Communicating With Japanese by the Total Method 1

COMMUNICATING WITH

JAPANESE BY THE TOTAL METHOD Basic, Part One

COMMUNICATING WITH

JAPANESE BY THE TOTAL METHOD Basic, Part One

Q)

Revised Includes Updated Vocabulary Self Test with Answer Key

NOAH S. BRANNEN

assisted by Kasayosb i Hirose and Tsuyoshi Sasaki revised with the assistance of Katsuhisa Yamaguchi

The cover design by Haku Maki, wood- block artist , was made especially f'or Japanese by the TotaZ Method and is an artistic interpretation of' _ the ancient shape of' the Chinese character ~ which means both "language" and "to speak."

All rights reserved. The materials appearing in this book are original and may not be reproduced in any form without written permission , except f'or brief' ~uotations embodied in critical articles and reviews.

Copyright

(£)

1976 by Japan Missionary Language Institute for the Author , Noah S. Brannen Revised, June, 1992

Published by JAPAN MISSIONARY LANGUAGE INSTITUTE Ochanomizu Student Christian Center 1 Kanda Surugadai 2- chome, Chiyoda- ku Tokyo, Japan 101 Printed by Shinsei Undo

f OREWORD

Confronting the task of learning another language, many people find themselves haunted by the specter of conjugation tables, grammatical rules (with the inevitable exceptions ! ) and vocabulary lists. Previous experience in studying a language, maybe Latin, French, or Spanish, has for many been sheer drudgery. Very few are the stalwarts who have had the dedication and the determination (the enthusiasm having long since waned) to complete the mastery of a foreign language by the old, traditional methods .

Dr. Noah S . Brannen is one of those who, in spite of the traditional approach used in the textbooks on Japanese available at the time, have achieved a fluency in the Japanese language that testifies to the fact that adults can learn languages well . But in the course of the exercise of sheer determination and dedication, the question must have often presented itself: "Isn ' t there a better way? "

.

The course presented in this book is an affirmative answer to that question. Based on a description of the Japanese language according to modern linguistic principl es, Japanese by the Total, Method is an application of recent advances in language theory to the teaching of Japanese. Dr. Brannen's doctoral dissertation was a description of the Japanese language incorporating a highly effective grammar discovery technique. Such techniques are used by linguists to discover the rules that operate in a language and that comprise the framework of a language- what we call grammar. It is on such a framework that the lessons of this text are built. The student can therefore experience something like the excitement of discovery that the linguistic specialist senses as he systematizes language data. An outline is developed by which relevant data from the lessons and from the environment are seen to be parts of an integrated whole . Japanese studied from this perspective "makes sense" right from the start.

Japanese by the Total, Method has been developed and tested with more than 600 students over a period of eight years . The results already produced give eloquent testimony to the effectiveness of the method. It is with confidence that this book is recommended to the serious student of Japanese .

L. Shelton Allen Okinawa, Japan

1976

vii

AUTHOR' S PREFACE The motivation for producing the series of texts titled Japanese by the TotaL Method has a number of facets, not the least of which was my own dissatisfaction wi tb texts and teaching methods used on me as I tried to master Japanese as a second language after reaching tbe age of 26 . The sounds of the new language came easy, and the grammar fit nicely into the patterns pointed out to me, but after several years of disciplined study and living in rural Japan where I spoke nothing but Japanese, even to my long-suffering bride from Alabama , I was caught up short one day with the realization that I was iLLiterate I couldn't read and write in a manner commensurate with my role in the Japanese community in which I had made my home . Over the years and decades the average "foreigner" has come to terms with this situation in Japan, but I was determined not to compromise my goal of total mastery of this language. Today, several years later, of course I am aware that I still have a long way to go, but I am equally convinced that , given the right start and patient guidance , the foreigner in Japan can achieve a level of "mastery" of the total Japanese language . Japanese is not an esoteric tongue, spoken and written by the initiated few . It is the language of a homogenous culture of 120,000,000 people, not a few of whom have considerable difficulty mastering the reading and writing themselves. To achieve a level of mastery of the Japanese language that would not compromise the goal of literacy, I felt a new approach was needed. This purpose is expressed in the rather ambitious title of these texts:

Japanese by the TotaL Method . A language text should be built on an adequate linguistic model. These texts were begun almost immediately after I completed my Ph.D. thesis at the University of Michigan which described seventy-five syntagmemic formulas drawn from data which I collected on tape over a period of five years. It is assumed that these seventy-five formulas represent the basic sentence patterns (or grammar) of the Japanese language as it is spoken today . Many revisions and adjustments were made during the ten years which it has taken to produce this text as it is now offered, but the basic analysis bas changed very little. I assume that if a student masters these patterns he should be able to say anything be wants to say, and he should be able to say it the way a Japanese would say it. Of course, this implies that if a student wants to talk about politics he will have to supply vocabulary from that field. But this new vocabulary can be fitted into the basic patterns. In fact, I think that is what language acquisition is all about. Another facet of the motivation behind these texts bas been the desire to see a course of study which reflects some understanding of the background, psychology, interests, and learning habits of non- native speakers. As the non-Japanese student pursues his study of these texts, he should become aware of this focus throughout . Fortunately, my own motivations dovetailed with those of Paul McGarvey, representative of the J . C.E. M. language commission, who came to talk to me one day in 1967 about the possibility of developing a "tailor-made language program for missionaries." I remember saying something to Dr. Eugene Nida in the summer of 1966 about the fact that the majority (about 99%) of the missionaries in Japan are illiterate. He acted shocked. Linguist that Dr. Nida is, he seemed either to have expected more of the missionary, or to have under-assessed the difficulty of the task of learning to read and write Japanese. To "tailor-make" a language course for Japan missionaries, to me, included the task of building in all the facets described above as my own motivations in trying a new approach. ix

X

JAPANESE BY THE TOTAL METHOD

Over the past ten years the project of building the texts, Japanese by the TotaZ Method, has received the full and enthusiastic support of missionaries related to J.E.M.A., as well as other missions and educational institutions in Japan . It would have been impossible to make this approach from my desk. The materials needed a school, with teachers and pupils, and the numerous dedicated staff members which the Japan Missionary Language Institute provided . During the past three years, International Christian University has also cooperated with the project. It would be difficult to list all the names of the numerous teachers and students, as well as interested specialists, who have been involved in the preparation of this text. But especially do I wish to thank the dedicated teachers at the Japan Missionary Language Institute for their invaluable help over a period of years in improving the text in terms of theory as well as pedagogy . Special thanks to Marie Olfert, Dean of J .M.L.I. since 1969, who has encouraged every step of the text ' s progress; and to Frances Horton, J .M. L. I . Publications Secretary, who has supervised the preparation of photo- ready copy for offset printing of the text.

Japanese by the Total Method has been a "total" effort by countless indi viduals. Without them I am afraid we may have produced another noble attempt at a Japanese language text, but certainly nothing as comprehensive as Japanese by the TotaZ Method.

Noah S. Brannen r.c.u., Mitaka Tokyo, Japan

1976

PREFACE TO THE FIRST REVISION

It has been twenty-five years since we first began to develop this series of Japanese texts. From 1967 until the present, the entire series, Volumes I VI, has been used at Japan Missionary Language Institute in Tokyo. All six volumes were used to start the Summer Program in Japanese at International Christian University in 1970, and the Japanese I - VI Program of the regular curriculum of the same university beginning in 1972. The texts continued to be used as the basic texts for both programs at I.C.U. until 1989. In the quarter of a century that has passed since Japanese by the Total. Method was first begun, the world has changed radically in a number of ways . Just as new political divisions call for new national names (and sometimes the restoration of old ones) , modern developments in science and technology create new terminology. To keep up with changes in the global community of which Japan is becoming more and more a prominent participating member, we can expect to see significant changes in the Japanese language itself. In this first revision, we have tried to keep step with changes in Japanese society as well as the language. Women students have called our attention to the changing role of women in Japanese society . Prices of goods, as well as ordinary procedures, such as buying a train ticket, have had to be updated. But the promise on page 4 of Volume I; i.e., that upon completion of the first three volumes "the student should have mastered the essential eighty patterns of contemporary colloquial Japanese," remains unchanged. Experiments with new teaching and learning techniques have generated a rash of Japanese language texts in recent yea.r s. In this revision we have incorporated some new methods which seem to us to be sound, such as suggesting ways in which each lesson can be used in communicative situations. It is our hope that creative teachers will take these additions (Section 8: Vocabulary Enrichment) and expand them, so that students can begin to develop confidence in using the language they have learned in practical situations from the very beginning of their study . Grammatical patterns don't change easily. My Ph.D. thesis was a study of the Japanese language in three generations, concentrating on the language of a small community and three generations of speakers. The study showed some variation among speakers, and some grammatical constructions used by the older generation which had changed with their children . and grandchildren. But the grammar of colloquial Japanese has continued with essentially very little change for the past 100 years. Young people, with their in-group language, like to import grammatical features of other languages, such as English, but most of these innovations are short-lived. Vocabulary and expressions found in Section 8 of this revision have been updated and may be used for · substitution in the drills and dialogues if the teacher and students wish to do so. Language teaching and learning methods change, but our experience with using these texts over the past twenty-five years has convinced us even more than ever that the only sure way to mastery of the Japanese language is by

the Total Method. Noah S . Brannen Bunka Women's University Kodaira, Tokyo, Japan 1992

TABLE OF CONTENTS ForeJJJord Author's

vii ~eface

ix

INTRODUCTION

1

General Remarks • The Effective Use of This Course • Description of the Total Course SOUND PATTERNS AND THE WRITING SYSTEM

Unit 1 SIMPLE SOUNDS Table 1 Table 2

Unit 2

Consonant-Vowel Syllables Consonant-Vowel Syllables with Restricted Consonants

6 6

COMPLEX SOUNDS

Table 3 Table 4

Unit 3

5

15

Complex Consonants Distribution of t, ts, and ch

16

LENGTHENED CONSONANTS AND UNVOICED VOWELS

23

18

Table 5 Lengthened Consonants in Word Constructions

23

Unit 4 SYLLABLES AND RHYTHM Unit 5 TONE ACCENT OF WORDS

29

Unit 6 THE WRITING SYSTEM

39

33

Table 6 The Riragana Syllabary Table 7 The Katakana Syllabary

44 45

SIMPLE SENTENCES Lesson 1

INTRODUCTIONS

47

Simple Sentences Made from the Copular Clause Base • Interrogative Sentences • Deictics • Intonation Patterns Lesson 2

YOU AND ME

65

Nouns • Interrogatives • Deictic Particles • Levels of Politeness • Sentence-Final Particles

Lesson 3

BIG AND SMALL,

SHORT AND TALL

81

Simple Sentences Made from the Adjectival Clause Base • Accent Shift • Sentence Connectives Lesson 4

99

MINE AND THINE

Noun Phrases • Deictic Particles • Noun + no • Attributives of Noun Head o Noun Phrase in Basic Patterns Lesson 5

o

Deletion

WORK AND PLAY

115

Simple Sentences Made from the Verbal Clause Base • Plain and Polite Verb Endings • How to Distinguish Consonant and Vowel Verbs o Rule of Thumb for wa and ga • Negative Questions xiii

xiv

JAPANESE BY THE TOTAL METHOD

Lesson 6

BUYING AND EATING

135

Kinds of Clauses • Simple Sentences Made from the Transitive-Verbal Clause Base • Object Element o Indirect Object Element Lesson 7

WHERE, WHO, AND WHAT

153

Peripheral Elements of Clauses o Location Element (1) • Two Verbs Meaning "Is": aru and iru • The Particle wa vith Negative Constructions o Inclusive and Exclusive "And" Lesson 8

171

LIKES AND DISLIKES

Topic Element • suk1 and kirai • Intransitive Verbs Which Do Not Require an Agent Lesson 9

WHEN AND HOW

Manner Element Lesson 10

o

Time Element

Expanded Clauses

o

CLOCKS AND CALENDARS

Dual Numbering System Lesson 11

187

203

Telling Time

o

WHERE, WHEN, AND HOW

221

Location Element (2) o Making Verbs of Nouns by Adding suru • Emphatic Sentence-Final Particles yo and wa Lesson 12

DIRECTIONS

235

Direction Element • Verbs which Prefer ni • Focusing Lesson 13

LET 1 S GO BY BUS

251

Means Element (1) • The Presumptive Verb Inflection • "Fly the Sky": Motion Verbs and the Location Element Lesson 14

COUNTING

Counters • Classifiers Lesson 15

Possession

o

OF TIME AND MONEY

Counting Time and Money Shift of Verb Class Lesson 16

267

o

285

Time Suffixes

Means: With Money and Time •

o

STUDY, PLEASE

307

Verbal Auxiliaries • The -te Form • Use of Auxiliaries with Main Verbs in -te Form o Nominalizing Suffix -kata • Quotations • Summary of Verb Inflections Introduced Thus Far Lesson 17

HOME WITH A COLD WITH THE CHILDREN

Means Element ( 2) • Accompaniment Element Lesson 18

o

329

"He Went Shopping"

IN JUNE IT RAINS A LOT

343

Adverbs and Adjective Phrases • Manner Expressions of Degree, Quantity, and Contrast • Focusing Lesson 19

"AS FOR SUMISU-SAN, JAPANESE BECAME LIKED"

Adverbs • Complement Element Lesson 20

o

With naru

o

355

With suru

1

QUIET, PLEASE; HE S STUDYING

Stative Auxiliaries iru and aru • Transitive-Intransitive Verb Pairs • Transitive Verbs and aru

369

TABLE OF CONTENTS

XV

APPENDICES

Appendix 1

AN OUTLINE OF JAPANESE GRAMMAR: 210 JAPANESE SENTENCES

Appendix Appendix Appendix Appendix

GRAMMAR EXPLANATIONS IN VOLUME I - - --

2 3 4 5

- - --

385

- - - - - - 391

VOCABULARY INTRODUCED IN VOLUME I

399

ANSWERS TO SELF TESTS

431

KANJI INTRODUCED IN VOLUME I

437

INTRODUCTION GENERAL REMARKS This text contains the first half of forty lessons which constitute the basic course in a three-part curriculum which includes basic, intermediate, and advanced. This total curriculum is designed to cover approximately two years of concentrated study. This approach is neither wholly oral cor wholly written, but a combination of both elements. All four skills--hearing , speaking, reading, and writing--are taught simultaneously. We have named this approach to the study of Japanese the "total method." If the student hopes to become really proficient in Japanese he is advised to adopt the total method approach from the outset and begin with Japanese orthography from Lesson 1 . This curriculum is not a rehash of materials alr eady available elsewhere ; i t is a new method based upon firm linguistic theor y , and it reached its present f orm only after being tested for seven year s wit h an accumulated total of several hundred students . While the " slot model" owes a great deal to guidance I rec eived from Kenneth L. Pike, under whom I wrote my Ph .D. thesis at the University of Michigan , the understanding of ker nel and derived constructions owes much to the influence of generative grammar. My debt to Eugene A. Nida, with whom I have worked on translation theory over the past few years, is obvious in almost every lesson , and more recent study under Charles J . Fillmore at the University of California at Berkeley has helped in tightening up the grammar sections considerably . Since the concept of "slot" is basic to the construction of the Drills of this text, a word of explanation seems to be in order . A sentence is analyzed as a string of words and particles related to each other by grammatical rules and semantic constraints. Su~h a string is analyzed as a series of slots, each slot having a specific grammatical relation to the whole. Items (e . g . , individual words or phrases, suffixes, etc . ) can substitute in a given slot to derive other structures . For example :

Subject

I Kodomo wa I

Object Predicate I pan o ) 1 tabemasu )

The child eats bread .

An item in a slot may be substituted by an item of the same class:

Subject

Object

Predicate

I Kodomo wa ) I gohaii o ) I tabemasu )

The child eats rice .

But note that slot "markers " (the par ticles wa and o in the above examples) are fixed in the slot to indicate the role that the preceding noun plays with respect to the predicate. E~ch lesson, consisting of vocabulary, kanji, drill, grammar, dialogue, reading, and exercises, is integrated around patter~s. As ~he student progresses throup.h the course he learns to expand, transform , and combine the patterns. This method reverses the random approach of many traditional Japanese language texts which take a conversation or reading selection and simply explain the patterns as they appear.

Each lesson contains a dialogue and a readlng selection which reinforce the patterns under study by providing a natural context. A variety of practical l

2

JAPANESE BY THE TOTAL METHOD

situations for everyday conversation are presented, and the readings carry much information of an "orientation" nature for persons interested in Japanese life. A section is provided at the end of each lesson to allow for the inclusion of specialized vocabulary. This feature enables these texts to update the vocabulary with each revision to keep pace with the rapidly changing social and economic scene. Because of the desirability of introducing Japanese orthography simultaneously with the spoken language, a compromise has had to be reached on the matter of the proper method of teaching kanji. Kanji frequency lists have been followed and only Joyo kanji (i.e., the 1,945 characters prescribed by the Japanese Ministry of Education and adopted by la\o~ as the characters most essentual and useful for ordinary communication) are introduced. Through the integration of each lesson, the context provides a mnemonic aid to retaining the 504 kanji presented in the basic course. Classification of kanji in terms of radicals is a useful learning aid, but we believe that this method can best be applied after the basic kanji have first been picked up in context. Some guidance to help the student study kanji by the classification method is given in Lesson 5.

Today's Japanese Eanji, by Imada, Inagaki, Hirose, and Brannen (Tokyo: Bonjinsha, 1987) is recommended as a kanji study guide and reference. This book contains all of the 1945 Joyo Kanji, the official list adopted on October 1, 1981, with all the accepted readings and one example of each reading and the English translation. In addition, 166 Jinmeiyo Kanji, Kanji for Personal Names, are included. Today's Japanese Kanji can also serve as a handy kanji dictionary to look up the reading and usage of kanji which the student has forgotten or which have not yet been introduced, by stroke-count or radical. THE EFFECTIVE USE OF THIS COURSE FOR PRIVATE STUDY. If these lessons are used for private study, it is highly recommended that they be used with tapes, so that the student may hear the lesson performed by native speakers. For this purpose, tapes for all 40 lessons in this course have been prepared and are available upon order. Answers to exercises (Section 7) are not given, since they are designed to be used with a tutor, but each lesson ends with a "Self Test" and an answer key which may serve the same purpose as the exercises if one is studying alone. IN CLASS. When studying in a class of two students or more, the following procedure is recommended: (1) Preview the lesson in class. If possible, the teacher should introduce a lesson in the session previous to the session in which it is to be performed. First, the teacher reads through the vocabulary list, allowing the students to repeat in chorus. Next, the teacher reads the head sentence of all the drills. It is not recommended that Section 4. Grammar, be covered in class sessions. Thorough reading of the grammar section should have been completed by the student before the lesson is taken up in class. However, questions about grammar should be answered clearly and briefly in Japanese if possible. Often, a few examples of grammar usage in simple sentences and dialogues will suffice. (2) StudY the lesson at home. Memorize the new vocabulary. Practice writing the new kanji (and kana). Study the drills with the help of their English equivalents. Study the grammar explanations (afte'r having first gone through the drills). Re-read the drills. Memorize the dialogue. Study the reading . Exercises are to be completed following the instructions of the teacher. Finally, review previous lessons.

INTRODUCTION

3

(3) Perform the lesson in class . In drill sessions, the students imitate the teacher (in sound practice and repetition drjlls) , first in uni son, then individually. A variety of drills is found in these lessons, including repetition, question- answer, transformation, and situation- response drills. The teacher will explain what type of student response is expected by using examples. The teacher corrects mistakes by repeating (a sound, or sentence, etc.) once or twice. The teacher must not use EngLish, and students are not permitted to use English excessively in drill sessions. Books should be closed during drill. In the beginning , dialogues are to be memorized and repeated verbatim, teacherstudent, student- student, exchanging roles, in chorus , individually, etc. The dialogue is integrated with the lesson in such a way that new vocabulary and new patterns are practiced in context. Later on in the course, the dialogue should be used as a starting point to stimulate free conversation, but the teacher should be careful to encourage the use of the vocabulary and sentence patterns under study at that time. Like the dialogues, the readings of each lesson are integrated , stressing the vocabulary and patterns introduced in the lesson, and at the same time introducing systematically new kanji and new readings for kanji already introduced . In the reading session, each student should have an opportunity to read aloud for the ~eacher, and the teacher should help the student to read correctly, smoothly, and meaningfully . Practice in writing kanji may be combined with the reading session or writing may be taught separately. Writing practice contributes greatly to progress in learning t o read. ( 4) Perfo'Y'm the lesson in the lab. The language laboratory has a unique function in language learning. The privacy of the individual booth, well- selected voices (male and female) on the tapes, good sound fidelity, and other mechanical factors enhance the student's progress. But the greatest advantage of the language lab (if it is technically adequate and conscientiously operated) is the opportunity it provides for the student to bear (on the replay) his own voice responding immediately after the voice on the tape, and the opportunity for the teacher to monitor the student ' s performance and correct mistakes .

WITH A TUTOR . Unless you are lucky , you will probably have to train your own tutor. This text , however, is designed so that you can do just that. One advantage of the total method is that a Japanese person will be able to read your text, because it is written in Japanese (not a romanized transcription) . If your tutor follows the procedure as outlined above for in-class study, he should soon develop into a good teacher even without previous training .

DESCRIPTION OF THE TOTAL COURSE

Japanese by the TotaL Method is designed to cover beginning, intermediate, and advanced stages of language study . The overall design is to concentrate on grammatical patterns in the first three volumes and to concentrate on vocabulary building and content in the succeeding volumes. VOLUME I (BASIC , PART ONE, 1976): Sound Patterns and the Writing System; Lessons 1- 20 . The first volume introduces seven basic patterns on which Japanese sentences are formed; i.e., copular clause 1, copular clause 2, adjectival clause, intransitive verbal clause 1, intransitive verbal clause 2, transitive verbal clause 1, and transitive verbal clause 2. Expansions of these basic patterns are accomplished by the addition of peripheral clause elements such as Location and Time, and by expanding phrases--noun phrase, adjective phrase, and verb phrase. Approximately 1,080 vocabulary entries and 193 kanji plus 107 additional readings are presented.

4

JAPANESE BY THE TOTAL METHOD

VOLUME II (BASI C, PART TWO, 1979) : Lessons 21- 30. Work~ng on the foundation of the seven basic patterns presented in Volume I, the second volume introduces more complex sentence patterns by expansions--principally by embedding sentences in Lhe noun phrase el ement of a matrix sentence. Four basic transformations--potential, passive, causative, and causative- passive--are introduced . Approximately 850 vocabulary entries and 151 kanji plus 78 additional readings are presented . VOLUME III (BASIC , PART THREE, 1980) : Lessons 31-4 0 . The initial lesson of this volume deals with Honorifics, very polite speech style. Later in the volume, the Plain style is treated. The major concentration of these ten lessons is on complex sentences ; i.e., combining simple sentences to form longer sentences through conjoining , producing coordinate and cause- effect type sentences . Approximately 1,030 vocabulary entries and 160 kanji plus 115 additional readings are presented . Upon completion of the basic course (Volumes I, II, and I II) the student should have mastered the essential eighty patterns of contemporary colloquial Japanese, acquired a vocabulary of close to 3 , 000 words, and studied 504 kanji plus 300 additional readings . INTERMEDIATE AND ADVANCED STAGES . These texts have been made available, in xerox form, to students of the Japan Missionary Language Institute and International Christian University over the past several years. These materials can be made ava:.lable also to persons not connected with either of the above institutions upon request . In this course, as one moves beyond the basics, the focus shifts from sentence structure to the structure of discourse. A reading in natur al , up- to- date Japanese provides the framework for the lesson . Grammar patterns , expressions , idioms , and vocabulary are extracted f r om the reading and used as the material for drill sessions . Subject matter covered includes topics of general interest to both foreigner and Japanese living in Japan today, such as traffic , pollution , trade, and politeness in Japanese society . Literary sections include folk tales , children ' s stories, historical tales as well as history, women ' s speech and men ' s speech , and several writing styles including an exchange of diary entries by a husband and wife . Through these lessons, valuable insights into Japanese family life and private and national customs may be observed . When the ent ire course is completed, the student should have learned almost all the 1 ,945 Joyo kanji together wit h most of the differ ent readings of these kanji . He should have acquired a working vocabulary of appr oximately 5 , 500 words , including a l arge number of' technical terms in such f i el ds a s social studies , history , l anguage , and literature . It is expected that the student will at this time be prepared to read newspapers , novels , and all materials of popular interest . If the student bas studied this curriculum with a qualified teacher, his speaking ability should at least match his reading ability .

SOUND PATTERNS AND THE WRITING SYSTEM UNIT

1

SIMPLE SOUNDS PROBLEM:

There are fundamental differences between Japanese sounds and English sounds--both in consonants and vowels. (The same statement is true when comparing Japanese sounds with the sounds of any language.)

OBJECTIVE:

To help the student to bear the difference between Japanese sounds and English sounds (concentrating on "pure" simple vowels and simple consonants), and to help him produce some of these sounds so that they are acceptable to the native speaker. The Drills that follow are designed expressly for this purpose.

SECTION 1.

DRILL

The Drills used in this book are designed for use with a tutor or with tapes, for private or group study. (See "The Effective Use of This Course," p. 2 . ) If a student does not have access to a tutor or tapes , it is suggested that he read the Explanation section first, and then read the Drills aloud. If the student is studying in class with a teacher, he should prepare the lesson in advance and perform in class with his book closed . Drills for all Sound Patterns are Repetition Drills; i.e., the student imitates (mimics) the tutor or tape.

PRACTICE 1. Try pronouncing the following vowels. pronunciation comes naturally.

Mimic your tutor until the

Short VoweZs a

i

u

e

0

Short Vott1eZs in Sequence aa

ia

ua

ea

oa

ai

ii

ui

ei

oi

au

iu

uu

eu

ou

ae

ie

ue

ee

oe

ao

io

uo

eo

00

PRACTICE 2 . The following tables list that each consonant in Table 1 may but that the consonants in Table 2 may follow them. Mimic your tutor

typical consonant- vowel syllables. Note be followed by any of the five vowels, are restricted regarding the vowels which until the pronunciation comes naturally. 5

JAPANESE BY THE TOTAL METHOD

6

TABLE 1.

CONSONANT-VOWEL SYLLABLES a

i

u

e

0

k

ka

ki

ku

ke

ko

n

na

ni

nu

ne

no

m

ma

mi

mu

me

mo

r

ra

ri

ru

re

ro

ga ga

gi gi

gu gu

ge ge

go go

b

ba

hi

bu

be

bo

p

pa

pi

pu

pe

po

g

(bard) (soft)

TABLE 2.

