Eraser, Esq.
(20.) JIKA KANKI kibishiku ai-nari sbrb tokoro,—iiuwu-masu GO KENSHO, TAIKEI kono koto
ni GOZA sorb.
Oi-oi SHUNDAN ai-moybsld sbrb tokoro, GO ZENKA GO SEIFUKU no koto to ZON/I tatematsuri
sbrb. Tsugi ni, SHOBEI kata ICHIDO BUJI SHOKO makari-ari sorb aida,—Jiobakari-nagara, GO
ANSHIN kudasare-taku sbrb.
Hibi UTTOs/u'K TENKI ni GOZA sbrb tokoro, ikaga on kurashi asobasare sorb ya ?
Oi-oi SHDREI ai-moybsld sbrb tokoro,— iyo-iyo GO TASHO, CHINCHO no itari ni zONy'i tate
matsuri sbrb.
438 TWELFTH SECTION.
(Introductory phrases.)
I respectfully address you. Your ever-increasing good health fills me with the utmost
joy. What I have to say is
I respectfully address you. What I have to say is
[This is my] reply. That being so, [what I have to say is ]
I have had the honour to receive your letter, more lit. " I have the honour that
your letter has fallen into my hands."
I have perused your exalted letter.
I have perused your fragrant epistle.
I have read your august letter.
I respectfiilly wish you the compliments of the New Year. What I have to say
is
(Concluding phrases.)
Together with my compliments, i. e. I [beg to bring to your notice the subject-matter
of this letter, as detailed above, and] at the same time beg to present my compliments.
The above is meant merely to tell you of business, i. e. I have confined myself to
business ; please therefore excuse brevity, abruptness, and possible want of courtesj'.
Together with this answer, i. e. this letter is composed of what I have just said and
of the reply to your enquiries.
Such is what I have_to say in speedy acknowledgment of your kindness.
[Excuse] haste. I make the kotow.
I respectfully address you with fear and trembling.
(246)
Sliiba KOENCHI-NAI DAI JU-KOKU GO. (24 (7)
Hori RENTARO Sama. TOKYO, Koishilxtu-a Ku, Sasugaya-CHO
SHINTEN. HACHI BANCHI.
Kaki-tome. Toyoda KICHISABURO Dono.
440 TWELFTH SECTION.
(24 e) (24/0
lyo DOGO ONSEN, JOSHU Maebasld
Hana-ya nite, Sumisu Sanm.
Chamburen. TOKYO Shiba Mita,
SHICHI-GWATSU KEIO GIJUKU nite,
JU-GO NICHI.
Buraun.
(24 f)
SOSHO Oiso (24 i)
TOKYO Tsukisi
HAKUSHAKU Hosolmwa Takco
EOKU-JD-ROKU BAN nile,
KAKKA.
SHINTEN. Robatoson FUJIN
yuhi.
(24 g)
Azabu Ku IcmuEi-mocM NI-CHOME (24 3)
Go-jCr-?/o BANCHI TOKYO Haru-no-ucld
Hana-ko Sama. TaJmta SIIOKWAI
HEISHIN. On j
In sending letters home to Europe or America, it is advisable to write in Japanese on the
envelope the equivalent of our " Via so-and-so," thus :
g §
•i
ww PH2
02
r ill
M rvi
t*
'Jp
P
rg1
ffi r ^
It»
PU
nn
a5
c3
S
^H
1
w
M £
9
C3 tc
al I .-2
a fi .2- B
«i
H
r c
Ckamburen Dono.
(26.) SnO.—Hitotsu, KIN, SAN-EN GO JIS-SEN nari. Migi masa ni JURYO tsukamatsuri soro
nari.
Sagami no kuni, Hakone, Miyanosldta.
SHASHIN-SHI, Watanale SHDKICHI.
Sagara Sana.
Voucher.—Money [to the amount of] 3 YEN, 50 SEN.—I have certainly received the above.
—23rd January, 1899.
Watanabe Shukichi, photographer at Miyanoshita, in the district of Hakone, in the province
of Sagami.
To Mr. Sagara.
Voucher. —Item.—Money [to the amount of] 2 yen. —The above lias been kindly bestowod
on me by you as tea-money, and I thankfully accept it as a token of your benevolence.
20th October.—Port of Miyazu.
Araki Kimbei, Hotel[-keeper].
To the superior [person, i.e. the guest who has made this present,—a customary one in
Japanese inns ; for in this land of topsy-turvydom the traveller tips mine host, not the boots.]
442 TWELFTH SECTION.
wait on," whence the well-known term Samurai denoting an "armed retainer." In Epistolary
usage this verb is defective, only the following forms being currently employed :—
SiJru, shortened ad libitum to soro, is the conclusive and attributive indicative present, also
ttsed for ditto ditto past, less often for the future, which is commonly denoted by. . . .beku soro.
Soro is placed after the indefinite form of the verb, like masu in the Colloquial, as zonji soro, which
is equivalent to zonji-masu. Nan may be suffixed at will, thus mosJri-age soro or moshi-age
soro nari, " I have the honour to address you." In negative phrases soro is suffixed to the negative
gerund, thus KOJIN kore ni sugizu sorb, " nothing will exceed 1113- gratification." Soro having lost
its own indefinite form, the indefinite form of the main verb must be employed when need for
that special verbal form arises ; mostly, however, the sentence is turned some other way.
Sorawaba lU££ f^\ ^ is the hypothetical mood, as GO SHOKAi kudamre sorawaba, " if
you will favour me with an introduction."
