CHAMBERLAINE
INTRODUCTION
TO
JAPANESE
WRITING
895.5
C44p
1905
UNIV
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​MICTU

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JAPANESE WRITING
Hetk
A PRACTICAL INTRODUCTION
TO THE
STUDY OF JAPANESE WRITING
(MOJI NO SHIRUBE)
BY
BASIL HALL CHAMBERLAIN
=
EMERITUS PROFESSOR OF JAPANESE AND PHILOLOGY IN THE IMPERIAL UNIVERSITY OF TŌKYŌ

YOKOHAMA
SHANGHAI
H
SECOND EDITION REVISED
LONDON CROSBY LOCKWOOD & SON
( HONGKONG
KELLY & WALSH, LIMITED
SINGAPORE
1905
[All rights reserved]
Um
895.5
C
44 ja
1905
Denison
Orientalia
2-1-39
37935
CONTENTS.
PAGE
Preface.
SECT. I.
vii
INTRODUCTORY REMARKS.
3
SECT. II.
SECT. III.
SECT. IV.
ON SOME GRAMMATICAL PECULIARITIES OF THE WRITTEN LANGUAGE.
PRELIMINARY EXERCISE IN THE Hiragana SYLLABARY.
FOUR HUNDRED OF THE COMMONEST CHINESE CHARACTERS AR-
RANGED AS WRITING LESSONS WITH READING EXERCISES
13
29
SECT. V.
ATTACHED.
ON THE STRUCTURE OF THE CHINESE CHARACTERS.
SECT. VI.
A TALE OF THE GOOD OLD DAYS.
SECT. VII.
MORE ABOUT THE Kana.
SECT. VIII.
PROPER NAMES.
SECT. IX.
ADVERTISEMENTS AND NEWSPAPER CLIPPINGS.
SECT. X.
EASY PIECES BY CONTEMPORARY AUTHORS.
SECT. XI.
ODDS AND ENDS.
SECT. XII. THE EPISTOLARY STYLE.
Postscript.
39
115
159
201
241 ·
267
319
387
421
475
INDEX I. CHINESE CHARACTERS ARRANGED ACCORDING TO THEIR RADICALS.
INDEX II. CHINESE CHARACTERS AND JAPANESE WORDS ARRANGED ALPHA-
479
BETICALLY.
506
INDEX III. SUBJECTS TREATED.
540
APPENDIX.
543
ADDENDA ET CORRIGENDA
548
PREFACE TO THE FIRST EDITION.
Though dealing-or rather because dealing-with a subject usually considered extremely
dry, the compiler of this Introduction has done his best to make it a "live book." Japanese
is no dead language; its crabbed symbols serve every purpose of daily life to one of the
most vivacious of modern nations. The solemn leading article, the skittish feuilleton, the
advertiser's puff, the post-card, the cheap telegram,-all these have now as familiar a home
in Japan as in any Western land. To them the learner must have recourse, be he mis-
sionary, merchant, or diplomat, if his study of the language is to bear fruit in practice,
though it is also no doubt true that the literature of an earlier growth must not be
altogether neglected; for in Japan, as in Europe, the old order of ideas crops out here and
there through the new,-forms in fact the basis on which the new stands. The exercises
and extracts given in the present volume have been selected in accordance with these views.
Utility alone has been considered; nothing has been conceded to antiquarian erudition,
except in so far as it may help to light the practical student on his way.
The compiler is under obligations to several Japanese authors and to the editors of
leading periodicals, for permission to reprint pieces published by them. Their names are
given in the notes attached to each piece. To Mr. W. G. Aston, C. M. G., his thanks are
due for permission to make use of some of the paradigms in the latter's admirable Grammar
of the Japanese Written Language. The chief books consulted on the subject of the ideo-
graphs have been the Rev. Dr. Chalmers's too little known work on The Structure of Chinese
Characters, and an essay by the Rev. Dr. Faber entitled Prehistoric China, published in
Vol. XXIV, No. 2, of the "Journal of the China Branch of the Royal Asiatic Society;'
furthermore—indeed very specially the late Dr. Wells William's Syllabic Dictionary of the
Chinese Language, which has been referred to for almost every character here given, and
from which definitions and derivations have been frequently borrowed. Mr. Lay's Chinese-
Japanese-English Dictionary and Dr. Hepburn's and Captain Brinkley's Japanese-English
Dictionaries have also frequently been consulted with profit. The consideration that all
foreign students of Japanese are certain to have one or other of the above-mentioned dictio-
naries at their elbow has allowed the definitions to be reduced to a minimum. It is assumed
throughout that the student is acquainted with the present writer's Handbook of Colloquial
Japanese, and possesses a fair working knowledge of the spoken speech which that Hand-
book serves to elucidate. His thanks are due to his Japanese assistant, Mr. Y. Ōno, without
whose useful counsels and unremitting care the work could hardly have been carried to a
successful issue.
viii
PREFACE.
Should any Chinese scholars-we mean Europeans versed in Chinese-honour the book
with their notice, they will, it is trusted, remember that its object, so far as the Chinese
characters are concerned, is to teach the way in which these are used by the Japanese. Other-
wise, to whatever real shortcomings it may possess they will add sundry imaginary ones, as
the signification given to a considerable number of characters varies in the two countries,
just as many English words borrowed from the French no longer retain exactly their French
meaning. Purists even in Japan may censure the treatment of certain other characters, with
regard to whose orthography usage varies. Giles, in the preface to his great Chinese-English
Lexicon, avows his inability to adhere consistently to the "correct" forms. The forms in
Williams vary according to the font of type employed; and in such a favourite native
Japanese dictionary as, for instance, the
會​玉​篇 ​KWAI GYOKU-HEN, forms "correct"
and "incorrect" of the same character jostle each other on the same page. Usage thus
vacillates, and we have doubtless vacillated with it. If there is error in this, it is an error
to which Japanese writers and printers at large must plead guilty. In any case, the question
is not one for beginners to plunge into. It is a curious detail, best left as a bone of con-
tention to purists and lexicographers.
With these acknowledgments and explanations the compiler sends forth this Introduction,
—the result of much thought and labour,-in the hope that it may safely lead honest and
laborious students through the maze of the most intricate system of writing now extant
upon our planet. Suggestions and corrections will be welcome at any time.
Miyanoshita, March, 1899.
PREFACE TO THE SECOND EDITION.
The opportunity of a new edition has been taken advantage of to subject the whole
work to careful scrutiny. While no change in essentials has been deemed necessary, it is
hoped that the numerous small additions now made will help to smooth the learner's path.
The author begs to express his thanks to Mr. Walter Dening, Mr. James Murdoch, Dr.
J. N. Seymour, Mr. W. B. Mason, and the other friends who have favoured him with cor-
rections and suggestions, as also to his Japanese assistant, Mr. E. Nagahara.
Yokohama, May, 1905.
FIRST SECTION.
INTRODUCTORY REMARKS.
ક્
FIRST SECTION.
7
INTRODUCTORY REMARKS.
It is no doubt possible to learn to talk any language without acquiring its
written system. Thousands in every land speak their native tongue fluently who
are entire strangers to letters. At the same time we feel, in the case of English for
instance, that there is somehow a great gulf fixed between him who merely speaks
by ear and the man to whom tradition reveals the whole history and inner life
of our language through the more certain channel of the eye. We should not
even allow that a foreigner really knew our language who should jot it down in
some private and particular notation of his own. We expect him to learn our
orthography, and in short to write English as the English write it. That our
orthography is cumbrous, unscientific, self-contradictory, has nothing to do with the
matter:-it exists, and not to know and practise it is to lack the better half of an
English education.
a
Now similar considerations apply to Japanese with even greater force. To à
very considerable extent the written system here is the language,-the language
itself and the way in which the natives write it being indissolubly linked together.
True, the introduction of a Romanised transliteration possesses great utility for
foreign students. Many of us hoped at one time to see such a transliteration
adopted by the Japanese themselves, and worked hard with that object in view.
Romanisation would have served two worthy ends; it would have vastly simplified
the task of all learners, whether native or foreign, and it would have brought
the mass of the Japanese people into closer relations than is now possible with
the mental habits and the literature of the West. As a matter of fact, the
efforts of the ROMAJI KWAI, or Romanisation Society," failed completely, as did
also those of the Kana no KWAI, a more narrowly patriotic association started with
the object of substituting the exclusive use of the Kana syllabary for that of the
Chinese character, and equal discomfiture awaited the attempt made by the
Educational Department in 1900 to tamper with the accepted script. Neither
66
4
FIRST SECTION.
66
Japan's signal victory over China in the war of 1894-5, nor her previous abandon-
ment of Chinese philosophical and other ideas has affected by a hair's-breadth her
dependence on the Chinese written language. On the contrary, Japan continues
to draw from Chinese sources almost every new term needed for the representation
of European things. "Savings-bank," "promissory note,' "currency reform,"
current and deposit account; "vaccination," "anesthetics," antiseptic,'
"hypodermic injection;' "electoral district," "order of the day," "standing
committee," previous question; " "breechloader," "ironclad ; " church,"
"bishop," "sacrament," "predestination," well-nigh every technical term
required in every new branch of knowledge is obtained by combining two or
more well-known Chinese vocables into convenient, self-explanatory compounds ;
and with this ever-increasing multitude of Chinese words, the empire of the Chinese
ideographs becomes riveted more and more firmly as the years roll by. At the
present day, the system of writing employed by the Japanese people remains
essentially the same as it was a thousand years ago, namely, a mixed system
founded on the Chinese ideographs, which are used partly in their full form with
their proper ideographic signification, partly in abbreviated forms having phonetic
values and constituting syllabaries to which the name of Kana has been given.
The most important of these Kana syllabaries is the Hiragana. The Katakana is
less widely used.
It seems advisable to state the case thus clearly at the outset, in order, by
disembarrassing students' minds of erroneous notions, to prepare them to face their
real task. Some worthy folks, while compelled to allow the insufficiency of mere
Romanised texts, go on clinging to the belief-shall we rather say the desperate
hope?—that if they learn the Kana they will have done their duty, that the Kana
is in fact the Japanese written system, that to know the Kana is to know how to
read and write Japanese, and that either the Japanese nation will end by adopting
the Kana as the sole and exclusive national method of writing, or that they may
do so, or that they might do so, and in any case that they ought to do so, because
then things would be so much simplified, and every one would be able to learn
Japanese easily and live happily ever after.
Good people, you are deluding yourselves, or others are deluding you. The
Kana does not suffice, the Kana by itself is not the Japanese written system, but
only the least important fraction thereof. As for its imaginary future triumph over
INTRODUCTORY REMARKS.
5
the Chinese characters, recent actual experience and all theoretical probabilities
point directly the other way. Besides which, it is not the future that practical
students have to deal with, but the present. Even allowing, for the sake of
argument, that foreigners imperfectly acquainted with a language are qualified to
pronounce judgment on the fitness or unfitness of its written system,-even allowing
this, and it is allowing more than reason herself will allow,-what then, so long as
the natives continue to write on as heretofore? Anglo-Saxon students should
surely-of all people in the world-be practical. Now this fiddle-faddling with
the Kana is not practical. Not only every popular book, every important news-
paper, every official notification, but every private receipt, every estimate, every
play-bill, every advertisement, every letter, even every post-card sent by your
cook or "boy" to his people at home, every written document of every kind
connected with the life and work of the whole people of Japan, individually and
collectively, has the Chinese character as its basis. It is all "Mixed Script "
(Kana-majiri), that is, a backbone of Chinese characters with Kana ligaments. And
do not come and tell us-as if they constituted some startling new factor about to
revolutionise Japan-of booklets in Kana or in Roman, which you have lighted
upon in some nook or corner. Such things exist,-have long existed; but they
possess, for all practical purposes, about the same importance (or unimportance) as
the "Fonetik Nuz," or those English treatises on "Little Mary and her Lamb" and
cognate topics which sometimes drip from the press in words of one syllable exclu-
sively. This being the state of the case, any missionary whose attainments are
limited to the Kana will inevitably figure as the intellectual inferior of the meanest
of his flock,—a position not calculated to assist him to gain influence or respect.
In the British and German Consular Services such considerations as these have
been acknowledged and acted upon from the earliest days. The same apply, more
or less, to all European students of the language. If they are to learn Japanese at
all, why not learn it thoroughly? After all, very dull Japanese boys succeed in
learning the characters perfectly. Then why should not we do so? The path,
though arduous, is really less so than appears at first sight, and all sorts of
interesting episodes are sure to occur to engage the attention and lessen the fatigue
of him who has the courage to travel along it. Recognise the difficulty, face it
honestly, work hard, and you will be rewarded by a knowledge genuine so far as
it goes, instead of a faulty and therefore misleading approximation.
6
FIRST SECTION.
A few words to explain how and why the 2,488 Chinese characters
comprised in this Manual were chosen,-why just those and not others may be
here in place. The Chinese language is said to contain over 80,000, if all rare and
antiquated forms be included in the count. The celebrated "KOKI JITEN " dictionary
registers about 41,000, exclusive of duplicate forms. Dr. Wells Williams's, which
is founded on it, has over 12,000, and Giles's over 13,000 including abbreviated
forms; but the last named lexicographer remarks that a font of 6,000 suffices for the
printing of a Chinese newspaper, and is moreover "an ample stock-in-trade for any
scholar." In Japan the stock-in-trade ample for a scholar is less. The European
reader might be apt to think that new characters have to be invented for the
representation of new foreign ideas. Such is not the case. All that is invented is
new combinations of characters, as mentioned above, that is, new compound words.
The tendency is rather to let rare characters drop out of sight, and to do new work
with familiar tools. Nor is it only rare characters that are here discarded:-scant
use is made of some which the Chinese employ familiarly, though it is also true
that the Japanese specially patronise certain others, and have even invented
a few of their own to represent words having no Chinese equivalents. These
considerations mar the usefulness, so far as Japan is concerned, of certain statistics
taken by foreigners in China regarding the relative frequency of the recurrence of
characters, statistics whose general utility is further gravely impaired by the
fact that translations made by foreigners or under their supervision,—not genuinely
native works,—were taken as the basis of enquiry. In this dilemma, the only
thing to do was to look about for more trustworthy guidance on a matter of such
paramount importance to practical students. Enquiry at Tōkyō printing-offices
then showed the maximum number of characters employed in this country to be
9,500; but of these, over 3,000 are extremely rare, serving the needs of such
writers only as affect archaic and poetical diction. The number kept on hand in
all the usual varieties of size and "face" is 6,100; but this again must be regarded
as a maximum, an abundantly liberal limit stretched so far only by precaution,
in order to meet the multifarious requirements of commercial, legal, medical,
administrative, and other technicalities, but never attained to in the practice of any
one writer or even in the knowledge of the general public. Scholars carry over 4,000
characters in their heads, the general public about 3,000. One thousand characters,
which the experience of forty years has proved to recur with special frequency,
INTRODUCTORY REMARKS.
INTRODUCTORY
7
are kept by the type-foundries in larger quantities than the rest; but a few
additional hundreds on the boundary line run them hard in the race, and about
1,000 more form a needful acquisition. This gives a reduced total of about
2,500 common characters with which students must familiarise themselves, whether
their ultimate object in learning Japanese be mission work, diplomacy, com-
merce, or learned research. Just these indispensable characters are here brought
before their notice, with explanations thrown in occasionally to ease the drudgery
of memorising. A few-a very few-characters of a lower degree of usefulness
may be distinguished by a keen eye among the number. But there is method even
in this madness. Such characters are brought in because they help to explain
others of greater importance, the total result of their introduction being to lighten
the learner's task. The same end is sought to be attained by varying the method
of tuition, a certain number of characters being given singly, others apropos of
particular subjects, such as the study of the radicals or of proper names, others
again in connected texts, which might themselves-in part at least-be committed
to memory, as a lesson both in characters and in Japanese style.
Now with regard to the method of using this Manual. The Section on the
Grammar of the Written Language is made necessary by the considerable differences
dividing the written from the spoken speech,-differences which affect both
etymology and syntax. Read this section over first, in order to obtain a general
idea of the subject, and thenceforward consult it from time to time as occasion
offers. You will thus be prepared to understand the Exercises attached to Sections
III and IV and the Extracts from native authors given later on, which are intended
to serve as practice not merely in the characters, but in that form of the Japanese
language which those characters are habitually employed to transcribe.
Section III treats shortly and in a purely practical manner of the Hiragana.
Technical discussions concerning the origin and development of that syllabary,
useless to the beginner, though highly interesting and instructive to the more
advanced student, are reserved for a later section. So is the Katakana, whose
utility, as already stated, is inferior. With Section IV preliminaries are left behind,
and the Chinese characters are attacked.
* For instance, the doggerel verse introduced apropos of the name of the "camellia" and other useful names of
trees (Nos. 1334-8) happens to include the hisagi, for which there is little or no need; but in such a context it is
actually easier to learn that character than not to learn it.
8
FIRST SECTION.
со
The student is strongly urged to take all these and the succeeding sections
in the order in which they are printed, this not only because the method of
compilation followed presupposes in the reader of each section a knowledge of
the contents of the preceding sections, but because the nature of the subject-
matter itself is best understood and assimilated by such a course. Experto crede.
To endeavour to swallow all the varieties of the Kana at one gulp will give you
an intellectual indigestion :-time will be better apportioned, labour better
bestowed by taking them in detachments, the most useful forms first, and mixed
with the Chinese characters with which usage constantly combines them. Then
again the characters. Some beginners would fain learn their rationale, plunge
into radicals and phonetics and ancient forms, into every sort of theory,-
before having laid any foundation in practice. This is totally wrong, and can
lead only to disappointment. Plain as it may come to appear later on, the
nature of the Chinese character is too remote from anything in European ex-
perience to be clearly apprehended from mere external description. Practical
acquaintance with a certain number of characters, their sounds and uses, is a
necessary preliminary. Avail yourselves of memoria technica whenever it offers;
and whenever possible, learn the characters in groups of two or three rather than
singly. A plan which has been found helpful by many is to have characters
written in a good bold hand on square bits of cardboard, of which a few can
always be carried in the pocket or stuck up about the room.
No directions are given in this work for the technique of calligraphy, because
no mere verbal directions can be of any use. The aid of a writing-master is
indispensable, and it is taken for granted that both characters and Kana will be
duly practised, native brush in hand. The pages of characters printed large are
given with that object. To write the various strokes in the order prescribed by
custom is a matter of vital importance, because that order has determined the
nature of the abbreviations used in the cursive style.
Notwithstanding great additional trouble to the printer, it has been con-
sidered worth while to indicate throughout the volume whether the reading of
each character is Chinese or Japanese. This has been effected by putting the
native Japanese in italics, the Chinese in small capitals, thus ICHI wo kiite, sū wo
shiru. Sometimes a single word may belong half to one language, half to the
other, as ZoNzuru, tesŪRYŌ. The compiler does not advise students to trouble
INTRODUCTORY REMARKS.
9
themselves much about this matter at the outset. He only hopes that they
may be led insensibly towards sound notions of etymology. As for burden-
ing the memory, of set purpose, with all the pronunciations of any particular
character, that is very far from desirable. In most cases one or two suffice.
Take for instance, No. 17 on our list. In that context it is read MEI,
the two characters together forming MEIJI, a word needed every day
of one's life in Japan, as it is the "6 year-name" of the present reign, and
consequently employed every time the date is written. It would be worse
than useless at first to try to remember that MEI is what is technically
termed the "KAN-ON" of this character, that its "Go-ON"
Go-ON" sound is MYō, and
that certain contexts require it to be read akeru, akiraka, and perhaps in yet
other ways.
To do so would be worse than useless for two reasons. One is
that time can be more profitably employed in learning something else. The
other is that all really necessary additional items of knowledge concerning the
An example
character will come naturally in process of time and study.
明
​in the first reading lesson brings to our notice the compound
MYONICHI,
in which 明 ​occurs again, and thus reminds us of the fact already familiar
from the usage of Colloquial speech-that Myō, not MEI, is the pronunciation to
be adopted in that special case. The rarer readings can afford to wait. That is
how Japanese children learn,-synthetically, not analytically, and the results
thus obtained are far superior. Theory will come in its place. The occasional
theoretical items that have been sprinkled here and there will serve the double
object of introducing the student to Far-Eastern ideas at the same time as
he imbibes the Far-Eastern words and symbols. As the Japanese proverb
teaches, IK-KYO RYŌ-TOKU, “One effort and two gettings," or, as we say in
English, "Killing two birds with one stone:"-that is the surest way to learn,
the pleasantest, and also the most profitable. The story forming Section VI, and
the various extracts forming Sections IX and X, will fulfil a similar purpose.
Section VI gives a peep into the life of Old Japan described in the most familiar
phraseology. All the pieces in Sections IX and X are quite modern. The
selection has been guided partly by ease of style and usefulness of the
characters occurring in them, due regard being had to variety. It has also been
thought best to include such pieces only as treated of subjects more or less
permanently interesting, which the lapse of a few years cannot render antiquated
10
FIRST SECTION.
even in this swiftly changing land. Fires and official banquets, typhoons and
elections are among the evils to which Japanese society will remain subject.
Country trips will continue to be taken, comparisons between China and Japan
will continue to be instituted, and questions of morality to be discussed. Hotels
will always be advertised, patent medicines puffed, books reviewed, rewards
offered for lost articles, and chit-chat of much the same tenour will fill the
postman's bag. The letters and post-cards given in Section XII have all been
either actually received or sent, the names only being sometimes changed.
They are not imaginary productions, such as "Ready Letter-writers," both in
and out of Japan, are apt to deal in. The student's native teacher may not
improbably despise some of them as trival or okashii. In the compiler's opinion
such little leaves, however humble, torn from the page of real life are more
likely to prove useful than high-flown effusions about the New Year, and the
cherry-blossom, and the virtues of ancient heroes.
In conclusion, as some guide to those who might wish to divide up the
contents of this Manual into various "standards," the compiler would suggest that
the first standard should include Sections II-V, the second Sections II-IX (for
the earlier portions must never on any account be let drop), and the third the
whole book. Ability to read the cursive texts in Section XII might, however, be
generally excused, or considered as an extra feat for which special marks would
be given. A similar consideration applies even more strongly to the list of 2,040
extra characters printed as an Appendix, which do not properly form part of the
present work, but are rather to be regarded as a finger-post indicating the path
to those who sigh for more worlds to conquer.
SECOND SECTION.
ON SOME GRAMMATICAL PECULIARITIES
OF THE WRITTEN LANGUAGE.
*
SECOND SECTION.
ON SOME GRAMMATICAL PECULIARITIES OF
THE WRITTEN LANGUAGE.
For some reason not yet adequately explained, none of the Far-Eastern nations
of our day are accustomed to write as they speak. Though Colloquial texts exist,
they form the exception. The business of life-whether in books, letters, or news-
papers—is consistently carried on in a dialect partly antiquated, partly artificial,
whose grammar differs notably from that of the spoken speech. In the case of
Japanese, the two seem to have diverged some time between the eighth and the
eleventh centuries of our era, since when, though mutually influencing one another,
they have never coincided, and each has developed separately along lines of its own.
The adjective and verb are the parts of speech-or rather the part of speech,
for in Japanese the two really form but one-in which the difference is greatest.
In the "Colloquial Handbook," Chap. VII, ¶ 175 et seq., especially ¶ 177 and
¶ 180, the student has already heard incidentally of the three-fold inflection of
adjectives in the Written Language,-Attributive, Conclusive, and Adverbial (or
Indefinite),—the first ending in ki, the second in shi, the third in ku. There is
yet a fourth-the Perfect-which ends in kere.
I. The Attributive form is used when the adjective precedes the noun, as :—
Takaki yama, "a high mountain." It is also used predicatively at the end of
the sentence, when the latter contains either of the emphatic particles zo and nan, or
an interrogative word such as ka? ya? tare? nani? etc., thus: Kono yama zo takaki,
"This mountain is indeed high." Kokoro ya yoki ? "Is his heart good?”
Furthermore, it often serves as a noun, thus:
Yama no takaki ni yorite, “Owing to the height of the mountain.
II. The Conclusive form is the proper, normal predicative form, and concludes
(whence its name) the sentence, unless any of the disturbing influences mentioned
under I, III, and IV occur to supersede it :-
Yama takashi, "The mountain is high."
14
SECOND SECTION.
III. The proper and original function of the Adverbial or Indefinite form is
that of predicate at the end of every clause of a sentence excepting the last, which
alone takes the Conclusive termination shi. Thus:
Yama takaku, KIKO samuku, JINKA
sukunashi.
It also serves to qualify verbs, as
IV.
Takaku miyu.
Hayaku hashiru.
"The mountains (of a certain country)
are high, the climate is cold, and the
human dwellings there are few."
"It looks high."
"He runs quickly."
The Perfect form replaces the Conclusive at the end of the sentence,
when the latter contains the highly emphatic particle koso:-
FUJI koso takakere, "It is indeed Fuji that is high."-This fourth form,
extremely common in the Classical poetry and prose, tends to drop out of the
Modern Written Language, which dispenses, as far as may be, with the use of
emphatic particles. Even in the classics, koso loses its government when it occurs
in one of the dependent clauses of a long sentence.
This, the first stage of inflection—the fourfold division into Attributive, Con-
clusive, Indefinite (or Adverbial), and Perfect-must be gone over and reflected on
till it is quite familiar; for on it the whole superstructure of the conjugation of
verbs and adjectives rests.
Leaving Adjectives for a while, let us now consider the case of verbs. Exactly
the same theoretical considerations apply to them, but their terminations are
different. Take, for instance, the verb nagaruru, "to flow"
"to flow" (Colloquial nagareru).
This verb has
I. The Attributive form nagaruru, as Nagaruru kawa, "a flowing river." Kawa
20 nagaruru, "The river does flow"
The river does flow" (emphatic). Kawa ya nagaruru ? "Does
the river flow?" Kawa no nagaruru ni yorite, "Owing to the flowing of the river,'
'because the river flows.'
II. The Conclusive form nagaru :-Kawa nagaru, "The river flows."
III. The Indefinite (Adverbial) form nagare :-Kawa nagare, yama sobiyu, “The
rivers flow, and the mountains rear their heads on high." Nagare-izuru, "to flow
out," i.e. "to go out by flowing" (an adverbial relation).
IV. The Perfect form nagarure:-Kawa koso nagarure, "It is the river alone
that flows."
GRAMMATICAL PECULIARITIES OF THE WRITTEN LANGUAGE.
15
Though in the case both of adjectives and of the second conjugation of verbs
(to which nagaruru belongs) it happens to coincide with the Adverbial (Indefinite)
form, one more form must, for theory's sake, be added to the above four
fundamental forms, viz.
V. The Negative (or Future) Base. This never occurs as an independent
word, but is the base to which the suffixes indicating negation and futurity are
attached (conf. "Colloq. Handbook," ¶¶ 225, 227, 256). Negation and futurity
belong together, because both indicate that which has not yet happened.
N. B. The two verbs eru, "to get," and heru, "to pass," may hardly be recognised in their Written Language
forms, where their Attributives are uru and furu, their Conclusives u and fu respectively. Yet a careful comparison
with nagareru in the paradigm on the next page will show these seemingly aberrant forms to be perfectly regular.
Remember that in Japanese h and ƒ interchange.
There being in the Written Language four regular conjugations of verbs, four
irregular verbs, and two conjugations of adjectives, the inflections of which all
these are susceptible may be tabulated as on the next page. The important items
to take note of with regard to this table are the following:-
That only the Irregular Verbs kuru, suru, and shinuru (together with inuru,
"to depart," which is conjugated like shinuru),-that only these irregular verbs
have separate forms appropriate to each inflection. All the regular conjugations
are more or less defective, the 1st, 2nd, and 3rd having each only four forms,
the 4th only three forms to perform the five functions. In the 1st conjugation the
Attributive and Conclusive coincide, in the 2nd and 3rd the Indefinite and the
Negative Base, in the 4th the Attributive and Conclusive on the one hand, the
Indefinite and the Negative Base on the other. In aru, "to be," the Conclusive
coincides with the Indefinite. In the Adjective conjugations the Indefinite and the
Negative Base coincide.
That though, in discussing words, it is usual to speak of, for instance, nagareru,
takai, yoroshii, following herein Colloquial usage, no such forms exist in the Written
Language. Colloquial nagareru represents the Written Language Attributive form
nagaruru, all such specifically Conclusive forms as nagaru having vanished from
the spoken speech. Similarly, Colloquial takai is from the Attributive form takaki,
Colloquial yoroshii is from the Attributive yoroshiki, the Conclusives takashi and
yoroshi being obsolete (but conf. "Colloq. Handbook," ¶¶ 178-9).
* This table and the following tables of particles are borrowed by permission (with one or two minor changes)
from Mr. Aston's "Grammar of the Japanese Written Language."
16
SECOND SECTION.

TABLE OF PRIMARY INFLECTIONS.
REGULAR VERBS
IRREGULAR VERBS
ADJECTIVES
1st Conj.
2nd Conj.
3rd Conj. 4th Conj.
Aru
Kuru
Suru
Shinuru
Takai
1st Conj.
2nd Conj.
Yoroshii
Oku
Nagareru
Ochiru
Miru
"High
"Good
""
"to Be
>>
"to Come
""
"to Do
"to Die'
""
"to Put
""
"to Flow
""
"to Fall
"to See
19
(stem talca)
(stem yoroshi)
Attrib.
oku
nagaruru
otsuru тери
aru
kuru
suru
shinuru takaki
yoroshiki
Conclus.
oku nagaru
otsu
miru
ari
ku
su
shinu takashi
yoroshi
Indef.
oki nagare
ochi
mi
ari
hi
shi
shini
takaku
yoroshiku
Perfect
oke
nagarure
otsure
mire
are
kure
sure
shinure | takakere yoroshikere
Neg. Base
oka
nagare
ochi
mi
ara
ko
se
shina
takaku yoroshiku
GRAMMATICAL PECULIARITIES OF THE WRITTEN LANGUAGE.
17
66
""
That the 2nd Adjective Conjugation comprises only those words whose stem
ends in shi or ji (the nigori of shi), as yoroshii, "good;" mezurashii, strange;
majiki, a suffix to be treated of later, etc. The difference between the 1st Adjective
Conjugation and the 2nd is that the former obtains its Conclusive by adding shi to
the stem, while the latter, whose stem already ends in shi or ji, employs that as its
Conclusive without adding anything. The penny-a-liners of the present day some-
times display their ignorance by forging such Conclusives as yoroshishi; but this is
as barbarous as if we in English, already possessing the past "threw" (from
throw"), were to add on "ed" according to the analogy of "loved," "invented,"
etc., and were to write "threwed."
U no mane suru karasu mizu ni oboru.
66
(from "to
The crow that imitates the cormorant
gets drowned in the water." (Suru, Attrib.; oboru, 2nd Conj. Conclusive.)
Sama-zama ari. "All kinds exist." (Conclus.)
Nan no EKI ka aru?
particle.)
66
What use is there?" (Attrib. after interrogative
Tada GAI aru nomi. There is only harm." (Attrib., because the nomi
following prevents use of Conclus., such particles being grammatically treated as if
they were nouns.)
66
Tagai ni ai-chikazuki, ai-shitashimu no kokoro-gake koso KAN-Yō nare. What is
indeed important to remember is that we should be friendly and loving towards
each other." (Ai, Indef.; chikazuki, Indef.; shitashimu, Attrib.; nare, Perf.)
TEN ni kuchi nashi. Hito wo motte iwashimu. "Heaven has no mouth; it em-
ploys men as its mouthpiece." (Both Conclus.)
Kuchi ni YAKUsuru wa moroku; kokoro ni chikau wa katashi.
Verbal promises
are brittle; heartfelt vows are enduring." (Suru, Attrib.; moroku, Indef.; chikau,
Attrib.; katashi, Conclus.)
Kono yo ni wa mata miru-maji. "In this world we are unlikely to see him
again." (Conclus.)
From what has been said above, the student will have gathered that the
primary inflections hitherto discussed are so far as signification is concerned—
but various forms of what would be termed in European languages the Present
tense. More correctly speaking, they constitute a sort of Aorist, which serves
to make general affirmations without special reference to time. Such an Aorist
does not suffice for the more delicate shades of expression. The Japanese, like
18
SECOND SECTION.
other folks, felt the need of greater precision. How, with so poor a supply of
inflections, did they set about expressing past and future time, negation, proba-
bility, and those relations which we term conditional, gerundial, etc.? They did
it by means of particles,-te-ni-wo-ha," as they call them, from the name of four
of the most important ones, much as we often call our alphabet the ABC. The
peculiarity of the case is that, while some of these particles are invariable, like
"to" and "if" in English, others are themselves verbs or adjectives, or frag-
ments of verbs, and therefore susceptible of the inflections given above. In fact,
they may best be described as a species of auxiliary verbs and adjectives, which,
being agglutinated according to fixed rules to one or other of the primary
verbal or adjectival inflections, produce compound inflections suited to express
every shade of thought. When time had lopped away redundancies, and had
moulded the verb and its agglutinated particles together by wearing them down.
somewhat, the final result was a series of moods and tenses not so very unlike
what we
are accustomed to in our European languages. Accordingly, the
Colloq. Handbook" (¶¶ 228 et seq.) treats the modern Japanese verb from that
point of view, giving paradigms of moods and tenses, that is to say, it founds
the study of the verbal forms on their respective Colloquial meanings. We
shall follow the opposite course in this brief analysis of the more primitive,
more transparent written speech, enumerating the various particles, indicating
to what primary inflections they are attached, and in many cases leaving
the student to see for himself how the meanings flow spontaneously from
the nature of the suffixes employed. The former method takes the sense
as its criterion, while the latter takes the etymology. Between the two
methods the student should imbibe a competent knowledge, not only of the
uses of the Japanese verb, but of its origin and anatomy.
Details neces-
sarily omitted from this sketch will be found in Aston's "Grammar of the
Japanese Written Language," Chaps. IV-VII. Note here in limine that particles
are less freely agglutinated to adjectives than to verbs. In many cases it
is necessary to intercalate the auxiliary aru, "to be." Thus, the past tense
of yoroshii,
was good."
good," is not yoroshiki, but yoroshikariki, yoroshikarishi, etc., "it
* Except in this single technical term, the particle in question is pronounced wa; compare bottom of p. 30.
GRAMMATICAL PECULIARITIES OF THE WRITTEN LANGUAGE.
19
Attrib.
I. PARTICLES SUFFIXED TO THE INDEFINITE FORM.*
Conclus.
Indef.
Perfect
Neg. Base
tsuru
tsu
te
tsure
te
nuru
n21
ni
nure
na
taru
tari
tari
tare
tara
› keru
keri
keri
kere
kera
shi -
ki
[wanting]
shika
ke
bid taki
tashi
taku
takere
taku
Tsuru is simply the verb hatsuru (Colloq. hateru), "to finish," minus its
first syllable. Its indefinite form te has survived in the Colloquial as the
termination of the gerund. Nuru comes similarly by apheresis from inuru, “to
depart." Both indicate the completion of the idea denoted by the verb; in
other words, they indicate (as a rule and within the limits of their etymological
signification) past time.
Taru, which is really a compound, as it stands for te + aru, often comes in a
roundabout way to correspond to the English Perfect tense, or to the Imperfect, thus:
YOKUJITSU futari wa TōлI ni tote, SHUTtatsu shitari. The two set off next
day, saying that they were going to the mineral baths."
66
Ta, the sign of the true Past tense in Colloquial, is a corruption of this
quasi-past tense suffix of the Written Language. [The taru here treated of must
not be confounded with another standing for to aru, which is frequently suffixed
to nouns ("Colloq. Handbook," Japanese-English Vocabulary).]
Keru, connected with kuru, "to come," means approximately "it came to
pass that," but often sinks into having very little meaning at all. It is
agglutinated sometimes to the main verb, sometimes to that verb followed by te or
ni (that is, the Indef. form of either tsuru or nuru just treated), thus:
Te wo awasete z0 ogami-keru. “They prayed with their hands tightly clasped.
Aki wa ki-ni-keri.
Autumn has come."
Shi, a past tense suffix pure and simple, is commoner in the modern Written
Language than all those hitherto mentioned. It will be useful to note at the
outset that, whereas among the primary inflections of Adjectives we find ki for the
* This form is here taken first, because in the present context it is the most important.
20
SECOND SECTION.
Attributive, shi for the Conclusive form, here in the suffix of the past tense shi is
Attributive and ki Conclusive. Thus :
ATTRIB. ADJECTIVE.
Omoshiroki hanashi.
An amusing story."
"That story is amusing."-
CONCLUS. ADJECTIVE. Sono hanashi omoshiroshi.
But on the contrary in the case of verbs, thus :
ATTRIB. PAST. Yukishi hito. "The person who went."-Yo wakakarishi toki,
"When I was young."
CONCLUS. PAST. Omoshirokariki. "It was amusing."
To employ shi instead of ki in the Conclusive relation, as may sometimes be
seen in the lowest class of newspapers, is a sign of crass grammatical ignorance.
Taki (Colloq. tai) is the Desiderative Adjective: On ide kudasare taku sōrō
(Epistolary Style). "I hope you will come."
The principal uninflected particles suffixed to the Indefinite form are gatera,
nagara, and tsutsu, which express various shades of the idea of simultaneity;
N. B. In our day, tsutsu has been fixed on by literal Japanese translators from English
to render our present participle in ing in such constructions as "I am reading," which they
render Ware wa yomi-tsutsu aru (more properly ari).
furthermore mi..mi and tsu. . tsu, which possess a frequentative force corresponding
to that of tari in the Colloquial (" Colloq. Handbook," ¶ 290); yo, which sometimes
helps to form the Positive Imperative; so* (na being prefixed), forming the Negative
Imperative, as na-yuki-so, "go not," and the postpositions mo, ni, and wa, which
are also thus used in the Colloquial.
II. PARTICLES SUFFIXED TO THE CONCLUSIVE FORM.
Attrib.
Conclus.
Indef.
Perfect
meru
meri
meri
mere
protoque
fudie
w
ran
beki
ran
ran
་
majiki
beshi
maji
beku
majiku
rame
bekere
majikere
Neg. Base
1
mera
[wanting]
beku
majiku
Both meru and ran express slight uncertainty. Ran stands by apheresis for
aran (Colloquial aro, from aru," to be ").
* Not zo, as some ignorant "teachers" may pronounce it.
GRAMMATICAL PECULIARITIES OF THE WRITTEN LANGUAGE.
21
66
66
Beki (conf. "Colloq. Handbook," ¶ 192) corresponds to our may, must,"
ought," "shall," "will," and constantly replaces both the Future and the
Imperative, especially in the epistolary style. Its negative bekarazu, "must not,'
"shall not," etc., is in very common use. Majiki means " may not," "will not,"
"must not," etc.
..is
Of uninflected particles suffixed to the Conclusive form, note rashi,
likely," kashi emphatic, na which sometimes forms the Negative Imperative, to cor-
responding to the English conjunction "that," and ya interrogative or exclamatory.
III. PARTICLES SUFFIXED TO THE ATTRIBUTIVE FORM.
Attrib.
to be
ان
naru
preses
Conclus.
Indef.
nari
nari
Perfect
nare
Neg. Base
nara
This naru means "to be." A favourite idiom is to substitute for the
Conclusive verb or adjective a periphrasis consisting of the corresponding
Attributive form followed by nari, e. g. aru nari, for ari; bekarazaru nari, for
bekarazu; yoroshiki nari, for yoroshi; miru nari, for miru, etc.
Na is more often suffixed to this form than to the Conclusive to produce the
Negative Imperative. Ni also follows it. (See "Colloq. Handbook," ¶ 107, for
the difference between ni suffixed to the Indefinite, and the same word suffixed
to what is here termed the Attributive, there the Present Tense).
Of interrogative particles, ka is suffixed to the Attributive, whereas ya, as
noticed above, follows the Conclusive.
IV. PARTICLES SUFFIXED TO THE NEGATIVE BASE.

Attrib.
Conclus.
Indef.
Perfect
Neg. Base
presney
nu
zaru
cu
zari
su
zari
ne
zu
zare
zara
n or mu
Dwa mahoshiki
n or mu
mahoshi
n or mu
me
[wanting]
mahoshiku
mahoshikere
mahoshiku
22
SECOND SECTION.
Nu is the Negative suffix. Zaru is but a periphrasis for the same, standing as
it does for zu aru. N is the suffix of the future, or to speak more correctly—of
probability ("Colloq. Handbook," ¶ 273).
suffix n, and the
Mahoshiki is a Desiderative Adjective, like taki already mentioned. It is
derived from ma, the obsolete negative base of the future
adjective hoshii, "desirous," which survives in the Colloquial.
Some important uninflected particles are suffixed to the Negative Base, viz.
ba, de, and ji. The particle de forms a Negative Gerund, ji a Negative Future.
For ba, conf. "Colloq. Handbook," ¶¶ 254 and 287. The sensible difference in
meaning between the Negative Base followed by ba which gives a Hypothetical
Mood, and the Perfect followed by the same particle which gives a Conditional,
is well brought out by Aston, pp. 155-8. Baya (ba+ya), suffixed to the Negative
Base, has an Optative sense.
V. PARTICLES SUFFIXED TO THE PERFECT.
Attrib.
Conclus.
ጎ
ri
Indef.
ri
Perfect
Neg. Base
re
ra
This suffix, a fragment of aru, "to be," is found only in connection with verbs
of the First Conjugation, where it forms a tense to which Mr. Aston has applied
the same name of Perfect. In sense it resembles the English Perfect, denoting,
like it, the completion of an action. Suru has the irregular Perfect tense seri:-
Ie ni kaereri. "He returned home."
Hito mina kore wo KANSHIN seri. "Every one admired this."
Nochi no yo no hito no kakeru mono miru ni, "In reading what men of a later
age have written.'
Do not confound these First Conjugation Perfects with the present tense of
the second conjugation. The likeness in sound is never more than approximate,
and there is necessarily always divergence in sense:-
ZEN wo osamuru mono. "Persons who practise virtue." (The Conclusive would
be osamu.)—Mazushiki wo wasururu koto nakare, “Forget not the poor."
Two important uninflected particles are suffixed to the Perfect, viz. ba
GRAMMATICAL PECULIARITIES OF THE WRITTEN LANGUAGE.
23
mentioned above, and do (for to) or domo (i. e. do+mo) which gives a Concessive
Mood, as in the Colloquial.
Returning for a moment to the Irregular Verbs contained in the paradigm on
p. 16, note the following further irregularities attending, in their case, the use
of the suffixes:-
Aru, “to be,” takes the suffixes proper to the Conclusive form, not after its
Conclusive ari, but after the Attributive aru, thus aru-beshi, aru-maji. The same
remark holds good of the suffixes keru, taru, zaru, meru, and naru.
Kuru, “to come," often takes shi and shika (only these two, not the others of
the same series) after the Negative Base ko, thus koshi, "came," as well as kishi.
Suru, "to do," always takes these two same suffix forms after its Negative
Base se, thus seshi, "did," whereas the corresponding Conclusive shiki, "did,”
follows the general rule.
The Imperatives of the various classes of verbs are formed as in the following
examples :-
1st Conj.
2nd
oku,
""
3rd
nagaruru,
ochiru,
"to put;"
"to flow;
oke!
nagare-yo!
"to fall;
ochi-yo!
""
66
4th
miru,
'aru,
to see;
“to be.;
mi-yo!
are!
kuru,
'to come,
ko! or ko-yo!
Irregular
suru,
shinuru,
"to
to do;"
"to die;"
se-yo!
shine-yo!
As all Passives and Causatives belong naturally to the 2nd Regular Conju-
gation (“Colloq. Handbook," ¶¶ 303 and 325), the Written Language form of
these two classes of verbs differs from the Colloquial exactly to the same extent
as do other verbs of that conjugation. Thus Colloquial okareru, "to be put,"
and okaseru, “to cause to put," appear as follows in the Written Language:-

Attrib.
Conclus.
Indef.
Perfect
Neg. Base
okaruru
okaru
okare
okarure
okare
okasuru
okasu
okase
okasure
okase
24
SECOND SECTION.
Suru, "to do," has two causatives, sasuru and seshimuru. The analogy of
this latter may be followed by other verbs ("Colloq. Handbook," ¶ 326).
Reference to the "Colloq. Handbook," ¶¶ 304 and 325 N.B., will show that
the Passive and Causative terminations are themselves suffixes of verbal origin,
for which place might be made in one of the foregoing tables.
With regard to the Regular conjugations, it will be observed that a single
Colloquial conjugation-the Third-includes two conjugations of the Written
Language, the Third and the Fourth.
As a means of familiarising himself with the manner in which Japanese
verbal and adjectival forms are built up, the student may profitably dissect a
number of them, always working backwards, as the nature of the suffix deter-
mines whether the preceding verb, adjective, or suffix shall be in the Attributive,
Conclusive, Indefinite, Perfect, or Negative Base. Here are a few such forms
analysed as examples
Nakariki, "there was not." This is the Conclusive Past, ki (see Table on
p. 19) being the Conclusive form of the series shi, ki, shika, ke. This
series being suffixed to the Indefinite form, we recognise ari as the Indefinite
of the irregular verb aru, ari, ari, are, ara (p. 16), "to be."
elision for naku ari.
Nakari stands by
Mishikado, "though I have seen." This is the Concessive Past, do being the
uninflected particle employed to denote that mood. It is suffixed to the Perfect
form of any conjugable suffix,-in this case the Perfect shika denoting past time,
which belongs to the same series as ki in the previous example. This suffix
shika is added to mi, the Indefinite form of the verb miru, miru, mi, mire, mi,
"to see," 4th Conjugation.
Usenikeri, "disappeared,"-Conclusive Past. Keri is the Conclusive form of
the series keru, keri, keri, kere, kera, suffixed to ni, the Indefinite form of the
suffix nuru, nu, ni, nure, na, which indicates past time and is itself suffixed to use,
the Indefinite form of usuru, usu, use, usure, use, a Regular Verb of the 2nd Conj.
Sezumba aru-bekarazu, “it won't do if one does not do it," i.e. "it must be
done." Ba is an uninflected suffix which, when a hypothesis has to be expressed,
is attached to the Negative Base, in this case zu, the Negative Base of the series
NU, ZU, ZU, ne, zu. The epenthetic letter m is a comparatively modern addition. Zu
GRAMMATICAL PECULIARITIES OF THE WRITTEN LANGUAGE.
25
itself follows another Negative Base, viz. se belonging to the Irregular verb suru, su,
shi, sure, se. In aru-bekarazu, the zu is Conclusive. It is suffixed to ara (bekara
standing for beku ara), the Negative Base of aru, "to be," while beku is excep-
tionally suffixed (see p. 23) to the Attributive form of the same verb.
Or take the verbs in the following ode from the "HYAKU-NIN IS-SHU: "-
N. B. An anthology of one hundred odes by one hundred poets, dating from the
thirteenth century. The compiler was a Cout noble (KUGE) of the name of TEIKA KYO.
When I gaze in the direction where
Hototogisu
Naki-tsuru kata wo
Nagamureba,
Tada ari-ake no
Tsuki zo nokoreru.
the cuckoo has been singing,
only the morning moon indeed
remains.
Naki-tsuru is an Attributive form (because qualifying the substantive kata),
tsuru being suffixed to naki, the Indefinite form of naku, "to sing." Naki-tsuru may
be translated "has done singing or
or "has been singing," the force of the suffix
being completion, cessation, as indicated on p. 19.
Nagamureba, "when I gaze," or "as I gaze." This is the Conditional Present,
ba being here suffixed to nagamure, the Perfect of nagamuru (Colloq. nagameru), "to
gaze.' The Hypothetical would be nagameba, with the same ba suffixed to the
Negative Base.
Nokoreru might easily be mistaken by a novice for the present tense of a verb
of the 2nd conjugation; but that no such form of the 2nd conjugation exists in
the Written Language has already been shown on p. 23. Nokoreru comes from
nokoru, "to remain," 1st. conjugation, being the Attributive form of its Perfect
tense governed by the emphatic particle zo (see pp. 13 and 22).
The striking peculiarities that distinguish the Verb and Adjective in the
Written Language from the Colloquial Verb and Adjective having been thus dis-
posed of, there remains little to be noted with regard to the other parts of speech;
for the differences are rather those of style and diction than of actual grammar,
and may be best learnt from reading.
The Personal Pronouns most in use are:
1st. person-ware, yo; also soregashi (lit. "a certain person "), SHŌSEI (lit.
26
SECOND SECTION.
66
small born." i.e. "junior "), SESSHA (lit. “awkward person"); SHIN (lit. “subject ”),
when addressing the Emperor.
2nd. person-nanji, kimi ("prince "); sono Hō ("that side"), employed by
the judge in addressing suitors or criminals.
Among the Interrogative Pronouns, some earlier forms have been retained.
which the Colloquial has corrupted, viz.
"who?"
"which? "
"where?"
tare?
izure?
izuko ?
Colloquial
""
dare?
dore ?
doko ?
And here observe that in not a few other cases the Colloquial has corrupted the
Written Language form by dropping an initial vowel, by nigori'ing (see p. 31)
the initial consonant, or in other ways, thus:-
"to go out'
,
izuru
"to send out"
idasu
"not yet"
"by "
imada
nite
Colloquial
deru
dasu
mada
de
With respect to such words, as also with respect to grammatical forms, low-class
writings often approximate more or less closely to Colloquial usage.
The differences of Syntax brought about by the peculiar "government" regulat-
ing in the Written Language the particle koso on the one hand, and on the other
20 and the interrogative particles, have been already set forth above, pp. 13–15.
With regard to pronunciation, various lines of argument converge to demon-
strate that the earlier language, which the style of books still partially represents,
was pronounced very differently from the speech of the present day. This fact is
not, however, generally taken into consideration. The Book Language is habitu-
ally pronounced like the Colloquial, nor are literary men specially careful about
elocution. The reason may doubtless be sought in the supreme importance
attached to the written word, which being correct, nothing else greatly matters
in Japanese estimation.
THIRD SECTION.
PRELIMINARY
EXERCISE IN THE HIRAGANA
SYLLABARY.

THIRD SECTION.
PRELIMINARY EXERCISE IN THE HIRAGANA SYLLABARY.
THE HIRAGANA.
ゑ ​(1) e
あ
​a
や
​ya
ら
​ra
よ
​yo
ち
​chi
i
ひ
​hi
さ
​sa
ま
​ma
む
​mu
たり
​ta
ri
ろ
​10
屯
​mo
き
​ki
け
​ke
せ​す
​se
ゆ
​su
め
​me
2
n
み
​mi
Lor L 81
shi て
​yu
ふ
​12
fu ゐ ​(w)i
koの
​(y)e
れ
​れ
​う
​re
ぬ
​nu
は
​ha
ろ
​SO
no
つ ​tsu
ね
​ne
wa
he
te
ku
な​maか
​か ​ka
と
​to
るをわ
​ru
ni
を​(m) ほ
​ho
Fに
​30
THIRD SECTION.
This, like all Chinese and Japanese writing, must be read from top to
bottom and from right to left. In reciting the Hiragana, it is usual to make a
slight pause after each group of seven signs, thus, i ro ha ni ho he to,-chi ri nu
ru (w)o wa ka,—etc.
Except perhaps in the postposition wo, the sign has come in modern
times to be pronounced simply o, like the sign further on in the syllabary.
Similarly (wi) is now confounded with
Ž (properly ye) are both pronounced e (but ye if another vowel precedes).
(i), while
(properly we) and
The Hiragana is a syllabary, not an alphabet, that is to say that our European
analysis of sounds into vowels and consonants was not reached by its framers.
For instance, take the syllable ra. We are accustomed to look on it as a double
sound compounded of r+a. Here it is considered a simple, indivisible unit;
and those Japanese who have not specially occupied themselves with phonetics do
not perceive, as we do at a glance, the intimate relation of ra to, say, ro on the
one hand through its consonant, and to ka on the other through its vowel. N
final is the only consonant for which a separate Kana sign exists.
The name, origin, and peculiarities of the Hiragana will be explained in a later
Section. The easiest plan for the beginner is just to accept the symbols as they
stand, committing them to memory as best he may. There is no royal road, es-
pecially at this initial stage. Memory pure and simple must be called into action.
N. B. (te) should be easily remembered by its likeness in shape to our letter T.
If similar artificial aids can be found for any other of the Kana signs, so much the better.
Foreign students need not aim at reading or writing connected texts in
Hiragana, as the Japanese themselves rarely write or print such. The normal
use of the syllabic signs is to indicate particles (postpositions), popular interjections
and onomatopes for which no ideographs exist, and the grammatical terminations
of verbs and adjectives, as instanced throughout the texts printed in the present
work, that is to say, they do not constitute a complete, independent system of
writing, but are ancillary to the Chinese characters, indicating how the latter
should be read in particular contexts.
Pending this their proper use, practise the three reading lessons in Kana
given below, carefully noting such exceptional cases as the postposition wa written
(not but) Japanese orthography, though less lawless than English,
わ ​は
​offers many unwelcome irregularities.
PRELIMINARY EXERCISE IN THE HIRAGANA SYLLABARY.
31
To the Japanese appreciation such pairs of surd and sonant letters as s and
2, t and d, etc., are not distinct sounds, but mere variants of the same, the
latter being termed the Nigori, lit. " muddling," of the former :-see "Colloq.
Handbook," ¶ 28 et seq., where the rules for the Nigori in spoken speech are
given, also for the occasional change of h into p, which is termed the HAN-nigori,
or "half-muddling."
The Nigori is indicated in writing by two dots above and to the right; the
HAN-nigori by a small circle instead of the dots, thus:-
له له
E ko
W ke
く
​< ku
で​go
げ
​I ge
ぐ
​< gu
tr Fr
& ki
加​lia
ぎ​gi
ka
が​ga
そ
​SO
せ​se
す
​ぞ
​20
+22
ze
fa fa
su
し
​L shi
I sa
ず
​ZU
Ľ ji
ざ​za
E to
て​te
つ
​tsu
ち
​chi
た
​12 ta
& do
で​de
づ
​ZU
₺ ji
toda
V ho
The
fu
U hi
は​na
ぼ
​15" bo
べ​be
& bu
び​bi
ば
​12" ba
ぽ
​15 po
ペ​pe
& pu
& pi
ぱ​pa
Many writers and even printers, however, seem to consider these diacritical
marks in the light of a counsel of perfection, and continually omit them. The
reader must accustom himself to supply them mentally. He must also mentally
supply punctuation and the breaks between words. The only marks of punctuation
consistently employed are a dot and a small circle, thus or o, which serve to
separate periods or paragraphs. Sometimes the beginning of a section is indicated
in the same way, and separate items are indicated by the character
one."
Other marks of occasional use, especially in newspapers, are dots at the right
side of characters for the sake of emphasis like our italics, and parentheses
used not only as such, but as an equivalent of our quotation marks. Take it
32
THIRD SECTION.
altogether, such punctuation as exists has little importance, little fixity, and
should not be relied on.
When a syllable is repeated, it is not written twice. The repetition is indicated
by the sign placed below the Kana character. The repetition of two or more
syllables is indicated by the sign
N. B. When he comes to study Section VII of this book, the learner will find that
Japanese calligraphy offers numerous variants of the Hiragana symbols. It will be worth his
while to memorise the six following even at this early stage, since they are nearly as common
as the standard forms:—
for は ​ha
है
れ
​re
そ
​Remember also
""
ろ
​SO
とっ
​بل
ولد
محمد
for
な
​nc
""
""
ふす
​of ze
と​と
​koto.
a very common contraction of
READING LESSON IN THE HIRAGANA.
(y)e
SU
42
39
36
29
10
うとうと​し
​ちみ​。
ちり
​56
52
ころ​。えきや​。ゑびすや
​や ​そ
​き
​ば
​や
​ろ
​な
​加
​48
あい
​んらら
​せられ
​ぜら
​すす​と
​らゆ
​19
る
​は
​に
​1
の
​2
られる
​11
し
​3
り
​も
​○
43
46
こん​に
​يو
40
らぴ
​37
ことなり​とい
​ぴか
​ら
​ぜろあ
​34
る
​45
力
​りし
​ねる
​ぽろ
​ねんや
​ぎん
​も
​57
みそ
​れば
​だ
​ば
​53
54
49
ち
​びあ​に
​すり
​ゐ
​50
ぢ
​と​や
​R。
れ
​やすみ​も
​47
や
​く
​44
41
れんぼ​38-
で
​ん
​ふ
​る
​せ
​し
​め
​33
し
​31
ぞ
​に
​と​は
​27
28
り
​も
​あ
​り
​21
22
23
24
り
​しと
​て​す
​加
​17
け
​13
が
​力
​りま
​ہو
ずり
​らず​。ヘ
​と​て
​加
​ら
​18
14
15
と
​をば​。こそ
​6
7
8
9
ぬ​ず​て
​25
20 り
​だ​と
​4
32
ぜ​な
​30
12
5
しる
​るべ
​26
と
​とき​。せ
​せ​ずんばあ
​PRELIMINARY EXERCISE IN THE HIRAGANA SYLLABARY.
33
ROMAN TRANSLITERATION OF THE FOREGOING.
8
9
¹Ni. "No. ³ Ye. *Ga. "Mo. "Ka. 'Made. Woba. Koso. 10 To wa. 11Nari. 12 To su. 13 Keri.
14 Sari tote. 15 To suru nari. 16 Shite. 17 Bekarazu. 18 Bekarazu. 19 Beshi. 20 To 20. 21 Ni wa. 22 Yori
zo.
26
mo. 23 Ari. *Arayuru. 25 Tada. 28 Koto. "Toki. 28 Seraruru. 29 Serarete. 30Naru-beshi. 31 Sezumba
aru-bekarazu. 32 Seshimuru. 33 Seshimete. **Seneba naranu koto nari to iu. 35 U-beshi.
38
36 Kyan-kyan. 37 Pika-pika. Bon-yari. "Soro-soro. "Bura-bura. "Wan-wan.
47
42 Yaki-imo. 43KONNYAKU. "O-DEN. 45Kashi-ya ari. 46 Chichi ari. "O yasumi-dokoro.
49
48 Edo-ya. 19 Ebisu-ya. 50(W)i-zutsu-ya.
51TOFU. 52UNDON. 53 Kisoba. 54 Tabako.
57
55 Uchi-mi. 56 Hone-tsugi. Momi-RYŌJI.
9
TRANSLATION.
5
¹In. ²Of. ³Towards. (Sign of nominative.) Also. (Sign of interrogation.) "Till.
(Emphatic accusative.) (Emphatic particle.) 10That. To be. 12Is considered. 13(A
verbal termination). "However. 15Is considered. 16Having done. "Must not. 18Must not.
19 Must. 20(Emphatic.) "In. "Even than. 23There is. "All that there is. 25Only. 26Thing.
27 When. 28To be done. "Having been done. "Probably is. "Must do. 32To cause to do.
Having caused to do. They say it is a thing that must be done. "May obtain.
Onomatopes for "yelping, "glittering, "dullness, "slowness, lounging, "barking.
42 Roast potatoes. "Konnyaku (the name of an edible root). A dish made of
konnyaku and soy or bean sauce. "House to let. "Milk for sale. "Resting-place.
48 Yedo House. 49Ebisu House. 50Izutsu House.
33
51
44
61 Bean curd. 52Macaroni. 53Pure buckwheat macaroni. 54Tobacco.
55Bruises. "Bone-setting. "Massage.
REMARKS.
"Ye. This postposition is written he, an inheritance from ancient days,
when it was a noun he meaning "side." Similarly the postposition wa stands
for ancient ha, and is still so written. ("Colloq. Handbook," ¶ 421.)
"Bekarazu. To be always thus read, even when the Nigori mark is omitted,
as here in the second instance (18)
25 Tada. Observe the Nigori mark printed with the sign of repetition, to
show that the reading is tada, not tata.
34
THIRD SECTION.
1
34Iu, “to say,” is written it fu, the consonant “f” becoming, as we should
say in European languages, silent.
36 Kyan-kyan. Observe how kya is represented by means of the two syllables
ki + ya.
Though Japanese pronunciation discriminates sharply between such
cases as kya and kiya, the former clearly monosyllabic, the latter dissyllabic,
-the Kana writing supplies no means of marking the distinction. Thus i-sha,
a physician," and ishi-ya, “a stone-mason," are both written alike; but
the confusion is little felt in practice, from the fact of all substantives and
other chief words being commonly written with Chinese characters.
42
し
​2 Yaki-imo, etc. These notices of a word or two in Kana will often be
seen written up in the streets for the benefit of the ignorant classes.
48 Edo-ya, etc. This example and the next two are names of shops.
Such
are often written up in Chinese characters on one side of the shop front, and in
Hiragana on the other.
Somewhat similar is the case of articles advertised for
sale, as instanced in the last paragraph but one of the lesson.
Notice the long ō of TOFU expressed by means of the two Kana signs
と ​+ 3. Ryō just below is れ ​+3.
UNDON, always so written, is generally pronounced UDON.
SECOND READING LESSON IN THE HIRAGANA.
Forty-one Proverbs, of which the student will find the transliteration and
translation in the “Practical Part" of the “Colloq. Handbook” (3rd edit., 448).
¶
They are there given in the order of the Roman alphabet, but here in that of
the Japanese syllabary from (i) to✈ (su).
9
8
ぼほ
​CT
7 6
4
3 2
1

に​は
​はろ
​かて​うさ​と​ふけ​なつき​に​を​りん​ん​ぬれぬりじち
​なほんけ​なついく​だい​ほど​ご​にほ​に​まふ​を
​[ふはどど​の ​とうわめふぼどしょ​など​なめ​を​き
​うち​うにのらみ​れ​とり​に​し​、

りね ​か
​ほ​が
​ほ
​と​は​をつ ​ほとず​の
​の​てるて
​どひ
​も
​いみる
​ど​と
​ろ
​いもな
​PRELIMINARY EXERCISE IN THE HIRAGANA SYLLABARY.
35
1
26
25 24 23
22 21
20 19 18 17 16 15 14 13 12 11 10

ゐ
​うろう
​なね
​が​かかわわををぢどとと
​
のづしま​は​のま​と​が​うひはざただ​に​ごろとろ
​れば​の​さもびににい
​もび​に​い​に​いいはる​は​をくぼろだ
​ち
​うみ​を​と​や​と
​いぬ​と​ひせらゝ​の​うかい
​し
​す
​ろば
​づにれはん
​は
​りにに​は​かひつ​さ​に​は​も
​て
​いや​け​たれ​れ​と
​れねば
​はてし​に​うる
​ん
​うぶ​か
​を​たも
​し​に​うる​も​ひば
​ぎ
​せ
​ら
​が​かび​かれ
​かんし​し
​まつげ
​れ
​うまをら​に
​にれ​さ​れ​は
​しるせ​と​な
​た ​る​し
​ね
​し
​だ
​なか​は​?
い
​る
​41 40
39 38 37 36 35
34
33
3223
31 30 29 28 27
すひ
​ひひししみ
​め
​さああこれ
​の​か​は​べ
​うま​は​うま
​かげ​が​さす
​ほきず
​めざちと​とん​や​つんく​りや​ゑんめ​は​はも​に
​ば​と
​み​も
​やだ
​こん
​を
​しあか
​ちなぞ
​じゃ
​ふたる
​でつ
​に
​に
​しん
​に​ふせ​しひ​の
​んりもみ​たる​ら
​よ​て​の​たつ​すず
​れ​は​し​た​に
​ぼぢ
​が​、せ
​か​は
​に​も​た​な
​あん
​んまき
​じる
​ゆ
​の
​ち
​है
の
​きちにち
​ん
​た
​きやう​ない​わ​、たにん​の​はじま
​めあ​きせん​に
​どの​たましひ​、ひゃく​まで
​っぽふ
​の​を​だ​か​で
​ら
​せ​だ
​ん
​うのこ​にの
​はろ​のせ​た
​と
​つま
​もばし
​たいかい ​すめばみやと
​ひざとも​たんがふ
​

36
THIRD SECTION.
THIRD READING LESSON IN THE HIRAGANA.
ひとくちばなし
​みち​の​ほとり
​の​らう​ちょ
​あ
​に
​り
​ふたり
​あひと
​に​みち​を​ゆづり​て​、い
​は
​も
​ほんぢ​の​とし​は
​S~
く
​とか​する​。いばく​、
しちじふれ
​り
​と​ふも​の
​はく
​われ​いまろ
​く
​じふくな
​り
​とれ
​され​ば​、み
​じみ
​ねんなん​ぢ​と​れなじ
​しん
​と​し​なる​べし​。
TRANSLITERATION.
suru 2”
HITO-KUCHI-BANASHI.—Michi no hotori ni futari
Ai-tomo ni michi wo yuzurite, iwaku: Nanji no toshi wa,
Iwaku: "SHICHI-JU nari." Tou mono no iwaku:
ROKU-JŪ-KU nari. Sareba, MYŌNEN nanji to onaji toshi naru-beshi."
no RōJO ari.
ikutsu to ka
"Ware ima
TRANSLATION.
AN ANECDOTE.-There were two old women on the side of a
road. Each having pressed the other to go first, one of them said:
“The years of your age, how many do you make them?” The other
replied: “I am seventy." The asker of the question said: “I
"I am
now sixty-nine. So next year I shall be the same age as you."
FOURTH SECTION.
FOUR HUNDRED OF THE
COMMONEST
CHINESE CHARACTERS ARRANGED AS
WRITING LESSONS WITH READING
EXERCISES ATTACHED.
WRITING LESSON.
Always write (and read) from top to bottom and from right to left,
beginning at the top of the right-hand column.

16
11
6
月​百​六
​7
17
12
明​千七​二
​18
13
8
3
治​萬​八
​9
4
19
14
何​万​九四
​20
15
10
5
年​日​十五
​1
2
40
FOURTH SECTION.
TRANSLITERATION.-1-14. ICHI, NI, SAN, SHI, GO, ROKU, SHICHI, HACHI, KU,
JŪ, HYAKU, SEN, MAN (or yorozu), MAN.-15-16. JITSU GETSU or hi tsuki.—
17-18. MEIJI.-19-20. Nan NEN?
TRANSLATION.-1-10. One, two, three, four, five, six, seven, eight, nine,
ten.-11. Hundred.-12. Thousand.-13. Myriad, ten thousand; 14 is a
common abbreviated form of the same.-15. Sun, day.-16. Moon, month.
-17-18. MEIJI, "enlightened government," is the "year-name" (NEN-GO)
adopted by the present emperor; conf. "Colloq. Handbook," ¶ 168, and
Things Japanese," Article "Time."-19. What ?-20. Year.
66
•
·
+
NOTES.-10. Remember "ten," by its likeness to the Roman
numeral X.—13. The complicated character "myriad," originally
depicted the figure of a sort of scorpion. In quite a number of characters
a similar change of signification has taken place, what was originally
concrete having become abstract in the process of time. This of course
is a phenomenon to be observed in all languages. The abbreviated form
♬ (14) is very common, being so much quicker to write.—15, 16, 17.
The close likeness of the symbol "sun," to its original will become
日
​evident when the student is informed that the present "square characters
""
were at first mostly round:-, for instance, was written or Ꮻ in
early Chinese antiquity. The crescent of the moon may, in like manner,
be still fairly well made out in the modern form. No. 17, "bright,”
"enlightened," is suitably obtained by combining the sun and moon into
a single symbol.-18. The current Japanese reading of the character
is osamaru or osameru, a verb signifying " pacification,” hence “govern-
ment.”—20. The Japanese reading of the character is toshi.
แ
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
41
READING LESSON.
百日​二​“千​"月​日
​千​月​日​十​治 ​三 ​十
​+.
6
4
1
萬​出​十萬​六
​15
+
で​日
​日 ​日​十
​日
​22
よ
​三十​九年
​20
18
13
十​明
​16
日
​四
​日
​二​十二 ​年​一
​百​百​七六
​年
​六
​2
月
​十​明​十
​11
八
​月​五​治​K
日
​日 ​何​八
​3
日
​八​”三​“月​明​“万年​九
​1 111°
つり
​四​三
​2 +
TRANSLITERATION.-'ICHI-ROKU. SAM-PACHI. 3NI-SAN. JU-SHICHI. "JU ni HAK-KU. IP-PYAKU.
'MEIJI NAN-NEN? SAM-BYAKU ROKU-JŪ-GO-NICHI. 'MAN-ICHI. 10NEN-GETSU or toshi tsuki. "Tsuki-hi
or GWAP-pi. 12MEI-JI NI-JŪ NI-NEN NI-GWATSU JŪ-ICHI-NICHI. 13 Futsuka. 14 Mikka. 15 Tōka. 16MYO-
NICHI. "HACHI-GWATSU muika. 18NI-JU yokka. 19SEM-BAN. SAN-JU-KU-NEN. 21Hatsuka yori misoka
made. 22 Mitsu yotsu. 23HYAKU-MAN.
TRANSLATION AND NOTES.-'The ones and sixes of the month. (In the earlier part of the
present reign, before the adoption of the European week, the ICHI-ROKU was instituted as an
official holiday in unacknowledged imitation of our Sunday.)—The threes and eights of the
month. Two or three.-'Seventeen.-Eight or nine out of ten, or in almost every case.—
"A hundred.—'What year of Meiji?—Three hundred and sixty-five days.-'A myriad to one,
or if unexpectedly.--"Years and months.-"Read tsuki hi, months and days; read GWAP-pi,
date.---"The 11th February, 1889 (the day on which the Japanese Constitution was pro-
mulgated).-"Two days, or the 2nd of the month. Three days, or the 3rd of the month.——
5Ten days, or the 10th of the month.®To-morrow. The 6th August.——18The 24th of the
month.—"A thousand myriads, or very much.-The 39th year (1906).—"From the 20th to the
30th of the month. #Three or four. A million.
four.-3A
12
Such instances as ICHI-ROKU, misoka, GWAP-pi, and the familiar MYONICHI in the above may
serve to show how many words which the student would hardly have expected to meet so soon,
are written by ringing the changes on a few simple characters.
42
FOURTH SECTION.

36
31
26
21
目​大​下​天
​37
32
27
22
見​小​男​地
​38
33
28
23
口​手​女人
​39
34
29
24
如​足​子​上
​40
35
30
25
此​耳​供​中
​THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
43
TRANSLITERATION.-21-3. TEN, CHI, JIN.-24-6. Jō, CHU, GE; or kami, naka,
shimo.-27-8. NAN-NYO or otoko onna.-29-30.
onna.—29–30. Kodomo.-31-2. DAI-SHO (Jap.
readings respectively ōkii and chiisai).-33-4. Te ashi or SHU-SOKU.-35-6. JI-MOKU.
-37. KEN or miru.-38. Kuchi or Kō.-39-40. Kaku no gotoshi.
TRANSLATION.—21-3. Heaven, earth, and man.-24-6. Upper, middle, and
lower.-27-8. Man and woman.-29-30. Children.-31-2. Great and small.-33-4.
Hands and feet, or arms and legs.-35-6. Ears and eyes.-37. To see.-38.
Mouth.-39-40. Like this, thus.
NOTES.-21-6. Triads like these two, which happen to be sanctioned by
usage, are rare. The language moves much more readily in binomial compounds
or semi-compounds, as 天地 ​TEN-CHI, “heaven and earth;" ETJō-GE,
"top and bottom." T
上​中​下 ​are often used as we use
66
first," "second,"
and “ third.” Even 天地​人 ​are occasionally thus employed, for instance,
66
66
to denote the several volumes of a book in three volumes. Remember
man" (properly
(properly human being," hito) by his legs, of which this character
is a picture; and “eye” (me), and 口 ​"mouth" (kuchi), by mentally
transposing them from the modern square to the original round shape, in which,
"to see
as can be at once realised, they copied nature with fair exactness. 見
​(miru), is an “eye” mounted on legs, JL being an alternative form of
which is used in the formation of several common characters.-39-40. These
exemplify the occasional Japanese habit of writing Chinese phrases in the original
Chinese order, while reading them off in the inverted order necessitated by
Japanese syntax. If such characters are placed in their Japanese order, Kana
must be inserted between them, as shown in the Reading Exercise. Observe that
where Chinese construction and Japanese differ, the Chinese generally agrees
with the English, as in this instance.
Though actual squares, such as those here printed, are not often employed, all
Chinese characters must be written as if in squares, within which each should
occupy, as nearly as may be, the same room as its fellows, whence the current
term "square characters" to denote the standard forms of the ideographs. The
chief exceptions to this rule of equality of size are sun," and "mouth,"
which are generally written somewhat smaller than the rest, and of course those
"one," have either breadth without height, or height
few which, like
without breadth.
如
​44
FOURTH SECTION.
+
READING LESSON.
年​中​。
下​目​®
る
​と
​5
れ
​な
​日​に
​ち
​4
ぴ
​と
​中​”地下​。何​人
​た
​し
​15
に
​大人​二人​小​供​六​人
​子​。下​男
​耳​。男子
​11
下女​。上手​打
​13
14
15
る
​人
​12
下手
​男​。天地​。上下​。手足​。
17
八​足​。子供​の​耳​。
26
目​の ​此下
​23
人
​16
る
​月
​と ​天
​20
小​の
​21
22
口
​中
​18
目
​19
小人​。此​の​如​L。
此​の​如く​ん​ば
​25
24
の​月​と​小
​つ​にて​足れり
​に​見る​が​如
​し
​27
り
​口​四千
​五千
​五百​四十​二萬​六千​六百​五
​天
​28
下
​在​治​。足下
​29
6
9
10
TRANSLITERATION.-'NENJU. NITCHU. CHIKA. Nan-NIN naru ya? also Nam-pito naru ya?
"Otona futari, kodomo ROKU-NIN. Me to mimi. "DANSHI. JOSHI. GENAN. GEJO. "Jozʊ naru hito.
12 Heta naru otoko. 13TEN-CHI or ame tsuchi. JO-GE, kami shimo, or ue shita. 15SHU-SOKU or te ashi.
16NINSOKU. "Kodomo no mimi. 18KOCHU. 19MOKKA. 20TENNIN. 21 Kobito. 22 Kaku no gotoshi. 25 Kaku no
yotokumba. “DaI no tsuki to, SHō no tsuki to. 25 Hitotsu nite tareri. 28 Me ni miru ga gotoshi. 27JINKO
SHI-SEN GO-HYAKU SHI-JŪ NI-MAN ROKU-SEN ROP-PYAKU GO-JŪ ICHI. 28TENKA Wo osamu. 29SOKKA.
24
耳目
​servant.-—"A skilful person (zu here stands for SHU, the Chinese sound of 手​-
10
23
TRANSLATION AND NOTES.'All the year round. "The middle of the day. Underground.-
‘Nan-NIN naru ya? means "How many persons?" Nam-pito naru ya? means "Who is it?"
Two adults and six children.-Eyes and ears (Chinese habits of speech require the reverse
order JI-MOKU, ears and eyes).-"A man.-"A girl.-"A man-servant. "A maid-
-12An awkward
man (he is obscure; ta stands for te, hand.).-"Heaven and earth.-"Top and bottom, upper and
lower, above or beneath.-Hands and feet, or arms and legs.-16A coolie.-"The children's ears.
#The inside of the mouth. The present moment (which is under our eyes).——“An angel.–
21A dwarf.——2It is thus."If it is thus.——“The months with thirty-one days and those with thirty
days or less. "One is sufficient. (Notice that
less."One
the character for " foot," also means 'to
suffice.”):As if one had seen it with one's own eyes. A population of 45,426,651 souls
(that of Japan at the last census). To rule the empire.--"You (respectful, because suggesting
that I dare not look up to your face, but merely grovel at your feet).
足
​27
"
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
45
56
51
46
力​東山​木
​41





57
52
47
42
牛​西川​火
​58
53
48
43


馬南田​土
​

59
54
49
44


氷​北​本金
​
60
5!
55
50
45


其​花​半​水
​

i
46
FOURTH SECTION.
TRANSLITERATION.-41-5. MOKU, KWA, DO, GON, SUI, or ki, hi, tsuchi, kane, mizu.-46. Yama
or SAN.-47. Kawa or SEN.-48. Ta or DEN.--49. HON or moto.-50. HAN.-51-4. TO-ZAI NAM-
BOKU, or higashi, nishi, minami, kita.-55. Hana or KWA.-56. Chikara or RYOKU.-57-8. GYU-BA
or ushi uma.-59. Kōri.-60. Sono.
土
​TRANSLATION AND NOTES.-41-5. Wood (tree), fire, earth, metal, and water, i.e. the five
elements. Remember by its resemblance to a tree, and by the two horizontal
strata with something growing out of them, which appropriately represent "earth
"earth" or “soil "
to the mind's eye. A dot is often added to the character for "earth," thus or
The character is rarely pronounced GON, except in the list of elements thus recited.
Occasionally it is KON, much oftener KIN.-46-8. Mountain, represented by three peaks; river,
whose three lines depict running water; rice-field, the cross-lines representing the dykes
between field and field, a familiar feature of Chinese and Japanese scenery. 49. Trunk, origin,
also book, formed from tree," by the addition of one line.-50. Half.-51-4. East, west,
south, and north. Examine "east," and you will see that it represents the sun (No. 15)
rising behind a tree (No. 41). "North," the chill inhospitable quarter, shows us (more or less
imperfectly) two men back to back.-55. Flower.-56. Strength.-57-8. Cattle and horses.
Observe the former's horn.—59. Ice, —the same as water, plus a dot.-60. That (Latin iste).
西 ​北川 ​東山
​19
READING LESSON.
& 山​“南​東​人​下​花​手​人​金​本
​人​見
​22
17
M
田 ​田 ​りの​に​に
​о
о
冰火​東​馬​山​月
​20
山
​中水​南山​川
​ゆ
​О
子
​其​西​大水
​東 ​本
​23
本金 ​金​力​火
​18
あ
​21
小​“于​火​"田
​り
​り
​馬供​木南​木水 ​日
​力
​北
​の ​土 ​水平
​山水​米​水
​о
水牛
​N
О
3
TRANSLITERATION. HONGETSU. HANNICHI. SEN-KIN. 'SAN-SUI. "Kori-mizu. "NIM-BA. "TAIBOKU.
Dote. "TO-ZAI NAM-BOKU, or higashi, nishi, minami, kita. 10 Hanabi. "Sono ki no shita ni (or moto
ni) kodomo futari miyu. "BARYOKU. 13 Higashi ni kawa ari, minami ni yama ari. 14 Yama no
minami ni ta ari. 15SUIRYOKU. 16KWAZAN. "Tanaka. 18 Kaneko. 19 Yamada. 20 Yamamoto. 21 Konishi.
Kitagawa. Higashi-yama.
22
23
3
8
TRANSLATION."This mouth.-Half the day. A thousand pieces of gold.-'Scenery (lit.
mountains and water).-Iced water.-Men and horses.-A large tree. An embankment
(observe the arbitrary method of writing).-'East, west, south, and north (always named in
this order).—"Fire-works. "Two children are visible under that tree. "Horse-power.—¹³There
is a river to the east, and a mountain to the south.-"There are rice-fields to the south of
the mountain.-- "Water-power.-"A volcano.-(The following are common surnames :) Tanaka,
"Kaneko, "Yamada, "Yamamoto, "Konishi, Kitagawa.-The Eastern Hills (at Kyoto).
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
47

76
71
66
致​今​及​相
​67
61
心
​62
77
72
非​為​次​亦
​78
73
68
廿​屋​第​自
​79
74
69
64
卅​切​然​以
​63
80
75
70
65
世​至​只​於
​48
FOURTH SECTION.
TRANSLITERATION.-61. Ai or so.-62. Mata.-63. Mizukara or onozukara.
64. Motte.-65. Oite.-66. Oyobi.-67-8. SHIDAI.-69. Shikari.-70-1.
Tadaima.-72. Tame, also nasu.-73. Ya or OKU.-74. Kiru or SETSU.-75.
Itaru or SHI.-76. Itusu or c.-77. Arazu or HI.-78. NI-JU.-79. SAN-JŪ.
-80. Yo or SEI.
more.
TRANSLATION AND NOTES.-61. Mutual, together.-62. Again, further-
As a memoria technica, notice that this character has two strokes at
the top, and again two perpendicular ones in the middle, and furthermore
two dots at the sides.-63. Oneself, spontaneously. The reading mizukara
is used when human beings are referred to, onozukara is used of inanimate
things.-64. With, by.-65. In.-66. And (between substantives), properly to
reach or attain to (oyobu, Chinese KYU).-67-8. According to.-69. It is thus,
yes.—70-1. Just now. 4 alone is also Kin or kon.-72. For the sake of, also
今
​22
KIN
to do. This important character originally pourtrayed a female monkey (the
jingle of "ape" and "sake may assist the memory), whose claws are seen
on the top of the character and its hands and feet at the bottom. So far this
page may be found a difficult one, because dealing with abstractions. The
alphabetical arrangement of 61-72 is intended as a slight prop to the memory.
73. House.-74. To cut.-75. To arrive, to reach.-76. To do. Notice the
close resemblance between these last two characters, and also betwe en their
Japanese readings; and notice furthermore the resemblance to both of the
lower part of No. 73, house.-77. It is not,--a character easily remembered
by the negative attitude of its two halves, each turning its back on the
other. 78 is a common abbreviated form of the two characters +
"twenty;" and 79 is similarly an abbreviation of "thirty." For
+
The
many write with an additional stroke at the bottom.-80.
world, a generation, an age. The character is derived from 卅
​"thirty," because an average generation lasts thirty years.
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
49
READING LESSON.
2
第一​只​今​。
然
​5
牛​日
​其
​人
​3
今日​。
相見​。
見​自
​KONNICHI. Sono yama
6
1
山の上​に​見
​ゆる​は​牛​に​非​ず​馬
​以上​。以
​15
以此 ​此​非
​11
て
​汇
​於
​て
​人
​8
14
13
下
​10
り
​今​月
​SHIZEN.
手
​25
19
見​至
​22
然 ​Ⓡ 切
​る
​る
​上
​る
​汇
​を
​TRANSLITERATION.-'DAI-ICHI.
2 Tadaima. NINSO-mi.
東​より​西​に​至
​16
切 ​c 切西
​天
​12
17
山​及​伏​川​。大​切​。見
​汇
​23
其
​の​爲
​め
​卅
​24
廿​日​。世​日​。世の中
​20
ず
​及​述​式​。次第
​18
no ue ni miyuru wa, ushi ni arazu, uma nari. "HININ. SIJO. IKA. KONGETSU. "Koko
ni oite. 12TENNEN. 13 Kōjō wo motte. "Higashi yori nishi ni itaru. 15 Yama oyobi kawa.
w
16TAISETSU. 7 Miru ni oyobazu. 18SHIDAI ni. 19ISSAI. Sono hito no tame.
ni.
23 Hatsulia. 24 Misoka or SAN-JU-NICHI. 25 Yo no naka.
21 Kitte. 22 Shikaru
TRANSLATION:—'Number one. Just now. Fortune-telling by physiognomy.-'Spontane-
ously (The Chin. reading of 自 ​is SHI or JI; that ofis ZEN OR NEN.).—To-day.—
然
​"What you see on that hill is not a cow, but a horse. A pariah (compare Article Eta in
Things Japanese).—Above this, what goes before. Below this, what follows. "This mouth.
"Here, hereupon.-"Naturally (TENNEN is a synonym of SHIZEN).--"By verbal message.-"It
reaches from east to west.-15Mountains and also rivers. (Oyobi, meaning "and," is really
superfluous, and is for the most part inserted only in imitation of English idiom.)—"Important.
(Observe the Chin. readings of (kiru), viz. SETSU or SAI according to circumstances.)
"It is not worth looking at.-"Gradually.—"Completely. For his (or her) sake.—"A
ticket. This being so, also nevertheless.Twenty days, the twentieth of the month.
24Thirty days, the thirtieth (or last) of the month. The world.
50
FOURTH SECTION.

96
91
86
81
鳴​文​品​心
​97
92
87
82
魚​字​物​思
​98
93
88
虫 ​讀​工​忘
​83
る
​99
94
89
84
立​書​夫​分
​つ
​つ
​100
95
90
85
る
​作​鳥​事​知
​る
​THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
51
TRANSLITERATION.-81. Kokoro or SHIN.-82. Omou or sHI.-83. Wasureru
or Bō.—84. Wakatsu or BUN.-85. Shiru or CHI.-86-7. Shinamono (respec-
tively HIN and BUTSU).—88-9. Kõru, also Kufu.—90. Koto or JI.—91-2. MONJI
or MOJI (alone is BUN).—93-4. TOKUSHO.—95. Tori or CHō.—96. Naku
OP MEI.-97. Uwo or Gyo.—98. Mushi or cHō.-99. Tatsu or RITSU.—100.
Tsukuru or SAKU.
TRANSLATION.-81. The heart.-82. To think.-83. To forget.-84. To
divide.-85. To know.-86. Articles.-87. Things (material).—88-9. Lit.
workfellow, labourer; also contrivance, device.-90. A thing (immaterial), a
fact.-91. A literary composition.-92. A written symbol. The two together
mean written characters, and specifically the Chinese characters.-93. To read.
-94. To write, hence a book.-95. Bird.—96. To sing, to cry.—97. Fish.
-98. Insect.99. To stand.-100. To make.
A
NOTES.—An easier page this, because more graphic. Notice how the
symbol for heart helps to form those for thinking, forgetting, and other
mental acts and states, e. g. Nos. 332, 362, 376 below.—No. 84, to divide,
can easily be remembered through its component parts "eight" (the
only one of the higher numbers whose strokes do not touch each other, i. e.
are divided), and JJ "knife" (No. 515), the natural instrument of division.
刀
​Compare No. 50, where helps to form the character for “half.”—88-9.
The alternative readings of these characters depend on the sense, KŌFU
meaning "workman," and KUFŌ
and KUFō “contrivance; alone is read sore,
夫
​"that."
Remember it as having one stroke more than "great."-93.
This, taken alone, is read yomu, and 94 taken alone is read kaku.—95.
Carefully distinguish “bird
bird" from "horse" (No.
(No. 58).
Horse" has ten
strokes, “bird” has eleven.—96. naku, "to sing," is simply “bird¨
plus "mouth," because a bird sings with its mouth.
₪
Notice, etc., followed by a little Kana letter to show that
they are to be read omou (originally omofu, compare p. 33, last paragraph
but one), wasureru, etc. When the Chinese sound of the verb is intended,
as in TOKU, the Kana is of course omitted.
Yomu would be 讀​去​.
52
FOURTH SECTION.
READING LESSON.
16
12
力
​夫 ​物 ​萬 ​” な ​本子
​1
る
​人
​金魚​を​見
​思ひきや​。子供
​物 ​り
​15
鳥
​事
​!
17
13
11
も
​18
忘れ
​鳴き虫​も​鳴​!
14
水中​の​魚​を​見よ
​小 ​物
​4
自​分​。
I
天​三人​。
供​は​書​を​讀み​文​を​作
​5
大工​。西​も​東​も​知ら
​半分​。相​思ふ​。
其​柑
​∞
で
​唄
​讀​゜
​ぬ
​る
​其虫​は​百足
​2
Co
3
TRANSLITERATION.-'JIBUN. KôFU SAN-NIN. 3 Sono kodomo wa, SHO wo yomi,
BUN wo tsukuru.
5
DAIKU. Nishi mo higashi mo shiranu ko. "HAMBUN. Ai-omou.
8TOKUHON. "JIBUTSU. 10 Sono mushi wa, mukade nari. "SUICHU no uwo wo miyo!
Wowo
12 BAMBUTSU. 13 Chiisaki uwo. 14 Wasure-mono. 15 Tori mo nakimushi mo naku. 16FU-
17 Omoikiya! 18 Kodomo ga KINGYO wo miru.
JIN.
TRANSLATION AND NOTES.-'Oneself._"Three workmen. Those children read
(books), and write (compositions).-A carpenter.-"A child knowing neither east
nor west (i.e. one entirely ignorant). Half (part). "To think of (or love) each
other. A reader (i. e. a school reading-book).-"Things (both abstract and
concrete).—¹ºThat insect is a centipede. [In the combination the charac-
百足
​ters are read neither according to their individual Chinese nor to their in-
dividual Japanese sounds, but form a new word. 大人 ​read otona (on p. 44)
is another instance of this puzzling method. There are many such.]-"Look at
the fish in the water!--"All things, the whole creation." A small fish.—"Some-
thing forgotten.—"Birds sing, and insects chirp.—"A lady._"Who would have
thought it ?-18The children are looking at the gold-fish.
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
53
REVIEW OF CHARACTERS. 1-100.*
66
55
47
16
5亿​人​“世上​十​地​”花​日​力​水​大
​试试​為​知​力​八 ​手​元 ​下​見
​%
何ら ​しぶ​月 ​書
​GO
られ
​と
​を
​75 れる
​の​年
​如​™然 ​ば ​及​五 ​本
​K寸​何
​72
と​甘
​61
思​ん​と
​と​此
​ばなの
​69
と
​日
​万
​分
​夫
​76
70れ​如
​ば
​81
此​れ
​非
​ず
​らずん​ば
​62
十​六​分の ​一​自​第​六​至​第
​耳目​。忘​礼物 ​大​工​及​工夫
​此​の​如き​次第​なれ
​を​讀み​文​を​作
​事​然​气
​亦
​然
​かり
​77
汇
​り
​な​書
​ば
​ㄟ​何 ​女
​は​人
​作
​ら
​ず​然
​然​Ⓡ
78
る​明
​74
る
​71
73
63
男​花​日南​自
​10
水木​物
​本​西
​32
24
17
自​“大​物
​子​火
​33
牛​東​Ⓡ
25
18
49
50-
分​年​北
​子
​31
土​“及​”
C
20
27
然 ​山​品
​切
​西
​小
​川
​手
​本
​以​人日​事​北​本
​11
12
品物 ​物品​品​切 ​人心
​2
3
50
£2
明 ​人​第​東
​19
4
月​致
​を
​忘
​る
​り​日
​忘 ​九
​明知 ​南​見
​人
​10
57
下​上​為
​の
​手
​目
​36
火​™切​Ⓡ
20
世​心
​13
52
64
以人​公事​手​の
​下​下 ​世
​29
C
大
​37
上馬
​21
中
​人​其​下工
​作
​59
力
​人​水​事​下水
​馬
​牛​萬
​千万​。
22
K如此
​68
65
品​力
​明文​土​“上​“見
​38
Q
人​立
​15
SC
知​然​至​何​礼
​治​の​足​水物​牛 ​金 ​口​木
​31
23
• While no Chinese characters other than Nos. 1-100 appear in this Review, we have not hesitated to give several
new combinations of them, with the object of exercising from the very beginning that faculty of guessing aright
which is a sine quâ non to the student of Japanese all through his career. He should abstain from referring to the
Transliteration and Translation on the following pages, till he has done his best to work out the readings for
himself. Similarly of course in the case of the Reviews of the succeeding centuries of characters.
54
FOURTH SECTION.
つ
​六
​上る
​●つかし​の​世
​加​鳴
​相思
​世​の​爲
​た​事​屋​見​相 ​® て ​虫​や​は​知此​®下​は
​魚 ​如
​ら
​К
を
​89
92
के
只 ​の​天 ​天​何​89 於
​台
​小​地​K 子
​て
​91
К
の ​唄 ​供
​る
​の​四
​を
​ぬ
​至大​乐
​86
199
*
五​まふ​鳥​”て​地 ​ま
​らざる​べから​ざる
​83
は​。此事​たる​や
​91
ve
世​:
つば思 ​以心る ​よ ​す​此
​十
​о
* る
​る​字​を​年​天
​о
TRANSLITERATION.-'Shinamono. 'BUPPIN. Shina-gire. JINSHIN. "Hito no kokoro.
"SEM-MAN. MAN-ICHI. Tachigi. TAIBOKU. 10 TAISAN SHŌSEN. 11 Теном. 12 Мінох.
13 Yo no naka. GYŪBA. 15JINKO. 16Kōri-mizu. "SHIZEN. 18ISSAI. 19TO-ZAI. NAM-BOKU.
14
20 Kitte. 21 BARYOKU. 22SUIRYOKU. 23 3KINRYOKU. 24SEI-NAN. 25TO-HOKU. 26 KYŪDAI.
27 CHIJI.
3+DOJIN.
•
31
28KWAJI. 29JōHIN. 30GEHIN. HANNICHI. 32HONJITSU. 33 HANNEN OF HAN-toshi.
37DAI-KŌJI. 38 KEMBUTSU. 39 Hana-mi. 40 Hanabi.
36
35MYONICHI. MOKKON.
44
#BUNSHI. 42ITCHI. 43JIN-I. JINSEI.
45
46
47
GESUI. JOSUI. CHIKA. 48DANSHI. 49JOSHI.
54
55
56
DosOKU. JU-ROKU-BUN no ICHI. DAI-ROKU
NO
Heta. 58GESHU-NIN. 59SAKUBUN no JŌZU. GOHONSHO. GJŪBUN,
50MEIGETSU. 50. 52IKA. 5 Sono hito.
yori DAI-KU ni itaru.
62 JIMOKU.
also JIP-PUN.
NEN GO-GWATSU hatsuka.
64
63 Wasure-mono. DAIKU oyobi KOFU.
66JINRYOKU no oyobu tokoro ni arazu.
69
67
HONSHO.
65MEIJI SANJŪ-HACHI-
68
SHO wo yomi, BUN wo tsukuru. Kore
wo shiru-beshi. Kaku no gotoki SHIDAI nareba.
72
76
Nan to nareba. 73KONNICHI ni itarite wa.
70
Nampito ni mo.
74MYONICHI ni itareba.
79 · 80
Sore shikari. "Mata shikari. 78 Shikaru ni.
82
71Ikan to nareba.
75
Shikarazumba.
?
Shikaraba. Tka ni omou ya ? 81 Kono
Tsugi ni shirazaru-bekarazaru wa.
83 Kono koto taru ya.
84TENKA O Osamuru koto JU-NEN. 85 Koko ni oite.
koto wo wasuru-bekarazu.
85 Koko ni oite. 86MOJI wo shiranu kodomo.
87 Kono
JI wa ika ni yomasuru ya? 88TENCHI no dai yori, CHŪGYO no Shō ni itaru made.
89 Tada naranu kokochi. 90 Ai-omou. 91 Me wo motte miru. 92Yo no tame ni. 93 Tori
OKUJō ni naku. Omou koto hitotsu kanaeba, mata futatsu, mitsu, yotsu, itsutsu,
muzukashi no yo ya.
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
55
32
33
36
TRANSLATION.-Things, goods.-Goods. Goods all sold out.--The human heart. The
heart of man.-"A thousand myriads. A myriad to one, if unexpectedly.-"A growing tree.
A large tree.--Great mountains and small streams.-"A copy-book, an example.-"A
sample, a specimen. "The world.--"Cattle and horses.--"Population.-"Iced water.-"Spon-
taneously.-18Completely.--"The four points of the compass.-A ticket, a stamp.-"Horse-
power. Water-power. The power of wealth.-South-west.-North-east.-"Passing a suc-
cessful examination.-"A governor (prefectural or urban).-A couflagration. "Refined, well-
bred.-Vulgar. Half a day. This day. Half a year. "Aborigines.-To-morrow. At
present. A big piece of (engineering) work. "Sight-seeing.—*Going to see the blossoms.
40Fireworks. "The numerator of a fraction.-"Accord, union.-The work of human hands.-
"The world (of men).-"A drain.--Water used to feed an aqueduct.-"Underground.-"A male
human being."A woman, a girl. The bright moon. What goes before.-What follows.-
He, she.-Muddy feet.-"One-sixteenth.-56From No. 6 to No. 9.-57Awkward.-A murderer
(lit. one who lowers his hand on a man).Skilful at composition. This book.-"Quite
(JUBUN); also ten minutes (JP-PUN). "Ears and eyes. Something forgotten.-"Carpenters
and workmen.-65The 20th May, 1905.
53
73
37
51
63
It is not within the power of man. To read (books) and write (compositions).“This
should be known. As this is the state of the case. Anyone. "Because.-"Because.-
At the present day. By to-morrow. If not. Just so. That also is true.This
being so, nevertheless. "If so, well then.-80What do you think? This must not be
forgotten. The next thing necessary to be known is......As for this. His reign
lasted ten years. Here, hereupon.-Illiterate children. How is this character read? (lit.
how do [scholars] cause people to read it?)—From such great things as heaven and earth
down to such small ones as insects and fishes.-Feeling ill at ease. To love each other.
To see with one's eyes. For the sake of mankind. The birds are singing on the
housetop. Omou koto, etc., cannot be translated exactly, because the pun on itsutsu,
"five," and itsu mo, "always," and that on mutsu, "six," and muzukashii, "difficult," form
what has been termed a "pivot," which deprives the first clause of its logical end, and the
second clause of its logical beginning. The general sense is that the fulfilment of one wish
will always be followed by the springing up of a second, a third, and so on ad infinitum,
each one in succession being destined to leave us unsatisfied in this world of anxiety and
disappointment. The "conclusive” muzukashi, construed with no, is an irregular locution.
91
94
56
FOURTH SECTION.

116
111
106
101
通​來​可​無
​117
112
107
102
行止​入​用
​118
113
108
103
禁​諸​片​之
​119
114
109
104
右​荷​側​者
​120
115
110
105
左​車​往​不
​THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
57
TRANSLITERATION.-101-7. MUYō no mono iru-bekarazu.—108-112. Kata-
kawa ōRAI-dome.-113-118. Suo ni-guruma TSŪKO WO KINZU.-119. Migi.—
120. Hidari.
TRANSLATION AND NOTES. This lesson, for variety's sake, has been
composed of notices to be seen written up daily in the streets of any
Japanese town.-101-7. "No admittance except on business," lit. "no-
business people,” i. e. people without business (mono when written
always refers to people, not things), "not may enter.' These last three
words are in the Chinese order of syntax. See next reading lesson for
the genuinely Jap. method of constructing the sentence. Do not confound
✰ iru, “to enter,” whose second line tops the first, with hito, “man,"
whose second line begins lower than the first. Alternative readings: 4 無
​nashi; 用​mochiiru; 者 ​SHA;FU; KA; NYU.-108-112. "One
side closed to traffic." H 片 ​HEN or kata, expresses the idea of one sided-

HS ★
“side.”來
​SOKU or kawa (gawa) is simply
soku “side.”
ness, one of a pair, whereas
is kuru or kitaru, “to come;" is tomeru or todomeru, "to stop.”—113-
118. "Thoroughfare closed to all carts," lit. "all freight vehicles pass-through
go forbid." Here the Japanese syntax is followed. If we put above
we should turn it into Chinese. It will be noticed that this lesson
通行
​gives two distinct characters for "to go," viz. ō, and
往
​行
​KŌ. Both
are read yuku; the latter, whose original sense is rather "to walk, is
much the more common. The Chinese reading of is SHA.
車
​In this
character, the picture of the wheel and axle-tree can still be made out.-119.
Right hand; 120, left hand. As a useful memoria technica, consider what
much harder “work," I (No. 88), the left hand has than the right to
produce an equal result. Notice that
is read migi hidari, “right
and left,” but that when reversed, thus, it is read SA-Yu, “left and
right," that being the order preferred by Chinese idiom.
58
FOURTH SECTION.
2
人力車​。馬
​車
​3
無用
​禁​通行​。
の​者​入る​べから​ず
​片​側​往來​止​。
四​”諸
​15
ず
​READING LESSON.
上​用車 ​車​諸
​4
の
​な
​人
​13
人
​林
​5
12
る
​し
​用來​Ⓡ
水 ​月
​無き​に​非
​る
​16
來
​八
​14
日
​ら
​車​"
無​牛
​19
諸​車馬​通行​止​。來年
​18
四​分の​三​。三​分の​一
​20
右側​。左側​。
下​”
21
馬
​TRANSLITERATION.-JINRIKISHA. 2BASHA. MUYō no mono iru-bekarazu. SHONIN.
Katakawa ōRAI-dome. Ushi-guruma or GYUSHA. TSUKO wo KINZU (mentally reversing
6
the construction, and supplying the particles). "RAIGETSU. 'MUYō naru-beshi. 10Yōsui.
11
13
¹ª
"SHAJō no hito. 12Naki ni arazu. Ō-iri. Kitaru yōka. 15SHO SHABA TSŪKō-dome.
16RAINEN. 17SHI-BUN no SAN. 18SAM-BUN NO ICHI.
or Hidari-kawa. 21GEBA.
19USOKU Or Migi-kawa. 20SASOKU
TRANSLATION AND NOTES.-'A jinrikisha.-2A carriage. No admittance except
on business.-*Everybody.-"One side of the thoroughfare closed to traffic.-A
bullock-cart (such as the Mikado and Japanese court nobles formerly rode in; a
specimen may be seen at the Ueno Museum in Tōkyō).-'No thoroughfare.-"Next
month. It is no doubt useless.-10Water (kept ready) for use (in case of fire, etc.).
Tubs so marked are to be seen in many of the streets.-"A person in a vehicle.—
12 Lit. It is not (the case that) there is not, i. e. there are some (Colloquial Nai koto
wa nai).-"Great crowds (at a place of amusement).-"The coming 8th (of the
month).—15 No thoroughfare for vehicles or horses of any description. (Notice the
importance of position :—in the first half of the compound qualifies the
馬車
​second, and the meaning is “a horse vehicle,” i. e. “a carriage;” in車馬 ​the
two are co-ordinated and therefore signify "vehicles and horses.")-16Next year.
___¹Three-quarters.-18One-third.-19The right side.-20The left side.-"Dismounting
from horseback. (A notice to dismount is often written up near temples.)
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
59

1
136
131
126
計​造​賣​御
​121
137
132
127
122
師​所​營​休
​138
133
128
123
理​貸​業​處
​139
134
129
124
髮家​菓​煙
​140
135
130
125
店​時​製​草
​60
FOURTH SECTION.
TRANSLITERATION.-121-3. On yasumi-dokoro.—124-8. Tabako ko-uri EIGYō.—129-
132. KWASHI SEIZO-SHO.-133-4. Kashi-ya.- 135-7. TOKEI-SHI. 138-140. RIHATSU-
TEN.
TRANSLATION AND NOTES.-More signboard notices. In no way can the student
improve his knowledge of useful characters more quickly than by keeping his
eyes open as he walks along the streets. He will imbibe not a little familiarity
with manners and customs at the same time.-121-3. Rest-house, lit. "honourable
rest-place." No. 121, however difficult it may appear, must be memorised absolute-
ly, on account of its unusually frequent recurrence in this politest of languages.
It is read on, o, or Go. The Chinese reading ofis KYU. Notice that this,
the character for "rest," is formed of a "man" leaning against a "tree."-124-8.
Tobacco sold retail, lit. "Smoke-herb small-sale perform-work," i. e. this establish-
ment gains its livelihood by selling tobacco retail. alone is read kemuri, in
Jill
Chinese compounds EN; Halone is read kusa, in Chinese compounds sõ.—
129-132. Cake manufactory. alone is read kudamono, “fruit." Observe that
the long vertical stroke goes through the upper square; in No. 125 it begins below
it. Such distinctions are important. KO or SHI," child," here and in a few
other Chinese compounds, serves to form a sort of diminutive. If we might coin
sugar-plum,” is lit. “fruitling."
a term, 菓子 ​“cake,"
66
alone and
alone are each read tsukuru, to "make." Nos. 123 and 132 are interchangeable
in most contexts, both being read SHO and tokoro.—133-4. House to let.
There
is a great difference between kashi-ya, "house to let," and E
KWASHI-ya, "cake shop," though the people of Tokyo commonly confound the two
in their slipshod pronunciation. alone is read ie.—135-7. Watchmaker. TOKEI,
"to
"watch,” is formed irregularly from toki "time,” and KEI Tit Jap. hakaru,
to reckon.”師 ​HSHI, though properly "a teacher," "a professor," is often used
for purposes of self-designation by the professors of arts no more exalted than,
for instance, hair-dressing.-138-140. Hair-dressing shop. RI, which by
F!!
itself generally signifies "reason," "right," here has the derivative sense of "to
regulate,” “to manage,” Jap. osameru. No. 139, HATSU or kami, denotes only
the hair on the human head as a whole,—not single hairs or the hair of animals.
To these uses No. 185 is appropriated.
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
61
4
家​屋​。理髮師​。御​菓子
​今​は​何時
​り
​な
​る
​七​時​二​十五分
​5
九​時​半
​10
り
​金子​。煙草屋​。貸家​。之
​READING LESSON.

づ
​入
​用
​11
れ
​20
又
​弥天​の​致す​所
​12
業
​13
な
​2
造​花​。
り
​。
中​何​處​に​も​人​家​見え​ず​。
御​中
​16
17
御​見物​。西南​。東北​。
御​用品​貸
​は​貸家​左​は​賣家​。
19
18
右
​TRANSLITERATION.-¹KAOKU. 2RIHATSU-SHI. 3On KWASHI. Ima wa nan-doki naru
ya? 『KU-JI HAN nari. 6SHICHI-JI NI-JC-GO-FUN nari. "KINSU. Tabako-ya.
'Kashi-ya.
4
山
​14
16SEI-NAN.
10 Kore mo mata TEN no itasu tokoro nari. 11Irixō or NYŪYŌ. 12 Kane-kashi GYō.
13 Tsukuri-bana. 14SANCHU izuko ni mo JINKA miezu. 15GO KEMBUTSU.
17Tō-HOKU. 18 Migi wa kashi-ya, hidari wa uri-ya. 19Kashi-uma. 20Go YōHIN.
8
(†is
TRANSLATION AND NOTES.-'A house.-2A hair-dresser.-(Honourable) sweet-
meats. What o'clock is it (now)? It is half-past nine. It is five-and-twenty
minutes past seven.—'Money. ( is occasionally read su instead of SHI.)—
BA tobacconist's (shop). (We put tabako in Italies, as if a Jap. word, simply
because it is not Chinese.)–'A house to let.This, too, is the act of Heaven (or,
as we should say, God's doing).—"Needed.-12The profession of a money-lender.—
13 Artificial flowers. Nowhere amid the mountains was a human dwelling to be
seen. Your sight-secing.——16South-west.——"North-east. (Observe, in these last
seen.-"Your
two instances, the reversal of our English order.)-On the right a house to let, and
on the left one to sell.-19Horses for hire.-20An article reserved for the Emperor's
use (or for that of some other exalted personage or Government Department).
14
62
FOURTH SECTION.

156
151
146
141
古​後​親​父
​し
​157
152
147
142
新​當​生母
​し
​る
​る
​158
153
148
143
飲​去​內兄
​る
​159
154
149
144
食​出外​弟
​る
​160
155
150
145
茶​同​前​兩
​じ
​THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
C3
SHIN:
TRANSLITERATION.—141–2. FUBO or chichi haha.—143–4. KyōdaI or ani otōto.—145-6. Ryō-
親
​alone is read oya.-147. Umareru (also SEI or SHO).-148-9. Naigwai or uchi soto.—
150-1. ZENGO or mae ushiro.—152. Ataru or Tō.—153. Saru or KYO.—154. Izuru or SHUTSU.
155. Onaji or Dō.-156. Furushi or KO.-157. Atarashi or SHIN.-158-9. INSHOKU.-160. CHA.
TRANSLATION AND NOTES.-141-6. Father, mother, elder brother, younger brother, both
parents. No. 145 is also written i Nos. 144 and 68, both pronounced DAI, may be
remembered by each other's help.-147. To be born.-148-9. Inside, outside.-150-1. Front
and back, or before and after.–152. To strike against, to hit off or fit exactly, hence this.
153. To go away, to be past.—154. To go out.——155. Same.—156-7. Old, new. An old story is
that which has passed through ten + mouths, whence the compound character
-158-9. Drinking and eating (always in this order), Jap. nomu and kuu.-160. Tea.
古​—
READING LESSON.
16
11
十全
​其
​家
​九​出
​21
19
日 ​立
​せ​を
​荷 ​H
15
馬
​18
車
​月
​£20.
17
只​” 御​ㄝ
​14
し
​り
​と​する​に​當
​十​日前​後
​《茶店​を​立出​づ
​家​内​。 品​物​賣出
​出立​せ
​ん
​出​“親​茶 ​ˇ の
​子​父
​口 ​し​を
​を​や​内
​起​飲
​12
入 ​め
​口 ​+10 b
り
​休
​處​は ​日
​13
内​。此字​は​何と
​ず
​5
生​親親
​れ
​両 ​た​母
​2
り親
​兄​何 ​外 ​只 ​只
​弟​於 ​當​出
​4
3
相​て ​讀分​左 ​を
​今​男
​屮
​食 ​小食
​KINZ.
2
7
3
8
TRANSLITERATION.-'Chichi-oya. Haha-oya. Tadaima DANSHI umaretari. 'GWAISHUTSU wo
"RYO-SAN NICHI. "TOBUN no uchi. Kono JI wa, nan to yomu ya? Sono yasumi-dokoro
ni oite CнA wo nomeri. KYODAI (or KEITEI) ai-shitashimu. Tōka ZENGO.
10
¹º Tōka ZENGO. "Deguchi. "Irikuchi.
15 Shinamono uri-dashi. Sono CHATEN wo tachi-izu.
6
13SHUTtatsu sen to suru ni atari. Go KANAI.
14
17 Tadaima SHUтtatsu seri. 18KYOGETSU NI-JU KU-NICHI. 19 Ni-BASHA. 20TAISHOKU. SHOSHOKU.
TRANSLATION.—'Father.-Mother. A boy has just been born.-'It is forbidden to go out
(a good instance of the impersonal use of the active voice in Jap.).-"Two or three days.-For
the present.-"How is this character read? We drank tea at that rest-house.-Brethren love
one another.-10About the tenth of the month.-"The way out, exit. The way in, entrance.---
13 Just as we were starting.-"Your family, also your wife. Commencing a sale of articles (as
when a shop is first opened).-"He has come out of the tea-house. "He has just started.-
The twenty-ninth of last month.-A cart or van for luggage.-A large appetite, a great eater.
-21A small eater,
18
15
12
64
FOURTH SECTION.

176
171
166
161
黑​矢​春​多
​177
172
167
162
白玉​夏​少
​178
173
168
163
青石​秋風
​し
​179
174
169
164
吹​名​冬雨
​•
180
175
170
165
降​色​弓​雪
​る
​4
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
65
TRANSLITERATION.-161-2. TASHO.-163-4. FU-U, or kaze and ame.-165. Yuki or SETSU.
166–9. SHUN-KA SHU-TO or haru, natsu, aki, fuyu.—170-1. Yumi-ya.-172. Tama or GYOKU.—
173. Ishi or SEKI.-174. Na or MEI.-175. Iro or SHOKU.-176-7. KOKU-BYAKU or kuroi and
shiroi.-178. Aoshi or SEI.-179. Fuku.-180. Furu.
“
TRANSLATION AND NOTES.-161. Many (ōshi); 162, few (sukunashi); the two together mean
more or less," or some.” No. 162 is a variant of No. 32, which means “small.”—163. Wind,
-a difficult character to write well. Mind the big sweep of the second stroke.—164. Rain.
See the drops, (each differing slightly from the others), and notice how, writ small, this character
helps to form 165, snow.—166–9. Spring, summer, autumn, and winter (see the icicles dripping).
—170–1. Bow and arrow.—172. Jewel.—173. Stone.—174. Name.—175. Colour.-176-7. Black
and white. 178. Green (or blue); also written.
(or blue); also written 179. To blow.-180. To fall from the
sky, as rain, snow, etc.
13
所​同
​1
2
3
4
同​日​。名人​。白雪​。小生​思忆​。小生
​大名​小名​。今日​多少​の​雨
​10
色​。此土​地​の​名物​。青年​。
前
​18
往​此
​ら
​14
15
16
白
​11
無理​往生​。大​弓​。家​内​中​。右​之​通
​の​如​L。
READING LESSON.
27
は​石 ​石​の
​21
31
に​も​云​へ
​は​日本​の​名所​な
​玉​の​如き​女子
​父兄​。
28
19
同上​。
20
り
​春
​12
玉​“左​”雨 ​五​生
​24
煙​。靑物屋​。明石
​29
大​苑
​た
​秋
​25
22
23
る
​り
​生計​を​營む
​37
32
ら
​内​生
​外​計
​り
​33
大​口
​月​。大理
​手中 ​の​玉​。内外​人​。自​今​以後
​然​耳​今​手
​38
39
40
34
吹 ​魚 ​大
​正
​30
26
禁煙​。男子​出生​。石工​。出家
​る
​汇
​汇​寸
​計​石
​所
​42
雪
​無用​の​事​に​非​さる​べし​。
に​計ら​ざり​き​。
色​。
66
FOURTH SECTION.
TRANSLITERATION.-'DOJITSU. MEIJIN. HAKUSETSU or shirayuki.
14
21
KANAI-JU. 16 Migi no
*SHOSEI omou ni. "SHOSEI
omoeraku. “DAIMYO SHOMYŌ. "KONNICHI TASHŌ NO ame. GO-SHIKI. 'Kono TOCHI NO MEIBUTSU.
10SEINEN. "HAKUHATSU. 12SHUN-U or harusame. 13MURI OJO. DAIKYU.
tori. 17SA no gotoshi. 18 Mae ni mo ieru tīri. DOJO. "GYOKU-SEKI. Tama no gotoki NYOSHI.
22 Kuro-kemuri. 23 Aomono-ya. 24 Akashi wa NIHON no MEISHO nari. 25 Aki no tsuki. 26DAIRI-SEKI.
27 FUKEI. 28 Mizukara SEIKEI wo itonamu. 29 Tara. 30 Hana-iro. 31SHUCHU no tama. 32NAIGWAI-JIN.
33 JIKON IGO. 34 Fubuki. 35TOKON. KIN-EN. 37DANSHI SHUSSHO.
36KIN-EN. 37DANSHI SHUSSHO. 38SEKKO or ishi-ku. 39SHUKKE.
40
43
41
KERAI. Mimi ni suru tokoro. MUYō no koto ni arazaru-beshi. Shikaru ni hakarazariki.
TRANSLATION AND NOTES.-'The same day.-'An expert or adept.-³(White) snow.-'In my
opinion.—In my opinion (see Aston, pp. 154–5, for verbal forms in aku).-"The daimyōs and
shōmyōs (see Things Japanese, Article Daimyō).—7Some rain to-day (a phrase frequent in weather
forecasts). The five colours (the Japanese do not count the seven of the rainbow, as Europeans
do).—The production for which this locality is noted. "Youth (lit. green years, "green" not
having here the contemptuous sense given to it in English slang, but referring to the tender
and charming green leaves of spring).-"White hair.-"Spring showers.-13MURI alone means
"unreasonable," ōлo alone is a Buddhist expression which signifies lit. "going to be born"
(in another world), i. e. "dying;" the four characters together give the sense of " violently
and against all reason."-"A large bow. These characters are often to be seen written up
over establishments for the practice of archery.-"The whole household.-16As mentioned
above. "It is as follows.-18 As already stated. "The same as the foregoing. "Jewels and
stated.-"The
stones, worthy and worthless; also a jewel-stone, a gem.-"A girl like a jewel (for beauty).-
22Black smoke.-23A greengrocer.-24Akashi is a celebrated place in Japan.-25The autumn
moon (compare Things Japanese, Article Poetry).-Marble.-"Fathers and elder brothers. This
locution, which corresponds to our "parents and guardians," exemplifies the high position
assumed in the Far-East by an elder brother, who claims respect and obedience as a sort of
second father. The very character for "elder brother," points the same way. It is lit.
"mouth man," because he is the spokesman and instructor of his juniors.-28To work for
兄
​one's own living.—"Codfish. for tara, like
★
31
煙草 ​for tabako (Nos. 124-5),
33
exemplifies one roundabout method of transcribing Japanese words with Chinese characters (conf.
p. 52, No. 10).—"[A particular shade of pure, darkish] blue [resembling that of certain] flowers.
A very precious possession (lit. a jewel in the hand).-Natives and foreigners. From this
time forward.-34Driving snow (fubuki is a contraction of fuku yuki, as the characters intimate).
35The present time.-Smoking prohibited. The birth of a boy.-A stone-cutter.—39A
Buddhist priest (so called because he leaves his family). Notice that, in this compound and
the next, is pronounced KE, not KA.—"A retainer, follower. "What has come to my
ears. "It will not be useless.-Yet I never expected it.
家
​40
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
67

196
191
186
正​安​壹​圓
​181
し
​197
192
187
182
札​買​貳​口
​ふ
​198
193
188
183
附​受​參​錢
​199
194
189
184
掛​取​拾​厘
​200
195
190
185
直​商​高​毛
​し
​68
FOURTH SECTION.
TRANSLITERATION.-181-5. EN, EN, SEN, RIN, MŌ.-186-9. ICHI, NI, SAN, JŪ.
-190. Takashi or Kō.-191. Yasushi or AN.-192. Kau.-193-4. Uke-tori.-195.
Akinai or sнō.-196-8. Sнō-fuda-tsuki.—199–200. Kake-ne.
66
†
TRANSLATION AND NOTES.-A commercial page this.-181 properly means
round,” marushi; hence the Chinese reading en or yen has been borrowed
to denote the "round"
'round" dollar; 182 is a favourite abbreviated form.—183. A
cent-the Jap. cent (SEN) equalling one farthing English, or cent American.—
184. A RIN, the tenth part of a cent.-185. Properly a hair (Jap. ke), hence
used with the reading Mō to designate the tenth part of a RIN, because its value
is almost infinitesimal.-186-9. One, two, three, ten. The student may think it
cruel to be made to learn such complicated aliases for the simple numerals
and (Nos. 1, 2, 3, and 10). The reason for their existence
and frequent use is the fact that the simple forms are easily altered,
being turned into by very little use of the forger's brush or penknife, etc.,
whereas the complicated forms resist such fraudulent dexterity. Note that 187
has inside it, and that 188 has three hooks at the top and three dashes at
the bottom. ☆ is also read mairu, “to go":--indeed that is the proper meaning
of the character; the proper meaning of is hirou, "to pick up.” These
characters are only borrowed, so to say, to represent the numerals 3 and 10
respectively. There are similarly complicated alternative characters for the
other numbers from 4 to 9; but as they are much less used, the student
shall be spared them.-190. High, dear.-191. Easy, cheap.-192. To buy.
賣買
​(6
♬ ¦ Jap. uri-kai, selling and buying," have the Chinese pronunciation
BAI-BAI. In China itself the two characters differ by their "tone," that is, the
inflection of voice with which they are uttered; but in Japanese pronunciation
they have run together; for the Chinese "tones" are here entirely ignored.
is No. 126.-193-4. A receipt. Uke-toru signifying "to receive," lit. to receive and
take.-195. Trade.-196-8. All prices marked in plain figures, lit. correct tickets
affixed.-199–200. An overcharge, lit. put-on price.
札
​THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
69
當
​不正​。名高き​作
​18
19
心​。受​附​。正
​人​案
​20
21
八百屋​。毛
​者 ​耳
​17
15
13
12
16
PE
14
文
​の
​ら
​る
​READING LESSON.



圓​物
​10
U L L L v
て
​を​高直
​參​錢​壹​厘​五毛​。其
​物​商​。
貳拾​五​錢
​參​錢​五厘​づ
​金高​參拾​壹
​買​ふ​。
な
​非​加入​正​正
​ら
​ら
​の​札月
​ずず​外​附
​猪​掛
​正月​。五​圓
​21
り
​五金​人​商​直
​毛​拾​は ​人​な
​木入​し
​札​II
3
共​貳​石​る
​11-
商​御​"正​"理​"理​"一​"
壹​古 ​古​品​拾 ​拾​z 出
​HEIK
LO
5
TRANSLITERATION.-'SHOGWATSU. GO-EN SATSU. ³Ō-yasu-uri. 'SHō-fuda-tsuki, kake-ne nashi.
10
De-iri no hoka, SHO-SHONIN iru-bekarazu. Hito wa BOKU-SEKI ni arazu.
6
'KIN JU-EN NI-JU-SAN-
SEN ICHI-RIN GO-MO. Sono shina wo Kō-ne nite kau. Furu-mono SнỖ. 19 Sono KIN-daka SAN-JŪ
ICHI-EN NI-JŪ-GO-SEN nari. "Hitotsu SAN-SEN GO-RIN Zutsu. PRI no shikarashimuru tokoro. 13RI
no TOZEN. ¹¹SAKUBUN kaki-tori. "SEI FUSEI. 16 Na-dakaki SAKUSHA. 17GO ANSHIN. 18 Uke-tsuke.
19SHOJIKI No akiudo. 20 Yaoya. 2¹MOHATSU.
TRANSLATION AND NOTES.-'January.-2A five yen note.-Very cheap sale, "selling at an
enormous reduction."-"Prices clearly marked, and no overcharges.-'No admittance to trades-
men, except such as have the entrée of the house.-"A human being is not a stock or a stone
("after all, we are made of flesh and blood"). Notice here and elsewhere the, so to say,
argumentative force of
particle, unable to stand alone and needing to be construed with some other verb.-(Money) ten
YEN, twenty-three SEN, one RIN, and five Mo. In Japanese it is usual thus to prefix the word KIN,
(6
J; ; also that it means “is not," whereas is merely a negative
TAY
money," which English idiom rejects as superfluous.—To buy that article at a high price.
"Trade in old things,-odds and ends. (You will see this written up over certain shops filled
with cheap miscellaneous rubbish.)—The amount is thirty-one YEN, twenty-five SEN.-"Three
and a half sen apiece.-"What reason decrees.-Conformably to reason.-"Composition and
dictation.—¹Proper or improper.—"A celebrated author.-"(Your) freedom from anxiety.—For
uke-tsuke see "Colloq. Handbook," Jap.-English Vocabulary at end. An honest merchant.
Akiudo is the same as akindo, but slightly more elegant. Both are corruptions of akibito. The
Chinese reading is SHONIN.-20A greengrocer. Ho (now pronounced o in compounds) is an
archaic word signifying "a hundred;" but why a greengrocery should have been styled an
eight hundred house" remains obscure.-"The hair (of the head).
<<
70
FOURTH SECTION.
理髮師​。飲食店​。菓子​屋
​休​處​。煙草​小​賣​營業​。 家​屋
​賣買​。造作​附​貸家​。萬​木地
​45
46
47
文​。五色​。色取​。色々​°目の玉
​白毛​。白雪​。草木 ​立 ​夏​草​。
夏至​。冬至​。降雨​。秋​の​風​。高
​43
44
48
10
50
REVIEW OF CHARACTERS 1-200.
金​買​物
​商業​。商品​。古本​高直
​買​入​。 安直​ㄈㄈ​買​玉​。手附
​14
15
16
59
60
金​。受取​書​。掛取
​掛​取​。小荷​物​。
山​。去年​。三世​。來世​。後世
​多少​。新古​。左右​。所作​。所
​行
​至當​。理 ​當
​至​當​。理 ​當​。出來 ​見​當
​5次第
​61
2
金​時​計​。金​四​圓​。參​圓​貳拾
​御
​目
​64
65
壹​錢​貳​厘​五毛​。掛​物​。下​足
​掛
​札​。正直​なる​人​。商家​の​子 ​參上
​水
​68
に​掛か
​拾ひ​物
​左​の​如​L。
を ​它吹​掛​? 今​を​去
​66
69
24
25
26
27
70
71
兄​。青年​。少年​。少女​。七​十​年​前​。御​供物​。拾讀
​B
多分​。大金​左​掛​>ㄟ​家​在​造 ​A。御​名​前​。牛車​。諸​車馬​通
​31
32
75
3。茶​人​。家​の​内外​。 弓​師​。 行止​。 無用​之​者​不可​入​。片​側
​34
弓矢​の​家​。百​萬​石​。金玉​の​往來​止​。
76
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
71
俳
​
77
78
特
​79
年取れ​ば​金​より子​。花​に​風​。足る​こと
​80
一​三​女
​81
84
82
両手​に​花​。子供
​は​風の子​。萬​年​新造​。鳥​を​食​ふともも
​86
な
​たかみ
​85
鳴
​加
​かざれ​ば​鳴く​まで​また
​鳥​。高​處​の​見物​。
日​千秋​の​思​。
94
金​中
​時 ​香
​り
​88
食
​と​ゝ​ぎす
​を​年
​知​取
​れ
​馬​耳​東風​。
と​力​は​無​かりけ
​93
石
​89
87
人
​は​人​中田​は
​90
の​上​に​も​三​年​。色男
​91
り
​し
​て
​の​前​の​小事​。無​爲​に​-
馬​秋
​親
​95
の
​心
​心子​知らず​。牛​は
​一字千金​。
下​を​治む​。
秋​知 ​天
​98
牛​づれ​馬​は​馬​づれ​。春花​秋月​。花鳥​風
​月​牛
​99
雪​月​花​。
馬
​100
食​牛​飮​。
牛 ​38 む ​大
​事
​92
田
​4
TRANSLITERATION.-'RIHATSU-SHI. INSHOKU-TEN. KWASHI-ya. On yasumi-dokoro. Tabako 11
ko-uri EIGYō. "KAOKU BAIBAI.
iZosaKu-tsuki kashi-ya.Yorozu ki-JI-mono. SHOGYO. SHOHIN.
"Furu-HON Kōne (or taka-ne) ni kai-ire. 12 Yasune nite kou. 13 Tetsuke-KIN. 14 Uketori-sHo.
16 Ko-niMOTSU. FKIN-NOKEI. ISKIN YO-EN.
15 Kaketori.
20 Kalemono.
26SHONEN.
32 YumisHI.
19SAN-EN NI-JŪ-IS-SEN NI-RIN GO-MO.
21GEsoKu-fula. SHOJIKI naru hito. 23SHOKA NO SHITEI. 24 FUKEI. 25SEINEN.
21GEsoKu-fula.
SHOJO. 28TABUN.
TAIKIN wo kakete ie wo tsukuru. 30CHAJIN. 31 Ie no NAIGWAI.
37
33 Yumi-ya no ie. 3HYAKU-MAN-GOKU.KINGYOKU NO BUN. 36GO-SHIKI. 3i Irodori.
38 Iro-iro. 39 Me no tama. 40 HAKUMO. 4HAKUSETSU or shira-yuki. 42 SOMOKU. 43 RISSHUN.
Natsu-gusa. 45GESHI. TōJI. Ko-u. Aki no kaze. KözAN. KYONEN. SANZE. RAISE.
B3 GosE or KOSEI.
62
63
64
48
s
50
52
59 SHITO. @RI ni ataru. 61 Deki-yoto.
65
54 TASHO. 55 SHINKO. 56SAYU. 57 SHOSA. 58 SHOGYO.
Mi-atari SHIDAI. On me ni kakaru. On me ni kakuru. Hiroi-mono. Sa no gotoshi. Sanjo.
* Mizu wo fuki-kakuru. Ima wo saru koto JU-NEN-ZEN. "GO KUMOTSU. "Hiroi-yomi. On namae.
73GYUSHA. 74SHO-SHABA TSUKō-dome. 75Muyō no mono iru-bekarazu. 76 Katakawa drax-dome.
72
#
72
FOURTH SECTION.
85
So
Toshi toreba, kane yori ko. 78 Hana ni kaze. 79 Taru koto wo shire. SONI-SOKU SAM-MON.
81 Ryote ni hana. 82 Kodomo wa, kaze no ko. MAN-NEN SHINZO. 8* Tori wo kuu to mò, dori
kuu-na! Nakazareba, naku made matō, hototogisu. Takami no KEMBUTSU. 87 Hito wa hito-naka,
ta wa ta-naka. BANI TÖFŨ. 89 Ishi no ue ni mo SAN-NEN. 99 Iro-otoko kane to chikara wa nakari-
keri. 9¹ICHI-JI SEN-KIN. 92 DAIJI NO Mαe no SHŌJI. 93MUI ni shite TENKA wo osamu. 94ICHI-NICHI
SENSHŨ NO omoi. 95 Oya no kokoro ko shirazu. 96 Ushi wa ushi-zure, uma wa uma-zure. 97SHUNKWA
SHŪGETSU. 98 KWACHO FŪGETSU. 99SETSU-GEK-KWA. BASHOKU GYUIN.
23
30
1007
20
16
21
TRANSLATION.—¹A hair-dresser.-2A (drinking and) eating-house.-³A confectioner.—‘A rest-
house.—”A retail dealer in tobacco.-A house agency. House to let with fixtures.-*Wooden
wares of every description.—Trade.—"Merchandise. "Old books purchased at the highest
prices.—To buy cheap.-"Bargain-money.-"A receipt.-15A bill collector. Small baggage.
"A gold watch.-184 YEN.-193 YEN 21 SEN 2 RIN 5 Mō.-"A hanging scroll.-"¹A clog label.
(This is the name given to labels affixed by attendants in charge to the GETA or clogs left
by theatre-goers, etc., at the entrance, as we leave our umbrellas or cloaks.)-An honest man.
-A merchant's sons. "Parents and guardians (see p. 66).-"Youth.-"Boyhood.—"A girl.—
Probably. To build a house at great expense. A person skilled in the CHA-no-yu, or “tea
ceremonies,” hence an esthete, hence an eccentric person.-3¹Indoors and out-of-doors.—32A bow-
maker. A samurai family.-3A DAIMYO. (Lit. one having an income assessed at a million
koku of rice. Notice properly ishi, "stone," used technically to denote a KOKU, which is a
measure of some 5 bushels of rice.)—An exquisite literary composition. The five colours.—
37Colouring. All sorts.-39The eye-ball.-"White hairs or down.-"(White) snow. "Vegetation.
43The "
Beginning of Spring" (the name of one of the four-and-twenty subdivisions of the
year).—"Summer herbs. The summer solstice. The winter solstice.-"Rain (falling).—
*Autumn breezes.-"High mountains. Last year. The three worlds or lives of the
Buddhists, viz. past, present, and future.—The life to come. The life to come (GOSE); future
generations (KŌSEI).
65
33
38
7
56
50
46
57
53
36
58
Conduct.
59
Quite proper.—
To show you.—
"More or less."New and old. Left and right. Action.
To be reasonable.-"An event. As soon as it is found. To meet you.
GG
62
Something picked up. As follows. "Going to your house. To squirt water on to.-Ten
years ago.—"An offering made to a divinity.-"Glancing through a book.—72Your name.
73An ox waggon. "No thoroughfare for vehicles or horses of any description.-"No admittance
except on business.—7One side of this thoroughfare closed to traffic.
(Some of the following are proverbs, others are neat phrases in common use.)
77In old age children are better than money.
78The wind on the (cherry-)blossom.
(“No rose without a thorn.")
(“Enough is as good as a feast.”)
79 Know when you have had enough.
8Two pairs for three farthings (said of something practically worthless).
81Flowers in both hands (said of one seated between two pretty girls).
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
73
1
82
Children are children of the wind, and therefore ought not to fear wind or cold. (A
semi-meaningless saying, used to scold children who complain of the cold.)
83A perennially youthful woman. (Generally said of singing-girls.)
"Though you eat the bird, eat not its dori. (The dori is defined as a clot of blood on
the back, which is poisonous. Observe the jingle of tori and dori.)
85Ah! that cuckoo! if it won't sing, I will wait till it does.-Notice the rhythm of the
original, which has three lines of respectively five, seven, and five syllables, thus being in the
form of a HOKKU (“Colloq. Handbook," ¶¶ 466-8). This ditty is supposed to give in a nutshell
the diplomatic and patient character of the great ruler Ieyasu. Ask your teacher for the
parallel ditties on Ieyasu's predecessors, Nobunaga and Hideyoshi.
86 Viewing from a height, i. e. looking on unconcernedly.
87 Men with men, rice-fields with rice-fields, i. e., in order to effect anything, a man must
renounce solitude and mix with his fellow-creatures.
88 The east wind in a horse's ears (useless efforts to persuade). Do not say TOFU ("bean-
curd ") for TOFU, as is the tendency of foreign speakers.
89 (One can sit) even on a stone for three years. This proverb inculcates steadfastness.
9⁰The rake has no money or strength (having expended both).—This, too, is in the form
of a HOKKU.
91A single ideograph is worth a thousand pieces of gold. (Learning is supremely important;
for Confucianism teaches the innate goodness of the human heart, which only ignorance will
mislead into wrong channels.)
92The small thing before the great one. (Sacrifice small things to great. Nearly equivalent
to our "the end justifies the means.")
93To govern the empire without doing anything (the policy of laisser faire).
94
"A sentiment (e. g. love) to which a single day appears (as long as) a thousand autumns.
95
⁹A child knows not its parent's heart,-i. e. knows not the depth of the love and self-
sacrifice there.
98
96Cows herd with cows, horses with horses. ("Birds of a feather flock together.")
"The flowers of spring, and the moon of autumn. The flowers, the birds, the breeze,
and the moon.-"The snow, the moon, and the blossoms. (These are three different summaries
of the most esthetic things in the world).
(Observe the superior conciseness of
100 Eating like a horse, and drinking like a cow..
the Chinese in this and in a hundred kindred instances.)
74
FOURTH SECTION.

216
211
206
201
里​校​請​甲
​217
212
207
202
程​道​合​乙
​218
213
208
203
長​路​尋​丙
​し
​219
214
209
204
異​町​常​丁
​る
​220
215
210
205
番​村​學​雖
​THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
75
HODO
TRANSLITERATION.-201-4. Kō, OTSU, HEI, TEI.—205. Iedomo.-206-7. Uke-au.
-208-11. JINJO GAKKŌ.212-3. Dōro. 214-5. CHōSON. — 216-7. RITEI. 218.
Nagashi or CHō.-219. Kotonaru or 1.-220. Ban.
TRANSLATION AND NOTES.-201-4. The student will find these four easy
characters, for which there are no precise English equivalents, commonly used in
enumeration, as we say Firstly,.. secondly,..thirdly,.. and fourthly," or "A,
66
十​幹
​B, C, and D." There are six others of the same kind; but they are much less
frequently employed, and are therefore not given till a later stage of the student's
progress. The whole series of ten characters, called JIK-KAN,
or the "ten
celestial stems," belongs originally to Chinese astrology. The use to which it
is still put in Japan for the purpose of computing time is explained in the pre-
sent writer's Things Japanese, Article Time, and with still greater detail in the
Introduction to Bramsen's Japanese Chronological Tables, a work of great research,
丁 ​TEI may be remembered by its likeness to
but too little known. No. 204 T
our letter T; but the jerk of the second stroke upward and leftward is essential.
-205. Although.-206. To receive.-207. Generally occupies, as here, the second
place in a compound, while 61, also read au, occupies the first, e. g. in ai-tagai,
ai-kawarazu. The Chinese sound of is Gō.-208-11. An ordinary school. The
Jap. translation of No. 208 is tazuneru, "to enquire," which seems to have
nothing to do with "ordinary," the signification of the compound. No. 209, on
the other hand, is translated tsune ni, which agrees well. Notice子​“child,”
at the bottom of No. 210, whose Jap. reading is manabu, "to learn," most
learning being done in childhood.-212-3. Road, way. Either character is read
indifferently michi in Japanese. Notice "foot," as an appropriate constituent
element in the second.-214. An urban district or ward, a street (machi), a
measure of distance (CHO) of which there are thirty-six in the ri, equalling about
120 yards English. When denoting a street-name, this character is often
replaced by No. 204 for shortness' sake.-215. Village (mura).-216. When read
RI, it means a Jap. league of 2 miles English; read sato, it means " village."
216-7 together, read RITEI, mean "number of miles," "distance by road." 216
(RI) and 184 (RIN) may be remembered by each other's help.-218. Long.-219.
To differ.-220. Number (so and so).
足
​76
FOURTH SECTION.
3
°道理​。大同小異​。
5
何​番地​。下​六番​町
​Ⓡ
田地​。氷川​尋常​小學
​理​校​番​何​番
​番
​外
​然
​と​雖​を
​10
里​百​常
​里​の ​無
​8
學​廿
​2DORI. 3DALDO SHOI. Nam-BANCHI.
4Nam-BANCHI. "Shimo RoKU BANCHO
10 HIJO
理​非道​。花見​。非常​の
​11
り
​日​花​と
​以​て​半​と​す
​を​行く​者​九十九里​を
​大火​。今日​賣​切​。百里
​御 ​无
​御者​と
​馬丁​。甲乙​丙​の​三​人​。
READING LESSON.
理​作​女​當​馬​以
​事​附
​25
掛
​18
16
所
​よ
​14
り
​19
22
次 ​取​五​何
​里​十五​町​程
​26
入​“及​”用
​23
入 ​Ⓡ町 ​里
​札​第
​21
造る
​17
TRANSLITERATION. 'BANG WAI.
G
NI-JU BANCHI. Hikawa JINJŌ SHŌ-GAKKŌ. Shikari to iedomo. MURI HIDO. 'Hana-mi.
7
14
NO TAIKWA. "KONNICHI uri-kire. "HYAKU-RI wo yuku mono, KU-JŪ-KU-RI wo motte nakaba to su.
13GYOSHA to BATEI.
15TOSHO yori nan-RI naru ya? 16SAN-RI JU-GO
18 Kake-ai. 19 Uke-tori. 20NYÜYo, or irivo. ZOSAKU-tsuki kashi-ga. HINKO.
22
kaslui-ga.“HINKO.
25CHONAN JI-JO. 26 NYŪSATSU.
"KO, OTSU, HEI no SAN-NIN.
CHO hodo. "Otome.
23 KYŪDAI. 24RIJI.
TRANSLATION AND NOTES.-'Extra.-Reason, propriety. Very little difference (lit. "great
same, small differ,"—a neat Chinese phrase).What number (of a street)?——*No. 20, Shimo Roku
Banchō (Bancho is the name of a small district in Tōkyō).-"The Hikawa Ordinary Primary
School. (Hikawa is the name of a part of Tōkyō. It means lit. "ice river," hi being an archaic
word for “ice,” now called kori; compare hieru, “to be chilly”).——?Nevertheless (lit. “ though it
is so,” shikari standing for shika ari).—Injustice and cruelty.-'Going to see the blossoms.—¹An
exceptionally large fire. "All sold out to-day.——“He who goes a hundred leagues must consider
ninety-nine leagues to be halfway,-a prudent proverb, like our “Don't crow till you are out of
the wood." To su may here be considered to stand for to su-beshi.—13Coachman and groom. (We
here have in its original sense of driving; thence it gained the signification of governing,
Imperial, and finally honourable, its now most common acceptation. BA-TEI is a literary equiva-
lent of the Colloquial word BETTð, which is written with different characters.)——Three persons, A,
B, and C.—"How many RI is it from this place?—¹About three RI and fifteen CHO.-"A maiden.
御
​17
—"Consultation.—"A receipt. The two uke's, (No. 206, Chinese sound sei) and
請 ​受
​21
(No. 193, Chinese soud ju) are interchangeable in Jap. in the sense of “to receive.”——Needed.
House to let with fixtures.-"Conduct, behaviour.-Passing an examination.-"A super-
intendent.—The eldest son and second daughter.-"Offering a tender, making a bid.
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
77

236
231
226
引​各​開戶
​237
232
221
227
222
住​尺​間​門
​223
238
233
228
居​寸​才​問
​亦
​239
234
229
224
主​言​面​聞
​240
235
230
225
客​語​他​閉
​る
​78
FOURTH SECTION.
TRANSLITERATION.-221. To or Ko.-222. MON or kado.-223. Tou.-224. Kiku.
-225. Tojiru or HEI.-226. Hiraku or KAI.-227. Aida or KEN.-228. SAI.-229.
MEN.-230. TA.-231. Ono-ono or KAKU.-232. SHAKU.-233. SUN.-234-5. GEN-
GYO. 236. Hiku or IN.-237-8. Ju-KYO.-239. Aruji or SHU.-240. KYAKU.
TRANSLATION.-221. Door.-222. Gate.-223. To ask.-224. To hear.-225. To
shut.-226. To open.-227. Read aida, "while; " read KEN, a measure of six feet.-
228. Ability, talent.-229. Surface, a mask.-230. Other.-231. Each.-232. A foot
(measure).-233. Inch.-234-5. Speech, words.-236. To pull.-237-8. Inhabiting,
lit. residing (sumu) and being in (iru).—239. The master of a house, host.—240.
Guest.
66
NOTES.-Nos. 221-7 are excellent examples of picture-writing, first (221) a
single door, then (222) two doors swung together to form a gateway. Next
223 shows us the mouth at the gate, "enquiring;" 224, the ear at the gate, that is,
listening," "hearing." Comparing 225 with 228, it may be asked why" ability at
the gate” should mean "to shut." The answer is that here stands by abbre-
viation for "timber" (to be given later as No. 1476, and therefore not to be
memorised now), the very thing with which to barricade a gate. No. 227, the
sun in the gate, naturally represents a space of time, "while," and somewhat less
appropriately a space measure. The rationale of No. 226 is a little more difficult
it will be best to take the character on trust.-232. Though English usage forces
us to render shaku by "foot," the character originally represents an outstretched
hand. The extended thumb and little finger, with the three others together in
the middle, can still be discerned.-236 can be easily remembered by comparing
it with No. 170, "a bow," which is the chief thing primitive man was in the habit
of pulling.-239 and 237 can be remembered by each other's help, the "master
of a house" naturally being the "man" who "inhabits" it.
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
79
22
READING LESSON.
居 ​世間​他​”寸​番​聞​聞​寸​!
面
​26
23
前
​客
​間​を
​弓
​27
世間​。弓​を​引
​下​戶
​24
間​。食​間
​16
店 ​各 ​去
​13
14.
18
る​十​九​日​開店​せ
​尺​四寸​五分
​17
他人​。氷​問屋​。
主人​と​客​六​人
​町​に​居​て​番​町​知ら
​て
​見​“十​古町
​物​を​本
​門​自
​中​前​他
​天​“人言
​間​行
​5
2
里​六​町​四十​間​五尺​三
​下​。 天地​人​三才​。
人​知 ​買
​山る
​入
​上​”六
​間 ​開​町 ​園
​如
​の
​10
口
​知​し
​9
同
​25
五
​新​を​三
​事​到
​致
​門
​1
TRANSLITERATION.-'JITA.
no-naka. "TEN CHI JIN SAN-SAI.
せら
​世​番
​GENKO ITCHI. "MOMBAN. MONZEN. "NINGEN BANJI kane no yo-
ICHI-RI, ROKU-CHỖ, SHI-JIK-KEN GO-SHAKU, SAN-ZUN.
8 Furu-HON
kai-ire-dokoro. ICHI wo kiite, JŪ wo shiru. 10. Yomi-uri SHIMBUN." "KEMBUTSU-NIN yama no
12
14
yotoshi. BANCHO ni ite, BANCHO shirazu. 13 Saru (or sannuru) JŪ-KU-NICHI KAITEN seri. Ono-ono
IS-SHAKU, SHI-SUN, GO-BU. 15TANIN. 16 Kōri-don-ya. "Maguchi GO-KEN no mise. 18SHUJIN to KYAKU
21
20 Yumi wo hiku.
19SEKEN.
iJOGO. 22GEKO. 23KYAKUma. 24SHOKUma. 25DOKYO.
ROKU-NIN.
26 MENZEN. 27J1-biki.
""
TRANSLATION AND NOTES.-'Self and others.-Conformity of conduct to precept.—³A gate-
keeper.—'In front of the gate. A world in which money rules everything.-"The three powers
(that rule all things), viz. Heaven, Earth, and Man.-One RI, 6 CHO, 40 KEN, 5 feet, and 3
inches.—Second-hand books bought here.-"To know all by hearing a part,—a proverb applied
to mental acuteness. To the Far-Easterns, as thorough-going decimal system men, “ten parts
mean the whole of a thing.-"The "Yomi-uri Newspaper" (see Things Japanese, Article News-
papers, for the origin of the name).—"The sightseers were like a mountain,—a phrase used of
great crowds at a fair, a theatre, etc. "To live in Banchū (a_district of Tokyo), and not know
one's way about it,-a proverbial expression derived from the labyrinthine tortuousness of its
lanes in early days, and its thickly clustering buildings where the hatamoto and Go-KENIN dwelt
crowded together. The shop, (bank, etc.) was opened on the 19th (lit. on the gone-away 19th).
_™Each one foot four and a half inches (long). Bu is a corruption of Bun, the proper and
original reading of the character 分 ​No. 84.——"Another person, a stranger.wAn establishment
for wholesale trade in ice. Don here stands for ton, and ton for toi, the Indefinite Form of
tou, "to ask." A wholesale establishment is one where the dealers come to "ask" after the
merchandise they deal in. "A shop with thirty feet frontage. The host and six guests.®The
world. To draw a bow.-"A tippler.-A total abstainer.-A drawing-room.-"A dining-
room. *Dwelling together.——*Before one's face, in the presence of. "A dictionary.
27
80
FOURTH SECTION.

256
251
246
241
差​奉​君​吾
​257
252
247
242
支​存​每​我
​258
253
248
243
久別​度​等
​し
​259
254
249
244
方​紙​難​汝
​260
255
250
245
元​申有貴
​THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
81
TRANSLITERATION.241. Ware or Go.-242-3. Wure-ra.—244. Nanji.—
245-6. KIKUN.—247-252. MaIDo ari-yataku zoxji-tutematsuru.—253-4. BESSHT.
-255. Mūsu.—256-7. Sushi-tsukac.-258. Hisashi or KYŪ.-259. Kata or нō.
-260. Moto or GEN or GWAN.
TRANSLATION AND NOTES.-241. I.-242. Another character for "I" (GA),
which, with 243 appended, signifies “we.
we." 等 ​properly means “etcetera,”
and is often read rō.-244. Thou.-245-6. You, lit. exalted prince (kimi).
-247-252. Every time thankful (lit. difficult to be) reverentially think, i.e.
"I am constantly filled with respectful gratitude for all your favours.'
Notice that the character for katai, is written before the character
for ari, and that a similar transposition takes place in the case of Zonji-
tutematsuru, both in accordance with Chinese (or English) syntax. alone
is tabi; 難 ​is often NaN. This little sentence gives. a foretaste of the
Epistolary Style, in which also the next five characters are very frequent,
viz. 253-4, lit. “different paper" (紙
​different paper" (紙​= kami), signifying an enclosure,
while 255 means “to say,” and 256-7 “an impediment,' -c. g. to keeping
an engagement.-The last three characters on the page are miscellaneous
ones in very common use, 258 signifying "long" (of time), 259 "side,"
and 260" origin."
READING LESSON.
1
吾​”と​人
​の
​が
​心 ​如紙 ​君​の​と​至甲
​甲​家
​紙​自​如乙​す​は​難​の ​の​知​天
​他​何か​ん​は ​別​致通る
​通る​知
​り
​は​別家
​の​の
​如同
​しじ​他
​し
​13
らざる
​16
力
​寸​ざ
​日
​每
​14
日
​の​白き​は​雪​の​白
​の​を​差 ​もてはし​四 ​正地
​見​別​せ​見明​て​里 ​差 ​月 ​知
​ざなん​分​白​品 ​四
​る
​しかけ​な​川
​日
​と
​な​難​れ​に
​天​知る​地​知る​予知
​と​新し ​し​佳次​參別る
​白​久聞
​8 居​男​上​紙​我
​82
FOURTH SECTION.
GWANJITSU.
5
TRANSLITERATION.-TEN shiru, CHI shiru, SHI shiru, ware shiru. 2SHŌGWATSU
BESSHI no tori. Sashi-tsukae kore ari, SANJO itashi-gatashi. Yo-RI
SHI-HŌ. JINAN wα BEKKE shite, Shinagawa ni JŪKYO su. 'Kō wa MEIHAKU naredomo,
OTSU wa itatte mi-wake-ga-tashi. Ikan to mo sen kata nashi. 'JITA NO SHABETSU nashi.
10SHIMBUN-SHI. "Kimi wo mizaru koto hisashi. 12Kami no shiroki wa, yuki no shiroki
ga gotoshi. 13TAJITSU. MAINICHI. 15Hito no kokoro no onajikurazaru koto, sono omote
no gotoshi. 16Is-SUN, also read chotto. "GO-JIN.
TRANSLATION AND NOTES.-(The first sentence of the above will be at once
translated and explained by the following quotation from Mayer's Chinese Reader's
Manual:)
“ [Yoshin, 楊震
​a Chinese worthy of the 2nd century after Christ,]
refusing on one occasion a thank-offering of ten bars of gold, which was pressed on
him by a protégé under cover of night, he refused the gift, saying in reply to the
assurances of the would-be giver: Heaven knows it, earth knows it, you know it,
I know it how say you that none will know it?' This noble instance of integrity
is called YOSHIN NO SHI-CHI, or "Yōshin's four knowings,"
and is used to rebuke the paltry excuse that "no one knows," so often alleged in
palliation of wrong-doing.
"The 1st. January.-Lit. "different paper's way," i. e., as you will see by the
enclosed.—*I am prevented from calling on you (Epist. Style). Notice the two cases
of inversion,-kore² ari¹ and itashi-gatashi.'-"Four RI (=10 miles) square,-said to
be the area of TOKYō.-"The second son has founded an independent family, and
resides at Shinagawa (instead of remaining as a comparatively insignificant unit
in his father's house). Such a step is not taken without due deliberation and formal
permission in Far-Eastern lands, where the family counts for so much more than
the individual, and where young married couples do not by any means set up for
themselves as a matter of course.
'A is clear, but B is extremely difficult to make out. There is absolutely
nothing to be done.-'Making no distinction between oneself and others; imparti-
ality.-"A newspaper. "It is long since I saw you.-12The paper is as white as
snow.-13Some other day (in the future).-14Every day.-15Men's hearts are as
unlike as their faces. 16
one inch;" read chotto, it
戓 ​read IS-SUN means
66
means "just a little."-"Myself and others; we (not our English "we" meaning
"you and I").
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
83
276
271
266
261
J


在​置​先​吉
​
る
​277
272
267
262


成​場​頃​凶
​278
273
268
263


乘​略​朝​得
​

279
274
269
264



己​記​夕​失
​
280
275
270
265

已​是​個​故
​


に
​84
FOURTH SECTION.
TRANSLITERATION. 261-2. KIKKYō.-263-4. TOKUSHITSU.-265. Yue.-
266-7. Sakigoro. 268-9. CHōSEKI or asa-yu.—270. Ko or KA. —
271-2.
Okiba.—273-4. RYAKKI.—275. Korc.-276. Aru.-277. Naru-278. Noru.
-279. Onore.-280. Sude ni.
66
TRANSLATION AND NOTES.-261-2. Lucky or unlucky. This is a common
'synthesis of contradictories" (see "Colloquial Handbook," ¶ 48).—263–4.
Gain and loss; 263 is read uru (Colloq. cru), "to receive;" 264 is read
ushinau. Its downstroke comes out at the top, whereas that of No. 171,
"arrow," does not.-265. Cause, because.-266-7. Former period, a little
while ago. is often read SEN.-268-9. Morning and evening.—270. An
auxiliary numeral, see "Colloq. Handbook," ¶ 159. This character is also
written.—271–2. A place (272) to put (271) something.ba or Jō is
often, but less correctly, written -273-4. An abridged description, an
epitome.-275. This. Compare No. 40, which is more used of real things
and very often with the reading kono, whereas (read ze) is often used
naru,
Notice that
†(ru)
(ZAI)
in an abstract sense.—276. To be.—277. To become.
signifies simply “to be,”—e. g. in a place, whereas No. 250 (YU) signi-
fies "there is," "have got," and No. 300 (YA) is the copula at the end
of the sentence, and is often meaningless and simply ornamental. No. 277
"to become" (SEI) is quite different; its Conclusive Present is naru,
regularly following the First Conjugation,—conf. paradigm on p. 16.—278.
To ride, to be on.-279 means "self;" 280 means "already."
memoria technica for distinguishing these two closely similar characters,
observe that the left side of "self" is open, whereas that of "already," is
partially closed, because "already" indicates past time, which is practically,
if not entirely, done with, closed, finished.
As a
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
85
READING LESSON.
むま
​し
​り​非​日​カ
​かをる​はら​在​の​よ​に
​りよ​に​間物吉
​ざな家
​家り​て​の ​置日
​か​記し
​成 ​りり​に​下知​出
​1
16
14
異
​あ弟非
​得母 ​め​門
​門 ​" の
​し
​11
きし​行乘る​來
​製
​10
ゆきす​と
​後​學
​事
​紙​朝
​學​ゑし
​と
​れ
​每
​は ​塲新
​に
​12
ば ​とし​を
​聞
​15
ば​天
​CC
失
​あか
​关​自得
​を​四​人​小​に​御​日​此新
​タ ​毎​用​ざ​御​き ​得略事​を
​弓​朝​のる​目 ​先 ​ぼ​故
​引書​供掛​不​君​れ​聞世
​7
3
"SEKEN no dekigoto wa, hobo SHIMBUN nite shiru koto wo u. Kore yori GEJO su-beshi.
9
TRANSLITERATION. 'KICHINICHI. 2MAICHO SHIMBUN wo yomu. Mono-oki. "SEISHI-ba. 『JIKO.
WO
SENJITSU
kimi no ie ni yukishi toki, GO FUZAI narishi yue, on me ni kakarazariki. Manabazaru kodomo wa,
SEICHO no nochi MUYO no hito taru-beshi. MONJIN ni MAICHO "SHISHO" wo yomashime, MAIyü
"wo
yumi wo hikashimu. "ZEHI. 12JIGO JITOKU. NIKKI. HIBO-TEI. 15TENDO ZE ka HI ka? IT-TOKU
areba, IS-SHITSU ari.
10
13
TRANSLATION AND NOTES. 'A lucky day. I read the newspaper every morning.An
outhouse (used to "put things" in).-'A paper factory.-'Cause, reason. One can obtain
information about almost all that happens in the world from the newspapers.-7(Riders) must
dismount here. When I went to your house the other day, I did not see you because you were
not at home. (Notice the two Attributive Pasts in shi and the Conclusive Past in ki, according
to the paradigm on p. 19).-'Children who do not study will be useless men when they grow
up.—"He makes his pupils read the “Four Books " every morning, and practise with the bow
every evening. (The "Four Books" of the Confucianists are the
大學 ​(DAIGAKU), “Great
Learning," the
the (CHUYO), "Doctrine of the Mean,"
中庸
​<<
the
論語 ​(RONGO),
*Confucian Analects,” and 孟子 ​(MOSHI),
孟子 ​(MOSHI), “Mencius." The Confucian training is not
scholastic merely :-military and gymnastic exercises are deemed worthy to occupy a portion of
the disciple's time.)"So or not, right for wrong, (hence) positively."One's own doing, getting
just what one deserves, lit. “self deed, self get."—"A diary. "A (younger) brother by a different
mother.—"Are Heaven's ordinances just or unjust?"[Every action] has its advantages and its
drawbacks.
86
FOURTH SECTION.
296
291
286
281


社​云​皇帝
​
297
292
287
282



佛​々​洋​國
​
298
293
288
283



閣​號​和​宮
​
299
294
289
284


能​号​漢​殿
​

亦
​300
295
290
285


也​神​由​共
​

に
​THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
87
TRANSLITERATION.-281-2. TEIKOKU.-283-4. Kyōden.-285. Tomo ni.—
286-7. Kō-yō.-288-9. WA-KAN.-290. Yoshi, also yoru.-291-2. UN-UN, but
generally pronounced UNNUN.-293. Gō.-294. Gō.-295-6. JINJA.—297–8.
BUKKAKU.—299. Atau, also yoku.—300. Nari.
TRANSLATION AND NOTES.-281-2. Lit. " emperor country," i.e. empire,
specifically the supreme empire of Great Japan, as contrasted with all other
countries, which are of course insignificant by comparison. alone is read
kuni.-283-4. A palace, 283 which is read miya, and 284 read tono, each
having separately the same signification. 284 is also read dono, and then
means "Mr." also means a "Shinto shrine," as the ideas of the abode
of a god and the abode of the sacred, heaven-descended monarch easily pass
into each other.-285. Together, easily remembered as part of 284, and by
the jingle of tono and tomo.-286-7. Imperial (i. e. Japanese) and ocean (i. e.
trans-oceanic, European, foreign). — 288-9. Japanese and Chinese.
290.
Cause, subject, hence to rely or depend on.-291-2. And so on, etc. (when
quoting another's words). 292 is not properly a character, but rather of the
nature of a diacritical mark, which serves to show that the preceding
character is doubled. Some see in it a corruption of "above,” as much
上
​as to say "the same as above," "ditto."--293. Number (so and so); 294 is a
common abbreviated form. Many write it.—295 alone is kami, a Shintō
god or goddess; 296 is yashiro, a Shinto temple; the two together make JINJA,
also a Shinto temple.-297 alone is hotoke, a Buddha; 298 is taka-dono, a
fty edifice; the two together make BUKKAKU, a Buddhist temple.-299. To
be able, well.-300. One of the verbs for "to be;" see p. 84.
88
FOURTH SECTION.
23
これ
​朝​”を ​百​ぶと​を
​を​す
​よ
​り
​左右 ​在 ​在​は
​みだなし
​夕​共​不在​な
​以​萬人​五
​て
​の
​神
​る​洋 ​田
​ら​前
​に
​ゆうりむ
​し​天ず​は
​に
​の​が
​口​神​洋​を
​20
22
しし
​西
​オ ​な​道 ​學
​15
たま​能
​詳し
​を
​る
​曲​生​諸
​道道
​READING LESSON.
す​當​" 十​洋​と​文
​今​九 ​難
​ぬ ​和​釉号 ​號 ​内​し
​16
本
​小
​川
​日
​本
​12
10
殿
​漢​閣
​文
​下
​皇帝
​女​の​名
​大​日本​帝國
​を​作る
​皇​國
​第二​號​。第四
​及
​今 ​所
​町​西
​に​洋
​第 ​"和る
​國 ​四 ​漢​と​和
​人​八​學​と​来​居
​13
TRANSLITERATION.—'KŌTEI. 2DENKA. KAKKA. "KOKOKU. "WABUN NO MEIKA. KAMBUN
wo tsukuru koto katashi. 7DAI NIHON TEIKOKU. SWA-KAN-YO. NAIKAKU. 10DAI NI-GO. "DAI
SHI-JU-KU-GO. 12NIHON oyobi SEIYO SHOKOKU. TOKON Kanda Ogawa-machi ni JŪKYO su.
14 WA-YO SEIHON-JO. 5 Sono YURAI wo tazunuru ni. 16 Ima wo saru koto GO-JŪ-NEN ZEN wa,
YOGAKUWOmanabu hito ōkarazu. 17SHINTO. 18 Ya-o-yorozu no kami. 19TEN ni kuchi nashi ;
hito wo motte iwashima. 20SEIYO-JIN. 21CHÖSEKI tomo FU-ZAI nari. 22 SAINO.
23 Kore yori
15
{
migi, Dōgashima michi.
hidari, Miyanoshita michi.
TRANSLATION AND NOTES.-'An Emperor.-'His or Her Highness (said of princes and
princesses).—³His (or Your) Excellency.-'The Imperial country, i. e. Japan.—A celebrated
writer of classical Japanese prose. It is difficult to write Chinese prose.-"The empire of Great
Japan.–Japan, China, and Western countries.—"The Cabinet (ministry).—"No. 2. "No. 49.—
12Japan and the (various) countries of the West. "He resides at present in Ogawa Street, Kanda.
—"(Establishment for) bookbinding in Japanese and European style. "On enquiry into its origin
(, I find that........). "Fifty years ago few people cultivated European learning.-"(The)
Shintō (religion). “The eight hundred myriad gods (of Shintō). "Heaven has no mouth; it
employs men as its mouthpiece.-2A European.-"He is out morning and evening.-22Talent.
the right path (leads to) Dögashima.
25 From here
{
the left path (leads to) Miyanoshita.
(Finger-posts are often written thus, partly in Kana; but sometimes they are altogether in the
Chinese character. It is usual for the names of bridges to be written up in characters at one end, in
Kana at the other; characters and their reading may therefore be learnt by comparing the two.)
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
89
REVIEW OF CHARACTERS 1-300.
19
15
2
世
​27
23
言
​لو
45
校長​。尋常​小學​。番人​。學生​。女 ​雖 ​相見​ざ​る​と​久
​學校​。得業生​。語學者​。尋問​。高​朝一​夕​に​行​は​れ​難し​。計略
​等​商業​學校​。 大​日本​帝國​。先​在​其 ​其​由 ​り​て​来​る​所​を​尋
​生​。成年​者​。 漢​學者​。帝國​大學​。。不得​止​。時​と​場合​に​よ​れ
​は​自己​。其時​に​乗じ​て​之​を​爲
​さば​自由自在​。甲乙​なし​。一
​長 ​主
​-29
能力
​20 ムヒ ​16
個​力
​28
客人
​24
21
有用​の​書物​。校合
​分別​あ
​25
26
客​來​。長​居
​他人​。事故
​故​あり​參上 ​上​い​た
​63
食客​を​置く ​門外​滿
​殿上人​。皇宮​。神社​佛閣​。萬
​338
31
語​も​云​はず​。閉口​。 和合
​面​白​き​新聞​也​。讀賣新聞​第​千
​89
六百​七十​號​。號​外​。其​新聞​は
​何​號​なる​や​。新聞紙​上​にて
​8
能​なる​神​。 國家​の​大計​。洋​の​東此​れ​より​先​き​。此頃 ​時間
​西​を​問​はず​。世道​人心​の​為​に​。 程​。間一髪​。 厘毛​の​差​。一番​大
​長ず​。手足​を​置く​所​な​切​。共同​の​事業​。甲乙​丙丁​。
何事​を​も​爲​す​能​は​ざり​き​。商品​取引​所​。金​を​請取る​。手紙
​是非​得失​。言​を​左右​に​す​。然り​を以て​知ら​す​べし​。詩人​に​立
​
48
46
90
FOURTH SECTION.

3手元​六​番​等​各​八夫
​難
​111
所
​112
て
​奉
​106
元日
​手​を​支​へ
​千古​の​金言
​と​支
​+
六町​を以て​一里​と​爲​す​。
113
110-
不
​家
​107
六度​七分​。四方
​103
吹​丁​ㄜ
​100
96
下
​を​馬 ​住
​等
​97
等
​水​一​合​半​。日​每
​101
汝 ​®
98
每​別​行
​102
個
​93
O
88
85
乘​同
​弓​™馬
​居
​矢​間​門
​上​を​あ ​萬
​方
​汇
​を
​凶 ​方
​108
万​五
​104
99
番
​五​鳥
​り
​के
事 ​面
​TRANSLITERATION.-'KOCHO.
86
79
小​る
​78
大
​ず​間
​正​札​附​一
​夫​請合​。御請​を​す
​小間物​見世​。相塲​。他​見
​禁​。吾​忘​。居​常​。山​中
​
83
84
80
81
引
​切な
​山
​見
​し
​+ 一​中​尺​車​中
​76
77
JINJO SHOGAKU. 3BANNIN. GAKUSEI. 5JO-GAKKO. "TOKUGYO-
SEI. "GOGAKU-SHA. JIMMON. KOTO SHOGYO GAKKO. 10DAI-NIHON TEIKOKU. "SENSEI. 12SEINEN-
Shōgyd
SHA. 13KANG KU-SHA. 14TEIKOKU DAIGAKU. 15HOGEN. 16NORYOKU. "YUYO no SHOMOTSU. SKYōgō.
22 SONCHO.
21FUMBETSU aru hito.
19KININ Or
KIJIN.
20LK-KO-JIN.
23KOSHU. 24K YAKUJIN.
25 KYAKURAI. 26 Naga-i no KYAKU. TANIN. 28JIKO ari, SANJO itashi-gatashi. 29SHOKKAKU wo oku.
30 MONGWAIKAN. NAIKAKU. 32DENJO-bito.
3
32DENJO-bito. KŌKYŪ.
33KOKYU. 3.JINJA BUKKAKU. 35 MANNO naru Kami.
36KOKKA 20 TAIKEI.
45
16
43 GEN
37 Yō no TŌZAI wo towazu. 38SEDO JINSHIN no tame ni. 39SESAI ni CHōzn.
40SHUSOKU wo oku tokoro nashi. "Nani-goto wo mo nasu atawazariki. ZEHI TOKUSHITSU.
wo SAYŨ ni su. Shikari to iedomo. 15 Ai-mizaru koto hisashi. IT-CHO IS-SEKI ni okonaware-gatashi.
47 KEIRYAKU. 18SONZAI. Sono yorite kitaru tokoro wo tazunuru ni. 50 Yamu wo CKU. 51 Toki to ba-ai
ni yoreba. JIKO. Sono toki ni Jojite kore wo nasaba. JIYU JIZAI. KO-OTSU nashi. ICHI-GO
mo iwazu. 57HEIKO. 5WAGO.
62
53
49
54
$5
56
GWAI.
goro.
59 Omoshiroki SHIMBUN nari. co « Yomi-uri SHIMBUN
60
DAI SEN ROP-PYAKU SHICHI-JŪ GỖ. “GO-
65 5 Kono
"Sono SHIMBUN wa, nan-Gō naru ya? SHIMBUN-SHIJO nite. Kore yori saki.
68 RIMMO NO sa. COICHI-BAN TAISETSU.
ICHI-JI-KAN hodo. KAN IP-PATSU.
JIGYO. "KO, OTSU, HEI, TEI.
7KO,OTSU,
61
""
&4
70 KYODO NO
74
75
UkeNIN ni tatsu.
79
73
72SHOHIN torihiki-Jo. Kane wo uke-toru. Tegami wo motte shirasu-beshi.
76DAI-JOBU uke-ai. O uke wo suru. 78SHŌfula-tsuki, ICHI-RIN mo hiki nashi. Komamono mise.
80 Soba. TAKEN 200 KINZU. 82 Ware wo wasuru.
83KYOJO. 84SANCHU ni sumu. 85DOKYO. 86SEM-
MON BANKO. 87SHAFU BATEI.
91 Yumi ni
RJOBA OF JOME. 89 Akima ari. 90SHAKUHACHI WO FUKU.
ya wo tsugau. 92 Ono-ono NI-SHAKU SAN-ZUN. 93TOBUN. JOTO. 95CHUTO. 96KATO. 97Nanji-ra.
99
9.1
98BERKO. Tori hito-tsugai. 100 Mizu ICHI-GO-HAN. 101 Hi-goto ni. 102GO-JU-ROKU DO SHICHI FUN.
103
3SHI-HO HAP-PÖ. 104 HOMEN. 105GWAN-JITSU. 106 Mōshi-age-tatematsuru.
107FUKITSU. 108 KYOJI.
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
91
109 Te wo tsukaete. 110IK-KA wo sasōru. NANJO.
11¹NANJO. 112SENKO NO KINGEN.
motte, ICHI-RI to nasu.
19
21
13SAN-JŪ-ROKU CHỖ 200
TRANSLATION.-'The head-master of a school.-2An ordinary primary school.-3A watchman.
—A student.—A girls' school. A graduate.-A linguist.-"Enquiry. The "Higher Com-
mercial School."-"The Empire of Great Japan.-"A teacher.-"An adult.-13A Chinese scholar.
"The Imperial University.-15A provincial word or dialect.-16Capability.-"A useful book.-
18Proof-correcting. A man of rank.-20An individual. "A man of discrimination.-22The mayor
of a village.—A householder.-"A guest.-A visit, a party.-"One who pays a long visit.-"A
stranger.—28Circumstances prevent me from calling upon you. To keep some one free of charge
you."To
(as a poor relation or a student). In this context
-30An outsider, one who has nothing to do with a thing. The character
客 ​is generally read KAKU rather than KYAKU.
""
Chinaman is
sometimes thus used to denote a man in general. "The Cabinet. 32A courtier. The Imperial
general.—³¹The
palace.—34Shinto and Buddhist temples.-"Almighty God.
36 National policy.—"Alike in Asia and in Western countries.—For the sake of morality and
humanity. To excel in worldly wisdom.-There is no room to turn round in.-"I could not
do anything."Pros and cons. To equivocate.-"Nevertheless.-"We have not met for a
long time. It cannot well be done between a night and a morning.-"Policy, a scheme.—
48 Existence.—On enquiring into its origin. Unavoidably (the characters being written in the
order of Chinese syntax). "According to time and opportunity.-52Oneself. If we avail our-
selves of this occasion to do it. Free and independent.-"Neither is superior to the other.-
56 Without saying a word. "Reduced to silence.—Concord.
54
59It is an interesting piece of news.-No. 1670 of the "Yomi-uri Shimbun."-"An extra
(of a newspaper).—What number of the paper is it? In the paper. "Before then.—
Nowadays. About an hour. A crisis, lit. one hair's interval. An infinitesimal difference.
The most important of all.-70A joint undertaking. "A, B, C, and D.
65
€6
67
£3
68
72A mercantile exchange. To receive money. "He must be informed by letter.—7To stand
security.—76Excellence guaranteed. "To acknowledge (respectfully).—Prices marked in plain
figures, and no reduction made.-79Shop for the sale of fancy goods.-Market rate, exchange.—
SINot allowed to be seen. To be in a brown study. Always, generally. To live in the
hills.—Living together. Innumerable houses, the whole city.-Jinrikisha-men and grooms.
-88A riding horse. "Room to let. To play the flute. "To fix an arrow to the bowstring.
Observe the reading tsugau, tsugai of here and in Ex. 99. "Two feet three inches each.-
93Equal division. First class.-Second class.-Third class. "You (plural). The ac-
companying (parcel, &c.).—"A pair of fowls.—A gill and a half of water. Day by day.-
102Fifty-six degrees seven minutes.-103Every direction.-10Direction.—105New Year's day.—I
have the honour to say.-107Unlucky.-10Something unlucky.-Placing one's hands on the floor
(as in bowing à la japonaise).—-10To support a family.-"A dangerous place.—"An ever wise
maxim.—¹¹³Thirty-six chō make one ri (more lit. [people] make one ri with thirty-six chō). ·
番
​101
92
FOURTH SECTION.
316
311
306
301

郵​許​皆​仕
​
317
312
307
便​規​樣
​318
313
308
る
​ち
​302

303
電​則​公​就
​
319
314
309
304



信​定​私​數
​320
315
310
305


局​價​官​類
​THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
93
TRANSLITERATION.—301. Tsukamatsuru, also shi.—302. Sunawachi or soku.
-303. Tsuku.-304. Sō or kazu.—305. RUI.—306–7. Mina sama.—308.
Ōyake.-309. Watakushi.-310-11. KWANKYO.-312-13. KISOKU.—314–15.
TEIKA.-316-20. YUBIN DEN-SHIN KYOKU.
pounds as 仕​立 ​shi-tute, 仕​出 ​shi-dashi, etc.
TRANSLATION AND NOTES. 301. Read tsukamatsuru, this is a respectful
word for "to do," used chiefly in the Epistolary Style. Read shi, it is
the stem of suru, "to do," and occurs as the first member of such com-
By a curious coinci-
dence,
the Chinese sound is also SHI.-302. That is, namely.—303. To
adhere to, to be with.-304. Number, numerous.-305. Sort, kind of.—
306. All. The Chinese reading is KAI.-307. Read sama, "appearance," also
"Mr. ;" read yō, "way," "manner."-308. Public.-309. Private, selfish-
ness, I. A together are read KōSHI, public and private.—310–11.
Official permission. alone is read yurusu.-312-13. Laws. No. 313 alone
is read sunawachi, like No. 302, but rather in the sense of "then," "that
being so."-314-15. Fixed price. The difference between No. 200 and No.
315 is one of sound, 200 being ne or CHOKU, 315 atae or Ka. But both
mean
price,” No. 200 also (indeed primarily) meaning “straight.” E 定
​alone is sadameru.—316–20. Post and telegraph office, lit. "mail conveni-
ence, i. e. post, and lightning truth (or tidings), i. e. telegraph, office."
These last characters, more particularly those for "post-office," should be
impressed on the memory by seeing them written up in every town and
village.
94
FOURTH SECTION.
READING LESSON.
已​業​親​寸​通用​小​所​郵
​物價
​入
​23
魚 ​者 ​々
​類
​和 ​M
御
​22
24
洋​用
​和洋​小間物​店​。
不​用品​高價買
​爲​め
​和​學者​。漢​學者​。洋​學
​む​を​得​ず​云
​便 ​價
​の​類
​19
11
金信成
​十​の
​15
四月 ​他​類
​る
​と
​20
止​五​有
​成
​汇
​ら
​13
18
よざず由
​21
洋​ず
​來
​時​るる
​16
の ​と​事
​用心​。 信書​一​通​。
信​不
​場​を​許さ
​他見​を​許さ​ず​。
記​。
10
土
​12
上
​て
​入​通
​TRANSLITERATION.-'YUBIN-gitte uri-sage-30. 2On shitate-dokoro.
08
6
郵便​切手​賣下​所​。御​仕立
​學
​3
4
LO
局​。支局​。私立​尋常
​万
​來​私
​火
​の
​5
常​立
​3HONKYOKU. SHIKYOKU.
5SHIRITSU JINJŌ SHŌGAKKŌ. "SEN-KYAKU (or KAKU) BAN-RAI. "Hi no YOJIN. 8SHINSHO IT-TSU.
1ºDOSOKU nite NYŪJŌ wo yurusazu. "MURUI.
"MURUI. 12JOTO. 13YURAIKI. "SHINRUI.
9DENSHIN FUTSU.
SHI-JU-GO-SEN.
21 YOGAKU-SHA.
10
13
15TAKEN wo yurusazu. 16JIGYō no naru to narazaru to wa, SHIN-Yo no UMU ni yoru. "TEIKA, KIN
18ICHI-JI NO HÕBEN no tame yamu wo czu, UN-un. 19WAGAKU-SHA. 20KANGAKU-SHA.
22GO FUYO-HIN KÖKA kai-ire. 23GYORUI. 24WA-Yo koma-mono TEN.
TRANSLATION AND NOTES.-'Place for the sale of postage-stamps. (This and several of the
following will be frequently seen written up in public places.)—Tailoring establishment.-"Main
office.-'Branch office. "Private ordinary primary school.-"May a thousand guests come a
myriad times. (This and the next are very common on each side of the lanterns hung up out-
side inns.)—'Beware of fire.-One letter (written communication).-Telegraphic communication
interrupted. No one allowed to enter with muddy feet.-"Incomparable.-12First class.—¹³A
written account of the origin and fortunes (e.g. of a temple).——“Kinsfolk.——"Strangers are
not permitted to look. The success or failure of the enterprise depends on (the presence or
absence of) credit.-"(Fixed) price, 45 SEN.-18In pursuance of a temporary expedient, I have
umavoidably, etc., etc. (i.e. I have had to take this course, not as the ideally best, but as the
best under the special circumstances).-19A Japanese scholar, i. e. one versed in the classical
native language and literature.—20A Chinese scholar.—"One versed in European languages (or
sciences).—We will purchase at a good price any articles you do not require.-23(Various sorts
of) fish.−2*Shop for the sale of Japanese and foreign fancy goods.
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
95

336
331
326
321
必​殘​若​權
​337
332
327
322
悉​念​加利
​333
328
323
338
省​或​减​義
​は
​339
334
329
324
付​初登​務
​き
​る
​340
335
330
325
1
夜​發​留​老
​る
​96
FOURTH SECTION.
TRANSLITERATION.-321-2. KENRI.-323-4. GIMU.-325-6. RŌNYAKU.-327-8.
KAGEN. 329. Noboru or Tō.-330. Todomaru or RYU.-331-2. ZANNEN.-333. Aruiwa.
-334. Hajime or SHO.-335. HATSU.-336. Kanarazu or HITSU.-337. Kotogotoku.―
338. SHō.339. (Ni) tsuki.—340. Yoru or Ya.
TRANSLATION AND NOTEs.—321-2. Rights.—323-4. Duties. 務 ​alone is read
tsutome.–325–6. Old and young. 老 ​alone is oi, “ old age" oiru, “to grow old;"
若 ​alone is wakai, "young."-327-8. Increase or decrease.—329. To ascend.
330. To stop –331-2. Regret. 殘 ​alone is nokoru, “to remain."―333. Or else,
perhaps. This character is best remembered together with No. 282 of which
it forms the inner portion.—334. The beginning.—335. Bursting forth, beginning.
-336. Positively,-same as No. 81 plus one downward stroke.-337. All without
exception.-338. A government department (in compounds such as KAIGUNSHō, the
Navy Department), from the more original meaning kaerimiru, "to look back Or
“look into,” “to examine."-339. With reference to. Comparing Nos. 198 and
303 with this one, it will be seen that tsuku is written with different characters
according to its slightly varying meanings.–340. Night.
ず
​馬
​21
28
READING LESSON.
郵​せ​宮​に​爲權​悉月​外​の ​の ​天
​便 ​よ​内​て​め
​222
安物​買​の
​23
27
24
地主​。相場​。ロ
​車​。別​當​。老若男女​を​問
​26
の
​頃
​29.
30
山​は
​老少​不定​。登山​。
知ら​す​は
​れ​ざる​存
​るる​を​外
​失​を​得
​あ
​ひ
​り知ざ​多​た
​らり
​りの
​25
18
登 ​3 問​乘 ​皇 ​” 書 ​”す
​客
​留​と ​來​の
​12
夜​務​權利
​何
​は
​19
15 々
​安​是 ​外​今
​物​れ​知​出​日
​13
事
​と​務
​と ​所​五
​はの
​難
​男女​同
​の​宮殿​下​。必定​。念
​14
し​附月
​11.
10
は
​7
十五夜​の​目
​毎​月​發行​。 念佛​。 内務
​人​は
​の
​和​の
​に
​の​時​は​地の利​に​如かず​、地
​
如​に
​ず
​加​如
​男​"言 ​圓​內
​2
ふし
​所
​し​務自
​自
​由​地
​THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
97
TRANSLITERATION.-¹TEN no toki wa, CHI no RI ni shikazu; CHI NO RI wa, hito no
KWA ni shikazu. JIYŪ no KEN. 3 MAIGETSU HAKKŌ.
6
*NEMBUTSU. NAIMUSHŌ. GWAI-
14
8
MUSHō. 'JU-GO-YA no tsuki wa marushi. Tsuki-yo (or GETSU-YA). JIMUSHO no uke-
tsuke. 10 Iu tokoro kotogotoku okonau koto wa katashi. "NANNYO DOKEN. 12 Nani-nani
no Miya DENKA. 13HITSUJO. NEN no tame. 15KONNICHI wa, ZONGWAI amata no
KYAKURAI nite, GWAISHUTSU suru wo ezariki. 16KUNAISHŌ. 17 Shirazaru wo shirazu to
se-yo!
Kore shireru nari. 18 Kaki-tome YUBIN. 19 Yasumono-kai no zeni-ushinai.
20 KōKYO. 21Ienushi or yanushi. 22Jinushi. Sōba. 24KōSEN. 25 Nori-ai BASHA. 26BETTO.
27 Rō-NYAKU NANNYO Wo towazu. 28JAKUNEN no koro. 29RōSHO FUJO. 30TOSAN.
23
TRANSLATION AND NOTES.-Lit. "Heaven's times are not equal to Earth's
advantages, Earth's advantages are not equal to Man's concord," i. e. Occasions
that arise count for less than situations that persist, and these for less than that
moral strength which inheres in the union of virtuous men. See Section XI for
the whole chapter in Mencius where these oft-quoted words appear.
12
"The right of freedom.-³Published monthly.-*Invoking Buddha.—"The Minis-
try of the Interior. "The Foreign Office.-The moon is round on the 15th day
(old lunar calendar).-A moonlight night.-(See "Colloq. Handbook," Jap.-Engl.
Vocabulary.)-10It is difficult to perform all that one says. "Women's rights (lit.
"man woman same power ").-"His Imperial Highness Prince so-and-so. (Notice
that UN-UN is used at the end of a clause, nani-nani at the beginning).—13 Absolutely
decided.-14For form's sake.-15I was not able to go out to-day, owing to a number
of unexpected visitors.-16The Imperial Household Department.-"Recognise that
you know not what you do not know: this is true knowledge (Confucius).—
19 Registered post.-"Buy cheap, and waste your money (a proverb).-20The Imperial
abode.-21The owner of a house.-22A land-owner. The market rate, rate of ex-
change.-"Brokerage, commission.-25An omnibus. 26The word BETTO, now used
of a common groom, formerly denoted and still denotes in literature a certain
grade among Shinto officials, also the steward of an Imperial prince.-"Without
distinction of age or sex.-28In my young days.-"Neither old nor young can be
certain (when they will die).—30A mountain ascent.
18
98
FOURTH SECTION.