CONSONANT-VOWEL SYLLABLES WITH RESTRICTED CONSONANTS a

i

s

sa

t

ta

(ti) hi

b

ba

y

ya

w

wa

z

za

d

da

(di)

sh

sha

shi

u

e

0

su

se

so

te

to

he

ho

fu yu zu shu

yo ze

zo

de

do

(she) sho

Note : The sound combination she occurs, but it is extremely rare. The use of ti and di are generally restricted to such foreign loan words as tea and dinner, and many Japanese don ' t use these combinations at all . A blank slot in Table 2 indicates that this sound combination does not occur. PRACTICE 3. For some students, certain sounds are hard to distinguish; e . g., r (the flap} and d. Three sets of minimal pairs are given here to help the student to learn to distinguish between similar sounds . Mimic your tutor until you can make the distinction clearly.

(1)

raku

daku

sore

sode

rai

dai

mura

muda

tara

tada

irai

idai

roku

doku

k1ro

k1do

warai

wadai

(2)

1ki

eki

kimono

kuni

kugi

kemono

1nai

igai

saki

sake

kokunai

kokugai

koi

koe

kaneru

kageru

klimi

kame

k1nu

k1gu

(3)

Note: The tone- accent mark ( ' ) is placed over the vowel of the syllable before a fall in pitch. For a more complete explanation of tone accent see Unit 5 (p . 33)

SOUND PATTERNS AND THE WRITING SYSTEM

7

Unit 1

PRACTICE 4. The following words contain the consonants of Table 1 in their first syllable . Mimic your tutor until the pronunciation comes naturally.

.. naze

kita

kuse

keta

koko

nishi

numa

neko

no do

mane

mimi

mud a

mesu

mono

raku

rika

rusu

rob a

gaku

gl.mu

guzu

goma

basho

bira

buta

boku

papa

pike

puro

poro

kame

PRACTICE 5- The following words contain the consonants of Table 2 in their first syllable . Mimic your tutor until the pronunciation comes naturally . sa to

soko

suna tera hito

futa

hodo

yuka

yoko

zuga

zaru dame share

SECTION 2.

shidi

toko

shufu

zen~

...

zoku

deshi

doko shomu

EXPLANATION

BREAKING HABITS. It is assumed that the student ' s primary objective in this course is to learn to "speak like a native. " For some students this may not be the chief objective , but even if the student ' s primary objective is to ac quire reading ability in the language, the best and fastest way to achieve his goal is through the mastery of the sounds of the language . It may not be necessary to "become as a little child" in order to produce the sounds accurately, but it is necessary to acquire new habits of speech. Sometimes acquiring new habits means breaking old ones. In order to do this , there are two simple rules which the student must keep in mind at all times: (1) TUNE THE EAR . Listen for the differences between Japanese sounds and English sounds (and be assured that they are all different to some extent) . This lesson is designed to point up these differences by concentration on •: simple" sounds . "Complex" sounds and complicated combinations of sounds will be introduced in succeeding lessons . (The terms " simple " and "complex" are used here in a technical sense. Some students may find certain so- called simple sounds in Japanese not so simple when it comes to producing them, but this is a matter of performance--"simple " and "complex" refer to Lhe phonetic components of the sounds . ) See if you can detect a difference in the vowel sounds which your instructor makes from corresponding English vowel sounds. The difference is essentially the difference in position of the tongue and tension on the part of the articul ators (~hroat ouscles, tongue, and so forth). For a graphic representation of

8

JAPANESE BY THE TOTAL METHOD

the tongue position vhen producing Japanese vowels, refer to the diagram which appears below (p . 11). Next, see if you can detect a difference between Japanese vowels and English vowels (in terms of tongue position and quality), and between Japanese consonants and English consonants (in terms of point of articulation, degree of aspiration, etc.). Some of the difference between Japanese consonants and English consonants are summarized below:

DIFFERENCES IN JAPANESE AND ENGLISH CONSONANTS (a) New consonant BOWLds. The sound written f in romanization in this text occurs only in a syllable before the vowel u. It is not to be interpreted as the same sound as fin English, though it is close. In English, f is made by causing friction of the air stream passing between the upper teeth and the lower lip. For the Japanese f, the friction is caused by the upper and lower Zips only, as if one were playing the flute. Try saying Fuji-san Mt. Fuji. When h occurs before i it is sometimes produced with friction, making a sound something like sb. Try saying hito person. Soft ~ is difficult to produce, and it is not absolutely necessary to make this sound, though one's speech is considered more refined if he can make it. It does not occur at the beginning of words, but is used only medially before any of the five vowels. Hard g occurs initially in a word, but under certain conditions it also occurs medially in place of the soft g. The sound of soft g is produced by touching the back upper part of the mouth (the velum) with the back of the tongue, allowing some of the sound to come out through the nose-very much like the last sound of the English vord sing, though in Japanese this sound is followed by a vowel. Try saying "sing-a-song. 11 Syllabic n is produced exactly like m in some places , like n in some places, like the soft g (=English ng) in some places, and like a nasalized vowel in still others . Before p, b, and m (bilabials), n is pronounced like m--that is, with the lips closed, allowing the air to come through the nose: eopitsu penciZ. Before t, d, and n (dentals), before ts, z, ch, and j (affricates; z in this case sounds more like dz, although we don't use this spelling), and before r (flap), o is pronounced like n, with the tongue in the same position as the consonant following it--that is, the tip of the tongue just touches the teeth at the point where the front upper teeth meet the gums: minoa de aZZ together. Before k and g or g (velars), o is pronounced like g (=English ng)--that is, with the back part of the tongue pressing up against the velum (the soft part of the palate in the back of the mouth): nihongo Japanese (Language). Before vowels, before f , h, s, and sh (fricatives), before wand y (semivowels), and before a pause, the syllabic n is pronounced almost like a nasalized version of the preceding vowel but with a narrower oral passage than the non- nasalized counterpart, so that it sounds darker than the vowel, usually with some degree of the u quality; since, unlike m, n, and g, the oral passage is never completely closed, it may be helpful to think of this sound as n with the tongue not quite touching the teeth: sens~ teacher. Try pronouncing the following words from "Useful Expressions": koonichi wa heUo; koiibaii wa heUo (in the • evening); o- geiiki desu ka? How are you? (b)

Difference in distribution. Check the blank spaces of Table 2 in Practice 2 which shows that several consonants do not occur before all five vowels--such consonants are restricted in distribution.

SOUND PATTERNS AND THE WRITING SYSTEM Unit 1

9

(c) Difference in amount of aspiration . Remember that Japanese p, t, and k have less aspiration, or breath, than the correspondi ng English sounds. Practice words with these sounds in them while holding a slip of paper in front of your mouth. Compare with the corresponding Engli sh sounds . (d) SZ.ight difference in point of articulation. For example, the tongue is more forward for Japanese d than for English d. ~~t the tip of the tongue against the back of the upper teeth and pronounce it very hard; also, the tongue position is different from the nearest English equivalents of Japanese vowels. (e) Manner of delivery. The terms "lenis" and "fortis" are convenient to describe the difference between the del ivery of Japanese sounds compared to English, but perhaps they are too technical for the average reader of this text: remember to clip short all Japanese vowels and pronounce distinctly all consonants. It is the function of the linguist to help point out differences in Japanese sounds . The student should train himself to hear the differences and practice so that he can produce them without conscious effort . (2) PRODUCE THE NEW SOUND. The student should imitate a native speaker (his tutor in the classroom) and judge from the response be receives from the native speaker whether or not his performance is good . An efficient language lab (with careful monitoring and correcting and play- back facilities so that the student hears his own mistakes) is an invaluable aid. The student should watch and observe physicaZZy visible phenomena such as movement or l ack of movement of the lips (the upper lip hardly moves with many Japanese speakers), rounding or nonrounding of lips, amount of opening of the mouth, position of the tongue where visible, etc . Even the inclination of the head to indicate affirmative or negative, or the upper part of the body to deliver greetings, is a part of language ! The student should 'listen for nonvisible phenomena such as the difference between n ~n dental position and n in velar position; bard and soft g; amount of aspiration on consonants such as p, t, and k. In the explanation sessions the linguist will explain and demonstrate, through drawings and other aids, the way in which Japanese sounds are produced. The student should practice with a tutor (imitating everything), with a tape recording (ideally using a tape on which be can record his own performance immediately after that of a native speaker and play it back--for this purpose a short- del ay playback machine is preferable), and before a mirror. Small band mirrors should be provided in the lab. Close attention should be paid to other features of Japanese sounds, such as rhythm (in the two-syllable words of this lesson), and accent--that is, the tone- pitch difference between syllables within a word . Later, intonation patterns of an entire utterance should be carefully noted and copied . For practice on rhythm and pitch a metronome and piano may be helpful . ROMANIZATION. In these sections on Sound Patterns, Japanese words are written only in the letters of the Western alphabet. This is done to help the student to advance more quickly in the early stages of his language study, but the student should be warned that excessive use of romanization (called romaji)

10

JAPANESE BY THE TOTAL METHOD

can lead to the acquisition of bad habits which will have to be broken if he wishes to speak Japanese "like a native." The use of romanization has the disadvantage of suggesting that the pronunciation of Japanese sounds is the same as an English sound written with the same letters. The fact is that all Japanese sounds are sufficiently different to warrant retraining even on the simple sounds The student is advised to use these symbols as little as possible and rely upon his ear both in the classroom and in the lab. A good practice to follow is to read the text materials at home and perform in the class sessions without referring to the written materials at all. In the chart below, vowels and consonants are arranged to show the position of the tongue when producing the sounds; i.e., low, high, front, back.

THE SOUNDS OF

JAPANESE

VOWELS Short

Long

i

u

I or i i

ii

e

0

e

0

a

a

-

I

CONSONANTS p

t

k

b

d

g

m

n

(g)

ts

n

ch j

f

5

sh

h

z r y

SECTION 3.

EXERCISES

Compare (with a tutor) the following Japanese and English words. Note any differences you hear in the quality of vowels, differences in point of articulation of consonants, and so forth . (The English words are not translation, but simply words which contain similar sounds.)

(1) Japanese EngUsh

(2) Japanese

EngUsh

(3) Japanese

EngUsh

koko

cocoa

rob a

robe

zeni

Zen

kame

comma

no do

node

futa

foot

kit a

kitty

mono

monorail

betsu

bets

kuse

custodian

yoko

yokel

daiisu

dance

SOUND PATTERNS AND THE WRITING SYSTEM

11

Unit 1

PRODUCING JAPANESE VOWELS front high

back

/-

....

{ o ; ....

bought

_./

low

pot Vowe~

Chart Comparing American English and Japanese

The tongue position is indicated in the chart for each of the vowels a , i, u, e, o in Japanese (the vowels enclosed in solid circles). Compare the tongue position--front or back, high or low, with the position when producing American English (vowels enclosed in broken circles). Note: the letters in the chart represent sounds, not letters of the alphabet (e.g . , the English word foot is phonemically /fut/).

~ASAL PASS AG£

LoweR\.IP

Cross Seation of Speeah Organs Showing five different positions of the tongue when produaing Japanese

vowe~s

12

JAPANESE BY THE TOTAL METHOD

SECTION 4. 1.

VOCABULARY BUILDING

Kore wa te desu.* karada

2.

This is (a/my/etc.) hand. body

me

eye

mim1

ear

kao

face

atam8.

bead

onaka

stomach

Sore wa isu desu.

That is a/the chair.

mado

window

do a

door

yuka

floor

heya

room

.. yane

3.

Kore wa terebi desu.

This is a T. V.

mer a

camera

tabako

cigarette

taiya

tire

miruku

4. Are wa ushi desu.

5·

roof

This is milk. That (over there) is a cow.

uma

horse

neko

cat

in\i

dog

r6ba

donkey

risu

squirrel

tori

bird

Kore wa kita desu.

This is north.

minami

south

nishi

west

higashi

east

*If the word before desu is not accented, desu receives the accent on the first syllable (desu). Note, too, that the vowel of the last syllable of desu is not pronounced . Actually it is whispered. (See Unit 3 for an explanation of this.)

SOUND PATTERNS AND THE WRITING SYSTFM Dnit 1 SECTION 5.

13

USEFUL EXPRESSIONS

Daily Greetings Yes. No .

Koiinichi wa.

Hello (in the daytime).

Ohayo gozaimasu.

Hello (in the morning).

Koiibaii wa.

Hello (in the evening).

0-geiiki desu ka?

How are you (Lit., Are you well)?

H3i, geiiki desu.

Fine, thank you (lit., Yes, I am well).

Okawari arimaseii ka?

How 1 ve you been (lit. , Is there no change)?

Okagesama de.

Thank you (lit., By your favor).

Sayonara.

Good-bye.

Oyasumi nasH.

Good night.

D~mo ar!gato gozaimasu.

Thank you very much.

Shitsure shimashita.

Excuse me (for what I did; e.g. , for taking your time; for bumping into you; etc .) .

o6

Don ' t mention it/Think nothing of it .

itashimashite.

ShitsGre shimasu.

Excuse me (when saying good-bye or when about to do something) .

oc3zo.

Please (go ahead)/Please (have some--when offering food) .

SECTION 6.

WRITING

Learn to recognize and write the characters of lines l, 2, and 3 of the Unmodified Kana in Table 6, The Hiragana Syllabary (p . 44) beginning at the upper right-hand corner, reading from top to bottom . Write the following words in hiragana : 1.

okashi

6. aki

2.

ue

3.

suki

7.

soko

8.

sekai

*Lengthened vowels (e . g., I,

o,

4. 9.

ai usa

5. 10.

e) are treated in the next unit.

kiku o-sake

SOUND PATTERNS AND THE WRITING SYSTEM UNIT

2

COMPLEX SOUNDS PROBLEM:

Complex sounds include consonant combinations (commonly call ed clusters) which are unfamiliar to the native speaker of English chiefly because of the difference of distribution of sucb combi nations in Japanese . Long vowels also constitute a pr oblem, because Engli sh language habits of off-glides are apt to distort the "pure" qualit y of lengthened vowels in Japanese, and also because vowel length is not a meaningful distinction in Engli sh .

OBJECTIVE :

To drill the student in complex consonant sounds and lengthened vowels, and to enable him to acquire "muscular habituation" in Japanese sound patterns .

SECTION 1.

DRILL

Refer to Unit 1 for instruction in how the student is to perfor m i n drill sessions . The student studying alone can simulate the drill session by the use of tapes . PRACTICE 1. Try pronouncing the following lengthened vowels . unt il the pronunciation comes naturally.

Mi mic your tutor

Lengthened Vowels I (ii)

ii

5

In most dict ionaries the long vowel e is written ei. This reflects the Japanese way of writing this sound in hiragana . However, for the purpose of teaching correc t pronunciation , we prefer to write this lengthened vowel as e. The same considerat i on holds for lengthened i, though we represent it sometimes by I and sometimes by ii. In three circumstances ii is preferable and is therefore used i n this book: (l) in adjectives (e .g., 5k1i (is) big) , because of the importante of the f inal i in adjective declensions; (2) in certain verb forms (e.g., kiite hea~s); and (3) in words in which the i i is formed from two separate kanji (e . g ., kiiroi (is) yellow) . The accent, if present, almost always comes on the first part of a lengthened vowel, so &, 6, etc ., are to be understood as aa, oo, etc. Exceptions will be written out; e .g. ' ooi many.

PRACTICE 2. The words i n Table 3 cont ain complex consonants. until the pronunciation comes naturally .

15

Mimic your tutor

16

JAPANESE BY THE TOTAL METHOD

TABLE 3.

CoMPLEx CoNSONANTS INITIAL

a

i

e

u

0

~

ts-

tsu

ch-

cha

j -

,

chi

chu

ji

ju

,

~

(che)

cho

(jetto)

jo

,

ny-

nya

nyuyoku

nyobo , kyo

ky-

kyaku

lcyUky\i

gy-

gyaku

by-

byak~reii

- gyunyu , byubyu

hy-

hyaku

hyuzu

hyo

ry-

ryaku

ryuryii

ryo

my-

myak(i

c: myuzu

my6

pyiipyii

py6ii

c:

gyo c:

byo

,

~

,

py-

MEDIAL a

i

e

u

-ts-

0

tatsu ocha

-ch-

tochi

uchu

kicho

k8ji

kaju

kajo

-j-

... reJa

-ny-

konyakku

gyunyu

tonyobyo

-ky-

kokyaku

shiky\i

kokyo

-gy-

hangyaku

togyu

sagyo

-by-

s'iibyaku

reby~

n1byo

-hy-

nihyaku

-ry-

seiiryaku

-my-

saiimyaku

-pyNote:

happyaku

jikanhyo horyu

horyo komyo

-

c: -

deiipyo

konpyuta

Forms in parentheses are rare.

PRACTICE 3.

Try to distinguish the following minimal pairs by mimicking your tutor. The tutor may test the student's bearing by having the student indicate whether the tutor pronounced a word from the left-hand list or right.

(1) (2)

ie

re

n~u

keba

keba

k1yo h1yo

n~mu

sode

sode

d~su

, d!su

k6i

kyo

ishiya

isha

m1yo

kai , myo

hyo

k.!yoku

kyoku

hiyaku

hyaku

c:

,

SOUND PATTERNS AND THE WRITING SYSTEM (3)

{4)

tsukl.

17

Unit 2

tslimi

silmi

tsugi

sugi

tsuru

suk! , suru

r1tsu

rl.su

Gtsu

usu

kashi

kachi

us hi

uchl

shikaku chikaku

shikai

chlkai

t6shi

shijimi chijimi

to chi

PRACTICE 4. Pronounce the following words containing complex consonants. your tutor until the pronunciation comes naturally. kyabetsu

kyaku

ky6ri kyokai

kyoka

kakyoku

Dorakyura , kya

gyaku

kagyaku

gyorogyoro

.::.

kyiiky~sha

tliigyo

ogya

gyiiniku

gyogi

nyoi

nyanya

nyobo

hyaku

hy6kohyoko

byoki

myaku

nyiigaku ,. hyiizu , myujikaru

my6ji

ryaku

ryiigaku

h6ryo

ry6ri

,.

Mimic

,

tohyo

PRACTICE 5. The following words contain lengthened vowels, compl ex consonants, or both. Mimic your tutor \mtil the pronunciation comes naturally. , , kiiko seta Kyoto ototo kay6bi ,. ,. shlso shojoji he furl kohi , , moyo aisu-kurimu Tokyo Ji5d6shii apato

SECTION 2 .

EXPLANATION

Listening and mimicking (or "mim-mem," mimicking and memorizing) is the first step in acquiring new pronunciation habits. Basic to language is speech, and we cannot hope to master Japanese until we have gained control of the sounds. In this lesson we are working on a more difficult phase of sound mastery, because we are dealing with complex consonant sounds and lengthened vowels. Whereas in the first unit our attention was concentrated on attack-- 11point of articulation 11 -in Unit 2 the focus is on delivery--"ma:nnel" of articulation." In producing complex consonants and lengthened (or long) vowels, it is "follow-through" t hat counts. THE "S-FOLLOW-THROUGH." The "s"-sound series in Japanese is less complicated than in most other languages (incl uding English); it consists of s, sh, and z. If we consider that s and sh are voice~ess consonants (meaning that the vocal chords are not vibrating when the sound is produced), then we can u.n derstand that z is the voiced counterpart of s; the two consonants are formed in the same way except for the fact that the vocal chords do not vibrate for s but they do vibrate for z. (You can feel your vocal chords vibrating if you place your fingers lightly on the Adam' s apple while you pronounce z.) In some languages (e . g. , French), sh has a voiced counterpart, zh (as in English azure) , but zh is not found as a distinctive sound in Japanese. Instead of the soft zh Japanese has the sound j which is slightly harder than j in American English. Compare the following pairs: Voiaeless: a~a, Voiaed: a~a; and Voiae~ess: 1shi, Voiaed: 1ii. The 118-follow- through" for t yields the complex consonants ts and ch. The former occurs only before the vowel u, but the latter may occur before any vowel. These

18

JAPANESE BY THE TOTAL METHOD

two sounds, ts and ch, complement the consonant t. three consonants are distributed before vowels.

TABLE 4. a

i

ts ch Note:

4 shows the way the

DISTRIBUTION OF t, ts, AND ch u

ta

t

Table

e

0

te

to

(che)

cho

tsu cha

chi

chu

Compare the ts sound in katsu with the ta sound in the phrase aats 'n' miae.

THE "Y-FOLLOW-THROUGH. " Consonant + y clusters are treated as complex consonants because they are articulated as if they were single units of sound. Thus, a consonant + y fills the same space as a simple consonant such as k (in terms of syllabic rhythm) in the examples below:

SimpZe Consonant koka

Consonant + y

kBto

kyoka ,. Kyoto

goi

gyoi

There is some similarity between the manner of articulation of consonant + y combinations and sh and j of the "S-follow-through" consonants, especially from the point of view of the vowel sound which comes after . In both cases the following vowel is produced with a slight "Y-on-glide" (that is, it begins withy): chaku, shaku, jaku; myaku, kyaku , gyaku. The word nyuyoku which means enter the bath is sometimes used as a pun for "New York." Note that the nyu sound is very similar to new in the pronunciation of many English speakers. The manner of articulation of gyo, hyo, myo, etc., is similar, but since we do not have ready counterparts in English we are apt to slip in a high vowel (i) so that the city, KyBto, becomes ki-yo-to. Careful attention should be given to this complex consonant series. (A "high" vowel refers to the position of the tongue when making the sound; i.e., the back of the tongue is high, near the soft palate.) LENGTHENED VOWELS. Lengthened vowels in Japanese are short vowels voiced for a longer period of time (roughly twice as long as the short vowel counterparcl. Remember that it is important to make a distinction between short and long vowels in Japanese. Perhaps the most difficult area of "muscular habituation" for the Japanese sound patterns (for the native English speaker) is in maintaining the same quality of the vowel over the interval required for uttering lengthened vowels. This requires the elimination of off-glides on vowels (see "on-glides" with relation to y before vowels in THE "Y-FOLLOW-THROUGH" above). The term "diphthong" is not used here, but some students may find it helpful to realize that off-glide on vowels includes the general phenomenon of diphthongs. More specifically, the tendency to glide from a "pure" vowel into another vowel, as when forming a word like boat--where o glides into u (or w, lip-rounding), is a habit which must be corrected if one wishes to pronounce lengthened vowels correctly. Try saying boat before a mirror, watching carefully the lip movements . The lengthened o in Japanese must not be pronounced as the long vowel in boat; the o-quality and the original position of the lips must remain constant to the end.

SOUND PATTERNS AND THR WRITI:IG SYSTEM

Unit 2

19

Lengthened e is a similar problem. Instead of an off- glide to a high front i or y, Japanese e continues unchanged , both with respect to quality and position of the tongue (except in certain dialects). Here it must be added that the student will hear sounds which he may interpret as diphthongs because they resemble diphthongs in his own native language . For exampl e, ai love may sound like I /ay/ in English. This reflects the fact that combinations of vowels do occur in Japanese, but they are not diphthongs as we think of diphthongs in English; two vowels in sequence in Japanese do not blend into each other in the manner that diphthongs do. (Actually, Japanese consider that two vowels in sequence belong to two different syllables.)

SECTION 3 . 1.

EXERCISES

Pronounce the following words without making diphthongs of them: oi

2.

3.

..

ou

au

hae

mae

Listen to the tutor or tape pronounce the following words at random, and see if you can identify which column (left or right) the word appears in: LEFT

RIGHT

!chi

ftsu

och1

otsu

uchi

utsu

kiichu

kutsu

chfti

tsUi

Compare the Japanese loan word with the original English : LOAN WORD otomiru

..

otobai

.. tosuto .. hosu .. rosuto

L.

ue

?rac't~ce

DERIVED FROM oatmeal autobike toast hose roast

b~to

...

boat

JaDlU

jam

reja

leisure

rajio

radio

jettoki

jet

.. jipu

jeep

teburu

table

miruku-s~ki

milk shake

with tutor or tape; record your own voice and compare your pronun-

cia~ion ~th

a native speaker:

JAPANESE BY THE TOTAL METHOD

20

,

Tokyo ;

Kyoto ;

kyo

SECTION 4 . 1.

shgsho ;

;

e

seto ;

;

toto

re

sense

so

k1re

gakuse

...

VOCABULARY BUILDING

Papa wa doko desu ka? mama

Where is Dad (Papa)? Mom (Mama) the station

2.

mise

the store

hoteru

the hotel

kaisha

the company

uriba

the sales- place/counter

Sore wa uchi desu . michi tomodachi

3.

4.

a street my friend

iriguchi

the entrance

deguchi

the exit

Chikatetsu desu.

(It is the) subway.

n1motsu

(It is) baggage.

tsukue

(It is) a desk.

otsuri

(Here ' s your) change.

tsukl.

( It ' s the ) moon .

tsuch!

(It is) earth/soil.

chikyii

(It is) the (planet) earth.

Anata wa kaicho desu.

You are president (of an organization) .

sejika

a politician

gakuse

a student

b6kushi

a pastor/minister

isha

a (medical) doctor

kodomo

a child

otona 5-

That's a/my bouse.

Watashi no jGsho desu .

an adult

(This is) my address.

namae

name

djio

radio

;

tosuta

toaster

SOUND PATTERNS AND THE WRITING SYSTEM

6. Kore wa jasu desu.

This is juice.

aisu-kurimu

ice cream

chokor~to

chocolate (candy)

biru

beer

"" mayonezu

mayonnaise

kOhl

coffee

haiib~ga

(a) hamburger

7. K::t:okai desu.

8.

21

Unit 2

(It is) a church.

"" Kyoto

Kyoto

kyo""

today

kyabetsu

cabbage

seyo-ry5ri

Western (not Japanese) cooking

Sat& o kudasai.

Give me (some) sugar, please.

kocha

(black) tea

bata

butter

""

chizu

SECTION 5.

cheese

USEFUL EXPRESSIONS

In the Classroom Sense"" :

Minasan, ohayo gozaimasu.

Teacher:

Good morning, everyone.

Gakuse :

Sens~, ohayo gozaimasu .

Student:

Good mrning, teacher.

Seiis~ :

Kya wa, fk-ka* o beilkyo-

Teacher:

Today, we will study Lesson 1.

shimasu.