Soraedomo 1|4^ /fr^p -*•** or m^ "/N^»» • *** *s *ne concessive mood, as KYOSHUKU no
itari ni soraedomo, " though I regret it extremely " (more lit. " though it is the extreme of
shrinking fear ").
The conditional soraeba ij^ "S» M** sometimes met with, is mostly replaced by the
circumlocution fiord aida mentioned in the next paragraph. Other obsolescent forms are the
gerund fiijrute and the future sijrawan, which latter is now replaced, as mentioned above, by the
circumlocution lelcu soro. No instance of any of these three forms occurs in the specimens of
correspondence here quoted ; but on page 161 we have the negative soraivazu, and on page 318
the imperative sorae. The following phrases with soro are extremely common : —
*-t^ |lr|
Soro aida IKjr^ \n\ equivalent to Colloq. desu ktira, as itashi soro aida, Colloq. itashi-
ls^ I "J
masu Jsara, " because I do," or " I do. ... and so. ..."
* ~- f * ••
Soro tolcoro Vfyi Jj&u equivalent to Colloq. de aru no ni, as ZANSHO liagesMku soro tokoro,
tS^ '^ mi
" whereas it is still so hot " (more lit. " whereas remaining heat is fierce"), Colloq. atsusa mada
konna ni hagesMi no ni.
Soro ni tsitki -S& _ >fj* " owing to."
Formerly GOZA sorb Jfjnl Mfr l|4^ (equivalent to Colloq. ooziamasu) was usually preferred
HT* / i « |xv
to plain sw'o, as being more courteous ; and some writers still frequently employ it, as Mazu wa,
migi on REI made kaku no gotoku ni GOZA soro, " the above is simply tlie expression of my tlianks."
Indeed, there are cases where its use is demanded by the most elementary politeness. Letter
No. 10 would probably be a better specimen, were GOZA svri substituted at the end of the first
and of the last sentence. As it stands, the style of this letter is rather such as would be
employed towards a dependent or former pupil than in addressing an equal.
ZoN/t soro /jujl m£ *s the Epistolary equivalent of omou, " to think." To a superior
one says zoyji-tatemaisuri swo ; for the general rule governing the Epistolary Style is that
talematsuru jjS^ or tsukamatsuni \ I * is appended to what we should term the 1st per-
* *~ ~vi* t*-
son of the verb, to indicate humility, while iiasaru Ht&h m/ or kudasaru %&y |>
—»» —.-* is
IZ^W f5A4 \%*^ I
appended to the 2nd person. Notice, from the example of specimens 1 and 3, that even ser
vants are treated to a considerable amount of honorific phraseology. The same is the case
between even the nearest relatives ; for the stiffness of the Japanese Epistolary Style suffers
little or no relaxation.
Having thus disposed of soro and its attendant idioms, we may best take the other items of
the Epistolary Style in the order in which letters usually display them, beginning with
INTRODUCTORY WORDS OE SENTENCES.—The Japanese begin their letters, not
with " Dear Sir," etc., but with some complimentary observation. In notes and post-cards,
where brevity must be studied, the favourite introductory word is 351 /^v HAIKEI, " [ I ]
adoringly inform [you]." HAITEI 3op -^r. " adoring statement," and KINKEI gfitt J^Jy
" respectful information,"—both synonyms of HAIKEI—are in common use. Sometimes all ini
tial compliments are disclaimed in such short communications by the use of the phrase
- >^~ MJ X^J-t Jf~f^
Mjl JyjL. /UHJ 1*1 ZENHYAKU GOMEN, " please excuse the omission of preliminaries."
The ordinary way of beginning a letter is by referring to the weather, and assuming
that one's correspondent's health continues to flourish, despite the heat, cold, wet, etc., of the
season. In the third letter of our little collection, the servant addressed had really met with
an accident, so that there was some appropriateness iii the introductory sentence, " I am de
lighted at the news of your gradual recovery, despite the fierceness of the remaining heat "
[at the end of summer]. But in ninety-nine cases out of a hundred, such phrases are simply
formula} void of meaning, committed to paper out of a mere slavish obedience to usage.
This being borne in mind, the instances given in the text explain themselves. It will be
noticed that the reference to weather is occasionally omitted, and the correspondent simply
congratulated on increased prosperity (for instance, in No. 5, the proprietor of the hotel
applied to for rooms), or on good health. The expressions used do not strike a Japanese
as high-flown or exaggerated ; he is accustomed to them from youth upwards, and their
omission would seem to him rude.
444 TWELFTH SECTION.
The examples given show other usual introductions, which may be employed either alone or
as a preface to the remarks about the weather and health. Lj p& F^ |T| |-» ij&l BHO-
KAX ivo motte moshi-age sorb (observe the inversion of characters at the beginning, in imitation of
Chinese construction) is very frequently emplo3red. It means " I have the honour to address
you by letter." I/J JB JkHj $tT /5> r* ij&£ SHOKAN 100 motte KELTO Uashi sorb is synony-
^^> r» "PW •fe^V- l_| —I ». Ixv
mous, but a shade more courteous still. Sometimes the remarks about one's correspondent's
health are followed by others informing him that, as the writer is quite robust, no anxiety need
be on felt on tliat score. In an English translation the effect produced is truly quaint ; not so
in Japanese. A favourite introduction, when replying to a letter received, is /IJHJ TTJ* tBl
VT Tr /TT* vfc G0 SHOMEN HAIKEN tsiikamat-tiuri sorb, " I have humbly perused your letter,"
01 'WU ~F* JKCT ^25» •"V* i\ lo£ on tcyami BAKDsnu tsukamatsuri sorb, "I have received
your letter," or else the single word 2n{ /5y HENKEI, " statement in reply."