356
351
346
341
免​廣​政​兵
​357
352
347
342
狀告​反​卒
​358
353
348
343
幾​返​對​衣
​359
354
349
344
未​報​張​服
​360
355
350
345
末​假​替​氏
​THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
99
TRANSLITERATION.-341-2. HEISOTSU.—343-4. IFUKU.-345. Uji or SHI.—346.
Matsuri-goto or SEI.-347-8. HANTAI.-349-50. Hari-kae.-351-2. KōKOKU.-353-4.
HEMPō.-355-7. Kari-MENJō.358. KI or Iku ? 359. Imada.-360. Sue.
TRANSLATION AND NOTES.-341-2. Soldiers.-343-4. Garments.-345. Surname,
Mr.-346. Government.-347-8. Contrary.-349-50. Lit. "to stretch (and) ex-
change,” i. e. to re-cover an umbrella, to paste new paper on a lantern or a SHOJI.
-351-2. Lit. “broadly (hiroku) publish (tsugeru),” i. e. an advertisement.-353-4.
Reply, requital. Get hold of the difference between HAN and 返 ​HEN by this
memoria technica, that HAN, as coming earlier than the other in alphabetic order,
has the simpler form.-355. Borrowed, i. e. temporary; 356-7, passport; the three
together signify a temporary charter. is metaphorical only, and cannot be
used for the actual borrowing of money, etc., like No. 454. 免 ​alone is read yurusu,
1
“to allow."―358. How many? 359. Still, not yet.-360. End. 359 and 360 differ
from each other only in the comparative length of the two horizontal strokes.
The difficulty of recollecting this is solved by the doggerel verse quoted in the
attached exercise.
17
18
READING LESSON.
郵​し​服
​し​服りる
​替​報
​16
や​仕
​告
​馬​Ⓡ
13
14
の​前
​12
上​替
​り
​は​報
​下​知
​る​は​ある​な
​衣食住​。出張所​。
上​、未​は​下​の​長き​なん
​替​店​。報​知​。片假名
​8
不定​。何卒
​買​は​なき​な
​水​耳​の​何
​に​事卒
​佛
​10
6
書
​り ​狀
​末
​り​和​な​賣​は
​。兩
​19
處替​れ​ば​品替
​郵便​爲替​。我田​へ​水​を​引く
​台​。
中​行事​。
28
政 ​25 中
​政治家
​29
23
風
​り若飮 ​飮 ​聞
​20
21
る
​言文一致
​本​號​目次
​24
年
​22
水​。貸家​の​張​札​。
27
諸氏​。登り​て​見れ​ば​。
しく​は​。氏名​。
"
100
FOURTH SECTION.
::
6
TRANSLITERATION.-'I-SHOKU-JŪ.
"HOCHI. Katakana.
7 Sue wa kami,
2SHUTCHO-SHO, or debari-SHO. 3SHOJO. *RYogac-TEN.
Imada wa shita no
Nagaki nari.
Uru wa aru nari,
Kau wa naki nari.
HOMMATSU, or moto sue.
12Iku-NEN-ZEN no koto narishi
16 Waga ta ye mizu wo hiku.
20FUBUN. 21 GEMBUN ITCHI.
13
14
'MITEI. 10 Nani to zo (=Colloq. dōzo). "WAFUKU shitate-dokoro.
ya? HOKOKU. 4Uma no mimi ni NEMBUTSU. 15YUBIN-kawase.
"Tokoro kawareba, shina kawaru. 18HONGO MOKUJI. 19 HOSSOKU.
22NENJU GYŌJI. 23 Nomi-mizu. 24 Kashi-ya no hari-fuda. 25SEIJI-KA.
26 Moshiku wa. 27 SHIMEI. 26SHOSHI. 29 Noborite mireba.
TRANSLATION AND NOTES.-'Raiment, food, and lodging.-'An outlying station, or branch
office.-A letter (epistle).-'An exchange shop.-"Information, tidings.-"The Katakana (sylla-
bary, see Sect. VII). The character for sue has the long stroke above, that for imada has it
below; that for uru has (the heading), that for kau has it not." This doggerel verse greatly
imada on the one hand,
facilitates recollection of the distinction between
and between 賣
​uru and
sue and
末 ​未
​買 ​kau on the other. Of course a person can only sell a thing
when he has (aru) it; he buys what he has not (naki).—Beginning and end, the whole.-'Still
undecided.—¹Please."Native tailoring establishment. "How many years ago did it happen?—
Informing, reporting. "Prayers in a horse's ears (conf. BANI TOFŪ on pp. 71–3).—¹A post-office
order. To make the water flow into one's own rice-fields ("to look after No. 1," the simile
being drawn from the system of rice-field irrigation, which requires for its success that the
various peasant proprietors should co-operate honestly).-"Things change with places, less
literally, so many places, so many manners (a proverb).-18Contents of the present number (of a
magazine, etc.).—19Setting out on a journey. (In this compound, the "Go-ON" pronunciation
HOTSU is generally preferred to the usual "KAN-ON" pronunciation HATSU.)-20A rumour.—
21 Writing as one speaks,-lit. speech (and) written-composition one act, using the Colloquial
for literary purposes,-a thing no Far-Eastern nation has yet done.-22A calendar of official
rites and ceremonies.-"Drinking water.-"A placard with "house to let.”—A politician.-
20If, or else. That the same character E&E should mean "young" (wakai, JAKU, NYAKU) and
"if" (moshiku wa) may seem strange; but the fact is so.-27Surname and Christian name.-
28 All the persons.—"On mounting up and looking at it.
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
101
376
371
366
志​議​堂​善
​361



377
372
367
362



病​論​宗​惡
​378
373
368
氣​變​派​說
​363


379
374
369
364

全​化​妙
​380
375
370
365



快​身法​會
​
102
FOURTH SECTION.
66
TRANSLITERATION.-361-2. ZEN-AKU (mostly pronounced ZENNAKU).-363-4.
SEKKYO.-365-6. KWAIDO.-367-8. SHUHA.-369-70. MYōнō.-371-2. GIRON.-373-4.
HENKWA OF HENGE.-375. SHIN or Mi.-376. Kokoro-zashi or SHI.-377-8. BYōKI.—
379-80. ZENKWAI.
TRANSLATION AND NOTES.-361-2. Virtue and vice, good and evil.-363-4. Lit.
explaining doctrine,” i. e. preaching. 說 ​alone is toku, “to explain.”—365–6. An
assembly hall, a church (building).-367-8. A sect.-369-70. A wonderful law.
(Buddhism is often so styled.)—371-2. Discussion, argument.—373–4. Read HENKWA,
change, transformation; read HENGE, metamorphosis (generally into some uncanny
shape). 變 ​alone is kawaru, “to change.”—375. The body, self.—376. Intention.一
​377-8. Lit. "sick vapours," i. e. disease.-379-80. Complete cure. 全 ​alone is
mattaku, “ quite.”
上​佛​知​天​會​常​法​前
​前門
​帝 ​る​巒
​33333
O.
5
READING LESSON.


18
11.
外​會​小
​1
15
商
​19
長
​な​行​の
​業
​新
​事​病
​22
報​。文明​開化​。
16
り
​12
13
人
​10
新
​病身​。水掛論​。青年
​間 ​文​萬​掛
​の
​朝
​開​報
​を​行ふ​は
​論​の​自由​。電氣
​丽​世​。後世​。
作用
​帝國​議會
​論語​。鳥​居​。
25.
20
23
來
​17
32
ら
​ら
​35
佛
​21
信
​佛
​の
​26
が​の​者 ​佛​御​教山
​敎山​の
​中年
​SHIMPō." B. Yorozu CHÖHÖ.”
TRANSLITERATION.-'SHŌSETSU. 2BYōSHIN. Mizukake-RON. SEINEN-KWAI.
766 CHUGWAI Shōgyō Shimpō." BUMMEI KAIKWA.
3
566 JIJI
8
°GEN-
而​住​不變​。諸​行​無
​佛法​信​者​。即​身​是​佛
​29
造物主​。宗教​。有志者​。
曾​社​。
會 ​由​地
​告
​31
天
​主
​31
し
​敎​知
​神
​好​身
​RON NO JIYŪ. 10DENKI NO SAYŌ. "ZEN wo okonau wa, NINGEN TŌZEN no GIMU nari.
12. RONGO." 13 Torii. 14SAMMON. 15GICHO. 16TEIKOKU GIKWAI. 17BUKKYŌ. 18ZENSE.
19GOSE. 20MIRAI. 21Hotoke no mi nori. 22BUPPO SHINJA. 23 3SOKUSHIN ZEBUTSU. 24 JOJU
FUHEN. 25SHOGYO MUJŌ. 26KYŌKWAI. 27ZŌBUTSU-SHU. 28SHUKYO. 29YUSHI-SHA. 30TEMPEN
31 Kami naranu mi no shiru yoshi mo nashi. 32 Shiranu ga hotoke. 33KWAISHA.
34TENSHU-KYŌ. 35SHINJA. 36JōTEI.
CHI-I.
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
103
TRANSLATION AND NOTES.-'A novel.-2A sickly person.-3Useless recrimination (conf. our
word "aspersion").-'A young men's association.—The "Jiji Shimpo" newspaper, lit. "new
information concerning the events of the time." The next two also are names of TOKYō news-
papers." Morning Information about Everything.""" New Information concerning Home
"Yorozu CнOHO" is familiarly
and Foreign Mercantile Affairs." The name 萬​朝​報
​abbreviated to
萬​朝
​"MANCHO." - Civilisation. - Freedom of speech. 10The action
of electricity. (Observe 作 ​SAKU, read sa when the sense is intransitive, as here).-"To
practise virtue is the natural duty of mankind.-12The "Confucian Analects," or conversations
(lit. "discussions and sayings ") of Confucius, a celebrated Chinese classic.-13A torii, or Shintō
gateway; conf. article so entitled in Things Japanese, where it is shown that the characters
lit. "bird-rest," do not truly convey the etymology of the word. The case is not
Such foreign students as desire to make philological researches, must be on their
鳥​居
​isolated.
guard against accepting the guidance of the characters as infallible; for in many instances
the Japanese word existed previously, and a Chinese character was adapted to it later, often
quite uncritically. Thus thickly set with pitfalls is the path of Far-Eastern philology. "The
great front gate of a Buddhist temple. [I] = Buddhist temple, because such are often built
22
on mountains.-15A chairman or president. The Imperial Diet.-"Buddhism.-18A previous
state of existence. (This and all the following, down to SHOGYO MUJO, are Buddhist expressions.)
19The next world.—20The future.-"Buddha's holy law. "A believer in Buddhism, a Buddhist.
-23To attain to Buddhahood at once in the present corporeal life.-"Permanent and unchanging.
-25All things earthly are impermanent.-"A religious association, a church (metaph.,-not
).—The Creator.-Religion.-29One
who earnestly supports any cause. Changes in the order of nature,—such portents and
disasters as comets, earthquakes, etc.-³¹Not being a god, I have no means of knowing,—a
strong way of disclaiming all knowledge of some event.-Ignorance is bliss (lit. "not to know
is to be a Buddha"). "A company.-"Roman Catholicism, styled
because
a church building, which is 會堂​敎​會堂​)
Catholics call God 天主 ​"the Lord of Heaven."A believer.-36God (lit. the Supreme
Emperor, our "King of Kings"),-a Confucianist term.
104
FOURTH SECTION.

396
391
386
381
進​區​米​京
​397
392
387
382
步​平​獨​都
​398
393
388
383
改​民​府​橫
​399
394
389
384
良士​縣​濱
​400
395
390
385
凡​族​廳​英
​そ
​THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
105
TRANSLITERATION.-381-2. Kyoro.-383-4. Yokohama.-385-6. EI-BEI-387. Dokt.-388-
390. FU-KEN-CHō.—391. Ku.—392–3. HEIMIN. 394-5. SHIZOKU.-396-7. SHIMPO.—398–9. KAI-
RYO. 400. Ojoso or oyoso.
TRANSLATION AND NOTES.-381–2. Kyoto, Each of these characters means “capital city,
"metropolis;" so does the compound, it being a favourite Chinese method of word-building thus
to put synonyms together. 都 ​alone is read miyako.-383-4. Yokohama, lit. "cross strand."
Hama is indifferently written 濱 ​濱 ​英國
​米​國
​BEIKOKU means
((
oľ
—385–6.
EIKOKU means "England;
America" (cony. No. 282); so Er-Ber together mean England
and America. The reason for the choice of the character 英
​米
​Er to transcribe the name of
England ” is that in Chinese it is sounded yingy, which is as near to “Eng ” as a Chinaman call
get. In Japanese mouths the likeness of sound is completely lost. which means “rice”
(the raw grain), Jap. kome, is pronounced MI in Chinese, and this was considered sufficiently close
to “me”the second syllable of “America.” Even this faint likeness, too, has been effaced in
the Japanese pronunciation.-387. Germany, because DOKU sounds rather like "Deutsch." The
Jap. reading of the character is hitori, “ alone.”—388–91. Fu, “ wban prefecture,” is the title
applied to the government of the three capitals, Tōkyō, Kyōтo, and ŌSAKA. All the other (rural)
prefectures are
KEN. CHO is a term applied to various official boards, courts, and tribunals
forming part of it suggests the “henring” of cases). Ku is a subdivision or district
(the
縣
​“
of a city.—392-3. (“Flat,” Jap. hira or taira, i. e.) common people,” a plebeian. Distinguish
SHI or uji, a surname."-394 alone is samurai;
395 alone means a “tribe”or“sort ;”the two together denote the samurai or gentry of Japan.
民 ​MIN or tami, “the people,” from (345) E
氏
​+
Do not confound samurai, with + tsuchi, "earth." The latter appropriately has its
lower line longer than the other, what is broadest being at the bottom. See also explanation
given under No. 43.—396 is susumu, to advance; 397 is HO, a step; the two together make
SHIMPO, progress.—398 is aratameru, to rectify; 399 is yoshi, good; the two together mean “to
improve."-400. Mostly, about.
る
​と​學物​て
​READING LESSON.
二廳​商
​聽商​の​本
​の​本​春​學民​米​君​人
​客
​な​理
​按理​人
​間
​しの
​20
外​日​社
​米
​夜
​會
​國
​八
​出
​づ
​18
東京​橫濱​間
​良心​。 東京​府
​16
16
來​物
​17
校 ​佛
​橫​™獨
​13
れ​の​兩横​町
​り​爲國
​15
め​よ
​白​”敷り
​字
​諸國​商人
​子
​族
​9
士
​英
​商​族
​12.
外族
​佛
​或
​外
​行事​凡 ​府​米​多​日 ​日​今​語​平​英​諸國
​1


15
3
106
FOURTH SECTION.
る
​て​許
​26
33 о
31
明
​32.
內​規
​日​天​Ⓡ
全區
​出
​30
の
​々 ​立​都
​27
28.
間​分​貸​ん​に ​免書 ​上​當​四
​KEIKK
//
ん​と​思ふ​。
論​區
​る​町里
​日
​+
るべ
​そ​幾
​五
​英​の ​1= 本​英​十
​英國
​東京​府下​の
​いく​ば
​幾何​な
​21
米 ​四 ​は
​し
​百
​24
雪
​る
​25
R
о
和​如​間
​の
​國​萬
​時に ​に​利 ​せ​合
​卒
​き
​K 十​の​な​凡​“口
​SHI.
14
3
TRANSLITERATION.-'KOZOKU. KIZOKU. GWAIKOKU-JIN. 'SHOKOKU akindo. "SHOKUN. KUN-
EI-FUTSU. EI-BEI FUTSU-DOKU. SHIZOKU. HEIMIN. 11 Yoko-CHO. 12GWAIKOKU GO-GAKKO.
1 Yoko-MOJI. KONSHUN EI-BEI RYŌKOKU yori, NIHON KEMBUTSU no tame, amata no KYAKU kitareri.
"HAKUMAI-SHO. CRYOSHIN. TOKYO FUCHO. ISTOKYO Yokohama KAN. 19 Subete NINGEN SHAKWAI NO
JIJI BUTSU-BUTSU, NICHI-YA HENJI MO GAKURI no hoka ni izuru koto nashi. 20BEIKOKU-JIN. 21TOKYO
FUKA NO JINKŌ iku-baku naru ya ? 22 Oyoso NI-HYAKU GO-JŪ-MAN naru-beshi. 23EIKOKU NO ICHI-RI
wa, NIHON no JU-SHI-CHO SHI-JU SAN-GEN ni ataru. 24 Yuki no gotoki JŌ-HAKUMAI. 25EI-WA JISHO,
26SHIKWAN. HEISOTSU. MENKYO. TENKI TSUGŎ nite, MYŌNICHI (or asu) SHUTtatsu sen to omon.
30KORI-kashi. 31GIRON KU-KU ni wakaru. 32KITEI NO JIKAN. 3KANAI ANZEN!
29
佛​國 ​FUTSU-KOKU, because 佛
​15
,
12
TRANSLATION AND NOTES.-'The Imperial family.-"The nobility.—3A foreigner.-'Merchants
from all the provinces. (A phrase often to be seen written up on inns seeking the patronage of
commercial travellers.)—"Gentlemen! (in addressing an audience)—"A superior man (a Confucian
word not exactly translatable, but nearly equivalent to "virtuous gentleman ").—England and
France. ("France" is written
more often BUTSU in
Japanese, is pronounced FUH in China itself, and this FUH is the first syllable of FUH-LAN-SI,
the nearest the Chinese can get to the sound of "France.")—England, America, France, and
Germany. A samurai, the gentry of Japan.-10A common person.-"A side street. A foreign
language school.-European writing, Roman letters.-"Great numbers of tourists from England
and America visited Japan this spring. Shop for the sale of hulled rice.-16Conscience. The
Tōkyō prefectural office.-18Between Tokyo and Yokohama.-There is nothing of any sort
connected with human kind but comes at every moment of its existence within the domain
of science. 20An American.-"How many inhabitants are there in the prefecture of Tōkyō ?—
22There must be about 2,500,000.-One mile English is equivalent to 14 chō, 43 ken Japanese.
Snow-white superior hulled rice.-"An English-Japanese dictionary.-"An officer.-27A (private)
soldier.—A permit, a diploma.-"I think of starting to-morrow if the weather is favourable.--
Usury. Many conflicting opinions were expressed. The hour fixed upon.-Peace to the
household! (This and other phrases invoking blessings from above on the empire, the home,
or the harvest, are often inscribed on paper charms, sometimes on stone tablets.)
30
31
THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
107
20
REVIEW OF CHARACTERS 1–400.

聞​波​一​見​12如水​。九​牛奶
​かず
​一​毛​。論語​讀​の​論語​知らず
​5
神戶​居留地​。東京​帝國​大學​。
本多​。高田​。青木​。久米​。戶
​東男​论京​女​。 住​的​都​。 吾​日
​ば
​田​。 大山​。濱田​。木下​。外山
​E
々​论​三九​伏​吾​分身​省 ​吉川​。中​村​。山口​。村田
​に​三​たび​吾が​身​を​省惡
​52
錢身​に​附か​ず​。人​を​見​て​法​を
​新​川
​高山​。横山​。和田​。町田
​£9
58
說​妙​。子​見​親​k若​小犬​。山​本​。田中​。吉田
​丁​を​見る​と​親​に​若か​ず
​田中​。 吉田​。 宮川​。 黑
​69
14
官
​33
七​人​の​子​在​爲​女​L心​至 ​田​。石川​。古田​。内​山​。石田
​も​女​に​心​を
​許す​な​。先​ん​すれ​ば​人​を ​を​制す ​中山​。 安田​。 内村
​13
66
兄弟​过​他人​の​初​5°才子​多病​。 物理學 ​論​理學
​報
​70
68
文學
​72.
幾​心​學
​人​”
東京​朝日​新聞​。都​新聞​。 類​學​。 生物學
​杨​學​。神學​。心理學​。
國民​新聞 ​號​外
​21
22
23
京都​。 名古屋​。甲府 ​宮 ​の
​水戶​。御殿​塲​。品川​。目 ​黑​。靑
​山​。神​田​區​。小​石川​。本​所​。七
​里が濱​。 横濱​山手​八​十​二​番
​28
731
77
78
74
79
生理學​。 學​。化學​。 幾何學​。
力學​。 地理學​。 進化論
​政府​。 獨立​國​。 共和​政治
​事​堂​。治外法權​。局外
​局外​中立​。
地方自治​。民政​。 民權 ​萬​國
​議
​108
FOURTH SECTION.

96
93
90
110
•114
117
125
公法​。 通商​局​會計​局​。縣治​局​。害​は​人生​の​常​、一得一失​は​人間
​諸官​省
​木​局​。東京​府​廳​。府縣​知事
​98
八​宗​。十二​支​。五
​支​。五官​。四 ​四​書​。
101
105
四
​128
130
ひくき
​三​十二​相​。 四大​。三世
​オ​。 五行​。 五常​。 四時
​四時​。六合​。
下​に
​男​善
​112
113
七​去​。五色​四民​。秋​の​七草
​七草​。
115
116/
免る​能​は​さる​所也​。社會​改良​。
129
物​に​は​必ず​本末​あり​。 水掛論
​利己主義
​主義​社​會主​義之​に​反し
​加​之​。人​性​の​善​なる​や​水​の
​137
が​如し​。即身是佛
​即​身​是​佛 ​善
​138
139
明​。發​見​。
發見​。衣服​の​改
​141
142.
青天​白日​。獨立​獨​歩​。公​明​正大​。。 居民​三千​。改​心​。説​を​變​ず
​118
119
123
報國​の​志​。 文明開化​。日進​の​世る​。妙​。何​々​社​に​加入​す​。以
​の​中​。公平​の​處置​。堂々たる​五​下​省略​。私立​學校​許可​規定
​尺​の​男子​。平凡​無能​の​人間​。學​の​時間​。變則​の​英​學者 ​正則
​問​に​志す​。國家​に​對
​對​す
​126
務
​155
C
教師 ​卒業生​。書
​157
145
書留​郵
​新聞​は​社會​の​耳目​なり ​一利​一​便​。信書​一​通​。即日​。全國​。返事
​THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
109
三名​登​悉​飮​信​張​病​數​金 ​返
​159
號​札
​174
171
多​利
​167
氏​取​族​→
163
上​6 殘念​千萬
​數​减​念
​名​替 ​七​時​數
​替​七
​184
未
​或
​成
​179
175
加
​中
​假
​時 ​日
​年 ​初夜
​180
め
​172
皆​一
​168
價​千
​物
​價
​夜​樣
​事​氣​老
​169
164
引​殘
​160
161
186
者
​或
​185
を
​181
者 ​英​™快 ​付 ​白
​176
母
​1650
は
​國​氣 ​〈老 ​米 ​元
​170-
162
36 RONGO "
み​或​者​は​食​ふ​、和服​仕立​所
​事​水 ​來
​力
​せ
​188
189
派出所​。高山
​196-
193
る
​古 ​出
​190
宮​分
​197
194
り
​氣
​198
用​日 ​十​假
​御​本 ​四 ​片​出
​191
支店​分​店​。
200
内​店
​201
休
​業
​七名
​平​山
​小​™本​假 ​C
說貸​本屋​。宮内​省​御用​。非​賣​品
​TRANSLITERATION.—'HYAKU-BUN wa IK-KEN ni shikazu. ²KYū-GYʊ no ICHI-MỖ.
4
5
yomi no "RONGO" shirazu. Azuma-otoko ni Kyo-onna. Sumeba miyako. Ware hi-bi ni mi-tali
waga mi wo kaerimiru. AKUSEN mi ni tsukazu. NIN wo mite Hō wo toke. Ko wo miru koto
oya ni shikazu.
10SHICHI-NIN no ko wo nasu to mo, onna ni kokoro wo yurusu-na. "Sakinzureba,
hito wo SEISU. 12KYŌDAI WⱭ TANIN no hajimari. 13SAISHI TABYŌ.
156 TOKYO Asahi SHIMBUN.” 16 Miyako SHIMBUN." 17 KOKUMIN SHIMBUN."
1466 KWAMPO.”
"
18 GOGWAI. 19KOKOKU.
B
22
23
24
20 KYOTO. 21 Nagoya. "KOFU. Miyanoshita. Mito. 25GOTEMba. Shinagawa. Meguro.
2
28 Aoyama. 29 Kanda-KU. 30 Koishikawa. HONJO. SHICHI-RI-ga-hama. 33 Yokohama yamate HACHI-
JU-NI-BAN. 34 Kōbe KYORYŪCHI. 35TOKYO TEIKOKU DAIGAKU.
7
40
42
50
43
51
52
36HONda. 37 Takata. Aoki. 39 Kume. Toda. "Oyama. Hamada. Kinoshita. "Toyama.
45 Yoshikawa. 4 Nakamura. Yamaguchi. Murata. Ogawa. Takayama. 1 Yokoyama, Wada.
53 Machida. Yamamoto. Tanaka. 5 Yoshida. Miyagawa. Kuroda. Ishikawa. Furuta.
61 Uchiyama. 62 Ishida. Nakayama. Yasuda. Uchimura.
it
3
67
55
As 47
57
64 65
C9
5º ©
66 BUTSURI-GAKU. RONRI-GAKU. TEMMON-GAKU. JINRUI-GAKU. SEIBUTSU-GAKU. "SHIN-
GAKU. 72SHINRI-GAKU. 73SEIRI-GAKU. 74SŪGAKU. 75 KWAGAKU. 76KIKA-GAKU. TRYOKUGAKU.
78CHIRI-GAKU.
79SHINKWA-RON.
SOSEIFU. DOKURITSU-KOKU.
S1
S2KYOWA SEIJI. SSGIJIDO SICHIGWAI HOKEN. SKYOKUGWAI
86CHIHO JIJI. 7MINSEI. SSMINKEN. 9BANKOKU KOHO. TSUSHO-KYOKU. 91 KWAIKEI-
93DOBOKU-KYOKU. TOKYO FUCHO.
ITOKYO FUCHÖ. "FUKEN CHIJI. 95SHO-KWANSHŌ.
CHŪRITSU.
KYOKU.
92 KENJI-KYOKU.
110
FOURTH SECTION.
HAS-SHU. JU-NI-SHI. 99GO-KWAN. 100SHI-SHO. 101 SHI-HO.
104SAN-ZE. 105SAN-SAI. 106Go-GYO. 107GO-JO. 108SHI-JI. 100 RIKU-GO.
112SHI-MIN. 113 Aki no nana-kusa.
114 SEITEN HAKUJITSU. 115 DOKURITSU DOPPO. 16KOMEI SEIDAI.
119NISSHIN no yo no naka. 120KOHEI NO SHOCHI.
ISBUMMEI KAIKWA,
DANSHI. 122 HEIBON MUNO NO NINGEN. 123 GAKUMON ni kokorozasu.
125
127
103SHI-DAI.
102SAN-JU-NI-SO.
110SHICHI-KYO. GO-SHIKI.
111
117HOKOKU no kokorozashi.
121 Do-Do taru GO-SHAKU NO
124KOKKA ni TAIsuru GIMU.
SHIMBUN wα SHAKWAI NO JIMOKU nari. 126ICHI-RI ICHI-GAI Wα, JINSEI no tsune; IT-TOKU IS-SHITSU
wa, NINGEN no manukaru atawazaru tokoro nari. "SHAKWAI KAIRYŌ. 128 Mono ni wa kanarazn
HOMMATSU ari. 129 Mizu-kake-RON. 130RIKO SHUGI. 31 SHAKWAI SHUGI. 132 Kore ni HANshite. 133 Shika
nomi narazu, or koro ni kuwūru ni. 134JINSEI no ZEN naru ya, mizu no hikuki ni tsuku ga gotoshi.
SOKUSHIN ZEBUTSU. 136ZENNAN ZENNYO. 137HATSUMEI. 38HAKKEN. 139IFUKU NO KAIRYO. 140KYO-
MIN SAN-ZEN. 141KAISHIN. 12SETSU 200 HENZUru. 143MYOBUN. 144 Nani-nani SHA ni KANYU SU.
145IKA SHŌRYAKU. 146SHIRITSU GAKKO. KYOKA. KITEI NO JIKAN. 149HENSOKU No EIGAKU-SHA.
1500
60SEISOKU. 151 RYO-KYOSHI. 152SOTSUGYŌ-SEI. 153SHOJO. 154 Kakitome-YŪBIN. 155SHINSHO IT-TSŪ.
15SOKU-JITSU. 17ZENKOKU. SHENJI. HENJO. 100ZANNEN SEMBAN. 161 Sashi-hiki ZANKIN. 102GWAN-
103GENKA. 104BUKKA KOCHOKU. 165 HAKUMAI. 166 Amata. 167TASU. 168
68 Mina ICHI-YŌ.
135C
KIN RISHI.
169
DENKI.
177
1881
171
59 ROBO. 170 ROBYO. 171NI-ROKU JICHU. 172NICHI-YA. 173KI wo tsukuru. KAZOKU SHICHI-NIN.
175 Karisome no koto. 176KWAIKI. Harifuda. 178 Tori-kae. 179 Aru toki. 180SHIKWAN. EIKOKU.
182SHINGO. 183SHIMEI. 184MI-SEINEN-SHA. 185 Aru mono wa nomi, aru mono wa kurau. 186WAFUKU
shi-tate-dokoro. 187 Kotogotoku SHUTTAI seri. SHASHUTSU-JO. 189 KOZAN ni noboru. 190 SUIRYOKU
19366 KOJIKI.”
191 Katakana. 192 Hiragana.
194GISHI SHI-JU-SHICHI NIN. 195HONKE. 196SHITEN.
97BUNTEN. 198 HONJITSU KYŪGYO. 199SHOSETSU kashiBON-ya. 200 KUNAI-SHO GO-YO. 01HIBAI-HIN.
TRANSLATION AND NOTES.—I. (Proverbial sayings.) 'Hearing a hundred times is not equal to
seeing once.—²One hair from nine cows,-not one hair from each, but only one out of the whole
nine, i. e. something infinitesimal.—³To have read the "Confucian Analects," and not to know
them.—¹A man from Eastern Japan and a Kyōto woman (are the handsomest). The exceptional
reading of the character properly higashi, as Azuma, is connected with a tradition
regarding the hero Yamato-take, too long to relate here, which will be found in Murray's
Handbook for Japan under the heading of Karuizawa. Azuma is alternatively written
"my wife," in allusion to the same legend. "If you live in a place, it becomes the
capital for you. (Conf. "Colloq. Handbook, ¶ 448.)—I examine myself thrice daily,-not
exactly a proverb, but a saying of a Chinese philosopher quoted in the "Confucian Analects,”
who humbly doubted his own faithfulness, sincerity, and learning.-'Ill-gotten gains do not stick.
-Look at your man before you explain the Sûtras, i. e. argue so as to suit the capacity
of
hearer. Parents know their own children best. "Never trust a woman, even though
your
she have borne thee seven children.-"First come, first served;-more lit. he who arrives
first commands the others.-"Brotherhood is the first step towards estrangement.-13Clever
people are often sick.
吾
​THE FOUR HUNDRED COMMONEST CHINESE CHARACTERS.
111
Tōkyō
II. (Newspapers.) 14The "Official Gazette," 15" Tokyo Morning Sun Newspaper," 16" Metro-
politan Newspaper," and "7" National Newspaper."-"An extra (issue of a newspaper).-"An
advertisement.
33
III. (Place-names and Addresses.)
26
Kyōto, "Nagoya, "Kōfu, "Miyanoshita, Mito, "Go-
32
temba, Shinagawa, "Meguro, 28Aoyama, 29Kanda-ku, "Koishikawa, "Honjo, Shichi-ri-ga-hama.
No. 82, the Bluff, Yokohama. The Foreign Concession at Kōbe.-The Imperial University
of Tōkyō.
IV. (Surnames, as transliterated on page 109.)
72.
V. (Science.) Physics, "logic, astronomy, "anthropology, "biology, "theology, psycholo-
gy, "physiology, "mathematics, 75chemistry, "geometry, "mechanics, "geography, "the doctrine
of evolution.
80
90
F6
VI. (Politics.) Government.-An independent country.-Republicanism.-The (houses
of the) Diet.—84Exterritoriality.-Neutrality. Local self-government.-Democracy.—“Popu-
lar rights. International law. The Board of Trade.-The Bureau of Finance.-The Bureau
of Local Administration. The Bureau of Public Works. The Tōkyō prefectural office.-
95Prefects (urban and provincial).—The various departments of government (i. e. ministries).
VII. (Numerical Categories.*) 7The eight (principal Buddhist) sects.-The twelve signs of
the zodiac.—"The five senses.-100The four (canonical) books (of the Confucianists).—The four
cardinal points.-102The thirty-two signs, or characteristic beauties which distinguish a Buddha.
103The four elements, viz.
104The three worlds. (See p. 72.)-105The
K KA
three powers of natue, viz. 天地​人​-wThe five elements, viz. 木火​土​金
​水
​107The five constant (i. e. cardinal) virtues, viz. benevolence, righteousness, propriety,
wisdom, and sincerity.—108The four seasons. 109The six cardinal points, viz. North, South, East,
West, above, and below. (Notice that is here read RIKU.) The seven reasons for
divorce.—The five colours.-The four classes of society, viz. the gentry, peasantry, artisans,
and traders.-113The seven herbs of autumn.
1:22
VIII. (Miscellaneous.) Broad daylight, (metaph.) no concealment.-Perfect inde-
pendence.-Justice and impartiality.-"A patriotic spirit.-Civilisation.-19A constantly
progressing world.—120Impartial treatment.—¹¹A fine figure of a man. A commonplace person.
123To have a desire to study.-124One's duty to one's country.-Newspapers are the ears and
eyes of society.-126Everything in life has its advantages and its drawbacks, a condition from
which man would vainly seek to free himself. The reform of society.—Everything has a
beginning and an end,-i. c. must be done in proper order. Useless recrimination.—Egotis-
tic principles, egotism. Socialism. On the contrary. Moreover (lit. add this, Chinese
syntax agreeing here with the English).—The tendency of man's nature to good is like the
tendency of water to flow downwards (Mencius).—135To attain to Buddhahood at once in the
131
* Compare Things Japanese, s. v.
132
129
112
FOURTH SECTION.
158
148
present corporeal life.-136Virtuous men and women.-Invention.-Discovery.-139 An improve-
ment in the style of dress.-Three thousand inhabitants.-"Conversion. To change one's
opinion.- An exquisite literary composition. To become a member of such and such a
society.—What follows is omitted.—"A private school.-Permission. The appointed time.
"One who has studied English according to the HENSOKU method.*The SEISOKU method.
"A good teacher.—A graduate.—15A letter, a document.—¹¹Registered post.—15One letter.
The very same day.-157The whole country. An answer.-15 Sending or giving back.-
Extremely sorry. The balance (of an account).—Principal and interest.—Reduced rates.
16The prices of commodities are high. Hulled rice. Numerous, much.-167The majority.
16All of the same kind.-16 (My) old mother.-170The infirmities of age. The whole day.—
172Day and night.—173To pay attention.-17A household of seven.-175A trifling matter.—176Con-
valescence. A label.-178 An exchange. At one time.-180 An officer. England.—A signal.
Surname and personal name.-1A minor. Some drank and some ate.-186A tailor who
160
177
161
165
185
166
181
makes Japanese clothes.-187They are all ready. (Notice 出來 ​read SHUTTAI.)-188A branch
(police) office.—189To climb a high mountain.—Electricity obtained by water power.—¹¹The
Katakana (syllabary).—19The Hiragana.—193The "Kojiki," the oldest extant Japanese book,
dating from A.D. 712.-19The Forty-seven Rōuins (lit. faithful samurai).—The principal es-
tablishment.—196A branch store.-197 (Ditto.)-198 Closed (lit. rest business) to-day.-19A circulating
library for novels.-20Patronised by the Imperial Household. Not for sale.
201
Such exercises as the above will make it clear that from even only 400 Chinese characters,
if properly chosen, an enormous mass of words belonging to all subjects, from the most familiar
and trivial to the most abstruse, may be obtained. The single characters are more than
words—rather do they resemble the roots of our European languages. The difference is that,
instead of sprouting into polysyllabic derivatives and terminations, they do their work by
forming loose compounds, each element of which remains distinct to the mind. Their immense
number favours the creation of an unlimited vocabulary, as terse as it is expressive. Hence
the ease with which equivalents have been found for the flood of European technical terms in
every department of thought that has recently poured over the country. The drawback of the
system is the difficulty-not to say impossibility-of inferring the sense from the mere sound
when the words are spoken, as numbers of characters are pronounced alike, TO, KŌ, KI, KWAN,
SHI, SHŌ, etc., etc., etc., recurring over and over again. The appeal is thus rather to the eye
than to the ear.
* This consists in treating English as a dead language, “only more so," as not only is the pronunciation neglected,
but even to a great extent the syntax, only the sense being aimed at, and translated into a peculiar jargon of Japanese
which is supposed to render the exact signification of each word. As a matter of fact, it often results in egregious
nonsense. SEISOKU, given as the next example, is lit. "correct rule," as opposed to HENSOKU, changed rule" or
"deflected method." It means learning a language as nearly as possible like a native. The terms
正​則
​are sometimes applied to other matters besides the learning of languages.
變​則 ​and
† Lit. "throughout twice six hours," i. e. for twelve hours; but in old Japan each hour was equivalent to two
European hours, so that twelve hours then made twenty-four now.
FIFTH SECTION.
ON THE STRUCTURE OF THE
CHINESE CHARACTERS.
FIFTH SECTION.
ON THE STRUCTURE OF THE CHINESE CHARACTERS.
Having travelled so far, we call a halt. Let the student carefully revise what he has
learnt, demonstrating to himself his ability, not only to read the four hundred common charac-
ters given in the foregoing pages, but to write them. Then let him rest on his oars awhile, and
look with us into the rationale of the subject. A firmer grip will thus be gained of past con-
quests, together with a clearer hope for the future. When he has read this short discussion
through, let him set himself to memorise the new characters adduced in the course of it. They
will be managed with comparatively little trouble.
The first point to become plain, after learning a very few characters indeed, and seeing them
turned this way and that in the Exercises, is that each originally represents a word, a Chinese
word,—sound and meaning complete. This is known technically as the "ON" literally
B
"sound," of the character. Generally each character has also a fixed rendering into Japanese,
which is termed its "KUN
or "explanation." For instance, GETSU or GWATSU is the "ON,'
""
訓
​tsuki the "KUN" of the character 月 ​"moon." But how was the character itself obtained?
Evidently, in such a case as this,—and it is typical of the most ancient class of Chinese characters,
on which the whole fabric of the written system was gradually reared,-evidently by rudely imitat-
ing the shape of the object. From the actual shape of the lunar crescent to such a symbol as 月
​is but a short way, especially when we learn that the process of time and the exigencies of the
modern Chinese pencil have brought about the squaring of many strokes formerly curved. The
old pictures can still be made out equally well in the case of ☐ kuchi,
kuchi, "mouth; 目
​me; “eye,” both formerly round as in nature, but now squared; III yama, "mountain," origin-
ally depicting three peaks; ta, "rice-fields," with the intersecting dykes; ♬ yumi,
弓
​“a bow;" #i[do], “a well," and a few more, as already incidentally noticed in the pre-
vious section. But for others, whose resemblance to nature the wear and tear of ages has oblite-
rated, we must have recourse to ancient authorities which have preserved records of the
lit.
"
* The type employed for the characters given in the margin from here on to p. 142 is termed 清朝 ​SHIN-cnó,
[the style of] the Ts'in dynasty" of China, now on the throne; its elegant freedom approximates to that
of handwriting. Ordinary printing is called H MIN-CHō after an earlier dynasty, the Ming (A. D. 1368–1644); its
slavish adherence to the rule that horizontal strokes shall be thin, and the vertical thick, gives it a mechanical, lifeless
appearance. (Here used for the proper name SHIN, 清 ​is in general usage read SEI or kiyoi, “pure,” “limpid.”)
401*
音
​訓
​井
​清
​402
403
404
116
FIFTH SECTION.
F
405
首
​406
古文 ​KOMON, or "old characters," as they are termed. Such symbols as the following then
become quite distinct, or at least sufficiently so to lend a powerful aid to the memory:-
子 ​ko,"child," anciently, the little creature's head and arms being clearly dis-
cernible, the legs perhaps swaddled together.
女
​((
onna, woman," anciently. She looks as if bending under some burden,
woman's usual fate in primitive social conditions. haha, "mother," anciently is
the same plus two dots for the breasts.
köbe, “head," anciently
and all.
馬
​uma, "horse," anciently
鳥
​鳥 ​tori,
tori, "bird," anciently
407
羽
​to "horse" vanishes.
a complete picture of the head and face,-hair
Notice his sweeping tail and his four legs.
In the original form, the perplexing likeness of "bird"
鳥 ​karasu, "crow," anciently
is the same as bird minus one
stroke, that for the eye having been omitted, "because," says the old lexicographer, "as the
crow is black and its eye is likewise black, the latter cannot be seen." (!)
furu-tori, another character for bird, anciently, apparently depicts some short-
tailed species different from the long-tailed kind pourtrayed in the preceding. It is not now
used independently, though it enters into the composition of many other characters, as Nos.
205 and 249; conf. pages 74 and 80.
羽​魚魚
​hane, "wings," anciently.
unco, "fish," anciently, probably the picture of a carp.
水
​""
mizu, "water,'
such slight variants as
,
andkawa, "river," anciently, as it should seem, identical in
O̟ kai, "a shell," anciently
408
貝
​409
火
​臼
​410
竹
​hi, "fire," anciently
and
臼 ​usu, “a mortar,” anciently
ground.
or
all representing the ripples of flowing water.
貝
​a cowry or some such shell used as money.
said to represent flames rising up.
oľ
, showing the grain in it about to be
Ttake, “bamboo," anciently, a picture of two bamboos with strips of the sheath
hanging down.
矢
​ya, "arrow," anciently or
必 ​, the original of the modern
The human hand appears in a variety of forms. One is
"hand,”-its upper extremities depicting the five fingers.
character
411
又
​X,
Another is
formerly written and meaning "right hand," but now come to be used in the
ナ
​sense of “also,” “again,” Jap. mata. and, which we shall meet with again later on,
are further variants; indeed we have already met with, it being No. 233 of our list, and
having.in modern times assumed the sense of "inch." Yet another variant is
Yet another variant is, anciently
412
弄
​F representing the two hands used together, as in
弄
​Rð or mote-asobu, "to play," which
,
:
THE STRUCTURE OF THE CHINESE CHARACTERS.
117
depicts hands toying with a jewel (E); but modern calligraphy omits the dot of the
latter in most compounds, writing it as if it were
0, "king.”
Various characters for "grain" testify to the importance of the cereals from the very
earliest times :-
禾
​|||
王
​413
414
ine or nae, anciently "growing grain," is the picture of a 禾
​籴
​SEI, anciently 90
or
shows the heads
single plant with the ear hanging down.-
down. Tik
of ripe grain standing evenly together. The alternative form shows them growing
up out of the ground (represented by two lines). This character has in modern use dropped its
material signification, and has come to be employed metaphorically to mean hitoshii, “alike,'
and totonou, “ to be regular."-kome, "rice," (the raw grain), anciently is a picture
of the separate grains, perhaps contained in a sort of winnow or tray.
Silk is another article of human industry whose influence has been considerable on the
pictorial vocabulary.ito, "thread," also used in the double form 絲 ​originally
8
depicted skeins of thread, thus for five skeins, for the double parcel of ten
skeins.- more familiar in the compound watakushi, "self" (No. 309), “selfish-
L
ness," was originally written Ò which is almost certainly the figure of a single cocoon.
Can anything more isolated and self-centred be conceived?— shiroi, "white," has been
conjectured to come from the same source, though it serves to express a different quality of
the original.
ЭЕ
,
果
​ki-no-mi, “fruit," anciently
Comparing this with
木 ​"tree," anciently
this is seen to be the picture of a tree with one enormous fruit at the top. Our
No. 129, p. 56, is a later variant. itself is now used only in the metaphorical sense
果
​of "results," "as might have been expected," "in fine," Jap. hatashite. Another useful and
interesting compound of "tree" or wood," is
((
樂 ​GAKU, "music," also read RAKU
or tanoshimu, “to enjoy.” Its ancient form, though equally elaborate, is transparently
"
齊
​糸
​絲
​415
416
417
118
果
​樂
​419
420
Itsubo, 壺
​intelligible. On "wood" as a stand we see five drums,—one big drum in the centre and two
small ones on either hand,—the Chinese idea of music and hence of enjoyment.
Some of the old picture characters were singularly perfect. Such is tsubo, "a jar
or "pot," anciently where we actually see the lid and the fastening round the neck.
Students of Japanese will meet
meaning "fluid," which makes it signify that which
"spirits," "liquor," Jap. sake. Another very pleasing
Another of kindred signification was 西 ​anciently
it oftener with the addition of
the bottle contains, i. e.
one is SHIN, anciently
臣
​"a subject of the king," "a minister," whose body bent
double to make the kotow shows that the worship paid to royalty was no less abject at the
dawn of history than it remains in our own day.
The gradations by which the character-builders passed from pure pictorial representation
to abstract symbolism are insensibly minute. Sometimes the symbol has almost the obvious-
ness of a true picture, as when Kō, "work," is represented by a carpenter's square
I
(our No. 88), or when two large trees put together signify a "forest," hayashi, or three
7229
HIIT LIH
臣
​421
422
423
**
118
FIFTH SECTION.
424
森
​425
==
426
427
坐
​災
​集
​428
谷
​429
軍
​430
KETEERE
431
small ones a wood" or
"two men" are placed on the
grove," mori; or when "two men"
ground” to give the meaning of "sitting," ZA; or when
stone," proves
石 ​ishi, “stone,"
on dissection to be simply a square lump of matter under iwao, an overhanging cliff"
(now disused except in combination, conf. p. 136).- wazawai, "a calamity," is scarcely
less obvious, being made up of "water" and "fire," the two greatest sources of dire mis-
fortune. 集 ​atsumaru, "to collect," shows us (a flock of) "birds" collected together "on
a tree;" and tani, "a valley," fairly pourtrays the "mouth" (of hills) through which
"water" (represented by the four upper strokes) flows. The whole series given on p. 77,
beginning with "door,” going on to
戶
​門 ​“ gate
gate" (a double door),-both of these
pictorial- and then proceeding to form from this latter the symbols for such verbs as
"hearing," "asking," "shutting," is singularly clear and instructive.
大
​DAI, "great," formerly a picture, has now faded to a symbol. Originally it re-
presented the whole of the human body,-the arms stretched out as well as the legs, whereas
人 ​the ordinary sign for JIN, "man" or rather "person," shows the legs only. On the
男
​other hand otoko, "male," was symbolic from the beginning, as it means "strength for
the rice-fields."
土 ​tsuchi, “earth,” one of the most important of characters as it enters
上
​下
​into great numbers of others, sometimes in most roundabout ways, represents two layers of
GE, "below," convey
their respective meanings to eye and mind by the dot above the horizontal line in the former,
earth with something growing out of them. Jo, “above," and T
below it in the latter.— ikusa, "war," gives us an insight into history, proving by its
introduction of the character for "wheeled vehicle," kuruma, into the compound that
I
in early China, as in early Greece, the warriors availed themselves of chariots.-
(No. 190), takai, “high," anciently is a very common character of half-pictorial,
half-symbolic nature. Its inventor had in view, as a type of the quality of height, some lofty
building in which we can still plainly distinguish the roof, the upper storey, and the ground
floor. Though purely symbolical, 步 ​HO (No. 397), "step," is of very obvious construction,
amd 少
​being made up of "to stop," and
each step.
It
"a little," referring to the short pause between
Others are much more far-fetched, for example, itaru, "to reach" (No. 75), an-
ciently the figure of a bird flying down to the earth, which it reaches.—Or take
名
​(C
name."
and
This comes from yübe, “evening" (itself half of the "moon"),
月
​kuchi,
kuchi, “mouth," because a man's name spoken is that whereby you recognise
him in the dark.-
直 ​CпOKU or taulachi ni, "straight," "straightway" (conf. No. 200, where
it has its other sense of "price," Jap. nc), is made up of JU, "ten,"
✈
十​JU, 目 ​me, “eye,”
and a crooked stroke, suggesting that what ten eyes can see must not be crooked. Hence
TOKU,
“virtue,” (by the addition of
heart. is now generally written)
**
惠
​KAN or samui, "cold." The original form
kokoro, "heart"), which presupposes a straight
Less metaphorical, but extremely elaborate, is
is made up of a
((
man,” among
THE STRUCTURE OF THE CHINESE CHARACTERS.
119
""
grass" (now written *) four times
Yı
* four times repeated, under a "cover" or "roof
and over ice t, anciently -truly a cold shelter.
In a few cases, inversion-standing a character on its head, or turning it from right to
后
​left was resorted to as an easy means of differentiation. For instance kisaki, “em-
Itsukasa,
press," and tsukasa, "ruler," are originally the same, only turned opposite ways.
Sometimes, as will appear but natural in a subject so recondite, the exact composition of
a character remains doubtful after comparison with the earliest form. But even in such cases
the process of examination may assist recollection of the character as it stands. Take
庄 ​REI or tamashii, "spirit," "supernatural." We here see
"rain" (observe the
電
​drops), “mouth" thrice repeated, and
posed of two " men
""
雨
​,,
"fortune-teller" or "sorcerer (itself com-
▲ doing "work I, sorcery having been in early ages and in all
countries one of the most important of occupations). We may therefore accept the character
Æ
AZ
""
as meaning literally "three sorcerers praying for rain; but other slightly varying
by the way, which the Japanese read miko, is used by them
explanations are given.
of the female sex only, to mean a "sorceress;" but as it is a comparatively useless character
nowadays, the student need not trouble to memorise it.
If we could suspect the ancient Chinese of irony and self-criticism, we might admire the
"house," "family," which is literally a
singular appropriateness of the character 家
​豕
​“pig,” inoko under a “roof” or “cover.”
Could anything better describe a Chinese
house than to represent it as a pigsty? The character for "peace,"
AN, which shows
FAN,
a woman under a cover, smacks equally of satire at first sight. But as "cover" and "roof"
are interchangeable ideas, perhaps we should rather see in this character a picture of family
peace and quiet, the goodwife sitting at home under the roof.
Notice, in passing, the way in which the component parts of characters are apt to be
flattened either horizontally or vertically in composition; otherwise the various parts would not to-
gether make a square. Take "rain," which is flattened horizontally to in the case
of
電
​22
雨
​just given, where also is flattened to
for the
where巫
​same
reason.
Many abbreviations and alterations sanctioned by usage originated in this way, as will be
seen when the "Lists of Radicals" (p. 127 et seq.) come to be studied.
艸
​后
​司
​432
433
434
435
靈
​靈
​436
豕
​*
*
*
*
*
By this time the student will have gathered how similar in its development to a spoken
language is this system of written symbols, which grew up gradually from small and simple
beginnings, and then, by combination, analogy, metaphor, sometimes even misapprehen-
sion, branched out into multifarious elaborateness. It is, however, evident that pictorial
* This character J Yuf
Icusa and (125) ✈
are used interchangeably.
† No longer in independent use.
120
FIFTH SECTION.
437
438
梅
​representation, even with its powers liberally extended by recourse to combination, allusion,
and metaphor, would get exhausted long before it had sufficed for every shade of thought.
Here it was that the homophony which is so marked a feature of the Chinese language
came to the rescue. When a word as yet characterless needed to be written, what more
simple than to write it with the symbol for some other word of like sound, plus a mark to
differentiate the meaning? We Europeans approximate to such a plan when we employ
various spellings for like-sounding words, such as "rain," "rein," and "reign" in English,
"Mann" and "man" in German. As a matter of fact, though Chinese has no alphabet,
and though common parlance styles its written characters “ideographs," nine-tenths of the
so-called ideographs in modern use have been formed by the help of a peculiar phonetic
method. This is true even of some of those deemed simplest, for instance
"metal," pro-
nounced KIN. There previously existed another like-sounding character meaning "now."
4
So from this and from "earth," and two little dots to represent the streaks of ore, the
character for "metal was put together.
""
More often the constituent parts still remain separate, though closely adjacent; and foreign
investigators have bestowed the name of "Phonetic "
Phonetic" on that part which embodies the
sound, the name of “Radical" on that which adumbrates (very roughly) the sense. Take
"branch;
梅
​“ plum-tree;” 枝
​""
""
板 ​# "board; (originally a table or bench, hence) a
枝
​law-case,” “an opinion.” In all these, 不
​"tree
or "wood," is the Radical, while the
439
410
441
板
​案
​other part is the Phonetic. Of course the Phonetic can tell us nothing of the Japanese
pronunciation of these or any other characters, seeing that they were invented, not in Japan,
but in China. As, however, the Japanese make considerable use of the Chinese pronunciation
of words, it is, even from a Japanese point of view, an invaluable help to have the Chinese
pronunciation thus indicated by the aspect of the characters themselves.
BAI (Jap. ume), "plum-tree," we recognise the sound of
MAI, "every."
機械​戒
​442
443
444
著
​445
446
俗
​浴
​In
梅
​每
​In
枝 ​SHI (Jap. eda), "branch," we have the exact sound of
支
​SHI (Jap. sasaeru), "to
hinder" (No. 257).
板
​HAN (Jap. ita), "board," we have the sound of
反
​HAN (Jap. kaeru, somuku),
案
​AN (Jap. tsukue), "table," we have the sound of
安
​AN (Jap. yasushi), “easy,”
In
"to return, »«to disobey."
In
"cheap.'
""
In t b
機械
​and 戒
​KI-KAI, “ machine,” we have the sounds respectively of KI(see No. 358)
KAI (Jap. imashimeru), "to warn."
In many cases, c.g. that of
or, as in
者
​梅
​BAI and
and
MAI above, the agreement is partial only,
SHA (Jap. mono, person) and 著 ​CHO (Jap. ichijirushi, "conspicuous," or
arawasu, "to manifest," "to publish "), scarcely perceptible. Very frequently, as in 谷
​KOKU
(Jap. tani), “ valley;" 俗 ​ZOKU, "vulgar;"
vulgar ;” 浴 ​YOKU (Jap. abiru), “to bathe," the rhyme
THE STRUCTURE OF THE CHINESE CHARACTERS.
121
聽
​alone has been thought of; and this may be reduced—at least in the Japanese pronunciation—
to the mere coincidence of a single final letter, as in снỏ (Jap. kiku), "to listen,"
whose sound is just adumbrated by 0, "king," in the left-hand corner. But in this line
of study we must learn to be thankful for small mercies, even partial coincidences being far better
than nothing. The student, as he goes on, will probably come to place only too much reliance
on them as guides to pronunciation. If it strikes him as strange that greater exactness should
not have been aimed at where it was so easy of attainment, let him bear in mind that ages have
rolled by since most of the characters were invented, that many changes of pronunciation have
demonstrably taken place in the meantime, first on Chinese and then on Japanese soil, and that
consequently many characters now no longer homophonous may have been so at the beginning.
Here are two more sets of examples of groups of characters under one Radical :
功
​KO, "ability," "merit."
N. B. Do not confound No. 448 with No. 74,
tj
kiru,
"to cut." Inspection will show a difference in both halves
(right and left) of each.
助
​勇勝​勞​勤
​JO or tasukeru, “to help.”
YU or isamu, "to be valiant."
SHO or katsu, "to conquer.
Rō or tsukareru, "to be weary."
KIN or tsutomeru, "to labour."
代
​DAI, "a generation
generation” (Jap. yo), also “a
substitute."
伏
​伯​例​借
​儀
​FUKU or fusu, “to lie down.”
HAKU, "a Count.”
REI, "a precedent, "“an example.”
SHAKU or kariru, "to borrow.'
CI, “a ceremony," "with reference to.”
The relation of some of these characters to
聽
​功
​447
448
449
助
​勇
​All appropriately belonging to 力​勝
​chikara, "strength,
strength," which is found
sometimes to the right, sometimes at
the bottom, sometimes stuck away
in a corner.
Belonging to
人
​<<
man," written
イ
​for short in all such cases.
">
<< man may seem vague and arbitrary; but
we must not be too exacting. A good memoria technica for "to lie down," is offered by
Now let us look into the matter from the opposite side, following a single Phonetic
the composition of the character,-
犬 ​inu, "a dog" [crouching] at a “man's " [feet].
甫 ​Hо, for instance, which is itself an
through a series of various Radicals,-the Phonetic
勞
​450
451
452
453
勤
​代
​伏
​454
455
456
伯
​457
例
​458
借
​459
儀
​460
犬
​甫
​461
122
FIFTH SECTION.
462
463
匍
​捕
​464
465
浦
​鋪
​466
補
​467
輔
​468
舍
​469
independent character signifying "beginning," and read hajime in Japanese. Here are its
most familiar compounds :-
匍
​HO or harabau, "to creep."
♦
HO or toracru, "to seize.'
筍​捕​浦​舖​補​輔
​HO or ura, “a stretch of coast.”
HO, "a shop."
HO or oginau, “to supplement," "to repair."
HO or tasukeru, "to help," also read Suke in personal names.
The appropriateness of the first member of this set,
*
匍
​"to creep," must be taken on
""
trust. But from the second onwards we see light; for the HO which means "to seize'
appropriately distinguished by the use of the Radical for "hand," that which means "sea-coast
by the Radical for "water," that signifying "shop" by the character SHA,† “an abode,'
舍
​is
""
that meaning "to supplement" or "repair" by the Radical for "garment," which is just the
"
very thing most often needing repair. In the last example, to help," the Radical
(6
車
​wheeled vehicle" appears less appropriate, until we learn that the character Hij originally
served to denote the poles attached to a cart to help it out of the mud.
The agreement in sound between the several derivatives of a single Phonetic is unfortunately
not always so perfect as in the series just examined: and(Nos. 347 and 439), pro-
nounced HAN, while (No. 353) is HEN, have already supplied an instance. Or take the
following series,-all very useful characters:-
寺​持
​JI or tera, "a Buddhist temple."
寺
​470
持
​#spelling
Spelling of 寺 ​is, whereas that of
持
​471
詩
​472
特
​473
姓
​174
舌
​JI or motsu, "to hold.”
Here the agreement is apparent only, for the Kana
is. In Western Japan the two are pro-
nounced differently ("Colloq. Handbook," ¶ 28, first footnote).
詩 ​SHI, "poetry" (Chinese or European,-not Japanese). Here the pronunciation and
寺
​Kana spelling agree with that of the Phonetic
✔
the Nigori.
but for the trivial distinction of
Here an
特 ​TOKU or koto ni, “specially,” as in the common expression.
entirely different pronunciation crops up; and there is nothing for it but memory pure and simple,
if one would avoid getting laughed at for perpetrating a ´Æ¡
百姓​讀
​HYAKUSHO-yomi.†
* Because sukeru is the original word for "to help,” tasukeru being a later compound,—ta (=te) sulceru, lit. “to
help with the hand." Conf. tamotsu, taguru, tayoru, etc.
† Not accounted a Radical. The Radical here (but arbitrarily chosen) is shita, "the tongue."
‡ Lit. "peasant's reading." Such a mistake as rending J1, because its Phonetic is JI is popularly so
styled. The SHŌ (E) of HYAKUSHō is generally read SEI in other contexts, and signifies
seI “a surname."
THE STRUCTURE OF THE CHINESE CHARACTERS.
123
475
待
​TAI or matsu, “to wait," is totally different again.
In any case and waiving absolute guidance, much practical help will be derived from a
careful recollection of the principal Phonetics, as usage gradually brings them to the student's
notice. An alternative and perhaps better name than "Phonetic" for the non-radical portion
of a character is "Primitive." It alludes to the circumstance that in many cases the non-radical
portion is really the original, while the so-called Radical is a subsequent addition made for the
sake of greater clearness, or in order to distinguish two shades of meaning in what was at first
a single word. For instance, was the earlier symbol for a pen, and still appears in the
list of Radicals with that signification; but the Radical
竹
​"bamboo" has been
has been super-
added to the modern form fule, because Chinese pens commonly have bamboo holders.
旁
​Or take Hỏ (Jap. katawara), "side," and the same fortified and emphasised, so to say, by
the addition of the Radical for "man," thus
there is a tendency towards reserving each of the two forms for different contexts. Thus the
傍
​The actual meaning remains the same; yet
word kata-gata can only be written 旁
​not
傍
​直
​>
Another familiar example is supplied by
and the former of which is read ne, "price,” (see pp. 67-8), and the latter atac,
""
value,' -a distinction with little difference. By this process it has sometimes come to pass
that the Primitive now does duty for a metaphor or abstraction, while the form with superadded
Radical is used for the material object which the Primitive originally represented. Thus
支
​SHI or eda, originally "a branch," now signifies a branch of a river, a family, a business,
etc., while an actual branch of a tree is
In like manner
tt
meant a “wine-cask,” taru (conf. No. 421 and
寸
​near bottom of p. 116), now signifies
tattoi, "venerable," because wine is offered to a revered guest, and taru has come to be written
樽
​Again,
with the Radical for "tree," which emphasises the fact that casks are made of wood.
待
​筆
​旁
​476
477
478
傍
​479
480
尊
​SON, which formerly
尊
​481
was at first the picture ठ
or
2) of a curling cloud, and accordingly
樽
​雲
​雲
​signified "cloud;" but it is now used for UN or iu, "to say," while the homonymous UN or
kumo, “cloud,” is more closely defined by the addition of the Radical "rain," thus
An excellent instance of the way in which both the sound and the general signification of a
Primitive may persist through its various compounds is supplied by the series, all of
which sound Bʊ or Mʊ and imply the idea of destruction. itself is BO or horobiru, “to be
destroyed," "ruined." Add "heart," and you have 忘
​truction of the thoughts in the mind). Add "woman
亡
​Bō or wasureru, "to forget" (des-
and you have
have 妄
​Bō or midari ni,
"disorderly" (destruction of the propriety which befits a woman). Add "eyes," and you have
盲
​Mō or mekura, "blind
"blind" (destruction of eyesight).* Characters themselves composite-
made up of a Radical and a Phonetic-may serve as Phonetics, so to say, of the second power:
and the Radical, but is itself the
吾 ​Go, “I,” is made up of the Phonetic
亡
​妄​育
​482
483
484
盲
​485
* An interesting discussion, together with a list of the "Phonetics
of the Introduction to Dr. Wells Williams's great Chinese Dictionary.
or Primitives," will be found in Section VIII
124
FIFTH SECTION.
486
悟
​487
Such cases are extremely numerous :
GO or satoru, "to discern," "understand," etc.
靑 ​obtained from the Phonetic, but itself used
Phonetic in
語
​GO or kataru, "to tell," in
悟
​清
​as the Phonetic in and various others, may serve as a familiar instance.*
There are cases not exactly suited either by the word Phonetic or by the word Primitive,-
H for instance, and 東 ​and in which, as already explained (pp. 40, 46, and 118),
明
​森
​both parts of the character are equally radical, inasmuch as both contribute to form the sense,
位 ​and neither in any way indicates the sound. Or take another instance -a
in new one—that of
✰ “to
488
仙
​仙
​489
1=
490
**
491
皮
​492
彼
​493
被
​494
kurai, "rank," Chinese I. The so-called Phonetic tatsu, "to stand," is Chinese nYU or
which thus differs from in sound as widely as can well be imagined.
RITSU,
But both
halves of are really radical; for "rank" is "a man's standing," in China as in England.
Thus viewed, the character becomes perfectly easy to remember.- SEN (in Japanese almost
alwaysSENNIN), "a man of the mountains," i.c. one of the immortals who dwell
hermit-like in inaccessible mountain fastnesses, offers a similar example. Perhaps, however, in
of 山
​SAN.
fili SEN closely
this case some regard was paid to sound as well; for the pronunciation of
approximates to that of
In fact, the "GO-ON" of [, employed in the reading of
Buddhist names, is SEN. 仁 ​JIN, "benevolence," exhibits another species of irregularity.
Here it is the Radical itself which acts at the same time as Phonetic, JIN, “man," giving
((
its pronunciation to 仁 ​benevolence," which is, says Confucius, the most characteristic of
human virtues. The right half,
NI, "two," helps to express the sense; for it takes two to
render benevolence possible, just as we say in English (but less amiably) that it takes two to
make a quarrel.
It is important to bear in mind-if one would obtain a really sound grasp of this question
of the structure of Chinese characters-how slow and gradual and unmethodical the process was.
The character-framers did not not say to themselves, "We will take this sign for a Radical, that
for a Phonetic." They worked by rule of thumb, here a little and there a little, step by step.
Thus did it come about that most of the simple characters serve a double purpose. No strict
line separates Radicals and Phonetics from each other, and the same symbol is apt to fill now
one of these functions, now the other. We find, for instance, the Radical
tree," as a Phonetic in
BOKU or MOKU,
木
​沐
​MмOKU, Jap. yu-amu, "to bathe; the Radical
""
張
​長 ​CHO “ long,
CHỖ
CHO or haru, "to stretch"
meaning as well);
皮
​HI, “skin,” in
彼
​HI or kare," that," in
as a Phonetic in
"
(though not without a smack of its radical
ruru, the sign of the passive voice, and so on to an indefinite extent.
((
HI or kōmuru or ra-
By some authorities the composition of characters, as described above, is termed their
etymology." The ease given to memory by a knowledge of "etymology" (using the term in
this technical sense) is strikingly exemplified in some cases where two characters bear a close
superficial resemblance to each other, for instance, SOKU or tsukaneru, "to bind '
""
(the
束
​• Why has dropped the first stroko of
of 生
​is not clear.
THE STRUCTURE OF THE CHINESE CHARACTERS.
125
束
​SHI or toge, "a thorn."
SOKU Of YAKUSOKU, "a binding promise" or "engagement "), and
Both these, of course, have
<, a picture of a tree with a large thorn sticking out straight on either side, though now
they have come to hang limply down. Quite different from this, "to bind "--which originally
referred to the tying of faggots-pourtrays a tree, plus what now looks like the sign for
"mouth" somewhat flattened, but was originally meant for a broad band round the middle,
such as binds a faggot together. Slight as the distinction has became in modern calligraphy,-
so slight that native writers themselves are perplexed by it,-it can never be forgotten once
the clue has been gained. It runs, moreover, through numerous compound forms, such as
★ “tree,"
"tree," as their basis. But
their basis. But "thorn was at first written
速
​SOKU or sumiyaka, “speedy;" 勅 ​CHOKU or mikotonori, "an Imperial edict" or "rescript"
(observe its "force,"
its "force," J), but dill
刺 ​SAI or sasu, "to stab," hence soshiru, "to blame."
The analysis of characters into their component elements was first undertaken by the
Chinese lexicographer KYO-SHIN 許慎
​* who compiled his celebrated 說​文
​Dictionary in A. D. 100. This work enumerates 540 字​部
​SETSUMON
JIBU, i. e. "character-classes"
or Radicals, under which all the other characters are grouped for practical convenience' sake,
just as our words are grouped in European dictionaries under the successive letters of the
alphabet. The
玉​篇 ​“GYOKU-HEN ”+ Dictionary, which dates from the sixth century and
is still popular with scholars both in China and Japan, had in its earlier editions about the
same number of Radicals, but these were later reduced to 360. The compilers of the 康
​熙​字典
​E so-called from the Chinese Emperor Kōki ‡ (A. D. 1662-1722), further reduced
the number to 214, which has ever since been commonly accepted alike in China, in Japan, and
by foreign investigators. We do not mean of course that Kōki's editors changed the manner
of writing the characters or diminished their number, but only that, by dissecting them in a
different manner, they succeeded in classing them under fewer heads. Curiously enough, though
every one has bowed in practice to their decision, which was imposed by Imperial authority,
almost every one is agreed that they made a great mistake, apparent simplification having been
purchased at the expense of real confusion and error. Many of Kōki's so-called Radicals are
not really radical at all, but derivative, while on the other hand some genuinely radical forms
495
朿
​速
​496
497
勅
​#1]
498
499
愼
​500
部​篇
​501
502
XX
編
​503
偏
​504
is our No. 311.
許 ​is
†
311. 慎 ​SHIN or tsutsushimu, means "to be careful or "reverential."
HEN originally designated a section of bamboo, such as the ancient Chinese employed for writing on, hence
several such slips tied together, hence a section of a book, hence a whole book. A common Japanese reading of the
“to compose,” “to write." The Phonetic
character is amu, which means "to tie [such bamboo slips] together," hence "to compose,'
扁 ​HEN occurs in numerous other characters, for instance which is read amu like the preceding, and has the
編
​same sense as it ;
hitoe ni, "one-sided," " entirely," "earnestly" (and see below for its technical use, when read
HEN, to denote certain portions of Chinese characters.)
(6
Kō (Jap. yasu) means casy," "peaceful."
At Peking this name is pronounced K'ang Hsi. The character 康 ​#ō
It occurs in the celebrated historical name Ieyasu and in other familiar compounds. The student need not
家​康
​trouble yet about E as it is of comparatively rare occurrence.
E
TEN (Jap. nori) is a common character, signi-
fying "rule."
505
典
​康​曲
​126
FIFTH SECTION.
506
have been omitted from the list. Many are useless, being either obsolete or having extremely
few characters liable to be grouped under them. The worst feature is that, on the strength of a
merely accidental resemblance, many characters have been placed under Radicals with which
they have no etymological connection; and as a natural, but vexatious, result of this, not a
few characters have come to be variously classed in different editions and abridgments, as
1 or kotonaru, “to differ,” which some modern compilers place under the Radical, while
others place it under the Radical, thus giving rise to much searching backwards and
forwards and consequent waste of time.
異
​Anyhow, the 214 Radicals, such as they are, hold possession of the field, and must be
accepted in practice, though we hasten to add that there is no need to commit them all to
memory. There is really no need, notwithstanding that one foreign text-book after another
has chosen to lay on European students this heavy burden. No Chinese or Japanese ever
thinks of memorising all the Radicals. He learns the characters most likely to be useful,
regardless of whether they be radical or not. The Japanese have not even any name in general
use for either "Radical" or "Phonetic." Many Radicals appearing on the left are called
HEN, “side” (No. 503), those on the top kammuri, “cap ; " those that enclose the
rest of the character kamae, "external arrangement," " enclosure; " certain others which
protrude a long way below to the right NYU, lit. "entering;" and besides these, there are
special names for a few special cases. For Radicals appearing at the bottom there is no general
appellation. The right-hand portion of a character-whether Radical or Phonetic matters not—
is termed tsukuri, lit. "make," a name devoid of all apparent appropriateness, though the
character (No. 477), “one side,” with which it is written, suits well enough.
冠 ​偏
​507
構
​構
​Though to commit all the Radicals to memory were a work of supererogation, those of most
frequent occurrence should be so committed. The memorising of the characters in which such
Radicals occur will be rendered easier thereby, as will also the task of looking up characters
in Williams, Lay, and the native dictionaries. The plan followed in such dictionaries is to
give the 214 Radicals in the order of the number of their strokes, from ICHI, one,"
It will therefore
which has only one stroke, down to * fue, " flute," which has seventeen.
田
​((
be a further advantage to recollect the position of the chief Radicals in the list, as
this will obviate much painful searching. It would be best of all, for instance, to
It would
remember that
★ki, “tree,” is the seventy-fifth, and mizu, “water,” the eighty-fifth.
But if this is expecting too much, something at least will be gained by remembering that
""
"tree comes before " water," and both before
""
目 ​me, "eye (the hundred and ninth).
That this last must come later in the list than the two others is indeed self-evident, as it has
five strokes, while
木 ​and 水 ​have each only four. The difficulty-and also the advantage—
* A superfluous character to the student, as the modern flute is differently written.
THE STRUCTURE OF THE CHINESE CHARACTERS.
127
508
of recollecting, if possible, the order of precedence occurs with Radicals having the same number
of strokes.
It is likewise the number of strokes that determines the order of the characters grouped
under each Radical. For instance, i SHI or tsukai, "a messenger,
(six, that is, exclusive of the Radical
which has seven.
a messenger," which has six strokes
亻
​), comes before
侵
​SHIN or okasu, "to violate,"
The two following lists include all the most important Radicals, with their Japanese names,
the numbers indicating their position in the dictionaries, and two or three specimen characters
under each, the specimens having been selected for their general usefulness as additions to the
learner's little fund. It will prove a useful exercise to count the strokes of the non-radical
portion of characters; for this will contribute towards impressing characters on the memory,
at the same time as it gives ease in the use of the dictionary.
A.-LIST OF THE SIXTY COMMONEST RADICALS.
Ninth Radical.
in
45
使
​侵
​余
​10
509
510
511
512
儘
​冷
​513
514
凍
​man.' When written at the top, it is called hito-kammuri, as 刀
​yo or ware, ❝I." More often it is found at the side in the abbreviated form
人
​但 ​but;”儘 ​file mama,
<<
manner,” “state.”
Fifteenth Radical.
called NIMBEN, thus tadashi, “but;
NI-SUI, lit. “two waters." As an independent character, it means
ice," but is no longer in use. It occurs on the left, as in
冷 ​liyayaka, “ cool;”凍 ​Kru
"to freeze." Both these characters are easily remembered by their phonetics, which are
pronounced REI and To respectively.
Eighteenth Radical. JJ katana, “sword,”—originally the picture of a
刀
​Generally to the right and then mostly abbreviated to which is called RITTO,
"the standing sword," on account of its vertical position, thus EJJ To or itaru, "to
reach." Such cases as tJ
JJ),
So is 刃
​双
​SETSU or kiru,
"to cut;
""
KIH
到
​券
​勢
​515
516
517
518
519
broad blade.
刂
​双
​券
​KEN, a ticket," are exceptional.
勢 ​SEI or ikioi, "force," and com-
JIN or yaiba, "a blade," which originally depicted a sword with a stain on it.
Nineteenth Radical.chikara, “strength," as in
pare p. 121, where several other examples of this Radical occur. Do not confound chikara,
"strength," in which the second stroke pierces the first, with the Eighteenth Radical
Radical J
katana, "sword," in which the second stroke merely touches the first.
Thirtieth Radical. kuchi,
J
kuchi, "mouth." Mostly at the left side (kuchi-HEN), as in
呼
​520
521
522
Ko or yobu, "to call," but also in various other positions, as
向
​Kō or mukau, "to be
命
​523
呼
​opposite;”命 ​MEI, “a command," also inochi, "life ;
HE KI or utsuwa, "a utensil
(this last pourtraying a "dog" guarding four vessels with "mouths ").
Thirty-first Radical.☐ kuni-gamae, so called from De KOKU or kuni, "country," one
of the characters classed under it. This is distinguishable from
"
(C
mouth," by its superior
器
​128
FIFTH SECTION.
城
​or at the bottom, thus 城 ​Jō or shiro, “a castle;" EX
餐
​527
524
回
​525
526
園
​size, and also by the fact of its always enclosing its Phonetic, thus
"to turn round,” also written
Thirty-second Radical.
to distinguish it from samurai. It is placed at the side, thus
1
KWAI
or meguru,
the more effectually
(tsuchi-HEN),
KEN or katai, "hard."
540
孝
​
541
孰
​[+ 宇
​Such a case as that of
is also the Radical (the Thirty-third) of a few characters, for instance, the two common ones
執 ​SHU (SHITSU) or foru, "to take," is exceptional. [± samurai
542
543
園 ​EN or sono," garden."
† tsuchi, "earth," sometimes written
528
Thirty-seventh Radical. t
堅​壯 ​sō or sakan, “youthful vigour," and HIDE JU or kotobuki, “long life.”]
宿
​<<
DAI,
great." Often written at the top or bottom, but
執
​フ
​529
or nakaba, "middle; ". 夷 ​1 or cbisu, “a barbarian;"
契 ​KEI, or chigiru, “to vow.”
央
​(C
壯
​onna,
woman," mostly to the left, as in
好
​women
女
​530
壽​要
​531
孔孟
​太
​532
533
534
央
​夷
​sometimes, as it were, inconveniently hidden away. Examples are futoi, "thick ;
Thirty-eighth Radical.
"to like " (what more likeable than "
""
and children 子​?)
""
Kō or konomu,
Less often this
Radical stands below, as in the painfully similar characters 妻 ​SAI or tsuma, "wife," and
SHO or mekake, "concubine."
Thirty-ninth Radical. ko, "child," found in various positions, as Ko-Mo,
子
​"Confucius and Mencius;" 孝 ​Kō, "filial piety;
picty;” 孰
​izure?" which? '
"
Fortieth Radical. u-kammuri (not used independently), so called because, the
Katakana letter for the vowel u, is derived from 宇 ​U, "world,"
world," one
classed under it. It is always found at the top, thus
of the characters
SHUKU or yado, "an inn" (cleverly
formed from “a hundred men under one cover"); ♬ SHA or utsusu, “to copy (in writing).".
[Do not confound with u-kammuri another much rarer Radical (the Fourteenth) which differs
from it in lacking the dot at the top, and which has no special Japanese name: 冠
​KWAN or kammuri, "a head covering" (our No. 506), and H MEI or kurai, "dark," are the
most important characters classed under it. Notice also that is often less correctly
寫
​Forty-fourth Radical. ♬ shikabane, “corpse," always placed as in the following :
寫
​544
545
冥
​P
尾
​届
​屬
​546
547

548
549
(549)
属
​島
​550
(550)
契
​535
好 ​written ]
寫
​536
尾
​妻
​BI or o, "tail;" todokeru, "to send in," "to report;"
届
​屬 ​ZOKUSuru, "to belong," "to
537
538
妾​孔孟
​539
be attached to." The first of these examples is easily memorised by noting that a tail is the
=
“hair” ₺ (our No. 185) hanging down behind an animal's "body" ("corpse" and
屬
​"body" being much about the same). The third
the top, and "insect" 虫 ​at the bottom, intimating that nothing so well belongs or is
attached to anything else as a tail to the insect of which it forms part.
tracted to
66
is often con-
Forty-sixth Radical. yama, mountain," placed to the left (yama-HEN), above, or
below, e. g.
rising from the sea (note the omission of the dots of 鳥
​GAN or iwa, "rock."
Kō or
LES
551
has this same "tail" contracted at
岡
​552
岩
​属
​島 ​TO or shima, "island," as if to represent birds hovering about some peak
also written M
oka, “hillock;"
hillock;"岩
​orde
THE STRUCTURE OF THE CHINESE CHARACTERS.
129
553
I
It stands
Fiftieth Radical. tenugui, "a towel," sometimes called KIMPEN from its ON.
FU or nuno,
пипо,
CHO or tobari, "a curtain,"-this
or “
below or to the left, thus 布
​巾
​布
​called ma-dare, apparently from
554
555
556
557
帳
​“linen;”帳
​last to be remembered by its constituent parts as a "long towel."
Fifty-third Radical.
originally denoting a "shelter," but not used alone. It is
Jotota
MA
Ma or suru, "to rub," of which it is used as an ab-
breviation, though this character is classed under another Radical,
prefer to derive the name of ma-dare from fi MA or asa, "hemp." Examples of characters
classed under 广 ​are supplied by 序
​Sixtieth Radical.(GYONIN-BEN), supposed, to represent a man walking.; but when
565
情
​566
567
568
忝
​"hand." Some
JO, "preface," also read tsuide, "a turn," " apropos,"
戈
​BBB
569
衛
​EI or mamoru,
擧
​570
used alone, it is read tadazumu, "to stand still." It always stands at the left, as in
JŪ
JU or shitagau, "to follow." [This Radical may easily be
confounded with the less common One Hundred and Forty-fourth yuku, "to go,” which
and
庭
​TEI or niwa, “garden."
摩
​彼
​HI or kare, "that," "he;"
he;" 從
​***
558
序 ​兵衛
​559
has the curious peculiarity of being always cut in two by its Phonetic, thus
"to protect." This last character occurs most frequently in men's names, in the termination
read BEI.]
Sixty-first Radical.
kokoro, "heart."
kokoro, "heart." Sometimes written at the bottom or in the
I 1 or kokoro-base, “volition," "feeling;" 憂 ​YŪ or uryōru, "to grieve;
middle, thus 意 ​For
庭 ​but most frequently at the left side in the abbreviated form
560
561
562
563
“the standing heart Radical,” e. g. it 30,
Jō, “human passions,"
called RISSHIM-BEN, i. e.
hence specifically nasake,
((
kindly feeling," "pity;" also the "circumstances of a 必
​case."
彳
​從
​衛
​意
​HITSU or kanarazu,
positively" (our No. 336), is an exceptional form easily remembered. Another such is
TEN or katajikenai, "humbly thankful," the natural emotion for the "heart" to approach
"heaven" with, as the structure of the character implies.
Sixty-second Radical.hoko, "a spear," either interlaced with the rest of the
character, or else to its right, thus 我
​tatakau, "to fight."
SEN or
KYO or ageru, "to raise" (also read
GA or ware, “I” (our No. 242); 戰
​Sixty-fourth Radical. ₤te, “hand,” as in 舉
​SHI or yubi, "finger," also read sasu, "to point."
Síð
SHō or ukeru, “to acknowledge,"
kozotte, “all”), but mostly on the left in the abbreviated form (fe-HEN), the third stroke
being then a dash made upwards, e. g. 指 ​33
In such forms as
拜 ​HAI or ogamu, “to worship;"
this Radical is more difficult to recognise.
Sixty-sixth Radical. (utsu, “to strike,” not used alone, but in the abbreviated form)
564
憂​女
​攵
​as a right hand Radical having no special name, and not to be confounded with 文
​救
​"a written composition." Examples are
KYŪ or sukuu, "to rescue;
BUN,
敢 ​KAN or acte,
venturing." One or two characters have this Radical in the upper right-hand corner; for
instance, 整
​SEI or totonou, "to be in order,"-synonymous with No. 415.)
Seventy-second Radical.li, "the sun"
-HEN, when at the side, and Ħ
指
​拜
​承
​救
​571
572
573
574
敢
​整
​575
130
FIFTH SECTION.
576
577
578
579
昨
​暑
​旬
​曰
​580
581
更
​582
583
最
​AV
hirabi, "flat sun," when at the top or bottom), thus HE
旬
​SHO or atsui, "hot." Such a
(C
SAKU, 'yester [-day]," but
590
煮湯
​case as JUN, "a period of ten days," is exceptional. [Puz-
zlingly similar to this Radical is the Seventy-third Radical, ☐ iwaku, “quoth he,” which
embraces a few very common characters, and occurs either at the top or bottom, or else
interlaced with the other strokes, thus 曲
​KYOKU or magaru, “to be crooked;" Kō, “a
night watch,” whence fukeru, "to grow late," also sara ni, “anew;"
最
​SAI or mottomo,
"most." Notice thathi is written rather smaller than most other characters, while 日
​iwaku is a trifle flatter and of the usual size.]
(For
tsuki, "the moon,” Seventy-fourth Radical, which should come next, see the One
Hundred and Thirtieth.)
Seventy-fifth Radical. ★ ki, "tree." This has strokes three and four (down, not up,
SHO
as in te-HEN +) shortened when it is written to the left and called ki-HEN, as in 松
​木
​某
​It occurs in other positions, as
or matsu, “pine-treo” (lit. prince of trees
Bð or soregashi, “a certain person;" 查 ​sa, “official enquiry" (as in JUNSA, "policeman ").
Some fonts of type show it in an abbreviated form resembling the Katakana character *
條
​ho. See, for instance
JO“ an item,” as written in the margin.
Seventy-sixth Radical. Rakubi, “a yawn,”
Jakubi, “a yawn,”— also read kakeru, “to be missing,'
standing to the right, and sometimes called KEN-tsukuri, from one of its Chinese sounds.
YOKU Or hossuru, "to wish," and
or
歌 ​KA or uta, "a Japanese poem," are examples.
wherein the two lower strokes are the (tenth) Radical
元
​JL "man," and the three top strokes represent air issuing from his open mouth.
★
欲
​The ancient form of
欠
​was
松
​某
​585
584
586
587
588
查
​Km
條
​欠
​欲
​589
歌
​Eighty-fifth Radical. mizu, "water," almost always written on the left in the
abbreviated form 氵 ​called SAN-ZUI, that is "the three [dots for] water," e. g. BAS
Tō or
yu, "hot water;"umi, the sea," Chinese KAI, easily remembered by its
rhyming with its phonetic 45.
每
​characters
HYO Or
or kōri "ice" (our No. 59);
***
motomeru, "to seek; and
MAI, and with
to
†
(C
BAI, plum-tree," conf. p. 120. The
EI or nagai, “long ;
long ;**
KYU
Ol'
泉
​火燒
​water
水​),
SEN or izumi, "a spring" (lit. white
(lit. white 白
​show this Radical combined in other less usual positions.
Eighty-sixth Radical. ki, "fire," written at the left side (la-HEN) or bottom, as in
JFE SHō or yaku, “to burn;
to burn;" 炭 ​TAN or sumi, "charcoal;" but mostly, when at the
bottom, abbreviated to four dots called rengua, lit. "a low of fires:”列
​烈
​RETSU or hayeshii, "fierce," and SHO or teru, "to shine," are familiar instances.
照
​†inu,
inu, "dog," Chin. KEN, as in the difficult but useful character
Ninety-fourth Radical.
Jet's KEN or fatematsuru, "to offer respectfully to a superior," where, however, the 犬
​seems to be in reality not radical at all, but phonetic, unless we accept the explanation that the
character originally denoted fat dogs sacrificed to the gods. 獸 ​JU or kedamono, "animal,"
犬
​'quadruped,” is another instance. Almost always appears to the left in the abbreviated
狐
​form (kemono-HEN), thus KO or kitsune, "fox;"
##
永
​求
​591
592
593
594
595
泉
​燒
​596
炭
​烈
​BB
獻​獸
​597
598
599
600
601
狐
​狼
​狼狽
​RŪBAI, properly "wolf
狽
​602
C03
THE STRUCTURE OF THE CHINESE CHARACTERS.
131
604
珍
​605
現
​C06
琴
​607
608
618
wolf,” but used to signify "consternation” (awateru). The reason gravely alleged by Chinese
authorities is that one of these species of wolf has its forelegs inconveniently short, the other its
hind-legs, so that each is dreadfully put to unless he can get the other to walk along with him
and thus compensate his infirmity!
Ninety-sixth Radical. E tama, "gem," generally to the left and abbreviated to
""
福
​E
祖
​(tama-HEN), as in CHIN, "precious; "rare" Jap. mezurashii; H GEN or arawareru,
"to be revealed." Some names of musical instruments have this Radical at the top in a
reduplicated form, for instance, KIN or hoto, the Chinese and Japanese "lyre.”
One Hundred and Second Radical.
One Hundred and Fourth Radical.
ta, "rice-field," variously placed. See our Nos.
and 330. Other common examples are
祭
​界
​KAI
種
​called yamai-dare, but not used alone. It is
the Radical for disease, and always stands (or rather hangs down) as in the following:
痘 ​To, “small-pox;" 痛 ​TSU or itamu, "to pain;"
界
​27, 152, 201, 214, 219, 220, 255, 273, 290,
or sakai, "boundary;" R
boundary;"畏
​I or osoreru,
"to fear."
畏
​yu
609
痘
​痛
​610
611
療
​612
眼
​613
看
​611
615
series is the Phonetic a more trustworthy guide to the ox of each character classed under it.
One Hundred and Ninth Radical.
619
620
621
622
秀
​療 ​RYō or iyasu, "to heal." In no
623
me, "the eye," mostly to the left
耳
​穀
​
看
​KAN or miry,
624
目
​me-HEN) or below, as in HR GAN or manako, another word for "eye;"
直
​ΟΙ
"to look." The two characters CHOKU, "straight,” Jap. tadachi ni, “straightway,” also
read ne, “price" (our No. 200), and 眞 ​SHIN or makoto, "true," show this Radical stowed
away between the other strokes.
One Hundred and Twelfth Radical. Eishi,
ishi, "stone." It is placed to the left (ishi-HEN),
9. Tilb
砂 ​SA (SHA) or suna, “sand; " MA or togu, “to polish.”
bible
more rarely below, e. g.
屠
​One Hundred and Thirteenth Radical. shimesu, "to declare," mostly to the left and
Tshimesu,
abbreviated to
So,
"ancestor; "
福
​(shimes-HEN); more murely below, thus i FUKU, "happiness;" jil
祭
​SAI or matsuri, "a religious festival."-Some fonts of type, for instance
that used in this book, have instead of.
One Hundred and Fifteenth Radical. ine, "the rice-plant," mostly written on the left and
then called no-gi-HEN, () because resolvable by popular analysis into the Katakana letter
眞
​tane,
砂
​616
磨
​617
no, and the character ki, "tree." A common example is furnished by fili
★
HL
KOKU, "cereals."
"seed." In some few characters it occurs above, below, or in a corner, as
EX
SHU or hiideru, "to excel;"
SHU Or
空
​625
626
竊
​笑
​箱
​秀
​One Hundred and Sixteenth Radical. 穴 ​ana, “a hole," flattened to and placed **
atop (ana-kammuri), as in KU, "empty;"
A
竊 ​SETSU or hisoka ni, "secretly."
One Hundred and Eighteenth Radical. take,
竹 ​"bamboo," placed at the top in the
(take-kammuri), thus (also written 笑
​abbreviated form
langh;" sō or hako, “a box."
SHŌ or warau,
One Hundred and Nineteenth Radical.kome," rice," mostly to the left (
(米
​示
​HEN), as in
精粗
​SEI-SO, "fine or coarse ;
occasionally below, thus 粟
​"to
kome-
ZOKU or awa,
627
628
629
630
粗
​粟
​631
132
FIFTH SECTION.
632
633
細細
​634
素
​(C
育
​635
栗
​"millet." Do not confound this last, lit. "western rice," with
tree," that is, the "chestnut-tree."
栗
​RITSU or kuri, lit. "western
One Hundred and Twentieth Radical.ito, "thread, used on the left (ito-HEN), and
then abbreviated by most writers and some printers;to
SAI or hosoi,
hosoi, “ thin;”素
​""
; more rarely below. Examples are
so or shiroi, "white (also read moto, "origin").
One Hundred and Thirtieth Radical. 肉 ​NIKU, "flesh," almost always abbreviated in
composition to 月 ​which is called NIKU-zuki, because of its identity in shape with
the moon." It occurs chiefly at the left and bottom; thus
肥
​HI or koeru, "to be fat;
>>
IKU or yashinau, "to nourish." It is a very common Radical, heading a long list of
characters denoting parts and attributes of the body.-[The moon itself (Radical Seventy-four)
菊
​葉
​落
​644
645
646
647
肉 ​has comparatively few classed under it. As examples we may take
#JJ
KI, "a period of
Afte
time,” “a fixed time,” and mochi-zuki], "full moon," also read nozomu, "to hope."]
636
肥​舟 ​# and
舶
​character
船
​A
as the "eight"
66
One Hundred and Thirty-seventh Radical. fune, "a boat," written thus at the left
ship;"
cription.'
It has been discovered that Noah's Ark affords a good memoria technica for the
"mouths suggest the eight persons who were
and called func-HEN, c. J. 船 ​(often written), which also means fune, "boat ”
船舶
​HAKU, "a large vessel."
648
or
SEMPAKU means "vessels of every des-
蠟
​649
saved in the Ark.
融
​One Hundred and Fortieth Radical. kusa,
Yup
grass," written at the top in an ab-
lit. “grass cap.” The oN of
冠
​637
638
639
育
​期
​
610
望
​ISH
舟
​641
舟
​船
​642
643
舶
​苦
​breviated form or H, called so-ko (
☛ or Ħ, called so-kō (+
is KWAN, not Kō; probably hō is here the first syllable of kumuri, another pronunciation of kam-
RAKU or ochiru, "to fall;
(C
KIKU, chrysanthemum;
KU or nigai, "bitter;" whence
"medicine." YAKU, which is the ON or Chinese
muri.) Examples, taken from among hundreds, are 苦
​kurushimu, “to be in pain;"
Yo
藥
​葉 ​or ha, “a leaf;"
落
​i kusuri, “medicine.'
manner the ON of
落
​RAKU rhymes with
with 各
​KAKU (our No. 231), and its signification
reading of this last difficult-looking character, helps at once to impress it on the memory,
because rhyming with the Phonetic
SALVE GAKU OF RAKU, for which see page 117. In like
"to fall" naturally groups itself under the Radical "grass;" for what falls and fades sooner
than grass and the leaves of trees, which have been taken by poets and moralists in all ages as
symbols of impermanence?
螢
​袂
​650
651
652
裁
​One Hundred and Forty-second Radical.mushi, “insect," used chiefly on the left 表
​(mushi-HEN), as in
"to circulate;
""
RO, "wax," but sometimes in other positions, e. g.
KEI or hotaru, "a firefly."
YŪ or tōru,
One Hundred and Forty-fifth Radical.koromo, “raiment," chiefly to the left and ab-
蠟
​融
​螢
​袂
​BEI or tamoto, "a sleeve; " also below, as in
裁
​SAI or tatsu, "to
breviated to ネ ​(koromo-HEN, not to be confounded with
stroke less), thus
cut out (clothes)." Such examples as 表裏
​shimesu-HEN, which has one
HYO-RI, "front and back," show this Radical
cut into two parts,—an upper and a lower,—with the Phonetic inserted between them.
裏
​653
654
THE STRUCTURE OF THE CHINESE CHARACTERS.
133
670
655
眺
​656
657
658
659
(C
One Hundred and Forty-ninth Radical.iu,
iu, "to speak," or kotoba, words," almost
always written on the left, and then called GOMBEN, from GON or GEN, its Chinese sound, thus:
謎 ​CHO or atsuraeru, "to order" (goods);
(goods); 設
​""
SETSU or mōkeru, "to establish ; 話
​設 ​wa or hanasu, “to speak." This last word offers a good example of what has been said above
話
​譽
​財
​660
661
費
​賴
​662
663
跡
​蹟
​664
轉
​665
666
輪
​載
​667
668
遠
​(p. 124) of both halves of a character being sometimes really radical; for on the left
we have "words," on the right " tongue," appropriately combining to signify "to speak."
The common character Yo or homeru, “to praise," offers an example of this Radical in
an exceptional position.
財
​譽
​One Hundred and Fifty-fourth Radical. ♬ kai, “a shell," to the left or below, as in
SAI or ZAI, “wealth;" 費 ​HI or tsuiyasu, “to spend," "to waste." Its position in 賴
​RAI or tanomu, "to rely," is exceptional.
ed to
One Hundred and Fifty-seventh Radical.
"foot," almost always at the left and abridg-
(ashi-HEN), e. g. or
跡 ​蹟 ​SEKI or ato, "traces."
One Hundred and Fifty-ninth Radical. 車 ​■ kuruma, “a wheeled vehicle,” mostly to the
left (kuruma-HEN), as in juli TEN, “revolving," "changing." Sometimes it is otherwise placed,
ift
as in
One Hundred and Sixty-second Radical.
SAI or noseru, "to place on the top of," "to record."
送
​迄
​達
​NAJ
EB
671
672
673
674
675
郡
​i
辵
​SHINNYU. This is the abbreviated form
129
employed in composition. The character washiru, "to run," from which it is derived, is
not in use and need not be remembered. The meaning of the name SHINNYU does not clearly
appear; but the characters grouped under this Radical all have to do with such related ideas
as coming and going, motion, distance, c. J. 遠近
​UNSʊ, “sending or transporting (goods);" made,
ENKIN, “far and near;
運送
​迄 ​made, wtill;"達
​Tassuru, "to reach."
邑 ​mura, "village," contracted in composition
to
阝
​B which is called ōzato, and always placed on the right, thus
邸
​TEI or yashiki, "a
One Hundred and Sixty-third Radical.
>>
mansion; #B GUN or kōri, a district."
One Hundred and Sixty-fourth Radical.
"bird,” as
"bird," as one of the signs of the zodiac,
distinguished by the name of hiyomi no tori; but originally it denoted "a wine-jar" (conf. p.
117), whence the fact that most of its compounds have to do with liquor in one way or another.
It stands on the left, thus 145
SHAKU or kumu, “to pour out;"
distribute;" very rarely below, as in 医​殴
​FL HAI or kubaru, “to
醫 ​I, "a physician" (who gives one medicine to drink).
One Hundred and Sixty-seventh Radical. kane, "metal," almost always to the left
and written thus (kane-HEN), as in 銀
​金
​silver;"鏡
​GIN, "silver;" KYO or kagami, "a mirror,"
-Far-Eastern mirrors being made of burnished metal. Merely as a memoria technica, assume
the sense of this last character to be "metal set up to look at; but one stroke is missing from
近
​見
​"to look." 釜
​Fu or kama, “cauldron," is an exceptional form.
門
​運
​669
One Hundred and Sixty-ninth Radical. "gate," called MON-gamae, because written so
as to enclose its Phonetic, thus 關 ​KWAN or seki, "barrier;"
barrier;"閱
​676
677
酌
​678
配
​679
醫
​銀
​鏡
​金
​關
​ETSU or kemi-suru, "to
閱
​680
681
682
683
684
134
FIFTH SECTION.
685
686
687
鬪
​阜
​陰
​inspect " (as at a barrier or custom-house). The commonest derivatives of this Radical have
been given already on p. 77.
Hundred and Ninety-first,
[EE]
The latter occurs in
[Do not confound with this common Radical the less useful One 順
​tatakau, "to fight," sometimes called To-gamae from its on.
which has the same meaning, and replaces it in modern usage.]
One Hundred and Seventieth Radical. oka, “a mound." In combination it is con-
tracted to 阝 ​and called kozato.
阜
​696
697
須
​陰陽 ​IN-YO, "shade and light," i. e. the female (or
examples; but
陸
​RIKU, "land," better shows its significative force. Notice that whereas the
頭
​698
passive) and male (or active) elements of nature," according to Chinese philosophy, are familiar
688
689
陽
​€90
陸
​霜
​691
692
693
雷
​closely similar form ōzato, Radical 163, appears always on the right, this Radical 170, kozato,
stands as constantly on the left.
One Hundred and Seventy-third Radical. F ame, "rain," placed atop (EE) and called
霜
​ame-kammuri, as in
ning."
699
sō
so or shimo, "hoar frost;
hour host;" 雷電
​RAIDEN, "thunder and light-
餘
​革
​700
館
​One Hundred and Seventy-seventh Radical. nameshi-gawa or tsukuri-kawa, “leather,
AN or kura, "a saddle." The
""
mostly to the left, as in 靴 ​KWA or kutsu, “boots; ·鞍
​original form pourtrayed a hide flayed and stretched out.
One Hundred and Eighty-first Radical. properly kobe, "the head," later used to
É
denote sheets or pages of paper. The modern Japanese use it to write the English word
(C
'page," which has been naturalised as peiji. It stands to the right, and is called ōgai, “big
shell,” because fortuitously resembling the character kai, "shell." But it is really a
貝
​701
騒
​rude picture of the human face, in fact only a variant of (our No. 405), for which see 駕
​順
​p. 116. Common examples of its use are JI JUN, “order," or shitagau, “to obey;"
bekaraku, “ought;"
須
​su-
One Hundred and Eighty-fourth Radical.kurau, "to eat," mostly on the left and ab-
革
​breviated to
靴
​691
695
鞍
​頁
​頁
​To or kashira, "head."
(SHOKU-HEN), as in
餘
​yo or amari, “surplus; "KWAN or yakata, “a
館
​鮮
​mansion." Both these are excellent examples of Phonetics (compare our Nos. 510 and 310),
and at the same time of the power of the Radical, as the idea of "food" is naturally connected
with excess or satiety and with the mansions of rich men.
"horse," generally to the left (uma-HEN)
One Hundred and Eighty-seventh Radical.
"
or below, as in so or sawagu, “to make a row;
駕
​((
GA or noru, "to ride."
One Hundred and Ninety-fifth Radical. uwo,
魚 ​fish," mostly to the left (uwo-HEN).
It includes a large number of fishes' names not very useful to the beginner. 鮮
​fish,” also read azayaka, "fresh," "bright," and
鯨
​quoted.—The same remarks apply, mutatis mutandis, to the
SEN, "fresh
GEI Or kujira, "a whale," may be
or
One Hundred and Ninety-sixth Radical. tori, "bird," except that it oftenest stands on
the right side, c. g.
雞
​KEI or niwatori, "the barn-door fowl;
""
鶴
​KAKU or tsuru,
鯨
​702
703
704
705
雞
​706
鶴
​$5
a stork."
THE STRUCTURE OF THE CHINESE CHARACTERS.
135
B.-LIST OF SEVENTY-FIVE RADICALS OF
SECONDARY IMPORTANCE.
707
丈
​708
709
710
711
EL
乃
​First Radical.
718
ICHI, "one." It is variously placed, as in
丈
​Jō, a measure of 10
兒
​(718)
then;” 久
​KYŪ or hisashii,
児
​feet, also read take, “ measure,” and dake, "thus much; "katsu, “moreover.
Fourth Radical.
nameless and not used alone. It is placed at the top or on the left.
Examples are 乃 ​NAI (DAI) or sunawachi, "[if so......,] then;
"long" (of time); nagara, “while.”
乍
​
L.
GO
Fifth Radical. Z 乙 ​OTSU (our No. 202). Variously placed, and sometimes altered to
乞 ​KITSU or koi-negau, “to beg;" AL NYU or chichi, "milk."
Examples are
Seventh Radical.
NI, “two.” Found in perplexingly various positions, thus
Go or tagai ni, “mutually;" KYō or iwan ya, "all the more.' In this last it may be
easily mistaken for the Fifteenth Radical (NI-SUI); in fact, the Japanese commonly so write
and print that character (vide the margin).
Eighth Radical.
乍
​乞
​top, as iti
712
JI or chigo, "an
乳​互
​713
714
况
​715
716
a cover," not used alone, but always in composition and at the
SHI or ichi, “a town, “market; "
交 ​Kō or majiwaru, "to associate with."
几
​凭
​Tenth Radical. J used only in composition. It is a mere variant of the Ninth 具
​signifying "man,” but it occurs only at the bottom, thus
光 ​Kð or hikari, “brilliancy;" 兒
​旧
​an infant,” often abbreviated to. The top part is intended for a picture of
an infant's head before the fontanels have closed up.-[A comparatively rare Radical (the
Sixteenth), tsukue, “a table,” may easily be mistaken for No. 10. Observe that in
Sixteenth),几
​correct calligraphy the two strokes of No. 10 do not meet at the top, whereas those of No. 16
do meet.
KYō
凭 ​KYO or yori-kakaru, "to lean" (as with one's elbows on a table), shows
具
​GU or sonaeru,
No. 16 in composition.]
Twelfth Radical. (HAT-TEN, "dots [representing] eight "), as in
"to provide;"
provide;”兼
​KEN or kaneru, "to do two things at once," "to be unable." It almost
always occurs at the bottom.
Thirteenth Radical.
-two (for several) bamboo slips
can be easily remembered by its real construction Jf-two
tied together, such as constituted the most ancient books or volumes of the Chinese previous to
the invention of paper about A.D. 300.
市
​arbitrarily classed under it are
冊 ​SATSU, “a volume;" and
n and 再
​冂 ​nameless, and not used alone. The commonest characters
SAI or futa-tabi, "again."
冊
​交
​717
光
​Twentieth Radical.
兼
​冊
​719
720
721
722
723
再
​勿
​called Ho-gamae and meaning "to wrap up," but not used alone. 包
​It is placed outside, as in 勿
​Twenty-second Radical.
包
​nakare,'" don't;" Hō or tsutsumu, "to wrap up."
and the Twenty-third 【 both nameless, show by their
shape that they relate to boxes; the latter of the two has a large lid on, but alike in writing and
724
725
726
727
745
136
FIFTH SECTION.
730
午
​on the right, thus É
印
​((
IN, a seal." The case of f
731
博
​732
印
​in print the two are constantly confounded. Examples are 匠
​匠
​728
匿
​720
SHō or takumi,
carpenter
""
(one who makes boxes); E TOKU or kakusu, "to conceal" (as inside a box).
Twenty-fourth Radical. † JU, "ten," variously placed, as in
+
measure," also read noboru, "to ascend; " 午
​66
Ħ
((
SHO or masu,
a
GO, noon" (properly "the horse," uma, one
升 ​of the signs of the zodiac, whose hour is noon); fil
HAKU or hiroi, “broad.”
Twenty-sixth Radical. denoting a kind of seal, but not used alone. It is mostly placed
KWAN or maku, "to roll," is exceptional; that of
干​幸
​並
​746
747
(747)
KI or ayaui, "dangerous," or of 幷
​(C
So. This last character was originally a picture of the eggs (still recognisable as two dots)
inside the body of some oviparous creature, probably a reptile.
Twenty-seventh Radical.
(747)
(747)
HP RAN or tamago, egg," still more
并
​called GAN-dare, originally meaning “cliff" (see p. 118),
but now used as an abbreviation of
733
危​原
​734
the
172nd Radical). It always begins thus at the top, and hangs down (tareru) on the left side.
GEN or moto, "origin," also read hara, "moor," is a familiar example.
Twenty-ninth Radical. mata, “again,” mostly to the right or below, as in
MIE GAN or kari, “wild goose," (classed under
佳 ​煎
​748
虽
​友
​YŪ Or
749
卷
​tomo, "a companion ; 叙
​(C
JO, raising in rank," "promotion."
735
卵
​(C
MU or yume,
Thirty-sixth Radical.yube, "evening," as in
a dream."
夙
​SHUKU or tsuto ni, “early; 夢
​35
小
​736
射
​彫
​737
738
739
740
741
742
MEE
原
​te
友
​叙
​夙
​夢
​Forty-first Radical.
SEN or moppara, "entirely;
SUN, "inch," placed below or at the right hand, as in
SHA or iru, "to'shoot ;" sometimes in a corner, as K
"a general," also read hata, "moreover," and masa ni, "about to.'
Fifty-first Radical. † azukaru, "to be concerned with," as in
+
750
形
​專
​SHO,
幸 ​Kō or saiwai,
"happiness." It is often hard to pick out among the other strokes, thus
narabi ni, “together,” also written
to be learnt.
並
​HEI or
and a perplexing multiplicity, which has
Fifty-seventh Radical. ♬ yumi, “a bow," mostly placed to the left, as in
KYŌJAKU, “strong or weak."
751
扇
​752
753
戾
​強弱
​754
Fifty-ninth Radical., feathers" or
or "long hair," not used alone. It mostly stands on
彫
​KEI or katachi, "shape;" CHO or horu, "to engrave."
the right, as in
Sixty-third Radical.
戶
​left, as in 扇
​return" (as a
專​料
​743
射​斬
​744
將
​to, "door," called to-kammuri. It is placed above and to the
SEN or ōgi “a fan” (lit. “ feather" "door" ;
(as a “dog"†
to the "door
755
斗​料
​戶
​羽 ​戶房
​756
REI or modoru, “to
of his master's house).
斜
​Sixty-eighth Radical. hakaru, "to measure."
斗 ​"to measure." Mostly placed on the right, as in
nyð or hakaru, “to estimate," 斜 ​SHA or naname, "slanting."
Sixty-ninth Radical. F 斤 ​KIN, originally "an axe," hence "a pound" (weight), as in
ZAN or kiru, "to cut off";" 斷
​Seventieth Radical.
"to give” (as alms);
DAN or tatsu, “to cut off," "to refuse."
kata, “side," mostly on the left, as in
SHI (SE) or hodokosu,
施
​旅 ​RYO or tabi, "a journey." Observe that the really radical element
斤
​757
758
斬
​759
斷
​THE STRUCTURE OF THE CHINESE CHARACTERS.
137
of such characters is not merely
760
施
​((
flag;
""
but
(for), an obsolete character meaning
770
毬
​矢​, such
and this is why most of the compounds have (or had originally) to do with flags.
For instance, our No. 395, "a tribe," is the picture of a flag on a dart
族
​as the tribe would anciently have carried into battle as their distinctive badge. Similarly
761
旅​旅
​life
which now means "journey," was formerly "a regiment of 500 men," represented by a 爪
​"flag and (6 man
repeated here and elsewhere standing for ).
(here JK).
(
"to cease," variously placed, as in
771
762
Seventy-seventh Radical. Eyamu, "to cease,
SAI OL
772
歲
​toshi, “year
歲
​is mostly shortened to
嵗​歷
​REKI Or her,
"to
pass by;
by: " Bits
歸
​爵
​KI or kaeru, "to return.'
歹
​Seventy-eighth Radical. sare-bone, "bleached bones," not used alone. It is placed
773
(762)
to the left or below, as in
歳
​死
​SHI,
((
death
(the "bleached bones" of a man,`
66
as
ヒ
​匕 ​represents 人​); 殆
​TAI or ayani, "dangerous" (i. e. threatening death), hence
爭
​763
764
765
歷
​766
歸
​also read hotondo, "nearly."
Seventy-ninth Radical. properly hoko, “a spear," but called ru-mata from its super-
ficial resemblance to the Katakana character and the character mata, "again."
段
​It is always written on the right. Familiar examples of this Radical are offered by E
DAN, "a step," and 殺 ​SATSU or korosu, “to kill.”
satsu
毛
​Eighty-second Raulical. ₺ke, “hair," variously placed. When at the left with its
last stroke prolonged, it is called MONYU. Examples are
毫
​Gō, “fine down,” hence “some-
thing quite minute;" ** KYŪ or mari, “a ball" (to play with).
Eighty-seventh Radical. tsume, “nails,” “claws" (a picture of the bent hand). In
composition it is generally placed at the top, and abbreviated to as in
瓜
​#t
774
775
776
版
​so or
777
笋
​arasou, “to dispute;” SHAKU, "an order of nobility."-[This Radical must be carefully
mm
distinguished from another (the Ninety-seventh), uri, "melon," which has one stroke
牧
​valuable cattle must have been in ancient times, for the word
((
of, the old form of
殆
​more.]
Ninetieth Radical.
(not
(not used alone). This and the Ninety-first
Ħ
片
​(anciently
778
K HEN or kata, 'side," are actually each one side
木
​767
殷
​牆
​瓦
​.768
殺
​"tree," the vertical stroke itself being divided vertically. Common examples are
or kakine, “a fence," and 版 ​HAN, "printing."
SHO
Ninety-third Radical. 4 ushi, "cattle," sometimes at the bottom, more often at the
left side and then written
779
牛
​✈ (ushi-HEN), as in 牧 ​BOKU or maki, "pasture." How
瓶
​400 "thing," to be placed
780
769
毫
​signifying "a bottle."
specially under that, of all possible, headings!
瓦
​Ninety-eighth Radical. E kawara, "a tile," placed to the right or below. The
commonest character under it is
Ninety-ninth Raulical. #amai, "sweet."
甘
​瓶 ​HEI or kame, "a jar;" also read BIN, and then
781
甚
​Variously placed, as in
JIN or
甚
​138
FIFTH SECTION.
797
782
Brgl
""
hanahada, "very;
甞
​SHO or katsute, "previously," which is also written
嘗
​Remember
One Hundred and Third Radical.
784
疑
​((
783
疋
​this Radical by its likeness to "mouth," the organ which appreciates sweetness.
Variously placed. The commonest character classed under it is
"to suspect."
One Hundred and Sixth Radical. shiroi, “white," variously placed, as in
or mato, "a target" (but compare
網
​疋 ​HIKI, the auxiliary numeral for animals.
疑
​798
GI or utagau, "to doubt,"
罪
​的
​TEKI
Colloq. Handbook," T115, N. B.);
皆
​KAI or mina,
BILLE
785
的
​"all" (our No. 306);
306); 皇
​KO or
(C
emperor" (our No. 286), which last recalls the "White
786
鼓
​787
789
789
790
盃 ​盛 ​短
​Czar."
One Hundred and Seventh Radical.kawa, “skin,” mostly at the right, as in 鼓
​KO or tsuzumi, "a drum."
盃
​One Hundred and Eighth Radical.
HAI or sakazuki, “a wine-cup ; 盛
​read sakan, "flourishing."
One Hundred and Eleventh Radical.
"short." It occurs at the left or below.
One Hundred and Seventeenth Radical.
chapter;” 首
​or left, as in
章 ​SHO, “chapter;
SEI or moru, “to heap up" (as on a plate), also
799
罰
​罹
​800
801
802
sara, “a plate,” always at the bottom, as in 羊
​短
​美
​TAN or mijikai,
群
​ya, an arrow," as in
tatsu, "to stand," at the top, bottom,
KI or mezurashii, “strange" (more properly
under the thirty-seventh Radical 大​竪
​hashi, "edge."
豆
​791
bottom.
章
​JU or tate, "perpendicular; "
缶
​TAN or
One Hundred and Twenty-first Radical. kame, “a jar," placed at the left or
Its commonest derivative is
KETSU or kakeru, "to be flawed," "missing."
Fit
网
​One Hundred and Twenty-second "Radical. ami, "a net," generally replaced in
practice by when signifying "net," and reduced to when employed as a Radical
網
​at the top. Many of the characters under it have to do with some unpleasant entanglement
BATSU, "punishment;
792
哥
​(as in a net), hindrance, wrong, etc., as
罹
​罪 ​ZAI or tsumi, "sin;
HE
(792)
奇
​EX
罰
​RI or kakaru, "to incur," "be involved in,"-as in guilt, distress, or disease.
""
One Hundred and Twenty-third Radical. hitsuji, “a sheep," generally at the top
or right, as in 美 ​BI or utsukushii, “beautiful;"
群
​GUN or mure, a flock."
One Hundred and Twenty-fourth Radical. hane, "feathers," variously placed, thus
(C
793
EZ A
翁
​ō or okina, an old man ; M SHU or narau,
794
795
796
端
​"to learn."-Both these characters are
easy to remember; for a venerable old man is princely (), and his gray beard flows
down like feathers. On the other hand, that which tender white (nestlings learn is
to fly with their wings or feathers.
One Hundred and Twenty-seventh Radical. suki, “a plough," placed to the left, as
CC
KO-UN, cultivating and weeding," hence "husbandry."
47
in
耕耘
​耳
​缺
​One Hundred and Twenty-eighth Radical. Ħ
RYO or isasaka, "a little ;
little;” 聚
​(C
"the ear," variously placed, thus 聊
​SHU or atsumeru, “ to collect;"
SEI or koe, "the voice."
聲 ​31
SHAF
習
​803
804
805
806
耒
​耕
​耘
​807
808
809
聊
​810
聚
​811
聲
​THE STRUCTURE OF THE CHINESE CHARACTERS.
139
825
usu, “a mortar,”" sometimes above or below,
One Hundred and Thirty-fourth Radical.
KYŪ or furui, “old;" and more difficult to recognise in such complicated, but
useful, characters as
Fil yo or ataeru, “to give;” Hill
興 ​Kō (KYO) or okosu, "to raise," where
與
​part of the phonetic is wedged in between.
812
舊
​as in
舊
​813
tha
11
814
815
816
817
興
​舘
​虎
​One Hundred and Thirty-fifth Radical. Ishita,
Ishita, “tongue.
also with the character
written 館
​tongue." Mostly to the left; mostly
人
​((
man," above it, as in
舘
​KWAN or yakata (also and better
our No. 700).
One Hundred and Forty-first Radical.
Radical. JE tora or KO, "tiger," generally at the top in the
abbreviated form called tora-gashira, thus
虍
​虐
​GYAKU, “cruel;"
empty." Though
Phonetic, see pp. 120-1) in the two commonest characters classed under it, viz. in
Though called Radical in the dictionaries, is really Phonetic (Rhyming
J
just given, and in
One Hundred and Forty-third Radical.
common character SHU, "many," it is found at the top.
its likeness to the Hundred and Eighth
((
Remember this Radical by
a plate or dish." It is really derived from
the latter, the dot at the top representing the blood of the victim flowing into a dish when
a religious sacrifice is performed.
角
​解
​豆​豈
​826
827
828
829
KYO or munashii,
虛
​KYO,
處
​SHO or tokoro, "place."
I chi,
chi, "blood."
Mostly to the left; but in the
衆
​豐
​830
虐
​象
​831
虛
​stands at the top, as in
要 ​yo or kaname, "essential;"
rð
覆
​FUKU or kutsugaeru, "to
豫
​819
j
"west."
血
​見
​below, as in
觀 ​KWAN, "to inspect;
""
覺
​KAKU or satoru, "to discern."
角
​解
​KAI or toku, "to loosen,"
One Hundred and Fifty-first Radical.
num);
818
820
衆
​821
822
823
要
​覆
​觀
​824
覺
​One Hundred and Forty-sixth Radical. [
襾 ​a cover," but not used alone. It always
overturn," and is then mostly written as if it were
One Hundred and Forty-seventh Radical. miru, "to see," placed to the right or

"a
One Hundred and Forty-eighth Radical. tsuno, "horn;" also read kado, “a comer.'
Mostly to the left, as in
CC
ani? how?" (or = Latin num);
"to loosen," "to explain."
30
mame, "beans." Mostly below, as in 豈
​Ho, or yutaka or toyo, "abundance."
One Hundred and Fifty-second Radical.
buta, "a pig." Variously placed, as in
zō, "an elephant" (also often read katachi, "shape,
象 ​20,
arakajime, “beforehand.”
shape," "appearance ");
(); 豫
​YO or
One Hundred and Fifty-third Radical. 豸 ​not used alone and of uncertain meaning,
except that it has something to do with animals. It is found at the left, as in 貌
​katachi, "shape."
BO or
832
貌
​赤
​833
834
赦
​走
​One Hundred and Fifty-fifth Radical. akai, “red.” Placed to the left, as in 赦​起
​SHA or yurusu, "to pardon."-Anciently this Radical was written
appropriate symbol for the colour “red.”
lit. "great fire," an
走
​One Hundred and Fifty-sixth Radical. washiru, "to run," called soNYU in com-
SONYŪ
越
​KI or okoru, "to rise up;
up; "koeru,
"to cross
position, and written and placed thus:
835
836
837
140
FIFTH SECTION.
over." This last character, with its Chinese sound ETSU or ECHI, occurs in some common place-
names, c. g. in those of the provinces of
ETCHU and
ECHIGO.
One Hundred and Fifty-eighth Radical. 身 ​mi, "self." Placed to the left, thus
躲
​838
躬
​越​中
​越​後
​839
躬
​$5
RA or hadaka, "naked" (for this latter see also
(839)
One Hundred and Sixtieth Radical.
裸
​that
840
辨
​the right, as in 辨
​辛 ​SHIN or karai, "pungent," "acrid." Mostly to
JI or kotoba, "words."-Note
811
辛辣
​(841)
842
which also means mi, “self;"
p. 141).
BEN or wakimaeru, "to discriminate;" 辭
​has "knife" between "acrid" repeated, indicating the solving (as by an acid) and
鬼
​851
852
魁
​魂
​853
cutting asunder which discrimination involves. Another form of the same character is 辯 ​魔
​which indicates discrimination arrived at by means of words or arguments.
佳
​One Hundred and Seventy-second Radical. known as furu-tori, lit. "old bird;" but
the "old" seems a misnomer (conf. p. 116). It mostly stands on the right, as in
ME
ZATSU Or
zō, “mixed;" less often in other positions, such as are exemplified in the characters
""
KO or yatou, “to hire;” E so, "both" (from two "birds on one "hand ").
One Hundred and Eighty-second Radical. kaze, “wind,” as in GU. The compound
辯
​颶
​term
颶風 ​GUFU or tsumnji-kaze, “a whirlwind," is fairly common; and may be easi-
颶
​辭
​843
雜
​844
8.15
雇
​雙
​816
風
​847
848
849
颶
​香
​馨
​骨
​850
體
​ly remembered by its phonetic 具 ​GU, our No. 721.
One Hundred and Eighty-sixth Radical.nioi, "fragrance.” Placed to the left or
below, as in
馨 ​KEI or kaoru, "to be fragrant.'
"9
鹵
​簿
​854
855
856
857
鹽
​SE
One Hundred and Eighty-eighth Radical.hone, “bone." Placed to the left, as in 體​鹼
​TAI or karada, "the body."
One Hundred and Ninetieth Radical.
the top, as in
meaning hair, but not used alone. It occurs at
髮 ​HATSU or kami, "the hair of the head" (our No. 139).
One Hundred and Ninety-fourth Radical. oni, "a demon,” variously placed, as
鬼
​lender';”魂
​KWAI or sakigake, "a leader;"
One Hundred_and_Ninety-seventh Radical.
the expression 卤簿
​"salt tablet
KON or tamashii, “the soul;
the soul;"魔
​MA, a devil."
ROBO, “the Imperial retinue." signifies
Mi
858
859
鹿
​魁
​860
Ro, properly "salt," but common only in
"a tablet;" but how
came to denote the Imperial retinue, we cannot say.) Examples of this Radical
are afforded by the standard character for EN or shio, "salt;" and
"soap." It occurs mostly on the left side.
麗
​861
麥
​SEKKEN,
862
shika, “a deer,” as in
(the REI of KIREI,
奇麗 ​“pretty”).
麗
​麴
​REI or uruwashii
pretty"). It is variously placed.
generally prolonged, as in
One Hundred and Ninety-eighth Radical,
One Hundred and Ninety-ninth Radical. mugi, "wheat." In composition it is placed
麥
​at the left, and the last stroke generally prolonged, as in
66
KIKU or kōji, "yeast.
""
Two Hundred and Third Radical. kuroi, "black," as in TEN, "a dot;”
""
TO, a (political, etc.) party." The general appropriateness of "black as a Radical in both
863
點
​864
點 ​黨​黨
​865
Two Hundred and Eighth Radical. nezumi, “a rat.”
鼠
​The original form was
醫​鼠
​these words should assist the memory.
THE STRUCTURE OF THE CHINESE CHARACTERS.
141
in which we may still distinguish the head with its teeth, the four little legs, and the long
tail.
Two Hundred and Ninth Radical.
Bhana,
hana, "nose."
Two Hundred and Eleventh Radical. ha, "tooth," placed on the left, thus 齡
​REI or yowai, "age" (as we tell a horse's age by its teeth). This Radical is often abbreviated
to
歯
​Two Hundred and Twelfth Radical.
龍
​RYO, RYU, or tatsu, "a dragon."
to
··
Two Hundred and Thirteenth Radical.kame, "a tortoise," constantly abbreviated
The original form was giving a side-view of the creature, with its head and
beak above, its tail below, its carapace on the right side, and its feet on the left.
Any one knowing these two lists by heart will be better equipped for finding characters
in the dictionary than are nineteen-twentieths of the educated natives of China and Japan.
It will help towards a working knowledge of the Radicals and their use to cast a glance from
time to time through the Index of Characters given at the end of this volume.
Such rare
Radicals as
etc., will then also gradually loom before the mind as possible
clues to characters whose construction is not at once referable to any of the larger and more
familiar classes.
Before we quit the subject of Radicals, it may be well to mention the following miscel-
laneous items
Some few characters are written indifferently with various Radicals of approximately
the same signification. Thus our No. 623 "cereals," with the Radicaline, "rice,”
熱
​叙
​In the case of
withkome, another Radical for "rice."
敬
​身 ​self"), also written (Radical
(Radical "clothes"), the appropriate-
ness of the exchange is equally apparent.
tion," is a common instance; so is Dor K shima, island" (but with four
鼻
​齒
​866
867
868
齡
​MUT
龍
​869
870
龜
​(870)
亀
​871
872
峯
​忙
​873
稿
​also occurs as
of 躲
​"naked" (Radical “self”), also written
衣
​
Some few allow of the Radical being variously placed. Hor
略
​ΟΙ
畧
​RYAKU, "abbrevia-
((
strokes less is the standard form). Others are afforded by
or
豪 ​Kō (as in
原稿
​GENKO, "manuscript" or copy" for the press, and in
by 群 ​or 羣
​羣 ​MURE, a flock;" by
or
((
pine-tree," sometimes written
for the sake of variety.
SOKO, "a rough draft "); also
mine, “a mountain peak;” and by
Sometimes, on the contrary, change of position in the Radical produces an entirely different
character. Thus, whereas is wasureru, “to forget,” It is isogashii, “hurried.”
is izumi, “a spring of water;" but 泊 ​is tomaru, "to stop.'
A few useful characters are obtained by trebling a Radical. Such are
姦
​morality," adultery" (representing intrigues with three women at a time);
泉​姦
​KAN, "im-
B
日​日
​SHO,
used in 水晶 ​SUI-SHO, "crystal," which we may suppose to be as bright and clear as
E
日​日
​875
876
草稿
​874
by 松
​泊
​142
FIFTH SECTION.
877
蟲​最​負
​three suns; 蟲
​insects;”最
​нIKI, "patronage,' "favour;
878
879
880
贔
​RIIK
轟
​mushi, "insects;" used in the common, though obscure, compound
todoroku, "to rumble."
車
​We have alluded above to the arbitrary manner in which many characters are classed in
門
​the dictionaries. MON-gamae, "gate," the Hundred and Sixty-ninth Radical, for instance,
is made to include
the Radicals
閉開​間 ​etc., but not 問 ​and 聞 ​which are placed under
耳 ​求
​☐ and
connection with
"firstly;" and
and respectively. motomeru, "to seek," has no etymological
★mizu,
mizu, "water," neither have 由 ​yoshi, “ circumstance;"甲 ​甲 ​KO,
#mōsu,
mōsu, "to say," any connection with 田 ​tar
ta, "rice-field." The diction-
aries class them under "water" and "rice-field" respectively on the strength of a merely
superficial resemblance. This is a matter in which nothing but practice can avail.
Some few characters occurring in Japanese books will not be found in the ordinary dic-
tionaries at all under any Radical, because they are local Japanese inventions, and therefore
lack the sanction of the learned. The most useful members of this small class are:
働 ​hataraku, "to work" (formed from a
(formed from a "man moving").
883
畑
​
(883)
畠
​884
瞧
​885
st
THE tōge,
tuge, "a mountain pass.
畑
​or
GOES
hata or hatake, “a (dry) field,”—as contrasted with ta, a wet rice-field;
886
込
​881
882
K
a "vegetable garden."
WIE yagate, “forthwith."
itsuji, "a place where four roads meet," "cross-roads."
峠
​达
​komu, "to be crowded;" also komeru, "to stuff in."
tote, "saying (or thinking) that."
""
In inventing such new characters to suit their own special needs, the Japanese did but
follow the example set by every provincial Chinese dialect.
887
沖
​WRITING LESSON.
143

425
433
后​坐
​434
426
417
418
409
臼​音
​410
司​災​果​竹​訓
​435
427
419
401
402
411
403
靈​集​樂​又​井
​436
428
420
412
404
豕​谷​壺​弄清
​437
429
421
413
405
梅​軍​酒​王​首
​438
430
422
414
406
枝​德​臣​禾​烏
​439
431
423
415
407
板​寒​林齊羽
​440
432
424
416
408
案​艸​森
​貝
​144
FIFTH SECTION.
1
473
465
457
1

449
特​舖​例​助​機
​474
466
458
441
450
442
姓​補​借​勇​械
​475
467
459
451
443
待​輔儀 ​勝 ​戒
​476
468
460
452
444
筆​舍​犬​勞​著
​477
469
461
453
445
旁​舌​甫​勤​俗
​478
470
462
454
446
傍​寺
​代​浴
​479
471
1
463
455
447
值​持​捕​伏​聽
​し
​480
472
464
456
448
尊​詩​浦​伯​功
​WRITING LESSON.
145
505
1

510
余​典
​511
500
497
498
489
仁​樽
​490
但​冠​刺​沐​雲
​512
507
499
491
481
482
483
儘​構​愼​皮​亡
​513
508
500
492
484
冷​使​部​彼​妄
​514
509
501
493
485
凍​侵​篇​被​盲
​515
502
494
486
刀 ​編​束​悟
​516
503
495
487
到
​偏​朿​位
​517
504
496
488
券
​康​逸仙
​!
146
FIFTH SECTION.

(549)
542
534
526
518
属​宇​契​城​双
​550
543
535
527
519
島​宿​好​堅​勢
​(550)
544
536
528
520
嶋​寫妻​執呼
​551
545
537
529
521
岡​冥​妾​壯​向
​552
546
538
530
522
岩​尸​孔​壽命
​553
547
539
531
523
巾​尾​孟​太​器
​554
548
540
532
524
布届​孝央​回
​555
549
541
533
525
帳​屬​孰​夷​園
​WRITING LESSON.
147

588
580
572
564
欲​曲​承​憂​摩
​589
581
556
573
565
557
歌​更​救​情​麻
​590
582
574
566
558
湯​最​敢​忝​序
​591
583
575
567
559
海松​整​戈​庭
​592
584
576
568
560
永​某​昨​戰​彳
​593
585
577
569
561
求​查​暑​舉​從
​591
586
578
570
562
泉​條​旬​指​衛
​595
587
579
571
563
燒​欠​日​拜​意
​148
FIFTH SECTION.

628
620
612
604
596
箱​祭​眼​珍​炭
​629
621
613
605
597
精​種​看​現​烈
​630
622
614
606
598
粗​秀​眞​琴​照
​631
623
615
607
599
粟​穀​砂​界​獻
​632
624
616
608
600
栗​穴​磨​畏​獸
​633
625
617
609
601
細 ​空​示​痘 ​狐
​634
626
618
610
602
素​竊​福​痛​狼
​635
627
619
611
603
肉​笑​祖​療​狽
​WRITING LESSON.
149

668
660
652
644
636
近​費​裁​菊​肥
​669
661
653
645
637
運​賴​表​葉​育
​670
662
654
646
638
送跡裏​落期
​671
663
655
647
639
迄​蹟​訛​藥​望
​672
664
656
648
640
達​轉​設​蠟​舟
​673
665
657
649
641
邑輪​話融船
​674
666
658
650
642
邸載​譽螢​舶
​675
667
659
651
643
郡​遠​財​袂​苦
​150
FIFTH SECTION.

707
700
692
684
676
丈​館​革​閱​酉
​708
701
693
685
677
且​騷​靴​鬪​酌
​709
702
694
686
678
乃​駕​鞍​阜​配
​710
703
695
687
679
乍​鮮 ​鮮​頁​陰​醫
​711
704
696
688
680
乞​鯨​順​陽​銀
​712
705
697
689
681
乳​鷄​須​陸​鏡
​713
706
698
690
682
互​鶴​頭​霜​釜
​714
699
691
683
况 ​餘​電​關
​WRITING LESSON.
151

746
738
730
722
幸​友​午​兼​市
​747
739
731
723
715
716
並​叙​博​冊​交
​(747)
740
732
724
717
午​夙​印​再​光
​(747)
741
733
725
718
并​夢​危​勿​兒
​(747)
742
734
726
(718)
專​卷​包​児
​748
743
735
727
719
强​射​卵​匠​几
​749
744
736
728
720
弱​將​雁​匿​凭
​750
745
737
729
721
形​干​原​升​具
​152
FIFTH SECTION.

782
774
766
759
751
嘗​瓜​殆​斷
​783
775
767
760
疋​牆​段​施​扇
​784
776
768
761
752
753
疑​版​殺​旅​戾
​785
777
769.
762
754
的​牧​毫​歲​斗
​786
778
770
(762)
755
鼓​瓦​毬​歲​料
​787
779
771
763
756
皿瓶爪​歷斜
​788
780
772
764
757
盃​甘​爵​歸​斤
​789
781
773
765
758
盛​爭​死​斬
​WRITING LESSON.
153

813
805
821
797
要​與​習​網​短
​822
798
790
791
814
806
覆​興
​罪​章
​823
815
807
799
792
觀​舘​耕​罰​音
​1
824
816
808
800
(792)
覺​虎​耘​罹​奇
​825
817
809
801
793
角​虐​聊​羊​竪
​826 1
818
810
802
794
解​虛​聚​美​端
​827
819
811
803
795
豆血​聲群​缶
​828
820
812
804
796
豈​衆​舊​翁​缺
​154
FIFTH SECTION.

859
851
843
837
829
鹿​鬼​雜​越​豐
​860
I
852
844
838
麗​魁​雇​躬​象
​861
853
845
830
831
839
麥​魂​雙
​豫
​862
854
846
(839)
832
麴​魔​颶​裸​貌
​863
855
847
840
833
點​鹵​香​辛​赤
​864
856
848
841
834
黨​簿​馨​辨​赦
​865
857
849
(841)
835
鼠​鹽​骨​辯​走
​866
858
850
842
836
鼻​鹼​體​辭​起
​WRITING LESSON.
155

882
874
峠​泊​齒
​883
875
867
868
畑​姦​齡
​869
(883)
876
畠​晶​龍
​884
877
870
廳​蟲​龜
​885
878
(870)
辻​贔​亀
​871
886
879
込​負​稿
​887
880
轟​峯
​881
872
873
働​忙
​SIXTH SECTION.
A TALE OF THE GOOD OLD DAYS,
BEING ONE OF THE FAMOUS JUDGMENTS OF ŌOKA ECHIZEN-NO-
KAMI, THE JAPANESE SOLOMON, WHO WAS MAYOR OF
SOUTH YEDO EARLY IN THE EIGHTEENTH CENTURY.
政大
​談​岡
​指​手
​錠
​の
​件
​A TALE OF THE GOOD OLD DAYS.
159
文字​の​~るべ​第​六​編
​政​談
​大岡 ​指​手錠​の​件
​に​辨
​第一​回
​元祿​の​末​本町​二​丁目​の​裏​屋​に​歳​の​頃​五​十​ばかり​にて​一​人​の​下女
​や
​もめ
​を​召仕​ひ​何​不足​なく​暮し​居る​寡婦​あり​し​が​其表​に​越後屋​八郎​兵
​衛​と​云​ふ​太物屋​あり​此八郎​兵衛​は​伊勢​松坂​の​生れ​に​し​て​入​品​能
​さはやか
​もと
​く​辨舌​爽快​な​りし​が​折々​老女​の​許​へ​出入​を​なし​追​々​心​安く​なり
​るひいつ
​每度 ​度​の​如く​來り​四方山​の​咄​より​遂に​昔語り​に​及び​て​老
​女​が​身の上​を​聞く​に​或​諸侯​の​家中​にて​歴々​の​家柄​なる​が​如何​な
​を​つと
​る​故に​や​浪人​し​て​在​ける​處​五​年​以前​夫​に​死に別れ​子供​も​な
​くらす
​類​とても​あら​ざれ​ば​爲​ん​方​なく​此處​へ​引込み​後生​三昧​に​消光​と
​
160
SIXTH SECTION.
てて​の​位​御​くば
​第​ん​て
​の​話​を​聞八郎​兵衛​何方​より​か​御​扶持​にて​も​參り​候哉​と​尋ね​け
​たくはヘ
​あたら
​たま
​る​に​老女​否​々​扶持​は​參ら​ぬ​が​少し​の​貯蓄​金​あれ​ば​質素​に​消光​や
​ば​私​が​一​代​は​安​樂​なり​と​云​に​入郎​兵衛​夫​は​可​惜金​を​寝かし​て​置
​く​は​無益​なり​少​しづ​貸出さ​れ​利足​を​取り​給​は​、猶々​御​生涯​の
​御樂み​なる​べし​何​程​御​貯蓄​の​ある​か​は​存ぜ​ぬ​未​た​御歳​は​五​十
​と​御​見​請申​す​により​九​十​百​迄​も​御​繁昌​なら​ん​に​は​大概​五​十​年
​の​御​暮し​に​千兩​と​宛​其中​火​難病​難​不時​の​入費​も​あれ​ば​貸金​に​し
​て​利​分​を​得給​は​大​に​御​安心​な​らん​若し​思召​も​御座ら​ば​何時​に
​て​も​御​世話​致さ​ん​私し ​折々​は​借用​致度​と​實​しゃか​に​申す​に​ぞ
​老女​は​つら​〈考へる​に​貯金​は​四​五​百​兩​なれ​ども​外​に​扶持​と
​て​も​有​ざる​故八郎​兵衛​が​申す​如く​貸出し​て​利​足​を​得​ば​安心
​貯​折
​思​入
​召​費
​まこと
​と​思ひ​夫​より​八郎​兵衛​に​相談​し​て​五​兩​十​兩​づ​、貸出​せ​し
​た​の
​に​子​を​生む​を​賴母​敷​思ひ​又八郎​兵衛​が​入用​の​節​は​利足​に
​

の
​に​売ら
​A TALE OF THE GOOD OLD DAYS.
161
لو
など​焼
​あけくれ
​だて
​及​が​ず​と​て​十​兩廿​兩​づゝ​用​立​ける​に​八郎​兵衛​の​何時も​日限​につ
​間違ひ​なく​返金​なぜ​しか​ば​何時​と​なく​無​證文​にて​貸​興​へ​後々
​五​十​兩​百​兩​と​大金​に​成​しかも​相變​らず​返金​を​ふき​故​老女​も​大
​に​悦び​居​たり​し​が​既に​六​七​年​立つ​中​に​彼​老女​は​尼​と​なり​名​を​知
​光​と​呼び​衣​を​着​し​誠に​隠居​の​有様​にて​八郎​兵衛​と​は​無二​の​懇意
​り明暮​出入​し​居​たり​或時​八郎​兵衛​の​比丘尼​に​對ひ​此節​室
​町​に​宜しき​賣家​あり​此家​を​買取り​見世​を​出せ​ば​仕出す​事​疑​ひな
​けれども​千​兩程​も​掛る​に​付​殘念​ながら​見合せる​と​の​話し​を​知​光
​尼​は​つらく​聞き​夫​は​惜き​と​なり​少々​なら​ば​御用​立申​さん​に​千
​兩​と​申​て​は​私​の​力​に​及ば​ず​と​申す​に​八郎​兵衛​夫​は​千万​忝​けなし
​私​も​少し​は​貯​へ​有る​により​三​百​兩御​貸し​下さ​れ​な​ば​此望​み​行​届
​くなり​と​云​ふ​を​聞​て​其位​の​事​なら​御用​立​申す​べけれ​ば​人​の​言込
​ぬ​内​に​早く​其家​へ​申込み​給​へ​と​知​光​尼​は​惜氣​も​なく​貸輿​ふる​に
​れ​し
​げ
​162
SIXTH SECTION.
て​て
​385
より​八郎​兵衛​大​に​悦び​早々​立​歸り​て​吉日​を​選​み​店開き​を​なし​吳
​服​物​も​一層​多く​仕込み​若い​者​を​も​増し​て​最​盛んに​商​ひ​けり​此入
​郎​兵衛​は​一体​商​賣​の​道​に​賢く​人望​あり​て​問屋​の​呑込​も​宜しけれ
​ば​次第に​繁昌​なし​二​三​二​年​の​中​に​土蔵​を​建て​地面​も​買入れ​男女
​十​三​人​の​暮し​にて​今​は​有​幅​の​身​と​なり​に​ける​其後​彼​の​知​光
​の​方​へ​は​何となく​衣類​其外​時​の​物​を​遣​し​など​し​て​一​年​餘​も​過し
​と​雖​も​彼​三​百​兩​の​金​の​と​の​何とも​云​さ​れ​ぞ​も​懇意​の​こと​故老
​すご
​は​催促​も​せ​ず​又一​兩年​を​經過​せし​に​蕕何​の​咄​しも​なきゆゑ​老​尼
​は​如何​と​思ひ​或日​八郎​兵衛​に​向ひ​先​年​御用​立​たる​三​百​兩​の​金子
​御​返し​下さ​れ​たく​此節​は​諸方​へ​貸出し​金​も​種々​と​間違ひ​手元
​不​廻り​にて​困る​に​付​何卒​御​返し​下さ​れ​度​と​云​は​八郎​兵衛​は​元​よ
​り​踏氣​なれ​ば​大​に​驚き​たる​躰​にて​成程​拙者​難儀​の​節​は​十​兩甘​雨
​は​御​借​申せ​し​と​も​有し​が​此節​は​問屋​の​外​に​借金​と​云​も​の​一銭​も
​
りな
​け​此
​A TALE OF THE GOOD OLD DAYS.
163
しき
​ぬ​な
​し​當時​二​箱​や​三​箱​の​金​に​は​差支​へ​ぬ​我​等​何​し​に​借金​を​返さ
​ぬ​と​申す​こと​有​べき​や​夫​は​覺え​違​ひならん​と​申す​に​老尾​も​又
​けし
​大​に​驚き​是​は​怪から​ぬ​こと​を​仰せらる​もの​哉先​年​室町​へ​引越
​給​ふ​時​金子​不足​故​行届か​ぬ​と​の​こと​なれ​ば​實​に​氣​の​毒​に​思ひ​三
​百​兩​の​金​御用達​し​こと​を​よもや​御​忘れ​は​有​まじ​と​云​へ​ば​八郎​兵
​衛否​々​夫​は​人​違​ひ​殊に​引移り​の​時​借用​金​など​致す​拙者​で​は​御座
​そら​うそぶ
​らぬ​左様​に​申​掛け​仕給​ふな​と​空嘯い​て​居​ける​に​を​老​尼​は​大​に​氣
​er
を​變​へ​是​は​御前​に​も​似合​は​ぬ​こと​三​百​兩​の​大金​を​只​奪​ひ​取
​は​盗人​同​前​なり​早々​耳​を​揃​へ​て​返さ​れよ​と​息巻け​ば​八郎​兵衛
​顔色​を​變​じ​是​は​了見​違​ひと​有ら​ば​格別​重ね​て​左​様​の​騙り​ヶ​間​敷
​と​云​は​るれ​ば​何​ぼ​女​で​も​用捨​は​せ​ぬ​と​言葉​荒く​目​に​角立て ​罵
​る​故知​光​尼​も​大​に​怒る​と​雖​も​争ひ​難く​や​思ひ​けん​其儘​立て​歸り
​ける
​り
​164
SIXTH SECTION.
YUBI TE-JŌ NO KEN.
DAI IK-KWAI.
GENROKU no sue, HONCHO NI-CHO-me no ura-ya ni, toshi no koro GO-JŪ bakari nite, hitori no
GEJO wo meshi-tsukai, nani Fusoku naku kurashi-oru yamome arishi ga,—sono omote ni ECHIGO-ya
HACHIROBEI to iu futomono-ya ari. Kono HACHIROBEI wa Ise Matsuzaka no umare ni shite,
JIMPIN yoku, BENZETSU sawayaka narishi ga, ori-ori ROJO no moto ye de-iri wo nashi, oi-oi kokoro-
yasuku narishi ni,-aru hi itsu mo no gotoku kitari, yomo-yama no hanashi yori tsui ni mukashi-
gatari ni oyobite, RŌJO ga mi no ue wo kiku ni, aru SHOKō no KACHU nite REKI-REKI no ie-gara
naru gu, ika naru yue ni ya RONIN shite ari-keru tokoro, GO-NEN IZEN otto ni shini-wakare, kodomo
mo naku, SHINRUI tote mo arazareba, sen-kata naku kono tokoro ye hiki-komi, GOSHŌ-ZAMMAI ni
kurasu to no hanashi wo kikite, HACHIROBEI, "Izu-kata yori ka GO FUCHI nite mo maeri sōrō
ya?” to tazune-keru ni, ROJO “Ina! ina! FUCHI wa mairanu ga, sukoshi no takuwae-KIN areba,
tamaka ni kuraseba washi ga ICHI-DAI wa ANRAKU nari” to iu ni, HACHIROBEI,
to iu ni, HACHIROBEI, "Sore wa atara!
Kane wo nekashite oku wa, MUEKI nari. Sukoshi zutsu kashi-idasare! RISOKU wo tori-tamawaba,
NⱭO-NAO GO SHŌGAI no o tanoshimi naru-beshi. Nani-hodo o takuwae no aru ka wa ZoNzenedo, imada
o toshi wa GO-JŪ gurai to o mi-uke-mōsu ni yori, KU-JŪ, HYAKU made mo GO HANJO naran ni wa, õyoso
GO-JŪ-NEN no o kurashi ni SEN-RYO to ate, sono uchi KWANAN, BYŌNAN, FUJI NO NYŪHI mo areba, kashi-
KIN ni shite RIBUN wo e-tamawaba, vi ni ɑO ANSHIN naran. Moshi oboshi-meshi mo GOZAraba, nan-
doki nite mo o SEWA itasan. Watakushi mo ori-ori wa SHAKUYO itashitashi," to makotoshiyaka ni
mūsu ni zo. Rōлo wa tsura-tsura kangaeru ni, takuwae-KIN wa SHI-GO-HYAKU RYO naredomo, hoka
ni FUCHI tote mo arazaru yue, HACHIROBEI ga mūsu gotoku kashi-dashite RISOKU wo eba, ANSHIN naran
to omoi; sore yori HACHIROBEI ni SÕDAN shite, GO-RYŌ JŪ-RYŌ zutsu kashi-daseshi ni, SHIDAI-SHIDAI ni
ko wo umu wo tanomoshiku omoi; mata HACHIROBEI ga iriyo no SETSU wa, RISOKU ni oyobazu tote,
JŪ-RYO NI-JŪ-RYO zutsu Yōdate-keru ni, HACHIROBEI wa itsu mo NICHIGEN ni wa machigai naku
HENKIN naseshikaba, itsu to naku MU-SHOMON nite kashi-atae, nochi-nochi wa GO-JU-RYO HYAKU-RYŌ
to TAIKIN ni narishikadomo, ai-kawarazu HENKIN wo nasu yue, ROJO mo oi ni yorokobi-itarishi
ga,-sude ni ROKU-SHICHI-NEN tatsu uchi ni, kano RŌJO wa ama to nari, na wo CHIKō to yobi,
koromo wo CHAKUshi, makoto ni INKYO no arisama nite, HACHIROBEI to wa MUNI no KON-I to
nari, ake-kure de-iri nashi-itari.
Aru toki HACHIROBEI wa BIKUNI ni mukai, “Kono SETSU Muro-machi ni yoroshiki uri-ie ari.
Kono ie wo kai-tori, mise wo idaseba, shi-dasu koto utagai nakeredomo, SEN-RYO hodo mo kakaru ni
tsuki, ZANNEN-nagara mi-awaseru" to no hanashi wo, CHIKO-NI wa tsura-tsura kiki, "Sore wa
oshiki koto nari. SHO-SHO naraba, Go Yo-date-mōsan ni,—SEN-RYō to mōshite wa, watakushi no
A TALE OF THE GOOD OLD DAYS.
165
chikara ni oyobazu" to mōsu ni, HACHIROBEI, "Sore wa SEM-BAN katajikenashi. Watakushi mo
sukoshi wa takuwae aru ni yori, SAM-BYAKU-RYO o kashi kudasarenaba, kono nozomi yuki-todoku
nari" to iu wo kikite, "Sono kurai no koto nara, Go Yo-date mōsu-bekereba, hito no ii-komanu uchi
ni hayaku sono ie ye mōshi-komi-tamae" to, CHIKO-NI wa oshige mo naku kashi-atīru ni yori, HACHI-
ROBEI σi ni yorokobi, sōsō tachi-kaerite, KICHI-NICHI wo erami, mise-biraki wo nashi, GOFUKU-MONO
mo ISSO ōku shi-komi, wakai mono wo mo mashite, ito sakan ni akinai-keri.
Kono HACHIROBEI wⱭ, ITTAI SHŌBAI no michi ni satoku, JIMBO arite, ton-ya no nomi-komi mo
yoroshikereba, SHIDAI ni HANJO nashi, NI-SAN-NEN no uchi ni DOZŌ wo tate, JIMEN mo kai-ire, otoko
onna MO JŪ-SAN-NIN no kurashi nite, ima wa YUFUKU no mi to zo nari ni keru. Sono GO kano
CHIKO-NI no kata ye wa, nan to naku IRUI sono hoka toki no mono wo tsukawashi nado shite, ICHI-NEN
Yo mo sugishi to iedomo, kano SAM-BYAKU-RYō no kane no koto wa, nan to mo iwazaredomo, KON-I
no koto yue RŌNI wa SAISOKU mo sezu; mata ICHI-RYŌ-NEN wo sugoseshi ni, nao nan no hanashi mo
naki yue, RŌNI wa ikaga to omoi, aru hi HACHIROBEI ni mukai, “SENNEN GO Yō-date-taru SAM-BYAKU-
RYO NO KINSU On kaeshi kudasare-taku; kono SETSU wa SHOHō ye kashi-idaseshi kane mo iro-iro to
machigai, temoto FU-mawari nite komaru ni tsuki, dōzo o kaeshi kudasare-tashi" to ieba, HACHIROBEI
wa moto yori fumu KI nareba, vi ni odorokitaru TEI nite, "Naruhodo! SESSHA NANGI NO SETSU
wa, JŪ-RYŌ NI-JU-RYO wa o kari-mōseshi koto mo arishi ga,—kono SETSU wa, tonya no hoka ni
SHAKKIN to iu mono IS-SEN mo nashi. Tōл futa-hako ya mi-hako no kane ni wa sashi-tsukaenu
ware-ra, nani shi ni karita kane wo kaesanu to mōsu koto aru-beki ya? Sore wa oboe-chigai
naran” to mōsu ni zo. RONI mo mata vi ni odoroki, “Kore wa keshikaranu koto wo ōseraruru
mono kana! SENNEN Muro-machi ye hiki-koshi-tamau toki, KINSU FUSOKU yue yuki-todokanu to no
koto nareba, JITSU ni KINODOKU ni omoi, SAM-BYAKU-RYŌ no kane GO YO-dateshi koto wo yomoya o
wasure wa aru-maji” to ieba, HACHIROBEI, "Iya! iya! sore wa hito-chigai. Koto ni hiki-utsuri
no toki, SHAKUYO-KIN nado itasu SESSHA de wa Gozaranu. SAYO ni mōshi-kake shi-tamau-na!" to,
sora-usobuite i-keru ni zo. RONI wa ōi ni KESHIKI wo kae, "Ko wa omae ni mo ni-awanu koto.
SAM-BYAKU-RYO NO TAIKIN wo tada ubai-toru wa, nusubito DOZEN nari. Sōsō mimi wo soroete
kaesare-yo!" to iki-makeba, HACHIROBEI MO GANSHOKU wo HENji, "Ko wa RYOKEN-chigai to
araba, KAKUBetsu. Kasanete SAYO no katari-gamashiki koto iwarureba, nambo onna de mo YOSHA
wa senu to, kotoba araku, me ni kado tatele nonoshiru yue, CHIKO-NI mo i ni ikaru to iedomo,
arasoi-gataku ya omoi-ken, sono mama tatte kaeri-keri.
""
NEW CHARACTERS.-888.
談 ​DAN or hanasu, "to talk."-889.
DE JO,
JO, "a lock."
手​錠
​te-Jo generally means "handcuffs," though here, as will be seen when the story develops, the
signification is slightly different.-890. KEN, “a case,” “
""an affair." It is often read kudan,
"aforesaid."-891. Tick ROKU, "official emoluments,"-here part of the compound GENROKU, a
"year-name" (which lasted from A. D. 1688-1704, and is one of the best-known
periods of Japanese history. All the arts for which Japan has since been famous then sprang
into vigorous growth, the theatre flourished, the Forty-seven Rōnins enacted their famous drama
166
SIXTH SECTION.
in real life, etc., etc.-892.
召
​mesu, properly “to send for."-893. kureru, "to grow
dark," hence kurasu, "to spend time."-894-5.
寡
​暮
​is properly KWA, "few" (sukunai), hence
"solitary;" is FU, "a woman,’
婦
​well indicates a wife's household duties, being composed of 女
​""a wife;" the two together are read yamome, "a widow."
"woman,"
The character 婦
​and
hōki, a broom." This last is now generally written with the Radical for "bam-
boo," showing the material Far-Eastern brooms are made of, thus (896) -897. EB
properly RO, "a man," but occurring chiefly in proper names, and abbreviated to Ro when BEI
伊
​follows (conf. p. 169).—898. I properly means kore, "this," but its use in nineteen cases
out of twenty is phonetic merely. The natives of the province of Ise are credited with aptitude
for trade, but their reputation for honesty leaves something to be desired.-899. Saka,
and
a hill."
坂 ​阪 ​are used indifferently, Radicals 32 and 170 being each equally appro-
爽
​The forms
priate to the idea of “hill."-900. taken alone, is read sawayaka, “clear,” hence “fluent.”
The same reading persists when it is compounded with (our No. 380), KWAI or kokoro-yoi
66
折
​ori-ori, "sometimes."-Observe 許 ​Court
pleasant."-901. properly oru, "to break," hence used when doubled for like-sounding
(our No. 311) KYO or yurusu, "to allow," here read moto
which means "place," "presence," singularities of the use of the characters which must just
be taken on trust, and if possible remembered.-902. properly ou, “to pursue;” hence,
when doubled, oi-oi, “gradually."-read yomo-yama, is a corruption of yo-mo
Ye-one, 四方八方
​ya-mo,
out”出
​—903. hanashi, “talk," what "comes out"
咄
​mouth" —904.tsui ni, “at last."
"at last."-905.
昔 ​mukashi, anciently.". 或
​出 ​of the
侯 ​Kō is properly "a marquis.'
諸侯 ​lit." several marquises," should mean "a DAIMYO" in the singular, is a
properly aruiwa, is here read aru, "some,' "one."-906.
That
freak of usage.-
(C
""
REKI-REKI (our No. 763 doubled) means illustrious," because a
†ÿ
JEK 々
​family becomes so when it has "passed through" heru) several generations.-907. j
(less correctly), properly e, "a handle," but borrowed to represent phonetically the suffix
gara, which signifies “kind," "quality," "appearance."-908.RO, "the waves of the sea
(Jap. nami):”—a RONIN is lit. "a wave-man," i. e., one who wanders about having no fixed
lord or occupation. Read Mitford's admirable version of the story of the Forty-seven Rōnins,
in his Tales of Old Japan.—909. MAI, properly “dark” (from ✯
未 ​"not yet," and 日
​"sun"); but denotes "absorption" (as in religious devotion).—910.
三味
​消
​""
SHŌ or
kesu, "to extinguish. Here we find kurasu written differently from the same word in 893,
it being here lit. “extinguishing light" hikari).-911. read alone is tasukeru, "to
is FUCHI,
assist" (the character showing one lending "a hand" to "a man
to "a man"); #
official rations," such as, in feudal days, the Daimyōs distributed to their dependants.—912.
sūrō, "to be," the commonest word in the Epistolary Style, often used, as here, in
literature when conversations are reproduced. Mairi sōrō ya? corresponds to Colloquial
mairimasu ka? Do not confoundsōrō with
Kō, “marquis” (No. 906), though the two
A TALE OF THE GOOD OLD DAYS.
167
are connected in meaning as
originally signified, not mere "being," but "being in
waiting” (samurau, whence samurai, “a feudal retainer") in a nobleman's mansion.-913.
哉
​ya? the interrogative particle, also read kana! an exclamatory particle.-914.ina, "oh!
""
no
不​“
"not" agreed to by the "mouth ").—915–916. 貯​蓄
​貯
​F
Each alone is read taku-
"to store up," "to hoard;" together CHOCHIKU, same meaning. Premising that in this
waeru, “to store
case
Tstands for the character pourtrays the "treasures" of a "man" placed
人
​under "shelter."-917.
substance,
""
(C
means
(C
simple.”—918.
惜
​,
質
​taken alone, is mostly read shichi, "a pledge."
It properly
essence," hence "
” hence “plain” 質素 ​SHISSO or tamaka is also "plain,"
alone is oshimu, "to grudge."-919.
寢
​inuru (Colloq. neru), “to
sleep; " here nekasu, "to let sleep." In proper Chinese usage this character
is "to lie
"to sleep;" but Jap. idiom scarcely
down,” “to go to bed,” and No. 1101 is actually "to sleep;
lends itself to this delicate distinction.-920.
益 ​EKI or YAKU, "advantage."-921. 給
​tamau, “to deign," properly "to give" (to an inferior).—922. JPG nao, "still more.”—923.
涯
​(924)gake,
GAI, Jap. kishi, “a shore," or kagiri, "a limit;" compare (924) gake, "a cliff,” “a
precipice," the same idea modified by the use of a different Radical.
"to life's limit,” “the whole life."-925. alone is shigei, "multitudinous
繁
​means
926. 177
alone is sakan, "flourishing" (like the light of suns); HANJO together is "prosperous."-927.
★
2宛
​THE GAI or ōmune, “mainly;" may be read TAIGAI or yoso (also oyoso).—928. AL
ateru, also zutsu, see the dictionaries.-929.
座 ​ZA, "a seat," often interchanged with (No.
425)坐 ​"to sit."—930. **
實 ​JITSU or makoto, “truth.”—931. kangaeru, "to reflect.
敷
​-932. properly shiku, "to spread," but here and very often used phonetically for the
adjective termination shiku, shiki, consequently an important character to know. Mo, here is of
course also phonetic.—933. 節 ​SETSU, properly fushi, the "joints" of the bamboo, hence "a
section," hence "a time."-934. 限 ​GEN or kagiri, "a limit." Observe the relationship, amidst
divergence of sound, uniting the various characters having this Phonetic, as
GIN, "silver;"
(No.935) 根 ​KON (Jap. ne), “root,” and R
眼 ​GAN, “eye.”—936. chigau, “to differ.”—
違
​937. 證
​SHO, "proof." The homonym ("correct words "), No. 938, is constantly inter-
changed with it.—939.
yorokobu, "to rejoice.—940. EVE sude ni, “already.”—941. 尼
​ama, generally rendered "a Buddhist nun; but our strict ideas of "taking the veil," and
consequent lifelong seclusion and obedience, do not apply in Japan. A woman who shaves
her head, assumes an appropriate religious name, and retires (in appearance at least) from
active affairs, is none the less an ama for living in the world and following her own bent.-942.

thus
誠
​着 ​CHAKUsuru, “to wear.”—943. makoto, “truthfulness." Often combined with No. 930,
誠實 ​SEIJITSU, "sincerity."-944. B
隱 ​IN, "retirement," often read kakureru, "to
懇 ​KON (compare note to No. 934) or nengoro, "kindliness."-946-7. H
hide."
945.
here BI, is KU, and
I 尼
​is
is NI (read ama in No. 941), all used phonetically to transcribe a
Sanskrit word signifying “nun." But taken alone is HIsuru, "to compare;" and
is oka, “a hillock.”—948. 室 ​muro, “a cellar,” “a hothouse.”—949. yoroshii,
Ï “fit,”
168
SIXTH SECTION.
“right,” “good.”—950. ✈
早 ​so or hayai, "early," "quick."—951.
-952.
選
​eramu, "to choose," also
written fee
撰 ​吳 ​Go is properly the name of an ancient Chinese kingdom; and a
haberdasher's shop retains the name of 吳​服​屋 ​GOFUKU-ya, lit. "Chinese clothes house,'
""
in memory of the early days when Chinese fashions in tailoring prevailed. The native Jap.
name for Go is Kure, whence this character, borrowed phonetically, is also often read kureru, “to
層
​give” (to an inferior).—953. so, "a layer," "a tier;" compare, both for sense and form, the
next, 954.
Lilis
954. He sõ or masu, “to augment."-955. 体 ​TAI or TEI, a common abbreviated form of
(No. 850).-956. EX
臣 ​KEN or kashikoi, "wise;" also satoi, "clever."-957. t
nomu, "to
swallow" (from “mouth,” with TEN as the Phonetic, it being read TON).—958. H ZO
or kura, “a godown.”—959.

send."-961.
"to urge.
sugiru, "to pass by," "to exceed.”—962-3.
SAISOKU Suru,
KEN or tateru, "to erect."—960. 遣 ​KEN or tsukawasu, “to
exceed."-962-3. HE VE
催促
​經 ​KEI or heru, "to pass by," "to elapse." It is often abbreviated to
廽
​"_964.
経 ​——965.驷
​or
mawaru or meguru, to turn round," also written
迴 ​and
interchanged with its primitive (No. 524).-966. komaru, "to be in trouble"
(like a “tree” shut up in an "enclosure").-967. fumu, "to tread on," here_metaph.
踏
​((
"to repudiate."-968. 驚 ​KEI or odoroku, "to be frightened (like a shy "horse"). Re-
member at the same time (969) KEI or imashimeru, "to warn," which is the KEI of 警​部
​敬
​KEIBU, “a police sergeant,” who warns people and frightens evil-doers.
Th
is as appropriate a
Radical for "warning" as 馬 ​is for "taking fright.”—970. 拙 ​SETSU or tsutanai, "awkward."
–971. 怪 ​KWAI or ayashii, "strange."-972. 141 aogu, "to look up;" hence use, "your
commands.”—973.
words," or "commands."-973.
(C
poison."-974.
B DOKU,
殊 ​koto ni, "particularly."-
975. utsuru, "to remove." The student need not yet trouble to remember the rather
移
​rare character 嘯 ​usobuku, “to whistle."-976. niru, "to resemble.”—977. Tubau,
似
​次 ​Tð or nusumu, “to steal."-979. soroeru, "to equalise." "Mimi wo
揃
​"to rob."-978.
sorocte kaesu is a common expression for "complete repayment."-980. iki, "breath"
息​hi
it were the "heart" of one's "self," it being the most important thing to life).—981. 顏
​RYO or owaru, "to finish." 了​見
​or kao, “the face.”—982. T
phonetically.-983. 格
​KAKU, "a a rule:"
(as
GAN
is here written merely
exceptional." 984. omoi, “heavy;"
also read kasuneru, “to pile up."-985. katari, "a cheat" (much dishonesty is connected
with “horsiness”). Notice the composite orthography of the adjective katari-gamashiki,—first
the ideograph; then which is properly the Katakana syllable ke, but here read ga ;
thirdly 間
​and
a parallel case. Conf. also tanomoshiku (under No. 932).—986.
敷 ​used phonetically. Muzukashiku, in the next chapter of this story, is
捨
​SHA or suteru, "to throw
荒
​nonoshiru, "to rail at." Remember the compound
away.”—987. arai, “rough."--988. nonoshiru, "to rail at:
罵
​怒
​(989) BARI, same meaning-990. ikaru, “to be angry.”
A TALE OF THE GOOD OLD DAYS.
169
THE CASE OF THE MAN WHOSE
THUMBS WERE TIED.
CHAPTER I.
At the beginning of the eighteenth century, in a back house in the Second Ward of Honchō,
there lived a widow of some fifty years of age, who kept a maidservant and wanted for nothing.
The front was occupied by a draper called Hachirobei, who traded under the style of Echigo-ya.
He was a native of Matsuzaka in Ise, had a pleasant appearance and a fluent tongue, and from
time to time visited the old lady and gradually established an intimacy with her. One day,
when he had come as usual, conversation on all sorts of topics at last brought them to speak of
bygone days; and his enquiries concerning the old lady's circumstances elicited the informa-
tion that she came of an excellent family, retainers of a certain Daimyō, but that for reasons not
specified her husband had become a Rōnin, that he had been taken from her by death five years
before the present date, that she had neither children nor yet any other relations, and that so-not
knowing what else to do--she had retired to this place, where she spent her time in preparing
herself for the life to come. Hachirobei then enquired whether she drew any feudal allowance.
The old lady said not, that she drew no such allowance, but that some small savings of her
own made her comfortable for life, provided she practised frugality. "Oh!" said Hachirobei,
that is wicked waste. You shouldn't let your money lie idle. Lend it out in small sums. The
interest coming in will contribute to your comfort during your whole life. What your savings
may amount to, I know not; but from your appearance I take you to be not more than fifty
years of age, and who knows but what you may live to ninety or a hundred? Supposing there
to be a thousand dollars devoted to your support during the next fifty years or so, during which
period extra outlay in case of fire, sickness, or other accident must also be provided for, how
much easier in mind you will be if you lend it out and get the interest! If you wish, I shall
be happy to assist you at any time in the search for suitable investments, and I myself
should like to borrow from you occasionally." The old lady revolved these plausible speeches
in her mind, and came to the conclusion that as she had no feudal allowance to look to,-nothing
but the four or five hundred dollars which she had saved,—she would best consult her own peace
of mind by following Hachirobei's advice and lending her money out at interest. Having
therefore consulted Hachirobei, she began so to lend it out, five or ten dollars at a time, and to
count joyfully on its gradual increase. To Hachirobei, too, whenever he required money, she
170
SIXTH SECTION.
would supply ten or twenty dollars at a time without interest; and as he always carefully re-
paid it at the due date, she fell into the way of lending money to him without asking for any
voucher, while he continued to repay it even when, later on, it grew to such large sums as
fifty dollars or a hundred. All this gave great pleasure to the old lady, who, after six or seven
years had elapsed, became a nun under the name of Chikō, arrayed herself in religious garb,
and completely assumed the character of a recluse, while remaining on the friendliest possible
terms with Hachirobei, with whom she exchanged visits morning and evening.
One day he said to her: "There is a capital house for sale in Muro-machi. I am sure I
should make a fortune, if I were to purchase it and set up my shop there. But it costs about a
thousand dollars, and so I am unfortunately compelled to abandon the idea.”
Chikō, who had listened attentively, replied : "That would be a pity. I should be
delighted to supply your need, if the sum were a smaller one; but a thousand dollars are beyond
my means."
"Ten thousand thanks," said Hachirobei. "I have some small savings myself. If you will
kindly but lend me three hundred dollars, my hopes can be realised."
"If that is all," said she, "I will furnish the money you want.
apply for the house without delay, before any other applications are sent in."
So you had better
This loan made by Chikō in so ungrudging a manner greatly pleased Hachirobei, who at
once went off. He then chose a lucky day for the opening of his shop, laid in a far larger stock
of drapery than before, engaged more apprentices, and did a very successful business.
Now as Hachirobei really had a talent for trade, was popular, and enjoyed credit with the
wholesale houses, his prosperity continually increased, and in the course of two or three
years he became quite a rich man, building storehouses, purchasing land, and keeping up a
household of thirteen men and maids. In the meantime he occasionally sent Chikō presents
of dresses or other things appropriate to the time of year, and in this manner one whole year or
more passed by; and though no allusion was ever made to the three hundred dollars, she
abstained from dunning him on account of the friendly terms they were on. But when another
year or two had elapsed, and he persevered in absolute silence on the subject, the old nun
began to think it strange, and said to him one day :
"I should like to have those three hundred dollars back, which I lent you some years ago.
I am rather in straits through inability to get hold of my money, owing to trouble of various
kinds which I have recently had about loans to various persons; and this is why I ask you.
kindly to repay what you owe me."
Hachirobei, whose intention from the beginning had been to repudiate the debt, affected
an air of great astonishment.
"Oh! certainly," said he, "I remember borrowing ten or twenty dollars occasionally of
your worship when I was in poor circumstances. But now I do not owe a penny in the world,
except to the wholesale houses. What could possibly lead a man in my position to neglect to
A TALE OF THE GOOD OLD DAYS.
171
pay such debts,-I who at present can lay my hand without the slightest difficulty on two or
three thousand dollars at a time? You must be labouring under some misapprehension.'
Now was it the old nun's turn to be astonished. “Really," cried she, “what an outrageous
assertion to make! You surely cannot have forgotten my lending you the sum of three
hundred dollars, because I was so sorry for you when you were about to remove to Muro-machi
some years ago, and found yourself hampered by want of cash."
“No! no!" retorted Hachirobei with supercilious unconcern, “you must be thinking of
somebody else. I am not the man to go and contract debts just at the time of removing my
establishment. I will thank you to make no such imputations."
A change came over the old nun's countenance as her fury mounted. "This is not like
you," she cried. "To rob me of such a sum as three hundred dollars is to be no better than a
thief. Do you just make haste, and pay me back the uttermost farthing."
Assuming," said Hachirobei, changing colour too, “that you have fallen into some mis-
conception, I will make allowances for you. But if you again attempt any such extortion, I
shall have no mercy, for all that you are a woman.
This abuse, conveyed in such downright language and with his eyes starting from his head,
made Chikō very angry too. Yet she got up and went away without saying more, feeling per-
haps her powerlessness to continue the dispute.