Gakuse:

ni-ka

Today we will study Lesson 2.

saii-ka

Today we will study Lesson 3.

yon- ka

Today we will study Lesson

go-ka

Today we will study Lesson 5.

4.

Minna de itte kudasai.

Say (it) all together.

hitori de

Say (it) by yourself.

ok!i koe de

Say (it) in a loud(er) voice .

niboiigo de

Say (it) in Japanese.

m!naide

Say (it) without looking.

hakkiri

Say (it) clearly.

Sumimaseii ga, mo icbido itte kudasai.

Student:

Excuse me, but please say (it) once more .

* For an explanation of lengthened consonants see Unit 3, Section 1 (p . 23).

JAPANESE BY THE TOTAL METHOD

22

Excuse me, but please say (it)

motto yukkuri

more slowly . Sens~:

Teacher:

H6n o akete kudasai .

Close {your) book(s), please.

tojite

Gakuse.

Kurikaeshite kudasai .

Repeat, please.

Kotaete kudasai.

Answer, please.

Wakarimashi ta ka?

Did/do you understand?

Gakuse:

Student:

HB.i, wakarimashita .

re, Seiis~:

Shitsumon ga arimasu ka? - - wa, nihongo de do"" Ego wa tsukawanaide kudasai .

SECTION 6 .

Yes, I understood/understand . No, I don't/didn't understand.

wakarimasen.

Teacher: Student:

Are there (any) questions?

Teacher:

Please do not use English.

iimasu ka? Seiis~ :

Open (your) book(s), please.

How do you say Japanese?

-

in

WRITING

Learn to recognize and write the characters of lines 4, 5, and 6 of the Unmodified Kana in Table 6, The Hiragana Syllabary (p. 44). Write the following words in biragana: 1.

fune

2.

natsu

3.

beta

4.

tanuki

6.

chikatetsu

7.

hito

8.

hoka

9.

haiku

5. 10.

niku tonakai

SOUND PATTERNS AND THE WRITING SYSTEM UNIT 3 LENGTHENED CONSONANTS AND UNVOICED VOWELS PROBLEM:

Lengthened consonants (or "double consonants" in roma.nization), which are basic to the phonetic structure of Japanese, are not part of the system of English and hence cause difficulty both in hearing and in production for the native speaker of English . The unvoicing of i and u* follows regular rules of usage and can be grasped readily with a little practice , but the rules should be understood and mastered .

OBJECTIVE:

To help the student to "hear" lengthened consonants and the unvoicing of vowels, and to aid him in developing speech habits to accommodate them .

SECTION 1.

DRILL

lengthened consonants we mean only -pp-, -tt-, -kk-, -ss-, -ssh- , -tch-, and -tts-. Except for foreign loan words, no voiced consonants become lengthened. Note that, since "S-follow- througb" complex sounds such as ch and ts begin with a t-like sound, their lengthened counterparts are spelled tcb and tts, respectively . The more accurate spelling for the lengthened sound of sb would be shsh, but for convenience we represent it by ssh, and no confusion will arise. In the following practices the students imitate the tutor, first in unison, then individually. The tutor corrects mistakes by repeating the sound or word once or 'twice. By

PRACTICE 1. Table 5 shows bow the lengthened consonants are combined with other sounds to make actual words. Mimic your tutor after each word until the pronunciation comes naturally.

TABLE 5, LENGTHENED CONSONANTS IN WORD CONSTRUCTIONS a

-pp-

ippaii

-tt-

it tan

-ss-

kessaii

-ssh-

tassha

i

jippi

u

e

!ppun

0

!ppoii 1tton

issliii nessh!ii

-tts-

jisseii

!sso issho

risshuii hettsui

-tch-

matcha

mate hi

hitchu

-kk-

ikka

!kki

1kku

l.tcho 1kkeii

ikko

*Authorities such as Siro Hattori and Bernard Bloch recognize other unvoiced vowels besides those treated here, but we limit this introduction to i and u !'or pedagogical reasons . The symbol for unvoicing in this lesson will be " ( ) . "

23

24

JAPANESE BY THE TOTAL METHOD

PRACTICE 2. Pronounce the following words containing lengthened consonants . special attention to lengthened complex consonants. (1)

mikka

sh(i)kkyaku

(2)

hakk1ri yukkuri

tokkyii

massugu

kekkyoku

uttaeru

matcha

yottsu

l.SSO

issho

ippai

roppyaku

.I

(4)

-

ipp(i)k1

, itchiiya

k(i)ppu

ketteii chotto

isshuii

tasse

Nikko

mate hi

ressha

zasshi

sekken

(3)

assari

Pay

ippen itcho

sh(i)ppo

happyo

PRACTICE 3. In certain loan-words, the following voiced lengthened consonants occur: -dd-, -gg-, and -dj-. (The spelling dj parallels that of tch.) Here are some examples: hamu-eggu PRACTICE 4. Pronounce the following words. ciation comes naturally. kOttoii

ippaii-teki

Mimic your tutor until the pronunkekkoiish(i)ki

sai'ijlirokkai

PRACTICE 5. Pronounce the following minimal pairs. Try to make a clear distinction between ~ingle and lengthened consonants. This may be used as a recognition drill, the student indicating "left-hand" or "right-hand" as the tutor pronounces words at random. LEFT

RIGHT

sakyu

sakkyil

k1do

kid do

sh(i)kaku

sh(i)kkaku

utae

uttae

kake

kakke

1keii

!kkeii

koka

kokka

iso

is so

PRACTICE 6. Pronounce the following words containing unvoiced u. some u are voiced and some unvoiced. hi.f(u)

fubo

paf(u)

fuyli

fuf(u)ku

furats(u)ku

f(u)tad

f(u) tsuka

f(u)tatsG

shat(u)to

f(u)tsu

parach!f (u) su

Notice that

SOUND PATTERNS AND THE WRITING SYSTEM Unit 3

25

PRACTICE 7. Pronounce the following words containing unvoiced i. are voiced and some unvoiced.

Notice some i

lffishi

kachi

ushi

uchi

sh(i)kaku

ch(i)kaku

shijimi

chijimi

sh(i)kai

ch(i)kai

toshi

tochi

PRACTICE 8.

Pronounce the following words containing unvoiced i and u.

...

dete k(i)te

b (i) to

kugats(u)

s(u)keto

sh(i)se

h(i)tori

des(u)

s(u)sumu

sb(i)ta

k(i)sha

s(u)kiyaki

ts(u)kusu

okash(i)

kosh(i)kake

s(u)kt

k(u) tsush(i) ta

SECTION 2.

EXPLANATION

LENGTHENED CONSONANTS . In order to master lengthened consonants the student must be able to distinguish the difference in length between the medial consonants of pairs such as the following: koka : kokka; moto : motto ; machi : mat chi . To help distinguish the difference in length of the medial consonants in the right hand members of these pairs, perhaps it would be useful to compare English pairs such as the following: housekeeper : bookkeeper; appraise : Zip praise. Besides length (a lengthened consonant is roughly twice as long--in terms of time lapse--as the corresponding single consonant), the element of intensity or strength of the sound is important. Obviously a lengthened consonant is pronounced with more tension and hence is harder. The first consonant of a "doubleconsonant" series can be considered to be the same as the second consonant (in point of articulation) but unreleased . UNVOICED VOWELS. In normal, fairly rapid conversation, in an unaccented syllable between two voiceless consonants, or in final position, i and u are usually unvoiced. Check the examples given in the practices to confirm this rule, and listen for unvoicing in the speech of your tutor. (This is a good chance to tell whether your tutor is a native of Tokyo or not, because Tokyo speakers, almost without exception, unvoice i and u according to this rule.) Actually, other vowels (o and a) are unvoiced in special contexts, but these are not treated as regular pronunciation patterns in these lessons. The student can readily pick up these special usages by listening carefully. Of course, whispering is a special instance of the unvoicing of all vowels and consonants.

SECTION 3. 1.

EXERCISES

Listen to the tutor or tape pronounce the following words at random, and see if you can identify which column (left or right) the word appears in. Words with "double consonants" occur in the right-hand column. LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

asaku

assaku

1to

1tto

sakyu

sakkyli

akki

utae

uttae

saku

sakku

26

2.

JAPANESE BY THE TOTAL METHOD LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

ishoku ishin

isshokii

kake

kakke

sakon

sakkon

isshin

kaseki

kasseki

sh(i)kaku

sh(i)kkaku

Ise

1sse

kido

k1ddo

.. sh(i)ke

iken

!kkeii

koka

kokka

tese

tease

iten

itteii

koku

kokku

moto

mot t o

Pr onounce the following accor ding to the r ules for the unvoicing of vowels . Note : Some i and u vowels i n t his list ar e not unvoiced .

SECTION 4. 1.

2.

Yama desu.

.. sora

..

kutsushita

shimashita

sugu

kutsu

shich1ji

otonashiku

.. sukiita

sukoshi

kutsii

1kite iru

tsukete

gomugutsu

dek1ru

bosu

hakushi

mune

(I t is) a mountain . the sky a forest

nohara

a field

oka

a hill

gake

a cliff

kawa

a river

limi

the ocean

saka

a s l ope

Jozu desu .

(He i s) skillful . cll.unsy

hen

strange

rippa

spl endid

henri fuben Basu desu.

(It i s) convenient .

i nconvenient (It is) a bus .

f6ne

a ship

kuruma

a car

gakko

a school

jettoki

a jet

roketto

a rocket

zasshi

a magazine

.. moppu motto

..

VOCABULARY BUILDING

mori

heta

3.

sh(i)kk~

a mop a motto

SOUND PATTERNS AND THE WRITING SYSTEM Unit J 4.

Watashi no musuko desu.

27

(This is) my son.

musume

daughter

kusuri

medicine

takush!

taxi

kisha

train

kutsushita

socks

fuku

clothes

sukiyaki

sukiyaki

ok.S.shi

sweets

5. Ocha o kudasB.i.

Give me some tea, please. hot-chocolate

kokoa

banana(s) egg(s) yasai

vegetables

sakana

fish

gyUniku

beef (meat)

butaniku

pork

o-sashimi

raw fish

o-sushi

sushi

kam1

paper

kitte

stamp( s)

kippu

ticket(s)

SECTION 5 .

USEFUL EXPRESSIONS

In the Lab ,

sense:

,

Teaaher:

Ii desu ka? Dewa, hajimemasu.

We're going to begin.

Rokuon-shite kudasii. , Tepu o tomete kudasai .

Record, please. Stop your tape, please.

Issho ni itte kudasB.i.

Say/ Repeat together, please .

Kore de owartmasu.

That's all/We end with this.

MOtto &kiku shite kudasai .

Make (it) louder, please.

MOtto chlsaku shite kudasai.

Make (it) lower, please.

~

Gakuse:

Are you ready?

In the Classroom ,

Sense:

Kokuban ni kaite kudasai.

Teaaher:

Write on the blackboard, please.

Kokuban o m1te kudasH.

Look at the blackboard, please.

Kokuban o keshite kudasSi.

Erase the blackboard, please.

28

JAPANESE BY THE TOTAL METHOD

(this) homework, please.

Shukudai o shite kudasai.

Do

Shukudai o dashite kudasai.

Hand in (your) homework, please.

Tesuto o shimisu.

(We ' re) going to have a test.

Yasumi-j1kan desu.

It ' s rest time (time for a break).

Dewa mata.

I ' ll see you next time .

SECTION 6.

WRITING

Learn to recognize and write the characters of lines 7 through 11 of Unmodified Kana in Table 6, The Hiragana Syllabary (p. 44). Write the following words in hiragana: 1.

warai

6. Yamamoto

2.

yureru

7. yoron

3.

musume

8. sukiyaki

4.

mori

9.

kuruma

5. 10.

mirina mushiatsui

SOUND PATTERNS AND THE WRITING SYSTEM UNIT 4

SYLLABLES AND RHYTHM PROBLEM:

Syllables in Japanese differ considerably from syllables in English, chiefly because Japanese syllables normally end in a vowel, and usually a single consonant followed by a single vowel constitutes a syllable. The occurrence of lengthened consonants and syllabic n complicates this syllabic pattern .

OBJECTIVE:

To introduce the characteristic even- rhythm phenomenon of the Japanese language and to help the student to develop the ability to produce it .

SECTION 1.

DRILL

The students imitate the tutor, first in unison, then individually. corrects mistakes by repeating the word once or twice .

The tutor

PRACTICE 1 . Pronounce the following words vith special attention to open syllables . Syllable boundaries are marked by periods . (1)

(2)

(3)

nLki.bi

hi.to .ri

mi. chi

da.re

to .na . ri

wa.ta.shi

rna. ta

mu.ka.shi

ka.wa.ru

ro.ji

ka. re ta .tsu

ko.ko

so . so

ki

shi

yo to

na

byo.do

sho.me

shu. nyu

me.ryo

tsu.jo

"' Kyu.shu

"' jo.ro

ku. tsii

hi. me

"' ke.ko

sho.chu

to.ke

bi.myo ko.kyo

fu . tsu "' to Kyo.

(4) ko . e

a .i

ha.i

ka.u

shi.o

e. sa

o.u

chi.e

ku.i

"' ku.i

i.sha

u.e

ko.i

k~.u

ke. i

(5)

ku.mi.a.i

k.o . ii.ba.ii.wa

a.ta.ta.ka.i

i.ta.ru.to.ko.ro

sa.i.a.ku

ko.n.ni.chi.wa

ko.ko.no . tsu

mo . no .ma.ne

to.i.a.wa.se

ko.n.da . te

fu. mi. ki. ri

na.ka.na.ka

PRACTICE 2. The lengthened consonant requires an extra syllable to accommodate the length. Pronounce the following words containing syllabic consonants with special attention to rhythm. 29

JAPANESE BY THE TOTAL METHOD

30

Lengthened Consonants i. t. ta

ma . t.chi

i.s .sho

1.t.cho

ka.t.ta

ma.k.ka

ta.s.sha

ma . s . sii.gu

mo.t.ta

ke.k.ko

sa.k . ki

bi.k.ku.ri

SyllAbic ii.

..

.. me . ii..do

ka.ii..na.ii

- za.n.ne.n

KB..n . to

ke.n . do

Ji. mi. ii. to

ko.ii.da.te

na . ii .ne.ii.

na. ii.ji

na.ii.cho

cha.ii.to

ge.ii..ki

ka.ii . ge

shi. ii . bu. ii

shi.ii.po.ii

sa.ii..mo.n

.. e.n

a.ii . i o.. .n-

ke.n..1

se.. . n-

Mi.ii . o.ii

ka . ii.ga.e

sa.ii.ka.i

e.ii..ka . i

ko.ii. . go

shi.n.yu

ho.ii..ya

ki. ii.y5. bi

bo.ii o ku.da.sa.i

ka . ii.

SECTION 2.

..

mo . n-

EXPLANATION

SYLLABLES. For Practice 1, it will be noted that simple syllables are formed by a consonant-vowel sequence usually, but that when there are two vowels in sequence there is a syllable break between them . This last feature of Japanese means that there are no true diphthongs (in the way that we think of them in English). Two vowels in sequence should be pronounced as belonging to two different syllables. 'l'his means that each vowel is given the same amount of time in pronunciation. RHYTHM . To speak Japanese naturally it is absolutely imperative for the student to master the rhythm pattern of Japanese syllables. As far as time-lapse (the technical term is "mora") is concerned , each unit separated from others by the period mark in the drill sections above receives the same rhythm beat. It is this feature which gives to Japanese its staccato- like rhythm (or, the sound of machine-gun fire, as someone put it). This staccato rhythm is so unlike the rhythm pattern of English that the native speaker of English finds it difficult to throw off his old habits and adopt the new.

SECTION 3.

EXERCISES

Review all patterns practiced in Units 1, 2, and 3, concentrating on the recognition of syllables, practicing them until the staccato rhythm becomes second nature.

SECTION 4 .

VOCABULARY BUILDING

nan

1.

Kore wa

desu ka?

2.

Sore wa shashiii desu.

What is this? That is a photograph.

deiisba

an electric (powered) train

pan

bread

sbiiibuii

a newspaper

SOUND PATTERNS AND THE WRITING SYSTEM Unit 4 kaidan

31

a stairway a book

3.

4.

gasoriii

gasoline

haii.kachi

a handkerchief

sando1tchi

a sandwich

roigariii

margarine

denwa

a telephone

deiipo

a telegram

Haru desu ... natsu

(It ' s) spring. summer

aki

fall

fuyu

winter

Watashi desu.

(It ' s) me. you

...

sense

(I'm/be ' s/you ' re) a teacher.

seiiky~shi

S.

a missionary

Otona desu.

(He ' s) an adult.

shiiiko

(It's) faith.

beii.kyo

study

Kirisutokyo

Christianity

SECTION 5 .

USEFUL EXPRESSIONS

Greetings & Introductions watashi

I; me

you (but usuaZZy name or titZe is used) go-shujiii

(your/her) husband

shujiii

(my) husband

6kusaii

(your/his) wife

kanai

(my) wi.fe

kodomo

(my/a) child

tomodachi Watashi wa -- -- desu.

...

Dozo yoroshiku.

Kono kata wa -- -- - san desu. Kore wa -- -- desu . Hajimemashite .

... Dozo yoroshiku.

Shitst.re desu ga, donata desu ka?

friend I ' m -- -- .

How do you do?

This is -- -- . (When introduaing someone not a member of one's own famiZy . ) This is -- -- . (When introduaing a member of one's own famiZy.) I ' m very pleased to meet you. I beg your pardon , but who are you?

32

JAPANESE BY TBE TOTAL METHOD

0-hisashiburi desu.

It ' s been a long time (since we met) .

-- -- - san ni yoroshiku.

Say hello to -- -- .

0-daiji ni.

Take care of (yourself/him/etc . )

(In

case tr£ person is sick, etc.) o§zo, a- saki ni.

Please go on ahead .

O-saki ni.

(Excuse me for) going abead.

o d5zo. " Domo arigato gozaimasu.

Hai.

Have some Thank you very much.

Ie, kekko desu.

No, thank you.

Itadakwsu.

(word said before beginning to eat) (word said after finishing a meaZ)

Gochiso-sama.

SECTION 6 .

WRITING.

Learn to recognize and write the characters of the kana with dakuten and handakuten and the kana combinations for Y-follow-tbrough syllables in Table 6, The Hiragana Syllabary (p. 44). Observe the short lines (dakuten) and the small circle (handakuten) put on tbe right-hand shoulder of the characters and bow the smaller kana are made for the Y-follow-through syllables. Write the following words in hiragana: 1.

tegami

2.

karada

3.

mado

4.

deii.wa

5.

chizu

6.

ocha

7.

densha

8.

shukudai

9.

isba

10.

kisba

SOUND PATTERNS AND THE WRITING SYSTEM UN IT

5

TONE ACCENT OF W ORDS PROBLEM:

Recogni~ing and producing the tone- accent on Japanese words is perhaps one of the most difficult problems in learning the language. Word accent is phonemic--that is, the tone pattern of high and low syllables on many words is arbitrarily fixed and cannot be predicted, hence it must be learned. On the other hand, tone- accent is different from stress- accent in English; i.e., high pitch on an accented syllable is important, but stress on the accented syl lable is not.

OBJECTIVE:

To help the student to hear tone-accent in Japanese, and to help him to produce correct accent patterns in his own speech.

SECTION 1 .

DRILL

PRACTICE 1 . . This drill gives practice in two-syllable homophones (words which sound alike but whose meanings are different) which are distinguished on the basis of tone- accent. Words in Group I have a high tone-accent on the first syllable; words in Group II have a high tone-accent on the last syllable . GROUP I

GROUP II

~

chopsticks

ilshi

reed

~ ~

ocean

!£shi

bridge

~

foot

.¥

pus

~

morning

linen

PRACTICE 2 . Two- syllable homophones in context . When words such as those appearing in Practice 1 are included in a larger context (i.e., when they are spoken in a sentence), a third accent type appears ; i .e . , atonic , or words which have no basic accent at all. Thus, if the atonic word desu is added to the words of Practice l (thus making these words into simple sentences), the accent pattern appears as follows : GROUP I Hashi desu.

GROUP II

They are chopsticks .

Hasbf desu.

It 1 s a bridge.

GROUP III Hashi desu .

It ' s the edge .

Under the guidance of a tutor practice substituting words from the three groups below in the frame: desu . Exampl-e :

They are chopsticks.

has hi

~hi desu . ~hijdesu .

has hi

~

It ' s the edge.

GROUP I

bas hi

GROUP II GROUP III

33

It ' s a bridge .

34

JAPANESE BY THE TOTAL METHOD TWO-SYLLABLE NOUNS GROUP I

GROUP III

GROUP II

has hi

chopsticks

hash!

bridge

has hi

an edge

kaki

oyster

kakl.

fence

kaki

persimmon

Hana

(girl's name)

hana

flower

han a

nose

ashi

reed

ashi

foot

Umi

ocean

uml.

pus

as a koto

morning

as ..a

linen

.. ame

harp

koto

thing

rain

ame

candy

kashi

sweets

kashi

debt

Note that when desu follows any of the words of Group III (i.e . • atonic words), it receives the tone-accent on its first syllable. PRACTICE 3 . Pronounce the following two-syllable nouns in context . tutor until the pronunciation comes naturally. GROUP I

.. Zo desu.

It is a cat .

Hato desu .

It is a pigeon.

Saru desu.

It is a monkey .

Inu desu.

It is a dog .

um.a

It is a horse.

Neko desu

GROUP I I

GROUP III

Mimic your

It is an elephant.

desu.

Kuma desu.

It is a bear .

Buta desu.

It is a pig.

Us hi desu.

It is a cov.

Mushi desu.

It is an insect .

Tori desu.

It is a bird. ONE-SYLLABLE NOUNS

One- syllable nouns are of tvo types: accented and nonaccented. Of course, vhen one- syllable words are spoken in isolation the difference in accent cannot be detected. PRACTICE 4.

Practice the following by substituting in the frame: GROUP I

K1 desu.

GROUP II

It's a tree.

Ki desu.

It ' s one's spirit.

ch1

earth

chi

blood

h{

fire

hi

the sun

jl.

a character

ji

the ground

su

a nest

su

vinegar

slll

death

shi

a poem

e

a picture

e

a handle

desu.

SOUND PATTERNS AND THE WRITING SYSTEM

Unit 5

35

Standard Tokyo accent for nouns of more than one syllable follows two basic rules: (1) the pitch of the first and second syllables of a word is always diff erent; and (2) one word has only one accent (or, one area of high pitch); theref ore, if one hears two accents it is a clear indication that he has heard two separate words. Another way of stating Rule (1) above is to consider that unless the first syllable has the accent~ it is a warm- up syllable, and thus spoken on a lower tone than the rest of the word. All syllables (except the first syllable of a word) which precede the accent are spoken on the same high pitch of the syllable which bears the accent; all syllables following the accented syllable are spoken on a lower pitch . There are four accent patterns for three- syllable words. PRACTICE 5.

Pronounce the following three-syllable nouns in context:

GROUP I ,. I no chi desu . It is life.

GROUP II Kokoro desu.

It is (the) heart.

Namida desu.

They are tears.

Shiken desu.

It is an exam .

Blru desu.

It is beer.

SatB desu .

It is sugar.

Megane desu.

They are spectacles.

Anata desu.

It is you.

GROUP III

GROUP IV

Atama desu.

It is (the) head .

Karada desu.

It is (the) body.

Otoko desu .

He is a man.

Hitsuji desu.

It is a sheep.

Onna desu.

She is a woman.

Tsukue desu.

It is a desk.

Hasam! desu.

They are scissors.

Ego desu .

It is English.

PRACTICE 6.

Pronounce the following four- and five-syllable nouns.

FOUR-SYLLABLE NOUNS ,. koiizatsu komori

FIVE-SYLLABLE NOUNS o-tsuki-sama ,.

soyokaze

uguisu

otosaii

mizuUmi

sense

seDkyBshi

ototo

imoto

atama-kazu

tomodachi

nihoiigo

o-shogatsu

,.

nihoii-gami

SECTION 2.

EXPLANATION

This lesson on tone- accent in Japanese has concentrated on accent patterns of nouns. The accent patterns of inflected words (e.g., verbs and adjectives) is somewhat more complicated, and will be introduced at the appropriate place in t he Basic Lessons. Numerals and certain time words manifest accent change depending on position in the sentence. Notice how the basically unaccented futatsu two acquires an accent when followed by a particle. The same thing is t rue of the adverbial kino yesterday. Thus: Ringo o futatsu kudasai. Give me two appl-es~ pl-ease; Futatsu de ikura desu ka! Bow much for two? Kino Tokyo ni ild.mashita. Yesterday, I went to Tokyo; Kino wa samukatta desu. Yesterday, i t ~s coUl.

36

JAPANESE BY THE TOTAL METHOD

As with English, the accent of a word is part of the word itself, and one simply has to remember the accent along with the word. It is helpful to recognize different types of accent, however, because new words can soon be associated with a particular type. This is the reason for the method of constructing the drills of this lesson. It is not true, however, that there are no rules of tone-accent on nouns . Though the following list of rules is by no means exhaustive, perhaps it will help the student to understand accent themes in Japanese. (1) Accent patterns differ depending upon parts of speech; e.g., the accent patterns for nouns differ from those of verbs, etc. (2) Tone-accent in Japanese is distinct from stress-accent in English; i . e., the accented syllable in a Japanese word is not spoken in a louder voice but at a higher pitch . (3) The accent mark (')used in these units is to be interpreted as follows: the syllable bearing the accent mark is the syllable before the faH in pitch. Since pitch is relative, differing with each speaker and even with each different utterance of a word by the same speaker, pitch does not have a corresponding musical tone (e.g . , C on the piano). There are four meaningful tones ranging from 1 to 4 (low to high). Normally the syllable which receives the tone-accent is spoken at level 3 (level 4 being reserved for emphasis or exclamation), and the tone drops immediately after it to level 2 (or level 1 if it is at the end of the utterance) . Thus, we can say that tone-accent on a syllable means that the pitch of the voice is lowered beginning with the next syllable immediately following the tone-accent mark. All syllables before the tone-accent mark (except the first "warm-up" syllable) are to be given the same high tone as the syllable with the accent mark (level 3). If there is a pause, then the pattern of "warm-up," level, and fall is repeated.