mf-t ~
HAIGU 33E
*t rsH.,** and KEIGU JSrtf
**^» sH. •* both corresponding to " yours respectfully" ;"~ FUBI
-» ~~
" [excuse] incompleteness ;" FUITSU A\ • same as FUBI ; TONSHU
"Ibbow my head," " I perform the kotow," are favourite concluding phrases. More will be
found under No. 22. Notice, too, in Nos. 6 and 8, the set phrase for rounding off a letter
containing a reply. Take indeed for granted that every phrase given in our specimens is a
set phrase, and may be repeated ad infinitum.
No. 1, like all post-cards, omits the name of the addressee after the body of the note,
because that is written on the obverse together with the address. At the end of letters (e.g.
No. 4), the usual order is : 1st, the date ; 2nd, the writer's surname and personal name ; 3rd,
the name of the addressee with " Mr." appended. For " Mr." or " Esq." there are several equiv
alents in the Epistolary Style. A very usual one is Dono, written fin* (the standard square
form) or very slightly abridged, when a superior is addressed, but abbreviated to ]%£? or 7/7
I^J* * 9**\ ^^
in addressing an inferior. Sama T|K too is polite and much used. Others will be found in
the specimens below.
MISCELLANEOUS PHEASES.—Kono DAN, " this tiling " or " fact."
On Jti /Inn) FH a very convenient expression, to which English has no exact equi-
HT* I
valent. It denotes " the people concerned," " the authorities," " the addressees " in a vague,
plural manner, which absolves one from inserting the name of any person in particular, and
enables the letter to be opened by any one in the shop, hotel, office, etc., to which it is sent.
Gl fK| " with regard to," " touching."
YosM IJJ " information to the effect that " : yosld SHOCHI tsuhtmatsuri-ori soro,
" I have heard that "
hto • I * >/T^, i • t f^fj^
Kono koto ni (GOZA) soro |H> JH, J/7 Jmt MJ5 IKi is equivalent to .... ni ZON/I soro.
Afert 4ffi. ,-t , **^w ~3~* " HT* /—f^* I-^V
Go ANNAI Jmt ^C 1^1 means " invitation " in Nos. 14 and 15, not " guidance ; " but
the two ideas—to us so distinct—spring from one source in the Japanese mind.
@. > . I'll • j * j,
_rp^ " my house," would be changed to SETTAKU irJH Sf» in addressing an
equal or superior.
JISHI £Q JOT or Go JISHI /Ira] <££ JM at the end of Nos. 10 and 11, intimates that
the writer expects his letter to be perused only by the secretary of the personage addressed,
not by that personage himself ; but such a phrase has come to be a mere compliment,— a piece
of mock humility.
TAIKEI --^^ In* lit. " great elder brother," is sometimes used as a half-respectful, half-
familiar title. GAKEI JkfE h? and MEIKEI 89 n? are similarly employed.
KEN-HOKU /jH TK somewhat resembles JISHI T^T jJ-l, inasmuch as it intimates respect
on the part of the writer, who, instead of addressing his friend direct, makes believe to send the
letter only to somewJtere near him, lit. " to the north of his inkstoue." JT K KIKA, " under
the table," is an equivalent expression.
44G TWELFTH SECTION.
(in specimen No. 6, pp. 415 and 430) offers a carious instance of the use of the
Chinese sound of a character forming part of a name commonly read a la japonalse, as KYC here
stands for Kf ^/ K Miyanoshita, because the " KAN-ON " of IgT is KYD. Compare the
last two paragraphs of page 228.
Notice the elegant type employed in Nos. 19, 25, etc. This style of printing (exemplified
V J^ _• *.^-A
also on page 250) is called Tpf SH SHIN-CHO, lit. " [the style of] the Ts'in dynasty "
of China, which is now on the throne ; its elegant freedom approximates to tliat of
handwriting. Ordinary printing is called j IJ-| _fih| MIN-CHO after an earlier dynasty, the
Miug; its slavish adherence to the rule that horizontal strokes shall ba thin, and the vertical
thick, gives it a mechanical, lifeless appearance.
No. 16. Go YU-IN no liodo = oo YtJiN nasaru YO ni, "that you will bring."
No. 17. P.S. —It is an act of Buddhist piety, practised on various occasions, to set caged
birds at liberty. But like the sending of flowers to grace a funeral, the custom has degenerated
into a social tax against which thoughtful folks now endeavour to make a stand.
No. 18, after an impersonal habit common enough in Japan, is despatched without the
name of any secretary or clerk, but simply from the University in the vague.
No. 19. Observe okonaivaserare, a potential causative form used houorifically of the Em
peror, and equivalent in actual signification to plain okonau. —KI-I wo e svro, more politely still
KI-I &-tdku, means " I beg to inform you." It is a very common epistolary phrase. —For the
sake of variety, we in this case leave the free official translation, wliich was kindly supplied to us
together with the original of this note, instead of inserting a more literal rendering of our own.
No. 21. Moshi-osame=mosM-ire, " to send in remarks," i. e. "to inform;" but it is little
used except in phrases of congratulation.