第二​回
​と
​は
​近​に​す
​て​に
​成​老
​と ​人
​取
​な
​111
騙
​の
​出る
​せの
​御
​せ
​ば​公訴
​間​敷​樣​に​聞え​御​爲
​間​比 ​しの ​々 ​な​故
​敷​丘 ​丘​身
​中​私 ​事り
​尼
​代殊​が ​と​時
​な
​れ​に​御
​謂れ ​前越​世
​て​は​事六ヶ敷
​さ
​後 ​既
​ん
​申
​に
​に
​はす
​證
​こ​と​而證​文​にて
​證據
​は​怪​か
​か​と​聞
​◇相​談
​て​貸​遣​せ​し​なり​と​云​へ​ば​家主
​懇意​の​中​故​何時も​無​證文​に
​文金​さ​へ
​こ及く
​び
​て
​耐​し ​き知
​加加​光
​世度 ​し​中 ​ば​と ​は
​早​大
​も
​☆ 有
​け
​し
​り
​此
​加​相​儘
​ら
​に
​に​置
​くぬに
​に​物置​あり​是​幸​と​思へ​ども​折々​人​の​出入​も​あれ​ば​見
​か
​か
​N
N
ريه
又​一​兩年​立つ​中​に​知​光​の​段々​困窮​に​なり​しか​ば​下女​に​も​暇​を​遣
​SIXTH に​宜​から​ず​因​て​御​腹​も​立​ん​が​何とか​断念​で​打​捨給​へ​と​更に​取上
​ず​(是​は​家主​の​心​に​老尼​今​六​十​年​なれ​で​も​十​年​以前​は​美麗​なる
​後家​故​越後屋​の​亭主​心​易く​内外​の​世話​も​致し​が​其頃​と​違ひ​此
​節​は​一向​構​は​ぬ​故​腹​を​立て​金子​で​も​取る​と​云​ふ​巧みな​らん​と​思
​ひ​宜程​に​挨拶​せ​し​と​なん​) 夫​より​知​光​尾​の​度々​越後屋​へ​到り​掛
​合​へ​共​更に​取合​ぬ​のみ​か​年​を​とる​と​欲​が​深く​成​他人​の​金​で​欲
​がる​もの​なり​と​嘲弄​なす​故​彌​々​口惜​く​思へ​ども​爲​ん​方
​.
あきらめ
​SECTIONし​一人暮し​の​身​と​なる​に​從ひ​益々​八郎​兵衛​を​恨み​左​や​せん​右​や
​と​千々​に​心​を​砕け​ども​女​の​身​なれ​ば​詮方​なく​此上​は​八郎​兵衛​が
​家​に​火​を​付け​夫​にて​腹​を​慰せ​ん​と​或夜​亥​刻時​分​に​火​道具​を​用意
​し​て​忍び​くに​越後屋​の​脇​なる​路​へ​這入り​此所​彼​所​と​見廻す
​mに​勝手​の​脇​A TALE OF THE GOOD OLD DAYS.
173
あやしき
​付​られ​て​は​一大事​と​暫し​様子​を​見合せ​居​し​中夜​も​更​渡り​早子​刻
​ひっそり
​そろ
​あはて
​も​過​を​世間​も​寂寞​と​せ​しか​ば​今​こそ​と​思ひ​徐々​袋​を​取出し​震
​へ​ながら​火​を​打て​屑​より​薪​の​中​へ​移し​直に​外​へ​出ん​と​せ​し​に
​路​の​木​戸締り​たれ​ば​出る​と​叶​はず​軒下​に​彳​み​様子​を​見る​中​に
​火​は​忽ち​物置​の​屋根​を​燃抜​けれ​ば​近隣​の​者​夫​火事​よ​と​呼ば
​る​に​越後屋​は​云​ふ​に​及ば​ず​裏長屋​の​者共​大​に​狼​狽騷​き​火​を​消さ
​ん​と​爲る​も​あり​又​い​荷​を​運び​道具​を​持出し​上​を​下​へ​と​騒動​す​知
​此間​に​紛れ​出​ん​と​急ぎ​路​口​へ​迯出​す​所​を​長屋​の​者共​見付
​け​て​怪敷​坊主​と​思へ​ども​各​家財​を​片付ける​故​咎める​者​も​なけれ
​ば​漸​々​表​へ​立​出​で​一散​に​我家​を​指し​て​踊り​けり​折節​此夜​の​風​も
​なく​殊に​大勢​打​寄り​消​止​たれ​ば​物置​一​棟​燃え​て​事濟​たれ​共​火消
​も​出​で​火事場​役人​も​出張​さ​れ​し​故​出火​の​場所​を​さ​れ​御​届​に​及
​ぶ​所長屋​の​者​等​出火​最中​に​怪き​坊主​を​見懸​たり​彼​が​火​を​付し​な
​
この​つ
​174
SIXTH SECTION.
しばし
​らん​と​申す​により​怪​敷​火​の​様子​なり​と​届出る​に​大岡​殿町​役人
​井​に​八郎​兵衛​を​呼出さ​れ​何​を​心當​りいな​き​や​と​尋ねる​に​町
​役人​八郎​兵衛​の​兩人​言葉​を​揃っ​て​長屋​の​者共​一同​に​申候​の​火事
​騷​き​最中​に​一​人​の​坊主​遁出​し​たり​と​の​こと​なれ​ば​若​や​火付​は​右
​坊主​か​と​存じ​奉る​と​申す​を​大岡​殿​聞か​れ​其方​等​何か​坊主​に​心當
​りあり​や​と​尋ね​ら​るれ​ば​八郎​兵衛​暫時​考へ​坊主​に​心當り​と​申す
​○ 本町​二​丁目​に​住居​る​知​光​と​申す​比丘尼​常々​ね​たり​ヶ​間​敷​と
​を​申候​故​近​來出​入​を​止め​候​が​若​や​夫​を​遺恨​に​存じ​火​を​付け​候​や
​も​圖り​難く​外​に​心當り​是​なく​候​と​申立​ける​により​直に​右​比丘尼
​を​召捕​吟味​に​及ば​れ​けり​是​は​享保​二​年​三月​の​事​にて​大岡​殿御​町
​奉行​の​新​役​の​時​故​何か​面白き​捌き​を​なし​組​の​與力​同心​に​歸服​さ
​せんと​思う​れ​し​折柄​なれ​ば​早々​知​光​を​白洲​へ​呼出さ​れ​篤と​見​ら
​る​に​面体​柔和​に​し​て​火付​盗​など​致す​人柄​に​非​ざれ​が​怪く​思は
​ケリ
​A TALE OF THE GOOD OLD DAYS.
175

れ​其方​昨夜​室町​越後屋​八郎​兵衛​方​へ​付火​せ​し​なら ​眞​直に​白狀
​致せ​と​あれ​ば​知​光​尼​如何にも​私​火​を​付け​し​に​違ひ​なく​候​と​申す
​に​大岡​殿​然​らば​其紛​れ​に​何か​盗み​たり​や​眞​直に​申せ​と​云​はれ​し
​かば​知光​の​首​を​振り​否​々​盗み​なぞ​と​申す​恐し​き​心​い​なく​私事​越
​後屋​八郎​兵衛​へ​先​年金​を​貸​輿​へ​候​處彼​其金​にて​段々​身上​を​仕上
​ながら​其恩​を​忘れ​金​を​惜し​覺​えな​し​て​返さる​のみ​か​遂に​つ
​悪口​雑言​を​吐散​し​騙り​ない​云​掛け​更に​寄付け​ざる​故餘り​の​ロ
​惜​さ​に​付火​せ​し​た​家​焼​ず​し​て​物置​がかり​燒​たる​残念​至極​假
​令​御​仕置​と​なり​て​相​果​候​とも​魂魄​い​必怨​を​晴​す​存じ​寄​なり​と
​如何にも​無念​の​体​に​申す​に​ぞ​其金子​の​何程​ふりや​と​問​れし​に​三
​百​兩​なり​と​答​へ​しか​ば​其證​文​が​ある​か​と​申さる​に​其儀​の​懇意
​の​中​故​始め​八郎​兵衛​小​身代​の​時分​十​兩廿​兩宛​用​立​何時も​無​證文
​にて​貸​たれ​で​も​其頃​の​滞りなく​返​濟仕​りし​が​三​百​兩貸​て​遣​す​と
​
176
SIXTH SECTION.
C
其以​後​一向​返し​申さ​ず​と​一々​返答​に​及び​しか​大岡​殿​聞か​れ
​ある​べし​何れ​追​て​呼出す​と​て​入牢​申​付​られ​其後​八郎​兵衛​を
​呼出さ​れ​し​により​町役人​差​添​へ​白洲​へ​罷​出れ​ば​知​光​も​引出さ
​れ​けり​時​に​越前​守​殿​八郎​兵衛​に​向​はれ​其方​の​此​比丘尼​に​金子​を
​惜し​覺え​ある​や​と​問る​に​八郎​兵衛​ヘイ​一向​借用​仕​つり​たる​覺
​之​御座​なく​候​と​申立​つれ​が​知​光​の​目​色​を​變​へ​恐れ​ながら​申​上​ま
​す​八郎​兵衛​儀​六​年​以前​迄​本町​に​罷り​あり​て​私​が​所持​の​金子​を​世
​話​致し​利​分​を​取立​吳候​に​付八郎​兵衛​入用​の​節​の​何時も​無​證文​に
​て​貸​遣​し​たる​に​相違​之​なし​と​怒れる​儘​に​聲​を​振​は​し​て​申立​る​に
​ぞ​越前​守​殿​大音​にて​如何​に​八郎​兵衛​汝借​たる​覺え​なし​と​云​ふく
​僑​なら​ん​以前​の​借​たる​と​も​ある​べし​有體​に​申立​よ​と​白​眠れ​しか
​八郎​兵衛​恐​入​し​た​全く​の​借​たる​と​も​御座​き​も​先方​は​女​の
​故​其度​毎​速​に​返濟​仕り​聊か​も​滯り​候儀​御座​なく​候​と​云​ふにぞ
​に
​ちま
​A TALE OF THE GOOD OLD DAYS.
177
り​及​の
​大岡​殿​何​知​光​貸​た​金子​に​滞りなく​ば​遺恨​の​有​まじき​に​何故​付火
​致し​たる​ぞ​と​あり​けれ​ば​知​光​の​仰​の​通り​最初​に​滯り​は​有ら​ね​ぞ
​も​當時​の​所​へ​店​を​出し​候​時​千​兩餘​も​掛る​に​付​金子​不足​にて​行​届
​難く​残念​なり​の​物語​故​氣​の​毒​に​存じ​有金​を​残ら​ず​貸し​て​見
​世​を​出さ​せ​候​により​其當​座​の​私​方​へ​何​彼​や​付届け​せ​しか​ば​然
​み​催促​も​仕ら​ず​一​二​年​餘​も​立ち​て​金子​に​差支​へ​候​に​付​催促
​及び​し​處彼​情なく​も​借​たる​覺​えな​し​て​一向​取合​申さ​ず​候​に​よ
​り左や​せん​右​や​と​思へ​ども​女​の​こと​なれ​ば​詮方​なく​思案​に​月日
​を​送る​中八郎​兵衛​⊆益々​繁昌​致し​私儀​は​必死​と​難儀​仕る​に​付​て
​も​餘り​口​惜​く​存じ​付​火​致候​と​申す​を​大岡​殿​能​々​聞か​れ​八郎​兵衛
​汝​の​右​の​三​百​兩​は​借​た​覺え​あら​ん​早速​返し​て​遣わせ​と​云​はる​、
に​八郎​兵衛​其三​百​兩​の​一向​借用​仕り​たる​覺え​之​なし​當時​然​のみ
​金子​に​不自由​も​御座​なく​候​へ​借覺え​あれ​が​返​濟致​さ​ぬ​と​云
​
178
SIXTH SECTION.
ら​に
​れ​改
​けむ
​違​け
​て
​なな能
​く
​罷​入​思
​年
​ひ
​出​申​出
​よ​付せ
​とけ
​る
​ぞ​又一
​罷り​出よ​と​て​雙方​共​に​下ら​れ​けり
​又​新
​し
​て
​に
​に​日​少
​し
​て
​も
​る​疵 ​衛​を
​間​を
​相​付 ​付​に
​巻き​封印​を​付け​させ​大岡​殿​サア​八郎​兵衛​之​に
​のし
​物​なせ
​親​遣
​が
​指​は
​を​せ
​し
​と
​本​役
​に​八重
​人​ひ
​ね​に
​紙​命
​じ​者
​以​て
​て​思ひ​出す​者​な
​情
​呪​に
​な
​り
​と
​て
​にて
​て​八
​入り​を ​前借 ​借​と
​郎​依​以
​以守​た​申
​て
​殿
​る
​衛​彼​指 ​我​儀
​が​に
​决
​し
​に
​呪
​の​を
​て​指​を​縛り​置き​し
​能​を
​と
​申​儀
​立
​る​候
​供​て​何 ​大​ず
​手​致 ​時​仰
​申さる
​
と​あれ​ば​能​々​考へ​て​見よ​借​た​覺​ある​べし​と
​此
​ふ​儀​の​候​はず​爰​の​處​を​御​賢慮​遊ばさ​れ
​
覺 ​と
​考​岡
​殿
​し
​ら
​1
果 ​れとれ ​よ​人 ​人​御
​せ
​ぬ
​強候 ​借​に
​て
​も
​張​八
​建​物
​れ
​れ
​とれ
​候
​紙​越​衛
​しょ
​樣
​と​に
​N. B.-The letters
イ
​on page 176, line 5, read hei! and サ​ア ​on page 178, line 10, read sā! (properly
saa) belong to the Katakana syllabary, which is given at length in the next Section. The student may as well a
once commit to memory these stray specimens of it, noting that it is preferred to the Hiragana for the transcription
of interjections.
DAI NI-KWAL.
Kakute CHIKO wa ōi ni ikidōri, kono mama ni oku-beki ka to SASSOKU ic-nushi ye sōDAN ni
oyobishikaba, ie-nushi "Sore wa KEshikaranu koto.
"Sore wa KEshikaranu koto. Shite, SHOMON nite mo aru ka?" to kiku
ni, “KON-I no naka yue, itsumo MU-SHOMON nite kashi-tsularvaseshi nari” to ieba, ie-nushi
“Suōko nakute wa, koto muzukashiku; sude ni SHOMON-KIN sae tabi-tabi watakushi ga o SEWA
A TALE OF THE GOOD OLD DAYS.
179
to, sara ni
mūsu ni, tori-kanuru yo no naka; koto ni ECHIGO-ya wa chikagoro shi-daseshi SHINDAI; omae
san ni wa RŌJIN NO O BIKUNI nareba, Kōso to naru to katari-gamashiki yo ni kikoe, o tame ni
yoroshikarazu. Yotte, o hara mo tatan ga, nan to ka akiramete uchi-sute-tamae!'
tori-agezu. (Kore wa, ie-nushi no kokoro ni, RŌNI ima ROKU-JU-NEN naredomo, JU-NEN IZEN wa
BIREI naru GOKE yue, ECHIGO-ya no TEISHU kokoro-yasuku uchi-soto no SEWA mo itaseshi ga,-
sono koro to chigai, kono SETSU wa IKKō kamawanu yue, hara wo tatele, KINSU de mo toru to
iu takumi naran to omoi, yoki hodo ni AISATSU seshi to nan.)
Sore yori CHIKONI wa tabi-tabi ECHIGO-ya ye itari, kake-aedomo, sara ni tori-awanu nomi
ka, "Toshi wo toru to, YOKU ga fukaku nari; hito no kane made hoshigaru mono nari" to
CHORO nasu yue, iyo-iyo kuchi-oshiku omoedomo, senkata naku-naku, mata ICHI-RYO-NEN tatsu
uchi ni, CHIKO wa DANDAN KONKYU ni narishikaba, GEJO ni mo itoma wo tsukawashi, hitori-
gurashi no mi to naru ni shitagai, masu-masu HACHIROBEI wo urami, to ya sen kaku ya to
chi-ji ni kokoro wo kudakedomo, onna no mi nareba senkata naku; kono ue wa HACHIROBEI ga
ie ni hi wo tsuke, sore nite hara wo Isen to,—aru yo yotsu-JIBUN ni hi-DŌGU wo YÕI shite,
shinobi-shinobi ni ECHIGO-ya no waki naru ROJI ye hairi, koko kashiko to mi-mawasu ni, katte
no waki ni mono-oki ari; kore saiwai to omoedomo, ori-ori hito no de-iri mo areba, mi-tsuke-
rarete wa ICHI-DAIJI to, shibashi Yosu wo mi-awase-ishi uchi yo mo fuke-watari, haya kokonotsu
mo sugi, SEKEN mo hissori to seshikaba, ima koso to omoi, soro-soro hi-uchi-bukuro wo tori-idashi,
furue-nagara hi wo uchite, wara-kuzu yori takigi no naka ye utsushi, sugu ni soto ye iden to seshi
ni, ROJI no kido shimaritareba, izuru koto kanawazu, noki-shita ni tadazumi, Yosu wo miru uchi
ni, hi wa tachimachi mono-oki no yane wo moe-nuke-kereba, KINRIN no mono "Sore, KWAJI yo!
KWAJI yo!” to yobawaru ni, ECHIGO-ya wa iu ni oyobazu, ura-nagaya no mono-domo vi ni awate-
sawagi, hi wo kesan to suru mo ari, mata wa ni wo hakobi, DOGU wo mochi-idashi, ue wo shita
ye to SODO su. CHIKO wa kono hima ni magire-iden to, isogi ROл-guchi ye nige-idasu tokoro wo
nagaya no mono-domo mi-tsukete, ayashiki BOZU to omoedomo, ono-ono KAZAI wo katazukeru yue,
togameru mono mo nakereba, yōyō omote ye tachi-ide, ISSAN ni waga ya wo sashite kaeri-keri.
Ori-fushi kono yo wa kaze mo naku, koto ni ōZEI uchi-yori keshi-tometareba, mono-oki hito-
mune moete koto-zumi-taredomo, hi-keshi mo.ide, KWAJI-ba-YAKUNIN MO SHUTCHō sareshi yue,
SHUKKWA no basно wo tadasare, o todoke ni oyobu tokoro, nagaya no mono nado "SHUKKWA SAICHỮ
ni ayashiki BōZu wo mi-kaketari. Kare ga hi wo tsukeshi naran" to mūsu ni yori, ayashiki hi
no Yōsu nari to todoke-izuru ni zo. Čoka Dono machi-YAKUNIN narabi ni HACHIROBEI wo yobi-
idasare, “Nanzo kokoro-atari wa naki ya?” to tazuneraruru ni, machi-YAKUNIN HACHIROBEI NO
RYO-NIN kotoba wo soroete, "Nagaya no mono-domo ICHI-DO ni mōshi sōrō wa, KWAJI-sawagi SAICHU
ni hitori no BōZʊ nige-idashitari to no koto nareba, moshi ya hi-tsuke wa migi BŌZU ka to zonji-
tatematsuru” to mōsu wo, Ōoka Dono kikare, "Sono нō-ra nani ka BŌZU ni kokoro-atari ari
ya?" to tazunerarureba, HACHIROBEI shibashi kangae, "Bōzu ni kokoro-atari to mōsu wa, HONCHO
NI-CHO-me ni JUKYO tsukamatsuru CHIKO to mūsu BIKUNI tsune-zune nedari-gamashiki koto wo mōshi
sōrō
yue, chikagoro de-iri wo todome sōrō ga,-moshi ya sore wo IKON ni zonji, hi wo tsuke sōrō
180
SIXTH SECTION.
ya mo hakari-gataku; hoka ni kokoro-atari kore naku sōrō” to mōshi-tate-keru ni yori, sugu ni migi
BIKUNI wo meshi-tori, GIMMI ni oyobare-keri.
Kore wa KYOHO NI-NEN SAN-GWATSU no koto nite, Ōoka Dono o machi-BUGYO wa SHIN-
YAKU no toki yue, nani ka omoshiroki sabaki wo nashi, kumi no YORIKI DŌSHIN ni KIFUKU sasen
to omowareshi orikara nareba, SŌSŌ CHIKO wo shirasʊ ye yobi-idasare, TOKU to miraruru ni,
MENTEI NYUWA ni shite, hi-tsuke nusumi nado itasu hito-gara ni arazareba, ayashiku omoware,
"Sono HO SAKUYA Muro-machi ECHIGO-ya HACHIROBEI kata ye tsukebi seshi naran. Massugu
ni HAKUJO itase!" to areba, CHIKO-NI, "Ika ni mo, watakushi hi wo tsukeshi ni chigai naku
sōrō “to mōsu ni, Ooka Dono, “Shikaraba, sono magire ni nani ka nusumi-tari ya? Massugu
ni mōse! "to iwareshikaba, CHIKO wa kōbe wo furi, "Iya! iya! nusumi nado to mōsu osoro-
shiki kokoro wa naku; watakushi koto ECHIGO-ya HACHIROBEI ye SENNEN kane wo kashi-atae
sōrō tokoro, kare sono kane nite DANDAN SHINSHO wo shi-age-nagara, sono ON wo wasure, kane
wo karishi oboe nashi tote, kaesazaru nomi ka, tsui ni wa AKKO ZOGON wo haki-chirashi, katari
nado to ii-kake, sara ni yose-tsukezaru yue, amari no kuyashisa ni tsukebi seshi tokoro, ie wa
yakezu shite, mono-oki bakari yaketaru wa ZANNEN SHIGOKU; tatoe o shi-oki to narite ai-hate
sōrō to mo, KOMPAKU wa kanarazu urami wo harasu zonji-yori nari” to, ika ni mo MUNEN no
TEI ni mōsu ni zo. "Sono KINSU wa, nani-hodo nari ya?" to towareshi ni, "SAM-BYAKU-RYŌ
nari to kotaeshikaba, "Sono SHOMON ga aru ka?" to mōsaruru ni, "Sono GI wa, KON-I no
naka yue, hajime HACHIROBEI KO-SHINDAI NO JIBUN, JŪ-RYO NI-JŪ-RYŌ zutsu Yōdate, itsu mo
MU-SHOMON nite kashitaredomo, sono koro wa todokōri naku HENSAI tsukamatsurishi ga,—SAM-
BYAKU-RYO kashite tsukawasu to, sono IGO wa IKKō kaeshi-mōsazu” to ICHI-ICHI HENTO ni
oyobishikaba, Čoka Dono kikare, "Sa mo aru-beshi. Izure otte yobi-idasu" tote, JURO mōshi-
tsukerare; sono GO HACHIROBEI wo yobi-idasareshi ni yori, machi-YAKUNIN sashi-soe, shirasu ye
makari-izureba, CHIKO-NI mo hiki-idasare-keri. Toki ni ECHIZEN no Kami Dono HACHIROBEL
ni mukaware, Sono Ho wa kono BIKUNI ni KINSU wo karishi oboe aru ya?" to towaruru ni,
HACHIROBEI "Hei! IKKO SHAKUYO tsukamatsuritaru oboe GOZA naku sōrō" to mōshi-tatsureba, CHIKO
wa me-iro wo kae, "Osore-nagara mōshi-agemasu. HACHIROBEI GI, ROKU-NEN IZEN made HONCHO
ni makari-arite, watakushi ga SHOJI NO KINSU wo SEWA itashi, RIBUN wo tori-tate-kure sōrō ni
tsuki, HACHIROBEI NYUYO NO SETSU wa, itsu mo мU-SHOMON nite kashi-tsukawashitaru ni SōI
kore nashi" to ikareru mama ni, koe wo furuwashite mōshi-tatsuru ni zo. ECHIZEN no Kami
Dono DAI-ON nite, "Ikani, HACHIROBEI? Nanji karitaru oboe nashi to iu wa, itsuwari naran.
IZEN wa karitaru koto mo aru-beshi. Ari-TEI ni mōshi-tate yo!" to niramareshikaba, HACHIRO-
BEI, "Osore-irimashita. Mattaku wa karitaru koto mo GOZAredomo, SEMPO wa onna no koto
yue, sono tabi-goto sumiyaka ni HENSAI tsukamatsuri, isasaka mo todokōri sōrō GI GOza naku
sōrō” to iu ni zo. Ōoka Dono, “Nani, CHIKO? Kashita KINSU ni todokōri nakuba, IKON wa
aru-majiki ni, nani yue tsukebi itashitaru zo?" to ari-kereba, Chikō wa, Ōse no tōri, SAISHO
ni todokōri wa aranedomo, TOлI no tokoro ye mise wo idashi sōrō toki SENRYO YO mo kakaru ni
tsuki, KINSU FUSOKU nite yuki-todoki-gataku, ZANNEN nari to no mono-gatari yue, KINODOKU ni
"C
((
A TALE OF THE GOOD OLD DAYS.
181
ZONji, ari-gane wo nokorazu kashite, mise wo idasase sōrō ni yori, sono Tōza wa watakushi kata
ye nani ya ka ya tsuke-todoke seshikaba, sa nomi SAISOKU mo tsukamatsurazu, ICHI-NI-NEN Yo
mo tachite, KINSU ni sashi-tsukae sōrō ni tsuki, SAISOKU ni oyobishi tokoro, kare nasake naku
mo, karitaru oboe nashi tote, IKKO tori-ai-mōsazu sōrō ni yori, to ya sen kaku ya to omoedomo,
onna no koto nareba senkata naku, SHIAN ni tsuki-hi wo okuru uchi, HACHIROBEI wa masu-masu
HANJO itashi, watakushi GI wa HISSHI to NANGI tsukamatsuru ni tsuite mo, amari kuchi-oshiku
Zonji, tsukebi itashi sōrō” to mōsu wo,—Čoka Dono yoku yoku kikare, "HACHIROBEI! nanji wa
migi no SAM-BYAKU-RYO wa karita oboe aran. SASSOKU kaeshite tsukawase !” to iwaruru ni,
HACHIROBEI,
“Sono SAM-BYAKU-RYŌ wɑ, IKKO SHAKUYO tsukamatsuritaru oboe kore nashi. TōлI
sa nomi KINSU ni FU-JIYŪ mo GOZA naku sōraeba, karita oboe areba HENSAI itasanu to iu GI
wa sōrawazu. Koko no tokoro wo GO KENRYO asobasare sōrō yō ni” to mōshi-tatsuru uo,—
Ooka Dono, "Ina! ina! Hito ni wa mono-wasure to iu koto areba, yoku yoku kangaete mi-yo!
Karita oboe aru-beshi" to mōsaruru ni, “Nan to ōserare sōrōte mo, kono HACHIROBEI karitaru
GI kesshite oboe nashi” to GōJO ni ii-hareba, ECHIZEN no Kami Dono, "Ware-ra kodomo no
toki mono-wasure senu majinai nari tote, kami wo motte yubi wo shibari-okishi ga, hatashite
omoi-idasu mono nari. Yotte kare ni mo majinai wo itashi-tsukawase!" to, YAKUNIN ni
MEIjite, HACHIROBEI ga SA-YŪ no te no oya-yubi wo NI-HON kasane, kami wo motte maki, FŪ-IN
wo tsukesase, Ooka Dono, "Sa! HACHIROBEI! Kore nite yoku omoi-idase! Shite, sono kami ni
“Sā!
sukoshi nite mo kizu wo tsukenaba, JURO mōshi-tsukeru zo. Mata ICHI-NICHI oki ni aratamuru
aida, soi naku makari-ide-yo!" tote, SOHO tomo ni sagerare-keri.
NEW CHARACTERS.-991. 'I't FUN or ikidoru, "to be indignant," "exasperated."-992.
(sõ) shite, (shikō) shite, “and.”—993. 據 ​KYO or yoru, “to rely."-994. iJF
"a lawsuit."-995. properly IN, "cause
因
​">
so or uttae,
(the "great" thing inside, which moves
utsu,
externals); hence yotte, "owing to," "therefore."—996. Jhara, “abdomen.”—997. 打
​TEI, a pavilion," "a shed; 亭
​"to strike," but often meaningless, as here.-998. 亭
​+ TEISHU,
主
​"a householder," "husband."-999. 易 ​I or yasui, easy;
>>
also EKI,
“change,” “divination.”—1000. 巧 ​Kō or takumi, “skill,” “a device."-1001-2. 挨​拶
​AISATSU, “reply,” “greeting."-1003. 深 ​SHIN_or fukai, “deep.”—1004. is CHO or aza-
keru, “to ridicule," which, combined with (
(412)弄
​Rō or mote-asobu, "to play or trifle with,"
嘲
​gives the signification of "ridiculing," "sneering."
sneering." Remember
Remember by its Phonetic.—1005.
引
​SAS iyo-iyo, "more and more.
more.”—1006.
”——1006. 窮
​KYŪ or kiwamaru, "to be at the last extremity
(the "body" in a “hole," with "bow" as the Phonetic).—1007. ||| KA or itoma, "leisure,
碎
​"dismissal."-1008. R KON or uramu, “to feel spiteful." Conf. note to No. 949.—1009.
kudaku, "to smash to pieces:" kokoro wo kudaku is not "to break one's heart," but "to think
of all sorts of plans."-1010.
旺
​SEN, here used phonetically for sen, the future of suru,
"to do," written ideographically in previous passages of the story. Its commonest
use is in
所​詮 ​SHOSEN, "after all," "at last."-1011. 慰 ​I or nagusameru, "to soothe.".
1012., "the hog,”—one of the 十二​支 ​or "twelve horary characters," or, as we
182
SIXTH SECTION.
might say, Chinese signs of the zodiac. In the old reckoning of time it corresponded to our
ten o'clock at night. Remember this character as the HEN of the next more useful one (1013),
刻
​""to cut out" (Radical JJ
KOKU, “a period of time," originally kizamu, "to chop up," "to cut out
"knife" therefore quite appropriate).-1014.
忍
​刀
​NIN or shinobu, "to endure," hence "to go
softly."—1015. waki, "arm-pit," "side.”—1016.
Bwaki,
hau, “to creep,” sometimes "this.”
Notice that the colloq. Jap. hairu, "to enter," comes from hai-iru, "to creep in."-1017.
shibashi or shibaraku, “a short time."—1018. 渡 ​To or wataru, "to cross," here meaningless.
−(† commonly ko, “child," is here read ne for nezumi,
child," is here read ne for nezumi, "rat," one of the twelve horary
signs, equivalent to our twelve o'clock at night.)-1019-20.
寂寞
​SEKI-BAKU or hissori,

"still," "silent." Observe the Phonetic
Observe the Phonetic read BAKU, BO, or MO in several useful characters:
莫 ​itself is BAKU or nashi, “is not; " 1022.
; but this is more properly saguru, "to
1021.
hence also utsusu, "to copy" (some write it
模 ​MO or igata, "a mould," "a pattern,"
摸
​grope "); 1023.
1024.漠
​墓 ​is BO or haka, "a grave;
a grave; (893) is BO or kureru, "to grow dark
•
is BAKU or hiroi, "wide," "vast;" 1025.
1025. 募 ​is BO or tsunoru, "to levy," "to
collect," the Radical in almost every case fairly pointing towards the sense.
In
grave ("earth" for one who "is not "), and "growing dark" ("sun is not "), both
parts have radical force.-1026. 徐
​暮
​a
墓
​(C
(C
JO, gently."-Do not trouble about
燧 ​By hi-uchi, "Alint
袋
​"to shake." This is the SHIN of
地震
​藁
​and steel for striking fire."-1027.
fukuro, “a bag.”—1028.
JISHIN, "earthquake."-1029.
furueru, "to tremble,"
wara, “straw”
(as if herb" from a "high" "tree,"-very inappropriate; remember it as such!).-1030.

1032.
kuzu, "rubbish," also read isagiyoi, "pure."—1031. 薪 ​SHIN or takigi, "fire-wood."-
Fifi shimaru,
shimaru, “to be shut;” it occurs in the common expression I tori-shimari,
"superintendence," etc.-1033. 叶 ​kanau, “to suit.”—1034. 軒 ​ili noki, "eaves," or KEN,
tachimachi, “suddenly.”—1036. 燃
​the auxil. numeral for “houses."-1035.
burn."-1037.
-1037. 拔
​BATSU or nuku, “"to pull
or tonari, “next door.”—1039. Ti
動
​tachimachi,
if
out," hence "to go through."-1038.
moeru, "to
隣
​RIN
dō
Do or ugoku, “to move.”—1040. $55 FUN or magireru,
or midareru, “to be confused" (as "silk" not properly "divided ”).—1041.
-1041.急
​" to hurry.”—1042. nigeru, "to run away," better written -1043.
外
​((
逃
​KYŪ or isogu,
#j
BŌ, “a
Buddhist priest's dwelling" BOZU, a Buddhist priest," hence any one with a shaven
pate.-1044.properly toga, "fault," "blame."-1045. AUT ZEN or yoyaku or yōyō,
"hardly," "at last."--1046.
medicines.-1047.
""
散 ​SAN or chiru, "to disperse; often used in names of
寄 ​KI or yoru, "to come together," etc.-1048.
棟
​то от тине,
under one roof.-1049. pls
濟
​役
​YAKU or EKI,
"to
((
糺
​properly "a ridge-pole;" but mune is taken as the auxil. num. for a set of buildings
SAI or sumu, "to come to an end."-1050.
employment," "office."-1051.
hang up," etc.—1053.
leave behind.”—1055.
tadasu, "to examine."–1052. LILLETE
TON or nogarcru, "to escape."-1054. 遺
​KEN or kakeru,
I, YUI, or nokosu, "to
ZU or TO, "a plan," "a drawing;" hence hakaru, "to reckon."-
A TALE OF THE GOOD OLD DAYS.
183
1056-7. 吟 ​alone is GINzuru, “to intone" (as poetry); alone is ajiwai, “taste;” ||
吟
​味
​GIMMI means “examination.”-1058-9.KYOHO, a year-name which lasted from
A.D. 1716 to 1736.
1736. 享 ​alone is ukeru, "to accept" or "enjoy;" alone is tamotsu, "to
捌
​hold.”—1060. sabaku, "to distribute" ("handing" things to "different" people), hence
"to decide a lawsuit" (by distributing justice).—1061. so or kumi, “a set" of people or
things.—1062. H 洲 ​SHŨ or SU, "a sandy islet," sometimes "a continent." Here shirasu refers
to the "white sand" (suna) spread over the court where criminals knelt for examination.-
careful, serious kindliness," comes to mean little more than
1063. 篤 ​TOKU, properly "careful, serious kindliness,
yoku, “well,” “properly.”—1064.
柔 ​NYU, JŪ, or yawarakai, “ pliable," "soft.”—1065. 振
​SHIN or furu (also furuu), “to shake;" closely similar in shape, sound, and meaning to No.
ON, "kindness,” “benefits.”—1068. |||
1028——1066. 恐
​kyð or osore, “fear.”—1067.
極
​KYOKU, "the
To or haku, "to spit" (as with the "mouth
on the "ground").–1069. F
extreme point;" GOKU, "very."-1070. 合 ​REI or seshimuru, "to cause to do;" but 假令
​together are read tatoe, “even though," or tatoeba, “for instance.”—1071. 魄
​shii, “soul,” “spirit ;” M KOMPAKU, ditto.—1072.
ditto.—1072. AL
1073. 晴
​答
​怨
​HAKU or tama-
EN or urami, "resentment.'
SEI or hare, "clear weather" (from "sun" and "blue" sky), hence harasu.-1074.
HIL
Tō or kotaeru, "to answer."-1075. 始 ​SHI or hajime, “beginning."-1076. 滯
​"to be obstructed." The Phonetic alone (1077)
(1077)帶
​todokōru,
means obi or TAI, “a girdle.”—1078.
RO, “prison” (from a “cow" under "cover").-1079. 添 ​TEN or socru, "to add."-1080.
E makaru, "to go;" also HI or yameru, "to cease.' -1081.
SHU, properly mamoru,
"to guard;" here kami, a title of territorial nobility in feudal days.-1082. 僞
​itsuwari, "a lie" (that which a
"C
man makes up" to supplant the truth).—1083.
GI or
受
​kono, "this; more often koko ni, "here," "hereupon."-1084. JES RYO or omompakaru,
""
"to consider (from H
p. 139.-1085.
'to think," and
心心
​J"tiger," KO, which gives the rhyme). Conf.
遊 ​Yū or asobu, "to amuse oneself," "to be pleased;" often interchanged
with (1086), the first denoting rather sauntering on land, the second sauntering in the water,
as by "swimming," oyogu.—1087. A 决 ​KEssuru, “to decide.”—1088. 呪
​"
""
>>
or
咒
​JU or
majinai, a magic spell," more often norou, "to curse (from two "mouths and "man").
Learn at the same time its opposite (1089) SHUKU or iwau, "to bless," "to congratulate,"
-only the Radical differing.-1090. Kili BAKU or shibaru, "to tie."-1091. 依
​I or yoru,
"to lean" or "depend on," because "clothes" lean on the "man" who wears them).-1092.
Fujiru, "to seal."–1093. kizu, “a wound."
W
封
​184
SIXTH SECTION.
CHAPTER II.
Well, Chikō was so angry, and so thoroughly determined not to let matters rest there, that
she hastened to consult the proprietor of her house, who agreed that the conduct she complained
of was outrageous, and asked whether she could produce a voucher. On her replying that she
had been in the habit of lending Hachirobei money without taking any receipt, because of the
intimacy subsisting between them, the proprietor flatly refused to move in the affair, pointing out
the difficulties entailed by the absence of such a document, how he himself had frequently, when
rendering assistance in such cases, found that in this world it is hard enough to get one's money
back even when the loan is certified by a voucher, how in this particular case the Echigo-ya
was a firm that had recently made a fortune, whereas she was only an old nun, and how, if it
came to a lawsuit, people would look upon her claim as an imposture, that she could but lose by
the attempt, and in fine that her best plan would be to swallow her anger and resign herself to
letting the matter drop. (In reality the proprietor had put her off with excuses; for his
opinion was that though the old nun was sixty now, she had ten years before been a handsome
widow with whom Hachirobei had been on terms of intimacy, and whom he had assisted in
various ways great and small, but that he no longer cared about her, that this had made
her angry, and that she was artfully endeavouring to blackmail him.)
her claim; but far from
"When folks grow old,"
After that, Chikō went frequently to the Echigo-ya to urge
minding her, Hachirobei now bestowed on her nothing but ridicule.
he said, "they become so avaricious that they even covet other people's money." Such
speeches did but increase her vexation. However, as there was no resource but tears,
another year or two slipped by, during which Chiko gradually fell into poverty and had to
dismiss her maid-servant. Her new life of solitude naturally increased her ill-will against Ha-
chirobei, and made her revolve all sorts of schemes in her mind; but being a woman, she was
helpless. At last she determined to wreak her vengeance by setting fire to his house; and so
one night, at about ten o'clock, having provided herself with flint and steel, she stole into an
alley beside the Echigo-ya, and on looking about her in every direction, saw an outhouse that
stood close to the kitchen. Here was a good chance; but people were still passing in and out,
and it would never do to be discovered, so for awhile she kept watching her opportunity.
Meantime it grew late, it was already past midnight, and the world was hushed in sleep. Now
or never was the moment; so she quietly drew out her bag of fire-gear, and with trembling
hand struck a light. This she set to some bits of straw, which she put among some fire-wood
and then at once made for the street. The door of the alley, however, had been shut, rendering
exit impossible. So she loitered under the eaves, to watch what should happen. The flames
suddenly burst through the roof of the outhouse, and cries of "Fire! fire!" broke from the
neighbours, causing a violent commotion, not only in the Echigo-ya itself, but among all the
inmates of the row of houses at the back. Some tried to extinguish the fire, others shouldered
A TALE OF THE GOOD OLD DAYS.
185
their goods or carried out their furniture, and everything was topsy-turvy. Chikō, availing
herself of the confusion, fled hastily towards the entrance of the alley; and though some of the
people noticed her and were struck by her suspicious appearance, each was so busy putting
his property in safety that no one questioned her, and she managed to get out into the street
and make for her own abode as fast as her legs could carry her.
The night chancing to be windless, and such a crowd of people having run together to
extinguish the flames, nothing more was burnt than the one outhouse. Nevertheless, as the
firemen had come to the rescue, and the officials charged with all matters relating to fires had
also made their appearance, the site of the conflagration was inspected and a report drawn up,
on which occasion the inmates of the above-mentioned houses testified to having seen a suspi-
cious-looking woman with a shaven pate just when the fire was at its height, and added that
they supposed her to be the incendiary. In accordance with this testimony, the report stated
the fire to be of suspicious origin. My lord Ōoka was pleased to summon the ward magistrate
and likewise Hachirobei, and to enquire of them whether they had any clue to the criminal.
Both of them replied in concert that the inmates of the neighbouring houses unanimously assert-
ed that when the confusion caused by the fire was at its height, they had seen a woman with a
shaven pate running away, and that consequently, with all due respect for what his lordship
might think, they inclined to the opinion that she was probably the incendiary. On hearing
this, my lord Ōoka was pleased to enquire whether they had any clue whereby to trace such a
person. Hachirobei reflected a moment and then replied: "The only shaven-pated woman I
can think of is a nun called Chikō, who lives (so may it please your lordship) in the Second
Ward of Honcho, against whom I have recently shut my door on account of her continual
importunities. Who can tell but what she may have set fire to my house out of spite? I
know of no other clue. This deposition led to the immediate arrest of the nun and to a
trial of the case.
All this took place in April, 1717, when my lord Ōoka had only just been installed as
Mayor of Yedo, and he was consequently anxious to give some interesting decision which
should impress the policemen and constables, his subordinates. His lordship therefore sent foi
Chikō into the judgment hall without delay, and on earnestly gazing at her, suspected some
mistake, for her countenance was gentle and her whole appearance not that of one capable of
theft or arson. So he addressed her thus:
"No doubt it was you who set fire last night to the house of Hachirobei, who trades in
Muro-machi under the style of Echigo-ya. Confess it without prevarication!
"Certainly," said she, "I it was who set fire to the house."
"If that is the case, did you profit by the confusion to steal anything? Tell me without
prevarication!"
"Oh! no, Oh! no," cried she, shaking her head. "I had no such wicked design as theft.
I lent Hachirobei money several years ago. With this money he made his fortune; but he has
186
SIXTH SECTION.
been ungrateful, and not only does he deny the debt and refuse to repay it, but he now treats
me to abuse and scurrilous language, calls me an impostor and, other names, and to crown all,
won't let me in to his house. I couldn't stand it any longer, so I set fire to his place; but to my
bitter regret only an outhouse was burnt down,-not the house itself,—and even if I end by
being put to death for it, I intend that my ghost shall carry out my vengeance.
After this expression of regret at her failure, she was asked by the judge to state the
amount of the debt, to which she replied that it was three hundred dollars. He then enquired
whether she had a voucher. She replied, no,-that the friendly terms they were on had led
her first to lend Hachirobei ten or twenty dollars at a time, without ever asking for a voucher,
in the days when he did business on a small scale, and that he had at that time always punctu-
ally repaid her, but that after the loan of the three hundred dollars he had never refunded a
penny. My lord Ōoka, hearing her answer thus point by point, said he supposed she spoke the
truth, and that she should be called again. Meantime, he committed her to prison.
Later, Hachirobei being summoned, and the ward officer accompanying him to the hall of
judgment, Chikō was likewise dragged forth. Then my lord Ōoka, addressing Hachirobei,
asked whether he acknowledged having borrowed money of the nun there present. To which
Hachirobei replied. "No! my lord. I have never been to the slightest extent in her debt."
At this assertion Chikō changed colour, and, with a trembling voice which interpreted her
anger, said, "Excuse my boldness, my lord. The facts regarding Hachirobei are that up to six
years ago, when he lived in Honchō, he used to help me with my money matters and collect the
interest for me, and so, whenever he himself was in want of cash, I always let him have it
without any voucher. This is the absolute truth."
"How now, Hachirobei?" thundered out my lord Ōoka,
"Your denial of all knowledge of the debt is doubtless a lie.
money before as well. State the exact truth.”
glaring fiercely as he spoke.
You must have borrowed other
"I beg pardon, your lordship," Hachirobei replied. "I did borrow from her occasionally;
but as she was a woman, I always repaid the money at once, and have never been in arrears
to the very slightest extent."
"What is this, Chiko?" said my lord Ōoka. "If he is not in arrears with the repayment
of the money you lent him, you should bear him no grudge. Why then did you set fire to
his house?"
To which Chikō made reply: "As your lordship says, at the beginning he was never remiss.
But when he was starting business at his present address, he told me how he regretted being
hindered by lack of cash, for that it would cost him a thousand dollars. So I felt sorry for him,
and lent him all the money I had, which was what enabled him to start his shop. As he made
me various presents at that time, I hesitated to urge repayment. But I did urge it when a year
or two had passed by and I was in need of money myself, whereupon he cruelly denied all
knowledge of the debt and absolutely refused to listen to me. I thought of all sorts of schemes,
A TALE OF THE GOOD OLD DAYS.
187
but being a woman, could carry out none of them; and while I spent days and months ponder-
ing, Hachirobei grew more and more prosperous, and I became miserably poor. This filled me
with such despair that I set fire to his house."
My lord Ooka, who had listened with great attention, then said: “Hachirobei! You
cannot deny all knowledge of the loan of those three hundred dollars. Return them to her at
once!"
“No, my lord," replied Hachirobei, “I am positive that I never borrowed any such sum.
Being, as I now am, in fairly easy circumstances, there would be no reason for my refusing to
repay the money if I really owed it. I pray your lordship to take this circumstance into
consideration."
“No, no!” said my lord Ooka, “ people too often forget things, and Icharge you to reflect
properly. You must be able to own the debt."
On Hachirobei's obstinately persisting in asserting that nothing his lordship might adduce
could bring any such debt to his memory, my lord Ōoka thus addressed the officials in charge:
"When I was a child, we used to have a charm against forgetfulness. It consisted in tying up
the thumbs with paper, which infallibly brought the matter to one's recollection. Practise
that charm upon Hachirobei!" So they took his right and left thumbs, placing them one on
the top of the other, wrapped paper round them, and put on the official seal, after which his
lordship said; "Now, Hachirobei, try hard to recollect!
paper in the very least, you will be committed to gaol.
And I warn you that if you tear the
You will be examined again every other
day, and mind you do not fail to appear!" Hereupon both parties were dismissed.
る
​じ​と​来 ​第 ​4
果​何​難 ​自
​て​に
​居
​た
​万
​らず​第​一​筆​を​取り​勘定​合
​万事​不自由​な
​困​と​出 ​事衛
​掛
​筆​分
​り
​ん
​し​樣
​處
​七字
​由
​に​に
​取​喰
​勘​と
​とれ
​な​ず
​り​て​指​手錠
​兵衛​の​寝る​に​も​寐​られ​ず
​を​掛け​られ​し​により​八郎
​を​敏 ​敏​を
​返
​さ​慾 ​心​後
​推
​る
​心
​底​比
​て​を
​大​尼
​岡
​ら
​然
​錠​殿 ​金​ね ​の
​る
​第三​回
​偖​越​後​屋​八郎​兵衛​n
者​に​もあ
​ども​慾心​より​比丘尼​の​金
​み​偖
​惡​越
​188
SIXTH SECTION.
八​日​過ぎ​て​呼出し​の​時​如何​に​入郎​兵衛​三​百​兩借​た​こと​を​思ひ​出
​わから
​しゃ​大方​返濟​し​た​と​心得​し​は​未​返さ​ぬ​ので​有​其金​より​し
​て​知​光​が​付火​に​及び​たれ​が​此事​の​分明​ぬ​中​の​仕置​に​行ひ​難し​因
​て​篤と​考へ​て​見よ​と​申さ​れ​けれ​ば​八郎​兵衛​今​は​詮方​なく​段々​帳
​面​を​調べ​候處​三​百​兩借​用​金​と​の​み​にて​名宛​御座​なく​候​へ​でも​其
​金​が​全く​知​光​より​借用​の​口​と​存じ​られ​候​と​申立​る​に​大岡​殿​然ら
​ば​知​光​より​借用​に​相違​なきゃ​と​押し​て​尋ね​られ​しか​ば​八郎​兵衛
​恐れ入り​まし​た​夫​に​相違​之​なく​候​と​申立​るゆる​大岡​殿​其方​七​年
​以前​三​百​兩借​請け​月々​に​三​兩宛​の​利​足​を​勘定​すれ​ば​五​百​兩餘​に
​も​なる​夫​を​残ら​ず​返し​遣​せ​併​し​一​度​に​出す​も​太儀​なる​べし​一​年
​に​甘兩​づと​なし​夫​を​五兩​づ​四​度​に​返済​し​て​遣い​せ​と​申渡さ
​れ​又知​光​の​歳​を​尋ね​られ​し​に​當年​六​十​三​歳​に​相成​旨​答​へ​し​に​よ
​り然らば​元利​合せ​て​五​百​兩​の​金子​を​只今​八郎​兵衛​へ​申渡せ​し​通
​A TALE OF THE GOOD OLD DAYS.
189
:
て​及
​る
​し​大 ​の
​與​裁
​力
​同
​仁心
​智​の ​知​の ​使
​智​に​服し​て​此​評判​囂し​かりき
​n申す​に​及ば​ず​一同​大岡​殿​の​仁
​ら
​れ​に
​け​階
​ら
​り
​因​せ
​ぬ
​猶​廿
​て
​組
​ざ
​る
​下​樣
​と​云​は​れし​の​火付
​様​の​裁許​と​ぞ
​又
​病
​死 ​の
​届​取 ​知​及
​五​年​か
​n遣い​さ
​の​事​仰
​金
​を
​年
​る
​たせ
​や
​さ
​々 ​れ
​落
​撿
​相​届け​よ​尤も​檢使
​主​へ​知​光​若し​病死​致さ​n早速
​に​及び​けり​此
​ばる ​る​光
​び​及
​かに​五​けば
​さ
​り
​ず
​早​れ
​付​撿廿 ​甘雨此 ​と
​又 ​し
​らず​相​濟​みし
​尤
​光​申​取
​事
​家 ​上
​り
​仕​年
​知​に
​付
​々
​請取​べ
​し
​病
​る​殘
​に
​DAI SAN-KWAI.
Sate ECHIGO-ya HACHIROBEI wa, sa nomi AKUSHIN aru mono ni mo aranedomo, YOKUSHIN yori
BIKUNI no kane wo kaesazaru SHINTEI wo Ōoka Dono hayaku mo SUISATSU arite, yubi-te-sō wo
kakerareshi ni yori, HACHIROBEI wa neru ni mo nerarezu, SHOKUJI MO JIBUN ni kurau koto narazu,
DAI-ICHI fude wo tori, KANJO-ai mo deki-gataku, BANJI FU-JIYU naru koto nani ni tatoen yo mo naku,
Koji-hatete itarishi tokoro,-nana-yōka sugite yobi-dashi no toki, "Ikani, HACHIROBEI? SAM-
BYAKU-RYO karita koto wo omoi-idaseshi ya? Ökata HENSAI shita to kokoroeshi wa, imada kaesanu
no de arō. Sono kane yori shite CHIKO ga tsukebi ni oyobitareba, kono koto no wakaranu uchi wa
shi-oki ni okonai-gatashi. Yotte TOKU to kangaete mi-yo!" to mōsare-kereba, HACHIROBEI ima wa
sen-kata naku, “DAN-DAN CHOMEN wo shirabe sörō tokoro, ‘SAM-BYAKU-RYO SHAKU-YO-KIN' to nomi
nite, na-ate goza naku sõraedomo, sono kane ga mattaku CHIō yori SHAKUYō no kuchi to ZON-jirare
sōrō” to mōshi-tatsuru ni, Ōoka Dono "Shikaraba, CHIKO yori SHAKUYŌ ni SOI naki ya?" to oshite
tazunerareshikaba, HACHIROBEI, “Osore-irimashita. Sore ni sor kore naku sörô” to möshi-tatsuru
sõi
yue, Ōoka Dono, “Sono HO SHICHI-NEN IZEN SAM-BYAKU-RYO kari-uke, tsuki-zuki ni SAN-RYŌ zutsu no
RISOKU WO KANJō sureba, GO-HYAKU-RYOYO ni mo naru. Sore wo nokorazu kaeshi tsukawase.
Shikashi, ICHI-DO ni idasu mo TAIGI naru-beshi. IcHI-nen ni NI-JU-RYō zutsu to nashi, sore wo
GO-RYō zutsu YO-DO ni HENSAI shite tsukawase!" to möshi-watasare; mata Carkō no toshi wo
190
SIXTH SECTION.
tazunerareshi ni, TŌNEN ROKU-JŪ-SAN-SAI ni ai-naru mune kotaeshi ni yori, “Shikaraba, GWANRI
awasete GO-HYAKU-RYŌ NO KINSU wo tadaima HACHIROBEI ye mōshi-wataseshi tōri, NEN-NEN
uke-toru-beshi. Nokorazu ai-sumishi ue, shi-oki ni mōshi-tsukuru” to ii-watasare; mata ie-nushi ye
"CHIKO moshi BYOSHI itasaba, SASSOKU ai-todoke-yo! Mottomo KENSHI ni wa oyobazu" to use-
watasare, koto RAKUJAKU ni oyobi-keri.
Kono koto taru ya, ROKU-JŪ-SAN-SAI NO CHIKO GO-HYAKU-RYŌ No kane wo NEN-NEN NI-JŪ-RYŌ
zutsu toru ni wa, NI-JŪ-GO-NEN kakari; nao mata BYOSHI-todoke bakari, KENSHI wa tsukawasanu to
iwareshi wa, hi-tsuke no tsumi ni ochi-irasezaru Yō no SAIKYO to zo shirare-keru. Yotle kumi-shita
NO YORIKI DŌSHIN wa mōsu ni oyobazu, ICHIDO Ooka Dono no JINCHI ni FUKUshite, kono HYŌBAN
kamabisushikariki.
NEW CHARACTERS.-1094.
備 ​sate, "well then!"—1095.
慾 ​YOKU, the same as
欲
​(588), except that the latter is used of mere "wish" or "desire," whereas
whereas expresses
“inordinate desire,” “greed," or "lust.”—1096. 底 ​TEI or soko, “bottom;" not to be confound-
ed with (1097) 低 ​TEI or hikui, "low."-1098.
敏 ​BIN or satoi (or hayai), "quick-witted."
-1099-1100.
推​察
​SUISATSU, “ surmise.”—1101.
寐
​BI or inuru, “to sleep;" conf. No. 919.
勘 ​KAN alone is kangaeru, "to consider" or "investi-
—1102. 喰
​kurau or kuu, "to eat" ("mouth" and "food"),—a useful character, though not
authorised by the dictionaries.—1103.
gate."-1104. HI or tatoeru, "to compare.
ALV HI or tatoeru, "to compare."(Observe 困 ​KON (966) semi-Japonised to
Kōjiru by dropping n final.)—1105. 調 ​CHỖ or shiraberu, "to investigate.”—1106. 押​。
osu, "to push."-1107.
ff HEI or shikashi, "nevertheless."—1108. 旨
​併
​ō or
SHI or mune, "the
sense or substance of words spoken by some one else," or equivalent to our quotation marks.
—1109. 尤 ​yū or mottomo, “however."–1110. Ju
撿 ​KEN or shiraberu, "to examine." The
Phonetic is important; we have had it already in (石​)鹼
​another common instance is 1111, ()
or ochi-iru, "to fall into."-1113.
HYō
智
​((
((
SEKKEN, soap" (No. 858);
SEKKEN, "thrift, economy."-1112.
"—1112. 陷
​KAN
CHI, "wisdom" ("knowledge
("knowledge" uttered through the
"mouth ").-1114–5. 評 ​HYO alone is "criticism" ("words" "equalising" things to their just
proportions); 4 HAN or BAN alone is "a decision," "a judgment" (remember it by Solomon's
order to cut the child in "halves" with a "knife"); N
FT HYOBAN together is the public's
critical judgment, i. e. “rumour," "fame.”—1116.
Gō or kamabisushii, "vociferous" (the
idea aptly rendered by "four mouths round one head.")
CHAPTER III.
My lord Ōoka had quickly seen to the bottom of Hachirobei's heart, divining that, though
not a particularly wicked man, he had been led by greed to refuse repayment of the nun's
money. The thumb-tying which ensued prevented Hachirobei from sleeping when he went to
bed, and from feeding himself at meal-times; above all, it interfered with his taking pen in
hand to balance his accounts, and made everything more uncomfortable for him than can be
A TALE OF THE GOOD OLD DAYS.
191
imagined. He was really at his wits' end, when, after the lapse of seven or eight days, he
was again summoned to attend, and was addressed as follows:
"How goes it, Hachirobei? Has the loan of the three hundred dollars come to your
recollection? No doubt you never repaid it, though you thought you had. Seeing it was that
money which led Chikō to commit arson, she cannot be executed until the matter is cleared
up. So make haste with your ponderings!"
Hachirobei could endure no longer. "My lord!
"My lord!" said he, "careful scrutiny of my
ledgers has brought to light an entry of Borrowed three hundred dollars; and though no name
is attached, I make no doubt that the item referred to is the sum borrowed from Chikō."
"Then you admit that you borrowed it from Chiko?" insisted the judge.
"Yes, my lord, with all due respect. I admit it."
"You borrowed the three hundred dollars seven years ago; so the sum will now amount
to over five hundred, allowing interest at the rate of three dollars a month. You must
refund the whole of this. However, as it may inconvenience you to produce the entire sum
at once, you shall pay it back at the rate of twenty dollars yearly in four instalments of five
dollars each."
Having thus charged Hachirobei, his lordship was pleased to enquire Chikō's age; and on
being informed that she was then sixty-three, he said, "Well, you will receive the five hundred
dollars, principal and interest, in the manner I have just directed Hachirobei,-year by year.
When the whole debt shall have been settled, you will be executed." And to the proprietor of
the house where she lived, he said: "Give notice at once if Chikō dies, but no coroner need be
sent for."
This sentence brought the whole matter to a close. The reasons underlying it were that
at the rate of twenty dollars a year, it would take twenty-five years for the whole sum of five
hundred dollars to be received back by Chikō who was then already sixty-three years of age,
while furthermore the order simply to report her death without holding a coroner's inquest
was dictated by the desire to save her from the capital punishment due to arson. The result
of the judgment was to impress, not only the policemen and constables, but the whole city with
admiration for my lord Ōoka's mercy and wisdom, and it became very famous.
192
SIXTH SECTION.

919
911
903
896
888
寢​扶​咄​箒​談
​920
912
904
897
889
益候​遂郎​錠
​921
913
905
898
890
給​哉​昔​伊​件
​922
914
906
899
891
猶​否​侯​坂​禄
​923
915
907
(899)
892
涯​貯​柄​阪​召
​924
916
908
900
893
崖​蓄​浪​爽​暮
​925
917
909
901
894
繁​質​昧​折​寡
​926
918
910
902
895
昌​惜​消​追​婦
​WRITING LESSON.
193

958
951
943
935
927
藏​選​誠​根​概
​959
(951)
944
936
928
建撰​隱違​宛
​960
952
945
937
929
遣​吳​懇​證​座
​961
953
946
938
930
過​層​比​証實
​962
954
947
939
931
催​增​丘​悅​考
​963
955
948
940
932
促​体​室​旣
​964
956
949
941
933
經​賢​宜​尼​節
​965
957
950
942
934
廻​吞​早​着​限
​194
SIXTH SECTION.

991
990
982
974
966
憤怒​了​殊​困
​967
992
983
975
而 ​格​移​踏
​984
976
968
993
據
​重​似​驚
​994
訴
​因
​995
996
腹
​打
​997
998
亭
​J
985
977
騙​奪​警
​986
987
978
979
荒​揃​怪
​988
980
罵​息​仰
​989
981
詈​顔​毒
​969
970
971
972
973
WRITING LESSON.
195

1031
1023
1015
1007
薪墓脇暇易
​1032
1024
999
1016
1008
1000
締​漠​這​恨​巧
​1033
1025
1017
1009
1001
叶​募​暫​碎​挨
​1031
1026
1018
1010
1002
軒徐​渡詮拶
​1035
1027
1019
1011
1003
忽​袋​寂​慰​深
​1036
1028
1020
1012
1004
燃​震​寞​亥​嘲
​1037
1029
1021
1013
1005
拔​藁​莫​刻​彌
​1038
1030
1022
1014
1006
隣​屑​模​忍​窮
​196
SIXTH SECTION.

1071
1063
1055
1047
魄​篤​圖​寄​動
​1072
1061
1056
1048
1039
1040
怨​柔​吟​棟​紛
​1073
1065
1057
1049
1041
晴​振​味​濟​急
​1074
1066
1058
1050
1042
答​恐​享​役​逃
​1075
1067
1059
1051
1043
始​恩​保​糺​坊
​1076
1068
1060
1052
1044
滯​吐​捌​懸​咎
​1077
1069
1061
1053
1045
帶​極​組​遁​漸
​1078
1070
1062
1054
1046
牢​令​洲​遺​散
​WRITING LESSON.
197

1110
1102
撿​喰
​1103
1111
1094
1095
1087
1079
决​添
​1088
儉​慾​罷
​1112
1104
」
1096
(1088)
1080
1081
陷譬​底​咒守
​1113
1105
1097
1089
1082
智​調低​祝​偽
​1114
1106
1098
1090
1083
評​押​敏​縛
​1115
1107
1099
1091
1084
併​推​依​慮
​1116
1092
1085
1108
1100
囂​旨​察​封​遊
​1109
1101
1093
1086
尤​寐​疵​游
​SEVENTH SECTION.
MORE ABOUT THE KANA.
假
​名
​の
​辨
​SEVENTH SECTION.
MORE ABOUT THE KANA.
After the art of writing had been first brought to Japan,-probably about the beginning of
the fifth century of our era,*-the new pupils contented themselves for several hundred years
with imitating the compositions of their Chinese teachers. Such documents as necessity
demanded were not only written in the Chinese character, but were pure Chinese in grammar
and style. Even books were composed in this foreign tongue,—the Latin, so to say, of Japan,
—and no one attempted to employ the vernacular for any literary purpose.
The only exception, from the very beginning, arose from the need of finding some
means for the transcription of native proper names. But even here no new departure was
required; for China, as usual, supplied a model. She herself had been confronted by the same
difficulty in the transcription of foreign names, and not only of foreign names, but of numerous
Sanskrit technical terms introduced by the Buddhists. The Chinese had resorted to the simple
expedient of employing their ideographs, not for sense, but for sound, as exemplified on pp. 105–6
and
England," "America,'
of this work by their choice of 英​米
​and “ France,” and of 比丘尼
​佛 ​to write the words “England,"
""
to write bikuni, a word meaning "nun," adopted from
India by the Buddhists (see p. 167). The Japanese followed suit, and fortunately the simple
syllabification of their language made their words less hard than Western ones to write down
in this cumbrous manner. Such names of provinces as 伊​勢 ​伊豆
​I-se, I-zu,
Bible Satsu-ma, may serve as examples, easy ones; for their first tottering steps did not
always lead them so straight, and other very ancient but still current combinations, 信​濃
​read Sagami, 但馬 ​read Tu-
jima, The S read Suruga, are indications rather than representations of the sounds intended.†
for instance, read Shinano,
read
read Musashi,
Musashi, 相模
​Poetry, when it came to be written down, contributed powerfully to the phonetic use of the
characters; for in its case not the sense alone, as in prose, but the exact sound of the words claim-
ed attention. A celebrated anthology entitled
MAN-YO-SHŪ,” or "Collection
萬​葉​集
​of a Myriad Leaves," dating from A.D. 756, enables us to trace the stages of the process. The
* See Aston's "Early Japanese History," in Vol. XVI of the Transactions of the Asiatic Society of Japan, for a
discussion of this difficult question.
† According to the usual pronunciation, these combinations of characters would read SHIN-NO, BU-zō, Sō-mo.
TAM-BA, and SHUN-KA respectively.
•
202
SECTION.
SEVENTH
earliest poems in this collection are written in a sort of bastard prose, whose exact reading has to
be guessed at. Here and there, a character which makes no sense in the context must be taken
phonetically, but not necessarily as the reading of a single syllable; for the analysis of the lan-
guage into simple syllables, like the i, ro, ha, ni, etc., of the modern Kana, had not yet been made.
Thus
南
​tr
鴨 ​properly kamo, “a duck," often stands for the two grammatical particles ka mo; and
properly NAN, "south,
south," 蘭 ​properly RAN, “an orchid," and various others, serve to
transcribe verbal terminations in such cases as aranan, aruran, etc. Often, too, a sort of rebus or
writing in riddles was resorted to, as when the syllables kuku were represented by +
•, because nine times nine (ku ku) make eighty-one !
Meantime the use of single characters for single syllables gradually increased, till in those
poems which date from the eighth century we find it dominant. The desirability of obviating
the least chance of error on the reader's part came to be recognised, and the poets naturally
desired to preserve their works from all possibility of blemish and alteration, with which object
whole stanzas were laboriously written down, syllable by syllable. The following specimens
one of an earlier, the other of a later “MAN-Yō-SHŪ
MAN-YO-SHU❞ poem-will exemplify what is meant.
Such excursions into ancient literature may by some be deemed foreign to the character of an
Introduction such as this. But is that really the case, if they result in giving the student a
firmer grip of his subject?
五十​羽​旱​將​待
​Sは​ひまち
​留
​とまれる​わ
​ti
あ
​り
​命
​吾る ​社
​こそ
​いのち​を​な
​乎​を
​打​う
​蝉​せ
​み
​れ
​者 ​等​と
​は
​加
​長
​その
​ih
ん
​Utsusemi no
Inochi wo nagaku
Ari koso to
Tomareru ware wa
Iwai-machinan
i. e. "I, who remain behind, will wait in prayerful expecta-
tion that thy life on earth may be prolonged." (A little
* poetic send-off to a nobleman about to start on a journey.)
Here utsusemi is the "pillow-word " + for inochi, "life." It properly means what is actual or
* Ha in the earlier pronunciation, now corrupted. Similarly iwai was ihahi, as the Kana shows.
†The Japanese "pillow-words" (makura-Icotoba) have sometimes been compared to the Homeric epithets. Many of
them have lost all meaning, and serve as mere conventional props for significant words to lean on, whence the name.
For details, see Transactions of the Asiatic Society of Japan, Vol. V., Part I.
MORE ABOUT THE KANA.
203
visible (compare utsutsu, “ waking reality," as opposed to yume, “a dream"). Probably it comes
"to beat," plus
from utsushi mi, “ transitory self ; " but the scribe writes it as if it were atsu, 打
​semi, 蟬 ​"a cicada!" The next six characters are used ideographically (even which
is a particle in Chinese), phonetically for the sound to (it is properly TO). But only a
knowledge of metre and of the usage of the language can enable the reader to provide 長
​nagaku, and ari, with precisely these terminations, there being nothing in the text to show
which termination is intended. Similarly in the case of here to be read tomareru, be-
田
​7
cause the sense is best suited by the Attributive Perfect, and the metre requires four syllables.
It and the next two are ideographic, the character
者 ​having much the same force in Chinese
as wa has in Japanese. The final line Ihahi-machinan (iwai-machinan in modern pronunciation)
is a fine example of mixed rebus, phonetic, and ideographic writing :—the sound i is represented
li
by 五十 ​“fifty," because iso anciently meant “fifty" (i meaning “five"); the sound ka is
represented by ha or hane,
羽
​“feathers;" hi by 旱 ​hi[ru], “to dry,” and ma-
chinan, “ will wait," by properly masa ni matan to su, "am about to wait." After
" 將​待
​this explanation, the student may not be surprised to learn that considerable doubt attends the
deciphering of some of these poems, and that editors often differ in their readings. We assume
that he does not need to be told that the Hiragana flanking the square characters is an
addition by modern editors.



母​も​古​と​敏​べ​波​は​伎​き​太​だ​禮​れ​母​も​多
​布​ふ ​爾​に ​可​か​伎​き​騰​で
​た
​爾​⊥
伊​い ​禮​れ ​波​は​可​か​麻​ま​奈​な​母​も​許​と​知ち
​麻​ま​騰​ど ​度久く​加​か ​太​だ​可​か
​太毛​も​多​九​爾​み​保​ほ​愛​ず​保​ほ​加​か​久く
​爾​み​伊​い​理り ​登​と​久く
​伎​き
​と​比​ひ​乎​を​氏​で​登​と​奈​な​等​、氏​て​伊​い
​要​ゑ​等​と​美​み​多 ​久く藝ぎ ​敵​へ
​薨ず​己​と​和​わ​知​ち​安あ​許​と​須​す​佐​さ​波​は
​惠名 ​多​た ​志し​惠 ​刀​と​乎​を
​太​だ​之​し​由ゆ​太​た​平​を​伊​い​波​は​禮​れ
​

爾​み
​布​ふ​爾​に
​麻​ま​安​あ​騰​で
​204
SEVENTH SECTION.
Tani chikaku
Ie wa oredomo,
Ko-dakakute
Sato wa aredomo,
Hotologisu
Imada ki-nakazu.
Naku koe wo
Kikamaku hori to,*
Ashita ni wa
Kado ni ide-tachi,
Yūbe ni wa
Tani wo mi-watashi,
Kōredomo, t
Hito-koe dani mo
Imada kikoezu.
which may be thus freely rendered into English
verse:-
Near to the valley stands my humble cot,
The village nestles 'neath the cooling shade
Of lofty timber; but the silent glade
Not yet re-echoes with the cuckoo's note.
The morning hour e'er finds me, sweetest bird!
Before my gate; and when the day doth pale,
I cast a wistful glance adown the vale ;-
But not one note, alas! may yet be heard.
The reading of this poem is as plain as the meaning; for each syllable is transcribed sep-
arately. Comparing the transcription with the table of Kana given below, the student will
notice that many of the characters here employed established themselves in permanent phonetic
use, being the parents of familiar Kana sigus.-The system of writing exemplified in this
poem, and known as
MAN-YO-Gana, is still sometimes resorted to when
a word has no appropriate ideograph, as
瓦斯 ​GASU, taken from English "gas." Some-
times, too, recourse is had to it for the sake of variety or ornament, even where suitable ideo-
graphs exist, as sushi (see No. 1801), written 壽司 ​or "Furu-kagami," "The Old Mirror"
(properly), the title of a novel, written 布​留​加​賀​美
​It is possible that, instead of the square characters printed in modern editions of the “MAN-
YO-SHU," the running or "grass" hand was resorted to-sometimes at least-for the purpose of
such transcriptions, in which case the Hiragana may be said to have already existed at that
period; for the Hiragana is nothing else than the cursive form of characters employed
phonetically. With so many to choose from, it was quite natural that, from the very beginning,
each sound should have been represented by a variety of characters. The greater part seem
to have come into use spontaneously from their frequent recurrence and consequent familiarity,
others to have been chosen of set purpose for the opposite merit of rarity, which would help to
distinguish them, as phonetic novelties, from the ideographic symbols.
The following table presents a conspectus of the Katakana and the commonest forms of the
Hiragana, the original Chinese character from which each Kana symbol was obtained being
given in a circle below each.
* Kilcamaku hori=colloquial kikitai, hori being the same word as modern hossuru. After to supply omotte.
† Kōrukou, the fundamental sense of both being "yearning," whence "asking" and "loving."
MORE ABOUT THE KANA.
205

THE KATAKANA AND HIRAGANA SYLLABARIES.
Pronunci-
ation
i
ro
ha
ni
ho
he
to
chi
H
ri
nu
ru
(W)
Katakana
イロノ
​ホートチリ ​リヌ
​ヌルヲ
​伊
​宮
​①
保
​ML
正
​知
​(利​)
奴
​L
呂
​(IN)
以​泳
​いろは​に​ほ
​m泳もふ​は​色とち
​とちりめ
​りぬる​を
​保
​知
​利
​奴
​遠
​B
りぬる​を
​以
​路
​走
​Hiragana
尔​Ⓡ
前
​保
​遍
​止
​知
​利​)
いみる
​尔
​不
​ね
​串​み
​丹
​あり
​里
​(利
​ふ
​越
​耳
​* Never used at the beginning of a line.
(留​)
206
SEVENTH SECTION.

Pronunci-
ation
Wa ka
yo
ta
re
SO
tsu
ne
na
ra
mu
u
Katakana
17
ワカ
​カヨタ ​レソツ子​ナ ​ラムウ
​和
​(加​)
興
​AA)
筍 ​(株​)
袮 ​奈
​良
​宇
​わか
​和
​加​)
与
​口
​可
​⑤
Hiragana
かよた ​たれろ
​れろ​つ​ね​な
​2 3
(王​)
和
​与
​る
​多
​和
​可
​与
​多
​貴
​TPI
その​福
​きそ
​連
​祝
​(円
​津
​年
​索
​ら
​良
​す
​良
​दै
千
​らむう
​称
​祿る
​}
す
​袮
​宇
​し
​فى
* Some write ネ ​as the Katalcana for this letter, instead of 子​.
† Never used at the beginning of a line.
那
​MORE ABOUT THE KANA.
207

Pronunci-
ation
(w)i *
no
0
ku
ya
ma
ke
fu
ko
te
а
Katakana
井ノ ​ノオ ​オクヤ ​マゲフ ​コエテ ​ア
​井
​乃
​於
​万
​江 ​(I)
大
​円​)
ゐ​の ​たくや
​まけふ
​乃
​於
​他
​計
​不
​Hiragana
牛​乃
​(15 於
​お
​李​计​娲
​屋
​計
​にて
​江
​すえそ
​古
​あ
​安
​1の
​阿
​は
​帝
​於
​* Some writeヰ ​(derived from 韋​) as the Katalan for this letter, instead of 井​·
† See p. 168 for another use to which this symbol is sometimes put.
(高田​)
宜
​ว
208
SEVENTH SECTION.

i
1
me
mi
shi (Ⅳ)e
E.
se
モ
​n
ス
​セ
​世
​毛
​ヒ
​~
心
​4Ⓡ
사
​(N)
(N)
サ
​to
女
​き​ゆめみ
​キ
​散
​ゆ​も
​左
​起
​由
​免
​美
​美
​Pronunci-
ation
sa
ki
Katakana
左
​は
​佐
​Hiragana
ゆ
​由
​支
​惠
​10
すん
​(寸
​(The symbols for mu also serve for n)
か
​春
​比
​充
​毛
​毛
​毛
​帮
​勢
​孢
​V
嘉
​星​の
​お​母
​Sex
見
​עור
N
SW
三
​EH
-A
MORE ABOUT THE KANA.
209
REMARKS ON THE FOREGOING TABLE.
The word Kana
假名
​means, literally, "borrowed names." As usually explained, it
alludes to the "borrowing," for phonetic purposes, of characters properly ideographic. The term
眞​名
​Hiragana
((
Mana, “true names," has been sometimes applied by contrast to the latter.
The
is believed to be so called because it is
平易 ​HEI-I, that is,
'easy," or, to use an almost literal English equivalent, "plain" Kana, such as is understood
even by women and ignorant folks, to whom the ideographs and the Katakana are a mystery.
片假名
​The Katakana, lit. "side Kana," has more claims than the Hiragana to
the title of an invention, most of the letters included in it having been obtained artificially by
taking one portion or side of certain Chinese characters and omitting the rest, whence its name.
The Katakana, with its single symbol for each sound and the much greater ease and simpli-
city of its forms, always appeals to foreign students. Curiously enough, in Japan itself it
has never become popular. Its commonest use is for the transcription of foreign words.
Though less often than the Hiragana, and never in anything intended to reach the lower classes,
it is sometimes employed along with the square Chinese character in books and newspapers.
The symbol given first under each Hiragana heading, and already committed to memory by
the student at an earlier stage of this course (compare p. 29), is the commonest of all. More
especially since the recent re-introduction of movable types* for printing newspapers and cheap
books, there has been a natural tendency on the part of type-founders to restrict themselves to
this single series. The same consideration does not apply to hand-written texts. Accordingly
signboards, many notices in public places, and even printed matter in which (for elegance' sake)
block-printing has been preferred, continue to wander at will in the calligraphic maze, and he
who aspires to read Japanese currently must learn at least all the forms given in our table.
Other rarer ones will be found in the pages of Aston and of Lange's " Einführung in die Japa-
nische Schrift." The number of Chinese characters which may be employed phonetically, either
in the square or the cursive form, is practically unlimited.
知
​Some ease to memory will be obtained by noticing that under most of the headings two or
more of the Hiragana signs tabulated come from a single original, being in fact but succes-
sive stages of simplification, or else due to mere difference of handwriting. For instance
chi, became first, then, the middle stroke being straightened for the sake of speed in
writing. Again for he some write, others. There is here no fundamental distinc-
tion,-nothing more than the fact that one writer adheres a little more closely to the original
* Movable types were already employed in Japan in the sixteenth century, if not earlier; but the difficulties of this
method of printing in the case of a language having so many thousands of characters, made it fall into desuetude for
a long period, during which block-printing superseded it. (See Satow's "History of Printing in Japan," in Vol. X
of the Transactions_of_the_Asiatic Society of Japan, p. 60 et seq.)
210
SEVENTH SECTION.
ア
​ル
​コ
​ル
​by giving the final stroke a bigger sweep from left to right, while another, to save time,
unconsciously begins it further to the right, and omits the first portion at the left. Parallels to
all such vagaries of penmanship occur plentifully in our own Roman handwriting. Furthermore,
the Katakana sign comes in most cases from the same original as the simpler form of the Hira-
gana. The syllable chi here again affords an example, as well as
from, though by a different process of abbreviation.*
ち
​being derived
The quickest and surest way, in our opinion, to learn the various forms of the Hiragana is
constantly to take into consideration the square character from which each originally springs,
noticing how here a twirl does duty for three or four straight strokes of the original, how there
certain strokes have been entirely omitted, and so on. In this way convolutions at first labyrin-
thine come to have significance for the eye, especially when it is discovered that certain process-
es of disintegration tend to repeat themselves. Thus,—to recur to the example of
ち
​or
chi, the final semi-circle stands for in the original character; but precisely the
same thing occurs in
stroke of
but also in
z ro for, and in
呂​,蓋 ​わ ​wa for. Similarly, the final bottom
he represents the Radical SHINNYŪ (see p. 183), not only in that letter,
を
​wo for
遠
​The careful student will discover other analogies equally
available for the purposes of memoria technica; and if the Chinese original of each Hiragana
sign is familiar and ever ready to hand, slight differences-even wide differences-of calligraphy
will have so much the less power to perplex him. In fact at this, as at almost every other step
in our studies, we are brought face to face with the supreme importance of Chinese and the
comparative insignificance of everything else.
The following common abbreviations must be remembered:-
と
​in Hiragana, in Katakana, for koto; in Hiragana for yori.
1 ĥ
✈ y
The rest are
all in the Katakana, viz. for toki, E for tomo, (properly me) for shite,
片
​(properly mu) for GOZA.
written as in the margin.
厶
​serves for the prolongation of a sound, thus arukōru, "alcohol,"
is the sign of repetition; shows that more than one
syllable is repeated, whether in Katakana or in Hiragana.
The order of the I-ro-ha bears witness to the Buddhist belief of the fathers of Japanese
writing, the syllabary being a verse of poetry, attributed to Kōbō Daishi and founded on one
of the Sutras. This verse consists of eight alternate lines of five and seven syllables,† and
the words forming it have been so chosen that the same letter never recurs. Romanised
according to the modern pronunciation, the I-ro-ha runs thus (we also, for further clearness,
give it in Kana-majiri, that is, Chinese characters interspersed with Kana):-
Some derive Katakana † from the Chinese character SEN, whose Japanese pronunciation is chi, as in
千代 ​chi-yo, "a thousand generations." This derivation, even if incorrect, may be utilised as a memoria
technica.
† The third line, which has but six syllables instead of seven, is irregular. The Japanese poets easily grant them-
selves such licences.
MORE ABOUT THE KANA.
211
Iro wa nioedo,
Chirinuru wo-
Waga yo tare zo
Tsune naran?
Ui no oleu-yama
Kyō kocte,
Asaki yume miji,
Ei mo sezu.
Which is, being interpreted,
淺
​有
​ひ​夢
​夜​き​夢見​じ
​酔ひ​も​せ​ず
​我 ​色
​常​が​散​は
​日 ​の​な​世り​匂
​見越 ​奥​ら ​ら​誰​ぬ
​え​山​むれる​ど
​て
​ぞ​を
​“Though gay in hue, [the blossoms) flutter down, alas! Who then, in this world of ours,
may continue forever? Crossing to-day the uttermost limits of phenomenal existence, I shall
see no more fleeting dreams, neither be any longer intoxicated."-In other words, "All is
transitory in this fleeting world. Let me escape from its illusions and vanities to the ever-
lasting repose of Nirvana!"
When, in the seventeenth century, Japanese scholars began to study their own language
critically, they brought into use a more scientific arrangement of the Kana syllables which
appears to have been suggested as early as the year 1185. A classification was made under
the five vowels and nine initial consonants,-no easy feat to men unequipped with an alphabet,
—and the table so obtained took the name of 五十​音 ​Go-JU-ON, or the “Fifty Sounds"
(though there are in reality but forty-seven). The table is as follows :-

K
A
ア ​カ
​8サ
​S
T
N H
M Y
R
W
夕
​ナ
​ヤ
​ラ ​ワ
​a
ka
sa
ta
na
ha
ma
ya
ra
Wa
T
イ
​キ
​シ
​チ
​ļ
i
ki shi chi ni
hi
U
ウ
​ク ​ス
​ツ
​ヌ
​11
ku su tsu nu
fu
E
X
斤
​セ
​テ
​子
​匕丘​フ​へ
​ނ
リ
​ヰ
​mi
厶 ​ユ ​ル
​ri (w)i
mu yu
PU
メ
​エ
​卫
​ke
se
te
ne
he me (y)e re
(Ⅳ)e
0
オ ​コ
​ソ
​ト
​モ
​ヨ
​ヲ
​0
ko
SO
to
no
ho
mo
yo
ΤΟ
WO
The deficiency of a true e is supplied by エ ​(y)e or ヱ ​(w)e. See the Y and W columns.
212
SEVENTH SECTION.
The process of Romanisation brings to light irregularities in some of the columns, as sɑ,
shi (for si), su, se, so; ta, chi (for ti), tsu (for tu), te, to. Japanese ears, however, are not struck
by this; and the correspondence between such verbal forms as masu, mashi, mase; tatsu, tachi,
tate; etc., shows that the syllables in each vertical column do, as a matter of fact, belong
together historically, though we have proof from the transcriptions occurring in the grammars
and dictionaries of the early Jesuit fathers that the pronunciations shi, chi, and tsu had already
three centuries ago supplanted the si, ti, and tu which theoretical unity postulates. At that
time, the present H-F series appears to have been consistently sounded with F, thus fa, fi,
fu, fe, fo. It will be observed that the Table of the GO-JU-ON takes no notice of the
letter, i. e., n final; that the Y and W columns are incomplete, owing to the non-existence
of the syllables yi and wu; and that considerable confusion reigns in the fourth horizontal
column between e, ye, and we, there being but two letters here instead of the three that would
have been expected. Moreover, the table takes no account of the Nigori or of syllables with
long vowels, which latter are represented by combinations of two or three Kana signs, as
exemplified on pp. 215–6, et passim. All such long vowels result from a comparatively modern
process of contraction and corruption, or from the effort to represent Chinese sounds:-the
pure ancient language had none such.
An exhaustive theoretical study of the Kana would require a treatise to itself, in the
course of which several questions would be raised. Some scholars, for instance, contend that
certain Hiragana signs should be used for Nigori'ed syllables only, as
and
for ga but not for ka,
from which they
We have not found such a
R for gu but not for ku, because the original characters
come are pronounced respectively GA and GU, both with the Nigori.
rule to be observed in actual practice. Again, some doubt hangs over the derivation of certain
Kana signs:—Katakana » tsu is generally given as derived from
PEEJ TO (our No. 685);
but can the derivation be made out? Even with regard to the Hiragana forms for the same
or (our No. 222) be the true original.
syllable, there is room for doubt whether 鬥
​ΟΙ
門
​The most interesting aspect of the Kana-theoretically considered-is the light it might
be made to throw on the ancient pronunciation of Japanese, say the pronunciation of the eighth
century after Christ. Thus the character "king," now pronounced ō in Japan, but
wang"
" in China, supplies one of the Hiragana forms for wa 2, indicating that at the time
the Kana was establishing itself in current use, WANG or—as seems more probable from other
considerations-WAU was the Japanese sound of the character in question. Why, with innumer-
able simple monosyllables to choose from, the Japanese went for so many of their Kana forms
to characters whose sounds had first to be mutilated before they could serve their purpose,
is another curious point. Why, for instance, not be content with derived from TA,
without going on to borrow derived from TO ("tang" in the Chinese pronunciation)?
堂
​Why not rest content with for ne, instead of adding
nen, where a
final "n" had to be mentally suppressed in the reading?
堂
​&
from 年
​Such are some of the lines of
MORE ABOUT THE KANA.
213
thought that suggest themselves to the careful investigator. But the practical student need
not trouble himself any further about them. His time will be better spent in committing to
memory as many Kana forms as possible. Several of the more complicated kind will be met
with daily in signboards by any one sauntering along a Japanese street. The ordinary Hira-
gana and the Katakana will be seen constantly in books and newspapers, printed in small type
at the side of Chinese characters, to assist unlearned folks to their reading and signification,
as exemplified on p. 159 and elsewhere in this book. Sometimes it is a literal translation,
sometimes rather in the nature of a gloss. The technical name for Kana thus used is Furi-
gana. The Kana written after a character to indicate terminations and particles is called
Sute-gana or Okuri-gana.
假名​遣
​THE KANA-ZUKAI.
Kana-zukai, lit. "Kana usage," is the name bestowed by the Japanese
on what we should call the "spelling" of their language. Previous to the revival of native
learning in the seventeenth century, it was the only branch of grammar that had attracted
their attention. During the Classic age (eighth to tenth century) men had spelt phonetically,
just as they spoke. But the orthography remained after the pronunciation had changed;
what had been natural and self-evident came to appear artificial and difficult, whence the
necessity. for rules and explanations. It should be added that, except in avowedly literary
circles, the Kana spelling continues to be much neglected,-another of the many results of
the supremacy of the Chinese character. To misspell is no badge of social inferiority. Public
official notices are frequently misspelt. The foreign student therefore lies under no absolute
necessity for spelling correctly, though if he do so, it will be all the better. The following
considerations will help him over the chief difficulties:-
By far
I. (Native Words).-Classical Japanese-which, as already remarked, the Kana ortho-
graphy represents-tolerated no hiatus, no rencounter of two vowels in the same word. Con-
sequently no such words as kai, "shell;" koi, “love," can end in the letter i.
the greater number end inhi, thus, as much as to say that the
pronunciation was originally kahi, kohi, etc. In some few cases w, not h, was the original
letter, thus ai (properly awi,), “indigo.”
Now, what has here been said of the modern sound i, represented by the three letters
i, [w]i, and [h], applies, mutatis mutandis, to other members of the three
following series:-
a
i
ha Tri
wa
[w]i
e
0
fu
he ho
[w]e wo
イヒヰ
​アハワ
​ワ
​ウ
​工
​フ
​HI H
オホヲ
​214
SEVENTH SECTION.
front;"shio
whence such representative spellings as mae, "front;" shio (also pronounced
shiwo), "salt." The instances of an original w, as in koe (properly kowe), "the voice;"
sue (properly suwe), "the end;" ウ​チ ​uo (properly uwo), "fish;" 11 yue
(yuwe), “cause,” are much rarer. Some instances occur of, which represents, however, not
e but ye, noticeably in such verbal terminations as I mie (properly miye), "seeming;
11 kikoe (properly kikoye), “sounding," from the verbs miyuru and kikoyuru.
The specially important case of First Conjugation verbs with vowel stems will be easily
understood by comparing the paradigm given in the "Colloq. Handbook," beginning of ¶ 236
and what is said in the latter part of T 239, thus:
Present
Neg. Base
""
Indef. Form
Condit. Base
shimau
shimai
shimae
shimawa
シマフ
​シマヒ
​i
マ
​シマノ
​iu
ie
iwa
イフ
​イ
​亻​八
​ii
化
​A few verbs of the Second Conjugation with vowel stems, such as kangaeru, "to reflect;'
tonaeru, "to call;" otoroeru, "to decay," may perplex the student, as their Attributive Forms
are respectively kangōru, tonōru, and otorōru in the written language, and their Conclusive Forms
are kangō, tonō, and otorō (or one may transliterate the latter thus, kangau, tonau, and otorou).
But observe that the crasis in which the irregularity consists affects only the pronunciation;
for the Kana spelling of the series is
Conclus.
Attrib.
Indef. & Neg. Base.
カンガフル
​カンガフ
​トナフル
​トナフ
​カンガ​へ
​トナ​へ
​オトロフル
​オトロフ
​オトロヘ
​regularly following the model of nagareru on p. 16, whose written language forms are nagaruru,
nagaru, nagare.
Of course all those substantives which are, properly speaking, Indefinite verbal forms follow
the latter in having or, as nui, "embroidery;"
embroidery;"
to
te tatakai,
"combat;"Tarasoi, "contention;" kangae, “reflection."
The numerous other words having the sound wa in a middle or final syllable follow the
same analogy in an overwhelming proportion of cases, thus
kawa, "river;" kawaru, "to change; " etc., etc.
» iwa, “rock;" »
(But kawaku
カワク
​sawagu
サワグ
​suwaru
スワル
​yowashi
ヨワシ
​"to dry."
"to be noisy."
"to squat."
“weak.”)
MORE ABOUT THE KANA.
215
*
The important postposition wa, which is always enclitic to the last syllable of the word to
which it is suffixed, is written 、 (ha), and the postposition ye is written (he),—both
in the H series; but the postposition wo is written –W series.
~
It goes without saying that when a word originally of the WV series-koe, 11 for
instance,―changes its vowel, the new vowel must belong to the W series also, thus kowa-iro,
コワイ ​口 ​"tone of voice."
The only class of cases in which hiatus occurs-or, to express it differently, in which one
vowel follows another in spelling,—is when Phonetic decay has caused a letter to be dropped,
as for instance in saiwai, "good fortune," written
sa-i-ha-hi, the word
having originally been sakihahi, but the k having dropped out of pronunciation.
thing occurs in such forms of adjectives as chikō, written
atsu, written
for atsuku, "hot,” etc.
The same
✈✈
for chikaku, “near;”
As for the beginning of words, no rule can be given to show which should have initial
, that is, true i, e, o, which ‡17 [w]i, [w]e, [w]o. The dictionary and
27
much reading of ancient poetry and romance, where Kana is plentifully interspersed, must
instruct the searcher in that field.
X"
➜”
The assimilation of (properly zu) to (properly dzu, anciently du), and of
(properly French ji) to (properly English ji, anciently di) in the pronunciation of Tōkyō
and the Eastern provinces generally (compare Colloq. Handbook, footnotes to T 28), makes
the spelling of some words a matter of doubt. The important negative verbal terminations zu
and ji are written and, as in arazu ア​ラ​ズ ​"not being;" araji ア​ラ​ジ
​"will not be."
Onaji, “same,” is ++☺.
FUл, the famous mountain, is; fuji, “wistaria,” is 7.
Every modern syllable containing a long vowel represents two-sometimes three-
original syllables, and is therefore written with two or three Kana letters, as exemplified in
the following common words:-
kyō
kōri
shō (or shiyō)
warū
hōki
written
ㄏ​ㄡ
​ケフ
​(ke-fu)
"to-day.'
""
コホリ ​(ko-ho-ri)
"ice."
it (shi-ya-u)
シャウ
​shall do."
""
ワルウ ​(wa-ru-u)
((
'badly."
from
・キ
​+ (ha-ha-ki)
a broom."
II. (Chinese Words). The Kana spelling of Chinese words has profound philological
interest, as proving how much more closely Japanese speakers of the Classic age approached
the Chinese standard than do their modern descendants. Thus, modern pronunciation has a
216
SEVENTH SECTION.
distressing number of Ho's, KO's, so's, to's, kyo's, sHo's, etc.; but the spelling shows that at
first certain distinctions were made between them,—so much so that any one speaking Chinese
will have little difficulty with the Kana spellings of Chinese characters. Examine the following
representative instances:-
(Chinese "fang's" and "pao's”).
(Chinese "fêng's" and "p'êng's ").
奉​邦​逢 ​丽 ​(Chinese
in "Go-on"
HAU,
ハウ
​方​保​寶
​HOU, 小豆
​Ho
,,
HAFU,
ハフ
​in "Kan-on
HOFU,
ホフ
​/KAU,
to By
KOU,
コウ
​Ko
クワウ
​KAFU, カ​フ
​印
​KUWAU,クワウ
​チャウ
​法​乏 ​(final consonant in Cantonese).
高 ​高​江​行​岡
​IT (Chinese “kao,” “kiang,” etc.).
公​紅​口​弘 ​(Chinese
(Chinese "kung," "hung," "hou,” etc.).
皇​黃 ​(Chinese "kwang" or "hwang ").
(final consonant in Cantonese).
長​丁​町​廳
​
(CHIYAU, TJ (Chinese "chang” or “ting”).
OHIYOU, (Chinese "Chung" or “ching”).
チョウ
​重
​CHO-
TEU,
テウ
​TEFU,
テフ
​朝​兆​鳥​調 ​(Chinese “chao,” “tiao,” or “niao”).
牒​疊 ​this last pronounced лõ, because Nigori'ed By
(final consonant in Cantonese).
The foregoing examples show incidentally how often long ō is represented by the help of
final, also how often this corresponds to ng, which is so common as a final nasal in
Chinese. The same remark applies to long u, as
The sound i at the end of such Chinese words as
TSU, Chinese "t'ung."
水
​SUI,
類
​RUI, where a u pre-
as
明細
​cedes, is written with, thus 7,; in all other cases with
MEI-SAI, in Kana 1 ✈ 1
メイサイ
​never with 匕
​The original presence, in the Japanese pronunciation of Chinese characters, of differences
still felt in Chinese itself may be further exemplified by such series as
I(イ​)
伊​以 ​夷​意
​all “i
-all "i" in Chinese.
I(丼
​I (✈ wi)
位
​慰​all
((
wei" in Chinese.
AU (アウ
​Ō
WAU(ワウ
​櫻 ​Chinese "ying."
王
​WOU(ナウ​) #
AFU (アフ​) 押
​Chinese "wang.
Chinese "wêng."
Cantonese "at" or "ap."
MORE ABOUT THE KANA.
217
Similarly, all characters dissyllabic in Japanese and ending in KI or KU, CHI or TSU, such
(C
heat,”“fever,"
as
力
​RIKI or RYOKU, “strength;"七
​""
SHICHI, seven;
熱 ​NETSU, "heat,” “ fever,"
belong to what Chinese grammarians call the “entering tone 入聲 ​NISSHO, and end
in a mute consonant in Cantonese,-k, t, or p.
決​發別​別​づ
​し
​て
​□び​営
​行​から​品​ん
​當 ​田​う
​た
​キ
​き
​きり​て
​テ​て
​In such words-and they are very numerous—as
BETTO, BEPPIN, HAKKO, KESshite, the Kana syllable tsu is
absorbed in modern pronunciation, and sinks into being
a mere sign of the reduplication of the consonant which
follows it. People have thus been led to adopt tsu as a
symbol of reduplication even in cases where etymology would not sanction
its use, as in kitte, “cutting,” “a ticket" (properly kirite from kiru, "to
cut"). When tsu has this reduplicative force, it is often written small and
slightly to the right, as shown in the margin. But correct writers do not
favour the popular expedient:-they prefer to write, for instance, ki-ri-te,
as etymology demands, and leave the reader to pronounce it kitte if he is so minded.
Here must terminate this very brief sketch of the Kana-zukai. The theoretical interest of
the subject is considerable, and he who aspires to become a Japanese philologist must have it
at his fingers' ends. But the practical student need not trouble himself with the Kana spelling
of words in general, because-be they of native or of Chinese origin-he will commonly both
read and write them in the ideographic character, and it will suffice for him to know the
character and its pronunciation. The only Kana items of real importance to him are the
spelling of the postpositions wa, ye, and wo, and the treatment of the final syllables of verbs
ending in a vowel stem, as explained on page 214.
FIRST EXERCISE IN THE MORE DIFFICULT FORMS
OF THE HIRAGANA.*
な
​当
​ろ
​し
​せ
​らず
​31
势
​29
27
と
​裡
​宣
​30
ら
​ぞ​羅
​17
べ​に​利む
​11
5
1
23
ng
28
25 75
26
?
○
21
21
19
ら​蕎
​し
​おれ
​ら
​222
営
​奈
​ば
​ゆう
​fw
* This exercise being identical (except for the more complicated forms of the letters) with that given in the
Third.Section, students are referred to pp. 32-3, etc. for the transliteration and translation.
16
18
鱼
​志
​20
さりとて​。
14
里
​お
​9
n
2
12
للولو
孔
​7
3
fw
10で
​15
13
4
r
战
​218
SEVENTH SECTION.
55
51
き
​む
​fw
う
​لمين
み
​56
る
​ば
​54
法
​字
​52
祢
​ん
​42
38
32
おや
​らぼ
​変​36い
​祢
​線​を
​その
​ん​や
​えがや
​孕ん
​45
47の
​真
​49
招
​愿
​喜
​み
​志
​愿
​後​。おんふやき
​41
すべ
​43
ん​を
​39
فرح
ろ
​奈
​40
ぬら
​とせ
​志免​て​。せ
​34
○ 37
し
​35
む
​那
​ら
​お
​当
​势
​33
告
​津
​贵
​ん
​孬
​57
53
筏
​贵
​に
​兄
​ち
​46
SECOND EXERCISE IN DIFFICULT HIRAGANA.*
孔
​告
​若​孔
​の
​くう
​き
​む
​おふ​、セやちをん
​おお
​津
​W
孬
​そばもま
​乃​空​孔
​空
​志
​那
​है
う
​线
​那
​ろ
​ま
​ん
​祢
​も
​称为​礼
​う​は
​志らだ​。
祢
​なん
​むつ
​を​若
​沫
​है
むま
​とお
​み​戮者
​es unft mess Bas et smŰ
告
​○
そん​希礼
​计​话
​ん
​毖
​り
​我​い
​○
てん​よく​ちゑ
​を​若​ん
​黒​岩
​告
​む
​を​や
​ん​晟空
​や
​う
​ち
​孔​多
​し
​奈
​है
ち
​も
​* The proverbial sayings which form this Exercise will be found in the Reviews of the first Four Hundred
Characters, pp. 71 et seq. and 107 et seq.
MORE ABOUT THE KANA.
219
THIRD EXERCISE. (AN ANECDOTE IN COLLOQUIAL.)*
ふでみてり​お​奈里
​お​を
​るま​を
​うばう
​空​空​十​を​若し​we孔貴若
​ていば
​す​の
​を​も​の​お​が
​も
​愿
​め​空
​まちむ​の
​の​若し
​す​空
​お​の​夏​ゆめ ​志
​やふ​が​心空我
​が​評
​おやか
​がふ
​おり
​りち
​る​孔​まぐ
​そそ​ふんそ
​ぐし
​五​孔​史
​まで
​孔
​ぬむ
​दुधकाई
そう​法​、屈託​まち​よ​、
しょ​を​を​しんろ
​おた​空​mかばいくほゐでお
​おみ
​みつす​岩​は
​かみ​で​は​、さうそ
​らか
​か​が
​す​の
​の​はて
​て​めぬけ
​招
​らふたま
​むや
​れ​と
​とんで
​加
​しふう
​うき
​みそう
​ち
​ぎ​と​し​た
​で
​う
​し​蟲
​L
に
​つ
​も
​ら
​とも
​は
​若い​か
​がが小
​つ​も
​もら​炎
​ゆ
​那
​志
​忆​小
​は
​そ
​ひ
​う
​空​ん
​きんし​赤
​も
​おも
​およ
​孔
​託​えい​汁​き​なん
​ふ​を
​ち
​しおふきふぬる​まめ​が​むら
​* Transliteration and translation of this story will be found in the Colloq. Handbook, 3rd Edit., T452.
220
SEVENTH SECTION.
め​は
​找​ん
​津
​せ​な
​はんぶんちがひ
​まう​法​ましる​。
かて​法​ませ​う​」
す
​そ
​まれ
​津​孔
​づて ​ちま
​五 ​ぎね
​空​踐
​に​は
​告
​むふふ
​しゅ
​がおま
​かり
​りん
​态
​は
​に
​九十
​せ
​告
​去​五
​五​ま
​ら
​おむ
​託す
​うち​を
​めてざわ
​孔​し​い
​ひ
​め
​を
​ま
​مگل
が​、何より​い
​す
​まさら​ちん​北​か​愛​を
​なん​いたす​」、
めび
​さ​た​の​だ
​らんお
​おし
​ФФ
ФК
空​に
​に​な
​り
​に
​孔
​ま
​加
​战​孔
​志
​し
​そ​辻​て
​三​い​た
​つい
​で​、S
いす
​りうち
​はばか
​ばらし​き​た
​まう
​岩​が
​がた​を
​れ​玉
​さ
​志
​足ひ
​ち
​ら
​祢​沫
​むれ
​た
​た​記
​孔
​おん​うむんか
​ま
​おそれ​Sってき
​き
​空
​ち
​あおた​は​孔​す
​れき
​R
四
​そら
​ら​の
​つ​す
​小
​ま
​に
​ぞ
​はん
​志
​な
​空​まうむ
​ら
​み
​孔
​たる
​は​を​もす
​L
加
​んんふそ
​め​w
We z
るん
​きら​これ​を​ま​刻​し
​が
​Here, for comparison's sake, is the same anecdote in Mixed Script (Kana-majiri
交​り​), which would be by far the most usual way of printing it. The particles are put in
Katakana for a change, instead of the Hiragana heretofore employed in this book.
まんいれれ​ま​おからわ
​r
୮
そんな​ら
​空き​、やくみ​ん​託ま​うしわ
​MORE ABOUT THE KANA.
221
待​テ​バ​合​7年
​ムカシ
​ナヅキバミ
​ナソナ
​ヘマ ​タ
​夕​者
​古都​町​點頭​婆ト​云​フロ​辨​ロノ​宜イ​者​ガアリマシテ​何​時​モ
​嫁ャ婿ノ​世話​ヲシテ​世​チッテ​居​リマシタガ​或​時​卌​五​ニナル​男
​ノ​年​ヲシテ​十​五ノ娘ト​緣組​ヲ​取持​チ​結納​マデラセマシタガ
​其後​婿ノ年ノ老​ケテル​1ヲ娘ノ親​が​聞き​付​ケテ ​「外​二​何​申​分
​ハナイガ​婿ト娘ト​年​が​二​十​モ​違​ッテハ​如何​ニモンテ​嫁​ニハヤレ
​ナィ​」 ト​云​男​方デ​結納​マデ​濟​シタカラハ​親類​へ​對​シテモ
​ソンナ​不都合​ナ​事​聞​カサレナイカラ​是非​買​ハンケレバ​承知
​ナカウ
​ナイ​」 ト​云​フカラ​媒​者​モヒドク​迷惑​シテ​遂此​事ヲ​政府​へ​訴
​政府​デ​双方​御​呼出​ニナリマンテ​娘ノ親​「其方​、一旦​約束​ヲ
​シテ​今更​何ノ廉ヲ以テ​破談​イタス​」ト​御​尋​ネニナリマスト​「ヘエ
​此儀​、媒​奶者​餘リ詐ヲ申​シマシテ​三十五​ノ​婿​二​十​五ノ嫁デ年
​オカ ​カミ
​222
SEVENTH SECTION.
マ
​ル
​恐​申
​ト
​丁ナ
​セ
​分
​チガ
​望​升​》 違​申​廿
​レ​升​ニハ​「ソンナラ​其方
​ウ​」此時​役人​ノ​申渡
​役
​サ
​分​違​ヒナラ
​娘
​海 ​升
​タソ
​ガ​甘​と​升​ソレ​故​不承知
​セメテ​年​半
​マ
​ヲ​遣い
​半​知
​カナ​廿年ズ選
​送​力
​夕​双
​カラ​双方​恐​入​ッ​テ​下​が
​ズ​待​タナケレバナラヌ​其
​タチ
​ニナレ​男
​四十​女
​婿​今
​ノカ​通
​力​通
​方ラ ​リ
​モ​五
​年
​变​分​男
​ッ​サ
​レマ
​ガン​時
​リタ
​タニ
​(4)
七​四​ナ
​≫
經​ンテナ
​迄 ​テ ​テ​遣
​娘
​其心​チス
​FOURTH EXERCISE.
SOME STANZAS OF POETRY.*
(3)
春
​(2)
誰
​力
​お​空​に​花​は​ちる
​また​遇
​丸
​しら​まし
​きぬ
​たき
​人​の​世​ぎ​う​変
​孔る
​は​よ
​り
​風​人
​ひ
​か​喉
​もみち​葉風​に​任せ​て
​はう​なきもみ​は
​命​ふり​け
​り
​春
​鷲​北​谷
​年
​空
​も
​くる​と​は
​聲​浅
​东​省
​ふくば
​し
​洗うちふ
​お
​ほ
​れ
​

る
​
春
​に​名
​涙​今や
​き​に​けり​鶯​(
とくらん
​の
​* The first seven, of thirty-one syllables each, are uta 歌
​or WAKA
和歌 ​taken from the “Kox1NsEt,”
古今​集
​or Songs Ancient and Modern," a celebrated anthology dating from the tenth century, which still
serves as a model to the poets of to-day. The last three, each of seventeen syllables, are нOKKU 發​句 ​by Bashō,
who flourished at the end of the seventeenth century.
MORE ABOUT THE KANA.
223
古物
​池​云
​蛙​ば
​古池​や​蛙​おむ​水​孔音
​(9) (8)
唇
​(7)
我
​袖​に​はたき
​君
​心​時
​に
​雨​た
​res
है
加
​帮
​ん
​战​无
​事
​そ​は
​(6)
例​) 白雲​に
​數
​さ​へ​見
​ち
​志​飛ぶ​雁​の
​秋
​の
​夜
​見​か
​ゆむ
​る​若
​祢
​う
​逢​ふう​ら​も​純​は
​8月
​おそ​悲し​げき
​おんへ
​時雨​の​降り​ぬる​は
​秋​や​来​ぬらぬ
​夏​草​やつ​は​も​孔​共​の​夢​の​跡
​寒​孔
​共​來
​し
​水​秋
​死の
​普​風​跡
​AX
ば
​Transliteration and Translation.—
(5)


(1) Toshi no uchi ni
Haru wa ki-ni-keri.
Uguisu no
Kōreru namida
Ima ya tokuran.
(2) Uguisu no
Tani yori izuru
Haru kuru koto wa
Koe nakuba,
Tare ka shiramashi ?
Spring has come before the New Year.
The nightingale's frozen tears will now
perhaps be melted.
Were it not for the voice of the night-
ingale issuing from the valley, who would
know of the coming of spring?
(Do not confound the agglutinated suffix mashi, “will” or “would ” in the Positive Voice,
with maji, the Future of the Negative Voice:-shiramashi is "would know" in poetic parlance;
shiru-maji is “will not know."')
(3) Haru-goto ni
Hana wa chiru to mo,
Sakinu-beshi.
Mata ai-gataki
Hito no yo zo uki.
Though the flowers may fall each spring,
they will bloom [again]. 'Tis man's life,
which cannot come over again, that is sad.
224
SEVENTH SECTION.
(4) Momiji-ba wo
Kaze ni makasete
Miru yori mo,
Hakanaki mono wa
Inochi nari-keri.
(5) Shira-kumo ni
(6)
Hane uchi-kawashi
Tobu kari по
Kazu sae miyuru
Aki no yo no tsuki !
Au kara mo
Mono wa nao koso
Kanashikere,-
Wakaren koto wo
Kanete omoeba.
(7) Waga sode ni
Mataki shigure no
Furinuru wa,
Kimi ga kokoro ni
Aki ya kinuran ?
(8) Natsu-gusa ya
Tsuwa-mono-domo no
Yume no ato.
(9) Mono ieba,
Kuchibiru samushi,-
Aki no kaze.
(10) Furu-ike ya,
Kawazu tobi-komu
Mizu no oto!
A thing more fleeting even than the sighs
of maple-leaves abandoned to the wind, it
[human] life.
Oh! the moon on an autumn night, making
visible the very number of the wild-geese
that fly past with wings intercrossed in the
white clouds!
From the very moment of our meeting, my ·
sorrow is more grievous than before;-for I
remember that we shall [have to] part.*
The premature drizzle that has fallen upon.
my sleeve, may it mean that autumn has
entered thy heart? (I. e. Are my tears an
omen that thou lovest me no more?)
The summer grasses are what remains of
the warriors' dreams. (Composed on an
ancient battle-field.)
In the autumn breeze, my lips grow cold
as I talk.
The old pond—aye! and the sound of the
frogs jumping into the water.
For the subject of Japanese poetry and the simple rules of its prosody, see Colloq.
Handbook, ¶465 et seq.; also Things Japanese.—Lange's "Altjapanische Frühlingslieder” has
excellent translations into German verse of considerable portions of the "KOKINSHŪ.”
* This little poem, which sounds so pathetic, is really but the vehicle for an acrostic,-kara-momo no hana,
"apricot blossom," in the first and second lines.
MORE ABOUT THE KANA.
225
EXERCISE IN THE KATAKANA.
As exemplified in the preceding extract, the Katakana may replace the Hiragana in the
“Mixed Script" (Kana-majiri), for the purpose of denoting particles and terminations; it is
also often availed of for writing interjections, as exemplified on pp. 176 and 178. The other
most common use to which it is put is the transcription of foreign words. Many such, it is true,
have risen to the dignity of being invested with Chinese characters,-KOMPEITO, "sugar-candy,'
for instance, which is derived from some Continental word allied to the English "comfit,'
but is now
written
written 金​米糖 ​as if signifying “golden rice sugar;" and KURABU a club, "
俱樂部
​"mutual gladness section,”—no bad ideographic pourtrayal of the social
>>

resort in question, while the sound both of the original and of the characters is likewise pretty
*
fairly adhered to. Mostly the sound alone has been followed; and numbers of diseases,
medicines, and all sorts of other words have been fitted with characters after the
かすていら
​嘉
​喜
​fashion 'of the poem given on p. 203. One or two have naturalised them-
selves otherwise, by going to the Hiragana for their transcription. The most
I familiar instance is kasuteira, as here shown, which means “sponge-cake," and
is derived from "Castilla (Spain), whence a knowledge of that delicacy
was obtained. But a large number of European words-most of those which
still strike the linguistic sense as aliens are habitually written and printed in
Katakana. The following Reading Lesson gives some of the commonest of this class.
n W
ら
​羅
​29
READING LESSON.
18
10
ホ ​33
ル
​. 31
ピス
​○
コ
​ダ​3ヤ
​テ
​37
イ
​ナオ
​イ
​38}
ル
​ガ
​32
ベンキ
​ステーシ
​ヨ
​フ
​リ
​26
27
セ
​23
ンカチ ​15メ​13 ソ
​ネラ
​ラヨ
​ヨリ
​フ
​メネ
​ラ
​ンプ
​24
ル
​礻
​22
カ
​フ
​ス
​19
キ
​ボ
​ン
​16
»
ス
​11
11
ジン
​"8
ル
​ツ
​ア
​1
卜
​6
ビン
​チ
​ウ
​○,
ビヤ
​ヤンピン
​スポン
​テーブ
​ク
​ツ
​○
キ
​20
プ
​イ
​ボ
​SO
28
ピ​°33ホ
​25
マ
​ブイ
​ス
​テリ
​ツ
​○ヤネ
​ネレル
​ル
​フ
​トルキチ
​。
リ
​21 ツ
​ル
​ツ
​ク
​ㄉ​子
​○
○
ラム子​。
ナ
​35
17
ラ ​オ
​厶
​12
イス
​3
ク
​リ
​ジャム​。
4
ム
​5
ビ
​ビス
​1ヶ
​2
* The natural reading of these characters would be GU-RAKU-BU.
226
SEVENTH SECTION.
アス ​二​力 ​カウ
​61
ウウツ
​I
グ​86 ウ
​55
ントテルコ
​39
ル
​69
ゴヱヰトゴ
​ラキサ
​ガ​カ
​リ
​ツ
​。 43
67
ル
​リ ​ガキ
​64
59
ド
​プ
​ア
​48
O
ヤ
​プ
​ルヤ
​フ
​ルユ
​ス ​53
スン
​ス​”ホカ ​I
カル
​62
ス​、ス
​ミ
​ムス​。
57
リ
​ゲ
​フ
​リ
​カンデネビヤ
​65
ル
​ド
​デヤ
​68
ヤブ
​ラ
​70
ニラ
​ボ
​ク
​ル
​○
60 クス
​リ
​ザ
​ト
​イ
​ツ
​58 1
ル
​プ
​ラセ
​ワ
​747
47ル
​セ
​ル
​ル
​ダ​52 ス
​50
フルド
​63
スメ
​ク
​ユ
​ツ
​ル
​ン
​コ
​テ
​56
スル
​ヴ ​ク
​51
ビスマ
​井
​46
ナチ​が​40
木
​49 レ
​1 オ
​44
ラ
​ス
​パ
​· 41
51. V
ラ ​リ
​ラチナ
​→ 45
クケ
​42
¹Aisu kuriimu. Ice-cream.-2Bisuketto. Biscuits.-Jamu. Jam.-Pan. Bread.-5Biiru. Beer.
9
-Shampin. Champagne.-Ramune. Lemonade.-Jinjimbiya. Gingerbeer. Miruku. Milk.-
10Soppu. Soup.—"Shichi. Stew.12Omaretsu. Omelet.
13 Merinsu. Mousseline de laine.-"Furanneru. Flannel.-15 Chokki. Waistcoat.-16 Zubon.
Trowsers. (These last two perhaps from the Dutch.)-"Shatsu. Shirt.-18 Kara. Collar.-
19 Kafusu. Cuffs.-20 Botan.Button.-21 Rinneru. Linnen.-22 Nekutai. Necktie.
23 Semento. Cement.-24 Rampu. Lamp.-25 Matchi. Match.-26 Penki. Paint.-"Burikki or
Cement."Rampu. Lamp.25Matchi. Match.--26Penki.
28buriki (from Dutch "blik"). Tin-plate.-29 Suteshon. Station.-30 Hoteru. Hotel.-Piyano.
Piano.32Orugan. Organ.-33 Pisutoru. Pistol.Dainamaito. Dynamite.-35Naifu. Knife.-
36 Hoko. Fork. Supon. Spoon.-Teburu. Table.-9 Koppu (from "cup"). A tumbler.-
Garasu. Glass.─"Paipu (from “pipe ''). A cigarette-holder.—Nikkeru. Nickel.3 Purachina.
Platina.─"Dokutoru. Doctor.— Bakuteriya. Bacteria.
40
37
53
(Herbert) Spencer.
46Napoleon. 47Washington.4(Commodore)
47Washington. 48 (Commodore) Perry.* 49 Caesar. 50
51Franklin. 52Darwin. Goethe. Bismarck. "Gladstone. "Victor Hugo. "Lincoln. 58Mahomet.
59 Miss Smith. Mrs. Williams.
cl Wales.
Melbourne. Chicago. Cuba.
63
64
"Manila.
"Manila. Sydney. "Calcutta. Brussels.
c
69California 70Trafalgar. "Scandinavia.
* The Japanese transliteration Peruri comes from an attempt, in early days, to conform as closely as possible to
the spelling, rather than to the pronunciation which was then not actually known. Other instances of such a tendency
might be quoted. Of course Peri would better render the real pronunciation of the name.
MORE ABOUT THE KANA.
227
1
ン
​ﾝ​軸
​CHARACTERS AND KATAKANA MIXED.
掛​工​タ​漠​山
​イ
​ムス​河
​ル
​24
セ
​22
ナ
​19
27
17
ル
​크
​ル
​15
カ
​21
ス
​25 ル
​メ
​ラ
​ガ
​28
リ
​海峽​。
イヤガ
​イ
​地​。
ンキ​壺​。
半島​。
ジブラ
​(肩掛​)。テーブ
​ト​ラ​イ​キ ​(同盟​罷
​ラス​窗​。
ヤス​製造​。
26
ル
​ﾔ ​掛
​23-
20
サ
​キ
​コ
​18
16
匕
​ララ
​シ ​株
​式
​前​社
​小
​13
11
ル
​子 ​ス ​聞
​3
ウ
​ヘボン​和英​字典​。
氏​富國​論​。
ヱブス
​5
ト
​ル
​富士屋​ホテ
​食パン
​―テル​電
​4
ンキ​塗師​。 ステ
​ルキ
​ル
​10
大​惠
​坂​比
​ア
​8
イ
​a
イムス​新
​大​字典​。ス
​12
ル
​ビ
​報
​菓​新
​3
ラテ
​14
ル ​沙​ャテカ ​1 菓
​¹Hebon WA-EI JITEN. Hepburn's Japanese-English Dictionary.-2Taimusu SHIMBUN. The
"Times" newspaper. Uebusutoru DAI-JITEN. Webster's “Unabridged Dictionary." 'Sumisu SHI
“FuKoKu RoN." (Adam) Smith's “Wealth of Nations."—"Roiteru DEMPō. Reuter's telegrams.
_KWA-SHI-pan. Fancy bread or small cakes.’Shoku-pan. (Plain) bread._EBISU Biru.
Ebisu Beer.*Furr-ya Hoteru. The Fujiya Hotel.—10Ōsaka Arukari Kabu-SHIKI GWAISHA.
The Ōsaka Alkali Joint Stock Company.-"Penki nuri-SHI. Painter (of houses, etc.).—12 Sutëshon-
mae. At the station.
WAN.
13 Honoruru-KO. The port of Honolulu.-+Temusu-gawa. The river Thames.-15 Mekishiko-
The gulf of Mexico.-Himaraya-SAN. The Himalayas.-"Barukan HANTO. The Balkan
peninsula.-18 Sawara SABAKU.
18 Sawara SABAKU. The Sahara [desert]." Naiyagara BAKUFU. The falls of Niagara.
20 Jiburarutaru KAIKYō. The straits of Gibraltar.
21
Ashawl.—"Tēburu-kake.
' Sutoraiki (DOMEI HIKō). A strike."Shōru (kata-kake). A shawl.23 Tèburu-kake. A table-
cloth.24 Seru-J. Serge._"Meriyasu SEIzō. Manufacture of knitted goods.-26Pen-JIKU.
pen-holder.-27 Inki-tsubo. An inkstand.- Garasu-mado. Glass windows.
A

* A local brand.
† Apparently so transliterated through ignorance that the a of " Thames" is short. Similarly Sawara for “Sabara,"
as h tends to pass into w in the middle of Japanese words.
228
SEVENTH SECTION.
TELEGRAMS.
Though neither book-printers nor letter-writers ever employ the Katakana for more than
single words, there is one class of documents-highly important in modern life-in which,
by official fiat, resort must be had to it, viz. telegrams. The names and addresses may, it
is true, be in Chinese characters (for the order to flank these with Katakana is not strictly
insisted on); but the body of the telegram must be in Katakana only. Each Nigori'ed
syllable counts double, and a space should be left blank after it to facilitate the counting.
The following specimens will serve the double purpose of a Katakana reading lesson, and a
lesson in the composition of Japanese telegrams. It will be noticed that the style is mostly
colloquial, besides being compressed for the sake of brevity. A single message
一​音信
​ICHI-ONSHIN) consists of fifteen Kana characters or numerals, the address of the receiver (but
not that of the sender) being free. The first specimen is given in a facsimile of the official
telegraph form. All the characters occurring in this form should already be familiar to the
student, with the exception of
-Nos. 1248-53.
貼​扱際​認注 ​and 終​~No.
Hearing that telegrams are sent in Kana, and naturally assuming that such would
not continue to be sent year after year in ever-increasing thousands if the recipients
did not understand them, a foreigner may be led to ask why all written and printed
documents should not be clothed in the same simple form. The answer is that the Kana
is by no means the most convenient vehicle either for writing telegrams or for reading
them, but only the most convenient vehicle for translating them into a telegraph code. The
mechanical difficulties in the way of wiring the "Mixed Script" are insurmountable. Other-
wise it would certainly be preferred; for the present system entails frequent error and difficulty
of comprehension, especially in long messages and in those containing many Chinese words.
Of course a cypher is resorted to whenever possible. It is thus seen how "circumstances alter
cases.' In China itself, where no alphabet or syllabary of any kind exists, a code has been
evolved whereby all the characters in current use, to the number of several thousands, are
fitted with figures, which latter are sent by wire and re-translated into the corresponding
characters at the other end. It is a cumbrous system, and the Japanese have preferred to
retain their own, which was devised for thein by foreign experts in imitation of that
employed in Europe; but it does not suit their language nearly as well as ours does our
Western tongues. It is merely the best make-shift which unfavourable circumstances happen
to allow of. The student himself, by the time he has got thus far on his way, will probably
see the case as here stated. It is to the beginner-more still to the outsider absolutely
ignorant of local conditions-that the attitude of the Japanese towards their written system
appears unreasonable. But the real unreasonableness is on the side of him who undertakes
to argue about any technical subject with which he lacks practical acquaintance.
}
MORE ABOUT THE KANA.
229
紙​信賴​報​電
​
當 ​信 ​著
​注​電
​務 ​午
​付​受 ​第
​午
​所​場​/印​付​日​及​付​貼​手​切​便​郵
​報 ​者​信
​心
​意 ​方
​時
​時
​き​本​す​信​せ​發
​樣文​べへん​信
​大中​し​居​と​人
​書​の​所​す​の
​す​敷​氏​る​居
​ベ​字​名​時​所
​し​は​の​は​氏
​片​下​本名
​假​に​文​を
​名​片​の​受
​と​假終​信
​分 ​名り​人
​別に​又​に
​し​て​は​知
​易​記​受​ら
​に​字​名​己​發
​記​に​を​の​信
​すて​可​居​人
​べ​此成​所​は
​分局​字​分號​報 ​報
​電​報料
​【殊​特
​取​扱​料
​定​指 ​名氏​所​居​人​信​受
​ンア
​ジス
​ユ
​し​處​本​氏​自
​荒​赤
​木
​松
​の​居所​氏 ​東京​赤坂
​山口
​城
​熱
​海​之
​タ
​マク​四
​屋​や
​ツ
​アヤ
​ヘヤ
​五
​ラアヒ
​臺
​町
​キルハ
​番地
​之​助
​十七​十六​十五​十四​冊 ​廿 ​十
​力​九
​<+
+
は​達電
​其​紙​報
​居​の​送
​所​外​達
​氏​部​の
​名​に​際
​を​表發
​此​は​信
​處​さ​人
​へん居
​記​と​所
​すず​氏
​べる​名
​しも​を
​の​選
​230
SEVENTH SECTION.
TRANSLITERATION AND TRANSLATION OF THE OFFICIAL
TELEGRAPH FORM.*
DEMPO RAISHINSHI.
(TELEGRAPH FORM.)
YŪBIN-gitte CHOFU oyobi hizuke-IN no basнo. (Place for sticking postage-stamps and for the
date-stamp.)
TOKUSHU tori-atsukai RYO. (Charge for special treatment.)
DEMPO RYO. (Charge for the telegram.)
JUSHIN-NIN KYOSHO SHIMEI. (Residence and name of addressee.)
SHITEI. (Indication,-as to whether the telegram be urgent, to be forwarded by post, etc.)
DEMPŌ SŌTATSU NO SAI, HASSHIN-NIN KYOSHO shimei wo sŌTATSU-SHI NO GWAIBU ni arawasan
to suru mono wa, sono KYOSHO SHIMEI wo kono tokoro ye KIsu-beshi. (If it is desired that the
name and address of the sender be given on the cover of the delivery form to be used for
this telegram, they should be written in this space.)
Ho. ([Class of] telegram, i.e. whether official or private.)
DAI ...... GO. (Number.)
Uke-tsuke GO ……………. JI
or P.] M.)
......
JI ………….. FUN. (Received [at such an] hour and [so many] minutes [A.
JI. ([Number of] characters.)
CHAKU ...... KYOKU. (To be delivered [at such a] station.)
SOSHIN GO ... .. JI .. FUN. (Sent [at such an] hour and minutes [A. or P.] M.
SÕSHIN TOMUSHA. (Operator by whom transmitted.)
DEMPO shitatame-kata CHUI. (Directions to be borne in mind when writing out telegrams.)
Hitotsu. HASSHIN-NIN NO KYOSHO SHIMEI Wo JUSHIN-NIN ni shirasen to suru toki wa, HOMMON
no owari mata wa JUSHIN-NIN KYOSHO SHIMEI no shita ni Katakana nite KIsu-beshi. (Item.—
When it is desired to inform the addressee of the address and name of the sender, these
must be written in Katakana either at the end of the message or under the address and
name of the addressee.)
Hitotsu.-HOMMON-CHU no SŪJI wa, Katakana to FUMBETSU shi-yasuki YO TAISHO su-beshi.
(Item.-Numerals occurring in the text must be written large, so as to be easily distinguish-
able from the Katakana characters.)
* A much freer official translation will be found in the form used for sending telegrams in English. Or rather,
as in so many other cases, the English is the real original, while the so-called Japanese original is a translation
partially altered to suit local needs.
† E.g. for delivery at some locality distant from a telegraph office, for repeating a message, giving a receipt, etc.
MORE ABOUT THE KANA.
231
HASSHIN-NIN wa, JIKO NO KYOSHO SHIMEI WO naru-beku HONJI nite kono tokoro ni Kusu-beshi.
(The sender should insert in this space his own address and name,-in Chinese characters
if possible.)
Atami Yamashiro-ya. (Yamashiro Hotel, Atami.)
Asu yuku heya aru ka HENJI matsu Araki. (Going to-morrow have you room await
reply Araki.)
Tōkyō Akasaka Dax-machi NI-BANCHI, Araki Matsunosuke. (From Araki Matsunosuke,
2 Akasaka Dai-machi, Tōkyō.)
j
17
16 15 14 13
12
11 10 9 8 7 6 5 4
3
2 1
テイカコン ​五 ​キア​キキ​ケア​アケア​キス
​ガオウイトョセ​○ヨ​キスシ​ウフ​ススサ​スウグ
​エリヤ​アヤ​ヨビ​カゴ​タヤ​ビキ
​ウサ​トウヤ​ヘ​ニッス​ヤタ
​エス​マス​ウル​ジバ​ミウ​レ
​ンクルグキ
​イマカカユ
​ンテ​へ ​ヘカ
​ミクビクワウ
​オレンワルチ
​ク ​アイヰ
​リ
​ルチサ
​ト
​ナシイ
​メ
​ラユア
​ヨ ​セクト
​ンス
​ナラセンダイ​へ
​インヰサイアト
​五​〇​エンデンシンカハ
​セ
​ヨ
​コ
​ハンクス
​マールグ
​チーニオ
​ヤジオイ
​ヌヌ
​ヌクキョデ
​タバチ
​クズマ
​ツ
​'Sugu kitare.—Come immediately.
2KyūByo sugu oide wo matsu. Sudden illness, please come immediately.
3Asu yasumi kuru ni oyobazu. Holiday to-morrow, you need not come.
‘Kesa tatsu BAN JU-ICHI-JI KITAKU.-Starting this morning, reach home eleven P. M.
(Notice“eleven
"eleven" written
ie. 11, instead of 士​; similarly 悪 ​below, instead of
ㄚ
​This semi-European method of writing the numerals is obligatory in telegrams, and is also
now much employed in book-keeping. It will probably end by superseding the old native
method altogether.)
5
Asu GO SAN-JI Hama CHAKU.-Arriving Yokohama to-morrow three afternoon.
Asu kaeru.-Returning to-morrow.
'Kyō BYOKI yukarenu.-Ill cannot go to-day.
6Krüro sugu kaere. Urgent business return instantly.
232
SEVENTH SECTION.
KISHA tomaru kaerenu.—Railway interrupted cannot return.
19Asu asa yuku mate.-Going to-morrow morning wait.
"KIKYO EN-IN ISAI ato yori.-Return to Tōkyō delayed details follow.
"GO-JŪ-EN DENSHIN-kawase yokose.-Send fifty dollars telegraph order.
13SHOCHI.-Consent.
14 Kotowaru ISAI ato.-Decline details follow.
KAIKWAI WO SHUKU S.-My congratulations to the meeting.
16YŪBIN aru nara SENDAI ye okurc.-Send any letters to Sendai.
17 Tegami okuri tome-yo.-Keep my letters.
NEW CHARACTERS OCCURRING IN THE PRECEDING SECTION.
but only a phonetic use, especially in the word (1117-8) 菩薩
​saint. #
善
​薩
​SATSU, has no meaning,
“a Bodhisatva” or Buddhist
was originally the bo or pepul, the sacred tree of the Buddhists. Japan is still
Buddhist enough to make the word BOSATSU a necessary one for the student to memorise.—
1119. 濃
​(C
Nō or koi, thick" (as liquids),
(as liquids), "dark" (as colours). Learn in this context its
tsukuri (1120)
“agriculture," which has the same sound Nō.—1121. 武 ​BU or take,
"military" (from "stopping" and "spear," i.e. "stopping fighting," the military evolution
most congenial to the Chinese mind!), as in BUSHI, “a warrior."-1122.
±
駿
​SHUN
or hayai, “swift.”—1123. ¡µS
河 ​KA or kawa, "a river,"-properly a big one, small rivers being
(47)
; but the Japanese rarely attempt any such distinction.—1124.
JI];
duck."-1125.
ō or kamo, "a wild-
鴨
​蘭 ​BAN, “an orchid," also used phonetically for RAN (Oranda), “Holland,”
1126. 蟬 ​SEN or semi, “a cicada.”—1127. Ko, here the postposition wo, but
平
​"Dutch."-1126.
more often used for the interrogative ka ? or ya?—Observe (296) SHA read koso on p. 202.
-1128.
旱 ​KAN or hideri, "drought."-1129. 爾 ​JI or nanji, “thou;" also shikari, “just so.'
-The character
Hik HEI in the text is less used than its homonym and_synonym (1130) thk
((
HEI or yabureru, "to be torn," "vile," hence "my," our," as in 弊​社
​1131.
波
​HA or nami, "waves."-1132.
our firm.'
Till! REI, "propriety,' ""ceremony."—1133. 騰
​or noboru, "to ascend."-1134. 佐 ​SA or tasukeru, "to assist."-1135. 藝
​"C
ΤΟ
GEI, an art" or
"accomplishment."-1136. 伎 ​KI or GI, skill," "ability," used in the common word 歌
​舞​伎 ​KABUKI, “a theatrical performance," lit. "skill in singing and dancing.
-1139.
BU or
mau, "to dance," is our No. 1137.-1138. 賀 ​GA, "congratulation," often used phonetically.
奈 ​used phonetically for the sound na; less often read ikan? "how?"-1140. 惠
​KEI or E (for we) or megumi, “kindness."—1141.2
呂 ​RO, originally a picture of the
風​呂
​spinal vertebræ, but mostly used phonetically, as in FURO, "bath” (FU is short
((
FŰ,
"a
(C
here, though long in Ji
風 ​wind," used alone).—1142. HAN or BAN, 'a
platter" or "plate,"
in
as
石 ​般
​TO THE
SEKIBAN,
slate.”—1143.
尔 ​NI, used in
丹
​Japan only as a contraction of (No. 1129)-1144.
-1144. TAN, "the colour of vermilion,"
read ni in old Japanese, whence its phonetic force. The dot denotes a fragment of the
MORE ABOUT THE KANA.
233
井 ​the "well" or
怒
​or "pit," whence it is dug out.-1145.
遍
​HEN
徧​·
vermilion cinnabar inside
or amaneku, “everywhere;" also written
"slave." Learn
-1146. I DO (NU) or yakko, "slave.
it together with (990) "anger" (the "heart" a "slave" to its passion).—1147.
RYU
or nagareru, "to flow."-1148.
to flow." 1148. ¿ REN or tsuranaru, "to be in a row (like a line of car-
riages” in “motion”). Remember at the same time (1149)
<<
E
REN or hasu, "lotus."-1150.
but katsute, "formerly," "ever," "never;" used for the syllable so in several proper names.
徒
​1151.so, "thorny," also the name of an ancient Chinese kingdom.—1152. (from
楚
​step" and "walk"), To or kachi, "afoot;" hence To means also "follower," "disciple," as in
生​徒
​SEITO; it is also read itazura ni, “vainly."-1153. 津
​((
SHIN or tsu, a port" or "mart.
1154. (properly but often thus abbreviated), used phonetically for the sound ne in
祢 ​補
​negi, a Shinto priest.-1155. 那 ​NA or nanzo?“what?”—1156.
RA, properly
"a bird-net," but chiefly used as a phonetic sign. This character is easily remembered by
its three component parts, "net," "silk," and "bird."-Do not trouble about 1157.
Fni, “in;” koko ni oite, "hereupon,”—a synonym of (65) j
(745) + KAN, whose last stroke is not jerked upward.—1158.
干
​滿
​4-
Do not confound it with
MAN or michiru, "to
be full."-1159. 个 ​KO, a synonym of (270), originally depicting the last three leaves
on a twig of bamboo, but now used only phonetically for the sound ko or ka. The Katakana
KI or koi-negau, "to hope;" sometimes read mare,
letter ke comes from it.-1160.
希
​“seldom;” but this is more often written (1161)
1163. I
-1162.
富
​FU or tomi, "riches."
江 ​Kō or e, in China " a river," c. g. 楊子江
​the Yang-tsze-kiang (YO-SU-KŌ);
but in Japan "an inlet.”-1164. 1953 Yō or ageru, "to raise.-1165. Bus A, used as a
phonetic sign.-1166.
-the E of
喜
​KI or yorokobu, "to rejoice."-1167. 慧 ​KEI or E, "ingenious,'
智慧 ​CHIE, “ wisdom.” Do not confound it with (No. 1140)
66
'kindness."
HI or tobu, "to fly." One may still trace in it something of the original form, which
depicted a bird flying.-1169.
1169. 茂
​1168. 飛
​about 无
​1172**
-1170.
戀
​REN or koi, "love." For approximation both in shape and sound,
MO or shigeru, "luxuriant," as foliage. Do not trouble
HEN, "change; " 1171 ** BAN, "barbarian;
compare this character with (No. 373)
**WAN,
WAN, “drawing” or “bending" a bow; and 1173***
灣 ​WAN, “a bay" (whose shape
recalls a bent bow).
Characters 1170-3 are often abbreviated to
恋​蛮​弯​湾
​respectively.-1174.
1174. 藍 ​RAN or ai, “indigo.” Herewith compare (1175) E RAN, "to look,"
as in
御​覽 ​GORAN, "your looking;" also 1176 艦
​GUNKAN.-1177.
KAN, a war-vessel," as in 軍艦
​稱 ​SHO or tonaeru, "to call," "to designate."-1178. 衰
​SUI or otoroeru,
"to decline," "to deteriorate:' 盛衰 ​SEISUI, "prosperity and decay. Observe how, in
this character, the Radical
is divided into two parts-upper and lower-by the rest of the
strokes. Nos. 653 and 654 offer parallel instances.—1179. 縫 ​HỎ or Nuu, "to sew."-1180.
乾 ​KAN or kawaku, "to dry;" read KEN in the compound (1181), KEN-KON,
熱
​“heaven and earth.”—1182. NETSU, "fever," or atsui, “hot." Atatakai, “warm,” is (1183)
234
SEVENTH SECTION.
暖
​DAN.-1184.
Notice how E
藤
​ΤΟ
To or fuji, "the wistaria."-1185.
寶 ​Ho or takara, "a treasure."
貝
​玉 ​n gem," 缶 ​“a vase," and
struction, and how they are placed under
(C
a [precious] shell," enter into its con-
"a shelter," as a "treasure" should be.-1186.
#B Hō or kuni, “a country,” synonymous with (No. 282).—1187.
meet." Learn it with
(1179)縫
​но
HỒ
逢 ​Ho or au, "to
JEJEJ HO, "a friend," as in JK HOYU,
Hỏ or nuu, “to sew," as "sewing" makes the different bits
of cloth "meet" by means of "thread."-1188. HO,
}
"a friend." JJJJJ does not really come from two moons, as might be thought; it comes from
two phenixes, that bird being the symbol of friendship. "Phenix," Jap. HO-0, is written
the former being properly the male, the latter the female bird. A good
(1189-90) 鳳凰
​memoria technica for
鳳
​is to dissect it into
凡
​all,"
鳥 ​"bird," because the phenix
is the chief of all birds; but in reality the character is pictorial, the original shape having
been which depicted a bird with a mass of splendid tail-feathers. may be remem-
凰
​乏 ​BO or toboshii,
bered as the "emperor" (or rather "empress") of birds.—1191.
“poor.”—1192. I
紅 ​Kō or kurenai, “red;” also beni, “rouge.”—1193. L
ΚΟ or hiromeru,
"to spread abroad," as in the name of the great apostle of Jap. Buddhism, KōвO DAISHI,
or
弘法​大師 ​lit. "the great teacher who spread the law.”—1194. 黃 ​KO, O,Or
ki-iro, "yellow."-1195. 徵 ​CHỦ Or Mesu, "to summon,'
"to summon," as in 徵兵
​(C
troops," "conscription."-1196. 兆 ​CHO or kizashi, an omen."
CHOHEI, "levying
The original form
ehli
represents the lines on a tortoise-shell when scorched, as in the ceremonies of ancient Chinese
Compare for form and rhyme
divination.-1197. JIE CHO or fuda, "a tablet," "a record."
“a
B
a leaf.”—1198. tatami, “a
(No. 645) 葉 ​Yo or ha, "a leaf."-1198. tatami, "a mat." Its Chinese sound Jo is used
to compute the size of rooms.—1199. 櫻
​treasures," but as delicate as a
ō or sakura, "the cherry-tree," whose blossoms
(( woman." -1200. 波 ​婆 ​BA or baba, “an old woman.'
KA or yome, "a bride" (appropriately composed of "woman" and "house
are
1201.
嫁
​Ka
LATE
SEI or muko, "a son-in-law," "a bridegroom."-1203.
JO
a bridegroom.”—1203.
”).—1202.
HEI or kakusu, "to hide;"
conf. No. 1130.—1204. 娘 ​30 or musume, “a girl,” specifically "daughter;" conf. (No. 897) E
“a man.” Similar in sound and meaning is which, however, has an honorific tinge,
denoting rather a "young lady," and which cannot therefore be applied to one's own daughter.
-1205. EN, “connection,” “affinity." Do not confound it with (1206) RYOKU or midori,
緣
​"green." The lower part of the former's tsukuri appropriately suggests the idea of "house,"
or "family," while the corresponding part of the latter suggests the colour of "water.”—1207.
KETSU or musubu, "to tie;" also yuu, “to bind” (as the hair).—1208.
to bind " (as the hair).—1208.
結
​NO or osameru,
"to pay in" (as taxes).-1209. 貰 ​morau, "to receive" (as if receiving a "world" of "wealth").
—1210-11.媒
​BAI and
妁 ​SHAKU both mean nakōdo, "a go-between for marriages."-1212-13.
MEI or mayou, and
HK WAKU or madou, both denote "perplexity."
ately formed of "heart" and "perhaps" (indicating doubt);
***
米
​日
​is appropri-
perhaps” (indicating doubt); is founded on the Phonetic
-1214. TAN or ashita, "morning" (the "sun" above the "line" of the horizon):
Bit-tan, "once."-1215. (494) YAKUSOKU, "an agreement,” both characters
MORE ABOUT THE KANA.
235
meaning "to bind."-1216. 廉 ​REN or kado, "a corner," hence "an item," hence "cheap.'
詐
​1217. 破 ​HA or yaburu, "to break."-1218.
SA or itsuwari, "a lie," "fraud."
(Characters suggested by the poems given in Hiragana on pp. 222-4). 1219.),
""
KU, a
RUL
line of poetry" "a phrase."-1220. 鶯 ​ō or uguisu, "the nightingale."-1221. 淚
​tare? "who?"-1223. B SHO or saku, "to blossom."-1224.
or namida, "tears."-1222. 誰
​GŪ or au, "to meet with." 不​遇
​(6
FUGU means unlucky." Observe how many
characters there are for au, "to ineet," 合​會​逢​遇
​遇
​遭
​so.
JE
The compound 遭遇 ​SUGU often occurs.-1226.
Yet another is (1225)
NINZUru "to appoint;
also makaseru, "to commit to the will of."—1227. 悲 ​HI or'kanashimu, "to grieve," especially
"to grieve for," "to commiserate" (the "heart" dwelling on "negations" i. e. on things bad and
distressful).—1228.
池
​袖
​SHU or sode, "a sleeve."-1229. 唇 ​SHIN or kuchibiru, "lips."-1230.
CHI or ike, “a pond.”—1231. 蛙 ​A or kawazu, "a frog.
(Characters from p. 225 onwards.) 1232. (b)
same time its Phonetic (1233)
SATO, "sugar." Remember at the
the To or "T'ang" dynasty of China, also read Morokoshi
and Kara to denote China itself. This is the Tō of
“foreigner.”—1234. L
唐人 ​TOJIN, a contemptuous word for
俱 ​GU or tomo ni, "together."-1235.
1235. **
((
CHU or kabu, a tree stump,"
hence "stocks" or "shares."-1236. 式 ​SHIKI, “a rule,” “a ceremony."-1237. 塗
​nur'u, "to smear."-1238.
Kō or minato, "a harbour."-1239. ATTE
large waterfall" or "cataract."-(1240)
—(1240)瀧
​To or
BAKU or taki, a
Rō is a common synonym. Notice how the
Phonetic RYO, “dragon," connotes the meaning, as dragons are always associated with
water in Far-Eastern folklore.—1241. [KYO, “a strait;”
峽
​semai, “narrow.”—1243. 沙
​compare (1242) 狹
​KYO Or
The
SA or suna, "sand," interchanged with (No. 615) 砂
​Radical of this latter shows the material of which the sand consists, the Radical of the former
SHAMON,
shows the water in which sandbanks are often found. is rend SHA in
沙門
​“a Buddhist priest” (a corruption of Sanskrit "sramana.")-1244. MEI or chikau, "to
沙
​H
swear." -1245.
肩 ​KEN or kata, "the shoulder" (which resembles "a door" hung over the
fit
JIKU,
"flesh,"
being here, as usually, NIKU-zuki, “flesh,” not tsuki, “moon”).—1246.
an “axle" (that which a “carriage" "relies on "), "pivot," "handle."-1247.9 or 2
窓
​囱
​sʊ or mado, “a window." The ancient form or, afterwards altered to
,
was
a representation of a sky-light, to which the Radical for "hole" has been added in order to
determine the sense more exactly. Primitive windows closely recalling this ancient picture
may still be seen in Japanese huts.-1248.
huts.-1248. CHO or haru, "pasting" or "sticking" ("a
stamp,” etc.).—1249. 报 ​KYŪ or atsukau, "to manage."-1250.
際
​SAI or kiwa, "a limit" (of
time or place), "when."-1251. 認 ​NIN or mi-tomeru, "to recognise ;" also often shitatameru,
注 ​CHU or sosogu, “to pour;” hence B
CHU-I, "to
CHU-I, "to pay attention."
*** SHŪ or owaru, "to end." Remember it by the end of "thread,” and “winter'
to write."-1252.
-1253.
which is the end of the year.
>>
236
SEVENTH SECTION.

1165
1155
1146
1137
1127
1117
阿​那​奴​舞​乎​菩
​1166
1156
1147
1138
1128
1118
喜羅​流​賀旱
​1167
1157
1148
1139
1129
1119
慧​于​奈爾​濃
​1168
1158
1149
1140
1130
1120
飛​滿 ​滿​蓮​惠​弊​農
​1169
1159
1150
1141
1131
1121
茂​个​曾​呂波​武
​1160
1151
1142
1132
1122
希​楚盤禮​駿
​1161
1152
1143
1133
1123
稀​徒​尔​騰 ​河
​1162
1153
1144
1134
1124
富津​丹佐鴨
​1163
1154
1145
1135
1125
江​禰​遍​藝​蘭
​1164
(1154)
(1145)
1136
1126
揚​祢​徧​伎​蟬
​WRITING LESSON.
237

1219
1209
1200
1190
1180
1170
句​貰​婆
​貫​婆​凰 ​凰​乾​戀
​1210
1201
1171
1220
1191
1181
媒​嫁​乏​坤​蠻
​1221
1211
1202
1192
1182
1172
淚​妁​婿​紅​熱 ​熱彎
​1222
1212
1203
1193
1183
1173
誰​迷​蔽​弘​暖​灣
​1223
1213
1204
1194
1184
1174
咲​惑娘​黃藤​藍
​1224
1214
(1204)
1195
1185
1175
遇​旦​孃​徵​寶 ​覽
​1225
1215
1205
1196
1186
1176
曹
​遭​約​縁​兆​邦​艦
​1226
1216
1206
1197
1187
1177
任​廉​綠​牒​逢​稱
​1227
1217
1207
1198
1188
1178
悲​破​結​疊​朋​衰
​1228
1218
1208
1199
1189
1179
袖​詐​納​櫻​鳳​縫
​238
SEVENTH SECTION.

1251
1242
1232
1229
認​狹​糖​唇
​1252
1243
1233
1230
注​沙唐​池
​1253
1244
1234
1231
終​盟​俱​蛙
​1235
1245
肩​株
​1246
軸式
​1247
窗​塗
​(1247)
1236
1237
1238
窓 ​港
​1248
1239
貼​瀑
​1249
1240
报​瀧
​1250
際​峽
​1241
EIGHTH SECTION.
PROPER NAMES.

地
​名
​及
​人
​名
​事
​湯
​本
​崎​“ long cape
Yumoto
""
“hot water origin,'
i.e. "thermal spring'
EIGHTH SECTION.
PROPER NAMES.
Though numbers of proper names have occurred incidentally in the previous Sections,
notably on pp. 46 and 107-9, both interest and usefulness may be served by gathering together
in one place the chief facts relating to that class of word. Several Chinese characters
needing to be memorised will also naturally come to the fore in this connection.
Class I includes such names as
長 ​Nagasalki
m Miyojima
PLACE-NAMES.
廣 ​Hiroslima
島
​"broad island
""
島
​"temple island
""
落
​合
​i. e.
Ochiai
"flowing and meeting,"
streams
a confluence of
住
​Sumiyoshi
pleasant to dwell in
吉
​(C
御​嶽​輕​井​澤
​御 ​Ontake
"august peak
">
JII
早
​Hayakawa
"swift river'
pq
[日​市
​Yokkaichi
"fair on the fourth day
芝
​Karuizawa
"light well swamp
Shiba
"turf "
津
​Tsu
"port or "mart
>>
etc., etc., whose meaning is transparently clear, and the characters appropriate to the meaning.
Such names are legion. Not a few belonging to this class are Chinese :

PL SHIKOKU
ナ
​KYUSHU
[國
​""
"the four countries
州
​"the nine provinces
臺
​灣
​TAIWAN
"terrace bay
本​郷
​HONGO
宮
​SHINGU
"new temple'
""
SENDAI
"the genii's terrace "
SAIGO
"western village
仙臺​西鄉 ​東海​道
​新
​SHINDEN
"new rice-fields,” i. e.
"reclaimed land
>>
"main village"
田
​TOKAIDO
"eastern sea road "
242
EIGHTH SECTION.
琵琶湖
​BIWA-KO
“ lute lake”
般
​梯​山
​BANDAI-SAN
"slate ladder mountain
金​花山
​KINKWA-ZAN
"golden flower mountain
Occasionally the same name is pronounced Japanese or Chinese fashion according to
circumstances :-the
of Hoki
大山 ​of the province of Sagami is Oyama; the 大山
​""
is DAISEN (SEN is "GO-ON," the more usual SAN is "KAN-ON;" see Sect XI). 猿​橋
​((
monkey bridge," the name of a noted place in the province of Kōshū, is pronounced indifferently
Saruhashi or ENKYO.-We need scarcely remind the student who has got thus far how
common such cases of double readings are in ordinary words (not place-names), e. g.
東北 ​TOHOKU or higashi-lcita; 往來 ​ORAI or yuki-ki, etc., etc., etc.
築地 ​福井
​Some names are mixed Chinese and Japanese, as
TsukiлI
"earth filled in
>>
FUKUi
i.c. “ reclaimed land," the quarter of Tokyo so-called having formed
part of the bay as late as the middle of the seventeenth century.
"the well of prosperity "
御殿場 ​中仙道
​GOTEмba
"site of august palace
""
玄​海灘
​GENKAI-nada
“ dark sea reach
”
馬
​Baba or BAмba
中 ​NakasENDO
(仙 ​for
天 ​TENRYŪ-gawa
“ horse place,” i. c.
場
​仙山​)
山​)“central mountain
龍 ​"river of the heavenly
“ race-course
road "
""
dragon
川
​斤
​荻
​Oginohama
Some few include Kana signs, mostly (no) or (read not ke but ga, conf. p. 168,
under character No. 985), as in
宮
​Miyanoshita
• below [of] the temple ”
""
鶴
​Tsuru-ga-oka
“ the shore of reeds
“ the crane's mound ""
下​駒
​濱
​岡
​關
​四
​Koma-ga-take
Seki-ga-hara
ク
​""
"pony's peak
((
moor of the barrier
""
Yotsuya
“ four valleys ’
""
嶽
​原
​谷
​Note.-properly KOKU or tani, is read ya only in certain place-names. The is often left unwritten in
the last and similar instances.
PROPER NAMES.
243
8
Class II. Names (mostly unintelligible and therefore) written phonetically, as
7 6 5 4
3 2 1
琴​金​名​木​伊​甲​土​加
​* Z * P P
比​古
​香
​平羅屋​會保​斐​佐賀
​1
2
¹Kaga, Tosa, ³Kai (properly Ka-li), ‘Ikao

6
(I-ka-ho), Kiso, Nagoya, 'KOMPIRA (KON is the
GO-ON" pronunciation of whose "KAN-
ON" is KIN; the word is a transcription of the
Sanscrit "Kumbhira." Kotohira, the new so-
called native Japanese name of the same much-venerated shrine in Shikoku, with branches
all over the country, is perhaps but a further corruption of the same original; in any case,
the characters are merely phonetic.
The tendency to regard two characters as the normal number wherewith to write a name
seems to have motived the adoption of some phonetic transcriptions where a single ideograph
would have done the work, as in the case of ¹Nara, which may simply have been derived
from nara, the “evergreen oak." An Imperial edict was actually issued in A. D. 713,
enforcing the use of two characters in all names of provinces. It is in this way that the
2 province of 2Shima-so-called probably from its numerous islets or penin-
3
紀志
​3
sulas—came to be written as in the margin. The province of ³Ki—so named
1 Jible from its forests-left off being written
木
​and was written as if KI-I.
*Ki-
no-kuni-ya is still a common name for inns and shops.
4
3
2
1 Class III. Mixed transcriptions, that is, part ideographic
浦横​佐​字 ​#
l-world
part Phonetic, such as ¹Utsunomiya and 'Sata-saki (where the last
都 ​character must be read according to sense, the others according
步
​賀​賀​崎​宮
​3
to sound), Yokosuka and Uraga (where the reverse plan has
may c
to be followed).
奈良​紀伊國屋
​
Class IV. Irregular transcriptions of various sorts, mostly a mixture of ideographic
and approximate phonetic, some containing mutilated words, or words now obsolete :-
Kashima, as if shika-shima, the first
BA
Akashi, being read aka, as if
明
​鹿
​syllable being dropped; but a "deer,"
石
​from aku or akeru, and ishi being
deprived of its initial i.
島
​now called shika, was called ka in an-
cient days, so that the irregularity is
apparent only.
Naniwa (Ōsaka), as if nami-hana,
3
2
1
"wave-blossom." But the real deriva-
柳​熱​鳥
​1
tion is believed to be nami-haya, "wave 井
​swift," in allusion to the rapid current
near the local river's mouth.
浪華 ​笠置
​Kasagi, as if kasa-oki,-" putting a
straw hat."
fitti
多
​tori
¹ Tottori, as if
("bird") tori (“taking ").—
"Atami, as if atataka-umi.—
3 Yanaitsu, as if yanagi-i-tsu.
Hakata, as if HAKU-TA,-an irregular
phonetic transcription.
244
EIGHTH SECTION.
¹Asama, (a mountain in Ise),
2
1
淺​朝
​as if asa-kuma, "morning bear."
2Asama, the well-known volcano
間​熊
​in Shinshu, is written as if
愛宕 ​出雲
​meaning "shallow space."
Atago, as if AI-TO; but the true
derivation is from the Sanskrit.
神戶 ​竹生島
​Kōbe, from kami, "god," and he, an
archaic word for "door."
CHIKUbu-shima, "the island where
bamboos grow," fu being an archaic read-
ing of the verb commonly read uma-
reru, "to be born" (conf. haeru
ル
​"to grow").
Izumo, as if izuru kumo, which is interpreted as referring to an ancient ode preserved
in the "KOJIKI," where "clouds issuing forth" are mentioned in connection with the
deity Susa-no-o, the centre of whose cult is still at Kitsuki in the province of Izumo. But
not improbably the name is of Aino origin, and the legend has grown out of it.
若
​狹​素
​春
​Wakasa, as if waka-sema. (Probably there is no contraction here in reality, as it
would seem that sa was an archaic word for "narrow.")
春
​"the
Kasuga. Perhaps the character "spring" may here stand for kasumi,
spring mists." Ka is an archaic word for "day," still preserved in futsuka, "two
日 ​days;" mikka, "three days," etc.
2
1
神​國
​奈​府
​川
​'Kozu, as if KOKU-FU-tsu, "country storehouse mart."-Kanagawa, as if
kami-na-gawa, the na being phonetic merely, while the other two characters
have their proper sense, though, to be sure, kami is docked of its second syllable.
All the above being well-known names, no Japanese with a tincture of educa-
tion would ever mistake their reading. Less familiar ones are often misread, as
2
"Yonehara" for 'MAIbara, "Hiromae" for Hirosaki. Sometimes one has to 弘​米
​travel to a place before finding out how its name should be pronounced.
前​原
​A few-a very few-place-names admit of two entirely different readings, one accord-
ing to the ON, or Chinese sound of the characters, the other according to the KUN, or Japanese
1 translation. 'GANJU-SAN or Iwate-yama, a celebrated volcano in the north,
3
2
高​嵐​岩 ​supplies an instance. Sometimes the alternative, though not in genuine
野
​手
​山​山​山
​common use, is adopted, so to say, for fun or for elegance or for the needs
2
of metre, as when scholars call Arashi-yama "RANZAN," or poets invent the
reading "Takano-yama" where all the rest of the world says ³KOYA-SAN.
Names of provinces, most of which are very ancient, are apt to be highly irregular. Here
are the most important of those not already incidentally mentioned, with occasional ex-
planations to impress them on the memory :-
1
PROPER NAMES.
245
¹Hyūga (as if hi-mukai, “opposite to the sun," in allusion to its geographical situation
more often
17
13
9
5
1
facing East).-2BUZEN (BU is the "Go-ON" of

о
近 ​因​備​長 ​日
​read with its "KAN-ON" sound HO, or with the “KUN" toyo).
mi
江​幡​中​門​向
​18
14
10
6
2
7
遠播​備​周
​曲
​江​摩​後防​前
​19 15 11 7 3
'BUNGO (an epenthetic n inserted).—*Sanuki (as if SAN-KI).
-5Nagator (門
​read to as if Ƒ).~Suwō (as if sht-1ð).—-
Aki (as if AN-GEI).-BIZEN (regular); but 'BITCHU has an
unexpected t, and 10BINGO an epenthetic n.-"Oki (as if ON-KI).
_12 Mimasaka (as if BI-SAKU).—¹³ Inaba (as if IM-BAN).—¹Harima
(as if HA-MA).-15 Yamato is specially curious, as the sound is
尾​大​隱 ​HH entirely neglected in the writing, which latter is obtained by
of FI

the
use of
to represent Wa, a name anciently applied by
the Japanese to themselves, with ★ prefixed for vainglory's
8 4 sake.—16 Izumi should be
泉 ​merely; but two characters being
張​和​岐​藝​後
​20
16
12

伊​和美​備​讚
​豆​泉​作​前​岐
​and Shima), the auspicious character
和
​needed (conf. what was said above apropos the provinces of Ki
was borrowed from
the name of Yamato, and prefixed so as to satisfy the eye,
17
though it is not sounded to the ear.—"Ōmi comes from [chika-tsu*-] awa-umi, “the nearer fresh-
sea; " 18 Tōtōmi from Tō-tsu-awa-umi, "the distant fresh-sea," 26
25
24
23
22
21

the reference being to Lake Biwa and to the Hamana TETE
陸
​下​上下​上
​海 ​湖
​would have been."Owari (as if o-hari).—
Lagoon respectively; but is not so appropriate as
I
or
奧​房​總​總​野​野
​20 Izu, written phonetically in "MAN-YO-gana."—"Kötsuke stands for kami-tsu-ke, "the upper
毛
​22
"
ke, lit. "hair," probably referring to the cereals grown there.† Shimotsuke is “the lower ke.”
23 Kazusa and 24 Shimōsa stand respectively for kami-tsu-fusa and shimo-tsu-fusa, lit. "the upper
and the lower tassel." These two provinces originally formed one under the name of Fusa no
kuni, which is traced to the excellent quality of the hemp grown there.-25 Awa (as if AM-BŌ).
-26 Michinoku (as if michi-no-OKU, "the furthest recesses of the land "); also read Mutsu, and
now generally RIKUOKU, according to the regular Chinese sounds of the characters.
JH
The character SHU means "province," and almost all the provinces have alternative
designations obtained by its help. One of the characters of the name-in most cases the first-
is taken with its normal Chinese pronunciation, and SHU is suffixed, the total result being thus
either a mere shadow of the original sound, or something totally alien to it. For instance,
Aki
安​藝
​becomes
GEISHU
藝​州
​Kai
甲​斐
​KOSHU
""
甲​州
​* Tsu, hero and in other names, is an archaic particle equivalent to no,
" of."
†The same characters F
上​野
​are read Ueno in more than one other place-name.
246
EIGHTH SECTION.
Kii
紀​伊
​becomes
KISHU
紀​州
​Kōtsuke
上​野
​Josat
""
上​州
​Nagato
長​門
​CHOSHU
""
長​州
​Ōmi
近​江
​GOSHU
江州
​Owari
尾張
​BISHU
""
尾​州
​Sagami
相​模
​SŌSHU
""
相​州
​Shimotsuke
下野
​YASHU
"
野​州
​Shinano
信​濃
​SHINSHU
""
信​州
​Tōtōmi
遠​江
​ENSHU
"
遠​川
​播​州 ​should be HASHU, is called BANSHU,
Harima k fibile,
播​摩
​whose alternative name
—probably a case of HYAKUSHO-yomi, arising from the fact that BAN is the reading of 番
​more familiar character (conf. p. 122). Usage has sanctioned the error. That 江州
​a
should
be read GōSHŪ (rather than KōSHU) is another irregularity; but in this department of Japanese
reading and writing, lawlessness is almost the only law. Those provinces which go in trios,
as BIZEN, BITCHU, BINGO, etc., do not commonly make use of their alternative names in SHŪ.
For the sake of brevity and elegance-for nothing is so elegant in the Chinese style as
terseness-two names are often halved and then run into oue. The process will be best
understood from a few examples :--
京​濱
​KEI-HIN, ¿.e. “Tōkyō and Yokohama," the second-because in this case more im-
portant, character of each of the two names.
"Yoko-
東京​“Tokyo” and 橫濱
​(the "KAN-ON" reading KEI being here preferred
hama" being taken, and the other discarded. The characters chosen assume their Chi-
nese sound, as HIN for hama and KEI for
to the corresponding "Go-ON," KYŌ).
The names of railway lines are constantly formed on this principle, as 'Bu-So for the line

3
2
1
坂​播​武
​from Musasli 武​(藏​) into Shimisa(下​)總​:
2BAN-TAN for that from
Harima Jible
播​(摩​) into Tajima 但​(馬​); *HAN-KAI for that from
堺​但​總 ​Osaka(大​坂​to Sakai 堺
​Such names spring entirely from the
Chinese characters. Without them they could not exist, with them they are plain enough.
PROPER NAMES.
247
The following are representative examples of names of Shinto temples:-'TEMMAN-GU, i. e.
"temple of the god of war" (八​幡 ​is also read Yaacato,
-for ya-hata, "eight flags ").-3Hakone GONGEN 權​現
​means an “avatar," or more lit. “ temporary manifestation,”
6
5
4
3
2
1 "temple of Tenjin," the god of calligraphy.-'HACHIMAN-GŪ,

神​箱​八​天 ​“temple
根
​權
​幡​滿
​社荷​神​現宮宮
​魂
​神田​大明神
​川​稻
​the apostles of Ryōbu Shintō having taught that the aborigi-
nal gods of Japan were avatars of various Buddhas; see
Introduction to Murray's Handbook for Japan, as also
for the other gods here mentioned).—Kanda DAIMYŌJIN.-
'Toyokawa Inari.—SHOKONSHA, lit. "spirit-beckoning temple " (those erected to the memory of
loyal warriors are so called).
6
5
4
3
2 1
壺​知​書​觀​善本
​世​音​寺
​The following are Buddhist temple names: 'HONGWAN-
JI, i.c. “ temple of the real vow,” in allusion to the row
made by Amida that he would not accept Buddhahood,
unless salvation were made attainable for all who should
坂​恩​寫​喜
​光 ​願
​寺院​山寺​寺寺
​sincerely desire to be born into his kingdom, and should
,

signify this their desire by invoking his name ten times."
-2ZENKOJI, i.e. “temple of the brilliancy of virtue.”——
*KWANZEONJI, i.e. “temple [of the merciful divinity Kwanzeon or Kwannon, who] considers the
sounds of the world.”—“SHOSHA-SAN, "mountain of writing."—"CHION-IN, "temple of gratitude.'
-Most Buddhist temples have three names, one ending in 寺​, another in 院​, and a
third in, which last recalls the fact of the frequent choice of mountains for temple sites.
Comparatively few names of this class are read Japanese fashion; but an instance is supplied
6
by Tsubosaka-dera, which is so called from the name of the place where it stands.
5
4
3
2
1
The following are representative names of inns and shops :-

越​伊​常​清大
​¹Yamato-ya (such names derived from provinces are very
前​勢​盤​水​和
​清
​屋屋屋屋屋 ​perhaps a contraction of sumi, from sumu, “ to be clear.")*Tokica-
common, the shopman thus indicating his native locality).—
2Shimizu-ya (shi, an irregular reading of
SEI or liyoi, is
3
ya, “ evergreen house.” Some names of provinces are apt to be affected by special trades, as
4
10
9
8
7
Ꮾ
富​精​聽​招​金
​士
​養​潮​仙​龜
​亭​軒​館​閣樓
​Ise-ya by pawnbrokers, "ECHIZEN-ya by sock-makers.
The following are more difficult and for the most part
more modern, the search after elegant Chinese expressions being
the order of the day :-

"
"KINKI-RO, "lofty edifice of the golden tortoise; TSHOSEN-
KAKU, "cabinet whither the genii are invited;" STEICHO-KWAN,
"mansion where one listens to the tide;" SEIYO-KEN, "house of
careful nourishment; " "Fuji-mi-TEL, "pavilion whence Fuji is visible.”
248
EIGHTH SECTION.
For the majority of foreign place-names recourse is had to the Katakana, as shown on
4
3
2
1 p. 226. But some of the most familiar have been fitted with Chinese

15
11
9
7
5
歐
​KA,
“ Africa; "8America; "
奈 ​非
​喜​地​太​合 ​characters. There are two ways of doing this. One-not much availed
望​中平 ​衆
​海洋​國
​of-is to translate the name, as in the accompanying instances of
'GASSHU-KOKU, "the United States; " "TAIHEI-YO, "the Pacific Ocean; "
CHIOHU-KAI," the Mediterranean; " "KIBO-HO, "the Cape of Good Hope.”
The more usual plan is to write phonetically, with a greater or less adherence to the
錫​獨​加亞歐
​蘭​逸
​original:
: "YOROPPA or Osat, “ Europe; "AJIYA, “ Asia;""AFURI-

“ Canada;" 10INDO, "India;
"DoItsu, "Germany" ("Deutschland"); 12EJIPUTO, "Egypt" (the
characters
16
12
Ⅲ
龍​埃
​埃及 ​AI-KYŪ make but a feeble approach to the
sound); "PARI, "Paris;" "ROMA, "Rome," (that
利
​維
​動​及​加加歐
​17
13
8
伯巴
​“
林​里
​陀
​亞 ​lung-t'ung," should properly be RYU-DO
6
6617
18
14
10
10
¹7Berlin" (the characters
米
​亞
​紐羅​印​利​細
​in Japanese*);
chosen in China, should be
HAKU-RIN in Japanese; "New York" (the characters
make CHU-IKU).
Contractions and other irregularities occur. Thus "San
>> in
19
Francisco " is written "Sord as below, 扶桑 ​(“ Fusang
Chinese, Fuso in Japanese) being a Far-Eastern land of Chinese mythology, while the character
育​馬​度​加亞
​21
20
19
斯浦​浦濠桑
​港
​means “ harbour.”
德​臨港​洲​港
​"Australia" is called 20GOSHU,-why
浦​港
​for “ Vladivostock " is a con-
does not appear, unless it be from the vague similarity of sound
between “Au” and Go.
traction of the longer phonetic form given in brackets (which
would properly read ura-shio-SHI-TOKU).
Ceylon " (the characters 錫蘭 ​read SHAKU-RAN); "16London "
洲 ​WH (the characters 龍​動
​should serve
for RO, not RA, is owing to modern Chinese influence); 15SEIRON,
“
chosen in China, where they sound
伯林 ​chosen in
紐​育
​
29
28
27
26
25
24
23
22
The following are a few modern Chinese
南​廣漢​福​香​上天​北 ​place-names constantly met with, and usually

京東​口​州​港海​津​京
​pronounced à la chinoise: "22Peking,"
(231
23Tien-
tsin," "24Shanghai," “25 Hongkong,' 26F00-
chow," "Hankow," "28Canton,"
<< 29
2®Nanking." But most Chinese names, whether of places
or persons, including all such as are ancient and historical, take the usual Japanese pronuncia-
tion of the characters.
Though the few explanations given in this Section are intended as practical helps
merely, some of them may serve to adumbrate the importance of the study of place-names
to Japanese philology and history. Our own monograph on The Language, Mythology,
* “London " is also written 倫敦 ​(IN-TON), Nos. 1916 and 1371.
PROPER NAMES.
249
and Geographical Nomenclature of Japan Viewed in the Light of Aino Studies attempted,
now many years ago, to lift one corner of the veil of this difficult subject; and it is our
North-
belief that some younger student might do valuable service in the same field.
eastern Japan, as far as a line drawn across country from Fuji to the province of
Noto, is indisputably littered with Aino names. But what of the South? What of Shikoku,
for instance, all four of whose provinces-or three in any case-have names undecipherable
as Aso
in Japanese? Again in Kyushu, what of such names
and Sobo
Bus the Sobo JiH
祖
​Band Satsuma Jib and a hundred more, all reaching back unchanged beyond
E
母
​the ken of history? What of the coast of the Sea of Japan, with its Wakasa's, its
Tajima's, its Inaba's, its Izumo's-to mention but a few of the most important names, all
incomprehensible? A thorough sifting by some competent hand would surely throw light
on the migration and early seats of the Japanese race or races, besides informing us of
sundry other facts as interesting as unexpected. But the would-be investigator must arm
himself with an intimate knowledge of archaic Japanese, to be gained from such books as
the "MAN-YŌ-SHŪ’
"KOJIKI
""
萬​葉​集 ​and the 古​事​記​, and also with a
spirit of extreme critical caution. An instance will exemplify the necessity for the latter.
Take NIKKO, a familiar name. Nothing can be founded on the characters 日光
​lit. "sun's splendour," as they are
they are but an arbitrary substitute for the earlier
荒
​NIKKŌ,
TNI-KO, lit. "two rough," and were bestowed on the locality for the sake of greater
二​荒
​elegance and good luck by Kōbō Daishi in the ninth century. Now NI-KO itself is but
the Chinese reading of two characters as just given), which were originally
pronounced Japanese fashion Futa-ara, referring to two "rough spirits "-a class of Shinto
deities belonging to the early mythology of that mountainous region.
This destructive criticism of the word NIKKO is certain. Not certain, but probable, is
the denial of all etymological value to the orthography of such names as Saka-
山​坂
​梨​無
​nashi and Yamanashi, which are written as if signifying respectively "no hill" and
"mountain pear-tree." Judging from intrinsic probability and from the aspect of
之​足​,
the localities, we believe nashi in both instances to stand for n'ashi (i.e. no ashi, E
so that Sakanashi would signify "the foot of the ascent," and Yamanashi "the foot of the
mountains."
長 ​大​佐佐​辻​森​原
​谷​久​々​久
​1
NAMES OF PEOPLE.
There exist a few surnames of a single Chinese character, and a few of three characters.
10
3
The commonest are 'Hara, Hayashi, Mori,
2
5
G
7
Hori, Tsuji, Seki; Sakuma, Sasaki, Ōkubo,
and 10 Hasegawa. The student will notice that
S
9
川​保
​間​關​堀​林
​2 the first six-the single character names—are
all transparently intelligible, whereas the others
250
EIGHTH SECTION.
are, in whole or in part, phonetic transcripts of words whose meaning does not appear.
There is a celebrated holy place in Yamato called Huse (anciently Hatsuse), written T
長​谷
​whence the like-sounding surname is derived. Indeed, Japanese surnames may constantly be
traced back to geographical names. The utter want of connection between the characters
and their reading in this special instance may perhaps be accounted for by regarding the
name itself as a traditional one whose origin and signification had long been forgotten,
while the characters would have been applied at a later date to describe the appearance of
the locality, which is in fact a long and narrow valley.
Leaving exceptions aside, Japanese surnames consist each of two Chinese characters in
an overwhelming majority of cases. Many of the commonest have already been put before
the student incidentally, especially on pp. 46 and 107-9. Others not yet mentioned, but
extremely common, are (in the order of the I-ro-ha, beginning with and ending
with 寸​):-
53
50
46
42
39
35
31
27
23
20
17
13
9
ст
5
1
(守田​)。
清
​菊​小​增前​大野​津
​水​地​林田​田澤​口 ​口 ​田
​54
51
47
43
39
36
32
28
24
21
18
14
10
2
關​廣​三 ​天
​丸​栗​太​永​武吉​小​西​飯
​根​瀨​浦​野
​田 ​山房 ​原田 ​田 ​田野​澤 ​村田
​石​崎​。
吉田
​田邨​) 武
​岡​橋​石
​本本​原田
​岩田​。
55
52
48
44
40
37
33
29
25
杉樋柴​淺福​松山​大村
​浦口​田野​島
​田野​島​平崎​城上
​()
21.
19
15
11
7
3
(竹田​)
川​星​原​市
​原田​。
川
​50
53
49
45
41
38
34
30
20
22
20
16
12
8
鈴森​島佐​小松​安​大上​土田​横富早池
​木田​田野​泉 ​村田 ​田野​田屋​村​山田川​田
​3
d
10
18 20
¹Iwala. Iwasaki. Ichikawa. Ikeda. Ishiwara. Ida. Harada. Hayakawa. Hashimoto.
Nishimura. "Hoshino. Tomila. Okamoto. "Ozawa. Kawashima. 16 Yokoyama. "Yoshida.
23 24
7
S
9
15
17
27 Noguchi. 28 Ūla. 29Ōtsuka.
30
31
36
* Maruyama. Matsudaira.
37
38
39
22
Yoshino. Takahashi. Tamura. "Takeda. Tsuchiya. Tsula. Nagata. 25 Murakami. 26 Ueda.
Ūno. Osawa. Kuribara. Yamazaki. Yasuda. 35 Macda.
Matsumura. Masuula. "FUKUshima. Koizumi. Kobayashi.
42
32 2
33
34
11
PROPER NAMES.
251
45
47
48
49
50
43 Amano. "Asano. 5SAno. KIKUCHI. 17 Mira. Shibata, Shimada, Shimizu, Hirose.
52
53
Higuchi. Morita, "Sekine. "Sugiura. “Suzuki.
The names given in brackets are duplicates of those that immediately precede them.
are both read Tamura, and either alternative may be written
Tunes 田村 ​Fanel 田邨
​aund
at will. This liberty does not exist in the other cases. For instance, thongh¤
and
竹 ​竹田
​are both pronounced Takeda, these two are considered different surnames, and
are accordingly used by different families. A similar remark applies to the other pairs,
Hand both read Masuda, H
益田
​守​田
​and both read Morita.
That considerable liberty is taken in the matter of the Nigori need scarcely be mentioned;
大​澤
​for instance, here read by us Osawa, may be heard as Ozara from the lips
of many speakers.
(松居​)。
Numbers of familiar surnames end in i, written with the character 井
​7
松​櫻​酒
​井​井​井
​СТ
新​井​)。
, as Imai,
"Ishii, "Nagai, ¹Arai, "Sakai, Sakurai,
4
3
荒​永石​今
​井井​井井
​1
Here both 荒井 ​d
Hudsui.
新井
​and
are read Arai, but the
о names belong to different families.
For the reading of 新
​as ara in
this context, compare the words arata and alarashii.—
Matsui, are separate surnames.
松​居
​and
松井
​both sounded
安後伊 ​origin is
Surnames read Chinese fashion, and ending
"Dickson," "Jackson," and
origin is far less clear;
藤​藤
​伊​東
​藤​藤​藤
​佐​近​加 ​®
2 SAITO. When
3
not the prevalence of the ending
ending 藤
​齋
​遠​内
​藤
​in To or DO, are as familiar in Japan as
DŌ,
"Robinson "
Robinson" are in England, though their
wistaria" have
become such a favourite ending?—'Iro (but some families write it
KATO, NAITO, GOTO, KONDO, "ENDO, "ANDO, “SATO,
When 藤
​occurs, not at the end, but at the beginning of a
surname, it has its Japanese reading fuji, as in
2
Fujiwara, Fujita, Fujii. On second thoughts, may
ΤΟ
surnames have taken its rise in the ascendency
1
of the Fujiwara family during medieval times? It is still customary
for a pupil to be granted half his teacher's name (yuzuri-na), that is, one
of the two characters composing it.
for why should
藤
​藤​藤​藤
​To in nodem 井田​原
​*For Shimizu, see p. 247.
252
EIGHTH SECTION.
The following common names will appear more difficult, especially the first two,
and most of all the first, in which writing and
pronunciation part company altogether: 'Hattori, 榎田​河​河渡​服
​2 Watanabe, 3 Kōno (but some
persons follow the
4
characters and read Kawano), Kawai, Tanabe,
5
6 Enomoto.
近萬
​里
​小
​衛​路
​本​邊​合​野​邊​部
​1
A few aristocratic names end in kōji, written
kōji, 小路​(Ko-michi).
¹Madenokoji supplies a familiar, but frightfully irregular example, as one
would read it BANRI-no-komichi unless specially instructed. But our English
“
Cholmondeley,”“ Marjoribanks,” and “ Beauchamp " keep it in countenance.
2KONOE is another aristocratic name of difficult reading.
The following supply instances of surnames in which no,
"of," has to be mentally supplied between the two characters:-
3
4
¹Inoue, Takenouchi, Yamanouchi, Kinoshita.
A few surnames are written in MANYO-gana, as
1
3
木​山竹​井
​下
​内
​内​上
​2 AL1 Nose, 2 Kamo, "Sasa, "Haga, "Nive, (the last two irregular,
仁芳佐​加能
​禮賀​々​茂勢
​as the natural pronunciation of the characters would be
HOGA and JINREI respectively).
A very few are read with the Chinese-generally a sign that the families
bearing them have descended from Chinamen in recent times, mostly interpreters
at Nagasaki while Japan was still closed to the outer world. Examples are
'BAN, CHO.
Some few admit of being read in two different ways.
長
​吉​小小
​1
Such are
¹Kokura or Ogura, Koyama or Oyama, Yoshikawa or KIKhawa.
3
川​山 ​山​倉
​The personal, or as we should say “ Christian," names of men consist——from a learner's
point of view-of two classes, the comparatively easy and the extremely difficult.* Here
are first some representative specimens of the easy class:-
✓13
✓ 12
✓ 11
10
9
8
7
✓6
5
4
3
2
1
素三​甲謙​常金​周源​德​五​三​次太
​千​子​三 ​二次
​六三郎​郎郎郎
​15
太
​郎郎郎郎郎郎
​。
* A précis of the difficult subject of Japanese names will bo found in Things Japanese. The student will
clear his ideas considerably by perusing it in connection with the present Section.
PROPER NAMES.
253
26
25
24
23
22
21
20
19
18
17
16
15
14
惣​總理​清​豐​勘​榮​吉​八​兼​元​眞​彌
​右​左
​衛​衛
​兵
​之​十
​門​門​平​衛​造​藏​助​助​吉吉​八七​六
​¹TARO. 2JIRO. SABURO. 'GORO. TOKUTARO. "GEN-ICHIRO. SHUICHI. $KINJIRO. TsuneJIRO.
9
17
16
19KENZABURO. "KASHIRO. 12 Michizo. 13SOROKU. YAROKU. SHINSHICHI. GEMPACHI. KaneKICHI.
25
18 YaSOKICHI. 19KICHINOsuke. "Eisuke. "KANZO. "Toyozo. SEIBEI. "RIHEI. SOZAEMON. "SOEMON.
Notice the use of
a man" (but some write 長​), in names denoting the “eldest,”
郎
​“
"next," "third," etc., son. The high numbers, however, are not used with much exactness;
and it will rarely happen, for instance, that a
十郎 ​Juno is really a tenth
元​八 ​GEMPACHI am eighth:some other consideration has prevailed. SABURO
son, or a
of course stands for SANRO. The numerous names in
tary guard;" and 衛門
​助 ​ske, “helper;" 兵衛
​郎
​HEI, "mili-
EMON, “ guarding the gate," preserve for us an echo of medieval
times, when all Japan was a camp, or rather many camps, being rent with civil strife.
Observe the final zd written in three ways, 藏​造 ​and
zo is a corruption of SAN. Observe too that the character
in which last the sound
右 ​in SOEMON, the last
name given, is not read at all in such contexts, but stands there merely for the eye.
Here are
a few specimens of the difficult class,-difficult not because the characters
employed are rare, but because unusual readings are often given to them when thus borrowed
to form personal names:—
16
13
10
7
4
1
14
國​恭
​17
時​正
​正​則
​正​克​道
​18
15
11
導
​12
定​友​祐
​5
2
顯​家
​義​則​。
宗
​一​正​。 道​明​。”就​貞​。
“義​胤​。治​房​。
信​。博​文​。
國臣​。 正隆​。 定男​。
孝
​3
博​行
​2
3
¹Aki-ie. Munetaka. Yukichika. Sukenori. "Shige-
7
S
nobu. Hirobumi. Yoshinori. Yoshitane. Harnfusa.
10 Kazumasa. 11
¹¹ Michiaki. 12 Sukesada. 13 Yasutoki.
15
16
"Katsumi. Tomoyuki. Kuniomi. "Masataka. Sadao.
21
22
19 Hideo. 2 Nobuo. Toru. 2 Tamotsu." Icao Yasushi.
26
25 Kiyoshi. Hisoka. Tsuyoshi. 28 Mitsugi.
We leave the student to ponder and sigh over
this little collection, which is but a drop in the
ocean. Let him take heart, however. Though he
must know something about these personal names,
he is advised not to exert himself overmuch to
acquire them, for the simple reason that time and
labour may be more profitably bestowed. They
form an excrescence on the Japanese graphic system,
and frequently puzzle even the natives themselves.
254
EIGHTH SECTION.
27
25
23
21
19
毅​清​巖
​享​秀
​雄
​28
26
21
22
20
A striking proof of this was afforded on the occasion of
the opening of the Diet in 1889. Among the resolutions
passed on the very first day was one to the effect that
the special readings of members' names should not be
attended to, but that all should, for the business purposes
貢密靖​保信
​靖​保​信 ​of the assenılly, be somded with the ordinary Chinese
pronunciation of the characters composing them, for
instance, E not as Kazumasa, but as ISSEI;
not Tsuyoshi, but K, etc. A thing which the Japanese
Diet itself thus stuck at, may well be deferred by the foreign student to some more
convenient season.
林​太
​A certain correspondence of meaning between
the personal name and the surname is sometimes
sought after. The following cases illustrate this:
-Shimizu Wataru, Mori RINTARO, 3SENGOKU
Mitsugi, ¹Õyama Iwao, "FUKUzumi Kuzo, Ishiyama
TOTARO.
2
6
Women's personal names offer little difficulty,
being generally written in
Ꮾ
5
4
3
2
1
石​福​大仙​森​清
​山​住
​騰
​山​石林​水
​太​九
​7
5
3
1
Kana, as here shown, thus
郎​藏​巖​貢​郎​渡 ​Hern, Michi, *Kcone, 'KIKU,
5
2 ³Kane,
Saula, Tsuyu.the char-
acter for ko, "child," is often suffixed for the sake of elegance, as
'KIKU-ko. Some women now prefer to write their names in Chinese
characters.
cation.
This may be attributed to the spread of female edu-
The following names, chiefly historical, are among those most likely to be met with in read-
ing. Take them one by one, and make your teacher tell you something about each. This will
at the same time help you on in the Colloquial, besides opening out fresh vistas of interest :—
九​~
き
​きか​は
​く
​ねる
​4
2
13
12
11
10
9
8
7
6
5
4
3
2
1
平​武​源​平​源​紫​慈​菅​聖​日​竹​神​神
​藏
​敦​坊​義​清​賴​式
​辨
​覺​原​德​本​内功​武
​大道​太​武​宿​皇天
​盛​慶​經​盛​朝​部​師​眞​子​尊​禰​后​皇
​PROPER NAMES.
255
36
34
32
30
28
26
24
22
20
18
16
14
葛​飾​北
​石​内藏​之​助
​佐
​山 ​又
​千​利
​葛​賴​大​岩​左​千​小​西​水​德​織​楠
​野​鄉​戶​川田​正
​五 ​小​隆​黃家信​成
​齋​陽 ​衛​郎​久​町​盛​門​康​長 ​楠
​公
​35
33
31
29
27
25
23
21
19
17
15
曲本​新​狩
​會​弘​井​伊​豐足
​亭​居​井​野​休​我​法 ​達​臣​利
​馬​宣​白​元​和​兄​大
​井伊​掃部​頭
​正​秀​尊
​6
琴​長石​信​尙弟​師頭​宗吉​氏
​3
'The Emperor JIMMU. The Empress JINGO. Takenouchi no Sukune (The Methuselah of
4
9
13
S
14
Japan). Yamato-take no Mikoto.* "Prince SHOTOKU (the Constantine of Japanese Buddhism).
Sugawara no Michizane. JIKAKU DAISHI (a great Buddhist abbot). Murasaki SHIKIBU (Japan's
greatest female writer). Minamoto no Yoritomo. 10 Taira no Kiyomori. (The Taira and the
Minamoto were the Yorks and Lancasters of medieval Japan.) "Minamoto no Yoshitsune.
12 Musashi-Bō BENKEI (Yoshitsune's henchman). Taira no Atsumori. Kusunoki Masashige,
also called NANKO from the Chinese reading of the first character (a celebrated mediæval
loyalist). Ashikaga Takauji. 16Oda Nobunaga. Toyotomi Hideyoshi. STOKUyawa Ieyasu
(founder of the last dynasty of Shōguns). Date Masamune (who sent an embassy to the
Pope in A. D. 1614). Mito KOMON (a Japanese Maccenas). "Ii Kamon no Kami. (The
A.D.
15
20
19
i
21
characters signify literally "head of the sweeping department
掃​部頭
​""
of the
Imperial Household, but had come in time to denote the "prime minister" of feudal days.
The word Kamon is supposed to be a contraction of kani-mori, "crab guard," because in
early days it would have formed part of the duty of the household officers to sweep away
the crabs that would crawl up from the shore to where His Majesty was seated on the
beach!) SAIGO Takamori (who headed the Satsuma Rebellion in 1877). KōBō DAISIII.
24 Ono no Komachi (a famous poetess). 25SOGA KYODAI (the actors in a famous vendetta).
23
* The title of Mikoto is here fairly represented by the character (480) 尊​; sometimes it is written (522)命
​256
EIGHTH SECTION.
26SEN no RIKYU (the most famous of esthetes). "IKKYU OSHO (an abbot famed for his wit).
28
30
Iidari JINGORO (Japan's greatest sculptor). 29 Kano Motonobu (a great painter,-one of a
whole line of such; no is irregular for no). Iwasa MataHEI.
nō
31 Arai HAKUSEKI. 32 Oishi
Kuranosuke.
Motoori Norinaga (the most brilliant scholar of the Shinto revival school).
35
RAI SAN-YO. KYOKUTEI BAKIN (a celebrated novelist). KATSUshika HOKUSAI.
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1

藥​天​釋​十​仁​觀​道​庚​地​不大​惠​辨​阿​猿​天
​·迦​牟尼
​師 ​如
​K
SAS 田
​祖​藏​動​比​才​陀
​羅
​如
​照​皇​大​神
​來​神佛​漢王​音​神​申​尊​尊​黑​壽​天​來​尊神
​13
2
10
Such names of deities as 'TEN SHOKO DAIJIN (the sun-goddess), Saruta-hiko no Mikoto,
"AMIDA NYORAI, BENZAITEN, "EBISU, DAIKOKU, FUDO-SON, JIZO-SON, KOSHIN, DOSOJIN,
"KWANNON, 12N1-0, JŪ-ROKU RAKAN, SHAKA MUNI BUTSU, 15TENJIN, 16YAKUSHI NYORAI, are
very often met with. Details concerning these mythological personages will be found in
the Introduction to Murray's Handbook for Japan. Such names are, for the most part,
fairly easy. The student will observe that the little list here given involves the acquisition
of only four new characters.
((
KI or saki, a cape."
is GAKU. Better remember at the same time
NEW CHARACTERS OCCURRING IN THE PRECEDING SECTION.—1254.
-1255.take, “a mountain peak ;
(C
""
its
the Phonetic (1256) a prison," whose
11
is GOKU, and which is formed of two "dogs
“speaking," because dogs act as guardians.—1257. K
abbreviated to
""
KEI or karui, “light" (in weight); often
ii«
軽
​-1258.
澤 ​TAKU or sawa, "a broad valley with a stream running through
it
谷
​山
​Jp
茄
​tani is deeper and steeper). The common word TAKUSAN, “a lot," is written
lit. "valleys and mountains."—1259. 芝 ​SHI or shiba, “turf.”—1260. also written
SHU, “a province." Do not confound it with (1062) H
洲 ​also read SHU, but meaning "a sandy
(C
DAI, less often TAI, "a terrace" (from
(from 至​“extreme,”
high," the last two altered in combination, meaning thus "the
islet," "a continent."-1261. 臺
​之 ​"to go," and
SETS
extreme highest part of a building to which you can go up").—1262. KYO, or Gō, or
sato, “n village;” notice the appropriate Radical uzato, and the part to the left,,
which is the same reversed. This character is easily mistaken for (1263) KEI or KYO,
“a minister of state,” hence nanji, “thou.”—1264-5.
琵琶 ​BIWA, the Chinese and
Japanese "guitar;" conf. No. 606. Learn at same time (1266)tomoc, the name of
PROPER NAMES.
257
the figure
701
which is a favourite in Japanese art;
is called mitsu-domoe.-1267.
of how characters
KO or mizu-umi, "a lake," as good an example as 琵琶
​are formed phonetically.-1268. 梯 ​TEI (less often DAI) or hashigo, "a ladder,"-another
phonetic character easy to remember.-1269. 華 ​KWA or hana, "a flower," whose original
form represents a plant covered with flowers. Its synonym and homonym
is more
His employed metaphorically for "floweriness,"
used of actual blossoms. This character 華
​

ર
#_1272.藥
​CHIKU Or
elegance," etc., as in 華​族 ​KWAZOKU, “flowery families," i.e. "the nobility."—1270. 猿
​EN or saru, "a monkey."-1271. 橋 ​KYO or hashi, "a bridge.'
a bridge."-1272. 築
​$
insert,” as the original form represents two cocoons put into the dye-pot)—1274. 灘
​"to construct.”—1273.
kizuku, "to
GEN, "dark," "black" (obtained partly from
入
​"to
nada, a stretch of sea water” with “difficult” waves).—1275.ogi, “a reed.
Easily confounded with (1276)hugi, the "lespedeza bush." Remember the latter by
its Phoneticaki, "autumn, as the difference between the two words hagi and aki con-
KI, “a
sists only in the aspiration and the Nigori.—1277. 駒 ​KU or koma, “a pony.”—1278. 斐
​HI, “elegant;” but its chief use is phonetic in this word and name, kai.-1279. 紀
​chronicle." Ask your teacher about the 日本​紀 ​or "Chronicles of Japan."-1280.
typ RYU or yanagi, "a willow." Another common character for this common tree is
(1281)
楊柳 ​笠
​kasa, a [broad straw] hat,”—not "an umbrella," which latter is (1283) and seems simply
Yo, and the two are often thus combined
YŌRYŪ.—1282.
a picture of that useful article, though it is more elaborately explained as "four men
RITSU Or
under a
能
​“cover” upheld by a “handle."—1284. YU or kuma, "a bear." The upper part (No.
熊
​299) is a very common character meaning "can;" the four strokes below look like claws; so re-
member "bear as an animal who “ can use his
his "claws.”—1285.
淺 ​SEN or asai, “shallow."
-1286. BENV AI, “love.”—1287. 岩 ​Tō, “a cave” or
or "covered way," but used chiefly in this
嵐 ​RAN or arashi, "a storm" (in which the
common place-name Atago.-1288. J
愛​宕
​"wind" sweeps down from the "mountains").-1289.
#
視
​SAN or homeru, "to praise," "to
sing the praises of."-1290. 岐 ​KI or chimata, "a fork in a road" (fairly appropriately
GIFU
formed of "mountain and "branch"). Remember the important town of 岐阜
​周 ​SHŪ or amaneku, "everywhere;" also meguru, "to revolve." Inter-
(conf. No. 686).—1291.
changed with 週 ​SHU or meguru, "to revolve," hence [the revolution of] "a week."-1292.
Bō or fusegu, "to ward off;" the original sense is "dyke," which the composition of the
Bj
character (the “side” of a "mound") fairly conveys to the eye.-1293.
備
​BI or sonaeru,
"to provide.”—1294. 幡
​reading MAN) in the name
one" or "uniting," it is
the Japanese often write
惣 ​- -
—1297. 房
​HAN or hata, "a pennant" or "streamer;" most used (with irreg.
#maku,
"to sow."-1296. I sō or fusa, a tassel." The fundamental idea being a "tying into
used for suberu, "to govern," and subete, "all." Instead of
""
Bō or tsubone, "a chamber (fairly indicated by
HACHIMAN or Yawata given on p. 247.-1295.
總
​258
EIGHTH SECTION.
door” and “side,” though, as in No. 1292, J is at the same time phonetic).—1298.
KAI or sakai, "a boundary.
世界
​堺
​a boundary." Always thus written in the name of the town of Sakai; but in
SEKAI, “world,” and other contexts (607), and in boundaries between countries
generally (1299) KYō or sakai. This last offers an excellent example of the ideographic
system, being lit. "the end of the earth," as (1300)
稻
​KYð or owari means "end.”—1301.
To or ine, “rice (when growing).”—1302. 招 ​SHō or maneku, "to beckon," "to invite."
(By comparison with No. 892, it will be seen that this ideograph consists of "summoning
with the "hand.")—1303.
also negau, “to wish."-1304.
願
​GWAN, “a vow
hall,” “college,” “Buddhist temple."-1305. 樓
​Rō
""
IN, a
((
RO or takadono, "a lofty house," principally

used in the names of houses of entertainment.-1306.
養
​潮 ​CHO or ushio, "the tide."-1307.
Yð or yashinau, "to nourish." (The character is composed of 羊
​"to eat":-one nourishes oneself by eating mutton).—1308.
sheep," and
食
​used phonetically for the
sound 0; properly speaking, it is interchangeable with (1309) 嘔吐
​O-DO, "vomit '
(notice the appropriate Radical "yawn" or "mouth”).—1310. ■
mouth").—1310. A, used phonetically; also
in the sense of tsugu, "to come next," "to be second,” as 亞​(1311) 聖 ​ASEI, "the sage
""
PE
next in order [to Confucius], i. e. Mencius.-1312. used phonetically for DA, as in
BuS SAD BE
AMIDA.-1313.
""
逸 ​ITSU or nojareru, "to escape.' This character cleverly
represents a "hare going."-1314. 埃 ​AI or hokori, "fine dust." Learn at same time the
synonymous character (1315) J
塵 ​JIN or chiri, “thick dust,” as the compound 塵埃
​dust," is very common.
""
JIN-AI
塵 ​can be easily remembered by its composition,-" deer and
earth," as deer kick up the earth and make a dust when herding.—1316. 錫
​SHAKU Or

suzu, “tin.”—1317. 紐 ​CHU or himo, "braid."-1318. 桑 ​so or kuwa, "the mulberry tree."
-1319.
濠
​1321. 堀
​GO or hori, "a moat;" also written 壕
​-1320.
FIL RI or nashi, "a pear-tree."
""
KUTSU or horu, "to dig."-1322. 飯 ​HAN or meshi (archaic ii), "boiled rice."—
1323. 星 ​SEI or hoshi, "a star."-1324. 塚 ​CHO or tsuka, “a mound,” “barrow."—1325.
邨
​same as (215) f SON or mura, “a village.”—1326. 丸 ​GWAN or marui, “round,” as in
丸藥 ​GWAN-YAKU, "a pill.”—1827. 柴 ​SAI or shiba, "brushwood." Do not confound it
(1259)***** also read shiba, but signifying "turf;" the Radicals intimate the difference.
with (1259)
-1328. Blo To or hi or toi, "a water-pipe" ("wood" for water to "pass through").-1329.
瀨 ​RAI or se, “a reach of a river."-1330. 杉 ​SAN or sugi, "a cryptomeria."-1331.
鈴
​REI or suzu, “a bell," mostly small and jingling.—1332. SAI or mono-imi, "purification,"
This
扇
​as by fasting or penance. Do not confound it with its Radical phs, our No. 415. The
齋
​示
​below may serve as a hint that
(C
has something to do with religion; compare Tils
un god;”社 ​'a Shinto temple," and several others.-1333.
邊 ​HEN or hotori, "side,
"place."-1334. 榎 ​KA or enoki, the name of an evergreen tree,-a species of nettle-tree, the
Celtis sinensis." The following very ancient doggerel will imprint on the memory the way of
writing the names of this and four other species of trees,—all common, excepting the hisagi :
PROPER NAMES.
259
Haru tsubaki,
Natsu wa enoki ni,
Aki hisagi,
Fuyu wa hiiragi,
Onajiku wa kiri.
This gives us (1335)
the “catalpa;” (1337)
imperialis.”—1339.
芳
​秋 ​春
​WIK
同​冬 ​夏
​じく
​桐
​{
楸 ​椿
​は
​榎
​柊 ​に
​CHIN or tsubaki, “the camellia;" (1336)
SHU or hisagi,
SHU or hiiragi, “the holly;” (1338) |
桐 ​Dō or kiri, "the Paulownia
Hō or kōbashii, "fragrant."-1340. 件 ​HAN or tomonau, "to accom-
pany,” read BAN only as a surname.-1341. so or kura, "a storehouse." This and (958)
zo or kura closely resemble each other both in sound and meaning. is appropriately
an enclosure " and
HEX
made up of
UF
""
"food," both contracted in composition.-1342.
GEN or minamoto, "a source (the "origin" of "water"). The two most illustrious
families of medieval times were the
源​平 ​GEM-PEI, or Minamoto and Taira.-1343. 謙
​KEN or heri-kudaru, "to humble one's self."-1344. 榮
​or “splendid.”—1345.
顯
​EI or sakaeru, "to be flourishing
KEN or arawareru, "to be manifest." Its pronunciation aki in
proper names comes from an alternative reading akiraka, “clear.”—1346.