(4) Accent patterns on nouns are affected by the following: (a) The composition of the word; i.e., compound nouns, nouns derived from verbs, etc.; (b) The origin of the word; i.e., native Japanese nouns, Chinese loans, English loans, etc . ; (c) The number of syllables in the word; (d) The nature of the sounds which compose the word; i.e., presence of long vowels, syllabic consonants, syllabic n, unvoiced vowels. For example, the favorite accent pattern for three-syllable nouns is pattern I (on the first syllable). Thus, when a new word is borrowed from English, it is common for this loan-word to receive the primary accent pattern: tomato, banana, yotto, terebi, matchi, m1shin. Chinese loan-words also show a preference for this accent pattern: shakai, gogaku, bokushi. Recognizing and producing the tone-accent on Japanese words is perhaps one of the most difficult problems in learning the language. But the accent on a word is just as much a part of it as are the consonants and vowels. Proper pronunciation of a word includes a proper reproduction of the tone-accent. If the student feels at this point that the accent system of Japanese is too difficult, he should be reminded that the accent system of English is, if anything, even more difficult, and that the foreign student has no alternative except to learn word accent along with the new word.

3ECTION 3.

EXERCISES

Review the Useful Expressions of the first four units paying special attention to word accents. It may be helpful to try drawing intonation lines as follows:

SOUND PAPTERNS AND THE WRITING SYSTEM

37

Unit 5

~ shaiShin d+u.

That is a photograph.

~ ~sha desu .

That is an electric car (train) .

Have your tutor pronounce these sentences slowly and deliberately and see i f you can draw lines to indicate his intonation. Use a tape recorder to study your own accent.

SECTION 4 . 1.

2.

VOCABULARY BUILDING (It is) rain.

&ne desu. yuk1

snow

yuki- daruma

a snowman

Ame o kudasai .

Give me some candy, please. chopsticks

hashi

flowers persimmons

kaki

3.

4.

(It's) a nose.

Hana desu. hash1

a bridge

kaki

oysters

;

e

a picture (drawing)

hako

a box

nor!

paste

ka:m1

paper

hasa:m1

scissors

tegami

a letter

Kore wa kagam1 desu. ;

hikoki

an airplane

misB..iru

a missile

;

5.

This is a mirror.

Kyoto

Kyoto

Tokyo

Tokyo

Karuizawa

Karuizawa

Nojir!ko

Lake Nojiri

Hokkaido

Hokkaido

Watanabe-san desu .

(This/it is) Mr./Mrs./Miss Watanabe.

Yamada

Ywnada

Ota

Ota

Siimisu

Smith

Takahashi

Takahashi

sato

Sato

38

JAPANESE BY THE TOTAL METHOD

SECTION 5.

USEFUL EXPRESSIONS Tel-ephone

Telephone!

Denwa desu . - san no otaku desu

MOshimoshi , ka?

Hello!

..

Is this -

-

's residence?

Hai, so desu .

Yes, it is.

ie, chigaimasu .

No, it isn't (lit., it's different).

Watashi wa Hai.

desu.

This is -

-

(lit., I a m - - ).

-san wa irasshaimBsu ka?

Is -

-

Chotto matte kudasai .

Yes.

Wait a moment, please.

in?

re, ima imasen.

No, be/she's not here now.

Omatase shimashita.

(I ' m sorry) I kept you waiting.

Watashi wa nihoiigo ga wakarimasen.

I don't understand Japanese.

Anata wa ego ga wakarimasu ka?

Do you understand English?

Sumimasen ga, mo ichido itte kudasai .

Pardon me, but please say (that) again.

Yukkuri hanashite kudasai .

Please speak slowly.

Yoku wakarimasen.

I don't/didn't understand (very) well.

Wakarimashita .

I understand/understood.

SECTION 6.

WRITING

Learn to recognize and write lengthened vowels and double consonants. Refer to Unit 6 (p. 39) for the rules of writing. Write the following words in hiragana: A.

B.

3.

ego

4.

kire

8.

hikoki

9.

seiikyoshi

rippa

3.

massugu

4.

kitte

kekkoii

8.

chotto

9.

hakkiri

l.

sense

2.

6.

denpo

1. kyokai

1.

Hokkaido

2.

7.

6. yukkuri

toke

5. 10.

5. 10.

sejika seyo-ryori nesshin kakko

The student will do well to familiarize himself with Table 7, The Katakana Syllabary (p. 45) during the early stages of the Basic Lessons. The following exercises will be helpful in mastering katakana. Please refer to Unit 6, Section 3 (p. 40) for the rules of writing . Write the following words in katakana: Suisu

tekisuto

3. 3.

2.

misairu

3.

papa

2.

puro

reji

1.

gasorin

3. 8.

C.

l.

kokoa

2.

Iesu

D.

1.

Tai

2.

E.

1.

haiikachi

F.

1.

6. 11. G.

kyabetsu

12.

Dorakyura

13.

Aioa

5.

aisu

naifu

5.

tenisu

kamera

4. 4. 4.

Amerika

kurasu

banana

4.

pike

5. 5.

Buraun

9. Doitsu

nekutai

jamu

14 .

10.

bira Igirisu

Jonson

15. 5.

aisu-kurimu

shatsu

1.

seta

2.

kohi

3.

shiso

4.

apato

6.

koto

7.

otomiru

8.

tosuta

9.

teburu

10.

miruku-seki

13.

matcbi

14.

jetto

15.

saiidoitcbi

11.

roketto

12.

hamu-eggu

SOUND PATTERNS AND THE WRITING SYSTEM UNIT

6

THE WRITING SYSTEM PROBLEM:

Because the Japanese writing system was devised under the influence of Chinese, a language which is phonetically quite different, the resulting orthography is perhaps one of the most complex in the world.

OBJECTIVE:

To introduce the Japanese writing system.

SECTION 1.

IN GENERAL

Japanese is written with hiragana~ katakana, and kanji. The former two systems are referred to as kana~ and represent two parallel syllabaries by means of which all the sounds of Japanese may be written. Each kana symbol represents a syllable - - either a single vowel or a combination of consonant + vowel, with one additional symbol for the syllabic n. Thus, the three-syllable word kodomo child is written either in hiragana or in katakana. But the same word may also be written in kanji (Chinese characters) which have been adopted and assigned conventional "readings " in Japanese. hiragana

kodomo

"", respectively). Lengthened X.. written by adding V' (.:{_\.A) is pronounced e, and lengthened :1:.... written by adding 5 (i>"" 5) is pronounced o .

Examples:

i:>""i'i• ib ~ lv ll" VC LA ~ lv

okasaii on"I san

older brother

~'?.2.

futsu

usual

i'i~

gakuse

student

Tokyo

Tokyo

I,

REPETITION MARKS. There are three very useful marks used in Japanese writing to indicate reduplication, either of a kanji or a sound or a sequence of sound.

(9) Do no jiteii. IEJq)=¥-R0 c "UI.

k

This sign is used to indicate that the immediately preceding ~.1 kanji is repeated . Note: This mark cannot be used for dupli- ~ eating two or more kanji in sequence .

1

SOUND PATTERNS AND THE WRITING SYSTEM

(10)

Hitotsuteii '>

(11)

Ku no jiten

1

*~

\

C"CN

Unit 6

43

This sign means that the preceding kana is duplicated. If the consonant of the second syllable takes on voicing, two dots (dakuten) are added. This sign is used only in vertical writing and means a sequence of two or more kana is repeated. As with hitotsuteii, two dots are added to show voicing in the first syllable of the repeated word or phrase.

Note: The student will encounter these repetition marks in reading though it is currently recommended by the Ministry of Education that the bitotsuten and ku no j1ten not be used. HOW TO USE GENKOYOSHI (MANUSCRIPT PAPER) .

(1) Write the title on the first line. (2)

Write your name on the second line.

( 3)

Start your composition from the third or fourth line.

(4) Leave one square open at the beginning of each paragraph. (5)

Use one square per letter. The period, comma, quotation marks, question mark, exclamation mark are counted as one letter . The first three of these marks are written within the last square of a line if otherwise they would begin a new line.

(6)

In case of written dialogue, start on a new line when the speaker changes .

Note:

For a sample of writing on manuscript paper, see p. 46:

44

JAPANESE BY THE TOTAL METHOD

TABLE 6. THE

HIRAGANA SYLLABARY

A.

UNMODIFIED KANA

B.

KANA WITH DAKUTEN AND HANDAKUTEN

Lj:o ~j:" "1:tt

t_;'

u~

i)'

uo "J)(. ')

0

bot

Dr.

-~ .d4

'o

br.c

h}.

l''

·~

'- si

-tt~

~

~,,

,,

/ "

l¥1

~tc ~ C.

\...:Jill.

-t.: t\: l: t {: [~ ,,

)

.... ~'.,.,. v)

t(

~,,

ta

L_''

"> ,,

' - :JO

tk

KANA COMBINATIONS FOR Y-FOLLOW-THROUGH SYLLABLES

-u. LA uo u'' ~

~

t/

:\'' \._

~

~

~

~

,10.

Yp

'1>

P/fl.

~

[!: [l'

L' Yp :f{,(

l;'

~) ~

fj.YQ

~,, -'-

vp

.'1ft(

()'({

~) -

u

( -:._

~

.lfJ

~

~'

~

m;a

Jwa.

n~tt

chol

~

Srz

~

Jj

7-} [A ~~

~

1J

vp

yp

JYU.

~

h¥C<

.! lf'j

\'' ~) ]f [; '-

l::

-17 II L ~ ~

-17 l

~

vp

'fj)

chv.

*

17 l

\')> ~

~

'-

J:

~

~

J:

J:

J:

J:

J:

J:

&.

1'JO

b)O

:iO

fJYO

/YO

117YO

}wo

111>0

cho

sho

.t Juto

SOUND PATrERNS AND THE WRITING SYSTEM

TABLE 7. THE KATAKANA A.

UNMODIFIED KANA

~

r-;.... 27

·~

ll

,, ·y ·4/ · t J +1 ·+ ,_-t •-:..- ~ ~ ~

~~,

1~

VtL

~n 0

B.

' 7 -

lilt.

9.1.

IIi.

'

u

811

'-t.-

m

tt.

...lit

~w

·~~ ~~

~

J!,

IIIII

KANA WITH DAKUTEN AND HANDAKUTEN

• J \,_ / \ brt

to t: \

b(.

.PYo

~

~

') ......''

..::L

..::1-

.::::1.

..

qyll.

1'}'q

mru

-:/ ~

3

'

;1. .1Cl

a fo

a !IYO

...

-:/ ~ + -y 1' - + ~ :r t: --

') '' t: -

"(

') 3 1'1/0

' .....

'3 1PfJ'O

i.

A 1. ~ ~ ,;L '}F ·t ~•

~

..

.110

dl!

1&u

.t;r ~ r=t=_ rl-~ ) 11l

11

~

~~a nu

-fu

~· ·~ ht

0

C.

m,

IIIII

·~~ ,........

~~~

~

AI~

.so.

t4

*~

he_

~

1~1

m

Ill

.....

·~

n:.

45

SYLLABARY

·~

nt

Unit 6

~

.Jc!

~

hMl.

111'1l

cha.

sin

~Yil

.::::1.

.:::L.

;J..

.;1..

..:::&-

1lrtj

~

siKi

Jc}'C{

I!Ya

\::: :1 hyo

-- 1.3

~0

~ ~

:3

3

3

clio

~

~

46

JAPANESE BY THE TOTAL METHOD

ExAMPLES OF THE UsE OF GENKOYOSHI

LESSON 1

INTRODUCTIONS

PROBLEM :

Simple sentences in Japanese are single independent clauses. Clause structure must be mastered before the student can produce natural sentences.

OBJECTIVE:

(1) To introduce the basic structure of copular clauses in the affirmative, negative, past, and interrogative forms. (2) To call attention to intonation patterns.

SECTION 1.

VOCABULARY

Drill

watashi

I

wa

particle, Subject or Topic marker

Nihoiij1ii

(a) Japanese (person)

-jiii

suffix to indicate nationality 47

48

JAPANESE BY THE TOTAL METHOD

-r:-t

desu

the copul-a

1-··1 '/A

Doitsujin

(a) German (person)

7J1JtJA

Ameriitajin

(an) American (person

%~

- :::: sense

teacher student (pupil)

gakuse

student (usually university) you

ka

particl-e for

kodomo

child

otona

(an) adult

hai

yes (this word hn.s many shades

interrogat~on

of meaning)

-t-5

' so

thus; (just) so

\/)\/);{_

Ie

no

de wa arimasen

neg. form of the copul-a

kore

this (near speaker)

-r:r.t

.:5.!?~-l:tlv

c.n

*n-· -

book Jv -""' /

boru-p en

ballpoint pen

;t!v(J."?

enpitsu

pencil

~lvtllvV."?

manneiihitsu

fountain pen

iJ~J}.

kam1

paper

-t-tL

sore

that

.:5tL

are

that (over there) department store

jid6sha

automobile

gakko

school

yama

mountain

*A small kana appearing above a kanji (or to the right in vertical writing) is called furigana. The student should learn to recognize these kanji but is not required to reproduce them.

Lesson 1 INTRODUCTIONS basu

bus

mo

also (particle: emphatic)

deshita

past form of the copula

.,._

nan

what?

Yamamoto

Yamamoto (personal name)

SU!nisu

Smith (personal name)

Konnichi wa.

Hello! (a greeting used in the daytime)

49

Dialogue

Common Expressions

SECTION 2.

KANJI STUDY

Kan ji (characters) introduced in these lessons are selected from the list of "Kanji in Common Use" (Joyo Kanji), a total of 1,945 characters prescribed by the Japanese Ministry of Education and adopted by law in 1981 as the characters most essential and useful for ordinary communication . (1) In the kanji list of each lesson, numerals attached to the kanji designate the reference numbers used in Today's Japanese Kanji, by Shigeko Imada, Shigeko Inagaki, Masayoshi Hirose, and Noah S . Brannen (Tokyo: Bonjinsha, 1987). In this kanji reference book, the number of strokes for each character are indicated along with a handy guide to the stroke order.

(2) The new character is introduced followed by the context in which it appears in the text. The reading of the kanji in context is given in hiragana, with the part of the word represented by the new kanji underlined. (3) Finally, an entry giving a basic reading of the new kanji is included. At the beginning the student may not find this last entry of any practical purpose, but gradually he will come to appreciate its importance. Practically a ll kanji have t wo basic readings: the Chinese (on) reading, and the native Japanese (kuii) reading. In the kanji list the on reading is given in katakana and the kuii reading is given in hiragana. The student will soon discover that while most kanji have only one kuii reading, they have several on readings, depending on context. Also, because of the assimilati on of sounds, a basic reading is altered in some contexts. For example, gaku (in gakuse student) is altered to gak- (in gakko school); -bon (a classifier for long, cyl indrical objects such as pencils --the same kanji as bon book) has the following readings: 1ppon one (pencil), n1hon two (pencils), and sanbon three (pencils). (See Lesson 5 for help on classifying kanji by radicals.) 1440

E

1721 - * -

50

JAPANESE BY THE TOTAL METHOD

977A

B/-$:A

VCf11vt:1v

://

7t;~

-Jtlv:{f\.n

-e/

7t;~

-Jtlv:{f\.n

-e-1

#~

-!J~

""c ~

d)

Are you an adult?

Lesson 1 INTRODUCTIONS

51

~stion-Answer:

3.

Answer the questions in Dri ll 2 in the affirmative. Q:

~tJ:tz:tl

A:

(a)

B:2$:A t:-til~o

Q:

Are you a Japanese?

-t:"5l:-J-o

A:

(a )

Yes, (that 's ) so.

(b)

Yes, (I ' m) a Japanese.

tl0,

~ ~ desu. ~

tl0 . .

(b)

~ ~ii

desu. \.__

~

Substitution: I am not a student.

~tashi Cues:

wa

~~·\_~

a)

F' 1 '.:1 A

b)

7 J 1J

c) d)

a)

I am not a German.

b)

I am not an American.

CDjJtJ:

(A~

A)

Q:

c. co"JJ-tJ~

A:

(a)

:IJl h.. "( ~ ( ~I ~::) obj ec ti ve (- 1y)

subjective (-ly) ll~89C~I ~::)

~1 h..

t -:J 'l

J~f:*l{ 89 C~I ~:: )

I)~

-5

~ C~ I

~::)

"(~(~I ~::)

actual (-ly) ideal (-ly)

Lesson

SECTION 9. I.

SELF TEST

2 YOU AND ME

(For answers, see Appendix 4.)

Write kanji on tbe line, biragana or katakana in parentheses.

2 . &5 0)

(

~;J:

rrtm

JIG ~ ~;J:

) {5£'bt

4 . ;: 0) "" ~ ~;1:

-c '9

~ ,{..

,b.~'(,{,

5. Smith( II .

0

) V'J:"?~

(

3.

-c '9

&5 0) ~ ~ ~;J:

1.

0

-c '9

-c '9

0

0

White(

)

)

Fill in the blanks. 1. Q: ·t=:

A:

n_m ~ -c LJ:

;f\'711-~h..

2 . Q: t' 0)"-~

A: 3. Q:

0

m ~-e ~t:o

V91F'C'9

0

;:0)"-~

t-?

J'f;~

it -:J _ _ __

~h..

0

0

A: ~;1:~,, - - - - - - 4. Q:

tJ-:>

~~

~,{..

_ _ __

o

A: ~' ~' ;'t, - - - - - - - -

II. Rewite each sentence in negative and past polite forms. ~~ ·t-to

l. -tO))d;l:

Negative Past ~h..it-:JTTo

2. -tO)}d;J: Negative Past 3. b

t: ~ ~;J:

V'iJ':""CTo

Negative Past 4 . ""~ ~;J:

~

n ~' ·c -t tJ\

o

Negative Past Express in Japanese. 1. Mr. Yamamoto is a doctor.

..

L •

Tbe nurse was not skillful.

3. Who is that person? 4. You (Hr. White) were sick, weren't you?

79

LESSON 3

BIG AND SMALL) SHORT AND TALL

PROBLEM :

Adj ective s have a pr edicat ive a s we l l as at tributive f unction in Japanese .

OBJECTIVE:

To i ntroduce the Adjectival Clause : indicative , negative , past , and past negative .

SECTION l .

VOCABULARY

Drill chisai

adj ( is ) small

okii

adj ( is ) bi g 81

82

JAPANESE BY THE TOTAL METHOD

-t>li~ 1

yakamash1i

adj (is) noisy ; boisterow:

J::bl/)

yowai

adj (is) weak

-::JJ:\,/)

tsuyoi

adj (is) strong

trf n~ l \,/)

muzukashii*

adj (is) difficult

;b-:?1,/)

at sui

adj (is) thick

5-t\/)

usui

adj (is) thin (not people)

~.,. ~

\,/)

omoi

adj (is) heavy

n~ ~

\,/)

karui

adj (is) light (in weight)

-:)3:/:l:/

Jonson

Johnson (personal name)

:biJ~\,/)

wakai

adj (is) young (not children)

5 -::J < l \,/)

utsukush1i

adj (is) beautiful

\,/) -1:-iJ ~ l \,/)

isogash1i

adj (is) busy; in a hurry

-?~l\,/)

yasashii*

adj (is) easy

vc<

niku

meat

rWIJ\,/)

takai

adj (is) expensive; high

*I/)

yasui

adj (is) cheap; inexpensive

th iJ~\,/)

akai

adj (is) red

~~\,/)

furui

adj (is) old (not people)

oishii

adj (is) good tasting; de -

~.,.

l \,/)

\,/) l \,/)

licious thtt~L-~

atarash1i

adj (is) new; fresh

V:;l:-?1/)

hayai

adj (is) early

JRJ:i!:

Tokyo

Tokyo (place name)

omoshiroi

adj (is) interesting

;b-:?1,/)

at sui

adj (is) hot (weather)

~fr\,/)

samui

adj (is) cold (weather)

~.,. ~

l-61/)

*unaccented adjectives receive an accent when they occur immediately before desu ; e .g. Muzukash!i desu. It is difficult. In the speech of many young peop' today, unaccented adjectives have acquired an accent not only before desu but in all occurrences.

Lesson J

BIG AND SMALL, SHORT AND TALL

83

mushiatsui

adj (is) sultry; muggy

sa to

Sato (pePsonaZ name)

fk

watakushi

I; me (PoUte)

-rt

demo

but

~.n10

Cues:

2.

-r -:t

t.c~ti

-r

0

00

t.0

d)

i>" ~ \;') i>" ~

LV.

l6 < ;b .!J j

a)

;b-::::>0

b)

c;-uv.

c)

:k~V.

d)

ul2b-:::>v.

*tl

Cues:

12.

b)

a)

**tl Cues:

V. -=til~ LV.

~c; Lil~-:::> f-c_ -r'i'"o

*tt

Cues:

a)

L<

a)

~c;lV.

b)

.il~ 6

c)

i>" ~ \;')

d)

;b-::::>0

-.; c.'

{£:ific;~tt Cues:

-u-rt~~

-lt ~ "C' Lko

2b kJ j -lt ~ "C' l

\;')

=*:~<

t.r. il ~ -: :> t-c. -r --t

0

\;')

a)

,j-,~

b)

V>-=til~

c)

bii~V.

d)

-::>.tV.

LV>

f~o

Lesson 3

BIG AND

SMALL~

87

SHORT AND TALL

English Equivalents This child is small. a) This child is big. b) This child is noisy. c) This child is weak. d) This child is strong.

8. Mr./Mrs . /Miss White was young.

2.

This book is difficult. a) Thi s book is thick. b) This book is thin . c) This book is heavy. d) This book is light.

9.

3.

Mrs./Miss/Mr. Johnson is not young. a) Mrs. Johnson is not beautiful. b) Mrs. Johnson is not busy. c) Mrs. Johnson is not big . d) Mrs. Johnson is not small.

1.

4. That book i s not thick.

5.

a) b) c) d)

That That That That

Q: A:

Is this child small? (a) Yes , ( i t) is small. (b) Yes, the child is small .

6. Q: A:

7-

book book book book

is is is is

not not not not

expensive. not cheap. not red. not old . not good (-tasting). not fresh.

Mr . Mr. Mr . Mr.

White White White White

was was was was

busy. weak. strong. early.

That book was a) That book b) That book c) That book d) That book

easy. was difficult. was thin . was thick. was heavy.

10 .

Tokyo was a) Tokyo b) Tokyo c) Tokyo d) Tokyo

i nte resting. not hot . not cold. not big. not muggy.

11.

That book was a) That book b) That book c) That book d) That book

12.

Mr./Mrs./Miss Sato wap not big . a) Mr . Sato was not small. b) Mr. Sato was not busy . c) Mr . Sato was not young. d) Mr. Sato was not strong.

thin. heavy. difficult . easy.

I s this book difficult? (a) No, (it) is not di fficult. (b) No , that book is not difficult.

This meat is not a) This meat is b) This meat is c) This meat is d) This meat is e) This meat is

a) b) c) d)

not was was was was

not was was was was

difficult. not easy. not light not heavy. not thi ck.

88

JAPANESE BY THE TOTAL METHOD

SECTION 4.

GRAMMAR

3.1. SIMPLE SENTENCES MADE FROM THE ADJECTIVAL CLAUSE BASE. The Adjectival Clause, like the Copular Clause , forms the base for simple sentences in Japanese. In an adjectival clause the predicate slot is filled by the adjective alone. Thus:

Subject

Polite Ending

Predicate

( [Nihongo wa] [muzukash!i] )

desu.

Japanese is difficult.

3.1.1. ADJECTIVES: DEFINITION. Adjectives are inflected f orms typically filling the predicate slot in adjectival clauses and the attributive slot in noun phrases . I n form, adjectives are distinguished from nouns and verbs by the endings (every adject ive must have an inflectional suffix, thus distinguishing adjectives from nouns; and adjective suffixes differ from verb suffixes.) 3 .1.2. ADJECTIVE INFLECTIONS. Not all of the adjective i nflections are presented in this lesson. (For a complete l ist, see Appendix 1.) Lesson 3 introduces the (1) indicative (or "present"), (2) past, and (3) adverbial endings for adjectives: (1)

Adjective Indicative Inflection

Stem

-i

akai

(is) red

kuro-

-i

kuroi

(is) black

muzukashi-

-i

muzukashii

(is) difficult

samu-

-i

samui

(is) cold

The stem of an adjective always ends in a vowel, but never the

Adjective Past Inflection

Stem

(3)

Indicative Form

aka-

Note : vowel e . (2)

Infl-ection

Inflection

Past Form

aka-

-katta

ak..ikatta

(was) red

kuro-

-katta

kurokatta

(was) black

muzukashi-

-katta

muzukashikatta

(was) difficult

samu-

-katta

samukatta

(was) cold

Adverbial Inflection. The use of the adverbial inflection in negative adje~tive constructions only is presented here. There are other uses of this adverbial form.

Inflection

Adverbial with Neg.

aka-

-ku

akaku nai

isn't red

kuro-

-ku

kuroku nai

isn't black

muzukashi-

-ku

muzukashiku nai

isn't difficult

samu-

-ku

samuku nai

isn't cold

Stem

Lesson 3

89

BIG AND SMALL 1 SHORT AND TALL

3.1.3. ADJECTIVAL CLAUSES. Adjectival clauses are very much like copular clauses, except the predicate slot is filled by adjectives (instead of NOUN + COPULA, in copular clauses ) . ( 1)

ADJECTIVE CLAUSE: BASIC PATTERN 2

Subject

Predicate

I muzukashii I I muzukash!i I I [Nihoiigo wa] [ muzukashii] I I [Nihoiigo wa] [ muzukash!i] I

Po Ute Ending (It) is difficult.

desu .

(It) is difficult.

Japanese i s difficult . desu .

Japanese i s difficult.

Each of the four forms presented in Basic Pattern 2 is a complete adjectival clause, and hence a complete simple sentence. (2) Decorative desu. The copula desu, or some inflected form of the copula , is obligatory to t he predicate of copular clauses, but it is optional in adjec tival clauses, as the pattern above shows. Therefore, the final polite desu in adjectival clauses is not treated as part of the predicate, but only as a polite ending to the sentence. We have given it the name "decorative desu" to indicate its peripheral status. If the decorative desu i s dropped from an adject ival clause the result is a sentence with exactly the same meaning. But there is a differ ence--a difference in style (if we are talking about writing ) , or politeness ( if we are talking about speech). 3.1.4. DUAL ROLE OF THE ADJECTIVE. The term "adjective" may sound like a misnomer, since we are not accustomed to the use of the adjective as a predicate in English. If we think of is difficult as one word, we have something like the adjective predicate of Japanese adjectival clauses. For this r eason, we have given the gloss for adjectives in the predicate form: (is) difficult . 3 .1.5. ADJECTIVE ACCENT CHANGES. If the indicative form ( "present tense " ) , the form which is listed in a dictionary, has an accent, the adverbial form also is accented, but it characteristically shifts one syllable to the left. If the indicat ive is not accented, the adverbial is not accented. Plain Past is accented, but follows a s i milar pattern:

(1) Accented Indicative

(2)

Adverbial

Past

ok1i

(is) big

chis a!

(is) small

, okiku , chisaku

, okikatta , chisakatta

omoshiroi

(is) interesting

omosh1roku

omoshirokatta

atarasht.i

(is) new

atarashiku

atarashikatta

atsui

(is) hot

atsuku

atsukatta

Adverbial

Past

Unaccented

Indiaative at sui

(is) thick

ats uku

atsUkatta

muzukashii

(is) difficult

muzukashiku

muzukashikatta

usui

(is ) thin

usuku

usUkatta

90

JAPANESE BY THE TOTAL METHOD

omoi

(is) heavy

omoku

omokatta

karui

(is) light

karuku

karukatta

3.1.6 . (1)

ADJECTIVAL CLAUSE PATI'ERNS.

Basic Pattern:

Subject Plain: Plain:

( [Nihofigo wa]

Predicate I muzukashii I

(It) is difficult.

[ muzukashii] I

Japanese is difficult

I muzukashl.il desu

Polite: Polite: I [Nihofigo wa] (2)

Indicative ("Present Tense")

[ muzukashH] I

desu.

(It) is difficult. Japanese is difficult.

Negative

Subject

Predicate (muzukashiku

)

Plain:

I (muzukashiku wa) nail

Plain:

(muzukashiku ) I [Nihoiigo wa] [ (muzukashiku wa) nail

(It) isn't difficult Japanese isn't difficult.

*Polite: I [Nihofigo wa]

(muzukashiku ) Japanese isn't dif[ (muzukashiku wa) nai]) desu. ficult.

Polite: I [Nihoiigo wa]

(muzukashiku ) Japanese isn't dif[ (muzukashiku wa) arimasefi]l ficult.

( 3)

Past

Subject

Predicate

I muzukashikattal

Plain:

I [Nihofigo wa] [muzukashikatta]l Polite: I [Nihofigo wa] [muzukashikatta]ldesu.

Plain:

(It) was difficult. Japanese was difficult. Japanese was difficult.

(4) Negative Past Subject

Predicate (muzukashiku

)

Plain:

I (muzukashiku wa) nakattal

Plain:

) I [Nihoiigo wa] [ (muzukashiku (muzukashiku wa) nakattal

*Polite: I [Nihoiigo wa]

(It) wasn't difficult. Japanese wasn't difficult.

(muzukashiku ) [ (muzukashiku wa) nakattal I desu.

Japanese wasn't difficult.

) Japanese wasn't Polite: I [Nihofigo wa] [ (muzukashiku (muzukashiku wa) arimaseii deshita]) difficult.

3.2. ACCENT SHIFT. It was noted (see fn. p. 82) that unaccented adjectives, such as muzukashii (is) difficult, take on an accent when followed by the bas-

*This form is not commonly used in standard Japanese.

Lesson J

BIG AND SMALL1 SHORT AND TALL

91

i cally unaccented desu : Thus, muzukashii + desu ~ muzukashii desu. The copula desu is basically unaccented (or atonic), but it may affect or itself be affected by the accent of a preceding word. Thus, Tanaka is unaccented, but in the sent ence Tanaka desu. I'm Tanaka. desu acquires an accent. When an unaccented adj ective (in the indicative) is followed by the polite desu, the reverse occurs , i .e., the adjective acquires an accent. The placement of accent (or tone-accent, as explained in "Sound Patterns") on vords in sequence, i.e., when speaking a complete phrase or sentence, does not always follow the pattern observed in pronouncing each of the words i n isolation. ?or example, ano thai has no innate accent, but in the phrase ano hito that person it receives the accent. Likewise, hito person itself is accented in some contexts and unaccented in others. I t is wise for the student to l earn the accent of a word as it appears in the 70cabulary lists and then note carefully how accents are dropped or acquired in the sentences given in the drills of each lesson. Sentence intonation affects ~rd accent, especially toward the end of a sentence. 3 .3. SENTENCE CONNECTIVES. All languages appear to have ways to connect inde?endent sentences so that the speaker can indicate what type of relationship he ~t ends to be understood between the sentences which he utters. The sentences :bich appear in the Reading section of Lesson 3 illustrate some of the principal sentence connectives in Japanese.

contrastive wa. The first two sentences of the Reading are Kono kodomo wa Amerikajifi desu. Ano kodomo wa Nihofijifi desu. This ~i ld is an American, (but) that child is a Japanese. There is no connective etween the two independent sentences. However, the subjects of both sentences are marked with wa. Up to this point we have identified wa as simply a particle marking the subject element of a clause. In these two sentences, i.e., when two ~lar sentences are juxtaposed as the two first sentences of the Reading, and ~ subjects are marked with the particle wa, it is understood that the subject ! one sentence is being contrasted with the subject of the other. We could show ~s contrast in English by underlining or italics. Thus: This child is an AmerThat child is a Japanese. The contrastive use of wa serves the same func(1)

No connective:

~t ion

2) Disjunctive: demo. The third and fourth sentences of the Reading i l lus:ate the same use of contrastive wa as sentences one and two, but in addition ~ey are further marked with the sentence connective demo but to heighten the ~trast between them: Kono kodomo wa Okii desu. Demo, ano kodomo wa chisai desu. ~ child is big. But that child is smaZZ.

Conjunctive: soshite. If the speaker wishes to add another sentence to t he has said, and wants to specify that what he is adding does not contrast ~h his former sentence, but that it is an addition to it, he may connect the sentences with the sentence connector soshite and or and then. Thus: Tokyo wa desu. Soshite, mushiatsui desu. Tokyo's big. And it 's muggy. It will be ted that the subject is deleted from the second sentence. ) ~ansitionaZ: tokorode. Sometimes the speaker may want to indicate that ere is no connection between what he is about to say and what he (or the other ~eaker) has just said. In this situation, he may introduce a new subject with phrase tokorode by the way or any of a number of other transitionals. Thus _ the dialogue of Lesson 2 the expression tokorode was used to change the subj ect: .korode, ano kata wa donata desu ka? By the way, who is that (person )?

92

JAPANESE BY THE TOTAL METHOD

SECTION 5. ~=~

Jt 7 1 ~ ~ lv -c--j"t.J.o

§i :

*'J -1

DIALOGUE

{tc•-c--r

0

c 5~

tl l:.Vxi L- "L o

1'- :

L. "G t? L. .:to

;{_ ;{_ ..

L.lvlfC "Gtlo J: 0 L- ~tL.-0\1")-c--j"-!J>o ;{_ ;{_ .. j:,~ t L- 0 \;'") -c--t -c- t ~ 1J" "? t-c -c--t .:t 5 -c-1"-!J•o \;'") ( t? -c- Gf-c-!J>o =f p::j -c- L- t-c ~L.0-c-,

{tc§~lv,

0

1tL *'J-1

1tL

§j :

0

~1J>-:>7't-c--j-t.J. o

1'- :

(_([) *ti

~=

Bato:

0

aFr:J-c-L-tto

.:t:h tt

$: 1J" -? t-c -c--r t.J. 0

;{_;{_ 0

-c- t

j:,-.

t L- 0 <

Howaito-san desu ne.

Konnichi wa.

Hajimemashite.

Sato desu .

Howaito:

Hajimemashite.

SatO:

Kochira koso. ..:.

D6 zo yoroshiku. Howaito-san wa Amerikajin desu ka?

.. so desu .

Howaito:

E,

HO!JJcd to:

Tokorode, Sato-san, sono hon wa omoshiroi desu ka?

sato:

E, omoshiroi desu .

Howaito:

s5

sCztO:

Sen-en des hi ta.

Howaito:

Takakatta desu ne .

sato:

Kono hon wa hyaku-en deshita .

Howaito:

Sore wa yasukatta desu ne .

sato:

E.

* ~

t!.

~

desu ka?

..

Demo

* ,

* ;

Demo takakatta desu.

rkura deshita ka?

~

omosh~roku

*

,._

arimasen.

*

Watakushi wa

Lesson 3

BIG AND SMALL, SHORT AND TALL

English Equival ents

White:

You' re Mr. White, aren ' t you? I'm pleased to meet you (Zit. ~ being the first time). I ' m Sato. How do you do? I ' m pl eased to meet you. The pleasure is mine (Zit .~ I indeed . . . ). Mr . White, are you an American? Yes, that ' s right.

White :

By

Sato :

Whi te: Sato:

Sa to:

Whi te: Sa to:

White : Sato:

White : Sato:

*

*

*

*

*

the way, Mr. Sato, is that book interesting? Yes , it ' s interesting. But (it) was expensive. I s that so? How much was it? It was one thousand yen. (That) was e xpensive, wasn ' t it. This book was a hundred yen. That was cheap, wasn't it . Yes. But it isn ' t interesting.

93

94

JAPANESE BY THE TOTAL METHOD

SECTION 6.

READING 5