No. 23. Postscripts.—These are to the full as common in Japanese private letters as in the
letters of European ladies, and it is an established usage to urge the addressee in a postscript
to take care of his precious health. |—| properly " white," naturally glided into the sense of
" clear," whence " explicit," whence " to state : " |—-I a postscript," is thus lit. " a second
statement." The literal meaning of the synonyms is obvious.
ADDRESSES. —Notice that the Japanese order reverses ours, the general coming first,
the particular last ; furthermore that it is the rule for the sender of the letter to write his own
name— often also his address and the date—on the reverse of the envelope. This saves much
trouble in cases where the addressee cannot be found. Examples are given in the text.
(24 a) Knta J-t corresponds to our " care of."
(246) Kaki-tome -=R *&l — "registered."—SHINTEN 3Hp Hfe lit. " personally opening
up" or " undoing " = oar " privats," but is more freely used. —(24, c) This is the reverse side
of envelope 24 l>. The character EgT FD is equivalent to a seal.
THE EPISTOLARY STYLE. 447
(24 e) This is the reverse side of 24 d. £T shimc, " shutting," is another common
way of, so to say, sealing the envelope of a letter.
(24 /) This specimen shows the way of addressing an envelope to a nobleman.
(24 g) An address to a Japanese lady. The characters ZpL 4=* HEISHIN, " peaceful
tidings," are written on the envelope to assure the recipient at once that the letter conveys
no bad news. This phrase is but sparingly employed.
Ko —f~ lit. " child," is a suffix to ladies' names now fashionable, especially in writing and
in print (conf. p. 236).
(24 h) This exemplifies the plan, frequently adopted, of the sender writing his own name
on the front side of the envelope, below that of the addressee (instead of on the back).
(24 i) J^ J^ FUJIN, "lady," is the best equivalent for our "Mrs." in an address.
/^^ 1A /I REI-FUJIN may be used in addressing ladies of exalted rank, like the English
"Lady So-and-so." Yuki >f~f means " sent to."
ZAICHO JLC. Fp lit. " [book, photograph, etc.] is inside,"—a convenient Chinese idiom
for our " Book Post," " Sample Post," etc.
^. »j. T F_i*fc >
BECEIPTS. The portion in small Jj& _JElH type is the printed form ; the
characters show what is filled in in writing.
_ I 1^. v|^|
Notice the constant use of Idtotsu in the sense of " item."—CHAKYO .Xv iter is the literary
-H-* -TV*
equivalent of Colloquial >4i» /!» CHADAI, " tea-money," " a tip." It ^^is *customary
* to give
printed receipts for such at an inn, as well as for the amount of the actual bill.
Women's letters are distinguished from men's by a more copious intermixture of native
Japanese words and of the Hiragana. Women also employ the idiom mairase soro,
written as in the margin, where men write soro or GOZA soro. Thus, " I beg to inform
you" (Colloq. moshi-ageinasu) is mosJii-age soro in a man's letter, but moshi-age-mairase soro
in a woman's Etymologically, mairase seems to be the indefinite form of the causa
tive of maim, " to go (respectfully) ; " and mairase would therefore originally have
conveyed the idea that some compliment, sentiment, etc., was caused to go respectfully
to the fair writer's correspondent. But iu modern Epistolary usage, it has sunk into
mere verbiage void of all actual import. Another mark of the feminine Epistolary
Style is the final phrase ara-ara Jcashiko,* " with congratulations and my respects."
The Japanese " new woman," however, is gradually learning to discard these epis
tolary signs of femininity ; and the traditional style of women's letters, though still
generally taught, seems on its way to sound old-fashioned.
* From kashtkoshi, " awe-inspiring." The corrupt pronunciation kashiku has become so common that it can
scarcely any longer be blamed.
POSTSCRIPT.
Caird, in his great work on Kant, has an interesting passage pointing out how that philo
sopher's conclusions to some extent contradicted his premises, and showing that such is the
general—indeed the necessary—result of all truly scientific tliinking. For no subject can be
fruitfully investigated, nor can even any body of facts be accumulated, without the aid of some
assiimption wliich is taken as the starting-point ; and it is impossible for such an assumption to
be perfectly correct prior to the investigation of all the facts on the basis of which an adequate
theory must rest. In other words, one must be a little wrong at the beginning, if one is to be
right in the end.