資
​SHI, "property;'
also tasukeru, "to help," whence the reading suke in personal names.-1347.
範
​HAN or nori,
"a standard," "a norm," as in 師範學校
​JAL
Titi
or YŪ, as in
1351.
己
​SHIHAN-GAKKŌ, a normal school."-1348.
IN or tane, lit. "seed," i. e. "progeny, "posterity."-1349. tasukeru, "to assist;'
>>
天祐
​恭 ​KYO or uya-uyashii, “respectful.”—1352.
KYŌ
TEN-YU, "divine assistance. 貞 ​TEI or sada, "chastity.".
>>
克 ​KOKU or katsu, "to subdue.
to subdue.”克
​when read KOKKI, means "self-repression."-1353.
It comes from
隆 ​RYŪ or sakan, "prosperous.
降 ​“to descend,” and ✈
生 ​"to be born," indicating the future prosperity
of the child who has come down to be born on earth.—1354-5.
down to be born on earth.-1354-5. THE LE
SHI-YU or mesu-osu,
>>
“the female and male” of birds ( is one of the bird Radicals; the rest of each character
is phonetic). The “female and male" of quadrupeds is (1356-7) 4
HIM-BO or mesu-osu,
with the Radical for "bull,"—the Phonetics imperfect;-but the distinction between these two
sets of terms is not always observed.-1358. 亨 ​Kō or tōru, “to pervade." Do not confound
it with (1058) ✈
享 ​KYO or ukeru, "to receive."-1359.
1359. 巖
​
GAN or iwao, "a rocky cliff."
Its Phonetic (1360), GEN or kibishii, means "severe.”—1361. YAS SEI or yasui, “tranquil,”
as in the temple name
Yasu-kuni JINJA, lit. the temple of the tranquil-
lisation of the country," an alternative name of the SHOKONSHA temple at Tōkyō (conf. p.
247).
1362.
密
​MITSU or hisoka, "secret," formed of a
secret,"-formed "mountain
>>
under a
"cover,"
which would indeed be a retired and secret place, with 必 ​HITSU as the rhyming Phonetic.
260
EIGHTH SECTION.
A kindred character also pronounced MITSU is (1363) "honey," the Radical appropriately
changed to "insect.”—1364. 毅 ​KI or tsuyoi, “resolute," or takei, "intrepid."-1365. 貢
​or mitsugi, "tribute,' ""taxes in kind."-1366.
confound it with (1367)
(1367)管
​ко
KWAN or kuda, a tube."-1368. Assist JI or itsukushimu, "to
管 ​KWAN or suge, "a rush," "sedge." Do not
BES
ΚΕΙ
敦
​TON or atsui, "warm [-hearted]."—
1372.
楠
​treat compassionately," or "kindly.”—1369. 紫 ​SHI or murasaki, "purple," "lilac."-1370.
or yorokobnu, “to rejoice.”—1371.
NAN or kusunoki, “the camphor laurel," better written (1373) SHO, when the
""
tree itself, and not the surname, is intended. Remember tm as the "tree which grows
best in the most "southern" part of the Japanese empire, viz. in Formosa, and
樟
​as that
which is used, on account of its purifying, insect-destroying odour, to make boxes to hold
papers such as "literary compositions."-1374. SHOKU Or oru, "to weave."-1375.
sõ or harau, “to sweep." Learn this character with No. 896. The common word tur Br
((
cleaning,” lit. “sweeping and removing," should, properly speaking, be soJo, as (1376)
掃
​SOJI
is JO or nozoku, "to remove."-1377. Inj SHŌ or tattobu, “to venerate;" also nao, "still more.”
和尚
​Notice the irregular reading OSHO, “a Buddhist priest," where one would expect
WASHO.-1378.
狩 ​SHU or kari, "the chase" (from "dog" and "to guard"). Observe the
doubly irregular reading of the surname Kanō,—kari deprived of its second syllable, and
no read nō.—1379.
SEN or noberu, “to proclaim;" read nori in personal names.—1380. 葛
​KATSU or katsura, "a creeping plant," specifically the kuzu or "pueraria," whence a palatable
宣
​starch is obtained.—1381.
飾 ​SHOKU or kazaru,
"to adorn." The so-called Radical
is here really the Phonetic serving to give the
sound SHOKU, while the significant right-
hand portion of the character was originally a "person," wearing a “napkin,”—
"a prince" or "Shinto deity," used in proper names,
of the sun"), "an illustrious person,'
an illustrious person,” “a prince
a primitive style of adornment.-1382.
彥 ​GEN or hiko (etymologically hiĦ, ko†,
(C
son
庚
​Kō or ka-no-e (for kane-no-e, "metal elder brother ")
十​干 ​or "ten celestial stems;"
SHIN or saru, “ape," the ninth
especially in Southern Japan.-—1383.
is the seventh of the
of the +
十二​支 ​or "twelve signs of the zodiac," is the
same character as our No. 255,
but used in a totally different sense. 庚申 ​KÖSHIN is the 57th of the sexagenary cycle.
(See Things Japanese, article "Time," for a succinct explanation of the whole system, and
Bramsen's Japanese Chronological Tables for more details.)
work, where 甲乙丙​丁
​are treated of.-1284.
釋
​liberate; " also used phonetically in Sanskrit names.-1385.
and other names borrowed from the Sanskrit.
Compare also pp. 74-5 of this
SHAKU or toku, "to loosen," "to
KA, used phonetically in this
WRITING LESSON.
261

1301
1292
1283
1273
1263
1254
稻​防​傘​玄​卿 ​﨑
​1302
1293
1284
1274
1264
1255
招​備​熊​灘​琵​嶽
​1303
1294
1285
1275
1265
1256
願​幡​淺​荻​琶​獄
​1304
1295
1286
1276
1266
1257
院​播​愛​萩​巴 ​輕
​1305
1296
1287
1277
1267
1258
樓​總​宕​駒​湖 ​澤
​1306
(1296)
1288
1278
1268
1259
潮惣嵐​斐梯​芝
​1307
1297
1289
1279
1269
1260
養​房​讚​紀​華 ​州
​1308
1298
1290
1280
1270
(1260)
歐​堺​岐​柳​猿 ​劦
​1309
1299
1291
1281
1271
1261
嘔​境​周揚​橋​臺
​1310
1300
(1291)
1282
1272
1262
亞​竟​週​笠​築​鄉
​262
EIGHTH SECTION.

1361
1351
1341
1331
1321
1311
靖恭倉​鈴堀​聖
​1362
1352
1342
1332
1322
1312
密​克​源​齋飯​陀
​1363
1353
1343
1333
1323
1313
蜜隆謙​邊星​逸
​1364
1354
1344
1334
1324
1314
毅雌​榮榎​塚埃
​1365
1355
1345
1335
1325
1315
貢​雄​顯​椿​邨​塵
​1366
1356
1346
1336
1326
1316
营 ​牝 ​資​楸​丸​鍚
​1367
1357
1347
1337
1327
1317
管牡範柊​柴紐
​1368
1358
1348
1338
1328
1318
慈亨​胤桐樋 ​桑
​1369
1359
1349
1339
1329
1319
紫​巖​祐​芳​瀨​濠
​1370
1360
1350
1340
1330
1320
慶​嚴​貞​伴​杉​梨
​WRITING LESSON.
263

1381
1371
飾​敦
​1382
1372
彦​楠
​1383
1373
庚​樟
​1384
1374
釋​織
​1385
1375
迦​掃
​1376
除
​1377
尚
​1378
狩
​1379
宣
​1380
葛
​NINTH SECTION.
ADVERTISEMENTS AND NEWSPAPER
CLIPPINGS.

廣
​告​及
​新
​聞
​雜
​扳
​萃
​NINTH SECTION.
ADVERTISEMENTS AND NEWSPAPER CLIPPINGS.
EIGYŌ-SHO ITEN.

小​口​當​座​預​<
小​當​定 ​兜​當
​町​銀
​座​期
​預
​預​預
​金​地
​金​金​金
​息
​の​在
​裏
​同 ​日​百​六​一 ​假
​利
​手​屋
​當​銀行家​屋​改​築
​在​來​家
​NIHON-bashi Ku Kabuto-CHO ICHI-
BANCHI.
營
​KabusHIKI-GWAISHA DAI-ICHI GIN-
KO.
日​業
​本
​會​株
​社​式
​橋 ​所
​區
​圓 ​分割​營​為
​第​兜​移
​步​符​月​年​合​所
​業 ​め​電
​町
​話
​所​本 ​一​轉
​DENWA: Naniwa SAN-JŪ-yo BAN,
Naniwa GO-HYAKU SAN-JŪ-GO BAN.
TO GINKO KAOKU KAICHIKU No
tame, HONGETSU JU-GO-NICHI Kabuto-
CHO NI-BANCHI (ZAIRAI KAOKU no urate)
kari-EIGYO-SHO ye ITEN SU.
Azukari-KIN RISOKU wari-ai :
TEIKI azukari-KIN :
SHICHI-BU; ROK-KA-GETSU, ROKU-BU GO-
IK-KA-NEN,
壹 ​壹 ​六七​･ 月 ​番
​花花
​浪​浪
​RIN.
to
錢錢​分
​移​十三
​銀​地
​八五​五
​轉​五
​+
四
​厘 ​厘 ​厘​分
​す​日
​番​番
​行
​Tōza azukari-KIN: HYAKU-EN ni
tsuki, hi-BU IS-SEN GO-RIN.
jiku IS-SEN HACHI-RIN.
REMOVAL OF BUSINESS PREMISES.
No. 1, Helmet Street, Nihon-bashi District.
First [Joint Stock Company] Bank.
Telephones : Nos. 34 and 535, Naniwa Street Office.
In consequence of the rebuilding of the premises of the Bank, its business will be
Koguchi TOZA azukari-KIN: ona-
268
NINTH SECTION.
temporarily removed on the 15th instant to No. 2, Helmet Street (at the rear of the pre-
sent premises).
Interest allowed on deposits at the following rates:
On Fixed Deposit for 1 year, 7 per cent.
""
"
6 months, 61
2 ""
""
On Current Account, 1 Sen per 100 Yen on daily balances.
On Petty Current Account, 1f Sen per 100 Yen on daily balances.
10

山
​日本​三​景
​の​日
​隨
​宮島​遊覽​切符
​(遊覽​切​符​二​週​問​打通​L發​賣​)
1 宮島​の​紅葉狩
​は​賃金​半額​即
​金​壹​圓​六​拾​五
​て​左記
​發賣​の​處
​楓​の​好​季節
​道​鐵
​陽
​以
​き​日 ​島
​て
​每
​遮
​よ
​り
​觀 ​土
​大
​坂​線
​附 ​每
​の
​便
​を​好
​計
​日 ​h
日 ​十​1
に
​曜
​に
​等​は​三​等​賃金
​一等​は​三​等​の
​賃​等
​金​の
​宮​神
​間​戶
​等
​倍​制 ​往
​限
​額​增
​復
​に ​に
​各
​수 ​驛
​と
​遊覽​客
​間​每
​同​十四
​(但​賃金​半減​は​祇​線​内​と​す​)
よ
​6
宮
​是 ​錢
​十一月
​向​へる
​引​月
​發賣​す
​迄​引​續
​京都​、大​坂​、神戶​、兵​庫​、姬
​八路
​路​、岡山​、尾道​、三田尻
​の
​SAN-YO TETSUDO.
NIHION SAN-KEI no ZUI-ICHI Miyajima no Momiji-gari. (YŪRAN-gipPU NI-SHŪKAN uchi-tōshi
IHATSUBAI.)
Miyajima YŪRAN-gipru wa, CHINGIN HANGAKU, sunawachi (Kōbe Miyajima KAN) SAN-TO
ōFUKU nite KIN ICHI-EN ROKU-JU-GO-SEN (NI-Tō wa, SAN-Tō no GO-wari mashi; IT-TO wα, SAN-TO
ADVERTISEMENTS.
269
CHINGIN NO BAIGAKU) nite, SAKI KAKU-EKI Yori kore made MAI-DOYōbi ni kagiri HATSUBAI NO
tokoro, ima ya Miyajima KWAMPŪ no KŌ-KISETSU ni mukaeru wo motte, YURAN-KAKU no BEN wo
hakari, JU-ICHI-GWATSU ICHI-NICHI yori onajiku Jū-yokka made hiki-tsuzuki NI-SHŪKAN MAINICHI
HATSUBAI SU. (Tadashi CHINGIN HANGEN wα, SHASEN-NAI to su):
KYOTO, Ōsaka, Kibe, HyōGo, Himeji, Okayama, Onomichi, Mitajiri, no HACHI-EKI.
SAN-YO RAILWAY.
Trip to the Maples of Miyajima, the greatest of Japan's "Three Great Sights." (Ex-
cursion tickets issued continuously for a fortnight.)
Heretofore excursion tickets to Miyajima at half-fares, viz. (Kōbe to Miyajima) third
class return, $1.65; second class, 50 % added to the third class fare; first class, double
the third class fare, had been issued at the undermentioned stations on Saturdays only.
But as the proper season for viewing the maple-trees of Miyajima is now drawing near, the
convenience of excursionists will be consulted by the daily issue of such tickets during the
fortnight extending from the 1st to the 14th November inclusive.
half-fares applies only to the Company's lines.)
(N. B. The reduction to
The stations are:-Kyōto, Ōsaka, Kōbe, Hyōgo, Himeji, Okayama, Onomichi, and
Mitajiri.

TOKAIDO TETSUDO Kōz TEISHAba
о
御溫り​行樓
​疲然​立​御​萬​模​て​便​車​東
​勞​の​寄​通​翆 ​達あ​塲海
​すり​よ​道
​泉​御​の
​洗​に​入箭
​相​旅​浴​は ​住
​願​中​被​是
​福​住​九
​相模​國​箱根​山麓​湯本​溫泉
​yori DENKI-TETSUDO no BEN ari; wazuka
ICHI-JI-KAN nite TASsu.
Sagami no kuni, Hakone SANROKU,
Yumoto ONSEN.
僅り​鐵
​加​電​道
​候​の​下​非
​氣​國
​時​鐵​府
​間道​津
​BANSUI-RŌ
FUKUZUMI KUZŌ.
GO TSŪKO no SETSU wa, ZEHI on
tachi-yori, GO NYŪYOKU kudasare, TEN-
御​天​御​藏
​にの​停
​NEN NO ONSEN ni RYOCHU NO GO HIRŌ
GO ISSEN ai-negai sōrō.
GREENERY HOTEL BY FUKUZUMI KUZŌ.
At the hot springs of Yumoto, near the foot of the Hakone mountains in the province
of Sagami.
270
NINTH SECTION.
This hotel is conveniently connected by electric tram with Kōzu Station on the Tōkaidō
Railway, whence it is reached in only 1 hour.
Travellers passing this way are respectfully solicited to alight here and try the baths,
in order to wash away their fatigue in the natural hot water.
議​右
​明治​卅八​年​四月​廿三​日
​明​の​口 ​御​上​御​特
​上當
​八​右​時
​の​諸
​月​通​品
​晝
​泊
​一​特别​上等​御​一
​一​御​晝
​一​上等​御​一
​等​宿
​ㄅ​非​飯​料​飯
​相​常
​泊​之
​御​宿​料​之
​ON SHUKURYŪ NO ATAE.

Hitotsu. TOKUBETSU JOTO GO IP-PAKU RYŌ,
KIN NI-EN.
KIN GO-JIS-SEN.
Hitotsu. Go CHUHAN,
Hitotsu. JOTO GO IP-PAKU RYO,
KIN ICHI-EN.
Hitotsu. Go CHUHAN,
KIN SAN-JIS-SEN.
定​高
​料
​Migi wa, TōJI SHO-shina HIJŌ KŌJIKI
價
​め​直
​ni tsuki, kumi-ai KYOGI no uc, migi no tōri
ai-sadame sōrō nari.
高知​市​旅籠屋​業​組合​取締
​候​に​金金​金
​也​付 ​參​壹​五​貳
​組
​合
​+ +
協​錢​圓​錢​圓
​MEIJI SAN-JU-HACHI-NEN,SHI-GWATSU,
NI-JU-SAN-NICHI.
KOCHI-SHI,
Hatago-ya-GYō kumi-ai
tori-shimari.
PRICE OF BOARD AND LODGING.
Charge per night [including dinner and breakfast], Special Extra First Class $2.
Luncheon ditto
Charge per night, First Class
Luncheon ditto
$ 0.50
$ 1.
$ 0.30
The above charges have been agreed upon after deliberation among the members of the
Innkeepers' Guild, in consequence of the extraordinarily high price of all articles at the
present time.
23rd April, 1905.
The Superintendents of the Innkeepers' Guild, Kōchì.
Note. This is a specimen of the notices often hung up in Japanese inns, to inform
travellers of the charges.
ADVERTISEMENTS.
271

1
◎遺失物​廣告
​八
​付​中
​坂​去
​ㄦ
​相​右​西​於​溜
​當​拙​洋​元 ​池 ​+
宅​形​證 ​彐 ​五
​謝​迄​紙​書 ​日
​禮​御​入 ​新​午
​可​持​遺​通​橋​後
​出
​參​失​及​迄
​明治​卅七​年​十二月​十六​日
​赤坂​靈南​坂町​八十​五​番地
​能​勢
​勢​元
​龜​五
​之​助
​候 ​致​紙
​時
​方​候 ​幣​途
​在​上​赤
​ISHITSU-MONO KOKOKU.
Saru JŪ-GO-NICHI GOGO HACHI-JI goro, Akasaka Tameike yori SHIмbashi made no Tosō ni oite,
SHŌSHO NI-TSŪ oyobi SHIHEI ZAICHU SEIYO-gata kami-ire ISHITSU itashi sōrō ni tsuki, migi SETTAKU
made GO JISAN no kata ye wa SŌTŌ no SHAREI tsukamatsuru-beku sõró.
MEIJI SAN-JU-SHICHI-NEN, JU-NI-GWATSU, JU-ROKU-NICHI.
Akasaka REINAN-zaka-machi, HACHI-JU-GO BANCHI, Nose Kamenosuke.
[Advertisement of an Article] LOST!
On the 15th instant at about 8 P.M., on the way from Tameike in Akasaka to Shimbashi,
I dropped a pocket-book of foreign make containing two vouchers and some paper money.
Any person bringing the same to my residence shall be suitably rewarded.
(signed) Nose Kamenosuke.
85 Reinan-zaka Street, Akasaka.
16th December, 1904.
Note.-Observe the black dots used to emphasise the most important words, as we use
Italics. This practice is derived from the Chinese.
272
NINTH SECTION.
肆
​淺
​都市​三條​通​烏丸
​田屋​新兵衛
​京
​都​卅
​+
通​日
​C難​之​見​O
御​計​處​舞​昨
​禮​乍​混​被​曉
​八​申​略​雜​下​近
​年
​上儀 ​の ​拜火
​月​候​新​際​趨
​聞​尊​御​節
​Note.-
紙​名​禮​は
​SAKUGYO KINKWA NO SETSU wa, SAS-
SOKU on mimai kudasare, HAISŬ ON REI
mōshi-agu-beki no tokoro, KONZATSU NO SAI
SOMMEI ukagai-more mo hakari-gatakn ;
RYAKUGI-nagara, SHIMBUN SHIJO wo motte
on REI mōshi-age sōrō.
GWATSU, tōka.
の
​MEIJI SAN-JU-HACHI-NEN,
KYOTO-SHI SANJO-dori Karasu-maru.
SHOSHI Asada-ya SHIMBEI.
見舞 ​mimas, “to n-
“
ICHI-
quire" or condole," is a good example
上​伺​可​早
​洩​申​速
​以上​御
​of a word written half ideographically,
half by phonetic rule of thumb; for
"to
(No. 1137) man alone means
dance!
男
​親​狩
​戚​野
​- 貫
​明治​卅八​年​二月​二十​五日
​厚存​は​實
​禮​候​遠​父
​申​路​狩
​上略​御
​候​儀​會
​(Translation.)
In return for kindly prompt enquiries on the occasion of the fire in my
neighbourhood carly yesterday morning, it would be my duty to hasten to present my thanks
to each in person. But as the esteemed names of some may have escaped me in the confusion,
I trust they will excuse my thanking them through the columns of the newspaper.
10th January, 1905.
Kyōto, Sanjō-dōri Karasu-maru.
Asada-ya Shimbei

Bookseller.
Note. The terms of this adver-
野
​tisement are stereotyped. In almost
any newspaper one or more will be
found of almost identical wording.
紙​葬 ​貫
​上​被
​在下​送
​以​難​葬
​ㄟ ​有​之
​JIPPU Kano KWAN-ICHI SOSO NO
SAI wa, ENRO GO KWAISO kudasare, ari-
gataku zonji-tatematsuri sōrō. RYAKU-
GI-nagara, SHIJO Wo molte GO KÖREI
mōshi-age sōrō.
MEIJI
SAN-JU-HACHI-NEN, NI-
GWATSU, NI-JU-GO-NICHI.
同​二
​御​奉​際
​DAN, Kanō KWANJI, SHINSEKI
ICHIDO.
ADVERTISEMENTS.
273
(Translation.) KANO KWANJI is deeply sensible of the kindness of those who, on the
occasion of the funeral of his father, KANO KWAN-ICHI, came from a distance to honour the
ceremony with their presence. He trusts they will excuse his expressing his heartfelt thanks
through the medium of the newspaper. The other relatives of the deceased join with the
son in this expression of gratitude.
Notes.-
25th February, 1905.
實​父
​lit. “true father," means simply “father," but in implied contradis-
tinction to an adoptive father, 養父 ​YOFU. Such similarity of personal names
between a father and his son as is here exemplified in
以 ​would write
以​貫​之
​貫​次​), is by no means mcommon.
and 貫
​貫
​貫​二 ​(others
These particular names contain an
allusion to a text in the Chinese Classics;-ICHI motte kore wo tsuranuku, “I seek
object of knowledge. 男​“male,” “man,
a unity all-pervading," an utterance of Confucius to a disciple in a discourse on the
man," here means son; in some contexts it
may mean “baron.”—This advertisement, like the preceding, is one of those whose terms are
consecrated by usage. It and the four immediately preceding it exemplify the Epistolary
Style, explanatory details of which will be found in Section XII. Speaking briefly, this style
is distinguished by the use of sōrō 候 ​a substantive verb corresponding approximately to
the polite termination masu of the Colloquial language. Thus, Epistolary mōshi-age-sōrō is
equivalent to Colloquial mōshi-age-masu.
れあ​本​語 ​適又 ​本​取 ​評譽
​り
​蜂
​けし​金 ​印
​て​牌
​今​十
​々​地く
​恐り​品る​し​貯品​りをあ
​の​と​は
​御​販 ​雖需 ​み是る​斯​の​處​て​藏​は​分​博
​確賣​も​用​に​等​べく​飲​な​營久
​め​店 ​本​者​名​は​盛​用 ​養​し
​御​に​品​は​名​は​大​者​且分​き
​飲​て​の​ーあ​稱本​な​著つ​に​に
​用​蜂 ​賣層る​を​吊るし​各​富亘
​あの​捌法 ​本​同​に​にく​地​みる
​ら​商​あ​意​品​じ ​連​增方​も
​ん​標​ら​を​を​地加​にる​凝
​進物​用​極​て​適當
​や​二
​高​銅
​實​牌
​模擬​し​流​は​質
​賣る​らし​商
​を​捌
​顧標​は​効 ​品味
​て​行​本
​元​と​し​客​を
​近​なを​紛
​藤け​如欺​ら
​利​れ​何か​は
​兵 ​ばなん​し
​衞るく
​の​最​僻​せ​し
​名寄​遠​て
​義​々​の​希巧
​顕る​の​の
​特典
​箏赤
​き
​あ
​に
​ふ​痢色​な
​べ​病​とく
​製 ​酒
​の​受​て​の
​多​領 ​各​品
​し​大質
​に​盆博古
​今
​か​豫​し​味​て​の​上々
​ら​防​て​ひ​体​佳​ら​世​會​に
​裁​品 ​ん​上​卓
​ぎ​の​世​口
​る​上​舌​に​どの​絶
​者​め​に​にくし​す​好 ​名​し
​賣​捌​元
​東京​市​日本橋​區本​町​二​丁目
​近藤​利兵衛
​(電話​本局​四​四​三​番​)
274
NINTH SECTION.
HACHI-JIRUSHI KÖZAN BUDŌ-SHU
No HINSHITSU KOKON ni TAKUZETSU shite, KAKU DAI HAKURANKWAI yori MEIYO Ɑru KIMPAI
JŪ-NI-KO to DŌHAI IK-KO WO JURYO shi, mASU-MASU SEJO NO KŌHYO Wo HAKUshite, ima ya HATSU-
BAI-daka JITSU ni KYOMAN no iki ni noboran to su. Tori-wake HOMPIN wa SHIMMOTSU-
YŌ KIWAMETE TEKITŌ no KAHIN ni shite, TEISAI yoku; mata CHOZO hisashiki ni wataru
MO, HENSHITSU HEMMI NO osore naku, ajiwai KŌZETSU ni TEKIshite, EIYO-BUN ni tomitaru wa
HOMPIN NO TOKUSHOKU to shite, SEJO ni hokoru tokoro nari. Katsu KAKU CHIHO ni RYŪKŌ seru
SEKIRI-BYŌ YOBŌ no tame HOMPIN no IN-YO-SHA ichijirushiku zŌKA shite, KOKEN arasou-bekarazaru
mono ari. KAKU SEIDAI naru ni tsure, osoru-beki wa HOMPIN ni MAGIRAWASHIKI
SHINA ARI. Kore-ra wa MEISHO wo onajiku shi,SHOнYO wo magirawashiku shite, takumi ni
MEIYO Ɑ/U HOMPIN wo Moshi, KOKAKU wo azamukan to seri. Koi-negawaku wa, JUYO-SHA wɑ ISSO
CHŪI wo okotarazu shite, ika naru HEKIEN no CHI to iedomo HOMPIN no uri-sabaki arazaru koto
nakereba, sono moyori-moyori no HAMBAI-TEN nite Hachi no SHOнYO to, uri-sabaki-moto KONDO
RIHEI NO MEIGI to wo on tashikame, GO IN-Yō aran koto wo.
Uri-sabaki-moto, TOKYO-SHI, NIHON-bashi KU, HONCHO NI-CHōme, KONDO RIHEI.
DENWA: HONKYOKU SHI-HYAKU SHI-JŪ-SAN-BAN.
OUR "FRAGRANT WINE" (WASP BRAND), which surpasses in quality every
other whether of ancient or modern times, has been honoured at the various great Exhibi-
tions by the bestowal of twelve Gold Medals and one Copper Medal, and is ever more
widely extending its celebrity throughout the world, with the result that its sale now
promises to assume truly gigantic proportions. More especially is this excellent article
most suitable for presents, being attractive in appearance, not liable to alteration of quality or
flavour however long it be kept, and its, taste being most agreeable to the palate. A special
feature-one to be proudly vaunted before the world-is its richness in nutritious elements
Its efficacity cannot be disputed, in view of the notable increase of its consumption as a
preventive of the dysentery so prevalent in many parts of the country. A danger to be
apprehended from such success is the appearance of spurious imitations of our celebrated
brand, which are calculated to deceive customers by identity of name and a close resemblance
in the trade-mark. Purchasers of the "Fragrant Wine" are requested to exercise ever-
increasing caution, so as to make sure that the article they drink bears the "Wasp Brand
trade-mark, together with the name of the wholesale dealer, Kondo Rihei. This can be
ascertained at the various local stores, as our "Fragrant Wine" is on sale everywhere even
in the remotest districts.
""
Wholesale Dealer: Kondo Rihei, in the Second Ward of Main Street, in the District of
Nihon-bashi. Telephone, No. 443, Central Office.
ADVERTISEMENTS.
275
Nole.-How enormous the change effected during the course of a single life-time!
Down to the period of the recent opening of Japan, advertising scarcely existed. It was
"bad form" for a business firm to puff its goods, as it still is with us in the West for a
doctor or a lawyer to puff his abilities. The Japanese of the present day have abandoned their
old canon of good taste in this as in many other matters, and imitate our methods of advertising
down to the minutest details. The next Extract will serve to show with what marvellous fidel-
ity they have also transferred to their own language the whole stock-in-trade of our common-
places of literary criticism. No one fresh to the country, or who should study contemporary
literature only, without comparing it with that of forty years ago, can form any adequate notion
of the degree to which European ways of thought and expression have moulded the Japanese
language of to-day. He will be apt to remark on the similarity of many idioms and set phrases,
and will—if he reflect at all on the matter-probably attribute it to the identity of human
methods of thought at all times and in all places. This theory, though applicable to many other
countries, does not agree with the facts in either ancient or modern Japan, whose similarity,
whether to China or to Europe, springs, not from natural likeness, but from artificial trans-
ference; it is inorganic. Many, even of the Japanese themselves,—those belonging to the
younger generation,—are unaware of these considerations, just as in the rural districts persons
may be found who, ignorant of the very recent importation of railways, telegraphs, etc., from
abroad, naively imagine these to be Japanese inventions, and enquire of the European traveller
whether his country has adopted them.
竹​越​與​三郎​著
​●諸​學校​教科​參考
​ツ​讀表​に​當史
​要​に​時國​のに​6年​某​典​な​歷神
​
一​當​と​史​歷史​武
​ジ​の​せせり
​所​足​間
​エ​際​んら​著​学​に​民​を​初​に​大
​を​に​發手​を​くめ​今​し​皇
​兌​元
​ダ​て​全​に​知誌​その​と​聞す​ら​来​てる​歴​は​の​材
​彌束​と​思其​つき
​十​區
​開
​拓
​社
​至​を​史​のり
​ひのき​希​べーま​服​思り​入 ​か​年​小​れ​嫌云​也豊​徳
​左京 ​い ​當書​て​望​き​般​たす ​百
​衞市ふ ​らをほ​を​良​ざる​ば​而頁
​門​京
​し​見吾​抱好​育る​所​氏​しの
​町​橋 ​むる​人​きのあ​に​はが​て​大
​る​に​は​其史る ​在​氏​才​其冊
​こ​頗充​の​書​人​が​の​多​近
​省​と​ぶ​分​研​に​士 ​○善非​事來
​多る​に​究乏​の ​く​凡​の​有
​し​生​感​の​し​参 ​史な​際敷
​即​氣​謝​結​さ​考 ​上​る ​の
​ちあの​果​今​に
​つり​意​を​日​資
​サ​通​を​公に​す
​ス​人​とれ​者​任看 ​看​゜​成 ​摘重​兌​に​重​余​て​無​の​郵金​菊
​新
​チ​を​欲​た​此料 ​取吾 ​錄​ぜ​以​しず​は​備比 ​建税
​しする​の ​し​入​し​明​すら​来​てる​歴​は​の​材國
​過​敬​を
​はる​古今​無
​版​六
​字
​を​半説りひふ ​富川
​見​に​を​たべ​此幕
​る​し​讀某​れし​書​識府
​べてむ​貴​一見​の
​し​六​を​婦​も​識​た​の​と
​〇​版​要人​見​び​奇​滅
​左​を​せ​は​著​一​出拔​に
​に​重​日​を​世​て​至
​各​ぬっく​讀​に​交る
​る
​二​み​秀國​章​迄
​の​を​零​著
​大​知​細述
​所る​の​た
​聞其​に​千​て​で​史​の​の
​批如​至​五​初​た​の​雄​日
​何れ​百​める​大​快​本
​千​五​百年​史
​菊​判​大本​全​壹​册
​金字​入​極​上​製定​價​金​壹​圓​八​拾​錢
​七百​六十​三​頁
​郵
​税金​貳拾​錢
​276
NINTH SECTION.
SHO-GAKKO KYŌKWA SANKŌ-SHO, Takegoshi YOSABURO CHO, ROp-pan.
“NI-SEN GOHYAKU NENSHI."
KIKUBAN TAIHON ZEN IS-SATSU, SHICHI-HYAKU ROKU-JŪ-SAN peiji, KINJI-iri GOKUJO SEỊ.
TEIKA, KIN ICHI-EN HACHI-JIS-SEN. YUZEI, KIN NI-JIS-SEN.
JIMMU TENNō no KENKOKU yori Tokugawa BAKUFU NO BŌMETSU ni itaru made no NIHON REKISHI
ni shite, ZAIRYō NO HʊFU, SHIKKEN NO KIBATSU, BUNSHŌ NO YŪKWAI naru, KOKON MUHI NO REKISHI
nari. Kono SHO hito-tabi idete, KOKUSHI NO DAITEN hajimete sonawaru to iu-beshi. SHIKKEN IS-SEI
ni hiidetaru Bō-Ō iwaku : Yo wa REKISHI wo kiraitaredomo, SONCHO wo yomile hajimete REKISHI
wo omonzuru ni itareri.” Bō KIFUJIN wa iwaku : 'NI-SEN GO-HYAKU NENSHI' wo te ni shite yori,
SHŌSETSU wo yomu wo xōsezaru ni itareri" to. HATSUDA IRAI IK-KA-NEN-HAN ni shite, ROP-PAN wo
kasanu. Sono ika ni TŌSEI ni omonzeraruru ka wo miru-beshi. SA ni KAKU SHIMBUN HIHYO NO
IPPAN WO TEKIROKU SU :—
("KOKUMIN SHIMBUN.") HAP-PYAKU peiji no TAISATSU, KINRAI YŪSU NO CHOJUTSU tari.
Shikō shite sono TAJI NO SAI, REISAI no JIKAN ni narishi to wo omoeba, SHI ga SAI no HIBON naru Wo
shiru ni taru. GOJIN no KEIFUKU suru tokoro wa, SHI ga yoku SHIJō no TAISHO YOSHO WO KANSHU
shite ayamalazaru ni ari.
("SHIGAKU ZASSHI.") IPPAN KYŌIKU Ɑru JINSHI NO SANKO ni SHIsu-beki RYŌKŌ NO SHISHO ni
toboshiki KONNICHI ni atari, CHOSHA kaku no gotoki KIBO wo idaki, sonO KENKYŪ NO KEKKWA wo
ōyake ni seraretaru ni tsukite wa, GOJIN wa JŪBUN ni KANSHA NO I WO HYŌsen to hossu. Ima sono
SHO wo miru ni, sukoburu SEIKI ari. TSUDOKU no SAI, hito wo shite omoi-atarashimuru koto ōshi.
Sunawachi "satsujicsuchi-vu" to iu-beki nari.
(SHORYAKU.)
HATSUDA-moto :-TOKYO-SHI, Kyobashi-Ku, YAZAEMON-CHO, JU[-BANCHI].
KAITAKU SHA.
"A HISTORY OF TWO THOUSAND FIVE HUNDRED YEARS.”
A text and reference book for schools, by Takegoshi Yosaburō.—Sixth Edition.
One large volume octavo, 763 pages, first-class binding and gold lettering. Price, $ 1.80.
Postage, 20 sen.
This history of Japan, from the establishment of the empire by the Emperor Jimmu to the
subversion of feudalism and of the Tokugawa dynasty, stands without a rival in ancient or
modern times, alike for the richness of its materials, the superiority of its views, and the power
of its style. Its appearance may be said to have first endowed us with a great national history.
An old gentleman of distinguished views writes as follows: "I had disliked history. The
perusal of your work first taught me the importance of the subject."-A lady writes: "Since
taking up the History of Two Thousand Five Hundred Years,' I have had no further use for
novels."-The favour with which this work has been received by the public may be appreciated
from the fact of the publication of no less than six editions during the eighteen months since
(
* Notice the attempt to represent "v" by with the Nigori.
NEWSPAPER CLIPPINGS.
277
its first appearance. We append a few of the very numerous newspaper critiques :
(“NATION.') This stout volume of eight hundred pages is a work of rare merit. The
unusual talent of the auther may be inferred from the fact that it was composed at odd
moments in the intervals of business. What specially rouses our admiration is the unerring
dexterity with which he seizes on the salient points of history.
("HISTORICAL MAGAZINE.") We desire to express our unstinted thanks to the author who
could conceive such an idea, and bring before the public the results of his investigations at a
time like the present,-a time so poor in historical works fit to serve as books of reference for
educated readers. We find his book replete with power. A perusal of it constantly carries
conviction to the mind. In a word, it must be considered a suggestive book.
*
*
Publishers: the Kaitaku Sha.
*
10 Yazaemon Street, Kyōbashi, Tōkyō.
海​五​海
​を​分​上
​同​不 ​昨​晴​東
​戒午​稳 ​日​れ
​後​の
​ち​部
​八五り
​北北あ
​(第一​、二​、三​、四​區​)
〇​天氣​豫​報
​し​雨​模様​+
ハ​東​の​風​概ね
​(第​八​、九​、十區​) 北​の​風 ​曇り​但し​雪 ​模様
​(第​五​、六​、七區​) 北又​n東​の​風​概ね​晴れ
​の​處あ
​東京​之​部 ​北乃​至東​の​風
​日​溫度
​れ​後​ち​曇
​三​、五
​五分​同​午後​三​時​五​十分​東部​第二​、三​區​沿
​海上​不穏​の ​虞​あり​十​四​日​午前​九​時​四​十
​沿​十
​華​攝
​氏​氏
​=
八​三
​三五
​風​の
​曇​東
​日​日
​の​刄り​北今​昨
​又 ​午​午
​> 後​後
​時時
​ごり
​し​桃
​曇
​TENKI YOHO (SAKU-
JITSU GOGO ROKU-JI yori, KONNICHI GOGO
ROKU-JI made).
DAI ICHI, NI, SAN, SHI KU :-Kila
mata wa higashi no kaze, imune kumori,
tadashi ama-MOYO a'i.
DAI GO, ROKU, SHICHI KU-Kita
mata wa higashi no kaze, ōmune hare.
DAI HACHI, Ku, Jū Kʊ:—Kita no
kaze, kumori, tadashi yuki-moyo no tokoro
ari.
TOKYō no Bu :- Kita NAISHI higashi
no kaze, hare, nochi kumori. SAKUJITSU
ONDO:SESSHI, SAN[-DO] GO[-BU];
KWASHI, SAN-JU-HACHI [-DO] SAM[-BU].
KAIJO FUON no osore ari. Jū-yokka

GOZEN KU-JI SHI-JU-GO FUN, onajiku GOGO SAN-JI GO-JIP-PUN, TÕBU DAI NI-SAN KU ENKAI WO KEIKAI SU.
WEATHER FORECAST.
(From 6 P. M. yesterday to 6 P. M. to-day.) 1st, 2nd, örd, and 4th Districts:
Northerly or Easterly winds, mostly cloudy, threatening rain.
5th, 6th, and 7th Districts: Northerly or Easterly winds, mostly fair.
8th, 9th, and 10th Districts: Northerly wind, cloudy, snow threatening in places.
278
NINTH SECTION.
Tōkyō:Northerly and Easterly winds; fair at first, later cloudy. Temperature yester-
day:30 Celsius, 380 Fahrenheit.
1 U
Rough weather expected at sea. Warnings issued on the 14th inst. at 9.45 A.M. and
3.50 P.M. to the Second and Third Districts, Eastern coast.
Note. For meteorological purposes, Japan is divided into ten districts, from South-west
to North-east. Tōkyō stands in the fifth of these districts. The weather forecast will be found
daily in most of the newspapers, and also pasted up in the streets on large boards.—Notice
Celsius" represented phonetically by the character
CC
攝 ​SETSU, and “Fahrenheit” by 華
​KWA. We surmise the latter character to have been chosen by some scholar in China, as it is
read fa in certain districts of that country. Here in Japan the resemblance to "Fahrenheit
has dwindled down to something very shadowy.
""

後​容易​に​低落​の​摸様​見え​ず​貧民
​益​~困
​色​あり
​(東京​日
​えき
​々​ず
​新聞​)
今 ​今​昨​來​す
​年​の​尚爿
​米
​風​益​價
​難 ​不​潮
​こ​作​に​騰貴
​其​連​貴
​あ​落大​れ
​原​た​兆​米
​摸​因
​な​も
​るあ
​り升
​りの
​介​價​騰貴 ​中​米​一​升​十八
​A
BEIKA TOKL
CHUMAI IS-SHO JU-HAS-SEN ni TASSU. Nao masu-masu TÕKI NO
CHO ari. Sono KIN-IN wa, KINRAI NO FŪCHO ni tsuretaru mono no
gotoki mo, SAKUNEN NO FUSAKU SONO DAI-GEN-IN nari to icba, KONGO
YŌI ni TEIRAKU no MOYō miezu; HIMMIN masu-masu KONNAN no iro
ari.
(“TOKYO NICHI-NICHI SHIMBUN.")
RISE IN THE PRICE OF RICE.
Second-class rice has reached 18 cents per quart,* and there
are indications of a still further advance. The proximate cause
might perhaps be sought in recent circumstances. But granting
近八 ​the real cause to be last year's bad harvest, there is little prob-
因​錢 ​ability of a fall in prices later on, and the condition of the poor
はに
​如き​も
​threatens to become more and more distressing.
民​ば ​ば​も​近​逹
​(“Tōkyō Daily News."')
復
​を
​讀​し
​喪​た
​新り
​聞
​へ​一​日​三​回​の​往
​は​濱
​降
​な​日 ​め​船​る​所​に
​者​に​も
​杉​社 ​杖​拘
​田 ​に
​元​節​と​て​前夜
​錠所 ​は ​郡 ​神杉
​爲川​た ​雪​節​昨​び​は ​日杉​奇
​十​初
​川
​り村縣​の
​日​た ​能 ​久松
​往村 ​て​横​曳​ら
​は ​夜​はる​分
​が
​杉田​の​梅信
​紀カ
​方​場 ​花​岐
​* The
considerably exceeds an English quart; but in such a translation as this we cannot enter into fractions,
and there is no other convenient term at hand.
NEWSPAPER CLIPPINGS.
279
SUGITA NO BAISHIN.*
Kanagawa KEN Kuraki-gōri Sugita-mura no BAIKWA wa, hi-atari yoki basHO wa, mohaya
SAM-BU-gata hokorobi-sometaru ga, ISSAKU JŪ-ICHI-NICHI wa, KIGEN-SETSU tote, ZEN-YA no KŌ-SETSU
ni mo kakawarazu, DŌSHO ni tsue wo hikitaru mono iku; Yokohama Kawabune-GWAISHA nite wa,
tame ni Sugita-mura ye ICHI-NICHI SAN-KWAI no ŌFUKU wo nashitari. (“ Yomiuri SHIMBUN.”)
TIDINGS OF THE PLUM-BLOSSOMS AT SUGITA.
The plum-blossoms are already partially out in the sunnier portions of the village of
Sugita in the district of Kuraki in the prefecture of Kanagawa; and despite the snow of
the previous night, were visited by crowds of persons the day before yesterday, the 11th
instant, being the Festival of the Establishment of the Empire. To meet their requirements,
the Yokohama River Boat Company ran boats to Sugita three times during the course of
the day. ("Street-crier's paper.")

の​伊
​ル
​田
​よ
​外
​官​相
​に
​獨​が ​清​相​於饗
​て
​外
​務
​催​臣
​寺​し
​た​昨
​る​日
​よ​午
​し​後
​久​に​七
​り ​氏
​信​:
山​、波多野​、清浦​、大浦​、の​各​大臣​英​公使​マク
​賓​い​桂​首相​を​始め​田中​、曾禰​、寺内​、山本​、
ゼン​男​、米​公使​グ
​伊​公使
​氏​、露​公使
​ガリ​氏​の​諸氏​及び​清​、韓​、白​、
名​蘭
​新​な
​リ
​ス
​各國​公使​獨​佛​兩國​代理​公使​等​二十​餘​名
​(讀賣新聞
​GWAISHŌ-TEI NO KYŌEN.
Komura GWAIMU DAIJIN wa, SAKUJITSU GOGO SHICHI-JI
yori KWANTEI ni oite BANSAN no KYDEN wo moyōshitaru
yoshi nite, RAIHIN wa Katsura SHUSHO wo hajime, Tanaka,
Sone, Terauchi, Yamamoto, Kubota, Hatano, Kiyoura,
Ōura no KAKU DAIJIN, EI KOSHI Makudonarlo SHI, Ro
KOSHI Rōzen DAN, BEI KOSHI Gurisukomu SHI, I KOSHI
Meregari SHI no SHOSHI, oyobi SHIN, KAN, HAKU, RAN,
ZUI, BOKU NO KAKKOKU KOSHI, DOKU FUTSU RYOKOKU
DAIRI-KŌSHI TŌ, NI-JŪ YOMEI nari to.
("Yomiuri SHIMBUN.")
BANQUET AT THE FOREIGN
OFFICE.
We learn that Baron Komura, minister of state for
foreign affairs, gave a banquet at seven o'clock yesterday
evening at his official residence. The guests-more
than twenty in all-were the premier Count Katsura,
the various ministers of state, viz. Viscount Tanaka,
, when used in the sense of "[true] tidings,” has otozure as its
+ Properly, "about three-tenths."
More lit, "those who went thither trailing (i.e. leaning on) their staves were many."
280
NINTH SECTION.
Baron Sone, Baron Terauchi, Baron Yamamoto, Mr. Kubota, Mr. Hatano, Baron Kiyoura, and
Mr. Ōura, the British minister Sir Claude Macdonald, the Russian minister Baron Rosen,
the American minister Mr. Griscom, the Italian minister Mr. Melegari, the Chinese, Korean,
Belgian, Dutch, Swedish, and Mexican ministers, and the German and French Chargés
d'affaires.
“Street-crier's paper."')
Notes.-
相 ​may be thus used as an equivalent of E
大臣
​DAIJIN, “minister of state, '
its proper reading being then, not sō, but SHō, as exemplified again below in 首相
​SHUsHO, prime minister," " pemier."-晩餐​の​饗宴 ​lit. “a banquet-feast of an
meal." 晩餐
​晩​餐 ​is used in Christian parlance for "the Lord's Supper."—Observe the
evening meal.”
omission of the titles of Count Katsura, Viscount Tanaka, etc., occasioned by the mention of
their official rank as ministers. It is like the American idiom "Prime Minister Balfour,"
“Ambassador Monson," etc., which strikes so strangely on English ears..... の​諸
​氏
​“the various Messieurs," viz. the British, Russian, etc., ministers just enumerated.
Observe, too, the use, which is elegant in the Written Style, of single characters to denote each
of the countries mentioned. This cannot be availed of in speaking. 三​韓
​collective name of the three kingdoms into which Korea was anciently divided.
was the
HAKU comes to stand for the first syllable of BERUGI 白​耳​義 ​“Belgiumn," because the
Pekingese pronounce it PE, which is almost the same as BE; similarly
similarly 墨
​presents "Mexico," because the Pekingese pronounce it ME.
BOKU re-
The Japanese journalist is, we believe, mistaken in the diplomatic rank he attributes to
some of the foreign representatives; but the student of the written character will doubtless not
be much concerned at such slips in matters of fact,

一昨日​の​暴風雨
​讀賣新聞​明治​卅​一年​六月​七日
​既
​九​の​前​り水​市​至​の
​に​坂時​騷
​を
​出
​の
​
て
​り​玉
​椿​」 に​擾錢​時​軒 ​満川​名
​事 ​を​に​は​下​片​水上
​に​於り
​記​も​水​時​開​て​昨
​そ​頗風​はけ​風​日
​水
​し
​る損跡 ​當​は
​を
​うり​近
​及​て​減​め​渡
​ば​水​水​し
​す
​る​起 ​午非
​頃​町
​を​し​町後​常人​上​浸​谷​に​等
​ん​論​せ​がせ​を​尺
​り ​漸​し​し​餘坂​出 ​愛
​めてほ​町 ​し​時住
​て ​黃永
​者 ​角​酒 ​出​住
​上れ​し ​町
​し​箇絕​な
​今​所
​家​科
​左​樣道​な​な
​に​府​な​行
​其下り
​欖地​し
​況方​が​も​戶雨
​*ご​殆​ご​戸
​る
​NEWSPAPER CLIPPINGS.
281

と​滑
​消防​夫​の​仲裁​盡力​にて​平穏​に​濟み​たり
​麻布​區 ​谷町​箪笥​町​邊​は​水​の​はけ
​れ​分​及
​ば​其​I
て​に
​も
​ざ​何​師​れ ​し​所金 ​松其
​負傷
​て
​全​箇 ​夫​昨 ​就
​通所​を​夜中​鷲
​の​廣派​來​!
見 ​し​錆
​破
​以下
​込​を​目
​ふせ
​力
​て​修工​詳し​御
​ら​四​繕務​細​は
​ん​五​工​課
​島​岡
​と​日​事​に​未
​後 ​中​於​だ
​に​な
​て
​ある​ほら​間​七島
​技​ざ​に​ヶ​田津り
​鷺津​豊橋​間​、御油​岡崎​間​の​七​ヶ
​松田​間​、山北​小山​間​、江尻​靜岡​間​、島田
​1間​損​日
​昨東傷​破鳥
​谷​田
​海​せ​壊
​午 ​道 ​しし​坂田
​箇後​瀛​● も ​坂 ​四
​亦​し​時行​な
​殆
​ん​よ
​所 ​車​の​の​中​十​來亦
​不​は​半央
​青田
​大​頃​通​な​腹​櫻​番​た
​路
​間​磯​よ
​かまう
​二​地​か
​り東り​で
​先り
​府​漸
​し​押​の
​し​面
​邊
​次 ​道​と ​出土 ​土崖
​不
​し​手八​同​水​水
​た​六 ​間​日
​り ​間​餘午​な​は
​な​路
​幸​許​崩​後​り ​り​け
​に​も​壤​五​通​塲
​ISSAKU-JITSU NO BŌFŪ-U.
(YOMI-URI SHIMBUN, MEIJI SAN-JŪ-ICHI-NEN ROKU-GWATSU NANUKA.)
ISSAKU-JITSU wa KINRAI mare naru BŌFŪ-U nite, kaze-atari no ie nado hotondo to no ake-yō
naku, michi yuku hito mo ICHI-JI wa ato wo tatsu sama narishi ga,—SHUSSUI FŪSON NO KASHO wa
FUKA CHIHŌ to mo sukoburu ōshi. Ima sa ni sono GAIKYO wo shirusu-beshi.
Yotsuya Ku.—Nagasumi-cHō AIsumi-CHO Tō no Tamagawa JōSUI FUNSHUTSU shi; SAN-JI goro
ni itari MANSUI shite, afure-idashi, Yotsuya Ichigaya Kata-machi to Tsunokamizaka-machi ye
SHINSUI shi; noki-shita yori SAN-JAKU YO hodo agari, ICHI-JI wa TSŪKO-SHA wo shite ICHI-NIN-mae
SHI-SEN nite TOSEN seshime, HIJō no sōsō wo kiwameshi ga,—yōyaku GO-GO KU-JI ni itari GENSUI
seri. Mata Kata-machi to Saka-machi ni oite SUIRON wo hiki-okoshi, sude ni CHINJI* ni oyoban
to suru wo, SHŌBŌ-FU NO CHŪSAI JINRYOKU nite HEION ni sumitari to.
Azabu Ku.-Tani-machi TANSU-machi HEN wa, mizu no hakeba naki yori, kore mata DORO
WC ICHI-MEN no mizu to nari, Tsūkō hotondo deki-gatakarishi ga, DOJITSU GOGO GO-JI goro
Tani-machi SHI-JU-ICHI BANCHI-saki no gake HACHI-KEN YO HŌKWAI shi; Torii-zaka no CHŪŌ
Sakurai TEI no Dote ROK-KEN bakari mo mata HAKWAI shi, saka no HAMPUKU made oshi-dashitari.
Saiwai ni FUSHO seshi mono wa nakarishi to.
TOKAIDO KISHA FUTSŪ.-TOKAIDO TETSUDO SENRO wa, ISSAKU-JITSU GOGO NI-JI goro yori
* 椿 ​is here, as often, used for the homonymous character 珍​.
282
NINTH SECTION.
ZENJI FUTSŪ to nari; sono HASON no KASHO wa, Ōiso Kōzu KAN, Kōzu Matsuda KAN, Yamakita
Oyama KAN, Ejiri Shizuoka KAN, Shimada Kanaya KAN, Washizu Toyohashi KAN, GOYU Okazaki
KAN NO SHICHI-KASHO nite, nakanzuku DAI-HASON seshi wa Shimada Kanaya KAN ni shite, yama-
kuzure ari to in. SHŌSAI wa imada shirazaredomo, SAKUYA-RAI TETSUDŌ-KYOKU KŌMU-KWA ni oite
wu, GISHI oyobi KOFU wo Hashi, MOKKA SHŪZEN KŌJI-CHŪ naru ga,—naniBUN SONO KASHO hiroki
wo motte, SHI-GO-NICHI GO ni arazareba, ZENTSŪ no mikomi nakaran to.
THE TYPHOON OF THE DAY BEFORE YESTERDAY.
[FROM_THE “YOMI-URI SHIMBUN" FOR THE 7TH JUNE, 1878.]
The day before yesterday we were visited by a typhoon of exceptional violence. It
was almost impossible to keep open the shutters of the houses on the side exposed to the
wind, and at one time no one was to be seen in the streets. Very many localities, both in
the capital and the country, were ravaged either by flood or wind. The following will give
a general idea of the damage done.
YOTSUYA DISTRICT.-The Tamagawa aqueduct burst in Nagasumi Street and Aisumi
Street. By about three o'clock, the whole place was full of water and overflowing. The water
rushed into Kata Street at Ichigaya and into Tsunokamizaka Street, where it rose to a height
of more than three feet above the eaves, and at one time people were ferried across in boats
at four cents a head, and extraordinary confusion reigned till at length, about 9 P. M., the
flood decreased. A quarrel, too, which arose between the people of Kata Street and Saka
Street as to the disposal of the water, threatened to become serious; and quiet, we believe,
was only restored by the efforts of the firemen who intervened.
AZABU DISTRICT.-Here also, in the neighbourhood of Tani Street and Tansu Street, the
roads became one sheet of water owing to the absence of drainage, and traffic was well-nigh
suspended. At about 5 P. M. more than sixteen yards of the steep bank fronting Number
41, Tani Street, slid down, as did some twelve yards of the embankment facing Mr. Sakurai's
mansion in the middle of Torii Hill, the litter extending to the middle of the street.
learn that fortunately no one was hurt.
We
COMMUNICATION SUSPENDED ON THE TOKAIDO RAILWAY.-Communication was gradually
suspended on the Tōkaido Railway line, at about 2 P. M. on the day before yesterday.
Seven sections were damaged, viz. the Ōiso-Kōzu, the Kōzu-Matsuda, the Yamakita-Oyama,
the Ejiri-Shizuoka, the Shimada-Kanaya, the Washizu-Toyohashi, and the Goyu-Okazaki
Sections, the worst damage of all being between Shimada and Kanaya, where it is said that
a landslip took place. Particulars are not yet known; but we gather that the Construction
Department of the Railway Bureau began to despatch engineers and navvies to the spot last
night, and that repairs are being carried on, but that the damage is so wide-spread that through
communication is not expected to be restored for four or five days.
NEWSPAPER CLIPPINGS.
283

燒​・稀
​●本鄉
​大火
​昨​曉​二​時三十分​頃​本鄉​區​春​木​町​二​丁目​六
​番地​ナル​同町​一​丁目​三​十​二​番地​漬物​商​橫
​枕昇​太郎​所有​物置​ョ​リ​出火​セシガ​折​柄
​東北​風強ク​火​猛烈​勢ヲ以テ燒ヶ進
​タル​折惡​シク​各所​消防​組​い​別項
​記載​セル​上野​櫻木​町​,火事​塢​-馳集​ㇼ
​事​トテイジレモ​後​と​馳​セニ​駈ヶ來
​消防​意​,如​ク​ナ​ラ​デ​火勢​愈​募​リ​テ​遂
​稀
​年
​ル​大
​知​ルヲ​得
​燒​ㇼ​據
​火
​モ
​混雜​中​事​ト​テ​未​ダ​精確
​後​二​時​頃​調査
​據​レバ​全焼​九​百​六​十​三​戸燒​三​十​九​戸
​ナリキ
​燒死​人 ​(1
本鄉​一​丁目​九​番地​小木
​曾​力​之​助​所有​勸​工​塲​信​富​館​/出品​人​等
​豫​テ​出品​物​東京​火災​保險​會​社​へ​保險​-
附居​リシ ​以テ​同社​,消防​夫​若井​安太
​郎​(三​) トイフ​、右​保​險品​保護
​右​保險​品​保護​爲​×同​場
​ニテ​働キ​居り
​
ガ
​煙ニ捲​カレテ​迯惑​と​タ
​近り居
​


ナ​火​リク​番​龜木ル
​●百
​焼​失
​ルモノト​見ェ​無惨​燒死​ヲ​遂
​木町​二​丁目​四​十​一​番地​正木​菊次郎
​龜​吉​(茶​) ト​イ​フ​年​久 ​春​木​座​樂​屋
​勤メ居​リシ​者​ニテ​火 ​聞​クャ​逸早
​同​座​へ​驅附​ヶ​俳優​部屋​-置​キア
​品ヲ​取出​サント​三​階​へ​登り​彼是​スル​中
​ハ忽チ​下​一​面​=廻り
​物​リチリ
​ナク​是​亦​無惨​燒死​邃​ゲシ​が​死躰​昨
​午後​一​時​過ぎ​ニ​至​リテ​發見​セリ
​建物 ​ハ​劇場​春木​座​ヲ
​重​過
​始​✕東竹​町​,基督教​會堂​及​ど​寄席 ​若竹
​亭​、 勸工​場​信富​館​等​ナリ​尚​電話​柱​十​八​本
​柱​八​本​巡査​派出所​一​ヶ所​モ​焼失​シタ
​保險​會​社​損害​高 ​金​二萬​八千
​東京​火災​保險​會​社​、金​二萬​圓明​治​火災​保
​險​會​社​、金​二千​圓​日本​火災​保險​會​社​、金​三
​百​圓​家​屋​物品​火災​保​険​會​社​等​ナ​リ
​O
木​座 ​火災​保險​同​座​:本月​十九​日
​火災​保險​株式會社​へ​一​萬​五千​圓​ニ​テ
​赛
​リ
​昨​道​中​預​早
​284
NINTH SECTION.
神​田​區​/下​宿屋​-移轉​x
神​災​在​延​院​員​風
​燒
​夕​先​近
​下 ​ガ雑ル
​罹生ヲ者ハ ​+
り徒免 ​→必​一間 ​數​。
避​死
​ヲ​巢 ​夕​難 ​今​距年
​聞​॰由​落
​チ
​ㄕ​粉
​リモ
​圓
​出​未
​火​納 ​→
十​申
​則​。 夕​飛​遠​說
​◎說​原 ​原​ㄦ
​"ר
ルビ
​ビ​ク​ア ​因爲
​以​窟
​リセナ
​移​生
​湯 ​厶 ​テ延ラ
​轉徒​テ ​ㄦ​看 ​燒ザ火火
​下 ​本​為
​ㄦ
​モ
​鄉​ㄨ
​々
​甚
​邊
​腕​並
​ナリテ​看護婦 ​指
​揮
​非常​混
​リ
​今
​夕夕
​テ ​O シ ​モ ​居鄉
​品​川
​O
大
​同​ガ
​地​春​飛​。
事
​ブロ
​八
​人​座
​卜 ​奇
​五​軒 ​町​常​指 ​ㄡ ​1 日​年
​ヲ
​先
​々
​八​附​火
​イ
​ヲ​神
​早
​フ
​同​田
​夕​燒
​多​車
​リ
​上
​机​が
​(讀
​賣 ​他​抵​他
​デ
​ベ​居​タル​が​大抵​ュ
​濟​雜​數​依
​"
大
​學士 ​佐 ​○ 火
​切​火
​南​粉
​敬
​藤​順​殊​以
​完​天 ​來
​燒
​失​川​遠
​リ
​モ ​長 ​火
​出​→
七​宿​”
大 ​シ ​八
​放
​各​が​張始院 ​火 ​ヲ ​十川
​火
​新 ​積
​先​事 ​知
​ナ
​聞
​入​醫​眞​年​十 ​ㇼ​地​附
​保險ヲ​申込​え​居​タルモ​右​金額​=對​スル​保​險料​金​四​百​九​十​五
​此​火​事
​※不明​ナレド​多分
​出​契​”
火​的
​原​効​右
​未
​ナ
​ㄕ ​居 ​對
​明​リル
​HONGO NO TAIKWA.
SAKUGYŌ NI-JI SAN-JIP-PUN goro, HONGO KU Haruki-machi NI-CHO-me ROKU-BAN-CHI naru
DÕCHỖ IT-CHŌ-Me SAN-JŪ-NI BANCHI tsukemono-SHO Yokomakura SHŌTARŌ SHOYŪ no mono-oki yori
SHUKKWA seshi ga,—orikara TO-HOKU no kaze tsuyoku, hi wa MÕRETSU no ikioi wo motte yake-
susumitaru ni, ori-ashiku KAKUSHO NO SHŌBŌ-gumi wa BEKKŌ ni KISAI seru Ueno Sakuragi-CHO no
KWAJI-ba ni hase-atsumari-orishi koto tote, izure mo okure-base ni kake-kitari, SHOBO I no gotoku
narade, KWASEI iyo-iyo tsunorite, tsui ni KINNEN mare naru TAIKWA to naritari.
SHŌSHITSU KOSŪ.—KONZATSU-CHŪ no koto tote, imada SEIKAKU ni shiru wo ezarishi mo,
SAKUJITSU GO-GO NI-JI goro no Chōsa ni yoreba, ZENSHO KU-HYAKU ROKU-JŪ-SAN-KO, HAN-yake SAN-
JŪ-KU-KO nariki.
NEWSPAPER CLIPPINGS.
285
SHOSHI-NIN. (NI-NIN.)—HONGO IT-CHŌ-me KU-BANCHI Kogiso RIKInosuke SHOYU KWANKŌŽa
SHIMPU-KWAN NO SHUPPIN-NIN-ra wa, kanete SHUPPIN-BUTSU wo TOKYO KWASAI HOKEN-GWAISHA
ye HOKEN ni FUshi-orishi wo motte, DOSHA no SHOBO-FU Wakai YasuTARO (SAN-JU-SAN-NEN) to in
wa, migi HOKEN-HIN HOGO no tame DŌJŌ nite hataraki-orishi ga, kemuri ni makarete, nige-madoitaru
mono to mie, MUZAN NO SHOSHI wo togetari.
Mata Haruki-machi NI-CHO-me SHI-JU-ICHI BANCHI
Masaki KIKUJIRO no JIPPU KameKICHI (ROKU-JŪ-ROKU-NEN) to in wa, toshi hisashiku Haruki-za
no GAKUya-BAN wo tsutome-orishi mono nite, KWAJI to kiku ya ICHI-hayaku DOZA ye kake-tsuke,
HAIYU-beya ni oki-arishi azukari-HIN wo tori-idasan to, SANGAI ye nobori, kare kore suru uchi, hi
wa tachimachi shita ICHI-MEN ni mawarishikaba, nogaruru ni michi naku, kore mata MUZAN no
SHŌSHI wo togeshi ga,—SHITAI wɑ, SAKUJITSU GO-GO ICHI-JI sugi ni itarite HAKKEN seri.
SHOSHITSU sesli omo naru tatemono wa, GEKIJO Haruki-za wo hajime, Higashi-Take-CHO no
Kirisuto-KYO KWAIDO oyobi yose Wakatake-TEI, KWANKōbɑ SHIMPU-KWAN Tō nari. Não DENWA-
bashira JŪ-HACHI-HON, DENTŌ-bashira HACHI-HON, JUNSA HASHUTSU-JO IKKA-SHO MO SHOSHITSU
shitari.
KAKU HOKEN-GWAISHA NO SONGAI-daka wa,-KIN NI-MAN HAS-SEN-EN, TOKYO KWASAI HOKEN-
GWAISHA; KIN NI-MAN-EN, MELJI KWASAI HOKEN-GWAISHA; KIN NI-SEN-EN, NIHON KWASAI HOKEN-
GWAISHA; KIN SAMBYAKU-EN, KA-OKU BUPPIN KWASAI HOKEN-GWAISHA Tō nari,
Haruki-Za no KWASAI HOKEN.-Dōza wa, HONGETSU JŪ-KU-NICHI TOKYO KWASAI HOKEN
KabuSHIKI-GWAISHA ye ICHI-MAN GO-SEN-EN nite HOKEN wo mōshi-komi-itaru mo, migi KINGAKU ni
TALSuru HOKEN-RYŌ KIN SHI-HYAKU KU-JŪ-GO-EN MINŌ naru tame, KEIYAKU MUKŌ to nari-oreri to.
SHUKKWA no GEN-IN.—SHUKKWA no GEN-IN wa imada FUMEI naredo, TABUN HŌKWA naru-beshi
to no SETSU ari.
Hinoko tōku Shinagawa ni tobu.-Kono KWAJI no hinoko wa, toku Shinagawa-JUKU FUKIN ni
made tobitaru ga,-Haruki-zA BANzuke no yake-kire Minami Shinagawa-JUKU HACHI-JU BANCHI
saki ni ochitaru tame, DŌCHI no hito-bito wa hayaku Dōza no SHOSHITSU seshi wo shiritaru yoshi.
ZATSUBUN SŪSOKU.-KONKWAI NO KWAJI wa, SENNEN Kanda no TAIKWA IRAI NO ō-KWAJI Naru
ga,—saru NI-JŪ-SAN-NEN HONGO TAIKWA to sono tsuki-hi wo onajiku shi, koto ni himoto mo SENNEN
no to JIKKEN mo hedatari-orazaru wa, KI to iu-beshi.
JUNTEN-DO BYŌIN wa mak-kaza-shita to nari, ima ni mo ENSHŌ sen to suru ni yori, SatŎ INCHO
wo hajime, 1-IN-ra wa HISSHI to narite KANGO-FU wo SHIKI shi, SŪMEI NO KEIKWAN MO SHUTCHỎ shi,
NYŪIN KWANJA wo HINAN seshimuru tame, HIJō no KONZATSU wo nashitarishi ga,—saiwai ENSHŌ WO
manukaretari.
wo
Yushima, HON-GO Moto-machi HEN wa, SAISEI GAKUSHA, SONO TA KAKU GAKKŌ ZAIGAKU SEITO
no SÕKUTSU ni shite, GESHUKU-ya noki wo narabe-itaru ga,—TAITEI kono KWASAI ni kakarishi wo
motte, SEITO wa SAN-SAN GO-GO WANSHA wo yatoi; tsukue sono TA wo tsumi, Kanda KU no GESHUKU-
ya ni ITEN suru mono hanahada ōkariki.
("Yomi-uri SHIMBUN.")
286
NINTH SECTION.
GREAT FIRE AT HONGŌ.
About half-past two o'clock yesterday morning, a fire broke out in an outhouse at No. 6
of the Second Ward of Haruki Street in the District of Hongo, belonging to Yokomakura
Shōtarō, a pickle merchant, of No. 32 of the First Ward of that street. A strong north-
east wind happened to be blowing, and the flames spread with great violence, while, by an
unfortunate coincidence, the various companies of firemen had all hurried off to the site of
another fire in Sakuragi Street, Ueno, which has been described elsewhere. Thus each was
late when it hastened to the spot, the work of extinction could not be set about satisfactorily,
and the flames raged ever more and more fiercely, the final result being a conflagration whose
like has rarely been seen of late years.
NUMBER OF HOUSES DESTROYED.-It has been impossible to obtain exact information yet,
on account of the prevailing confusion; but according to investigations made at two o'clock
yesterday afternoon, 963 houses were entirely, and 39 partially destroyed.
PERSONS BURNT TO DEATH (Two).—The exhibitors of articles at the Shimpu-kwan, a
bazaar situated at No. 9 in the First Ward of Hongo and belonging to Kogiso Rikinosuke,
had their exhibits insured in the Tōkyō Fire Insurance Company, and accordingly a firemau
in the Company's employ named Wakai Yasutarō, thirty-three years of age, was actively
engaged on the spot in the work of salving the property in question; but having apparently
become enveloped in the smoke and lost his way in the endeavour to escape, he met a cruel
death in the flames. Another case was that of a man called Kamekichi, sixty-six years of
age, father to Masaki Kikujirō of No. 41 of the Second Ward of Haruki Street. Having
for many years past discharged the duties of care-taker in the green-room of the Haruki-za
theatre, he came rushing to the spot with all possible speed as soon as he heard of the fire,
and mounted to the third storey in order to take out the things committed to his charge,
which were left in the actors' dressing-rooms. But while he was busy, every avenue of
escape was cut off by the sudden spread of the fire to the entire lower portion of the building,
so that he too met a cruel death in the flames. The corpse was discovered between one and
two o'clock yesterday afternoon.
THE CHIEF BUILDINGS BURNT, besides the Haruki-za theatre, were the Christian church
and the Wakatake-tei music hall in East Take Street, and the Shimpu-kwan bazaar. There
were also eighteen telephone poles consumed, eight electric light poles, and one police station.
THE AMOUNT OF LOSSES SUSTAINED BY THE VARIOUS INSURANCE COMPANIES is as follows:
Tokyo Fire Insurance Company, $ 28,000; Meiji Fire Insurance Company, $ 20,000 ;
Japan Fire Insurance Company, $2,000; House and Goods Fire Insurance Company,
$ 300.
THE HARUKI-ZA THEATRE'S FIRE INSURANCE.-Application for a policy to insure this
theatre for $15,000 had been made on the 19th instant to the Tokyo Fire Insurance Joint-
NEWSPAPER CLIPPINGS.
287
Stock Company; but as the premiumn on this sum(S 495) had not yet been paid, we arc
informed that the bargain was void.
ORIGIN OF THE FIRE.-The origin of the fire remains obscure; but report traces it with
some probability to an act of incendiarism.
SPARKS FLY AS FAR AS SHINAGAWA.-Sparks from this conflagration flew as far as the
neighbourhood of the post-town of Shinagawa, and it would seem that the fall of charred
fragments of play-bills from the Haruki-za in front of No. 88 in South Shinagawa gave early
intimation to the inhabitants of the burning of that theatre.
MISCELLANEOUS ITEMS.-It must be considered a curious coincidence that this fire-the
most destructive since the great conflagration at Kanda a few years ago-took place on the
same day of the same mouth as the great Hongo fire of 1890,-stranger still that it broke
out within twenty yards of the identical spot.
The Junten-dō Hospital, which stood exactly to leeward, was in immediate peril of
catching fire. So all the medical attendants, from the superintendent Dr. Satō downwards,
set to with desperate energy; and under their direction the nurses, aided by a number of
police officers who appeared on the scene, placed the patients out of reach of danger. The
turmoil was indescribable, but fortunately the hospital was saved from the flames.
-in
The neighbourhood of Yushima and of Moto Street, Hongō, was lined with lodging-
houses, the haunts of students attending the Medical Academy and other schools. As nearly
the whole of it fell a sacrifice to the flames, great numbers of students might be seen
threes and fours-engaging jinrikishas, piling into them their tables and other effects, and
making off for the lodging-houses in the district of Kanda.
(“Street-criers' Newspaper."')

内​氏​の​一​票​は​其自​選​投票
​票​如
​計​こ​常​利
​りほ
​ぞ
​特派
​かに​の
​り
​は​兵家​の​常​と​はいへご​其
​内​憾差​勝​竹の子​に​參午
​氏​果​僅​! 内​如 ​取​集
​しかほ​綱 ​た​掛​し​七
​て​に
​
氏​僅​90成​時​麴
​か​結​同​規​よ
​ば​何​票 ​勝​に​果九​のり
​は​時​組
​こ​票
​ほぞ
​を
​歸​差 ​分​以​立
​しをす​を
​竹​遺其る​て​所​て​票
​ける​以開​人
​町​、赤坂​、麻布​)
ん​や
​◎第一
​に​有祝
​開
​
や​祀り​杯​程
​す​丈​に
​刀​の
​模​東
​も
​け​敗​事​模
​赤​の​者​は​様
​品
​氣​は​ふこ
​婚​燒​け
​か​を​けれ​別
​ら​吐酒
​ず
​に​勝​記
​〇​東京​府下​開票
​を​各​者​す
​せ​試​々​は
​の
​288
NINTH SECTION.

と​聞き​て​は​「ド
​横着​者​が​勝​です
​ナァ​」と​の​嘆聲​を​愛する​もの​豈​獨り​末吉
​派​の​選​擧人​のみ​なら​ん​や​末吉​派​運動​者​の
​語る​所​に​よれ​ば​曰く​先是​竹内​派​の​運動​最
​激甚​を​極め​末吉​派​が​賴​み​に​頼み​し​三十
​餘票​を​或は​棄權​せしめ​或は​切​入り​て​其
​命​さ​へ​危く​せ​しむる​に​至り​けれ​ば​末吉​派
​の​参謀​連​は​末吉​氏​に​向​て​自選​投票​を​勸告
​たる​も​氏​は​断然​之​を​拒み​自選​投票​は​德
​義​上​爲​す​能​は​ざる​所​ふりこ​て​遂に​〆​切時
​間​五​分​前​に​入場​し​楠田​英世​氏​を​投票​し​た
​り​若し​氏​に​し​て​竹内​氏​と​同じく​自選​投票
​を​ふし​た​らん​に​は​相方​恰も​同​點​と​ふり​末
​吉​氏​は​年長​に​依り​て​當選​すべ​かり​し​なり
​と​乍併​男​兒玉​碎瓦​全​を​耻づ​末吉​氏​が​其危
​險​を​顧み​ず​し​て​不​德義​ふる​自選​投票​を​排
​斥​し​たる​は​天晴 ​々​(こ​で​も​言​ふ​て​慰む
​べし​)
尚​同​區​に​於ける​一​票​の​無効​投票​に​就​て​は
​一箇​の​問題​こそ​あれ​即ち​此​無効​と​なり​し
​
一​票​は​麴​町​區​三​番​町​油​薪​商​中​條​利​兵衛​氏
​投票​にて​氏​は​其子​息​中條​利吉​氏​と​豫​て
​共に​末吉​派​の​有​權者​なれ​ば​一昨日​も​午
​四​時​頃​親子​同道​にて​入場​し​利吉​氏​は​「末
​吉忠晴​」と​被​選者​の​姓名​を​記し​たる​に​父
​利兵衛​氏​は​單​に​「末吉​君​」と​姓​丈​け​を​記
​自己​の​記名​調印​を​なし​て​退場​せり​然るに
​昨日​開票​の​際​選​擧長​と​立​會人​と​は​此
​吉​君​」と​記し​て​「忠晴​」の​二​字​を​書き​洩
​たる​投票​を​無効​に​歸​せしめ​たり​之​が​爲​に
​末吉​氏​は​落選​する​事​と​なり​し​次第​なれ​ば
​末吉​派​は​昨日​選​擧長​に​向​て​現に​父子​同伴
​し​て​入場​し​豫​て​より​共に​末吉​忠晴​氏​を​投
​票​する​考​なり​し​もの​なれ​ば​之​を​無効​に​す
​る​は​酷​なり​と​て​迫る​所​ありしこいふ​結局
​或いは​當選​訴訟​を​起​さん​も​知れ​ず​とのこ
​となり
​(中​略​)
◎第五​區​(本​所​、深​川​)
當區​は​午前​七​時​に​開票​を​開始​し​同​八​時​に
​私​はる​當選​と​點​と​の​間​に​百​票​の​差​あり
​NEWSPAPER CLIPPINGS.
289

て​を
​しら​計​を​ひ ​信
​みず
​り
​入​じ
​め
​ら
​なしる​て
​し
​しほ​れ​た ​何​は
​ばる​な​處壯​果
​負​6 よ​士
​解
​け
​な​負​て
​り ​屯​派
​三​千餘
​立田​派​は​僅
​逐 ​を​利​を​略​を​の
​員​遺​に​の​壯​の​狼​に​際る ​覺者​獨手​は​動​し
​憾 ​運士​風狽 ​もに​束​は
​負​に ​百動 ​説 ​乚動​至 ​は ​如臺
​惜あ ​1費​)
に​至り​て​立田​彰信​氏​を​推
​一興​なら​ん​この​計略​と
​手​を​加
​に​も
​々​着
​敵 ​何​の
​を​も ​に​髪
​し ​も
​て
​手​來
​し​利
​必
​光
​ん​て​に​残る​勝記​川​氏
​は​念​よ​疑​名 ​ほ
​議
​動 ​なり
​計費​方
​使 ​吏光​推​よ​投​地​て ​至求​權散
​數​用​日
​しり
​すはて​選​せ​を
​黨
​の ​こにん​間​むり​算志​ご​に​て​運
​本所​區内​の​有志
​を​有解
​假內 ​りむ​者​後
​殆る ​こ
​明治​三十​一年​三月​十七​日
​(讀賣新聞​)
ま​僅餘​名​る​大 ​盛 ​し​造勝​有ん​迄后
​でか
​TOKYO FUKA KAIHYO NO MOYO.
(KAIHYō no MOYō tote, BETSU ni shirusu-beki hodo no koto wa nakeredo, SHOSHA Wa SHUKU-HAI
ni, HAISHA wa yake-zake ni, ono-ono ari-take no KIEN wo haku wo kokoromi ni shirusu mo mata
omoshirokarazu to sen ya?)
DAI IK-KU. (Kojimachi, Akasaka, AzaBU.)-GOZEN SHICHI-JI yori SENKYO-CHO tachi-ai-
NIN-va SANSHŨ shi, SEIKI NO SOSHIKI wo motte KAIHYO ni tori-kakari, DŌ KU-JI SAN-JIP-PUN Wo
motte oetari. KEKKWA α BEKKŌ KIsuru tokoro no gotoku, wazuka ni IP-PYO no SA wo motte
Takenouchi Kō SaI no SHORI ni zo Kishikeru. SHOHAI Wa HEIKA no tsune to wa iedo, sonO SA
wazuka ni IP-PYŌ to wa, Sueyoshi HA no IKAN hatashite ika bakari zo ya? Koto ni Takenouchi SHI
NO IP-PYŌ wa, SONO JISEN TÖHYō nari to kikite wa, “Dō shite mo, ŌCHAKU mono ga kachi desu nā!
to no TANSEI wo HASsuru mono, ani hitori Sueyoshi HA no SENKYO-NIN nomi naran ya? Sueyoshi
HA UNDOSHA No kataru tokoro ni yoreba, iwaku : Kore yori saki, Takenouchi HA NO UNDO
mottomo GEKIJIN wo kiwame, Sueyoshi нA ga tanomi ni tanomishi saN-JŪ YO-HYŌ Wo aruiwa KIKEN
seshime, aruiwa kiri-irite sono UMMEI sae ayauku seshimuru ni itari-kereba, Sueyoshi HA NO SAMBŌ-
REN wa Sueyoshi SHI ni mukatte JISEN TŌHYO wo KWANKOKU shitaru mo, SHI wa DANZEN kore wo
kobami, JISEN TŌHYŌ wα TOKUGI-JO nasu atawazaru tokoro nari tote, tsui ni shime-kiri JIKAN
GO-FUN-ZEN ni NYŪJŌ shi, Kusuda EISEI SHI WO TOHYŌ shitari. Moshi SHI ni shite Takenouchi
SHI to onajiku JISEN TOHYŌ wo nashitaran ni wa, Sõнō adakamo DōTEN to nari, Sueyoshi SHI wa
NENCHO ni yorite TOSEN su-bekarishi nari" to. Shikashi nagara DANJI GYOKUSAI GWAZEN wo hazu.
290
NINTH SECTION.
Sueyoshi SHI ga sono KIKEN wo kaerimizu shite, FU-TOKUGI naru JISEN TŌHYO WO HAISEKI shitaru
wa, appare! appare! (to de mo iute nagusamu-beshi.)
(C
госе
Nao DōKU ni okeru IP-PYŎ no MUKO TOHYŌ ni tsuite wa, IK-KO no MONDAI koso are. Su-
nawachi kono MUKō to narishi IP-PYO wa, Kojimachi KU SAM-BAN-CHO abura maki SHO CHUJO
RIHEI SHI NO TOHYO nite, SHI
sono SHISOKU CHUJO RIKICHI SHI to kanete tomo ni
Sucyoshi HA no YŪKEN-SHA narcba, ISSAKU-JITSU mo GO-GO YO-JI goro oya-ko DODO nite NYŪJO
shi, RIKICHI SHI Wa Sueyoshi Tadaharu" to HISEN-SHA NO SEIMEI wo shirushitaru ni, chichi
RIHEI SHI wa TAN ni " Sueyoshi KUN” to SEI dake wo shirushi, JIKO NO KIMEI CHOIN WO
nashite TAIJO seri. Shikaru ni SAKUJITSU KAIHYO NO SAI, SENKYO-CHO to tachi-ai-NIN to wa kono
"Sueyoshi KUN" to shirushite, "Tadaharu" no NI-JI wo kaki-morashitaru TOHYO wo MUKO ni
KIseshimetari. Kore ga tame ni Sueyoshi SHI wa RAKUSEN suru koto to narishi SHIDAI nareba,
Sueyoshi HA wa SAKUJITSU SENKYO-CHO ni mukatte GEN ni FUSHI DOHAN shite NYŪJō shi, kanete
yori tomo ni Sueyoshi Tadaharu SHI wo TŌHYō suru kangae narishi mono nareba, kore wo MUKO
to suru wa KOKU nari tote, semaru tokoro arishi to iu. KEKKYOKU aruiwa TŌSEN SOSHO wo
okosan mo shirezu to no koto nari.
(CHŪRYAKU.)
DAI GO-KU. (HONJO, Fukagawa.)-TOKU wa GOZEN SHICHI-JI ni KAIHYO WO KAISHI shi,
DỖ HACHI-JI ni owaru. TOSEN to JITEN to no aida ni HYAP-PYO no SA arishi mo, GWANRAI
Toshimitsu SHI wa GIKWAI KAISAN-GO tadachi ni UNDO ni CHAKUSHU shi, Fukagawa KUNAI
No YŪKEN-SHA ni mukatte wa, ICHI-ICHI SANSEI NO KIMEI CHOIN wo motomuru made ni te wo
mawashite, HISSHO utagai naki ni itari, hotondo hitori-BUTAI no sugata naru yori, HONJO KU-
NAI NO YŪSHI-SHA wa ika ni mo ZANNEN nari tote, tatoe SHŌSAN obotsukanaki mo, ITSU ni wa
mikata no JIBAN wo tsukuri, ITSU ni wa TEKI wo shite UNDO-HI wo TOJIN seshimuru mo IK-KYŌ
naran to no KEIRYAKU yori, SENKYO magiwa ni itarite Tatsuta Akinobu SHI wo oshite, sakan ni
UNDO wo hajimeshi ni, KWAZEN Toshimitsu SHI wa ōi ni RŌBAI shite, Tatsuta SHI wa SŌSHI wO
SHIYO suru to no FŪSETSU wo SHINjite, izuko yori ka SU-JŪ-MEI no sōSHI wo yatoi-ireru nado, tsui ni
SAN-ZEN YO-EN NO UNDO-HI wo xōshitaru mo, Tatsuta HA wa wazuka ni NI-HYAKU-EN bakari nareba,
makete mo sa made IKAN ni arazu to wa, Tatsuta-biiki no SHIMPOTO-IN no make-oshimi-rashiki
BENKAI nariki.
(MEIJI SAN-JU-ICHI-NEN SAN-GWATSU JU-SHICHI-NICHI, "Yomi-uri SHIMBUN.")
DETAILS OF THE OPENING OF THE BALLOT AT THE
TŌKYŌ MUNICIPAL ELECTION.
(The circumstances of the opening of the ballot supply no special subject-matter for descrip-
tion. Neverthless, may not some interest be found in an attempt to describe how the various
parties gave free vent to their feelings, the victors quaffing bumpers to success, the vanquished
drowning regret in their cups?)
NEWSPAPER CLIPPINGS.
291
FIRST DISTRICT (KOJIMACHI, AKASAKA, AZABU). The chief electoral officer and the witnesses
assembled at 7 A.M., and with the prescribed formalities proceeded to open the ballot, conclud-
ing their labours at 9.30. The result, as recorded in another column, was a victory for Mr.
Takenouchi Kō by the small majority of a single vote. Victory or defeat is no doubt the
natural fortune of war. Nevertheless, what vexation must not this loss of the election by a
single vote have caused to the Sueyoshi party! Neither is it likely that the electors of that
party will be the only persons to sigh over the the trickiness of their opponents' victory, when it
becomes known that the single vote majority registered by Mr. Takenouchi was the result of
his having voted for himself. What the leaders of the Sueyoshi party assert is that
Takenouchi's people had determined from the outset on a contest fierce enough to cause a
certain proportion of the majority of thirty odd votes so positively counted on by the Sueyoshi
party not to be cast at all, and others to be captured for their own side, to the grave peril
of the foe. With matters in this pass, Sueyoshi's council of war had urged him to vote for
himself; but this he peremptorily declined to do, on the plea that voting for oneself is a moral
impossibility. So it ended, five minutes before closing time, by his entering the office and
casting a vote for Mr. Kusuda Eisei. Had he voted for himself, as Mr. Takenouchi did, both
candidates would have registered exactly the same number, and Mr. Sueyoshi would have been
elected as the senior. But a true man would rather be a jewel smashed than a tile intact.*
Bravo Mr. Sueyoshi, who, mindless of his peril, refused to act so immorally as to vote for
himself! (This is how we suppose his supporters console themselves.)
Again there is quite a question concerning an invalid vote in the same district. It seems
that this vote, which has been pronounced invalid, was cast by Mr. Chujo Rihei, an oil and
firewood merchant at Sambanchō in the district of Kōjimachi. This gentleman and his son
Mr. Chūjō Rikichi, as electors in the Sueyoshi interest, went together to the electoral office at
about 4 P.M. the day before yesterday, and Mr. Rikichi wrote on his ticket " Sueyoshi
Tadaharu "—the surname and Christian name of their candidate—; but his father, Mr. Rihei,
simply wrote "Mr. Sueyoshi" on his,-the surname only, and affixed his name and seal to the
document. But when the ballot was opened yesterday, the chief electoral officer and the
witnesses decided the vote to be invalid because of its bearing only the words "Mr. Sueyoshi,"
and omitting the Christian name "Tadaharu." We are informed that as this lost Mr.
Sueyoshi the election, his party yesterday strongly represented to the chief electoral officer the
hardship caused by his decision, seeing that it was publicly known that father and son walked
into the electoral office together, and had both of them all along intended to vote for Mr.
Sueyoshi Tadaharu. It is said that the final result may be a lawsuit.
* A quotation from a Chinese poem.
† Conf. page 252.
*
*
*
冬
​292
NINTH SECTION.
FIFTII DISTRICT. (HONJO AND FUKAGAWA).-In this district the ballot-box was opened at
7 A. M., and the proceedings concluded at 8. The elected candidate, Mr. Toshimitsu, had a
majority of one hundred votes over Mr. Tatsuta Akinobu, who came out second. The latter's
supporters, the Progressists, give the following explanation, which sounds rather like sour
grapes. Mr. Toshimitsu, they say, set to work immediately after the dissolution of the Diet.
He even went so far as to solicit each individual elector in the district of Fukagawa to sigu
a document pledging them all to elect him. He was positively assured of victory, and had
the field completely to himself. This roused the ire of those who, in the district of Honjo,
sympathised with the other side. Accordingly, though with little hope of carrying the
election, they decided that it would be fun on the one hand to clear the ground for their friends,
and on the other to exhaust the resources of the enemy. Following out this scheme, they,
on the eve of the election, put forward Mr. Tatsuta and commenced vigorous operations. Mr.
Toshimitsu was greatly alarmed, just as they had expected him to be; and, giving credence to
the rumour that Mr. Tatsuta would employ roughs, he himself engaged some scores of roughs
from somewhere or other, and ended by expending over three thousand dollars on the election,
as against a paltry two hundred or thereabout spent by the Tatsuta party. Thus the latter
experienced little vexation even in defeat.
("Yomi-uri SHIMBUN," 17th March, 1898.)
三​几
​放 ​十​所​天​式​城​て​も ​員​日​み
​け​重​時
​み​容
​場​の​南孩
​た ​に​集​し ​の​下
​・下​は
​りよ近
​就​模 ​櫻
​全​牀
​りか
​体
​る​式​來
​の​下
​て​式場
​樣田​時​ふ
​も​なう​聞
​こ​偉臨​れ​明
​れ​觀​また
​よ​刻​向​ふ
​し
​え
​結
​の​ほ
​の
​構
​稍​御
​はた​抑
​中る​も​頓
​所
​御​此​を​の
​の​堀 ​1 見左
​正 ​見​た
​殿​の​所る​な
​芝​は​はる
​生 ​午參め
​殿​に​城前​觀​の
​雲​の​如き​會員​は​各​定め
​雲​ふり​よ ​の​快
​し
​其東​り欣
​勢​は​新​び​を
​ひ​利
​や​放
​日
​や​田​の​如ち
​潮​倉​睛​何​奴 ​の ​ほ
​の​馬衣​な ​朝​軒
​如
​分
​美 ​ら​彼​は​の
​し​先々​むの​陽
​陽​點
​よし
​り
​宮​しれ ​れ​會​々​歇
​委員會
​光​滴​が​此
​小​頃
​々​歇​の
​より​先​き​花曇​と​いふ​を​常​なる​此頃​の
​る
​よにせり
​りぞ​た
​先あ
​洵
​我
​に​天
​是
​れ
​稀
​奠
​都
​都​十​祭
​世雨​の
​陛​祝​!!
盛​下​务
​事​は​は
​一​十​一年​四月​十一​日​東京​日
​昭​こと
​代れげ​新
​の​にら​聞
​NEWSPAPER CLIPPINGS.
293


造り
​むき
​て​柿​にて​葺き​共​箱​棟​等​を​杉​の​靑
​葉​にて​包み​たる​先​は​潔​ぎ​よし​、殿​の​中央
​に​兩陛​下​の​玉座​あり​、便殿​を​ば​此​の​御
​座​の​後ろ​に​ぞ​しつ ​はれ​ける​、其左右
​來賓​席​に​は​一方​に​は​大臣​、公使​、親​任官
​華族​あり​一方​に​は​勅​任官​、少​將相​當以​上
​武官​其他​紳士​の​向​彼​の​きら​星​と​居​流れ
​て​目​も​に​見え​たり​き​、斯く​て​午前​十​時
​三​十​分​(豫​て​は​午前​十​時​三​十​分​御​出門​と
​の​こと​なり​し​が​御​都合​により​同​四​十​五​分
​と​改め​られ​たり​)行幸​啓​今​の​程​と​見​奉つ
​る​や​祝賀​會長​岡部​子爵​、同​夫人​は​御​車寄
​の​左​方​に​、同​副​會長​澁澤​榮一​氏​は​同​く​右
​方​に​、祝賀​會​發起人​市​參事​會員​等​は​玉​座
​正面​の​式場​棚​外​に​、來賓​中​の​親​任官​、華
​族​、外國​公使​、同​夫人​、公使​館員​等​は​御
​車寄​の​右​方​に​、各省​勅​任官​同​夫人​、陸海
​軍將​官​同​相當​官​、新聞記者​等​は​左方​の​芝
​生 ​特別​通常​兩會​員​は​式場​正面​の​芝生
​に​、市内​各​小​學校​生徒​は​二重橋​外​の​芝生
​

り
​に​、孰​れ
​孰​れ​も​整列​し​て​待ち​奉
​整列​し​て​待ち​奉る​、忽地​に
​て​號砲​二​發​あり​是​れ​御​出門​を​報ずる​な
​同時に​棚内​右隅​なる​軍​樂隊​は​洋々​た
​る​音​を​發​だせ ​り​、君 ​君​ヶ​代​を​吹奏​する​なり
​臨幸 ​模様 ​天皇陛下​に​は​徳大寺​侍從
​·御​陪​乘​岡澤​侍從​武官​長​以下​侍從​武
​官等​を​供奉​、 皇后​陛下​に​は​高倉​典侍​を
​御​陪乘​、香川​大夫​、女官​等​を​供奉​にて​同​十
​時​五​十​五​分​式場​御​車寄​に​着御​ある​、此時
​奉迎​の​諸​員​最​敬​禮​す​、 天皇陛下​に​は​岡
​部​會長​の​御​先導​にて​、 皇后​陛下​に​は​香
​川​大夫​の​御​先導​にて​便殿​に​入御​、暫時​御
​休憩​の​後​十​一​時​十分​玉座​に​臨ま​せ
​此時​奏樂​あり​、諸員​は​設け​の​席​に​整列​し
​最​敬​禮​す​。 雨​陛下​に​は​畏く​も​玉座​に
​立​御​あり​徳大寺​侍従​長​、田中​宮内​大臣​は
​其の​右側​に​香川​大夫​、女官​等​は​其の​左側
​に​陪​せらる​、斯く​て​會長​岡部​子爵​、副會
​長​澁澤​榮一​氏​は​相伴​ひ​て​階下​より​式場​に
​

294
NINTH SECTION.

奉
​昇り​玉座​に​咫尺​し​て​起立​し​會長​は​副​會長
​より​先​づ​祝賀​會員​の​上れる​頌徳​表​(別項
​に​あり​)を​預け​て​奏上​し​終る​や​徳大寺​侍
​從長​其の​側面​より​進み出​で​、 んで​執奏
​すべき​旨​を​述べ​て​之​を​頷け​、其席​に​復せ
​らる​、田中​大臣​踵​で​進み​て​御​下賜​の​封金
​五​千​圓​を​會長​に​授け​ら ​會長​は​、 兩
​陛下​に​對ひ​奉り​最​敬​禮​し​て​拝受​の​賜金​を
​じ​階​を​下り​て​發起​人​總代​中野​武​營氏​に
​授け​、再び​昇階​し​て​玉座​に​咫尺​し​市​參事
​會員​より​奉つ​れる​頌徳​表​(同上​)を​捧讀​す​、
侍従​長​の​之​を​受​くる​式​前​の​如く​し​て​會長
​は​階​を​下る​、次に​澁澤​榮一​氏​東京​商業​會
​議所​會頭​の​資格​を以て​同​會議​所​より​奉
​れる​頌徳​表​(同上​)を​捧讃​し​、侍従​長​また
​之​を​頷くる​こと​前​の​式​の​如く​なり​き​、右
​畢り​て​、 雨​陛下​に​は​便殿​に​入御​、同​十
​一時​四​十​分​御​氣色​麗しく​諸​員​の​奉送​と​樂
​の​吹奏​この​中​に​還御​あら​せらる ​(中略​)
此日 ​天皇陛下​に​は​御​軍服​にて​通常​の​御
​間​の​ざ​御​服
​禮裝​、 皇后​陛下​に​は​鼠​地​に​めでたき​模
​味​ある​御​洋装​と​拜​まれ​ぬ
​食​場​の​混雑 ​立食​場​は​特別​會員​觀覽​所
​の​背後​なる​芝生​に​大​天幕​を​張り​此​の​中​に
​設け​たる​が​長​さ​一​丈​幅​三​尺​計り​の​造り​附
​け​の​テーブル​數​百​脚​に​雪白​の​テーブル​掛
​を​懸け​處​々​に​花瓶​を​置き​桃櫻​混​き​交ぜ​て
​今​を​盛り​と​芬芳​衣​に​薫じ​けり​、本​來立​食
​を​始むる​は​餘興​通行​の​後​に​定め​ある​に
​係​はら​ず​陛下​還御​相成る​や​否​や​我​も
​its
ヒドく​詰​掛け​し​程​に​未だ​全く​用
​意​の​整備​せ​ざる​に​ぞ​、掛り​員​の​止むる​を
​も​聞き入れ​ず​互に​先​き​を​ひ​て​使丁​の​許
​に​行き​食物​を​得ん​と​する​絹​帽​に​通常​禮
​服扨​は​又黑​七子​五ッ紋​の​羽織​に​仙​臺平​の
​御​袴​、紳士​紳商​の​面々​が​場所​柄​を​も​辨
​ざるげ​に​推し​合ひ​揉み​合ひ​彼方​なる​大皿
​の​洋食​を​攫み​取り​此方​の​菓物​を​ズボン​の
​間​に​へし​込む​なんご​の​不行儀​無作法​殆​ん
​
むみ
​
NEWSPAPER CLIPPINGS.
295

たき​事
​の
​し
​如​相
​て
​上
​な
​為​日 ​し​違​も
​し​並
​行​や​家​食せ​し​穀別 ​るる​所​此絕
​は​爾
​ば​然
​れ​來​こよ​唯る​下
​らか携ビ
​樣る​歸
​吳
​注意​あ
​注​義
​J
へ​歸り​し​向き
​漢​儀
​ざほ ​にり ​々​に​に ​も​能る​有る
​在し​多​は​面樣​な
​る​も
​當日​の​特別​會員​と
​り​包​た​の​に​れ​當​に​食​かな​な​如​げ​人​て​に
​物り
​り ​觀
​輦特​た​得
​りき​、此
​向 ​にか叫
​誇る​す
​ず​々​に
​ル
​大作​處
​息​法
​し​食
​な
​も
​も​主​向​物​外​辨士​瘦​な​抱人​ず​沙
​12
の​ほし
​を​紳​ば​由​を​婦​か
​り空又心​殆​ずし
​夏​は​付​ん​痛寄
​如何​とも​身動き​なら​ず​痛い
​何​むに​は​緑玉
​て​歓​の​ら
​す
​み​波
​る​本
​马老
​後
​をる
​た​處
​な
​よ
​ら​推本
​剩​さ​ヘキ
​は​剩​よし
​リ
​す​抱
​ほ
​せ​此
​けく
​る​し
​て
​る
​きビ
​紳​せり
​商​て​兎​て​はて
​し​汰 ​人​抱 ​酒促
​波
​幾個
​あ公
​多呂​かる
​たも
​に​家 ​う限推
​て​を
​ル​を​一
​をの
​酌​大
​み​壺
​り​開か ​敷叉此る​枯角​路​に ​りす​て​迯
​TENTO SAI.
NICHI-NICHI
(MEIJI SAN-JT-ICHI-NEN SHI-GWATSU JU-ICHI-NICHI “TôKYO NICHI NICHI SHIMBUN."')
MEIJI NI-JŪ-ICHI-NEN SHI-GWATSU tōka TENTO no SHUKUSAI wa ageraretari. Waga TENNŌ
Kōgō Ryō HEIKA wa kore ni nozomasetari. Makoto ni kore KISEI NO SEIJI, SHŪDAI NO IKWAN
ni zo aru.
Kore yori saki hana-gumori to iu wo, tsune naru kono goro no sora-MoYō ashiku shite, ZEN-YA
made wa noki no amadari koyami mo nō kikoeshi ga,—TOJITSU no asa wa YŌKŌ KI-KI, NIPPON-
bare to iu KWAISEI wo hanachinu. Kano 1-IN KWAI-IN nado iu muki no yorokobi ya ika naran!
Izure mo YOTEI no JIKOKU yori SHINCHō no haregi BIBIshiku shite,—minami wa Sakurada yori,
higashi wa Wadagura Baba-saki yori, KYŪJō no moto ye to tsudou sono ikioi ya ushio no gotoshi.
(SHIKIJO NO MOYO.) Kumo no gotoki KWAI-IN wa ono-ono sadame no tento ni tsuki, RAIHIN wa
GORAN-JO NO SAYŪ naru SANKWAN-JO ni atsumarite, SHIKIJO no yaya SEITON wo mitaru wa GOZEN
JŪ-JI ni chikakaru-beshi. Somo-somo kono GORANJO wɑ, KYŪJO NIJŪ-bashi yori Sakashita ni
itaru o horibata no shiba-fu ni mōketari. ZENTAI NO KEKKO wa CHŪŌ NO SEIDEN WO KYŪDEN-
zukuri ni shite, kokera nite fuki, sono hako-mune To wo sugi no ao-ba nite tsutsumitaru, mazu
wa isagiyoshi. DEN no CHUō ni RYO HEIKA no GYOKUZA ari. BENDEN woba kono groza no
ushiro ni zo shitsuraware-keru. Sono SAYŪ
nizo
naru RAIHIN-SEKI ni wa, IP-Pō ni wa DAIJIN,
KOSHI, SHINNIN-KWAN, KWAZOKU ar''; IP-Pō ni wa, CHOKUNIN-KWAN, SHOSHO SOTO IJO NO BU-
KWAN, SONO TA SHINSHI no muki kano KIRA hoshi to i-nagarete, me mo aya ni mietariki.
296
NINTH SECTION.
Kakute GOZEN JŪ-JI SAN-JIP-PUN (kanele wa GOZEN JU-JI SAN-JIP-PUN GO SHUTSUMON to no
koto narishi ya, GO TSUGO ni yori DO SIII-JU-GO-FUN to aratameraretari) GYO-KO-KEI ima no
hodo lo mi-tatematsuru ya, SHUKUGA KWAICHO Okabe SHISHAKU, DO FUJIN wa mi kuru-
ma-yose no SANŎ ni, DŌ FUKUKWAI-CHO Shibusawa EI-ICHI SHI wa onajiku UHō ni, SHUKUGA-
KWAI HOKKI-NIN, SHISANJI KWAI-IN-ra wa GYOKUZA SHO-MEN NO SHIKI-JO SAKU-GWAI ni, RAIHIN-CHU
NO SHINNIN-KWAN, KWAZOKU, GWAIKOKU KÖSHI, DỖ FUJIN, KÖSHI-KWAN-IN-ra wa mi kuruma-yose
NO UHỠ ni, KAKUSHỖ CHOKUNIN-KWAN, DŌ FUJIN, RIKKAI-GUN SHŌKWAN, 'DỖ SŌ-TŌ-KWAN SHIMBUN
KISHA-ra wa SAHŎ no shiba-fu ni, TOKUBETSU TSŪJŌ RYŌ-KWAI-IN WA SHIKIJÖ SHÖMEN no shiba-fu
ni, SHINAI KAKU SHŌ-GAKKÖ SEITO wa NIJŪ-bashi soto no shiba-fu ni, izure mo SEIRETSU shite
machi-tatematsuru. Tachimachi ni shite GOHO NI-HATSU ari:-kore GO SHUTSUMON 2о HŌZuru
nari. Dōji ni SAKUNAI UGŪ naru GUNGAKU-TAI wa YŌYŌ taru ne wo idaseri: “Kimi ga yo” wo
SUISÕ suru nariki.
CHỦ
sono
(RINKO no on MOYO.) TENNO HEIKA ni wa TOKUDAIJI JIJU, CHO wо GO BAIJO, Okazawa JIJŪ
BUKWAN-CHŌ IKA, JIJŪ BUKWAN Tō WO GUBU; Kōgō HEIKA ni wa Takakura TENJI WO GO BAIJO,
Kagawa TAYŪ JOKWAN TO WO GUBU nite, DO JŪ-JI GO-JU-GO-FUN SHIKIJO mi kuruma-yose ni CHA-
KUGYO aru, kono toki HO-GEI NO SHOIN SAI-KEI-REI Su. TENNO HEIKA ni wa Okabe KWAI-
CHO NO GO SENDO nite, KOGO HEIKA ni wa Kagawa TAYŪ no GO SENDO nite, BENDEN ni
NYŪGYO; ZANJI GO KYŪKEI no nochi, JU-ICHI-JI JIP-PUN GYOKUZA ni nozomaseraru. Kono toki
SÕGAKU ari; SHOIN wa mōke no SEKI ni SEIRETSU shite, SAI-KEIREI S. RYO HEIKA ni wa
kashikoku mo GYOKUZA ni RITSUGYO ari; TOKUDAIJI JIJUCHO, Tanaka KUNAI DAIJIN WA, SONO
USOKU ni, Kagawa TAYŪ JOKWAN-ra wa sono SASOKU ni BAIseraru. Kakute KWAI-CHO Okabe
SHISHAKU, FUKU-KWAICHO Shibusawa EI-ICHI SHI wa ai-tomonaite KAIKA yori SHIKIJO ni nobori
GYOKUZA ni SHISEKI shite, KIRITSU shi; KWAICHO wα FUKU-KWAICHO yori mazu SHUKUGA KWAI-IN
no talemalsureru SHŌTOKU-HYŌ (BEKKŌ ni ari) wo ukete, sōjō shi owaru ya, TOKUDAIJI JIJU-CHỖ
Sono SOKUMEN yori susumi-ide, tsutsushinde SHISSō su-beki mune wo nobete, kore wo uke, sono SEKI
ni FUKUseraru. Tanaka DAIJIN tsuide susumite, GO KASHI NO FŪKIN GO-SEN-EN WO KWAICHỖ ni
sazukeraru. KWAICHO wa RYO HEIKA ni mukai-tatematsuri, SAI-KEIREI shite, HAIJU NO SHIKIN
wo Hōji, KAI wa kularite, HOKKI-NIN SŌDAI Nakano BUEI SHI ni sazuke, futa-tabi SHOKAI shite
GYOKUZA ni SHISEKI shi, SHISANJI KWAI-IN yori tatematsureru SHŌTOKU-HYŌ (DOлO) wo HŌDOKU
Sul. JIJU-CHỎ no kore wo ukuru SHIKI mae no goloku shite, KWAICHO wa KAI wo kudaru. Tsugi ni
Shibusawa EI-ICHI SHI TOKYO SHOGYO KWAIGI-SHO KWAITO NO SHIKAKU wo motte DO KWAIGI-SHO
yori talematsureru SHŌTOKU-HYO (DOJO) W0 HŪDOKU shi, JIJU-CHO mata kore wo ukuru koto mae
no SHIKI no gotoku nariki. Migi owarite, RYO HEIKA ni wa BENDEN ni NYŪGYO, DO JŪ-ICHI-JI
SHI-JIP-PUN ON KESHIKI Uruwashiku, SHOIN NO HŌSŌ to GAKUTAI NO SUISO to no uchi ni KWANGYO
araseravu. (CHURYAKU.) Kono hi TENNO HEIKA ni wa GO GUMPUKU nite, TsŪJo no ao reisō;
KOGO HEIKA ni wa, nezumi-1 ni medetaki MOYO aru Go Yōsō to ogamarenu.
(RISSHOKU-ba no KONZATSU.) RISSHOKU-ba wa, TOKUBETSU KWAI-IN KWANRAN-JO NO HAIGO
naru shiba-fu ni DAI-tento wo hari, kono naka ni mōketaru ga,nagasa ICHI-JO, haba SANJAKU
NEWSPAPER CLIPPINGS.
297
•
bakari no tsukuri-tsuke no tēburu SU-HYAK-KYAKU ni SEPPAKU no tēburu-kake wo kake, SHO-SHO
ni KWABIN wo oki, momo sakura koki-mazete, ima wo sakari to FUMPO koromo ni Kunjikeri.
HONRAI RISSHOKU wo hajimuru wa YOKYŌ TSŪKō no nochi to sadame-aru ni mo kakawarazu,
HEIKA KWANGYO ai-naru ya ina ya, ware mo ware mo to doshi-doshi tsume-kakeshi hodo ni, imada
mattaku YÕI no SEIBI sezaru ni zo; kakari-IN no tomuru wo mo kiki-irezu, tagai ni saki wo arasoite
bōi no moto ni yuki, SHOKU-MOTSU wo en to suru shiruku-hatto ni TSŪJŌ-REIFUKU, sate wa mata kuro-
nanako itsutsu-MON no haori ni SENDAI-hira no on hakama, SHINSHI SHINSHŌ no MEN-MEN ga basho-
gara wo mo wakimaczaru-ge ni oshi-ai momi-ai, kanata naru özara no YoSHOKU wo tsukami-tori,
konata no kudamono wo zubon no aida ni heshi-komu nando no FU-GYŌGI BU-SAHO hotondo itarazaru
tokoro nashi. Kaku shite IKU-KO no tsubo ni midori no nami wo tadayowase-keru BUDO-SHU wo
kumite wa nomi, kumite wa nomi; amassac KIRIN biiru wo ICHI-NIN nite NI-HON moshiku wa
SAM-BON zutsu daki-kakaete nigen to suru mo, ushiro yori oshi-yosuru hito-nami nite ikan to mo
mi-ugoki narazu, “Itai! itai! osu-na! osu-na!" to ZEKKYŌ suru nado hotondo SATA no kagiri
nariki. Kakaru arisama ni kokorozukazu shite, ukkari KWANRAN-JO ni oru MEN-MEN mata wa
FUJIN-tachi wa tsui ni SHOKUMOTSU wo uru koto atawazu, KŪFUKU wo kakaete ieji ni kacritaru
muki mo ōkarishi yoshi nari. To ni kaku TōлJITSU NO TOKUBETSU KWAI-IN to shi mo iwaba, yasete
mo karete mo RENKOKU no moto ni aru tokoro no SHINSHI SHINSHO taru ni sõ1 nashi. Shikaru ni,
REIGI SAHŌ wo wakimaezaru kaku no gotoshi to` seba, tada-tada CHŌTAN TAISOKU No hoka naki ka?
Mata TOJITSU RISSHOKU-ba yori biiru ya SHOKUMOTSU O FURO-shiki-zutsumi to nashi, iezuto ni,
tazusae-kaerishi muki mo ōkarishi to ka ya. JIRAI wa, kakaru KEIZAI SHUGI NO KOKAI NO SEKIJÓ
ni okonawarezaran yō kure-gure mo CHUI aritaki koto nari.
ANNIVERSARY FESTIVAL OF THE FIXING OF
THE CAPITAL AT TŌKYŌ.
(From the "Tōkyō Daily Newspaper," 11th April, 1898.)
On the 10th April, 1898, a festival was held to commemorate the fixing of the capital at
Tōkyō. Their Majesties the Emperor and Empress both graced it with their presence. Truly
was it a rare and auspicious occasion, a magnificent spectacle such as befits a peaceful reign.
An overcast sky-the usual cloudiness which ushers in the cherry-blossoms had prevailed
for some time past; and down to the night preceding the festivities, the rain-drops could be
heard ceaselessly dripping from the eaves. But morning broke with gentle lustre and an
Italian sky. What must not have been the joy of the committee-men and of the members of
the Celebration Society, who, at the appointed hour, and all gorgeously attired in new gala
raiment, pressed forward like a surging tide from Sakurada on the south, from Wadagura and
Babasaki on the east, towards the Imperial Palace!
The Scene on the Grounds.-It must have been nearly 10 A.M. before all was fairly ready
for the ceremony, the innumerable members of the Celebration Society all placed in their
298
NINTH SECTION.
allotted tents, and the invited guests assembled in the galleries to the right and left of the
Imperial Pavilion which had been erected on the lawn lining the moat that runs from the
Niju Bridge of the Palace to the Sakashita Gate. The total effect produced by it was
charmingly simple, roofed as the central building was with shingles, and having its square
roof-ridge covered with fresh cryptomeria twigs. Thrones for their Imperial Majesties stood
in the centre of this Pavilion. As for the Imperial withdrawing-rooms, these had been erected
behind the throne-room. The places set apart for the invited guests to the right and left of
the Imperial Pavilion were arranged as follows:-on one side the ministers of state, the foreign
representatives, the members of the nobility, and those high officials who receive their
appointments direct from His Majesty; on the other side the officials of the second rank,
officers ranking with or above major-generals, and other distinguished gentlemen,—a brilliant
array stretching into the distance like the stars, and quite dazzling to the eyes.
Well, at 10.30 A.M. (the hour appointed for Their Majesties to leave the Palace was 10.30,
but to suit their Imperial convenience it was changed to 10.45), the two Imperial Processions
being momentarily awaited, all stood up in rows in respectful expectation,-Viscount Okabe,
President of the Celebration Society, accompanied by Viscountess Okabe, on the left of the spot
where Their Majesties were to alight; Mr. Shibusawa Ei-ichi, Vice-President of the Celebration
Society, on the right; the promoters of the Society and the members of the City Council
beyond the paling that fenced off the ground exactly facing the throne; the highest officials, the
nobility, the foreign representatives with their wives and the members of their legations, to the
right of the spot where Their Majesties were to alight; the officials of the second class serving
in the various ministries, with their wives, the generals, admirals, and those ranking with
them, as also the representatives of the press, on the lawn to the left; the members, both
special and ordinary, of the Celebration Society on the lawn facing the throne; and lastly,
the pupils of all the primary schools in the city on the lawn outside the Niju Bridge.
Suddenly a salute of two guns was fired, announcing that Their Majesties had quitted the
Palace. At the same moment, the military band stationed in the right-hand corner inside the
paling gave forth sonorous harmonies :-" Long live the Emperor!" was the tune it played.
Details of the Imperial Progress.-His Majesty the Emperor, accompanied by the Grand
Chamberlain Marquis Tokudaiji, and attended by the Aide-de-camp in Chief Baron Okazawa
and other aides-de-camp; and Her Majesty the Empress, accompanied by the Mistress of the
Robes Lady Takakura, and attended by Viscount Kagawa, Grand Master of Her Imperial
Majesty's service, and several Ladies-in-waiting, arrived at the place for alighting at 10.55,
amidst the profound salutations of all those who had the honour to welcome them. His
Majesty the Emperor was escorted by Viscount Okabe, Her Majesty the Empress by Viscount
Kagawa, to the withdrawing-room, where a few moments were given to rest before Their
Majesties proceeded, at 10 minutes past 11, to take up their places on their thrones. At
that moment the band struck up, and all present, ranged in their respective places, made
NEWSPAPER CLIPPINGS.
299
a profound salutation. Their Majesties were graciously pleased to rise from their thrones,
having the Grand Chamberlain Marquis Tokudaiji and the Minister of the Imperial House-
hold Viscount Tanaka on their right, and Viscount Kagawa and the Ladies-in-waiting on their
left. Thereupon the President of the Celebration Society, Viscount Okabe, and the Vice-
President Mr. Shibusawa Ei-ichi ascended the steps leading up to the platform. There,
standing close to His Imperial Majesty, the President received from the Vice-President the
address presented by the Society (which will be found in another column), and read it aloud.
At the conclusion of the reading, the Grand Chamberlain Marquis Tokudaiji advanced from
the side, stated that he would take charge of the document to deliver it to His Majesty,
received it, and returned to his seat. Then Viscount Tanaka advanced, and handed to the
President of the Celebration Society a sealed packet containing a contribution of $5,000 from
Their Imperial Majesties. The President made a profound salutation to Their Majesties,
received the gift, descended the steps, and handed the packet to Mr. Nakano Buci as
representative of the organisers of the Society. Then he again ascended the steps, approached
the throne, and read an address presented by the City Council (printed in another column).
The same ceremonial as before having been observed by the Grand Chamberlain in receiving
this address, the President of the Society descended the steps. Next Mr. Shibusawa Ei-ichi
read an address (printed in another column) from the Tokyo Chamber of Commerce, in his
capacity of President of that body, at the conclusion of which the Grand Chamberlain received
it with the same ceremonial as before. When this was concluded, Their Majesties entered the
withdrawing-room, and at 11.40 A.M. they were pleased to retire, smiling graciously, the
band playing the while and all present bowing respectful adieux. . . . . . . On this occasion
His Majesty the Emperor wore undress military uniform, while Her Majesty the Empress was
attired in European costume, of grey stuff with a charming pattern.
Confusion in the Refreshment Tent.-Arrangements for a standing collation had been made
on the lawn at the back of the seats for the Special Members of the Society, in a large tent
erected for the purpose, where several hundred tables, each ten feet long and three feet wide,
had been screwed into the ground and laid with snow-white cloths, while flower-vases set
here and there displayed a mixture of peach and cherry-flower in full bloom, whose fragrance
should scent the garments of the guests. According to the programme, the collation was not to
commence until the historical and other processions should have passed by. But this arrange-
ment was disregarded; for no sooner had Their Majesties retired than a general headlong rushı
ensued. The preparations, as a matter of fact, were not yet completed, and the persons in charge
endeavoured to obtain a delay. But no heed was paid to their representations, the front
places were fought for, the servants sought out, and refreshments demanded of them by
gentlemen arrayed in tall hats and frock-coats, or else in elegant native garb,-black silk haori
with the crest in five places, and hakama too of the finest silken stuff. All these gentlemen by
birth or fortune, forgetting the respect due to such a place, were to be seen hustling and
300
NINTH SECTION.
jostling, snatching foreign viands from the dishes, shoving fruit into their trowsers pockets, in
fact carrying impropriety and bad manners almost to every length. Meanwhile, the purple
waves in the numberless great wine-jars surged up and down, as these gentry kept pouring out
and drinking, and pouring out and drinking again. Nor was this all-one man would attempt
to make off clasping in his arms two, it might even be three, bottles of Kirin beer, when the
human tide would surge up from behind, rendering all movement impossible, and there would
be cries of "Oh! I am hurt! don't push! don't push!"-in fact a scene of almost indescribable
confusion. Those who, ignorant of what was going on in the refreshment tent, had remained
unconcernedly in their places on the grounds, and also numbers of ladies, ended by being unable
to obtain anything and went home hungry. At any rate all those who had invested in tickets
of Special Membership could boast that, however low their place, they were, without any room
for doubt, gentlemen who had hobnobbed with Royalty. And yet, when we contemplate their
offences against etiquette and decorum, what remains for us but to heave a deep sigh? We
believe it is also alleged that many, on the day in question, carried home bottles of beer and
eatables wrapped up in parcels as presents to their families. We would earnestly deprecate
recourse to such economical principles in future on similar public occasions.
Note. This piece is a good example of newspaper description. The festival described
was that held to commemorate the thirtieth anniversary of the selection of Tokyo as the
residence of the Emperor, and consequently the chief of the three capitals of the Empire,-
Kyōto and Ōsaka being the other two. The student will here find considerable profit to his
knowledge of the delicacies of the language by an analysis of the use of honorific words and
terminations applied to Imperial Personages. To do justice to such in English is impossible;
and the fact that the Imperial Household was reorganised on a German basis occasions further
embarrassment in the effort to render the names of certain official titles.
NEWSPAPER CLIPPINGS.
301
NEW CHARACTERS OCCURRING IN THE PRECEDING SECTION.-1386.
collect.”
(1037) being “to pull out," the compound
萃
​SUI or atsumeru,
"to
BASSUI perfectly expresses
(C
the double process of selection and collection.-1387. 兜 ​To or kabuto, a helmet." We seem
to see the man's head in the middle, with something surrounding it on either side, and his
legs beneath.-1388. Yo or azukaru, "to take charge," or azukeru,
or azukeru, "to give in charge."
預
​This character is identified with (No. 831)
豫
​YO or kanete or arakajime, "beforehand."
The distinction of meaning between the two forms is maintained in Japanese with tolerable
consistency.—1389.
割 ​KATSU or waru, “to cleave in two," to divide.' Formed ideo-
graphically from "knife and (1390) 害 ​GAI or sokonau, "to hurt," "to injure."
TETSU or kurogane, “iron," also written
鉄 ​and, all three forms be-
1391.鐵
​ing common.—1392.
1392. 景 ​KEI "a view." The "three great views" of Japan are Miyajima,
Matsushima, and Ama-no-Hashidate.-1393. 隨 ​ZUI or shitagan, "to accord," "to comply."
-1394.
符
​-1395.
賃
​FU or warifu, "a slip" or "tally," originally of bamboo, now of
"tally,"originally any material.
CHIN, "rent," "fare."-1396. 額 ​KAKU, properly shitai, "the forehead," but
""
(C
66
generally taka, "an amount or sum of money." Also read GAKU, a framed tablet Or
"picture." Easily to be remembered by its Phonetic
客
​-1399.
復
​FUKU or kaeru, "to
return;" also read mata, "again." Remember it by its Phonetic, which is the same as that
of (996) hara, “abdomen," the latter having appropriately the Radical for "flesh,”
while "to return" has with equal appropriateness the Radical for "a man walking."-1398.
倍
​>>
BAI, double,” “....fold.”—1399.
..fold."—1399. F
驛 ​EKI, "a post-town," "a railway station." The
Radical intimates it to have been formerly a place where travellers changed horses.-1400.
Yō, properly the refulgence of the sun or stars, but used chiefly to form the names
曜
​of the days of the week, 日曜日 ​MoHI-Y0-bi, “Suday;”月曜日
​GETSU-YŌ-
bi, Monday," etc. Observe how these are formed in Japanese from the names of the sun,
moon, and five great planets that rule the five elements, exactly translating the European
terms.-1401.
楓 ​FU or kaede, "the maple-tree," hence less correctly momiji, "the red
[autumn] leaves," properly 紅 ​葉 ​of which the maple-tree exhibits the most brilliant

specimens.—1402. 季
​>>
KI, a season also sue,
found it with (1403)
(1403) 李
​((
a pear." -1404.
'the end" (of a time). Do not con-
RI or sumomo, “a plum," or with (1320) !!!
續 ​ZOKU or tsuzuku, "to continue."
"to continue.”—1405.
originally of course "silken thread."-1406.
pare
庫
​RI or nashi,
線 ​SEN Or suji, "a line,-
or
KO or kura, "a military storehouse; com-
"war," both characters having reference to war-chariots. In fact JEE
literally such "chariots" under "a shelter."-1407.
尻
​Fishiri, "the rump."
僅
​1409.
shows us
姬 ​KI or hime, "a princess."-1408.
停 ​TEI or todomaru, "to stop," like a "man" at a "shed" (conf. No. 998).-1410.
or
KIN or wazuka, "a little," "only.'
only."-1411. 麓 ​ROKU Or fumoto, "the base of a moun-
tain." The so-called Radical
鹿 ​ROKU, "stag,
"stag," is here really phonetic, while the two
302
NINTH SECTION.
combine to form the common expression for "washing clothes,"
書
​((
trees at the top serve to indicate a wooded mountainous region.-1412. 溫 ​ON or atatakai,
warm."-1413.
翠
​SUI or midori, "green." The Radical for "wings" at the top refers to
HI or tsukare,
the feathers of the kingfisher, which the character originally depicted.—1414.
to wash,” and (1416)
"fatigue."-1415. Bt SEN or arau, “to wash," and (1416)
TAKU or sosogu, "to sprinkle,'
1417. CHU or hiru, "daytime." Remember it as having one stroke more than
洗濯
​SENTAKU.
the character
書
​SHO, "to write."-1418.
恊
​KYŌ or kanan, "to agree," "suit," "har-
monise,”—the character prettily representing the "heart" and "united strength." Another
form is
which shows us "ten"
to
persons uniting their "strength."—1419.
籠
​RỖ or
kayo, "a cage:
enge : " 旅籠
​hatago, "lodging," is thus lit. "a cage for travellers."
溜
​1420.
RYU or tameru, or tamaru, "to collect" (as water in a puddle), the character
appropriately showing us “water remaining” (mizu todomaru).—1421. 途
​"a rond,"-less used to denote an actual road or highway (K)
(道路
​metaphorical expressions as 途上 ​o 途中 ​on the way;

(C
ΤΟ or michi,
) than in such semi-
官​途​= 〃
御​幣
​“to enter the path of officialdom," i. e., "to become an official," etc.-1422. k HEI, pro-
perly "riches," "precious gifts," hence the nusa or GOHEI
offered to the Shinto
gods. The Radical indicates that the gifts originally meant to be represented were strips
巾
​of cloth or silk. (Compare No. 1130
弊 ​th HEI or yabureru, “to be torn.”)—1423. 宅
​TAKU
or iye, “a house.”—1424. 謝 ​SHA, "to thank;" also wabiru, "to apologise."
dawn."-1426. su or hashiru,
SŪ or hashiru, "to run."—1427.
1425. 曉 ​Gyō or akatsuki, “dawn.”-1426.
混 ​KON or majiru, "to be mixed up,' "confused."-1428.
""
伺 ​SHI or ukagau, 'to wait
upon,' "to enquire." The character shows a “man" sent from the "office," since (No.
司
​434), though commonly read tsukasa, "ruler," has the secondary meaning of the "office" in
which the ruling administrator sits.—1429. 洩 ​EI or moreru, properly "to leak," but more
often used metaphorically for "to be omitted," "overlooked." Actual "leaking," moru, is
-Rō composed of "water," "body," and "rain," as if to depict.
generally written (1430)
(1430)漏一
​the rain coming in and wetting the bodies of the inmates of a house.-1431. 肆
​SHI,
sometimes "a [book-] shop;" sometimes read hoshii-mama ni, "recklessly," the original
meaning being that of "spreading out" or "setting forth" in great quantities. Sometimes
it is used phonetically for SHI, "four.”
1432. 貫
​KWAN, "a string of a thousand cash (the old-fashioned brass and iron coins.
had holes in the middle, to enable them to be strung together); hence tsuranuku, "to string,"
"to bury." The character shows
"to pierce," "to permeate."-1433. 葬 ​sō or hōmuru, "to bury."
some one
"dead" (E), under the "sod" or "grass" (++), supported by “hands”
(, conf. p. 116), which last apparently refer to the pious care of those who inter the
corpse.—1434.
厚 ​Kō or atsui, “thick," hence "kindly.”—1435.
JEL
SEKI, properly uryōru,
"to grieve; " hence those whom one grieves with or for, viz. "kindred."
t
NEWSPAPER CLIPPINGS.
303
1436. 蜂
​occurs in (1437)
((
Hō or hachi, "a wasp," "a bee." The same Phonetic, read Hō in every case,
kissaki, "the sharp point of a weapon," and (1438) noroski, “a
beacon" or
as the pain which the sting causes. Compare also (872) mine,
Compare also (872)
signal fire," the one; made of metal sharp as a wasp's sting, the other hot
mine, “a mountain peak;
“hole"), as in the familiar compound TŌZAN, "to run away.
逃竄
​(1187) 逢 ​au, “to meet," and (1179)
縫
​пил,
"to sew," all with perfectly appropriate
Radicals.—1439.
竄 ​ZAN or nigeru, "to skulk away" or "hide"
"hide" (like a
(like a "rat" 鼠
​in its
BE
Hence "to
葡
​甫
​secrete" or "store."-1440-1.
""
BUDO, "the vine. Remember by its Phonetic
Hо or FU (see pp. 121-2), and 萄 ​by the common like-sounding character (1142) Bij
Tō, "pottery."-1443. 卓 ​TAKU, “eminent;” also “a table.”—1444. 絕
​ZETSU or tatsu,
"to sever; also taeru, “to become extinct," hence tacle, "extremely." The original sense—that
of cutting a thread-survives in * "silk," and JJ "knife," two out of the three elements
that compose the character.-1445. 牌 ​HAI, "a tablet," "token," "credential."-1446. 銅
​Dō or akagane, “copper," to be remembered by its familiar Phonetic 同
​-1447.
領
​RYŌ,
"management," also ukeru, "to receive." Appropriately composed of 合 ​"to order,"
and 頁
​"the head."-1448. E
巨 ​KYO or ōi naru, “vast.”—1449. 適
​TEKISuru, "to suit ;
to."-1450.
or yuku, "to go to."-1450.
""
""
KA or yoki, “good,” “beautiful.”—1451. Kō or wataru,
"to cross over (as the "sun from the top to the bottom of heaven).—1452.
虞
​GU or
hakaru, “to cogitate, also osoreru, "to be anxious;" "to fear" (one would be extremely anxious
were prowling about !).-1453.
if a “tiger”虎
​structure and sound are (1454) 跨 ​Ko or matagaru, “to bestride," and (1455)
誇
​KO or hokoru, “to boast." Akin both in
KO or
効
​KO or
"merit."-1458.
擬 ​GI, “comparison, similarly, "as in te the
hakama, "large loose Japanese trowsers."-1456. JAJJ RI, "dysentery."-1457.
shirushi,
effect,"
MOGI, imitation." Magirawashii,
Magirawashii, "confused," "counterfeit," is more often written with the
character (1040) FUN, as immediately below in the text.-1459.
signal," a mark."
標
​HYō or shirushi,
a
The Phonetic is (1460) HYō, "a ticket," the two being thus akin in
Ko¯or
signification as in sound.-1461.
1462. 欺
​1464. 意
​票
​HI EXO,
顧 ​Ko or kaeri-miru, "to look behind one," "to consider."
KI or azamuku, "to deceive."-1463. 需 ​JU or motomeru, "to require," "to de-
TAI or okotaru, “to be remiss."—1465. 僻 ​HEKI, "remote," "rustic."
mand."-1464.
The same Phonetic occurs (but the sound oscillates between HEKI and HI) with appropriately
varied Radicals in (1466)
HISHO,
wall;" (1468) -
HI or HEKI, Jap. sakeru, "to shun," as in 避暑
​a
販 ​HAN or hisagu,
“[going into the country] to avoid the heat;" (1467) HEKI or kabe,
HEKI or kuse, “a bad habit;" (1104) HY HI, “a comparison.”—1469.
>>
"to sell," "to deal in.' The formation of this character reminds us of the English phrase
"to turn [an honest] penny."-1470. Till KAKU, "solid;" hence tashika, "certain."
>>
1471. 科
​compounds as 内科 ​NAIKWA, “ the inner sort [of treatment]," i. c. " medicine;"#
KWA "a series,' "a sort," "a branch of study." Used in such
304
NINTH SECTION.
GEKWA,
"the outer sort [of treatment]," i.e. "surgery."
surgery." Do not confound
,
tory." Observe the "mouth
料 ​the RYō of RYŌRI, "cookery," which has one stroke more.-1472.
稅
​科
​KWA with (755)
史
​SHI, "his-
which relates it.-1473.
ZEI or mitsugi, "a tax,'
composed of “grain" and (1479) "exchanging," referring to the old taxes in kind.—1474.
幕
​MAKU “a curtain; " also BAKU when speaking of curtain, i. e. tent, i. e. military, feudal,
"to destroy." Notice in it the de-
OP shōgunal" affairs.—1475. 滅 ​METSU or horobosu, "to destroy.
structive agents “water," "fire," and "spear."-1476.
""
(6
材
​ZAI, "timber," hence ma-
ability.” Interchanged with (228) ✈
才 ​in the two latter meanings. Do not confound
""
66
terials,'
材 ​ZAT, with f
村 ​SON, “village.”—1477. 識
​SHIKI Or shirn, "to know."-1478.
or
Liffe
KEN
""
批
​TEKI or tsumamu, "to pick out."-1482.
錄
​or kirau, “to dislike: -one woman" is "
is "unable to bear another woman.-1479.
DA, "exchanging,"
""
hence sometimes read tõru.—-1480.
"permeating;
lit. "the hand comparing."-1481. 摘
​shirusu, "to record."-1483. juli JUTSU or noberu, “to state."--1484.
((
兌
​HI criticism,
ROKU Or
REI, "a fraction,
a cipher” (as it were a tiny drop of "rain," REI being the Phonetic).—1485.
KEI or uyaman, "to reverence." Conf. 968 and 969.—1486. 般 ​HAN "sort," "time."-1487.
抱​研
​Hō or kakaeru, “to embrace," "hold in the arms." (Conf. 726 Hō, "to wrap.")—1488.
KEN Or miyaku, "to rub," "to polish."-1489.
or
究 ​KYŪ or kiwameru, “to investigate
carefully" (as if peering into a "hole," with 九 ​as the Phonetic). Compare (1006) 窮
​which in Jap. has the same readings.-1490. KANZuru, "to feel”
Joy "to feel" (metaph.). This
character naturally comes under the Radical for "heart."
Curiously enough, yet another
"feel
"heart" may be added at the left, making (1491) KAN or uramu, "to regret,'
vexed."-1492.
頗
​HA, “the head inclined to one side," as in
偏頗
​hence also sukoburu, "very."-1493. 拓 ​TAKU or hiraku, "to open
>>
HEMPA, "partiality;"
(like a man's "hand"
sun
(the
with "clouds ").-1495.
穩
​ON or odayaka, "quiet," "secure." It has the same tsukuri, though there read IN, as in (944)
kakurern, “to hide,"”—hiding and security being cognate ideas. The phrase
breaking "stones").
1494.
曇 ​DON or kumoru, "to cloud over
國​天
​隱
​土​安
​-1414
下
​稳
​given in the margin-❝ TENKA TAIHEI, KOKUDO AN-ON" (or AN-NON) is often to be seen
inscribed on stone slabs; it is a pious wish for absolute peace to the whole world,
and quiet security to the empire.—1496. 泰
​TAI here means i naru, great."
It is also read yutaka, “fertile," and yasui, “pacific." It is often interchanged with
(531) 太​-1497. 攝
​name of the well-known province of SETtsu, and here for the proper name "Celsius.”
""
SETSU, “control," "direction." Used phonetically in the
-1498.
沿 ​EN or sou, "to go by the side of," "to follow along."
攝​津
​1499.
·
容 ​Yō or kalachi, "appearance,
appearance," as in TIL YÖRō,
YŪBō, “appearance ; also
iveru, "to insert."-1500. 貧 ​HIN or mazushii, "poor,
poor," the character indicating a [very
small] "share" of "treasures.
""
NEWSPAPER CLIPPINGS.
305
TAN or hokorobu, "to rip" or "split open,
1501.
錠
​split open," as a seam.-1502 拘
​""
Kō or
toraeru, "to clutch or "restrain," hence kakawaru, to be concerned with."-1503. 杖
​曳
​((
Jō or tsue, a staff" or
stick."-1504.
EI or laiku, "to trail," "to drag. Memorise
this rather unusually constructed character with the analogous (No. 1429) EI or moreru,
"to leak.
""
KYŌ,
1505. SUB Kyd, “a banquet ;” also motenasu, “to feast" (transitive). This alarming-looking
饗
​character contains No. 1262 as its Phonetic. The same occurs in (1506)
in (1506) 響 ​Kyō or hibiki,
音
​“a reverberating or echoing sound," lit. “a sound" from the "village"
these three characters, as it were, on each other, remembering each by the other two.—1507.
EN or sakamori, "a feast."-1508.
meal."-1510.
鄉 ​US. Lean
宴
​晚 ​BAN, or kure, “evening.”—1509.
賓 ​HIN or marido, "a guest," the distinction between it and
餐
​SAN, "a
客
​KYAKU being
that the former is always a real "guest" in the English sense of the word, whereas
客
​is
often rather a customer, passenger,” etc., i. e. one who pays for the attention he receives.
may be best remembered as the Phonetic of
橫濱
​1511.
桂
​濱
​in the familiar place-name Yokohama
KEI or katsura, the "cinnamon" or "cassia-tree," familiar to residents.
in Japan as the fragrant MOKUSEI with its clusters of small, deep-yellow blossoms.-1512. 露
​RO or tsuyu, "dew," here and often used phonetically for "Russia." Russia is also written
魯西亞​; but as (No. 1513) 售
​RO means oroka, "stupid," this transcription may
appear discourteous, notwithstanding the fact that
魯 ​was the name of the ancient Chinese
principality in which Confucius lived and worked.-1514.
瑞
​KAN or Kara, "Korea."-1515.
ZUI, or "an
an auspicious omen." Used phonetically for the first syllable of 瑞典
​"Sweden," and of "Switzerland."-1516.
瑞西
​墨
​(appropriately composed of "black," and “earth”).
土
​1517.
BOKU or sumi, "Indian ink'
暴 ​BO or abareru, "to be violent" (weather would be such in which one suffered
""
from a “combination of "sun' and "water").—1518.
1518. 損 ​SON, "damage,
damage," "pecuniary
loss" (such as is likely to befall those whose “treasures are spent from "hand" to "mouth ").
—1519. D'f
""
噴 ​FUN or haku, "to spurt," "to spout." Kinship of signification, with appropriately
varied Radical, is found in (991) T
憤 ​FUN or ikidōru, "to be indignant."-1520.
-1520. 温
​ITSU
or afureru, "to overflow" (from water and No. 920,
920, 益 ​“more and more”).—1521. 浸
​SHIN or hitasu, “to soak.”—1522. †
擾 ​Jō or midasu, "to embarrass," "to disturb" (from
憂 ​sorrow ").—1523. 惹 ​JA or hiku, "to provoke," "to elicit."-1524.
"hand" and
fifi
CHU or naka, used sometimes for ✈“middle.”—1525. 盡 ​JIN or tsukusu, "to
箪​笥 ​TANSU, “a chest of drawers," "a cabinet."-1528. HO or
AJA
exhaust."-1526-7.
kuzureru, “to fall to pieces,” as a mountain by a landslip.
но
HOGYO means the death
of an emperor, the honorific being put after, instead of before, the other character. Other in-
stances of such inversion with
KEP occur.—1529.
go to ruin.”—1530. LES
壞 ​KWAI or kuzureru, "to break down," "to
SHO or itamu, "to hurt."-1531.
氣
​KI, “steam,” a specialised form
306
NINTH SECTION.
of (378) "vapour
氣 ​vapour" in general.
in general.
Sometimes the Radical alone (1532), E
ployed for “steam,” as if it were an abbreviated form of 氣
​"the sea-beach" (lined with "ever so many stones").-1534.
-1535.鷲
​1533.
磯
​靜
​KI, is em-
ΚΙ or iso,
SEI or shizuka, "quiet."
SHŪ or washi, “an eagle" (appropriately formed of "bird," "metropolis," and
very," it being the very greatest of birds).—1536. 油 ​yu or abura, “oil," "grease."-1537.
SHO or tsumabiraka, "minute," "detailed," hence " plain.”—1538.
KWA, nearly
((
詳
​課
​the same as (No. 1471)
科
​-1539.
GEI, "the mechanical arts;
((
技 ​GI “skill, the arts," as in 技藝
​H
GI-
GISHI, an engineer." The character which is also
修
​脩 ​SHŪ or osameru, "to adjust," "to repair."-1541.
繕
​ZEN or tsukurou,
1542.
LATES
責
​read waza, seems to pourtray the primitive art of lopping off the branches of trees.—1540.
also written
"to mend" ("silk" used to set torn garments to "rights").
SHI or tsukeru, “to soak,” “to pickle.”—1543. 枕 ​CHIN or makura, "a pillow."
The choice of the Radical here well exemplifies the difference between Far-Eastern pillows
and ours.
or shizumu, "to sink."-1545.
""
CHIN
The other most familiar character having the same Phonetic is (1544) it
昇 ​SHŌ or noboru, "to ascend
Jifi MŨ or takeshi, "brave," "fierce.”—1547.
"to ascend" (from the " sun rising ").
II
馳 ​CHI or haseru, "to gallop," "to run.
Kō, properly unaji, "the nape of
-1546.
the neck,” hence "sort," "item," "article."-1548.
It combines with No. 835
which also signifies "running," to form the term
run."
走
​馳
​走 ​CHISO, "a feast;" but why so written is not plain, unless it be that folks all run
together to eat the tasty dishes.—1549.
1549. Fr KYŪ or haseru, "to run (as a "horse does
""
“uphill ").—1550. RYU or iyo-iyo, "more and more;" also ieru, "to get cured."-1551.
KWAN or susumeru, “to encourage.”—1552.
“to encourage.”-1552. KEN or kewashii, “precipitous,'
B
>> ((
danger-
捲 ​KEN or maku, “to roll," practically
ous."-1553. 護 ​GO or mamoru, "to protect."-1554.
1564. HE
愈
​勸
​“ heart"): 無​慘
​identical with (No. 734) 卷一
​>>
-1555.
慘 ​SAN, ZAN, or mugoi, "cruel " (what "goes" to one's
MUZAN means the same; it is not negative.—1556.
1556.驅
​KU, karu, or
with No. 1548, thus
kakeru, "to urge on," "to race," "to rush." Often compounded with No. 1548, thus
((
CHIKU Suru, "to drive fast.”—1557-8. 俳​優
​HATYŪ, an actor."
LAC
alone is sugureru,
"to excel."-1559.
1559. But KAI, "a story
a story "in a house, originally "stairs," kizahashi.—1560. 躰
​TAI or karada, “the body," a favourite Jap. equivalent of the more complicated (850)
formation from
本身
​Litalis
Its
豆
​HONSHIN, "one's own self," makes it easy to remember.-1561. 劇
​GEKI or hageshii, "violent" (suggested by the combination of "a tiger," "a pig," and "a
(6
knife!"); also "a play" or drama."-1562.
基 ​KI or motoi, "a foundation" ("that earth"
on which the building rests).—1563. 督 ​TOKU or tadasu, "to enquire into," "to superintend,
H
as in EX KANTOKU, "superintendence,” hence "a bishop," (1564) alone being read
監督
​kangamiru, "to examine.” together form the standard, though imperfectly phonetic,
transcription for the name of "Christ.”—1565. 席 ​SEKI, or mushiro, "a seat" or "place," as
庶
​at a feast. It is formed of 巾 ​"napkin" and (1566) HE
(C
((
SHO Or moro-moro, people,"
multitude" (contracted), in allusion to the courtesies paid to guests.-1567. 柱
​CHỮ Or
NEWSPAPER CLIPPINGS.
307
hashira, "a post."-1568. 燈 ​To or tomoshibi, "a light," "a lamp" ("fire lifted up ").-1569.
巡
​JUN or meguru, "to go the rounds."-1570. Jik Hō or hanatsu, "to let go," "to let off."
粉 ​Fun or ko, “powder” (“rice divided into minutest fragments).-1572.
-1571.
FUN
距
​KYO or hedataru, "to be distant from" ("foot" indicating the sense, and 1448 giving
the sound).-1573. LIE EN or nobiru, "to extend," "to spread."—1574. 員 ​IN or kazu,
“number,” “member.”—1575. fili
揮 ​KI or furun, "to wield," "to animate" (as a general's
"hand" does his "army").-1576.
army").—1576. 患
​巢
​KWAN or uryōru, "to be afflicted" (represented by the
joint wailing of "two mouths" to a sympathising "heart").-1577.
sō or su, a nest"
(the lower part being the tree on which the nest is built, while the square in the middle
probably represents the nest itself, and the three crooked top strokes the heads or feathers
TEI OF
WAN or ude,
of the birds popping out of it).—1578. 窟 ​KUTSU or iwaya, “a cave.”—1579. 抵
​against:” 大抵 ​TAITEI, "for the most part."—1580. 腕
​the arm."-1581. FL KI or tsukue, “a table” (interchanged with
with, the Radical
ataru, "to strike against:
木
​up."
being prefixed for greater clearness).—1582. Fili SEKI or tsumu, "to pile" or "heap up.
1583.
a wine-cup." (On the lucus a non lucendo principle, remember
HAI or sakazuki, "a wine-cup.
杯
​盃​—1584. 敗
​it as being "not" of "wood," but of porcelain). This character is an alternative of (No. 788)
"to be defeated" ("treasures struck," i. c., taken away
HAI or yabureru, "to be defeated
by robbers).—1585. 焰 ​also written and practically identical with (1586), both
燄
​being read EN or hono, "flame," "blaze."
"blaze."-1587.
(C
試 ​SHI or kokoromiru, "to experiment.".
投
​1588. 綱
​nageru, “to throw” (from “hand” and “spear”).—1590. 嘆 ​歎
​Kō or tsuna, a rope " (“thread” of the size of a “hillock").—1589.
or
To or
TAN or nageku, "to
sigh" ("mouth" or "yawn " as the appropriate Radical; the Phonetic is read KAN in some other
characters, e. g. in 漢 ​KAN, “China”)—1591. 激 ​GEKI or hageshii, properly "water in
violent commotion," hence "violent" ("water" "striking" in "white" foam on the “side”
(C
Bō
of a rock).-1592. 棄 ​KI or suteru, “to throw away."-1593. BO or hakarigoto, “a
謀
​plan," a stratagem" ("certain words ").—1594. 拒 ​KYO or kobamu, "to ward off," "to
reject." Comparing and (1572) HE,
拒
​note the fundamental kinship of signification
which the Radicals appropriately diversify,-"warding off" (distancing with the hand), and
“being distant” (as through having walked away on one's feet). The Phonetic (1442) E
"great" indeed has traces of the same fundamental meaning; for greatness keeps at a distance
from, and wards off the crowd.-1595. shime "shutting," "concluding," a vulgar symbol
which does not rank as a character. The real character for shimeru, "to shut"
-1596.
is (1032) 精 ​締
​恰 ​Kō or adakamo, "just as," "fitly" (the "heart" "joined").—
CHI or haji, "shame" (from "ear" and "heart," because the ear reddens when a
person is ashamed). Often also written H-1598.
耻​—1598. 排
​1597.恥
​1599.
斥
​an
HAI or hiraku, "to push open.".
SEKI or shirizokeru, "to drive away," "to expel" (as with the stroke of
DAI, "a a
“axe”).—1600. 題
​"heart" "centering" in the right).
subject," "a title."-1601.
title."-1601.OHU, "loyalty" (a
Read tada in personal names, through allusion to the
308
NINTH SECTION.
*
""
tadashii or “correct” nature of loyal conduct. A useful kindred character is (1602) CHU,
Jap. uchi, "the inside," hence makoto, "truth,"-formed metaphorically of "inside garments,'
the character❝garments" being, as will be noticed, cut in two by .
by. Do not
confound it with (1603) 哀 ​AI or kanashimu, "to grieve," the "mouth" of one clad in
mourning “garments."-1604. 單 ​or hitoc, “single,” “simple.”—1605. E
退
​ΤΑΝ
shirizoku, “to retire.”—1606. KOKU, "cruel," also hanahada, "extremely."
194
ZANKOKU is the common expression for "cruelty."—1607. 迫
​TAI or
HAKU or semaru, to be
harassed." The corresponding active verb semeru, "to attack," "to harass," is written with
the character (1608)
66
攻 ​Kō (formed of "work" and "to strike).”—1609.
1609. 訟
​SHO or uttac,
'litigation" (i. c. "words" in "public ").—1610. 贊 ​SAN, properly tasukeru, “to assist,
(1289) 讚 ​lomeru,
second;" also used for (1289)
"" ((
" "to
homeru, "to praise.”—1611.
貝
​姿 ​SHI or sugata, “appear-
ance, figure" (that "according to" which a "woman" is estimated).-1612.
kazoeru, "to cypher," "to estimate;" also written —1613.敵
​SAN or
TEKI or kataki, “a foe"
M
TEKI or shizuku, “a
SHŌ or arawasu, "to display;" also read akiraka, “clear," whence akira
(with the appropriate Radical "to strike”). Same Phonetic in (1614)
drop."-
2–1615. 彰
​or aki in personal names. The original force of the character was that of a beautiful bird
displaying its feathers, the Radical representing "feathers," while one of the significations
of
章
​1616.
((
is aya, "ornament," elegance."
TEN or sadameru, "to set up," "to fix." (The character shows libations of
“liquor set up on a “stand" for presentation to the gods,
"a stand.")-1617.
being here a corruption of
HEI or kizahashi, "the steps of the throne."
"the steps of the throne."
(Compare Colloq.
Handbook, 67, N.B.)-1618.
¶
臨
​RIN or nozomu, "to behold (patronisingly)," "to ap-
proach." We may remember the character as pourtraying the "mouths" of three “servants
visited by their lord and master; for
here, as often, is a contraction of
here, as often, is a contraction of
""
1619.
洵
​JUN or makoto ni, “truly.”—1620.
昭 ​SHO or akiraka, “luminous" Conf. (598) H.
昭
​The two are cognate; but denotes rather "luminosity” itself, while
verbal idea of "shining."-1621. 偉​,
""
gives rather the
I 1 or õi naru, “grand.”—1622. 歇 ​KETSU or yamu, “to
rest a little,' "to halt." The force of this character is well seen in okori or KANKETSU-NETSU,
間歇​熱 ​“intermittent_fever."-1623. EL
熙 ​KI properly means "suffused softness,"
Compare also p. 111.—1624.
"bright." When used as a proper name it is pronounced Hiroshi. Compare also
委
​under the burden of the "grain" entrusted to her care).-1625. 欣 ​KIN or yorokobu, "to
稍 ​SHO or yaya, "gradually," "somewhat" (the character represents "grain”
I or yudaneru, "to commit," "to entrust" (the character pourtrays a "woman" bending
rejoice.”—1626.
são or niru means “to be like." H
"like to" ripen); for (1627) SHO
FUSHO "unlike
[my father]," that is, "degenerate," is a self-depreciatory term for "1."—1628. TON, “to
(頓首
​TONSHU
u); also read yagate, “forthwith.” It naturally has the
bow the head
Radical for "head," whereas (1629)
t
DON or nibui, "blunt," "dull," has that
NEWSPAPER CLIPPINGS.
309
for “metal.”—1630. properly YOXU or osaeru, "to repress;" hence used for somo-somo, a
抑
​conjunction serving to introduce a new subject, "now," "well then."-1631. fiti
柿 ​SHI or kaki,
a persimmon;" also used for kokera, “shingles for roofing."-1632. 葺 ​SHU or fuku, "to
潔 ​KETSU or isagiyoi, "pure.'
pure."-1634.
神
​roof," "to thatch," "to tile."-1633.
SHIN,
originally "a large sash," such as the Chinese officials and gentry were alone privi-
leged to wear; hence "a gentleman."
a gentleman." The character pourtrays
The character pourtrays "silk extending" round
""
""
the waist.–1635. P
啓 ​KEI or hiraku, "to open, "explain, "state."—1636. 副
​soeru, “to put along with;" hence "vice," "second.”—1637.
FUKU or
SHU or shibui, "astringent
("liquid stopping thrice" on the palate, and refusing to be swallowed).—1638. 柵
​shigarami, “a palisade,” “a railing" ("slips" of "wood").—1639. J
列
​"to be in a row."-1640.
SAKU or
RETSU or tsuranaru,
Hō, "a gun," "the report of a gun" (the Radical dating from
砲 ​òu
times when great “stones" were the projectiles employed.-1641. B
隅 ​GŪ or sumi, “a corner."
-1642. TAI, "a squad,” “a band.”—1643.
隊
​奏 ​sō, "a report to the throne;" also
HŌ or tatematsuru.-1644.
侍
​JI
kanaderu, "to perform music." Distinguish it from
2-1646. 迎
​or hamberu, “to wait on."-1645. 陪 ​BAI or shitagau, "to accompany."-1646.
GEI or
mukaeru, "to go out and receive."-1647. 導 ​Dō or michibiku, "to lead” (“an inch on the
road ").—1648. Fill
憩
​-1649. PR
咫
​KEI or ikou, “to rest.'
"to rest.” (Rest is "sweet" alike to "tongue" and "heart.")
""
SHI a foot measure (“only” a “foot measure"); it is smaller than a 尺
​SHAKU, read SEKI in the compound
""
SHISEKI.-1650.
頌 ​SHō or homeru, “to eulogise
SHI
(as a “prince” to his “face").-1651.SHO or tsngu,
SHŌ or tsugu, “to follow closely."—1652.
or tamau, "to bestow on an inferior" (the character shows
(the character shows "treasures changing" hands).-
JU or sazukeru, “to grant," "to confer" (from "hand" and "to receive ").-1654.
1653. 授
​捧
​奉
​Hō or sasageru, "to offer to a superior
"to offer to a superior" ( and well render the meaning).—
1655. 畢 ​HITSU or owaru, "to finish." We thus have no less than four common characters
for the single verb owaru, viz. TRYO, SHU, KYō, and
終 ​終 ​竟 ​畢 ​HITSU; for
Chinese is a rich language; but we have no right to complain, seeing that English uses the
four synonyms "end," "finish," "terminate," "conclude," and perhaps others yet to express
the same idea.—1656. KWAN or kaceru, "to return," "to go away."-1657.
CC
還
​裝
​sō or
yosooi, getting ready," hence "dress." In the specialised sense of "adornment," the kindred
爬
​character (1658)
(1658) so or SHO is preferred.-1659. HAI or se, "the back also read
somuku, "to turn one's back on" (from "flesh" and "north," intimating that the pleasant
"width.”—1661. 脚
​and auspicious way to face is southwards).—1660. 幅 ​FUKU or haba, "width."-1661.
KYAKU or ashi, "the leg," "the foot," hence the auxiliary numeral for chairs and tables. The
Phonetic (1662)
KYAKU means shirizokeru, "to send away;" hence kaette, "on the contrary.'
The rationale of
脚
​(from "flesh" and "
and "sending away") is that the legs are hung down
and disused in sitting.-1663.
BE Tō or momo, "a peach."-1664.
a peach.”—1664. FUN or kobashii,
"fragrant" (from "plant" and "to divide," because a flower diffuses fragrance).-1665.
310
NINTH SECTION.
KUN or kaoru, "to smell sweet."
The same Phonetic and a distantly related pleasant sense
are found in (1666) J
勳 ​KUN or isaoshi, “merit.”—1667. 係 ​KEI or kakawaru, "to be con-
(C
cerned,' connected with" (like a
(C
man
"bound by a “silken cord"); the compound
係
​KWANKEI is very common.-1668.
詰
​KITSU or tsumeru, "to pack," "to stuff."-1669.
帽
​絹 ​KEN or kinu, silk."-1670.
BŌ a hat;" appropriately formed from "towel" and
(1671), also read Bō and originally signifying a “head-covering,” but now okasu, “to
brave.”—1672. sate, "well then!" The word sate is also written (1094) · -1673.
EX
殺
​MON, “a crest,"
" also read aya, “pattern” (a "mark" sewn on in "silk").-1674.
(6
+99
揉
​KAKU
or
jū or momu, “to rub,” “to shampoo” (making "pliable" with the "hand").— 1675. 攫
​or tsukamu, “to clutch.”—1676. Jell Jō or amaru, to remain over" (gives the sound,
while the Radical for "knife" indicates something left over from cutting).-1677. PJ
KYō or sakebu, "to cry out."-1678.
out.”—1678. 汰 ​Ta properly “to rinse ;" but it chiefly occurs
phonetically in the colloquial word SATA.-1679.0 To or usagi, "a hare" (a rude picture
my,
瘦
​sō or
of a hare squatting with its tail perked up). In to ni kaku, both characters are used
-1680.
yaseru, “to be lean," "thin," one of the ills incidental to old age, whence this character is
phonetically, to and kaku being really native Jap. words, not 音​—
KO or
composed of “disease” and (1681) # sō or okina, "an old gentleman."-1682.
kareru, “to wither” (like an "old tree"). Learn in this context (1683) KO or shutome,
((
((
the hub
“a mother-in-law” (the character is lit. "old woman").—1684. 輦 ​REN "the Imperial
(from “carriage" and two 夫 ​to drag it).—1685. X KOKU,
HL
穀
​Remember it by means of the commoner character
chariot" (from
of a wheel."
KOKU.
""
men
叙
​"cereals," also read.
RENKOKU no moto ni aru generally signifies merely "to inhabit the metropolis." In
the text of page 300 we have rendered it by "hobnobbing with Royalty," in order better
to bring out the special connotation of the passage.--1686. I or tada, "merely.”—-1687.
KEI or tazusaeru, "to carry," "to take."
携
​WRITING LESSON.
311

1433
1423
1414
1404
1394
1386
葬​宅​疲​續​符 ​萃
​1434
1424
1415
1405
1395
1387
厚​謝​洗​線​賃​兜
​1435
1425
1416
1406
1396
1388
戚​曉​濯​庫​額​預
​1436
1426
1417
1407
1397
1389
蜂​趨​晝​姬​復​割
​1437
1427
1418
1408
1398
1390
鋒​混​恊​尻​倍​害
​1438
1428
(1418)
1409
1399
1391
烽​伺​協​停​驛​鐵
​1439
1429
1419
1410
1400
(1391)
竄​洩​籠​僅​曜​鉄
​1440
1430
1420
1411
T401
(1391)
葡​漏​溜​麓​楓​銕
​1441
1431
1421
1412
1402
1392
萄​肆​途​温季景
​1442
1432
1422
1413
1403
1393
陶​貫​幣​翠​李
​翠​李​隨
​312
NINTH SECTION.