~~~~a,~ (!) d) 0) 0) OJ 0) ">

"'>

"-

\._..

..,

-::..

.......

\._..

>

'-

"'>

........

t'' t ' ~-· c.·· e:·· t' tJt>~:t:Jt> /)

"'). -}( hjJ) -t '-t ~~- < ·~

-r.

i: :{ ~

-r

~l

~ 1)

~

-tt lv (

Lesson 3 BIG AND SMALLl SHORT AND TALL SECTION 7.

EXERCISES

FiZZ in the bZanks: 1.

c:. (/) 2f:>:Vi

2.

JI~Jr(Vi

3.

Ev

4.

~V"J]Vi

5.

.A~.A~/vVi

trf~~

l

~-:::J _

*

<

~ .!J

0

'£ ~lvo

f,§J0 l/v~-:::J

0-i-~~

0

:tl -t' ~ l-0 -r: -t" o 9.

£%press in Japanese: {! .

This paper is not new.

\2 .

That person was not kind.

3.

That meat was cheap. This department store is old.

5-

It was cold in Tokyo (or Tokyo was cold).

6.

That person is strong.

~

accent marks to aZZ the above.

(Negative ) (Past) (Negative ) (Negative) (Negative Past)

95

96

JAPANESE BY THE TOTAL METHOD

SECTION 8.

VOCABULARY ENRICHMENT

Say Tnat Again (Useful Expressions from Unit 2, pp.21-22) 9h-£1t~;f.ri ,

1J £ 9 t/l o

it.> 1J £ 9

A- :!Ji

Close (your) book (s), please.

0

G --:> ~ ~ :!Ji ~

Repeat, please. Open (your) book(s) , please.

0

< t=.• tt ~\ ~ ":? l < ~=_· tt ~\

G --:>

< I)

slowly .

t 15 l

fnJ :/Jl

more. Excuse me, but please say (it) more

0

~

":?

Excuse me, but please say (it) once

~,-e::,c:·



*,. ~

~-5

Do you have any questions? I have a question.

o

Adjective Pairs Department stores are expensive .

~2

.6...=..!S..=S...= ..X .. .....f::Jt..........

i..Y..~.I-..:t.

~.l:!.P..~J.!!!.~I.k.~.J.§.....~I.!L..!1..b..~.iU1.,

......................................

Q......... ............................... .............

--L..o

;:: 0)

~ ~' 1." 9

JlH;t

This mountain is high .

o

~..

l:ltJ'

~;t

~' -r·9

I.k\.:c:.~.

-t....Jit..........

~tn.t.~.:L..J.~.....~..O.J.!L........... ......................................................

a ........................................................................................................................

o

Hot water is hot. (Cold) water is cold .

Lesson 3

SECTION 9. I.

SELF TEST

BIG AND

SMALL~

SHORT AND TALL

97

(For answers, see Appendix 4.)

Write kanji with okurigana on the line, hiragana or katakana in paren t hese s . Note: Be sure to write the okurigana also. r tt l-' J (okurigana) -c· 9 ( t) l-' ~ l-' )

~i Jj\

Example: ;:: (]) basu ( J\ :A )

1.

:t: (J) depato (

2 • Q: t (])

(

*)

A: l-' l-' ;it , Q:

l-\



( f= i;\ jj\ -:> f= )

f= )

-c· 9

-c· 9 i;\

o

o

0

\;>

kawaii

adj (is) cute

fr.

oiin!

woman; female

fr,([)~

oiina no ko

(a) girl

~

ko

child

t~j ;{_

namae

name

Arisu

Alice (name, fern . )

otoko

man; male

7 J. 1) tJ

c:p~

F' 1

'Y

Lesson 4

101

MINE AND THINE

otoko no ko

(a) boy

Tomu

Tom

otoko no hito

(a) man

yasashii

adj (is) gentle; sweet

oiina no hito

(a) woman

Iteredomo

however; but

(name~

masa.)

Dialogue

Reading

~..

(one ' s own) wi fe

...

c ±A ±A

go-shujiii

(another' s) husband

shuj ifi

(one ' s own ) husband

tr:t-66

musume...

(one ' s own ) daughter

trt t.

musuko

(one ' s own ) son

Ll.JEB

Yamada

Yamada (personal name)

l,..\1>

Common Expressions

...

DOmo arfgato .

SECTION 2. 1352

Thank you very much.

KANJI STUDY

ta EB9J

f--c5cc;~

e)

l,;)i5cc;~

F'1 'YAV* 5t~V:t

no .

:j;;,.~tJ:

L- ~-it-:? l:' -:r0

i>""c L.

Lesson 4 MINE AND THINE

t."""t lo( ;b ;b, SUmisu:

tL ~ lti i>"" "t lo < ~~ ~60 ,

9.

-tv.

tl , tbV,

-c:~it.

~VE.

A. tb !J 1-t:tlv, L"tl

,J . . ~\(). 7ff£. "'"'--?, tl

Express in Japanese: 11.

This big person is a German.

12.

Which one i s yours?

13.

The English book was not interesting.

14.

The man (over there) is not Tom' s younger brother.

15.

The sweet girl is sick .

Add accent marks to

a~~

the above.

Lesson

SECTION 8.

4 MINE AND THINE

113

VOCABULARY ENRICHMENT

Let's Begin (Useful Expressions from Unit 3, pp.27-28 ) Are you ready (to begin)? Well then, we're going to begin. Say/ Repeat together, please . Say/ Repeat it by yourself. That 's all/ We end with this.



TA

~--~

(This is your) hoaework.

o

t:• L, l

"' "? f"' ~ t-c )

okiru

"' lJ

.A.

I(arisu

Harris (personaZ name)

~ Q)

5

kino 0

yesterday

*~ ( *tJ: ~ ; *f .!J 1

t L. 6 0"{" -r

tB 7J~VJ 1

Q:

Cues:

10 .

i>-.t L-6 (

1~1v7J~o

tf> .!J

~ /v l."

L- f-co

tB 7J~VJ 1 L- f~o

<

J\ ') A JIG~ ~;J:

tJi "?

Cues:

a)

wlitG

b)

JfL"R

c)

9 'b

;:

9

~::

-*.£ 1..- ~'/J'l.o

Lesson 5

WORK AND PLAY

123

Engl ish Equivalents 1.

A/the a) A b) A c) A

2.

Q: A:

Is Mr./Mrs . /Miss Clark going tomorrow (or Will Mr. Clark go tomorrow )? Yes, he/she is (going).

a) b) c) d)

Is Is Is Is

3.

dog dog dog dog

Mr. Mr. Mr. Mr.

This bus a) This b) This c) This

barks. /Dogs bark. walks . runs. J,::lays.

Clark Clark Clark Clark

working/going to work tomorrow? resting tomorrow? leaving (or going somewhere) tomorrow? returning (home) tomorrow?

will not run (lit., will not move). bus will/does not go. bus will/does not stop (there). car will not (or cannot) repair/be repaired.

4. Mr. /Mrs . /Miss Clark is not going (or will not go) tomorrow. a) b) c) d)

5.

Mr. Mr. Mr. Mr.

Clark Clark Clark Clark

is is is is

not not not not

working tomorrow. resting tomorrow. leaving (or going anywhere) tomorrow. returning (home) tomorrow.

That child stood up. a) That child sat down. b) That child slept/went to bed. c) That child woke/got up.

6. Mr./Mrs . /Miss Harris didn't come yesterday. a) b) c) d)

Mr. Mr. Mr . Mr.

Harris Harris Harris Harris

didn't didn't didn't didn't

go yesterday. rest yesterday. leave (or go anywhere) yesterday. return (home) yesterday.

7.

I am tired (or I became tired). a) I am surprised. b) I am perplexed. c) I am f'at. d) I am thin.

8.

Q: A:

Isn't this book interesting (Zit. , As f'or this book, is Cit] not interesting)? (a) No, it isn't interesting (Zit., Yes [what you said is trueJ, it isn't interesting). (b) Yes, it's interesting (lit., No Cwhat you said is not trueJ, it is interesting).

a) b) c) d)

Isn't Isn't Isn't Isn't

this this this this

book book book book

dif'f'icult? expensive? old? new?

124

9.

JAPANESE BY THE TarAL METHOD Didn 't Mr. /Mrs. /Miss Nakamura l eave? (a) No, he didn't (Zit., Yes [what you said is trueJ, he didn't leave ). (b) Yes, he left (Zit., No [what you said is not true], he did leave). a) Wasn 1 t Mr . Nakamura surprised? b) Didn 1 t Mr. Nakamura work? c) Didn't Mr. Nakamura come? Did Dr./Professor Harris come to school? a) Did Dr. Harris go to the hospital? b) Did Dr. Harris leave for Tokyo? c) Did Dr. Harris go (return) home? Q:

A:

10 .

SECTION 4.

GRAMMAR

5 .1. SIMPLE SENTENCES MADE FROM THE VERBAL CLAUSE BASE. A third base for simple sentences in Japanese is a verbal clause, transitive or intransitive. Lesson 5 introduces the pattern of intransitive verbal clauses. As with the copular and adjectival clauses, the essential element in verbal clauses is the predicate. The verbal clause predicate may be a single verb form or a verb phrase.

5. 1.1. (1)

INTRANSITIVE VERBAL CLAUSE:

Basic Pattern:

Indicative ( "Present Tense")

Subject (wa)] I [inu (ga) (2)

Predicate I nakimB.s u I [nakimasu] I

(He) barks.

lnakimasenl

(He) doesn't bark.

[nakimasen] I

(The) dog doesn't bark.

( nakimashi ta I

(He) barked.

[nakimashita] I

(The) dog barked.

(The) dog barks.

Negative

I [inu wa] (3)

BASIC PATTERN 3

Past

1 [inu

~;:~ 1

(4) Negative Past ( nakimasen deshital

I [inu wa]

[nakimaseii deshita] I

(He) didn't bark. (The) dog didn't bark .

5.1.2. VERBS. Like the copula* and adjective, the verb is inflected in Japanese. The basic construction is Stem ana Ending, with the ending carrying a wide range of meaning, including past, future, conditional, provisional, negative, etc. (see Appendix). (1) The Polite -masu form of the Verb. In this lesson four forms of the verb are treated: polite present (or non-past, since this form is also used for future or habitual action), polite negative, polite past, and polite negative- past . Plain forms of verbs are listed in the vocabulary, primarily for the purpose of showing accents. With the polite -masu ending, all verbs are accented alike, but

*cr. Lesson 1, 1.1.5, p. 56, footnote.

Lesson 5 WORK AND PLAY

125

some verbs have an innate accent while others are unaccented. If a verb has an accent, then the plain negative and plain past forms are also accented (see the vocabulary list of this and subse~uent lessons). COMPARISON OF PLAIN AND POLITE FORM OF VERBS

Pl-ain

Polite

Present:

naku

nakimasu

(He) barks.

Negative:

nakanai

nakimasen

(He) doesn't bark.

Past:

naita

nakimashita

(He) barked.

Negative Past:

nakanakatta

nakimasen deshita

(He) didn't bark.

The polite form of the verb is characterized by the inclusion of the polite DERIVATIVE SUFFIX -mas-. The indicative ("present") suffix is -u, and the past suffix is -ta (the same as for the copula). Verb inflections will be dealt with in detail in subse~uent lessons. At this point the student should remember only the polite forms for indicative, negative, past, and negative-past, and the rules for forming these from the dictionary listing of verbs. (2)

Verb Inflections 1JJith Polite -masu fo:rm of the Verb Dictionary

Stem

Formxnt

C-Verb:

naku barks

nak-

-i-

V-Verb:

neru sleeps

ne-

Indicative

Negative

nakimasu

nakimasen ,._ nemasen

"" nemasu

Past nakimashita nemashita

(3) Detemining Consonant Verbs (C-Verbs) and Vowel Ve!'bs (V-Ve!'bs). The tem "C-Verb" means that the verb stem ends in a consonant, and "V-Verb" means that the verb stem ends in a vowel. Thus, if the stem ends in a consonant (e . g., nakbarks) the vowel formant -i- must be added before suffixing the polite ending: nakimasu (he) barks. If the stem ends in a vowel (e.g., ne- sleeps), the ending is added immediately to the stem: nemasu (he) s~eeps. On the other hand, Vowel Verbs take a consonant formant -r- in the plain indicative; e.g., ne- + -r- + -u ~ neru. Vowel Verbs and Consonant Verbs are easily discovered in the vocabulary list of these lessons by checking the· plain negative form. If the plain negative end& in -anai it is a Consonant Verb; if the plain negative does not end in -anai it is a Vowel Verb. In the Vocabulary Index (Appendix 3), C-Verbs and V- Verbs are distinguished with a period between the stem and ending; thus, nak.u, a Consonant Verb because the stem ends in a consonant, and ne.ru, a Vowel Verb because the stem ends in a vowel.

Plain Negative hashiranai doe13n't run hatarakanai doesn't work

Consonant Verb hashirimaseii hatarakimaseii

(hataraku)

asobanai

doesn't play

asobimaseii

(asobu)

tatanai

doesn't stand

tachimaseii

nenai

doesn't sleep

nemaseii

(neru)

ok1nai

doesn't wake

okimaseii

(ok1ru)

dekakenai

doesn't go out

dekakemaseii

(dekakeru)

VoweZ Verb

(Plain Indicative) (hashiru)

(tatsu)

The ordinary dictionary, however, doesn't list verbs in this convenient manner. It will be necessary for the student to recognize other means of distinguishing between the two classes of verbs, because proper conjugation of the verb is contingent upon this distinction. The following guide may be of some help:

126

JAPANESE BY THE TOTAL METHOD HOW TO DISTINGUISH CONSONANT AND VOWEL VERBS

If the "dictionary" form does not end in -ru it is a C-Verb . I f the "dictionary" form ends in -ru look at the preceding vowel: a) b) c) d) e)

Verbs Verbs Verbs Verbs Verbs

ending ending ending ending ending

in -oru are C-Verbs. in -aru are C-Verbs.

in -uru are C-Verbs. in -iru are V-Verbs--except hash1ru runs and a few others. in -eru are V-Verbs--except kaeru returns and a few others.

( 4) Irregulazo Verbs . Fortunately, Japanese has very few irregular verbs (that is, there are very few verbs which cannot be classed either as C-Verb or V- Verb). Essentially, the irregular. verbs are three :

IRREGULAR VERBS

PZain Indicative

PZain Negative

PZain Past

PoZite

suru

does

shinai

shita

shimasu

kuru

comes

kenai

uta

kimasu

iku

goes

ikanai

itta

ikimasu

A class of Honorific verbs ending in -aru is like C-Verbs except in the polite -masu and imperative inflections: HONORIFIC VERBS

PZain Indicative

PZain Negative

kudasaru

gives

kudasaranai

kudasai

kudasaimasu

irassharu

comes

irassharanai

irasshai

irassha!masu

Imperative

PoZite

5.1.3. SUBJECT- MARKER PARTICLES wa AND ga . Up to this point the student has been led to believe that the subject of a sentence is always marked with the particle wa which occurs immediately after the noun, or the head noun in a noun phrase. In Lesson 5, sentences in which the subject element is marked with ga appear (see the Reading). I t will be noted, in BASIC PATTERN 3 (see 5.1.1.) , that the particle marking the subject of an indicative or past intransitive verbal clause may be either wa or ga. However, the particle is wa in a negative clause . The choice of wa or ga i sn't entirely optional, as these diagrams may lead the student to believe. As was explained in Lesson 3 (see 3. 3.), the subjects of contrastive cl auses (or sentences) are marked with wa. But a subject may be marked with ga to focus;or emphasize it; e.g., Ano kata wa sens~ desu. He is a teacher. Ano kata ga sense desu. He is a teacher. This last sentence could be the answer to the question: Dono kata ga sens~ desu ka? Who is a/the teacher? When there is an interrogative word such as dono, dare, dore in the subject slot it is always marked with the particle ga, and the subject slot of the answer is always marked with ga as well. RULE OF THUMB FOR wa AND ga wa marks a new topic which is brought up for comment, but the presupposition is that the topi c is "shared information." wa contrasts the subjects of two sentences in sequence. wa marks the subject of a negative sentence (usually, but there are exceptions when ga is used).

Lesson 5

WORK AND PLAY

127

wa is used to bring a parti cular slot (like Object, Time, etc. ) into focus; in this usage, wa replaces o or ga, but it does not replace other particles such as ni, but is added to the particle marker for the slot; e. g ., soko ni wa as foP thePe. ga r eplaces wa to emphasize the subject of a copular clause . ga marks the subject if there is a " question word" (such as dare ) in the subject slot, and ga is also used to mark the subject of the answer. ga marks the subject of an embedded clause. 5 .2. NEGATIVE QUESTIONS . Ask a negative question and you get a negative answer. At least this is the way it strikes the native speaker of English when he comes up against negative questions in Japanese . But there is a l ogic at work, as we have tried to explain in the English equivalents to the drills . To the question: Kono hon wa omosh!roku arimasen ka? Is this book not intePesting? the answer Hai . Yes. would imply that one agreed with what was said; i.e., that he thought the book uninteresting. To indicate that one did, in fact, fi nd the book interesting, he feels he first has to negate the statement which was put in the negative. The result: Ie, omoshiroi desu. No, it is interesting. 5 . 3. I NTRANSITIVE VERBS. Verbs introduced in Lesson 5 are intransitive , which means that these verbs do not take an object . Transitive ve rbs (verbs which may take an object) a r e introduced i n Lesson 6 .