Tlu's remark applies to the term " ideograph," employed by most writers to denote the
Chinese characters, and so used several times in the course of the present volume, especially in
Section V, where the structure of the characters is explained. The term " ideograph " is a
useful one at a certain stage, because it carries the beginner's mind away at a bound from al
phabets and syllabaries, and helps to acclimatise him in the Chinese atmosphere. It is also
approximately true, but it is not exactly true. It conveys the impression that the Chinese
characters represent ideas, not words, —an impression doubly erroneous ; for in the first place,
it is matter for doubt whether ideas properly so-called can exist at all without words, and se
condly it is certain, in this particular case of the Chinese characters, that each of these latter
represents a particular, determinate Chinese word, with all its connotation, and in nine cases
out of ten even its pronunciation. tl " moon," though originally a picture of the lunar
crescent, is no vague adumbration of " lunarity." It stands for the individual Chinese word
GETSU, which adds the connotation of " month " to the fundamental sense of " moon." n
" purpose," cannot be indifferently applied to any shade of the idea of intention or volition. It
represents the individual term SHI, " purpose," which is hinted at by the " Kadical " il ^
" heart," and determined with absolute precision by the " Phonetic " ~-p* SHI. One may rea
sonably doubt whether there has ever existed or could exist a system of ideographic writing
independent of particular words, such as most persons having a tincture of information on the
subject apparently imagine the Chinese characters to be. In any case, it is certain that Chinese
writing is not such a system,
The strong and continually increasing tendency evinced, not only by the Japanese, but by
all nations under Chinese influence, to adopt and naturalise as their own the Chinese sound for
each character, has its deeply rooted cause in this fact. At the beginning it seems to have been
POSTSCRIPT. 449
assumed that, as the characters denote actual things, not mere sounds, therefore they might
equally well be read off as the corresponding words in the novice's native tongue. This suc
ceeds pretty well in the case of quite simple words,—the numerals for instance, the points of
the compass, man and woman, left and right, black, white, green, yellow, good, bad, etc., though
even here it often happens that more has to be put into such a word than it originally meant,
if it is to cover the character (that is, the Chinese word) in all the applications which na
tional idiosyncrasy and a long literary history have gradually evolved. It would be the same
in the case of one European language lx>rrowing from another. English " bread " is not exactly
French " jmin ; " for the latter means " loaf " as well as " bread." English " man " and German
" Mann " do not perfectly coincide ; for German has the additional word " Mensch" which must
be substituted for " Mann " when " man " in the abstract is intended. When we come to more
complicated terms, the tie between word and idea becomes more intimate still, in fact indis
soluble,—so much so that it is scarcely an exaggeration to say that all translations are ipsofacto
inaccurate, or, as an old Spanish writer expresses it, " Translated books are but as tapestries
seen on the wrong side."
Thus does it come about•—•~~that, in Japan as in Korea, the Chinese sounds of the characters
^5&jt
(technically termed their 'pV ) gain more and more on the native renderings (their gl|| )•
w w ITTT P
Herein, too, we may perceive the underlying reason of the apparent paradox that the Europeau-
isatiou of Japan lias so flooded the language with Chinese terms that, whereas forty years ago
most official proclamations were fairly intelligible even to illiterate peasants, those of the pre
sent day can scarcely be understood save by persons well-versed in Chinese. We have here
no instance of foolish affectation or pomposity ; it is simply the effect of a natural preference
for clear terms wherewith to express manifold and delicately shaded thought, such as a com
plicated social state inevitably produces. And this it is that rivets the Chinese written
character on the Japanese nation,—the Chinese character being, under those local circumstances
which history has produced, the only available instrument for the expression of exact thought.
Therefore we may conclude that future efforts to abolish its use will prove as fruitless as
similar efforts in the past. A nation does not give up exact thinking to please utopian
" reformers." If, per impossibile, we can imagine the Chinese character discarded even for a
day, we must imagine at the same time a sudden stoppage of the wheels of government, law,
business, mental activity of every sort ; for the Chinese character w the Japanese language for
all purposes demanding exactness.
" True 'tis pity ; pity is 'tis true."
Kemembering what was said on page 8, to the effect that each cliaracter read with
the Chinese sound is printed in SMALL CAPITALS throughout this work, while each one read
450 POSTSCRIPT.
with the Japanese sound is printed in Italics, the student may discover inconsistencies, es
pecially in the Eighth Section, where—as on page 225— Kaga, Tosa, Shima, etc. appear in
Italics, though KA (7in)> GA ( |!ip> T0 ("T")' SA ('tt*^ e*c'' are a^ Chinese readings,
not Japanese.
The fact is that in handling so desperately complicated a language as Japanese, it is
well-nigh impossible to practise absolute consistency ; and he who should make such con
sistency his sole rule would be apt to incur some greater evil. Our main object in the
use of different types has been to show which words are Chinese, which Japanese. To
write S/dma and similar native names of provinces as if they were Chinese names, simply
because MAN-YO- Gam (see p. 185 et seq.) has been arbitrarily adopted for their transcription,
would convey false ideas of etymology, and—among other drawbacks—tend to conceal the
bilingual nature of the double set of names (one native Japanese, the other Chinese) on
page 228. The same plan of giving in Italics, despite their accidental Cliinese dress, what
are etymologically Japanese names, has been adhered to on page 232 in the case of such
surnames as Sasaki and Okubo, and elsewhere in the transcription of tokaku or to ni kaku
ni, a native Japanese expression, for all that it is written with the characters fiH /EE| • We
are willing to incur the charge of inconsistency, if the student can be helped thereby to
sounder notions of derivation. A thorough sifting of this branch of Japanese etymology
would doubtless yield a number of words whose so-called native reading (Mj||) would
turn out to be but the Chinese sound ( gA*J corrupted. We suspect this to be the case,
for example, with uma, " horse " (Pekingese MA) ; ume, " plum-tree " (Pekingese MEI) ; the
y_tfc •
the lie of lieya, " room," and be of such surnames as Okabe, Mononobe, probably from -jErK
(Pekingese PU). In warifu, the so-called native reading of /M« , we have an undoubted com
pound, viz. aOl yfcl wari-YV. In some cases—that of sata (or SATA), for instance, written
4*/iK \i» **"
*/ y/C—*' ' ^ to decide whether the word be native or foreign.
*s hard
The subject has considerable historical interest, because its elucidation would help to
show what animals, plants, implements, ideas, etc., were imported into Japan from the
mainland at a date so remote that they came to be considered autochthonous But evident
ly no more than a brief allusion can be made to it in a work like this, which is intended
to teach students how to read and write the characters.
INDEX.