1493
1483
1473
1463
1453
1443
拓​述​稅​需​誇​卓
​1484
1474
1464
1454
1444
零​幕​怠​跨
​跨​絕
​1485
1475
1465
1455
1445
敬​滅​僻​袴​牌
​1486
1476
1466
1456
1446
般​材​避​痢​銅
​1487
1477
1467
1457
1447
抱識​壁効領
​1488
1478
1468
1458
1448
研​嫌​癖​擬​巨
​1469
1459
1449
1489
1479
究​兌​販​標​適
​1490
1480
感​批
​1481
1470
1460
1450
票​佳
​1471
1461
1451
1491
憾​摘​科​顧​亘
​1482
1492
1472
1462
1452
頗​錄​史​欺​虞
​WRITING LESSON.
313

1542
1534
1524
1514
1504
1494
清靜​仲​韓​曳
​1535
1543
1525
1515
1505
1495
枕​鷲​盡
​盡​瑞​饗​穩
​1544
1536
1526
1516
1506
1496
沈​油墨​響
​1545
1537
1527
1517
1507
1497
昇​詳​笥​暴​宴​攝
​1546
1538
1528
1518
1508
1498
猛​課​崩​損​晚​治
​1547
1539
1529
1519
1509
1499
項​技​壞​噴​餐​容
​1548
1540
1530
1520
1510
1500
馳​修​傷​溢​賓​貧
​1549
(1540)
1531
駈 ​脩​漁​浸​桂​綻
​1521
1511
1501
1550
1541
1532
1522
1512
1502
愈​繕​气​擾​露​拘
​1551
1533
1523
1513
1503
勸 ​磯​惹​魯​杖
​314
NINTH SECTION.

1591
1583
1582
1572
1562
1552
激​杯​積​距​基​險
​1592
1573
1563
1553
1584
棄​敗
​延​督​護
​1585
1564
1554
1593
謀​焰
​1594
(1585)
拒​燄
​1595
1586
, 炎
​1596
1587
恰​試
​1597
恥​綱
​(1597)
1588
1589
耻​投
​1598
1590
排​嘆
​1599
1574
員​監​捲
​1575
1565
1555
揮​席​慘
​1576
1566
1556
患​庶​驅
​1577
1567
1557
巢​柱​俳
​1578
1568
1558
窟​燈​優
​1579
1569
1559
抵​巡​階
​1580
1570
1560
腕​放射
​(1590)
1581
1571
1561
斥 ​歎
​机​粉​劇
​WRITING LESSON.
315

1646
1636
1626
1616
1609
1600
迎​副​稍​訟​題
​1647
1637
1627
1617
1610
1601
導​澁​肖​陛​贊 ​贊​忠
​1648
1638
1628
1618
1611
1602
憩 ​柵​頓​臨​姿​衷
​1649
1639
1629
1619
1612
1603
咫 ​列​鈍​洵​算​哀
​1650
1640
1630
1620
(1612)
1604
頌​抑​昭​等​單
​1651
1641
1631
1621
1613
1605
踵​隅​柿​偉​敵​退
​1652
1642
1632
1622
1614
1606
賜​隊​葺​歇​滴​酷
​1653
1643
1633
1623
1615
1607
授​奏​潔​熙​彰​迫
​1654
1644
1634
1624
捧​待​神 ​委
​1655
1645
1635
1625
畢​陪​啓​欣
​(1607)
廹
​1608
攻
​316
NINTH SECTION.

1685
1676
1666
1656
轂 ​剩​勳​還
​1686
1677
1667
1657
唯​呌​係​裝
​亻
​1687
(1677)
1668
1658
携​叫​詰​粧
​1669
1659
1678
汰​絹​背
​1679
1670
1660
鬼​帽​幅
​1680
1671
1661
瘦​冒​脚
​1681
1672
1662
叟​权​却
​1682
1673
1663
枯​紋​桃
​1683
1674
1664
姑​揉​芬
​1675
1684
1665
輦​攫​薰
​TENTH SECTION.
EASY PIECES BY CONTEMPORARY
AUTHORS.
近
​文
​數
​扁
​TENTH SECTION.
EASY MODERN PIECES.
1


ばり屋​の​味佳​他​と​勉有壯​し​義​口​行​の​酒​て
​な​樹​に​為​の​肴​を​きむ
​に​眠​に​為​を​忘​はる
​在れ​食​に​食​れ​他​と
​るるぶ​食​はて​を​き
​狗​猫​は​ふざ​寝忘​は
​はは​賢​は​るね​れ​他
​狂​は​よ​て​を
​な​愚
​丹餅素​と​棚​に​無し​棚​に​入
​に​はは​を ​を
​こ​約​世​骨​を​聞
​觀​する ​行き
​ずる​遷害​も​ふて
​れ​はれ​す​の​は​十
​ば​脆​心
​苦く​は
​し
​心​時
​心
​櫂​に​と
​募​懸
​集​賞
​座
​は​難​を ​右
​し​知
​る​迂
​る​は​易く​十​を
​胃​を​損
​醉​ふ
​危墜​な​狂​は
​しちり
​人​ず​賞​りな
​愚​食 ​食​忘
​しれ
​に​自す笑り
​寝​て
​利​誓​變
​じ
​よ
​ら
​心​憐
​ぬ​勉
​と​ふる
​財
​り昇し
​しべむ
​てれ
​しべ
​上​ば ​衞​し ​きす
​食す
​るめ ​れ​悟
​と​食
​悟​は​を
​に
​て
​れ​堅勿
​始
​は
​ばしれ
​れな ​生佳​はる
​て
​樂
​速
​塞
​知
​ｸ​翁
​銘
​ZAYUMEI.
(KENSHō BOSHU.) USOKU SAIō.
(Hitotsu.) ICHI wo kikite su wo shiru wa yasuku; JŪ wo shirite ICHI wo okonau wa katashi.
(Hitotsu.) Sake wo musaboru mono wa, I wo SONji; ZAI ni you mono wa, hone wO GAISU.
(Hitotsu.) Okonai wa, yo to utsure; kokoro wa, toki to kawaru koto nakare.
(Hitotsu.) Kuchi ni YAKUsuru wa moroku; kokoro ni chikau wa katashi.
(Hitotsu.) GIMU to KWANzureba, kurushi.
(Hitotsu.) Bora-mochi moto tana ni nashi.
KENRI to satoreba, tanoshi.
Tana ni irete, hajimete ari.
(Hitotsu.) Tsutomuru toki wa, TA wo wasurete tsutome; SHOKUsuru toki wa, TA wo wasurete
SHOKUshi; inuru toki wa, TA wo wasurete inc-yo !
(Hitotsu.) KAKō wo kurawazaru wa, GU nari;—awaremu-beshi. KAMI no tame ni kurau wa,
KYŌ nari;-warau-beshi. EISEI no tame ni kurau wa, KEN nari;-SHōsu-beshi.
320
TENTH SECTION.
(Hitotsu.) OKU ni nemureru neko wa, ochizu;-mizukara noboreba nari. Ki ni aru inu wa,
ayaushi;-hito ni yorite noboreba nari.
MAXIMS TO BE KEPT EVER BEFORE ONE.
(A PRIZE ESSAY BY USOKU SAIŌ)
To infer the whole from acquaintance with a part is easy; to practise even part of a
known whole is difficult.
He who hankers after strong drink injures his stomach; he who is intoxicated with
wealth injures his bones.
Let your practice vary with the times; but let your heart never change.
Verbal promises are brittle; heartfelt vows are enduring.
What is painful viewed as a duty may be delightful considered as a right.
Rice-cakes do not grow on shelves; they are only to be found when put there.
When working, forget all save your work; when eating, forget all save your food; when
lying down to rest, forget all save your rest.
He who refuses to eat savoury meats is a fool, and to be pitied. He who eats them for
their delicate flavour is a madman, and to be laughed at. He who eats them for his health's
sake is a wise man, and to be praised.
A cat asleep on the house-top does not fall;-this is because she climbed there herself.
A dog perched on a tree is in danger;-this is because he was placed there by some one else.
NOTES.
A Tokyo journal, the 萬​朝​報 ​“Yorozu CHŌHō," having offered a prize of $100
for a set of precepts or apothegms in Kana-majiri style, to make altogether not less than
eighty, not more than one hundred characters, a large number were sent in, and on the 20th
March, 1898, the eleven best were published in a special literary supplement.
here printed took the prize. We reproduce it by courtesy of the editor.
The piece
ICHI wo kikite JŪ wo shiru is a proverb that has already been noted in these pages.
Another proverb alluded to in the "Maxims" is UN wa TEN ni ari, BOTA-mochi wa tana ni ari,
Luck is in Heaven's keeping, rice-cakes are on the shelf," as much as to say that things
are in the hand of fate and must be taken as they come. A kindred saying is Aita kuchi
ni BOTA-mochi, "Rice-cakes to an open mouth," i. e. "unexpected gain.
Zai ni you, etc. seems to mean that he who wallows in wealth will injure his health.
The writer has been carried by the search after "parallelism" (TSUIKU) into what is
is a mere pseudonym assumed by the
either obscurity or tautology. 迁​速​塞​翁
​writer, whose real name is Matsubara Nishiki 松原​錦
​GIMU to, etc. Such antithetical Japanese (properly Chinese) phrases are sometimes best
translated, as here instanced, by fusing them into one integrated sentence.

EASY MODERN PIECES.
321

に​ばず​我​ず​の​那我​支​の​でし​ひ​はせる​我
​驚​實
​や
​邦 ​劇​の ​邦​那文
​文​も​たて​支​す​と
​に
​の ​塲劇​の​人​明試る​我那 ​は​本
​霄斯​公 ​支 ​は​塲家​の ​もみ​を​邦​却抑​歷人
​き​壤 ​路 ​那
​の
​既​は​屋​家​支​に​は​從​て ​史種 ​本
​はの ​有​は ​に​尚​は​屋​那德 ​來我​文上​の
​漢​差​形​既 ​道
​大​ほ​既​は​の​川​辨支​邦化​に​智
​ほ
​文あ​上​に ​路 ​建造​に​尚文​氏​を​那​よ​の​於力
​をり​の​平 ​は ​葬居​清ほ​明​の ​り​初​て​遠
​記 ​有​坦 ​尚
​と​な​潔具​と​末​せり ​り​先​の​著
​す​然様​な ​なれ​な​矮​を​にざ​多​な​て
​るりり​荒れ​どら​な
​よ
​著
​明​支
​比於る ​る開な那
​日本​人種​論​の​一節
​力​し​較​に
​せ
​に
​やど
​る
​なすあ
​り殊れら
​あ我
​ら​邦支
​の​而比​し ​る​も ​ずれ​較​け​也文​を​ける​人
​ど​せる ​明​及事​種
​もよ​我​然​を​びる​なに
​邦​れ​移從​とり​勝
​
な​師​にて​に​建​な​新​ある
​な​新​あとふ力​後​に​文儒​齋る​と
​しあ​歐​も​於葬り ​のり ​りは ​はべ​のに​と​明既​の​所​す
​て​に
​技
​我​し​優至​を​我​にあ
​我
​人​其​由於​我​藝​然​邦
​邦而​を​他 ​て​邦
​勝り​超​邦之​き ​きり ​り清
​れよ​夫​な​て​乘​よ​を​文​し​朝
​にし​凌百​鑛​も​に​術​どり​れる​はしり ​論章​と​は
​於​て​駕​般​山 ​於​を​も ​も​早
​早​支​¿我​ㄤ​先​ㄝ​家​雖​殊
​て​支​す​のに​造​て​習支​き​那​を​見る​なり​を ​もに
​は​那 ​る​製​於舩​は​得那​と​の​示本​をり ​出 ​文
​玻​に​に​造​て​に​醫​す​人​數歐​し​人​を​知 ​決學
​璃於​足​に​も​於 ​於怵 ​る​に​十来​た​種 ​雖る
​を​てる​於
​し​に
​て​に​も
​し​百​きる​は​殊​も
​べる
​る​て
​て​於
​製​は​の​て​電​も​於 ​の​て ​て​年​交​も​殊に​我​し​を​我​て
​學 ​氣 ​て​寳歐​の ​の​に​開邦支​は​祖獎
​し
​人​士 ​に​鐵​も
​に
​前​せと
​麥​犭​技​既​於​道
​稀​日​に​し​云
​其​智
​港​は​那 ​徠勵
​終​の​先​一
​す
​322
TENTH SECTION.

る
​カ
​所​を
​皆​に​す​日​智ひ​あて​ら​雖形​ぁ​士
​ら​雖形​あ​士​あす​を​チ​酒
​なはる​本​カ ​り
​敗此​の​人​を​作 ​勝
​る​智​智​種​要​戰​砲​敗​な​支​理​經
​力​に​すと​術 ​り那​を
​あはる​云​と​政
​もも ​のりあ
​りある​と​製 ​を
​妙
​を
​
り
​な​雖​し ​製 ​製
​し
​も
​し
​齊​理
​し
​其
​
C 極​學​學​我​支​他​洋 ​紡
​回​以​欠​る​十​者​ひ​云​る​此​於​む​士士邦​那​百 ​紙 ​績
​も​分​な ​ひ​所​回​てる​ああ​に
​あにに般
​に​艇​を
​(田口​卵告​著​樂天​録​より​抜萃​)
な
​を
​ら
​にる ​皆 ​はの
​の​はも ​もりり ​り​於於 ​於​の ​製 ​製
​ず​是​支之​に​學航​全​戰未​の
​て​製
​て
​し
​し
​れ​那​を ​術
​每人​理​我​的​E玆 ​に​こ​り​他​學​車
​安く​箏​だ​あ​其法​は
​はは ​は​造
​1
を
​石
​戰種​解​が ​の​云​に​於​あと無士​學 ​も​鹸ツ
​"NIHON JINSHU RON" NO IS-SETSU.¹*
Waga NIHON JINSHU NO CHIRYOKU tōku SHINA JINSHU ni masaru koto wa, REKISHI-JŌ ni oite
CHOMEI naru koto nari to su. Somo-somo BUNKWA no hajimete hiraketaru koto wa, SHINA kaette
waga kuni yori saki naru koto, oyobi shitagaite' waga kuni JŪRAI SHINA yori ōku BUMMEI WO
utsushilaru koto wa, TABEN wo Yōsezaru nari. Shikaredomo, kokoromi ni Tokugawa SHI no suc
ni okeru waga kuni no BUMMEI to SHINA no BUMMEI to wo HIKō† se-yo! SHINA-JIN NO KAOKU
wa nao SHŪWAI naredomo, waga kuni no KAOKU wa sude ni SEIKETSU narazu ya?
SHINA NO
GEKIJō wa nao shibaï³ naredomo, waga kuni no GEKIJō wa sude ni DAI-KENCHIKU to nareru ni
arazuya? SHINA NO DŪRO wa nao KōHAI seru mo, waga kuni no KōRO wà sude ni HEITAN
narishi ni arazu ya? Kaku YŪKEI-Jō no arisama wo HIKō sureba, JITSU ni SHŌJŌ no sa ari.
Shikari shikō shite koto ni odoroku-beki wa, KAMBUN wo KIsuru no chikara nari to su. SHINCHŌ
wa koto ni bungAKU ni oite SHŌREI suru tokoro arishi to iedomo, KEsshite waga Sorai, Issar¹ no
goloki BUNSHō-KA wo idasazaru koto wa, SENJU sude ni kore wo RONzeri. Shiru-beshi :-SHINA
no BUMMEI waga kuni yori saki nari to iedomo, waga kuni wa tsui ni kore wo сHōJō shitaru
koto wo.
Koto ni KAIKō IGO ni itarite wa, waga NIHON JINSHU wa koto ni sONO CHIRYOKU NO
YŪSHŌ naru koto wo shimeshitaru mono to iu-beshi. Sore, SHINA no Ō-BEI to KŌTSŪ seshi koto
wa, waga kuni yori hayaki kolo SŪ-JŪ-HYAKU-NEN no mac ni ari. Shilearedomo, SHINA-JIN ni
shite Ō-BEI NISSHIN NO GIGEI GAKUJUTSU WO SHŪTOKU Suru mono JITSU ni mare nari. Waga
kuni ni oite wa, IJUTSU ni oile mo, KENCHIKU ni oite mo, ZŌSEN ni oite mo, TETSUDō ni oite mo,
KOZAN ni oite mo, DENKI ni oite mo, SONO TA HYAP-PAN NO SEIZō ni oite mo, sude ni ō-BEI-JIN
* This und the following numbers refer to the Notes on pp. 324-5.
† Many prefer the reading nIKAKU.
EASY MODERN PIECES.
323
wo RYŌGA suru ni taru no GAKUSHI GISHI ari. Shiko shite SHINA ni oite wa, ICHI-NIN mo nashi.
Waga kuni ni oite wa HARI wo SEIsh, biiru wo SEIshi, BŌSEKI wo SEIshi, match wo SEIshi,
YŌSHI wo SEIshi, SEKKEN 20 SEIshi, sono TA HYAP-PAN NO SEIZō wo nasu to iedomo, SHINA ni oite
wa ITSU mo aru nashi. Waga kuni ni oite wa TETSUGAKU-SHI ari, RIGAKU-SHI ari, HōGAKU-SHI
ari, KEIZAI-GAKUSHI ari, sono TA MUKEI NO MYŌRI wo kiwamuru mono ari to icdomo, SHINA ni
oite wa imada kore arazaru nari. Kono tabi no SENSō ni oile mo,8 SHŌHAI no wakaru' tokoro
wa mattaku koko ni ari. HōJUTSU to ii, KŌKAI to ii, SAKUSEN to ii, mina GAKUJUTSU-TEKI NO
CHIRYOKU WO Yōsuru mono naru ni, waga NIHON JINSHU ni wa JŪBUN ni kore wo RIKAI suru no
CHIRYOKU aru mo, SHINA JINSHU ni wa kono CHIRYOKU wo kaku. Kore MAISEN mina yabururu
yuen narazu ya?
(Taguchi UKICHI CHO "RAKUTEN ROKU" yori BASSUI.)
ONE PARAGRAPH FROM "AN ESSAY ON THE JAPANESE RACE."
I consider the vast intellectual superiority of the Japanese to the Chinese race to be a
fact clearly proved by history, Doubtless it is unnecessary for me to inform my readers
that in the order of time Chinese civilisation antedates ours, and that accordingly our country
has hitherto derived most of her culture from that source. But just compare the state of
civilisation in our country at the end of the Tokugawa régime with that of China at the same
period. Were not our houses then clean and neat, whereas Chinese houses remained small
and malodorous? Had we not then, in the matter of theatres, advanced to the erection of
great structures, whereas the Chinese theatres remained mere sheds ? Were not our public
highways level, whereas the Chinese roads remained rough and neglected? Truly, such a
comparison of material points discloses a difference equal to that between heaven and earth.
But what more particularly astonishes me is the capacity we possessed for composing in
Chinese. Previous scholars have already discussed the circumstance that, notwithstanding the
special encouragement given to literature by the [present] Ts'ing dynasty, no man of letters
has been produced there who might rank alongside of our Sorai and Issai. That our country
ended by passing China in the race of civilisation, although China had the advantage of the
start, is the conclusion to be drawn from such facts. More particularly must it be allowed
that we Japanese have manifested our intellectual superiority since the period of the opening
of the ports to foreign trade. Observe that China's intercourse with Europe and America
commenced some scores or hundreds of years before ours, notwithstanding which any instances
of Chinamen assimilating the progressive arts and sciences of the West are rare indeed.
Whether it be in medicine, in architecture, in shipbuilding, in railways, in mining, in elec-
trical work, in manufactures of every sort, our country possesses scholars and engineers capable
of excelling those of Europe and America. China does not possess a single one.
Our country
manufactures glass, beer, cotton goods, matches, European paper, soap, and every other sort
of article. China does not manufacture a single one. Our country can point to its philosophers,
324
TENTH SECTION.
its scientists, its legists, its political economists, and furthermore to its investigators of the
wonders of things invisible. China has none such to show. All this it was on which victory
and defeat turned in the recent war. Gunnery, navigation, military tactics, all of them
things demanding intellectual capacity for science,—were understood by us men of Japanese
race; but the men of Chinese race lacked the necessary intellectual capacity. Was not this
the cause of their defeat in every battle?
(Extracted from Taguchi Ukichi's "Joyous Jottings.")
NOTES.
1. This piece is borrowed by permission from a work by Mr. Taguchi Ukichi, a well-
known political economist and journalist, the simplicity and directness of whose style is much
admired. His literary labours include the publication of the best Japanese
biographical dictionary, and of a small but highly useful encyclopædia,―titles
given in the margin. He has also been a member of the Imperial Diet during
several sessions. His literary pseudonym is
TEIKEN.
鼎​軒
​2. Shitagaite:-so printed in the text in strict conformity with the grammar
of the Written Language; but Colloq. shitagatte is more usual in reading.
3. Shibai, written 芝​居 ​lit. "turf dwelling," and still the common term
日​大
​本​社會​字​彙
​大​日本人​名​辭書
​書
​for a "theatre," preserves the memory of days when Japanese lovers of dancing
and marionette performances sat out on some grassy sward or some dry river-bed
to witness them. The word koya, "hut," which often serves to denote a theatre,
points to an almost equally primitive state of things, when theatres were but flimsy temporary
structures rigged up for a few days, such as may still occasionally be seen in country
towns and villages.
林​道
​春
​4. Sorai or Bussorai (A.D. 1666-1728) was one of Japan's most eminent Confucian
scholars, the contemporary and rival of Hayashi Dōshun, who was philosopher en tilre to
the Shōgun's Court. When the latter endeavoured to save the Forty-seven Rōnins from
being condemned to the performance of harakiri, Sorai it was who insisted that such an
acquittal would entail social and moral anarchy, and he carried his point against the popular
heroes. His various designations well exemplify the labyrinthine state of the Japanese system
5
1
of names, which is set forth under that heading in Things Japanese. His

茂松​物
​"kabane" (Ƒ) was 'Mononobe, his surname ( 苗​字 ​was 2Оgyū, his
personal (“Christian") name or JITSUMYO'
((
was Sōmatsu,
實 ​Zwas
ZOKUMYO”(俗名​)
(KZ) or common name was SOEMON, his " azana"
HÉP
6
總
​ill t
获
​徠​衛
​物部 ​荻生
​2
his
門​雙 ​THE together the first character 物
​BUTSU of Mononobe, and 徂​徠
​3
(號​)
(—) or nickname was "MOKEI, his "Go" (H) or literary pseudonym
字​)
was SORAI, and not improbably he had other desiguations yet. He is
often mentioned in literature as BUSSORAI, which word is formed by putting
-Satō
EASY MODERN PIECES.
325
佐
​一​齋
​Issai (A.D. 1772-1859) was philosopher en titre to the Shōgun's Court.Interesting details
of the Japanese Confucianists will be found in Rev. Dr. G. W. Knox's study of the
subject in Vol. XX. Part I. of the Transactions of the Asiatic Society of Japan. That the
Japanese Confucian scholars eclipsed or even approached their Chinese contemporaries,
is a thesis which, we imagine, none but Japanese would be found to maintain.
5. Shiru-beshi. This construction exemplifies the influence of Chinese on Japanese
style. The natural way for a Japanese to express this thought would be Shina no BUMMEI…….
......CHōjō shitaru koto nari to shiru-beshi; but the inversion à la chinoise has come to sound
more elegant.–6. Taru, 1st. conj.=Colloq.tariru, 3rd. conj., “to suffice,"i.e. “to be able,'"'
"capable."-7. Better read thus than BAKUSHU, which would be the normal sound of the
characters. 8. This was written shortly after the China-Japan war of 1894-5.—9. Wakaru does
not here mean “to understand," but preserves the more primitive sense of “to be divided, ''
“to run off on different sides, '' hence “to turn or depend upon."
ララ
​み
​のす
​ち
​夢をり​の​知​しり ​もば
​は​曉​奥​日​れ​て​惡現
​燈
​ぬ​人 ​世​泣友​惜
​火​風​て​あも ​のこ
​も ​る​の​納 ​納​と
​居 ​は​にむ
​らしら​寐棒る ​り
​つう ​れ​覺 ​稅
​ば​で
​に
​と​は​も
​し
​< 無​黃​出
​も
​あ ​無笑兄思​。
しる
​第​はて
​無​ぬ​買​ず​記
​く
​通​ぬ ​勝
​まなさ
​と​生​たむ
​命
​し​代​は
​力
​り
​ぬ
​老​窸
​眼下​今
​のに
​に​日 ​日夜​き ​きは​に
​花​記​よ ​を
​べ
​るれ​云​ぁ​夢​し
​秋​ばふ
​の
​子​に​遊​さ
​せ​ず​仕​出さ
​命​寐今​は​今​け
​を​て​は​今日
​仕​は​よ
​たり
​し​何夢
​を​を
​か​日
​ふ
​夢
​第一
​日
​さ​に
​ん​記
​さ
​記
​枚
​る
​のに
​上中​なし​拾​の​と
​無​は​びん​詑​ん
​すと
​にてみ
​物免​は​ぬ
​ぬく
​し
​に​し
​しり ​根思​れ​猶
​迷
​は​煙​の
​ひぬ
​ふ​晝夜​章長​を ​義
​も
​と​臍​の ​ばきも
​きもの​事​恨
​務​の​事​恨​な​思​れ
​もの​夢 ​か​春​得​と​あみ ​れ​は ​はる
​生活​す​身​な
​岳​らう​て
​と​も​せ​ず​、食​ふ
​幸
​思
​きる
​田
​ほ
​ど​夢
​露
​餘 ​の​な
​事​ら ​伴
​て
​を
​で
​326
TENTH SECTION.
し
​夢
​若
​し
​る
​ん
​の​も​どんど
​わらぢ
​つ
​ぎ​狂​世​の​人
​無る
​物
​て
​や
​言話 ​あ論く ​の ​せ ​+ が
​六身 ​が​其
​夜
​あは​の​配れ
​ん
​無力
​無塲​さ
​が
​で
​産
​日記​一
​代ま
​出す​、
五看​みる​記
​日​客​で​演 ​し
​動
​に​劇
​て
​の​記​好​らそ
​ぬれ
​出 ​婆
​演
​にの
​どん底​の
​る
​か
​蝶​劇​ě 幕
​ん​打
​ら
​出​始
​な
​々 ​て​遣負 ​廡面​书
​が​高い​の​廡
​ら
​な
​を
​大高 ​ぬ ​俳
​ず
​り覺夢
​の ​優去
​て
​め
​が
​ら
​て​中
​ず
​年​のに
​ら​は ​倒
​に
​我
​て
​し
​まお
​の
​も
​ま​見​下
​百
​が​我
​YUME NIKKI.
(DAI ICHI-MAI.) Köda ROHAN'.
Kyō yori yume wo hi-bi ni shirusan to omou. Yume narade wa, ima hata nani wo ka shiru-
san? Shirusu-beki hodo no koto wo ima wa shi-idashi mo sezu, shi-idasan to mo sezu. Kite, nete,
kogane mole kawanu asobi nomi shite, amareru inochi wo oshi to mo omowanu kawari ni wa, suteyō
to mo omowade; tomo nashi, KYŌDAI nashi, tsuma-ko nashi ni kurasu² mi nareba, naku mo wa-
rau mo mukashi ni narinu. Koi mo urami mo utsutsu-yo ni wa nashi. Tada yume no uchi ni wa
nao yoi koto ari, warui kolo ari. Inochi aru ue wa, manukarenu tsutome to shite, hito no osamuru
ZEI to mo iu-beki mono-omoi wo mo c-shirenu³ mono ni sasagu. Sareba suga-no-ne no¹ nagaki
haru no hi, aruwa nezame-gachi naru aki no yo wo, tabako bakari nomite mo orarenu mama,-
kyō yori wa, yoru no yume wo akatsuki no kaze suzushiū kayou" mado no moto ni shirushi;
hiru-ne no yume wa, tomoshibi no chiratsuku ni oi no me no hana ni mayou lo mo, sono yoru
shirushite; yume no uchi nite waga suru shibaï wo, samete no waga mi ga mi-te ni narite, ICHI-NEN
SAM-BYAKU-ROKU-JŪ-GO-NICHI ugokazu sarazu ni KEMBUTSU sen to su. YAKUSHA ga osamaru no,
osamaranu no noª MENDō Mo naku; baDAI ga takai no, yasui no no RON mo naku; DAI no hiiki wa
hitori aredo, sore ni MAKU yarō no SHIMPAI mo iranu, sale sale SEWA no nai yoi shibai kana!
KYŌGEN wa "Yume NIKKI hitotsu CHOCHō." Ogyā! ogyā! no SAMBA kara hajimatle, waraji de
deru uchi-dashi no do-don-don ga donzoko no yoshi.¹º
6
Yumewaka shirusu.
EASY MODERN PIECES.
327
FIRST LEAF OF KŌDA ROHAN'S "DREAM DIARY."
I intend to begin to-day a daily record of my dreams. What indeed should I now record,
unless it be dreams? I neither set myself, nor think of setting myself, nowadays to produce
aught worthy of record. I eat, I sleep, I indulge in such pastimes only as cost no gold; and if
I prize not what remains to me of life, so neither do I intend to throw it away. I have no
friends, I have no brethren, I have neither wife nor child; I live in such wise as to make tears
and laughter alike things of the past. Neither love nor hatred is mine in the waking world.
Only in dreams does there remain to me aught of good or evil; and I dedicate to persons
unknown these my reveries; for such reveries may be called a tax laid on mankind, from
which there is no escape while life lasts. Wherefore, as I cannot while away in smoking the
whole of a long spring day or of a wakeful autumn night, I intend from to-day onwards to
note down each night's dreams when seated at the window where the breeze of dawn breathes
fresh, to note down the dreams of my midday siesta that same evening by the flicker of the
candle, what though to my old eyes it appear like fluttering blossoms, and-myself becoming
the waking spectator of the stage which I have created while dreaming-to look on at it,
fixed and motionless, for all the three hundred and sixty-five days of the year. Oh! what an
excellent, easy-going theatre, untroubled, as it will be, by any difficulties in the management of
the actors, by any disputes concerning the price of seats, by any anxiety concerning the gift
of a curtain, even though there be one actor whom I specially patronise! The play will be
entitled "A Dream Diary or the Single Butterfly." Already I hear the hero's first puling cries.
Soon he will leave his nurse's hands, and march forth into the world; and let the last act be
the merriest of all, when, amidst loud tom-tommings, the audience is cleared from the hall!
Such are the lucubrations of a dreamer.
NOTES.
1. Rohan, the author of this piece, is one of the leading novelists and feuilletonists of
the day, much admired for his lively imagination and for a style which continually prepares
delightful surprises. Our extract, one of a series that appeared in the "NICHI-NICHI SHIMBUN
in 1898, has been borrowed by permission of the publishers.
2. 生活 ​properly SEIKWATSU, "livelihood," here offers
a good example of the
alone would adumbrate
way in which the Kana is used to alter a reading. The final
the fact that kurasu, “to spend one's life," is the reading to be here selected; but as many even
among the Japanese might be perplexed,
is put alongside to obviate all possibility
of doubt. below might be read SEIMEI, but inochi is here more elegant.Ű
might be is properly-GIMU; but here again, the author prefers the simpler Japanese reading,
and accordingly indicates it by means of furi-gana (conf. p. 213).-3. E-shirenu, lit. “cannot
know.” Potentials thus formed by prefixing belong to the language of belles-lettres. But
328
TENTH SECTION.
in this context, we must translate into English by the simple negative indicative without "can."
#not,
者 ​物 ​that is to say, it means
(C
""
The following mono is
person," not "thing:
the author has neither wife, nor child, nor friend, so he dedicates his thoughts to the unknown
public.-4. Suga no ne no (suga=suge) is the " pillow-word" for nagai, "long," and cannot
well be rendered in the English translation. The fundamental idea of it is a comparison of
通
​anything long to the long roots of the sedge.-5. with as sute-gana would be tõru,
with tōsu; the here shows that the less common reading kayou (17)
7
ヨフ​)
might well have the furi-gana to show that it must here be
€ þ
must be selected.
read moto rather than shila.-6. Hana ni mayou, etc. :-the idea is that the flickering of the
candle looks to him like flowers,—a dainty conceit such as Japanese literature loves to indulge
in.-7.
ENGEKI. The Japanese reader does not require furi-gana to read this as
演劇
​shibai. (mi-te), the characters here mean lit. "looking guest."
1 看客
​俳優
​HAIYU is
役者​), the common
the Chinese term for an actor. One may read it off as YAKUSHA
word for a "play-actor," for the sake of easier comprehensibility.-8. Here and below the
first no is enumerative, the second genitive.-9. MAKU yarō, etc. The patrons of a theatre
or of a special actor often testify their appreciation by the gift of a curtain for the stage.
Considerable sums are expended in this way, and the number of curtains possessed by
Japanese theatres is often so large that several are displayed between each act.
10. The difficulty (to foreign students) of the last two or three lines of this piece comes
from the allusions contained in them,-all perfectly familiar to the Japanese. Kyō-GEN wa
"Yume NIKKI hitotsu CHō-CHō," lit. "the play is the Dream Diary, the Single Butterfly," is
an adaptation of "Kuruwa NIKKI fulatsu CHOCHō," the title of a well-known drama founded on
the amours of two men called respectively Chōkichi and Chōgorō. The first syllable of the
names of each, taken together, makes снōCHō, "butterfly;" and "butterflies" and "dreams"
are two ideas constantly associated in Far-Eastern fancy. The titles of Japanese theatrical
pieces deal constantly in such plays upon words, allusions, and various conceits, in which
terseness of expression is much sought after, and are therefore apt to be untranslatable. Ogyā!
is supposed to represent the first cry of an infant when born, and is therefore applied to the
beginning of anything. SAMBA contains another play upon words, as it signifies "midwife "
(an idea suggested by the infant's cries), and also suggests SAMBASŌ, an ancient dramatic
prelude which is still daily performed as a semi-religious introduction to the day's entertain-
ment at all the theatres of the empire. Notice the connection of ideas between "infant's cry,"
midwife," and "prelude." Waraji de deru is to "become a man,” "to enter life." Uchi-
dashi is the "end," the "drumming out," such as marks the conclusion of the piece. Do-don
don is an onomatope for the beating of the drum. Donzoko is the very bottom or end of a thing.
No following it must be construed as ga or wa: "the very end is good,"-a finale reminding
one of the maletashi! medetashi! (more or less" and they lived happily ever after") of the
EASY MODERN PIECES.
329
old fairy-tales. Waka is the termination of several celebrated personal names, as Umewaka,
Ushiwaka; so the author here applies it to himself. It will be perceived that these last
lines of the Japanese are more or less a farrago, founded on jeux-de-mots with but a slender
thread of meaning. Such a manner of writing is constantly practised by popular writers; and
an attempt must be made, not indeed to understand each sentence logically, that would
not be possible, but to enter into the spirit of the peculiar sort of fun which the
Japanese enjoy.
漁​車中​の​當世​紳士
​案申​て
​きめ ​に​に​の​傘​け​囊派​の​何
​內​すか​膨車​三
​寶玉​手 ​を
​手
​某
​を​品メ
​懐​な​オ
​にる
​の
​ら​の​分​燦
​世​走​間​爛
​り
​に
​外​ば
​發​た
​てん
​李​重​驛
​しな​套​始める​外​に
​手​で​事​套​て
​探
​べ
​シ
​そ​は​車る​左
​に
​よ
​中
​り
​し​ガ
​れじ​の ​金​の​度​口​く​引
​そ​等
​て
​を​む​後
​無​口
​しき ​大丸​室
​打漁
​窓​れれ
​眺​車​下
​に​ばた
​れ​鎖
​鍞名​在 ​在​は​よ ​の​を​に
​指りず ​ずり​け​輩​が​脱​乘
​め ​吸當 ​る​重​に​と
​略
​嚢んげ​込
​し​三ひ
​て​何​を
​げ​石​も
​あ帽
​そばみ
​が
​驛​九
​處事​な​帯​見る​取ョ ​高​白​た
​を​ま
​頭​よ
​H
る形え
​べ
​走 ​をり
​し
​金
​む
​り
​し​出ル
​ウ
​帽​茶​る
​當
​が
​り
​<
時​外
​し​を
​は​外
​て
​過​其
​又​煙草
​ぐ
​れ
​蠟枕​た​引釦​指​の​き​て
​世​空​嘧​計​套​金 ​て​敷​網​套​紳
​き ​を ​の​縁​被​かつき ​桐 ​士枯
​に​ズ
​ば​プ
​吸
​ツ​出る
​ひたまふ​、
紳
​何​干扰
​ま​出​は​環​眼​た​悠置ボ高
​だ ​づは ​鏡​ま​然​き ​帽
​しせ​右
​ふと
​の​に​川
​士​と
​を
​し
​旅
​燐​て
​が
​てば​の​薄 ​要​小立​鯪
​打​此​小​墨​蝙 ​の​縞
​行らり​吹​て​眺處​指​色​蝠掛​輩​の
​羅紗
​330
TENTH SECTION.
を
​たまふ​、
此度​は​暴 ​メオ ​オ​に
​だ​、名 ​n得
​知れ​ぬ​西洋​の​煙草​を以て​躬親​か
​ら​巻き​たまふ也​、又​ば​らく​し​て​譲
​車​海岸​に​出​で​けれ​ば​、紳士​急​に​白玉
​の​双眼鏡​取出​で​島 ​る ​方​を​見やり
​な ​~午
​午時
​時に​な
​程
​年
​り
​て
​は​辨當​を​買​へ​ども​、紳士​は​然る​物​を
​求め​た​まはず
​まはず​、おも ​むろ​に​小​の​華嚢
​き​て​食パン​生​斤​を​取出​だす
​れ​と共に​取出​で​たる​大小​二​個​の​鑵​は
​何​なる​らん​と​見​て​あれ​ば​、紳士
​紳士​鑿​の
​如き​一​器械​を​革囊​の​底​より​取​出だし
​て​事 ​な ​鑵話​の​蓋​を​開け​た​まふ
​大​や​牛肉​に​し​て​小​や​パタ也​、紳士​は
​此​に​於​て​起​つて​大​の​革​嚢​を​探り​、委
​酒​一​本​を​取​出だし​ぬ​、栓​抜​ョップ
​と​は​紳士​よ ​り​用意​し​た​まへる​な
​々​り​玉​渝​か​得
​は
​な​や
​さし
​り​、麥酒​を​飲む​こと​一口​に​し​て​、紳
​士​は​ナイフ​を以て​パタ​を​パン​に​塗り
​て​食​ふ​、パン​を​食​ふ​こと​一口​に​し​て​、
紳士​は​更に​肉​又​を以て​牛肉​を​食​ふ​、
斯く​し​て​紳士​は​午餐​を​了り​ぬ​、午餐
​を​了り​たる​時​渝車​正に​停車場​に​達し
​けれ​ば​、紳士​は​柿​二​個​を​買​ひ​て​食ひ
​ぬ​、蓋し​、食後​薬物​を​用​ゆる​は​頗る
​胃​に​適する​を以て​也​、柿​を​食​ひぶり
​紳士​は​入​の​中​なる​美しき​小​き
​より​爪楊枝​を​取出し​て​使​ひたまふ​、
楊枝​を​使​ひぶり​て​紳士​は​マニラ​の​葉
​巻​を​取​出だし​悠々​と​吸ひ​た​まふ​、此
​紳士​三種​の​煙草​を​吸​ひたまふ也​、あ
​丸​おと​さん​と​し​た
​時計​、指揮​、眼鏡​の​外​に​今一つ
​の​全て​を​あれ​、讀者​忘れ​た​まふな​、
けあ​此葉
​EASY MODERN PIECES.
331
鏡
​耳
​列​只
​加
​水取​の​な
​記​紳 ​扎​我​瓶​出​中
​なは也そ
​が
​は
​讀賣新聞​轉 ​載​)
我​何
​鋏​搔​曰​ㄣ​世
​士
​4 h
た ​口​是​だ​よ
​り早れ​しり
​ら
​斯​紳
​ラ
​士
​曰
​日​櫛
​持
​也好
​又​を​て​の
​曰​曰​物​後​書
​曰く​く​を
​物​軰​吸​紳​御
​あ香​を​囊ひ士歯
​KISHA-CHU NO TŌSEI SHINSHI.
(KOSEN.)
Nanigashi-EKI nite CHŪTō-SHITSU ni nori-komitaru TŌSEI-SHINSHI, taka-Bō ni aya-RASHA no
NIJŪ-GWAITŌ; sore wo nugeba, shira-CHA no GWAITŌ, zubon no tate-jima no hade naru koto yo !
DAI no kaban to taka-Bō to wa, ami-dana ni oki; SHō no kaban woba, mete ni hiki-tsuke; shō-
ru wo shikite, YUZEN to koshi uchi-kake, GWAITō no kakushi yori RYAKUBō tori-idashite, kazuki-
tamau. Komori-gasa, te-bukuro nando wa, iwazu mo aru-beshi. KIN-buchi no megane wa, usu-
zumi-iro no tama ni shite, DO wa ari-to-mo miezu. KIN no yubi-wa wa, migi no ko-yubi ni HŌSEKI-
iri, hidari no MUMEISHI ni SEKITAI-gata. GWAITō no botan hazuseba, koko ni mo SANRAN taru
KIN no kusari, omoge naru KIN-doKEI wo hiki-idashite, uchi-nagame, SAM-PUN-KAN HASSHA no oku-
retaru wo kotogotoshiku tsubuyaki-tamau. Yagate KISHA no hashiri-hajimureba, izuko yori ka
KŪKI-makura tori-idashite, fuki-fukurase, sore wo mado ni atete, kashira wo motase, Rō-matchi
wo surite, "Kameo" no shigaretto sui-tamau. Sono paipu mo, nan to yara mūsu shina naru-beshi.
KISHA NI-SAN-EKI wo hashiri-sugureba, SHINSHI "RYOKO ANNAI" wo futokoro ni sagurite, uchi-
nagameshi ga,-yagate mata tabako sui-tamau. Ko-tabi wa saki no "Kameo" ni arazu, na wa
e-shirenu SEIYō no kizami-tabako wo sudare mote mi-mizukara maki-tamau nari. Mata shibaraku
shite, KISHA KAIGAN ni ide-kereba, SHINSHI KYŪ ni HAKUGYOKU No SŌGAN-KYō tori-idete, shima aru
kata wo mi-yari-tamau. Hodo naku hiru ni narite, hito-bito wa BENTO wo kaedomo, SHINSHI
wa saru mono wo motome tamawazu, omomuro ni Sнō no kaban wo hirakite, SHOKU-pan HANGIN
wo tori-idasu. Sore to tomo ni tori-idetaru DAI-SHŌ NI-KO NO KWAN wa, nani naruran to mite
areba, SHINSHI nomi no gotoki ICHI-KIKAI wo kaban no soko yori tori-idashite, koto mo naku
KWANzume no futa wo ake-tamau. DAI wa GYŪNIKU ni shite, síō wa bata nari. SHINSHI wa
koko ni oite, tatte DAI no kaban wo saguri, biiru IP-PON wo tori-idashinu. SEN-nuki to koppu
to wa, SHINSHI moto yori YōI shi-tamaeru nari. Biiru wo nomu koto lito-kuchi ni shite, SHIN-
SHI wa naifu wo motte bata wo pan ni nurite kurau. Pan wo kurau koto hito-kuchi ni shite,
SHINSHI wa sara ni NIKU-sashi wo motte GYŪNIKU wo kurau. Kaku shite, SHINSHI wa GOSAN 20
owarinu. GOSAN wo owaritaru toki, KISHA masa ni TEISHAba ni Tasshi-kereba, SHINSHI wa kaki
NI-KO wo kaite kurainu. Kedashi SHOKUgo kudamono wo mochiyuru wa, sukoburu I ni TEKIsuru
wo motte nari. Kaki wo kurai-owarite, SHINSHI wa kami-ire no naka naru utsukushiki chiisaki
332
TENTH SECTION.
fukuro yori tsuma-Yōл wo tori-idashite, tsukai-tamau. YōлI wo tsukai-owarite, SHINSHI wa Ma-
nira no ha-maki wo tori-idashi, YŪYŪ to sui-tamau. Kono SHINSHI SANSHU no tabako wo sui-
tamau nari. Ana ya! ozoku mo mi-otosan to shitari-keri-toKEI, yubi-wa, megane no hoka ni,
ima hitotsu no KIN koso are! TOKUSHA wasure-tamau-na ! So wa SHINSHI NO on ha nari.
Kakute SHINSHI wa, Manira wo sui-nagara, mata kaban no naka yori IOHI-MOTSU wo tori-
idashinu :-KōSUI-BIN kore nari. Aa! ware wa haya kaki-tsukaretari. Ato wa, tada SHINSHI
no mochimono wo REKKI sen-iwaku hankechi, iwaku kagami, iwaku kushi, iwaku mimi-kaki,
iwaku tsume-tori-basami, iwaku nani, iwaku nani.
("Yomi-uri SHIMBUN” TENSAI.)
AN UP-TO-DATE GENTLEMAN TRAVELLING BY TRAIN.
(BY KOSEN.)
An up-to-date gentleman, who got into the second-class car at a certain station, had on a
tall hat and an Inverness cape of diagonally striped stuff, on his removing which there appeared
a yellowish gray overcoat, and oh! the showiness of the stripes adown his pantaloons! As
for the larger of two valises and his tall hat, he was pleased to place them in the rack.
A smaller valise he hugged with his right hand; and having spread a shawl on the seat, sat
leisurely down, and put on a cap which he drew from the pocket of his overcoat. No need, I
hope, to mention his umbrella, gloves, etc. The glasses of his gold-rimmed spectacles were of
pale "London smoke" colour, but not apparently suited to any special defect of vision. So far
as rings were concerned, he wore on the little finger of his right hand a gold one with some
precious stone, and on the fourth finger of the left hand a plain circle of agate.
When his overcoat was unbuttoned, the sparkle of gold appeared again,-a gold chain and
heavy-looking watch. Having pulled out this watch and gazed at it, he muttered fussily that
the train was three minutes late in starting. When the train did begin to move, he took out
an air-pillow from somewhere or other, and having inflated it and placed it against the window,
leant his head back, and struck a wax match and set to smoking a "Cameo" cigarette. The
cigarette-holder no doubt also had some special name. When the train had passed two or three
stations, our gentleman felt in his pocket for the "Traveller's Guide," after gazing at which he
began smoking again. It was not a "Cameo" this time, but some foreign tobacco whose name
I could not tell, which he himself deigned to roll with the help of a machine. A few more
minutes passed, and the train came out on the sea-shore, whereupon our gentleman instantly
pulled out the most elegant of opera-glasses to spy where the islands were. Soon it was midday,
and so the passengers bought Japanese food in little boxes. Not so our fine gentleman. With
suave deliberateness did he open the smaller of his two valises, and extract therefrom half a
pound of bread. What, peradventure, might be the two tins-one big, one small,-brought
forth at the same time? I looked to see. An instrument resembling a chisel was drawn by
our gentleman from the bottom of the valise, wherewith he deigned to cut the lid of his tins
EASY MODERN PIECES.
333
in an off-hand manner. The big one contained beef, the small one butter. Thereupon our
gentleman stood up to search in the larger valise, and drew therefrom a bottle of beer. With
a corkscrew and a glass he was of course provided. Having gulped down some beer, he
buttered some bread with his knife and ate it. Having swallowed the bread, he made
a fresh start, taking up the fork to eat his beef. On such wise did our gentleman conclude
his luncheon. The train happening to reach a station just as he had concluded it, he purchased
and ate two persimmons :--for you must know that the enjoyment of fruit after meals is a
thing highly favourable to digestion. When he had finished his persimmons, our gentleman
used a toothpick which he took out of a pretty little bag in his pocket-book. When he had
finished picking his teeth, he took out a Manila cheroot and smoked it leisurely. No less
than three kinds of tobacco did he smoke in all. Oh! but what a dullard I am, so nearly
to pass things over unnoticed! Why! there was more gold about him than his watch, his rings,
and his spectacles. Reader, forget it not! It was his lordship's gold tooth. Well, as he
smoked his cheroot, he pulled forth yet something more from the interior of the valise,—a
smelling-bottle. Oh! I am tired of writing by this time. All I will do for the rest of our
gentleman's possessions is to enumerate them,-viz. his handkerchief, viz. his mirror, viz.
his comb, viz. his ear-pick, viz. his nail-scissors, viz. his what's-his-name, viz. his what-d'ye-
call-em.
(Taken from the "Street-crier's Newspaper.")
NOTES.
This piece is reproduced by kind permission of the "Yomi-uri SHIMBUN." Observe the
vein of irony-not always easy to reproduce in English-of the wording, as exemplified in
the repetition of the word SHINSHI, "gentleman," and more particularly in the repeated use
of the ultra-honorific tamau, "to be pleased to do," "to deign." Omomuro 徐 ​too, here
rendered "suave deliberateness," is a classical expression applied to such things as the
rising of the moon, and too grand for this occasion except in satire. The same might almost
be said of the classical future naruran, while the on ha, "august tooth," near the end is open
mockery, or, as the colloquial Japanese phrase runs, hito wo Baka ni suru.
The rendering given of 石​帶形
​""
as "a circle of agate" is a bow drawn at a
venture, enquiries at the largest jewellers both in Tōkyō and Yokohama as to the exact
nature of the ring in question having been unsuccessful.-Paipu comes of course from our word
"pipe ; but it has assumed in current Japanese the signification of cigar or cigarette
"holder." Koppu, which has come to be employed not for "cup" but for "glass," is another
instance of such change of meaning-Sudare, properly "a bamboo blind," is also used by
smokers to denote a little contrivance for rolling cigarettes.
334
TENTH SECTION.
[
る​荷
​房州​一見​の​記
​饗​庭​篁​村
​我が​異​同心​の​友​龍泉​居士​が​旅行​の
​勤め​に​乗り​て​房州​一見​を​思ひ​立ち​た
​る​に​同好​の​友​四​名​も​共に​汐風​に​吹黒
​まらん​の​願​にて​立出​たり​其道​行​の​順
​次​を​云​へ​ば​午前​七​時​に​越前​堀​の​房州
​共立​會社​に​至り​是​より​房州​通​ひの蒸
​氣船​に​積み込ま​れ​たり​元より​此船​荷
​物​を​重​に​し​て​人​を​乗る​を以て​専​と
​せ​ざれ​ば​上等​下​等​の​優​別​なく​只​押し
​に​推し​込​て​随分​の​雑踏​なり​我々​一行
​の​荷物​ひも​下駄​を​提げ​包み​を​負​ふ
​たる​人​と ​はや​同席​せんと​ゑたり​し
​に​船長​の​情​にて​其室​を​貸し​渡さ​れ​た
​れ​ば​賽銭​は​同じ​十​錢​なる​も​忽ち​上品
​なし
​上​生​の​祭​を​享け​て​用意​の​酒​など
​取り​出​て​二つ​三つ​詞​を​交​ふるうち​早
​右左り​に​目​を​放て​ば​芝浦​も​過ぎ​産
​越し
​た
​今​まで​は​そ​よ​と​も​なき
​り
​風​も​さすが​海​の​上​と​て​涼し​さ​云​はん
​方​も​なく​羽根田​の​沖​よ​本牧 ​富津​の
​臺場​の​見​ゆる​は​と​呼ぶ​うち​に​私​は​静
​かに​波​を​破り​て​夏島​島​を​右​に​見​て
​浦賀​に​入り​まばら​く​足​を​止む​れ​ば
​爰​かし​て​より​小舟​を​漕ぎ​つれ
​菓子​は​と​賣り​に​出る​者​多し​船​の​客​は
​あわ ​わたゞし ​爰​に​書餉​を​あた​ゝ
​乗り​下り​きる​者​も​あり​是​より​浪​少し
​荒けれ​ど​さして​動揺​を​覺​ゆる
​ゆるほど​に
​目​を​立て​見る​と​狂​ぜ​し​鋸山
​まことに​鋸​の​如 ​くなれ​雀島​に​今​は
​雀​多​から​私​は​保田​(鋸山​の​麓​なり​)
EASY MODERN PIECES.
335
を​はじめて​加知​山​、多田​良​、船形​、
那古​ふ​に​寄港​し​て​荷物​客​を​上げ
​下し​午後​五​時​ごろ​に​館山​に​は​着​たり
​此​あたり​の​を​鏡ヶ浦​と​唱​ふる​よし
​にて​丸く​鏡​の​如く​水面​明らか​に​し​て
​浪​静​なれ​ば​海水浴​を​ふき​に​最も​適
​當​の​濱​邊​なり​館山​は​北條​と​隣り​て​戸
​數​五​百​五十鈴​戶人​口​三​千​に​近し​日々
​汽船​の​往復​ある​為​め​全國​の​物質​多く
​爰​に
​り​て​繁昌​ふり​北條
​北條​の​戸 ​とも
​に​館山​に​及ば​さ​れ​た​郡​役所​警察​署​治
​安​裁判所​病院​等​あり​富豪​の​家​も​多き
​様子​ふり​館山​里見​義康​の​城跡​にて
​近世​稻葉​氏​の​陣屋​あり​し​と​今​其小​髙
​き​所​に​登り​て​眺​むれ​ば​入日​を​洗​ふ​沖
​津浪​黄金​の​如く​き​て​親​いふやか
​ら​を​先​づ​此旅​を​思ひ​立ち​たる​甲斐​あ
​り
​き
​なり
​と​悦び​て​木村
​木村屋​とい
​といふ​割烹​店​に​至
​り​着け​ば​避け​き​魚​を​調​し​て​数々​を
​むる​中​に​も​沖​なまもと
​沖​なま​もと​て​こち​を ​骨ぐ
​るみ​に​よ
​き​て ​味噌​に ​に​和​へ​たる
​口​に​珍しく​都​の​土産​に​もと​云ひ​た
​し​此地​の​東京​より​愛度り​暑​さ​も​増
​さん​と​覺悟​し​て​出​たる​と​は​違ひ​海​よ
​り​吹送​る​風​涼しく​夜​に​入り​て​ぬか​れ
​くに​飛ぶ​螢​水​鍋​の​のまがき​に​近
​ひ
​な
​赴きあ ​海 ​を ​越し​て​此地​に​来​た
​り​此興​味​を​占
​を​占​むるも ​我々​一行​のみ
​ならんふ​誇 ​たる​に​思き​や​左
​官​は​家族​六​七​人​を​携​へら​れ​在野​の​名
​士​何某​も​従僕​と共に​此​の​旅亭​に​在り
​偖​も​遊び​所​を​撰​み​玉​ふ​こと​にら​敏き
​事​よ​と​密か​に​舌​を​吐き​ぬ
​る
​きり​名​貴​み
​336
TENTH SECTION.
BŌSHŪ IKKEN NO KI¹.
(AEBA KOSON.)
Waga ITAI DŌSHIN no tomo RYŪSEN KOJI² ga RYOKō no susume ni norile, BōSHU IKKEN wo
omoi-tachitaru ni, DŌKō³ no tomo yo-MEI mo tomo ni shio-kaze ni fuki-kuromaran no negai nite
tachi-idetari. Sono michi-yuki no JUNJI wo icba, GOZEN SHICHI-JI ni ECHIZEN-bori no BōSHŪ
KYORITSU-GWAISHA ni itari; kore yori Bōsпu-gayoi no JOKISEN ni tsumi-komaretari. Moto yori
kono fune niMOTSU wo omo ni shite, hito wo nosuru wo motte moppara to sezareba, JōTō KATŌ
no KUBETSU naku, tada oshi ni oshi-komite, zUIBUN no ZATTō nari. Ware-ware IKKō no niмOTSU-
zoroi mo, GETA wo sage, tsutsumi wo ōtaru hito to, awa ya! DŌSEKI sen to shitarishi ni, SENCHō
no nasake nite sono heya wo kashi-watasaretareba, SAISEN wa onaji JIS-SEN naru mo, tachimachi
JŪBON JŪSHŌ No RAKU wo uke; kanete YōI no biiru nado tori-idete, futatsu mitsu kotoba wo
majiyuru uchi, haya migi hidari ni me wo hanateba, Shiba-ura mo sugi, DAiba mo koshitari.
Ima made wa soyo to mo naki kaze mo, sasuga umi no ue tote suzushisa iwan kata mo naku,
“Haneda no oki yo! HOMMOKU yo! FUTtsu no Dsība no miyuru wa!" to sakebu uchi ni, fune wa
shizuka ni nami wo yaburite, Natsushima Sarushima wo migi ni mite, Uraga WAN ni iri,
shibaraku ashi wo todomureba, koko kashiko yori ko-bune wo kogi-tsurete, "Sushi wa!" "KWASHI
wa!" to uri ni izuru mono ōshi. Fune no KYAKU wa, awatadashiku koko ni hiruge wo
shitatame; mata nori-ori suru mono mo ari. Kore yori nami sukoshi arakeredo, sashite Dōyō
wo oboyuru hodo ni mo nashi. Me wo tatete miru to, KYōzeshi Nokogiri-yama makoto ni
nokoyiri no yotoku naredo, Suzume-jima ni ima wa suzume ōkarazu. Fune wa Hoda (Noko-
giri-yama no fumoto nari) wo hajimete, Kachiyama, Tadara, Funakata, Nako, nado ni KIKō
shite, niMOTSU JŪKAKU wo age-oroshi, GOGO GO-JI goro ni Tateyama ni wa tsukitari. Kono atari
no WAN wo Kagami-ga-ura to tonōru yoshi nite,-maruku, kagami no gotoku, SUIMEN akiraka ni
shite, nami shizuka nareba, KAISUI-YOKU wo nasu ni wa mottomo TEKITō no hamabe nari. Tate-
yama wa, Hōjō to tonarite, KOSŪ GO-HYAKU GO-JŪ YO-KO, JINKŌ SAN-ZEN ni chikashi. Hi-bi
KISEN NO ŌFUKU aru tame, ZENKOKU NO BUKKWA ōku koko ni atsumarite, HANJō nari. Hōsō wa,
KOKO tomo ni Tateyama ni oyobazaredo, GUN-YAKUSHO, KEISATSU-SHO, CHIAN SAIBANSHO, BYŌIN TO
ari; FUGō no ie mo ōki yōsʊ nari. Tateyama wa, Satomi Yoshiyasu no shiro-ato nite, KINSEI
Inaba SHI NO JIN-YA arishi to. Ima sono ko-dakaki tokoro ni noborite nagamureba, iri-hi wo
arau oki-tsu-nami kogane no gotoku kagayakite, KIKWAN iu-bekarazu. Mazu kono tabi wo omoi-
tachitaru kai ari to yorokobite, Kimura-ya to iu KAPPŌ-TEN ni itari-tsukeba, azarakeki uwo wo
CHōjite, kazu-kazu susumuru naka ni mo, "oki-namasu" tote, kochi wo hone-gurumi ni yoku tataki-
te, su-miso ni actaru wa, kuchi ni mezurashiku, miyako no tsuto ni mo to iitashi. Kono CHI
wa, Tōkyō yori wa iku-DO ka atsusa mo masan to KAKUGO shite idetaru to wa chigai, umi yori
fuki-okuru kaze suzushiku; yo ni irite wa, kare-gare ni tobu hotaru, kuina no koe no magaki ni
chikaki mo omomuki ari. Umi wo koshite kono CHI ni kitari, kono KYŌMI wo shimuru mono
EASY MODERN PIECES.
337
ware-ware IK-Kō nomi naran nado hokoritaru ni, omoiki ya! saru KIKWAN wα KAZOKU ROKU-
SHICHI-NIN wo tazusaerare, ZAIYA no MEISHI nanigashi mo JŪBOKU to tomo ni kono RYOTEI ni
ari. "Sate mo asobi-dokoro wo erami-tamau koto ni wa, satoki koto yo!" to hisoka ni shita
wo hakinu.
NOTES OF A BRIEF TOUR THROUGH THE PROVINCE OF AWA.
(BY AEBA KŌSON.)
h
Accepting the proposal for a trip made by my friend Ryusen Koji (he and I are one soul,
though two bodies), I resolved on taking a peep at the province of Awa; and four of our set
started off with us, anxious to share in the bronzing to be gained from the salt breezes. The
order of our going was as follows. At seven o'clock in the morning we presented ourselves
at the Bōshū Union Company's office in Echizen-bori, and were there packed on board the
steamer which makes the Awa trip. This steamer, as a matter of fact, is more a cargo-boat
than anything else. So little account does she take of the passenger traffic, that there is no
distinction of classes on board; it is all hustling and jostling,-a dreadful confusion. Our
own party, pack and sack, were about forsooth to share the accommodation of peasants
carrying their clogs in their hands and parcels round their necks, when the captain kindly
lent us his cabin, so that for the same ten cents in the plate we suddenly found ourselves lifted
to the seventh heaven of delight. The beer and other things, with which we had provided
ourselves, were brought forth; and hardly had we begun chatting, when a glance right and
left showed that we had passed the shore of Shiba and got beyond the forts. So far there had
not been a breath of wind; there was now only enough to show that we were at sea, and most
deliciously cool it was. Amidst shouts of "Oh! that is the offing of Haneda! Oh! there
is Hommoku!" "Ah! I see Futtsu fort!" the ship gently cleft the waves, and leaving
Webster Island and Perry Island on the right, entered Uraga Bay, where a short stoppage was
made, and small boats rowed out from all sides to the ship, bringing vendors of fruit and of
rice and fish-balls. The passengers here hurriedly partook of luncheon; some too got out,
and new ones came on board. After this the waves grew rather rough, but not sufficiently
so to make one feel any particular motion. Sharp eyes could make out that Nokogiri-yama,
notwithstanding irregularities, is truly shaped like a saw, but could not discover many
sparrows now on Suzume-jima. The ship called in at several ports, beginning with Hoda at
the foot of Nokogiri-yama, then Kachiyama, Tadara, Funakata, and Nako, taking up and
setting down passengers and cargo, and about five o'clock in the afternoon arrived at Tateyama.
It seems that the bay here is called Kagami-ga-ura. As it is round and like a mirror, the
surface of the water clear and the waves smooth, the beach is specially well-suited for sea-
bathing. Tateyama, adjacent to Hōjō, is a town of over 550 houses, with a population of
nearly 3,000. The quantities of merchandise brought here from all parts of the country by
338
TENTH SECTION.
the daily steamer traffic give prosperity to the place. Hōjō, though inferior to Tateyama in
size and population, boasts a district office, a police-station, a court-house, and a hospital, and
appears also to have a number of wealthy dwellings. I was told that Tateyama was formerly
the castle-town of Satomi Yoshiyasu, and more recently the seat of the Inaba family. On
climbing the low hill where their castle once stood and looking around us, we had an
indescribably grand spectacle of the waves out at sea, sparkling like gold as they washed the
setting sun. Delighted at the good result so far of the trip we had proposed to ourselves, we
went to an eating-house called Kimura-ya, where they cooked us some fresh fish and
recommended various other dishes, especially one which they called oki-namasu. It consists of
raw ox-tail fish well-pounded, bones and all, and served up with a mixture of bean-sauce and
vinegar, and tastes so delicious that I wish I could send some of it home to Tōkyō as
a present.
We had come prepared to find this locality several degrees hotter than Tōkyō. But on the
contrary, the breeze blowing in from the sea was cool; and when night fell, it was quite
poetical with the fireflies flitting hither and thither, and the note of the water-rail close to our
fence. We had prided ourselves on being doubtless the only party who would cross the sea and
seek out this spot in order to obtain pleasure of it; but lo! and behold, staying at the inn was
a certain high official accompanied by his family of five or six persons; also a well-known man
in private life with a retinue of servants. So we silently grinned at the quickness of these
great folks to pick out the best places in which to find amusement.
NOTES.
1. Except for a slight vein of fun,-too slight to reproduce in a translation, the style of
this piece is perfectly simple, and offers a model of easy narration. The "Mura-take," or
"Bamboo Grove," from which it is taken, is a collection of this author's travelling notes,
sketches, and short stories. His real name is Aeba Yosaburo; but literary pseudonyms, as
already mentioned on p. 304, are the fashion in Japan, and to readers at large he is known
either as Aeba Kōson or as Takenoya Shujin. Our thanks are due to him for permission
to make use of this piece, of which we have, however, omitted the final chapter.-2. 龍泉
​居士
​同好
​, the alter ego's name, offers a good example of a literary pseudonym, the "dragon's
spring" containing, we believe, some Chinese literary allusion, while for see Hepburn
or Brinkley. In other compounds, is more often read KYO than KO.—3.
"the same liking," "people sharing the same tastes," belonging to the same coterie.—4.
Echizen-bori at Reigan-jima Tōkyō, near the mouth of the Sumida, is the starting-point for
the various uncomfortable little steamers that ply across the bay and up the rivers. 共​立
​會​社
​is lit. "the standing together company." -5. The translation cannot render the
play on these two proper names. The word me, too, refers to the "teeth" (Jap. "eyes ") of
EASY MODERN PIECES.
339
the saw as well as to the eyes of the spectators.-6. Satomi Yoshiyasu, who flourished in the
sixteenth century, was lord of broad acres in the peninsula that shuts in Tokyo Bay. He
figures in Bakin's celebrated romance, the 八​犬​傳 ​“HAKKEN-DEN,” or “Tale of Fight
Dogs."-7. Or "with his valet." In German it might be rendered by mit Dienerschaft, leaving
vague the question as to whether there were many servants or only one.
済云る​森​いる
​ち
​真中 ​の​切​若丘る ​北當く
​浦​に​に​如​でき
​和​足足
​めあ
​黒​に​尚​て​海
​ね​ほ
​水
​田ら踏 ​さ​簾ち
​に​御條る​塗​日東
​立木​代​よ ​しれ​陰​男​引
​とり ​り​に
​を
​あの​か
​浴び
​ど​松込
​か
​田​み
​て​た
​てれみ
​ふを脊
​所出​を​照​た​を
​を​は​曝り
​る
​取ら​謡 ​の ​し​勢​の
​過ち​と​ふる ​ゐる ​方​小​u 中
​ぎる ​苦 ​ど​其 ​のべ ​に​湊​に
​を
​有​小​し​至
​しの ​生​行​新 ​口​者 ​資​れ
​ち
​人道​走​共​撰​格​九日
​ざぎて ​たね​を ​: h
しれ​章る​皆​松
​て
​房
​み
​n h
に
​が
​て​失​去曝
​山​は​れ
​ざむ
​る​土
​す
​事
​に​に
​べ​地​れ
​て​閉
​しの
​ま​に
​き​濱ひ​に
​にけ​を
​邊​や
​想​日​掛​樣​山​富​る​誕​濱​ぢ​斯​人大
​田中​見裕​を ​路 ​のる​健​耳​に​か
​州​一見​の​記
​に​士​道​生​邊​籠 ​の ​め
​にる
​る​の
​の​にれ ​ふ​後​の
​み
​ぬり
​て​べ
​水​は
​て
​て​に​蓚請​廻​き​色
​し
​の
​岸眼​し ​日本​脊行​し​繕
​の​界我沸
​でる
​に
​に ​くま ​ん​事​あふ​き ​中 ​承
​景​新 ​き​秡​古田​たく
​らり
​色​た​の
​てをき ​に​左届​館定​だ
​面家​暑​泡宛笠
​泡宛笠​はり ​き ​山め飽る
​白
​立​がま​老​にて ​て​を ​を​たま
​さ​とら
​りにも
​た​地只
​前​)
し​白口
​た
​て​日
​らたた​眺道​立​れ​でら ​らい​に
​か
​340
TENTH SECTION.
な
​び​他
​高き​涙​の​にか​入り​て​雪​の​如く​散る
​は​盆​の​如く​濱​風​の​ため​に​横​に​のみ
​を​さ​を​私​の​間​より​青き​海原​を​眺む
​れ​ば​日本​繪​の​よき​手本​なり​と​思はる
​此​にて​絶景​妙景​と​褒め​たる​に​行け​ば
​行く​ほど​進め​ば​進む​に​従ひ​景色​の​面
​白​さ​云​ふ​ばかり​まし​太夫​崎​といふ​所
​の​左り​手​の​山​に​義經​の​乗り​たる​名馬
​太夫​黒​の​出し​洞​といふ​あり​此演​に
​馬蹄​石​と​て​今​も​馬​の​蹄​跡​ある​石​多
​他​に​絕​てふき​所​あり​望み​玉​は​どあ
​はび​取る​海人​に​仰せ​られ​ぬ​へ​と​土地
​の​人​真顔​にて​話​を​成程​此地​は​嶺岡​の
​牧​のき​あれ​ば​太夫​黒​も​出し​ふらん
​が洞 ​肩​よ ​はれ​たる​。
るい​虚​ふらん​何​處
​の​土地​の​人​も​断る​奇怪​笑ふ​べき​事​の
​まら
​み​を​誇り​却​つて​景色​の​よきゃ​知ら​ざ
​る​が​如し​是​より​波太​といふ​所​まで​本
​州​第​一​の​景色​なり​孤島​、横島​、辨天
​島​、海鹿島​無数​の​小島​棊布​羅列
​きる​中​に​蓬島​(波太​島​と
​島​(波太​島​ともいふ​)とい
​ふあり​爰​に​は​治​承​年間​より​平野​仁右
​衛門​といふ​者​只​一家​住み​て​漁業​を​事
​を​故に​土地​の​者​は​仁右衛門島​また
​島​の​仁右衛門​と​を​此島​の​周​園​十​二
​町​ほど​にて​面積​六​千​三​百​坪​ばかり​ふ
​りといか​ある​様​ある​や​渡り ​て​見​た​か
​りしか​果​さ​を​是​より​蔵村​、前原​、東
​條​、濱莢​を​過て​天津​に​至る​天津​は​戸
​數​千​戸​に​餘り​人口​五​千​に​及ぶ​漁業​の
​利​とも​此國​第​一​等​の​所​あり​是​より​濱
​を​離れ​て​山​に​入り​長​さ​五​十​間​と​四​十
​とんねる
​間​ほど​の​隧道​二つ​を​潜り​小湊​に​達​を
​誕生寺​さ​も​が​に​日蓮宗​一致​派​の​大
​九​事
​ふと
​EASY MODERN PIECES.
341
て
​りと
​竒上​き​舩生り
​觀る
​もこ​舷​て​断​の
​を
​に
​生​禁​斷
​分
​堂
​妙​度​口
​H
池​叩​物
​る
​近
​見る​浦の​で ​地​年​妙
​n御​ろ​永​に​間
​が
​せにも ​も​取
​し​今元​ら​所​參寺
​祿​れ
​ふ
​も本
​に​詣​だ
​あ​多​け
​金
​のけ ​C爲今​難 ​年​廣​の​浦​し
​翅 ​め​鯛​に​建中​大海
​の​浦​へ
​り
​しあ
​も
​h
がと
​て
​叢 ​のり
​如​て
​の
​竹 ​し​浮餌
​鯉集る​鯛​の​罹​立燒​の​嘯移​海
​も​鰹浦りふ​失​伽​に ​にり
​ふとし ​しり ​し​藍取​し
​ど​唱御​と​令​を​ら
​口
​嘯​蓮​派
​華​な
​が
​ま
​か​を​多
​たみ
​寺​口
​蒔 ​殺 ​李​隨​本​立​終​所
​寫​潭​?
の​建​れ​其 ​め​と​常
​にい​に
​BOSHŪ IK-KEN NO KI.
(SHÖZEN.)
KAISUI wo abite hi ni sarasu koto nareba, ō-mekashi no RENJU mo tada ICHI-NICHI nite hito-
shibu hikaretari. Saredo, TOCHI no hito no ni-nuri no gotoki ni kurabete wa, nao Azuma-otoko
NO SHIKAKU wa ushinawazaru-beshi. Kaku KENKō-iro to naritaru kara ni wa, hikage nado
eramite, yama no naka ni toji-komoru-beki ni arazu. “Aku made kuroku nure ya! mono-domo," to
iu ikivi nite, hamabe nomi meguru koto to sadametaredo, ate nashi ni wa hashiri-gatashi. Ko-
minato no TANJŌJI ye mōden to, Tateyama wo tachi, Hōsō yori SHINDŌ wo Matsuda no kata ni
itaru. Dōro no SHŪZEN yoku todokite, michi aru mi-yo to KōJIN wa mina utau-beshi. FUJI wo
ushiro ni shi, mata hidari ni nagame; oka ni ki no haetaru gurai no koyama ni sōte yuku.
Ta ni wa oitaru wakaki tachi-irite kusa wo toru sono arisama wo mircba, se ni furuki kasa,
mata wa kire-gomo, sudare no chigiretaru nado wo kake; naka ni wa, ki no eda wo sa-nagara
mori no gotoku sashi-kazashi; teri-kagayaku hi ni ta no mizu wa wakite, awa-dachitaru naka
ni ashi fumi-komi, se wo sarasu kurushimi omoi-yaru-beshi. Ware-ware no atsusa wa iu ni
tarazu. Matsuda wo de-hanarureba, hamabe nite GANKAI arata nari. Shirasu, Miura, Wada,
nado iu tokoro wo sugite, masu-masu KAIGAN no KESHIKI omoshiroshi. Takaki nami no iwao ni
kakarite, yuki no gotoku chiru wa, BONGWA no gotoku; hama-kaze no tame ni yoko ni nomi eda
wo sasu matsu no awai yori aoki unabara wo nagamureba, Yamato-E no yoki te-HON nari to
omowaru. Koko nite“ZEKKEI! MYōKEI!" to hometaru ni, yukeba yuku hoko, susumeba susumu
ni shitagai, KESHIKI no omoshirosa iu bakari nashi. TAYU-zaki to iu tokoro no hidari-te no
yama ni Yoshitsune no noritaru MEIBA TAYU-guro no ideshi hora to iu ari. Kono hama ni
342
TENTH SECTION.
<<
wa, BATEI-SEKI tote, ima mo uma no hizume no ato aru ishi ōku; hoka ni taele naki tokoro
nari. Nozomi-tamawaba, awabi toru ama ni ōserare sōrae!” to, TOCHI no hito magao nite
hanasu. Naruhodo! kono CHI wa Mineoka no maki no tsuzuki narela, TAYŪ-guro mo ideshi
naran ga,-hora yori aravaretaru wa hora¹ naran.
Izuku no TOCHI no hito mo kakaru
KIKWAI warau-beki koto nomi wo hokori, kaette KESHIKI no yoki wa shirazaru ga gotoshi. Kore
yori Nabuto to iu tokoro made HONSHŪ DAI-ICHI NO KESHIKI nari. Kitsune-jima, Yokojima, BEN-
TEN-jima, Ajika-jima, nado MUSŪ NO SHŌTŌ KIFU RARETSU Suru naka ni, Yomogi-jima (Nabuto-
jima to mo iu) to iu ari. Koko ni wa JISHō² NENKAN yori Hirano NIEMON to iu mono tada
IK-KE sumite, GYOGYō wo koto to su. Yue ni TOCHI no mono wa NIEMON-jima, mata Shima no
NIEMON to SHŌSU. Kono shima no SHUI JU-NI-CHO hodo nite, MENSEKI ROKU-SEN SAM-BYAKU tsubo
bakari nari to. Ika naru sama naru ya, watarite mitakarishi ga, hatasazu. Kore yori Iso-
mura, Maebara, Tōjō, Hamaogi wo sugite, Amatsu ni itaru. Amatsu wa, KOSU SEN-KO ni
amari, JINKŌ GO-SEN ni oyobu. Grogrō no RI to mo, kono kuni DAI IT-Tō no tokoro nari.
Kore yori hama wo hanarete, yama ni iri, nagasa GO-JIK-KEN to SHI-JIK-KEN hodo no tonneru
futatsu wo kuguri, Kominato ni Tassu. TANJŌJI WA SAsuga ni NICHIREN-SHU IT-CHI-HA NO DAI-
HONJI dake arite, RIPPA nari; tsune ni mo SANKEI ōshi. Moto wa RENGE-TAN to iu tokoro ni
arishi ga,-tsunami no tame ni torare, Tae-no-ura ye utsurishi ga,-soko mo GENROKU NENKAN
no tsunami ni torare, tsui ni ima no CHI ni KŌDAI no GARAN wo KONRYŪ seshi ga,-KAEI NENJŪ
SHŌSHITSU shi, ima no HONDō wa chikagoro no KONRYŪ nari to wa, ZUIBUN tabi-tabi no GO NAN ni
kakarishi o tera nari. Tae-no-ura wa ima Tai-no-ura to tonae, SESSHŌ KINDAN naru tame,
tai katsuo nado ōku; fune nite KEMBUTSU ni mawaru mono, e wo makite funabata wo tatakeba,
atsumarite ukami-agaru koto ike no higoi no gotoshi. Mata KIKWAN nari.
(“ Mura-take.”)
NOTES OF A BRIEF TOUR THROUGH THE PROVINCE
OF AWA. (Continued)
"Burn
The intent of our highly elegant party being to bronze themselves by sea-bathing and
exposure to the sun, we got one coating of colour just in a single day, though to be sure,
compared with the red-lacquer bodies of the natives of the place, we cannot yet have lost our
appearance of fine gentlemen. After getting up such a healthy colour, it would have been
absurd for us to seek out the shade and bury ourselves among the mountains.
yourselves black, good fellows all, on to the bitter end!"-such was our motto; and accordingly
we decided to do nothing but follow the beach. But as it was impossible to walk without
some object, we decided on a pilgrimage to the temple of Tanjōji at Kominato; and leaving
Tateyama, we went along the new road from Hōjō to where Matsuda is situated. This
highway is kept in such excellent repair that all those who use it should sing a pæan to this
our age of good roads. Fuji was sometimes behind us, sometimes we beheld it on our left
EASY MODERN PIECES.
343
hand; and we passed along hillocks about the height of trees growing on a mound. In the
rice-fields we saw peasants old and young plucking up weeds,—an old straw hat, or perhaps a
torn bit of straw matting or a tattered bamboo blind slung over their backs, while others had
shaded themselves, forest-wise, with natural branches of trees. I leave you to imagine their
sufferings as the sun beat fiercely upon the rice-fields, making the water bubble, and they
themselves stood with their feet in the frothy ooze, and their backs exposed to the glare. Our
own sufferings from the heat are not worth mentioning in comparison.
On leaving Matsuda, the beach opened out a new world before our eyes. The scenery of
the shore became prettier and prettier after passing Shirasu, Maura, and Wada. The big
waves breaking on the rocks and falling in spray like snow reminded one of the miniature
landscape-gardens which people arrange in flower-pots; and the peeps of the blue sea
between the pine-trees that shoot out only horizontal branches on account of the wind from
the strand, suggested themselves as excellent models for pictures in the Japanese style. While
we uttered exclamations of admiration at the beauty of the scene, it grew more and more
unutterably delightful, the longer we walked on and the further we went. In a hill to the
left of a place called Tayū-zaki is a grotto, whence Yoshitsune's celebrated steed Tayu-guro is
said to have come forth. In the sea near this strand there are numbers of stones, called
horses' hoof-stones," marked with the trace of this horse's hoofs. There are none elsewhere.
If your Worship wishes for some, please say so to the divers who catch sea-ears.” This is
what the natives tell you with a serious countenance. No doubt, as this place lies close to the
Mineoka pastures, Tayu-guro may well have come from here; but to derive his origin from a
grotto is of course absurd. Country-folks everywhere seem to have a way of priding themselves
on some such ridiculous marvel, while remaining blind to the beauty of the scenery around
them.
From here on to a place called Nabuto is the finest scenery in this province. Among
numberless other islets spread out like the men on a chess-board,—Kitsune-jima, Yokojima,
Benten-jima, etc., is one named Yomogi-jima or Nabuto-jima. Here, ever since about the
year 1180, has dwelt a single family, that of Hirano Niemon,-who gain their livelihood by
fishing. For this reason the country-folks call the island Niemon-jima, or else Shima-no-
Niemon. It is said to be about four-fifths of a mile in circumference, with an area of only a
little over five acres. I should like to have crossed over and seen what it was like, but did
not manage to do so. After this we passed through Isomura, Maebara, Tōjō, and Hamaogi,
and arrived at Amatsu. This town has over a thousand houses, with a population of five
thousand, and is also the chief centre of the fishing industry in the province. Here we left the
shore, entered the hills, plunged into two tunnels respectively a hundred yards and eighty
yards long, and reached Kominato. Tanjōji is a splendid edifice, worthy its rank as metro-
politan temple of the "Itchi" branch of the Nichiren sect, and is constantly visited by
crowds of pilgrims. Formerly it stood at a place called Renge-tan, but was swept away by a
344
TENTH SECTION.
tidal wave, and rebuilt at Tae-no-ura. There another tidal wave swept it away about the end of
the seventeenth century, and an immense temple was erected on the present site; but this was
destroyed by fire somewhere about 1850, and the present main edifice is of recent construction.
What a catalogue of misfortunes, poor thing! The name Tae-no-ura [“the wondrous coast']
is now pronounced Tai-no-ura [“coast of the sea-bream ''J, and bream and bonitos are very
numerous here, owing to all taking of life being prohibited, so much so that when sight-seers
who go round in boats strew bait and strike the gunwales, the fish rise to the surface like
goldfish in a pond. This, too, is a strange sight.
((
NOTES.
1. This is a play upon words, as hora signifies not only a grotto," but "boasting,
lying." Hora wo fuku is to “ blow one's own trumpet," regardless of truth.—2. The period
styled 治承 ​(Jisnō) lasted from A.D. 1177 to 1181; 元祿 ​(GENnoru) mentioned n
from 1848 to 1854.
little lower down, lasted from 1688 to 1704, and 嘉​永 ​(KAET) from 1848

思達​令​活​樂 ​樂​と​り
​り​同​云​き​道​み​處禽​て​宇
​ひま​は​類​・ を ​直​か​を​獣此
​に
​時​共​今​塲​し ​り​身​自​ば​育
​ば​育​下​殕​得​草地
​代​に​日​に​む
​汇​打​以外​他​心 ​し​の ​の​ん ​ん​ざ​木​球​然
​も
​し​可​て​の ​の​身​地​でる ​上面​の
​期​途​不​て​し​肉​木​のに ​四​な
​
き​謝
​し
​大​否
​如​步​况​體​物​德​運​如​犭​時​儿 ​塵​萬​機
​て​瑩意 ​し​を​都​無動​た​生 ​四​物​關
​空 ​ほ​の ​際​て​養​て​智​自り​ず
​りず變
​變​時
​は
​し​圓事​限​此​ふ​自 ​C 由​就可​化​行​微​上​靈
​加​消 ​李世​可​办妨​自 ​中​き
​きな​は​に​は
​に​き ​しばしらげ ​げ​在​人​を
​を​きれ​至人
​ら​に
​ずし ​しも ​こ​進​以奉​ら​に ​間生​南​有る​類​可
​石
​謝恩​の​一念​發起​すべ
​今​て​智
​あ
​て​ず
​人​黃德​れ​改精る
​るざ
​れし​の​心​此物​まよ​思
​ざ​て
​快育两 ​兩成​でり​議
​の ​のば​良神​のる​苟樂​す
​す​極
​極る
​も​下​に
​幸世​假​の​を​資限​も ​を​可​赤​の ​其​はし
​EASY MODERN PIECES.
345


f
燃來​も​に​歸​は​特​關所​す​も​段​用​進​は​福
​部​亦​に​たな​得​造​す​造​に​は​在​と​恩​に​れん
​に​れん​此既
​分​偶出​るきず​物​れ​物​之​木​な​云​を​至​ば​で
​至​ば​で​大​に
​な​然​來大​次​又​主​ば​主​を​可​か ​はて​難​其幸​大
​れ​に​た​機​第​作​あ​首​な ​造思る​ば​仁​は​有恩福​な
​ば​生る ​る​關​に​者​れ​尾​どり​議​可​其惠​自​し​を
​し​を​に
​これ​大​と​しのば​全​假​たにら​功功か​と​謝
​を​て​機​言​て​作​其​きり ​りる ​る​出​ず​德德​ら
​喻正​關ひ​到者​造​が​に​も​來然
​しに​去​底​な​物​如名​の​たる​施義​論​可​き ​身​可
​ばくし ​しる​不​き​主 ​主く​を​ある​に​し
​にし​に​な
​分
​元​其​て​の​可​を​の​な​談る​も
​なる​も​宇​たし​き ​香​な​左
​動機​吾外​思得​作れ​け​を​の​宙る ​て​を ​否
​力關 ​・な​議​ず​者​どて​見​に​の​相之​得 ​俗​と​ば
​た​中人​し​に​際​な​も ​ずし​大手​を​ず​の​言​雖吾
​る​の​間​偶出​限​き​既に​或​て​機​の​謝​抑
​云​す ​す​云
​の​議​ふ可るふ
​き
​し
​
る​て
​りれ
​を
​
1
みの
​ざ​に
​亦不​所
​たの​求​れし​細​そ​思在
​と​にら​に
​子​機​に​對
​運​に
​"A
可​し​可​れ​も​自恩​は​に​み​觀唯​き​を​轉​は​人​關
​らて​思​ば ​かな​天照​或​じ​大​相知​を ​鐵間​の
​ず​然議​前​步​られ​道​らば​て​機​手​ら​與​の​も
​而​ら​に​に​を​説ば​の​さ ​云​轉關​を
​しし​自​も​進​と​其​入れ ​れく
​てむ​か​諌め​し​恩​に​衣人​自​廣​めばな ​分​の​議​絕
​謝る​らべ​て​て​を​可​服​間​身​大​ん​特​が
​恩所​然​た​我聞​謝​な​飲​が
​の​の​るる​輩 ​する​食​空​微​邊​し​運自​屬中​轉知
​念​もの​の​可​可​所​に ​無​て​轉​か ​しのする
​の​みく​所​きし ​しに​依​に​無量​得​の​ら ​共 ​る​可
​相​あに​天見​に​として​呼​力​不​ざ​恩​其​に​本​もら
​對る ​し​道​を​似​の​て​生​吸​を​可る​を​然​全​の​の​ず
​の​を ​て​は​以​た​説​即​存​し​悟思​が​謝る ​體釘​あし
​思證​之​唯​てれ​あち​す​光る ​議如​す​所​の​かり
​想​を​木​を​どり​夭る​線​の​を​し​可​以運​又​て​機
​346
TENTH SECTION.


に​天可あ
​可あ​にく​或可​間​の​き​故​に​は​母​の​無
​道​しれ​は
​これ​は​人​はな​は​天​も​な ​あ​親​の
​輕をり
​て​あと​ば​天間​特る​幸​は
​幸​は​のり
​のりら ​らし​恩念​重​比​生
​厚る​雖其​恩​に ​恩​天​に​人​あ​故​ず ​を​も​を​較
​る​に
​々​に
​を​し ​の
​の ​も​厚​厚​て​と​道​被​に
​と​道​被​にり​に​我我
​りに我​我謝​發識​しる
​あみ吾恩
​あ ​し​に ​の​木​て​天​れ​が ​し​起別​て​所
​しり ​て​支不​可​此道​に​父​て​す​し​雨​の
​な​謝配​可​な​の​も​母
​も​對母​難​可​て​者​情
​見​て​觀​す​彼​が​すせ​なり​天​他​し​に​有し​姑​に​な
​ざ​其
​きる
​れ​功る​者
​1
ば​德所​は​部​の​文
​特​の ​は​特に
​を​々
​1
のら可らる​と​は​にて​しし​例​の​對​れ
​て​しば
​に​かに​降云​ば​之​其此
​或​&去​相​可​比恩​家​知吾​汇
​に​恐れ
​に​及唯​に​薄​部​はあ ​な​較​ぁ​の​は​々​謝誼​と
​謝​ぶ
​此​しる​天​兩人​何​特​てと
​
て​並
​謝​しの​等​れ​此​び
​れ​此​びり​する​翁父
​る​翁​父​が​す​の​被
​き​所​の​す​と​人​しば​の​人​被​可​が​褞母​父る​有れ
​
を​に​と​に​れ​て​獸​し​享
​れ​て​獸​し​云享​と​を​以​と​天​てる​別る
​説​髙云​向​ば​貴​を​て​ふけ​知拜 ​に​し​道​怨者​あに
​き​運ひ​て​世​き​比​聽者​て ​る​謝 ​謝し ​し​て​謝​瑩​あり​由
​犬​な ​鳥汝​界​人​較
​鳥汝 ​較くあ​此可​せ ​て​怨せ​する​と​家
​にり​に ​に​は​中間​に​に
​にれ世 ​しざ吾むんる​と​せ ​し
​向​を​向​蟲何​に​取足​ど​に​夊る ​可​を​者​同​ん​或
​て​云 ​て​な​者​生り​ら ​も​生​或は​人​ら ​し​な​時​か
​猫ひ汝ら ​かれ​賤​だ​固​れ​ば​怨間​ず​てき​に​殊然
​の​猫​は​ざ​仕​し ​し​其 ​よ​た​人​瑩 ​の​是​謝​を ​恩​ら
​無​に ​る​合​は ​き​入り​る​間​せ​分れ ​き​得方​に​ず
​力​向​な​が ​な​仕​禽間​無​は​がざ ​と​其可​ず​に
​し
​憐​鼠
​み
​を​てら​故​ら​合​獸​と​稽難​人​る ​し​廣
​ざ​に ​ざなな​は ​の​有​間​が
​る幸らり
​て​大​ず
​ら唯​は​し​て
​とて​厚
​猿​不​が​な
​ら​暗​立​し ​の​故​敢な​怨木​に​拝薄
​ん​と​だに​言​な​生​な​てるま​變洩​謝
​幸故り​魚​すし​禽 ​にどをり​之所​ん​の​れす​差
​EASY MODERN PIECES.
347


向​て​鬼​の​愚​を​笑ふ​が​如く​きれ​ば​幸​不
​幸​の​相違​際限​ある​べから​を​近く​は​人
​間​相互​の​中​にて​も​三​十​歳​の​男女​に​向
​て​汝​は​四​十​歳​に​あら​を​前途​尚​は​長く
​し​て​幸​なり​と​云​ひ​四​十​歳​の​人​に​向
​は​五​十​歳​を​比較​に​取り​五​十​に​六十​を
​ひ​六​十​に​七​十​を​云ひ​八十​九​十​死​に
​至る​まで​前途​尚​は​長く​し​て​仕合​なら
​ざる​も ​のはな ​なかる​可​し​無稽​に​あら​ず
​し​て​何​を​や​虚心​平​氣​に​考​ふれ​ば​人間
​の​人間​に​生れ​たる​は​魚​の​魚​たる​が​如
​鳥​の​鳥​たる​が​如く​又三​十​歳​の​男女
​が​三​十​歳​たる​が​如し​特に​喜ぶ​き​に
​非​を​又​驚く​可​き​に​非​ざる​なり​天道​人
​に​可​なり​天道​萬​物​に​適​を​即ち​天道​の
​天道​たる​所以​に​し​て​特殊​の​私​に​非
​天道​若し​人​に​何​なら​を​し​て​物​に​不
​適當​なら​ん​に​は​此地​球面​に​今​の​人間
​萬​物​は​存在​す​可​ら​を​否​な​地球​の​物
​
る​又​じ
​現在​の​有様​に​在る​可​ら​ざる​筈​ふり
​左​れ​ば​天道​可​ある​が​故に​物​の​存在​を
​る ​るのみ ​存在​を ​る ​故 ​لو
لا
天道​特に​何​なる​に​あら​を​物​を​見​て​故
​さらに​庇陰 ​する ​る​が​如き
​如き​は​人間​界​の
​汰​に​こ​を​あれ​断る​小​策​を以て​天王​を
​測る​は​未​た​其大​闘​の​大​を​知ら​ざる
​ものふり​天​様​の​廣大​且つ​無偏​なる​宇
​宙​の​有​の​其震​を​得​て​無量​圓
​なら​ざる​もの​を ​ふし​日月​星辰​の​大​よ
​り​地球​を​始め​として​地球​面​の​獸草
​木昆​蟲​の​縦​に​至る​まで​も​吾​々​人類​の
​如き​精神​あら​ば​各​自家​の​境遇​に​安​ん
​て​必ず​満足​の​意​を​表する​と​なら​ん
​又​これ​に ​満足​をる​と​同 ​時に​之​を​謝​を
​得​ず​し​て​悠々​自​から​居る
​を
​لله
ことなら​ん ​如何 ​なれ​ば​宇宙​の​大​様
​闢​は​日月​星辰​以上​以下​の​物​を​包羅​し
​て​遺す​所​ふく​一​微塵​も​闘中​の​一部
​۲
لله
348
TENTH SECTION.

とも​な​の​も
​な​の​も​しに​所​臟分
​欲​謝​が​しる​不​来​て​等​な​腑​を
​きし​故​唯​を​可そ孰 ​しき​筋成
​界​れ​妨り​と​切​は​以
​迷信​を​一掃​せんふ​どの​意
​み
​の​故​げ​生​為 ​可​上 ​る​後​に​吾悟思 ​の ​れく
​迷​に​ず
​にずずり ​な​の ​の​世既
​信本​しる​とおり
​子​往
​も​てり​と
​が​肉​し
​H
る​議​中​か​萬如​相当
​をの ​客​有​く​豆​が
​は
​掃​唯
​の​世​と​雖或
​に​安​早​も​は
​のし​を​合所​几
​を​人​雖觀
​あをな
​を​なに
​にら
​想​間 ​じ​徵る​數​れ​人​特
​寫​起
​之​仰​塵
​ば​身​に
​ん​者​德​て
​し​半中
​どの​を​信る ​未​解​流
​維心​の
​持​の ​脩​し​下
​す​本
​に​を
​て​の
​非寫る​はし ​人​人
​ざ
​迷
​だに
​め
​し​子​が
​にて​に​で​れ
​は​禿​し ​しめ​其​ば
​でれ​底
​も​到盡​も​を​謝
​しり​成
​て​臟​し
​勉人​て​に​大​自​別​宇腑
​る
​て​に
​し​たる​まで
​福澤諭吉​著​福​翁​百​話
​の
​間​に
​るしそ​に​せ ​の​世
​なた​今​て​ず​要​界​し
​に​難
​竟​得​神
​世情​謝​ず​も​所
​に​界​に ​し​佛あ
​し​にて​の
​て
​る
​为​念​早​家​可
​鬼
​しし
​に​智​に​人​既報​其
​者​角​の
​に​恩
​て​の​に​信横禮​し
​を​遺さ
​め ​の​文謝​なか ​芝宙​筋​相​由
​て​特明恩 ​恩る​ら ​心​与​肉​丘​苏
​智​に​進​の ​を​其​き ​し​を​にき
​德辛​步 ​讃​分​限​萬​數​其​其
​苦​的​念 ​しにり ​り有 ​功事
​達經​の​は​俯滿​に​中​盡勞​情
​動發​し​是非
​し​是非​のし ​恩​は
​緒​し​物起 ​て​しず​孰​て​諠
​たあき​自​て ​吾​れ​人​を​身
​遺​るるる
​るか ​か​大
​さ​大​を​にら​礫​人​主​な
​加​身​謝​體
​き​中
​之​心 ​拜​難
​教​を​を​よ​者
​ん​恩知​由小​關間​に​き
​る
​の
​SHAON NO ICHINEN HOKKI SU-BEKI YA INA YA?
UCHŪ TENNEN NO DAI-KIKWAN wa REIMYŪ FUKA-SHIGI ni shite, kono CHIKYU-MEN NO BAMBUTSU
—kami wa JINRUI gori, shiino wa KINJŪ SÖMOKU DOZA JIN-AI No BI ni itaru made mo—sono tokoro
vo ezaru nashi. SHI-JI okonarvare, HYAKU-BUTSU naru nomi ka, hotondo SHI-JI NO HENKWA naki
NAMBOKU RYŪKYOKU SEKIDō CHOKKA NO CHI nimo, SHōzu-beki wo SHōji, IKUsu-beki wo Ikushite,
ANJO tari. Nakanzuku NINGEN NO KWAIRAKU wo ieba, SHINSHIN NO UNDō JIYU JIZAI ni shite,
iyashiku mo DōRUI JITA NO FUTOKU MUCHI ni samatagerarezaru kagiri wa, SHINGWAI NO BAMBUTSU
subete mizukara Hōzuru no SHI to nari, molte NIKUTAI wo yashinau-beshi, motte SEISHIN
го
EASY MODERN PIECES.
349
tanoshimashimu-beshi. Mashite kono yo wa SHIMPO KAIRYŌ NO KWATSU-GEKIJŌ ni shite, HO-HO
SAIGEN nashi to areba, tatoi KONNICHI ni FU-NYOI no koto ōki mo, CHITOKU no HATTATSU to tomo
ni ZENTO no nozomi wa EMMAN ni shite, ŌGON-SEKAI NO JIDAI MO KIshite munashikarazu, KONJIN no
KōFUKU sude ni oi nari to iu-beshi.
Sareba, ware-ware wa kono DAI-KŌFUKU ni YOKUsuru miBUN nari to iedomo, susunde sono
ON wo SHAsu-beki ya ina ya—ZOKUGEN wo mochiyureba, arigatashi to iu-beki ya ina ya—no ICHI-DAN
ni itatte wa, onozukara GIRON naki wo ezu. Somo-somo ON to wa, JINKEI KUDOKU No GI ni
shite, kore wo SHAsu to ieba, sono KUDOKU wo hodokoshitaru aite no SHOZAI nakaru-bekarazu.
Shikaru ni, UCHU NO DAI-KIKWAN wa FUKA-SHIGI ni dekitaru mono ni shite, toku ni kore wo
tsukuritaru mono aru wo mizu. Aruiwa ZŌBUSSHU nado kari ni na wo mokete kore ni KIsureba,
SHUBI mattaki ga gotoku naredomo, sude ni ZŌBUSSHU areba, sono ZōBUSSHU NO SAKUSHA
naki wo ezu, mata sono SAKUSHA NO SAKUSHA Naki wo ezu; SAIGEN mo naki SHIDAI ni shite, TŌTEI
FUKA-SHIGI ni dekitaru DAI-KIKWAN to ii-saru no hoka nashi. GUZEN ni dekitaru DAI-KIKWAN
ni shite, ware-ware NINGEN mo mata GŪZEN, ni umarete, masashiku sono KIKWAN-CHU по
ICHI-BUBUN nareba, kore wo tatoeba GENDŌ-RYOKU taru JŌKI NO SHOZAI ZETTAI ni shiru-bekarazu
shite, KIKWAN nomi FUSHIGI ni UNTEN suru mono arite, NINGEN mo mata sono KIKWAN-CHỮ NO IP-PON
no kugi ka, mala wa TETSU no IS-SAI BUNSHI ni ZOKUshi, tomo ni ZENTAI no UNTEN wo tomo
ni shi-nagara, mizukara sono shikaru yuen wo shirazareba, TOKU ni UNTEN no ON wo SHAsu-beki
aite wo motomen to shite, ezaru ga gotoshi. Tada DAI-KIKWAN NO KŌDAI, MUHEN, MURYŌ, FUKA-SHIGI
no
wo KWANjite, utata лISHIN no BISA MURYOKU wo satoru nomi.
wo
Aruiwa iwaku : “NINGEN ga KŪKI ni KOKYŪ shi, KōSEN ni terasare, IFUKU INSHOKU ni yotte
SEISON suru wa, TENDō no hito ni KA naru tokoro ni shite, sunawachi TEN-ON nareba, sono on wo
SHASU-beshi" to no SETSU ari. Onozukara SETSU to shite kiku-beki ni nitaredomo, IP-PO wo
susumete, waga-HAI NO SHOKEN Wo motte sureba, mae ni mo nobetaru gotoku, TENDŌ wa tada FUKA-
SHIGI ni onozukara shikaru nomi ni shite, kore wo shite shikarashimuru tokoro no mono aru wo
SHŌSu-bekarazu. Shikō shite, SHAON no NEN wa aiTAI no SHISŌ yori säōzuru tokoro no sō nareba,
kore to kare to wo HIKAKU shite, RYō-SHA ni TAIshi sono ONGI NO UMU KEIJŪ wo SHIKIBETSU shite,
hajimete kore ni SHAsuru no ICHI-NEN MO HOKKI su-beshi. Tatoeba, ware-ware ga FUBO no ON Wo
mo
SHAshite ari-gatashi to iu wa, FUBO wa shitashiku waga FUBO ni shite, RINKA no ō-ō ni arazu, ware
ni TAIshite TOKU ni ON aru ga yue nari. Yue ni TENDŌ mo TA ni nani ka HIKAKU su-beki mono
arite, kono TEN wa hito ni KA nari, kano TEN wa hito ni FUKA nari to Ryō-Ryō ai-narabi, NINGEN
wa saiwai ni kano FUKA naru TEN wo satte, kono KA naru TENDŌ ni SHIHAI seraruru to areba,
aruiwa TOKUON to shite SHAsu-beshi. Mata aruiwa hitoshiku NINGEN nite ari-nagara, kono ICHI-BU
no hito ni wa TEN-ON atsuku shite, kano ICHI-BU ni usushi to areba, sono Kō-ON ni YOKUsuru mono
wa TOKU ni SHASu-beshi to iedomo, ware-ware no KWANzuru tokoro wa, YUI-ITSU NO TENDO aru
nomi ni shite, sono KUDOKU no oyobu tokoro ni katsute KōHAKU aru wo mizareba, TOKU ni SHASuru
ni yoshi nashi. Aruiwa shikarazu shite, KŌHAKU no SABETSU ari to sen ka? SHUON ni YOKUshite,
HAISHA suru mono aru to DŌJI ni, IP-PŌ ni wa kore ni morete, EMBŌ suru mono naki wo ezu.
350
TENTH SECTION.
YUI-ITSU FUHEN NO TENDO, SHASen to shite, SHASu-bekarazu; uraman to shite, uramu-bekarazu.
Kore, sono KōdaI naru yuen ni shite, ware-ware NINGEN no BUN to shite, acte kore wo HAISHA sezaru
wa, EMBŌ sezaru ga yue nari to shiru-beshi.
Mata aruiwa NINGEN ga NINGEN NO SEI Wo ukete, kono yo ni umaretaru wa, arigatashi nado
iu mono aredomo, moto yori MUKEI NO RITSUGEN ni shite, kiku ni tarazu. Sono NINGEN to wa,
AN ni KINJŪ wo HIKAKU ni tori, iyashiki KINJŪ narazu shite, tattoki NINGEN ni umareshi wa shi-
awase nari to no IMI naran naredomo, kore wo shi-awase nari to sureba, SEKAI-CHŪ nani-mono ka
shi-awase narazaran ? Uwo ni mukatte, "Nanji wa, mushi narazaru ga yue ni saiwai nari” to
ii; tori ni mukalte, “Nanji wa, uwo narazaru ga yue ni KōUN nari” to ii; neko ni mukatte
nezumi no FUKō wo toki ; inu ni mukatte neko no MURYOKU wo awaremi; saru ni mukatte usagi no
GU wo warau ga gotoku sureba, Kō FUKō no SŌI SAIGEN aru-bekarazu. Chikaku wa NINGEN ai-
tagai no uchi nite mo, SAN-JIS-SAI no DANJO ni mukatte, “Nanji wa SHI-JIS-SAI ni arazu; ZENTO
nao nagaku shite, saiwai nari” to ii; SHI-JIS-SAI no hito ni mukatte wa, GO-JIS-SAI WO HIKAKU ni
tori; GO-JŪ ni ROKU-JŪ wo ii, ROKU-JŪ ni SHICHI-JŪ wo ii; HACHI-JŪ, KU-JŪ, SHI ni itaru made,
ZENTO nao nagaku shite, shi-awase narazaru mono wa nakaru-beshi. MUKEI ni arazu shite, nanzo
ya? KYOSHIN HEIKI ni kangōreba, NINGEN no NINGEN ni umarıtaru wa, uwo no uwo taru ga
gotoku, tori no tori taru ga gotoku, mata SAN-JIS-SAI no DANJO ga SAN-JIS-SAI taru ga gotoshi. TOKU
ni yorokobu-beki ni arazu, mata odoroku-beki ni arazaru nari. TENDO hito ni Kanari, TENDō
BAMBUTSU ni TEKIsu. Sunawachi TENDō no TENDŌ taru yuen ni shile, TOKUSHU no SHION ni arazu.
TENDO moshi hito ni KA narazu shite, mono ni FU-TEKITō naran ni wa, kono CHIKYU-MEN ni ima
NO NINGEN BAMBUTSU wa SONZAI su-bekarazu,—ina! CHIKYU sono mono mo GENZAI no arisama ni
aru-bekarazaru hazu nari. Sareba TENDŌ KA naru ga yue ni, mono no SONZAI suru aru nomi. Mono
no SoNZAI suru ga yue ni tote, TENDŌ TOKU ni Kanaru ni arazu; mono wo mite koto-sara ni HI-IN
suru ga gotoki wa, NINGEN-KAI NO SATA ni koso are. Kakaru SHŌSAKU wo motte TENKŌ wo hakaru
wa, imada sono DAI-KIKWAN NO DAI wo shirazaru mono nari. TENKI NO KŌDAI katsu MUHEN naru,
UCHU NO BAN-YŪ ono-ono sono tokoro wo ele, MURYŌ EMMAN narazaru mono nashi. JITSU-GETSU
SEISHIN NO DAI yori CHIKYU wo hajime to shite, CHIKYU-MEN NO KINJŪ, SŌMOKU, KONCHŪ NO BI ni
itaru made mo, ware-ware JINRUI no gotoki SEISHIN araba, ONO-ONO JIKA No KYŌGŨ ni yasunjite,
kanarazu MANZOKU NO I Wo HYōsuru koto naran. Mata kore ni MANZOKU suru to DŌJI ni, kore
wo SHAsuru no MOKUTEKI wo ezu shite, YŪ-YŪ mizukara oru koto naran. Ikan to nareba, UCHU no
DAI-KIKWAN WⱭ, JITSU-GETSU SEISHIN IJŌ IKA no mono wo HŌra shite, nokosu tokoro naku; ICHI-
MIJIN MO KIKWAN-CHU NO ICHI-BUBUN wo nashi-nagara, TOKU ni Sнasuru ni yoshi naki sono JIJŌ
wa, JINSHIN TAICHŪ NO ZŌFU KINNIKU ai-tagai ni JINSHIN wo nashite, ai-tagai ni sono KōRŌ ONGI
wo SHAsuru tokoro naki ga gotoku nareba nari. ZŌFU KINNIKU wo kazoe-tsukushite, JINSHIN naki
ni hitoshiku; BAN-YU wo kazoe-tsukushite, UCHU nashi. BAN-YU-CHU no izure ga SHU ni shite,
izure ga KAKU naru ya, TŌTEI KUBETSU su-beki kagiri ni arazu. Ware-ware NINGEN mo mata sono
uchi no ICHI-MIJIN nareba, mizukara sono BUN ni MANZOKU shite, DAI-KIKWAN NO FUKA-SHIGI WO
KWANji, aoide sono ći naru wo SANshi, fushite mizukara sãō naru wo satoru to iedomo, kore ga
EASY MODERN PIECES.
351
tame ni SHAON no ICHI-NEN wa HOKKI suru ni yoshi nashi. Tada ware-ware wa NINGEN no ko ni
shite, BUMMEI SHIMPO-TEKI No DŌBUTSU naru wo shiru ga yue ni, KI-Ō wo SŌKI shite, SENJIN no
TOKU ni SHINKU KEIEI shitaru DAION wo SHAshi; KŌSEI SHISON no tame ni wa, tsutomete CHITOKU
HATTATSU NO CHO wo nokosan to hossuru nomi.
(Iлō no GIRON, aruiwa BONZOKU CHŪRYŪ IKA No hilo ni KALshi-gataki tokoro aru-beshi.
Sono KAIshi-gataki wa KA nari to iedomo, iwayuru HANKAI ni shite, NINGEN SEKAI ni kami
mo hotoke mo nashi, HŌON REIHAI ISSAI MUYō nari to haya-GATEN shi, imada SHUSHIN
KAICHI NO YŌ wo ezu shite, hayaku sude ni ōCHAKU-mono to nari, motte SEAN wo GAIsuru no
urei nashi to sezu. HIKKYŌ SHAON Nno NEN wa, hito no SHINJIN yori SHōzuru mono ni shite,
SONO SHINJIN NO moto wa, mayoi nite mo, KANJŌ nite mo, To ni KAKU ni kore wo samatagezu
shite, GUMIN NO TOKUSHIN wo IJI suru koso ima no ZOKU-SEKAI ni oite CHISHA no koto nare.
Yue ni, HONRON wa tada GAKUSHA-RYŪ NO SHISŌ wo SHASHUTSU shitaru made ni shite, kore
ni yotte SHŪKYŌ-KAI NO MEISHIN wo IS-Sō sen nado no 1 ni arazaru nari.)
[FUKUZаwα YUKICHI CHO "FUKUŌ HYAKU-WA.]
SHOULD WE OR SHOULD WE NOT ENTERTAIN
A FEELING OF GRATTIUDE?
This great natural machine-the Universe-is a wonderful and marvellous whole :—not
a thing on the surface of this globe of ours but has its proper place, from human kind down to
animals, plants, minerals, and dust itself. Not only does everything come forth with the
revolution of the seasons:-even the tracts around the poles and under the equator,
where scarcely any change of seasons exists, even such tracts as these duly produce and
sustain appropriate forms of life in peaceful order. Man's happiness, in particular, is provided
for by his liberty of action both mental and physical. Provided no hindrance arise from the
vice or ignorance of his fellow-creatures, everything in external nature forms part of a fund
spontaneously contributed to his use, wherewith to nourish the body and delight the mind.
More still, as this world is a living theatre of progress and improvement, where one step after
another leads on to infinity, even granting that many things at the present day may not equal
our desires, still perfect trust in the future, founded on the development of wisdom and virtue,
justifies us in anticipating for the world a golden age, while the happiness even of those now
living is certainly considerable.
Such is the condition of man, swimming in a sea of happiness. Nevertheless, when we
proceed to ask whether he ought or ought not to feel grateful for these favours,-whether,
to speak colloquially, he should say thank you for them, a doubt naturally suggests itself.
For mark the word "favour." It includes the notion of benevolence, kindly action; and
gratitude for them presupposes the existence of some person by whom the benevolence is
exercised. But the great machine of the universe, marvellously as it is constructed, shows no
352
TENTH SECTION.
""
trace of any special constructor; and even if, for argument's sake, we coin the word "Creator
and apply it in this context, attaining thereby to apparent logical satisfaction, then we must
find some maker for this Creator, and then some maker for the maker of the Creator. Thus
we should go on ad infinitum, and when all was said and done, the only conclusion arrived at
would be that the world is a great machine marvellously constructed. It is a great machine
originated by chance, and we human beings too are born by chance, and really form part of the
machine. We may illustrate this by the case of an engine which should move of itself in a
marvellous manner, while yet there was absolutely no means of ascertaining the existence of the
motor power, steam; and man would correspond, say, to one nail, or to a minute particle
of the iron of that engine, in all whose revolutions he would participate; but as he himself would
not know the causes which brought it all about, no search on his part would bring to light
any one whom he ought specially to thank for the favour of whirling him round. All that can
be done is to contemplate the vastness, the infinity, the immeasurableness, the marvellousness
of the great machine, and to discern ever more and more clearly our own insignificance and
weakness.
Again I hear some say: "The air we breathe, the light which shines on us, the food and
raiment that maintain our existence, are all boons granted by Nature to man,-favours for
which we should accordingly be grateful." This contention wears an appearance of plausi-
bility. But if one goes a step further and adopts my view, then, as already explained, what
people call "Nature" is merely a marvellous and spontaneous series of events, from which
it is impossible to deduce the existence of any person causing those events to be what they are.
Moreover, as gratitude is a sentiment dependent on the idea of reciprocity, it can arise only as
the result of a comparison between two alternatives, of discrimination, that is, between the
presence or absence, the abundance or scarcity, of kindliness in the conduct of two persons
towards us.
For instance, our gratitude to our parents is excited by the special favours which
they confer upon us because they are our parents, and not the old gentleman and old lady next
door. In like manner, therefore, might we thank Nature for special favours, if there were any
other order of Nature with which the Nature we know of might be compared, so that one
might set the two side by side and say, "This Nature favours man, that Nature does not," and
if man, happily escaping from the unfavourable Nature, could place himself under the rule of
the favourable. Again if, among the members of the same human species, Nature conferred
her favours more copiously upon one set of men, and more sparingly upon another, then those
indulged with the more copious share ought to show special gratitude for it. But from all I
can see, there exists but a single order of Nature, and this never manifests any partiality in the
distribution of its favours, and we have therefore no occasion for any special gratitude. Or
shall we take the opposite view, and say that Nature does treat men differently, favouring some
more than others? In that case, while some render thanks for the special favours with which
they are indulged, others must resent being overlooked. A single, immutable order of Nature
EASY MODERN PIECES.
353
can justly excite neither gratitude nor resentment; for it is plain that, being so vast as it is,
we, in our position as human beings, can no more dare to praise than to blame it.
Again there are those who say that human beings have cause for gratitude, inasmuch as
they have been born into this world with the gift of human life; but this is an altogether
absurd contention, not worth listening to. It evidently rests on an implied comparison between
men and animals; and the drift of it is that we should think ourselves lucky to have been
born as exalted human beings, and not as lowly animals. But if this is to be deemed good
luck, what creature in the whole world is not lucky too? If we are to congratulate fishes on
their good fortune in not being insects, or birds on not being fish, if we are to point out to the
cat the inferior luck of the rat, or deplore with the dog the inferior strength of the cat, or
laugh with the monkey over the stupidity of the hare, there will be no end to the distinctions to
be drawn between the various grades of happiness in all creation. Without going so far afield,
and restricting ourselves to a comparison of human beings with each other, we might con-
gratulate a man or woman of thirty on not being forty, and so having a longer future to look
forward to. One of forty we might console by reference to fifty, one of fifty by reference to
sixty, one of sixty by reference to seventy, and so on to eighty, ninety, and to death itself, every
creature in the world being made to appear lucky because enjoying a longer prospect of life
than some other. What is this but a reductio ad absurdum? Calm, unbiassed reflection
shows us that the fact of human beings being born as human beings belongs to the same order
as that of fish being fish, or birds being birds, or a man or woman of thirty being thirty:—
there is in it no special cause for joy, or yet for astonishment. Nature suits man and all other
living creatures. This is simply because Nature is Nature; it is no mark of any special and
particular favour. If Nature did not suit man and other creatures, then men and things as we
now know them would not exist on the surface of this globe,-nay! the globe itself could not
then wear its present aspect. Thus it is only because Nature is suitable to their origination that
things exist at all:—it is not because things exist that we are justified in inferring any special
favour towards them on Nature's part. To notice things and then treat them with particular
kindliness, is an exclusively human trait, and it argues want of appreciation of the greatness of
the great machine to judge Nature's handiwork by our petty schemes. In the vastness, the
impartiality of Nature's machinery, each of all the myriads of existing things has its place, and
the whole is immeasurable and perfect. If all things, from such great ones as the sun,
moon, and stars, down to our earth and to such minutiæ as the animals and plants and the
very insects on its surface, had minds like those of us human beings, each would enjoy its own
environment and would doubtless express a feeling of satisfaction. Moreover, together with
this feeling of satisfaction, it would discover no object whereon to expend gratitude, but would,
I suppose, continue its quiet career self-contained. For the great machine of the Universe
includes everything without exception, whether above or below the sun, moon, and stars; and
even a single grain of dust forms part of the whole machine. Thus does it come about that
354
TENTH SECTION.
there is no more any special reason for gratitude in this case than there is any reason for
gratitude for trouble taken or favours granted by one organ or member of the human body to
another, that body which arises only from their presence and interaction.
For if you
enumerate all the organs and members separately, there is, so to say, no body left apart from
them. If you enumerate all existing things, there is no Universe left apart from them;
neither is it feasible in any manner to decide which of all existing things are the principal ones,
and which merely accessory. We human beings, too, are one atom in the whole; wherefore,
resting content with our lot, we may contemplate the marvels of the great machine, looking up
to praise its greatness and looking down to recognise our own littleness; but there is no reason
for the feeling of gratitude to be excited in our breasts. All that becomes us as sons of meu-
creatures conscious.of the capacity for civilization and progress-is to call to memory the past
with gratitude for the great favours bequeathed to us by the laborious efforts of previous
generations, and on behalf of our descendants in the future to endeavour to leave a foundation
for the further development of wisdom and virtue.
(The above discussion may contain passages hard to be comprehended by plain folks
and members of the lower classes. Such failure to comprehend matters little. Where
harm is to be feared is in the so-called half-comprehension which rushes to the conclusion
that neither gods nor saints exist in this our human world, and that gratitude and
worship are alike useless, and which, having failed to imbibe the essence of morality and
culture, plunges into villany and disturbs the peace of society. In fine, gratitude being a
sentiment which springs from piety, the proper course for wise men to pursue in the present
uncultivated condition of the world is to foster virtue in the foolish by leaving such piety
undisturbed, whether its origin be superstition or emotion. The argument here advanced
therefore claims no more than to be an exposition of the opinions of the learned. We do not
aim hereby at making a clean sweep of the superstitions of the religious world.)
NOTES.
This piece is borrowed, by permission of the "Jiji Shimpō Sha," from the "Fukuo
Hyaku-wa," or "Hundred Essays by the Aged Fukuzawa," which appeared in 1897 and created
a great sensation. The author died in 1901, but new editions of his works continue to pour
from the press. No other Japanese writer offers so perfect a model of a style at once simple,
forcible, and idiomatic, no other expositor of ideas is so thoroughly representative of his time
and country, as Fukuzawa; neither can any of his voluminous works be so warmly recommended
to the foreign student as these short essays, which, taken together, well-nigh cover the whole
field of modern Japanese activity in matters intellectual, while on the other hand any one of
them may be considered separately, as each is complete in itself. The preference shown by
this writer for easy terms may be gauged by the fact that though the piece here given treats of
EASY MODERN PIECES.
355
deeper matters than any of those preceding it in this Section, fewer new characters occur in it
than in any other proportionately to its length. Here, at externals, our praise of Fukuzawa
must stop, this not being the proper place to discuss the substance of his books. Fukuzawa's
intellectual and moral horizon, his teaching, the probable effects of his wide-spread influence,
form a distinct question, and one on which opinions will doubtless differ widely. A slight
attempt to estimate his merits and failings has been made in Things Japanese, article
Philosophy," to which the student is accordingly referred. The popular "Jiji Shimpō"
newspaper which Fukuzawa edited for many years, and the Keiō Gijuku University at Tokyō
which he founded and long presided over, continue, after his death, to disseminate his ideas.
Fukuzawa's style is not quite so easy to translate into English as its clearness and charm
might lead one to expect. Nor is the reason far to seek. Though he often interprets European
thought, he always does interpret it, in the real sense of that word. He does not translate
literally, he does not fill his pages with Anglicisms, as many contemporary Japanese authors
do. Everything he gives to the public has been passed through a Japanese filter, melted down
in a Japanese crucible, digested, assimilated, thoroughly naturalised and subdued. The hands
may be those of a Western utilitarian; but the voice is that of one brought up in the Chinese
schools. Now what is perfectly natural and idiomatic in one language,—one mental atmosphere,
-is precisely that which is apt to be not quite natural, not quite idiomatic in another. More
particularly are certain general terms of vague import,-"nature," "force," "influence," etc.,—
apt not exactly to cover each other in different intellectual spheres. Fukuzawa's
天道
​or
for instance,—a term inherited from the Confucianists,-has no satisfactory English
equivalent. Sometimes it is little more than the visible heavens; sometimes "Heaven" (with a
""
capital H) comes nearer to the intention; sometimes one is almost tempted to translate it by
"God;
at others-most often perhaps—“ Nature
"Nature" seems nearer the mark. It is not the
student who is at fault in such cases, but the subject itself that admits only of approximate
definition. At other times, difficulties of translation-they are never difficulties of com-
prehension—may be met by noticing Fukuzawa's elegant habit (traceable, this too, to Chinese
influence) of breaking up
(compounds) into their elements. An instance occurs near
the beginning of this piece, (lines 6-7 of the Japanese text), where we find 生育
​(C
SEI-IKU
broken up thus: SHŌzu-beki wo SHōji, IKUsu-beki wo IKUshite, which can be more tersely rendered
they duly produce and sustain appropriate forms of life." It would not do in such a case to
follow the rhythmical order of the original with pedantic exactness.—Having stated that
Fukuzawa's pure style does not deal in Anglicisms, we must modify the assertion by granting
that CHIKYU Sono mono, "the globe itself," on the last line (upper column) of p. 347, is a
glaring one now unfortunately current. Probably NINGEN no ko, "sous of men," is another.
Thus, even the most idiomatic writers succumb at times to the new influence.
356
TENTH SECTION.

す​移る​れ​勲
​る​を​所​ど
​の
​する
​漢
​學
​文學​博士
​者
​弘
​漢​者​の​吾​が​邦​の​開明​に​功勲​顯​著​な
​る​は​今更​論​する​を ​を​要せ​ず​殊に​徳川​氏
​三​百​年間​に​は​頑鴻​輩出​し​て​士​流
​以上​の​開明​は​殆全​く​漢學者​の​力​に
​て​成り​し​と​に​し​て​此漢​撃​の​素養​あ
​りたれ​ば​こそ​近年​に​歐米​に​接する
​に​至り​て​も​敢​て​大​に​其​侮蔑​を​受​くる
​えなき​のみ​なら​ず
​なら​ず​能 ​能
​自ら ​歐米​の
​思想​を​取​て​更に​之​を​吾が​術​技​藝​と
​なす​を​得 ​得​たる
​るもの​なれ​ば​漢學者​の
​魚​は​賢​に​大​なり​と​云​は​ざる​を​得​ず​然
​れ​ども​今日​梢​生存​し​て​子弟​を​教育​す
​る​所​の​漢​者​なる​者​は​既に​時勢​の
​知り​て​維新​前​の​固陋​主義​を​株守
​之
​るる
​功
​今日​新​世界​の​事情​を​解​する
​すると​能​け
​能​はぎ
​ずる​者​の​少​か
​る​が​高め​に​固陋​に​安​する
​らざる​は​甚だ​惜​むべし ​近頃​中學​校​又
​は​其他​の​學校​に​教員​と​なり​て​教授​す
​る​所​の​漢​者​を​見る​に​今日​理​の​許
​さぐる​古代​の​奇怪​説​を以て​する​者​少
​からざる​の ​みなら​ず ​ず​讀​+ 本
​此​の​如き​竒怪​説​を​編入​する​もの​も​往
​々​見受​くる​所​なり​例へば​二十四孝​の
​類​を​挙げ​て​孝行​の​標準​と​なし​或は​養
​老​の​霊泉​を​説​て​天​の​孝​に​感​する​所​を
​なし​又は​種々​の​祥瑞​凶​を​説く​等
​撃​す​べから​ず​是​等​は​漢​者​自身​が​信
​する​を以て​實​に​斯く​あり​し​と​考​へ
​又​自今​も​断く​ある​べき​もの​と​思ふ​が
​故​なる​べけれ​ども​併今​日​の​理​は​決
​て​此 ​此​の ​如き​竒怪​説 ​を
​許す
​ら​ざれ​ば​全く​生徒​を​迷妄​に​導
​る​を​得​ず​余​が​先年​或る​縣
​と​云​は
​不可​なる​を​悟る​べき​筈​なる​に
​
に​導く​も
​に​し​て
​に
​EASY MODERN PIECES.
357



て
​冬​な
​に​到
​り
​人
​の​氷
​米 ​抱​なる​作り​理​宜​教範​或​或
​取​すし​孝​な​麥​ば​學腹る ​陳文​し​學き​授學​るる
​捨る​た ​か​又酒​校​絕​に​腐​を ​に​的​に​を
​學
​撰所る​の​と​はな​の​倒況​に​教​其の​適​な ​卒​教​校
​擇如​を​德説​其​る​同​にてしふ
​しる​室​を ​しす​業​場​に
​す​何​も​に ​にく​他
​堪先​てる ​はな​且生 ​生​に
​る​若​ぁ​感​に​の​の​生 ​生​既​を
​既​を​五​りつ​な​が
​能​しり​じ​反​も
​りじ​反​もは​徒​ざ​のに ​干し​其れ​教り​て
​は​先​と​て​しの​化​にる​口​理り ​前​が​講​ば
​講​ば​員​た​其
​説​泉​てよ​學​し​程​授學 ​後​次​授其​とれ​授
​るのか​を​ひり ​的​て​の​北​の​が​の​にの ​変​な​ば​業
​生​説​ば​燮室​製作​甲​を​許​其漢​其事​業​り​其​を
​徒​く​生じ​に ​造​用​室​な​共​さ​文學​隣​項​の ​て​教​見
​な​所徒​ててす​に​にり​に ​題​先​室 ​$方理場​九
​ら​に​の​酒​はる
​酒​はる​由てき
​由​てき​寶る ​生​に​全​法學​はる
​ば​就感​と​天​も​て​例​同
​の​師階
​
て​例​同​に​を​頗​が
​
べ​に​きざ​ざざえ​導開​の​學​て​し
​學​て​し​る​徒​生​室​忍
​文きあ​寄れる ​もざ​を​に ​如校​何​の ​を​な
​漠
​光ち
​ふるは​漢學​先生​に​如く​はな
​にの
​を​なら​怪​ど​を
​ど​を​歷る​記 ​記​附き ​の​或​得​ら ​感​生​惑
​教り ​ざのもな
​もな​史​なす ​すし ​も​監益​は ​ざば孝​の​ひ
​れ​例修​れ​上りる
​れ​上り​る​て
​る​て​猶​督​か​笑る​乙​説​理​を
​ば​を​身​ば​に​尤​に​此此​者あ​は ​べ ​室​を​學生
​此引​科​余​て​も​至​の​の​たる ​る​し ​し​先非​的​ぜ
​の​く​又 ​又は​之​右り​如如​る​唯​む​生生​と​講​ざ
​痴​は​は​敢​を​等 ​て​きき​校​害る​徒 ​す ​受る
​き​已文​て​説 ​口​教​長​が​を​陳る​を​を
​さむ​題​之 ​怪實員 ​に​はる​如し​履 ​是​得
​は​を​杯​を​ほ​の​に​に ​氣​の​き
​必得​に​木已​を​慨生​附​論​み​教​或​を
​おざ​此可​む​と​歎徒​か​視然​員
​心る ​る​の​と​を
​て​説オ​と
​ず
​識​し​若
​は​笑​あひし
​ず
​るを惑​はる​室​又
​す​と​如​せ​得​へ​堪​教​等​員​に​置​は​ざ​生​先​甲
​358
TENTH SECTION.

上れ​に ​に​外義
​し
​理​を​を​しる​兔
​しる​兔​ふべ​に​堪​た
​のば事 ​を​様り​の​説​以​て​を​角​べ​か​就​える​と
​講​能​柄 ​主​に​經事 ​て​却​と​き​て​ざ​を​雖
​は​を​文​と​し​書​柄 ​と​倫 ​て​考​字​はず​はる​知​其
​に​ざ​説​に​すて​を
​すて​を​を​同理學 ​々​漠​更必 ​そら
​専るく ​くし ​しる​其説​説く​を​問所
​を​問所​義學​に​ず​此​ざ​杰
​が​事 ​全教​の ​を​者​漢​十​のる​の
​

ら​を
​を​に​て
​以​は​甚如​柄
​が
​ふ​本​詞​説​は​學分如
​陳
​を​て​先​だ ​しょ​史​を​守る​青章 ​學者​に​し​篤​)
用​已​づ​解蓋り​類​粗​義​に ​を​記​を​問 ​注​漢​め​に
​ゐむ文し ​し​は​を​略 ​を​方失誦​を​こ​教​意學​に ​に​し
​為​を​意​難​漢​寧講​に​主り​ふの​の​さ​授​を​者​遂​て
​め​得​を​き​文ろすな​と​て​者​末​み
​
に​加​を​に​理
​に​ず​解​が ​は​文​るす ​しも​多​に​必云​就
​もの ​て​交 ​し​拘要
​(
用​教學
​てざゆ授
​て​意​ざ​め​來​々​皆弊​倫章​故泥​な​ば​言​るる​に​何
​ぐるべ
​害許​ど ​のる​厳來
​る​の
​のに
​因ら得​は​に​外し​て​と
​て​も​事
​ざせ​大過​は​科​は​な​柄
​す​も​主​の ​言​み
​有る​苟青​恐​揄書​せ​にる​し​意​ぎ​漢​に​古り​を
​か​無​の ​あれ​定​を ​ざ文な​むにざ學ぁ代​し​粗
​ら​に​方​も
​方​も​りあす
​りあす​揄 ​る​部​りる​止る​はら​と​な​略
​ず​就針​害​て​いる
​る​閲 ​省
​
を​め​を​唯​ず​違​ら​に
​以​て​な​補​漢​ひんす
​て​却​れ​助學​學然る
​主​と​ば ​ば​の​を ​を​問​れ​の
​青​大​文專​は​ど​已
​と​躰​字​め​門​決​もむ
​せの​々​に​し​今​を
​ざ​事​義學​な​て​日​得
​る​柄 ​習​す​漢​に​ざ
​例​て​な​な ​の​と​は​すか​の
​はるき ​その​著る ​ら​教
​ば​十​由​匿 ​な​主​作​に​ず​科
​淫​分
​な​書る​青​者​其文​書
​猥​に​れ ​れ​は
​な
​の​良​部​撫
​に​ど​總​はる​自 ​零​省​閱
​し​究​も​て​知 ​知​や​由適
​由適​に​に
​て​を​其 ​ら​又​を​不​て​就
​風​畫所​を ​ざ​は​適​はて
​俗​さ​謂認​れ​他
​認​れ​他​ぐ​を​從​も
​
ベ
​之
​を​如​す​者​學​ある
​か​會​きる ​の​のり​を
​EASY MODERN PIECES.
359
を​紊亂​する​の​虞​ぁ
​る
​の​又は​過激
​し​て​治安​を​妨害​する
​る
​の​等
​等​に
​を​知​てり​相る​を​し
​を​禁ずる​は​固​より ​害 ​ある
​の​を ​を​禁ず
​る​所 ​所以​に​し​て
​し​て​殊に​其重 ​なる​も ​のに
​相違​なき​も​併害​ある​もの ​の​は​決して
​り​是​等​に​止まら​ず​今日​開明​の​世​に​於
​甚だ​理​に​反せる​奇怪​説​の​如き​も
​知識​開導​の​悪​に​於​て​大​に​害​ある​もの
​認め​ざる​べから​ず​勿論​宗教​上​にあ
​りて​は​此​の​如き​奇怪​説​も​已​む​を​得
​ぎる​と​なる​べけれ​ど
​於獨​に
​育​得出
​育​殊に ​智育
​に​於​て​は​理學​上​決して​許さ​ゞ​るが如
​き​竒怪​説​等​は​必ず​之​を​害​ある​もの
​認定​せ​ざる​べから​ず​果して​然​らば​拾
​園​の​方針​の​如き​も​風俗​紊治​安​害
​を以て​害​と​なす​の​外​に​更に​今日​の​開
​明​に​適​せ​ざる​奇怪​説​の​如き​も​俱​に​害
​لله
あ
​لله
し​て​之
​之​を​許さ​ゞる​と​と​せ​ざる
​を​得​ず​若し​此​の​如く​なら​ざれ​ば​智育
​は​決して​知識​を​開發​する​に​足ら​ざる
​風俗​斎​亂治​安​害​の​外​に​更に​今日​の
​理學​世界​に​適​せ​ざる​音​怪​説​を​も​自今
​有害​として​禁ぜ​ざる​べから​ざる​の​理
​理
​前陳​の​如し​雖従​前​既に​認許​せる
​読本​の​類​に​は​此​の​如き​もの​も​往々​あ
​る​と​なれ​ば​今日​の​教授​上​に​就​て​は​視
​學員​たる​者​は​十分​注意​を​加​へ​て​殊に
​漢​先生​の​講​枝​を​監視​し​務め​て​此​の
​如き​奇怪​説​を以て​生徒​を​惑​は​しめざ
​る​と​に​努力​せ​ざる​べから​ず​宗教​と
​育​と​は​決して​混同する​を​許さ​ゞ​るな
​(貧​叟​百​話​)
360
TENTH SECTION.
KANGAKU-SHA.
(BUNGAKU HAKUSHI* KATO Hiroyuki.)
KANGAKU-SHA no waga kuni no KAIMEI ni KŌKUN KENCHO naru wa, ima-sara RONzuru wo
Yōsezu. Koto ni Tokugawa SHI SAM-BYAKU NENKAN ni wa SEKIGAKU KŌJU HAISHUTSU shite,
SHIRYŪ IJŌ NO KAIMEI wa hotondo mattaku KANGAKU-SHA no chikara ni yotte narishi koto ni shite,
kono KANGAKU no soyō aritareba koso KINNEN niwaka ni Ō-BEI ni SESSuru ni itarite mo, acte
vi ni sono BUBETSU wo ukuru koto naki nomi narazu, yoku mizukara Ō-BEI NO SHIN-SHISŌ Wo
totte, sara ni kore wo waga GAKUJUTSU GIGEI to nasu wo etaru mono nareba, KANGAKU-SHA No
KŪKUN Wα JITSU ni ōi nari to iwazaru wo czu. Shikaredomo, KONNICHI nao SEISON shite,
SHITEI WO KYŌIKU suru tokoro no KANGAKU-SHA naru mono wa sude ni JISEI no HEN-I wo shirite,
ISHIN-ZEN NO KORŌ-SHUGI WO CHUSHU Suru no FUKA naru wo satoru-beki hazu naru ni, KONNICHI
SHIN-SEKAI NO JIJŌ WO KAISUru koto atawazaru ga tame ni, nao KORō ni yasunzuru mono no
sukunakarazaru wa hanahada oshimu-beshi. Chikagoro CHU-GAKKō mata wa sono TA no GAKKŌ
ni KYōIN to narile KYŌJU suru tokoro no KANGAKU-SHA wo miru ni, KONNICHI RIGAKU NO yurusa-
Zaru KODAI NO KIKWAI-SETSU wo motte suru mono sukunakarazaru nomi narazu, TOKUHON no tagui
ni shite kaku no gotoki KIKWAI-SETSU CO HENNYŪ suru mono mo ō-ō mi-ukuru tokoro nari.
Tatoeba, “NI-JŪ-SHI Kō” no lagui wo ayete KōKō no HYōJUN to nashi, aruiwa Yōrō no REISEN
wo loite TEN no Kō ni KANZuru tokoro to nashi, mata wa SHUJU nO SHŪZUI KYŌCHō wo toku TŌ
MAIKYO su-bekarazu. Kore-ra wa KANGAKU-SHA JISHIN ga SHINzuru wo motte, JITSU ni KAKU arishi
koto to kangae, mala JIKON mo kaku aru-beki mono to omou ga yue naru-bekeredomo, shikashi
KONNICHI NO RIGAKU wa KESshite kaku no gotoki KIKWAI-SETSU wo yurusu mono ni arazareba,
matlaku SEITO WO MEIBO ni michibiku mono to iwazaru wo ezu. Yo ga SENNEN aru KEN NO
aru GAKKō ni itarite, sono JUGYō wo mitaru SAI, aru ICHI-KYŌJŌ ni iritareba, sono KYŌJŌ WA
SHIHAN GAKKŌ SOTSUGYŌ-SEI ga KYŌIN to narite RIGAKU no KYŌJU wo nasu koto nareba, sono
JUGYŌ NO HŌHō mo yoroshiki ni TEKIshi, katsu sono KōJU NO JIKŌ MO mattaku RIGAKU-TEKI NO
koto narishi ga,-tsugi ni sono RINSHITSU ni irishi ni, sono SHITSU wa GO-JU ZENGO NO KANGAKU-
SENSEI Ja SAKUBUN wo oshiyuru koto narishi ga, sono BUNDAI no sukoburu CHIMPU ni shite, sude
ni RIGAKU no yurusazaru koto naru ni, mashite SENSEI no KUJU HIYU tomo ni JITSU ni HŌFUKU
ZETTō ni taezaru hodo no koto nariki. DōITSU GAKKŌ NO DÕITSU SEITO ni shite, KOSHITSU nite
taloeba sake naru mono wa KWAGAKU-TEKI SAYŌ ni yotte, kome mugi mata wa sono ta no mono
yori SEIZO suru mono nari to toku ni HANshite, OTSU-SHITSU nite wa TEN ga KŌKō no TOKU ni
KANjite, izumi wo HENjite sake to nashitaru koto mo ari to tokaba, SEITO No KANKAKU . Suru
tokoro ikan? Moshi SENSEI no toku tokoro ni tsuite SHUSHA SENTAKU suru atawazaru SEITO
naraba, tachimachi madoi wo SHŌzezaru wo ezu; moshi mata KOSHITSU SENSEI NO RIGAKU-TEKI
KŌJU wo ZE to shi, OTSU-SHITSU SENSEI NO KANKO-SETSU wo HI to suru no SAISHIKI aru SEITO
* Another (more Japonised) reading is halcase. ·
TA
4
EASY MODERN PIECES.
361
naraba, OTSU-SHITSU SENSEI NO CHIMPU-SETSU wo warawazaru wo ezaru-beshi. SEITO wo shite
aruiwa madowashime, aruiwa warawashimuru ga gotoki KYOIN wo oite, nan no EKI ka aru?
Tada GAI aru nomi. Shikaru ni, GAKKō no KANTOKU-SHA taru KÕCHỖ wa MOCHIRON, SHIGAKU-
IN no gotoki mo nao kaku no gotoki koto ni KI tsukazu; TŌKAN ni FUslite, kaku no gotoki KYOIN
ni SEITO no KYŌDO WO TAKUSuru ni itarile wa, JITSU ni GAITAN ni taezaru nari. Mottomo migi-
ra KIKWAI no koto to iedomo, REKISHI-JO nite kore wo toku wa yamu wo ezaru koto nareba, yo
wa acte kore wo FUKA to sczaredomo, SHŪSHIN-KWA mata wa BUNDAI nado ni kaku no gołoki
KIKWAI NO REI wo hiku wa yamu wo ezaru koto ni arazareba, kaku no gotoki koto wa kanarazu
kokoro su-beki nari.
KAMBUN wo oshiyuru wa, KANGAKU-SENSEI ni shiku wa nashi to iedomo, sono SHISŎ NO
CHIMPU ni shite, RIGAKU no nani taru wo shirazaru ga tame ni, tsui ni KYŌJU ni taczaru koto
kaku no goloshi. KANGAKU-SHA wo mochiyuru ni tsuite wa, kanarazu JŪBUN ni CHUI wo kuwac
zaru-bekarazu. Sara ni KANGAKU-SHA NO KYŌJU ni tsuite iu-beki wa, KANGAKU-SHA wa GAKUMON to
sae ieba, tokaku MONJI JIGI wo toku koto wo nomi HITSUYO naru koto to kangae, iwayuru SHISHŌ
KISHŌ no sue ni KŌDEI shite, kaette GAKUMON no HONSHU wo ushinau mono ōshi. Yue wo motte, RINRI
wò oshiyuru ni atarite mo, BUNSHO wo toku to onajiku, mattaku JIGI wo SHU to shite, RINRI NO
kotogara wo toku koto wo SORYAKU ni nasu no HEI ari; KEISHO wo toku mo, SHIRUI wo Kōzuru mo,
mina ICHI-YŌ ni shite, sono kotogara yori wa mushiro MONJI JIGI Wo SHU to suru ga goloshi.
Kedashi KAMBUN wa GWANRAI GWAIKOKU NO BUN ni shite, hanahada KAIshi-gataki ga tame ni,
kotogara wo toku ni wa mazu BUN-I wo KAIsezareba atawazaru wo molte, yamu wo czu BUN-I-JO NO
KōSHAKU ni moppara kokoro wo mochii, tame ni kaette kotogara wo SORYAKU ni suru no yamu wo
czaru koto to narishi naran. Shikaredomo, KONNICHI ni arite wa, KODAI to chigai, GAKUMON wa
KÈsshite KANGAKU no IK-KWA ni arazu; KANGAKU O SEMMON to nasu mono no hoka wa, KANGAKU
wa tada HOJO no tame ni GAKUSHŪ suru ni sugizaru koto nareba, MONJI JIGI no gotoki wa TAI-I ni
todomete, kaette DAITAI no kotogara wo ETOKU seshimuru wo motte SHUSHI to sezaru-bekarazaru
nari.
Chinami ni, MOMBUSHO NO KYOKWA-SHO KEN-ETSU ni tsuite mo ICHI-GEN sezaru-bekarazu.
MOMBUSHO nite wa, JŪRAI TOSHO WO KEN-ETSU suru ni sono RYOHI TEKI-FUTEKI WO GEN ni KENTEI
suru wa, CHOSAKU-SHA NO JIYŪ wo samataguru no osore ari to no SHUSHI naru ya, mata wa TA no
SHUSHI arite no koto naru ya wa shirazaredomo,—iyashiku mo GAI naki TOSHO wa, subete kore wo
NINKYO suru no HOSHIN naru yoshi naredomo, sono iwayuru GAI no UMU ni tsuite wa JŪBUN ni
KENKYŪ wo tsukusazaru-bekarazu. Tatoeba, INWAI ni shite, FŪZOKU WO BINRAN suru no osore aru
wo
mono; mata wa KWAGEKI ni shite, CHIAN wo BŌGAI suru no osore aru mono Tō wo KINzuru wa, moto
yori GAI aru mono wo KINzuru yuen ni shite, koto ni sono CHōyō naru mono ni sōɩ naki mo,—shikashi,
GAI aru mono wa KESshite hitori kore-ra ni todomarazu; KONNICHI KAIMEI no yo ni oite hanahada
RIGAKU ni HANseru KIKWAI-SETSU no gotoki mo, CHISHIKI KAIDO no TEN ni oite õi ni GAI aru mono to
mi-tomezaru-bekarazu. MOCHIRON SHŪKYŌ-JŌ ni arite wa, kaku no gotoki KIKWAI-SETSU mo nao
yamu wo ezaru koto naru-bekeredomo, KYŌIKU koto ni CHI-IKU ni oite wa, RIGAKU-JO KEsshite yurusa-
362
TENTH SECTION.
zaru ga gotoki KIKWAI-SETSU Tō wa, kanarazu kore wo GAI aru mono to NINTEI sezaru-bekarazu.
Hatashite shikaraba, KEN-ETSU no HŌSHIN no gotoki mo, FŪZOKU BINRAN CHIAN BŌGAI wo motte GAI
to nasu no hoka ni, sara ni KONNICHI NO KAIMEI ni TEKIsezaru KIKWAI-SETSU no gotoki mo tomo ni
GAI ari to shite, kore wo yurusazaru koto to sczaru wo czu; moshi kaku no gotoku narazareba,
CHI-IKU wa KESsshite CHISHIKI WO KAIHATSU Suru ni tarazaru-beshi.
FUZOKU BINRAN CHIAN BOGAI no hoka ni, sara ni KONNICHI NO RIGAKU-SEKAI ni TEKIsezaru
KIKWAI-SETSU Wo mo, JIKON YŪGAI to shite, KINzezaru-bekarazaru no RI ZENCHIN no gotoshi to iedomo,
—shikashi JŪZEN sude ni NINKYO seru TOKUHON no RUI ni wa kaku no gotoki mono mo ō-ō aru koto
nareba, KONNICHI NO KYŌJU-JŌ ni tsuite wa SHIGAKU-IN taru mono wa JŪBUN CIIŪI wo kuwaete, koto
ni KANGAKU-SENSEI NO KOJU wo KANSHI shi, tsutomete kaku no gotoki KIKWAI-SETSU wo Motte SEITO
wo madowashimezaru koto ni DORYOKU sezaru-bekarazu. SHŪKYŌ to KYŌIKU to wa, KEsshite KONDō
suru wo yurusazaru niri.
THE CHINESE SCHOLAR.
(By Katō Hiroyuki, Doc. Lit.)
("HINSO HYAKU-WA.")
It were needless here to recall how illustrious have been the services rendered by literati
of the Chinese school to the intellectual culture of our country. More especially did the three
centuries during which the Tokugawa Shōguns ruled the land produce a series of profound
scholars and eminent Confucianists, to whose exertions the nobility and two-sworded gentry
owed almost all the culture they possessed. So high indeed are such services to be rated that
the present writer does not hesitate to ascribe to this Chinese training our ability, not only to
meet the nations of Europe and America on fairly equal terms when suddenly brought into con-
tact a few years ago, but to adopt new European and American ideas, and naturalise them as
arts and sciences on our own soil. But the surviving literati of that school who are charged
with the education of the rising generation, and who ought to know that times have changed and
to realise how futile it is to cling to the antiquated principles of the old régime, do as a matter
of fact fail to recognise the condition of affairs in our new-moulded world ;-too many of them,
to the grievous hurt of the nation, continue to stagnate in an antiquated circle of ideas.
Observe the Chinese scholars who teach as professors in our middle and other schools to-day.
Not only do many of them discourse old-world fables condemned by modern science, we even
find them, and that not seldom, including such fabulous tales in their printed text-books.
For instance, they adduce stories like those of the "Four-and-twenty Paragons" as models of
filial piety, they explain as a celestial recompense of filial piety the wondrous fountain on
Mount Yōrō, they expatiate on all sorts of good and evil omens, and so on ad infinitum.
Doubtless they do so because, being themselves believers, they think that the things really
happened as related, and might so happen again in future. But as modern science absolutely
EASY MODERN PIECES.
363
condemns such fables, we are forced to conclude that those who teach them are doing nothing
but lead their hearers into superstition. A few years ago the present writer visited a certain
school in a certain prefecture, to see how the instruction was carried on. On entering one
class-room, he found as teacher there a graduate of the Normal School giving a lesson in science,
whose method of instruction was of course excellently suited to the needs of his hearers, and
the subject-matter of whose lecture was rigidly scientific. On entering the adjoining room,
there was seen a scholar of the Chinese type who might be some fifty years of age, and
who was teaching Chinese composition, the subject something absurd to the last degree
and condemned by science, while the pedagogue's delivery, and his metaphors as well,
were simply such as to make any one shake his sides with laughter. When a student
is taught, for instance, in Class-room A that the liquor commonly drunk in Japan is
manufactured from rice, barley, etc., by means of chemical processes, and the same student
at the same school is taught in Class-room B the exact reverse, namely, that Heaven changed
a fountain of water into such liquor as a reward for the virtue of filial piety, what will
be the impression left on that student's mind? If his nature be such as to unfit him to
pick and choose among the doctrines of his instructors, he will infallibly be led into
perplexity. If, on the other hand, he possess the wit to accept the scientific teaching given by
the man in Class-room A, and to reject the filial-piety-reward doctrine of the man in Class-
room B, he will infallibly be led to laugh at this man and his absurdities. Now, what can be
the good of manning schools with teachers who lead the students either into perplexity or into
the habit of laughing at those who are set in authority over them? Such a system can produce
nothing but harm. And yet the headmasters superintending such schools, and not they alone,
but the educational inspectors, pay no heed to the evil. They slumber on, with the truly lament-
able result that to such educators as those we have just described the care of our students is
committed. Not indeed that the present writer would deny the necessity of referring to such
fabulous occurrences as that instanced above when they are met with in history; but as there
is no necessity for adducing them when teaching ethics or when setting themes for composition,
educators should take their measures accordingly.
Doubtless for teaching Chinese the best man must be a Chinese scholar. Nevertheless, such
are some of the lamentable results to education that flow from the absurd notions of a man so
trained, owing to his ignorance of the very nature of science. When employing such a man,
most thorough-going precautions inust be taken. Another point needing to be touched on with
reference to their system of instruction, is that the one thing needful according to them-the
whole gist of education-is an explanation of the sense of Chinese characters. Their habit,
almost to a man, is to stick fast in the memorising of words and phrases, while letting the
true aim of knowledge slip past them. Thus does it come about that their lessons even in
ethics follow the same plan as their lessons in composition. The signification of the characters
is always the chief point with them; the ethical subject-matter occupies but a secondary place
364
TENTH SECTION.
in their elucidations. And thus it is with everything:—whether the Confucian Classics or
Chinese history be their theme, all and sundry are treated in the same manner, the subject-mat-
ter being relegated to the second place, while an explanation of the characters occupies the first.
Perhaps this is unavoidable. Chinese is a foreign language very difficult to comprehend. In-
telligence of the subject-matter presupposes intelligence of the diction, whence inevitably the
chief stress comes to be laid on making the diction plain, while the subject-matter is compara-
tively neglected. But the times in which we live are not like the days of old. Knowledge no
longer consists exclusively in Chinese learning. Except for those few who may make it a
speciality, Chinese can no longer be anything more than ancillary to other studies, and our aim
must be to seize the subject-matter in the main, and content ourselves with the chief items of
such matters of minor import as characters and their significations.
While on this subject, I must say a word concerning the examination of text-books by the
Educational Department. Whether it be that the Department has hesitated to interfere with
the liberty of authors by too strict an enquiry into the merits and appropriateness of such books,
or whether it be owing to some other motive I know not, but the fact would seem to be that
there has hitherto existed a tendency to sanction all books not positively harmful. Now to
determine whether a book is or is not harmful, is a point demanding the greatest care. Thus,
though there can be no doubt whatever that a book should be forbidden if by its obscenity it
may lead to the corruption of manners, or if by its violence it may lead to disturbance of the public
peace, the power of prohibition being framed precisely to meet such cases of harmfulness, and
these particular cases being so glaringly harmful,—at the same time it must be remembered that
obscene or violent books are not the only ones which do harm to the public mind, but that, in an
enlightened age like ours, grave harm is done to the cause of intellectual training by the circula-
tion of fabulous tales that run counter to the teachings of science. Doubtless from a religious
point of view such fables are indispensable; but in education,-especially in the education of the
intellect,―fables which science absolutely discredits must be condemned as harmful. This
granted, the tendency of the examiners of text-books ought to be to exclude, not only such as do
harm by corrupting manners or disturbing the public peace, but likewise-and on the same
ground of harmfulness-those containing fables unsuited to our enlightened age. If they fail to
do this, our educational system will not succeed in developing the national intellect.
Such are the reasons for prohibiting henceforth as pernicious, not only books calculated to
corrupt manners or disturb the public peace, but likewise those dealing in fables unsuitable to
our scientific age. So far as "Readers" already sanctioned, but possibly containing similar
objectionable matter, are concerned, the persons charged with the office of educational inspection
must make the most careful scrutiny into the methods of tuition. More particularly must they
exercise supervision over the lectures of the professors of Chinese, and earnestly endeavour to
prevent them from leading the students astray with their fabulous tales. Religion and education
must on no account be confounded together.
EASY MODERN PIECES.
365
NOTES.
((
This piece is taken by permission of the proprietors of the " Taiyo" or Sun" magazine
from Dr. Katū Hiroyuki's “ Hinso Hyaku-wa,” a series of a hundred short essays whose publi-
cation began soon after Mr. Fukuzawa's, to which indeed the title alludes, HINsū, lit. “ poor
old gentleman," being antithetical to FUKU-ō, lit. "fortunate old man." They were reissued in
1899, under the title of 天​則​百​話 ​“Tensoku Hyakuwa,”天​則 ​signifying
"natural law." The following titles of some of the essays in the volume here quoted from have
been taken at random: "Falsehood is sometimes Essential to Civilisation."-" An Irrefragable
Proof that Altruism is not Proper to Man."-" Loyalty, Filial Piety, Charity, and Mercy all
Originate and End in Egotism."-" Morality exists solely for the Sake of the Preservation of
Society.”—“ My Position with regard to Materialism.”“ What we Owe to our Parents" ”(he
decides that, in a civilised state of society, we do owe them something)." On Colonial Policy."
"On the Cessation of War and the Establishment of Permanent Peace."-" On Religious
Freedom."-As may be inferred from these titles, Kato's thought on matters social and
philosophical runs much in the same lines as Fukuzawa's, being rationalistic and utilitarian.
Kato's literary style, though easy and natural, lacks not a little of the charm of Fukuzawa's.
More especially does it suffer from the common Japanese fault of tautology. In the Colloquial,
on the contrary-for some of Kato's lectures have been printed verbatim, as taken down by
shorthand-he carries off the palm.
For the Four-and-Twenty Paragons of Filial Piety, see Things Japanese, article “Filial
Piety." For the legend of the fountain of Yōrō which was turned into wine, see Murray's
Handbook for Japan.

第
​第​のり​分​昨
​す
​の​日​件​材​其艇​全
​諸​用​馬​艦​汁 ​總​義
​走​物​諸​匹​舷​條​工 ​陸
​之​兵
​び​該港
​如し​を
​し​を​日
​條​L開​以​午
​旅​●

て​後 ​順​•
旅​一
​順​月
​是​本​汶​料​他
​す​軍​現官
​に​状 ​切
​引​の ​官
​兵器​彈
​旅​在​並​軍​汇​旅
​順​捕江 ​あ順
​官​入る
​規​本​九
​約​調​時間
​本​印
​渡​儘​有​軍​藥​臺
​彈​砲
​C&吏​及​露
​於すはび國刄
​及
​文​を​十
​令
​開​城​規
​日​午後
​左​終​五​讒​約
​366
TENTH SECTION.