The first four lessons concentra t e on two basic sentence patterns in Japanese; i. e ., Copular sentences and Adj ectival sentences. Basic elements of these two types are Subject and Predicate , the contrast between them bei ng shown in the Predicate slot. Verbal sentences (the third, and last , basic sentence type) are those sentences where the predicate slot is filled by a ver b . THREE BASI C SENTENCES

Copular Sentence Adjectival Sentence VePbal Sentence

I I I

Noun+ wa

I

Noun + wa

I

Noun+ wa

I

I Noun + desu ) I Adjective) I Verb)

5 .3.1. THE DIRECTION ELEMENT (see also 12.1). Verbal sentences are e xpanded by the addition of a variety of elements (slots) , eac~ accompani ed by its distinctive marker particle. In this lesson, the Direction element and its marker, ni, are introduced in Drill 10.

V.;Pbal Sentence with DiPection

I

Noun + wa)

I

ni ) gakko ni

Noun +

I Verb ) klinashita.

~isu-sense wa Professor Harris came t o school.

128

JAPANESE BY THE TOTAL METHOD

SECTION 5.

?7-?: L.U

*:

DIALOGUE

w*~~'

c~~~tl o

c~~~tl,

f/7-f/~~0

? 7-? :

tl~,

i>--tJ~v-r~ 1-c o

2f5::

;{_;{_,

bkl-~ o

1-U

? 7-? : L.U

*:

IJ 7-? : 1-U

2f5: :

W*~~,

~ntl

tb.!?1-lt~tJ~o

w*~ ~tl?

-j'-.7)..1-l:t~iVi,

}j[iOi i!J ~ 1-lt~ o

rn.!?1L-k~o

X..X..o .:r. :/ .:./ :/iVi

b.:b ~"""Ci'"iV~o

?7-?:

ft.!;~

~?l:i'" o

UJ

tb tb,

btJ~ J? 1 L-k o

*:

i>--tJ~bJ?

i'"

~)

t•' '\

(::''

--( b

-cp tt~ ;t1

"@

'}v

t~

"' L:J~ '~

'f ~ ~

tj

;fi

~---='

lv '-- ;:()) ~J: lv it

~~ ~

'AfPG ~ til t~ L..

-t~ o-tt lv 0

\

L

0

Lesson 5 WORK AND PLAY SECTION 7.

131

EXERCISES

Change the foUowing sentenaes to the forrn indiaated in parentheses: 1.

bit lti thlit

2.

3'7 - 3'c;lvr.t

3.

~AV;i

4.

t_O)

5.

bf "/Jl :b IJ t;J:

;:

? -r· 9

How does it taste? o

Very good!

._' "/)\ tJi-c" 9 "/Jl o

Would you like some more rice? No , thank you .

A: Z:""t-f?tt£o B: !> -f £ -:::>

tt

Thank you (li t . It was a feast) .

£ 1" ;::· ~· '-' £ L, t:. o

No,no ( lit. It wa s rough fare)!

v' v' L" t ~\? v\v\~'t~\0

-r· t;t , t;J:t;dJ£9o

Are you ready? Well, we will begin.

····················-·-···-···-··-·-····--·········-···--·····-----·-----·---....·-········---··················---·······--·-···-·········-··-······-·--·-·-·-····---···········-··--·--·····----······-

't-5

v'v'~· t~\0

Are you all right now?

.............................................................................................................................................................................................................................--.-········-··...............................................................

Do you want sugar? No , thank you .

_

__ ......._____

........................................_.,,..........................................................- ............,_.................................................................... ........... TA.

~

A: :S }( ~ tJi

B: ;'t;'t ,

V\ V\ ~·

t

V\V\~'t:tJo

;fJ

o

,

,,~.--

.........................___________,

Nice weather, isn ' t it? Yes, it is, isn ' t it ?

.............................................................................................................................................................................................................................................................................................................

Is tomorrow convenient for you? Yes, it ' s O. K.

Lesson 5 WORK AND PLAY SECTION 9.

Lessons 1-5

(For answers see Appendix 4) j!l $ ;1: j;) < lJ iJ:\ ~ ( v 6 tJl ~ /fJ 5' 1J -f .1 V6#~.~~~~

SUMMARY TEST.

~~t.~(ry#~ .

I.

1.

"Tb:-:'!:77""::~("L-'

Q)

't lt' ~ lt'

-=::'"""£::c"'"' ;;FJ,_,£,. . . c-.:r:r-::

3.

Q:

{>

*tf 6

A: lt' lt' ;'t.

4.

II.

lt' &Q ~;J:

"(} J: -j ~

·e 9

o

0

·c 9

Store~~~

2. Convenience

133

~ ~ (J) ~

~~lt'

T

n lt, ~ 9

o

~

lt'

T- t " 't ~;J:

5. ;::

(J)

* ~;J:

L- t:. l'' iJl ~t £ 9 o ( Neg . ) fJT L- lt' '"('· 9 o (Neg.) _ _ _ _ _ _ _ _ _ _ _ _ _ _ __

~;J:

{> iJl

£ L- iJl "? t:. l'' 9 o (Neg.) - - - - - - - - - - - - - -

b t:. L- (J) ·e 9 o (Neg . ) -------'-'--------'------ --

III. Supply appropriate particles. 1. Ll.J EE ~ ~ 2.

;::

Q)

;\ /

fJT L- lt,_]!!_i!IJ ~ £ tt ~ o ~ lt'

n _ v t:. L-_ 4. ~ ~ t:._ '*' t1' ~ 3. :::

IV. l.

2. 3.

4. 5.

Mark "X" where not needed .

L-

<

*-'"'

;!;)

ry

*it~

~ Y _i!5

~ "(' 9 iJl

ry

0

*tt ~

0

i!5 :tJ

0

Make your own sentence using the verb given.

T

9

o

134

JAPANESE BY THE 'IOTAL METHOD

V. Fill in the blanks in the chart. Dictionary Fon ~

tL\-'

tL\-' l'T

Past Polite Fon

Negative Polite Fon

Polite Fon ~

Do not use kanji.

~

tL \-' 1:' ~;t N>

t)

*it A.

~

tL\-' -r l t::

ili tJ~ ~t .Q t::"'J t.ii ~

;V) "? \-'

7\..~\-'

t;t l .Q ~fli ~.!::.Q

111 < t.l.Q

VI.

Express in Japanese .

1. Is Tom your younger brother? - - - - - - - - - - - - - - - - - - - -

2. Was that French book difficult?

-------------------

3. I'm going to Tokyo tomorrow. 4. My new ball-point pen is no good. 5. My father is going to return to A•erica to1orrow .

LESSON 6

BUYING AND EATING PROBLEM:

OBJECTIVE:

As in English, the distinction between transitive and intransitive verbs is not indicated in t he " shape" of the word, but in the larger context of clause--i.e., transitive verbs "take an object." (1) To introduce the Transitive Verbal Clause. (2) To present the Topic and Subject slots in transitive verbal

clauses .

SECT I ON 1 .

VOCABULARY

Dri ll ~

~

Pi? ( Pi :b tJ: ~

75~5

;

vt buys

( tJ~:btJ: ~ . tJ~? k

Pi ? k )

%6 C% GtJ: ~ ; % -:::> k )

particle, Object marker

'

)

56

vt sells

C 5 GtJ: ~

;

5

-:::>

k )

W'Etr ?tr ( wt ~ t,£ ~ ; W'tlvtc ) ( J: "?tJ:~ . ? lvtc)

., : vt reads

'

Yt6 ( .~JJ: ~ ; Ytt~)

~6 ( Jr.tJ:~ ; Jj..fz:)

ctllv

2r.tlv

(cooked) rice; a meal

1lz""6

t~ -;::z6

vt eats

~

( *""tJ:~ ; *""k)

(

vt sees; looks at

~

~z:-:::ztJ: ~ . '

c ~~)~vt

k""k )

sake (Japanese rice wine) (or alcoholic drinks in general)

vt drinks J

1::•- Jv

beer bread cake (Japanese) tea coffee 135

136

JAPANESE BY THE TOTAL METHOD

l_i;!Jj.

-c iJ!Jj.

letter (epistle )

tJ~<

~<

vt writes; draws; paints

;{_

~

(a) picture (drawing ; painting)

;{_ 1./)i;i

~!./) i;i; ;{_ !./) i;i

movie

Yc(J_)-T

Yc"i>') t~ !./) Vil.:-&>'Jtc..)

Vi 1.:- &>') ;:, ( Vi 1.:- &>') t~ !./) Vi 1.:-&>'J tc.. )

vt begins

(

tJ~tJ~t~ !./) • tJ~l./) tc..

,

)

;

( t;~ ~t~ !./) ,• ~!./) tc.. )

;

l

7i!IW

~~(/_)

kimono (Japanese style dress)

~~

~;:,

vt wears; puts on (clothing)

~ t~ 0

(

( j;,-. )

( ~ t~ !./)

; ~ tc.. )

Vi l

( j;,">)

-?t;~?

-?t;~?

(

(

-?t;~bt~ !./) ;

-? 1J ~ ··:::de..

)

;

~

tc.. )

ttl

chopsticks

vt uses

-?t;~t>t~l./)

-? t;~-:;)

;

tc.. )

r·;

door

~vt.o

(

~vtt~ !./) ; ~vttc..

)

1E l&>'J-0

( l

&>') t~ !./) ;

l

&>') tc..

)

~vt~ ( ~vtt~l./)

vt opens

;

~vt tc..)

?c-

window

l~~ ( l~t~l./); "C&>'Jtc..)

vt closes; shuts partiaZe, Indireat Objeat marker Japanese (language) language (e.g. , the Japanese language) (noun suffix)

j;,">

l;t ~ ( ~"> l ;{_ t~ !./) j;,"> l ;{_ tc.. )

j;,"> L-;{_ ;:, ;

( j;,-. j;,">

;{_t~ !./) ;

lX.tc..) vt gives (someone)

&;) ~1-!>

&;) ~1 .Q

1- 7 / y A

l

vt teaches

~

-

- 7

v

• -l-

4

~~

'- ..::;

'i

I'

. , .,

/

"'7 .,.., _ A 1

::1 ~:i -l-

7

., 4

transistor radio

Lesson 6 BUYING AND EATING

137

~vt~

~vt~

(a) watch; clock

iJ}7

ji;.:;;

camera

1 ::¥ 1J .AA

1 ::¥ 1):;;;: t,~

Englishman

) - 7 -

? - 7- -

air-conditioning unit

~-t:t-.:6

.7}.~.:6

(

~-t:ttJ:~

--:1

-:-1

( )}. -1t tJ: ~ ; Jf.-t:t t-c

; ~-t:tit)

vt shows

)

{DJ

"? v ~::· tlvc

what?

-:1".:6

-:1".:6

vt does

::T v

~::·

television

C LJ.t ~ ; LJ-c )

C l.J.t ~ ; L.t-c ) Dialogue

tl~l

it"'"" ~ 3

Hayashi (personaL name)

; t-c"'"" ~ v

food

i'"~~~

sukiyaki (a Japanese f ood)

~

and (a conjunctive used be-

tween nouns or noun phrases) tempura (deep-fat fried food)

Reading

adj (is) red Common Expressions Let 1 s see . think . . .

. / Let me

Thank you.

Won 't you . . . ?

SECTION 2. 1483

J

KANJI STUDY

( 5)

Ji5

tJ~5

tJ~

%.:6

2_.:6

5 ( .:6)

=--=t..r l'i1l:

?t..r

J: ( 't_r )

1477 ~

~~ 1424 ~ ~

138 460

940

JAPANESE BY THE TOTAL :METHOD

jL

'*

44 ~ 1621 % 522

Jt~

:7;~

Jj..(~)

~-"'6

t-c~ 6

t-c ( ""' 6

iV\tJ

otr

V(tJ)

m~

~~v

~v

B*~

Kfi~c

::: l

#

tl~ l

tl~l

~V>

.;h i&>V>

.;h Jj> ( V> )

)

~

~

1892 ~ 1045 ~ .J

'

New Readings

115 [llJ :

{PJ

1?.~

{PJ

tllfL

SECTION 3.

(1)

..

DRILL

Substitution :

Cues:

a)

!JC ~

b)

IDttJ

c)

.ft6

Expansion: (b)

Add

ib l f-c

to the sentences in l(a).

Substitution:

Cues:

a)

~~ ~

r'B:Jv •

~2

-' '"'Q

Lesson 6 BUYING AND EATING

139

Expansion: (d)

tb Lfz:.

Add

to the sentences in l(c).

~V>::$:a-

tb Lfz:.

:biz:. Ltl

Example :

Substitution:

2.

:b tL Ltl

ctllva-

~~1-ltlvo

Cues:

a)

j:,.,.~ VJ"

~U

b)

~:::·-;v

c)

/~

d)

7-::f-

:;/

Question- Answer: 3.

ibtJ:fLtl

A:

tl\t>, ( ctl/v a- ) a)

/~ /

b)

7-::f-

c)

vc <

Cues :

4.

cV:tlva-

Q:

j:,.,.~ VJ"