THE 2,350 COMMONEST CHINESE CHARACTEBS AEEANGED
ACCORDING TO THEIR RADICALS.
( The nmnler above each character trill enable the student to find it in the WHITING LESSONS and
in tJie LIST of NEW CHARACTERS appended to each Section, 'where its pronunciation and significa
tion are given, with occasional other details. The numbers to the right show the number of strokes
in each character, exclusive of the Radical itself; conf. pp. 112-13.)
7
Jr 4
689
/fv 2
25
A'
1133
T^r -
258
z, «
9
T'
2128
^
1146
JIL ,
-t' K
tfl 3
A2 ^L -^ 3 ~f~ '
201 203 2017 239 103 300 90 291
T F^J $ 6
S4 2- 3 ifi, 2 l£ 7 ^ 2
3 78 1178 693 5
'. ifr 24 ^ S
14 1983 1117 2009 403
7J M5 ^
692
£1 6
^
688 132 694 695
•fc jPr 6
T5f¥" x
^ ?L 7 TL
24 729 278 1167 1444
K JHt 7 ^ 9 ^'° JB[ 4
20 1990 1873
T 'fi
jF|^'
— . ~.
g
J
381
71 122 2134 1665 1223 1933 2151 1340
ff "
-^
2056 1421 2136 1048 484 1823 1475
1017
ffl ft « ft ft
450 2119 30 440 1869 1525 356
984
ft 3 ft
330 2086 489 2140 355 1401 1678
ft
61 492 1097 2137 896 2145 700
fit
901
fa
19
tt
1641 490 895 2146 700
ft
339
fir
1323
ft
2135 1553
it
1826
ft
2149 1378
It ff
"
478 491 1080 2142 109 1822
fill
1974 2133 1900 1917 1618 2147
1059
fr
477 453
fir
1389 1671 1071
f* ft ft
1217 237 1443 370 2144 1460
ft * tt ft
1126 453 111 1750 1400 2150
ft ft
INDEX OF CHINESE CHARACTERS. 4r>3
A A n y JTL ! 71 2163
HI' fl
1013
60 1732
w
2164
fi
445
2! HI Id'
703 215.1 215S 1633 1925
& it JflJ 4
486 495 1636 1675 1451
1001 447
n
2160
)$?
448
'°
hill
ffll'l
1937 499
497 449
HI in
454 INDEX OF CHINESE CHARACTERS.
h 3! 3 r
•rt?
E 4 +
12 1820 ftn 2172
X
1786
P
873
n
2178
2168 "ik^
•f" ' *Kf i & 2
iS 3 Z-s
714
JtL3
719 347 1817
S
1057
707 80
*• PP <
715
JfC8
1427
R2
66
PP
70
et
207
2095 711
A.
fh ft J? Jk R PI
708 712 1660 2173 '720* 1021 2177
ft si s M '°
2120
X •f
106
^
426
458 50 717 1083
HP ^3 IP JK l2 JR "I Jg
3i2 716 193 427 1940
^f\ 6 ^ 6 ^ 6
^ M 4
1355 2171 191 156 898
•¥• HI K -£j S
1136 302 2174 119 1130
21st
Bad.
23rd
Bad. *
1410 1250
28th
Bad. $c
2175
^
2176
S
1773
b c m A nb
2169 2170 53 153 721 1985 2180
b E 2 1% 7 *• & PJ -S
374 19S() 713 188 1680 1467 1045
/f£ 2 E 9 ^ 9 M. 8 j*l n/
54 1991 1861 294 942
*' Hi s H i6 9 *
710 1207 179
Hi 8 /ffj B^C
391 1676 241
1
mj.3 S
246
Fi It
/«
155 1676
M P^
2179
231
* %
INDEX OF CHINESE CHARACTERS. 455
31st 33rd
Bad. Bad.
037 1738 1092 1558 1670
1758 P
>9
353 1218 1958 2188 1310 1511 394
£ 12
±
1033 1685 1155 508 939 609
If
2181 2027 2185 182 507 1462 1981
*
86 2048 1851 B05 1690
R * '3
1044 1303 1304
897 1878 2025
*
1600 861 2187 2024 2192 1011
9
149 21 1135 85S 518 522 1495
?L>
161 89 515 1398 25'2 191 1381
ff ^3 ^ W
722 511 39 1(108 92 1070 1503
*
340 512 1198 1191 5iO 2204 1007
2197 1682
n
1J88 210 1995 1091
M 1474 1090
1C It) 1620 310
f\
1753 •2201 1877 912 914
tt
962 2199 240 903
" *
1724 2199 2205 1918
INDEX OF CHINESE CHARACTERS. 457
731 543
>M
151
52nd 59th
Bad. Bad.
1397 730 1141
351 1865
INDEX OF CHINESE CHARACTERS. 459
63rd 64th
61st Bad. Had.
Bad.
2180 1703 2228 1096
956
>Y
1061 1698 2226 976 549 221 33 1290
81
IS
1129
1?
1939 1704 1977
F
132 228
m
1483
336
1002
1339
376 1055
m547 1551 2079 1428
tt
1498
•=tf
548
1
1410 1515 2227 1159 2127
12
1626 467
>9
tt 1534 088
332 1050 5i5 999
* M.