第
​べ
​第
​民​艇​名​軍​危旅​五る​を​現件印 ​べ​砲​其迄
​の​名簿​編​險順​條 ​廢状​を​の​條​し​臺東​に​其條
​男 ​成物要 ​し​止​を​破當
​女​及​文​表​の​塞​在
​人​其​官 ​布​配​旅
​種​乘 ​陸​設備​順
​職​組​職​海圖
​第
​南​椅​擔
​人氏​軍​及
​員​名将​び​地磨
​數​名簿​校​在​雷​陸
​表​簿 ​官​旅​水泡
​を ​軍​職​順​雷​軍
​調​普​隊​等 ​官
​製 ​監​級​陸其憲
​し​人​舩氏​海​他​は
​露​國
​し​變壊​時​露
​日​更し​に​國
​本​す​又​現​陸
​軍​と​は​存漁
​は​認其​せ​軍
​自​む​他​る​に
​由る​の​第​於
​のと​方
​行き​法​條​本
​動​は​にの​規
​規
​を​談​於諸​約
​取判​て​物​調
​守 ​子​保​前
​備帯​山​と
​をの ​し​箇
​水
​撤​高
​て​脩
​し​地
​日​上
​本​に
​來​を
​る​承
​山
​1
諾
​
て
​軍あ​大月​す
​
にる
​る
​交附​す
​交堡子​日​に
​山​正​於
​及午​て
​
第
​る
​校にる​軍​取​て​又活​将禦​七​於方​現​諸諸​む
​に​歸​この ​ら​本 ​前​に​校​を​條​て​法​在​物​物 ​條本
​は ​と​利
​ず​戦記​必及​名 ​規​に​の​件​袢弾 ​軍
​各​す​を​益如
​を​益​如役​将​. 所​譽日​定​關位
​入る​筆​に​何​の​校​な​屬​と​本​すし​置
​にて​記反​な​終
​す軍る​て​に
​と​宣對る​局​官​私​吏る​はも​は​整
​名​を ​す​方​に​吏有 ​に​に​露​の​日
​第六​條
​日
​私
​浜​に
​有
​馬
​軍
​交
​物
​匹
​宛​承​する​法至​刄品​帯​依​軍​と​露​す
​の​諸​る​行​にる
​び​の​剣り​の​す​兩​べ
​艦船
​を​除く​)
用​諸​材料
​附
​各​す
​入​す
​人心
​し
​艇 ​携
​從​す ​も​薦於ま ​義​携及​露勇 ​軍​し​は​刄官​帯
​て​で
​卒陸​の​を ​勇
​敢
​を ​涙​は​篤​も​武​兵​を​直​陸​な
​隨軍​本​さ​日​器​に​許接海
​行将國 ​本​を​しす​生​軍防
​び
​其​悉​其
​受
​兵
​一
​内
​る
​員​授
​部​官​を
​にの​を​の​有
​EASY MODERN PIECES.
367

第
​第
​第
​第
​し
​製​十​右​に​及干​し ​本​の​刄​九​し
​双​九​し​の​有勇
​の​有​勇​八​を ​を​せ
​附​關​之​條​て ​軍​為​び​條​て
​び​條​て​指物​兵​條
​調​條​録​す​に ​引​の​め​經
​し
​すむ
​印
​る
​は​示 ​件​は
​はる​關普​續衞​日​理​旅​日​す​を​其武
​の​本​本​細​す ​き ​生​本部​順​本​る​携制​裝
​時規​規則​る​人​勤​部​軍​員 ​軍​集 ​服​を
​よ​約​約​は​書民​務員​に​は ​に​の​合​所​を​解
​りはと​本​類 ​刄於​病​あ季 ​地​屬着​除
​直​日​同​規​の​處服​經​て​傷 ​る​員 ​に​将​用
​に
​し
​ち
​に
​し
​理​部​員
​露 ​約​引置​せ ​理 ​里必 ​者​露​に​至校​し​た
​丙​の​附繼
​要​及國​於る​の​携
​効​軍​録​ぎ​市
​市​起
​力​に​力​に​其
​る
​員​とび​陸​て​べ ​指 ​陸
​のべ ​指​認俘​海 ​し​撣天
​生​て​有​て​本​政
​ず​各​す​規規會
​を​於​を​於他​行​し​揮​む​虜​軍​を​但​を​幕軍
​のる ​の​指​其以​及 ​下
​下​時​救​衞​示​詳​て​所​士
​1
定然 ​計
​通
​す​執事
​殘​迄​給​部
​に​期​護​生す​細​日
​日​要​卒
​に​本​の​刄
​を
​こと​を​許す​此從​卒​は​特に​宣誓​解放
​務 ​留​日​養​員 ​關​軍​和​義
​RYOJUN KAIJŌ KIYAKU.
(ICHI-GETSU mikka GOGO DAI-HON-EI CHAKUDEN.)
RYOJUN KÕI-GUN SHIREI-KWAN HŌKOKU.
SAKUJITSU GOGO KU-JI SHI-JŪ-GO FUN wo motte HON-CHŌIN wo owarishi KAIJō KIYAKU HOMMON
Sano gotoshi:-
DAI ICHI-JŌ.—RYOJUN YŌSAI oyobi GAIKō ni aru ROKOKU NO RIKKAI-GUN GUNJIN, oyobi GIYŪ-HEI,
narabi ni KWANRI wa, subete kore wo HORYO to su.
DAI NI-JO. RYOJUN-Kō ni okeru ZEN-HORUI, HŌDAI, KAN, SEN, TEI, HEIKI, DAN-YAKU, BAHITSU,
SONO TA ISSAI NO GUN-YŪ SHO-ZAIRYÔ, KWANSHA, KWAN-YŪ SHO-BUKKEN Wa, GENJō no mama kore
wo NIHON-GUN ni hiki-watasu mono to su.
DAI SAN-JŌ.—ZEN NI-KA-JŌ WO SHŌDAKU Suru ni oite wa, sono TAMPO to shite, kitaru ICHI-
GETSU mikka SHŌGO made ni ISU-ZAN, SHō-ANSHI-ZAN, DAI-ANSHI-ZAN, Oyobi sono TONAN ITTAI NO
KOCHI-Jō ni aru HÔRUI HODAI NO SHUBI WO TESSHI, NIHON-GUN ni KOFy su-beshi.
368
TENTH SECTION.
1
DAI YO-Jō.-ROKOKU RIKKAI-GUN ni oite HON-KIYAKU CHŌIN no TŌJI ni GENZON seru DÀI
NI-JŌ NO SHO-BUKKEN WO HAKWAI shi, mata wa
mata wa sono TA NO HōHō ni oite GENJŌ WO HENKŌ
su to mi-tomuru toki wa, DAMPAN WO HAISHI shi, NIHON-GUN wα JIYŪ no KōDō wo toru-beshi.
DAI GO-JŌ.—ZAI RYOJUN-Kō ROKOKU RIKKAI-GUN KWANKEN wa, RYOJUN YʊSAI HAIBI-ZU, JIRAI,
SUIRAI, SONO TA KIKEN-BUTSU NO FUSETSU-ZU, oyobi ZAI-RYOJUN-KŌ RIKKAI-GUN HENSEI-HYÖ, RIKKAI-
GUN SHŌKŌ KWANSHOKU TŌKYŪ SHIMEI-BO, BUNKWAN KWANSHOKU SHIMEI-BO, GUNTAI, KAN, SEN, TEI
MEIBO, oyobi sono nori-kumi JIN-IN MEIBO, FUTSŪ JIMMIN NO DANJO, JINSHU, SHOKUGYO, INSŪ-HYÖ
wo CHOSEI shi, NIHON-GUN ni KOFU su-beshi.
DAI ROKU-JO.—HEIKI (KAKUJIN NO KEITAI HEIKI wo fukumu), DAN-YAKU, GUN-YŌ SHO-ZAIRYŌ,
KWANSHA, KWAN-YŪ SHO-BUKKEN, BAHITSU, KAN, SEN, TEI, oyobi sono NAIBU no SHO-BUKKEN (SHIYÜ-
BUTSU wo nozoku) wa, kotoyotoku kore wo GENZAI NO ICHI ni SEICHI su-beshi. SonO JUJU NO HÕHŌ
ni KWANshite wa, NICHI-RO RYO-GUN NO I-IN ni oite KITEI suru mono to su.
DAI SHICHI-JO.—NIHON-GUN wa, Ro-GUN no YŪKAN naru BōGYO Wo MEIYO to suru ni yori,
ROKOKU RIKKAI-GUN SHŌKō oyobi SHOZOKU KWANRI ni TAIKEN oyobi CHOKUSETSU SEIKWATSU ni
HITSUYŌ naru SHIYU-HIN NO KEITAI 2o yurusu. Mata ZENKI SHŌKO, KWANRI, oyobi GIYU-HEI ni
shile, HON-SEN-EKI NO SHŪKYOKU ni itaru made BUKI wo torazu, ika naru HŌHŌ ni oile mo NIHON-GUN
NO RIEKI NỶ HANTAI Suru KōI Wo nasazaru kolo wo HIKKI SENSEI suru mono wa, HONGOKU ni KIKWAN
suru koto wo SHODAKU su. RIKKAI-GUN SHŌKō ni wa, KAKU-JIN ni ICHI-MEI-zutsu NO JŪSOTSU WO
ZUIKO seshimuru koto wo yurusu. Kono JŪSOTSU wa, TOKU ni SENSEI KAIHŌ WO NASU.
DAI HACHI-JO.—BUSō wo KAIJO shitaru RIKKAI-GUN KASHI-SOTSU oyobi GIYU-HEI wa, SONO
SEIFUKU WO CHAKUYō shi, KEITAI TEMMAKU oyobi SHOYO no SHIYU-BUKKEN wo tazusae, SHOZOKU
SHŪKŌ NO SHIKI wo motle NIHON-GUN NO SHISHI suru SHŪGO-CHI ni itaru-beshi. Tadashi soNO SHŌSAI
ni KWANshile wa, NIHON-GUN no IIN ni oite kore wo SHISHI su.
DAI KU-JŌ.—RYOJUN-Kō ni aru ROKOKU RIKKAI-GUN NO EISEI-BUIN oyobi KEIRI-BUIN wa,
BYŌSHŌ-SHA Oyobi FURYO no KYŪGO KYŪYō no tame, NIHON-GUN ni oite HITSUYO to mi-tomuru JIKI
made, NIHON-GUN NO EISEI-BUIN oyobi KEIRI-BUIN SHIKI NO moto ni ZANRYŪ shite, hiki-tsuzuki KIMMU
ni FUKUseshimu-beshi.
DAI JŪ-JŌ.—FUTSU-JIMMIN NO SHOCHI, SHI NO GYŌSEI KWAIKEI JIMU, oyobi kore ni KWANsuru
SHORUI no hiki-tsugi, sono TA HON-KIYAKU SHIKKō ni KWANsuru SȧISOKU wa, HON-KIYAKU FUROKU ni
oite KITEI SU.
MIGI FUROKU wa, HON-KIYAKU to DÕITSU NO KŌRYOKU wo YŪsu.
DAI JŪ-ICHI-JO.-HON-KIYAKU wa, NICHI-RO RYō-GUN ni oite ono-ono IT-TSŪ wo SEIshi, CHŌIN
no toki yori tadachi ni KŌRYOKU WO SHŌZU.
EASY MODERN PIECES.
369
*AGREEMENT FOR THE CAPITULATION OF PORT ARTHUR.
(Telegram received at the Military Headquarters on the afternoon
of the 3rd January. Report from the Commander-in-Chief
of the Army investing Port Arthur.)
The following is the text of the agreement for the capitulation formally signed yesterday
at 9.45 P.M.
ART. I. The military and naval troops of Russia in the fortress and harbour of Port
Arthur, as well as the volunteers and the officials, shall all be made prisoners.
ART. II.—All the forts and batteries of Port Arthur, the men-of-war, torpedo-craft, and
other vessels,† the arms, ammunition, horses, and all and every other matériel de guerre, official
buildings, and official property shall be handed over as they stand to the Japanese Army.
ART. III.—When the two foregoing articles shall have been agreed to, all the forts and
batteries at Isu-zan, Shō-Anshi-zan, Dai-Anshi-zan, and on all the heights to the south-east of
these shall be evacuated and handed over to the Japanese Army by way of guarantee, not later
than noon of the 3rd January next.
ART. IV. Should it be recognised that the Russian military or naval forces have destroyed
or otherwise altered any of the objects enumerated in Art. II., and existing at the time of the
signing of this Agreement, the present negotiations shall be broken off and the Japanese Army
shall resume its freedom of action.
ART. V. The Russian military and naval authorities at Port Arthur shall compile and
hand over to the Japanese Army maps showing the arrangement of the fortress ‡, the position of
fougasses, torpedoes, and other dangerous objects, as well as lists of the organisation of the
military and naval forces in Port Arthur, the roll of military and naval officers with their posts,
ranks, and full names, the roll of civil officials with their posts and full names, rolls of the
military corps, and of men-of-war, torpedo-craft, and other vessels, together with lists of their
crews and tables of the non-combatants §, with their sexes, nationalities, and occupations.
ART. VI.—The arms (including those carried by individuals), ammunition, all matériel de
guerre, official buildings, and official property of every description, horses, men-of-war, torpedo-
craft, and other vessels, together with all objects (excepting private property) on board of these,
shall be left in their present positions. The method of transfer of all these objects shall be
agreed upon between the Japanese and Russian Commissioners.
* More idiomatically, “Articles of Capitulation,” etc.
+ 艦船​艇 ​is more lit. "warships, (non-war-) ships, and torpedo-craft," the order of the words being due to
艦船
​the fact that existed as the general designation of “men-of-war and merchant-vessels," before the invention
of torpedoes.
More idiomatically, "the defences."
§ Lit. "ordinary persons."
370
TENTH SECTION.
ART. VII.—The Japanese Army will, in honour of the gallant defence made by the Russian
Army, allow the Russian military and naval officers and the civil officials attached to the
Russian Army and Navy to retain their swords, and to take with them such personal effects as
may be directly necessary for their subsistence. Furthermore, the above-mentioned officers,
officials, and volunteers shall be permitted to return to their native country on condition of their
pledging themselves by a written oath not to take up arms until the close of the present war,
and to refrain from performing any action whatsoever contrary to the interests of the Japanese
Army. Every military and naval officer shall be allowed to take with him one soldier as an
attendant, who shall be specially released on parole.
ART. VIII.—The disarmed military and naval non-commissioned officers, men, and
volunteers shall, in their uniform and with portable tents and their requisite personal effects,
assemble under the command of their respective officers at the rendezvous indicated by
the Japanese Army. The details of this arrangement will be indicated by the Japanese
Military Commissioners.
ART. IX. The members of the sanitary and accountant departments of the Russian
military and naval forces at Port Arthur shall remain in the discharge of their duties of caring
for and feeding the sick, wounded, and prisoners under the direction of the members of the
sanitary and accountant departments of the Japanese Army, during such time as the Japanese
Army may deem necessary.
ART. X.-Detailed regulations for the disposal of the non-combatants, the transfer of the
administrative and financial business of the municipality, and of the documents relating thereto,
as also for the execution of this Agreement, shall be provided for in a Supplement to this
Agreement.
The said Supplement shall have the same force as this Agreement.
ART. XI. The Japanese and the Russian Army shall each draw up one copy of this
Agreement, which shall become operative from the time of its signature.
Nole.-Russian students who may honour our book with their perusal will scarcely need
assuring that no disrespect to their country is intended by the insertion of this piece, which
happened to be the most concise one available to print as a specimen of the modern style of
treaties and conventions, and at the same time of terms connected with warfare. The frequent
use ofoyobi to render "and" or "as well as," and the minuteness of some statements, with
the tautology which that minuteness entails, are "Europeanisms."
Europeanisms." In fact, in this whole class
of documents the so-called original might generally be taken for a translation, and sometimes
actually is so. Many of the Japanese laws, for instance, are borrowed textually from an existing
French or German model.
EASY MODERN PIECES.
371
NEW CHARACTERS OCCURRING IN THE PRECEDING SECTION.—1688.
""
賞
​SHO,
("honouring" with "treasures ").—-1689. 銘 ​MEI, "an inscription, hence a
(“names" of illustrious models engraved in "metal").–1690.
<<
roundabout," "vague.”—1691.
SAI, "a fortress.”—1692.
1693.
胃
​((
a reward
"precept
迁 ​Uon mari-dai,
塞 ​SOKU or fusagu, "to fill up, "obstruct." Also read
貪 ​TON or musaboru, "to covet" (wanting "wealth now ").—
I, "the stomach" (that part of the "flesh" into which the produce of the rice-
fields" goes). Do not confound it with (1694) CHỮ or kabuto, "a helmet," in which the
stroke comes out at the top.
197 SUI or you, "to be tipsy
(No. 1387) is another character also read kabuto.—1695.
(from “spirits and "end," as owaru, "to come to an
end" is one of the readings of the character, our No. 342; it is as if to say that
the drinker has come to the end of his ability to drink).—1696.
remove.”—1697.
誓
​脆
​遷
​SEN or utsuru, to
ZEI or moroi, “brittle (from flesh and "dangerous "-1698.
SEI or chikau, "to swear." (What a satire this character is on the sanctity of oaths,
formed as it is of "breaking" one's "word;" for 折
​oru, our No. 901, signifies "to
break!")-1699. mochi, “a rice-cake" (from "to eat," and used phonetically,
Of
并
​its being HEI).-1700.
音
​棚 ​Hō or tana, “a shelf.”—1701. 勉
​BEN or tsutomeru, “to exert
oneself."-1702.
gu
<<
Kō or sakana, “any food taken with sake," specifically “fish.”—1703.
it with (1088)
au or oroka, “foolish.”—1704. 憐 ​REN or awaremu, "to pity." Compare it with (1038)
RIN or tonari, neighbourhood" (one should pity, i.e. love, one's neighbour).-1705. 狂
​or kuruu, “to be mad.”—1706. R
眠
​愚​隣
​KYO
MIN or nemuru, "to sleep." Another common character
for “sleeping,” more properly "nodding," or "dozing," is (1707)
||IE
SUI or nemuru (lit.
睡眠
​“the eyes drooping”); conf. also remarks ou No. 919, p. 167. SUIMIN HER
""
is a favourite
compound signifying "slumber.”—1708. 垂 ​SUI or tareru, "to hang down, "to droop."-
1709.
猫
​MYO (BYO) or neko, "a cat." The character intimates that cats eat mice, the des-
troyers of (1710) Byō or nae,
parently pictorial.—1711.
樹木
​KEN.-1714.
JUMOKU means
"shoots" or "sprouts" of rice. This latter character is trans-
隧 ​SUI or ana-michi, “a tunnel.”—1712.
樹
​JU or ki, "a tree:
trees."-1713. JuJ KU or inu, “a dog;” interchanged with
錦 ​KIN or nishiki, “brocade" (a "white cloth" embroidered with "gold").
Kindred in shape is (1715) MEN or wata, "cotton wool.”
1716.
較 ​Kō or KAKU or kuraberu, “to compare."-1717. 臭 ​SHU or husai, "smelly "
矮
​(n "dog" finds out the scent by "himself," without being told).-1718.
WAI or hikni,
"low," "short of stature."-1719. originally "ruinous," but mostly read HAISUU,
abolish." Remember it by comparison with Bys
"plain."-1721-2. 雸​壤
​at same time (1723)
time (1723)
HATSU.–1720.
SHō-Jō, a synonym of 天地
​"to

坦 ​TAN or taira, "level,"
"heaven and earth." Memorise
sõ or yuzuru, “to yield.”—1724. 獎
​SHŌ Or Susumeru, "to en-
courage.”—1725. 勵 ​REI or hagemasu, "to incite.”—1726-7. THE SORAL, a celebrat-
ed proper name, for which see note on p. 324. alone signifies "to go;" 徠
​"to en-
372
TENTH SECTION.
HERE
tertain hospitably." Both may be easily read off by means of their Phonetics.—1728. 儒
​JU, “a Confucianist" (a "man searching after" [Jap. motomeru] the truth).—1729. 超
​CHō or koeru, “to step over," "to surpass."-1730. pli
術 ​JUTSU, “an
an art."-1731. Dii (also
凌
​(C
written) aragane, 'ore;
” more often Kō, “mining.”—1732.
Djk Hj
RYO or shinogu, "to
brave," "to overpass.-1733–4.
membered by the Phonetics. The latter one is the same as in the very common character
HARI, the literary word for "glass," easily re-
(1735) 離 ​RI Or hanareru, "to be parted."-1736-7. 紡​績
​mean "spinning," "rceling."-1738. 哲 ​TETSU, "perspicacious,
>> (C
BŪSEKI; both characters
sage." —1739.
玆
​koko
ni, "here."-1740. ÁJL Kō, “navigation.”—1741. Ý or
卯 ​外 ​u, one of the twelve signs
of the zodiac, viz. u[sagi], “the hare." A common bush with a small white flower, the Deutzia,
I, "class,' "series."
is called n-no-hana.—1742.
卯の花
​RECE
字​彙
​· means
(C
"
dictionary.”—1743. 鼎 ​TEI or kanae, "a tripod," "a cauldron,”—the sides and lower portion
of the character picturing the body and legs of the utensil in question, while the contents that
are being fused or boiled have come to assume the shape of the character
is a Radical, but has no useful characters classed under it.
1744.
eye.” 鼎
​目 ​"eye."
枚 ​MAI, the auxiliary numeral for flat things.-1745. 活 ​KATSU, "lively,"
hence ikiru, "to be alive."-1746. 泣 ​KYU or naku, “to weep,”—1747. ||
喫
​swallow,”—said of eating, and especially of smoking.—1748.
演
​KISSUru
"to
EN or noberu, "to extend,"
"practise," hence "to state." Its force will be appreciated by comparing such compounds as
演劇 ​ENGEKI, “play-acting;"* ENGI, "a commentary;
説
​Or
ENZETSU, “a lecture.”—1749. LEJ Tō or taoreru, “to fall over."-1750. CHō, "a
butterfly."-1751. 產 ​SAN or umu, “to give birth to."
演​舌 ​演
​凌
​RYŌ or aya alone means silk damask ;” 1753. 紗 ​SHA, alone means “
gauze ;
綾​羅紗 ​is "cloth with diagonal stripes."-
1754.
套 ​Tō. In Japanese this occurs only in the word
外套
​GWAITO, "an overcoat."
1752.
Lut 羅紗
​is "woollen cloth," and
((
Its original force of "largeness," " enwrapping," is well shown in the constituent elements of
the character,—“big” and "long," the latter slightly abridged in combination.-1755
"to strip," "to take off," hence nigeru, "to get off," "to evade."-1756.
DATSU or nugu, "to strip,'
脫
​編 ​shima, " a stripe," occurring as a pattern in any kind of stuff.-1757. 囊 ​Nō or fukuro,
bag." Its Radical "mouth," and the "clothes" meant to be put into the bag, may give
some slight help towards the acquisition of this terrible, but necessary, character. Another
YŪ,
character for “bag” is (1027) 1.—1758. 悠 ​Y0, "far off," "leisurely."—1759.
""
yō or koshi, "the loins (from "flesh"
body).—1760-1.kimori,
蝙蝠
​腰
​flesh" and "important," as being a vital part of the
"a bat." The European umbrella is supposed to
resemble a bat in shape.-1762. All HAKU or usui, "thin," not to be confounded with (856)
BO, "a tablet."-1763.
簿
​環
​((
KWAN or wa, a ring." (It "turns round" on one's
EASY MODERN PIECES.
373
finger; compare No. 1656,
KWAN or kaeru, "to return.")-1764.
"to return.")—1764. botan,
El botan, “a button"
(originally "a metal rim on a cup," which meaning the character well renders).-1765–6.
glitter';”爛
​燦爛 ​SANRAN, "glittering.'
read tadareru, "to be inflamed," as the eyes-1767. 鎖 ​SA or kusari, "a chain," also fozasu,
IDE CHō or nagameru, “to gaze.”—1769. [IZ GEN or tsubuyaku, “to mutter,”
glittering.” 燦 ​alone is kirameku, “to glitter;" alone is mostly
"to shut."-1768.
"to grumble."-1770. 膨 ​Bō or fukureru, "to swell," "to be bloated."-1771. 燧
​SUI or
ensues).
suru, "to rub," "to strike
"to strike" as a match (whereupon "fire""finally
火
​及 ​the mouth ").-1773.
1772. 吸
​KYŪ OF Sun,
"to suck (what "reaches
懷
​KWAI, read idaku, "to embrace;" omon, "to cherish;" futokoro, "bosom" or "pocket; "all
""
kindred significations.—1774. 探 ​TAN or saguru, “to grope,' "to search for;" conf.BE
SHIN or fukai, “deep," there being a certain kinship of meaning, though but little in sound.-
1775. saki ni, “formerly,” same Phonetic as (1723) Yuzuru, "to yield; " but mark
the Radical hura-bi, appropriate to a word indicating time. Observe also that the
曩
​similarity of construction to (1757) fukuro, "bag," is only partial.—1776.
簾
​REN or
sudare, "a blind made of split bamboos." Compare (1216) REN or yasui, “cheap."-1777.
GAN or kishi, “shore,” “bank," "beach.”—1778.
FFFF
鑵 ​KWAN, "a can or "tin,"
tin," as of pro-
visions, also written with the Radical for "jar," thus 罐
​((
-1779. 還 ​敬 ​SAKU or nomi,
a chisel." It often occurs preceded by the character (1780) 穿 ​SEN or ugatsu, "to bore."
From the primitive meaning of "boring a hole with a chisel," the compound SENSAKU has come
metaphorically to signify "research" in general. Observe the formation of
in general. Observe the formation of "to
"to bore:
牙 ​GA or kiba, "a tusk," alluding to the gnawing of rats
—it comes from “hole” and (1781) ✈
in boring through walls.-1782. 蓋 ​GAI, variously read futa, "a lid;" ōu, "to cover;
"probably." The contracted forms and ** are commou.—1783.
——1784. 固 ​KO or katai, “firm," "strong;" hence moto yori, "of course."-1785.
"kedashi,
SEN, a cork.”
叉
​matu, “a crotch,” “a fork." This character is distinguished by its dot from (No. 411)
mata, "again,”—1786. 櫛 ​SHITSU or kushi, “ a comb.”—1787.
搔
​appropriately compounded of. "hand” and (1788) sō or nomi,
tion of this latter character is a corruption of (771) “claws,"
SA Or
sō or kaku, "to scratch,"
a flea.” The upper por-
though "insect with
claws” seems scarcely as happy an ideograph for "flea" as might have been expected of Chinese
ingenuity.—1789. hasami, “scissors; " akin to (1790) hasamu, "to pick up or hold
between two other things," as fingers or scissors. Both these are akin to (1242)
鋏
​挾
​semai,
(C
narrow."
All three are read Kyō.
篁 ​Kō or takamura, "a clump of bamboos."-1792. 汐 ​SEKI or shio, “the tide,'
1791.
"brine,”—originally "the evening tide," whence the easily remembered structure of the
character.-1793. Jo[KI] "steam," also read musu, "to steam."-1794. 駄
​a
and
DA,
load for a horse.' Occurs also in the common words 下​駄 ​GETA, "wooden clogs,"
足
​提
​ashiDA, “a higher kind of clogs used in wet weather."-1795.
ashiDA, "a higher kind of
ΤΕΙ ΟΙ
sageru or hissageru, "to carry hanging in the hand," "to lift.”—1796. #FF SAI, properly
374
TENTH SECTION.
presenting thank-offerings at a temple," but only commonly used in the compound
SAISEN, which denotes such an offering of coppers, and in
賽の河原 ​SAI-no-kawara,
“the river-bank in Hades where the souls of children are set to work to pile up stones."-1797.
also read kotoba, means rather "isolated
詞 ​SHI or kotoba, “connected speech." No. 842
辭
​words."-1798.
凉
​RYō or suzushii, "cool." Observe the Radical for "ice," quite appropriate
№
here, but not so in the next (1799) oki, "the offing," which however is also written
.—1800. Villi
漕
​沖 ​-
sō or hakobu, “to transport," hence kogu, "to row."-1801. 魚
​file sushi,
SHŌ, properly karei, “boiled
a ball of rice plastered with fish dressed in vinegar.”—1802. TH SHO
搖
​rice dried,” hence "food for a picnic."-1803.
yō or ugoku, "to shake," "to move."
Under the same Phonetic, remember (1804) Yō or haruka, "distant," and (1805)
謠
​Yō or utau, “a song," all three Radicals excellently fitting the sense in its various changes.-
1806.
鋸
​KYO or nokoyiri, "a saw.”—1807.
雀
​""
JAKU Or Suzume, a sparrow (a "little
bit" of a "bird").—1808. 唱 ​SHŌ or tonacru, “to recite,”
“to recite,” “ to name.”—1809. 14
“goods, wares "
for
("treasures'
CC
KWA,
changing,” i. e. exchanging in barter.)–1810. 署
​SHO, "a public court" or "tribunal."-1811.
“a
(from a "tall boar,'
camp;
Gō,"excelling," "overbearing," "martial
being here contracted, as often in composition).—1812. ii
陣
​(C
JIN, a
observe the [war-] chariot, which also stands out conspicuously in (429) “war,”
and (1406) Jili
1814.
庫 ​“a military store-house.”—1813. ii
輝​,
KI or kagayaku, "to shine brightly."
烹 ​Hō or niru, “to boil,” chiefly used in the compound KAPPO, “cooking." A
commoner character for "boiling" alone is (1815) A SHO or niru.—1816. | KÖ OF
tatakn, "to tap," "to strike." Our word "kotow" is from the Chinese 叩頭​,which is
pronounced Kōrō in Japan.-1817. so, used phonetically in the common word 味​噲
​1818. 趣 ​SHU or omomuku, "to go towards," more often metaphorically
MISO, "bean-sauce.”—1818.
"to purport." The Chinese character means lit. "taking a run," the Jap. reading “turning
SEN or uranan, "to divine," hence shimeru, "to take
GY
possession of.” The character is formed of "month" and (1820)
☐
one's face [towards].”—1819. 占
​ト
​BOKU or uranai,
"divination." This last, which is the 25th Radical, pictures the lines developed in a tortoise-
shell when roasted, such as was a common method of divination in ancient times all over North-
and Grò, “ocempation" slightly altered).—1822.
業
​transmit." Easily confused with (1823) fi
etc. The two will be best kept apart in the mind by noticing the respective sounds of the
Eastern Asia.—1821.
僕 ​BOKU or shimobe, “a menial servant," hence "I" (from
A
man
14
DEN,"tradition," or tsutaeru, "to
傅
​FU
Fu or kashizuku, "to wait on,
"to wait on," as a nurse,
Phonetics, 傳 ​DEN having
SEN which rhymes with it, while
傅 ​PU lhas 甫 ​(No.
甫 ​mostly sinks into a
田
​曝
​461), which is read with the kindred sound HO. In practice the
line, “rice-field," and a dot.—1824.
air
(a
(
FU
BAKU Or Sarasu, "to expose to the sun,'
"to
(from "sun" and No. 1517, "violent)."-1517. 健 ​KEN or sukoyaka, "vigorous
man
""
"well "set up").—1826. U
飽 ​Hō or aku, "to be satiated" ("food wrapped up
up" in
EASY MODERN PIECES.
375
the stomach).-1827. 湊 ​sō or minato, “a harbour;" conf. (1238) Kō, which has the
1828. 誕
​TAN or
same meaning in Japanese.-1828.
The original
"to be born."
umareru,
meaning was "big talk," "bragging," whence the structure of the character, "words pro-
tracted."-1829. KEI or mōderu, "to repair to," as to a temple.-1830. 脊 ​SEKI or senaku,
"the back." The character is more properly "backbone," the original form (which can still
partly be made out) showing the vertebræ above the "flesh."—1831.
沸
​FUTSU Or
waku, "to bubble up."-1832.
泡
​想
​Hō or awa, “bubbles,” “foam.”—1833.
sō or omou,
"to meditate," "reflect on." This character seems to denote more careful thought than the
synonym
SHI, also read omou.—1834.
(1062) 洲
​"a sandy islet."-1835. BON, "a tray" (a thing like
渚 ​CHO or nagisa, "shore," here read s", as if
盆
​IIL
a
plate," in
meaning, and rather like
分
​BUN, “a part,” in sound).—1836.
GWA, a picture;
The abbreviated form H is
also read KWAKU, "a line," "a plan;" egaku, "to paint."
very common, as is also an expanded third form 畫 ​The elements composing the character
remain quite clear, viz. 田 ​a “rice-field,” traced round by 聿
​a picture of a landscape.-1837.
繪
​2 pencil," thus indicating
褒
​E or KWAI, "a picture."-1838.
HU
"to praise."-1839. 洞 ​Dō or hora, "a grotto."-1840. 蹄
​1841. 嶺
​REI or mine, “a mountain peak," for which (872)
character.-1842.
(C
or homeru,
TEI or hizume, a hoof.*
Hō is another common
KI or GO, the game of "checkers;" also "chess," but then the Radical
is generally written to the left, thus ALL KI, and used in the compound SHOGI
象棋
​"chess." A third form, very often employed to denote the game of checkers, is
碁
​The
difference in the Radicals points to the "men" in Far-Eastern chess being of wood, whereas
those used in checkers are of stone.-1843.
of stone.-1843.

Hō or yomogi, a species of "fleabane."
occurs in the familiar compound HōRAI, "Elysium;" (1844)
蓬萊
​It
萊
​RAI occurs in
圍
​I or kalomu,
Jap. only in this compound.—1845. Kis GYO or sunadoru, “to fish.”—1846.
“to surround.” The compound 圍​碁
​IGO, means "the game of checkers
(conf. No.
1842), because the object in one variety of that game is to surround the adversary.-1847.
tsubo, a land-measure the size of two mats, or about 4 square yards Eng. 1848. 潛
​SEN or kuguru, "to dive;" hence hisomu, "to hide." Commonly abbrev. to
潭
​and
潜 ​--
-1849.
TAN or tani, "a deep valley." Remember this character by the similarity of its 音
​訓 ​It is a synonym of the more familiar 谷 ​嘯
​-1850.
SHO or usobuku, "to
whistle." The compound is read tsunami, "a tidal wave."-1851.
海嘯
​used phonetically in transcribing certain Sanskrit words, notably
tery."-1852.
嘉 ​KA, “good ; ” hence yomisu, “to eulogise.—1853.
bream," esteemed by the Japanese as the most delicious of fishes.-1854.
伽
​KA OF GA,
GARAN, "a monas-
tai, a kind of "gold-
X katsuo, "the
bonito." The character means lit. "the hard fish," which is also the etymology of the Jap.
name, as katsuo stands for kata-uwo.-1855.
餌
​JI or c or ejiki, "food for animals," "bait"
376
TENTH SECTION.
for fish.-1856.
蒔
​"herbs").-1857.
JI or maku, "to sow" (the character indicating the "time" for sowing
舷
​GEN or funabata, "the side or gunwale" of a vessel.—1858. 浮
​鯉 ​RI or koi, “a carp.—1860. 叢 ​sō or kusamura, “a
FU or ukamu, “to float."-1859.
grassy or bushy place;" hence also read muragaru, "to be crowded together.'
1861.
Universe."-1862.
CHU, not used alone, but always in the compound UCHU,
KYŬ or tama, “a ball,” “a sphere."-1863. 禽
​bird." (The strokes at the top are
"the
KIN or tori, "a
今 ​KIN, "now," used phonetically; those at the bottom
宙
​球
​are the rare Radical
内 ​a footprint.)—1864. 微
​BI, "small," "insignificant;" hence
kasuka, "obscure."-1865.
晏
​(C
1866.
((
(6
(6
AN, serene," peaceful" (the "quiet sun" of evening).—
苟 ​Kō or iyashiku mo, “ provided,”—“if.”—1867. j
妨 ​Bō or samatageru, "to hinder "
>>
(2 woman in the " way; observe to how many characters the Radical for “ woman" com-
municates a disagreeable meaning).—1868. 19 GŪ, properly an image," but mostly read
tama-tama, "seldom," "accidentally.' Conf. (1224)
to one."-1869.
喩 ​YU or tatoeru, “to compare."-1870.
original character seems to have been, or rather i
"to meet with," "to have happen
釘 ​TEI or kugi, a nail."
(6
The
the picture of a nail partly driven
in, to which the Radical for metal was added afterwards, in order to give greater clearness to
the representation.—1871.RYō or hakaru, “to weigh,” “to estimate."—1872.
量
​isasaka, “a little.”—1873. 輩
​些
​SA or
HAI or tomogara, "companions" (originally a "line of chariots").
Observe how the IFSC
音 ​of characters with the Phonetic varies between II and HAI.—1874.
CHIN or noberu, "to spread out," hence "to state."-1875.
ラ
​Biti
GI, "right," "suitable;
hence yoshimi, "kindliness" (from "words" and No. 949
(C
宜 ​good”)-1876. 媼
​words" and No. 949 *
ō or
ubu, “an old dame.” Conf. L
溫 ​ON "warm," and remember the character "old dame " by her
warming herself at the fire. It is curious that the
pected it to be ON.-1877.
稽
​I
should be ō; one would have ex-
KEI or kangaeru, "to consider," "investigate." The com-
poud 稽古 ​KEIKO, "study," which means lit. "investigating antiquity," artlessly renders
the Far-Eastern idea of what true study should be.-1878. 暗 ​AN or kurai, "dark" (formed
音
​B
on the lucus a non principle from the sun," and the imperfect Phonetic ON).—1879.
SEN or iyashii, “vile.”—1880. hazu, properly the notch in an arrow in which the
賤
​Khazu, properly
""
""
bowstring fits; more often "obligation,' "must," "should."-1881. JHE HI or hisashi, "eaves.'
策 ​SAKU or hakuri-goto, “a scheme.—1883. 測 ​SOKU Or hakaru, "to fathom," "to
-1882.
measure.
1884. 辰
​SHIN or toki, "time," hence "heavenly bodies" which mark times
and seasons, and specifically the "dragon" (tatsu), one of the signs of the zodiac.-1885.
昆
​many" (from 日 ​“day” and 比 ​"to compare," because
KON, properly "alike," "many
all days are alike); but most used in the compound 昆蟲 ​KONCHU, "insects."-1886–7.
臟腑 ​ZOFU, "the viscera ”
e.
'the viscera" (the first character depicts what is "stored" in the "flesh,”
i. c. in the body; the second is similarly from "flesh" and "treasures").—1888.
筋
​KIN
or suji, "the sinews" (from
(from "bamboo," "flesh," and "strength," because of the strength of
EASY MODERN PIECES.
377
that plant).-1889. Vit FUsuru, "to stoop," "to bend down."-1890.
孫
​((
SON or mago, a
grandchild;" cleverly formed of
cleverly formed of 子 ​“ child” and (1891) 系 ​KEI, “a link,
This
itself is formed pictorially from
99 66
connection."
"silk and a stroke above, showing the
系
​""
緒 ​CHO or iloguchi, properly "the
connection with something that has gone before.-1892.
end of a ball of thread;" hence "a clue," "introduction, beginning.”—1893.
HE
I or
tsunagu, "to tie," "to connect;" but it sometimes sinks into meaning simply kore, "this,"
as in the compound 維新
​ISHIN, which, originally a quotation from the Chinese Classics,
is now employed to denote the new régime in Japan.-1894.
struct" (with the connotation rather of ordering than of teaching), "to advise" an inferior.
—1894.諭
​YU or satosu, "to in-
1895. 碩 ​SEKI, “great” (a “face" as big as a slab of "stone").-1896.
I
Kō, a
kind of “stork;" hence in compounds "great," "vast." Note the Phonetic and the
near which the bird lives.-1897. GA or niwaka ni, "suddenly."-1898.
water
俄
​接
​SETSU or tsugu, "to succeed to," "to join; " hence this character often denotes "meeting,
((
associating.”—1899. 侮 ​BU or anadoru, "to insult.”—1900.
“worthless: "—naigashiro ni suru, "to slight.”—1901.
1902. 準​or準
​JUN or nazoraeru, "to liken
祥
​alike).—1903. SHō, “felicity,” “good luck.”
蔑
​BETSU or naigashiro,
M RŌ or iyashii, "vile," "low."-
""
("ten birds in the water all look quite
The "sheep" here probably refers to
sacrifices whereby fortune was propitiated in ancient China, while the Radicalis one very
etc.-
KŌJŪ means "a band of pilgrims, etc. (to
whom their leader discourses). Comparing this character with (No. 507).
common in terms relating to solemn or religious acts, as
1904.
講 ​Kozuru, “ to discouse:”講中
​構
​祭禮​祝​禁
​""
we find a
of a
腐
​FU or
certain kinship of sense as well as sound; for signifies "the external arrangement
building, while
denotes words properly arranged so as to instruct.-1905.
kusaru, “to rot." The Radical suggests the idea of rotten meat. Note how this character is
"the viscera : same Radical, but differently written;
distinguished from (1887) 腑
​FU,
""
same Phonetic, but differently placed.-1906. 堪 ​TAN or taeru, "to sustain," "to be fit for "
(from "earth" and "very," as if bearing up under a very heavy load)—1907.
擇
​TAKU or
erabu, "to select.”—1908. 視 ​SHI or miru, "to observe," "inspect" (the Radical here is
見​:示 ​閑
​is phonetic).—1909.
KAN means in Jap. usage hima, "leisure," for which
sense the Chinese prefer the homonymous character (1910) (how quiet and leisurely when
the moonlight is streaming through the gate!). Compare also (226)
terval:
""
間 ​KAN or aida, “in-
等閑 ​TŌKAN or naozari, "inattention," 66 negligence," is a familiar compound.
1911. also written
#t also written
sigh."-1913. 抔
​TAKUSuru, "to entrust."—1912.
•TIVE GAI or nageku, "to
>>
SHO, "recitation,' "reading
OHS E
nado, "such as," "et cetera.”—1914. 証
​in a singsong voice;" hence soranzuru, "to learn by heart." 1915.
also nazumu, "to be bigotedly attached to."-1916.
ciple,” “right.”—1917.
寧
​倫
​VE
DEI or doro," mud;
RIN, "class," "relationship," "prin-
NEI or yasunzuru, "to have peace of mind;
"to have peace of mind;" hence mushiro,
378
TENTH SECTION.
"rather.”—1918.
針 ​SHIN or hari, "a needle," "a pin."-1919. 謂 ​, a verb meaning "to
say," chiefly occurring in the idioms 所謂 ​read iwayuru, “so-called," "said to be," and
田
​WAI or midari ni, "disorderly " (from "dog"
and "fearing," as if a disorderly person were like a skulking cur).—1922.
月 ​ラク ​omoeraku, "my opinion is that..."—1920.
淫 ​IN, "indecency,
"debauchery," also written 婬​.1921. 猥
​案
​BIN OF
midareru, “to be tangled” (like "thread," with 文
​in disorder."-1923.
opposite signification of oxameru, "to bring into good order" (!)—1924.
亂 ​RAN or midareru, "to be in disorder." It is occasionally found with
努
​for the approximate Phonetic), "to be
the
Do or tsu-
tomeru, "to exert one's self to the utmost." (Appropriate Radical, "strength;" do not con-
found this No. with No. 990 DO or ikaru, "to be furious," Radical "heart.”)
怒
​1925.
該
​GAI Or Sono, "that."-1926.
虜
​RYO or toriko, “a prisoner.”—1927–8. 堡
​Hō is properly "an earthwork" or "mud rampart;
H RUI, “a rampart." The two together
田田
​denote "fortifications" of every kind.-1929. THE TEI, "a boat:"E
SUIRAI-TEI
彈 ​"a bullet;" also read hiku, "to pull," "to
means “a torpedo-boat.”—1930.
"-1930. DAN,
play" (the harp, etc.), also hajiku, "to fillip," "to rebound." 彈藥
​PL
is more lit.
“bullets and powder.”—1931. HITSU, more often HIKI, the auxil. numeral for animals and

for pieces of silk. Added to
馬 ​it simply makes the expression more elegant.-1932. 諾
​DAKU, "assent."-1933. th TAN, properly ninau, "to carry on a pole," but mostly metaph. for
titl
TESSUTU,
responsibility or guarantee. 1934. (T), I[SU], "a chair.”—1935.
椅​(子​),[80],
#備 ​を​撤し​ight
is lit. "removing guard," i. e. "evacuating.
whence often read nori ("law") in personal names; 官​憲
​remove :"
KEN, "law,
"to
KWANKEN,
"authorities," "officials." This character represents the idea of "law" pictorially by means
of 心​“heart,”目
​heart," "eye"
"eye" and
and ‡
“injury" contracted.—1937. 職
​"
SHOKU, "official
duty," "occupation," " "post."
post." The character shows us one whose ear's hear the "sound
""
of petitions, and who bears the "spear."-1938. KYU, "a series," "class,” “rank.”—
1939. 並
​FU or amaneku, everywhere,' universally." "all-pervading" (the sun
級
​普
​equally" in
in every place):
place): 普通​人民 ​"ordinary people," i.e. here "non-comba-
含 ​GAN or fukumu, "to hold in the mouth" (from "mouth" and 4
tants."-1940.
KIN as the Phonetic); hence "to include."-1941. 禦 ​GYO or fusegu “to defend,” “repulse."
—1942. 】 also written 劔
​劍
​KEN or tsurugi, originally "a double-edged sword," used
rather for thrusting than for cutting; is lit. "wearing the sword at the belt.”—
帶​劍
​1943. 制
​99 66
SEI or nori “regulation
government." It is akin both in sound and signification
to (130), which originally denoted the cutting out of garments, and now means
"making," "manufacturing."-1944. 俘 ​FU or toriko "a prisoner of war." Remember it
as a “child” in the “claws" of a "man.")-1945.
繼
​KEI or tsugu, "to succeed to "
("succession" or "connection" being indicated by no less than five silken threads).
contracted to
継
​Often
WRITING LESSON.
379
1735
1726
1716
1708
1698
1688

離​徂​較​垂​誓
​誓​賞
​1736
1727
1717
1709
1689
1699
紡 ​徠​臭​猫​餅​銘
​1737
1728
1718
1710
1700
1690
鱝​儒​矮​苗​棚​迂
​1738
1729
1719
1711
1701
1691
1
哲​超​廢​隧​勉​塞
​1739
1730
1720
1712
1702
1692

茲​術​坦​樹​貪
​1740
1731
1721
1713
1703
1693
航​鑛​霄​狗​患​胃
​1741
(1731)
1722
1714
1704
1694
卯​礦​壤​錦​憐​胄
​(1741)
1732
1723
1715
1705
1695
凌讓綿​狂​醉
​1742
1733
1724
1706
1696
!
彚​玻​獎 ​眠​遷
​1743
1734
1725
1707
1697
鼎​璃​勵
​睡​脆
​380
TENTH SECTION.

1789
1781
1772
1762
1752
1744
鋏​牙​吸
​牙​吸​薄​綾​枚
​1782
1773
1763
1745
1790
1753
蓋​懷​環​紗​活
​(1782)
1774
1764
1754
1746
益 ​探
​套​泣
​(1782)
1775
1765
1755
1747
盖​曩​燦​脫​喫
​1783
1776
1766
1756
1748
栓簾​爛縞​演
​1784
1777
1767
1757
1749
固​岸​鎖​囊​倒
​1785
1778
1768
1758
1750
叉​罐​眺​悠​蝶
​1786
(1778)
櫛​罐
​1779
1769
1759
1751
腰​産
​1770
1787
1760
搔​鑿​膨​蝙
​1780
1788
1771
1761
蚤​穿​燧​蝠
​WRITING LESSON.
381

1838
1830
1820
1810
1800
1791
褒脊​卜​署​漕 ​篁
​1839
1831
1821
1811
1801
1792
洞沸​僕​豪​鮨汐
​1840
1832
1822
1812
1802
1793
蹄​泡​傳​陣​餉​蒸
​1841
1833
1823
1842
1834
1824
嶺​想​傅​輝​搖 ​駄
​1813
1803
1794
1814
1804
1795
蓁​渚​曝​烹​遙​提
​(1842)
1835
1825
1815
1805
1796
棋​盆​健​煮​賽
​(1842)
1836
1826
1816
1806
1797
碁​畫​飽​叩​鋸​詞
​1843
(1836)
1827
1817
1807
1798
蓬​画​湊​噲​雀​凉
​1844
´(1836)
1828
1818
1808
1799
書​誕​趣​唱​冲
​1845
1837
1829
1819
1809
(1799)
漁​繪​詣​占 ​占​貨​沖
​382
TENTH SECTION.

1891
1881
1871
1861
1855
1846
1892
系​庇​量​宙
​1882
圍
​1872
1862
1856
1847
緒 ​策​些​球​蒔​坪
​1893
1883
1873
1863
1857
1848
維​測​輩​禽​舷
​禽​舷​潜
​1894
1884
1874
1864
1858
(1848)
諭​辰​陳​微​浮潜
​1885
1875
1865
1859
1849
昆 ​誼 ​鯉
​晏​鯉​潭
​1886
1876
1866
1860
1850
臟​媼​茍​叢​嘯
​1887
1888
1877
腑​稽​妨
​筋​暗​偶
​1889
1879
1869
俯​賤​喻
​1890
1880
1870
孫​苦​釘
​1867
1851
伽
​1878
1868
1852
嘉
​1853
鯛
​1854
鰹
​WRITING LESSON.
383

1895
1935
1925
1922
1913
1904
撒​該​紊​抔​講​碩
​1936
1926
1923
1914
1905
1896
憲​虜​亂​誦​腐​鴻
​1937
1927
1924
1915
1906
1897
職​堡​努​泥​堪​俄
​1938
1928
1916
1907
1898
倫​擇​接
​1908
1899
級 ​壘
​1939
1929
普​艇
​1940
1930
含​彈
​1941
1931
禦​匹
​1942
1932
劍​諾
​(1942)
1933
劔​擔
​1943
制
​1917
寧​視​侮
​1918
1909
1900
!
針​開​蔑
​1910
1901
1919
謂​閒​陋
​1920
1911
1902
淫​託​準
​(1920)
(1911)
(1902)
媱​托​準
​1934
1921
1912
1903
猥​慨​祥
​384
TENTH SECTION.

1944
俘
​1945
繼
​(1945)
継
​ELEVENTH SECTION.
ODDS AND ENDS.
Ź
ELEVENTH SECTION.
ODDS AND ENDS.
ABBREVIATED AND OTHERWISE IRREGULAR CHARACTERS.
Numbers of characters occur in common usage, and even in the dictionaries, in an
abbreviated form (#). A few have already been given incidentally. The following
list comprises the most useful specimens of this class:-

E for
kuni,"country."
用​"圓 ​[X]ex, “ dollar.”
耒
​for kuru, "to come."
E

烟 ​"煙 ​kemuri, “ smoke.”
>>
與 ​FIL ataeru, "to give.'
双雙
​sō,“a pair.”
!
""
圍 ​Talkoi,
kakoi, “enclosure."
수
​仝​,同​omajin,
onaji, "same.
"
当當
​Tō, "this."
実 ​- 實
​JITSU, true.”
""
灵靈
​PRO REI,
REI, “ spirit.”
両
​"
TRYō, "both.”
錢錢
​SEN, “ cent.”
”
个 ​個 ​KO or KA (auxil. numeral).
点點
​TEN, “dot.”
仏​”佛 ​Burst, “ Buddha.”
BUTSU,
弁​辨
​ZOKU,
属​･屬 ​zoku, “ belonging.”
BEN, “ discrimination.”
号 ​･ 號 ​00
GŌ, “
number."
万萬
​MAN, “ myriad.”
区​”區 ​KU,“ district.”
声​„聲 ​kors “ voice.”
koe,
}
台​臺
​DAI, "terrace."
"
学 ​學 ​GAKU, “ study.”
辺 ​· 邊 ​hotori, “side.”
>>
utsuru, “to remove."
I » & utsuru,
迁
​遷
​竜
​TRYO, “dragon.'
>>
"
亀​”龜 ​kane, “ tortoise.”
388
ELEVENTH SECTION.
GAN, “ wild goose.
I, "physician."
関 ​for 關
​關
​献​･獻
​Ōzuru, "to correspond.' 本 ​本
​厂​医​礼​丁​条​宝
​厂 ​for
for 鳫
​""
醫
​HE ōzuru,
""
禮
​CC
”
REI,
ceremony.'
田町 ​cnó, “ street.”
""
条 ​條 ​條 ​Jō, "article."
餐
​宝​"寶 ​takara, “ trensure.”
·
*
seki,“barrier."
KEN,
“ to offer up.”
HON, "origin,"
H toku, "to explain."
觧 ​解
​爱​" 所 ​tokoro, “ place."
""
加​"處 ​tokoro, “ place.”
処
​樣​･樣
​sama,
"Mr."
辈
​Some characters possess more than one abbreviated form, as
体 ​体
​for
體 ​TAI, “ body.”
藟 ​增
​or
for
El shio, "salt."
辞​辭​辭 ​lotobu, “ words.”
Certain methods of abbreviation are common to numbers of characters cognate to each
other in form. Instances are supplied by
见 ​for 兒 ​Ko, “ child.”
旧 ​舊 ​furui, “ old,”

"
辞 ​for 辭 ​(us given above).
iik karni, “light."
蠻
​"
BAN, "barbarian.".
戀 ​tož,“ love.”
湾 ​灣
​WAN, "bay."
"}
経 ​經 ​經 ​Hert,
heru, "to pass by.'
""
沢 ​澤
​CC
sawa, valley.”
駅 ​驛
​""
尽​盡
​昼​継断​歯乱
​"
書
​EKI, “ post-station.”
Utsukusu,
tsukusu, "to exhaust."---
#hiru,
hiru, "noon."-
""
All
fa tsugu, "to succeed to.”
断斷
​Statsn,
tatsu, "to sever."
'
19
齒 ​l, “ tooth.” -
乱​亂
​RAN, “ confusion."
軽​蛮恋​沙​賛潜
​""
"
""
炎 ​·森
​森 ​mori,
”
彝
​賛 ​贊
​""
潜​„ 潛 ​lisontu,
”
mori, "a wood."
hishimeku, “to be in
uproar.
"
tasukeru, to second."
hisomu, "to hide."
* In reality this so-called abbreviation is the original, and 處 ​an expanded form obtained by superadding
as a Phonetic. Conf. p. 139.
an
虎
​ABBREVIATED AND IRREGULAR CHARACTERS.
389
Sometimes the variation is of a very slight and trival nature, thus,
雖
​for
HE iedomo, “although.”
品 ​shina, “goods,
goods," and of
舰​, 船 ​fune, “vessel.”
course similarly in compounds such as
forKU, “district.”
區區
​"district." (See above
for still further abbreviation.)
高
​for
高
​♬ takai, “high.”
橋
​H
面廻校​保深
​for
""
回
​KWAI, "a turn.”
50 megurn, "to revolve.”

廽
​杉 ​sugi, “a cryptomeria."
保​保 ​tamotsu, "to hold."
""
深
​fukai, “deep."
(Etc., when
木
​is at the bottom.)
處
​for
處
​tokoro, “a place."
M» Mihashi, “bridge.”
In a very few cases, two Chinese characters have been run into one in Japanese usage.
pple Maro, in certain personal names, is thus put together from 麻​呂​. Many Japanese
麑 ​, read kago in the name of Kagoshima, to supply another instance; but it is a
believe
genuine Chinese character with the meaning of "fawn," as its composition indicates.
Some slight recurring differences are merely those that distinguish different styles of type
from each other, for instance, SHIN-CHO and manuscript,\,,, A,
Đ, but MIN-CHO 言​八​會​艹​今​派
​Certain of these differences ac-
tually affect the number of strokes, and will embarrass the student not a little in his search
for characters in the dictionary: ✈ or Ħ, E
H,
perverse peculiarity.
oľ
just given, are examples of this
Some forms universally employed in writing, though not in all styles of print, are branded
by eminent authorities as “vulgar" (K). Many of the abbreviated characters given
above come under this heading. Others frequently met with are
for KYŌ, "metropolis."
京
​都 ​formiyako, "metropolis.”
笑笑
​warau, “to laugh.”
栓​栓
​SEN, “a cork.”
者​者
​(C
""
mono, person.'
會​會
​KWAI, "assembly."
全​全
​ZEN,
"complete,"
and
similarly in all their compounds, as
日
​In this last, it is not the upper, but the lower part which is supposed to be at fault,
""
sun replacing iwaku, “quoth he."-Many writers finish off certain characters
* See p. 115, foot-note.
390
ELEVENTH SECTION.
with a dot which stricter usage disallows, as † for
玉 ​† tsuchi, "earth;" for
丈
​丈
​Jō or take, “length.'
For our own part, we fail to appreciate the precise significance of the term "vulgar
in such a connection, seeing that the use of the condemned forms is by no means confined
to vulgar persons; and we suspect a mental cousinhood between the Far-Eastern purists and
those grammatical pedants among ourselves who first enunciate "rules" of their own framing,
and then blame eminent authors for not always following them, regardless of the simple
consideration that the circumstances of linguistic development, whether in speech or writing,
admit of no such artificial legislation, and that "rules," in so far as they possess any validity,
can be but inferences deduced from usage. In any case, the foreign student need not aim at
an impossible standard. If he but write as the majority of the Japanese nation writes, he
will do passing well.
It has already been shown that some few characters, even in the usage of purists, admit
of having their Radicals placed in different positions, as is exemplified in
略 ​·畧
​客
​RYAKU, "abbreviation."
胸
​or
((
типе, 'breast."
Some few others may be written at will with Radicals of cognate meaning. This is specially
apt to occur in the case of the Radicals
and, and
and
久
​as
减
​((
diminution."
Duke of Vik
Tik GEN,
冲 ​„oki, “the offing.”
and
aud .۳

For Bulsusu, "to copy.”
决 ​決
​""
KESsuru, "to decide."
寫​廐​迴
​LIVE
umaya, “a stable.”
迴​廻
​"to curve."
meguru,
""
準
​H, HE
準
​nazoracru, to liken."
The Radicals † (te-HEN) and (ki-HEN) are occasionally confounded, owing to their
merely formal resemblance; but this is decidedly corrupt.
To indicate all the irregularities connected with the use of the characters would be an
endless task. One of the oddest is that to certain characters the dictionaries always ascribe
readings which in practice are never employed. Thus, CHA (also SA), "tea," is given by
them as TA;
endeavour, on the part of lexicographers, to force Japanese pronunciation into exact conformity
with Chinese theoretical standards.
ti TEKI, "to pluck," is given as TAKU. The reason must be sought in a vain
them in China.
湯 ​Jap. "hot water," but Chin. "soup; "*
Many characters have assumed a different signification in Japan from that belonging to
Such are
嵐 ​Jap. "storm,"
易 ​is, however, used for "hot water" in the local dialect of Foochow, and the compound signifies
warm water (baths)" in standard written Chinese.
IRREGULAR READINGS.
391
33
but Chin. “mist on the hilltops;” 沼 ​Jaup. “a narsh,”but Chin. “» pond " or
or "tank;
儘 ​Jap. “ state,” “ manner" (mama), but Chin. "to do to the utmost extent" (for which
only), etc., etc., and a large number of botanical names.
When we come
the Japanese use
to compounds, the divergences grow much more numerous, in fact innumerable. Such cases as
神道
​used to denote the native "SHINTO" religion ;
SHINTO" religion;
the DAIKON, or giant
((
七寳
​radish; SHIPPO, “cloisonné enamel;"
shibai, "a theatre," etc., etc., start
to the mind at once, and every page of Japanese will furnish its quota to swell the list. Here,
as often, Japanese reminds us of English, which, while borrowing freely from a French or Latin
original, has not scrupled to alter the sense of words as well as the sound.
The reading of certain combinations of characters presents special difficulty; and yet
these combinations must be familiarly known, as they are in common use. The following list
might easily be extended:
所
​yuen
以
​01'
“
cause
tisasuga
(see dictionary)
日 ​itsu zo ya
“ some time ngo” 合
​假​™縦
​tatoi
or
流石 ​日​外 ​假令 ​長閑
​合
​nodoka
“ mild”
hatago
旅
​籠 ​角力 ​時​雨
​or
以
​為
​只管
​chotto
a little "
share
“a joke”
ebi
百 ​yuri
“» lily”
omoeraku
“in my judgment”小
​hitasura
“
earnestly "
串
​戱
​jodan
“a joke”
or
寸
​“
洒落 ​海老
​“
a prawn "
义
​遮​莫
​sa mo araba are, or sa are
紅 ​momiji
“
even if it be so "
mukade
"a centipede
葉
​“autumn leaves”
hakanaki
标 ​“transient”
±
miyage
果敢なき ​土
​"supposing that "
“ board and
相
​撲
​#shigure
lodging'
>>
等
​閑​買
​人
​naozari
"neglect "
kaite
“a purchaser
sumō #kutabire
“a drizzle
“wrestling”队
​"
百足 ​賣
​urite
(C
a seller"
Hinaka
wrestling" "fatigno"
fatigue”全
​">
特​| hototogisu
“a cuckoo’
田舍 ​蒼蠅
​五月​蠅
​or
""
“
"country" 產
​Urusai
"troublesome
>:
團
​“a gift.
uchiwa
“
""
a fan (of the
non-shutting
kind)
392
ELEVENTH SECTION.
洒
​落
​Lying on the grass"
"is certainly an excellent picture of "fatigue;""a hundred meet-
ings" well paints the successive layers of a "lily" bulb; which would naturally
be read SHARAKU, sufficiently recalls the sound of the word share. The student must be left to
worry out for himself explanations, real or fictitious, of the other combinations. The alterna-
tive transcriptions of the word chotto should interest him,
adumbrating the sense,
approaches the sound.
whereas
鳥​渡 ​approaches
寸
​The occasional reading given to certain single characters is also very perplexing, because
apparently arbitrary. For instance, 客 ​RYAKU is sometimes read hobo, "for the most part;"
坐 ​ZA is sometimes read sozoro ni,
qui
TEN is sometimes read ulata, “more and more;
unintentionally." Sometimes a Kana syllable is added, to adumbrate the desired pronunci-
ation; thus in the cases just quoted,
坐
​CHARACTERS EASILY MISTAKEN FOR EACH OTHER.
Special attention should be devoted to the following pairs of characters, whose similarity
of shape renders them liable to be mistaken for each other. The differences, though slight
to the eye, are fundamental, and persist in the compounds, as, part of the term
UCHU, "the universe," and mawari-dõi, "circuitous," both pronounced u like their
of the term 宇宙
​
"Phonetic"; but 旱 ​hideri, "drought," and
drought,” and ✡ miki,
miki, “a stem,” both pronounced
KAN like +
干
​▲ hito,
hito, "person."
chikara, “strength.'
>>
七 ​SHICHI, seven.'
""
人力​七​于 ​土​尸​万​己​幻​天
​U or ni, "in."
tsuchi, "earth."
kabane, "a corpse."
MAN, "a myriad."
mi or onore, "self."
GEN or maboroshi, "illusion."
TEN, “heaven."
★
iru, "to enter." See p. 57.
JJ katana, “a sword." See p. 127.
刀
​ヒ
​+
saji, “a spoon.”
KAN or azukaru, "to be concerned
with." See p. 233.
幼
​samurai. See p. 105.
((
to, a door."
Hō or kata, “side."
sude ni, "already." See p. 84.
yō or itokenai, “tender age." See p. 414.
xō, "tender youth,” “dying young.” In
the latter, the first stroke is a downward dash from right to left.
氏
​SHI or uji,
<<
a surname."
民
​MIN or tami, "the people." The ancient
CHARACTERS EASILY MISTAKEN FOR EACH OTHER.
393
form of
氏
​was
, believed to represent the root of a [family] tree in the ground, whose
topmost twig appears in the first stroke of the character as now written. The origin of E
is obscure.
iwaku, "quoth he." See pp. 129-30.
Biwaku,
爪
​sō or tsume,
(C
a nail" ("claw ").
瓜
​KWA or uri, a melon." See p. 137.*
不日​世​式
​Bli, "the sun."
Hyo,
"world."
〔日​卅​式
​NI, "two."
character for "two," and its amplified form
amplification.
代 ​DAI or yo, “a generation."
a spear").
ashita, “morning" (p. 234).
or
世
​SAN-JU, "thirty." See p. 48.
SHIKI, ceremony." Compare
the
(pp. 67-8); 式 ​is an abbreviation of the
伐
​BATSU or kiru, "to cut " (a "man with
Akatsu, “moreover."
旦​印​矢​末​今​束​』存
​124-5.
IN,
"C
a seal."
ya,
arrow."
gp
26, "the hare" (in the zodiac).
sue, "the end."
ima, "now."
SHI or toge, "thorn."
束
​★ushinau, “to lose.” See
ushinau, “to lose." See pp. 84 and 116.
❖
imada, “not yet.” See p. 99–100.
""
REI or seshimeru, "to cause,' "order.”
SOKU or tsukaneru, “to bind." See pp.
ZONzuru, “to think."
耒 ​abbrev. of
來
​kuru, "to come."
anciently
Tא.
糸​李
​SHI or ito, "thread."
RI or sumomo, “a plum."
在
​ZAI or aru, "to be."
耒
​suki, “a plough."
"a
This latter was
where the slanting strokes stand for the teeth of the implement.
Py
MON or kado, "a gate."
系​季​鬥
​KI, “a season." See p. 301.
Tō or tatakau, "to fight."
鬥
​has
nothing to do with "speaking with the enemies in the gate," but is apparently founded on
the pourtrayal of two hands (see p. 116) engaged in a tussle.
KEI,
"connection."
See
See p. 377.
宜​免​奉
​superior."
*
GI or yoroshii, "right," "fit."
MEN or manukareru, "to escape.'
>>
Hō or tatematsuru, "to present to a
宣​兎​奏
​SEN or noberu, "to proclaim."
To or usagi, a hare."
sō or kanaderu, "to perform music."
Japanese schoolboys have the following memoria technic1 to distinguish
uri ni tsume ari, alluding to the claw-like bottom stroke.
瓜​:2.
from: Tsume ni tsume nashi,
394
ELEVENTH SECTION.
易
​1, "easy," also read EKI, "change."
Yō, not needing to be remembered alone,
but important as a Phonetic, e. g. in yō, "sunlight;"Jō, “a
陽
​冠​帥​鄉 ​烏​侯​傅
​鳥
​KWAN or kammuri, "a head-covering.'
head-covering."
SUI or hikiiru, "to lead on.”
KYō or sato, “a village."
U or karasu, a crow."
Kō, “a marquis.”
FU or kashizuku, "to wait on."
寇​師​卿 ​鳥​候​傳
​a place."
Kō or ada, “a foe.”
SHI, "a teacher."
(C
KEI OF KYŌ, a minister of state." See
p. 256.
CHō or tori, "a bird." See p. 116.
sōrō, "to be."
DEN, "tradition." See p. 374.
The following three characters may easily be confounded:-
彊
​Kyō or tsuyoi, "strong."
書
​#kaku,
kaku, "to write."
pp. 302 and 375.
#hiru, “noon.”
KYō or sakai, "a boundary."
畫
​egaku, "to paint." See
CHARACTERS REPRESENTING FOREIGN WORDS.
Reverting to a consideration already touched on in a former Section, it may be well to
notice that recent usage has assigned to certain characters the duty of representing foreign
words adopted into the Japanese language.
(No. 1974) serves for “dollar.
tinguish our cent" from the native
心心
​SHI (No. 376), and
""
Thus,
仙
​No. 488), used phonetically, serves to dis-
錢
​SEN.
片 ​HEN (No. 108), respectively represent "shillings" and
"pence," by an approximation to the sound of the first three letters of each.
that in Japanese hen and pen differ only by a diacritical mark, see p. 31.)
(Remember
Our word "ton" had been represented in the early foreign treaties with China by the like-
sounding character(1628), which means "to bow the head." The Japanese have
((
improved on this by prefixing the Radical "mouth," thus
rest of the character is only phonetic.
freight cars.
pita
""
,
to indicate that the
So and so many pito will be seen written up on
properly Hō, "the noise made by falling stones," now stands for pondo, an English
pound" (sterling or weight), because "p'ong" is its pronunciation at Canton, where the
character was first borrowed for the purpose.
哩
​RI is an exclamatory particle in Chinese; but the Japanese of our day employ it to
write mairu, the English word "mile,”—the tsukuri (right-hand portion), contrary to general
usage, here adumbrating the sense, while the Radical, as in the case of, points to
噸​,points
the word being a foreign one. All distances on Japanese railways are computed in English
CHARACTERS REPRESENTING FOREIGN WORDS.
395
"miles" () and “chains," this latter being written
(哩​)
SA (No. 1767), which is the
proper Chinese character for "chain," but often pronounced cha-in in this connection.
The 181st Radical, (i-gai), is now commonly used to write the new word peiji
(English "page"). Conf. p. 134.
(漢字​三​音​)
THE “KAN-ON,” “GO-ON," AND "TŌ-IN.” (÷)
One of the complications that embarrass the student of the Japanese language is the
fact that many characters have two or more Chinese pronunciations()
as well as a
hito
NINSOKU. The reason of
is JIN as in
Japanese equivalent or equivalents). Thus nishi is SEI, but also SAI;
人力車 ​JINRIKISHA, but also NIN as in 人​足
​pinishi
人
​吳
​漢
​this phenomenon is historical. It is traceable to the fact that Chinese letters did not flow
into Japan from a single source, but chiefly from two, viz. from Go, a kingdom in
South-Eastern China (modern Fukien), with which intimate commercial relations existed at
the period when Japan first became civilised, and also from KAN in the North-West
(modern Shênsi). As the dialects of these two kingdoms differed, so did the Japanese
imitation of each differ likewise. The case is somewhat parallel to that of several duplicate
words in English, which are traceable to the same ultimate Latin origin, but which were
borrowed either directly from the Latin itself, or else indirectly through the French, such, for
instance, as "Arabia" and "Araby," "regal" and "royal," "rotund" and "round," "pauper"
and "poor," "debit" and "debt," "to salve" and "to save."
“to salve" and "to save." The Go-ON having been intro-
duced first, many of the commonest words took root in it, and are still pronounced according
to it in every-day intercourse, for instance,
"a mask;"
NIKU, "flesh;" 門 ​MON, "gate;"MEN,
通 ​TSU (tōru), "to pass through;" also the numerals
ICHI,
NI,
六
​ROKU, etc., their KAN-ON equivalents ITSU, JI, RIKU, etc., being heard exceptionally only in
certain locutions and literary quotations, as 六​書 ​RIKU-SHO, “the six scripts" (a technical
term of Chinese calligraphy);
calligraphy); 忠臣​不仕​二
​a
君 ​CHŪSHIN JI-KUN ni tsukaezu,
6620
The
loyal retainer will not serve two lords" (a quotation from the Confucian Classics).
Buddhist priests have consistently adhered to the Go-ON pronunciation in the recitation of their
Sûtras. The Confucianists, on the contrary, took up with the KAN-ON; and their influence,
combined with the modern contempt for Buddhism and for anything savouring of the Colloquial,
has led to the acknowledgment of the KAN-ON as the standard to which contemporary usage
tends ever more and more strictly to conform, so that almost all newly coined compounds are
read according to it.
No rule can be given for distinguishing the GO-ON from the KAN-ON, but certain analogies
tend to repeat themselves in a considerable number of cases. Thus the preference of the Kan-
ON for thinner, of the Go-ON for thicker, sounds is exemplified in numerous characters, such as
396
ELEVENTH SECTION.
名
​KAN-ON
MEI
GO-ON
MYO
靈​經​正​丁平永
​REI
RYO
""
""
KEI
KYŌ
”
SEI
""
SHŌ
TEI
""
::
CHO
HEI
BYO
”
>>
EI
Yō
""
”
暦
​""
REKI
""
RYAKU
But occasionally this tendency is reversed, and the Go-ON prefers the thinner or shorter
石​月​金言​權​陰​帝​上
​KAN-ON SEKI
GO-ON
SHAKU
GETSU
GWATSU
:
""
KIN
KON
"
""
GEN
GON
::
”
KEN
GON
""
IN
ON
""
""
TEI
""
SHO
>>
DAI
JŪ
""
sound, thus:
KAN-ON
RYOKU
GO-ON
RIKI
TŌ
ZU
"
"
GWAI
GE
”
力​豆​外​解​繪​化​和 ​聞​木​米
​KAI
GE
""
”
KWAI
E
""
""
KWA
KE
""
KWA
WA
""
KAN-ON
KA
GO-ON
KE
SE
家世​留守​食​直​山
​SEI
"
RYU
RU
")
SHU
SU
”
SHOKU
JIKI
""
""
CHOKU
JIKI
")
SAN
SEN
”
The Go-on favours initial m as against U, n as against j and d, thus:
KAN-ON
BUN
GO-ON
MON
日 ​KAN-ON
JITSU
GO-ONE
NICHI
BOKU
MOKU
""
入
​JŪ
NYU
"
BEI
MAI
男
​DAN
NAN
""
""
One of the two pronunciations often inserts a y where the other omits it, thus :
客
​KAN-ON
KAKU
GO-ON
KYAKU
語 ​KAN-ON
GYO
GO-ON
GO
In many characters the KAN-ON and Go-ON coincide. In others, one of the two-though
existing theoretically-is never heard in practice; for instance 城 ​is always pronounced so
according to the GO-ON, notwithstanding that the dictionaries also adduce the KAN-ON pronuncia-
tion SEI,---notwithstanding, too, the analogy of its Phonetic in which both pronunciations
flourish. Sometimes the difference between the two affects the Kana spelling only, or-to
put the case differently and with stricter regard to historical accuracy-the two pronunciations
formerly diverged, but have now come to coincide through the process of phonetic decay. A
THE "KAN-ON" AND "GO-ON.”
397
good example is furnished by the important character
法
​law," transcribed
フ
​HAFU
in KAN-ON,
HOFU in GO-ON, both of which are sounded Hō in modern usage.
Rarely-very rarely-a different shade of meaning accompanies the difference of pro-
nunciation, as
((
便
​((
whose KAN-ON BEN means convenience," while its Go-ON BIN means
opportunity." I
A somewhat similar case is offered by KōFU and KUFU, see p. 51.
A similar phenomenon may be observed in some of the cases of duplicate English words above
quoted. "Poor," for instance, is not absolutely synonymous with "pauper." But mostly it
is just a question of context. The Buddhistic and the old-fashioned Colloquial demand the
GO-ON, the Confucian and the modern educated speech demand the KAN-ON. For instance
"superior and inferior," will be read JOGE according to the former, SHŪKA
brothers," may be either KYODAI or KEITEI.
according to the latter; and similarly
((
建立 ​"to build," will be KONRYU if a Buddhist temple is in question, but KENRITSU
if a municipal hall or a lunatic asylum;
“lady," will be BUNIN in the case of
MAYA BUNIN, the mother of Buddha, but FUJIN in that of a Chinese or modern lady;
will be “MONJU" in the case of a certain ancient book, BUNSHU if a modern
文集
​literary selection be intended. Sometimes either reading may be selected indifferently, as
"books," read both
books," read both (KAN-ON) SHOSEKI and (Go-on) SHOJAKU ; 圖書
​maps
and books," read both (KAN-ON) TOSHO and (Go-ON) ZUSHO. In such cases men of the elder
generation are apt to prefer the Go-ON, while the youngsters fresh from college seem to
esteem the KAN-ON alternative more elegant.
There are also cases of double reading within the limits of each entailing a
音
​diversity of signification. For instance, the familiar character HE is sounded AKU when it
means ashii, "bad," but o when it means nikumu, "to hate," whence such variety in the
compounds as 善惡 ​ZEN-AKU, “good and bad;” Kō-0, "loving and hating.
If Hi
女
​This change has nothing to do with KAN-ON and Go-ON; it is one existing in the original
Chinese, and accompanying the varying shade of meaning in either pronunciation. Another
familiar instance is afforded by 易 ​read EKI when signifying "change," I when signifying
"easy." Such double readings of certain characters are the only approach made to inflection
by the Chinese language, which is otherwise absolutely devoid of anything resembling the
grammatical system of our Western tongues.
法
​Under another rubric come a few cases of irregularity purely Japanese in origin. Thus,
Hō, “law,
name of a sect of Bud-
Hō, “law,” as just quoted, but 法​華 ​HOKKE, the
dhists (as if
HOTSU); SHI,
#
were speltHOTSU);
(C
a Chinese poem," but
詩歌 ​SHIIKA, "poetry in general;" 除 ​Jo, "removing," but BESOJI,
掃除
​sing.'
"clean-
These are traditional readings (yomi-kitari), of whose origin no satisfactory explana-
tion has been offered. Euphony readily accounts for such cases as 天皇​(TEN-D),親
​E (SHIN-Ö), Z✯ (UN-UN), (KWAN-ON), (GEN-WA), pronounced TEN-
云​々 ​觀音 ​π
398
ELEVENTH SECTION.
Nō, SHINNŌ, UNNUN, KWANNON, GENNA.* 善惡 ​is indifferently ZEN-AKU Or ZENNAKU;
三位 ​(SAN-1) is SAMMIT; 出來 ​is SHUTSU-RAI, equivalent to Colloq. dekiru, but also
出納 ​is always surrō, "expenditures and receipts," not SHUTSUNŌ as would
SHUTTAI;
naturally be expected. Others might be quoted, but the modern tendency is towards
regularity.
Besides the
and
漢​音 ​吳​音 ​there is yet a third pronunciation called Tō-IN
唐​音 ​, which was introduced by Buddhist missionaries of the ŌBAKU sect in the 17th
century, and which approximates to the modern "Mandarin." Fortunately the additional
confusion thus caused is not great, as usage has sanctioned this new pronunciation in but
a very small number of instances. Those best worth remembering are :—
"universal
行
​燈 ​going light," the ANDON is always
ANDON, a kind of lamp with paper shades.
Though the characters mean lit. "a
FUSHIN, "building (lit.
B
begging" for subscriptions to build a
stationary. The KAN-ON would be kōrō.
蒲
​行 ​ing legs"). The KAN-ON would be
ANGYA, "a mendicant priest" (lit. "walk-
團
​脚​脚
​看
​KōKYAKU.
經
​CHŌCHIN, a lantern" (lit. a light
提 ​held in the hand").
The KAN-ON
燈 ​would be TEITŌ.
胡亂
​The character
樣 ​扇 ​金
​樂團​拿
​子 ​SHI or ho takes the Tō-IN in the familiar compounds 'KINSU, "money;"
子
​東​南北
​temple). The KAN-ON would be FUSEI.
FUTON, “a cushion" (lit.
(lit. "a circle of
bulrushes"). The KAN-ON would be
HODAN.
KANKIN, "reciting Buddhist litanies "
(lit. "looking at the scriptures ").
The KAN-ON would be KANKEI.
((
URON, suspicious "(lit. "reckless and
disorderly "). The KAN-ON would be
KORAN.
2 1 SENSU (ōgi), "a fan;" ³yōsu, "circumstances," and a few others. A few of
the best-known place-names in modern China are
also generally pronounced according to the Tō-IN.
Such are Peking," ""Nanking," "Tonking.
京​京​京
​1
Similarly (KAN-ON) SEI is pronounced (Tō-IN) SHIN, when used in the sense
of "China;" and (KAN-ON) MEI is pronounced (Tō-IN) MIN, when speaking of the
"Ming" dynasty.
A complete analysis of the texts given in the present volume might bring to light some
curious facts-statistical and other-concerning the respective positions of the KAN-ON,
GO-ON, and Tō-IN in modern usage; but we doubt whether the labour would serve any
* A year-name which lasted from A.D. 1615 to 1624.
Korean.
Traceable to the fact that the original Chinese sound of =
Same characters as those used to write "Tōkyō."
was "sam," still preserved in Cantonese and in
THE "
399
"
"KAN-ON " AND
GO-ON."
practical end. Time will be saved and the speediest progress made by simply accepting
the various readings, each in its context. Above all, nothing can be gained by argument :-the
language is highly irregular and arbitrary, and must be recognised as such.
Before quitting the subject, we would just draw the student's attention to a few cases
which belong to none of the three standard pronunciations of Chinese, such as 文字
​MOJI (more regularly MONJI),
Hold
NIHON (more regularly NIPPON). Such clipped pro-
nunciations are very ancient, dating from days when the question of Chinese final consonants
was summarily settled by dropping them. Given, for instance, old Chinese NIT or JIT,
the Japanese at first simply dropped the final t and said NI. Later on this came to appear
slipshod, and teachers of Chinese insisting on the retention of the word in its entirety-
people tried to say NIT; but being unable to enunciate a final consonant without tacking
on some vowel, they ended by saying NITU or NITI, which has become NITSU or NICHI in modern
usage, through the general tendency to sibillation which has turned every Japanese tu into tsu
and ti into chi. N final forms an exception, as Japanese organs have become capable of
pronouncing it; so MO has been expanded to the orthodox MON in modern usage, and is
always now so read except in a few special combinations. After all, there is nothing strange
in all this; every language having a long literary past has something of the kind to show.
A good English instance is supplied by such words as "backward," "inward," "forward,"
which were formerly pronounced without the w, but which now, thanks to scholastic influence,
have resumed it. Nautical phraseology, however, with its "forrard," retains the earlier corrupt
pronunciation in this as in numerous other words.
文
​In Japanese dictionaries the KAN-ON pronunciation is commonly written on
one side
(mostly the right), the Go-ON on the other of each character explained, and the Japanese
translation or translations (KUN) below, thus :
キ
​metal," or kogane,
or kogane, "gold," in Japanese. Many dictionaries give each
コ
​金
​V showing that
that 金
​is read (KAN-ON) KIN or (Go-ON) KON, and called kane,
コカ
​too -F-
子
​character's rhyme in brackets, and add its spelling according to a peculiar
HANSETSU or kaeshi, which consists in
Chinese method called 反切
​taking the initial of one character and the final of another. Thus, the example in the right-
hand margin means that the character LATE KETSU, “heroic,” rhymes with 脣 ​SETSU (our
No. 1030), and that it is pronounced K[I] [T]ETSU. The small circle at one corner of the
character showing the rhyme indicates to which of the "four tones" the character under
consideration belongs (conf. p. 408. footnote).
訓​)
Cases occur in which the Chinese and Japanese readings (and do not exactly
cover each other. For instance, when read GYOKU, means specifically "jade," also
"jewel” in general, but when read tama, it means "jewel" only. The character → 宇 ​when
read JI, means "a Chinese ideograph;" when read azana, it means "nickname," while as
LAE
哲​鳳
​切奇
​400
ELEVENTH SECTION.
aza it is "a local, not officially recognised, place-name." Learners are apt to be disheartened
when it gradually dawns upon them that the correspondence between ON and KUN is often
thus imperfect, and that in particular a single Japanese word may have half-a-dozen characters
answering to it. After learning with some difficulty, for instance, that yorokobu is written
喜
​慶
​, they feel themselves aggrieved to find it likewise written 悅​·欣​·歡​·懌
​-so many new, and as it would seem superfluous, characters requiring to be memorised.
But they are not superfluous. Consider the case of English. Have we not "joy," "gladness,"
"mirth," "glee," "jollity," "delight," all equivalent to Japanese yorokobi or yorokobu, yet
cach distinguished from its fellows by some shade of difference which is felt, even when it
cannot easily be defined? We would not willingly dispense with any one of these so-called
synonyms. Or, to take another example among a hundred, we have "fear," "fright," "dread,"
"awe,” “alarm,” “terror,” and Chinese has a like array of synonyms in H
恐​畏懼
​怯​怖​怕
​HH, and perhaps others more, for all of which the single Japanese word
osoreru does duty. To state the matter in other terms, Chinese and English are rich
languages well-adapted to rendering delicate gradations of thought. Pure Japanese (the so-
called
大和言葉 ​Yamato-kotoba) is a poor language. It becomes rich only by
drawing on Chinese sources. This is done liberally in the modern written tongue and in the
discourse of the educated, which leans on the written style whenever dealing with abstruse or
technical matters. Thus, thanks to loans from the bank of China, shades of meaning obtain
currency in Japanese which were unknown to the original native speech, and the language is
euabled to meet the calls of complex thought.
ORDER OF WRITING.
Though all connected Japanese texts are written from top to bottom, motives of con-
venience may necessitate the placing of a few characters horizontally. This is often seen in
signboards, also in such official notice-boards as, for instance, those serving to indicate the
various departments of a large post-office. The reading is then almost always from right
to left, thus:
口​下​賣​手​切​便​郵
​YUBIN-gitte uri-sage-guchi.
Window for the sale of postage-stamps.
Of the Chinese characters for "joy" mentioned in the
mentioned in the text, ♫
喜​:
KI is the commonest general term for all
shades of “joy” or “gladness;" 悅
​KIN, “pleased,”
"mirth;"
歡
​ETSU is rather " quiet delight in," gratification;"欣
​KWAN, “mirth,” “jollity;" 懌 ​EKI, “rejoicing,” “taking pleasure in ;" KEI, "joy," or perhaps
恐
​rather "that which is a fit subject for congratulation."— Of the characters for "fear," Kyō is the general term
""
KYŌ
"
of widest application for "apprehension or " alarm in its various phases, while 畏 ​I is rather our "dread; 懼
​timorousness;"怖 ​ru, “cowering fright;" h HA, "dread," "apprehension." Some of
KU, “awe;”怯
​KYO,
these characters seem to be pictorial, for instance the last, which is lit. " a white heart."
ORDER OF WRITING.
401
口​付​受​留​書​}
Kaki-tome uke-tsuke-guchi.
Window for the receipt of registered correspondence.
Kawase uke-harai-guchi.
口​拂受​替為 ​window for the receipt and payment of post-office orders.
Window for the receipt of telegrams.
口​付​受信​電
​DENSHIN uke-tsuke-guchi.
口​扱​取​包​小​}
Parcels attended to at this window.
Ko-zutsumi tori-atsukai-guchi.
The names of stations on some lines of railway are similarly written, thus:
驛路​姬​}
Himeji EKI
Himeji Station
but perpendicularly in Kana, as
驛​橋​行​}
Yukuhashi EKI
Yukuhashi Station
Other common instances are
汝
​くは考
​め
​ぢ
​所​札​出​}
SHUSSATSU-SHO.
Ticket office.
口​入​差​便​郵 ​}
YUBIN sushi-ire-guchi.
Post-box.
TETSUDŌ KISOKU ni shitagau-beki koto.
事​キ​ベ​フ​遼​=則​規​道​鐵
​<>遵​二​則​規​道​鐵 ​Obedience is required to the railway regula-
tions.
TETSUDO KISOKU kataku ai-mamoru-beki koto.
事​守​相​可​堅​則​規​道​鐵 ​(Same meaning as the preceding, but written ac-
cording to Chinese syntax.)
TSUYō wa TŌJITSU kagiri.
"限​日​當​、用​通 ​Available only for the day of issue.
Passengers for Shimbashi and Yokohama must cross
the bridge.

を​橋​は​行濱​横橋​新
​しる​渡
​SHIмbashi Yokohama yuki wa, hashi wo wataru-beshi.
所​濯​洗​洋​西​キ​匕​-
마
​Rō-biki SEIYŌ SENTAKU-JO.
Linen washed and glazed in European style.
Certain words are sometimes written, and even printed, smaller than the rest. Politeness
dictates this in the case of 小生 ​SHÖSEI, “I;”小​官 ​SHÕKWAN, “I” (in
official reports). An instance less easily explained is nite, "in," where the
广​而 ​second letter is also commonly written a little to the left. When the Emperor's
402
ELEVENTH SECTION.
name is mentioned, a space-sometimes the whole of the rest of line-is left blank before it
(conf. p. 292 et seq.), and sometimes the august name itself is made to begin higher than the
other lines of the page.
(漢文
​THE CHINESE STYLE. (X)
Not only do the go-ahead Japanese still occasionally condescend to peruse the ancient
Chinese Classics; they even sometimes write books and shorter compositions in the Chinese
style. For this reason, and also in view of the immense influence exercised since the beginning
of history by the larger upon the smaller country in every department of literature and thought,
the student may profitably turn aside for a moment from the investigation of Japanese proper
to observe the manner in which the Japanese treat Chinese texts. This will prove very far
from a loss of time. The Japanese method is something between a reading and a translation,
-not quite the one, nor yet exactly the other. It is a method which, while leaving the Chinese
order intact in writing, re-arranges it in the reading off, so as to make it accord, tant bien que
mal, with the requirements of Japanese syntax. With a view of helping the reader to effect
this object, various small diacritical marks are printed beside the characters. Some of these
are Kona letters mostly supplying missing postpositions; others are numbers or the symbols
for "top," "middle," and "bottom," indicating the order in which the characters are to be
taken. Such are called
kari-TEN, lit. " marks for turning backwards." The Japanese
reader follows these with his eye, often with his finger, and skips backwards and forwards up
and down the page at their bidding. Occasionally a character must be read twice with two
clifferent interpretations. For instance, near the beginning of the Chinese text printed
猶
​on the next page, is first read nao; later on the reader returns to it again, and reads it gotoki,
as indicated by the small Kana letter on its left side, and as seen still better in the
Romanised transliteration. In fact, a careful comparison of this transliteration with the
original text will unfold the whole system of the haeri-TEN better than any description could
do. The chief points of the system are that a little hook like the Katakana letter re
marks the simple transposition of two characters, numbers are employed in the case of sets of
two or three characters, and E, F in still more complicated cases. Japanese
editions of the same Chinese work vary considerably in their kacri-TEN notation.
followed for the reading of Mencius is known as the
great scholar Satō Issai already mentioned on p. 325.
That here
齋​點​, from the name of the
厉
​Other celebrated systems are the
GOTO-TEN and DOSHUN-TEN. A good edition-perhaps the easiest-of the Chinese Classics
is the 經典​餘​師
​KEITEN YOSHI," with the reading and perpetual commentary
in Japanese. But for Anglo-Saxon readers, Legge's admirable Chinese Classics is the
best of all. We have borrowed his translation of the passages quoted, with one or two slight
alterations.
JAPANESE READING OF CHINESE TEXTS.
403
The following characters occurring in the first text quoted from Mencius are not included
in our list and need not be memorised, as they are comparatively rare and of little use;—
""
桮 ​HAI, “a wine-cup;" 棬 ​KEN, “n bowl;”戕
​SHō or sokonan, “to injure; 湍
​TAN,
“water whirling round in a comer,”“a rapid."



水​西子
​之​方​日
​無​則 ​則​性
​分​西 ​猶
​於​流​浩
​東​人​水
​西​性​也
​也​之​決
​無​諸
​分​東
​猶​諸​告​夫​義​杞​將​孟​為​告
​與​柳​戕​子​仁​子
​

天​以​杞子​猶​性
​下​為​柳​能​以​猶
​之​栝​而​順​杞​杞
​人​棬​後​杞柳​柳
​而​則以​柳​為​也
​禍​亦為​之​桮​義
​仁​將​栝​性​棬​猶
​義​戕​棬​而 ​桮
​上
​チ
​率​而​賊​日
​


於​方
​者​賊​也​以 ​棬
​善​則
​必​人​如
​也
​ス
​不​東
​子​以​將​桮
​以
​善​流
​下
​之​為​戕​捲
​人
​也​決
​言​仁​賊​乎​。
性​,
404
ELEVENTH SECTION.





L
不​則​是​激​搏​水​就​人​東​孟
​
ง
善​然​豈​而​而無​下​性​西子
​其​也​水​行​躍​有​也​之​無​日
​性​人 ​人​之​之​之​不​人​善​分水
​亦​之​性​可可​下 ​無​也​於​信
​猶​可
​可​哉​使​使​今 ​有​猶​上​無
​


レ
​厶
​一
​1-
L
水​信​無
​"
一
​L-
也​為​勢​山​顙​水​善​之​乎​於
​是​使 ​M
使其​在​過​夫​不​水下​分
​L
几
​TRANSLITERATION.
KOKUSHI iwaku : SEI nao KIRYŪ no gotoki nari; GI nao HAIKEN no gotoki nari.
SEI wo motte JINGI WO nasu, nao KIRYŪ wo molte HAIKEN wo nasu ga gotoshi."
(6
Hito no
Masa ni
Moshi masa
MOSHI iwaku : SHI yoku KIRYŪ no SEI ni shitagatte, motte HAIKEN wo nasu ka?
KIRYŪ WO SHŌZOKU shite, shikō shite nochi ni motte HAIKEN wo nasan to suru nari.
ni KIRYŪ WO SHŌZOKU shite, motte HAIKEN wo nasan to sureba, sunawachi mata masa ni hito wo
SHŌZOKU shi motte JINGI wo nasan to suru ka? TENKA no hito wo hikiite, JINGI ni wazawai suru
mono, kanarazu SHI NO GEN ka!'
"
SHOKA ni wakaru nakaran ya?
Hito ZEN narazaru aru naku,
KOKUSHI iwaku: "SEI nao TANSUI no gotoki nari. Kore wo TŌHŌ ni KESsureba, sunawachi
TORYŪ shi; kore wo SEIHO ni KESsureba, sunawachi SEIRYŪ su. JINSEI NO ZEN FUZEN ni wakaru
naki ya, nao mizu no tōzai ni wakaru naki ga gotoki nari.”
MOSHI iwaku: Mizu makoto ni TōZAI ni wakaru nashi.
JINSEI no ZEN ya, nao mizu no hikuki ni tsuku ga gotoki nari.
mizu kudarazaru aru nashi. Ima kano mizu utte, kore wo odorasu,-shitai wo sugosashimu-beku ;
GEKIshite, kore wo yaru,—yama ni arashimu-beshi. Kore ani mizu no SEI naran ya? Sono ikioi
wa sunawachi shikaru nari. Hito no FUZEN wo nasashimu-beki, sono SEI mo mata nao kaku no
gotoki nari.”
JAPANESE READING OF CHINESE TEXTS.
405
ON THE ESSENTIAL GOODNESS OF HUMAN NATURE.
Kokushi said: “ [Man's] nature is like the willow, righteousness is like a cup or bowl.
Fashioning benevolence and righteousness out of man's nature is like making cups and bowls
from the willow."—Mencius replied: “ Can you, leaving untouched the nature of the willow,
make of it cups and bowls? You must do violence and injury to the willow, before you can
make cups and bowls of it. If you must do violence and injury to the willow in order to
make cups and bowls of it, [on your principles] you must in the same way do violence and
injury to humanity in order to fashion from it benevolence and righteousness. Your words,
alas! would certainly lead all men on to reckon benevolence and righteousness to be calami-
ties.”
Kokushi said: "[Man's] nature is like water whirling round [in a corner]. Open a passage
for it to the east, and it will flow to the east; open a passage for it to the west, and it will
flow to the west. Man's nature is indifferent to good and evil, just as the water is indifferent
to the east and west."-Mencius replied: "Water indeed [will flow] indifferently to the east
or west; but will it flow indifferently up or down? The tendency of man's nature to good
is like the tendency of water to flow downwards. There are none but have this tendency to
good, [just_as] all water flows downwards. Now, by striking water and causing it to leap up,
you may make it go over your forehead, and, by damming and leading it, you may force it
up a hill;—but are such movements according to the nature of water? It is the force applied
which causes them. When men are made to do what is not good, their nature is dealt with
in this way.”
(Mencius, Book VI, Part I, Chaps. I and II.)


利​是
​力
​環​之​不如
​必勝​環
​也​天然​有​夫
​有​夫​而​城​如
​城​如​地​子
​城​時 ​特​而得​環​攻​七​人​利
​利​日
​非​不​不​天​而​之 ​之​里 ​里​和 ​和​地​天
​不如​勝​時​攻​而
​而​之 ​之​三​之​時
​高地​者​者​之 ​不​郭 ​郭​里​利​不
​

O
406
ELEVENTH SECTION.






有所​助​寡​革​以​域​之​利​也
​助​之至
​也​池​非​不
​不順​之​助​之​山民​是​也​池
​戰​攻​至​寡​利​谿​不​地​米​非
​戰​親​天​助​得​之​以​利​粟​不
​必 ​城​下 ​下​之​道​險​封​不​非​深
​Lˊ
民​不​以​封疆​之​界​固​國
​レ
​勝​之​順​至​者​威​疆​如​不​也
​所​之​親​多​天​之​人​多​兵
​畔​以​戚​助​下界​和​也​革
​故​天​畔​失​不​固​也​委​非
​君​下​之​道​以​國​故​而不
​子​之多​者​兵​不​曰​去​堅
​L
TRANSLITERATION.
MōSHI iwaku: "TEN no toki CHI no RI ni shikazu; CHI no RI hito no KWA ni shikazu.*
SAN-RI
no shiro, SHICHI-RI NO KWAKU, kakonde kore wo semete, katazu. Kano kakonde kore wo semuru
wa, kanarazu TEN no toki wo uru mono aran. Shikari shikō shite katazaru mono, kore TEN no
toki CHI no RI ni shikazaru nari.
ル
​


“
Shiro takakarazaru ni arazaru nari. Ike fukakarazaru ni arazaru nari. HEIKAKU KENRI
narazaru ni arazaru nari. BEIZOKU ōkarazaru ni arazaru nari. Sutele kore wo saru.
Kore CHI
no RI hito no KWA ni shikazaru nari.
“Karn ya yue ni iwaku : Tami wo kagiru ni, HōKyō no sakai wo motte sezu; kuni wo katō
suru ni, SANKEI no KEN wo motte sezu; TENKA wo odlosu ni, HEIKAKU NO RI Wo motte sezu.' Michi
wo uru mono tasuke õku; michi wo ushinau mono tasuke sukunashi. Tasuke sukunaki no itari,
SHINSEKI kore ni somuki; tasuke ōki no itari, TENKA kore ni shitagau.
powers” (三​寺​) of Chinese philosophy.
*天地​人 ​are the " three powers
JAPANESE READING OF CHINESE TEXTS.
407
“TENKA no shitagau tokoro wo motte, SHINSEKI no somuku tokoro wo semu.
KUNSHI tatakawazaru ari. Tatakau kanarazu katsu."
Karu ga yue ni
A KING'S BEST SAFEGUARD IS IN THE HEARTS
OF HIS PEOPLE.
Mencius said: "Opportunities of time [vouchsafed by] Heaven are not equal to advantages
of situation [afforded by] the Earth, and advantages of situation afforded by the Earth are
not equal to [the union arising from] the accord of Men.
["There is a city,] with an inner wall of three miles in circumference, and an outer wall
of seven.―[The enemy] surround and attack it, but they are not able to take it. Now, to
surround and attack it, there must have been vouchsafed to them by Heaven the opportunity
of time; and in such case, their not taking it is because opportunities of time vouchsafed by
Heaven are not equal to advantages of situation afforded by the Earth.
["There is a city whose] walls are distinguished for their height, and whose moats are
distinguished for their depth, where the arms [of its defenders], offensive and defensive, are
distinguished for their strength and sharpness, and the stores of rice and other grain are very
large. [Yet it is obliged to] be given up and abandoned. This is because advantages of
situation afforded by the Earth are not equal to the union arising from the concord of Men.
"In accordance with these principles it is said, 'A people is bounded in, not by the limits
of dykes and borders; a kingdom is secured, not by the strength of mountains and rivers; the
empire is overawed, not by the sharpness [and strength] of arms.' He who finds the proper
course has many to assist him. He who loses the proper course has few to assist him. When
this-the being assisted by few-reaches its extreme point, his own relations revolt from [the
prince]. When the being assisted by many reaches its highest point, the whole empire be-
comes obedient [to the prince].
"When one to whom the whole empire is prepared to be obedient, attacks those from whom
their own relations revolt, [what must be the result?] Therefore, the true ruler will prefer not
to fight; but if he do fight, he must overcome." (Mencius, Book II, Part II, Chap. I.)
The following will serve to exemplify the manner in
which the Japanese read Chinese poetry :-
(Transliteration.)
FUKYO YAHAKU.-CHOKEI.
Tsuki ochi, karasu naite, shimo TEN ni mitsu.
Kōrō no GYOKWA SHŪMIN ni TAIsu.
KOSO JOGWAI NO KANZANJI.
YAHAN NO SHŌSEI KAKUSEN ni itaru.
江​月
​姑 ​江
​鐘​城
​聲​外
​夜半​鐘聲​到​客船
​楓
​溈
​火​啼
​寒 ​對
​山
​寺
​愁​满
​楓橋​夜泊
​張
​眠​天 ​繼
​408
ELEVENTH SECTION.
(C
(Translation.)
At Anchor at Night by the Maple Bridge."
[A Stanza by] Chōkei.
"The moon declines, and the crows caw [mistaking the light which shines on them
through the branches for the dawn; but still] the frost fills the sky.
"The fishermen's fires from the maples on the river-bank meet my sad sleepy eyes
[as I gaze out, and]
Beyond the castle of Koso, from the temple on [yonder] cold hill,
“The sound of the midnight bell reaches the boat on which I travel."
The above is what is called a
七言​絕句
​SHICHI-GON ZEKKU, or
((
seven syllable
天
​眠
​stanza,” whose first, second, and fourth lines must rhyme together, here TEN, IR
(an imperfect rhyme to our ears), and 舩
​MIN
SEN. Moreover, the characters are arranged
*
according to an elaborate system of "even and oblique tones" (TX), which distantly
recalls the Greek and Latin prosody founded on the distinction between long and short syl-
lables. But the Japanese reading not only disregards the tones:-by transposing some words
and translating others, it makes even the rhymes unrecognisable, and in fact destroys the
五言​絕句
​metre altogether. The following is an example of a p
GO-GON ZEKKU, Or
"five syllable stanza," in which the second and fourth lines rhyme. Unfortunately, stanzas of
such extremely simple import are not often to be found.
INJA wo Tazuncle, Awazu.
KATŌ.
在​師​下
​尋​隱者​不遇
​只​言​松
​SHŌKA DŌJI ni tou.
Iu: SHI wa kusuri wo tori saru to.
不​此​探問
​Tada kono SANCHU ni aran.
知​山
​賈​遇
​Kumo fukō shite tokoro wo shirazu.
處​中​去
​島
​[Stanza composed by] Katō on Visiting a Recluse, and Finding him Absent.”
"I enquire of the boy [playing] under the pine-tree.
"He says his master has gone away to pluck medicinal herbs,-
"That he is just somewhere amid those mountains,
"But that thick clouds obscure the spot."
* In Chinese, as pronounced by the Chinese themselves, each character belongs to one or other of four tones
upper”(上聲​),
(四聲​),
(P), called respectively the "even" (T), the "upper" (E), the "departing” (),
and the "entering"), the three last being classed together as "oblique. Some characters may be read
with more than one tone; but in such cases a change of signification accompanies the modulation of the voice. Thus
pronounced with the even tone means "to do" (Jap. nasu); pronounced with the departing tone it means “for
the sake of" (Jap. tame ni).
JAPANESE READING OF CHINESE TEXTS.
409
() containing brief quo-
(額
​The Japanese are very fond of writing Chinese poems on screens and on the sliding
doors (fusuma) that separate room from room. Sometimes the square character is em-
ployed for this purpose, more often the running hand. Tablets
tations from the Chinese, or original compositions, form a frequent ornament of Japanese
dwelling apartments. Persons of any eminence are constantly solicited to write such, which
are then framed and hung up in a place of honour. Generally, we fear, the interpretation
of such terse inscriptions-bristling, as they often do, with rare and difficult characters-
will exceed the strength of the foreign student. Still, when he is ensconced in a native
inn on a wet day, or maybe is kept waiting in a friend's reception room, the attempt to
solve them may serve as an amusement and sometimes lead to unexpected success. In such
cases even half a loaf is better than no bread. Here are half-a-dozen inscriptions picked
from among hundreds
國​愛君​忠
​CHŪKUN AIKOKU.-Loyalty and patriotism.
Omoi yokoshima nashi.-Have no depraved thoughts.
IT'S
(Confucius said: "In the Book of Poetry' are three
無
​思
​hundred pieces, but the design of them all may be embraced in one sentence,—' Have no
depraved thoughts ".")
孤
​不
​德
​TOKU KO narazu.-Virtue is no orphan, i. e. he who
practises it will find others of like virtuous habits. (Re-
member that, according to Confucius and Mencius, human nature is radically good, conf. p. 405.)
JU KINSEKI ni HISU.-May your longevity equal that of
metal and stone.
成​不​事​何​到​一​神​精
​wo
石​金​比​壽
​SEISHIN hito-tabi itareba, nani-goto ka narazaran ?—
Where there's a will, there's a way.
Uchi sono kokoro wo tadashiū shi, hoka sono okonai
osamu.—Internally correct your heart, externally
govern your conduct.
行​其​修​外心​其​正​內
​ROKU-SHUTSU HŌNEN wo arawasu.—The snow foretells a
年​豐​表出​六
​rich harvest. (六​出
​a phrase for "snow," refers, we
Though KAMBUN itself is less employed than formerly for lengthy composi-
林林
​believe, to the hectagonal formation of frost-crystals.)
禁​通行
​禁​喫​煙
​"No
tions, scraps of it are commonly used and understood. Such notices, for
instance, as ¹KITSU-EN WO KINZU, "Smoking prohibited;" "TSŪKŌ wo KINzu,
thoroughfare," though read in the order of Japanese syntax with the verb at
the end, are written in the Chinese order with the verb at the 入​見​®
湯​物
​beginning. All such expressions as 'KEMBUTSU, "sightseeing;" NYŪTŌ, "visiting
a mineral spring" (lit. entering hot water), etc., etc., result from the same influ-
410
ELEVENTH SECTION.
ence.
So does the writing of such words as 'ari-gatashi, ²nakanzuku, ³kawase, *iwayuru, and
(in the Epistolary Style) of kudasare, sukamatsuru-beku, and several others, in an order
1
可​被​所​為​就難 ​contrary to that in which they are meant to be rend.
仕​下​謂​替​中​有
​As noted in an earlier chapter, the Chinese order often
(棒​讀
​comes closer to English syntax than Japanese does.
In fact, it is generally simpler for us to read the Chinese straight down Bo-yomi,
lit. "stick-reading"), than to jump backwards and forwards as the Japanese method of
reading requires.
CHINESE PHRASES.
By this time, the student should be able to appreciate the neatness and terseness of most
of the ready-made phrases borrowed by the Japanese language from the Chinese. Owing to
the shortness of the words and the absence of terminations and particles, the sense stands out
in such startling relief that no translation into our verbose European languages can do justice.
to it. The following phrases of four characters each are all quite common :
14
13
12
11
10
9
8
7
5
4
3
2
百千​千千​獨​慷​安​牽​臨​男​夫​男​自
​發​差​變​辛​立​憫​心​強​機​女​唱
​唱​尊​主​行
​百万​万萬​獨​悲​立​附​應
​應​同​婦女​自
​中​別​化​苦行​憤​命​會變​權​隨​卑​由​致
​28
27
26
25
24
23
22
21
20
19
18
17
16
15
雲​人​千​袖​傍​人​片​蜂​尸​審​傍​人
​傍​人​連​百
​泥​面​篇 ​手​觀​家​言​屯​位
​屯​位​究​若​馬​戰​戰
​万​獸 ​傍​坐​稠​隻​蟻​素​討 ​絡​連​百
​里​心律​觀​視​密​辭​集
​辭​集​餐​査
​餐​查​人​繹​勝​勝
​42
41
40
39
38
37
36
35
34
33
32
31
30
29
千​酒​前​勸​萬​櫛​粉​亂​四​山​嘉 ​嘉​古​内
​騎​紅​池​代​善​世​風骨​臣​分 ​紫 ​今
​當​万​肉​未​懲​不​沐​碎​賊​五 ​水 ​善 ​外
​千​紫​林​聞​惡​朽​雨​身子​裂​明 ​明​行 ​雙​患
​CHINESE PHRASES.
411
57
56
55 54
53
52
51
50
49
48
47
46
45
44
43
治​生肉​優​右​森​平半​富​權​驚 ​寸 ​肩​局
​外存​食​勝​往​羅​身
​富國強兵
​身​信​國 ​謀​天​前​你
​肩​摩
​無​偏​無​黨
​局外​中
​法​競​妻​劣​左​萬​低​半​強​術​動
​權​爭 ​帶 ​敗​往​象​頭​疑​兵​數​地​魔​黨​擊​立
​千
​TRANSLITERATION and TRANSLATION.-1. GENKO ITCHI, lit. "words and action one doing,"
i. c. conformity of acts to words, or of conduct to precept.-2. JISHU JIYU, lit. "self-master
self-rely," i. e. free and independent.-3. DANSON JOHI, lit. "man venerable, woman despicable,"
i. e. the superiority of the male sex, the subjection of women.-4. FUSHō FUZUI, wifely obedience
to marital commands. (This maxim-for we might also translate thus, a wife must obey her
husband's commands-is inscribed on most pieces of Indian ink. It comes from the
"SENJI-MON," or "Thousand Character Classic," an ancient Chinese book which, in its
present form, dates from the sixth century after Christ, and serves the purpose of teaching
one thousand ideographs.)-5. DANJO (NANNYO) DŌKEN, the equality of the sexes, women's
rights.-6. RINKI ŌHEN, "conformity to the mutations of circumstances encountered," i. e.
acting according to circumstances.-7. KENKYŌ FUKWAI, lit. "pulling and forcing and
joining together," i. e. adducing wrongfully, straining a meaning, false analogy, like Colloq.
koji-tsuke.-8. ANSHIN RITSUMEI, resignation, lit. "quieting the heart and standing [obedient
to Heaven's] decrees.”—9. KÖGAI HIFUN, a noble resentment, such as is felt by those who
grieve over the vices of the times.-10. DOKURITSU DOKKŌ, self-reliance.-11. SEN-SHIN
BAN-KU, innumerable hardships.-12. SEM-PEN BAN-KWA, innumerable changes.-13. SEN-SA
BAMBETSU, innumerable differences. Observe in this and the two preceding cases the elegant
breaking up of the 熟字 ​(compounds) 辛苦​·變化​·差別 ​and compare
p. 355. Other instances occur lower down.–14. HYAKU-HATSU HYAKU-CHU, hitting the mark
every time,” an unerring aim.-15. HYAKU-SEN HYAKU-SHŌ, victorious in every engagement.—
16. RENSEN RENSHō, ditto.-17. JIMBA RAKUEKI, a stream of men and vehicles.-18. BŪJAKU
BUJIN, lit. "as if no one were near," i. c. shameless, outrageous.-19. SHINKYU TOSA, careful
investigation.-20. SHII SOSAN, eating the bread of idleness, a sinecure. The characters allude
to the ancient Chinese custom of dressing up living men to personate and receive the worship
due, and the offerings made, to deceased ancestors.-21. HōTON GISHU, clustering, swarming,
like bees or ants.-22. HENGEN SEKIJI, a single word, also a one-sided statement.-23. JINKA
CHŌMITSU, houses closely packed together.-24. BōKWAN ZASHI, looking on unconcernedly, an
indifferent spectator. 25. SHUSHU BOKWAN, similar to the last. The characters show one who
keeps his hands inside the long Chinese sleeves, instead of stretching them out to take part.
-26. SEM-PEN ICHI-RITSU, monotony.-27. NIMMEN JŪSHIN, a monster in human shape.-28.
UNDEI BANRI, a great gulf fixed, lit. “ the myriad miles between the clouds and the mud.”
412
ELEVENTH SECTION.
""
-29. NAIYU GWAIKWAN, troubles at home and abroad, said of a disturbed country.-30.
KOKON MUSō, incomparable (ancient and modern times have not produced two).-31. KAGEN
ZENKŌ, admirable discourse and virtuous conduct.-32. SANSHI SUIMEI, beautiful scenery.—33.
SHIBUN GO-RETSU, rent, as a country by factions.-34. RANSHIN ZOKUSHI, rebels and traitors.—
35. FUNKOTSU SAISHIN, lit. "pulverising the bones and smashing the body," i. e. exerting oneself
to the utmost.—36. SHIPPU MOKUU, severe hardship, lit. "combed by the wind and bathed in
the rain.”—37. BANSEI FUKYŪ, forever and ever, everlasting.-38. KWANZEN CHŌAKU, to encourage
virtue and repress vice.-39. ZENDAI MIMON, unheard of (in former ages).-40. SHUCHI NIKURIN,
a gorgeous feast.-41. SENKŌ BANSHI, beauties innumerable.-42. IK-KI Tō-SEN, lit. "one horseman
equal to a thousand," more freely, one in a thousand.-43. KYOKUGWAI CHŪRITSU, neutrality,
as between belligerents.-44. KEMMA KOKUGEKI, lit. "shoulders rubbing and wheels clashing,
i. e. a dense crowd of people and vehicles.-45. MUHEN MUTŌ, impartiality.-46. SUNZEN SHAKUMA,
little good and much evil.-47. KEITEN DOCHI, startling the whole world. 48. KEMBŌ JUSSŪ,
a makeshift, a stratagem, more lit. "temporary stratagem and crafty device.”—49. FUKOKU
KYŌHEI, enriching a country and strengthening its army.-50. HANSHIN HANGI, in doubt.--51.
HEISHIN TEITŌ, a low prostration, profound humility.-52. SHINRA BANSHŌ, lit. "a myriad
shapes in a row like a forest," the whole creation.-53. Uō SAō, running hither and thither.
-54. YŪSHŌ REPPAI, survival of the fittest, lit. "superior conquer, inferior defeated."-55.
NIKUJIKI SAITAI, eating flesh and married to a wife, more lit. "a flesh diet and the married
state" (lit. "girdle "), a Buddhist expression, whence the use of the Go-ON pronunciation JIKI
instead of SHOKU for the character -56. SEIZON KYŌSŌ, the struggle for existence.-57.
食 ​-
CHIGWAI HŌKEN, exterritoriality.
SIGNS OTHER THAN CHARACTERS.
The Ya-jirushi, or "House-signs," are à system of symbols consisting partly of loans
from the Chinese characters and from the Kana, partly of rude ideographic pictures devised
by the Japanese lower classes. They serve as marks to distinguish certain shops, especially
to the eyes of illiterate persons, and are also availed of as trade-marks.
found in the Transactions of the Asiatic Society of Japan, Vol. XV, Part I.
a few examples. The subject is one which need not detain the student.
very little practice would enable him to decipher all these signs, as their import soon becomes
self-evident to any one who is steeped in a Japanese atmosphere. On the other, he will suffer
next to no practical loss if incompetent to decipher them at all.
Details will be
We here append
On the one hand,
全
​会
​X
DAI-maru
Kane-mori
Iri-ki
Yama-su
Kome-jirushi FUNDO-jirushi
SIGNS OTHER THAN CHARACTERS.
413
M
x
E
答
​A
Maru-M
KYU-boshi
KAKU-Jō
Chigai-yama-SAN
Yama-te
Masu-jirushi
*kome,
The FUNDō (less well FUNDON), which represents the weights employed in the Oriental weigh-
ing beam, is used as a sign by money-changers, referring back no doubt to the days when the
precious metals were weighed instead of being minted and counted. Masu is an outline picture
of the utensil still used for measuring rice and oil; but rice-merchants mostly prefer the
Kome-jirushi, which is merely the Chinese character kome, "rice," written stiffly. The
signs for yama, "mountain," and maru, “round," explain themselves. The shop which exhibits
such a sign as Yama-su is probably called Yamato-ya or Yamashiro-ya, and the owner's name is
Suzuki or Suematsu, or something else beginning with the syllable su. Chigai-yama represents
"two mountains crossed," KAKU "a square," hoshi "a star," kane ("metal") a carpenter's metal
square.
and
三​上​森​久
​大 ​are Chinese characters so simple that every coolie
has them by heart. Iri-ki is the character ★iru, with the Kana syllable ki. Maru-M, the
house-sign adopted by the well-known Tōkyō bookseller Maru-ya, exemplifies the way in which
scraps of European learning are sometimes utilised nowadays. He also writes his house-sign
善
​which gives the name of the firm more fully, this name being itself a contraction of
Maru-ya, the proper ie-na or “house-name," and ZEMBEI
and ZEMBEI 善​兵衛 ​the personal name
of the head partner. Some such explanation underlies every Ya-jirushi.
As it is possible that the student may hear of the so-called ÷
神​代​文字
​JINDAI
MOJI, or "Characters of the Divine Age," to which some scholars have attributed a high anti-
quity, asserting them to have been invented and used in Japan prior to the introduction of
Chinese writing, we mention the subject in order to warn him that they are a transparent modern
forgery founded on the Korean alphabet. The first allusion to them occurs in the seventeenth
century, after Hideyoshi's invasion of Korea. A mixture of fraud and credulity led to their
acceptance as genuine antiques by some of the leaders of the "Shinto Revival" school, whose
set purpose was to glorify everything purely Japanese and to depreciate all that came from a
Chinese source. Further details will be found by the curious in a paper "On Two Questions
of Japanese Archæology," published in Vol. XV, Part 3, of the Journal of the Royal Asiatic
Society of Great Britain.
NEW CHARACTERS OCCURRING IN THE PRECEDING SECTION.-1946. HE ōzuru, “to corre-
應
​spond.”—1947. Ei
spond."-1947. EN or shio, "salt."-1948. kishimeku, "to be in an uproar," like
three cows scattering from fright.—1949. plote maro, apparently an archaic term of endear-
篤
​ment, but now used only as a termination in certain personal names of men, as
麿
​pple Atsu-maro,
pp
不
​麿 ​FUJI-maro.—1950. ka-no-ko or kago, “a fawn.”—1951.
414
ELEVENTH SECTION.
胸
​also written
KYō or mune, “breast." Originally the tsukuri alone was employed,
and was supposed to represent the thorax enveloping the heart; the subsequent addition
of the Radical for “flesh" aimed at still further clearness.-1952.or 廐 ​儂
​
umaya “a stable.”—1953.
繫
​KEI or tsunagu, "to bind."-1954. 74
or
灑
​"to sprinkle.” Do not confound it with sake.-1955.
77247
<<
KYŪ or
SAI Or Sosogu,
縱 ​JŪ or tate, “perpendicular
(“silk accordant"); also hoshiimama, extravagant.”—1956. 遮
​""
SHA or saegiru, "to
intercept.”—1957. 串 ​KWAN or kushi, “a spit" or "skewer; hence tsuranuku, "to string
together," like (1432) 貫​:
The character
串 ​is pictorial, representing two things
run through on a skewer. I 貫 ​is somewhat similar, the upper portion being something
through which a string or bar has been run, while the lower shows the cowrie shells that are
so connected.—1958.
GI or tawamureru, "to sport.”—-1959. 撲
​strike." Memorise at the same time (1960)
"to
JAKK
BOKU
or utsu,
BOKU, often contracted to
朴
​(C
unvar-
nished," "simple," as in ⇓– π †
朴
​質樸 ​質朴
​SHITSUBOKU, "simple-minded." Remark that
have the sound BOKU.-1961.
EX
GWA or fusu, “to lie down " (represent-
OP
both halves of
<<
""
ing a 'man in the position of a "courtier " making the kotow; conf. No. 422). It is
often written E
卧​—1962. LIGHTE Yō or hai, “a fly."—1963.
蒼
​團 ​DAN, “a lump;” hence mary, "round." The interior (742) H moppara is approxi-
mately phonetic, having the sound SEN.-1965.
幹事
​KANJI “a business manager."-1966.
sō or aoi, “green."—1964.
幹
​KAN or miki, "a trunk (of a tree):'
HI or saji, "a spoon," of which the
character is supposed to be a picture. It resembles SHICHI,
七 ​SHICHI, "seven," except that its
first stroke is dashed down from right to left instead of being carried horizontally from left
to right.—1967.
V
勾 ​GEN or maboroshi, “delusion," "illusion:" GENTō, “a magic
lantern." This character originally represented two triangles interlocked, in reference doubtless
to magic arts.—1968. 2JJ Yō or itokenai, "tender age, "extreme youth.” (Observe the
天
​<<
strength" which is absent.)—1969.
yō, “tender youth,” “dying young.”—1970. 伐
​BATSU or kiru, "to cut down," "to destroy;" also utsu, "to smite" the enemy in war, (from
“man” and “spear”).—1971. 寇 ​Kō or ada, a foe."--1972.
(C
SUI, "a leader" or com-
帥
​mander-in-chief;" hence hikiiru, "to lead on."-1973. 疆 ​KYŌ or kagiri, “a limit,"
"a "a
boundary." (See the
(See the "rice-fields" with the lines dividing them, and the strong man
defending his “soil” with his "bow.")-1974. properly arazu "is not so," also now
used to write "doru," "a dollar," doubtless on account of the similarity of the character to
our symbol $. Same Phonetic in (1975) 拂 ​FUTSU or harau, properly "to sweep away," but
now used in the sense of "to pay." Remember Nos. 1974-5 together by "paying dollars."
pondo, "a pound; see p. 394.-1978.
—1976.
1976.噸
​TON, “a ton;
see p.
394.-1977.
pondo,
py
哩
​mairu, "a mile;
see p. 394.-1979.
of records, a register.-1980. 蒲 ​HO or gama, “a bulrush.” Kaba-yaki
this character appears, is a dish of fish roasted with sugar and soy, to be seen advertised ·
籍 ​SEKI OF SHAKU, "a book," especially a book
in which
ODDS AND ENDS.
415
in every city.-1931.
胡
​Ko denotes certain barbarous tribes; also read nanzo,
"what?" But its chief use is as a Phonetic, as in (1267)
(1982) 糊
​or sugureru,
""
(C
why?"
KO or mizu-umi, "a lake;
Ko or nori, “paste.” (Observe appropriateness of Radicals).-1983. 傑
​"to excel :" IT'S LA GÖKETSU, “a hero.”—1984.
rejoice," make merry."-1985. 懌
​KETSU
KWAN or yorokobu, "to
EKI or yorokobu, “to take pleasure in.”—1986. 懼
​歡
​怯
​-1988.
怖
​"to
cower
with fright."—1989.
(also written
惧 ​) KU Or
FU or
Ku or osoreru,
osoreru,
to feel awe."-1987.
KYO or osoreru, "to be timorous.
TH
HA or osoreru,
to go" and
dread."—1990. 遵 ​JUN or shitagau, "to obey," "comply" (from "to go
'to
honour-
able," because one should follow what is honourable).-1991. 性 ​SEI, “the natural disposi-
tion,” “temper." Do not confound it with (565) 情​J0 "the human passions," though
性情
​the two are used together, thus SEIJO, to mean a person's character or disposition.
KI, the name of a tree, species uncertain; also of an ancient Chinese state,
-1992.
杷
​whose people were so much given to useless anxiety that-so the story goes-they used
to fear lest the sky should fall on them, whence the phrase 杷​憂
​賊
​anxiety!—1993. ZOKU, “a robber
KIYU denoting needless
"an insurgent;" hence sokonau, "to injure." This
character is said to be contracted from "rule," and "spear," thus indicating
HIJ
戈
​搏 ​HAKU or utsu, “to strike.”—1995. M
躍
​armed opposition to law and order.-1994. ili
YAKU
or odoru, "to skip," "to gambol" (not "to dance ").-1996.
(not “to dance").— 1996. 顙 ​sō or hilai, "the forehead,"
for which (1396) is more often used.-1997.
郭 ​KWAKU, properly "the outer wall of
an enclosure.” When kuruwa has the sense of a "prostitute quarter,"
a city;" hence kuruwa, "an enclosure.
((
it is generally written (1998) properly KWAKU or õi naru, spacious.”—1999. 突
​I, a
final particle serving to give fulness or emphasis to the sense, as shown by the composition
"already done" (contracted), as if
<<
of the character, which is from 矢 ​arrow,” and “already done
to say that the expression has hit the mark. It occurs only in KAMBUN, and is mostly
neglected by the Japanese in reading.—2000. Luk IKI or sakai, “a boundary," "region."-2001.
溪
​also written
谿
​KEI or tani," a valley with a stream in it."-2002. Liik
imposing," "awful;" hence odosu,
hence odosu, "to overawe.”—2003.
2003.
畔
​I, "dignity,"
HAN or aze, "a dyke or patlı
separating rice-fields;" also read somuku, "to disobey." The character represents the "rice-
land
""
"caw.'
(C
half" on one side, half on the other.-2004. 啼 ​TEI or naku, "to cry," "howl,"
The same component parts differently placed form (2005) tada, "only."-2006.
SHŪ or uryōru, "to grieve" (as the "heart" does in "autumn" when the year is
dying).—2007.
愁
​蘇 ​so or yomi-gaeru, "to revive" or "rise from the dead." Appropriately
borrowed, both as regards sound and sense, to transcribe the second syllable of IT'S THE
YASO, “Jesus,” the first syllable of which is (2008) HIS YA or ya or ka, an interrogative
particle. In 蕉 ​Like observe, as memoria technica, that
observe, as memoria technica, that "herbs" and "grain" both rise again
with each revolving year. The "fish" element seems less appropriate. Do not confound
ETS
YA with (2009) F JA or yokoshima, "depraved," "heretical." The Japanese used to
416
ELEVENTH SECTION.
style Christianity JASHU, "the wicked sect."-2010.
邪宗
​鐘 ​SHŌ or kane, "a bell"
(remember it as the "metal set up in the village," to call to prayer or give the fire alarm).
—— 2011. 仄
​SOKU,
賈 ​Ko or akinau,
ni KA or atae, "price."
>>
"oblique," also read honoka ni, "faintly."-2012.
“to trade,” more rarely KA, a Chinese surname. Learn it with (315)
-2013.
Dō or warabe, “a lad
a lad" (one who
(one who "stands about in the " village" street).
This is a very common Phonetic, but sometimes only in so far as the ō is concerned, e. g.
in (2010) SHO,
SHO, “a bell;” also in (869) TRYō, "dragon," where the left half is really
contracted, and the right half vaguely pourtrays the shape of the mythical monster
SAI or toru, "to pick," "to gather" (with the "hand" and
wriggling upwards.-2014.
"claws" from a "tree").
Remember at the same time the closely similar (2015)
探
​SAI,
vegetables," as in
"vegetables."—2016. 孤
​KO or minashigo, "an orphan.
""
2017. Bō, “a club," "a stick."—2018.
棒
​牽
​KEN or hiku, "to pull along" (as a cow,
2019. 慷 ​xū, always in the compound 慷慨
​釋
​(6
RAKU-EKI, uninterrupted succession.
the character being supposed to represent such an animal with a halter attached to it).—
biraka, "detailed," "plain," "evident."
KōGAI, “a noble indignation."—2020-1.
-2022.
Often in
SHIN, “investigation; " hence tsuma-
pronunciation of this character is a snare for the unwary, who would probably read it BAN.
-2023.
((
TON or tamuro, a camp.”—2025.
討 ​Tō or utsu, “to smite,” as a foe; also tazuneru, "to investigate.”—2024. 屯
​−2025.蟻
​GI or ari, "an ant," the righteous insect," be-
(C
絡
​審
​不​審
​FUSHIN, "doubtful." The
cause, say the Chinese, it knows the distinction of prince and minister. Bearing in mind
the fable of the ant and the grasshopper, we may remember it with double ease as the
""
self-righteous insect.”)—2026. SEKI, "
LLE 'single,' "one" (of
(of a pair). Best remembered
雠
​as half of (845) Esō, "a pair."-2027.
((
稠 ​CHō or shigei, “crowded," "dense” (from
律
​RITSU or nori, a
'grain everywhere ").-2028. #5 KYŪ or kuchiru, "to rot."—2029.
""
((
law " or "regulation."-2030. 懲 ​CHō or korasu, "to reprove," "warn, "chastise.”—2031.
KI,
騎
​"a horseman.”—2032.
劣
​JUJE
RETSU or otoru, "to be inferior,' "inadequate "
(“few strength ”).—2033. KYO, KEI or kisou, "to struggle," "to emulate." (Originally
formed of 言 ​"words" above L
ル ​"man," and repeated in order to indicate the bickering
of people.)
WRITING LESSON.
417

1946
1991
1983
1973
1963
(1954)
性​傑​疆​蒼​灑​應
​1992
1984
1974
1964
1955
1947
杷 ​弗​團​縱​鹽
​1993
1985
1975
1965
1956
1948
賊​懌​拂​幹​遮
​1994
1986
1976
1966
1957
1949
搏​懼​噸​匕​串
​串​麿
​1995
(1986)
1977
1967
1958
1950
躍​惧​磅​幻​戲​麑
​1996
1987
1978
1968
1959
1951
顙​怯​哩​幼​撲 ​胸
​1997
1988
1979
1969
1960
(1951)
郭​怖​籍​夭​樸​育
​1998
1989
1980
1970
(1960)
1952
廓​怕​蒲​伐​朴​厩
​1999
1990
1981
1971
1961
1953
遵​胡​寇​臥​繫
​2000
1982
1972
1962
1954
域 ​糊​帥​蠅​洒
​418
ELEVENTH SECTION.

2030
2020
2010
2001
懲​絡​鐘​谿
​2031
2021
2011
(2001)
騎​繹​仄​溪
​2032
2022
2012
2002
劣​審​賈威
​2033
2023
2013
2003
競​討​童 ​田​畔
​2014
2004
2024
屯​採​啼
​2025
2015
蟻​菜​啻
​2026
2016
2005
2006
隻​孤​愁
​2027
2017
2007
稠​棒​蘇
​2028
2018
2008
朽​牽​耶
​2019
2029
2009
律​慷​邪
​TWELFTH SECTION.
THE EPISTOLARY STYLE.
實
​用
​尺
​牘
​文
​例
​TWELFTH SECTION.
THE EPISTOLARY STYLE.
The Japanese do not write letters and post-cards as they speak, nor yet exactly in the style
of books and newspapers with which the greater portion of the present volume has been
occupied. The Epistolary Style is known as
“Sōrō BUN,”* from the constant use
made in it of the substantive verb sōrō, "to be." But this use of sōrō is not its only distinctive
characteristic:-certain fixed idioms and phrases derived, like the use of sōrō, from a mixture of
Medieval Colloquial with the Chinese style, have become, as it were, fossilised, stereotyped,
and are repeated over and over again. The result is that a Japanese letter might be compared
to a man with stiff joints, capable of but few movements and those not entirely natural.
Nevertheless, the Japanese contrive to express themselves in this style, if not with the
abandon which renders the best European letters such models of ease and grace, at any rate with
perfect clearness and as speedily as our own most adept scribes.
They always employ the "cursive hand," which is called
行書
​GYOSHO (lit. "going,"
SŌSHO (lit. "grass writing") in
Nos. 14-17 of this Section are examples. The letters here given in 行書
​" ( 楷書
​(
i. e. “ current writing”) in its slightly abbreviated,
its most abbreviated form, the exact limit between the two being impossible to fix, as
one runs into the other. Almost the only exception is furnished by a small percentage of
extra-formal official documents, and by such circulars, etc., as are printed, not hand-written.
are supplied
with a key in ordinary “square hand" KAISHO). The reason why the Japanese
employ the cursive hand so extensively, is that it saves them time and trouble. Foreigners, it
is true, have to take far more trouble and consequently to expend more time first to learn to
read the cursive hand and next to write it, and even many Chinamen are in the same case.
But the Japanese become acquainted with it in childhood, and dash it off more readily than
they do the square. Comparison of texts will show that a certain general method of contrac-
tion runs through the system, and that many of the abbreviations flow naturally from the order
in which the strokes of the original square forms are written.†
t is
is a common abbreviated form of sōrō, our No. 912. Often it is reduced to a mere dot, thus
various fuller forms are also in current use, as will be noticed in the specimen letters given further on.
honorific
|
; but
and the
(full form No. 121), on or Go, are the two commonest characters in the Epistolary Style, and should
be memorised from the very outset.

† In addition to the
as the 篆書
​楷書​:行書​, und 草書 ​, there exist several other styles of less importance, such
and 小篆 ​), which is an antiquated form
TENSHO, or “seal character" (subdivided into 大篆
​still used in seals and sometimes in other ornamental inscriptions, and the REISHO, which is a sort of stiff KAI-
SHO. Students need not trouble themselves with any of these subordinate styles.
422
TWELFTH SECTION.
1
The course which the foreign student may most advantageously pursue is to read through
with his teacher all the post-cards, letters, and other documents here given,-read them through
first in the square-character key of each, and compare each with the English translation. In
this way the peculiar grammar and phraseology of this style of composition will render themselves
intelligible, and soon familiar. Next he should peruse the "Notes on the Epistolary Style" to
be found at the end of this Section. Lastly, if he has time and courage, and has come to
recognise the advantage of being able-if not to write letters himself-at least to read those he
receives, he should carefully compare the square form of each character in the key with the
corresponding cursive form, noting how the latter is derived from the former by a process of
contraction and abridgment, and getting his teacher to show him, in difficult cases, exactly
what the successive steps of abridgment have been. Observe that the selection here given is
very short; moreover all the specimens are in the same handwriting. Actual correspondence
is of course in various handwritings, many of them slipshod, others peculiarly difficult
notwithstanding that to a Japanese connoisseur in penmanship they appear beautiful. It is
an excellent practice to keep every letter that is written to one, for whatever may be its defects,
it will at least possess the incomparable merit of being a genuine document,—not something
manufactured for the occasion, such as "Ready Letter-Writers" deal in. This store of letters
might be supplied with square-character keys, and studied both for style and as lessons in
deciphering, according to the plan just proposed. But the present writer does not venture to
advise all students to push on so far. He opines that some, having a quick eye and possessing
a natural aptitude for this line of study, may derive great profit-even pleasure-from it, but
that in the case of not a few the hours so spent would be time wasted (to say nothing of the
trial to patience), and that such will obtain a more satisfactory total result by confining their
attention to the square character. The mere grammar of the Epistolary Style may, however, be
profitably acquired even by those who dispense with a study of the cursive hand. The
slight trouble involved will be repaid by the ability to read the numerous printed circulars,
etc., above referred to, and to take in the drift of letters when read aloud. Another reason for
learning it is that scraps of the Epistolary Style are frequently to be found embedded in
popular literature, both old and new. In fact, popular literature-whether in novels or news-
papers-long ago hit on the expedient of employing the "Soro BUN" as the literary representative
of the Colloquial speech. This volume offers examples on page 174 (p. 179-80 of the Romanised
text) et seq., where the answers of the prisoner and witnesses in the court of justice are in this style,
whereas the rest is in the ordinary Book Language. A variety of the Epistolary 2
能
​狂
​Style is also employed in the prose portions of the "No no Utai" or Lyric Dramas
of the Classical Japanese stage, and in the "Nō KYŌGEN or Comediettas,
which are acted as interludes to the same, the two together forming one of the
most attractive branches of the Japanese literature of medieval days.
能​の​謠
​In the translations of letters here given, practical convenience to students has alone been
THE EPISTOLARY STYLE.
423
(2)
(1)
kept in view. This seemed to demand a peculiar jargon, partly literal, partly free, very
different from anything ever employed in actual English letter-writing. Idiomatic English
versions can easily be produced by the help of these ungainly ones.
陳​者​明​後​廿​百​午后
​三​時​新​槁​着​漾​車​?婦
​京​百​妓​店​间​左​槎​予​承​加
​
通​樣
​知​清
​被​下​心​ㄑ​一寸​六​通知
​早​:
三月​廿​。 チャン​ブレン
​
排​路​自​宇​小生​宛​一切​入​郵​便​物​小
​N
州​熱海​通​口​木
​樋口​ホテル​へ
​
被​下​度​此​攸​传​依赖​申​应​也
​明治​四年​二月​三​日​千​ㄙ​ˋ ㄈ
​チュムブレ
​東京​郵便​電信​局
​
中
​424
TWELFTH SECTION.

(3)
適晃​を​げしくなとろ
​
ね​て​神戸
​たて​ほぼ​方​の​由​炊き​に​ない
​支部
​
茶人​の​封殺​署​に
​村主​席い​湿気​の​なき
​に​続く ​去​の​上
​

ち ​住​を​下​べくた
​忘
​
チャン​ブレン
​
THE EPISTOLARY STYLE.
425


(4)
百元
​口味
​本田​勇​师
​左
​チヤンブリン​殺
​1




426
TWELFTH SECTION.

(5)
玄
​༥༦
風​の​役​を​受
​然​高​小生​友人​名为
​不​儿​十​九​日​(土曜日​)
专​舘​凡​一週​间​宿​泊​及
​度至​百​階​上​の​好​室
​二​间​内​用​素​無​波​下​发
​右​Gㄜ
​





富士​殛​木​宁​儿
​THE EPISTOLARY STYLE.
427

(7)
(6)
G
李​存​以​然​爱​传​却​蜃​~儀​下​滿眶
​吏​包​何​來
​玉​至​得​共​公车​次​茅​電
​ав
5

八大​]x间​一寸​传​報
​二十​蔚​町​三​畨​入​簃​轉
​前​略​造​免​然​者​昨日​牛​之​區
​
明年​四月​日
​佃 ​耕​平
​428
TWELFTH SECTION.
(8)
传​書面​埠​見​仕​版​一年​日
​

未明​の​暴風雨​に
​宅
​書面
​破損​上​箇所
​修復​方​慕​计​年度
​九月​十 ​大​塚 ​保
​長谷川​繁
​N
厦
​Am







THE EPISTOLARY STYLE.
429

(9)
祖​堡​陈​之​匠​調製​力​又​下​口
​製​の​ストロ
​Y

一夕​ㄧ​ㄡ​ㄛ​急​友​记​在​地​人
​活​洪​府​本​於​依​授
​

代價
​
郵便​君​を​ほ​て​は
​
伊​讀道​後​温泉
​花屋​にて
​豐田​告​三​即​殿
​430
TWELFTH SECTION.

(10)
昨
​那​光​来​被​下​度
​折​悪​殼​不​互​等
​

心
​
沸点​及​年​子弟​忝​存​作
​
不孕​敌​一​~违
​
竹​麼​後果​?
明江亭
​星野​安成
​


土肥​を​殺
​THE EPISTOLARY STYLE.
431
(11)
袖
​扫
​發​~传​清茶​~設
​陈​珍​花
​
永​雄
​ONY
R
می
青​… 土​玉​忠​愛
​值
​~







432
TWELFTH SECTION.


(12)
承
​春季​十分​段​至九​沥​地方​人
​
何​線​小生​の​鴻​の
​れ​に​付​てい
​




#
深
​MN

鏡
​
THE EPISTOLARY STYLE.
433

(13)
清
​むす​を​下る
​を​席のあ
​たけお​の​一孝​氏
​永年​蜜​に​強い​もの​はて​国​流
​の​研究​に​も​あり​生​に​注​躍り
​枝​を​扱​依頼​を​よ​けをそ
​伸面​の​上​学​っ
​






せえ
​武田​土​廳
​限
​M

adjust
434
(15)
此​催​通​來
​段​候​大​ㄦ
​TWELFTH SECTION.
1
八​翌​十一
​東京​學院​運動​會長
​但​當日​雨天
​明治​三十​七年​十月​四日
​及​間​森​十
​バ
​御​御​八
​关​案​來​景​王
​ナ
​內​觀​園​曜
​√ 候​被
​也​下​於​午
​+
度​÷前
​工
​厶
​特​本​十
​バ
​日
​!順延
​別​學時
​觀​院 ​彐
​覽​運​2
動​例
​進​會​年
​殿
​呈​相​/
栗​原​新​六
​Kurawa seru
明治​三十​一年​五月​廿三​日 ​菊​地​大
​(14)


内​催​東​拜
​申​候​京​啟
​上​間​來
​候​御​國
​敬​繰​大
​具​合​學
​御​植
​來
​會
​被
​物
​園
​下
​於
​度テ
​此​園
​段​遊
​拜啓​來加​二​十​八​日​(土曜日​)午後​三​時
​麓
​御​會
​彐
​案 ​相​ㇼ
​(16)
當​友​員​午​來
​,
演​方​有
​々
​來 ​è 二十​五日​(第四​火 ​日本
​午後​六​時半 ​日
​ノ​御​例​四
​賁​會​火
​相
​キ
​員​會有​之​候 ​= 付​御 ​臨 ​相成​度​尙
​當日​演說​左
​御 ​绣
​通​引​付
​程​希望 ​候 ​也
​也​尙​述
​終テ
​理 ​學 ​士 ​井上​禧​之​助​君
​支那​福建省​旅行
​京橋​區西​紺屋​町​十​九​番地
​明治​三十​一年​十月​廿三​日
​東京​地​學​協會
​ㄥ​ˇ議 ​元
​1
THE EPISTOLARY STYLE.
435

(18)
(17)
松​平​秀​臣​儀​永​々​病​氣​丿​處​養生​不​相​本​日​午
​後​三​時​四​十五分​死去​致​候​二​付​來​ù廿八​日​午
​後​二​時​王子​自宅​出棺​淺草​區​松葉​町海​禪寺​二
​於​行​佛​葬​相​營​候​此段​及​兩​通知​候​敬​具
​於テ
​明治​三十​七年​八月​廿四​日
​男
​親戚
​岡本​恒太郎​殿
​候​葉
​小田​松
​澤​村​平
​邦​秀
​剛​輔​雄
​追​而​生​花​造​花​放​鳥 ​贈與​丿​儀​、兩​斷​申​上​候
​
別​帶​旅行​免​状​及​传送​付​互​召
​领​收​檉​作​差​公​九​年度​互​也
​
ད་

東京​帝國​大學​E
ハチェムバーレン​穀
​436
TWELFTH SECTION.
r
外務​大臣​子爵​榎本​武
​大不列顛​特命​全
​飞
​ル
​阁
​下
​"
權
​使
​(23)
揚
​(19)
得用​買​為
​皇​以
​明
​治​二十​五年​五月​四日
​貴​隨
​- 隨​同行​於​帝
​書
​意​意​日
​候​御​牛 ​二​帝​下
​日​候
​候​亍
​陛
​翰
​
下​致
​参​前​付
​付​國
​國​宋​啓
​具​院​十​阁​.
漾
​է
相​時 ​時下
​下​會​六​候
​成大​养​開​日​陳
​度​禮 ​二​院​貴 ​者
​此​服
​服​貴​式​族​我
​跃​着​舘​被​院
​(22)
(21)
(20)
b追​被​日​在​追 ​此時
​新​御​貴​御​謹​、拜
​年​書簡​手啓​、啓 ​汇遊​々
​汇​遊​々​候​奉事​下
​再 ​早​不​御
​々​取​禮​年​書簡​手​啟
​被​二
​1
下​錢​白​伸​伸
​時時
​〈券​節​候
​候​十​抦​切
​枚​角
​封​加​御
​再 ​伸 ​再​白
​一伸
​頓​敢旁 ​の​面​拜紙​陳​、益奉​秋候​間存​春江​寒
​首​御
​御​存​冷​陶​乍​候​暖​御​氣
​敷​憚​次​相​座​嚴
​御​禮​迄​如
​拜​誦​落​者
​慶​見
​手
​愛
​仕
​入​養​厭
​如右​度
​斯​用 ​申
​候
​に​事納
​た
​可​白
​し​に​被
​恐​御​迄 ​候
​惶​座
​陳
​者
​候​奉​游​追​謹​候
​問候​啓​言
​御​候
​頒
​追
​收
​て
​御​返​事​旁
​芳​翰​拜讀
​拜​啓​益​御​清​康欣​賀​之至​,汇​存​候​陳​者
​返​啓​然​者
​清​候​相
​に
​催​候​處​愈​御​多​祚​珍重​の​至
​: 座​候​處​如何​御​暮
​天​御​江​催​候​敷
​氣​安​小​候
​江心生​處
​御​被​方​御
​座​下一​全
​候​度​同​家
​處​候​無​御
​事​清
​消​福
​光​の
​暮​罷​事
​'makari
相成​候​處​益​御​健​勝​大慶
​THE EPISTOLARY STYLE.
437
(24 c)
(24 b)
(24 a)


封
​鳩山​質直​樣方
​芝區​三田​小山​町​七​十​五​番地
​柏木​崖​一樣
​芝​公園​內​第十六
​堀​蓮​太郎
​親
​書​留
​十一月​十六​日
​水​鄉區​森川​町​一​番地
​井深
​清
​清
​展
​(24 g)
(24 ƒ)
(24 e)
(24 d)


豐田​吉三郎
​東京​小石川​區指​,谷町​八​番地
​相​州​天
​殿
​伊​豫道​後​温泉
​花​屋​二
​七月​十​五​日 ​テヤンアレン
​伯爵​細川​武夫​亂下
​親​展
​麻布​逼​市​兵​精​町​二​丁目​五十​四​番地
​福澤​花子
​平​信
​438
TWELFTH SECTION.
(24 i)
(2471)
上​州​前
​JM
ス
​樣
​John Smith, Esq.
Maebashi,
Juslù.
慶應義塾​。
東京​芝田
​グ
​ラ
​(24 j)
東京​丸​丿内
​高田​商會
​御​會
​御 ​中
​Messrs. Takata, & Co.
Tokyo.
東京​築地​明石​町
​六​十六​番地
​ロバアトソン​夫人​行
​66, Akashi-cho Tsukiji,
Mrs. Robertson,
Tokyo.
(25)

一​書簡
​記
​明治​卅八​年​六月​一日
​右​正二​受取​申候也
​1
一​通
​麴​叮​區​五​番​町​一番​地
​英國​公使​舘
​一番​舘
​チャンアル
​THE EPISTOLARY STYLE.
439
(26)

HHHHHHHHHHHHHHHHHHHEFFEN
相
​良
​渡
​槎 ​邊
​HAHAHHAHHHHHHHHHHHH
相​摸​國​箱根​宮​/下​寫真​師
​周
​吉
​金​参​圓​五​拾​錢​也
​石​正​二​受
​領
​明治​卅八​年​一月​廿三​日
​仕​候​也
​(27)
証
​
じ
​上
​十月​廿二
​戴​成​右
​仕 ​下 ​者
​候​御​寫
​貮
​樣
​日
​旅
​舘​宫
​思​御 ​圓
​召​茶
​證
​荒木​金兵衛
​津
​港
​程​御
​難​惠
​有​投
​頂​被
​440
TWELFTH SECTION.
日
​致​時
​新
​KEY TO THE SPECIMEN LETTERS.
橋​者
​樣​氣​毯
​べく​一寸​御​通知​迄​早
​可​致​候​間​左​樣​御​承​知​被​下
​三月​廿
​チャン​ブレン
​迄​米
​早知​て
​々
​拜
​井啓陳​者​明後​廿​二​日​午後
​車​廿
​(1.) HAIKEI. Nobureba, MYŌGO NI-JŪ-NI NICHI GOGO SAN-JI
SHIM-bashi CHAKU KISHA nite KIKYō ilasu-beku sōrō aida, sayō
GO SHōCHI kudasaru-beku; chotto GO TSŪCHI made. Sōsō.
SAN-GWATSU hatsuka.
Chamburen.
(Post-card to a servant, announcing return home.)
I respectfully address you. What I have to say is that
I shall return to the metropolis by the train reaching
Shimbashi at 3 P. M. on the day after to-morrow, 22nd
instant, and that therefore you will please take note thereof.
後 ​This is just a line to tell you. In haste [i. e. excuse haste].
-20th March.-Chamberlain. (This being a post-card, the name of the addressee is written
only on the face.)
御​御 ​切 ​拜
​明治​卅八​年​二月​三​日
​東京​郵便​電信​局
​チャンブレ
​御​中
​依
​御​郵​送​被​下​度​此段
​樋​垂
​郵便​物​、豆州
​小​物​小
​拜啓​自​今​小生​宛​一
​御​房
​ン
​上
​候度テ
​也​此
​(2.) HAIKEI. JIKON SHŌSEI ate ISSAI no
YŪBIN-BUTSU wa, ZUSHU Atami Higuchi Ho-
teru ye GO YŪSō kudasare-taku; kono DAN GO
IRAI mōshi-age sōrō nari.
MEIJI SAN-JU-HACHI NEN NI-GWATSU mikka.
Chamburen.
(Address.)
TŌKYŌ YŪBIN DENSHIN-KYOKU on JŪ.
(Note to the Post-Office authorities, saying how letters are to be forwarded.)
I respectfully address you. As to all mail matter addressed to me henceforth, I hope
you will deign to send it by post to the Higuchi Hotel at Atami in the province of Izu.
have the honour to request this thing of you.
3rd February, 1905.——Chamberlain.
To the Officials of the Tōkyō Post and Telegraph Office.
念​被
​付​到​支​神​重​御​候​殘
​I
齋藤​吉之助​殿
​チ
​ヤ
​ブ
​の​なき​所​に​能
​明治​卅​七​年
​念​申​入​候​早
​被​下​べく​右爲
​の​上​御​仕舞​置
​月​卅
​五
​六月​十五​日
​R
仕​御
​神戸​より​近日
​支那​茶入​の​箱
​置意​能​氣​に​箱​日
​に​快
​存​方法​は
​ろげ
​扭 ​追​L
•
THE EPISTOLARY STYLE.
441
(3.) ZANSHO hageshiku sōrō tokoro, oi-oi Go KWAIHō no yoshi CHINCHŌ ni zonji sōrō. Sate Kōbe
yori KINJITSU SHINA-CHA-iri no hako TōCHAKU itasu-beki hazu ni tsuki,-sono SETSU wa, shike
no naki tokoro ni yoku-yoku GO CHUI no ue on shimai-oki kudasaru-beku; migi NEN no tame mōshi-
ire sōrō.—Sōsō.
MEIJI SAN-JU-SHICHI NEN ROKU-GWATSU JU-GO NICHI.
Chamburen.
SAITO KICHInosuke Dono.
(Letter to a servant congratulating him on recovery, and directing him how to dispose
of a box of tea.)
I think it rare bliss to learn the news of your gradual recovery, despite the fierceness of the
remaining heat. Well then, as a box containing China tea should arrive at the house in a few
days from Kōbe,-when that time comes, you will please stow it away, after having paid particular
attention to selecting a place not damp. I make this injunction for form's sake.—In haste.
15th June, 1904.-Chamberlain.
To Mr. Saito Kichinosuke.

先​附​早​致​拜
​(4.) HAIKEI. KWAJITSU GO IRAI itashi sōrō
C
被​速​候​啟 ​HON-YAKU-BUN no GI, SASSOKU GO KÖSEI GO SOFU
拜​不下​往
​具​取​奉​梯
​下​御​翻過
​kudasare, SHINSHA shi tatematsuri sōrō.
Mazu
校​譯​日
​wa, tori-aezu on REI made.—HAIGU.
正文​御
​JU-NI-GWATSU FUTSUKA.
御​謝​御​之​依
​Ōta YŪJIRO,
禮​候​送​義​賴
​十一月​二​日
​太田​勇次郎
​チャンブ
​ブ田
​リ
​殿​郎
​(A note of thanks.)
Chamburin Dono.
I respectfully address you. With regard to the translation in which I requested your
assistance the other day, I beg to thank you profoundly for having so speedily sent me the
corrected manuscript. Just this line in a hurry to express my gratitude.-Respectfully presented.
2nd December.—Ōta Yūjirō.
To Mr. Chamberlain.

十一月​十一
​富士屋​ホテル
​御​中
​+
候​御​候​參​て​者​愈
​用​間 ​1館​來​小雀
​階​凡
​(5.) Iyo-iyo GO HANSEI no Dan, gashi
tatematsuri sōrō. Shikaraba, SHōSEI YŪJIN
ICHI-MEI DŪDŌ nite, kitaru JŪ-KU NICHI
テチ
​ヤ
​日
​ブ
​ކ
早
​被
​儿
​置​上 ​十​友
​週​九
​圆​九​人
​(DoYōbi) SANKWAN, OYOSO IS-SHŪ-KAN SHUKU-
HAKU itashi-taku sōrō aida, KAIJō no yoki
下​好 ​明日
​度
​宿
​E
王​名​奉
​heya futa-ma GO YOI oki kudasare-taku ; migi
mōshi-ire sōrō.—Sōsō.
逢低
​々
​入​間​度
​に​然
​JŪ-ICHI-GWATSU JŪ-ICHI NICHI.
Chamburen.
FUJI-ya Hoteru on JŪ.
442
TWELFTH SECTION.
(Note ordering rooms at a hotel.)
I have the honour to congratulate you on the fact of your ever-increasing prosperity. This
being so, I wish to go to your house on Saturday next, the 19th instant, bringing a friend with
me. We desire to stop about one week, for which reason I hope you will deign to prepare two
good upstairs rooms. I apprise you of the above.—In haste.
十一月​十二
​11th November.-Chamberlain.
To those having the management of the Fuji-ya Hotel.

右​御返事​迄​早
​(6.) Masu-masu GO SEITEKI GAshi tatematsuri
束​之​趣​御​御 ​sōrō. Kitaru JŪ-KU NICHI goro, GO YŪJIN DŌHAN
益​御​淸​適​奉​賀​候
​右​豫​以至​約​屋​候​頃​益
​成
​候​6 儀​難 ​難友
​事​候​上
​致​目​有 ​人
​迄​樣
​下来
​〈出​候​滿​存​伴
​候​迄​次​誠に​多 ​來來
​先​何​第
​る
​迪
​取
​縮​5御 ​成​九
​急猶​妄之​御​部下​日
​日々​上​夫​來間​館​候​御
​+
GO RAI-KYU nashi-kudasare sōrō omomuki, ari-
Shikaru tokoro,
gataku ZoNji tutematsuri sōrō.
on heya no GI, MOKKA MANKWAN nite, tote mo on
YAKUSOKU mo itashi-kane sōrō aida, makoto ni
KYŌSHUKU no itari ni soraedomo, deki-SHIDAI
DEMPō wo motte mōshi-agu-beku; sore made nani
to zo Go YŪYO nasare sōrō Yō negai-age sōrō.
Mazu wa, tori-isogi migi Go
tori-isogi migi GO HENJI made.—
Sōsō.
JU-ICHI GWATSU JU-NI NICHI.
(Post-card in answer to the above.)
We have the honour to congratulate you on your ever-increasing good health. We have
the honour to feel grateful for the purport [of your letter, stating] that you will deign to come to
Miyanoshita in company with a friend, about the 19th instant. Nevertheless, with regard to the
rooms, the house being now full, it is quite impossible for us to promise you any, and therefore,
though with the utmost regret [at our present inability to meet your wishes], we will inform
you by telegraph as soon as rooms are available, till which time we beg you please to delay.
The above is just a hurried reply.-In haste.
12th November.

上​候​地
​(7.) ZENRYAKU GO MEN. Shikaraba, SAKU-
JITSU Ushigome KU NIJIKI-machi SAM-BANCHI ye
EITEN itashi sōrō aida, chotto GO Hō mōshi-age
免
​the sōrō.-Sōsō.
明
​治
​四
​御​v 町
​報​た
​佃​月​八
​八年
​耕​日
​早
​候​間
​平
​々 ​寸​轉​騎​昨
​日​牛​込​區​二十​騎
​三​番地​へ​移轉
​日前
​卜者
​MEIJI SAN-JŪ-HACHI NEN
SHI-GWATSU yōka.
Tsukuda KōHEI.
THE EPISTOLARY STYLE.
443
(A post-card notifying change of address.)
Excuse the omission of preliminary compliments. This being so, I removed yesterday to
No. 3, Nijiki Street, in the district of Ushigome, for which reason I have the honour to send a
line to inform you of the fact.
8th April, 1905.Tsukuda Köhei.
(8.) GO SHOMEN HAIKEN tsukamatsuri
sōrō. ISSAKU-JITSU MIMEI NO BŌFŪ-U ni tsuki,
SASSOKU JITAKU ye on mimai-kudasare, ari-ga-
taku on REI môshi-age sörū. Tsuite wa, SAKU-
CHō chotto SHOMEN nite on tanomi mōshi-age
sōrō tōri, HASON no KASHO yoroshiku SHUFUKU-
kata on tori-hakarai oki-kudasare-taku; mazu
wa, GO HENJI made.—Sōsō.

KU-GWATSU JŪ-ICHI NICHI.
下度​先​い​御返事​迄​早
​候​通り​破損​之​箇處​よろ
​修復​方​御​取​計​置​被
​御​禮申​上​候​就​て​は​昨朝
​自宅​へ​御見舞​被​下​難​を
​一寸​書面​にて​御​賴申​上
​未明​の​暴風雨​に​付​早速
​御​書面​拜見​仕​候​一
​九​度​,
九月​十一
​長谷川​敏
​次 ​日
​郎 ​大
​郎​殿
​塚
​保
​々
​(Letter to a dependent,
thanking
Otsuka Tamotsu.
Hasegawa ShigeлIRō Dono.
him for a visit on the occasion of a typhoon, and requesting
him to see to the reparation of the damage done. It must be understood that the writer
is away from his own house, staying somewhere in the country, while the dependent inhabits a
suburb of Tōkyō.)
I have had the honour to peruse your letter. I beg to tender you my thanks for so
promptly going round to my house on the occasion of the typhoon, which took place early in the
morning of the day before yesterday. With reference to this, as I requested you by my note of
yesterday morning, I hope you will be so good as to arrange about repairs to the damaged
places. This just in answer to your letter.-In haste.
豐田​吉三郎​殿
​11th September.—Ōtsuka Tamotsu.
To Mr. Hasegawa Shigejirō.
チヤンブレン
​伊​豫​道​後​溫泉
​花屋​ニテ
​明​候​替​申​申​御​ス
​治
​七​冊
​12
月​七
​十年
​五
​日
​越
​上
​次​候
​第​代
​御​早​價​成
​替​を以て​御​送金​可​仕
​之
​往
​半
​ダ
​▶ 拜
​ヤ​製
​トロベリ
​拜呈​陳​者​御​調製​の​ス
​ジャムー
​ジマムレ
​ス​至急​左記​滯在​地​へ
​ム​牛​ダース​、オレン
​ドーダ
​ス​、プラムジャ
​-
依地ダ
​仕​為​御​剌
​444
TWELFTH SECTION.
(9.) HAITEI. Nobureba, GO CHŌSEI no sutoroberi jamu ICHI dāsu, puramu jamu HAN dāsu,
orenji mamurēdo ICHI dāsu SHIKYŪ SAKI TAIZAI-CHI ye GO SōFU ai-nari-taku, GO IRAI mōshi-age sōrō.
DAIKA NO GI wa, on mōshi-koshi SHIDAI, SASSOKU YŪBIN-kawase wo motte GO SōKIN tsukamatsuru-beku
sōrō.—Sōsō.
MEIJI SAN-JU-SHICHI NEN SHICHI-GWATSU JU-GO NICHI.
Iyo DŪGO ONSEN Hana-ya nite.
Chamburen.
Toyoda KICHISABURO Dono.
(An order for groceries.)
I respectfully address you. What I have to say is that I should like you to send to me
immediately, to the undermentioned stopping-place, one dozen pots strawberry jam, half a dozen
plum jam, and one dozen orange marmalade of your manufacture, for which I request you.
With regard to payment, I will send the money by a post-office order, as soon as you let me
know the amount.
15th July, 1904.-At the Hana-ya Inn, Baths of Dōgo, in the province of Iyo.-
Chamberlain.
To Mr. Toyoda Kichisaburo.

明
​【治​卅八​年​二月​五日
​土肥​鑄​太平
​侍郎
​星
​殿​野​五
​史 ​安
​二
​(10.) SAKUJITSU wa GO KŪRAI kudasare
sro tokoro, ori-ashiku FUZAI, IKAN kono koto ni
GOZA sōrō. GO CHOJUTSU NO SHO ICHI-BU GO KEI-
To kudasare, SEMBAN katajikenaku zonji-tatema-
迄​得​候​御​御​折​昨
​如
​sōrō
※何​惠​座​惡​日
​THRE
此​不​↙投​候​敷
​取​參
​K Z V R
御​不​御
​御​敢​堂
​堂​下​著​在​光
​·陳​千​述​遺 ​貴​來
​候​應​謝​萬​之​憾​被
​早​之​可​忝​書​此​下
​頓​々​御​仕奉
​仕​奉​一事​候
​tsuri sōrō. Izure SANDŌ, CHINSHA tsukamatsuru-
beku soraedomo, tori-aczu ICHI-ō no on REI made
kaku no gotoku ni goza sōrō.—Sōsō, TONSHU.
MEIJI SAN-JŪ-HACHI NEN NI-GWATSU itsuka.
Hoshino Yasunari.
成​首 ​禮​候​存​部​二​處
​DOI TOTARO Dono, JISHI.
(Note of thanks to an author for a copy of his book.)
It is a matter of regret to me to have been unfortunately not at home yesterday, when you
condescended to call. For the copy of the book composed by you, with which you have kindly
favoured me, I feel grateful to you a thousand myriad times. I shall in any case call on you to
offer my thanks; but the immediate and general expression thereof is as here stated.—In haste.
–I bow my head to the ground.
5th February, 1905.——Hoshino Yasumari.
To Doi Tōtarō, Esq.['s Secretary.]
THE EPISTOLARY STYLE.
445
十一月​廿七​日
​袖​岡​旗​之
​十​东​受​今​拜​夷​大​拜
​C納​般​借 ​借​風​賀​啓
​如​奉御​仕​俗​候
​此願​返り
​御​之
​土​日
​に​候 ​難​難
​r
侍​籐​屋
​1先​申​有
​上​奉​十
​史
​候​右​候​多
​忠
​卷
​敬​御​間​謝​永​之​段
​愛
​具​禮​御​候​々​蝦 ​奉
​啓​益​~御​清​榮​之​段​奉
​(Note accompanying the return of a book.)
(11.) HAIKEI. Masu-masu GO SEI-EI NO
DAN, TAIGA shi tatematsuri soro. Nobureba, GO
CHINZO NO Ezo FŪZOKU ISAN" NI-JIK-KWAN
naga-naga HAISHAKU_tsukamatsuri, ari-gataku
TASHA shi tatematsuri sōrō. KOMPAN GO HEM-
PEKI mōshi-age sōrō aida, GO JUNō negai-tate-
matsuri sōrō. Mazu wa, migi on REI made kaku
no gotoku ni GOZA Sōrō.-KEIGU.
JU-ICHI GWATSU NI-JU-SHICHI NICHI.
Tsuchiya Tadachika.
Sodeoka HatanoSHIN Sama Go JISHI.

I have the honour to express my best congratulations on the ever-increasing robustness of
your health. What I have to say is to express my most grateful thanks for the book in twenty
volumes belonging to you, and entitled "A Cyclopædia of the Customs of the Ainos," which I
borrowed long ago. While now having the lhcnour to return it, I beg you to receive it [safely.]
-Well, the above is how I express my thanks.-Respectfully presented.
27th November.-Tsuchiya Tadachika.
To Sodeoka Hatanoshin, Esq.['s Secretary.]
(12.) KINKEI. Oi-oi KANKI ai-tsunori

+進​幸​生​仕​麑 ​磨​い ​十​淸
​清​謹 ​súró tokoro, masn-masu GO SEITEKI GAshi tate-
† Amatsuri sōrō. Nobureba, SHŌSEI iyo-iyo kitaru
日​奉​追 ​JU-HACHI NICHI HOSSOKU, KYUSHU CHIHÖ YE
候​發 ​發​賀 ​々 ​MAN-YŪ itashi sōrō ni tsuite wa, kanete ZAI-
十一月​十六​日
​堀​蓮​太郎​样
​樣
​匆​不​為​候​Ľ儿​日​奉
​Kagoshima ni wa GO CHIKI ōki yoshi SHŌCHI
tsukamatsuri-ori sōrō aida,-hanahada KYŌ-
SHUKU nagara, nani to zo SHŌSEI no tame GO
SHŌKAI kudasare sōrawaba, KōJIN kore ni
不​之​御​甚​御​l
備候 ​た
​付​九​陳​氣
​先​介
​井
​思
​也​小​募
​深
​sugizu sōrō. Mazu wa, GWAN-Yō made mōshi-
SHINji sōrō.—Sōsō fubi.
迄​は​卒​承​て​漫來
​JU-ICHI GWATSU JU-ROKU NICHI.
清​:
申 ​` 小​知​在
​知​在​遊​ㄦ​御
​Ibuka Kiyoshi.
Hori RENTARō Sama.
氣相​募​候​處​益​御
​願​下​縮 ​豫​方​生​候 ​Sugizu surū. Mazu
用​候​何 ​ね
​(A request for letters of introduction.)
I respectfully address you. I have the honour to express my congratulations on the
constant increase in your good health, despite the gradual advance of the cold weather. What
I have to say is that I am starting on the 18th instant to make a tour in the Kyushu district.
446
TWELFTH SECTION.
On this occasion, as I know from of old that you have many friends residing at Kagoshima,
I beg, though with the greatest diffidence, that you will condescend to give me some introduc-
tions, as nothing could cause me more joy than such a favour. Just this request is all I will
here address to you.-[Excuse this] hasty and incomplete [epistle].
16th November.-Ibuka Kiyoshi.
To Hori Rentaro, Esq.
武田​大
​明紹​上​汗​居​參​愈​以
​治​介 ​候​貴​候 ​御書
​愛問​若君​ㄢ ​安健 ​健食
​七
​上し​に​の​藤勝
​田​年
​依高​御​御​に ​上
​賴​! 差紹​て​孝段​候
​1支​介 ​氏​奉
​硯​兄
​日​上街 ​致​語​入​賀​下
​北 ​植 ​侯​聞之 ​の​永候​暑
​草​か​は​様​研​年​陳
​々​ㄝ​御依​究別​者烈
​不​被​面 ​面 ​に​懇​此敷
​下​會​ㄜ ​を​志​に​狀​修
​度​の​受致​持處
​度
​田​幾​之​助
​(A letter of introduction.)
(13.) SHOKAN wo motte mōshi-age sōrō.
JIKA SHOKI hageshiku sōrō tokoro, iyo-iyo
GO KENSHŌ no DAN, Gashi tatematsuri sōrō.
Nobureba, kono JO JISAN no ANDō Kazutaka
SHI wa, naga-NEN BEKKON ni itashi-ori sōrō
mono nite, KOKUGO no KENKYU ni kokorozashi
ari, KIKUN ni GO SHŌKAI itashi sōrō Yō IRAI
wo uke sōrō. Moshi on sashi-tsukae kore naku-
ba, GO MENKWAI no ue GAKUMON-JŌ KŌKEN WO
on kikase kudasare-taku; SHŌKAI kata-gata,
GO IRAI mōshi-age sōrō.-Sōsō, FUITSU.
MEIJI SAN-JU-SHICHI NEN

HACHI-GWATSU muika.
Veda Ikunosuke.
Takeda TAIKEI,—KEN-HOKU.
I have the honour to address you by letter. I have the honour to express my congratula-
tions on the constant increase in your robust health despite the present violent heat. What
I have to say is that Mr. Andō Kazutaka, the bearer of this letter, who has been for many years
an intimate friend of mine, is an ardent investigator of our mother tongue, and that I have
received from him a request for an introduction to your Worship. If it be not inconvenient to
you, I wish you would admit him to an interview, and favour him with your views on matters of
erudition. While introducing him, I at the same time beg to make this request.-Excuse this
hasty and disjointed epistle.
6th August, 1904.-Ueda Ikunosuke.
To Mr. Takeda (and see Notes, p. 458.).
(14.) HAIKEI. Kitaru NI-JU-HACHI NICHI (DOYō-bi), GOGO SAN-JI yori, TŌKYŌ TEIKOKU DAIGAKU
SHOKUBUTSU-EN ni oite EN-YU-KWAI ai-moyōshi sōrō aida, on kuri-awase GO RAIKWAI kudasare-taku;
kono DAN GO ANNAI mōshi-age sōrō.—KEIGU.
MEIJI SANJU-ICHI NEN GO-GWATSU NI-JU-SAN NICHI.
KIKUCHI DAIROKU.
Bashiru Horu Chiemubaren Dono.
:
THE EPISTOLARY STYLE.
447
(Invitation to a garden party.)
I respectfully address you. As I am getting up a garden party in the Botanical Gardens
of the Imperial University of Tokyo on Saturday next, the 28th instant, commencing at 3 P.M., I
hope you will deign so to adjust your other engagements as to come to it. This it is to which
I beg to invite you.-Respectfully presented.
23rd May, 1898.-Kikuchi Dairoku.
To Basil Hall Chamberlain, Esq.
(15.) Kitaru tōka (Doyō-bi), GOZEN JU-JI yori, REINEN no tri, Ōmori HAK-KEI-EN ni oite,
HON GAKUIN UNDō-KWAI ai-moyōshi sōrō aida, GO RAIKWAN kudasare-taku; TOKUBETSU KWANRANKEN
Kono DAN GO ANNAI ni oyobi sūrō nari.
SHINTEI.
Tadashi TōJITSU UTEN nareba, YOKU JŪ-ICHI NICHI ni JUN-EN.
MEIJI SAN-JŪ-SHICHI NEN JŪ-GWATSU yokka.
TŌKYŌ GAKUIN UNDŌKWAI-CHŌ.
Kuribara SHINROKU.
(Invitation to an athletic sports meeting.)
As, according to yearly custom, an Athletic Sports Meeting of this College will be held in
the Garden of the Eight Views at Ōmori, on Saturday next, the 10th instant, beginning at
10 A.M., I hope you will condescend to come and see them, for which purpose I beg to send you
a special spectator's ticket. This it is to which I beg to send you an invitation.
N. B. Should it be rainy weather on the day mentioned, the Meeting will be
postponed till the following day, viz. the 11th.
4th October, 1904.-Kuribara Shinroku, President of the Athletic Association of the
Tökyō College.
(16.) Kitaru NI-JU-GO NICHI (DAI-SHI KWAYŌ-bi) HONKWAI KWAIKWAN ni oite, GOGO ROKU-JI
HAN yori REIKWAI ai-hiraki, ENJUTSU owatte nochi GIIN-KWẠI kore ari sōrō ni tsuki, GO FUNRIN
ai-nari-taku; nao SHINSEKI HŌYŪ no kata-gata GO YU-IN no hodo KIBŌ itashi sōrō nari.
TŌJITSU ENZETSU SA no tōri :-
SHINA FUKKEN-SHŌ RYOKŌ DAN.
RIGAKUSHI Inoue Kinosuke KUN.
MEIJI SAN-JU-ICHI NEN JŪ-GWATSU NI-JŪ-SAN NICHI.
Kyōbashi KU, Nishi KON-ya-CHŌ JŪ-KU BANCHI.
TOKYO CHIGAKU KYŌKWAI.
(Specimen of the post-card circulated by the Geographical Society of Tokyō, to notify
members of meetings.)
448
TWELFTH SECTION.
An ordinary meeting of the Society will be held in the Society's hall on the 25th instant
(the fourth Tuesday of the month), at half-past six P.M.; and on the conclusion of the lecture,
there will be a committee meeting which you are invited to attend.* You are requested to
bring also your relations and friends with you.
The lecture on the day in question will be as follows:-"An Account of a Journey in the
Province of Fuhkien in China," by Mr. Inoue Kinosuke, Bachelor of Science.
23rd October, 1898.
No. 19, Western Kon-ya Street, District of Kyōbashi.
Geographical Society of Tokyō.
(17.) Matsudaira Hideomi GI, nagu-naga BYOKI no tokoro, Yōsō ai-kanawazu, HONJITSU
GO-GO SAN-JI SHI-JU-GO FUN SHIKYO itashi sōrō ni tsuki, kitaru NI-JU-HACHI NICHI GOGO NIJI ŌJI
JITAKU SHUKKWAN, Asakusa Ku Matsuba-CHō KAIZENJI ni oite BUSSō ai-itonami sōrō. Kono DAN
GO TSUCHI ni oyobi sürü.-KEIGU.
KU
MEIJI SAN-JŪ-SHICHI NEN HACHI-GWATSU NI-JŪ-yokka.
Okamoto TsuneTARO Dono.
DAN:-Matsudaira Hideo.
SHINSEKI:-Tamura Kunisuke.
Ozawa Gō.
Otte.—Ike-bana tsukuri-bana hanashi-dori Go sōro no GI wa, on kotowari mōshi-age sōrō.
(Announcement of a death.)
With regard to Matsudaira Hideomi, who had long been ill, all care was unavailing, and he
died to-day at 3.45 P.M. Owing to this, the coffin will leave his private residence at 2 r.M. on
the 28th instant, and the funeral according to Buddhist rites will be performed at the temple
of Kaizenji, in Matsuba Street in the District of Asakusa. I beg to inform you of this fact.-
Respectfully presented.
24th August, 1904.
[The deceased's] son, Matsudaira Hideo.
[The deceased's] relatives, Tamura Kunisuke and Ozawa Gō.
To Okamoto Tsunetarō, Esq.
P. S.—It is requested that no flowers, whether natural or artificial, and no caged birds to
be liberated be sent.
* The manner of expression is imperfect in the original. What is really meant is that ordinary members are invited
to the lecture, and committee-men both to the lecture and to the subsequent committee meeting. The "relations and
friends" are of course invited to the lecture only.
THE EPISTOLARY STYLE.
449
↓
ビー​、エッチ​、チャム ​バー
​東京​帝國​大學
​度​候​別
​(18.) BESSHI RYOKŌ MENJŌ GO SōFU ni oyobi sōrō aida,
明
​RYŌSHU-SHŌ on sashi-dashi ai-nari-taku sóró nari.
候​間 ​紙
​MEIJI SAN-JU-ICHI NEN SAN-GWATSU NI-JU-HACHI NICHI.
+ th fq th
TŌKYŌ TEIKOKU DAIGAKU [& ditto on seal].
東​年
​收​行
​Bî Etchi Chiemubären Dono.
證​免
​帝​式
​御​狀
​(Official note forwarding a passport.*)
We beg to forward to you a passport enclosed, and to
request that you will send us a receipt.
差​及
​出​御
​28th March, 1898.
相送
​Imperial University of Tōkyō.
殿
​成​付
​To B. H. Chamberlain, Esq.
sōrō.
(19.) SHOKAN wo motte KEIJO itashi suro. Nobureba, waga KōTEI HEIKA kitaru muika
KIZOKU-IN ni oite TEIKOKU GIKWAI KAI-IN-SHIKI okonawaserare sōrō ni tsuki, KAKKA narabi
ni KI KWAN-IN DŌJITSU GOZEN JŪ-JI TAI-REIFUKU CHAKUYŌ ZUI-I GO SAN-IN ai-nari-taku; kono
DAN KI-I WO e sōrō.-KEIGU.
MEIJI NI-JŪ-GO NEN GO-Gwatsu yokka, GWAIMU DAIJIN SHISHAKU Enomoto Takeaki.
DAI BURETTEN TOKUMEI ZENKEN KōSHI Hiyū Furezoru KAKKA.
(Official note to a foreign legation.)
Sir,
May 4, 1892.
H. M. the Emperor will open the Imperial Diet on the 6th instant in the House
of Peers. I shall be glad if your Excellency and the members of your Legation staff will
attend at your convenience on that day at 10 o'clock in the forenoon, wearing full uniform.
His Excellency.
Hugh Fraser, Esq.
I have, etc.
(Signed) Viscount Enomoto Takeaki
Minister for Foreign Affairs.
(20.) JIKA KANKI kibishiku ai-nari sōrō tokoro,—masu-masu GO KENSHŌ, TAIKEI kono koto
ni goza sōrō.
Oi-oi SHUNDAN ai-moyōshi sōrō tokoro, GO ZENKA GO SEIFUKU no koto to zonji tatematsuri
sōrō. Tsugi ni, SHŌSEI kata ICHIDO BUJI SHOKŌ makari-ari sōrō aida,-habakari-nagara, Go
ANSHIN kudasare-taku sōrō.
Hibi UTTōshiki TENKI ni GOZA sōrō tokoro, ikaga on kurashi asobasare sōrō ya?
Oi-oi SHUREI ai-moyōshi sōrō tokoro,-iyo-iyo GO TASHŌ, CHINCHō no itari ni ZONji tate-
matsuri sōrō.
* Though no longer necessary in Japan proper, passports may still be required for Formosa, Korea, etc.
450
TWELFTH SECTION.
(Specimens of introductory remarks about the weather.)
With the cold becoming so rigorous, it is matter for great rejoicing that your robustness
should continue to increase.
With the mild spring weather gradually coming on, I trust that your whole household
is in perfect health. In the next place, pray feel quite easy regarding myself and my family,
as we all live on without mishap of any sort.
How are you getting on, with the weather thus continually gloomy, day after day?
With the autumn chilliness gradually coming on, I deem it a great privilege that you
should continue to enjoy good health.
Nobureba,......
(21.) HAIKEI. Masu-masu GO SEIKŌ KINGA no itari ni zonji sōrō. Nobureba,
KINKEI. Nobureba,
HENKEI.
•
Shikaraba,
On tegami RAKUSHU tsukamatsuri sōrō.
KIKAN HAISHŌ.
HŌKAN HAIDOKU.
GO SHOMEN HAIKEN.
SHINNEN NO GYOKEI medetaku mōshi osame sōrō. Nobureba, .
(Introductory phrases.)
I respectfully address you. Your ever-increasing good health fills me with the utmost
joy. What I have to say is. . . .
I respectfully address you. What I have to say is......
[This is my] reply. That being so, [what I have to say is... •]
I have had the honour to receive your letter, more lit. "I have the honour that your
letter has fallen into my hands."
is...
I have perused your exalted letter.
I have perused your fragrant epistle.
I have read your august letter.
respectfully wish you the compliments of the New Year. What I have to say
(22.) On REI kata-gata.
Migi Yōл made.
GO HENJI kata-gata.
Tori-aczu on REI made, kaku no gotoku ni GOZA sōrō.
Sōsō, TONSHU.
KYŌKō, KINGEN.
THE EPISTOLARY STYLE.
451
(Concluding phrases.)
Together with my compliments, i.e., I [beg to bring to your notice the subject-matter
of this letter, as detailed above, and] at the same time beg to present my compliments.
The above is meant merely to tell you of business, i. e., I have confined myself to
business; please therefore excuse brevity, abruptness, and possible want of courtesy.
Together with this answer, i.e. this letter is composed of what I have just said and
of the reply to your enquiries.
Such is what I have to say in speedy acknowledgment of your kindness.
[Excuse] haste. I make the kotow.
I respectfully address you with fear and trembling.
(23.) SAISHIN. SAIHAKU. NI-SHIN. NI-HAKU. TSUIKEI.
Otte.
NI-SHIN. JIKŌ SEKKAKU on itoi asobasaru-beku sōrō.
NI-HAKU. JISETSU-gara GO KAYŌ SEN-ICHI ni inori tatematsuri sōrō.
NI-SEN YÜKEN JŪ-MAI FŪNYŪ itashi sōrō aida, GO RYŌSнū kudasaru-beku sōrō.
(Postscripts.)
The word "Postscript" is here shown expressed in six different ways.
P. S.-Please take great care of [your health in this treacherous] weather.
common compliment, used in all states of the weather.)
(A very
P. S.-I earnestly entreat that you make the care of your health your very first consid-
eration in this [treacherous] weather.
Please receive the ten 2 sen postage-stamps which I enclose. (E. G. when sending a
prescription to be made up, or ordering some trifle to be sent by post from a shop.)
(24.) Specimens of addresses on envelopes.
(24 a)
Shiba Ku Mita Koyama-CHō
SHICHI-JU-GO BANCHI,
Hatoyama Tadanao Sama kata,
Kashiwagi KIN-ICHI Sama.
(24 b)
Shiba KōENCHI-NAI DAI JU-ROKU GŪ.
Hori RENTARŌ Sama.
Kaki-tome.
SHINTEN.
(FU)
(24 c)
HONGO KU, Morikawa-CHō
ICHI BANCHI.
Ibuka Kiyoshi.
JU-ICHI GWATSU
JŪ-ROKU NICHI.
(24 d)
Tōkyō, Koishikawa Ku, Sasugaya-CHō
HACHI BANCHI.
Toyoda KICHISABURO Dono.
452
TWELFTH SECTION.
(Shime)
(24 e)
Iyo DOGO ONSEN,
Hana-ya nite,
SHICHI-GWATSU
JU-GO NICHI.
(24 f)
SōSHU Õiso
Chamburen.
HAKUSHAKU Hosokawa Takeo
KAKKA.
SHINTEN.
JōSHU Maebashi
Sumisu Sama.
(24 i)
TŌKYŌ TsukiлI Akashi-CHŌ
ROKU-JU-ROKU BAN
Robatoson FUJIN
(247)
TōKYō Shiba Mita,
KEIō GIJUKU nite,
Buraun.
yuki.
(24 g)
Azabu Ku ICHIBEI-machi NI-CHOME
(24 j)
GO-JU-yo BANCHI
TōкYō Maru-no-uchi
Fukuzawu Hana-co Sama.
Takata SHOK WAI
HEISHIN.
On JU.
In sending letters home to Europe or America, it is advisable to write in Japanese on the
envelope the equivalent of our "Viâ so-and-so," thus:
桑
​港​經由
​(SŌKŌ KEIYU.)
Viâ San Francisco.
英國​行
​經
​(Bankūba KEIYU,
EIKOKU yuki.)
England, viâ Vancouver.
米
​DOITSU BERURIN yuki.)
Berlin, Germany,
(BEIBIN nite,
獨​便
​伯テ
​獨​逸​伯林​行
​viâ America.
香港​經由
​4
3
2 1
見​原​寫書
​本 ​稿​眞​籍
​'SHOSEKI ZAICHŪ.
2SHASHIN ZAICHŪ.
3GENKO ZAICHŪ.
在
​在​在​在
​中​中​中​中
​4 MIHON-HIN ZAICHU.
Book Post.
2Photographs only.
3Manuscript.
"Sample Post...
(HONKON KEIYU.)
Via Hongkong.