a-

~~1-tiJ•o

~~~-to

~Jj.. ~

-:t"iJ•o

Q:

;bfJ: fLtl

A:

(a)

\!> \!> ;{_ , ( j:,-. ~ Vi a-

)

fVz Jj.. ~ -lt lvo

(b )

\!> \!> ;{_ , ( j:,-. ~ VJ Vi )

tV\ Jj.. ~ -t:t" lvo

Cues:

i?-?

a)

j:,.,.

b)

~:::· - ;v

c)

:J-t:-

Substitution: 5.

(a) -f- c t Vi Cues:

a)

cVilv a-

i;t~ ~

::$:

WEu

Lfz:.o

~\;> ~

i'"o

JAPANESE BY THE TOTAL METHOD

140 b)

::1-~ -

AAu

c)

-r. iJt.Jj..

iJ~<

d)

;{_

iJ~<

e)

;{_ 0iJ~

~6

Expansion: (b)

Add

~ ([)

(c)

Add

i'" -- L- ;t 1

-r-

0

0

l-1 l-f-co {iJJ

rt?1~~ 1v

:i:>--

L- x_ -£ LJ-c

0

i>-- L- ;{_ 1 L- t-c 0

c:. (/_)

n ~.n

~

:1.1~~1

0

l-f-co

Change each sentence to the form indicated in parentheses:

6.

:bt-c L-tt

::1-l:::-~

7·

-=rcttt

7-=f-~

8.

3'7-3'~/vtl

~J;.. "£

-r-

(Past)

0

:ft~ 1-t"o

:bf-cl-(IL

fJ}7~

(Negati ve) ~{t"£

l-ko

(Ne gative)

It

9.

-f:(/_)

~(J_)-=ftJ:

¥~~

~1-t"o

Express in Japanese: 10 .

I sold him my camera.

ll .

That small boy (over there) does not read books.

12.

What do you (or will you I a re you going to) teach hi m?

13 .

Japanese use chopsticks.

14 .

Do you drink beer?

Add accent marks to aZZ the above.

(Ne gat ive Past)

150

JAPANESE BY THE TOTAL METHOD

SECTION 8.

VOCABULARY ENRICHMENT

Telephone! (Useful Expressions fro• Unit 5, p.38)

~~-c- -t

Telephone!

0

Hello! Is this

'b '-' 'b '-' ' ~;f:l,\' ~-? ~\ ~\

1.'"9

;(._ t> :iJl t,.\

0

~J.d;t_T"t o

-- ~ A..,~;t \.-\6

tJ fey=

'?

1..--t->

~J.d;t

8

it>~

t: ~;t

t,.\

t,.\

*

0

~ :iJl

;b :iJdJ

;'{. ~\ ~ :iJl

"9lj.iJ:1f"A...o'boJ $

.t

t,.\

* *1t A. t: 1t '-' * '-' t:

t,.\ t,.\ ;'{. '

<

;b :fJ\

;b :fJ\

*

IJ

·c ~;t ,

L, ~

~

IJ

'-' l

*1t A.

t: 0 .t -:>

~

*

Is

"t:fJ\0

6

No, he/she's not here now . (I' m sorry) I kept you waiting. I don't understand Japanese. Do you understand English?

0

*

;b :fJ\

1t A.

IJ

*"9 0

:fJ\ 0

; lifJ \(> tz:. )

SECTION 2.

42 ~ 560 ~ 397 ~ 161 ~ 1095

1254

vt hears; li stens

( ~ il~ t.c \(>

J:..

; ~ \(>

tz:. )

1 /

Wg~

0:.1:?

~13(

il~?

c: ?

=:!'/

~fi

~--~c.?

=¥/

~

~

M

:rx..

tf6

? L-6

?l-(6)

J:

?X..

?X..

;Jo~*

:;l:,~~

7-v

T

L-tz:.

~

-r J '

109

(

~

)!pj

car stereo

V ;;d-

KANJI STUDY

518 1~ 919

~

::Z.. /

below; beneath

\(>~

~;{_

L-tz:.

New Readings

194

1197

~=

:k:



~j::

7)~

~13(

il~?

::k~V>

;Jo~ ;Jo~~ \(>

::k~

ti.V>il~

(1)

540

~:r

: rr < ~fi

(

( 5)

~--~ c:?

r'S) I.!>

tz:. ---:-1 ii~V>

~~

C: ?C:?

( 3)

156

JAPANESE BY THE TOTAL METHOD

1669

--:--,

t.J~tc

1i

(2)

1631

IHJ :

Jr. ~-- ([) 1i Jr. ~-- ([) fi ? 1072

7tc :

?t~

-tt/v~(/)

?t

~~

SECTION 3.

if~ ~<

(1)

DRILL

Substitution: 1.

c:.c:.vc

2$::-!J~

a)

F'7

b)

1c

Cues:

th.!? 1i""o

c)

~~ ~lv

d)

-c t.J~:Jj..

e)

7" - ~

Question-Answer: 2.

~~t.J~

Q:

.:t:" C:. VL

A:

(a)

V;t0,

(b)

\;"\\;"\){_ ,

Cues:

th .!? 1 i""t.J~o

th !J"ii""o

(.:t:"C:.V'LVJ:

a)

$;&

b)

-}($

c)

t.J•(/) ~ ~

d)

c:. ? L:. .t ?

Substitution: 3.

th.:t-C::.VC Cues :

~fit;~

a)

x_~

b)

~t5(

c)

V'L(i='

d)

i=>;i:," i='

th.!? 1

~fco

~~Vi)

th!J"i-ltlvo

(4)

Lesson. ?

4.

(a)

.:r: c:.vcr.t Cues:

a)

~

b)

.i>--b6

c)

-T-7·Jv

d)

V>-t

e)

7 -;./ ;:t

bk..l-0

(b) Cues :

5.

a)

~ec

b)

bk..l-0

c)

~fi

5-;0 Mvc Cues:

6.

.i>-- c 5 c

b)

V>~5c

c)

lbVl:

d)

;btl

C:.0"-~Vl:(tl)

bk..l-0

tl:.0A

b)

~0-T-

c)

1;(0-T-

d)

.i>-- c t.r..

~6Vl:

-; -;;O!

5-;vcr.t

.i>--b6 tl lb 9 1 -Itlv -c LJco !1 - 7-

raJ~

:r v -£ E

V> j -It lvo

V> 1 lk..o

b)

tltl 7J.lJtJA

c)

?'t;(:£

d)

LIJ/.$:-c;!v

a)

AND WHAT

9 1 -Itlv -c l ko

~0Atl

a)

Cues:

;b

WHO~

-T E ~ ?J~ V>"ii'"o

a)

Cues :

7.

j-Vt:VJ:

WHERE

1::'

157

158

JAPANESE BY THE TOTAL METHOD

Question- Answer: 8.

Q:

T C ~ v±

A:

(a)

;{_ ~ VC ~ j v± ~ , ( ;{_ ~ VC )

(b)

~~;{_ ,

Cues:

a)

~13'l

b)

T"'' -

c)

5-b

d)

-""'..~

( ;{_ ~

LJz:il•o ~1

LJz:o

VC ((tl )) )

~j

-1t lv --c' LJz:o

~

Substitution:

9.

L.e:>"""'-~VC

Cues:

-T c

~j

~ il~

a)

~~

b)

fl - 7 -

c)

~6b.

d)

F' 1 'YA

e)

cvt~

i'"o

Question-Answer : 10 .

Q:

Llr;$:c!lvtl

cL.VC

A:

( LiP~: c! lv tl

)

~1-:til•o

~ t,r.

tz: ([) WJ VC

Cues :

11.

Q:

A:

::rv~tl

~6

b)

.t

T

.u

11)

!f

i

!ttl

•

~

T

~

Tokyo Sta tion , Yaesu Entrance

?ffl 0

"" ~

1}

Ueno Park

S." J

it i ~j it ,,, ;::< w 00

museum museum of fine arts

*7

Jv fi

;::<

(..10-:>

1:.. .,

:±l

}..

00

1!

"~ tJ: (./) ;

vi runs out; is exhausted

vi needs; wants

C0 GtJ: 0

tz: )

? tLk )

-,

tJ: i>"

is grilled

----,

fJ: i>..,."t ( t,£

:jo.,? t,£ (./) ;

Nancy (name, fem.)

vt fixes ; repairs ; mends

t,£~ ltz:) C~ 6

( c &')tJ:0 ; c dt)k_)

vt stops; parks

Dialog ue well . . . (an inter,iection)

(./) ;0> ;0~

how about?

*M

Kimura (personal name)

( i>") ~

c ')

sugar cream this kind; t his sort; this manner

[}~ [__,~ b ; [}~ [__,~ lf

(after) a long time ; (for) the first time in months/ years

vt bakes

Lesson 8 LIKES AND DISLIKES

(

i=>iJ~ t.r: \.n

; i=' \.n k )

J:Vf~

(

i='iJ~t.r: \.n

; i='l.n k )

ihVf~

( J:Vft.r: \.n ; J:Vf k )

173

( ihVftJ: \.n ; ihVf k )

vt g ive s (e . g .~ I give you) (a different verb is used to express "You give me 11 )

Reading

ffi5-t-

1--l-::v..,J>.. vcJ..t...._ J

vt talks

( tl. t,£ ~ t,r: \.n ; tl. t,2 LJ-c. )

( ~~ t,r:\.n ; ~ LJc.) 1\.nV'L~

'?~.n VL ~

ever y day

-t:"0J:

-t:"0 5 :{_

in addition

-t-Vi ~ L- \.n

-t"Vf ~ L;~,n

adj ( i s) wonderful

tiL.

--:-1

~m

L-

kiJ~tl.

Takahashi (personal name)

l.n61.n6 C t.r:/0/V'L) l.n6\.n6 ( t,r:/0/V'L)

various (- ly)

~

( VL

country; nation

!jW

,j_~ ~v/

thing (concrete)

-t.n--r

-t:h--r

then ; t hat ' s why

~:t~

j:,"

( qj:;t t.r: \.n ; qj:;tt-c.)

L-;t ~

( j:,"

vt teaches

L- :t tJ: \.n ;

j:,"

L- :t tz:

)

Common Expressions Please ! please.

(e . g. ~ Go ahead~

I Take

this ~ please;

BUT NOT Please give me) ~

\.n\.n:{_, --rro

~

VJ-:::>2:.5

.z-.n--rtl.

.z-n-=t?tl.

ih .b iJ~ ~ 5

ih iJ~ ~ 5 c c:~~.n?-t-)

(

c:~·~.n1-t-)

well then - -

"F

0

c51.nkl-1 L--eo

No, thank you.

Thank you. o

E51.ntz:L-'?L--co

Don ' t mention it ! all !

I Not at

174

JAPANESE BY THE TOTAL METHOD

SECTION 2. 537

55 1777

779

KANJI STUDY

"*~ l...

ff~

-t~

-t ( ~ )

~~ pp

;{_1_/)c

X1

§

§

~

=f

---,

66

:c

--c

l:-.t 5~

-r

J=

2:t

cz

~

~k~

~tt-s:

*f1

~tr~

~

~ii i""

V:tt-2-t

~;{_6

i>""l:t6

J:=f 1016

1401

f

=I:

-~

j

1713 ~

1940

367

tt !~

. Vi t.c ( -1" ) i>"" l ( ;{_ 6 )

New Readings 919

_t:

J:

5:t

J:.f:

1:-.t ?f

J:Vf6

~V16

SECTION 3.

(7)

DRILL

Substitution: l.

bklV:t """'~ ~ .t 5 iJ~ ff ~ t:""to Cues:

a)

t:-Jv

b)

;{_ \_r)iJ!

c)

f 1 ';/

d)

i>"" ..s,. 6

594

oo:

!fl!E

~'?c< (4) \9> -

IE

((!C

Lesson 8 LIKES AND DISLIKES 2.

-/ 3

/

~ G0--c'i'"o

<

a)

-!J~-!J~

b)

7 - ;;f-

c)

06t.l

d)

:::::7-l:::-

Cues:

3.

~~-!J~

EB9='~,Z,V:t

:J / ~ ,Z,Q)jO--

"£

5fktl

E~

.7ce:> F'7 ~

a)

bfL-ltl

b)

Llr*= ~ lv tl ll! ~

c)

-:/

d)

]j[ ~

3

/

~V:Jj l k o ==>

~~

l..-&6-£ lito

f.t J:,.,. l

"£ l ko

:J / ~ lve:> :j:,.,. ( ~ /vtl

C &6-£ lko

Yce:>"£ Etl

7- ::f ~

i=' ~ "£ l ko

"£ l..- fL.o

178

JAPANESE BY THE TOTAL METHOD

English Equival ents l.

I like study. a) I like beer. b) I like movies . c) I like Germany. d) I like the (Japanese) bath.

2.

Mr . /Mrs . /Miss Tanaka dislikes school. a) Mr. Tanaka dislikes science. b) Mr. Tanaka dislikes cake. c) Mr. Tanaka dislikes dogs. d) Mr. Tanaka dislikes coffee.

3. Mrs. Johnson (Ut ., Mr. Johnson's wife) is good/skillful at cooking. a) b) c) d)

Mrs. Mrs. Mrs. Mrs .

Johnson Johnson Johnson Johnson

is is is is

good good good good

at in at at

(painting) pictures . Japanese . (making) sukiyaki . tennis.

4. I ' m no good (unskillful) in English.

5.

a) b) c) d)

I'm no I ' m no I ' m no I ' m no

good good good good

at at at at

(making) tempura. (writing) kanji. tennis. cooking .

Q: A:

Do you like study (or to study)? (a) Yes, (I) like (study). (b) No, (I) don ' t like (study) . (c) No, (I) disli ke (study).

a) b) c) d)

Do you like movies? Do you like dogs? Do you like coffee? Do you like Germany? (Lit., As for Alice, [her] eyes are big) . Alice ' s hands are small. Alice's voi ce is good. Alice is tall (Ut. , As for Alice, [her] height is high). Alice is short. Alice is smart (Ut ., As for Alice, [her] head is good).

6. Alice's eyes are big a) b) c) d) e)

7.

8.

A:

Can you speak German? (a) Yes, I can (speak German). (b) No, I cannot (speak German).

a) b) c) d)

Can Can Can Can

Q:

you you you you

cook? play t ennis? speak Japanese? drive?

I understand French (Lit. , As for me, French is understood) . a) I understand English. b) I understand Chinese. c) I understand German. d) I understand that.

Lesson 8

LIKES AND DISLIKES

179

9.

The a) b) c) d) e) f) g)

cake is done (i.e., The cake is made/finished). The cake is baked. There's some cake left over . The door opened. The window shut. I'm out of gas (Zit.~ The gasoline gave out). The car stopped. The engine (was) repaired.

10.

(I) a) b) c) d)

don ' t want (any) cake (lit. ~ As for me, cake is not needed). (I) don't want coffee. (I) don't want (Japanese) tea. (I) don't want beer. (I) don't want that .

11.

Q: A:

Is Nancy smart (Zit . ~ As for Nancy, is her head good)? (a) Yes , (Nancy) is smart. I Yes, she is. (b) No, (Nancy) is not smart (Zit.~ As for Nancy, her head is not good ) . , No, she isn ' t. (c) No, (Nancy) is not smart (Zit.~ As for Nancy, her head is bad).

a) b) c) d)

Is Nancy 's voice pretty? Are Nancy ' s eyes big? Does Nancy like school? Is Nancy good at cooking?

12.

I opened that window. ~ That window opened . a) I shut that door. ~ That door shut. b) Mr. Yamamoto fixed the car. ==;> The car was r epaired (got fixed) . c) Mrs . Johnson baked a cake. ~ The cake was baked. d) (He) stopped the car . ~ The car stopped .

SECTION 4.

GRAMMAR

8 .1. THE TOPIC ELEMENT. Up to this point the Topic element has been used in these lessons but not explained. The fact is, when a new subject (topic) of discourse is introduced by a speaker it receives the marker wa, which indicates t o the person spoken to that the word or phrase so marked is going to be the TOPI C. Thus , in the drills of these lessons, since sentences are given entirely out of context, it is natural in Japanese to state the subject of the sentence as Topic; i . e . , to mark the subject with wa: Watashi wa hon o kaimashita. (I) bought a book. I As for me~ (I) bought a book. When there is only one element in a clause marked with wa and no element marked with ga, the element marked with wa can double as the subject of the clause (as in the drill sentences of t hese les sons

180

JAPANESE BY THE TOTAL METHOD

thus far). However, as the drills of Lesson 8 are designed to show, sentences containing an element marked with wa and another marked with ga are quite common in Japanese . In such sentences the element marked with wa should be considered the Topic of the sentence, and the element marked with ga interpreted as the Subject. The following chart shows the occurrence of Topic and Subject in copular, adjectival, and verbal sentences. CO-OCCURRENCE OF TOPIC AND SUBJECT

Topic

Subject

Predicate

(a)

Cop.

watashi wa I beiikyo ga)

I like study.

(b)

Adj.

Arisu wa

(c)

Vb.

Alice's eyes are beautiful. Mr. Takahashi can drive.

Tak&hashi-saii wa

I I

I suki desu) me ga) I utsukush!i)

uiiteii ga)

I

dekimasu)

In example (a), the subject of the copular predicate is not "I" (as in the English equivalent), but "study." The word watashi is the topic; i.e., "As for me " The literal rendering (if we slavishly follow the grammar) would be "As for me, study is liked." In example (b), the subject of utsukush!i (are) beautiful, is me eyes, not "Alice." Isn't Japanese logical! 8.2. Suk1 AND kirai. Because of the English gloss in sentences such as Watashi wa beiikyo ga suk! desu. I like study, the beginner is influenced to think of words like suk! likes and kirai dislikes as verbs . They are not verbs but nouns - copular nouns- and as nouns they fill the slot for nouns in the NOUN + COPULA predicate of copular clauses. However, unlike the large class of copular nouns which form adverbials with ni (e.g., jozu ni skillfully, beta ni unskillfully, etc.) suk! and kirai do not form adverbs of manner. Suk! and kirai, like other copular nouns, do not appear in the subject or object slots. 8.3. INTRANSITIVE VERBS WHICH DO NOT REQUIRE AN AGENT; dekiru, aku, shimaru, naoru. It has already been explained that intransitive verbs are verbs which do not take an object. But the verbs used in Drill 9 represent a class of intransitive verbs which do not require an agent; i.e., they do not need to specifY who or what caused the action: D6a ga akimashita. The door opened. Mado ga shimarimashita. The window shut. It is not specified, for example, what caused the door to open; it may have been the wind, or it may be that you thought the door could not be opened but found that it could be opened, without specifying how th~ feat was accomplished. Many verbs of this intransitive type have a transitive counterpart which is used when one wants to specify the agent: D6a ga akimashita. The door opened. Doa o akemashita. (Someone) opened the door. Some other pairs appear below: INTRANSITIVE

TRANSITIVE

shimaru

shimeru

shuts

nok6ru

nok6su

leaves over

tomaru

tomeru

stops

na6ru

.. naosu

repairs

yakeru

yaku

bakes

Lesson 8 LIKES AND DISLIKES SECTION 5.

181

DIALOGUE

?5-?~!v(J)

cB ~IJGf:it.l'(!jt

Q: t• ~ 1J: A ;!{ - ''J t.Ji

tit ~ -c· 9

:fJ\ o

What kind of sports do you like? I like games played with a ball. I like swimming.

""''

~ )1i. A ;!{ ~

Q:

''J

c:.· ~ 1J: -* t.J\ 91- ~ l" "9 t.J~ o t-.o?Jt"?

A: ~t.Ji

91- ~ -c·9 o

JiJi,J,IDt

I like outdoor sports. What kind of books do you like? I like novels. I like mystery (detective) stories. I like love stories. I like poetry. I like biographies. I like non-fiction.

185

186

JAPANESE BY THE TOTAL METHOD

SECTION 9.

SELF TEST (For answer see Appendix 4)

jj~t 15 < IJ jy>. ~ (() 0 if,;;7J 1115 -r)

I.

1. Alice~i

c

:tJ:i::k~'-''l'' To

:tJ:i'J'2''-''l'.To

-=c c)

)05. J: -¥ T '9 o

"*

3. "'

Wl ~i (before)

* (now) *

;f;f ~ i±.li b f=. l., (f)

"*

4. 7

1 )

Wlli A li ~ ~ ~:

"*

~(f)-J~j:

* *T

B ;ifs; ~g (f)

~ 1:. T· '9

o

o

- - - --

- - -- -- - - - - - - - -- -- - -

III . Write appropriate particles in the parentheses and a word from the list on the line. 1.

~"'

!, .L- (

2. 7

1)

A(

3. ]f;! (

)

"'):Pi"'

:±:*Z> (

)

)-5/v'l/v(





) it (

4 . f-*2'/v(

0

)

~

0

0

5.

~7(

6.

'r-~(

)

t*Z>ItdJZ> )

0

0

)

0

IV . Express in Japanese. 1. That German person could not understand (lit., could not do) Japanese. 2. I don't like cats.

But I like dogs.

3. Yesterday, my car wouldn't go. out). 4. What kind of music do you like?

I was out of gasoline (li t. , gasoline gave

LESSON

9

WHEN AND HOW PROBLEM :

Manner expressions and time expressions are adverbs and have certain similarities in Japanese sentences.

OBJECTIVE:

To introduce the Manner and Time slots .

SECTION l.

VOCABULARY

Drill \,;-)-?~

;-::"""'x v • ___, '1::)

always

:kL"V>

fL.\,;-) L \,;-)

usually

~< ~

often; well; hard

~k

C~ C~

someti mes

ViL:-&0-c

v~ v~J L

for the first time

-!fi.

"? fi_

(not) yet

e.,s.~h • .1

today

J:

<

~ .t

1~?~-,~..-r

5

~c;?-c

~

~~ -r c ....... ~ L

the day after tomorrow

*=Jm

~ \,;-)

next week

*=f.!

fl, ~ lr¥""""' ? v • v; ___,

next month

*I¥

~ \,;-) tJ. ~

next year

-?< ( -? i6 d,£ \,;-) ; -? \,;-) tL j:,~

c c \,;-)

L. \9> 5

-::::!< ___, )

vi arrives

( -? ;-; t,£ \,;-)

;

3 \,;-) tL )

) , ~ o* c lcv•

4-,. L

~

5tJm

-It~ L. \9>

5tf.l

1:!.

the day before yesterday

5

last week

~I lr¥"""' rvv; ___,

last month

~ .t 1¥

.,S.~..V,/ e • 4o1.rv

last year

$1;>~~

~7)~ 1;> ~ ~

baby

*See Lesson 3 , p. 83 , footnote.

187

JAPANESE BY THE TOTAL METHOD

188 ~"in~ ~1 nt.;:v. ;

c

51

n~

vi is born

c 51 nt.;:V>

~"intz:.)

;

51 :htz:)

----:-1

1' :/ f

India

i:lv ~ \9> 5

this week

;

(

vi blossoms; blooms

c c; n~t.;: V>

~V>k.)

~

t.;:-?

tb~

li) ~ ~~

0

;

c; v. tL ) summer (one of t he seasons) fall; autumn ( one of the seasons)

0

winter (one of the seasons)

5B

r~· t~r/,v~.;:, ~ /L r

what day ( of t h e week )?.

J:IJ:?B

Vf -:::J? 5 [f

Monday

n~x 5 [f

Tuesday

-1-V>J:?S

-j'-V> X 5 [f

Wednesday

*J;:?S

~

~lvJ:?S

~ lv? 5 '(j

Friday

c.t:?s

C? 5 (J

Saturday

SJ:?B

VC ~? 5 '(j

Sunday

{liJ.J:

n~

.t: ; s

( X 5 '(j

Thursday

Dial ogue My!

(an inte!'jection3 usu-

ally used by women) shopping flower arranging lesson; practice

Lesson 9 WHEN AND HOW

189 (your/his) wife (Hon.)

ikebana (Japanese flower arranging)

adj (is) enjoyable; fun Reading

t2V>-t ~ ( 1 :f

1 ::f

l) A

t£. )

likes very much

l) A

England; Great Britain; U. K.

0-£

now

? J6 \;l (

t:5P

famous

t£. )

Hamlet (name of a play)

c~tt:~

c~tt:~

friend

~?~

~?~

ticket

Tc;~

t-c)

( ( tt: c; ~ f£. \;l ; t-c)

;

ii~V>

c:. (

foreign country

3 - c "/ _,,::

Europe

Common Expressions

? !vii~ J: il~? k l:"t

SECTION 2. 737 ~

~ 810

i!.

457

l=1

0

"?/vill J?il~? k -z:-t

0

(I) was fortunate/lucky .

KANJI STUDY c~

~k

c~c~

~k

symbol for repetition of previous character

*~

GV>L-~?

*~

--g\;l~-:?

-/::>..?

7 ''/

190

JAPANESE BY THE TOTAL METHOD

1450 ~

GV>hlv eel

*-"F

~*

;;(,

/

el

601 ~

'-7

Aj@l

elvl~5

:::1/

~*

eel*

*

A

~j

\;>j

I

"

I

123 1

---,

1369 ~

'

~

t.t "'J

t.t?

~~

~~

New Readings

1197

1844

1013

1440

7::_:

*:

~ :

8

"71

:k~V>

:;jo-.:;jo-. ~ \;>

( 3)

*~

if. \;> -!J ~ <

(7)

:k-cV>

kV>-cV>

*6

76

( 5)

*t.£\1>

2t.£\.n

())

*jj-

_t?-t

(5)

*~

GV>l~5

~:±

-!J ~

1713

*:

1483

~ :

109

T:

_!trG

*M

*J:58 i i (/_) fil!W ( fil \,/) !WJ ) **

~8)

(6)

T

ltz:.

Tc;6

(tf.~6

r:p~

-G~5 c·<

(4 )

:±itL6 _2itL6

~



7)

e(

*Occasi onally a two-kanj i combinat ion and more rarely a three- kanji combina~ tion is pronounced as a unit; i .e . , i t is not possibl e t o assign a reading to each kanji independently . **The form in parenthe s es i s curr ently recommended by the Ministry of Educa~ t i on, but we have chosen the older form because it is still more common i n pre~ent u sage.

Lesson 9 WHEN AND HOW SECTION 3 .

DRILL

Substitution : 1.

:bft: lAi Cue~ :

2.

a)

:k-LV>

b)

J:

c)

~k

d)

~ .t

:A~:A~/vVJ:

iT-'71 t-

til:-a6-L

5 jf(_

~ lvtl

:bft: L-tl Cues :

~ .t

fi<

b)

tl~

c)

i>"' ~ ~

d)

tJ~:t~

~5

5

a)

th L- ft:

b)

th~-:::>-L

c)

*JIM

d)

*J.I *!if

e)

*-£-Jtlvo

a)

Cues:

4.

tij( Jj. -£

<

Cues :

3.

-:: :t -1::: - a-

l.i>-::J~

~-"'-£

a)

ti)(tr

b)

-:r~

c)

~-u

d)

*~

h~1-:fo

l-ko

-:r

0

191

192

5.

JAPANESE BY THE TOTAL METHOD

-:/3 / 'J :Y~/vtJ:

(/) 5

-::::>~ j

a)

i>"' CCV.

b)

)t;J&J.

c)

)1[;}1

d)

~ .t

Cues:

6.

~

if*~lvlvtl:

!if:

~"'c

e: v.

c)

)t;J&J.

d)

)1[;)1

V.-::::>

*

Cues:

LJz:o

~ 'i

fL 'i l- fz:o

7. Cues :

a)

..£fJ&J.

b)

.6f A .6ftif:

c)

Question-Answer: 8.

Q:

E8 9=' ~ lvtl:

A:

(

E8 9=' ~ lvtJ: ) Cues :

9.

~ .t

'i -t"il ~o

5 *j -t"o

a)

i.b ~ -:::> L

b)

i.b ltz:

c)

*!if:

d)

*11

Q:

.A~.A~/vtJ:

A:

(a)

ti:V> ..

(b)

00:l ..

j fi.. * j -lot lvo

(c)

00:l ..

'i fi.. -r:-;-0

*j

l-tz:il~o

(-A~.A~Ivtl:)

~5

*j

j___

fz:o

Lesson 9 WHEN AND HOW

193

Substitution: 10.

(a)

C: ([)tifJ: ti Cues:

ti~

a)

~

b)

~~

c)

~

c: (.[)~ 0

(b)

Cues:

Cues:

~ ~

ti tJ: ti ti ~ (

1 -t"o

vc )

c;

~

]: -t

0

~

a) b)

+c;V>

~~

c)

::k~V>

~

Al5BVC

ll.

( VC )

B*M([)~~~x5~

~1~

l 5B

a)

il~

b)

-t"V> l 5 B

c)

*l 5 B

d)

~~l5B

e)

Cl 5 B

r)

Bl 5B

Expansion: 12.

Change the basic sentence to include the word in the cue. Basic sentence: Cues:

*~~ti

a)

\;>'?~

b)

Bl5B

c)

~

d)

l

<

fiJJ ~ 1-t"o

194

JAPANESE BY THE TOTAL METHOD

English Equivalents 1.

I always drink coffee . a) I usually drink coffee. b) I often drink coffee. c) I sometimes drink coffee. d) I'm drinking coffee for the first time today .

2.

Mr./Mrs./Miss a) Mr. Smith b) Mr. Smith c) Mr. Smith d) Mr. Smith

Smith hasn't come yet. hasn't gone yet. hasn't gone to bed yet. hasn't got up yet. hasn 1 t returned yet.

3.

Mr./Mrs./Miss a) Mr. White b) Mr. White c) Mr. White d) Mr. White

White has already eaten (or already ate). ~as already drunk ( it ). has already done (it). has already read (it). has already come.

4.

I'm a) b) c) d) e)

going today. I I will go today. I'm going tomorrow. I'm going the day after tomorrow. I'm going next week. I'm going next month. I 1 m going next year.

5. Mr./Mrs./Miss Johnson arrived yesterday. a) b) c) d)

Mr. Mr. Mr. Mr .

Johnson Johnson Johnson Johnson

arrived arrived arrived arrived

the day before yesterday. last week. last month. last year.

6.

Mrs . /Mr. a ) Mrs. b) Mrs . c) Mrs . d) Mrs.

7.

Today we ' re goi ng to study the history of India. I Today I am (or we/ they are) doing (the) study of the history of India. a) This week we're going to study the history of India . b) This month we ' re going t o study the history of India . c) This year we ' re going to study the history of India.

8.

Q: A:

9.

Q: A:

Hayashi's Hayashi's Hayashi's . Hayashi's Hayashi's

baby baby baby baby baby

was was was was was

born born born born born

yesterday. today. the day before yesterday. last week. last month.

When is Mr. /Mrs. /Miss Tanaka coming? (Mr./Mrs./Miss Tanaka) is coming today. a) (Mr. Tanaka) is coming the day after tomorrow . b) (Mr. Tanaka) is coming tomorrow. c) (Mr. Tanaka) is coming next year. d) (Mr. Tanaka) is coming next month. Has (a) (b) (c)

(or Did) Mr./Mrs./Miss Smith come? Yes, (Mr. Smith) has already come: No, (Mr. Smith) hasn't come yet . No, not yet.

195

Lesson 9 WHEN AND HOW 10.

(a)

This flower blooms in the a) This flower blooms in b) This flower blooms in c) This flower blooms in

(b)

This red a) This b) This c) This

spring. the summer. the fall. the winter.

flower blooms in the spring. red flower blooms in the summer. small flower blooms in the fall. large flower blooms in the winter.

11.

(On) Monday (I/you/he/she/we/you/they) study (or will study) Japanese. a) On Tuesday (I) study Japanese. b) On Wednesday (I) study Japanese. c) On Thursday (I) study Japanese. d) On Friday (I) study Japanese . e) On Saturday (I) study Japanese. f) On Sunday (I) study Japanese.

12.

Mr./Mrs./Miss Hayashi works/will work. a) Mr. Hayashi always works. b) Mr. Hayashi works/will work on Sunday. c) Mr. Hayashi works / will work in the summer . d) Mr. Hayashi works hard (or well).

SECTION 4.

GRAMMAR

9 . 1. THE MANNER ELEMENT (see also Lesson 32) . The Manner element will receive a f uller treatment in Lesson 32. In Lesson 9 we introduce a few simple manner expressions to show form and position of occurrence in a clause. In the drills, the manner words have been carefully chosen to show degree and contrast: MANNER EXPRESSIONS (see also 18.2)

Contrast

Degree ~

l.tsu mo

always

mo

already (affirmative)

taite

usually

mad a

(not) yet (negative)

yoku

often

tokidoki

sometimes

This list could be extended ad infinitum~ for Japanese abounds in manner words. However, our procedure will be to introduce such expressi ons in this lesson and pick up individual items from time to time. A summar y treatment of the Manner element appears in Lesson 32. Note that manner words are not inflected, and that the position of occurrence in a clause is relatively free. Manner express ions such as those appearing in the chart above may occur in any clause type - copular, adjectival, or verbal. 9. 2. THE TIME ELEMENT. The Time element is used to express the meaning "time i n which an action takes place or a condition exists." This element is somewhat f ree in terms of the position of occurrence, but (like the Manner element) it frequently occurs as the first element in a clause. The Time element may occur with the time-marker particle ni or without it. Some time expressions do not take the particle when filling the time slot; e.g.,

JAPANESE BY THE TOTAL METHOD

196

1tsu when3 kino yesterday . Notice that words f or the seasons-haru spring3 natsu summer3 aki faU 3 fuyu winter- may or may not take ni. When the Time element is manifested by a time word plus ni it is freer in distribution. Lesson 10 continues this introduction of the Time element with the addition of hours, the months of the year, and so forth. I n clauses such as the following , the Time element may be considered to occur twice: Kono hana wa kotoshi haru ni sakimashita. This flower blossomed3 this year3 in the spring .

9.2.1. TIME RELATIONS. For convenience, a chart is given below showing time relationships; e . g ., "today," " yesterday ," "tomorrow ," "the day after tomorr ow ," "next year," etc . Taking the col umn marked NOW as one ' s standpoint , the column marked 11 -1 11 is to be interpreted as "the unit before the present" (where t he unit is a day, a year, etc .), and the column marked "+1" is to be inter preted as "the unit which immediately follows the present." TIME RELATIONS -2

-1

NOW

+1

+2

ototoi

kino

kyo

ashita

asatte

day before yesterday

yesterday

today

tomorrow

day after tomorrow

sensenshu

senshu

konshii

raishii

saraishii

week before last

last week

this week

next week

week after next

sensengetsu

sengetsu

koiigetsu

raigetsu

saraigetsu

month before last

last month

this month

next month

month after next

ototoshi

kyoneii

kotoshi

raineii

saraineii

year before last

last year

next year

year after next

...

---

this year

9.2 . 2. TIME NOUN AFFIXES. The time slot is typically filled by time nouns which are distinguished from ordi nary nouns and pronouns by the affixes which may accompany them: TIME NOUN AFFIXES

Prefix:

mai-

every

Suffixes:

, -goro

about , around

-go to*

every

-oki*

every other

Examples: Kono hana wa

mai-toshi

sakimasu.

This flower blossoms every year .

Kono han a wa

haru-g6ro

saklmasu.

This flower blossoms around spring.

Kono hana wa

nineii-goto ni sakimasu.

Kono hana wa ichineii-oki ni sakimasu.

This flower blossoms every two years. This flower blossoms every other year .

9.3. EXPANDED CLAUSES. An "expanded clause" is a basic clause pattern whi ch includes at l east one peripheral element . Peripheral elements are t hose element

*May be used with nouns other than time nouns.

Lesson 9 WHEN AND HOW

197

which are not di agnostic (contrastive) of particular clause types, such as Object (with transitive clauses only) . In this lesson the peripheral elements of time and manner have been introduced . Note the diagram below showing clause expansion by including peripheral elements. CLAUSE EXPANSIONS (l) Transitive Verbal Clause ( SUBJECT (wa ) )

( MANNER )

( OBJECT (o) )

I PREDICATE)

watashi

1tsu mo

gohan

tabemasu

Yamada-san

taite

ocha

nomimasu

kodomo

yoku

o-kashi

kaimasu

Tanaka-san

tokidoki

ego

oshiemasu

(2) Intransitive Verbal Clause

I SUBJECT ( wa ) ) son6 hito

( TIME

I

I PREDICATE )

kino

dekakemashita

Arisu

ototoi

ikimashita

watashi

seii.shii

tsukimashita

anata

kyoneii.

kimashita

Note that the fillers for the slots may be interchanged , providing semantic constraints are observed, giving a variety of sentences . For example: i. ii.

Tanaka- san wa yoku ocha o nomimasu.

Mr. Tanaka often drinks tea.

Otona wa ta ite o-sake o nomimasu.

Adults usually drink sake .

Son6 hito wa kino dekakemashita.

He (or that person) left yesterday.

Arisu wa senshii t sukimashita.

Alic e arri ved last week .

Permutation of the order of occurrence of slots (except for the predi cate) is also possible. For example: iii. iv.

Yoku Tanaka-san wa ocha o nomimasu.

Mr. Tanaka often drinks tea .

Kino sono hito wa dekakemashita.

Yesterday he .left.

The subjects in the above examples are all marked with the particle wa instead of ga. This means that in each example the subject is in focus, as explained in 7.4. In sentences given out of context it is normal to focus , or topicalize , or "thematicize" the subject . Thus, Tanaka-san wa yoku ocha o nomimasu, could be glossed as "As for Mr. Tanaka , he often drinks tea'.'

198

JAPANESE BY THE TOTAL METHOD

SECTION 5.

DIALOGUE (Two Women)

Jt!JW l:-TiJ~o *?-1t-~lv :

ln ln .Z ,

~~1~/v

..:t? -r-ttJ~ o

5t~ti

*? -1 t-~/v :

*ift~ lv~



ti l:JO-£

*?-1t-~/v :

%~

tiCJO'i~ko

~H~ lv

ln-::::> ~

tJ~

.Z.Z..

j(L"ln

~~.t

i>~r.t tJ: CD VJ ln C. l:

Mrs. Nakamura : Mrs . White: Mrs. Nakamura: Mrs. White: Mrs. Nakamura: Mrs. White:

Mrs. Nakamura : Mrs. White:

0

LJz:.iJ~ o

iJ~

~lv.t?BVL

English Equivalents

Mrs. White:

ctJ:tz:_ -r-ttJ~ o

X ? B -r-ttJ~ o

lnVJVftJ:ti

Mrs. Nakamura:

-to

My! Mrs. White ! I haven ' t seen you for a long time . Are you going shopping? No, I' m going to study flower arr anging . Is that so? Who is your teacher? Mrs. Kimura. When did you begi n (studying)? I began l ast mont h. Is it always on Tuesday? Yes, it ' s usually on Tuesday. But sometimes I go on Fri day. Is f l ower arrangi ng interesting? Yes, it ' s fun.

X ? B -r-t o fJ~'i-t o

i>~ ~ ~6\.nl:-:t"iJ~o

vttL c ~ . .

Lesson 9

SECTION 6.

199

WHE'N AND HOW

READING 15

~ fi_ -(

t

25

¥J -t

u

(-:.

fJ)

'7 I

1

1

7 I

i ~ /'

~~

~

-r

20

~ ._ ~ ~\ ~

..

')

I

J ry

I

'7

fl ;v

-tt. ~

v t-:. 0

0

7 7 I

I

~

9

=j

I ..

I

~,1 l

'1

-"~ ...... IV (J)

/J ~· "'

i

jf-

\i)

t~

r; -t. I

7 G

I

••

~

rJ)

-"")

•'

i"

~ '--

0

b'

:t

-(

\i)

-r.. :*L 9 ~~1J·(

0

t ~~ ~ ~ *"' -( G

r~ 0

'l ;tP.

._ -"

8 l.J ~

j

7 "'~ ? 3>

7

!

i¥- "t>"

rJ)

t;i

~ ~

~

-t

tJ'l

u

. , tr~. --:

1 0

tj

~

i

1-

Q)

tj:

200

JAPANESE BY THE TOTAL METHOD

SECTION 7 .

EXERCISES

Fill in the blanks: 1.