971 1791 1452 1566 739 472 1098
» ^
H 22
2233 1513 1517 346 740 743 560
10
1617 •2242
H
1500
n
250 197 420 1224 1589 1363
**• II
1879
ffi
1394 889
m
568 1324 2020
994 1991
*
1053 1326
m
1269 1712
* 1787
559 1203 1681 1309 1140
X
67 748 750 59 2248
m
1422
*
1621 959 284 574 1113 1616
M
570 331 1352 22(4 1240 2014
"
1457 52098 575 370 1840
1619
*
1219 1832
m
1142
*
142 1527 1929 857 1136
/R 1119 758
755
1072 1438
72 1184
754 2083
14
141 757
iWs. , !S
464 INDEX OF CHINESE CHARACTERS.
87 1713 1863
fJ
469 1369 138 1837
584 1251
100th
Rad.
585 1252
m
1541 1510 147
1922
2260 1653
1257
1243 1837
INDEX OF CHINESE CHARACTERS. 465
2044
m 200 597
i4
1185 1082 7(17 771 476 2264
Wf
1440 28fi 1155 595 1637
1520 598
1131 1718
10
2001
46G INDEX OF CHINESE CHARACTERS.
tt
1993 2122 604 1491 1485 775 009 482 1567
T^>>
293 309 C07 1089 1385 610 2208
th 3 ft ffi'
1781 7-20 1270 918 C12
2121
if4
1570 2267 774 1522 1052
ffi
1050
ifcs
295 or>o 1236 J288
mOS 2003
lo
613
16
1143 1150 1574 776 1881 1777 2032
*
601 1622 993 777 47! 839 1221
114th
Rtul. ffi
1455 146S 2082 106:$ 2028
TJSL 6
ft i4
1904 1801 2075 608 243 1411
'7
GO-2 2265
xj>
873 603 877
m
INDEX OF CHINESE CHARACTERS. 4G7
Iff
1585 1281
ft w
1753 13C.5 778 271 784 406
413 1951 i «•i
igpl o
irt 5
SL
615 780 183S 782 2274 2101
1179
H:
1R94 973 786 1404
1267 1050
IB ffi
10G9 322 21 U
1202 1358 483 211KI
r' I
1754
as
1437 1757
S
790 2053 227* 1696 21-21 1740
793
m
1702 1888
i
1858
ICT
442 1057 1938 1717
169-2 797
1336
1003
2012
•2-281
INDEX OF CHINESE CHARACTERS. 469
1934
2181 2301
HI 2300
Me '
1998 402 639 2298 1331 813
'7
M
1830 2303
1723
1803
2-288 274 2104
313
nl! tin 1277
20G9 2292 235 1416 814
m
1912 166G 2299 1806
'9
It tin
2289 1446 2302 2117
»
372 922
R
1606 1532
m
1210 2305
II
1206 916 1472 810
IS
2291 998 1095 371 811
18
1901) U23 2(16 954 813
146
m
2290
P'l>
928
m
1876 1094
154th
H 80-2
1338 133 1007
HJ:
RP
1353 2309 801 1729 1448 824
*
192 1850 2318
it
1987
ii
WH 1215
SB*
1173
it
663 870
m*
649 977 2324 2040 660 2326 2055
166th
& Bud. *
1643 2322 1216 481 1382 1382
nl
865 1413 1442 382 216 2328 2087
a
1376 1279 1043 316 184 1688 1731
~tr
aae 1301 669 2334 318
ta
2331 919 1638 718 1458
»
298 1902 2332 205 1721
176th 178th
Bad. Bad.
665 1813 1420 1083 2050
II
664 1367 1026 826 1212 229 1509
ft
1614 1547 1735 1508
«3
670
1642
II
1435
474 INDEX OF CHINESE CHARACTERS.
179th 184th
Rrnl. Kiwi.
305 2346
*
676 2039 159 953
1853 687
10
2348 686
1208
1530
191st 12 l!)8th 200th 202nd MKJth
lliul. IIii.l. Bad. llad. Itml.
538
IO
843 2010
1402
2011
47G INDEX OF CHINESE CHARACTERS.
211th
Rad.
850
202
851
1743 «52
Ha
la
APPENDIX.
The following list includes 1,961 Chinese characters which occupy, broadly speaking, the
second rank, and which the more ambitious student, perfect in the 2,350 Common Characters
treated of so far, may look on as his next, his final prey. This list is believed to exhaust the
number of practically useful characters, so that he who knew them all would be no longer a
student, but a scholar. The characters are given in the order of their Radicals. We incline
to think, however, that rather than attack them in this order, the best plan to pursue
would be to learn first whichever chanced to come first in the reading of miscellaneous
Japanese texts, and so to tick them off gradually. In any case it will be wise to pass over
altogether, without attempting to remember them, any characters not given in this list ; for it is
foolish to waste time over rare words in any language. Whole pages may be found in the
" Century Dictionary," where even an educated Anglo-Saxon reader perceives none but
unfamiliar terms. What possible use could accrue to a foreigner—or, for the matter of that, to
a native,—from the attempt to master such ? The most likely result would be addled braius,—
nervous breakdown,—and then all previous acquirements would avail little indeed.
oft ih f"I ^ ft 5
«nj sis f"j §J ft s
is
He ^
m TT £3 £IJ 81 18 iB <h
Dfc 10 $0 ^ «
^ Pi ^-i] 2§ fiSi IffI fi
±1
fl ffi
478 APPENDIX.
m m to ft
mm K
m
M It ^ 51
^ M 14 % t> Iff
Jfc S it 98
ie M n 3$
» *a ft ^ e tt n
^ M it *P ft
p & a «t «i
M it Iff
iff tf ffil
tfc:
•Mb
tl tfl JH
**i* NV
ADDITIONAL LIST OP CHINESE CHAEACTERS. 479
J>3i 5E
^ Et HH $fc ^ Ifi
l§l JK
m
IB
^ n $i Rt ^ ^F
4
=**?