THE EPISTOLARY STYLE.
453
(25.) KI.-Hitotsu.-SHOKAN. IT-TSŪ.
Migi masa ni uketori moshi sōrō nari.
MEIJI SAN-JŪ-HACHI NEN ROKU-GWATSu tsuitachi.
Kojimachi Ku, GO-BANCHŌ ICHI BANCHI.
EIKOKU KŌSHI-KWAN, ICHI-BAN-KWAN.
Chamburen Dono.
(26.) SHō.—Hitotsu, KIN SAN-EN GO-JIS-SEN nari. Migi masa ni JURYō tsukamatsuri
sōrō nari.
MEIJI SAN-JU-HACHI NEN ICHI-GWATSU NI-JŪ-SAN NICHI.
Sagami no kuni, Hakone, Miyanoshita.
SHASHIN-SHI, Watanabe SHŪKICHI.
Sagara Sama.
(27.) Sнō-Hitotsu.-KIN NI-EN.
Migi wa on CHARYŌ to shite, GO KEITō nashi-kudasare, oboshi-meshi no hodo ari-gataku
CHŌDAI tsukamatsuri sōrō.
JU-GWATSU NI-JU-NI NICHI.
Miyazu minato.
RYOKWAN Araki KIMBEI.
Ve Sama.
(Nos. 25-7. Forms of receipt.)
Memo.-Item.-One letter,-The above has been certainly received.-1st June, 1905.-
No. 1, British Legation, at No. 1, Go-banchō in the district of Kōjimachi.
To Mr. Chamberlain.
Voucher.-Money [to the amount of] 3 YEN, 50 SEN.-I have certainly received the above.
-23rd January, 1905.
Watanabe Shükichi, photographer at Miyanoshita, in the district of Hakone, in the province
of Sagami.
To Mr. Sagara.
Voucher-Item.—Money [to the amount of] 2 yen.-The above has been kindly bestowed
on me by you as tea-money, and I thankfully accept it as a token of your benevolence.
20th October.-Port of Miyazu.
Araki Kimbei, Hotel[-keeper].
To the superior [person, i.e. the guest who has made this present,-a customary one in
Japanese inns; for in this land of topsy-turvydom the traveller tips mine host, not the boots.]
454
TWELFTH SECTION.
NOTES ON THE FOREGOING SPECIMENS OF THE
(cursive form
|
EPISTOLARY STYLE.
Sōrō,
“to be," is a corruption of samurau, “to be in attendance
on," "to wait on," whence the well-known term samurai denoting an "armed retainer." In
Epistolary usage this verb is defective, only the following forms being currently employed :—
Sōrō, shortened ad libitum to soro, is the Conclusive and Attributive indicative present
(see p. 14 et seq.), also used for ditto ditto past, less often for the future, which is commonly
denoted by... beku sōrō. Sōrō is placed after the Indefinite form of the verb, like masu in
the Colloquial, as zonji sōrō, which is equivalent to zonji-masu. Nari may be suffixed at
will, thus mōshi-age sōrō or mōshi-age sōrō nari, "I have the honour to address you." In
negative phrases sōrō is suffixed to the negative gerund, thus KŌJIN kore ni sugizu sōrō, “nothing
will exceed my gratification." Sōrō having lost its own Indefinite form, the Indefinite form
of the main verb must be employed when need for that special verbal form arises; mostly,
however, the sentence is turned some other way.
Sōrawabans is the Hypothetical mood, as GO SHŌKAI kudasare sōrawaba, “if
you will favour me with an introduction."
or
候​へ​共 ​is the Concessive mood, as KYŌSHUKU NO
(more lit. "though it is the extreme of
itari ni sōracdomo, "though I regret it extremely" (more lit. “
Siraedomo 候​得​共​*
shrinking fear ").
The Conditional sōraeba
候​へ
​sometimes met with, is mostly replaced by the
circumlocution sōrō aida mentioned in the next paragraph. Other obsolescent forms are the
Gerund sōrōte and the Future sōrawan, which latter is now replaced, as mentioned above, by the
circumlocution beku sōrō. No instance of any of these three forms occurs in the specimens of
correspondence here quoted; but on page 178 we have the negative sōrawazu, and on page 340
the imperative surae. The following phrases with sōrō are extremely common :-
Soro aida equivalent to Colloq. desu kara, as itashi sōrō aida, Colloq. itoshi-
候​間
​masu kara, “because I do," or "I do.... and so
·
Súró tokoro equivalent to Colloq. de aru no ni, as ZANSHO hagesláku sörő tokoro,
候​處
​"whereas it is still so hot" (more lit. "whereas remaining heat is fierce "), Colloq. atsusa mada
konna ni hageshii no ni.
Sōrō ni tsuki, "owing to."
Sörü DAN
候​段
​Or sōrō Jō
候​條 ​"inasmuch as," "and therefore,
""
"and." Go
This transcription is sanctioned by usage, though not by etymology; for is written in Kana, whereas
the correct spelling in sōraedomo is
THE EPISTOLARY STYLE.
455
KONJŌ WO SHASuru tame, MOKUROKU no tōri TEISō sōrō Jō, GƆ JUNō kudasare sōrawaba, KINKI no itari
ni sōrō. We send you the presents mentioned in the following list as a token of our appre-
ciation of your kindness, and shall be much pleased if you will deign to accept them."-
DAN occurs chiefly in formal correspondence.
Formerly GOZA sōrō
THE
(equivalent to Colloq. Gozaimosu) was usually preferred
to plain sōrō, as being more courteous; and some writers still frequently employ it, as Mazu wa,
migi on REI made kaku no gotoku ni GOZA sōrō, “the above is simply the expression of my thanks."
Indeed, there are cases where its use is demanded by the most elementary politeness. These
must be learnt from usage.
is the Epistolary equivalent of omou, "to think." To a superior
one says zonji-tatematsuri soro; for the general rule governing the Epistolary Style is that
Zōnji sōrō 存​候
​奉 ​or tsukamatsuru is appended to what we should term the 1st per-
仕
​被​成 ​or kudasaru T
被​下
​tatematsuru
son of the verb, to indicate humility, while nasaru
is
appended to the 2nd person. Notice, from the example of specimens 1 and 3, that even ser-
vants are treated to a considerable amount of honorific phraseology. The same is the case
between even the nearest relatives; for the stiffness of the Japanese Epistolary Style suffers
little or no relaxation.
Having thus disposed of sōrō and its attendant idioms, we may best take the other items of
the Epistolary Style in the order in which letters usually display them, beginning with
INTRODUCTORY WORDS OR SENTENCES.-The Japanese begin their letters, not
with "Dear Sir," etc., but with some complimentary observation. In notes and post-cards,
HAIKEI, "[I]
where brevity must be studied, the favourite introductory word is 拜​啓
​adoringly inform [you]." HAITEI
(C
"adoring statement," and KINKEL 謹​啓
​respectful information,"-both synonyms of HAIKEI,-are in common use. Sometimes all
initial compliments are disclaimed in such short communications by the use of the phrase
前​畧​御​免 ​ZENRYAKU GOMEN, "please excuse the omission of preliminaries."
The ordinary way of beginning a letter is by referring to the weather, and assuming that
one's correspondent's health continues to flourish, despite the heat, cold, wet, etc., of the season.
In the third letter of our little collection, the servant addressed had really met with an accident,
so that there was some appropriateness in the introductory sentence, "I am delighted at the
news of your gradual recovery, despite the fierceness of the remaining heat" [at the end of
summer]. But in ninety-nine cases out of a hundred, such phrases are simply formulæ void of
meaning, committed to paper out of a mere slavish obedience to usage. This being borne in
mind, the instances given in the text explain themselves. It will be noticed that the reference
to weather is occasionally omitted, and the correspondent simply congratulated on increased
prosperity (for instance, in No. 5, the proprietor of the hotel applied to for rooms), or on good
health. The expressions used do not strike a Japanese as high-flown or exaggerated; he is
accustomed to them from youth upwards, and their omission would seem to him rude,
456
TWELFTH SECTION.
The examples given show other usual introductions, which may be employed either alone or
as a preface to the remarks about the weather and health.‡MPLE
以​書簡​申​上​候
​SHO-
KAN wo motte moshi-age sōrō (observe the inversion of characters at the beginning, in imitation of
Chinese construction) is very frequently employed. It means "I have the honour to address
yon by letter:” 以​書​翰​致​啓​上​候 ​SHOKAN wo motte KEIJŌ itashi sōrō is synony-
mous, but a shade more courteous still. Sometimes the remarks about one's correspondent's
health are followed by others informing him that, as the writer is quite robust, no anxiety need
be felt on that score. In an English translation the effect produced is truly quaint; not so
in Japanese. A favourite introduction, when replying to a letter received, is
御​書面
​拜見​仕​候 ​GO SHOMEN HAIKEN tsukamatsuri sōrō, “I have humbly perused your letter,'
御​手紙​落​手​仕​候​,

>>
or
on tegami RAKUSHU tsukamatsuri sōrō, "I have received
your letter," or else the single word 返​啓
​HENKEI, "statement in reply."
""
"what I have to say is....
Shikaraba 然​者
​"this being so, .
Nobureba Biti //
One or other of these words comes immediately after the introductory phrase, and serves
to bring in the real subject-matter of the letter. Shikareba (with an e, that is, the Conditional
mood) would be more strictly grammatical than shikaraba (the Hypothetical); but usage has
consecrated the latter. Compare Colloq. Handbook, ¶ 287.
Beku is often used in phrases expressing a wish or command addressed to an inferior,
such as a servant or employé, when taku would be preferred in addressing an equal or
superior. Thus, SAYO GO SHOCHI kudasaru-beku, “you will please understand (i.e. “take note of ”
or "heed") this," more lit. "you will deign to understand this;" but....kudasare-taku to an
equal. Be at pains to understand the peculiar grammar: I hope (taku) that you will deign
(kudasare), half the word belonging to the 1st person and half to the 2nd. Some read kudasare-
beku, but this is less grammatical; the writing of course fails to indicate the difference.
Observe that beshi and beki tend to disappear from the Epistolary Style, beku alone surviving
in full force as the mark of the future, optative, permissive, potential, etc.
Chotto.... made, "just as," "nothing more than." Similar are such set phrases as mazu wa,
tori-aezu on REI made, "just this hurried line as an expression of my thanks;" migi GO HENJI
made mōshi-age sōrō, "the above is my respectful reply.”
Observe that mōshi-ire sōrō, “I inform you," is appropriate in addressing an inferior. 'I
beg to inform you," in addressing an equal or superior, is mōshi-age sōrō, or more stiffly, and
especially in official communications, mōshi-SHINji sōrō.
早​々
​CONCLUDING PHRASES.-Sō-sōlit. "quick quick," i.e. "excuse haste."
It is optional to substitute the homonymous characters (properly “grass”) or 匆
​(properly “hurry ”).
THE EPISTOLARY STYLE.
457
HAIGU
拜​具
​and KEIGU
both corresponding to "yours respectfully;"
"[excuse] incompleteness;
FUBI
FUITSU
不一
​same as FUBI; TONSHU
頓首
​,
"I I bow my head," "I perform the kotow," are favourite concluding phrases. More will be
found under No. 22. Notice, too, in Nos. 6 and 8, the set phrase for rounding off a letter
containing a reply. Take indeed for granted that every phrase given in our specimens is a
set phrase, and may be repeated ad infinitum.
KI-I e-taku
>
Kono DAN (or migi) KI-I wo e sóró 此段​得貴​意​候 ​more politely still migi
右​得 ​貴​意​度 ​meaning "I beg to inform
meaning "I beg to inform you of what has been stated
above," is a resumptive phrase rather frequent in letters just before final L
敬​具
​早​々
​oľ
No. 1, like all post-cards, omits the name of the addressee after the body of the note,
because that is written on the obverse together with the address. At the end of letters (e.g.
(No. 4), the usual order is: 1st, the date; 2nd, the writer's surname and personal name; 3rd,
the name of the addressee with "Mr." appended. For "Mr." or "Esq." there are several equiv-
alents in the Epistolary Style. A very usual one is Dono, written the standard square
form, or very slightly abridged) when a superior is addressed, but abbreviated to Mi
or
in addressing an inferior. Sama too is polite and much used. Others will be found in
the specimens below.
MISCELLANEOUS PHRASES.-Kono DAN, "this thing" or "fact."
On JŨ
御​中​,
a very convenient expression to which English has no exact equivalent.
It denotes "the people concerned," "the authorities," "the addressees," in a vague, plural
manner, which absolves one from inserting the name of any person in particular, and enables
the letter to be opened by any one in the shop, hotel, office, etc., to which it is sent.
GI
"with regard to," "touching." Such a phrase as 私​儀
​the same as watakushi wa in the Colloquial.
儀 ​·“
watakushi GI means
Migiri, occasion," "time:"-
JJ
昨日​御​来駕​の​砌
​CC
SAKUJITSU GO
RAIGA no migiri, "on the occasion of your visit yesterday" (more lit. of the advent of your
palanquin).
Yoshi
由
​"information to the effect that:
•
由​承知​仕​居候
​sōrō.
•
yoshi SHOCHI tsukamatsuri-ori sōrō, "I have heard that
•
Kono koto ni (GOZA) sōrō HK HEE is equivalent to....ni zonji
GO ANNAI
TH
御​案​內 ​means “invitation" in Nos. 14 and 15, not “guidance;” but
the two ideas-to us so distinct-spring from one source in the Japanese mind.
JITAKU 自​宅 ​"my house," would be changed to SETTAKU
拙​宅
​in addressing an
equal or superior.
JISHI
侍​史
​or GO JISHI
御​侍​史
​at the end of Nos. 10 and 11, intimates that
the writer expects his letter to be perused only by the secretary of the personage addressed,
458
TWELFTH SECTION.
not by that personage himself; but such a phrase has come to be a mere compliment,—a piece
of mock humility.

lit. "great elder brother," is sometimes used as a half-respectful, half-
TAIKEI
大 ​大兄 ​兄​:
familiar title. GAKEI
雅​兄
​and MEIKEI
KEN-HOKU
硯​北
​somewhat resembles JISHI
盟​兄
​侍​史
​are similarly employed.
inasmuch as it intimates res-
pect on the part of the writer, who, instead of addressing his friend direct, makes believe to
send the letter only to somewhere near him, lit. "to the north of his inkstone."
"under the table," is an equivalent expression.
几​下
​KIKA,
RAI-KYU (in specimen No. 6, pp. 426 and 441-2) offers a curious instance of the use of the
Chinese sound of a character forming part of a name commonly read à la japonaise, as KYŪ
is KYŪ. Com-
here stands for
ET Miyanoshita, because the "KAN-ON" of
宮
​pare the last two paragraphs of page 246.
宮
​No. 16. Go YU-IN no hodo=GO YŪIN nasaru yō ni, "that you will bring."
No. 17. P.S.-It is an act of Buddhist piety, practised on various occasions, to set caged
birds at liberty. But like the sending of flowers to grace a funeral, the custom has degenerated
into a social tax against which thoughtful folks now endeavour to make a stand.
No. 18, after an impersonal habit common enough in Japan, is despatched without the
name of any secretary or clerk, but simply from the University in the vague.
No. 19. Observe okonawaserare, a potential causative form used honorifically of the Em-
peror, and equivalent in actual signification to plain okonau.-For the sake of variety, we in
this case leave the free official translation, which was kindly supplied to us together with the
original of this note, instead of inserting a more literal rendering of our own.
No. 21. Moshi-osame=moshi-ire, "to send in remarks," i.e. "to inform;" but it is little
used except in phrases of congratulation.
No. 23. Postscripts. These are to the full as common in Japanese private letters as in the
letters of European ladies, and it is an established usage to urge the addressee in a postscript
白
​(C
to take care of his precious health. properly "white," naturally glided into the sense of
"clear," whence "explicit," whence "to state: "
a postscript," is thus lit. " a
second statement." The literal meaning of the synonyms is obvious.
二​白
​ADDRESSES.-Notice that the Japanese order reverses ours, the general coming first,
the particular last; furthermore that it is the rule for the sender of the letter to write his own
name—often also his address and the date on the reverse of the envelope. This saves much
Examples are given in the text.
trouble in cases where the addressee cannot be found.
方
​(24 a) Kata corresponds to our “care of."
(24 b) Kaki-tome-registered."-SHINTEN, lit. " personally opening
up" or "undoing "our "private," but is more freely used.-(24, c) This is the reverse side
THE EPISTOLARY STYLE.
459
of envelope 24 b. The character
封
​FU is equivalent to a seal. Sometimes Brok
KAN or
tojiru, "to close," is written instead; most government offices and large firms use a seal on
which this character is engraved.
(24 c) This is the reverse side of 24 d. shime, "shutting," is another common
way of, so to say, sealing the envelope of a letter.
(24) This specimen shows the way of addressing an envelope to a nobleman.
(24 g) An address to a Japanese lady. The characters
平​信 ​HEISHIN, "peaceful
tidings," are written on the envelope to assure the recipient at once that the letter conveys
no bad news. This phrase is but sparingly employed.
Ko, lit. "child," is a suffix to ladies' names now fashionable, especially in writing and
in print (conf. p. 254).
(24 h.) This exemplifies the plan, frequently adopted, of the sender writing his own name
on the front side of the envelope, below that of the addressee (instead of on the back).
(24 i) 夫人 ​FUJIN, "lady," is the most usual equivalent for our Mrs." in an address.
令​夫人 ​REI-FUJIN, is still more elaborately honorific. 行
​
Yuki T
means "sent to.“
ZAICHU, lit. “[book, photograph, etc.] is inside,”—a convenient Chinese idiom
for our
Book Post," "Sample Post," etc.
RECEIPTS. The portion in small type is the printed form; the 行書
​characters show what is filled in in writing.
茶​料
​Notice the constant use of hitotsu in the sense of "item."-CHARYŪ
is the
literary equivalent of Colloquial
CHADAI, tea-money," a tip." It is customary
to give printed receipts for such at an inn, as well as for the amount of the actual bill.
The margin gives fac-similes of the manner in which stamps are obliterated in the post-
office. The characters read thus:
(a) TōKYō Ushigome, SAN-JU-HACHI[NEN], NI-[GWATSU] kokono[ka], GO
NI[-JI] SAN-JIP[-PUN], i. c. Ushigome [postal district], Tōkyō, 9th
February, 1905, 2.30 P.M.
摸​相
​下ノ宮
​月​三年​八​世
​日
​四
​(b)
便​口
​(by Sagami, Miyanoshita, SAN-JU-HACHI
京
​38-2-9
(re)
后​2.30
NEN SAN-GWATSU yokka, ro-BIN, i, e. Miyanoshita, [in the province.
of] Sagami, 4th March, 1905, 2nd delivery.
to
Notice the employment of Arabic numerals and of, equivalent
"after," for P.M. in the metropolitan obliterating stamp,
while the provincial one is entirely in the native tongue. Note also the mention made of the
name of the province in this latter, and the employment of Katakana signs as we employ A,
B, C, etc. to denote the 1st, 2nd, 3rd, etc., deliveries. In addressing letters, likewise, the
province should be mentioned rather than the prefecture.
460
TWELFTH SECTION.
you
""
هه
Women's letters are distinguished from men's by a more copious intermixture of native
Japanese words and of the Hiragana. Women also employ the idiom mairase sōrō
written as in the margin, where men write sōrō or GOZA sōrō. Thus, “I beg to inform
(Colloq. mōshi-agemasu) is mōshi-age sōrō in a man's letter, but mōshi-age-mairase sōrō
in a woman's. Etymologically, mairase seems to be the Indefinite form of the
Causative of mairu, “to go” (respectfully); and mairase would therefore originally have
conveyed the idea that some compliment, sentiment, etc., was caused to go respectfully
to the fair writer's correspondent. But in modern Epistolary usage, it has sunk into
mere verbiage void of all actual import. Other marks of the feminine Epistolary
Style are the final phrase ara-ara kashiko," "with congratulations and my respects,
"C
>>
""
and the extremely curious use of MOJI (a corruption of Xin such phrases as
on me-MOJI for o me ni kakaru, having the honour to see you; GO
清洁
​SUI-MOJI for GO SUISATSU, "you will guess that..... Lady students anxious
""
to perfect themselves in the style proper to their sex, will find admirable models,
alike of diction and of penmanship, in Ono Gado's "Fumi Kaki-buri" and in
Ban's "Fude no Yuki-kai."
Letters, whether written by men or by women, are apt to extend to great
length, an epistle one or two yards long being nothing uncommon.
For this purpose
paper is sold in large scrolls, which the writer cuts when he has finished. Many persons
write considerably larger than even the example given on p. 425, boldness being one of the
chief characteristics of Far-Eastern penmanship.
NEW CHARACTERS IN THE PRECEDING SECTION.—2034.
TOKU, "a writing-tablet," but
mostly used in the compound 尺牘 ​SEKIDOKU, “a short letter" or "note."-2035.
[#] KAI-SHO, the "normal,
[書​]
<<
楷
​normal," i.e. square" form of the Chinese characters.-2036.
SHITSU or uruou, “to be moist;" also shimeru, "to be damp."-2037.
Ol'
HOTE
HON or hirugaeru, "to wave" or "flutter;" hence, through the idea of changing to and fro,
comes to mean translation." Notice the substitution at will of "flying" for
as the Radical.-2038. 譯
​翻譯
​"wings
""
佃
​more obvious?)—2040.
(C
YAKU or wake, signification;" also YAKUsuru, "to
translate."-2039. tsukuda, "a cultivated field." (From "man" and "rice-field”; what
""
TELSuru, "to state; also arawasu,
"to show."—2041.
鑄
​Tō or iru, "to cast" (metal).
(metal).壽 ​JU, "long life," is here the phonetic, despite the very
slender resemblance in sound.—2042. 蝦 ​KA or ebi, a prawn" (the character may also
denote “a toad"):, lit. "prawn barbarians," is read Ezo (Yezo), and denotes the
Ainos, some say on account of the resemblance of their bushy beards to the aspect of a
* From kashikoshi, “awe-inspiring." The corrupt pronunciation kashiku has become so common that it can
scarcely any longer be blamed.
THE EPISTOLARY STYLE.
461
prawn's head with its long feelers.-2043.
-2044.
纂
​璧
​SAN or atsumerų, "to compile," as writings.
HEKI, a kind of precious stone, a sort of green jade:
GO HEMPEKI
"a flag."-2046. 縮
​or
KI or hata,
SHUKU Or chijimaru, "to shrink;" hence also chijimi, "crape."2047.
SHō, or tsugn "to connect; " (2018)
旗
​is used in the sense of "I return your precious" (book, etc., lent me).-2045.
介 ​KAI or tasukeru, "to assist; " the two together,
紹​介 ​SHOKAI, signify "introducing."-2049. so, “hurry
hurry" (observe the hair flying
wildly in all directions). Except in this Epistolary phrase, usage decrees the more explicit
orthography2050.
—2050.簡
​of bamboo).—2051.
KAN, "a document," "a letter," (originally written on a slip
SHOKU Or Heru, "to plant" (because in so doing you put a "tree"
“ straight” into the ground). Learn at same time (2052) Hi
and prosper," also used in the sense of planting colonies, as
as
"a
a colony."-2053.
easy Phonetic.—2054.
SHOKU Or fueru,
or
"to increase
SHOKUMIN-CHI
K #
硯 ​KEN or suzuri, "an ink-stone,"--typical example of Radical and
Ke sō or kuru, “to reel” silk. The common phrase 綠​合
​kuri-
(C
awase signifies "to arrange one's business so as to get time for something else, 'to
manage.”—2055.
"—2055. YOKU, “the morrow," "next" (day). The character shows "wings" ready
to “rise” into flight as soon as the morrow dawns. Learn at same time (2056) YOKU or
"to help" (because pinions shelter).—2057.
tsubasa, "pinions," hence tasukeru, "to help
"energetic,”—only in the common polite phrase HE
御​賁​臨
​ance," "the pleasure of your company."-2058.
good or to evil.-2059.
which the Radical
賁
​FUN,
GO-FUNRIN, "your attend-
YU or izanan, "to allure," whether to
禧 ​KI, "joy," especially such as arises from the divine blessing,
serves to adumbrate (conf. p. 377).
and simple, without any such connotation.-2060.
pointing at stuff so dyed, while 甘
​棺
​喜
​(1166) is rather joy pure
KON, "dark blue" (the Radical here
KAN, sweet," is the rather imperfect Phonetic).-2061.
a coffin" (from "wood" and " official," ie. that which secures the
KWAN or hitsugi, “a coffin
corpse).—2062. ZEN, "sitting rapt in religious contemplation," according to the practice
禪
​of certain Buddhists. The character appropriately indicates something solemn by its Radical,
and solitude by its right-hand part.-2063. RAJU Gō or kowai, "hard," "unyielding" (as
恒
​a “hill” and a “knife”).—2064. also written
Kō or tsune, "constant, ""regular."
The second form shows the derivation, viz. a "heart" like a "boat," 舟
​between two
even banks (represented by straight lines),—the figure of the boat being slightly corrupted.
—2065. 贈
​sð or okuru, "to give" as
as a present (“treasures added").—2066. 帶
​or kami, "paper."
SHI
Same as No. 254, only the Radical and its position ris-à-vis the Phonetic
differing.—2067. 收 ​SHỮ or osameru, "to gather in," "bring to an end," "receive."..
2068.
翰 ​KAN," writing,
a
"a document (observe the "feather
feather" or quill employed
TEN or kutsugaeru, "to be upset," "overturned" (observe the Radical
to write it).-
it).—2069.
-2069. 顛
​for head, suggesting topsy-turviness).-2070.
憚
​backwardness," "to feel a delicacy.”—2071.
TAN or habakaru,
often contracted to
to have a feeling of
麝
​This truly awful,
462
TWELFTH SECTION.
but common, character is read UTSU, and means “dull,
viz. 林​“forest,”缶​“dish,” 冂
​a cover,"
図
​desponding." The component parts,
((
millet," and
are supposed to point towards the libations for a sacrifice.—2072.
"to be respectful," "heeding," "guarding against.”—2073.
guarding against.”—2073. 惶
​(From "heart" and "emperor ;
who sees the monarch! In Old
the beholder blind.)-2074. fif
with (255) Ħ. 2075. 厭
​"adornment,"
謹 ​KIN or tsutsushimu,
Kō or osoreru, "to fear."
for how entirely overcome with awe must be the heart of him
Japan, indeed, it was supposed that such a sight would strike
""
SHIN or noberu, "to dilate upon; "to state," interchanged
EN or ilon, "to be weary of," hence "to take care of."
(Weariness may be supposed to be here represented by a "dog" sitting for "days" and
""
nation with its synonym (2077) To or inoru, "to pray," thus
"months under a "precipice.")-2076.
新
​KI or inoru, “to pray." Often used in combi-
祈禱​: Observe, by
壽
​comparison with No. 2041, the tendency of
JU, "long life," to give to its compounds the
sound of, not JU, but Tō.-2078.
but rō.—2078. Ji KYʊ or hato, “a dove,” “a pigeon." Probably 九
​is here a phonetic representation of the "cooing" of this bird.—2079. 柏 ​HAKU or kashiwa, a
species of "oak.”—2080.
oak."--2080. 展 ​TEN or noberu, "to open out," "unroll." (The original form is
I
composed of "body," and "workman" four times repeated, showing united action.)—
尸
​2081.JUKU, “a school." Change the Radical to "fire,” and we get (2082)
“ripe.” Do not confound either with (1182) NETSU, "hot."-2083–4. 頂戴
​"receiving" (as a present), more lit. carrying on the head," as 頂
​while
signifies itadaki, "the top" or "head," while
JUKU,
CHODAI,
TEI or CHŌ alone
is itadaku,
is itadaku, "to carry on the head."
2085. 减
​鹹
​KAN or tojiru, “to close."
WRITING LESSON.
463

2081
(2071)
2063
2053
2043
2034
塾​爵​剛​硯​纂​牘
​2072
2064
2035
2082
2054
2044
謹恒​繰​璧楷
​2083
2073
(2064)
2055
2045
2036
頂​惶​恆 ​翌​旗​濕
​2084
207-1
2065
2056
2046
2037
戴​伸​贈 ​翼​縮​翻
​2085
2075
2066
2057
2047
(2037)
緘​厭​昏​賁​紹 ​翻
​2076
2067
2058
2048
2038
祈​收​誘​介
​誘​介​譯
​2077
2068
2059
2049
2039
禱翰​禧匆​佃
​2078
2069
2060
2050
2040
鳩​顛​紺​簡​呈
​2079
2070
2061
2051
2041
柏​憚棺​植鑄
​2080
2071
2062
2052
2042
展​鬱​禪​殖​蝦
​464
TWELFTH SECTION.
SUPPLEMENTARY LIST OF COMMON CHARACTERS.
The following characters, which have not yet occurred in the course of this work, should
be committed to memory, as they are universally known and generally useful. They are
here given in the order of their Radicals:
2086.
予
​YO or ware,
I;
讐 ​Litt
THE OF LE
-2088.
仍 ​U yotte, “according to."—2089. E
企
​also read ataeru, “to give," as if it were (813) EL
仇
​KI or kuwadateru, “to plan "
which also is read yo.-2087.
66
(6
KYŪ or ada, a foe." This is an abbreviated form of (2402)
or plot" (like a
(like a "man stopping still" to ponder over a difficulty).-2090. 佇
​tadazumu, "to stand
сно от
still." Observe the fundamental relationship between this
character and (915) 貯 ​CHO, "to lay up," "to hoard,"-remaining in one place being the
root-idea.-2091. 17 NEI, "persuasive," "insinuating" ("man destroyed by woman's wiles).
佩刀
​—2092. 佩
​—-2093.
12
HAI or obiru, “to wear at the girdle:" HAITO, "to wear a sword."
↑ Yō or itsuwaru, “to
SHI or oyoru, “to be prodigal," "lavish.”—2094. 佯
​feigu," "to pretend." Remember it, not as
Remember it, not as a wolf, but a man in sheep's" clothing.-
-2096.
RXSK
SHUN, "eminent," "superior; often read toshi (“quick ") in personal names.
SIII or malsu, “ to wait.”—2097. KYō, “bold,” “ready to maintain another's
-2095.
俊
​俟
​cause:
俠客
​Lite
is read otoko-date, "one who fights for the cause of the weak against
the oppressor."-2098. 俵
​HYO oľ tawara, ຄ straw bag
bag" for holding rice, etc.-
俸 ​o salary" (what a man respectfully receives," meaning originally
2099. Hō, “salary
“to receive respectfully" as well as "to present respectfully,” tatematsuru).—2100.
“to present respectfully,” tutematsuru).—2100. ↑
KEN OF
倦
​umu, "to be
“to be weary
of."-2101.
做
​KO or nasu, “to do.”—2102.
債 ​SAI, "a debt" that for
side."-2104.
傭​(僱​)
VE) xō or yaton,
) Yō or yatou, "to hire,
which a "man" incurs “
incurs “responsibility").—2103. 傾
​KEI or katamuku, "to lean to one
a labourer.-2105.
as
1
像 ​20,
(C
an
image;” hence katadoru, "to make in the likeness of."-2106. so, a Buddhist priest
(an approximation to the sound of the Sanskrit word sanga).—2107. f OKU, "a hundred
thousand" (from a “man
""
and "thought," to indicate a number beyond the power of
thought to conceive).—2108. 償 ​SHō or tsugunan, "to restore," "indemnify," "compensate.
2109.
that a
(C
儲
​CHO or mōkeru, "to make or lay up (money)," the character showing "all"
»
man has.-2110.
充 ​JŪ or michiru, "to be full," appropriately formed of "man
(10th Radical) and 育 ​"to nourish" contracted.-2111. D
兇 ​KYŌ or arai, "violent,
"savage," "atrocious." 2112.
2112. 冀
​""
KI or koi-neyan, "to yearn, "earnestly request" (one
in the inhospitable "north" yearns for a “different" abode).—2113.
准
​JUN or yurusu,
to allow," "“to ratify;" also nazorau, "to liken." This character is often interchanged with
(1902) Y.- -2114.
凝 ​ayō or koru, "to stiffen," "grow
"grow hard" ("suspected" of being
like “ice").—2115-6. [H] ō, “concave;
凹 ​可
​[II] concave;"
TOTSU, “protuberant,” “convex." Sometimes
SUPPLEMENTARY CHARACTERS.
465
and naka-daka.-2117.
read respectively naka-kubo and naka-daka.-2117.
((
KAN or hako, a box," as in 函館
​X karu, "to mow,

Hakodate. The synonym (628) is somewhat more common.-2118.
or
"to cut."-2119. FI.
刊
​2120. 刑
​"publication.-2120.
FIJ
3"
KAN, "engraving blocks for the press : 刊行 ​KANKO,
(C
KEI or shi-oki, "legal punishment," "execution" (by an even
sword").-2121. 刷 ​SATSU or suru, “to rub" (blocks for printing): "body," a "napkin,
and a "knife" are the implements.—2122.
剖 ​KAIBō, "dissection."-2123. j
削
​erase.”—2124. 剃
​(C
""
剖 ​Hō or Bō or saku, “to tear asunder:" 解
​SAKU or kezuru, "to plane," "to scrape off," "to
""
TEI or soru, to shave:
剃髮
​TEIHATSU, "shaving the head" (to
become a Buddhist priest).—2125. 剝 ​HAKU or hagu, "to flay," "to peel."-2126.
TAJ
ZAI, "a dose" of medicine (which the druggist "equalises" with his "knife ").—-2127.
Ol'
2
with something inside it.-2128. momme, a measure of weight of which one thousand
KWAN.-2129.
go to the 貫
​勺
​勻 ​SHAKU, a measure of capacity, about oz. The character shows the measure
卸 ​oroshi, "wholesale" (best remembered as the tsukuri of
叔父 ​SHUKUFU, "uncle," and 叔
​THE
“honourable ").—2130. 厄 ​YAKU or wazawai, "misfortune," "distress."-2131. Jik
厥
​叔
​KETSU Or sono, "that."--2132.
母
​SHUKU, used in
SHUKUBO, "aunt."-2133. 叛 ​HAN or somuku, "to rebel" ("turning" on the other
"half").—2134. I
北 ​SHITSU or shikaru, “to scold" (the "mouth" with Ľ
ヒ ​as Phonetic).-
2135. 吊 ​CHō or tomurau, "to condole with mourners." Sometimes written 弔 ​(3
"bow" grasped by a man), because the watchers of the dead shot at the birds which pecked
the latter.-2136.
吏 ​RI, “an official” (from 史 ​"records," and
one," implying
unity of purpose in the minds of rulers).-2137. 吠 ​BEI or hoeru, "to bark."—2138.
I RIN or yabusaka, “stingy."-2139. also written 詠
​"to compose poetry."-2140. 唄 ​BAI or utai, “chanting,"
>>
66
>>
Elzuru or utau, “to sing,"
singing.”—2141. THE
THE
DA or
tsubaki, "saliva" (which "drops from the mouth "); E is read haijuki, “a
spittoon."-2142.
喋 ​CHō or shaberu, "to chatter.”—2143.
hence ushinau, "to lose."-2144. 喉
​(C
kamabisushii, "clamorous,' noisy;
Blu sō or mo,
"mourning;
ко or nodo, "the throat."—2145. 喧
​KEN OF
generally in combination with its synonym (2146)
“a
LOVE KWA or kamabisushii, thus 喧嘩
​| KENKWA, "a quarrel."-2147.
SHI or tashimu,
“to relish,” “delight_in.”—2148. HE sazo, "how much!" "indeed."-2149. hanashi,
(C
a story."-2150. 噫 ​aa! an interjection.—2151. biji TEN or saczuru, "to warble."-2152.
SHŪ or meshi-udo, "a prisoner;" also read toraeru, "to capture
A
an
圈
​圈點
​"enclosure").—2153.KEN, "a circle:"
>>
"to capture" (from a man in
KENTEN, "circles and dots," i. c.
the punctuation used in Chinese texts (see pp. 403 et seq.)—2154. 均 ​KIN or hitoshii, “equal,”
坑 ​Kō or ana, “a pit: 炭​坑 ​TANKO,
even.”—2155.
TANKō, “a coal-mine.”2156.
EN or kaki, “a fence.”—2157. H MAI Or uzumeru, "to bury" (in the " village earth").
-2158.
Djf HEI, “a wall.” Compare (2194).
-2159.
堤 ​LE OF BE
隄 ​TEI or tsutsumi,
466
TWELFTH SECTION.
((
a dyke," "a bank."-2160.
a grave."-2162.
Tō, “a pagoda.”—2161.
TSUI or ochiru, "to fall."-2163.
reclainı new soil:" 開墾
​KAIKON, ditto.-2164.
ENDAN, a rostrum."-2165.
oppression,” “tyranny."-2166. 夥
​演​壇
​多
​KWATA, "numerous."-2167.
about."-2168.
奢
​It' FUN or tsuka, "a mound,"
墾 ​KON or tagayasu, to break or
DAN, “an altar," hence, "a rostrum :
"to press:
KWA or obitadashii, "numerous,"
壓
​ATSU Or osu,
奔
​""
壓制
​ASSEI,
(C
'tremendous:
""
夥
​HON or hashiru, "to scamper away,' to bustle
SHA or ogoru, “to be prodigal," "extravagant:" 奢侈
​SHASHI, ditto.
2169.FUN or furuu, "to exert" or "wield promptly and impetuously:" 奮發
​FUMPATSU,“ zealous effort.”—2170. 妃 ​HI, the "consort" of a prince of the blood.—2171.
姊
​Lik
(6
GI, a singing girl,” “a courtesan."-2172. also written
姉
​elder sister."-2173.
妹 ​MAI or imōto, “a younger sister."-2174. B
姆
​matron," "a governess.
a governess."—2175.
SHI Or ane, an
BO or uba, a
To or netamu, "to be jealous" (the "stone" referring
to the jealous "woman's" wicked heart).-2176. 姪
​TETSU or mei, a niece."-2177-8.
ME WI NINSHIN, “pregnancy.”—2179. SHō, a courtesan :
娼
​>>
娼妓 ​snócr, ditto.
2180.
婢
​女
​wife" (as the character literally shows), "to marry."-2182.
LAS
KON, "marriage" (from
HI or koshimoto, “a maidservant."—2181. 取 ​SHU or metoru, "to take a
woman and "dusk," because weddings take place in the evening; conf. No. 2271).—2183.
嫡 ​CHAKU, properly "legitimate wife," now oftener "eldest born," as 嫡​男
​"eldest son and heir."-2184.
孕 ​Yō or haramu, "to be pregnant."-2185.
mattashi, "finished," "complete," "quite
"quite" (from a
(from a "cover" and
and 元
​Phonetic).-2186. 宥 ​YŪ or yurusu, “to excuse ;
offender's transgression "has a shelter").-2187.
>"
CHAKUNAN,
KWAN Or
GWAN Or GEN as
also nadameru, "to mitigate" (the
SHō or yoi, "the evening."-2188.
IGU, “sojourning" (from "cover" and an obsolete character for "monkey," "sojourning”
being thus likened to a monkey under the shelter of a tree).—2189. 寬 ​KWAN, properly
hiroi, “broad,” but often metaph. as in 寬大
​KWANDAI, maganimity; as a proper
name it is read Yutaka-2190. 尉 ​I, a military and naval rank corresponding broadly to
lieutenant."2191. 尖
​""
sukunai, "scarce, "few:
2194. 屏
​2195. 屠
​——2197. 岬
​SEN or togaru, "to be pointed," "sharp."-2192.
" 尠​少 ​SENSHō, ditto.-2193. 屈
​SEN or

KUSSunu, "to crouch.
HEI (GO-ON BYŌ) or shirizokeru, ""to avert: " 屏風
​""
BYŌBU, “a screen.”
To or hofuru, “to slaughter," "butcher."-2196. 屢 ​RU or shiba-shiba, "often."
Kō or misaki, "a promontory."-2198. 岳 ​GAKU or take, "a mountain peak.'
It serves as a contraction of (1242)
(1242)-2199.
mountain.-2200.
TEN or itadaki, the "peak
""
""
of a
a kite" (toy).—
巷 ​Kō or chimata, “a cross-road.”
a cross-road."—2201. i tako, "a kite”
2202. 帆​。
DL HAN or ho, "a sail.”—2203.
or
""
Jō, “a folded book; also used as
the auxil. numeral for quires of paper. Also read fuda, “ a label.”—2204. 帙
​CHITSU, a cloth
SUPPLEMENTARY CHARACTERS.
467
or paper case for books.—2205. 床 ​SHŌ or yuka, "a floor;" hence toko, "a bed laid on
the floor.”—2206.
庵 ​AN or iori, "a cottage." Often used in the literary pseudonyms
adopted by authors and esthetes, as 世​外​庵
​SEGWAI-AN, "the cottage apart from the
world;" 米​庵 ​BEIAN (the pseudonym of a noted calligraphist, derived from that of his
Chinese teacher).—2207.ro, similar in sound and sense to (102)
庸
​"constant:
((
use," also
“The Invariable Mean" (one of the Confucian Classics).—
""
中庸 ​"CHUYO,” “The Invariable Mean ”
2208. 廊
​廚
​TEN or mise, "a shop;" interchangeable with
nō or hosodono, “a corridor," "a verandah:"TROKA, ditto.-2209. J
CHU or kuriya, "a kitchen."-2210. 廛
​店 ​—2211. 廟 ​HJ BYO,
BYō, "an ancestral temple," "a mortuary shrine."-2212.
a mortuary shrine."-2212. HE
(140) JE
TEI, "the Imperial Court: HJZE CHŌTLI,
CHōTEI, ditto. It resembles (559) TEI or niwa,
""
a courtyard," in form as well as sense.-2213. 彩 ​SAI or irodoru, "to colour:
colouring," "painting in colours.” (The character has reference to a bird whose
SAISHIKI, "colouring,
彩色
​影
​reflection."-2215.
征 ​SEI or utsu, “to chastise" rebels, etc.:
plumage" is seen to the right, and its "claws" perched on a "tree."-2214.
rr
or kage, a shadow" or
遠征
​(C
EI
ENSEI, “a military expedition.
a military expedition." The character shows the king "going to correct,"
whence it is also read yuku.—2216. 循 ​JUN or shitagau, "to follow in order: 循環
​JUNKWAN, “circulation.”—2217. 徹
​TETSU or toru, "to penetrate:
to penetrate:"徹頭徹尾
​TETTŌ TETSUBI, “from beginning to end," "thoroughly."-2218.
KI or imu, "to dislike,
>>
"to shun" (the "heart" recoiling on "itself "); hence "mourning: 忌​中 ​KICHU, "in
mourning.”—2219. Yō, “unwell;
恙
​sound."-2220.
恃​,
恕
​JO or yuruSU,
66
hence tsutsuga naku, “safe and
JI or tanomu, "to rely on: " 自恃
​to
JIJI, "self-confidence."-2221.
forgive:"御海恕 ​GO KAIJO, "your forgiveness" (deep as
the sea).-2222. ("the heart bleeding") JUTSU or awaremu, "to commiserate."—2223.

悔
​KWAI or kuyuru, "to repent."—2224. •HE I or omou, "to think of," "consider;" also
used for tada, "only.”-
ME only.”—2225. 忄 ​(or) sur, properly yatsureru,
) SUI, properly yatsureru, "to be emaciated
with sorrow;" commonly segare, "my son.'
my son."-2226.
Tō or itamu, "to be afflicted.".
2226. 悼
​2227.
惱
​"to be distressed:
煩惱
​Nō or nayamu,
GAKU or odoroku, "to be startled."– 2229. 態
​Also 態​々
​HANNō, "distress.”—2228.
!!!!
ΤΑΙ ΟΙ katachi, figure," "attitude."
wazawaza, “on purpose." Do not confound it with 熊 ​YŪ or kuma, "a
bear.”—2230. ''S
"verily."-2232.
慣
​BO or shitau, "to be
to be fond of."-2231. tashika ni, “surely,
<<
慥
​KWAN or nare, a habit (that which constantly "goes through
the heart;") conf. No. 1432.-2233. 慢 ​MAN or midari ni, "recklessly," "wrongfully
(like water overflowing).-2234. 憎 ​sō or nikumu,
nikumu, "to hate:"AIZO, "love
and hatred."-2235.
憶
​2237.
憫
​愛憎
​BIN or awaremu, "to sympathise," "to grieve for."-2236.
OKU or omou, "to think," "reflect:" omoi-dasu,
憶出​す ​omoi-dasu, "to remember."—
扉 ​HI or tobira, “a single-leafed door.”—2238. |
扣 ​Kō or tataku, "to strike;
>>
468
TWELFTH SECTION.
more often hikaeru, “to draw
"clapping the hands."-2240. J
SHOKU or nuguu,
2243.
拵
​2244. 捐
​back," "check,"
back,”
III
otc.-2239.) HAKU(-SHU),
or hiraku, “to open" (as a lotter).—2241.
"to wipe,”—2242. E 挑
​拍
​拭
​((
challenge."
CHO or idomu, "to provoke,"
koshiraeru, “to prepare" (the "hand" bringing something into "existence ”).—
""
hence "to sub-
EN (often, but less well, read KEN) or suteru, "to throw away;
GIEN-KIN, money subscribed to a charity." Do not confound
scribe,” as in 義捐​金
​Fifi
it with (1518) 損 ​SON, “injury.”—2245. Jik
挫 ​za or kujiku, “to break.”—2246. i
sō or
sushi-hasamu, "to insert" (the character depicting a "hand" inserting a "pestle" into a
"mortar"). The Japanese habitually prolong the last (perpendicular) stroke; but properly
speaking this should not be done, as the pestle should not make a hole in the mortar and
come out at the bottom.—2247.
捷
​Shō or kulsu, “to be victorious.”—2248. 挽
​hiku, "to pull," "bend," "turn (wood): '
tun (wood): "
2249.
掌
​BAN OF
BANKWAI, “bringing back," "restoring."
SHō or tanayokoro (for te no kokoro), "the palm of the hand."—2250. 掘
​KUTSU
or horn, "to dig.” Compare (1321) 2251.
-2251. 控 ​# Kō or hikaeru, "to rein in," also
publish.”—2253.
"to hoist;" hence "to publish.'
"to stand aside;" closely similar to No. 2238.—2252. 揭 ​KEI or kakageru, "to lift up,'
tbh
交換 ​KōKWAN, ditto.—2254. 援 ​EN or lasukeru, “to rescue :
握 ​AKU or nigiru, "to grasp
grasp" t
forcements."-2255.
2256. Ji
搜
​sõ or sagasu, “to search :
rub," hence "to print."-2258.
£
KWAN or kueru, "to change,' exchange:"
(C
援兵
​EMPEI,
"rein-
AKUSIU, "shaking hands."-
SōSAKU, ditto. 2257. SHō or suru,
"to
LIFE BU or naderu, “to stroke," hence "to soothe."-2259. 操
​so, properly torn, "to take; more often misao, "female chastity."―2260. 擊 ​GEKI Or utsu,
IS THE KōGEKI (suru), "to attack."-2261. 擲
​
"to beat:
TEKI or nage-ulsu, "to fling,"
throw away."-2262. Art!
禁 ​HIAN or yojiru, “to climb with hands and feet."—2263.
擦
​SATSU
or kosuru, “to rub.”—2264. 攘 ​JÕ or Nusumu, “to steal; also harau, "to clear away,"
"to expel:
exped: " 尊王攘夷 ​SON--JOI, "Honour the King [Mikado], and expel the
barbarians!" was the motto of those who overthrew the Shōgunate in 1867-8.-2265.
KWAKUCHō, ditto.-2266.
HAN or madara, “mottled," "striped."-2267. SIIN or kumu, "to draw (water, etc.):
擴
​KWAKU or hirogeru, "to stretch," "expand :
stretch," "expand:"E
擴張 ​斑
​LET
KYOKU
斟酌 ​SHINSHAKU, "consideration of circumstances."2268–9. 斡旋 ​ASSEN, equiv. to
colloq. SEWA suru “to assist ;" cach character alone is meguru, “to turn round.”—2270. JU
旭
​or asa-hi, "the rising sun."—2271. 昏 ​KON or kure," dusk," "twilight;" hence used for kurai,
"dusk" (from H "the sun and a rare character "descending")-2272. J
JEK
REKI or koyomi, "a calendar."
a calendar." Compare JFE REKI, “to pass by," whence 歷史
​SIII, “history.”—2273. no or hogaraka, bright,” “clear:
A

朗讀
​REKI-
RŪDOKU, "read-
ing aloud.”—2274-5. 朦朧 ​mōrō or oboro, “dim.”—2276. ✈
朱 ​SHU or ake, "vermilion.'
2277. F
仙
​soma,
mountain planted with timber," the "timber" itself, hence
SUPPLEMENTARY CHARACTERS.
469
also "a woodcutter.'
This is a Japanese character, conf. p. 142.-2278.
SAN, in
SAM-bashi, “a jetty,” and
"to plant.”—2279. te
棧橋
​SAI Or ueru,
sajiki, “a
“a gallery” in a theatro.-2280. sakaki, the "Cleyera japonica," the sacred tree of
the Shintoists. This, too, is a Japanese character, cleverly contrived to express the sense.-
2281. 歿 ​Bossuru, “to die.”—2282. E
毁 ​KI or kobotsu, "to destroy," "break to pieces.
毆 ​回文 ​ō or ulsu, “to strike.”--2284. †
汁 ​Jū or shiru, “juice.”—2285. T
汗
​2283.
ase,
——2286. 活 ​o or kegareru, "to be impure," "filthy."-2287. 沒
​sweat."-2286.
“sinking,” “perishing:"AZ
"filthy."-2287.
KAN OP
BOTSU,
NICHI-BOTSU means sunset." Conf. No. 2281.-2288.
汲 ​KYŪ or kumu, "to draw" (water). The character shows one
(water). The character shows one "reaching" ()
“water” to get at it.—2289. 沼 ​SHŌ OF Numa, a swamp.”—2290. 泳
​swim."-2291.
to the
EI or oyogu, "to
液 ​EKI, any "fluid secretion," as saliva, sap, etc.: 血液
​"blood." Observe that
2292. 淡
​KETSU-EKI,
夜 ​YA, "night," constantly has the force of EKI as a Phonetic.—
insipid” (“heat thins or carries off the
TAN or awai, "thin," "weak," "insipid
"water").—2293. 淨
​Jō or kiyoi, "pure :
淨土
​JODO, "Paradise (of the
Buddhists).— 294. 勇 ​Yō or waku, "to spring" or "gush," as water.-2295.
(C
溝
​Kō OP
mizo, "a ditch."-2296. 溺 ​DEKI or oboreru, "to be drowned" (a man weakened" to
death by the "water").-2297. 滑 ​KWATSU or nameraka, "slippery :
KOKKEI,
"joking," " something humorous.” (Observe that the reading is KOTSU in this context.)—
AT THE
dense:”滋
​JI or uruou, "to be moist;" "fertile," also shigeru, "to be rich or dense:
JIYÖ, “nourishment.”—2299.
A JIYO,
2298.
滋
​濁
​2300.
漫
​MAN,
"overflowing," also midari ni, "recklessly.
DAKU or nigoru, "to be turbid : 清濁 ​SEIDAKU, “clear or turbid," "surds
>>
and sonants (see Colloq. Handbook, ¶ 28 et seq.).—2301. LATES
wet."-2302.
濤 ​Tō or ōnami, "great waves : 波濤
​JU or nureru, "to be
HATO, waves.”—2303.
KWAI or hai, “ashes.”—2304. KYU, "cauterisation with the moxa."—2305.
灸
​kashigu, “to cook.”—2306. 煩
​灰
​炊
​SUI or
HAN or wazurawasu, to trouble" (as a feeling of "fiery "
heat does an aching "head").—2307.
2307. FJUS
煎 ​SEN or iru, "to parch" or "toast" (toasting is
putting “before the fire"): F 煎餅
​SEMBEI, a kind-or rather various kinds of biscuit.
2308. 燕 ​EN or tsubame, a swallow."—2309.
爺
​YA or oyaji, (one's own) "father,'
also, "an old man."-2310. 犯 ​HAN or okasu, "to transgress, "oppose," "invade."-2311.
狸​猪
​RI or tanuki, generally translated "badger," but properly the "racoon-faced dog.”—2312.
CHO or inoshishi, “a wild boar."-2313. SHI, in
"a
RYō or kari, "the chase," "hunting."-2315.
SHISHI, a lion."-
SHU or tama, "a bead:
獅 ​獅子
​2314.獵
​率 ​SOTSU or hikiiru, "to lead ;
>>
眞​珠
​畜 ​CHIKU Or yashinau, "to keep
(C
ΟΙ
rear" domestic animals.
This character comes from
女
​"black," and
"field,"
also the opposite shitagau, "to follow."-2316. 珠
​甥
​SHINJU, “a pearl.”—2317. oi, "a nephew."2318.
or
and 田
​470
TWELFTH SECTION.
the reference being to loamy soil good for pasturage. Compare CHIKUSNÕ,
((
6620
So, distant," coarse," also
((
(C
beast ;
家畜 ​KACHIKU,““a domestic animal.”—2319. fii
Li
orosoka, remiss :
陳遠
​CC
SOEN, remiss."-2320.
皈 ​KI or kaeru, a synonym of (764)
歸
​In strict Chinese usage, it seems to be restricted to Buddhist phrases as 飯​依 ​ス​ル
​KIE suru, “to be converted.”—2321.
-2329. 座
​or mayu, "the eyebrows."-2322.
眉
​BI
mutsumajii, “friendly,
friendly,” “cordial : 親睦​會
​瞬
​SHUN or matataki, "the twinkling of an eye,
99 66
(C
BOKU Or
SHIMBOKU-KWAI, a social gathering,”—2323.
blinking.”—2324.
:.”—2324. ft) migiri, "time,” “oc-
(6
casion."-2325. hyd Kō or katai, “hard”—2326. 禍 ​KWA or wazawai, “ a calamity:" 黃禍
​KOKWA, "the Yellow Peril."-2327. 秒 ​BYO, "a second" (of time).—2328. E
"secret," "mysterious:' EZ HIMITSU, ditto.—2329. H
租​:
租稅
​SOZEI, ditto.—2330. FIL
also written
HI or hisoka,
so or mitsugi, "tribute," "taxes:"
穉 ​CHI or wakai, "young: 幼稚園
​YÖCHI-EN, “a kindergarten."-2331. Ex KA Or kasegu, "to labour."
ing "grain" as the natural labour of a household."-2332.
穗
​The character shows sow-
an ear of grain.
SUI or ho, “an ear
((
2333. 突
​tama-tsuki signifies “billiards.”—2334. 竿 ​KAN OF 80, “a pole.”—2335.
a flute."-2336. Wy yarn,
yabu, "a bamboo grove, ," "cane-brake."-2337.
(as used in divination).—2338.5
out of a
TOTSU or tsuku, "to rush against" (as a "dog
((
cave"): E
笛
​TEKI or fue,
SEN or kuji, a lot
RYU or tsubu, "a grain" of rice, etc. (from "rice" and
"to stand," because rice supports life).-2339-40.
純粹
​JUNSUI,
(C
pure
” “unadulterated ;"
each alone is read moppara, "wholly," "mostly."-2341. 累 ​RUI or kasaneru, “to pile up;
""
also kakaru, "to be involved in.”—2342. 統 ​To or suberu, "to unite in one whole," "to
control."-2343.
綴
​SETSU or tsuzuru, "to compose" (as a book). Originally the character
meant "sewing," "patching," hence "connecting together."-2344.
KIN or shimeru, "to bind
練
​REN or neru, "to

practise," "to drill: "
Kiki Ma RENSHU,
FIX
"training."-2345.
tight ; also "urgent:" EXIT KIN-Yō, “urgent.”—2346.
要
​緬
​MEN in
縮​緬
​chiri-
MEN, “silk crape.”—2347.
JO OF NAWa, a cord,'
((
99.66
"to bind."-2349. fle wazuka
long to be like another." But the poets often write urayamashiku phonetically, thus
山​敷
​−2351. 耐 ​TAI or laeru, "to endure," "forbear." Originally
forbear." Originally 而
​"" "to
meant "whis-
kers," and the character hints at a punishment in ancient China which consisted in shaving
off the offender's whiskers.-2352.
((
""
a_string.”—2348. 纏
​TEN or matou,
毚 ​wazuka (ni), "barely."-2350. 美 ​SEN or urayamu, “to envy,
浦
​聘
​HEI,
"to invite or engage (c.g. a teacher):
招聘 ​SHOHEL
SHŌHEI, ditto.—2353.
聯 ​REN or tsuranaru, "to be joined," "connected." It
""
聰明
​(C
coincides both in sound and sense with 連​2854.
–2354. 聰 ​sō, w quick-witted," "sharp:
肯
​SOMEI, "clever."—2355. JUL KI or hada, “the surface of the body.”—2356.
肺
​Kō or
""
yacnzuru, “to acquiesce."-2357. Hij HAI, "the lungs."-2358. E
脈 ​MYAKU, "the pulse.
Compare (368) 派 ​HA, "branching or ramifying as streams," whereas is the streaming
脈
​SUPPLEMENTARY CHARACTERS.
471
-2359.
腦
​No, "the brain.”—2360.
of the blood through the ramified veins and arteries: 山脈 ​SAMMYAKU, “a mountain chain."
膏 ​Kō, properly "grease," hence "ointment:
膏
​Wik
""
皮膚
​HIFU, ditto.-2363. EZEN, "a dinner tray:
藥 ​KōYAKU, "a plaster."-2361. 膝 ​SHITSU or hiza, "the knee.”—2362. 膚 ​FU or hadae,
JEE
dinner tray:"御膳
​"the skin:
read o ZEN,
also means "dinner tray;" read GOZEN, it means "boiled rice;" hence "food." The
character represents "flesh" which is "good," the Chinese being great meat-eaters.-2364.
KAN OP nayamu, "to be in difficulty" or
"dis-
KANNAN, ditto.-2367. 芽 ​GA or me, “a bud,” “a shoot."-2368. HEC
薨
​膽 ​TAN or kimo, "the liver:" 膽​力 ​TANRYOKU, “boldness.”—2365. so, the auxiliary
艘
​numeral for ships and boats.—2366. 艱
​""
tress:
艱難
​蔓
​of a prince or
*
goal): 薨​去 ​Kokyo,
KOKYO, "demise."
"demise."-2370.
薦
​SEN or Susumeru, "to recommend :
推
​薦
​BUN or ha,
(C
MAN or habikoru, "to ramify," "to spread."2369. Kō, the "demise" of a
nobleman (from "death," and "dream" contracted,-life's a dream and death its
SUISEN, ditto.-2371. 藩 ​HAN, “a Daimiate,” “a feudal clan.”—2372.

a mosquito."-2373. 蛇
​JA
or lubi, “a serpent,"ØRE
grand beginning and a miserable end."-2374.
""
SHŌ or tsuku, "to strike' or "dash at:
RETSU or sakeru, "to crack," "to tear."-2377.
"skirt:
虫
​RYŪTO JABI, a
SAN or kaiko, "a silkworm.”—2375.
HSHŌTOTSU, “collision.”—2376.
衝突
​衝
​裂
​SHŌ or mosuso, 'a lower garment" or
衣裳 ​ISHō, “garments.”—2378. **
標 ​KIN or eri, "the collar of a garment.".
2379. 觸 ​SHOKU Or fureru,
or fureru, "to touch" (the character is more properly "to push" or
((
run against," as an animal with its horns).—2380. 訂
​TEI, "settling," preparing,"
correcting:"訂正 ​TEISEI, "collating.”—2381.
−2381. 訛 ​KWA, properly "false," "deceitful; "
more often namari, "a provincialism," patois."-2382.
2382. 訪
​"to go
and see. −2383. 試 ​CHū,
Hō or tazuneru, "to enquire,"
cao,
CHU, "a a commentary," "gloss:
gloss:” 註釋
​CHŪSHAKU and
註解 ​CHUKAI are familiar compounds signifying "commentary."-2384. 詔
​mikoto-nori, "an Imperial speech, an
CC
SHIN, examining" (as a doctor):
edict” (from “words" and to "summon").
SHŌ or
2385.
診
​SHINSATSU, ditto.-2386. 詫 ​TAKU or wabiru,
誅
​“to apologise,” “to acknowledge a fault." 2387.CHUSuru, "to chastise,"
with death."-2388.
"to punish
SHI or shirusu, "to write down," "to record."-2389. 誠
​imashimeru, “an injunction," "a warning." It closely resembles (143) 戒
​-2390.
ΚΑΙ ΟΙ
誨
​KWAI or oshieru, “to admonish,” “to instruct.”—2391. 誤 ​GO or ayamaru, "to mistake."
2392. 諂 ​TEN Or hetsurau, "to flatter," "to fawn."
or
Comparing (1112), we see that
the idea of the inventor of this character was to represent flattery as a pitfall composed of
words.-2393–4.
誹謗 ​HIBO, “slander." Each of these characters alone is read soshiru,
“to abuse, "to slander."-2395.
KAN or isameru, "to admonish," "to expostulate
諫
​with."-2396.
Z
PB
AN or soranzuru,
to know by heart:"暗誦 ​ANSHO
2397.
memory."
ANSHŌ, "reciting from
謁 ​ETSU or mamieru, “to have an interview with a superior:"
472
TWELFTH SECTION.

EKKEN, "an Imperial audience."-2398. 諺 ​GEN or kotowaza, "a proverb."-2399.
Tō or utsusu, "to transcribe : 謄寫
​error: "GOBYU, ditto. 2401.
誤認
​SHŪ
or ada,
豚
​66 ib
foo.” — 2403. 讒
​謄
​an
TOSHA, ditto.—2400.
謬
​BYŪ or ayamari,
雠
​or
LE
譏 ​KI or soshiru, "to slander."—2402.
ZAN or soshirn, "to slander," asperse. 2404.
TON or buta, "a pig,"-same meaning as (436)
same meaning as (436) 豕 ​SHI, but made more explicit by

—2405. 責
​the addition of "flesh." The dictionaries place it under the Radical 豕​-2405.
貿​(易​) Dō(u),
SEKI or semern, "to reprimand," "to persecute.”—2406.
OF
2407-8.
'trade.".
賄賂 ​WAIRO or mainai, “bribery." Wi
賄 ​alone is also read makanai, "manage-
ment of a household,” “board" (from "having riches").—2409. WI SHIN or nigiwan, “to
be lively" or "crowded;" more properly "to bestow alms.
alms."-2410. !K To or kake, “a
ко
wager."-2411. 購 ​Kō or ayanan, "to purchase.
"to purchase.”—2412. LIVE
"spurious."-2413.
赴
​GAN or nise, counterfeit,
FU or omomuku, "to go to," "to repair, as
赴任
​FUNIN,
"to
repair to a post to which one has been nominated."-2414. 踊 ​Yō or odoru, "to skip,"
to dance."-2415. Bit SHUKU Or keru, "to kick."-2416-7. IA IK
rau, “to be irresolute, "to hesitate."-2418-19.
CHUCHO or tame-
軋​轢 ​ATSUREKI, “creaking," hence
“friction" (especially metaph.): each character separately is read kishiru, "to creak.'
"to creak.”—2420.
軟
​tiny RYO,
NAN or yawarakai, “soft” (originally it denoted "muffled wheels").—2421. p
輛
​the auxil. numeral for vehicles (appropriately formed from "a pair of wheels").-2422.
SHUSHUTSU-NYŪ, "exporting and importing." Some
輯
​
SHŪ Or atsumeru, "to collect."-2423.
輸 ​SHU or itasu (in the sense of okuru, “to send ");
also makeru, to be beaten :"
輸出​入
​-2424.
轄 ​KATSU or kusabi, “a
lating.”—2425.
JOKU or hazuka-
pronounce this character YU,-
YU, a case of 百姓​讀
​linch-pin" (which prevents "harm to the wheel ")
harm to the wheel "); more often metaph. "ruling," regu-
BI or kutsuwa, "the bit" of a bridle.-2426.
shimeru, "to put to shame," "to insult;" also read katajikenai, "grateful"-as for favours
undeserved. The character is from "time," and "inch," because in ancient China
寸
​the peasant who let the proper time for sowing pass by was executed on the border.-2427.
JINSOKU, ditto.-2428.
辰
​
迅 ​JIN or toshi or sumiyaka, "swift: " 迅速
​内閣​更迭
​迭
​TETSU, or
kavaru "to alternate:"
2429. 进
​"go counter to.”—2431. () SHōyō, “sauntering.
NAIKAKU KÖTETSU, a change of Cabinet."
HEI or hodobashirn, "to splash."-2430. 逆 ​GYAKU or sakarau, "to oppose,
進 ​宜​(遙
​""
Each character separately is read
haruka, "distant."-2432.
透 ​Tō or tʊru, “to pass through," "penetrate:" TOMEI,
金​明
​"transparent."-2433.
Tō or todo-
SEI or ynku, “to pass away," "to die."-2434.
maru, "to stop: "TORYU, “a sojourn."-2435. 逐
​""
留
​push out: 放逐 ​HOCHIKU,
HŌCHIKU, “expulsion.”—2436. DE
CHIKU OP ou, "to expel," "to
(6
""
TEI, forwarding,' "transmis-
sion:” 遞​信​省 ​TEISHIN-SHO, "the Department of Communications."-2437.
osoi, "slow." (The non-radical part is the not very useful character for "rhinoceros,"
CHI OP
犀
​SUPPLEMENTARY CHARACTERS.
473
SAI, so that the adjective "slow" is appropriately represented by a "rhinoceros in mo-
tion." The rhinoceros, it will be noticed, was classed as a bovine beast.)-2438. 鄙
​or hina, "the country," "rustic; ” hence iyashii, “despicable: " #BHB
tan and provincial.”—2439-40. 14Z 14T
MEITEI, “intoxication.”—2441.
"pledging with wine," hence mukuyuru, "to requite:
"salary."-2442.
"" (6
""
requite: 報酬
​Plate SAN or sui, sour, acid.”—2443.
sober," hence "to wake."-2444.
2445.
醒
​醬油
​H(), SHō(-YU), "Soy
ME JO or kumosu,
Jō or kamosu, "to brew," hence "to incite."-2446.
angle.”—2447.
鉢
​HI

TOHI, "metropoli-
SHU, properly
Hsu,
HUSHU, "requiting services,"
SEI or sameru, "to become
(from the Jap. word).-
釣 ​CHŌ or tsuru, “to
HACHI, "a pot" or "bowl." One would have expected this character
to be read HON, judging from the Phonetic.-2448. 鉛 ​EN or namari, "lead."-2449. St
JŪ or tsutsu, “a musket," "a rifle." It is often compounded with No. 2314, and the notice
JŪRYŌ WO KINZU, Shooting Prohibited," is often to be seen in rural districts.
禁​銃​獵
​-2450. 鏡
​銳
​-2452.
<<
EI or surudoi, “sharp,” metaph. "acute."-2451.
鍋 ​KWA or nabe, a kettle."-2453. Slid
鋤
​JO or suki, “a hoe."
"steel:
ко
Kō or hagane,
KŌTETSU, ditto.-2454. 錨 ​BYō or ikari, “an anchor.”—2455. Diff KEN or kama,
鋼鐵
​a sickle.'
CHIN or shizumeru, "to keep in subjection," "to tranquillise."-2457.
to tranquillise."-2457.2
JUN or urū, "inter-
MOMBATSU
–2456.鎮
​ō or mina-goroshi, "extermination,"
extermination," "giving no quarter."-2458. 閏
​calary" (as a month).—2459. 閥 ​BATSU, used in the expression 門閥
​or iegara, "good family." Observe the "gate" of the family mansion.—2460. 隔
​or hedateru, "to interpose," "put between," or "separate: 隔日
​nate days."-2461. 隙 ​GEKI or sukima,
or sukima, "a chink" or
KAKU
KAKUJITSU, "alter-
gap. (This character, with
"a little," "sun," "small," and the Radical for "mound or "place," cleverly depicts a
((
chink," by showing the sun barely shining through it).—2462. GA or miyabiyaka,
esthetic,” “elegant." The left part (No. 1781) is here phonetic, while the right is radical,
a bird being the most elegant of all living creatures.—2463.
-2464. BLE
雉 ​CHI or kiji, "a pheasant."
an alternative form of
sʊ
SŪ or hina, “a young bird.”—2465. 雞
​雞 ​(705),
KEI or niwatori, "a barn-door fowl."-2466. 霞 ​KA or kasumi, (dry) mist, haze.-2467.
霧
​mu or kiri, (wet) mist.—2468. Hi
鞭 ​BEN or muchi, “a whip.”—2469. KYō, or hō,
"the cheeks." (It originally also meant "the jaws," and the character accordingly shows us that
part of the "face" which "presses" i.c. chews, the food.)-2470.
i.e. chews, the food.)—2470.
>>
fall to pieces," "to decline: 衰頹
​“incessant,'
饑
​""
<<
pressing:"頻繁
​SUITAI, “decay,” “ruin.”—2471.
TAI or kuzureru, "to
HIMPAN, "bustling," urgent.”—2472.
頻
​HIN or shikiri,
FL
also written
KI or ueru, “to starve." (The two Phonetics may also be taken as indicating the significa-
tion, the first character being lit. "food" and "table," the second "how much food?" i.c. not
much.)—2473.
SHI or kau, “to nourish," "to keep: "kai-inu, “a pet dog."
飼
​—2474.餓
​GA or ucru, “to be starved."-2475.
2475.饉
​KIN,
starvation:"飢饉
​KIKIN,
474
TWELFTH SECTION.
a famine."-2476.
馭 ​GYOsuru, "to drive" (having the "hand"
馴
​on a "horse ").—2477.
JUN or nareru, "to be tame," "affectionate." (An ingenious friend quotes, apropos
this character, the proverb "You may lead a horse to the water, but you can't make him
drink.”)—2478. E
生 ​CHU or todomaru, "to stop" (as in "mastering one's horse "), "to
sojourn:" 駐在​所 ​CHŪZAI-SHO, “a residence."—2479.
駿
​GAI or odoroku, "to be
or "haughty."-2481.
startled," "frightened."-2480. 驕 ​KYō or ogoru, "to be arrogant" or
EKEN
>>
KEN or shirushi, "testing,' proof." The familiar SHIKEN, "examination," is written
試驗
​-2482.
鱗
​""
RIN or uroko, "a fish's scales: jör lok
GEKIRIN, "the Imperial
wrath.' (The monarch is constantly likened to that noble beast, the dragon, whose scales
are said to stand on end when it is angry.)-2483. J
Yō or taka, "a hawk."-2484.
鷺
​RO or sagi, "the snowy heron," "the paddy-bird.”—2485-6.
麵麵
​pan, (from the
""
Portuguese), “bread.”—2487. 默 ​MOKU or modasu, "to keep silence (like a "black dog").
2488.
齋
​SAI or molaras", "to bring" (observe the "treasures" that are brought in
'evenly" held hands).
*
*
*
*
2489. f, occuring on page 204, was omitted from the list of characters at the end of
Section VII. It is read SHI or kono, and means "this;" also kakaru, “such."—2490. TF,
野
​occurring on page 244, was omitted from the list of characters at the end of Section VIII. It
is read Ya or no, and means "waste land," moor.”
((
POSTSCRIPT.
Caird, in his great work on Kant, has an instructive passage pointing out how that philo-
sopher's conclusions to some extent contradicted his premises, and showing that such is the
general-indeed the necessary-result of all truly scientific thinking. For no subject can be
fruitfully investigated, nor can even any body of facts be accumulated, without the aid of some
assumption which is taken as the starting-point; and it is impossible for such an assumption to
be perfectly correct prior to the investigation of all the facts on the basis of which an adequate
theory must rest. In other words, one must be a little wrong at the beginning, if one is to
come out right at the end.
This remark applies to the term "ideograph," employed by most writers to denote the
Chinese characters, and so used several times in the course of the present volume, especially in
Section V, where the structure of the characters is explained. The term
The term "ideograph" is a
useful one at a certain stage, because it carries the beginner's mind away at a bound from
alphabets and syllabaries, and helps to acclimatise him in the Chinese atmosphere. It is also
approximately true, but it is not exactly true. It conveys the impression that the Chinese
characters represent ideas, not words, an impression doubly erroneous; for in the first place,
it is matter for doubt whether ideas properly so-called can exist at all without words, and
secondly it is certain, in this particular case of the Chinese characters, that each of these latter
represents a particular, determinate Chinese word, with all its connotation, and in nine cases
out of ten even its pronunciation. "mcon," though originally a picture of the lunar
crescent, is no vague adumbration of "lunarity." It stands for the individual Chinese word
月
​GETSU, which adds the connotation of "month" to the fundamental sense of "moon." 志
​purpose," cannot be indifferently applied to any shade of the idea of intention or volition. It
represents the individual term SHI, "purpose," which is hinted at by the "Radical”Ľ
“heart,” and determined with absolute precision by the "Phonetic" 士
​SHI. One may rea-
sonably doubt whether there has ever existed or could exist a system of ideographic writing
independent of particular words, such as most persons having a tincture of information on the
subject apparently imagine the Chinese characters to be. In any case, it is certain that Chinese
writing is not such a system.
The strong and continually increasing tendency evinced, not only by the Japanese, but by
all nations under Chinese influence, to adopt and naturalise as their own the Chinese sound for
each character, has its deeply rooted cause in this fact. At the beginning it seems to have been
assumed that, as the characters denote actual things, not mere sounds, therefore they might
equally well be read off as the corresponding words in the novice's native tongue. This suc-
476
POSTSCRIPT.
"
ceeds pretty well in the case of quite simple words,--the numerals for instance, the points of
the compass, man and woman, left and right, black, white, green, yellow, good, bad, etc., though
even here it often happens that more has to be put into such a word than it originally meant,
if it is to cover the character (that is, the Chinese word) in all the applications which national
idiosyncrasy and a long literary history have gradually evolved. It would be the same in
the case of one European language borrowing from another. English "bread" is not exactly
French " 'pain; for the latter means loaf" as well as bread." English
English "man" and
German "Mann" do not perfectly coincide; for German has the additional word “ Mensch,"
which must be substituted for "Mann" when man" in the abstract is intended. When we
come to more complicated terms, the tie between word and idea becomes more intimate still, in
fact indissoluble,-so much so that it is scarcely an exaggeration to say that all translations are
ipso facto inaccurate, or, as an old Spanish writer expresses it: "Translated books are but as
tapestries seen on the wrong side."
Thus does it come about that, in Japan as in Korea, the Chinese sounds of the characters
(technically termed their gain more and more on the native renderings (their I] ).
¥
Herein, too, we may perceive the underlying reason of the apparent paradox that the European-
isation of Japan has so flooded the language with Chinese terms that, whereas forty years ago
most official proclamations were fairly intelligible even to illiterate peasants, those of the pres-
ent day can scarcely be understood save by persons well-versed in Chinese. We have here
no instance of foolish affectation or pomposity; it is simply the effect of a natural preference
for clear terms wherewith to express manifold and delicately shaded thought, such as a com-
plicated social state inevitably produces. And this it is that rivets the Chinese written
character on the Japanese nation,-the Chinese character being, under those local circumstances
which history has produced, the only available instrument for the expression of exact thought.
If, per impossibile, we can imagine the Chinese character discarded even for a day, we must
imagine at the same time a sudden stoppage of the wheels of government, law, business,
mental activity of every sort; for the Chinese character is the Japanese language for all
purposes demanding exactness.
After having asserted that cach Chinese character represents a particular word, it will
sound paradoxical to add that, in countless modern instances, the whole technical vocabulary,
in fact, the characters antedate the words they stand for, which latter could not have come
into existence without the characters as a basis. The cause of this strange fact is to be sought
in the homophony mentioned at the end of page 112. While the written symbols have
remained distinct, and have continually increased in number as civilisation advanced and shades
of meaning multiplied, the sounds have been so much corrupted-have so constantly tended to
coalesce that it is no longer the ear, but the eye, which must distinguish for modern Chinamen
and Japanese between each term and a score of other like-sounding ones. Take a concrete
instance. It would be putting the cart before the horse to say that the sound SHOKURIN is
POSTSCRIPT.
477
written 殖​林 ​The correct statement is that the characters meaning “affo-
殖​林​,
restation," are read SHOKURIN. The mere sound SHOKURIN conveys no sense by itself, apart from
the characters written or mentally referred to. This is what outsiders-even the most in-
telligent outsiders-find impossible to comprehend. But we trust that the experience gained
in going through this volume will enable the practical student to realise its truth.
A third item deserves mention, wherein the advance to a riper stage of scholarship will
oblige the student to rearrange his ideas:—we mean the relation subsisting between the
"Square" and the "Grass" forms of the Chinese characters. Convenient as it may be in
practice to treat the "Square" as the normal type, it is nevertheless not exactly true that, as
assumed on pages 421-2, the "Square" is the original from which the “Grass
Grass" or "Current'
hand derives. The actual order of development of the characters was this:-
1. Rude pictures of objects and rude symbols of ideas, as set forth on pages 115 el seq.
2. The conventionalising of these into the stiff and elaborate styles known as the
"Greater and the Lesser Seal"
TENSHO), several centuries before the Christian era.
篆書 ​TENSHO),
3. The softening and rounding and breaking up of the Lesser Seal character into the
“Grass” hand (草書 ​sÖSHO).
4. A partial reaction, whereby this Grass hand was "squared" again, not the whole
way back to the ultra-stiff and formal Seal character, but to a compromise called
隸書
​REISHO, or "Official" writing, circa A.D. 200, which itself was further simplified circa A.D. 400
to the so-called KAISHO, or "Normal" writing. This it is which foreigners term the
楷書
​"Square" character, and it has remained the standard during all succeeding centuries, though
producing the 行書
​""
5. It again often suffers abbreviation, either in the direction of softness, "grassiness,'
GYŌSHO or "Running" hand of modern correspondence, or else by the
omission even in print of some of the square strokes, as exemplified on pages 387-8.
An important theoretical consideration resulting from a process of evolution so long and
complicated is that it is generally unsafe to found any theory of the origin of any particular
character on its present appearance in the "Square" form. Besides the gradual changes
wrought by time, many arbitrary alterations and transpositions were made when the Grass
hand was “squared," and many wrong etymologies were accepted, some of which have even
perverted the text of the classics. To discover the truth at this late season, the aid of
palæography must be called in, and there are probably not a dozen men in all Japan competent
to form an opinion on this recondite matter. The pronunciation, too, as already mentioned, has
changed much, not only in Japan, but in China itself. In short, the more the subject is
investigated from various points of view, the more firmly does one become convinced that
the whole system is well-nigh as intricate as a living organism, and constitutes
“A mighty maze, but not without a plan.”
*
*
*
*
*
478
POSTSCRIPT.
Remembering what was said on page 8, to the effect that each character read with
the Chinese sound is printed in SMALL CAPITALS throughout this work, while each one read
with the Japanese sound is printed in Italics, the student may discover inconsistencies, es-
pecially in the Eighth Section, where-as on page 243-Kaga, Tosa, Shima, etc., appear in
ᏚᎪ
GA (TT), TO (†),
), SA (), etc., are all Chinese readings,
Italics, though KA (JJII), as (TI
not Japanese.
The fact is that, in handling so desperately complicated a language as Japanese, it is
well-nigh impossible to practise absolute consistency; and he who should make such con-
sistency his sole rule would be apt to incur some greater evil. Our main object in the
use of various type has been to show which words are Chinese, which Japanese. To
write Shima and similar native names of provinces as if they were Chinese names, simply
because MAN-Yō- Gana (see p. 204 et seq.) has been arbitrarily adopted for their transcription,
would convey false ideas of etymology, and-among other drawbacks-tend to conceal the
bilingual nature of the double set of names (one native Japanese, the other Chinese) on
page 246. The same plan of giving in Italics, despite their accidental Chinese dress, what
are etymologically Japanese names, has been adhered to on page 249 in the case of such
surnames as Sasaki and Okubo, and elsewhere in the transcription of tokaku or to ni kakn
ni, a native Japanese expression, for all that it is written with the characters.
are willing to incur the charge of inconsistency, if the student can be helped thereby to
sounder notions of derivation. A thorough sifting of this branch of Japanese etymology
We
would doubtless yield a number of words whose so-called native reading) would
turn out to be but the Chinese sound () corrupted. Mr. Aston pointed out long ago that
錢 ​SEN, and fumi, "a written document," but 文
​zeni, "coin," is but
BUN, in disguise.
We suspect the same to be the case, for example, with uma, "horse" (Pekingese MA); ume,
" "
plum-tree" (Pekingese MEI); the he of heya, "room," and be in such surnames as Okabe,
Mononobe, probably from (Pekingese PU). In warifu, the so-called native Japanese
reading of
符​,
we have an undoubted compound, viz. wari-ru. In some cases
割​符
​-that of sata (or SATA?), for instance, written 沙汰 ​-it is hard to decide whether the
word be native or foreign. The subject has considerable historical interest, because its
elucidation would help to show what animals, plants, implements, ideas, etc., were imported
into Japan from the mainland at a date so remote that they came to be considered autoch-
thonous. But evidently no more than a brief allusion can be made to it in a work like this,
which is merely intended to teach students how to read and write the characters.
INDEX I.
THE 2,490 COMMONEST CHINESE CHARACTERS ARRANGED
ACCORDING TO THEIR RADICALS.
(The number above each character will enable the student to find it in the WRITING LESSONS and
in the LIST OF NEW CHARACTERS appended to each Section, where its pronunciation and significa-
tion are given, with occasional other details. The numbers to the right show the number of strokes
in each character, exclusive of the Radical itself; conf. pp. 126–7.)

2nd
1st
Rad.
Rad.
3rd
Rad.
4th
5th
Rad.
Rad.
6th
Rad.
7th
Rad.
1
796
I
乙
​I
1310
与
​亞
​1
947
1159
1326
709
202
982
2
7
204
14
707
24
105
不了
​一 ​七​丁​3三万 ​§ 丈 ​2上 ​下 ​1不
​丘
​4
708
且 ​中​3
203
1957
丙 ​串​。
个​25中 ​00串
​2
丸​:
2
乃
​I
乙
​了
​I
1144
258
9
2086
1157
丹​3
久
​2
九​,
I
予​了
​239
103
300
90
主​。
4
之
​3
也
​2
事​,
80
1191
711
5
2
世
​145*
両 ​5
平
​132
710
6
1923+
乱​。
乍 ​乳
​712
747
278
1180
並​8
乘​。
乾
​10
26
(870)
1127
4
乞
​* Abbrev. of
兩
​亀
​1923
亂​:
12
+ Abbrev. of 亂
​1451
日 ​4
1872
一 ​5 于 ​云​;五 ​43 73 互 ​42 亘 ​12 些​74況
​井
​I
291
2
480
I. RADICAL INDEX OF CHINESE CHARACTERS.

8th
9th
10th
Rad.
Rad,
Rad.
人
​1136
237
457
479
1825
2101
儿
​伎 ​住 ​例 ​値 ​健
​傭
​47 1
23
1521
456
1150
2009
109
2106
260
亡
​人 ​仲 ​伯 ​佳 ​俸 ​側
​儈
​I2
元
​2
715
489
2089
1131
111
1916
1621
2104
143
市​:
3
仁
​2
企 ​佐 ​來 ​倫 ​偉 ​僱 ​兄​3
1012
2088
898
100
1944
1398
1094
1821
2110
亥
​4
仍 ​伊 ​作 ​俘​, 倍 ​備 ​僕 ​充
​4
62
2048
890
976
1899
270
2101
2105
2111
亦 ​介 ​件 ​似 ​儉 ​個 ​做 ​像 ​兇
​716
2087
455
1851
2096
1749
1409
1082
1196
交 ​仇 ​伏 ​伽 ​俟 ​倒 ​停 ​僞 ​兆
​1358
297*
1970
297
319
1510
1823
1465
266
亨​。
仫 ​伐
​佛 ​信 ​脩 ​傅
​10
THE 13
先
​381
71
972
京 ​今
​1058
2011
122
享 ​仄
​998
454
1128
亭​,
代 ​3
2仰​3休 ​伺
​1097
906
458
1983
2107
717
低 ​侯 ​借 ​傑
​955
317
2098
1283
体 ​便 ​俵 ​傘
​億​m儉
​光
​1111
1352
克​5
2091
963
1341
1293
315
1479
5
6
促 ​倉 ​備 ​價 ​兌
​391
230
2074
209 t
1897
1889
478
459
356
京 ​他 ​伸 ​伴
​俄 ​俯 ​傍 ​儀 ​免
​64
2037
30
1667
2100
962
1728
1679
以 ​佃 ​供 ​係 ​倦 ​催
​II
儒
​14
兎
​301
511
508
1059
1540
881
512
7181
仕 ​但 ​使 ​保 ​修 ​働
​儘 ​児
​339
19
1107
4.45
1234
2103
1558
718
付 ​何 ​併 ​俗 ​俱
​傾 ​優 ​15
兒​。
488
1310
1644
2097
503
1822
2108
1387
仙 ​伴 ​侍 ​俠 ​偏
​9
傳 ​償
​兜​。
155+
510
2092
2095
1868
1530
2109
仝 ​余 ​佩 ​俊 ​偶 ​傷 ​儲
​16
1070
2090
2094
509
355
1410
合 ​佇 ​侈 ​侵 ​假 ​僅
​1226
487
1091
1557
912
2102
任​。
4
位 ​依 ​俳
​8 候
​債
​* Abbrev. of
佛
​† Abbrev. of 同
​‡ Abbrev. of 兒
​I. RADICAL INDEX OF CHINESE CHARACTERS.
481

11th
12th
13th
15th
16th
18th
Rad.
Rad.
Rad.
Rad.
Rad.
Rad.
入 ​八
​冂
​Y
几 ​刀
​498
力
​19th
Rad.
453
刺
​勤
​107
719
515
516
379
6
全
​4
冒​,
23 册 ​24再 ​12冒
​8
148
308
2
2
入 ​八
​內 ​公
​163
3
冬​了
​几 ​刀 ​到
​1087
400
518
2121
448
4
决 ​4
凡
​I
I
剃​,
1671
1799
720
2118
2123
冲
​凭​。
刈
​2
削
​145
285
696
1190
84
313
2032
兩​。
6
共
​4
况​s
凰​。
分
​則
​341
513
74
150
1260
兵​5
冷
​切 ​前
​60
1732
2119
2122
449
其
​6
凌​。
刊​3
剖​。
55力 ​49功 ​27加 ​23 劣 ​10 助
​4
56
3
1025
募
​1666
勳
​JJJ 14
1725
JMJ 15
1551
WED 18
勸
​助​,
721
2113
具
​505
准
​刊
​514
2120
2125
1657
凍
​刑
​4
2063
1924
剛 ​努
​剝 ​効​。
722
1798
1639
1636
450
14th
17th
兼
​Rad.
凉
​Rad.
列
​副​。
勇
​2112
328
ப
253
1676
冀
​14
减​。
別​,
剩
​487
2114
262
334
1389
冠​,
WE 14
凶
​2
初
​割
​IO
545
冥 ​8
154
322
1942
出 ​3 利
​劍 ​13
544
2115
1115
1561
1701
勉​,
497
勅
​1039
動​。
324
寫
​12
凹 ​判
​劇
​務
​2116
1943
1942
1103
凸
​制​。
劔
​14
勘
​2117
517
2126
451
函
​6
券 ​劑 ​15 勝
​IO
1015
刻
​2121
刷
​519
勝 ​2勞 ​50勢
​452
II
482
I. RADICAL INDEX OF CHINESE CHARACTERS.

20th
22nd
24th
25th
26th
27th
29th
30th
Rad.
Rad.
Rad.
Rad.
Rad.
Rad.
Rnd.
Rad.
勹
​+
卜 ​卩 ​ㄏ
​又 ​口 ​231
2127
727
10
1820
勺
​I
匠
​4
+
卜
​2128
12
1819
匁
​2
千 ​占​3
725
勿
​79
卅
​2
2049
729
匆
​3
升
​4 卯​(勿​) 3 印 ​P3 危
​1741
718
411
38
卯​3 厂
​又 ​口
​各​名
​174
2130
1785
892
261
厄​3
叉​:
召
​2
吉
​732
737
347
1816
2136
4
原 ​$
反
​2
)
吏
​733
1434
66
70
1068
厚
​及 ​只 ​吐
​726
包
​730
1662
2131
739
1033
207
462
匍​,
午
​50
牛
​3-12
卒
​却​5
厥
​10
友 ​叶 ​合
​735
1952
1083
106
2135
3
卵 ​厩 ​双 ​可 ​吊
​734
2075
193
434
433
卷​。
厭
​I2
受 ​司
​后
​1355
2129
194
156
2040
卑
​卸
​取
​古
​呈 ​4
1443
302
2132
119
2137
21st
23rd
28th
Rad.
Rad.
卓
​郎​,
Rad.
叔
​右
​吠
​匕
​1418
1966
1931
i
匕
​匹
​374
391*
53
731
化​北
​9
2
北​3
区
​679-
2
医​。
710
匿​。
391
區
​9
協
​南​,
博
​}
1263 ム
​卿
​2133
2134
914
IO
叛​,
叱
​否
​153
739
1261†
1111
去​3
188
叙 ​台 ​呂
​1681
參
​9
叟​。
1860
叢
​16
12 史 ​号 ​20句 ​1㎜叫 ​21向 ​155同
​1472
1772
吸
​1219
1677
ML 3
2138
吝
​1056
吟
​957
吞
​179
吹
​241
吾
​* Abbrev. of 區
​† Abbrev. of 臺
​‡ Abbrev. of 醫
​I. RADICAL INDEX OF CHINESE CHARACTERS.
483

31st
32nd
Rad.
Rad.
33rd
Rad.
246
913
2005
1004
土
​366
1023
君 ​哉 ​啻 ​嘲
​堂
​Co
1677
1603
1869
2148
2152
43
1562
士
​墓
​1299
374
呌 ​哀
​喩
​囚
​2
土 ​基 ​境 ​士
​1940
1649
361
1850
if
22
1321
2081
529
含 ​咫
​善 ​嘯 ​四
​地​3
堀 ​塾
​壯 ​4
952
1233
1747
523
182
276
528
2162
811
吳 ​唐​,
喫 ​器 ​13 円
​在
​執 ​隊
​声
​352
1738
1604
1976
524
899
527
1516
186
告 ​哲
​單 ​噸 ​回​3
坂 ​4
4
堅​。
墨
​12
1044
1229
1102
2149
995
1043
2158
2161
420
咎 ​5 唇
​喰
​因
​坊 ​塀 ​墳
​2133
1686
2143
2150
966
2154
272
954
530
咏 ​唯 ​喪 ​噫
​困
​4
均 ​場 ​增 ​壽
​II
288
1978
2144
1360
504
2155
354
1467
和 ​哩 ​喉
​嚴 ​17
坑
​報 ​壁 ​13
1088
2140
1166
1116
1846+
425
1906
2163
元
​咒 ​唄 ​喜
​囂 ​18
坐 ​堪 ​墾
​520
1574
2147
2151
282*
1708
1298
2164
呼 ​員 ​嗜
​IO
囀
​国​,
5 垂​。
堺 ​壇
​522
223
1309
1757
1784
1720
2159
2165
命
​問​。
嘔
​II
囊
​19
固
​坦 ​堤 ​壓
​14
1291
1635
96
282
1181
1927
1928
周 ​啓 ​鳴
​味 ​唱 ​嘆
​8
坤 ​堡
​田
​1057
1808
1590
1846
1847
1324
1529
圍
​9
坪 ​塚
​IO
壞
​16
903
195
764
2153
2156
2160
咄 ​商 ​嘗
​圈
​垢​。
塔
​1722
LI 17
1769
2141
1852
525
526
1691
唾 ​嘉
​園
​IO
1088
2145
1817
181
1314
噲
​12
城​, 塞
​埃 ​塗
​1237
2142
2146
1055
呪 ​喧 ​9
86
品
​1223
6 喋 ​嘩
​唉 ​啼 ​噴
​* Abbrev. of 國
​2157
1315
圖
​II
埋
​塵​:
II
2004
1519
1964
2000
272
團
​域
​場
​† Abbrev. of
‡ Abbrev. of 聲
​484
I. RADICAL INDEX OF CHINESE CHARACTERS.

34th
36th
37th
38th
39th
40th
Rad.
Rad.
Rad.
Rad.
Rad.
Rad.
夂 ​夕 ​大
​1213
女
​473
1210
奧
​IO
姓 ​媒
​269
31
977
23
2172
1201
29
タ ​大
​奪
​I I
女
​姊 ​嫁
​IO
149
21
1724
1146
2172
1478
533
外
​2
天
​I
獎
​奴
​2
姉 ​嫌
​孔
​I
161
1969
2169
535
536
1876
2184
多​了
​3
天 ​奮
​14
好
​3
妻 ​媼
​孕
​2
740
89
39
2002
2183
252
夙 ​夫
​如 ​威
​6
嫡
​II
存 ​3
340
531
1211
2177
夜 ​5 太
​妁 ​姪
​1204
孃 ​17
92
741
532
2170
875
II
夢 ​央
​2
妃
​姦
​2166
264
476
1407
夥
​失
​姬
​533
1867
1611
夷 ​3
妨
​4
姿
​1139
369
1204
孝
​4
孟​5
210+
学
​1402
35th
Rad.
奈​5
妙
​娘​>
季
​792
2171
2179
2016
奇
​妓
​娼 ​8
孤
​167
251
537
2180
1890
夏​,
奉
​婢
​孫
​534
2174
2181
541
契​。
姆 ​娶
​孰
​8
2167
2173
895
210
奔
​妹 ​婦
​EHL, 13
1643
1683
1200
奏
​姑 ​婆
​1754
1624
2182
套​,
委 ​婚
​1616
2175
1920
貧
​8
妬 ​婬
​2168
1075
1202
奢​。
始
​婿​。
子 ​子
​宅 ​52宇 ​3班​安 ​22 守 ​045 完 ​3宗 ​定 ​928宜 ​2宕 ​32宙 ​3実 ​130 宝 ​90 官 ​)宛 ​2宣 ​948室 ​20客
​2 字 ​50 孝 ​50孟
​山
​1423
3
191
1081
2185
4
367
5
314
949
1287
1861
933*
1185
310
929
1379
宣​。
* Abbrev. of
實
​† Abbrev. of 學
​‡
Abbrev. of 寶
​I. RADICAL INDEX OF CHINESE CHARACTERS.
485
#

41st
42nd
44th
46th
-48th
Rad.
Rad.
Rad.
Rad.
Rad.
2186
宥
​283
宮​:
1970
寇
​920 實 ​91寡 ​100寞
​寸
​小
​尸
​953
山
​1811
I
層
​12
嶺
​894
233
32
546
549
46
2199
寸 ​小
​尸
​屬
​18
山 ​巔 ​I
469
162
232
寺​3
少
​I
尺
​I
2187
919
1081
1143
941
1299
1359
1000
岐
​4
巖
​20
巧
​2198
120
2
寶 ​寢
​封​。
尔
​2
尼
​2
134
家
​1499
容
​1390
害
​927 寧 ​審
​1917
743
152*
1408
岳​,
1777
射​,
雪​3
尻
​岸
​544
744
2191
(1525)
2197
左
​1448
巨
​256
I2
將​s
尖
​尽 ​3
岬
​差​,
2022
2190
1377
尉 ​尙​5
547
尾
​4
1507
*
1185
742
2192
320
551
宴 ​寶 ​17
專
​尠
​IO
局
​1019
208
549
882
寂
​8
尋​。
届​,
1362
密
​48)
算
​238
43rd
45th
Rad.
居
​Rad.
543
348
ㄤ
​2193
宿
​1047
寄
​431
寒​。
1162
富
​2188
寓
​1101
寐
​導 ​13
對
​II
屈
​1647
1109
73
2024
921
尤
​屋
​6
T屯
​303
I
1241
就​。
2194
屏
​2080
2189
寬
​IO
察
​II
1100
* Abbrev. of
當
​1030
府
​(549)
属​。
2195
屠
​2196
屢
​II
嵐
​550
嵨
​1255
嶽
​II
14
47
279
川
​己
​1260
280
峽 ​州
​1528
1577
1266
展​,
崩 ​巢​。
巴
​I
1254
2200
崎
​巷
​1288
52 岩 ​1 岡 ​32 峠 ​2峯 ​50島 ​9 崖
​со
6
872
47th
49th
夆
​7
Rad.
Rad.
巛 ​己
​3 已
​486
I. RADICAL INDEX OF CHINESE CHARACTERS.

50th
51st
53rd
54th
55th
57th
58th
Rad.
Rail.
Rad.
Rad.
Rad.
Ruil.
Rad.
巾
​1660
干 ​广
​1998
廾
​弓
​幅​,
廓​,
I
553
1474
745
1881
1952
2212
78
170
1742
巾
​幕
​I I
干
​庛
​4
廐
​廷
​4
廿
​I
弓
​彙
​IO
554
1204
布​。
幡
​I2
2201
凧 ​幣
​2202
1422
帆
​3
昏
​帆
​2066
1160
希
​2203
4
帖​,
2204
1965
幹​。
9
92平​20年 ​(27) 并 ​(24) 幷 ​3 幸
​558
1719
1573
841*
236
2
序 ​廢
​I2
延
​弁
​2
引
​I
2205
2209
1607
412
2177
3
床 ​廚
​廹​,
弄
​4
弔
​1383
2210
950
1130
1974
庚​5
建​。
弊
​12
弗​。
2
1·10)
2211
965
#5
店
​389
府
​廟 ​廣
​廻
​351
965
廽​,
1096
390
底 ​廳 ​22
248
度​。
6
1193
弘
​144
第​4
(1172)
弯
​6
52nd
帙
​281
帝​。
Rad.
幺
​1971
1967
帥
​幻
​I
1565
1968
席​,
幼
​2
137
師
​555
帳​8
209
常
​1077
帶
​1670
帽
​* Abbrev. of
辨
​1739
茲
​358
6
∞
幾
​1526
庶
​2207
庸
​2206
庵​。
504
康
​1216
廉
​2208
廊
​IO
950庭 ​140庫 ​20座
​庫​,
929
8
1236
式​3
强
​1930
I2
彈 ​12
1005
彌
​14
1172
彎
​18
750
形
​1382
彥
​2213
4
彩​,
751
6
749
弱​,
349
56th
59th
Rad.
張​。
Rad.
t
748
彡
​8
1615
彰
​2214
影
​II
12
I. RADICAL INDEX OF CHINESE CHARACTERS.
487

60th
61st
62nd
Rad.
Rad.
Rad.
千
​2216 心
​990
1296
2231
2231
循
​怒 ​恆 ​惣 ​慥 ​儈
​560
1864
81
2049
1418
1550
1370
2235
千
​微
​IO
心 ​怱 ​恊 ​您 ​慶 ​憫
​1050
430
336
1464
1067
1986
1555
1491
役
​4
德
​I2
2216
2217
492
1195
彼 ​5
徵 ​応 ​怯
​110
往
​1726
徂
​2029
律​。
必​忍 ​艺 ​日 ​26 忌 ​6志
​怠 ​恩 ​惧
​慘
​I I
憾 ​13
1014
征 ​徹 ​忍​。 怪 ​恨 ​悴 ​慮
​971
1008
2225
1084
2236
憶
​1946*
1987
(1170)
2226
2232
1946
83
1988
忘
​怖
​2218
1989
怕
​376
1072
475
873
2221
待
​忙 ​恃
​恋 ​悉 ​悅 ​悠 ​患
​悼 ​慣 ​應
​337
563
2230
1985
7
意​: 慕 ​懌
​937
2006
1011
945
愁 ​慰 ​懇
​1758
1286
1095
2030
怨​。 攸 ​愛 ​慾
​徵
​1X 15
戈 ​35戈​戋 ​7成 ​戒 ​我 ​3或 ​13戚
​567
1831
2
277
戒​3
242
4
333
1435
7
1576
1833
2019
1773
568
想 ​慷 ​懷
​16
戰
​I2
151
1035
2222
2223
1368
2233
1052
1958
後
​1152
忽
​4
恕 ​悔 ​慈 ​慢 ​懸
​戲
​2225+
2223
4SG
1190
1912
1983
2084
徒​,
忰 ​恤 ​悟 ​感 ​慨 ​懼
​IS
戴 ​13
1014
566
1351
1140
2073
1648
1170
徐
​忝 ​恭 ​惠​。
惶 ​憩 ​戀 ​tit 19
263
332
1597
362
1523
564
得 ​s
念 ​恥 ​惡 ​惹 ​憂
​561
380
1596
2225
1703
1167
從
​快 ​恰 ​惟 ​愚 ​慧
​121
1601
2219
1213
2228
1933
御
​1727
徠
​1307
復​。
1145
徧
​忠​的​思​急性
​恙 ​惑 ​愕 ​憲
​12
980
1227
2227
991
5
息 ​悲 ​惱 ​憤
​1011
1066
565
2229
1704
1991
2064
918
499
恐 ​情 ​態
​恒 ​惜 ​愼
​10
憐
​2070
憚
​* Abbrev. of
應
​† Abbrev. of 悴
​‡ Abbrev. of
錢
​488
I. RADICAL INDEX OF CHINESE CHARACTERS.

63rd
64th
65th
66th
Rad.
Rad.
Rad.
Rad.
戶
​手
​22:39
570
1375
2256
1933
支
​支
​拍 ​指 ​掃 ​搜 ​擔
​221
33
2240
2243
1598
1994
569
257
2067
戶
​132
所
​手​才
​披 ​拵 ​排 ​搏 ​舉
​14
支
​收
​2
228
1591
1060
1653
1787
1458
1608
拒 ​捌
​7
授 ​搔 ​擬
​攻​:
3
753
997
1106
2245
1554
1687
1522
398
戾 ​打
​2
押 ​挫
​捲 ​携
​擾 ​15
改
​1297
2238
1302
463
2250
1481
2261
1570
房 ​扣​3 招 ​捕 ​掘 ​摘
​I I
擲
​752
1911
1487
1001
199
556
2262
346
扇
​6
托 ​抱 ​掟 ​掛
​2237
1672
1193
1065
2253
扉​。 杈 ​拓 ​振 ​換​。
摩​摸
​攀
​1022
2263
放
​政
​265
4
擦
​故 ​5
1037
1774
2251
2257
2265
1584
扱
​拔 ​探 ​拨 ​摺 ​擴
​敗​,
901
970
1790
2255
1959
2264
364
折
​4
拙 ​挾 ​握 ​撲
​J2
攘
​教
​1913
1975
2251
1575
1934
1497
1098
抔 ​拂 ​控
​8
揮 ​撒
​L18
敏
​1630
1502
2217
979
951
1675
573
抑 ​拘 ​捷 ​揃 ​撰 ​攫
​20
救
​1539
571
2248
1795
1295
技 ​拜 ​挽 ​提 ​播
​1249
189
2249
1164
2258
报 ​拾
​6
掌 ​揚 ​撫
​1589
470
1888
2246
1907
投 ​持 ​接 ​插 ​擇 ​13
572
2211
986
1674
1110
承 ​拭 ​捨 ​揉 ​撿
​574
敢
​1371
敦
​1046
北​居
​散
​1485
敬​。
911
2242
2014
2252
2259
304
扶 ​挑 ​探 ​揭 ​操
​數
​II
1180
1002
1651
1803
993
932
批 ​拶 ​捧 ​搖 ​據
​敷
​1579
2241
1099
1518
2260
1613
抵​5
捐 ​推 ​損​,
IO
擊
​敵
​I. RADICAL INDEX OF CHINESE CHARACTERS.
489

67th
69th
70th
71st
72nd
Rad.
Rad.
Rad.
Rad.
Rad.
575
文
​斤
​方 ​无
​日
​166
1019
73rd
Rad.
日
​整
​12
春
​暫
​I I
91
738
259
940
15
576
893
579
文 ​斤 ​方
​既
​7
日 ​昨 ​暮
​日
​1278
1599
65
812+
1117
1517
1504
斐 ​8
斥
​於
​4
旧
​I
昼 ​暴
​曳​:
2
2266
759*
760
1214
275
1494
580
斑
​断​,
施
​5
旦
​是
​I2
曇 ​曲
​739
477
1108
1620
1425
581
斬 ​旁
​6
旨
​2
昭 ​曉
​更​3
2489
761
2270
135
2272
94
斯
​8
旅
​旭
​時​。
6
曆
​書
​6
157
395
578
1865
1400
350
新
​9
族​,
旬 ​晏
​曜 ​14
替
​S
759
2269
950
1508
1824
1150
斷
​14
旋
​早 ​晚
​7
曝 ​15
會
​2045
1128
1417
1775
旗​,
IO
旱​3
書
​905
1392
68th
Rad.
斗
​4
昔 ​景
​S
T17
582
取
​365
9
999
876
易
​日
​754
926
斗
​755
料​。
昌
​1515
昇
​1939
1073
普
​時
​756
2271
1113
斜
​昏
​2267
17
1878
斟
​9
明
​智​·
暗​。
2268
1885
1007
斡
​IO
昆
​暇
​* Abbrev. of
斷
​† Abbrev. of 舊
​1323
1183
星 ​5 暖
​577
909
味
​暑
​‡ Abbrev. of
晝
​490
I. RADICAL INDEX OF CHINESE CHARACTERS.

74th
75th
76th
77th
Rad.
Rad.
Rad.
Rad.
月 ​木
​2277
1682
1338
1401
1022
欠
​杣 ​枯 ​桐 ​楓 ​模
​止
​16
41
215
1638
442
1372
1328
587
112
月 ​木 ​村 ​栅 ​械​, 楠 ​樋 ​欠 ​止
​250
197
1543
1280
1320
1336
441
67
196
有​。
344
服
​4
1188
49
朋
​63)
359
望​, 未
​果 ​林
​札 ​30末 ​日本
​枕
​4
柳 ​梨 ​楸 ​機
​12
次
​2
正
​I
438
584
437
1281
481
1625
40
枝 ​某 ​梅 ​楊 ​樽
​欣
​4
此
​2
418
1364
1263
128
1271
588
397
染 ​梯
​橋
​欲​,
步​3
423
2079
2051
1151
1960
1462
1121
柏 ​植 ​楚 ​樸
​欺​:
武
​4
2273
2276
1744
1235
1934
2035
1712
1622
762
朗
​朱​:
2
枚 ​株 ​椅
​楷
​樹
​歇​。
歲
​9
268
2028
439
2278
2279
2280
383
589
朝
​S
朽 ​板 ​栽 ​棧 ​榊 ​橫
​歌
​歲
​10
638
1581
1583
935
1842
507
1786
1308
763
期 ​机 ​杯 ​根 ​茶 ​構​:
IO
櫛 ​15
歐
​II
歷
​12
2274
(1960)
1631
211
1334
1199
14
朦 ​朴
​柿
​棋
​校
​榎
​櫻
​17
1590
764
歎 ​歸
​14
2275
495
583
983
1592
1344
321
1984
朧
​16
束 ​松 ​格 ​棄 ​榮
​權​:
IS
歡
​18
1503
51
1783
1069
307†
2071
杖 ​3 東 ​栓 ​極 ​様
​22
1992
585
1511
2061
1373
杷 ​查​,
桂 ​棺 ​樟
​II
1403
1567
632
2017
927
李 ​柱 ​栗 ​棒 ​概
​586*
1327
440
1700
1305
条 ​柴 ​案 ​棚 ​樓
​1330
907
1318
425
419
杉 ​柄 ​桑 ​森 ​樂
​491
1064
1663
1048
1459
束 ​柔 ​桃 ​棟 ​標
​1476
1337
586
1335
307
材 ​柊 ​條
​椿
​9
樣
​* Abbrev. of 條
​† Abbrev. of 樣
​1
I. RADICAL INDEX OF CHINESE CHARACTERS.
491

78th
79th
81st
83rd
85th
Rad.
Rad.
Rad.
Rad.
Rad.
歹
​殳
​比
​氏 ​水
​1678
18
446
1883
汰 ​治 ​浴 ​測
​765
767
946
345
45
1259*
1062
1427
1827
死 ​3 段 ​5 比 ​氏 ​水 ​沢
​洲​。 混​: 湊
​2281
768
393
59
1076
1745
1221
1412
歿 ​4
殺
​民
​I
水 ​決 ​活 ​淚 ​溫
​766
284
592
2289
368
2292
1086
殆​。
殿
​永
​沼​, 派 ​淡 ​游
​974
2282
2284
1123
1415
1079
1834
殊​。
6
白​江
​毀
​汁
​2
河 ​洗 ​添 ​渚
​331
1364
593
1252
1420
1285
1173+
殘 ​8
毅
​I I
求
​注 ​洩 ​淺 ​湾
​2052
2283
1230
370
1619
2293
1902
殖
​池 ​3
法 ​洵
​2285
1831
1954
404
汗
​沸 ​洒
​淨​清
​準
​IO
2295
溝
​244
1746
1839
2291
2297
汝 ​泣 ​洞 ​液 ​滑
​1163
1832
1153
1920
1420
80th
82nd
84th
Rad.
Rad.
Rad.
江 ​泡 ​津 ​淫 ​溜
​母
​毛
​气
​1792
1131
287
923
1475
汐 ​波 ​洋 ​涯
​滅
​142
185
1532
2286
1496
591
1003
2296
母​:
I
毛
​气 ​活 ​泰 ​海​? 深 ​溺
​247
769
378
1544
874
908
1267
2298
每 ​3 毫
​7
氣​。 沈
​4
泊 ​浪 ​湖​。
滋
​973
770
毒​,
毬
​1799
1915
1858
2291
1520
沖 ​泥 ​浮 ​湧
​2288
504
1147
1238
1342
汲 ​泉 ​流 ​港 ​源
​2287
1498
46-1
328
1531
1243
沒​40沐 ​28 沙
​沿 ​浦 ​減 ​氣
​1536
910
590
2001
油
​消 ​湯 ​溪
​2290
1521
1018
1076
泳
​渡 ​滯
​II
Abbrev. of
澤
​† Abbrev. of 灣
​492
I. RADICAL INDEX OF CHINESE CHARACTERS.

86th
87th
89th
91st
93rd
Rad.
Rad.
Rad.
Rad.
Rad.
289
1119
火
​1585
1766
爪 ​爻 ​片 ​牛
​1430
1258
漢 ​濃
​漏 ​澤 ​火 ​照
​焰
​灯
​XW 17
42
598
771
900
108
57
9
爪
​爽​, 片 ​牛
​1158
1591
2303
1815
773
1129
776
1356
滿
​激
​灰
​2
煮
​爭
​4
爾
​10
版
​4
牝
​2
2299
1416
435*
2306
1083
1445
漫 ​濯
​14
录 ​煩
​笼​,
牌​。
1024
2302
2304
2307
72
1197
1078
牢 ​3
1357
漠
​灸 ​煎
​為
​8
牒
​9
牡
​1614
1319
426
12-4
772
2034
滴
​災 ​煙
​爵
​14
牘 ​15
1800
2036
1586
1284
777
牧
​19478
4
漕 ​濕
​炎
​4
熊
​IO
1045
384
596
1623
漸 ​濱 ​炭 ​5
已
​1748
1049
2305
1182
演 ​濟 ​炊
​熱
​I I
特
​87
物
​472
6
1845
2301
863+
2082
2018
漁 ​濡
​点
​88th
90th
92nd
Rad.
Rad.
Rad.
牽​,
1542
1239
883
1036
父
​爿
​牙
​1947
漬
​瀑
​15 畑 ​燃 ​12
犇
​∞
1306
1329
597
595
141
775
1781
潮
​12
瀨
​16
烈​。
燒
​父
​GRIK 13
牙
​1633
1240
406
1568
2303
潔
​瀧
​燈
​爺
​9
1849
1951
124
1585
潭 ​漉
​19
烟 ​燄
​1848
1274
1433
2308
潛 ​灘 ​烽
​(1848)
1173
1814
1771
潜 ​灣
​22
燧 ​13
1637
澁
​69
然
​со
2300
濁 ​13
101
1765
燦
​127
無 ​營
​* Abbrev. of pin
区
​† Abbrev. of 點
​‡ Abbrev. of hu
煙
​Ş Abbrev. of
of 犇
​I. RADICAL INDEX OF CHINESE CHARACTERS.
493

94th
Rad.
犬
​2313
獅
​IO
460
1270
1273
172
774
780
犬 ​猿 ​立
​玉
​瓜
​2310
1256
2315
413
781
i
犯
​2
獄
​率
​6
王
​甚
​357
387
604
782
狀 ​4
獨 ​13
珍​5.
1705
2314
1733
95th
96th
97th
99th
101st
102nd
Rad.
Rad.
Rad.
Rad.
Rad.
Rad.
玄
​玉 ​瓜
​甘
​用 ​田
​1836
聿
​田
​102用​拉​甫
​48
152
田
​當
​461
201
1836
2
甲
​I
聿
​255
1973
XC
申
​疆
​290
甘
​8
4
狂
​獵 ​15
玻
​601
600
狐 ​5 獸
​1713
599
2316
珠
​605
6
狗 ​獻
​16
現​,
1378
1862
由
​27
2
男
​211
町
​(1836)
1198
14
BB 17
狩​。
球
​1242
狹​:
2311
狸
​602
狼
​603
狽
​1546
猛 ​8
599*
献
​1703
猫
​922
猶
​1921
猥
​2312
猪
​7
9
133
理
​GOG
琴
​1264
Co
98th
100th
Rad.
Rad.
瓦 ​生
​琵
​1265
778
117
琶
​瓦
​生
​1751
779
6
1515
瑞​。
1734
璃
​1763
II
環 ​13
2014
產
​瓶​。
607
4
608
320
5
(883)
2003
画界 ​鹹畏 ​2 留 ​畠 ​畔
​2317
2318
甥​,
219
異 ​。
273
略
​1655
畢
​220
番
​* Abbrev. of
獻
​194
I. RADICAL INDEX OF CHINESE CHARACTERS.

783
1414
2319
377
329
登​,
335
177
787
陳​,
病
​發
​784
1093
疑​。
疵
​1456
痢​,
白豆​百 ​23的 ​26 皇
​皿
​103rd
104th
105th
106th
108th
109th
110th
112th
113th
Rad.
Rad.
Rad.
Rad.
Rad.
Rad.
Rad.
Rad,
Rad.
疋 ​疒
​癶
​白
​Ⅲ
目
​矛
​石
​疋 ​疲​,
示​示
​36
173
617
11
1835
百​, 盆
​4
785
788
3
盃
​920
4
5
609
2320
1782
痘
​皈
​盖​®
6
610
306
978
痛
​1680
皆
​次
​日 ​20 直 ​45 盲 ​3 看 ​20眉 ​38 省
​目
​石
​615
1132+
直​:
3
砂
​4
礼​®
1
613
1640
4
砲​s
祈
​4
2321
1217
破
​2324
296
砌 ​社​:
2077
789
61
- 2053
盛​,
相
​1488
研​。
硯​,
2325
1089
祝​,
295
神
​1349
祐
​(1154)
硬 ​祢
​瘦
​IO
611
療
​12
1782
614
蓋 ​真​。
1468
1244
1706
1842
107th
111th
THE 13
Rad.
盟 ​8
眠
​Rad.
碁​。
∞
619
祖
​皮
​1947*
1768
蓋
​眺​,
491
1564
612
皮
​786
1525
皷
​IO
盡 ​睡​。
1782
1563
蓋
​1142
盤
​1947
1' 14
2322
IO
ě 10 睡 ​18 督 ​32 睦
​1999
1009
1460
碎 ​票
​監​。 眼 ​矢 ​碩​。
1707
矢
​6
171
1895
1902
祥
​1470
620
矣​:
2
IO
確 ​祭
​85
1977
118
知​3
磅
​禁 ​8
790
616
891
短​, 磨
​II
祿
​2323
1718
1533
618
瞬
​12
矮 ​8
磯
​12
* Abbrev. of 埔
​† Abbrev. of 禮
​福​。
2326
禍
​2059
禧
​I2
I. RADICAL INDEX OF CHINESE CHARACTERS.
495

115th
116th
117th
118th
Rad.
Rad.
Rad.
Rad.
119th
Rad.
120th
Rad.
2062
禾
​871
穴
​立
​竹
​270
米 ​糸
​禪
​稿
​IO
1941
413
1877
624
99
410
1367
386
416
御 ​禾 ​稽 ​穴 ​立
​竹
​管
​米
​系
​1132
622
2331
1489
792
2334
1612
1571
禮
​TH13
秀
​2
稼 ​究
​2
奇
​4
竿
​算
​粉
​4
系
​1891
I
1154
309
623
625
869*
627
1272
2338
1051
欄
​14
私
​穀 ​空 ​3
笑​。
4
築
​9
粒 ​5
糺
​2077
1471
1301
1780
(747)
627
13-17
630
1192
禱
​科
​4
稻 ​穿
​4 竝
​笑 ​範 ​粗
​紅 ​3
2327
1582
2333
791
1334
1791
1658
1279
秒
​積
​I I
突
​章​。
符 ​5 篁 ​粧
​6
紀
​168
2332
1247
1300
2335
501
631
1215
秋
​穗
​12
窓 ​6
竟
​笛
​扁 ​粟 ​約
​2328
1495
1247
2013
1282
628
629
254
秘 ​5 稳 ​13
窗​,
童​, 笠 ​相 ​精
​2329
1579
793
1527
租
​窟 ​8
竪 ​S
975
114th
1006
794
GS
Rad.
移
​6
窮
​IO
端​。
内
​217
1439
程
​7
1863
1161
禽​。
稀
​1626
稍
​1473
稅
​2027
稠​。
2330
稚
​1177
稱
​621
種
​* Abbrev. of 龍
​9
竄 ​13
623
56517
2033
競 ​14
1880
1888
6
簟
​476
1776
簾
​13
1074
850
1612
筭​,
896
簿
​1979
籍​:
1419
14
籠 ​15
2336
2337
籤 ​17
1882
s
12 笥​3 第 ​13 筋 ​10 筈 ​筆 ​T 答 ​2 等 ​10 策 ​102筭 ​92箒
​243
933
2340
節 ​粹
​初
​紙 ​粉
​+
1040
1063
1982
1736
篤
​10
糊
​9
紡
​2050
簡
​1526
I2
1232
1937
I I
糖
​IO
級
​1208
納
​1317
紐
​1753
紗
​2339
634
純​素
​1673
紋
​1921
紊
​496
I. RADICAL INDEX OF CHINESE CHARACTERS.

122nd
123rd
124th
125th
127th
Rad.
Rad.
Rad.
Rad.
Rad.
1253
1501
389
2348 网
​羊
​羽
​終 ​縦
​老 ​耒
​30
縣 ​纏
​16
2341
2313
1756
2349
271
累 ​綴
​縞
​纔
​17
置​。
2061
1598
925
798
紺 ​綱 ​繁
​I I
1635
1752
1179
罪
​1810
1羊​2美
​801
407
羽
​802
804
翁
​4
942
805
雜 ​綫 ​縫
​署​。
着
​6
習 ​5
2日 ​老 ​日​)考​班​者
​325
806
耒
​931
807
耕
​4
101
808
4
耘
​2018
1206
2046
799
2350
2055
紹 ​綠 ​縮
​罸
​羨​,
633
1715
1737
988
803
1413
細 ​綿 ​績
​10
群
​30
卒
​1061
797
1955
1080
322
2068
組 ​網 ​縱
​罷
​義
​翰
​IO
1369
1893
1293
800
2056
紫
​維
​總
​惟
​I I
翼
​I I
(964)
502
1374
1156
2037
経 ​編
​9
織
​12
羅
​14
翻
​I2
1207
2085
1541
121st
結
​G
緘 ​繕
​Rad.
2312
2314
1953
統 ​練 ​繫 ​13
缶
​126th
Rad.
而
​921
2315
1837
795
給 ​緊 ​繪 ​缶
​2021
2346
2347
796
992
而
​2351
絡 ​緬 ​繩 ​缺
​4
耐
​3
417
1405
2055
1779
絲 ​線 ​操 ​罐
​18
1444
1892
2021
絕 ​糌
​964
經​, 縮 ​繼
​1032
1944
14
1669
1205
2043
絹 ​緣
​1944*
1090
1404
継 ​縛
​YOU 15
* Abbrev. of
繼
​I. RADICAL INDEX OF CHINESE CHARACTERS.
497

128th
129th
130th
131st
133rd
135th
137th
Rad.
Rad.
Rad.
Rad.
Ra:1.
Rad.
Rad.
耳 ​聿 ​肉
​2358
1886
臣 ​至 ​舌 ​舟
​脈
​By 18
35
1431
635
299
422
75
474
640
耳
​肆​。
肉 ​能
​2008
2355
1830
1961
臣 ​至
​76
468
耶 ​3
肌
​2
脊
​臥
​2
致​3
2
舟 ​10航
​舌​舍
​1740
4
1597
1627
1697
1618
耻 ​4
809
636
聊 ​5
肥 ​4
1311
2357
3 脆
​1661
脚​?
1755
臨
​II
1261
465
1486
臺​。
∞
舖 ​s
815
舘
​IO
641
般
​船 ​5
642
聖​,
肺
​脫
​2352
·
1702
1904
聘
​腐 ​8
810
2356
1887
聚 ​8
肯
​腑
​224
1234
聞
​1580
肩 ​腕
​2353
1694
996
132nd
134th
136th
聯
​II
胄​5
腹​。
Rad.
Rad.
Rad.
舶
​1857
舷
​1923
艇
​2365
艘
​1176
7
IO
艦
​HEY 14
2354
811
聲
​聰
​1936
職
​447
12
聽 ​16
637
2359
白
​舛
​育 ​胡 ​1030 背 ​10胃 ​胤
​腦
​1981
1759
63
400
1137
腰
​白
​舞
​8
1659
1693
1348
1015
脇​。
1951
胸​(胃
​育
​膏 ​ㄊ
​2361
膝
​2362
膚
​2363
膳
​1770
膨
​2364
I2
膽 ​13
2360
1717
813
臭
​4
與
​cs
811
II
9
812
舊
​I2
498
I. RADICAL INDEX OF CHINESE CHARACTERS.

138th
140th
141st
142nd
Rad.
Rad.
Rad.
Rad.
良
​帅
​1275
645
1171 虍
​虫
​648
143rd
Rad.
JÚL
荻 ​葉
​藍
​蠟
​14
399
432
1269
1793
958
816
98
2374
良
​I
帅
​華​。
蒸
​IO
藏 ​虎​。 虫
​蠶 ​18
2366
1259
1366
1980
1135
S17
1788
1171
艱​,
I I
芝
​4
菅 ​蒲 ​藝 ​15
虐
​3
蠻
​19
819
JÍ.
820
衆
​6
1664
644
1856
1184
123
2372
芬 ​菊 ​蒔 ​藤 ​處​:
蚊
​1339
120
1963
6-47
818
2373
芳 ​菓 ​蒼 ​藥 ​虛
​蛇​,
55
1844
916
2371
293
1436
花 ​萊 ​善
​藩
​號​,
蜂
​643
1386
1149
2007
1452
1231
苦​5 萃 ​蓮
​I I
蘇 ​10
蕉 ​虞
​蛙
​326
1117
1843
1125
1925
1363
若 ​菩 ​蓬
​M 17
虜
​蜜
​1866
1411
1900
1761
1169
2015
139th
Rad.
苟 ​萄 ​蔑
​茂 ​榮 ​蔓
​蝠​。
2368
2042
144th
蝦
​Rad.
色
​1710
1380
1203
1760
行
​苗 ​葛​。
蔽
​I2
蝙
​175
385
G46
2369
1750
117
色 ​英 ​落 ​薨
​13
2367
1762
650
芽 ​著 ​薄
​160
1440
1118
6-49
茶
​6
葡 ​薩
​螢​4融
​IO
987
1433
1031
877
荒 ​葬 ​薪
​125
1632
2370
草 ​葺 ​薦
​蟲
​I2
衛
​行
​1730
術​5
2375
衝​。
562
IO
111
1276
1665
荷​:
7
萩 ​薰
​14
1021.
13
1029
莫 ​萬 ​藁
​1126
蟬
​2025
196 13
1962
蠅
​T. RADICAL INDEX OF CHINESE CHARACTERS.
499

145th
147th
149th
Rad.
Rad.
Rad.
150th
Rad.
衣
​1833
褒​。
343
2378
37
衣 ​襟
​1.3
見見
​言
​1114
943
200
2100
谷
​評 ​誠
​請
​謬
​23-4
994
2390
1875
937
428
653
312
表
​規
​4
言​,計
​訴 ​誨 ​誼 ​證
​12
谷
​136
1797
1251
113
2401
2
詞 ​認
​諸​。
譏
​谿
​2001
IO
1602
1908
238)
2139
2389
1593
1477
衷 ​4
視​。
6
訂
​詠
​誠
​謀
​語
​651
146
402
2385
1698
1932
371
袂
​親​。
訓
​3
診 ​誓
​諾
​議
​1.3
1178
824
274
2386
363
衰
​覺
​13
記
​詫​。 説 ​謂
​1919
968
警
​敬
​493
1175
2023
2387
1911
2395
1104
被 ​5
覽 ​15
討 ​誅 ​誦 ​諫 ​譬
​1228
823
1911
657
1828
2396
2038
袖
​觀
​IS
託
​話 ​誕 ​諳 ​譯
​1027
2381
1829
2391
2397
1553
袋
​訛
​4
詣 ​誤 ​謁 ​護
​14
1455
2382
1925
2058
2:308
658
146th
148th
151st
袴
​6
Rad.
Rad.
訪
​該
​誘
​諺
​譽
​Rad.
2376 西
​角
​311
1668
235
1894
93
裂
​許
​詰
​語
​諭
​652
52
825
656
1453
2392
1904
2402
讀 ​15
豆
​827
466
裁
​1657
裝​:
654
裏
​補
​製
​839
裸
​2377
821
西藏​要
​角
​三​几
​誇
​諂​:
Ꮪ
X
講​,
IO
雠
​826
1609
471
2393
解
​6
訟
​822
826*
1218
覆
​12
鮮
​2379
2384
1537
372
觸 ​13
詔 ​詳
​論 ​謝
​詩 ​誹 ​謙
​詐 ​5 試 ​課 ​謗
​變
​829+
農
​17 農
​6
1343
828
雠
​豆
​1587
1538
2394
373
灣
​1421
2403
829
讒
​130
S
938
655
1222
1805
1723
証 ​謎 ​誰
​讓
​2383
1010
SSS
2339
1289
註 ​詮 ​談 ​謄 ​先​先
​讚
​19
989
2388
1105
2072
裳
​詈 ​誌​, 調 ​謹
​I I
* Abbrev. of 解
​† Abbrev. of 豐
​500
I. RADICAL INDEX OF CHINESE CHARACTERS.

152nd
154th
155th
157th
158th
159th
Rad.
Rad.
Rad.
Rad.
Rad.
Rad.
豕
​436
豕
​408
2404
豚 ​4
830
象 ​s
1811
豪​,
831
豫​。 財
​貝 ​4 貝 ​130貞 ​12負 ​30貢 ​$50
2057
1652
赤
​賁 ​賜
​187
661
833
31
貳 ​賴 ​赤
​9
足足
​身 ​車
​2422
輯
​375
115
2424
身 ​車
​轄
​IO
1200
2410
831
1572
838
2418
1685
2
貰 ​賭
​赦
​4
距​,
躬
​3
軋
​I
轂
​879
133
2411
213
1560
420
664
貸 ​購
​IO
路
​6
軍​。
2
轉
​II
1365
1248
1796
1454
837
1034
880
貢​3
貼 ​賽
​跨
​軒 ​3
轟
​14
659
2407
1610
662
884
2420
2419
賄​。
贊
​12
跡
​射
​Hole 17
軟
​4
轢 ​15
1469
2108
2412
967
販
​4
賂 ​贗
​踏​,
1809
2012
2065
2414
153rd
Rad.
豸
​832
貌​,
貨 ​132 貫 ​130 貧 ​132 貪 ​46責
​賈 ​贈
​1395
878
踊
​1840
賃 ​贔
​14
蹄​。
1500
1993
1651
156th
賊
​Rad.
踵
​1692
1346
資
​走
​663
蹟
​II
2405
1510
835
2415
1246
軸​5
1257*
軽
​1716
較​。
666
載
​467
輔​,
1257
2425
轡
​賓​,
走
​蹴
​12
輕
​915
2409
2413
2417
貯 ​5 賑
​赴
​2
躇 ​13
25 貴 ​129 買 ​20貿
​2406
* Abbrev. of 輕
​賣
​1879
賤
​1688
賞
​越
​1818
趣 ​8
1426
8
趨
​IO
GGO
917
費
​質​。
1138
956
1720
2416
賀
​賢
​超​,
躊
​126
837
836
1995
1813
輝
​1373
8
起 ​3 躍
​14
輩
​2421
輛​。
1684
輦
​665
輪
​2423
輸
​I. RADICAL INDEX OF CHINESE CHARACTERS.
501

160th
162nd
Rad.
Rad.
163rd
164th
165th
167th
Rad.
Rad.
Rad.
Rad.
辛 ​辵
​902
1421
1956
追​。 途 ​遮
​II
840
886
1212
1291
2437
673
辛
​还
​2
迷 ​週​。 遲
​邑​邑
​酉 ​采 ​金
​676
1384
44
酉
​釋 ​13 金
​842*
885
2423
396
1225
1155
2440
1918
辞​。
辻 ​进 ​進
​遭
​4
842*
1333†
2430
1313
1449
8
辺 ​逆 ​逸
​841
671
670
961
1054
辨​。 迄 ​送 ​過​。
道 ​適​遺
​那 ​酊
​2
08 針
​2
1186
677
622
邦
​酌​3
釜
​2009
67 8
1870
遺 ​12 邪
​配
​釘
​842
1569
1042
904
951
1325
421
1761
辭
​12
巡 ​逃 ​邃
​邨 ​酒
​釘​:
3
841
16961
1605
672
1696
674
2433
2446
辯
​14
迁 ​退 ​達 ​遷
​邸​5 酩​。
6
釣
​1690
1016
212
1990
675
2411
迂 ​這
​7
道 ​遵
​郡​,
酬
​2427
2431
1145
1656
897
1606
迅 ​逍
​遍 ​還 ​13
郎
​酷​,
1629
鈍 ​4
1331
鉿 ​5
353
2432
1053
1466
1997
2442
2148
161st
166th
Rad.
返 ​4
透 ​遁 ​避 ​郭
​S
酸
​Rad.
鉛
​辰
​668
2433
936
1333
500
1695
里
​2447
近 ​逝 ​違
​邊
​15
部 ​醉
​8
鉢
​1884
1646
2434
1085
382
2443
216
(1391)
辰 ​迎 ​逗 ​遊
​都
​9
醒​。
里 ​鉄
​2426
887
116
1224
316
679
184
2449
辱
​3
迪 ​通 ​遇
​郵
​醫
​II
厘
​2
銃
​6
1120
1385
131
669
1262
農
​6
迦​s
造 ​運
​鄉
​IO
2114
984
醬 ​重 ​銘
​1689
2428
2435
960
2438
2445
2490
(1391)
迭 ​逐 ​遣
​IO
回​)
釀​”
7
野
​4
銕
​1607
1187
2436
1871
1446
迫 ​逢 ​遞
​1488
1148
648
述 ​連 ​遠
​1042
496
1804
处
​速 ​遙
​* Abbrev. of
辭
​† A
Abbrev. of 邊
​量 ​5 銅
​‡ Abbrev. of遷
​680
銀
​1437
鋒​,
502
I. RADICAL INDEX OF CHINESE CHARACTERS.

168th
169th
170th
171st
172nd
173rd
Rad.
Rad.
Rad.
Rad.
Rad.
Rad.
2451
1391
長 ​門
​阜
​1442
隶
​佳
​雨
​鋤
​鐵 ​13
陶
​2450
2041
218
222
686
687
2026
164
鏡
​鑄
​14
長
​1789
1731
225
鋏
​鑛 ​15
門​閉
​阜
​陰
​隻​。
2
雨
​(899)
1642
1807
165
3
阪
​4
隊
​9
雀
​3
雪 ​3
1714
1778
1909
1292
1559
1355
482
錦 ​鑵
​IS
閑
​4
防 ​階
​雄
​4
雲
​4
1806
1779
1910
198
1353
844
691
鋸 ​鑿
​19
閒
​附 ​5 隆
​雇
​雷​5
2452
2458
1165
2159
427
1484
鍋
​閏 ​阿 ​隄
​集
​零
​2453
227
1312
688
2462
318
鋼
​開 ​陀
​2554
226
934
1641
錨
​間 ​限
​陽​隅
​雅
​電
​736
1463
雁 ​需
​6
1481
2459
180
2460
1354
1023
錄
​閥
​6
降 ​隔
​IO
雌 ​5 震​,
889
683*
1901
2461
2463
1721
錠
​183
298
錢
​1316
関 ​陋 ​隙
​閣 ​陣​,
684
雉 ​香
​1812
1250
205
690
際
​I I
雖​。
1376
1038
錫
​1767
鎖
​2455
鎌
​2456
鎮
​681
鏡
​2457
康
​2010
鐘
​IO
12
閱​,
除
​隣
​12
845
雙
​IO
683
1617
1552
843
關
​I I
陛 ​險
​Buy 13
雜
​霧
​霜
​2466
霞
​2467
9
IO
1304
1711
2464
1512
院
​隧
​雛
​露 ​13
1874
1393
2465
435
陳 ​s 隨
​雞
​16
ZIA
1112
944
1735
I I
陷 ​隱
​14
離
​II
689
249
陸
​難
​1645
Abbrev. of
關
​陪
​I. RADICAL INDEX OF CHINESE CHARACTERS.
503

174th
175th
177th
179th
181st
182nd
184th
185th
Rad.
Rad,
Rad.
Rad.
Rad.
Rad.
Rad.
Rad.
靑 ​非 ​革
​非 ​頁
​981
風 ​食
​顏
​178
77
692
靑 ​非
​1361
靖 ​5
1534
8
02 革 ​33 靴 ​鞍
​695
305
163
159
405
頁
​類
​IO
風 ​食
​首 ​首
​693
267
1996
846
4
頃
​2
顙 ​颶
​cc
694
2083
6
2468
1547
2069
頂 ​顚
​1303
2472
飢
​2
1322
飯
​4
鞭
​9
項 ​3
願
​696
1461
158
飮
​1826
順
​顧
​I2
飽​,
697
1345
須 ​顯
​1650
頌 ​4
1628
1381
飾
​2473
飼
​1802
頓
​餉​。
1388
1699
176th
178th
180th
183rd
Rad.
Rad.
Rad.
預
​Rad.
餅
​186th
Rad.
面 ​韋
​229
1514
面
​韓​。
音 ​音
​1117
飛
​1855
香
​領​,
餌
​401
1506
SEITS 13
1492
頗
​2469
頰​,
2470
頹
​698
頭
​2471
頻
​1396
額
​1600
題
​9
2475
饉 ​ㄧ​ㄩ
​1505
SUITS 13
1168
1307
847
飛
​養
​7
香
​2037
2171
84S
翻
​12
餓
​I I
1500
餐
​699
你
​700
館​。
504
I. RADICAL INDEX OF CHINESE CHARACTERS.

187th
188th
190th
192nd
194th
195th
196th
197th
Rad.
Rad.
Rad.
Rad.
Rad.
Rad.
Rad.
骨 ​骨
​髟
​鬯 ​鬼
​魚
​鳥
​鹵
​849
139
2071
髮​,
鬱
​19
852
851
853
---
鬼​2魁 ​$55魂​12
97
95
855
魚
​鳥
​4
1513
魯
​2078
858
4
鳩
​2
檢
​703
1189
857
鮮​。
鳳​3
臨
​1071
魄​5 鮨
​1801
1124
鴨 ​5
Rad.
馬
​2480
驕
​12
5
58
968
馬
​父
​馬
​2476
2481
850
馭
​2
驗
​13
體
​13
2177
1309
馴 ​3
驛
​1548
馳
​1794
駄
​1399*
駅
​2478
4
854
1859
魔
​II
鯉​7
1896
鴻​。
704
706
鯨 ​8
鶴
​10
1853
705
駐​。
鯛 ​鶵
​702
1854
1220
駕
​II
鶯
​1277
2482
1535
189th
191st
193rd
198th
駒
​Rad.
Rad.
Rad.
鱗
​I2
鷲
​12
Rad.
1549
高 ​鬥 ​商
​2483
鹿
​駈
​鷹
​13
2479
190
685
駭​。
高 ​鬪
​IO
1122
駿​,
2031
騎​:
985
∞
騙​。
701
騷
​1132
騰
​1556
驅
​IO
II
* Abbrev. of 驛
​13
2484
859
鷺 ​鹿
​860
麗 ​8
1411
麓
​1950
麑
​I. RADICAL INDEX OF CHINESE CHARACTERS.
505