~~~

;Jo"c c 0

- 2

~.t!if:

%~

- 1

5

NOW

~ .J;:

+1

.h LJr.

*jj

~

+ 2 Answer in Japanese: 0-J~

2.

StJ:. k

tl

3.

~ .t 5 tl

4. Slk 5.

6.

~

/~,/ ~

-------- ~

it~1-t"tJ~ o

1PJ J: 5 B l:-t"tJ~ o

1PJcD~Iv~.t5~

.t!if:cD5ltl

~.t 5 tl

l1-t"tJ•o c; D tJ•? fL "t'-j-tJ>o

-/J• J: 5 B l:-t"-/J• o

Express in Japanese:

7.

It was hot last week .

8.

I ate tempura yesterday.

9. The person will come Wednesday this week. 10.

Mr. White's already come.

11 .

Mrs. Smith hasn't come yet .

Expand and transform the

(Hint : use Past) (Hint: use Present)

following~

using the words given:

12 .

b k. ltl *1-t"o

(~.tq:.)

13.

tJ> .Z J? 1 --It lvo

C*!IF)

14.

.h-JV."t'-t"o

( 5l)

15 .

.h cDAtl

fi~1-t"o

Add accent marks to all the above.

(jif.)

Lesson 9

SECTION 8.

201

WHEN AND HOW

VOCABULARY ENRICHMENT

let's Practice! I am going to study Japanese . history (facts) about (my) new job

~ldi

B:

l.i'[f' 1:::"7 ./ ~

tL~ G Ill>-? G '"( ~' *9

o

I am practicing the piano every day. how to write kanji the breaststroke

~··

c: ± .t -? B ~i

tHi ~ (})

~t ~'

:::: T 9

Saturday is my ikebana les son.

o

!> ~

tea ceremony

B*.b;.t-5

traditional Japanese dance

~t ~

Japanese fencing

t • -?

_,

~t

t.-' :::: ( "9 ~)

practice; training; lesson the way of

~t·-?

~

(suffix attached to

traditional Japanese arts ) 'II'

1t!l1! 1: ~t :ffi

tJ. t•-?

the art of flower arrangement

~,ij~;f~

flower arrangement

\

-,

(}) ~;£· -?

Ikenobii School

71!!

t: t.-\



0

-------------------------------------0 o

:k "( ~'-------------------------------------------------0

III. Give the Japanese word for the following. 1.

A,-J)! (J)Jilj(J)~

2.

A,-~0)-:J ~· (])(after)~

3.

A,- ~ (]) Jilj (]) if-

4. 5.

IV. 1.

* .t -? B (]) -;ru (]) -;ru (]) .t -? B *

~

-? B (])-:::» ~· (])-:>

~· (])

.t -? B ____ _ _ __ ___

Express in Japanese. That per son came to my house day before yesterday.

2.

Mrs. Yamada often corrects( 'IJ:1.>"9) my Japanes e.

3.

My wife usually drinks tea.

4.

I was busy Friday , last week .

5.

Tokyo was hot and humid la st summer (lit ., the summer of last year).

LESSON

10

CLOCKS AND CALENDARS PROBLEM:

Telling time, months, and days in Japanese brings to focus several basic differences between Japanese and western languages.

OBJECTIVE:

To continue the introduction of the Time slot, with fillers of hours, days, and months.

SECTION 1.

VOCABULARY

Drill

\;>~

one

~

two

~~

three

1m

-c;?~

four

li

2

five

--'/'\

-::,(

six

-t

l -; ; t.r..t.r.

seven

/\

ld~

eight

::tL

7;

-t -t-t= =-t =-t

t-~5

te-n

l:-~5\i>~o*

eleven

t~5VLo

twel ve

--:-1

~

~ ~5

nine

~t~ 5

twenty

?~t-~5

thirty

-~

- c:

- - o'clock (classifier for

{PJ~

t2~t

what time?

-~

V>~t

one o'clock

time in hours)

*see Lesson 3, p. 83, footnote. 203

204

JAPANESE BY THE TOTAL METHOD

=~

'Kt

two o 'clock

?~t

three o 1 clock

IZQ~

~t

four o 'clock

li~

five o 'clock

~~

2t 6(t

t~

L- ~ t.

seven o'clock

/\~

tl~t (t

eight o 'clock

~

:fL~

six o ' clock

nine o'clock

+~

1.:~5 t

ten o'clock

+-~

t~ 5~~t

eleven o 1 clock

+=~

t~ 5Kt

twelve o'clock

---~

--- ti~

half-past - -

{PJ)i

fl.~ iJ! "'::)

what month?

-)i

~

= Ji = Ji

V'L iJ! "'::)

? ~;6!--:J

March

IZQ)i

L- iJ! "'::)

April

liJi

2 iJ!--::J

~Ji

6 .J'

746

1500

-'t:

Ji

(:

::l

li B

l,n -::::>:;6>

l.n-::::>(-::::>)

_L.

/'\

6(

of/

~B

[rl.ni6>

&-:::>(-::::>)

-t -t -tB

l~

.:-./7-

J\

--:1

1509

t

t~t~

t~

t~t~

{[):;6>

(-::::>)

/\

tt~

/'7-

/\B

J: 5 il>

--?-:::>(-::::>)

:iL :iL :iLB

(

!/

+ +B

317 ~

818

t~t~

.t

~ ~5

::f-.:>..?



-jj

(9)

1440

8:

(9 )

l,n -;:;a~~ 1013

*see previ ous page footnote .

~ :

V'Lfi ;\.; t ';\.; B;:;6>

~~

:;6 ~

~'itt6

2_'itl6

k;\.;~B

k;\.;t]5lf

"" ~-£ -t"o

Lesson 10 CLOCKS AND CALENDARS Substitution: 7.

~.t5ti

Cues:

- B --r-t"o

a)

=s

b)

-B

c)

12118

d)

.liB

Question-Answer:

8.

~.t5ti

A:

(~.t5ti)

Cues:

9.

Q:

\.!>~

~B

--r-t"o

a)

the seventh

b)

the eighth

c)

the ninth

d)

the tenth

7-A~"i-

!_., 1 -t-;6~0

+-svc

A: Cues:

10.

fPJ B --r-t-;O~o

Q:

(7-A~"i-)

a)

the eighteenth

b)

the twentieth

c)

the twenty-fourth

Q:

( if> ts:. t" f ~ --c-j'";O>o

211

JAPANESE BY THE TOTAL METHOD

212 English Equivalents 1.

Q: A:

What time is it now? (It's) one o'clock. a) (It's) two o 1 clock. b) (It IS) three o'clock. c) (It's) four o'clock. d) (It's) five o'clock. e) (It's) six o'clock.

2.

Q: A:

Is it seven o'clock now? (a) Yes, it's seven o'clock. (b) No, it's not seven o'clock.

a) b) c) d) e)

Is Is Is Is Is

3.

4.

it eight o'clock now? it nine o'clock now? it ten o'clock now? i t eleven o'clock now? it twelve o 1 clock now?

(a)

I got a) I b) I c) I d) I e) I

(b)

Yesterday, I got up at five o'clock.

(c)

Tomorrow, I'm going to get up at five o'clock.

Q:

A:

up at five o'clock. got up at five-thirty. got up at six o'clock. got up at six-thirty. got up at seven o'clock. got up at seven-thirty.

What time (or (I) go to bed a) (I) go to b) (I) go to c) (I) go to d) (I) go to

5.

I was a) I b) I c) I d) I e) I

6.

Q: A:

when) do you go to bed? at ten. bed at ten-thirty. bed at eleven. bed at eleven-thirty. bed at twelve.

born in January. was born in March. was born in May. was born in July . was born in September. was born in November.

In what month did you come? (I) came in February. a) (I) came in April. b) (I) came in June. c) (I) came in August. d) (I) came in October. e) (I) came in December.

7. Today's the first. a) b) c) d)

Today's Today's Today's Today's

the the the the

second. third. fourth. fifth.

Lesson 10 CLOCKS AND CALENDARS 8.

Q:

A:

9.

Q:

A:

10.

Q: A:

213

What day is it today? (Today 's/It's) the sixth. a) It's the seventh. b) It's the eighth. c) It's the ninth. d) It's the tenth. When are you going to give the exam (Zit .~ When do CyouJ do [the] exam)? On the eleventh. a) On the e i ghteenth. b) On the twentieth. c) On the twenty - fourth. When is your birthday? January l st . a) March 3rd. b) May 5th. c) July 7th . d) September 9th.

SECTION 4.

GRAMMAR

10.1 . THE DUAL NUMBERING SYSTEM. Since Japanese is written with an adapted orthography borrowed from Chi nese, a number of interesting features occur in the Japanese language which reflect the influence of this borrowing . One of these is the existence of two systems of numbering: one which is rooted in the original Japanese language, and one which manifests influence f r om the Chinese. Except for a very few notable exceptions (see jUyokka the fourteenth day of the month and hatsuka the twentieth day of the month of this lesson), native Japanese numerals extend only to ten, after which the numerals of Chinese derivation must be used:

Japanese

From Chinese

Japanese

From Chinese

hitotsu

1

ich!

yattsii

8

bach{

futatsii

2

n~

kokono tsu

9

ku; kyii

mittsG

3

san

to

yottsG

4

sh! (often substituted by yoii)

itsutsu

5

g6

muttsu

6

roku

nanatsu

7

shich1 (often substituted by nana)

~

.,

~

~

10

j ij

11

j uich!

12

jiin{

20

n!jii

30

saii.jii

214

JAPANESE BY THE TOTAL METHOD

To tell time and to tell the months and years, Japanese uses the Chinese- derived system of numerals. The months have no special "names" as such (e.g. , "January," "February," etc. ) . The student will note with interest that the Japanese designation of months is by "moons"- "first moon," "second moon," etc . 10.1.1. ACCENT ON NUMERALS. Some Japanese words do not have an innate accent but may acquire an accent under certain conditions. This is especially true of numerals and adverbs . Some numerals (see 10.1 and also Lesson 14) do not have an innate accent, but they acquire an accent on the final (or near- final) syllable under certain conditions, i.e. , when followed directly by an element (or " case") marker such as de. For exampl e: Koko ni isu ga f utat s u arimasu . Here are two ahairs. Futatsu de 1kura desu ka? How muah (does it aost) for two?

When a numeral is accented differently according to its use, this is indicated in the vocabulary list in the foll owing manner : f u tatsu 0 • 10.2 . TELLING TIME . To ask the time in Japanese the copular clause construc tion is used: f ma nafij i desu ka? What time is it now? The answer follows the same construction: Ima jGji des u . It 's now ten o'aZoak. Though time nouns occur in the above examples , the Time element (which is a peripheral slot in clauses) does not occur. The phrases nafiji desu what time? and j ~j i desu ten o 'aZoak manifest the copul ar predicate (NOUN + desu ). Questions about time are usually more specific in Japanese than in English . Instead of asking , "When do you go to bed?" it is more natural in Japanese to say: Ana t a wa nafiji ni nemasu ka? At what hour do you go to bed? In this verbal clause , the time el ement is manifested by nanj i n i at what hour (and the time- mar ker particle ni is used). The suffix for designat i ng the hour is -ji o 'aZoak; minute, -fun or - pun ; and second, -byo. Thus, the question Anata wa nanj i ni nemasu ka? may be answered by substituting a numeral for the prefix nan- in the pattern of the question : Watas hi wa j~j i ni nemasu . I go to bed at ten o ' aZoak. To tell the time more exactly, minutes are added to the hours as follows: j ~j i nij uppun-sugi 20 minutes after 10; j ~ji nijuppun- mae 20 minutes before 10; juj i-hafi ten- thirty.

Lesson 10

SECTION 5.

215

CLOCKS AND CALENDARS

DIALOGUE

c::. co~(/) it: tt.,

il·~ ~

.¢-:': ~

c. 5 i>

El :

<

vtV>?J~

<

washing ; laundry

(a) plan

J:5V>

?5v.

preparation

vtlv~L9>5-t6

vtlv~ L9>5 -t6

vt studie s ; researches

Dialogue

sentence final- pa:rotide3 (not) very (much) (occurs

r ~

neg . ) Reading (a) formal int erview (fir st meeting) with a prospect ive marr i age partner

U3sson 11

223

WHERE3 WHEN3 AND HOW

.rl-T

Yoshiko (name3 fem . )

a-

particle 3 Starting Point marker ~

te~

( tb f.£ \{)

'"('~

;

tb k. )

vi graduates

c --r f.£ \{) ; -ctz: ) ~

--:1

i>~m~ 1v

i>~~~~lv

.!?h~l.t

.!?h~

(your/his) mother I

l.t; .!?h~ l.t; .!? n ~ L- .t ; .!? R~ L- .t

curriculum vitae; record of (one's) life

~~tc"b

friend

i>~~ 5 ~lv

(your/his) father

-t-C:.L:'

then; thereupon

tJ>..s-: ~

~-

(the) Kabuki Theater (a) day very (a) date; engagement

~...~

'!'

~~

Shibuya (place name)

L»<

WJTm

Shinjuku

(p~ce

name)

~'~ ' 7 Jv

hotel

i>~~

i>~ "b ~

tea ceremony

i>~.ft

i>~tl

flower arranging

1/f:

?if:

still

11=~

-?7~

vt makes

( 11= ~:d.£ \{) 11=? tz: ) vt-:::>C:.Iv

;

f.£

(-? "" J: ~·1 L-fz:o

( -=t 2:. --r Vi ) i:>"" J: tr 1

-it~ --r

l tz:o

226

5.

JAPANESE BY THE TOTAL METHOD Q:

th t.r. tdd

A:

(

E C::. -r:

~~It>~

:bfz: LAi)

iJ~

Ee:>J6l:

Cues:

~

lv C:. J; e:>J6

a)

~It>'£ -t"iJ~o ~01-t"o

Substitution:

VJ? L.lvl1-t"o

6. :bkltl Cues:

7.

a)

-"'/v~J;5

b)

~j}]

c)

.!? J; 5 .!?

d)

.!? J; fi

'""

:bt-cltl 7'_,,_ Cues:

-r:

l: lv :b L-1

a)

""""'~

-"'/v~J;5

b)

tc~t>EL.6

.!';J;5.!?

c)

V.A~7/

d)

5-be:>-t-c

8. :btz: LiJ!

~'""

~j}]

VJ\t>iJ~(

a)

VC:b

-t-5C:.

b)

vc<

.!? J; 5 .!?

c)

:/'-v:Y

-!:tlvt-c<

d)

~-

.t 5 It>

:bt-c L-iJ~ 7c-cV> Cues:

l ko

.!? J; fi~

0-:::J~

Cues:

9.

~

:/'-v:YC>-I:tlvt-c" J:

8.

~1

tL 1 l

9.

~trl,/) ,

10.

t~

~---£

l k, :b 1~ l , -r,

, -r, tz: ) -rl..

~

; l:1v l

(place name)

rides; boards (a vehicle)

1lt.]j[

l: lv l

~:tl

~:tl

boat; ship

(}fi~

(} 2 ? ~

plane; airplane

:t:&TL"-:?

"bii~L"-:?

subway

f-\.]j[

~ l~

train (lit.~ steam [engine] train ; meaning long- distancP train)

~

~

electric train

----:1

/77-

sofa ;* couch

fz:fz::Jj..

fz:fz::Jj..

tatami (straw mats for floors

t5D il~

t5D il~

floor

-:?(:{_

-:?(:{_

desk; table

:Jo-. <

:.10""

/77-

(

:Jo-.iJ~t.c: \;> ;

~<

( ~il~t.c: \;> ~\;>

tz: )

btz:t.c:~

;

:Jo-.1;> k )

<

vt places ; puts

( :.10"" il~ t.c: \;> ; :jO">l/) k

q;E< ( q; 6

) vi walks

--:-1

il~

t.c: \;>

q;~V>tz:) btz:t.c: ~

Watanabe (personal name)

q; t.c: tz: il~ tz:

you (plU:t'alJ

Dialogue

q; t.c:k}5 ----}5

----il~

tz:

pronoun plu:t'al suffix (thoug not used with watashi; also used with nouns designating people in honorific speech)

- :tllv

classifier for years

"?:t

ago

ct.6 ;-- ct.6

(a) place

~~6/v

of course ; certainl y

l!v~lv-l:tlv

limited express ; t he "Bulle train " (lit. ~ New Trunk Lin

*In this word some Japanese speakers today use the English " f" .

Lesson 12

237

DIRECTIONS

adj ( is ) f a st Reading

tl6

spring (one of the seasons)

-:1

1"

t-&~

ts:.1J~

inside

.7}.-?C:.

(the) capital

~f

map

"( \0

( ;Jo.. ) ~

;Jo-.-r

~lv ).;.1'

~

; -r ~

:ffj3:f±

tAt L:. ~

t-c. "'? tL)

vi gets off (a vehicle)

( i>--lrtoe~ ; ~.!? k)

toe ~ ; i>"' .!? k )

-:r} 6

tb6 ( l:fj toe ~

;

l:fj k

Location marker

vi goes out ---:1

)

( IC toe ~

~

; IC k )

c.!?

C.!?

-tG

-c_ 9 ~"-

sky

c~

c~

vi flies

( ctl toe~ ; c,4.; it: )

bird

( c tltoe ~ ; c,4.;1t:) .::) :L -;;

J:1 ~

(a) jet (pl ane)

I ~ ~

1

Jv

missile

-7 -;;

~

o

~

rocket

.,!;:~ J; ?

town; street; section of to·wu

:If. ~

street ; road

e)(d G

(open) f i eld ( s)

~

.!?

forest; woods

~toe iJ~

~toe iJ~

~toe iJ~ili

~toe iJ~J;.. ~

country road

E?0

t:?~z.. c_ / r.J

road

~

country (rural distric t )

13

LES SON

LET'S GO BY BUS PROBLEM:

Some intransitive verbs occur in clauses with elements marked with o.

OBJECTIVE:

(l) To introduce the Means element . (2) To introduce the Presumptive inflection of the verb with Hortative meaning . (3) To show the use of a limited class of intransitive verbs with an element marked with o.

SECTION 1 .

VOCABULARY

Drill particle~

Means marker

marker (for writing); magic ink brush (for writing) india ink --,

cray- pas (a type of crayon)

0

:7 1/-''-.A --,

tJV-7 1.A

l:lv~~; -clv~~

electric train

--, --, 7.-t -:7; $-:7

fork

-::1 ~ .A/-_.,

steak

.A?-/

spoon

tJV - "?1.A

curried ( stew with) rice

--,

0

.A-7

soup

-J-17

j=117

knife

t'J~

~~ ( ~ G't,t \.n ;

vt cuts

( t'J I? t,t \.n ; t'J? f-r_ )

--,

?

?

tz: ) news

.:::.:1. -.A

baseball sumo (Japanese- style wres tling) scissors 251

Lesson 13 LET'S GO BY BUS

253

expressway road)

(lit ., high-speed

Diai:ogue "'

-It ftlv

{~~fT

V.-ltklv

*8

l}iJ!

g§"Q

I(C_

:bt-c~

:bk~

k)

:bk-::>k) live?

live?

(traffic) signal

-:6

Jj..

right (side /direction)

"i

-t

---iJ!:b

--side

Reading I

/')t f~lv

c?

( 0/ I(C_

)

/':hlv

vilvc?

n

~e:

1iJ!~

1iJ.\~

U.S.S.R.

c0//(C)

outside

C1 iJ! Gt.r: v. ;

C~ iJ.\ Gt.r: v. ;

1 iJ!? t-c)

1 iJ.\? t-c)

~< ~ iJ~ t.r: v.

~iJ~

vi turns (e.g., turns a aorner)

=2~<

near

~e:--c ! ?

after

~

~~m

~

--::-1

?

~L

lv ;

~ -::::> ~ L

lv

coffee shop; tea house

C:.?t>{'>

black tea

:b~V>

adj (is) young

-!tlv~~?l

missionary

(~it.,

red tea)

JAPANESE BY THE TOTAL METHOD

254

Common Expr essions

--... -c: ;;Q ~ \,/) ~ v ;0~ i) 6

--... -c: ~ tjWJ iO ~ ~ 6

KANJI STUDY

SECTION 2. 1355 ~

1056

-i-7]

1411 ~

968

.k

525

0 1015

!§

47

.1a

612

1£

1921

Jt.

169

has shopping (to do) at . . .

~JI[

t:lv L-t.>

--:1

7'/

"WJ6

~6

~

~

J;."b

.7)..-tJ

~

li

~kJ

*0

OiO~

gmO

vc L

1374

*: ** *0

c5~x5 OiO~

L ( "b

( 3)

367 ~=

.7)..~ ,;

~1!t!6

~-:::>~L"Iv

ft{;{_6

:t~

-ttlv~L

-ttlv~i5L

L:t 6

(11 )

(8)

Lesson. 13

SECTION 3.

LET'S GO BY BUS

DRI LL

Substitution.:

;t,Z,U:-:?L"

l.

Cues:

~~

a)

7-:/;;!/1Y!J

b)

~-r:

c)

-t"Jr.

d)

!I

i>~ ~

1.:~<

/'.A

L" jffEfVC

a)

tl![

J!Uj~~.~

b)

!J!/y-

EEt:fl~A.,~:t~

b)

/'_A

*~

c)

~h.

n<

3.

Question- Answer:

4.

Q:

ib t.r.. fc_ Vi

A: Cues:

0

]//'_A

2. Cues:

1 L- .t 5

{P]-c *1 1...-f-c.i>~o /'.A L" *1 L-ko

a)

!J!Jy-

b)

c)

t!li ±&T"L-:?

d)

~h.

L- .t 5

0

255

256

JAPANESE BY THE TOTAL METHOD

Substitution:

5.

b fc lAi

Vi~l:

(

)

£G.t?o

8. :@(

4. ~' 9(

)

£G.t?o

9.

5.

1t~t: < ~(

)

~;:!: ~' ~

~9

2. J'G~(

3.

&56?

10.

£Got-5o

"'{> (

)

£ L.t?o

(

)

1ft~(

)

)'\;(

£G.t?o £L,_t-jo

III . Consulting the map on page 262, give directions to the subway, filling in the blanks and using the verbs given. 1. ;t 7 Jt..-_ _ Wl __:!i __ ( te ~ ) ______ _ _ ___ o 2. -t;::

' ti.

(

*t.Ji

~ ) ____________

0

3.

£-:J9('_(~":?

0

six

-:--1

t.r. t.r. ":?

seven

i='-::::>":?0

eight

f~lv

six

--t*

tJJdllv tt-:::>f!lv ; r.t ~llv

-* =* -* lrn* 1i*

-;--,

i\* A* -t*

s even eight

~ ~? ~llv

nine

t.:. ~-:::> f~!V ; ~ '? f~ IV

ten

5. -r.t~;-Vf~;-vt~ (a liquid or dry measure; e . g. , one glassful of water)

{ii}Vf~

tl!vvt~

how many (glassfuls)?

-vt~

c:;?Vf~

one (glassful)

=r.t~

"Kr.t~

two (glassfuls)

- v:r~

"?!Vvt~

three (glassfuls)

lrnr.t~

?,.z,r.t~

four (glassfuls)

nr.t~

L'r.t~

five (glassfuls)

~Vi~

6-:::>vt~

six (glassfuls)

-tr.t~

t~t~r.t~

seven (glass fuls)

i\Vf~;i\r.t~

ti?vt~;r.t~r.t~

eight (glassfuls)

::flr.t~

~~?r.t~

nine (glassfuls)

-t vt~

l.:.~'?V;f~;~-:::>Vf~

ten (glassfuls )

SECTION 2.

1 732 1~ 1199

A

a

-;--,

KANJI STUDY -~

~~1~

71

-.L:..., -P

Ktc\..rl

~· 1

272 386 986

1730

JAPANESE BY THE TOTAL METHOD

llL

7K ~

1286 ~

:ili<

tJ ~<

tJ 75~ (

7.1<

Jj.f

Jj.f

w1W1

i~--f' -, !\-:? f'-:::>-:?

(10)

1\.F.l

273

COUNTING 818

+: +.F.!

t, ~ 5 tJ~:::i (10)

(10)

+B

ci>--tJ~

(10)

(11)

=+s

tl-:?76~

(10)

+*

t,~ ?~~lv;

j,

SECTION 3.

[;?f~lv

tll?f~lv

J\2t>:

DRILL

SuJ:?s titution : 1.

2.

C:V1"bVCtl ~IHTiJ~ --:? th .b 1-:t"o Cues: a) ?:5l:.t5 =-:? _-:? b) 7\.#c)

#-~

[m-:?

d)

~~

Ii.-:?

C:V5"bV'Ctl Cu e s :

3.

:bt-c. L- (

'""'-f'iJ~

-ft-:? th!J1To -1::-:?

a)

~~

b)

1-''7

J\.-:?

c)

1E

:71-:?

d)

0-j"-

+

vc ) tl

-T E i iJ! -A 01-:t"o Cues:

a) b)

c) d)

=A =A lmA nA

JAPANESE BY THE TOTAL METHOD

274

Cues:

a)

-tA

b)

/\A

c) 1LA d) {b)

c.v~-t> vcr.t

~VA:O!

bkLVi

(a) Cues:

-t:;A

/\A

b)

;\A

JLA

c)

JLA

-tA

Cues:

Cues:

7.

.Y-t:/'

c)

Vi:O~ ~

nif5c -t:;ij:5c

d)

-WJ=.F

1Lif5c

~!

-tU:

l~

1Lif5c -t:;ij:5c

"' / tJ 7-

"ft.if5c

trJ=.F

JLif5c

a)

.Y-t:/'

b)

Viii!~

lf[;O!

-~

-o

tJ/-7

!mil'

b)

-'"'A

"ft.il'

jl!/.Y ~ :0~0

d)

l,.Z,:O!

;h!/1-:t"o

J\il'

-til'

:lli"fr - =* Cues:

lt.A-c'"to

b)

~

a)

c)

f~

_if5c

-tL.VCVi

6.

-if5c

~;0!

l,.Z,

l

a)

bkLVi

(b)

!7:. v A iJ! -i:;A01"to

"ft.A,

a)

Cues:

5.

-tA

a)

¥-;v-.-...::.y

==*

b)

?;_,.Z,U.-::::>

c)

e:-;v-

-* 1m*

d)

=:I-7

n=*

~01lko

if5c

f~

lt.A-c'"to

Lesson 14 COUNTING

8.

-''77~

~*

jt-'"'( 1

-wJ6

b)

*

-1:;:;$:

-ltlv

/\::$:

lf(

c)

tz:lrf