•W-
fir
EC
it ft £ SE
M ft m m itt
HT-
us
Be
14
K ^
480 APPENDIX.
felt
IT
I fh
IH I
I
HH H
li If 4fl
tt ft ft tt
> 11
xlii
Ife
ft US ift ft
IE IP it IE
M sr i
m
*
m *c SB §
nw ft
m
INDEX OF SUBJECTS TREATED,
( When several references are yicen, the moat important is jdaced first.)
Abbreviated characters, 367. Chinese characters, square and Chinese syntax, 377 ; 43, 54,
Abbreviations in Kaiia, 194. " grass," 409. 304.
Addresses, 425-G, 439-40, 446. Chinese characters, structure Chinese texts, how read by
Advertisements, 247 el seq., 255. of, 103, et jots*. the Japanese, 377.
Aino, names borrowed from, Chinese characters, supple Christian names, 234.
230-1 ; 226. mentary lists of, 392, 477^ Compounds variously read, 51,
Capitals, how here used, 8, 449. Chinese characters, two run 224, 226, 234.
Chinese characters, abbreviat into one, 369. Coufuciauists, Japanese, 304,
ed, 367 ; 193. Chinese characters used irre 33», 339, 347, 378.
Chinese characters, different gularly, 186-7, 225, 375, d Cursive writing, 409 ; 188,
pronunciation gives different pasx. 193-5, 384.
sense, 51, 374. Chinese characters, used Diacritical marks, 31, 378.
Chinese characters, difficult to phonetically, 185, et seq. ; Dictionaries, Prcf., 6, 111, 112,
read in compounds, 370. 96, 97, 225, 230, 231. 127, 376.
Chinese characters, embody Chinese characters, various Englishisms, 332-3 ; 49, 312.
history and old customs, 100, pronunciations of, 372 ; 9, Epistolary Style, 409; 74-5,
107, 110, et pass. 253.
Chinese characters, irregular Chinese characters, vulgar, 369. European influence, 255.
pronunciations of, 375. Chinese characters whence Foreign words, transcription
Chinese characters, irregularly A'ana is derived, 188-9, it of, 207-8, 230 ; 96-7, 185.
written, 369. seq., 193-5. Fukuzawa's writings, 332, 350.
Chinese characters, A'ana spell Chinese characters with special Gods, names of, 237.
ing of, 197-9. Japanese signification, 370. GO-ON, 372 ; 9, et pas*.
Chinese characters, old forms Chinese characters, written GOZA soro, 443.
of, 103, et seq. ; 40, 120, 126, small, 377. Grammar of written language,
216, 217, 448. Chinese Classics, 378 ; 253. 13, 409.
Chinese characters, phonetic Chinese influence, 4, 185, et Gross hand, 409 ; 188.
element in, 107, 448. pass. GfosHu writing, 409.
Chinese characters represent Chinese phrases, 385. "HEN," 112.
ing foreign words, 371. Chinese poetry, 383. Ifirayana, 29, 188-9, et saq. ;
Chinese characters, selection of Chinese pronunciation prefer 193-5, 199 ; 4, 447, et pans.
commonest, 5-7, 39, et pass. red to Japanese, 235, 448-9. Historical personages, 236.
482 INDEX OF SUBJECTS TREATED.
Page 10, near end.—For " 1,600," read " 1,900." (The exact number is 1,961.)
The Chinese character ^_ appears twice in the Character List, viz. as Nos. 258
and 691.
Two Hiragana forms have been admitted into the Japanese text of Section VI,
which shoud not properly appear till Section VII, viz. )"\ for ^ (ho), and
£ , a common contraction of £ and )£ (koto).
An impending change in the telegraph rates will probably render the form
given on p. 211 obsolete in some points before the publication of this volume.
Substitute Italics for SMALL CAPITALS in the following cases :—page 72, line 3,
Hiku ; p. 151, line 15, nao ; p. 164, line 18, mo; p. 276, line 3, Okabe.
Substitute SMALL CAPITALS for Italics :—p. 87, line 11, KAIQUSSHO ; p. 114, line 7, DAN ;
p. 115, line 9 from bottom, BUN ; p. 162, line 8 from bottom, SKWA ; p. 232,
line 12 from bottom, HONDA ; p. 276, line 2, GO ; p. 310, line 5 from bottom,
NI-KO ; p. 352, line 3, QWAITO.
P. 75, line 4 from bottom.—For JUKYO, read JUKTO.
P. 99, line 12.—For Ichikawa, read Icmkaun.
P. 196, line 11.—For ^ a Z , read :£ a 01 .
P. 235, last line but one.—For Oyama, read Oyama.
P. 269, line 5.—For Azabv, read AZOKC.
P. 306, line 2.—For Kdda Rohan, read Korfn ROHAN.
P. 315, line 9.—For 6fc«, read oktt.
P. ,, line 12. —For JIN-TA, read JIN-J/O.
m
»] m ff
m H 0
m ^ PD
x fr JSiJ
$
HI
&
£ s K
£
*t * A
An
•I
fiSi K
»r W
E
»
T T
•f-
II
•t n
•7*
W
U'
A IK V
BY THE SAME AUTHOR.