861
1194
176
麥 ​黃
​黑
​199th
201st
203rd
205th
207th
209th
211th
213th
Rad.
Rad.
Rad.
Rad.
Rad.
Rad.
Rad.
Rad.
麥 ​黃 ​黑
​黽
​鼓
​鼻 ​鼻
​齒 ​龜
​部​外
​786
866
867
870
1595
鼓
​齒 ​龜
​y
292
2486
2487
麵 ​5
默 ​4
歯
​868
々
​862
863
麴​8
點 ​5
齡​5
2485
864
麵​。
00
黨
​200th
202nd
204th
206th
208th
210th
212th
214th
Rad.
Rad.
Rad.
Rad.
Rad.
Rad.
Rad.
Rad.
麻 ​黍
​鼎
​BB
鼠
​齊 ​龍
​557
麻
​1949
麼​,
1743
865
415
869
鼎
​鼠
​齊 ​龍
​1332
齋 ​3
2488
齎​,
INDEX II.
ALPHABETICAL INDEX OF CHINESE CHARACTERS AND
THEIR JAPANESE EQUIVALENTS.
A
▲ (kawazu), Ł‡ 1231.
▲ (omoneru), F 1165.
亞
​▲ (tsugu), 1310.
aa (1), 2150.
, 噫​2150.
(ò),暴
​abareru (Bō), 1517.
abiru (YOKU),446.
abura (YU), 1536; (kō),
膏 ​2360.
ada (Kō), 1971; (KYÜ),
仇​2087; (si), (or
讎​)2402.
(SHU),
adalcamo (Kō), 恰
​aete (KAN),
574.
敢​574.
1596.
1
afureru (TTSU), 1520.
aganau (Kō), №2411.
舉
​ageru (Kvo), 569; (sõ),
上​24;(xò),揚​1164.
AI (hokori), 1314.
A1 (itsukushimu), 1286.
AI (kanashimu), ★ 1603.
ai (RAN), 1174.
藍
​ai (sō), 相 ​G1.
aida (KAN), 227.
akatsuki (GYō), B 1425.
曉
​AN (YasunZuru), ✈ 1865.
米​2276.
ake (SHU), ✯ 2276.
aki (SHU), † 1
168.
akinau (SHŌ), 195; (xo),
賈​2012; (ō),餐 ​2406.
akiraka (MEI), Ħ 17; (shō),
晶​876; (8ō),昭 ​1620;
(sō),聰 ​2354.
aku (HŌ), 1826.
362, and
acu
1
AKU (nigiru),
握​2255.
惡
​alcubi (KETSU),
欠​587.
尼​941.
AKU (waruż),
page 397.
ama (NI), № 941.
amai (KAN), ✈ 780.
amaneku (HEN), (or
1145; (PU),普 ​1939.
amaru (xo), BEF 699; (Jō),
剩​1676.
雨 ​164.
ame (v),
ami (Mō), 797.
amu (HEN),篇​501;編
​庵
​501;502.
AN (iori), 2206.
AN (Icura),
694.
AN (soranzuru), 2396.
AN (Icurai),
暗 ​1878.
AISATSU,
挨拶 ​1001-2
AN (tsukue),
紫 ​440.
akagane (Dō),
1446.
AN (yasui), 安
​赤​833.
page 119.
ajiwau (M1), 1057.
alai (SEKI),
191, and
ana (KETSU), ✯ 624; (KŌ),
孔 ​538: (Kò),坑 ​2155.
侮 ​1899.
538;(Kó),
anadoru (BU),
ana-michi (SUI),
隧​1711.
ANDON, 行​燈 ​page 398.
ane (su1), (or) 2172.
ANGYA, 行脚 ​page 398.
ani (GAI), ¥828.
ani (KEI), 143.
仰
​aogu (GYō), IF 972.
aoi (SEI), † 178; (sõ),
1963.
蒼
​鑛
​aragane (Kō), (or)
1731.
arai (so),
630; (Kō),
987; (KYŌ), ✈✈ 2
2111.
豫
​arakajime (vo), 831;
預
​(Yo), 1388.
arashi (RAN),1288.
arasou (sō), #773.
改
​aratameru (KA1), B3
(KAKU), # 692.
洗
​arau (SEN), B 1415.
arawareru (GEN), 現
​(KEN), 1345.
398;
605;
arawasu (CHO), 444;
著
​(SHŌ), † 1615; (TEI), £
2040.
彰 ​1615;(TEI),
arazu (HI), † 77; (FUTSU),
弗​1974.
,蟻​2025.
2025.
ari (G1),
(ZA)在
​(20),有
​aru (x0), 250; (ZAI)
276.
aruiwa,333.
或​333.
aruji (SHU), 主 ​239.
朝
​asa (CHŌ), 268.
ɑsa (MA), 557.
麻​557.
asa-hi (KYOKU), 2270.
asai (SEN),1285.
a.se (KAN), 2285.
ashi (SOKU), ✈✈34; (KYAKU),
脚​1661.
ashita (TAN),
| ĐỀ
1214.
asobu (x0), 1085; (xü),
游​1086.
價
​atae (KA), 315; (CHI),
值​479.
ataeru (vo),
H
(or 5)
813; (xo), † 2086.
atarashii (SHIN), ✈ 157.
ataru (To),
(TEI),
(or) 152;
抵​1579.
atatakai (DAN), 1183;
(ON), 1 1412.
atau (No),299.
宛​928.
ateru (EN), 928.
ateru (EN),
#
ato (GO), 151; (SEKI),
II. ALPHABETICAL INDEX OF CHARACTERS.
507
番
​BAN (tsugai), 220.
萬​13: 歹​14.
BAN (yorozu), 13; 14.
跡
​662; (SEKI), 663.
蹟
​azalceru (CHō),
嘲 ​1004.
軋​2418.
azamuku (KI),
1462.
azana (31),
399.
92, and page
BATSU,
閥 ​2459.
BATSU (kiru), 1970.
伐 ​19
ATSU (kishiru), 2418.
ATSU (meguru), #2268.
ATSU (O.SU), 2165.
E2165.
atsui (BHO), 577; (NETSU),
熱
​1182.
atsui (TOKU), 1063; (TON),
敦​1371; (Kò),厚​1434.
azayalca (SEN), 703.
畔
​aze (HAN), 2004.
azulcaru (KAN), † 745; (xo),
預​1388.
BATSU (nulu), 拔 ​1037.
BB
BATSU (tsumi suru), 799.
BEI (hoeru), ₪ 2137.
(lcome),米
​BEI (Icome), 386, and
BO (haka), ₤1023.
暮
​BO (Icureru), ✯ 893.
旺
​BO (OSU), 1357.
慕
​BO (shitau), 2230.
募
​BO (tsunoru), 1025.
Bo
BO (uba),
姆 ​2174
坊 ​1043.
Bō, 1
nõ,帽 ​1670.
报​1249.
atsumaru (SHU), # 427;
atsulcau (KYŪ),
聚​810; (SUI),翠
​(SHU), 810; (SUI), *
1386; (SAN), 纂 ​2043;
(SHU), 2422.
輯
​atsuraeru (CHō), 655.
au (Gō), A 207; (KWAI),
1225.
awа (нŌ),
awa (ZQKU),
awai (TAN), 2292.
Bō,棒 ​2017.
Bō (abareru), 1517.
page 117.
B
BEI (sara), № 787.
BEI (tamoto),
651.
Bō (akcinau),2406.
婆
​BEN (muchi),
鞭
​2468.
Bō (fulcureru),
1770.
Bō (fusegu),
1292.
Bs (baba), 1200.
La (3ō),場​(or場​) 272.
ba
BA (nonoshiru), 988.
baba (BA), ✈ 1200.
婆
​BAI (Icai), 408.
BAI (kau), † 192.
BAI (MASU), 1394.8
(masu),
BEN (¿sutomeru), 1701.
BEN (calcimaeru), (or Bo (hakari-goto), 1593.
辯​or弁​) 841.
beshi (KA), 106.
Bō
合
​BA (uma), 58, and p. 116.
Bō (horobiru),
483.
會
​(GU), № 1224; (sõ), A
365; (Hō), ✈ 1187;
遇
​逢
​P]
Bō (isogashii),
P873.
873.
✈
BETSU (naigashiro), 1900.
蔑
​Bō (katachi),
832.
買
​BETSU (sabaku), 1060.
#51
Bō (katawara),
478.
泡
​1832.
倍
​BETSU (icakeru), 253.
別
​481.
粟 ​631.
BAI (ōkami),
BAI (nakōdo), 1210.
603.
媒
​BI (hana),
$866.
BI (kasulca), 1864.
awaremu (REN), 1704;
憐
​BAI (shitayau),
(JUTSU), BL 2222; (BIN),
陪​1645.
梅
​1645.
BI (kutsuwa), **2425.
憫 ​2235.
合​207;(
awaseru (Gō), 207; (HEI),
B1107.
aya (BUN), Ž 91; (shō),
章​791; (HI),斐​1278;
(MON),1673; (RYŌ),
凌 ​1752.
綾
​ayamari (GO), 2391;
(BYC), 謬 ​2400.
ayashii (KWAI), ' (or )
971.
†
BAI (ume), 437.
BAI (uru), 賣 ​126.
BAI (utau), FE 2140.
P2140.
bakeru (KWA), ₺ 374.
幕​1474.
BAKU
BAKU (hiroi), 1024.
8
BAKU (mugi), ✯ 861.
莫
​BAKU (nashi), 1021.
BAKU (sabishii), 1020.
1
BAKU (sarasu),
BAKU (shibaru), 1090.
BI (mayu), Š 2321.
BI (neru),1101.
DI (0), 尾 ​547.
BI
備
​BI (sonaeru), 1293.
BI (utsukushii), 802.
BIKUNI, 比丘尼 ​946-7
and 941.
BIN (awaremu), 2235.
BIN (kame), 779.
The
紊
​BIN (midareru), 1922.
敏
​BIN (satoi), 1098.
BIN (tayori),
便 ​317.
琵琶
​BAN (ebisu), (or) DIWA, 1264-5.
曝​1824.
縛
​BAKU (taki),
瀑​1239.
蠻
​殆 ​766.
1171.
步​397.
BAN (hiku), 2248.
挽
​aza (JI),
字​:
92, and p. 400.
BAN (kure), 1508.
晚
​ayaui (KI), 733; (TAI),
ауити (но),
BO (fuda), 簿 ​856.
BO (haha), ✈ 142, and page
116.
Bō (mulari),
望 ​639.
Bō (nozomu), ✈ 6
Bō (okasu), 1671.
妨
​Bō (samatageru),
1867.
Bō (soregashi), 584.
Bō (toboshii), ✈ 1191.
房
​Bō (tsubone), ✈ 1297.
Bō (tsumugu), 1736.
Bō (u), SP (or VP) 1741.
Bō (uasureru), № 83, and
page 123.
*11.
BOKU (ki), 41.
樸
​BOKU (kiji), (or #1)
1960.
BOKU (maki),
牧
​777.
BOKU (mutsumajii), 2322.
BOKU (shimobe), 1821.
墨
​BOKU (Sumi), ✈ 1516.
卜
​BOKU (Uranau), † 1820.
撲
​BOKU (utsu), 1959.
508
II. ALPHABETICAL INDEX OF CHARACTERS.
DON,盆 ​1835.
凡
​BON (ōyoso), Я 400.
BOSATSU,1117–8.
botan (Kō), µ 1764.
SEP 1
CHI (kashikoi), 1113.
chi (KETSU), BL 819.
CHI (kciji), 2463.
271.
(Jeiji),雉
​CHI (oku), 置​。
CHI (osoi), 遲 ​2437.
BOTSU (shinuru),
殁 ​2281.
BOTSU (shizumu), 2287.
没
​CHI (shiru), 知 ​85.
BU, 部 ​500.
$500.
,侮​1899.
BU (anadoru), 1899.
BU (mau), 1137.
舞
​撫
​BU (naderu), 2258.
BU (S420), 2148.
BU (take),✈✈1121.
BUDó,葡萄 ​1440-1.
BUN (fumi),
文​91.
蚊
​BUN (Ica), 2372.
BUN (kiku),224.
分
​BUN (wakatsu), 84.
2404.
††
£22.
CHI (tsuchi), 22.
CHI (wakai), (or #)
2330.
chichi (FU),
父​1
141.
chichi (NYU), L 713.
違
​chigau (1), 936.
契
​chigiru (KEI), 534.
chiyo (51), Z (or E) 718.
著
​CHO (ichijirushii), 444.
CHO (inoshishi), 2312.
緒
​CHO (itoguchi), 1892.
CHO (moker), H 2109.
渚​1834.
CHO (nagisa), 1834.
CHO (tadazumu), 12090.
cпo (takuwaeru), 915.
2417.
CHO (tamerau),
сно,
廳 ​390.
cao, đa 1750.
蝶
​朝
​CHō (ASA), 268.
CHō (atsuraeru), № 655.
CHō (azakeru), 1004.
1197.
CHō (fuda),
chiisai (SHŌ), 小 ​32.
CHō (haru),
張​349.
chijimaru (SHUKU), 2016.
CHō (haru),
chikai (KIN), Ž 668.
CHō (horu),
bula (TON),
chikara (RYOKU), #56.
CHō (idomu), 2242.
彫​751.
挑
​1248.
751.
BUTSU (hotoke), (or A) chikau (MEI), 1244; (SE).
297.
盟 ​1244;(SE).
誓 ​1698.
BUTSU (MONO), 487.
CHIKU (Icizulu), 1272.
築
​CHIKU (ou),
逐​2435.
BYō (ikari), 2454.
CHō (koeru), 1729.
2030.
BYō (nae),
1710.
BYó,秒​2327.
BYō (yamai),377.
CHIKU (take), 410.
竹
​$9
CHIKU (takuwaeru), 916.
畜
​CHIKU (yashinau), 2318.
CHō (itadaki), J 2083.
聽
​CHō (liku), 447.
CHō (kizashi), ✈ 1196.
CHō (korasu),
CHō (ushio), 1309.
潮
​提​燈
​CHOCHIN, page 398.
CHOKU (mikotonori), 497.
勑​497.
直
​CHOKU (ne), 200, and
Lage 118.
chotto (or)
page 391.
**
CHU (kabu), 1235.
柱
​CHO (hashira), 1567.
CHỦ (himo), KA 1
1317.
CHỦ (hiru), (or A)
晝​(or 昼​)
1417.
冑
​CHO (kabuto), 1694.
CHỦ (lorosu), K 2387.
廚
​CHO (Iuriya), 2209.
虫
​CHO (mushi), 98;
CHỦ
877.
蟲
​CHỦ (rnal), I 25; t
+25; 仲
​1524.
CHU (oki), №† (or †) 1799.
沖​)1799.
CHỦ (Özora), 1861.
宙
​CHỦ (sosou), VỀ 1252.
注
​CHỦ (tadashii), 1601.
CHō (machi), (or T) CHU (lamerau), 2416.
CHU (todomaru), 2478.
巷 ​2200.
CHIN (makura), 1543.
214.
BYō (yashiro), 2211.
chimata (KI), 1290; (xō),
CHỖ (mesu),
徵 ​1195.
BYU (ayamari),2400.
CHō (nagai),
長​218.
218.
枕​:
眺
​珍 ​604.
CHō (nagameru),
1768.
CHō (shaberu), 2142.
CHU (loku), 2383.
CHO (uchi), † 1602.
A
C
陳
​CHō (shigei), 2027.
稠
​CHō (shiraberu), 1105.
ᎠᎪ,
F1:
陀 ​1312.
DA,
駄​1794.
吊​)
Da (tōru), ✈ 1479.
凭
​CHA, 茶 ​160.
CHAKU,2183.
着
​CHAKU (Iciru), 942.
值
​CHI (atae), 478.
恥
​CHI (haji), (or) 1597.
CHI (haseru), 1548.
CHIN (mezurashii),
CHIN (noberu), 1874.
CHIN (shizumeru),2456.
CHIN (shizumu), 沈 ​1544.
亭
​CHIN (TEI), 998.
椿​工
​CHIN (tsubaki), 1335.
CHIN (yatou), †1395.
chiri (JIN),
塵 ​1315.
CHI (ile),
池 ​1230.
散
​CHI (itasu),
致
​76.
CHITSU,
帙 ​2204.
chiru (SAN), 1046.
CHō (tobari), 555.
THE
CHō (tomurau), i (or i
2135.
CHō (tori), № 95, and page
鳥
​116.
cnō (tsuka),
CHō (tsuru),
1324.
2446.
DA (tsubali), 2141.
DA (utsu), † 997.
DAI,
* 997.
第 ​68.
DAI (õlcii), ★ 31, and page
118.
II. ALPHABETICAL INDEX OF CHARACTERS.
509
Dō (onaji), (or) 155.
F
DAI (utena), (or)
|
Do (ugolcu),
動
​DAKU (nigoru), 2300.
濁
​DAKU (ulcegau), 1932
DAN,
毒
​獨 ​387.
讀
​fat
DON (leumoru),
曇
​1494.
DAI (shirusu), 1600.
1261.
DAI (yo),
it
Ž
454.
1039.
EKI,
役 ​1050.
驛
​暖
​羅
​EKI (yorokobu), 1985.
懌
​焔
​Dō (warabe), ₤2013.
DOKU, 973.
DOKU (hitori),
DOKU (yomu), 93.
domo (KYō), 30.
EKI, (or) 1399.
EKI (Icaeru),999, and
page 397.
EKI (MASŲ), 920.
(masu),
液
​EKI (shiru), 2291.
EKI (tsuzuku), 2021.
eru (TOKU), 263.
得
​閱
​ETSU (kemi-suru), 681.
Ž
8:37.
ETSU (koeru),
ETSU (mamieru), 2397.
悅
​ETSU (yorokobu), † 939.
F
EI (utau), (or) 2139.
駅​)
益
​DAN, 段​767.
壇 ​2164.
DAN (atatalcai), 1183.
DAN (hanasu),888.
DAN (marui), 1964.
DAN (nada),
DAN (otoko), 27, and
DAN (tama), 1930.
DON (nibui), 1629.
doro (DEI), 1915.
doru (FUTSU), 1974, and
page 394.
EN (ateru), 928.
EN (honō), (or)
1585;炎 ​1586.
EN (itou), 2075.
EN (kemuri),
dono (DEN),
281.
泥
​1274.
弗
​男
​厭
​page 118.
dote (HO), 1927.
堡
​EN (kaki),
垣​2156.
57
(or
)
DAN (tatsu),
(or
E
759.
爰
​脱 ​1755.
e (HEI),
柄
​907.
I
DATSU (ubau),
奪
​977.
e (JI),
1855.
e (Kō),
1163.
繪
​DATSU (nugu),
DEI (doro), № 1915.
泥
​DEKI (oboreru), 532296.
電
​DEN (inabikari), 318.
田
​DEN (ta), 48.
DEN (tono), 284.
DEN (tsukuda), (→ 2039.
DEN (tsutaeru), † 1822.
deru (SHUTSU), 154.
Do (ikaru),990.
度​。
Do (tabi), ✈ 248.
DO (tsuchi), Ł 43, and page
118.
DO (tsutomeru),
Do (yakko),
Dū, 堂 ​366..
E (KWAI), 1837.
124.
EN (koko ni), 1083.
EN (marui), (or )
181-2.
EN (namari),2448.
EN (noberu),1748.
eli (Ka),蝦 ​2042;海​老 ​EN (nobiru),延 ​1573.
page 391.
ebisu (1), 533; (BAN),
*(or) 1170.
eila (SHI), 438.
egaku (GWA), (or
畫​) 1836.
EI (hiideru),
385.
曳
​EI (hilou), 1504.
EI (itonamu), 127.
EI (Icage), 2214.
EI (nagai), ✈ 592.
EN (sakamori), 1507.
猿
​EN (saru), 1270.
塩 ​or
EN (shio),鹽​(or 塩
​碧
​857 and 1947.
園
​or
EN (Sono),
EN (SOU),
裕​1
525.
1498.
EN (suteru), 2244.
接
​EN (tasukeru), 2254.
EN (tōi), 667.
遠
​燕
​EN (tsubame), 2308.
EN (uramu), 1072.
EN (yoru),
努
​1924.
影
​奴​1146.
EI (mamoru),
EI (moreru),
洩
​562.
1429.
緣 ​1205.
永​592.
enoki (KA),
À
泳​2290.
erabu (SEN),
Dō (michi), 212.
榮
​擇
​Dō (michibiku), 1647.
導​1647.
EI (surudoi),
2450.
Dō (akagane), 1446.
Dō (hataraku), 1881.
EI (oyogu), 2290.
EI (sakaeru), 1344.
1334.
(or)
FU,府 ​388.
FU,
腑
​1887.
FU (amaneku),
#1
FU (chichi), 141.
膚
​1939.
Fv (hadae), № 2362.
FU (kama),
釜 ​682.
FU (kame), FFFFF 795.
傅
​FU (kashizuku), † 1823.
腐
​FU (kusaru), 1905.
FU (neg.) 105.
F1
FU (nuno), 554.
阜
​FU (oka), ₺ 686.
FC (Omomuku), ✈ 2113.
婦
​FU (onna), 895.
怖
​FU (osoreru), 1988.
FU (ou), † 879.
,8
FU (shiki), 932.
FU (sore), 89.
FU (tasukeru), *911.
富
​扶​911.
FU (tomi), 1162.
俘
​FU (toriko), 1944.
FU (tsuku), 附 ​198.
付
​FU (tsuku), †††† 339.
FU (ukamu),1858.
俯
​ru (utsumuku), 1889.
FU
符
​FU (warifu), 1394.
FÜ,
#1 1092.
(or) ru (kaede),
951; (TAKU), 1907.
eri (KIN), 2378.
(ICN),襟
​Fu (Icaze),
楓​1401.
風 ​163.
fuchi (ROKU), 891.
510
II. ALPHABETICAL INDEX OF CHARACTERS.
fuda (SATSU), ‡L 197; (Bo),
簿​857;(CHō),牒​1197;
(HAI), 1445; (HYO)
HH H
2202.
fude (HITSU), 476.
FUN (magireru), 10.10.
funabata (GEN),
G
FUN (Isuka),
墳
​2161.
舷
​1857.
2034;
fune (SO),
640; (SEN),
GA (KA), 1851.
GA (iwau), 1138.
伽
​賀
​舷
​641.
Ga (kiba),
牙​1781.
fureru (SHOKU), 2379.
1460; (TOKU),
(Jò),帖
​筆
​龠
​fue, page 126; (TEKI),
furu (KO),
笛 ​2335.
furui (KO),
fueru (SHOKU), 2052.
fuji (Tō),
藤​1184.
fukai (SHIN),1003.
更
​fukeru (Kō), 581.
FUKU,
AR 344.
FUKU (fusu), it' 455.
FUKU (haba),
FUKU (hara),
FUKU (kaeru),
幅
​1660.
腹 ​996.
FUKU (kulsugaeru), † 822.
FUKU (saiwai), 618.
復 ​1397.
覆
​福
​fuku (SHU),
茸 ​1632.
副​1636.
fuku (SUI),
179.
1940.
fukureru (Bo),
膨
​1770.
FUKU (soeru), 1636.
fukumu (GAN),
fulcuro (TA1), 1027; (NO),
囊 ​1757.
文
​fumi (BUN), 91, and p.
178; (J5), #:357; (SEKI),
(CAN),翰 ​2068.
1979; (KAN), 2050;
麓
​fumoto (ROKU), 1411.
fumu (Tō), 967.
FUN (furuu), 2169.
FUN, 2057.
責​ㄨ​ㄢ
​奮
​貲
​1519.
憤
​FUN (haku),
'
FUN (ikidōru), 991.
粉​1571.
FUN (ko), 1571.
芬
​FUN (kōbashii), 1664.
180.
156; (kYÜ),
(or) 812.
furuu (SHIN), 1065;
揮
​(SHIN), 1028; (KI), #
(SHIN),震​1
1575; (FUN), 2169.
fusa (so), (or) 1296;
房 ​1297.
(Bō), 1
fusagu (SOKU),
1691.
fusegu (Bō), 1292; (avo),
禦​1941.
節
​fushi (SETSU), 9:33.
FUSHIN, 普請 ​page 398.
fusu (FURU), †† 455; (gwa),
臥​(or卧​) 1961.
fulu (GAI),
(or *
ΟΙ
盖​) 1782.
futa-tabi (s11), ✈ 724.
futatsu (NI), 2; (RYÖ),
(or) 145; (NI),
GA (me), 2367.
芽​口
​GA (miyabiyaka), 2462.
俄​1897.
GA (niwaka), 1897.
(noru),駕
​GA (noru),
駕 ​702.
餓
​GA (ueru), 2474.
GA (ware),
我​242.
gaenzuru (¤ō), 2356.
肯​。
豈
​蓋​(or
GAI (ani), 828.
GAI (futa),蓋 ​(or 盎
​盖​) 1782.
崖
​ΟΙ
GAN (kishi), ✈ 1777.
岸
​GAN (manako), 612.
GAN (nise),
2412.
贗
​gara (HEI),
907.
下
​$907.
GE (shita), 26, and p. 118.
GEI (kago), 1950.
麑
​GEI (kujira), 704.
GEI (mulcaeru),
迎​1646.
GEI (waza), 1135.
藝
​劇 ​1561.
GEKI (hageshii),
GEKI (hageshii), 激 ​15
1591.
隙
​GEKI (sukima), 2461.
擊 ​2:
GEKI (utsu), 2260.
GEN (arawareru),
605.
GEN (funabata), 1857.
GEN (hara), № 737.
GAI (galce), 924.
原ヶ
​GEN (hau), 1016.
GAI (i), 1012.
变
​涯
​GAI (kishi), DE 923.
GAI (nagelu),
GAI (odoroku),
慨 ​1912.
2479.
概
​GAI (ōmune), 927.
#1
GAI (Solconau), 1389.
GAI (Sono), 該 ​1925.
崖​。
gale (GAI), 924.
GAKU,樂 ​419.
GAKU,
額 ​1396.
貳 ​雙
​#
187; (so), (or
GAKU (manabu), (or)
815.
futoi (TAI), 531.
太
​懷
​FUTON,
蒲團
​futokoro (KWAI), 1773.
page 398.
FUTSU (arazu),
1974.
FUTSU (France),
297, and
page 106.
FUTSU (harau),
排​1975.
FUTSU (waku),
沸
​1831.
fuyu (Tō), † 169.
1975.
GAKU (odoroku), 2228.
GAKU (take), 1255;
2198.
210.
愕
​嶽
​蒲
​1980.
含
​岩
​yama (10),
GAN (fulcumu), 1940.
GAN (iwa), ✈ 552.
GAN (iwao),
巖 ​1359.
顔
​GAN (kao), 981.
ME
岳
​GAN (Kari), (or)
736.
GEN (herasu),(or)
328.
(EN (hilo), ✈ 1382.
GEN (kagiri),
彥
​限 ​934.
嚴
​234.
GEN (Icotowaza),
諺
​2398.
GEN (kibishii), 1360.
GEN (kotoba),
GEN (kuroi), 玄 ​1273.
GEN (maboroshi),
幻 ​1967.
源​12
元
​GEN (minamoto),
GEN (moto),
260.
1342.
咳​1769.
GEN (tsubuyaku), 1769.
GETSU (tsuki), 16.
月
​蟻
​GI (ari), 2025.
GI (asobi-me),
GI (halcaru),
2171.
371.
妓​2171.
議
​偽
​儀
​GI (itsuwari),
1082.
GI (magireru), 1458.
«I (nori), 459.
GI (tawamureru), 1958.
GI (ulagau),
784.
II. ALPHABETICAL INDEX OF CHARACTERS.
511
}
GI (waza), ₺ 1539.
技
​GI (yoroshii), — 9
949.
GI (yoshi),
義 ​323.
誼 ​1875.
GI (yoshimi), 18
GIN (shirokane), 680.
吟
​GIN (utau), 1056.
Go (ayamaru), 2391.
£25.
GO (itsutsu), £ 5.
ov (tsumuji-kaze), № 846.
GŨ ((n), 遇 ​1224.
GŪ
隅
​GO (Sumi), 1641.
av (tama-tama), № 1868.
Gʊ (yadoru), 2188.
GUN (ikusa), E 429.
IIA (osoreru),
帕
​1989.
ha (SHI), (or) 867.
頗
​IIA (sukoburu), KA 1492.
HA (tomoe), ₪ 1266.
破​1217.
IIA (yaburu), 1217.
ha (vō), #645.
GUN (mure), (or) habakaru (TAN), 2070.
蠅
​lư«i (xã), ki 1962.
haifuki,2141.
haji (CHI),
5
(or L) 1597.
hajiku (DAN), 1930.
hajime (sпo), † 334; (Ho),
甫​461;(M),孟​539;
始​1
(SIII), 1075.
haka (BO), 1023.
墓
​GUN (kcōri), 675.
郡
​軍​429.
₺
haba (FUKU), 1660.
群​(or 羣​)
803.
habilcoru (MAN), 蔓
​2368.
1842.
GWA (egaku),
畫​(or 画 ​or
(or H。
HACHI,
鉢​2447.
Go (kotoba), 235, and
Page 124.
語
​畫​)1836.
hachi (Hō), 1436.
蜂
​page 391.
HACHI (yatsu),
8.
GO (KI), (or
碁​(基​or棋​)
Go (Kure), 952, and page
395.
GO (mamoru), 1553.
御
​GO (ON), 121.
GWA (fusu), (or E)
GWAI (Soto), 149.
hada (KI), AL 2355.
膚​:
hadae (FV), 2362.
hadaka (RA), # (or)
1961.
gwa (kawara),
尾​778.
#1
GWAN (marui),
GWAN (negau),
丸 ​1326.
願
​839.
互​713.
GYAKU (sakarau),
逆​2430.
2430.
GYAKU (shietageru),
虐​817.
817.
GYO (fusegu),
禦
​1941.
悟
​Go (satoru), 486.
GO (tagai ni),
午
​GO (uma), ✈ 730.
ao (ushiro),
後
​151.
Go (ware),#241, and page
123.
號​(or号​)293-4.
Gò 號
​Gō (au),207.
aō (hori),(or) 1319.
Gō (kamabisushii), † 1116.
毫
​Gō (Ice), £769.
Gō (kowai), 2063.
豪
​Gō (sugureru), 1811.
Gō (todoroku),880.
GOKU (hitoya),
1303.
GYO (osameru), 121;
(GYO), 2476.
hagane (Kō),
hagemasu (BEI),
2453.
1725.
hageshii (RETSU), 597;
(GEKI),
劇
​激 ​1591.
1561; (GEKI),
1276.
剝​2125.
hagi (SHV),
GYO (sunadoru), (1845.
hagu (HAKU),
魚​97.
haha (BO),
HAI,
俳 ​1557.
GYO (uvo), $97.
GYō (akatsuki), 1425.
GYō (aogu), 1IP 972.
Gyō (koru), 2114.
行​工
​GYō (okonai), 117.
GYō (waza), #128.
page 399.
✈ 112.
HAI, 肺 ​2357.
牌
​2125.
HAI (fuda), H 1445.
HAI (hiraku), 1598.
hai (KWAI),2303.
排
​HAI (kubaru),
678.
GYOKU (tama), E 172, and
1256.
HAI (obiru),
佩 ​2092.
GYʊ (ushi), ✈ 57.
牛
​HAI (ogamu),
571.
H
GU (hakaru),
1452.
Gu (oroka),
1703.
HA (maku), 1295.
au (sonaeru), — 721.
GU (tomo), 1234.
GOKU (kiuamete), 1069.
gotoshi (30), ✈ 39.
goto (MAI), 247.
HA (minamata), D★ 368.
HA (nami),
波
​1131.
HAI (salcazulci),788.
HAI (sakazuki), ★ 1583.
HAI (se), 1659.
背
​廢
​HAI (sutaru), 1719.
HAI (tomogara), † 1873.
HAI (yabureru), 1584.
袴
​hakama (KO), 1455.
果敢なき
​hakanaki, ***
hakari-goto (Bō),
(KWAKU),
1593;
(or o
or
畫​) 1836; (NAKTr),策
​畫​)1836;
1882.
hakaru (KEI), 136; (GI),
議​371; (TO),斗​754;
(RYŪ),料​755; (SEN),詮
​1010; (zu), 圖
​1055; (GU),
虞 ​1452; (KWA),課
​1538; (Yò), 量 ​1871;
測​1883.
(SOKU), 1883.
箱
​hako (sõ), 628; (KAN),
2117.
運
​hakobu (UN), E 669; (sō),
漕 ​1800.
HAKU,
伯 ​456.
剝
​HAKU (hagu), 2125.
HAKU (hiroi), 731.
博
​HAKU (kashiwa), †₺ 2079.
舶​(
HAKU (õbune), 642.
HAKU (semaru), (or)
1607.
HAKU (shiroi), È 177.
HAKU (tamashii), 1071.
haku (TO), PŁ 1068; (õ),
嘔
​BX
1308; (5), 1309; (FUN),
貲​1519.
512
II. ALPHABETICAL INDEX OF CHARACTERS.
hane (v), JJ 407.
羽
​薄
​hara (FUKU),
7874.
HAKU (tomaru), 874.
HAKU (µsui), 1762.
早
​hayai (sõ), ♬ 950; (BIN),
1098; (SHUN),
996.
HAKU (utSU), 1994.
搏
​hara (GEN),
原
​737.
1122.
HAKU (utsu), 2239.
拍
​hama (HIN), 384.
濱
​harabau (HO), 462.
haramu (NIN), 2177;
hayashi (RIN),
423.
hazu (KWATSU),
1880.
hamberu (JI), 侍
​1644.
(SHIN),
2178; (xō),
hazulcashimeru (JOKU),
HAN,
版 ​776.
孕 ​2184.
2426.
HAN,
番 ​2371.
harau
(sō),掃 ​1375;
hebi (JA), E 2373.
HAN (aze), 2003.
畔
​幡 ​1294.
攘​2264.
hareru (SEI),
晴 ​1073.
HEI,
IIAN (hata),
HAN (hisagu), 1469.
HAN (40), L (or PL) 2202.
IIAN (ita),
板 ​439.
反
​HIAN (Icaeru), ★ 347.
HIAN (madara), H 2266.
HAN (meshi), 1322.
飯
​半
​IIAN (nakaba), ✈ 50.
範
​(nori),重
​HAN (nori), 1347.
犯
​HAN (okasu), * 2310.
坂 ​(or)
HAN (saka), (or 1)
899.
IIAN (Sara), 1142.
HAN (shigeru), ***925.
HAN (Somulcu),
繁
​粄 ​2133.
HAN (tabi),
般 ​1486.
HAN (tomonau), 1340.
伴
​判
​攀
​花
​HAN (walcatsu), 1115.
K2306.
HAN (wazurawasu), 2306.
HIAN (yojiru), 2262.
(FUTSU), 1975; (Jõ),
HARI, 玻璃​1733-4.
hedataru («Yo), # 1572;
隔
​(KAKU), 2460.
丙​203.
HEI (e or gara),
柄​907.
HEI (hodobashiru), ✈ 2429.
hari (SHIN), 1918.
針
​haru (CHO), 349.
張
​HEI (kabe),
2158.
haru (CHō),
1248.
HEI (kalusu),
蔽
​春
​166.
haru (SHUN),
haruka (vo), 1758; (xō),
遥​1804; (SHō),道​2431.
hasami (KYŌ), 1789.
hasamu (KYO), 1790.
挾
​haseru (CHI), E 1548;
(KYU), HE 1549.
橋
​hashi (KYō), 1271.
hashi (TAN),
794.
hashigo (TE),
梯
​1268.
hashira (CHO), 1567.
hashiru (sv), 1426;
(HON), 2167.
奔
​蓮
​hasu (REN), 1149.
幡
​hana (KWA), 55; hata (HAN), 1294; (KI),
1269.
hanahada (JIN), # 781;
(KOKU), 1606.
離 ​1735.
2149.
hanareru (RI),
hanashi, 2
hanasu (wa), 657 ; (DAN),
談​888; (TOTSU),咄 ​903.
hanatsu (115), ✯ 1570.
旗 ​2015.
將​:
hata (S1ō), ✈ 744.
natago, 旅籠 ​pnge 391.
hatake, (or)883.
halo (KYD), 2078.
HATSU,
HEI (kame),
1203.
籠​779.
779.
HEI (kizahashi), 陛​】 1617.
並​,幷​,弁​,
HEI (mochi), 1699.
簖​工
​HEI
(narabu), *,Ħ‚ Ï
孟​747.
HEI (NUSA),
幣​工
​1422.
併​1107.
HEI (shikashi), 1107.
HEI (shirizokeru), 屏 ​2194.
HEI (laira), † 392.
平
​IIEI
閉
​HEI (tojiru), 225.
聘
​HEI (tou), 2352.
坪
​HEI (tsubo), 1847.
HEI ({suwamono), # 341.
弊​(or敝​)
HEI (yabureru), * (or *)
1130.
HEKI (higamu), 1465.
11.
壁 ​1467.
IIEKI (kabe),
癬​1468.
1468.
2044.
HEMPUKU (komori),
篇
​HEN (amu),
501.
編
​HEN (AMU),
502.
HEN (hitoe ni),503, and
page 126.
邊​(or
HEN (hotori), (or)
1333.
變
​HEN (kaeru), **** 373.
HEN (Icaeru), Ž 353.
片
​HEN (Icata), ✈ 108.
騙
​HEN (katari), 985.
herasu (GEN), 328.
譙
​heri-kudaru (KEN), 1343.
heru (REKI), 763; (KEI),
經​(or経​) 964.
hetsurau (TEN), 2392.
#77.
HI (arazu), ✈ 77.
斐
​HI (aya), 1278.
HI (hina), 2438.
鄙
​HI (hiraku),
披
​2240.
HI (hisashi),
1881.
HI (hisoka),
2328.
HI (ina),
914.
hi (JITSU), ✡ 15.
HI (Icanashimu),1227.
被
​HI (Icare), 492.
HI (kawa), 491.
HI (leisalei), K 2170.
HI (koeru), AL 6 636.
HI (kcōmuru),493.
II (koshimoto), 2180.
HI (kuraberu), IL 946.
hi (KWA), K 42.
HI (saji), ₺ 1966.
HI (salceru), ✈ 1466.
(soshiru), 2393.
HEKI (Icuse),
HEKI (tama),
璧
​鳩​2078.
發 ​335.
蝙蝠
​HI
譬
​通
​lưu (GEN), RỄ 1016.
扉
​HATSU (kami),139.
1760-1.
遍​(or褊​)
HI (tatoeru), 1104.
HEN (amanelcu), (or) hi (TO), 1328.
1145.
/
HI (tobira), 2237.
II. ALPHABETICAL INDEX OF CHARACTERS.
513
६
HI (tobu),
111 (lsuiyasu), † 660.
飛
​1168.
費
​HI (tsukareru), 1414.
疲
​批
​HI (yameru), 1080.
響
​HI (utsu), t 1489.
罷工
​hibiki (KYŌ), 1506.
hidari (SA), † 120.
hideri (KAN), 1128.
HIN (mesu), 1356.
HIN (mazushii), 1503.
貧​:
牝
​hitoshii (SEI), 415; (KIN),
均​2154.
齊​4
hitotsu (ICHI),
1; 壹
​;壹
​份​(HYò),
Hō (kuni),
邦
​1186.
Hō (kuzureru), 1528.
li (KYó),頰​2169.
品 ​86.
186.
Hō (mine),
HIIN (shikiri),2471.
HIN (shina),
鄙​2438.
雛
​hing (HI), 2438.
hina (1:0), 2464.
hiraku (KA1), 226; (TAKU),
拓​1493;(LI),排​1598;
TỔ 1635; (H1), Đ
旱​工
​僻​1465.
(KEI), 1635; (HI),
higashi (Tō), ★ 51.
東
​2210.
higamu (HEKI), 1465.
hiideru (SAV), 4622; (E1), hirogeru (KWAKU),2265.
英 ​385.
hiiki, † † 878-9.
1878-9.
hiroi (Kō), 351; (HAKU),
731; ( (BAKU),
博 ​731;
1337.
聖
​hiiragi (SHO),
hijiri (SEI), 1311.
hikaeru (Kō), †¤ 2239; (kō),
717.
1024; (KI),熙 ​1623;
(EWAN),寬
​(KWAN), 2189.
hiromeru (Kō),
hirou (JŪ), 拾 ​189.
hiloya (GOKU), 1:
1256.
筆
​HITSU (fude), ¥476.
HITSU (kanarazu),
必 ​336.
HITSU (Qvaru), 1655.
畢
​hitsugi (KWAN), 42061.
羊
​hitsuji (xō), 891.
泠​513.
hiyryaka (REI), 513.
膝
​hiza (SAITSU), 2361.
HO («yumu), ✈ 397,
漠
​hizume (TEI),
蹄
​1840.
步
​397, and
蒲
​晝​(or 昼​)
hirugaeru (HON), (or
page 118.
HO (yama), 1989).
HO (hajime), ✈ 461.
HỌ (lor),
Ho (mise),465.
HO
弘
​1193.
控 ​2251.
hikaru (Kō),
光​717.
hiru (CHO), (or ho (HAN), (or PL) 2202.
pl
L
匍 ​462.
HIKI,
疋​783.
1417.
HIKI,
匹​1931.
卒
​翻​) 2037.
(SUI), 1972; (SOTSU),
hisayi (SHU), 1336.
補 ​466.
穗
​率 ​2315.
彦
​hiliiru (SOTSU), 342;
hilco (GEN), -1382.
hiku (IN), | 236; (WAN),
**
引
​曳
​1172; (EI), 1501;
(JA), 1523; (DAN), 5
1930; (KEN),牽 ​2018;
(BAN),挽​2248.
hikui (TEI), († 1097; (wai),
矮​1718.
hima (KA), 1007; (KAN),
間 ​227;(EAN),閑 ​1903;
(KAN), 閒 ​1910.
hisagu (HAN), ✈ 1469.
庇
​hisashi (HI), 1881.
hisashii (KYŪ), A 258.
HO (oginau),
ho (SUI), 2332.
HO (lasukeru), 467.
捕
​пo (loraeru), 463.
no
110 (ura), 461.
浦​:
hishimeku (or) 1918.
по,
鳳 ​1189.
hisoka (SETSU), 626;
(MITSU), 1362; (HI),
秘​2328.
hisomu (SEN), (or)
***(or
1848.
hitae (sō), † 1996.
顙
​hitasu (SHIN), & 1521.
只管
​hitasura, page 391.
hito (JIN), ▲ 23.
nō (aku), 飽 ​1826.
逢​1187.
Hō (an), 1187.
nõ (awa),1832.
堡
​Hō (dte), 1927.
*
蜂
​¤ō (hachi), 1436.
Hō (hanatsu), ✯1570.
褒
​Hō (homeru), 1838.
抱
​Hō (kakaeru), 1187.
Hō (kata), ✈ 259.
¤ō (kata-gata), ✈ 477.
hime (KI), HE 1407.
himo (CHO), 1317.
紐
​hitve (TAN), 1604.
單
​濱
​hitoe ni (HEN),
503.
Hō (kissaki), 1437.
賔
​1509.
hitori (DOKU),
387.
Hō (kōbashii), 1339.
鋒
​芳​:
HIN (hama), 381.
HIN (marōdo),
(or) 872.
Hō (mukuyuru), #351
烹
​Hō (niru), №³n 1814.
Hō (uori),379.
烽
​Hō (wroshi), 1138.
縫
​Hō (wau), 1179.
砲
​Hō (özutsu), B₺ 164).
HÔ (poulo), ‡ 1977 and
page 394.
剖
​磅
​11ō (saku), 2122.
Hō (sasageru), #1
1651.
uō (soshiru), 2394.
寶
​Hō (takara), (or)
1185.
VÀ 2093.
Hō (lama-mono), 俸
​Hô
保 ​10.
Hō (lam tsu), 1059.
¤ō (tana), 1700.
奉​2
Hō (tatematsuru), ★ 251.
Hō (lazuneru), 2382.
нō (tomo). 1188.
朋
​Hō (tsutsumu), ₺ 726.
Hō (yomoyi), ✈ 1813.
豐​(or 豊​)
Hō (yutaka), (or )
829.
hobo (RYAKU), (or X)
273.
程​217.
hodo (TEI), 217.
途
​hodobashiru (HEI), 2429.
hodskosu (SHI), A 760.
hoeru (BEI), 21:37.
hofuru (TO),
hogaraka (RO),
2195.
朗
​2273.
hoka (GWAI), * 1
119; (TA),
他​230.
hōki (sō), 896.
514
II. ALPHABETICAL INDEX OF CHARACTERS.
hoko (KWA), ✈ 567.
hokori (A1), 埃 ​1314
hokorobu (TAN), 1
誇​1
1501.
hokoru (KO),1153.
北
​HOKU (kila), № 51.
譽
​homeru (vo), 658; (SAN),
讚 ​128); (SAN),贊 ​1610;
(SHō), 1650; (shō),
賞 ​1688; (Hó),褒 ​1838.
葬
​hōmuru (sō), 1433.
奔
​HYAKU,
百工
​11.
HYō (fuda), 票
​1 (tsunagu),
1460.
HYō (kōri), ✈ 59.
表
​HYō (omote), ✈ 653.
HYō (sadameru), F 1111.
HYō (shirushi), 1459.
Hyō (lawara), 2098.
俵
​I
HON (hashiru), 2167. ‚† (or E) 679.
1,
HON (hirugaeru), (or 1, 1693.
翻​) 20:37.
HON (moto), ✯ (or #) 19.
hone (KOTSU),849.
焔
​honō (EN), (or)
1585;炎 ​1586.
honoka (SOKU), Ď 2
I,
矣
​1999.
1.尉 ​2190.
I,
P2150.
I (««), 2150.
違
​1 (chigau), 936.
1 (ebisu), † 533.
i (GAI), 1012.
1893.
1 (utsuru), 975.
易
​1 (y«sui), E (E).
(01),依
​999.
1 (yoru), 1091.
1 (yudaneru), 1624.
ibara (so),
楚
​1151.
ICHI (hitotsu),
186.
市
​ichi (841), 715.
1: 壹
​1;
(CHO), 著
​ichijirushii (cno), 411.
idahu (KWAI),
懷 ​1773.
idumu (CHO), 2212.
挑​2242.
家
​ie (KA), 134; (SHA),
宅
​引
​IN (hiku), 3 | 236.
IN (kage), €87.
隱り
​IN (kakureru), 911.
IN (kuzu), 1574.
員
​IN (midareru), (or)
1920.
IN (nomu), BR 1:
158.
IN (shirushi), Ɇ 732.
IN (lane),
胤 ​1348.
IN (yoru),
igata (Mo),
1022.
¡¡ (HAN),
1322.
ikan (NA),
1139.
ikari (BYō),
2154.
禱 ​2077.
2011.
hora (Tō), 18:39.
洞
​濠
​hori (GO), (or) 1319.
horobiru
t
(BŌ),
(METSU), 滅 ​1475.
horu (chō), № 751; (KUTSU),
堀​1321; (KUTSU),掘
​2250.
1321; (KUTSU),
hoshi (SEI), ₤1322.
(SHI), #1431;
I (in),
謂
​1919.
468; (TAKU), 14233.
icdomo, 205.
1 (kakonu), (or Hikaru (vo),990.
ike (CHI), 1230.
域
​ikidōru (FUN), 憤 ​()
ikiru (KWATSU),
991.
ikou (KEI), 1648.
否
​995.
ina (11), 914.
電
​inabikari (DEN), 318.
inaka, 田舍
​Tinaka,
483;
1846.
1 (kokoro-base), 563.
IKI (sakai), 2000.
1 (Icore), # 896.
ik i (SOKU), 980.
息り
​1 (koromo),
1
I (kotonaru), 219, and
Page 126,
343.
†
ikioi (SEI),519.
勢
​活
​1745.
1 (kurai),
487.
愆
​I (molle), 64,
YX
慰
​hosoi (sax), K 633.
1 (nasu),
72.
欲​588.
1 (nokosu),
遺
​1051.
偉
​hoshii-mama (s111), 1431;
(JŪ),
縱
​1955.
hosodano (15), № 2:208.
hossuru (YOKU),
hotaru (KEI), 螢
​KB 650.
1 (nagusameru), 1011.
1 (odosu), 2002.
hotoke (BUTSU), (or A) 1 (ōi naru), 1621.
297.
holondo (TAI),
766.
(õi
1 (omou), HE 2224.
1 (osoreru), 608.
畏
​井
​hotori (HEN), (or) i (SEI), ✈ 403.
1333.
hotologisu, 時​鳥 ​mge 391.
hototogisu,1
1 (tada), E 1686.
I (taqui),
¥ 1
iku (KI), 358.
IKU (yashinau), † 637.
育
​軍
​ilusa (GUN), 429.
今​な
​ima (KIN), 71.
未
​imada (M1), ★ 359.
imashimeru (KEI), B9
戒
​(KA1), 443; (KA1),
2389.
妹
​imōto (MAI), 2173.
忌
​imu (KI), 2218.
1742.
IN,
院
​B1301.
969;
inaka, page 391.
稻​1
ine (Tō), 1301; (KWA),
11.1.
禾
​命​522.
inochi (MEI), 522.
inoko (SHI), † 436.
inora (KI), ††† 2076; (Tō)
猪​2312.
inoshishi (CHO), 2312.
inu (KEN), † 460; (KU),
狗 ​1713.
庵​2206.
iori (AN), A 2206.
ireru (NYū), A 107; (Y6),
容
​1199.
iri-umi (WAN),
1173.
色
​(or
5)
iro (SHOKU), 175.
2213.
irodoru (SAI), $2
居
​iru (KYO), 238.
iru (SEN), № 2307.
射
​iru (SHA), 743.
鑄
​iru (Tō), 2011.
isagiyoi (SETSU), 1030;
(KETSU), 1633.
潔
​諫
​isameru (KAN), 2395.
isamu (rð),
勇 ​450.
isaoshi (KUN), № 1666.
II. ALPHABETICAL INDEX OF CHARACTERS.
515
isasaka (RYō), HP 809; (sa),
些 ​187.2.
ishi (SEKI), Jū 173.
磯
​iso (KI), 1533.
忙
​isogashii (Bō), 873.
TSU, 椅子 ​1934.
賀
​(GA), 1138.
窟
​inagura, 1919.
似
​JT (niru), 976.
JI (osamaru), 治 ​18.
31 (tanomu), †2220.
JI (toki), 135.
51 (lsugu), B 67.
22:298.
iwao (GAN),
巖 ​1359.
iwan (SHUKU), 1089;
JI (shikō shite),
而
​992.
iraya (KUTSU), 1578.
所謂
​恃​22211.
JI (tera), 469.
寺
​isogu (KY), 1041; (sõ),
iyashii (SEN), 1879; (rõ),
時​:
匆 ​(or)2049.
iyashiku mo (Kō), 1866.
陋 ​1901; (HI),鄙​2438.
苟
​JI (urnou),
ita (IIAN), 439.
板​4
iyasu (RYŌ),
療 ​611.
JIKU,
軸 ​1246.
itadaki (CHō), T 2083;
頂
​iyo-iyo (M1), 51005; (vt),
JIN,
←489.
愈 ​1550.
JIN,
陣 ​1812.
izanau (x0),
誘 ​2058.
itamu (TSV), 610; (síō),
izumi (SEN),
泉 ​594.
傷​1
izurė (JUKU), 541.
JIN (hito),
JIN (mama),
儘 ​512.
達​672;(Tò),到​516.
J
JIN (lazuneru), 20
尋
​208.
itasu (cm), 76; (sv),
輸 ​2423.
Ja (hebi), ✯ 2373.
惹​】
(TEN),
巔 ​2199.
itadaku (TAI), 2084.
1530; (ró),悼​2226.
it eru (SHI), 至 ​75;(TATSU),
itazura ni (TO), DĚ 1152.
(or絲​)
ito (SHI),(or) 416-7.
itouchi (CHO), H 1892.
幼
​itokenai (xō), 1968.
itoma (KA), H 1007.
itonamu (EI),
營 ​127.
itou (EN), 2075.
ITSU («fureru), A 1520.
溢​】
ITSU (nogareru), ✯ 1313.
ilsu zo ya, 日​外
​itsukushimu (AI),
(41), hithe
(J1),慈​1368.
✩ page 391.
itsutsu (go),
FL5.
1286;
itsuwari (G1). † 1082; (sa),
詐 ​1218;(xū),佯 ​2094.
言
​in (GEN), ₺ 234; (UN), Ā
291;(I),謂​1919.
岩
​iwa (GAN), ✈ 552.
iwaku, ✡ 579.
iwan ya (KYō), L 714.
JA (hiku), ₺ 1523.
JA (yokoshima), ✈ 2009.
准
​JAKU (Suzume), 1807.
JAKU (wakai), 若 ​326.
J1 (azana),
JIN (ch'ri), 塵 ​1315.
甚
​JIN (hanahada), #781.
▲ 23, and p. 118.
JIN (loshi), 2427.
迅
​JIN (tsukusu),
1525.
JIN (yaiba),
JITSU (hi),
518.
(or A)
(or)
刃
​E
*(or
15.
JITSU (mukoto), (or)
930.
ku 39.
JAKU (yowai),
37
749.
92, and page
Jo (goloski),
Jo (noberu),
叙​739.
J1 (chiyo), (or)718.
除
​399.
JI (e),餌 ​1855.
11 (hamberu), †† 1644.
11 (itsukushimu), 1368.
兹
​JI (koko ni),
JI (40:0), † 90.
事​。
1739.
11 (kotoba), ✩ (or #
辞 ​or
辭​) 812.
JI (maku),
蒔​1856.
耳
​J1 (mimi), 35.
J1 (mizukara), Ĥ 63.
J1 (motsu), †††470.
JI
J1 (nanji),
爾 ​1129.
Jo (nozoku), 1376.
Jo (omomuro), 徐​工
​1026.
Jo (mma), 28, and p. 116.
鋤
​Jo (suki), 2451.
30 (tasukeru), 助 ​4-49.
序
​10 (tsuide), † 558.
恕
​30 (jurusu), 2221.
Jò,錠​8
889.
Jō (amaru), 剩
​1676.
jū (t),場​(or場​)272.
sõ (fuda), № 2202.
帖
​Jo (kamosu), 2445.
so (katachi), #357.
淨
​sõ (kiyoi), 2293.
3õ (midareru), † 1522.
Jõ (
(musu),
蒸 ​1793.
娘​(or 孃​)
tō (musume), ✯ (or
Jõ
1204.
Jō (nasake),
情
​565.
Jō (narca), 2347.
乘
​Jō (noru), 278.
Jō (nusumu), #22
2264.
城
​Jō (shire), 526.
條​(or条​)586.
Jõ (suji), 14 (or) 586.
sõ (take), £707.
sō (tat.ɩmi), 疊
​1198.
Jō (tsuchi), 1722.
杖
​Jõ (tsue), ✯ 1503.
jō (tsune),
常
​209.
sõ (µe), Ł 24, and p. 118.
333
35 (yotte), 2088.
Jõ
Jō (yuzuru),
讓 ​1723.
串​戱
​jodan, page 391.
JOKU (hazukashimeru),
JU,
2426.
儒
​1728.
樹
​Ju (ki), 1712.
J (kotobuki), $530).
需
​JV (motomeru), 1463.
PR
辱
​JU (norou), (or)
1088.
JV (nureru),
濡 ​2301.
JV (sazukeru),
JV (late), 竪 ​793.
受
​JU (ukeru), 193.
1
1653.
獸 ​600.
30 (Kedamono), GOO,
充
​30 (michiru), 2110.
JŪ (momu), 1674.
揉​!!
JÚ (omoi), ₤ 984.
30 (shiru), †† 2281.
561.
30 (shitayan), 51
516
II. ALPHABETICAL INDEX OF CHARACTERS.
景​1392;(EI),影 ​2214.
kagiri (GEN),
FR 934; (GAT),
№E 923; (KYō), 1973.
kayo (GEI), ✈ 1950.
KA (kasumi),
KA (kawa), 1123.
河
​拾
​KA (KO), (or) 270;
个​1159.
乎
​ka (KO), ✈ 1127; (YA), IF
Jū (sumu), £ 237.
30 (late), KĚ 1955.
30 (t),†10;189.
JŪ
就
​Jū (tsuku), ù 303.
Jū (tsutsu), ₺2449.
aŭ (yawarakai), #1064.
2008.
2466,
kage (IN), 1687; (KEI),
個​(or箇​)
涯​923;(KYū),
疆
​耶
​麑
​kayo (RO), 1419.
塾 ​2081.
JUKU,
熟 ​20
孰​541.
KA (kuwaeru), Ž№ 327.
夏
​KAI,
械
​442.
KAI (aratameru),
改
​398.
kai (BAI),
408.
KAI (hiraku),
BA
226.
589.
刈
​JUKU,
2082.
JUKU (izure), 541.
JUN,
旬​578.
涧
​JUN (makoto), 淘 ​1619.
JUN (meguru), 3. 1569.
JUN (moppara), HL 2339.
KA (natsu), ✈ 167.
KA (ni),114.
KA (shita), F.26
KA
(uta), № 5.
佳
​KA (yoi), ₺ 1450.
KA (yome), 1:
1201.
JUN (nazoraeru), (or kabayaki, 1989.
KAI (imushimeru), 443;
誡 ​2389.
KAI (karu), X¹] 2118.
KAI (kizahashi), 階 ​1559.
KAI (mina), † 306.
楷
​JUN (nareru), H)|| 2477.
準​(or
KA (yomi suru), 嘉
​蒲​燒
​1852.
皆
​準​) 1902.
JUN (shitagau), M 696.
順
​krabe (HEKI), 1467; (HEI),
KAI (nori), 2035.
JUN (shitagan), 1990.
遵
​JUN (shitagau), D 2216.
閏
​JUN (urū), 2458.
准
​JUN (yurusu), ŽE 2113.
JUTSU (awaremu), B2222.
JUTSU (noberu),
述
​術
​1483.
JUTSU (ledate), # 1730.
K
屏 ​2158.
kabu (CHU), 株 ​12:35.
luluto (To), 5 1387 ; (CHỦ),
冑 ​1694.
兜 ​52% ;
kachi (TO), BE 1
1152.
角
​kado (KAKU), 825.
kado (MON), 222.
kado (REN), 廡 ​1216.
laede (10),
楓
​1401.
kaeri-miru (suō), 338;
(Ko),顧 ​1461.
KA,
1385.
價
​KA (atae), 315.
kaeru (HAN), Á 347;
ka (BUN). K2
(HEN), 373; (EKI),
REK
界​に
​KAI (sakai), C07.
堺
​KAI (sakai), ✈ 1298.
KAI (tasukeru), kr. 2048.
觧​)
KAI (loku), (or #)
826.
#59
KAI (umi), 591.
蠶
​kaiko (SAN), 2374.
買​人
​kaite, page 391.
kakaeru (11ō), † 1487.
kakaru (XWAI), # 199;
kukayeru (KEI),
2252.
掛
​罹​8
懸
​(RI), 800; (KEN).
1052; (RUI),累​2341.
373; (EKI), kakaru (sa), 2489.
復
​拘
​999; (FURU), 1397;
(TAI),
替​350; (HEN),
返​353;
KA (beshi), 106.
可
​2372.
だい
​KA (ebi),
蝦
​2042,
榎​]
伽
​家
​暇 ​1007.
KA (enoki), 1334.
KA (GA),
EA (¡e),
KA (iloma),
1851.
134, and p. 119.
Ka (Juri),假 ​355.
KA (kasegu),
稼
​2331,
;
(DA), 1479; (KWAN),
換 ​2253.
B7
kaeru (KI), 764; (KWAN),
16
1656; (KI),
1.鏡
​皈​2:320.
kagami (xyō), * €81.
屈
​kayamu (KUTSU), B 2193.
輝 ​1813.
kayayaku (K1), XE
kakawaru (Kō), † 1502;
係
​(KEI), 1667.
kake (TO), 2410,
賭​2410,
欠​587.
kakeru (KEN),
kakeru (KETSU),
IK 796.
kaki (EN), ‡½ 2156.
(SHI), 柿
​kaki (811), 1631.
牆
​kaline (80), 775.
kukonau (1), (or
圞​(or 囲​)
1846.
KAKU (heateru), 2460.
KAKU (nameshi-gara), *
692.
各
​KAKU (ONO-ONO), 231.
覺
​KAKU (satoru), 824.
KAKU (shilai), I 1396.
kaku (SHO), † 94.
額
​書​。
搔​1787.
格​:
983.
298.
kaku (85), 1787.
KAKU (ladasu),
KAKU (taka-dono),
KAKU (†sukamu), 1675.
KAKU (tsuno),
角 ​825.
鶴
​KAKU (tsuru), 706.
kaku no gotoshi, kot
39-40.
kakureru (IN),
隱​。
944.
kakusu (TOKU), 728;
(HEI),蔽 ​1203.
kama (FU), 釜 ​682.
kama (KEN),2455.
kumbisushii (GO),
囂
​1116;
(KEN), 2145; (KWA),
嘩 ​2146.
kamae (Kō),
507.
瓶​779;
kame (HEI), PE 779; (ru),
缶​795.
kame (K1), (or 870.
龜​(or亀​)
髮
​上
​kami (HATSU), 139.
kami (3ō), Ł 24.
kami (SHI),
2066.
紙 ​254;昏
​254; #
kami (SHIN), 295.
kaminari (RAI),
雷 ​691.
kammuri (KWAN),
P1124.
kamo (5), 1124.
釀
​kamosu (10), 2445.
5 506.
II. ALPHABETICAL INDEX OF CHARACTERS.
517
KAN, 289, and page 395.
感 ​1490.
KAN (aete), 574.
KAN (aida), 227.
KAN (amai),
katsura (KATSU), 葛 ​138).
Icane (KIN),
金
​44.
kashign (sv1), K 2305.
kashikoi (KEN), 956;
桂
​甞
​kane (SHŌ), 2010.
katsura (KEI), 1511.
(CHI), 1113; (KEI), katsute (su), 782; (85),
曾 ​1150.
*
KAN,
敢​574.
kaneru (KEN), 無
​722.
間
​kanete (yo), 831; (yo),
豫
​1167.
甘​780.
預​1388.
kashira (Tō), BE 698.
汗
​kashiwa (HARU), †₺ 2079.
千​745.
簡
​勘
​KAN (ase), 2285.
KAN (azukaru), Ť 745.
KAN (fumi), 2050.
KAN (fumi),2068.
KAN (hako),
kangaeru (Kō), *
考 ​931:
察
​(SATSU), 1100; (KAN),
1103; (KEI), 穡 ​1877.
kangamiru (KAN), 1564.
2
函
​2117.
KANKIN,
看​經
​早
​KAN (hideri), 1128.
閑
​KAN (hima), 1909.
閒
​KAN (hima), 1910.
艦
​KAN (ikusa-bune), 1176.
KAN (isameru), 2395.
諫
​KAN (kangaeru), 1103.
監
​KAN (leangamiru), 1564.
KAN (Kara), 1514.
乾
​KAN (kawaku), 1180.
刊
​KAN (kizamu), †№ 2119.
KAN (midareru),875.
KAN (milci), 幹 ​1965.
看
​KAN (Miru), † 613.
KAN (ochi-iru), 1112.
KAN (nayamu), 2366.
艱
​陷
​KAN (Samui), 431.
竿
​寒​4
KAN (sao), 2334.
KAN (tojiru), 緘 ​2085.
KAN (uramu),
憾
​1491.
kana (SAI),913.
奏 ​1643.
kanaderu (sō),
(sō),奏
​kanue (TEI),
kaname (xô),
1743.
要 ​821.
kanarazu (HITSU),
必
​悲
​336.
kanashimu (HI), 1227;
(A1), ✯ 1603.
哀
​kanau (xxō), 127 1033;
'l
(Kyō), (or) 1418.
page 398.
ka-no-e (Kō), 庚 ​1383.
Icao (GAN), 顏 ​981.
馨
​le toru (KEI), 848; (KUN),
1665.
薫​北
​Kura (Tō), 1233; (KAN),
韓​1514.
karada (TAI),
體 ​850;
955;躯 ​1560.
karai (SHIN), † 840.
烏
​karasu (V), „₺ 406.
kare (HI), 492.
karei (SHō),
1802.
枯​:
kareru (KO), 1682.
kashizuku (FU), #1
傅 ​1823,
leasu (TAI), 133.
kasuka (BI),
貸​】
1
1864.
kasumi (KA). 2466.
kata (HEN), 片 ​108.
kata (Hō), 方 ​259.
kata (KEN), 1245.
katachi (35), #357; (KEI),
形 ​750; (SHū), 象 ​830;
#8:30;
(nō),貌 ​832; (xū), 容
​体
​kari (GAN), ME (or)
736.
假
​kari (KA), † 355.
kuri (RYō), 2314.
kari (SHU),
狩 ​1:
1377.
kariru (SHAKU), 458.
karu (KAI),
Xi] 2118.
karu (KU), 1556.
karui (KE1), (or
1257.
軽​)
kasa (RITSU), 1282;
傘
​(SAN), 1283.
kasaneru (sō), ♬ 953; (ïñ),
重 ​₤984;
984; (RUI), 2341.
2331.
kasegu (KA),
1499; (TAI), 2229.
katadoru (25), K 2105.
像​2105.
旁
​kata-gata (Hō), ✈✡ 477.
難
​katai (NAN), 249; (KEN),
堅​527;(nō),牢​1078;
(Ko),固 ​1784;(xū),硬
​2325.
katajikenai (TEN), 566;
(JOKU), 2426.
辱
​隻
​kata-kata (SEKI), † 2026.
katuki (TEKI),
katana (Tō),
敵​1613.
刀
​515.
k tari (HEN), 985.
kataru (GO), 語 ​23
235.
katawara (Bō), † 478.
#2424.
KATSU (L'usabi), 2424.
葛
​KATSU (leuzu), 1380.
katsu (SHO), £ 708.
katsu (SHō), 451 ; (KOKU),
克​1352; (SHō), 捷​2247.
割
​KATSU (Waru), 1389.
katsuo (KEN), 1854.
kau (BAI), 買​】
192.
kau (SHI), 2473.
飼
​kara (H1), 491.
皮
​kara (SEN), )]] 47; (ka),
河 ​1123,
側
​kara (SOKU), 1 109.
kawaken (KAN), 乾 ​118).
kawarı (GWA), 778.
kawara (HEN), *** 373;
(DAT), 454; (TETNU),
送​2428;(TI),遞​24:36.
karazu (A), 蛙 ​12:31.
kazaru (SHOKU), 飾 ​1381.
kaze (FU), 163.
風
​數
​kazoeru (SU), 301; (SAN),
算​(or筭​) 1612.
kazu (sū),
數 ​304; (IN),
(IN), §
1574.
ke (Mō), ₺ 185; (Gō), ₺
769.
毛​183;
((ii),毫
​kelamono (50), 獸 ​G
GOO.
kedashi (GAT), ¥ (or
or
盖​) 1782.
kegareru (0), 72286.
兄
​KEI (ani), 143.
!!
KEI (chigiru), 534.
KEI (hakaru), † 136.
*
盎
​KEI (heru), (or) 961.
KEI (hiraku), Boku kar 1635.
KEI (hotaru), 650.
KEI (ikou), 愆 ​1648.
KEI (imashimeru), 969.
KEI (kage),
景 ​1392.
揭
​KEI (kakageru), 2252.
518
II. ALPHABETICAL INDEX OF CHARACTERS.
KI (oni),
KEI (wakawaru), 1667.
KEN (kashikoi), 956.
賢
​KETSU (SONO),
厥 ​2131.
KEI (kangaeru),
馨
​1877.
KEN (kala), 肩 ​1245.
KETSU (sugureru), 1983.
傑
​KEI (kaoru),
848.
KEI (kurui), (or)
1257.
KEN (katai), 527.
堅​527.
KETSU (yamu),
EK 1622.
KI (noru),
KI (motoi),
KI (nori),規 ​312.
騎
​基 ​1562.
2031.
KEN (kalsuo), * 1
1854.
kewashii (KEN),
險 ​1552.
KI (okoru),
836.
KEN (kewashii), 1552.
險
​kezuru (SAKU), 2123.
削
​鬼
​851.
KEI (kushikoi), 1167.
形
​KEI (megumu),
惠​】
1140.
慧
​KEI (katachi), 750.
KEI (katsura), 1511.
KEN (kudan), 890.
KEN (maku), 1554.
KEN (kinu), 1669.
bib
絹
​KI,
氣​378.
KEN (kirau), 1478.
KI,
漁​1531.
件
​투
​KI, 1532.
捲
​期
​KEN (migaku), 1488.
研
​KI,
杞
​見
​軒
​KEI (mīderu), 請 ​1829.
SEP
KEI (nanji), 1263.
KEI (niwatori), 705;
雞 ​2465.
KEI (odoroku), 968.
KEI (shi-oki), 刑​2120.
KEI (tani),(or) 2001.
携
​KEI (lazusaeru), 1687.
KEI (tsugu), (or)
1945.
KEI (lsunagu), 繫​】
1953.
系
​敬
​KEI (lsuzuku), 1891.
KEI (Uyamau), 1485.
慶
​KEI (yorokobu), 1370.
閱
​kemi-suru (ETSU), 681.
煙​(or
kemuri (EN), (or)
125.
KEN, 權 ​321.
KEN (miru), L 37.
KEN (noki), 1034.
KEN (nori), 憲 ​1936.
圈
​KEN (Ori), 2153.
KEN (shio-mizu), 858.
撿
​KEN (shiraberu), 1110.
驗
​KEN (shirushi), 2481.
KEN (sukoyaka), 1825.
KEN (Suzuri), 2053.
硯
​獻
​KEN (tatematsuru), (or
献​) 599.
KEN (tuleru), £95
959.
₤960.
KEN (tsukawasu), 960.
KEN (Isurugi), (or)
1942.
KEN (Isuzumayaka), 1111.
KEN (umu), 倦 ​2100.
KI, 638.
1992.
KI (ayaui), ½ 733.
危
​KI (azamuku), 1462.
樹
​ki (BOKU), ★41; (JU), *
1712.
KI (chimata), ✈ 1290.
揮
​KI (furuu), 1575.
KI (GO), ✯ (or * or *)
1842.
肌
​KI (hada), AL 2355.
機
​KI (hata), 441.
KI (hata), 2045.
旗
​姬
​KI (hiroi),
熙
​1623.
KI (hime), 1407.
KI (iku), 358.
忌
​KI (imu), 2218.
KI (inoru), Ø 2076.
FOT
1533.
KI (iso),
KEN,
縣​:38)
KEN (warifu), 517.
券​5
KI (kaeru),
歸
​顯 ​1345.
keru (SHUKU), 2415.
蹴
​KI (kaeru),
KEN (heri-kudaru),
譙​]
kesu (sno),
消 ​910.
KEN (arawareru),
KEN (hiku), ✈ #20
KEN (inu),
2018.
KEN (kakaru), 1052.
1343.
穴
​KEISU (ANA), ♬ 624
KETSU (chi), BL 819.
潔
​KETSU (isagiyoi), 1633.
缺​7
KETSU (kakeru), 796.
*(or
KETSU (kimeru). (or)
犬
​4C0.
懸
​KEN (kakeru),
欠​587.
鑂
​the
KETSU (kōbe),
69
695.
KEN (kanern), 722,
無
​KETSU (musubu),
結 ​1207.
KEN (kama), 2455.
2145.
(kamabisushii),
KEN
1087.
764.
2320.
KI (kagayaku), 1813.
KI (wame), (or 870.
$ £)
KI (kobotsu),2282.
希
​KI (koi-negau), 1160.
KI (koi-neyuu), 2112.
KI (kuvadatoru), „► 2089.
稀
​KI (mare), 1161.
禧
​KI (sairai), 2059.
崎
​KI (saki), 1254.
KI (shirusu), E 274.
紀
​KI (shirusu), 1 1279.
KI (soshiru),2401.
KI (sude ni),
既 ​940.
季​1402.
KI (sue), 1402.
KI (suteru), ✈ 1592.
KI (tatloi), †245.
KI (tsukue), 719.
机
​KI (tsukue), 1581.
毅
​KI (tsuyoi), 1364.
KI (ueru), IL (or) 2472.
器
​KI (utsuwa),523.
KI (10Ɑza), 伎​1
1136.
#1
KI (yorokobu), →→✈ 1166.
寄
​KI (yoru), ✈ 1047.
kiba (GA),
牙
​1781.
kibishii (GEN),1360.
告
​KICHI (yoshi), 261.
黄
​ki-iro (Kō), 1194,
kiji (DOKU), ✈ (or 4†)
1960.
kiji (CHI), 2463.
KIKU,
菊
​C44.
kiku (BUN), 224; (enō),
聽 ​447.
+
KIKU (kōji),
麴 ​862.
kimeru (KETSU), ✯ (or)
1087.
kimi (KUN), ✈ 246.
KI (mezurushii), (or Icimo (TAN),
792.
2364.
KIN,
斤​757.
757.
II. ALPHABETICAL INDEX OF CHARACTERS.
519
KIN (chilai), Ž 668.
KIN (eri),2378.
KITSU ({sumeru),
語
​詰​1668.
Ko (isubo),
壶 ​420.
Kō (ki-iro),
黄​1
1191.
Ko (lsuzumi), 786.
Kō (kisaki),
433.
Kō (konomu),
好​5:35.
535.
kitsune (KO), 601.
kiwameru (KYŪ),
(KYOKU), ✯ 1069; (KYñ),
21 1489.
净 ​2293.
KIN (hitoshii),
均​2154.
kiwa (SAI),
際
​1250.
KIN (ima), 71.
슥​71.
窮​」
1006;
KIN (lane),
金
​44, and pages
120 and 399.
KIN (koto), 606.
琴​6
kiyoi (SEI), 401; (55),
清
​KIN (nishiki), 1714.
錦
​KIN (shimeru), 2345.
緊
​KIN (suji), 1881.
筋​工
​KIN (tenugui), № 553.
KIN (todomeru), **118.
禽
​KIN (tori), 1863.
KIN (tsutomeru), 453.
巾​553.
刻
​禁​:
KIN (tsutsushimu),
KIN (ueru), 饉 ​2475.
KIN (wazuka),1410.
欣
​2072.
KIN (yorokcubi:), 1625.
果​」
ki-no-mi (KWA), * 418.
kirameku (SAN), 1765.
kizahashi (KA1), 1559;
陛​1617.
(HEI), 1617.
kizamu (KOKU), À] 1913;
(KAN),刋 ​2119.
kizashi (CHō), ✈ 1196.
疵
​kizu (sIII), it 1
1093.
kiz :ku (CHIKU), 築 ​藥 ​1272.
賈
​KO (akinau), 2012.
粉​1571.
Ico (FUN), 1571.
Ko (furui), ✈ 156.
Ko (hakama), 1155.
Ko (hokoru),1453.
Ko (ya), ✈ 1127.
乎​!!
雇​8
KO (yaton), 811.
呼
​RO (yobu), 520.
Ko
Ko (yue), 故​2
甲
​Kō, ✈ 201.
Kō, #510.
Kò, 侯 ​906.
Rò, 航
​Kō, № 1
1710.
1896.
265.
膏​。
Kō (abura), †2360.
寇
​Kō (ada), 1971.
Kō (adakamo), 恰
​1596.
Kō (agantu), 2111.
孔
​Kō (ana), FL 538.
坑
​Kō (ana), 2155.
Kō (kuchi), ♫ 38.
降
​Kō (kudaru, furu), 189.
Kō (kuraveru), ₺1716.
Kō (kurenai), 1192.
Kō (majiwaru),
交 ​716.
Kō (minato), 1238.
岬​2197.
Kō (misaki), № 2197.
貢​1365
Kō (mitsugi), À 1365.
溝​2
Kō (mizo), 2295.
向​521.
Kō (mukau), 521.
慷
​Kō (nayeku), 2019.
Kō (nivi), ✈ 817.
Kō (node),
2144.
Kō (oka), № 551.
Kō
811.
Kō 興
​Kō (aragane),(or) Ko (okosu),
Kō (arai), 987.
KO (KA), (or) 270; Kō (atsui), 1434.
Icinu (KEN), 絹 ​1669.
燦
​kirau (KEN),
1478.
kiri (MU),
霧
​2467.
1338.
Ko (kareru),
枯
​kiri (Tō),
kiru (CHAKU), 942.
kiru (SETSU), ₺ 74; (ZAN),
斬​758;(BATSU)伐​1970.
kisaki (Kō), 433; (¤1),
妃​2170.
kishi (GAI), DE 923; (GAN),
岸 ​1777.
kishiru (ATSU), U 2118;
(REKI), 2419.
競
​kisou (KYō), 2033.
kissaki (15),1437.
北
​kila (HOKU), 54.
KITSU (koi-negar:), 乞 ​711.
KITSU (kurau), 1747.
與
​个 ​1159.
Ko (kaeri-miru), ₪ 1161.
Ko (kalai),
1682.
1781.
KO (kitsune), 601.
庫
​Ko (kura), № 1406.
Ko (matagaru), 1454.
Ko (minashigo), JA 2016.
KO (mizu-umi), 1268.
湖
​Ko (nanzo), 胡​1981.
做
​KO (nasu), 2101.
1982.
糊
​Ko (nori),
Ico (SHI),
(or) 718.
29; (J1),
Ko (shūtome), 1683.
Ko (to), ♬ 221.
戶​221.
虎
​Ko (tora), 816.
兒
​Kō (osoreru),
2073.
Kō (öyake), À 308.
Kō (saiw1i), † 746.
1731.
*98
厚
​Kō (botan), 1764.
釦​工
​Kō (sakana), † 1702.
Kō (semeru), K 16US.
Kō (chimata), *2200.
Kō (e), 江​1163.
Kō (fukeru), † 581.
更
​肯
​Kō (guenzuru), 2:356.
Kō (hagane), 2453.
Kō (hikaeru), 2251.
扣
​Kō (hikaeru), †□ 22:38.
光​717.
廣
​Kō (hikaru), 717.
Kō (hiroi), № 351.
Kō (hiromeru), ZA 1193.
Kō (iyashiku mo), 1866.
#50
Rō (kamae), 507.
Kō (kangaeru),211.
考
​Kō (kangaeru), 931.
✈
Kō (ka-no-e), 1383.
Kō (katai), # 2325.
KÕ (shim ), 3, 1756.
#2369.
Kō (shinuru), 2369.
尻
​Kō (shiri), 1408.
効 ​1457.
Kō (shirushi),✈✈
候
​Kō (sōrō), 912.
Kō (sumeragi), ¥286.
Kō (lugayısu), #807.
Kō (lakai),190, and
Page 118.
Kō (tak imura), ₫ 1791.
篁​1791.
Kō (takumi) I
page 117.
Kō (takumi), 15
叩
​88, and
1000.
Kō (lataku), * 1816.
扣​2238.
Kō (tataku), †□ 2238.
520
II. ALPHABETICAL INDEX OF CHARACTERS.
Z 103; (1), # 896; (1),
維 ​1893.
KU (koma), 1277.
9.
kokoro-yoi (KWAI),
kokoro-zashi (SH1),
Kō (teg ira), 448.
Kō (toku), 141901.
380.
kore (ZE), ✈ 275; (SHI),
KU (kolonotsu), Heo.
376.
Kō (toraeru), 1502.
拘
​KOKU,
殼 ​6
623.
轂
​kōri (GUN), 675.
郡
​(or
5
* 59.
1986.
克
​頃
​亨
​Kō (tōru), † 1358.
綱
​Kō (suna), 1588.
Kō (tsune), (or 1)
2064.
項
​Kō (unaji), ¶ 1547.
Kō (wara), (or)
871; 10299.
Kō (wataru), ₪ 1451.
Kō (yasui),
501.
Kō (yulu), 117.
11
kob imu (KYO), HE 1591.
芳
​kōbashii (110), † 18339;
(FUN), 1664.
芬
​首
​KOKU,168).
KOKU (hanahada), 1606.
KOKU (katsu), † 1352.
KOKU (kizamu), À] 1013.
KOKU (kuni),
282.
KOKU (kuroi), 176.
(or
黑
​后
​谷
​Ā
KOKU (SEKI), 173 and
Page 72.
KOKU († mi), 428.
告
​KOKU (Isugeru), ✈ 352.
駒
​koma (KU), 1277.
komaru (KON), ₪ 966.
米
​|
kōri (HYō),
Icoro (Kyō), 267.
#664.
korobu (TEN), 664.
衣
​koromo (1), 343.
殺
​Icorosu (SATSU), 768;
誅 ​2:387.
(CH),
Icoru (GYō), 2114.
凍​514.
kōru (Tō), ✈ 514.
koshi (xō), 1759.
婢
​koshimolo (HI), 2180.
koshiraeru (SON),
苦
​KU (nigai) ✈ 643.
KU (osoreru),
KU (sora),
懼 ​惧​)
625.
2625.
kubaru (HA1), ₺ 678.
kuchi (Kō), 38.
kuchibiru (SHIN), 1229.
kuchiru (KY), ✈ 2028.
管
​Icuda (KWAN), 1367.
kudaku (81), 1009.
kudamono (KWA), ✶ 129,
and page 117.
kudan (KEN), †††890.
kudaru (GE), † 26; (kō),
1
2243.
kosuru (SATSU),
2263.
hōbe (SIU), 405; (KE-
kome (BEI), 386.
kotaeru (1ō), 1074; (ō),
答
​降 ​180.
kōmori (HEMPUKU),
蝙蝠
​應​(or応​) 1946.
釘 ​1870.
1760-1.
事
​kolo (31), 90, and p. 32.
komu, Z.886.
琴
​頁
​TSU), 695.
kobotsu (K1), 2282.
koe (SEA), (or) 811.
koeru (ETSU),
越
​837; (chō),
超 ​1729.
koeru, (111), 肥 ​636.
漕
​koyu (sō), № 1800.
濃​工
​koi (Nō), ✈ 1119.
koi (REN),
戀
​1170.
Icoi (RI), 鯉 ​1859.
koi-negau (KITSU),
711;
乞
​希
​冀
​(KI), 1160; (K1),
2112.
kōji (KIKU),
862.
柿
​(SHI),
kokera (s111), 1631.
爱
​koko ni (EN), 1083; (J1),
兹 ​17:39.
kokonotsu (KU), Ħ!).
y.
kokoro (SHIN), IC 81.
意​5
kokoro-base (1), 563.
kokoromiru (SAI), ✈ 1587.
kōmuru (111), 493.
KON,
昆​1885.
1/2
KON, 2060.
KON (komaru),
困
​昏
​966.
KON (kure), 2271.
混
​KON (majiru), № 1427.
根
​KON (ne), 935.
懇
​KON (nengoro), 915.
墾
​KON (lagayasu), 2163.
KON (lamashii), 85:3.
KON (/suchi), ✈✈ 1181.
KON (uramu),
坤
​恨
​婚
​1008.
KON (yome-iri), 2182.
kono ✈ 10; (GEN),
1016; (EN), 1083;
(S1),斯 ​248).
kolo (KIN), 606.
kotoba (GEN), — 234;
語
​((:0), 235; (J1), # (or
235;(J1),辭 ​(or辞
​or
辭​) (SH),詞
​812; (sm),
1797.
kotobuki (JU), 530.
壽
​悉
​kologotoku (SHITSU) 337.
Icotonaru (1), 異​口 ​219.
koto ni (TOKU), 172;
(SHU),殊​974.
#172;
Icotowaza (GEN), 2398.
骨​8
KOTSU (hone), 849.
KOTSU (tachimachi), 21035.
剛
​kowai (Gō), 2063.
koyomi (REKI), 2272.
KU, (or) 391.
區​(or区​)391.
KU,
句
​1219.
konomu (Kō),
好​535.
KU (inu),
1713.
驅​1556.
Iorasu (cíó),
2030.
KU (karu),
1556.
kugi (TEI),
luguru (SEN), (or)
1848.
kuji (SEN), 2337.
leujilen (za),
kujiku
lenjira (GEI),
熊
​2245.
704.
kuma (xŪ), 1281.
組
​kumi (so), 1061; (TŌ),
黨
​864; (TAI),
隊 ​1642.
曇​1494.
kumo (UN), 482.
kumoru (DON), 1494.
酌
​Icumu (SHAKU), 677;
#2267:
(SHIN), 2267; (KYD),
波 ​2288.
勲
​KUN (isaoshi), 1666.
KUN (kaoru),
薰 ​1665.
KUN (kimi), 216.
KUN (oshieru), 11 402.
訓
​国​)
kuni (KOKU), (or )
1186;(SH),
282; (HU), #1186; (SHỮ),
州​(or) 1260.
II. ALPHABETICAL INDEX OF CHARACTERS.
521
Icuru (AN),
69.4.
Icura (zō), 958; (sō),
藏​958;
, 倉
​1341;(Ko),庫 ​1406.
Icuraberu (HI), IĽ 946 ; (Kō),
較​1716.
Icurai (1), ± 487; (SHAKU),
爵​772.
Icurai (MEI), I 545; (Mai),
冥​545;
昧​909;(AN), 暗 ​1878.
kurau (SHOKU), 159;
(SHOKU), 餐
​喰 ​1102; (KI-
暮​8
TSU),與
​TSU), 1747.
Icure (BO), ✯ 893; (BAN),
1508; (KON), 昏​2271.
Icusunoki (NAN), 1372;
樟
​(SHŌ), 1373,
kusuri (YAKU), 藥 ​647;
(ZAI),劑 ​2126.
草臥
​Icutabire, page 391.
KUTSU (horu), 1321.
堀
​掘
​KUTSU (horu), 2250.
KUTSU (iwaya), 1578.
窟
​KUTSU (kagamu), B 2193.
屈
​Icutsu (KWA), 靴 ​693.
Icutsugaeru (FUKU), 822;
(TEN),顛 ​2069.
kutsuura (BI), 轡 ​2425.
Icuu (SHOKU), 159; (sHo-
餐
​KU), 1102.
Icuva (sō), 桑 ​1318.
晚
​Kure (Go), 952.
kurenai (Kō), I 1192.
kuri (RITSU),
632.
Icu wadateru (KI),
2089.
Icuriya (CHO),
2209.
Icuwaeru (KA),
加​327.
(or
kurashii (SEI),
629.
鉄​or銕​) 1391.
kuroi (KOKU),
黑 ​176;
(GEN),玄​1273.
kurogane (TETSU),
Icuru (RAI), (or) 111.
綜
​kuru (so), 2054.
車
​Icuruma (SHA), † 115.
kurushimu (KU), 643.
Icuruu (KYŌ),
狂​1705.
1
kuruwa (KWAKU), 1997;
廓
​(KWAKU), 1998.
lecusa (sō),草​125;帅 ​432.
kusabi (KATSU), 2424.
kusai (SBU),
1717.
臭
​叢
​kusamura (sō), 1860.
Icusari (SA), 1767,
Icusaru (FU), 1905.
腐
​Icuse (HEKI), 1468.
癬​1468.
Icushi (KWAN), ✈ 1957.
柿
​kushi (SHITSU), 1786.
kuyuru (KWA1), № 2223.
Icuzu (KATSU),
1380.
Icuzu (SETSU), 1030.
屑
​kuzureru (ō), 1528;
(EWAI),壊
​(KWAI), ✈ 1529; (TAI),
頹 ​2470.
KWA (bakeru), ₺ 374.
課
​KWA (hakaru), 1538.
華
​葹​5
KWA (hana), 1269.
KWA (hana), 5:
55.
Kws (namari), ₺ 2381.
KWA (obitadashii), 2166.
科
​KWA (shina), ✈ 1471.
過
​KWA (sugiru), 961.
寡​。
KWA (sulcunai), 894.
貨
​KWA (lakara), 1809.
KWA (uri), m̃ 774.
瓜
​EWA (icazawi), 2326.
Kwa
禍
​會
​KWAI (au), 365.
KWAI (ayashii), (or)
971.
繪
​KWAI (E), 1837.
KWAI (hai), 厌​2:
2303.
KWAI (idaku),
KWAI (kakaru), 199.
掛​!!
KWAN (maku),
卷
​734.
KWAN (mattai), 完​。
觀
​2185.
KWAN (miru), 823.
慣
​KWAN (nare), 2232.
M
KWAN (seki), (or)
683.
管
​KWAN (suge), 1366.
KWAN (Susumeru),
勸 ​1551.
BE
KWAKU (tushika), 1470.
71
KWAN (Isuranuku), 1432.
€1579.
KWAN (uryōru), 1579.
KWAN (wa), 1763.
環
​KWAN (yakata), 700;
KWAN (yorokobu), 1981.
懷
​1773.
舘 ​815.
舘​。
歡
​1745.
滑
​快
​KWAI (kokoro-yoi), 380.
悔
​KWAI (kuyuru), № 2223.
KWAI (kuzureru), 壞 ​1
1529.
KWAI (mawaru), (or 1
迴​) 965.
or
回
​KWAI (meguru), ♬ (or H)
524.
KWAI (oshieru), 2390.
KWAI (sakigake),
852.
kwaku (hakarigoto), 畫​(or
画​or畫​) 1836.
t
KWAKU (hirogeru),
KWAKU (kuruwa), 1997.
擴
​2265
KWAKU (õi naru), 1998.
廓
​KWAN,
官 ​310.
567.
KWAN
禾
​KWAN (hiroi), 2189.
罐​(or罐​) 1778.
寬
​KWA (hi), K 42.
KWA (hoko), 戈
​KWA (ine), ✈ 414.
KWA
2146.
(kamabisushii),
果​4
KWA (ki-no-mi), 4:
418.
巢
​KWA (kuilamono), 129.
Kwa (kutsu), 靴 ​693.
KWA (nabe), 2452.
棺
​KWAN (hitsugi), 2061.
換
​KWAN (kaeru), 2253.
還
​KWAN (kaeru), 1656.
506.
KWAN (kammuri), 冠​5
KWAN (kuda), 管 ​1367.
串
​KWAN (kushi), 1957.
KWATSU (ikiru),
KWATSU (nameraka),
2297.
脚
​KYAKU (ashi), 1661.
KYAKU (marōdo), 240.
KYAKU
1662.
(shirizokeru), *p
KYO (ayeru), ✯ 569.
#569.
£1
KYO (hedataru), 1572.
居
​KYO (iru), 238.
拒​工
​KYO (kobamu), 1594.
KYO (munashii), Å
虚 ​81
818.
KYO (nokogiri), 1806.
巨​1448.
KYO (ōi naru),
KYO (osoreru), † 1
KYO (saru),153.
KYO (yoru), 993.
據
​1987.
KYO (yurusu), 311.
許​3
KYŌ,
KYŌ
峽​1211.
Kyō (arai),
兇
​2111.
Kyō (ashii), Y1 262.
KYō (hasami),
1789.
KYō (hasamu),
1790.
*
522
II. ALPHABETICAL INDEX OF CHARACTERS.
橋
​KYō (hashi), 1271.
響
​KYō (hibiki), 1506.
KYō (hō), ✯ 2469.
*2469.
Kyō (iwan ya), GL 711.
鏡
​KYō (kagami), 681.
KYō (kagiri), 1973.
叶
​疆
​KYō (kanau), † 1033.
'
BYO (kanan), (or)
Kyō
KYU (atsukau), #1249.
machi (CHO), (or T) MAKU,
BT
旧​)
21.1.
Kyū (furui),(or 17)
KYŪ
812.
KYŪ (haseru), 1549.
KYŬ (hato), 鳩 ​20
2078.
KYŪ (hisashii), K 258.
荵
​KYU (isogn), 1041.
KYŪ
KYU (kiwamaru),1006.
KYO (Iciwameru), 31
(HAN),
madara (1118), H 2266.
迄​671.
made, 671.
mado (sō),
1247.
窗​)
(or)
mudou (WAKU), 1 1
mae (ZEN), 150.
前
​1489.
KYU (kuchiru), 2028.
1418.
KYō (kisou),
20:33.
KYō (kuruu),
1703.
KYŪ (kumu), † 2288.
波
​京
​KYO (mari), 770.
球
​1505.
躬
​胸
​KYō (miyako), 381.
KYō (motenasu),
Krō (mune), (or )
1951.
Kyō (ogoru),
教
​2480.
KYō (oshieru), 364.
Kyō (osoreru), 1066.
Kyō (otoko), 使
​竟
​2097.
Kyō (owaru), 1300.
Kyō (sakai), 境 ​1:
1299.
呌
​Kyō (sakebu), † (or 1)
1677.
BER
KYō (sato), 1262.
KYō (semui), *12
1242.
Kyō (torno), 共​2
50
285.
KYō (tsuyoi), 748.
KYō (ukeru), 1058.
享
​KYō (uya-uyashii), 1351.
恭
​脇
​KYō (waki), 1015.
Kyō (yori-kakaru), 720.
旭
​KYOKU (asa-hi), 2270.
KYOKU
1069.
(kiwamaru),
KYŪ (mi), 838.
283.
KYŪ (miya), Ø
KYŪ (motomeru), ✯ 593.
Ž1
KYō (naku), 1746.
KYŪ (oka), Ž 947.
KYŪ (oyobu), ✩ 66.
KYO (shina),
1938.
KYD (sulcuu), 573.
KYŪ
1
救
​吸 ​1772.
KYŪ (SUU), Z
KY□ (tadasu), L 1051.
球
​KYŪ (tama), 1862.
KYō (tamau),
給
​咎
​921.
KYʊ (loga), ✈ 1041.
KYU (umaya), E (or)
1952.
KYŨ (usu), ÉÐ 109.
KYŪ (Yasumu), ★☆★122.
KYō (yumi),
弓
​170.
M
極
​Ma
MA (asa),
麻​557.
魔
​摩
​KYOKU (magaru), #580.
KYOKU ((subone), ♬ 320.
2301.
KYO, 2:
KYU (udu), VL 2087.
仇​2087.
MA (oni),
Ma (suru),
557.
85.1.
556.
616.
|
1213.
magaru (KYOKU), ✈ 580.
magireru (FUN),
(G1), ĐỂ 1458.
擬​1458.
1890.
migo (sox), 18
mai, 1744.
MAI (goto),
每​口
​247.
妹
​MAI (imōlo), 2173.
昧
​MAI (kurai), ✯909.
1010;
MAI (Uzumeru), H 2157.
mainai (WA1), 2407 ; (xo),
賂 ​2408.
mairu (RI), P 1978 and
page 394.
參​」
mairu (SAN), 188.
majieru (ZATSU), * 813.
majinai (30), PR (or )
1088.
majiru (KON),
1427.
混​1427.
majiwaru (Kō),
交
​makanai (WAI),
716.
2407.
makaru (HAI), 罷工 ​1080.
makaseru (NIN),
任 ​1226.
makeru (FU), † 879; (sHu),
輸 ​2423.
maki (BOKU),
牧 ​71
.777.
makoto (SIIIN), 319;
(SHIN), 614; (JITSU),
幕
​MAKU, 1474.
maku (HA), 1295; (J1),
蒔 ​1856.
卷
​maku (KWAN), * 734;
#1551.
(KEN),捲 ​1554.
makura (CHIN), † 1543.
mama (JIN),
mame (TŌ),
枕
​儘 ​512.
豆 ​827.
2397.
守
​mamieru (ETSU),
mamoru (SHU), 1081;
(EI);衛 ​562 (40),護
​1553.
蔓
​MAN (habikoru), † 2368.
MAN (michiru), 1158.
12233.
MAN (midari), 2233.
MAN (midari ni), ✯ 2299.
萬​13: 万​1
MAN (yorozu), 13; 11.
#(or
manabu (GAKU), (or
学​)210.
眼
​manako (GAN), IR 612.
maneku (SHŌ), 1302.
稀
​mare (K1), 1161.
球
​mari (KYŪ), 770.
maro,
摩 ​1949.
marōdo (kyaku), 210;
(HIN), 1509.
賔
​marui (EN) (or)
圓
​181-2; (GWAN), 丸 ​1326 ;
團 ​1964.
(DAN),
#7
masa ni (SHō), ✈ 744.
益
​masu (EKI), 920; (sō),
增​954; (HAI),倍 ​1396.
#729.
masu (s¤ō), ✈ 729.
mata, π 62; (x0), A 411;
愆
​(FUKU), 1397.
#1
叉
​(or) 9:30; (SEI),
mata (SA), 1785.
實
​誠
​913; (cno),
衷
​maboroshi (GEN), 47 1967.
malo (TEKI), ☆ 785.
MA (logu),
1602; (JUN),洵​1619.
matayaru (KO), 1451.
II. ALPHABETICAL INDEX OF CHARACTERS.
523
malou (RAKU), 2020;
(TEN), 2348.
末​31
MATSU (Sue), 360.
†
MEI (naku), 96.
mei (TETSU),
mekake (SHō), 5:37.
嗎​?
姪​2176.
妾
​盲
​(pan), 麵​莚​¿
6.
MEN,
緬​2:346.
matsu (SHO), (ormekura (15), 485.
583.
待
​matsu (TAI), ††† 475; (shi),
12096.
祭​620.
matsuri (SAI), 620.
matsuri-yoto (SEI), K 346.
mattai (ZEN), — 379;
(KWAN),完​2185.
舞
​MAU (BU), 1137.
mawari-dõi (0), E 1690.
mawaru (KWAI), (or
廻​(or 廻
​or 迴 ​965.
MEMPō (110), 麵麵 ​2485-
MEN (omote), 12:29
MEN (ata),1715.
免
​MEN (yurusu), 356.
meshi (HAN), 飯 ​1322.
meshi-udo (SAU), ₪2152.
THE
mesu (SHI), E 1354; (HIN),
牝​1:356.
徵 ​1195.
召
​metoru (SHU), 2181.
midori (KYOKU), * 1206;
(ST1), 翠 ​1413.
migulu (KEN) 1488.
♫
migi (x0), ₺ 1
119.
migiri (zɛ1), B7 2324.
mijikai (TAN), 短​7)
790.
mikado (TE1), ✈ 281.
miki (EAN),
幹 ​1965.
mikotoaori (sĦō), 12384;
(CHOKU),
#497.
眠
​MIN (nemuru), 1706.
MIN (tami),
mimi (JI),
民 ​393.
耳
​35.
mina (KA1), † 306.
皆
​miya (KYD), 283.
miyabiyaka (GA), E 2162.
土產 ​page 3)1.
miyage,
miyako (KYō), 381; (To),
3827.
mizo (Kō), 2295.
溝
​水
​mizu (SUI), 45).
(31), Ê
mizukara (J1),
63.
mizu-umi (KO), 湖 ​1268.
模​1
Mo (igata), 1922.
MO
Mo (saguru), †1022.
茂​工
​Mo (shigeru), 1169.
mo (sō) 2143.
喪​2
Mō (ami), 797.
$539.
Mō (hajime), 539.
Mō (ke), ₺ 185.
megumu (KEI), 1140;
(ON),恶
​(or) 792.
MI (ajirau), ✈✈1057.
MI (imada), ✯ 359.
MI (iyo-iyo), 1005.
湊​1827.
mine (HO), (or
mine 峰​(or 峯​)
嶺
​872; (REI), 1811.
miru (KEN), £ 37; (KAN),
膿
​Mō (oboro), 2274.
Mō (lakei), 1546.
ΜΟ 猛
​mochi (Bộ), 639.
mochi (HEI),
餅
​1699.
mochi:ru (xō), 102.
mɔdasu (MOKU),
mesu (SHŌ), 892; (CHŌ),
minɩmi (NAN), 53.
南​53.
mayou (MEI), 1212.
mina-yoroshi (3),
2457.
mayu (BI), 2321.
貧​工
​mazushii (HIN), 1500.
me (GA), 2367.
芽
​mẹ (MOKU), H 36.
娶​!
minamoto (GEN),
1342.
Mō (mekura),485.
METSU (horobiru), 1475.
滅
​minashigo (KO),
2016.
mezurashii (CHIN),
(KI),
c
601;
minato (Kō),
1238; (sō),
¥639.
medetai (201),
1515.
味
​惠​】
未​3
恩​1067.
彌
​見
​(or
H) 524; (KWAI),
(or
mi (SHIN, 375; (KYC),
躬 ​836.
看
​觀
​質 ​1175;
用
​2487.
賽
​ZIED or ) 965; (SHU),
michi (Dō), 212; (ro),
(or) 1291; (JUN),
31569; (ATSU), michibiken (DO), 1647.
#
路​213;(T0),途​1421.
導
​戾
​燃
​2268; (SEN), 2269.
釺
​MEI, 1689.
MEI,
酩​2439.
michiru (MAN), 1158;
misao (sõ),
2259.
設
​店
​廛 ​2:
2210.
│mitomeru (NIN),
認​1251.
2299.
MITSU,
蜜 ​1363.
目
​36.
默 ​2487.
meguru (KWAI),
MEI (akiraka), 17, and
page 115.
MEI (chikau),
MEI (inochi),
522.
盟 ​1244.
命
​冥​545.
MEI (mayou),
MEI (kurai), I 545.
1212.
MEI (na), 174, and p. 118.
(JT),充​2:
(30), † 2110.
midari (Bō), ✈ 484; (MAN),
慢 ​2233; (MAN),
midareru (KAN), 875;
(IN),
擾
​(JO), 1522; (IN),
(or) 1920; (WA1),
紊
​淫
​613; (KWAN), h
823; (RAN),
覽​工
​(SHI), 1908; (SHIN),
診 ​2385.
misaki (Kō), L 2197.
操​2259.
mise (TEN), 140; (Ho),
舖​465; (TEN),
MITSU (hisoka), 1362.
(SAN),
mitsu (sas), 三 ​3; 參 ​188.
Ť
mitsugi (Kō), 1365;
1921; (BIN), 1922; (ZEI),稅​1473; 租
​(RAN), L (or EL) 1923. 2329.
1473; (so),
mõderu (SAT), 1796;
(KEI), 1829.
modoru (REI), Á 753.
moeru (ZEN), 1036.
MOJI, Ž✡
文字
​page 399.
mūkeru (SETSU), 656;
(CHO), P 2109.
MORU (lei), ✯41.
MOKU (me),
MOKU (modusu),
MOKU (Yu-AMU),
紅葉
​沐​490.
page 391.
momiji,
匁​2128.
тотте,
桃
​momo (TŌ),
momo (Tō), ✈ 1663.
揉
​momu (10), 1674.
524
II. ALPHABETICAL INDEX OF CHARACTERS.
!
MON (aya), 紋 ​16
1673.
mottomo (x), 1109.
尤
​mutsu (ROKU),
六
​6.
MON (kudo), 222.
門
​MON (tou),
問 ​223.
霧
​MONO (BUTSU), 487.
者
​N.ONO (SHA), 104.
齋
​mono-imi (SA1), 1332.
moppara (SEN), † 742;
專
​moyōsu (SA1), 1962.
MU (kiri), 2467.
!!!!!
MU (nashi), 101.
務
​MU (tsutomeru), 324.
MU (gume), 741.
夢
​鞭
​Muchi (BEN), 2468.
(JUN), B₺ 2339; (SUI), mugi (BAKU), 861.
mugoi (SAN), Pa 1555.
2340.
morau (SEI), 1209.
貰
​mukade,
百足
​洩 ​1429.
moreuu (EI),
mori (SHIN), (or)
424.
moroi (ZE1),
Morokcshi (Tō),
1007.
1233.
諸
​moro-moro (SHO), 113;
(SHO), 1566.
moru (RŌ),
1430.
漏
​moru (SEI),
盛 ​789.
若
​moshi (JAKU), ✈ 326 and
page 100.
申
​MŪSU (SHIN), ✈ 255.
mõsu
mosuso (SHō), 2377.
裳
​motarasu (SAI), 2488.
moteasobu (nõ), ††† 412.
弄​412.
饗
​(RAT),徠​1727.
motenasu (KYō), 1505;
moto (HON), ✯ (or)
49; (GEN), π 260; (so),
素​634; (GEN),原 ​737.
molo yori (x0), ₪ 1784.
motoi (KI), 基​1562.
page 391.
mukacru (GEI), № 1646.
mukaski (SEKI), 9 905.
mukau (Kō), 1 521; (TAI),
對 ​348.
婿
​muko (SEI), 1202.
mukuyuru (16), # 354;
酬
​(SHU), M 2440.
mutsumashii (EOKU), 睦
​2322.
MYAKU,
脆​2358.
Myō (akeru), № 17, and p. 9.
MYō (neko), № 1
1709.
Myō (tue), № 369.
NA (ikan),
na (MEI),
N
奈
​1139.
174.
那​1155.
NA (nanzo), 1155.
菜 ​2015.
na (SAI), 2
nube (KWA), 2452.
nada (DAN), JE 1274.
(YT),宥​2
nadameru (xv), 2186.
nadern (BU), †2258.
1913.
(ornado (Ho),
munashii (KYO), № 8
818.
mune (KYŌ),
1951.
宗​:
mune (sō), 367; (SHI),
旨​1108.
棟
​mune (Tō), 1018.
mura (SON), #215; (xū),
邑​673; (SON), 邨 ​1325.
紫
​murasaki (sH1), 1369.
mure (GUN), (or) 80:
室 ​948.
803.
Muro (SHITSU),
musaboru (TON), 1692;
(YOKU), 1095.
慾
​mushi (CHO), 98; 877.
1917.
虫 ​蟲
​mushiro (NEI),
寧
​motomeru (KYŪ), 求​593;
1565.
蒸
​1793.
1 1207;
(YAKU),
約​1215.
musume (30),
1204.
(JU),需​1463.
motsu (31), 470.
持 ​#470.
MOTSU (nakare), 725.
molte (1), YX 64.
mottomo (SAT), 582,
mushirg (SEKI),
musu (JŌ),
musulu (KETSU),
勿
​最
​nae (BYō),
抔​1913.
苗
​1710,
nagai (CHO), † 2
永​5
592.
218; (EI),
nagameru (CHō), DE 1768.
乍
​nagara (ss), † 710.
nagareru (RYO), 1147.
nageln (TAN), (or)
*
1590; (GA1),慨 ​1912;
(Kò),慷 ​2019.
nayeru (TŌ),
投 ​1589.
nage-utsu (TEKI),
2261.
nagisa (SHU), 1062;
(CHO),渚​1834.
慰 ​1011.
nagusameru (1), A
NAI (sunawachi), 709.
NAI (uchi),
P
148.
naigashiro (BETSU), 1900.
(or) naka (CHO), 25;
(cai),中 ​25;仲
​1524.
nakaba (BAN), ✈ 50; (õ),
央 ​532.
naka-daka
2116.
¥50;
(TOTSU),
naka-kubo (ō), 1–7 2115.
nakare (MOTSU), 725.
nakōdo (BAI),
媒
​(SHAKU), 1211.
1210;
naku (MEI), 96; («vũ),
泣​1746;(TEI),带​2004.
namari (EN),
2448.
namari (KWA), U 2381.
nameraka (KWATSU),
(KWATSU),滑
​2297.
nameshi-gawa (KAKU),
692.
浪​。
nami (Rō), 908; (HA),
波 ​1131.
namida (RU1),
NAN (katai),
1221.
249.
E249.
NAN (Kusunoki), 1372.
男​:
NAN (otolco), 27.
南​与
​NAN (minami), № 53.
NAN (yawaraka), 2420.
軟
​斜​756.
ŁY.
7.
naname (SHA), 756.
nanatsu (SHICHI),
何
​nani, 19.
nanji (30),汝​244;(J),爾
​尔​1143;(KEI),卿
​1129;1143; (KEI),
1263.
那
​nanzo (NA), ✈ 1155; (xo),
胡​1981.
猶
​nao (vo), 922; (яHō),
(YŪ),
尚 ​1377.
ntozari, 等閑 ​1909.
narabu (HEI), *‚¾‚‚
並拜​,弁​,
747.
習
​Narau (SHU), 805.
II. ALPHABETICAL INDEX OF CHARACTERS.
525
nureru (KWAN), 2232;
慣
​(JUN), 2477.
馴​2477.
成​277.
nari (va), ₺ 300.
naru (SEI),
nasake (Jō), 情 ​565.
114.
ni (0), # 65 ; (v), Ť 1157.
nibui (DON), 1629.
Nō (osameru),
Nō (layayasu), 1120.
ni (KA),
Nō (nayamu), 2227.
NI (nanji), 1143.
尔
​1208.
於​65;(U),
于​1157.
Nō (saki ni), 1775
曩
​NICHI (hi),
15, and p. 399.
nashi (MU), 101; (BAKU),
niyai (KV), 643.
苦
​nashi (RI), 梨 ​1320.
做
​莫 ​1021.
nasu (1), 73; (x0), B
爲​73;
2101.
夏
​natsu (KA), § 167.
narca (sõ), 繩 ​2347.
p
nayamu (Nō), 2227;
(KAN),艱 ​2366.
* 2113.
逃
​nigeru (Tō), 1042; (ZAN),
竄 ​1439; (DATSU),脫
​1
1755.
nigiwau (SHIN), 2409.
握
​nigiru (AKU), 2255.
濁
​nobern (30), 叙 ​739; (SEN),
宣 ​1379; (ICTSU),述
​1483; (EN),演 ​1748;
12074; (TEN),
2080.
(CHIN), 1874; (SHIN),
展​2080.
1573.
nobiru (EN),
noboru (1ō), Ł 24; (15),
nigoru (DAKU), ✈ 2300.
登
​#78.
NI-JU, 78.
nikumu (so), 2234.
NIKU,
肉 ​635.
nazoraeru (JUN),
(or
準​) 1902; (JEN),准
​NIN (makaseru),
NIN (haramu), 2177.
1226.
任
​NAZUMU (DEI), VE 1915.
泥
​NIN (mitomeru),
1251.
NETSU (atsui), 1182.
NIN (shinobu),
1014.
nioi (Kō), ✯847.
熱
​NE 禰​(or祢​) 1154.
ne (CHOKU), Ž 200.
根
​ne (KON), 935.
neguu (GWAN), HI
1303.
NEI (omoneru), 2091.
ninau (TAN),1933.
niru (¤õ), ✈ 1814; (são),
煮​1815.
niru (31), X 976; (shō),
後
​NEI (Yasunzuru), 1917.
寧
​肯
​背 ​1627.
nelco (MYō), 1709.
nemuru (MIN), 1706;
(SUI),
睡 ​1707.
NEN (omou), 念 ​331.
nise (GAN),
贗
​nishi (SEI),
2412.
52.
329; (SHO), ✈ 729;
升
​(Tō), 1133; (SHŌ), †
1545.
nochi (go), 後 ​151.
喉
​nado (Kō),2144
長​閑
​nodoka, page 391.
nogareru (TON) 1053;
(ITSU),逸​1313.
noki (KEN), 1034.
軒
​nologiri (KYO), 1806.
nokosu (1), 1054.
遺​1054.
nokoru (ZAN), 331.
nomi (SAKU), *** 1779.
鑿
​nomi (sõ),
蚤 ​1788.
飲
​PR
norou (JU), (or)
1088.
乘​278;(A),
noru (35), 278; (GA),
702; (KI),
騎 ​20031.
(SAI), 載
​nosern (841), #666.
除
​nozoku (50), 1376.
望
​駕
​Nozomu (Bō), ¥ 639; (RIN),
臨​1618.
nuyn (DATSU), 1755.
nuku (BATSU), #1037.
洛​22か
​mama (SHŌ), 2289.
布
​nung (rv), 551.
濡
​uureru (JU), 2301.
muru (TO), 1237.
nurn
塗
​幣
​musa (HEI), 1422.
盜
​nusumu (1Õ), 978; (jõ),
攘​2264.
拭
​nugnu (SHOKU), †† 2241.
nuu (нÕ), 縫 ​1179.
如
​NYO (yoloshi), 39.
NYO (onna), 28.
$47
NYŨ (chichi), L 713.
Nyū (iru), ▲ 107, and page
NYŪ
126.
NEN (toshi), 20.
年​:
nengoro (KON), 945.
neru (SHIN), 919; (BI),
neru (REN),
練
​2344.
寢
​寐 ​1101.
netamu (TO),2175.
nezumi (so),865.
NI (ama), 941.
貳
​NI (futatsu),2; 187.
nishiki (KIN), 1714.
niwa (11),
庭
​559.
niwala (GA),
1897.
俄​1897.
niwatori (KEI), 705;
雞 ​2465.
no,
Z 103.
20 (YA),野 ​2490.
no
,野​2490.
Nō,腦 ​2359.
Nō (atau), 299.
能
​囊
​濃
​Nō (fukuro), † 1757.
Nō (koi), 1119.
nomu (IN), 158; (TON),
吞​957.
nonoshiru (BA), 988;
(R1),989.
nori (Hō),法​370;(GI),儀
​459; (TEN), 505; (REI),
(or) 1132; (SHI-
✈
KI), 1236; (HAN),
1347; (KEN), 憲 ​1936;
(SEI), 1943; (RITSU),
律 ​2029; (KAI),楷 ​2035.
nori (KO), 1982.
糊
​烽
​noroshi (Hō), 1438.
PE
O
O (BI). 547.
o (kegareru), 2286.
o (oite), #65.
ō, E. 413.
0.凰​1190.
(haku), 1308.
嘔
​ō BX
ō (haku),
ō (kamo),
1309.
1124.
ō (kotaeru), (or
1946.
ō (mina-goroshi), 2457.
526
II. ALPHABETICAL INDEX OF CHARACTERS.
ō (nakaba), † 532.
ō (naka-kubo), THT
2115.
ō (okina), 804.
翁
​押​工
​ō (osu), 1106.
PUR
ō (sakura), 1199.
ō (uba),
媼​1876.
ō (nguisu), 1220.
ō (utsu),
ō (yok:o),
横​:
2283.
383.
ō (ynku), £110.
帶
​o'i (TAI), 1077.
obiru (HAI), T 2092.
夥
​obitadashii (KWA), 2166.
oboreru (DEKI), №3 2296.
oboro (Mōrō), 2274-5.
朦朧​2274-5.
oiru (15), ₺ 325.
老​325.
oite (0), # 65.
oka (kõ), 1] 551; (ru), $
C86; (RIKU), 689;
(KYŪ), Ž 947.
ōkami (Rõ), JÊ CO2; (BAI),
狽 ​603.
okasu (SHIN), 509; (Bō),
1,1509;
冒​1671; (HAN), 犯​2:310.
oki (CHU), №† (or †) 1799.
ōkii (DAI), ★ 31.
okina (6), 翁 ​804; (sõ) 叟
​1681.
okoru (KI), 起​8
(xò),興
​836.
okosu (KÕ),
興 ​814.
okotaru (TAI), 1463.
怠
​ochiru (RAKU),
落 ​646;
OKU,
ochi-iru (KAN), 1112.
墜
​(TSUI), 2162.
odayaka (ON), 1495.
odoroku (KEI), 驚 ​968;
(GAKU), 2228; ((AI),
駭 ​2479.
odoru (YAKU), BE 1995;
躍
​(Yū),踊​2414.
威
​odosu (1), 2002.
ogamu (HAI), 571.
#1:
oyi (TEKI), 1275.
扇
​ōgi (SEN), 752.
補
​oginan (110), 466.
ogoru (SHI), 12093; (SITA),
奢​2168;(KYū),驕
​2168; (Kyō), 2480,
oi(sū),甥​2:317.
õi (TA), 161; (SHU),
億 ​2107.
置
​oku (CHI), † 271.
OKU (omou), 2236.
屋​3
OKU (ya), ₤.73.
okuru (sō), Ž 670; (sō),
贈 ​2065.
omoeraku,puge 391.
omompakaru (RYO), 1084
cmomuku (SHU), 1818;
赴​2413.
(FU), 2413.
徐
​omomuro (10), 1026.
阿​1165;
omoneru (A), 1165; (NEI),
倍
​2091.
表
​(nyō),
omote (NYô), ✈ 653; (MEN),
穗
​ON (odayaka), 1495.
御​121.
on (GO), 121.
ox (megumi), 1067.
恩
​音
​On (oto), ✈ 401.
onaji (Dō),
(or) 155.
ōnami (Tō), 2302.
濤
​鬼
​(HA),怕 ​1989;(xū),惶
​2073, and page 400.
osu (ATSU), 壓​2 2165.
osu (SUI), † 1099; (5), †F
HE
1106.
(ò),拥
​osu (YO), ✯ 1355; (BO),
(TA),魔
​# 1357.
oni (KI), 851; (MA),
854.
★ 28; (ru), ki
onna (50). 4
895.
女​28;
(F1),婦
​ONO-ONO (KAKU), 231.
onore (KI), 己​279.
自 ​63.
onozukara (JI),
ori (KEN), 2153.
魯
​oroka (RO), † 1513; (gu),
愚​1703.
卸
​oroshi (SILA), 2129.
orosoka (so), 2319.
居
​oru (KYO), 238.
oru (SETSU), 901.
oru (SHOKU), 1374.
折​:901.
織
​osaeru (YOKU), HP 1630.
抑
​osameru (CHI), 18; (avo),
治​18;(YO),
御​121;(R1),理​139;
(NO),
oto (ON), 401.
音
​otoko (DAN), 27; (rõ),
男​27;(xū),
郎​897;(KYò),使​2097.
衰
​otoroeru (SUI), 1178.
otoru (RETSU), 2032.
otōlo (TEI), 144.
第​1
OTSU, 202.
ou (FV), † 879.
ou (TSUI), LỄ 902; (CHIKU),
逐​2435.
ōu (GAT),
1782.
(or or
owaru (Ryō), Ĵ 982; (sHŨ),
終 ​1253; (KYó),竟
​1300; (HITSU), 1655.
oya (SHIN),
#1
146.
oyaji (YA), 2309.
(xa),爺
​À
1208; (SHU),öyale (Kō), 308.
及
​(or) 1540; (RAN), Loyobu (KYD), 66.
(RAN),亂
​1923; (SHU), 2067;
泳
​oyoyu (E1), 2290; (vv),
(Gro), 2476.
ōse (avō), 1972.
oshieru (KYō),
教 ​364;
(KUN), ) 402; (KWAI),
誨 ​2390.
331; (KWAI), oshimu (SEKI), 918.
hoshimu 惜
​面​2
229.
OMOU (SHI), 82; (NEN),
多
​衆
​念 ​331;
820.
1773; (so), 1833; (1),
想
​泰
​õi naru (KYO), É 1448;
(1),偉
​(TAI), ✯ 1496; (1),
1621; (SEKI), 1895;
廓
​(KWAKU), 1998.
謂​1919; (1),惟​2221;
憶​2
(OKU), 2234.
ōmune (GA1), 927.
概
​ON (atalakai), (1412.
遲
​osoreru (1), † 608; (kyō),
畏
​osoi (CHI), 2437.
玑
​恐 ​(KU),懼​(or
1066; (ku), HI (or
惧​) 1986; (Yo),怯
​1987; (ru),怖 ​1988;
游​11
1086.
ōyoso (BON), 400.
pan
A+
(MEMPO),麵​起
​2485-6.
peiji (KETSU), § 695, and
page 395.
ponilo (Hō), 1977, and
page 394.
II. ALPHABETICAL INDEX OF CHARACTERS.
527
RIN (uroko), 2482.
鱗
​輪
​RIN (wa), 665.
RIN (yabu aka), 2138.
•
REI (yowai),
齡 ​868.
RIN (lonari), 1938.
隣
​R
REKI (heru),
歷 ​763.
RA
Is (hadaka), (or
骒​(or 裸​)
)
REKI (kishiru),
2419,
839.
REKI (Koyomi),
曆
​2272.
REN.
輦 ​1684.
羅
​雷
​憐
​#213.
ra (Tō), 213.
RA (tori-ami), 1156.
RAI, 1844.
*1
RAI (kaminari), 691.
RAI (kuru), (or *)
111.
徠
​RAI (motenasu), 1727.
#1
RAI (se), 1329.
RAI (suki), ✯806.
賴
​RAI (lanomu), 661.
RAKU (matou), 絡 ​2020.
REN (awaremi), 1704.
REN (hasu), 1149.
蓮
​REN (kado),
廡
​1216.
REN (koi), (or) 1170.
REN (neru), 2344.
練
​REN (sulare), 1776.
簾
​連​1148.
REN (tsuranaru), 1148.
REN (Isuranaru), 2353.
RETSU (hayeshii), A 597.
RETSU (otoru), 2032.
劣
​裂
​列
​RETSU (sakeru), 2376.
RAKU (ochiru),
落 ​646.
419.
EI, 璃 ​17:3.4.
RAKU (lanoshimu), 樂 ​4
RAN,
蘭​1125.
RAN (ai), 1174.
$1
RAN (arashi), 1288.
嵐
​BAN (midareru), L (or L)
1923.
RAN (miru),
NAN (tadareru), 1766.
RAN (tamago), ✈ 735.
raruru (HI), 493.
覽
​1175.
爛
​卵
​被
​REI,
零 ​1484.
REI (hagemasu),
1725.
勵
​泠​513.
嶺
​REI (hiyayaka),
REI (mine),
REI (modoru),
1841.
戾​753.
REI (nori), (or) 1132.
REI (seshimeru), 1070.
REI (SUZU),
1331.
REI (tamashii), (or
RETSU (tsuranaru),
RI (hanareru), DE 1735.
罹
​RI (kakaru), 800.
RI (koi), 1859.
1639.
RI (kudari-yamui), 1456.
RI (mairu), 1978, and
page 394.
梨
​RI (nashi), 1320.
KI (nonoshiru),989.
RI (osameru), 139.
里
​RI (satu), 216.
RI (sumomo), 1403.
RI (tanuki), 狸 ​2311.
RI (toshi), 322.
RI (lsukasa), † 2136.
吏
​RI (ura), † 65.4.
陸
​RIKU (okα), 689.
RIN, 181.
X)
RITSU (kasa),1282.
栗
​RITSU (kuri), ✯ 6:32.
律
​RITSU (nori), 2029.
立
​RITSU (latsu), Ž 99.
呂 ​1141.
RO, 1
RO (mainai), 2408.
路
​RO (michi), 21:3.
Ro (oroka), 魯 ​1513.
鷺
​Ro (sugi), 2181.
RO (shio),855.
€15
RO (tsup), 1512.
ō,蠟 ​648.
朗
​Bō (hogaraka), ÉƑ 2273.
Rō (hosodono), №Ēķ 2208.
Rō (iyashii), [P] 1
籠
​1901.
Rō (kago), 1419.
Rō (katai), ✈ 1078.
牢​1
14
Rō (moru), 1430.
Rõ (moteasobu), † 412.
Rō (nami), 9
908.
Rō (oboro), 2275.
Rō (Oiru), ₺ 325.
老​325.
Rō (ōkami), JR 602.
897.
nō (oloko),
Rō (lakadono), 1305.
Rō (taki), № 1240.
1452.
Rō (tsukareru), 152,
禄
​ROKU (ſuchi), 891.
麓
​ROKU (fumoto), 1111.
ROKU (mutsu), 6.
ROKU (shika),
厘​18上
​鹿
​859.
435.
RIN (hayashi),
#12
423.
ROKU (shirusu),
1182.
REI (lameshi),
457.
RIN (nozomu),
1618.
RON,
論
​372.
REI (uruwashii),
860.
RIN (tagui),
1916.
RU (shiba-shiba), 2196.
RUI (kasaneru), 2311.
1221.
RUI (namida), 淚​工
​類
​RVI (lagni), 305.
壘
​RUI (loride), 1928.
%
RYAKU (lobo), (or)
273.
Je
LYO (mompakuru), 1081.
旅 ​761.
RYO (tabi),
虜​】
RYO (toriko), 1926.
RYŌ,
輛​2421.
RYō (aya),
1752.
Ryō (futatsu), VI (or p)
145.
RYō (hakaru), * 755.
量
​RYō (hakaru), † 1871.
Ryō (isasaka), É 80:.
聊
​#6
RYō (¡yusu), 611.
獵
​Ryō (kari), † 2314.
RYō (vuaru), 982.
BYō (shinogu), † 17:32.
凉
​RYō (suzushii), 1798.
RYō (tatsu),(or) 869.
RYō (ukeru), Eĺ 1447.
良
​RYō (yoi), Ŕ 399.
RYOKU (chikur.), #56.
KYOKU (midori), 綠 ​1206.
流
​RYŪ (nagareru), M. 1147.
RYŪ (sakan), B1:
1352.
RYO (tamera), 1420.
RYŪ 溜
​RYŪ (todomeru), 留
​粒
​330.
RYŪ (tsubu), 2338.
BYō (yanagi), HƑ 1280).
S
sa (hiduri), 左 ​120.
sa (isusaka),
些
​1872.
sa (itsuwari), 1218.
1
528
II. ALPHABETICAL INDEX OF CHARACTERS.
suki (SEN), ✈ 266; (nõ),
曩 ​1775.
#79.
SAN-JU 79.
竿
​suo (KAN), 2334.
sara (BEI), 787; (HAN),
盤 ​1142.
菜
​SAI (nishi),
sa (kusari), 1767, and
Page 391.
SA (mata), 1785.
SAI (na),
SAI (noseru),666.
2015.
sakeru (RETSU), 2376.
52.
saki (KI), 1254.
崎
​先
​sa (nagari),
乍​710.
SAI (oime), ††††2102.
債
​sa (sasu),
SAI (shiba), 1327.
柴
​sakigake (KWAI), 852.
SAI (sosoyu), (or SAKU, F 576.
Jab
洒​(or灑​)
昨
​surasu (BAKU),
曝
​sa
査​5
1954.
SA (SUM),砂 ​615;沙
​k
SAI (sumu), 1049.
濟
​佐​1134.
SAKU (hakari-goto), 1882.
剖​2122.
策
​saru (EN),
saru (KYo),
去​153.
削​2123.
裁
​鑿
​插
​差 ​256.
义​:
sa (sate), † 1672.
SA (shirabern), 585.
(suna),
1243.
SA (lasukeru),
sa mo araba are or sa ure,
遮​莫 ​page 391.
sibaku (BETSU), #5) 1060.
寂
​sabishii (SEKI), 1019;
(BAKU), 1020.
寞
​sadumeru (TEI), 314;
(HYÖ), 1111; (TEN),
眞 ​1616.
saegiru (SHA), 1956.
sageru (TEI), #17
1795.
suczuru (TEN),
1, 轉​2151.
搜​2
sagasu (sō), † 2256.
sayi (RO), 2481.
鷺
​saguru (TAN), 1774;
(MO),摸 ​1022.
SAI,
扌​228.
#7
SAI (futa-tabi), ✈ 724.
#/#
SAI (hosoi), 633.
SAI (irodoru), 2213.
SAI (kana), 913.
彩
​哉​。
際
​SAI (kudaku),
SAI (kiwa), 1250.
SAI (takara), ₪ 659.
#659.
SAI (tutsu), 652.
SAI (toride),1691.
採
​Þ
SAI (toru), 2014.
歲
​sai (toshi), (or) 762.
妻
​SAI (lsuma), 536.
SAI (ueru), 2278.
災
​SAI (wazawai), 426.
saiwai (FURU), 福 ​618;
(KŌ),
746; (SHō),
幸
​禧
​1903; (KI), 2059.
suji (HI), ₺ 1966.
saka (HAN), (or 1899.
榮
​sakaeru (E1), 1311.
sakai (KA1), ♬ 607; (KAI),
堺 ​1298; (Krö),境
​(KYŌ),
1299;(K1),域​2000.
神
​sakaki, 2280.
sakamori (EN),
saku (HŌ), 2122.
SAKU (kezuru), 2123.
SAKU (nomi), 1779.
柵
​SAKU (shigarami), 1638.
哭​】
sanu (SHŌ), 1223.
作
​SAKU (Isukuru), E 100.
sakura (ō), 1199.
suma (x5), A (or #f) 307.
樣​(or樣​)
samatageru (Bō), ✈ 1867.
醒 ​2443.
sameru (SEI),
samui (KAN),
431.
寒
​samurai (SHI),
士 ​394.
SAN,
餐 ​1509.
SAN,
棧​2
2279.
纂 ​2013.
SAN (atsumeru),
SAN (chiru), 1016.
#1016.
SAN (homeru),1289.
蠶
​SAN (kaiko), 2374.
1283.
SAN (Icasa),
宴
​1507.
sakan (SEI), 789; (SHŌ),
926; (RYU), 1352.
sakan (sō),
壯
​肴
​529.
sakana (Kō), † 1702.
sukaran (GYAKU), № 2430.
傘​1
SAN (kazoeru),
1612.
SAN (kirameku),
(or *)
算​(or等​)
燦
​三​3;
1765.
3; 188.
;188.
sara ni (Kō),
更​581.
猿 ​1270.
153.
1824.
#1654.
sasageru (Hō), 1654.
sashi-hasamu (sõ), 2246.
差​:
susu (SA), ✈ 256; (SHI),
指​570.
sasu (SHI), 498.
刺
​sasuga,
流​(or有​繫​)
page 391.
豬
​sate (SHA), 1094; (sa),
权 ​1672.
里​。
sato (RI), 216; (kyō),
鄉 ​1262.
(BIN),敏 ​1098;
satoi (BIN),
(TETSU),
哲​1738.
satoru (GO). 486; (KAKU),
覺​824.
sutosu (YU), 1894.
諭
​SATSU,
冊​723.
SATSU,
1
1118.
札
​SATSU (fuda), L 197.
察
​SATSU (kangaeru), 1100.
SATSU (korosu),
satsu
SATSU (kosuru),
768.
sawa (TAKU), (or)
殺​768.
SAN (milsu),
2263.
SAN (muyoi),
慘 ​1555.
SATSU (suru),
√]
2121.
1009.
SAN (sugi),
1330.
澤 ​(or沢​)
620.
sakazuki (HAI),
酸​2
(HAI), AK 1583.
杯​1583.
*(or
1610.
sakelu (Kyō), 4 (or 2)
SAN (umu),
産 ​1751.
SAI (matsuri), 祭
​SAI (mīderu), 1796.
SAI (mono-imi),
齋 ​1332.
齋
​最
​催
​(HAI),盃 ​788;
SA1 (motarasu), 2188.
SAI (mottomo), 582.
SAI (moyōsu), 962.
salce (SHU), 421.
1677.
sakeru (HI), 1466.
SAN (Sui), 2442.
1258.
SAN (tasukeru), (or) sawagu (so), 701.
騷​?
SAN (yama), 46, and
page 124.
爽
​sawayaka (sō), 900.
嘸
​Suzo (BU), 2148.
*1
sazukeru (JU), 1653.
se (HAI),
背
​1659.
II. ALPHABETICAL INDEX OF CHARACTERS.
529
(TRAT),瀬
​se (RAI),
1329.
segare (SUI), † (or)
2225.
SEI (aoi), 178.
青
​誓​1
SEI (chikau), 1698.
晴
​SEI (hareru), 1073.
聖
​SEI (hijiri), 1311.
齊
​SEI (hitoshii), 415.
星
​SEI (hoshi), 1322.
SEKI (ato),
1.蹟
​663.
籍
​石
​SEKI (fumi), 1979.
SEKI (ishi), 173, and
page 118.
隻
​SEKI (kata-kala), 2026.
H 關​(or
seki (KWAN), (or)
683.
煎
​SEN (iru), №2307.
賤
​SEN (iyashii), 1879.
泉​5
SEN (izumi), 591.
SEN (kawa), )|| 47.
籤
​SEN (Icuji), 2337.
旋 ​2269.
SEN (meguru),
SEN (moppara), $742.
SEN (noberu),
SEN (ōgi), 752.
射
​SILA (iru), 713.
車工
​SHA (kuruma), † 115.
者​:
SHA (mono), 101.
sua
SHA (naname), ✈ 756.
斜
​奢​:
SHA (ogoru), 2168.
卸​2129.
SHA (orosu), 2129.
SHA (sale),
SILA (suleru),#986.
SHA (saegiru),
1956.
SEKI (mukashi), 905.
SEKI (mushiro), 1565.
席
​宣 ​1379.
扇 ​Á
1091.
SEI (ilioi), 519.
SEKI (oshimu),
姓 ​473.
SEKI (õi naru), ✈ 1895.
碩​1895.
惜 ​918.
寂
​SEN (saki), 266.
SEN (semi), 1126.
SEKI (sabishii), 1019.
SEI (i), ✈ 403.
#4
勢​5
SEI (Icabane),
清
​SEI (Iciyoi), 401.
SEI (Icoe), (or) 811.
精​6
SEI (Icurashii),629.
SEI (malcoto),943.
SEKI (semeru), †2405.
脊
​SEKI (senalca), 1830.
汐
​SEKI (shio), 1792.
斥
​SEKI (shirizokeru), Ħ 1599.
積
​SEI (matsuri-goto), 346.
SEKI (tsumu), 1582.
貰
​SEI (morau), 1209.
婿
​SEI (mulco), 1202.
成​。
SEI (naru), ✈ 27
277.
SEI (nishi), 52.
制
​SEI (nori), 1943.
SEI (salcan),789.
酲
​SEI (sameru), 2443.
SEI (shizuka),
績
​SERI (Umu), 1737.
戚
​SEKI (uryōru), № 1435.
SEKI (yübe), 269,
7269,
page 118.
*1242.
semai (KYō), 1242.
and
semaru (HAKU), ª (or)
1607.
1534.
semeru
SEI (tadashii), 196.
(压​ò),攻 ​1608;
(SEKI), †2405.
先​266.
蟬
​揃
​SEN (sorou), 979.
線
​SEN (Suji), 1405.
SEN (sukunai), 尠 ​2192.
SEN (susumeru),2370.
SEX (tatakau), 568.
SEN (togaru),
尖 ​2191.
哭​2
穿
​SEN (ugatsu), 1780.
SEN (uranau), † 1819.
SEN (urayamu), † 2350.
SEN (utsuru), ✡ (or ✈)
遷 ​迁​)
1696.
SEN (zeni),(or) 183.
脊 ​1830.
senalca (SEK),
seshimeru (REI),
1070.
SHA (usu-ginu), 1753.
寫
​SHA (utsusu), (or)
541.
社​。
SHA (yashiro), Ł 296.
謝
​SHA (wcabiru), 1424.
赦
​SHA (yurusu), 834.
shaberu (CHŌ),
SHAKU,
SHAKU,
2142.
尺 ​232.
勺​(or勻​) 2127.
借
​SHAKU (kariru), 458.
SHAKU (kumu), 677.
酌
​爵
​SHAKU (kurai), 772.
SHAKU (nakōdo), 1211.
SHAKU (SUZU),
錫 ​1316.
#1:
SHAKU (toku), 1384.
share, 洒落 ​page 391.
SHI,
SETSU (fushi),
節​933.
933.
師 ​137.
SEI (totonou), 575.
semi (SEN), 1126.
蟬​1126.
SETSU (hisoka),
竊
​626.
SHI, 詩 ​471.
製
​SEN,
488, and page 394.
屑
​SHI,
史​1472.
請 ​206.
SEN,
栓​1783.
to
SHI,
咫​1649.
洗​1415.
設 ​656.
SHI (ane),
姉
​SEI (tsulcuru), № 130.
SEI (ulceru),
SEI (umareru), ✈ 147, and
page 124.
SEI (umare-tsulci), † 1991.
征
​SEI (utsu), E 2215.
SEI (yasui),
1361.
靖​1361.
世​80.
SEI (yo),
(yo),世
​SEI (yulcu),
SEKI (alcai),
2433.
逝​2433.
✈✈ 833.
赤​833.
跡
​SEKI (ato), 662.
SEN (Arau), 1415.
SEN (asai), 1285.
鮮​703.
SEN (azayaka), 703.
千
​SEN (chi), † 12.
SEN (erabu),
SEN (fune),
I
(or) 951.
船​641.
SEN (hakaru),
641.
詮 ​10
1010.
(or)
SEN (hisomu), (or #
1848.
SETSU (isagiyoi), 1030.
SETSU (kiru), ✈ 74.
SETSU (mōkeru),
SETSU (oru),
折​901.
901.
說​:
SETSU (toku), 363.
SETSU (toru), 1497.
攝
​SETSU (tsugu), 1898.
接
​拙
​SETSU (tsutanai), 970.
綴
​SETSU (tsuzuru), 2343.
雪
​SETSU (yuki), † 165.
SHA (ie), 468.
舍
​SHI (eda),
(or) 2172.
438, and p. 123.
SHI (ha),(or) 867.
始 ​1075.
SHI (hajime), H
SHI (hodokosu), ✈ 760.
SHI (hoshii-mama), #1431.
市​715.
SHI (ichi), № 715.
SHI (itaru), ₤ 75, and page
118.
530
II. ALPHABETICAL INDEX OF CHARACTERS.
SHI (ilo), (or) 416-7.
柿
​SHI (kaki), 1631.
SHI (Jami),紙 ​254;昏
​2066.
飼 ​F
SHI (kau), 2173.
SHI (lcizu), 疵 ​10
1093.
SHI (ko), 29, and pp.
116, 182, and 398.
SHI (kokoromiru), 1587.
SHI (kokoro-zashi), 志 ​376.
#2489.
SIII (kono), 2489.
詞
​SHI (kotoba), 1797.
SHI (matsu), 12096.
THE
SIII (mesu), E 1351.
視
​SHI (miru), 1908.
1
SHI (mune), 1108.
SIII (murasaki),1369.
SII (ogoru), 12093.
思
​SHI (omou), 82.
SHI (samurai), £394.
SHII (sasu), 498.
刺
​SHI (shiba), 斐 ​1259.
SIII (shikabane),
sur
516.
SHI (shimesu), 示​617.
727
SHI (shinuru), L 765.
SII (shirusu),2388.
姿
​sIII (sugata), 1611.
啻
​sIII (lada), 2005.
賜
​SIII (tamau), 1652.
SIII (lashinamu),2147.
SIII (lasukeru), 1346,
sı (loge), 495.
SHI ((sukeru), 1542,
SHI (uji),
氏
​✩ 345.
SHI (ukagau), 15]
1428.
sı (watakushi), ▲ 309.
SHI (yolsu), 4.
指
​SIII (yubi), † 570.
shiba (SAI), 柴
​1327.
1259.
shiba (SHI), 12
shibaraku (ZAN), 暫
​縛
​1019.
shibaru (BAKU), 1090.
,屢
​shiba-shiba (RU), 2196.
shibui (SHU), № 1637.
SHICHI, U 917.
質​。
七​下
​SHICHI (Nanatsu), + 7.
shietageru (GYAKU), 817.
柵
​shigarami (SAKU), 1638.
shigeru (HAN), 925; (mo),
茂​1169; (cnó),稠​2027;
(UTSU), (or) 2071;
鬱​(or)2
(J1),滋​2298.
shigure, 時雨 ​page 391.
shika (ROKU), 鹿 ​8
859.
shikabane (sm), P 516.
shikari (ZEN), 然 ​69.
shikaru (SHITSU), 2134.
shikashi (HEI),
敷
​shiki (FU), 932.
1107.
SHIKI (nori), 1236.
式
​識
​SHIIKI (shiru),1477.
shikiri (HIN), 2471.
而
​shima (Kō), 縞 ​1756.
shima (To), (or
島 ​(or鳴​。
濕
​shimeru (SHITSU), 20:36.
shimesu (SHI),
shimo (GE), T 26.
shimo (sõ), 7 690.
617.
shimobe (BOKU), 1821.
SHIN, 清 ​404.
紳
​//
SHIN, 1634.
SHIN (atarashii), 157.
深
​SIIN (fukai), 100:3.
震
​SHIN (furueru), 1028.
SHIN (furuu), 振 ​100
1065.
SHIN (haramu),
娠 ​2178.
針
​SHIN (hari), 1918.
浸
​SHIN (hitasu), & 1521.
SHIN (kami), 295.
7295.
辛
​SHIN (karai), 810.
SHIN (kokoro), 181.
SHIN (kuchibiru), 1229.
斟​2:
SHIN (kumu), 2267.
信
​SHIN (makoto), 319.
#6
SHIN (makoto), 614.
身
​SHIN (mi), 375.
SHIN (miru),
2385.
SHIN (mori), (or
森 ​李​)
421.
SHIN (mōsu), #2:
255.
申
​SHIN (neru), 919.
寢​。.
SHIN (nigiwau), 2409.
伸
​SHIIN (noberu), ✈ 2071.
SHIIN (okasu),
509.
臣​423.
422.
親​116.
116.
進 ​396.
shikō shite (31), 992.
SHIN (omi),
SIII (lodomeru),
止 ​112.
SHIN (oya),
束
​ΟΙ
SHIN (Susumu),
支
​薪
​使
​仕​3
SIII (tsukaeru), 257, and
page 123.
SII (lsukai), 508.
SIII (lsukamatsuru), † 301.
sHI (tsukasa), ₹ 434.
鳥​)5
寫​) 550.
shime,
✈ 1595.
shimaru (TEI), 1032;
(KIN),緊 ​2345.
shimeru (SEN), 1819.
SHIN (lakigi), 1031.
SHIN (latsu), 1884.
辰​工
​津​1
SHIN (Isu), 11533.
SHIN
2022.
(tsumabiraka),
SHIN (tsutsushimu), †† 499.
shina (HIN), pp 86; (Kwa),
科​1471; (KY),絞​1938.
shinobu (NIN), 忍 ​1014.
凌
​shinogu (Ryō), 1732.
shinuru (SHI), Ừ 765; (BO-
TSU), ✯ 2281; (Kō),
2369.
shio (EN),
鹽
​(or
(or
塩
​or
857 and 1947; (Ro),
鹵​855; (SEKI),汐 ​1792.
shi-oki (KE1), ✈ 2120.
shiraberu (SA), 585;
(CHO), 1105; (KEN),
撿​1110.
(Kō), Ft 1
shiri (Kō),
1408.
shirizokeru (SEKI),
(SEKI), Ħ
JE
1599;
(TAI), 1605; (KYAKU),
却​1662; (HE),屏​2194.
城​526.
shiro (30), 526.
shirvi (HAKU), † 177; (so),
素 ​634.
shiru (CHI),
識 ​1477.
Šp
汁
​85; (SHIKI),-
shiru (10), †† 2281; (EK1),
液 ​22:11.
shirushi (IN), Ɇ 732; (sHō),
證​。 937; (SHO), 証 ​938;
(CHō),
1195; (Kō),
1457; (uxò),標 ​1459;
驗
​(KEN), 2181.
shirusu (KI), E 271; (K1),
紀 ​1279; (ROKU),録
​1482; (DAT),題 ​1600;
(SHI),誌 ​2388.
獅​(子​)2313.
SHISHIL, F(2313.
shita (CE), T 26.
shila (ZETSU), 474.
•
II. ALPHABETICAL INDEX OF CHARACTERS.
531
SHō (kaerimiru), 338.
shilagau (50), 561; (JN),
sãō (haruka), ¼ 2431.
逍
​順​696; (ZT),隨 ​1393;
陪
​(BAI), 1645; (JUN),
遵 ​1990; (JUN),循 ​2216;
SHō (homeru), 1650.
SHō (homeru), 1688.
SHō (itamu), 1530.
傷 ​13
(SOTSU), 2315.
率​2315.
shitai (KAKU), 1396.
牆
​shitatameru (NIN), 1251.
認
​鐘 ​2010.
膝
​sãō (karei), 1802.
勝
​悉​:337.
SHō (katsu), 2247.
shitau (BO), 2230.
慕​。
SHITSU (hiza), 2361.
SHITSU (kotogotoku), ✯337.
獅
​SHITSU (kushi), 1786.
室
​SHITSU (Muro), 948.
SHITSU (shikaru), 2134.
SHITSU (toru),
528.
shizuku (TEKI), № 1614.
SHō (kakine), 775.
SHō (kane),
SHō (katsu), 451.
#2247.
甞
​SHō (katsule), 782.
消
​SHō (kesu), 910.
SHō (kusunoki), 1373.
#1
SHō (maneku), 1302.
SHō (masa ni), ✈ 744.
SHITSU (Urucu),
濕 ​2036.
SHITSU (ushinau), ★ 264
失
​SHō (masu), ✈ 729.
shizuka (SEI), 1534.
靜​】
SHŌ
Sãō (matsu), † (or
*(or)
583.
shizumeru (CHIN),
2456.
SHō (melcake),
妾
​537.
shizumu (GAIN),
1544;
SHō (mesu),
892.
(BOTSU), 2287.
没
​SHO (atsui), 577.
SHO, 署 ​1810.
暑
​SHO (hajime), 初​334.
SHO (Icaku), # 94.
SHO (Icatsu),
$94.
SHO (moro-moro),
SHO (moro-moro),
708.
SHō (mikoto-nori), 2381.
裳
​SHŌ (MOSUSO), 2377.
(mosuso),
SHō (niru), † 1627.
SHō (noboru), † 1545.
SHō (numa), № 2289.
SHō (sairai), ✈✈✈ 1903.
113.
1566.
SHō (saku), 1223.
SHō (sakan), 926.
B1
SHO (niru),
煮​1815.
SHO (tokoro),
123; 所​(or
#2
SHō, 2444.
SHō (shirushi), 937.
証
​(or ) SHO (shirushi), 938.
(or)
132.
)
商
​日
​SHō (akcinai), 195.
SHō (akiraka), EE 876.
shō (akiraka), 03
SHō (Arawasu), 1615.
|
尚
​shō (lattobu), № 1377.
SHō (lavare-me), 2179.
SHō (leru), HZ 5 598.
SHō (tonaeru), 稱 ​1177.
SHō (lonaeru),
DE
1808.
1651.
Sãō (tsugu), 16
紹
​SHō (tsugu), 33 2017.
sãō (tsugunau), 2108.
SHō (sulcu), 2375.
衝
​SHō (tsumabiraka), 1537.
#153
承
​SHō (ukeru), 572.
SHō (umareru), ✈ 147.
肅
​SHō (usoluku), 1850.
Sãō (uttae), 41609.
SHō (warau), 627.
595.
SHō (yaku), K₺ 59
SHō (yoya), 1626.
稍
​宵
​SHō (yoi), 2187.
床
​SHō (yula), ✈✈ 2205.
殖
​SHOKU (fueru), 2052.
觸
​SHOKU (fureru), 2379.
SHOKU (iro), 175.
色
​SHOKU (kazaru), 飾 ​1381.
喰 ​1102;
SHOKU (kurau),
食​159.
拭
​SHOKU (nuguu), †† 2241.
SHOKU (oru), 織 ​1374.
植
​SHOKU (ueru), 2051.
職
​SHOKU (Wazα), 1937.
SHU (ake), ✯ 2276.
SHu (sake),
酒 ​421.
SHU (tama), 2316.
珠
​#621.
SHU (tane), 621.
手
​SHU (te), † 33, and p. 116.
取
​SHU (loru), 191.
秋
​SHU (aki), 168.
集
​SHO (atsumaru), 427.
聚
​SHU (Atsumaru), 810.
SHŪ
輯
​SÁU (atsumeru), 2422.
葺
​SHU (fuku), 1632.
#610.
SHU (fune), 610.
萩​1
SHũ (hagi), 1276.
秀
​SHŨ (hiideru), ✈ 622.
柊
​SHŨ (hiiragi), 1337.
SHU (hisagi), #1336.
W]
SHU (kuni), (or)
SHỮ
1260.
SHU (kusai),
臭
​SHU (meguru),
1291.
1717.
M
(or)
SHU (meshi-udo), ₪ 2152.
SAU (Mukuyuru), 2440.
SHŬ (mune), 367.
SHŨ (nagisa), WI 1062.
SHŬ (narau), 805.
SHU (õi), # 820.
SHU (osameru), 1
1540.
SHU (osameru),
SHU (owaru), 1253.
(or
1)
妆
​收​2067.
朱​2276.
*
霄
​SHU (aruji),
SHŌ (soranzuru),
誦​1914.
SHU (itasu), 2423.
狩
​主 ​239.
輸
​SHO (shibui), DE 1
1637.
SHU (sode),
1228.
SHU (Icari), 1377.
SHU (toru),
528.
são (uryōru),
2006.
SHō (sora), 1721.
SHō (sukunai), ✈✈`162.
2257.
SHō (susumeru), 1724.
SHU (kōbe), ₺ 405.
€405.
SHU (koto ni), 974.
SHO (washi), $1535.
SHō (Suru),
捐​2257.
味
​1620.
彰
​SHō (tadashii), 正 ​196.
SHU (mamoru),
1081.
SHUKU,
叔​2132.
章​791.
SHU (metoru),
2181.
SHō (chiisai), )↓` 32.
SHō (tanayokoro), 2249.
SHU (omomulu), 1818.
SHō (aya), 791.
SHō (takumi), É 727.
SHUKU (chijimaru),
祝
​縮​2046.
SHUKU (iwau), L 1089.
532
II. ALPHABETICAL INDEX OF CHARACTERS.
蹴
​SHUKU (keru), 2415.
SHUKU (tsuto ni), 夙​740.
SHUKU (yado),543.
SHUN (hayai),1122.
†
sō (kaku), 1787.
sode (SHU),
1228.
sõ (kanaderu), 1643.
sō (kasaneru), № 953.
SHUN (haru), 166.
春
​sō (Icatsute),
曾
​1150.
sō (kogu),
1800.
SHUN (sugureru), 2095.
sō (Icura),
1341.
sō (kuru), 2054.
shūtome (KO), 姑​1683.
出
​SHUTSU (deru), 154.
SO, EL 619.
TEL
粗
​so (arai), 630.
so (ibara), ✯1151.
sō (leusu),草​125;帅 ​432.
sō (kurca), 1318
桑
​sō (mado), (or)
sō (kusamura), 1860.
叢
​窞​(or 窗​)
so (kumi), 1061.
1247.
so (mitsugi),
2329.
sō (masu), 954.
增
​so (nezumi),
#865.
865.
素
​so (orosoka), 2319.
so (shiroi), † 634.
so (uttaeru), 994.
so (yomi-gaeru), 2007.
徂​】
so (yulcu), EL 1726.
sō,
嚕 ​1817.
sō,僧 ​2106.
sō (minato), ✈ 1827.
sō (mo),
喪 ​2143.
sõ (mune), 367.
sõ (nikumu),
蚤
​2234.
sō (nomi), 1788.
sō (Oi),甥 ​2317.
叟
​sō (okina), 1681.
sō (olcuru), ₺ 670.
sō, 艘 ​2365.
sō (okuru),
2065.
相
​sō (omou),
1833.
sō (akiraka), 2354.
sō (sayasu),
2256.
sō (sakan),
壯​529.
701.
sō (ai), 61.
sō (aoi),蒼 ​1963.
sõ (arasou), $773.
1225.
(or) 1296.
sõ (au),
so (fusa),
sõ (futatsu), DE (or X)
8.45.
箱​628.
sō (hako), 628.
掃
​sō (harau), † 1375.
早
​sō (hayai), ♬ 950.
#1
sō (hilai), 1996.
sō (hōki),
第
​sō (hōmuru),
Hō (isoyu),
2049.
896.
葬
​1433.
(or)
(or
sō (sashihasamu), 2246.
sō (sawagu),
so (sawayaka),900.
| sō (shimo),
sō (shimo), 4690.
巢
​sõ (su), 1577,
sõ (toru), 2259.
771.
sō (Isume),
sõ (washiru), 835.
走
​sõ (yalnı), 2336.
sō (yaseru), 1680,
鑊
​sō (yosooi),
装
​1658.
so (yosooi),
1657.
sō shite (31), 1992.
soeru (TEN), 1079; (Fu-
KU),副 ​1636.
副​1636.
soko (TEI), 1096.
sokonan (GAI), 1390;
(SON), 1548; (ZOKU),
賊 ​1993.
SOKU (ashi), ✈ 34.
£34.
SOKU (fusagu), 1691.
SOKU (halcaru), 測 ​1883.
仄
​SOKU (honoka), 2011.
Soku
SOKU (iki), 1980.
BAY
SOKU (kawa), 109.
SOKU (sumiyaka),
速​496.
SOKU (sunawachi), EP 302.
即
​SOKU (Sunawachi), A 313.
則
​束
​SOKU (tsukaneru), ✯ 494.
SOKU (unagasu), 963.
秈​2277.
soma, 2277.
抑​1630.
Somo-somo (YOKU), 1630.
somulcu (HAI), 背 ​1659;
(HAN), 叛 ​2133.
SON (koshiraeru), 2243.
SON (mago), 孫 ​1890.
SON (mura), #215;
1325.
損
​SON (Sokonau), 1518.
梅
​SON (taru), 481.
Son (tattoi), 480.
P
EL |
導
​sonaeru (GU), ♣ 721; (BI),
具
​備​1293.
Sono (EN),
園
​525.
Sono (KI), CO; (GAT),
1925; (KETSU), 2131.
空
​sora (KU), 12 625; (saō),
霄 ​1721.
soranzuru (SHō), 1914;
(AN),讀 ​2396.
£89.
sore (ru), † 89.
soregashi (Bō), † 584.
候 ​912.
sōrō (Kō),
sorou (SEN), † 979.
撒​979.
Soru (TEI),2124.
soshiru (SHI), 498; (HI),
誹​2393; (Hò),謗 ​2394;
(KT),譏​2401; (zAN),讒
​2403.
注
​7
sosogu (CHU), 1252;
濯​工
​(TAKU), 1416; (SAI),
洒​(or灑​) 1954.
soto (GWAI), 外​工 ​149.
SOTSU (hikiiru),
SOTSU (hikiiru), 2315.
Sou (EN),
卒 ​342.
率
​治​1498.
坐
​page 392.
sozoro ni (za),
su,
29, and page 398.
巢
​su (sõ), 1577.
su (su-belcaraku), 697.
sū (hashiru), 1426.
BYE
sū (hina), 2464.
數​:
sŨ (Icazu), 304.
su-belcaraku (sv), 697.
suberu (so), (or)
總
​1296; (Tò),統 ​2342.
簾
​sudare (REN), 1776.
sude ni (KI), ₺ 280; (KI),
既​940.
末
​sue (MATSU), 360; (x1),
季​1402.
sugata (SHI),
1611.
suge (KWAN),
管​1366.
1366.
sugi (SAN),
₺
1330.
過​961.
961.
sugiru (KWA),
Sugu (CHOKU), 200.
sugu (TA), ✯✈1678.
汰​1
優
​sugureru (x0), 11558;
2
II. ALPHABETICAL INDEX OF CHARACTERS.
533
,豪​】
(Gō), 1811; (KETSU),
2095.
1983; (SHUN),
SUI (ana-michi),1711.
翠
​SUI (atsumeru), ✈ 1386.
吹
​SUI (fuku), PX 179.
Bip
SUI (hikiiru), 1972.
SUI (ho),穗 ​2332.
SUI (kashigu), K 2305.
sumi (TAN), 596; (BOKU),
墨​1516.
sumiyaka (SOKU), 496;
(JIN),迅​2427.
Sumā, 角力 ​(or 相撲​)
page 391.
sumomo (RI), † 1403.
李
​sumu (30), 1È 237.
1237.
71049.
sumu (SAI), 1049.
寸 ​233.
suna (SA), E 615; (SA),
suI (midori), 1413.
翠
​SUN,
SUI (mizu), ✯ 45.
水
​粹​2340.
沙 ​1243.
SUI (moppara), 2340.
SUI (nemuru), 睡​】
1707.
SUI (OSU), 1099.
推
​衰
​BUI (otoroeru), 1178.
sui (SAN), 2442.
SUI (suru),
1771.
誰
​SUI (tare), 1222.
SUI (tareru), 垂 ​1708.
遂
​SUI (tsui ni), ✈ 904.
SUI (yatsureru), (or
2225.
SUI (you), 1695.
醉​1695.
stuji (3ò), 條​(or条​) 587;
(SEN),線
​(SEN), 1405; (KIN),
筋 ​1884.
sulce (50), 449; (¤o),
輔 ​467.
sulci (30), 2451; (RAI),
耒​806.
隙
​sukima (GEKI), 2461.
sukoburu (HA), № 1492.
健
​sukoyaka (KEN), 1825.
sukunai (SHŌ), H▶
少 ​162;
(KWA), 894; (SEN),
寡
​尠​2192.
sulcuu (KYO), 573.
sumi (GO), 1641.
sunadoru (Gyo), 1815.
sunawachi (SOKU), EP 302;
(SOKU), 313; (NAI),
乃​709.
suru (MA), ✈ 556; (sui),
摩
​HỂ 1771; (SATSU), H
2121; (SHō), 2257.
surudoi (E1),2450.
sushi, 1801.
ta (DEN),
T
田 ​48, and p. 115.
TA (fuloi), ★ 5:31.
他​230.
Ts (hoka), ft 230.
TA (ūi),多​161.
Ta (sugu), 汰 ​1678.
煙草
​tabako, 124–5.
度
​tabi (DO), ★ 248; (HAN),
般
​. 1486.
tabi (RYO), ☆ 76
tachimachi
1035.
(KOTSU),
忽
​tada, 只​70; (1),唯​1686;
(SHI), 啻​2005; (1),惟
​2224.
tadureru (RAN),
tadureru (RAN),
tadashi (TAN),
爛
​1766.
511.
tadashii (SEI), E 196; (TEI),
袋
​TAI (fukuro), 1027.
太
​TAI (ſutoi), ★ 531.
TAI (itadaku), 2081.
TAI (kaeru),
350.
替​3
TAI (karada), 850;
體 ​体
​955; ** 1500.
TAI (kasu), 133.
貸
​態
​TAI (katachi), 2229.
TAI (kumi), 隊 ​1642.
頹
​TAI (kuzureru), ‡ 2470.
待
​TAI (matsu), 475.
對​了
​TAI (mukau), 348.
带
​TAI (obi), ✈✈ 1077.
怠
​TAI (okotaru), Ž 1463.
TAI (shirizokeru), JE 1605.
TAI (laeru),耐​2351.
滯
​TAI (todokōru), № 1076.
TAI (yasui),
泰
​1496.
taira (HEI), †392; (TAN),
坦​1720.
thtaka
(KAKT),額
​貞 ​1350; (CH), taka (KAKU), Ž 1396.
tadasu (KAKU), # 983;
**
鮨
​susumeru (KWAN),
1551;
1601.
(SHŌ), 1724; (SEN),
薦 ​2370.
進 ​396.
廢
​捨
​Susumu (SHIN),
sutaru (HAI), 1719.
suteru (SHA), 986; (KI),
1592; (TETSU),
1935;(EN),捐​2244.
Suu (KYO), 1772.
吸
​坐
​suicaru (ZA),
座 ​929.
SUZU (REI),
SUZU (SHAKU),
Suzuri (KEN),
(KY), 1051; (TOKU),
督​1563; (TET),訂​2380.
tadazumu 560; (CHO),
伫
​佇 ​2090.
堪​】
taeru (TAN), 1905; (TAI),
耐​2351.
taeru (ZETSU), 絕 ​1444.
亙​713.
425; (ZA), tagai ni (GO),
1331.
錫
​1316.
2053.
suzushii (RYō),
凉 ​1798.
tagayasu (Kō), ✈ 807;
(NO),農​1120;(KON),墾
​2163.
鷹
​taku (xō), 2483.
takudoro (Rō), 1305.
高​】
takai (Kō), 190; (TAKU),
卓​1443.
篁
​takamura (Kō), † 1791.
寳
​takara (Hō), (or)
1185; (SAT),財 ​659;
(KWA), 1809.
貨
​武​工
​take (BU), 1121.
take (CHIKU), 410.
take (GAKU),
岳​2198.
嶽
​1256;
Ž
丈​707.
類 ​305;(I),
毅​工 ​1364; (Mō),
猛​1546.
take (50), 707.
tagui (RUI), 305; (1), ✈│takei (KI),
1742; (RIN),1916.
殕​766.
tai (cao), F 1853.
TAI (ayaui),
taki (BAKU), 1239; (rō),
瀧​1240.
534
II. ALPHABETICAL INDEX OF CHARACTERS.
TAKU (erabu), 1907.
擇
​TAN (hitoe), † 1604.
TAN (habakaru), E 2070.
TAN (hashi), 794.
2794.
單
​takigi (sms), 1031.
tako, hip 22
2201.
憚
​tasukeru (10), № 449; (110),
輔 ​467;(),扶​911;
TAKU (hiraku),
拓
​1493.
TAN (hokorobu), 1501.
1346; (xū),祐 ​1349;
(NA),佐​1134; (sm),資
​術
​tedate (JTSU), # 1730.
tegara (kõ), IN 448.
丁​204.
* 2212.
TET,
204.
TEI,
延
​宅
​TAKU (ie), 1423.
TAKU (sawa), E (or R
澤​(or 沢​)
TAN (kimo), 2364.
Ž
膽
​(SAN), *(or) 1610;
酊​2440.
短​ヶ
​1258.
TAKU (Sosogu), 1416.
濯
​1590.
卓
​鬪 ​685.
TAKU (takai), † 1443.
TAKU (wabiru), 2386.
託
​TAN (mijikai), 790.
TAN (nageku), ‡ (or †)
TAN (ni), ✈ 1144.
丹
​TAN (ninau), 1933.
TAKU (yulaneru), (or TAN (saguru), 1774.
托​) 1911.
TAN (Sumi), 596.
(KAT), A 2048; (YOKU),
翼​2056; (w),接 ​2254.
#2254.
tatakau (SEN), 568; (Tō),
tatakon (Kõ), 1816; (kõ),
扣 ​22:38.
tatami (35),
擔
​探
​炭
​疊
​1198.
TAN (tadashi),
511.
1000.
TAN (tueru), 1906.
tate (JV), 793; (10),
蹝​1955.
TAN (taira), JE 1720.
潭
​干
​takumi (Kō), 1 88; (sHō),
匠​727;(Kò),
(Kō), IH
takuwaeru (cпo), 915;
(CHIKU),916.
tama (GYOKU), E 172;
(KYC), 1862; (DAN),
彈 ​1930; (HEKI),
珠
​tamago (RAN), HP 735.
2044; (SHU), 2316.
TAN (tani), 1849.
TAN (umareru), 1826.
tana (HŌ),
棚 ​1700.
tanagokoro (SHō), 2249.
tane (SHU), † 621; (IN),
胤​1348.
A
1849; (KEI),
tate (KAN), † 745.
tatematsuru (15), ✯ 251;
奉​251;
(KEN), (or) 599.
獻 ​献​)
建​。
taleru (KEN), ✈ 959.
TEI,
TEI (arawasu), ₤2010.
抵​1579.
TEI (ataru),
TEI (CHIN),998.
TEI (hashigo), 梯 ​1268.
TEI (hikui), A 1097,
低​1097,
蹄​:
TEI (hizume), 1840.
TEI (hodo),
程​217.
217.
鼎
​TEI (kanae),
1743.
TEI (Icawaru), 2436.
1929.
TEI (kobune), HE 1
釘
​TEI (kugi), 1870.
帝​2
TEI (mikado), 281.
TEI (naku), 2004.
帶
​tutoe, 假令​(or 縱令​) TEI(nizoa), 庭 ​5:
559.
pp. 183 and 391.
tatveru (11), 1101; (xu),
TATSU (itaru), 672.
tatsu (RITSU), Ž 99.
tatsu (RYō), (or ¥)
龍 ​竜​)
869; (SHIN), 1881.
譬​1104;
tamashii (REI),
(or)
tani (KOKU), 428; (TAN),
喻 ​1869.
435;
(KON), 853:
潭
​谿
​(or
達
​(HAKU), 1071.
溪​) 2001.
tamau (KYO), 921; (SHI),
給
​tanomu (RAI), 661; (J1),
賴​661;
賜 ​1652.
恃 ​2220.
偶​工
​樂​生
​tame (1), 72.
爲​么
​TANSU,
箪笥 ​1526-7.
tamerau (CHO), 2416;
(CH)),躇​2417.
taoreru (To),
倒
​誰
​垂
​tama-tama (GU),
溜​:
tanoshimu (RAKU),
1868.
tameru (RYC), 1420.
tameshi (REI), 457.
tumi (MIN), ✯ 393.
tumoto (BEI), 袂 ​651.
tamotsu (15), 1058.
tamuro (TON), ₺ 2024.
TAN (ashita), ♬ 1214.
淡
​TAN (awai), 2292.
tanuki (RI), 2311.
tare (SUI),
1749.
1222.
tareru (SUI), 1708.
419.
tariru (SOKU), Ě 34 and
Page 41.
#1
taru (SON), 481.
tashika (KWAKU), HE 1470;
確​1
(zò),慥​2231.
tashimu (sIII), 2147.
tatsu (SAI), 652; (dan),
斷​(or断​)759.
tatsu (ZETSU), 1444.
tattoi (K1), †245; (SON),
尊
​尚
​ĐI 480; (NHỎ), NHM 1377.
tuwara (HYŌ),
俵 ​2098,
戲
​tawamureru («1), 1958.
尋
​tazuneru (JIN), 208;
(Tò),討 ​2023; (Hó),訪
​2382.
tuzusaeru (KEI),
手​33.
te (SHU), 33.
携 ​1687.
第​144.
TEI (otōto), 144.
TEI (sadumeru), 314.
TEI (sageru), 1795.
提
​TEI (shimaru), **1032.
底​工
​TEI (solco), Í 1096.
TEI (Soru), 2124.
剩
​TEI (tadashii), 1350.
訂​2380.
TEI (tadasu), 2380.
TEI (todomeru), 11409.
堤
​TEI (Isutsumi), (or)
2159.
郎
​TEI (yashiki), 674.
TEKI (Sue),2335.
敵
​TEKI (kataki), 1613.
TEKI (mato), ₺ 785.
擲
​TEKI (nage-utsu), 2261.
TEKI (ogi), 1275.
旋
​滴
​TEKI (Shizuku), 1614.
摘
​TEKI (tsumamu), 1481.
II. ALPHABETICAL INDEX OF CHARACTERS.
535
TEKI (yulcu),
TEN,
適
​1449.
(or) 86:3.
天​21.
TEN (ame), ★ 21.
TEN (hetsuran),2392.
巔
​TEN (itadaki), 2199.
TEN (katajikenai), 566.
TEN (korobu), # 661.
#601.
TEN (Icutsugaeru), § 2069.
纏
​TEN (matou), 2348.
JL
Tō, 609.
Tō,糖 ​12:32.
Tō, 1287.
rù, 套 ​1754.
塔
​Tō, 2160.
Tō (ataru), (or)
當​(or
152.
Tō (Suji),
Tō (fumu), 967.
藤
​1181.
店
​TEN (mise), 140; (TEN),
Tō (fuyu), ✈ 169.
Tō (hi), 樋 ​1328.
TEN (noberu), 2080.
展
​Tō (higashi), 51.
東
​典
​Tō (hora),
1839.
1301.
廛​2207.
TEN (nori), 505.
TEN (sadameru), 1616.
#2
TEN (saczuru), 2151.
TEN (socru), 添 ​1079.
tenugui (KIN), № 553.
tera (31), ✈ 469.
teru (suŌ), 照 ​598.
TETSU (kawaru), ✯2428.
Tō (ine), 稻 ​13
禱
​Tō (inoru), 2077.
鑄
​Tō (iru), 2011.
悼
​Tō (itamu), †2226.
Tō (itaru), | 516.
到​51.
tō (JC), †10; (JC), 189.
Tō (kabuto), 1387.
凭
​TETSU (kurogane), (or Tō (kashira), 698.
鉄​or銕​) 1391.
TETSU (mei), 2176,
姪
​哲
​TETSU (saloi), 1738.
TETSU (suteru),1935.
徹
​TETSU (lōru), 2217.
斗
​TO (hakaru), 751.
To (haku), 吐 ​1068.
屠
​To (hofuru), 2195.
To (kachi), 徒 ​11
賭
​1152.
To (kake), 2110.
lu (Ko),
221.
戶​221.
To (michi), 1121.
ĐẾ (8.
Tō (katana),
刀
​515.
Tō (kiri), 桐 ​1338.
Tō (kōru), 511.
答
​Tō (kotaeru), 1071.
黨
​Tō (kumi), € 861.
Tō (mame), Ž 827.
Tō (momo), ✈ 1663.
唐
​1
To (Morokoshi, 1233,
and page 398.
棟​]
Tō (mune), 1018.
Tō (nageru), † 1589).
Tō (noboru), † 329.
途
​Tō (niyeru),
逃 ​1012.
To (miyako),
都​382.
To (netamu),
妬​2175.
Tō (noboru),
382.
2175.
To (nuru), 1237.
塗
​To (usagi), † 1679.
兔
​To (wataru), 1018.
渡
​Tō (nusumu),
1133.
978.
Tō (ōnami),
濤​2:302.
等
​Tō (ru), † 243.
Tō (shima), § (or 4
島 ​嶋 ​or
ΤΟ
鳥​) 550.
Tō (suberu), 2312.
倒
​Tō (taoreru),1749.
Tō (tatakau), 685.
逗
​Tō (todomaru), E 2131.
Tō (lomoshibi), 1568.
透​:
Tō (lõru), ✈✈ 2432.
Tō (ulsu),
討 ​2023.
Tō (utsusu),2399.
Tō (yakimono), 1112.
湯
​Tō (yu), 590.
tobari (CHO), 555.
H555.
扉
​tobira (11), 22:37.
toboshii (Bō), Z 1191.
飛
​tobu (111), 1168.
todok ery,
届​5
518.
todokōru (TAI), № 1076.
todomeru (SHI), 止 ​112;
123; 所​(or) 132.
TOKU,
德
​1430.
篤
​TOKU (alsui), 1063.
得
​TOKU (eru), 263.
TOKU (fuda), 2031.
牘​2
toku (KAT), (or )
解 ​(or)
826; (SHAKU), 釋 ​1381;
(CH),註​2:38:3.
匿
​TOKU (kakusu), E 728.
#172.
TOKU (kolo ni), ✈ 172.
toku (SETSU), 363; (Kō),
講 ​1901.
督
​TOKU (lalasu), 1563,
tomarų (HAKU),
7871.
tomi (Fr),1162.
tomo (KYō), # 285; (GU),
俱​12:31.
tomo (YT), ✯ 738; (Hō),
朋 ​11
1188.
(KIN), 118; (RYC), tomoe (11A),
留
​(KIN),禁​:
3:30; (TE1),停 ​10);
(rū),逗​2431; (㎡),
駐 ​2178.
轟 ​881.
todoroku (Gō), # 880.
#1
toga (KYT), 1011.
尖
​togaru (SEN), 2191.
toge (SUI),495.
tōge, * 882.
遂
​toyeru (sv1), 901.
磨
​togu (MA), ✈ 616.
toi (Tō), 1328.
遠
​tōi (EN), ✯ 667.
tojiru (1E1), PA 225; (KAN),
2085.
toki (31), 135; (SHIN),
辰 ​1881.
toko (suō), 2205.
巴 ​1266.
輩
​伴
​tomogaru (1181),
tomonau (HAN),
1878.
1310.
tomoshibi (Tō), 1568.
吊​(or吊​)
Comura (cao), 7 (or in)
2135.
BIL
TON, 1976 and p. 391.
敦
​Tox (atsui), 1371.
TOX (buta), 豚 ​2.41
2401.
TON (musaboru), 貪​」
遁
​1692.
TON (noyareru), № 1053.
呑り
​TOX (nomu), ₺ 957.
TON (lamuro), ✈ 2021.
頓
​TON (yayate), ✈ 1628.
稱 ​1177;
(snỏ), th
tonaeru (suō),
(suo), 1808.
tonari (KIN),
1038.
tono (VEN), 281.
虎 ​816.
tokoro (SHO), (or PL) | toru (KO), 81
536
II. ALPHABETICAL INDEX OF CHARACTERS.
Fil
toraeru (HO), 463; (kō),
拘​1502; (Hi),囚 ​2152.
tori (CHO), 95; (xi),
A
676; (KIN), 禽 ​1863.
羅​工
​tori-ami (RA), 1156.
俘​1944.
房
​tsubone (Bō), Š 1297.
tsubu (RYD), 2338.
tsubuyaku (GEN), PŽ 1769.
(10),壤 ​1722.
tsuku (SHŌ),
衝​2375.
2375.
2039.
tsukuda (DEN),
tsulcue (KI), † 1581; (AN),
440; (KI), Л 719;
卓​1443.
page 126.
tsuchi (DO), ± 43; (CHI),
地​22; (KON),坤 ​1181;
(TAKU),
tsukuri,
tsukurou (ZEN),
繕​1541.
tsukuru (SAKU), 100;
(SEI),製​】
131.
tsugu (31), 67;(4),亞
​tsurugi (KEN), (or)
1942.
傳
​tsutaeru (DEN), 1822.
tsutanai (SETSU), 970.
拙
​tsuto ni (SHUKU), 740.
324;
tsulomeru (MU), 務
​(EIN),勤​453; (HEN),勉
​1701;(DO),努 ​1924.
(SEI), 130; (ző), tsutsu (30), 2449.
造
​tsutsuga (xō), 2219.
toride (SA1), 1691; (RUI),
壘
​麺 ​1928.
tsue (30), #1503.
toriko (RYO), 1926; (ru),
虜
​tsugai (DAN),
220.
取
​tōru (SHU), 191; (SHŪ),
tsugeru (KOKU), 352.
次
​銃​2449.
(võ),
執 ​52
攝
​1310; (SHò), 踵 ​1651;
✈
(sõ),
1497; (SAT), 採 ​2014;
操 ​2259.
(SETSU), 1898; (KEI),
1525.
2159.
蹬 ​(or) 1915; (SHō),
紹 ​2017.
tsutsumu (µõ), ₺ 726.
528; (SETSU),
tōru (rsʊ), š 116; (xi),
融 ​619; (Kō), 1358;
亨
​(DA), 1479; (TETSU),
徹​2217; (ró),透​2132.
toshi (J18), 2427.
toshi (NEN), 20; (SAI),
年
​歲​(or歳​) 762.
tute, ¿± 887.
totonou (SET), 415; (sel),
齊
​整 ​575.
TOTSU (hamasu),
咄 ​903.
TOTSU
(naka-daka),
1
2116.
tou (MON), 22:3; (HEI),
聘 ​2352.
鎖​1767.
tozasu (sa), 1767.
tsu (SHIN), 1153.
津​1
TSU (itamu), 610.
痛
​Tsü (lōru), Š 116.
通
​椿
​tsubaki (CIN), 1335.
tsubaki (DA), 2141.
H
tsuyunau (SHō), †† 2108.
墜​口
​TSUI (ochiru), 2162.
追
​TSUI (ou), ŽĚ 902.
tsuide (50), 558.
序
​tsui ni (SUI), 904.
遂​。
費​。
tsuiyasu (111), †† 660.
it
tsuji, ± 885.
tsuka (cnō), 1324;
墳​2
(FUN), 2161.
tsukaeru (sIII), 257.
支​2
攫
​tsukamu (KAKU), 1675.
tsukareru (HI), ✈ 1414.
tsukai (SHI), 508.
tsukamatsuru, (SHI), 301.
tsukaneru (SOKU), ✯ 49.
束​4
1452.
tsukareru (Rō), 452.
tsukasa (SHI), √] 434; (RT),
吏 ​21:36.
遣
​tsukawasu (KEN), 960.
tsukeru (s), , 漬​1
tsukusu (JIN), (or A) tsutsumi (TEI), (or BE)
#5
tsuma (SAI), † 536.
tsumabiraka (SHŌ), †1537;
(SHIN),審​2022.
摘​1481.
tsumamu (TEKI), 1481.
tsume (sō), 爪 ​771.
(suweru (KITSU),1668.
tsumoru (SEKI), 1582.
積
​tsumi (za1), 798.
tsutsushimu (SHIN), 499;
(KIN),謹 ​2072.
tsuwamono (HEI),
tsuyoi (KYō),
兵 ​341.
748; (KI),
毅 ​1364.
1512.
tsumuji-kaze (GU), E816.
tsuyu (RO),
tsuzuku (ZOKU), 1404;
1891; (EKI),
(KEN), 儉
​tsumi suru (BATSU), 799.
tsumu
積
​(SUMU (SEKI), 1582.
綱
​tsuna (Kō), 1588.
維
​tsunagu (1), RE 1893; (KEI),
繫
​1953.
tsunami, 海嘯 ​1850.
tsune (Jō), ✈ 209; (kõ),
恒​(or恆​) 2064; (xó),
庸​2207.
tsuno (KAKU),
角
​825.
tsunoru (BO), 1025.
募
​tsuranaru (REN), 1148;
連
​(RETSU),
1542.
列
​1639; (REN),
tsubame (EN), 燕
​2308.
tsuki (GETSU), 16.
聯 ​2353.
tsubasa (Yoku), 2056.
tsuku (FV), 198; (15),
tsubo (HEI),
1817.
就​303; (FU),付 ​339;
tsuranulu (KWAN),
Isuru (CHō),
1
1432.
2446.
tsubo (Ko),
420.
24.20.
(ZOKU),屬​(or属​) 549.
tsuru (KAKU),
706.
(KEI),
系
​2021.
tsuzumayaka
1111; (YAKU),
約​1215.
tsuzumi (KO),
786.
2343.
tsuzuru (SETSU), 2:3
U
U,
宇 ​542.
雨
​(0ò),卵
​v (ame), 164.
u (DO),
(or) 1741.
v (hane), II 407.
烏
​v (karasu), „ 406.
v (mawari-dōi), ✈ 1690.
v (migi), ₺ 1 119.
v (ni), † 1157.
于​1157.
uba (BO), 2174.
II. ALPHABETICAL INDEX OF CHARACTERS.
537
uba (ō), 1876; (BO), I
UN (iu), ✈ 291.
utau (KA), 589; (GIN),
歌​:
UN (Icumo),
?
雲
​482.
哈 ​1056; (xū),謡 ​1805;
奪​077.
808.
unagasu (SOKU),
963.
2174.
ubau (DATSU), 977.
uchi (NAI), P 148; (CHỦ),
UN (kusa-giru),
unaji (Kō), § 1547.
云々​291-2.
袁 ​1602.
uchiwa,
團扇
​page 391.
UNNUN,
1580.
†
ue (Jō), Ł 24.
ueru (KI), L (or) 2472;
uramu (KON), 1008; (EN),
怨​1072;(EAN),憾​1491 .
ude (WAN),
(GA), 2474; (KIN),
2475.
植
​ueru (SHOKU), 2051;
(SAT),栽​2278.
ura (RI), 654.
恨​】
uranau (SEN), † 1819 ; (BO-
KU), † 1820.
羡
​urayamu (SEN), ☀ 2350.
uri (KWA), ✈ 774.
(ET),咏​(or詠​) 2139;
唄​2140.
(BAI), P 2140.
utena (DAI), † (or
(or)
1261.
UTSU (shigeru), (or)
2071.
鬱​(or)
utsu (DA), †997; (BOKU),
WAI (hikui), 1718.
WAI (mainai),
賄
​矮
​2407.
1921.
WAI (midareru),
wakai (JAKU), ✈ 326; (võ),
1969; (CHI), (or
穉​) 2330.
#
wakareru (KI), 1290.
wakatsu (BUN), À 81;
(HAN),判​1115.
1559; (BATSU), wake (YAKU), 2038.
waki (KY), 1015.
✯
1970; (HAKU), 1944;
(TO), 2023; (SEI),
穿
​urite, 賣​人 ​page 391.
2215; (HAKU), 拍 ​2239;
擊​2260;(0),毆
​I
動
​1039;' (xõ),
uroko (RIN), 2482.
美​8
1220.
ugatsu (SEN), 1780.
ugolcu (Dō),
接
​1803.
uguisu (ō),
uji (sur), ✯ 3
345.
15]
ukagau (SHI), 1428; (Kō),
候 ​912.
浮
​ukamu (FU), 1858.
ulegau (DAKU), 1932.
ukeru (JU), ✡ 193; (SEI),
受
​享
​URON, 胡亂 ​page 398.
賣​」
uru (BAI), † 127.
urú (JUN), 2458.
urū 閏
​uruou (SHITSU), 2036;
(JI),滋​2297.
Urusai, 五月​蠅 ​(or蒼
​蠅​)
page 391.
uruwashii (REI), 860.
麗
​uryōru (vo), 564; (SEKI),
✈
戚 ​1435; (EWAN),患
​請 ​承
​206; (SHO), 572;
(KYŌ), 1058; (RYŌ),
領​1447.
1579;(sHÙ),愁 ​2006.
馬
​午
​✯
730.
牛
​umareru (SEI), ✈ 147 ; (SAN),
uma (BA), 58; (GO), usagi (TO), 1679.
生​147;
產​1751;(TAN),誕​1826.
umare-tsuki (SEI), † 1991.
umaya (xxʊ), M (or )
1952.
ume (BAI), 437.
umi (KA1), № 591.
(or)
梅
​海​591.
UMU (KEN),
倦 ​2100.
績
​669.
UMU (SEKI),
UN (halcobu),
1737.
ushi (GYÛ), † 57.
ushinau (SHITSU), ✈ 264;
(sò),喪 ​2143.
ushio (CHō),
後
​1309.
ushiro (GO), 151.
usobulu (SHŌ),1850.
Usu (KYV), 7 409.
薄
​Usui (HAKU), ✈ 1762.
uta (KA),
歌
​589.
utagau (or), 781.
utata (TEN), # #pa
page 392.
(GEKI),
2283.
utsukushii (BI), ☀ 802.
utsumuku (FU), 1889.
俯
​移
​utsuru (1), 975; (sen),
遷​(or迁​) 1696.
utsusu (SHA), (or)
寫
​544; (Mo), 1022; (TŌ),
謄 ​2399.
utsuva (KI),
器
​523.
uttaeru (so), 994; (saō),
訟 ​1609.
uwo (GYO), $97.
敬
​魚​97.
uyamau (KEI),
1485.
uya-uyashii (KYō), 1351.
2157.
, 埋​2157.
uzumeru (MAI),
W
wa
話
​輪
​Wa (hanasu), 657.
20α (RIN), 665; (KWAN),
環 ​1763.
ws (yawaragu), #1 288.
wabiru (SHA), 1424; (TA-
KU), 詫 ​2386.
肠
​wakimaeru (BEN), (or
弁​or辯​) 811.
zwalku (FUTst), 沸
​(Yò),湧​2294.
沸 ​1831;
WAKU (ma‹lou), 惑 ​1213.
WAN (hiku), (or)
彎
​1172.
灣
​(or湾​)
WAN (iri-umi), (or)
1173.
腕
​WAN (ule), 1580.
wara (Kō), † 1029; (Kō),
稿​(or槀​) 871.
童
​warabe (Dō), ₤2013.
笑
​warau (SHŌ), 627.
ware (GO), #241; (GA),
我​242;(x0),余​510;
(Y0),予​2086.
(PU),符​】
warifu (FU), 1394.
割
​waru (KATSU), 1389.
warui (AKU), 362.
washi (SHU), 1535.
washiru (sõ), ✈ 835.
wasureru (Bō),
wata (MEN),
忘 ​83.
忘​。
1715.
私​309.
watakushi (SHI), A 309.
wataru (TO),
亘​1451.
1018; (kō),
528
II. ALPHABETICAL INDEX OF CHARACTERS.
waza (Gxō), # 128; (GEI), yakko (DO), 1146,
藝​1135; (KI),1136; yalcu,役 ​1050.
(GI), 1539; (SHOKU),
YAKU (lcusuri), 647.
藥
​職 ​1937.
426; (Ya-
wazawai (SAI),
2130; (KWA),
YAKU (musubu), 約 ​1215.
躍
​YAKU (odoru), 1995.
yaleu (SO), 595.
燒
​YAKU (wake), 2038.
KU),
2326.
譯
​waza-waza (TAI),
態​々
​YAKU (wazawai), 2130.
TE
2229.
山
​wazulca (KIN), 僅​1
1410;
(ZAN),纜 ​2349.
煩​2
2306.
wazuravasu (HAN),
yama (SAN), ✈ 46.
yamai (BYō),377.
yamu (HI), 1080; (KE-
'SU),歇 ​1622.
yanagi (BYū), HN 1280 ; (Y6),
揚​1281.
vo (amaru), 餘​6
699.
vo (arakajime), 831.
$
xo (ataeru), (or)
813.
預
​vo (azukaru), 1388.
YO (DAI), 454.
ყი iti
#658.
xo (homeru), # 658.
yo (SEI),
世​80.
Yo (ware),
余​510.
vo (ware), † 2086.
予
​Yō, 洋 ​287.
ó,洋​2
rō, 曜 ​1400.
xō (ha), #645.
xō (ageru), 1161.
揚
​Y
ya (Ko), ✈ 1127.
乎​1127.
yaseru (sō), 1680.
É
瘦
​Yō (hai), L 1962.
yashiki (TEI), 674.
郎
​xō (haramu),
2184.
YA (nari),
也
​300.
yashinau (IKU), 637;
育
​xō (haruka),
1
1801.
呼​520.
yobu (KO), 520.
yoi (KICHI),261; (Zen).
良
​#361; (RYO), 399;
(KA),佳​1450.
宵
​yoi (SHŌ), 2187.
yojiru (HAN), 2262.
yolco (ò),横​383.
邪
​(JA),闭
​yokoshima (JA), 2009.
浴
​YOKU (abiru), 446.
翌
​YOKU (akuru), 2055.
YOKU (hossuru),
588.
YOKU (musaboru),
1
1095.
299.
YA (20),野​2490.
ya (OKU), 73.
屋
​爺
​ys (oyaji), 2309.
哉
​耶
​ya (SAI), 913; (YA), F
2008.
ya (SHI),
♬
耶
​171.
YA (ya), 2008.
ΤΑ
夜
​Ya (yoru), 340.
☀
yabu (sō), 2336.
yaburu (HEI), *(or)
1130; (HA),破 ​1217;
(ILAI), H 1584.
敗
​yabusaka (RIN), ☀ 2138.
yadoru (SHUKU),
(GU),寓 ​2188.
yagate,
1628.
yaiba (JN),
(Yō), 1307; (CHIKU),
畜 ​2318.
yashiro (SHA), Ł 296;
(BYō),廟 ​2211.
YASO, 耶蘇 ​2007-8.
yasui (AN), 191; (kō),
康 ​504; (I),易 ​999;
(REN),廡
​(REN), 1216; (SEI),
靖​1361; (TAI),泰 ​1496.
yasumu (KY), 122.
yasunzuru (AN), † 1865;
晏​1
(NEI),寧​1917.
yatou (KO), 844; (CHIN),
xō (hinata), 688.
xō (hitsuji), ✈ 801.
羊
​xō (itokenai), 1968.
xō (itsuwaru), 1† 2094.
要
​vō (kaname), 821.
零​士
​vō (katachi), 1499.
№
Yō (koshi), 1759.
vō (mochiiru), 102.
vō (odoru), 2414.
Tô (sama), (or A) 307.
Yō (talca), 2483.
庸
​xō (tsune), 2207.
vō (tsutsuga), 2219.
*
1395; (xō), (or yō (ugoku), 1805.
543;
賃
​僱​) 2104.
881; (TON),
刀
​518.
yakata (KWAN), F 700;
(KWAN),館 ​815.
yalcimono (TO),
陶​1442.
1442.
yatsu (HACHI),
yatsureru (SUI),
悴​) 2225.
8.
if
謡
​Yō (utau), 1805.
†
Yō (wakai), 1969.
(orro (walcu), 2294.
湧
​yawarakai (30), * 1064;
(NAN),軟​2420.
稍​1
yaya (SHŌ), 1626.
rō (yanagi), 1281.
養
​xō (yashinau), 1307.
xō (yatou), (or)
傭​(or 僱​)
YŌ
2101.
yolcu (Nō),
抑
​YOKU (osaeru), 1630,
YOKU (tsubasa), 2056.
yome (KA),1201.
yome-iri (KON),
翼
​婚​2182.
嘉
​蘇
​yomi suru (KA), 1852.
yomi-gaeru (so), 2007.
蓬
​yomogi (Hō), 1813.
yomu (DOKU), 93.
yori-kakaru (KYō), 720.
#1
yorokobu (KI), 1166;
(ETSU),悅 ​939; (KEI),慶
​939;(KEI),
1370; (KN),欣 ​1625;
(KWAN), † 1984; (EKI),
1985, and page 400.
yoroshii (GI),
949.
yoru (va),
340.
yoru (vo), 290; (KYO),
據 ​993; (IN), 因 ​995;
因​995;
寄
​(KI), 1047; (1), **
1091; (EN),緣 ​1205.
由
​yoshi (YU), 290.
yoshimi (GI),
yosoni (sō),
粧​1658.
誼
​1875.
yotsu (SHI), 4.
1657; (sō),
II. ALPHABETICAL INDEX OF CHARACTERS.
539
yotte (IN), 995; (sõ),
仍 ​2088.
you (SUI),
1695.
yowai (JAKU),
749.
yowai (REI),
868.
yōyalcu (ZEN),
1045.
油
​愈
​1550.
YU (satosu), 1894.
vu (abura), 1536.
Yu (iyo-iyo),
xv (yoru, yoshi), ✈
290.
YÜ
宥​2
xû (yurusu), 2186.
沐​49(0.
Yu-amu (MOKU), ✈ 49
yübe (SEKI), 269.
yubi (SAI), 570.
†
指​570.
yudaneru (1), ✈ 1624;
委
​(TAKU),託​(or 托​)1911.
yue (KO), 265.
yuen, PT XX
page 391.
Z
挫
​Za (kujiku), 2245.
z (suwaru), $425.
座
​ZA (suwaru), 929.
ZAI, 材 ​1476.
ZAI (aru), ₺ 276.
在​276.
ZAI (kusuri), 2126.
ZAI (tsumi),798.
zeni (SEN), (or) 183.
ZETSU (shita), 474.
,舌​474.
ZETSU (tatsu), 絕​1 1444.
zò, 臟 ​1886.
zō (katadoru), 2105.
zō (kura), 958.
藏
​象
​zō (SHō, katachi), 830.
zō (tashika),
zō (tsukuru),
2231.
所以
​131.
YUI (nokosu), 1054.
遺​】
ZOKU,
族 ​395.
yuka (SHŌ), ✈ 2205.
ZAN (kiru),
†† 758.
✈
斬​758.
ZOKU,
俗
​R 445.
yuki (SETSU), 165.
ZAN (nigeru), 1439.
竄
​粟
​往​1
†1
行
​殘
​117; (TEKI), 1449;
轎
​暫 ​1019.
屬​(or
Yu (tatoeru), 喻 ​1869.
yu (Tò),湯 ​590.
郵​:
xū,部 ​316.
xo (aru),250.
Yū
yu (asobu), 1085.
rỡ
vo (haruka), 1758.
yulcu (0), 110; (Kō), ZAN (nolcoru), 331.
(So),徂 ​1726; (SEI), 征
​逝
​遊
​勇
​2058.
夢
​Yū (Icuma),
1284.
yumi (KYŌ),
弓
​170.
vo (isamu), 450.
vo (izanau),
yo (migi),
119.
尤
​vv (mottomo), ✈ 1109.
xỡ (mura), ₺ 673.
YÜ
猶
​xʊ (nao), 922.
YU (osu), E 1355.
Yʊ (oyogu), #1
võ (sugureru),
xū (tasukeru),
Xô (tomo),
友
​1086.
738.
xʊ (tori), Ĥ 676.
(tori),酉
​融
​VŨ (Cīru), Pin 649.
1558.
1349. -
xô (uyðra), The 564.
2215; (SEI), 2433.
yume (MU), 741.
百合​口
​yuri, page 391.
許
​yurusu (KYO), 311;
(MEN),免​356; (SEA),赦
​834; (JUN),准 ​2113;
宥​2
(YU), 2186; (JO),
2221.
yutaka (¤ō), ¥ (or ¥)
829; (TAI),泰 ​1496;
(EWAN),寬​2
(KWAN), † 2189.
Yuu (KETSU), 1207.
1
ZAN (shibaraku),
ZAN (soshiru),2403.
ZAN (wazulca), 2349.
雜​843.
ZATSU (majieru), ✡ 843.
ZE (kore),
是​275.
砌
​ZEI (migiri), ₺ 2324.
ZEI (mitsugi), 1473.
ZEI (moroi), № 1697.
脆
​ZEN, 禪 ​2062.
ZEN,
膳 ​2363.
前
​ZEN (mae), 150.
ZEN (mattaku),
379.
ZEN (moeru), 1036.
ZEN (Shikari), # 6
69.
ZEN (tsulcurou), 1541.
Yuzuru (sō),
讓 ​1723.
ZEN (yoi),
善​。
361.
漸
​ZEN (yōyaku), 1045.
ZOKU (awa), * 631.
ZOKU (sokonau), 賊 ​1993.
ZOKU (sulcu), (or)
549.
ZOKU (tsuzuku), 續 ​1404.
存 ​252.
ZON,
zu (hakaru), 1055.
ZUI (medetai),
瑞 ​1515.
隨
​(EN), 宛​9:
zv1 (shitagau), 1393.
zutsu (EN),
928.
INDEX III.
SUBJECTS TREATED.
(When several references are given, the most important is placed first.)
Abbreviated characters, 387.
Abbreviations in Kana, 210.
Addresses, 437-8, 451-2, 458.
Advertisements, 267 et seq.
Aino, names borrowed from,
248-9; 244.
Anglicisms, 355; 49, 333.
Capitals, how here used, 8,
478.
Chinese characters, abbreviat-
ed, 387; 209.
Chinese characters, different
pronunciation gives different
sense, 51, 397.
Chinese characters, difficult to
read in compounds, 391.
Chinese characters embody
history and old customs, 118,
119, 123, et pass.
Chinese characters, irregular
pronunciations of, 397, 399.
Chinese characters, irregularly
written, 389.
Chinese characters, Kana spell-
ing of, 215-7.
Chinese characters, old forms
of, 115, et seq.; 40, 134, 141,
231, 235, 477.
Chinese characters, pairs easily
mistaken, 392.
Chinese characters, phonetic
element in, 119, 475.
Chinese characters represent-
ing foreign words, 394.
Chinese characters, selection of
commonest, 6, 37, et pass.
Chinese characters, square and
"grass," 421, 477.
Chinese characters, structure
of, 115, et pass.
Chinese characters, supple-
mentary lists of, 464, 543.
Chinese characters, two run
into one, 389.
Chinese characters used irre-
gularly, 202-3, 243, 399, et
pass.
Chinese characters used pho-
netically, 201, et seq.; 105,
106, 243, 248, 249.
Chinese characters, various
pronunciations of, 395; 9,
et pass.
Chinese characters, synony-
mous, 400.
Chinese characters,
forms of, 477.
Chinese
398.
Chinese
characters, various
characters, vulgar,
characters whence
Kana is derived, 204-5, et
seq., 209-212.
Chinese characters with special
Japanese signification, 390-1.
Chinese characters, written
small, 401.
Chinese classics, 402; 273.
Chinese influence, 4, 201, et
pass.
Chinese phrases, 410.
Chinese poetry, 407–9.
Chinese pronunciation prefer-
red to Japanese, 254, 475-6.
Chinese syntax, 402; 43, 57,
325.
Chinese texts, how read by
the Japanese, 402.
Christian names, 252.
Compounds, 51, 112, 242, 244,
252.
Confucianists, Japanese, 324-
5, 355, 362, 402.
Cursive writing, 421, 477; 204,
209-212, 409.
Diacritical marks, 31, 402.
Dictionaries, Pref., 6, 125, 126,
142, 390, 399.
Epistolary Style, 421; 80-1,
273.
European influence, 112, 275.
III. INDEX OF SUBJECTS TREATED.
541
Foreign words, transcription
of, 225-7, 248; 105-6, 201.
Fukuzawa's writings, 354.
Furi-gana, 213.
Gods, names of, 256.
GO-JU-ON, 211.
Go-ON, 395; 9, et pass.
Goza sōrō, 455.
Grammar of written language,
13, 421.
Grass hand, 421, 477; 204.
GrōSHO writing, 421, 477.
HANSETSU, 399.
HEN, 126.
HENSOKU, 112.
Hiragana, 29, 204-10, 217; 4,
· 460, et pass.
Historical personages, 254.
Homonymous characters inter-
changeable, 281, 456, et pass.
Homophony, 112, 476.
HYAKUSHŌ-yomi, 122, 246.
Ideographs, 115, 119, 475, 477 ;
40, 78, 412, et pass.
Inns, names of, 247.
Inscriptions, 409.
I-ro-ha, 210-11.
Irregular transcriptions, 243,
et pass.
Irregularly written characters,
389.
Italics, 8, 271, 478.
Japanese ideographs, 142, 307,
389.
JIK-KAN, 75.
JINDAI MOJI, 413.
JUKUJI, 355, 410.
Kaeri-TEN, 402.
KAISHO writing, 421, 477.
KAMBUN, 402.
Kammuri, 126.
Kana, 201; 29; 3-5.
Kana in place-names, 242.
Kana orthography, 213.
Kana, written small, 401.
Kana-majiri, 5, 220, et seq.
Kana-zukai, 213.
KAN-ON, 395; 9, et pass.
Katō Hiroyuki's writings, 365.
Katakana, 205, 209-10, 225,
228; 4, et pass.
"KOKINSHU," 222, 224.
KOMON, 116.
KUN, 115, 399, 476.
Letter-writing, 421.
Long vowels, 34, 215, 216.
MAN-YO-Gana, 204, et pass.
"MAN-YO-SHU," 201, et seq.; 249.
Mencius, texts from, 403-7.
Mixed script, 4-5, 220.
Mixed transcriptions,
202-3, 243.
88,
Modern literature, extracts
from, 319, et seq.
Newspaper extracts, 278, et
seq., 319, 325, et seq.
Nigori, 31, 212, 228, 251, 276.
Notice-boards, 56-60, 88,
400-1.
Okuri-gana, 213.
ON, 115, 399, 476.
Order of study, 7, 10.
Order of writing, 30, 400.
Orthography (Kana), 213; 30.
Personal names, men's, 252-4,
273, 329.
Personal names, women's, 254.
Phonetic use of Chinese cha-
racters, 201, et seq.; 105-6,
225.
Phonetics, 120, et seq.
Pillow-words, 202.
Place names, 241, 107-11, 201,
398.
Place names, variously read,
244.
Poetry, 201, et seq., 210-11,
222, 407; 25, 99–100, 259.
Postmarks, 459.
Postscripts, 458.
Primitives, 123.
Printing, 209; 115.
Pronunciation, changes in, 26,
202, 195, et seq., 476, 477.
Pronunciation, modern
Chinese, 398, 105-6, 216,
248, 280, 478.
Proper names, 241, 324, and
see Place names, Personal
names, and Surnames.
Proverbs, 9, 34, 71-3, 107–110,
218.
Provinces, alternative names
of, 245-6.
Pseudonyms, 320, 324, 338.
Punctuation, 31, 271, 402.
Radicals, 120, et seq., especial-
ly 127, et seq.
Radicals, inappropriate, 142.
Radicals, interchanged, 141,
390.
Radicals, variously placed, 141,
390.
Railway lines, names of, 246.
Railway stations, names of,
268-9, 401.
Reading lessons (Kana), 32–6,
217, et seq.
Reading of Chinese texts,
402.
542
III. INDEX OF SUBJECTS TREATED.
Readings, various, 9, 51, 242,
252, et pass.
Rebus writing, 202–3.
Receipt, forms of, 438-9, 453,
459.
Reduplication, how indicated,
32, 86-7, 217.
REISHO, 421, 477.
Rhyme, 120-1, 408, et pass.
Romanisation, 3.
RYAKUJI, 387.
Seal character, 477; 421.
Shop-names, 34, 247.
Signboards, 59-60, 401, 412.
Sōrō, 454; 421, 273.
SōSHO writing, 421, 477.
Square characters, 43, 119,
421, 477.
Surnames, 46, 107-110, 249.
Sute-gana, 213.
Syllabaries, 29, 205.
Tablets, inscriptions on, 409.
Telegrams, 228.
Temple names, 247.
Te-ni-wo-ha, 18.
TENSHO, 421, 477.
TO-IN, 398.
Tones, 217, 408.
Tsukuri, 126.
Two names run into one, 246,
324-5.
Type, printed, 115, 209, 389,
478.
Vocabulary, nature of, 112.
Vulgar characters, 389.
Women's letters, 460.
Writing lessons, 8, 39, el pass.
Ya-jirushi, 412.
ZOKUJI, 389.
APPENDIX.
The following list includes 2040 Chinese characters which occupy, broadly speaking, the
second rank, and which the more ambitious student, perfect in the 2490 Common Characters
treated of so far, may look on as his next, his final prey. This list is believed to exhaust the
number of practically useful characters, so that he who knew them all would be no longer a
student, but a scholar. The characters are given in the order of their Radicals. We incline
to think, however, that rather than attack them in this order, the best plan to pursue
would be to learn first whichever chanced to come first in the reading of miscellaneous
Japanese texts, and so to tick them off gradually. In any case it will be wise to pass over
altogether, without attempting to remember them, any characters not given in this list; for
it is foolish to waste time over rare words in any language. Whole pages may be found in
the "Century Dictionary," where even an educated Anglo-Saxon reader perceives none but
unfamiliar terms. What possible use could accrue to a foreigner-or, for the matter of that,
to a native,—from the attempt to master such? The most likely result would be addled
brains,―nervous breakdown,-and then all previous acquirements would avail little indeed.
囃​噲​嗚​啣​唔​咆​吋​匾​匈​刮​偈​倚 ​仍​丐
​嚼​嚀​眞​喚​唆​呱​吭​卉​剎​冰​儕​傀​倡​侶​仔​不
​囓​嘻​嗾​喃​哮​咈​吮​卦​匏​劃​到​冱​儡​僉​倩​俐​仗​丑
​嘶​嗣​喈​哭​咬​吃​卺​厖​劬​剋
​劬​剋​冶​儷​傴​俾​俑​仞​丞
​囹​嚆​嗤​喝​哺​吶​郤​斯​到​冽​儔​僂​們​俎​伍​丰
​圄​噪​嗽​喞​唁​咿​吻​厠​厲​勃​剞​凄​儺​傲​倖​伉
​圃​嘖嘖​喇​啄​咳​吩​厦​匙​勁​荆​凛​儻​僚​倣​俣​佑​乖
​嚥​嘴​喊​啖​吼​叡​匝​勒​剪​凴​九​僥​倨​修​佚​亟
​圭​嚶​囑​喟​咽​咽​咐​匡​勗​剳​凱​兢​僵​倭
​亮
​址​嚀​噱​喬​啜 ​呵​叨​匪​勦​創​刎​兮​儂​偃​·俺​佻​亢
​坩​嚮​噯​嗟​喘​哇​呻​匣
​哇​呻​叮​匣​勻​劈​删​冕​偕​倅​侏​什
​型​囁​噬​嗇​啞​咀​吁​勾​刧​冗​僑​偵​倜​侃​仆
​544
APPENDIX.
汜​款​樫​接​桀​枉​普​擢​掣​拆​慟​悽​彭​幌​屍​孜​奩​垢
​汎​樵​椋​桝​杭​晒​擠​掖​披​憮​惇​徑​幟​履​孩​奸​埓
​汴​橄​椎​桴​沓​哺​攪​掠​拉​懈​惆​徙​幽​屹​孱​妍​埠
​沁​歟​橇​椒​桶​杷​晢​攢​掩​拇​懶惰​徘​庄​屻​孵​妤​培
​汪​歛​橘​椽​梃​杵​晦​攬​措​拋​懺​惻​徜​庖​阻​孺​妖​埭
​沕​凪​橙​楡​梓​析​晨​攸​描​拐​懽​愜​徼​庚​岫​孽​姐​堆
​汾​歪​橢​楢​梗​枠​哳​效​揆​括​懿​惺​徽​庠​峙​宋​姥​堵
​沂​妖​橡​楮​梟​架​喧​敖​搗​拮​戊​惧​忖​廂​峨​姻​堯
​沃​殃​檞​楳​梠​枷​暈​做​揖​拗​戍​愆​忤​廋​崇​宏​姜​堙
​沌殂​櫓楯​稍柑​睽敲​捏拱​成​愀忸​廈崑​宦姨​堊
​沓 ​殄 ​橿 ​榕​梧​枳​暢​斂​揣​按​戎​慍​忿​廠​峻​宰​娑​堰
​泛​殉​檄​榔​梭​柘​暸​斃​搥​拿​戔​愍​怏​廩​崗​宸​婀​塊
​沬​殞​檀​榛​梳​枇​曖​斛​搦​拳​戕​愬​恰​廬​嵌​寃​娛​塒
​沽​殪​檎​榴 ​梵 ​柚 ​曠 ​旄​搾​拤​戟​愴​怫​廸​嵩​寅​娟​塘
​沱殫​檜​榻梶​柝曙​旃摑​挹戢​慄恚​廼嵬​寇娜​搞
​沛​殯​檢​槃​棕​柩​暹​旌​摹​捉​截​愾​恍​弒​嵯​寔​娩​塑
​沮​殲​檣​槇​棉​柬​暾​流​摭​挺​戮​愿​恹​弈​嶄​寖​媚​塡
​況​殷​檳​槌​琹​栃​曬​旒​撒​据​慇​恣​弛​嶢​簍​媛​塹
​泄​設​檻​槍​梁​柾​曷​无​撓​捗​慊​恬​肐​嶼​寤​嫂​莖
​泝​靈​櫂​槐​椙​枹​曹​撚​掬​扼​慂​悄​弧​巍​寥​嫉​墺
​泪​櫃​樺​椰​栖​曼​昊​撞​搭​抓​慙​恪​弩​巒​寨​媳​墙
​泌​呲​櫊​槖​棍​栢​肸​旻​撥​捫​扮​慚​悚​弼​巫​寮​嫋
​洪​毘​欄​槧​棗​桎​朔​昵​擁​捺​抄​慫​悒​弼​巽​寰​嫗​壑
​洛​毳​欖​槻​棘​桓​昻​擄​捻​抉​慝​悖 ​彊 ​帕 ​寵​嬉​礱
​洞​毵​槽​棠​桔​朶​映​撻​掇​把​憙​悛​彖​帛​尅​嬋​壬
​浣​戲​槿​棣​杏​晃​擅​掏​抒​憑​悧​彗​帑​嬌​売
​浩​珉​欹​樅​楫​栲​呆​晁​擘​掉​抗​懋​悵​彛​惟​尹
​帷​尹​嬖​夤
​浹汞​欽樊​棲桁​杜​晙擒​掎抹​悌彘​幇尿​嬲奎
​浬​汀​欬​樞​椀​核​坔​晉​撼​掟​抽​慥​悶​彬​幄​屁​嬰​奚
​ADDITIONAL LIST OF CHINESE CHARACTERS.
545
耝​罌​緇​糀​箔​竅​秧​磔​瞹​晳​痔​瑪​猖​燐​炬​漱​渭​涅
​耟​罔​綸​糅​箕​咛​稈​磽​瞼​皚​痕​瑳​猜​燵​炮​潺​渴​涉
​耡​罘​綺​糜​箙​竦​稔​礎​瞽​輝​痣​壐​猩​燥​炳​澆​渺​浚
​罕​緋​糞​菰​竢​稗​礁​瞿​皺​痼​瓊​猴​燧​烘​潯​渾​涌
​耿​罟​緞​糟​箭​竣​稜​礙​矚​盈​痰​瓠​猷​燭​烋​潰​湘​涓
​聆​罠​緬​糠​箴​竭​稟​礪​矗​盍​痲​瓢​獗​燹​烙​澄​湛​涎
​聒​緯​糧​箸​竺​礫​矛​藎​痴​瓣​燼​烝​澎​湣​涕
​聱​羆​緜​糯​篆​笈​槀​礬​矜​盥​痺​甍​獎​爐​烱​漓​涵
​聳​羈​緻​糴​簌​笊​康​礮​侯​廬​痾​甌​默​爆​焙​滂​淇
​聵​羔​湓​糶​篝​笏​穆​矧​盾​痿​甕​獲​爛​焜​澹​溷​淆
​聶​羗​縷​糾​篠​笛​穎​祉​矩​吩​瘋​甦​獺​爨​焚​澱​滌​涸
​聩​羞​縉​紂​簒​笨​穢​祓​矯​昵​瘠​獼​爬​焉​澳​溟​淀
​聾​羮​縲​紈​篩​笙​穡​砥​瘡​明​妙​焦​濘​溯​淋
​肅羸​縺紜​簀笞​穫​祚砦​眩​瘤畦​玲煉​濫溲​淑
​肄​翅​繆​索 ​簫 ​笳 ​穰 ​砭​眸​瘧​畷​珀​骢​煌​濺​溶​淘
​肇​翔​讉​紮​簇​笹​穹​祟​砒​畚​瘍​畿​珊​牖​煖​濾​滲
​肋​翕​釉​簔​筏​竿​禀​硝​睇​癈​疇​班 ​牟 ​熏​瀆​滸​淳
​肘​翡​繞​紵​簪​筍 ​穿​碶 ​硫​睢 ​癢 ​疏 ​珮​牲​煒​瀉​潄​淼
​肚​翦​繡​紲​籌​筐​笮​碍​睥​癪​疝​琉​牴​煤​瀏​漆​淵
​肛​翩​繭​籟​筑​禳​碌​睨​癬​疚​琳​牾​煦​潭​漂​淹
​肝​翮​繻​絆​籬​筒​窘​禹​碑​睽​癯​疥​琢​犀​煽​瀚​漉 ​渟
​肭​翫​辮​絏​窖​禿​碓​睪​癩​疫​琥​犒​熄​瀕​滕​渠
​収​翳​纘​絞​筥​窠​秉​碧​槇​癰​疱​瑕​犢​燔​瀾​滓​渤
​股​翹​纖​絨​粕​箝​窪​秕​磻​暝​癲​疹​瑾​犧​熳​灌​滄​渥
​肱​耀​糭​絽 ​粘​筧​窯​韨​碼​暪​癥​疽​瑟​狃​媾​瀲​漣​渣
​肪​翺​纜​綬​粥​筮​簍​秣​磁​瞥​癸​疾​瑠​狄​熨​瀰​漲​湮
​胈​粱​筵​窺​磈​暸​皎​症​狎​燁​灯​潑​渦
​肢​耆​罅​綯​粲​箆​竇秦磊​瞳​皐​痍​瑚​狛​熹​炙​潟​渫
​胆​耗​馨​綰​粳​箋​竈​秩​磐​瞰​皓​痒​瑩​狙​熾​炫​潤​湍
​546
APPENDIX.
鐠​醇​輾​蹌​赳​齹​詭​襄​袗​蟋​蜈​蕨​葦​茗​艨​傷​胎
​錙​醋​適​輻​蹙​趁​豁​誑​襦​蟀​蛭​薔​葱​茜​艟​膨​胖
​錆​醍​遜​與​蹤​趙​豌​襤​祫​螳​蛟​葵​茨​膩​胝
​錐​醐​遡​轅​蹰​趾​豎​誣​襯​祖​蟠​蛾​藻​蓆​茫​艴​胚
​錘​醜​邃​轍​蹲​跂​豔​誶​襲​蟇​蛸​蘆​董​茸​艷​膺​胞
​銬​醯​遶​轆​蹶​跛​豳​諄​蟹​藥​蒐​荀​艾​膿​胥
​鍊​醮​遼​轤​跏​豹​諏​覇​裕​蠋​焗​蘊​蒜​芊​臀​胱
​鎔​醱​遽​辜​躅​豺​諒​覈​袤​蜃​蘚​芋​臂​胴
​鍔​醴​邀​辟
​邀​辟​蹼​跌​貂
​跌​貂​諜​兌​裙​蜆​蕭​蓉​堇​芒​臆​脂
​鍬​醵邁​躋跖​泰​覘裟​蜒藜​蓑​芍臉​脅
​鍛​釁​邇​辿​躓​跟​貍​諡​視​裡​蠡​蜘​藷​蓼​莊​芙​臍​脉
​鍍​釐​邂​迨​躑​跳​貶​諧​觀
​跳​貶​諧​覩​蠱​蜥​藺​蔚​苺​芥​臘​脛
​采​邈​迪​躡​跪​諮​覦​裾​鐲​蜴​皮​蓰​莖​芭​臠​脣
​鍵​釧​邏​迤​躏​躊​貽​諱​覬​褐​衍​虢​蔬​莞​芟​臧​脾
​鍼​釵​邯​逅​躭​跳​賍​覿​裼​街​虧​鳶​堇​芹​臻​腋
​鍾​銧​郁​迹​踞​響​觚​衙​蜿​虱
​舁​腎
​鎗​鈕​郊迎​躲​賠​諷​褓​衡​蝕​虹​蔭​莽​苒​春​腔
​鎚​鉅​郤​逞​軀​踄​賡​謎​觴​複​衢​蝗​虻 ​蕃​荅 ​荟 ​舅 ​腥
​鎧​鉈​鄒​逡​軏​踐​賦​謔​訃​褊​衫​蝟​蚚​蕉​菌​苔​舐​腫
​鎬​鉋​鄭​逮​軛​踝​賻​謊​訖​褥​衽​蚕​蕊​菖​苑​甜​腮
​鉾​逵​軫​踞​贅​謨​訊​褰​祫​蝴​蚓​蕗​菰​苞​舒 ​腸
​鏑​鉞​酎​逕​軻​踪​贄​訐​衲​蝣​蚯​蕞​菱​苴​舜​腺
​鏃​銜​酖​逋​軾​蹂​墯​韾​訥​褪​衾​蝸​蛆​蕩​崩​苛​舫​腿
​鏝​銑​酗​逭​輊​喩​贏
​贏​謳​訣​褫​袞​螂​蛋​蕪​萍​舳​腦
​鐶銖​酢​逶輓​蹕心 ​譎褶​袤蟒​蚡蕾​菇苧​舵膂
​鐺​鉾​酣​逼​輜​蹉​贜​譜​藝​袁​螺​蛛​薯​萎​苫​舲​膜
​鑑​鋌​酪​逌​蹐​赧​諮詢​袈​蟄​蛤​薇​萱​范​艙​膃
​鐫​銹​酵​遏​輟​蹇​赫​詬​襪​袍​螽​薑​萼​茄​艤​膣
​鑒​鋲​醪​遑​輳​踢​赭​讖​褸​袒​螫​蜉​薙​葆​茅​艟​膠
​ADDITIONAL LIST OF CHINESE CHARACTERS.
547
齧​黴​麟​鵜​鳧​鰡​鮫​鬩​髑 ​駝​饀​顰 ​韋 ​霓 ​障​闔​鐿
​齷​麤​鵞​鳴​鰕​鬮​髓​駱​饅​顱​韙​靱​霖​隴 ​閘
​龕​黷黌​鵺鳶鰭鯊 ​髣駸​饉顳​靶霙​隶關
​龔黻​麩鶉​鴆鰥​鯖​魎髢​饌韮​靼霰​隷闢
​龢​黼​麼​鶺​摀​鰯​鯔​魍​髯​騖​饒​颯​齏​鞅​霹​隼​阱​閔
​黽​麾​鶩​鴈​縿​鯡​魏​髷​驀​飈​韻​鞆​霽​雎​陂 ​閙
​黍​鷗​鴉​鰻​鯽​魑​髴​騾​霋​颺​頑​鞋​霸​雋​阻​閤
​鼕​黎​鷸​鴕​鱆​魘​髻​驍​馘​飄​頒​鞏​雍​陞​閨
​鼾​黏​鸚​鴛​鱈​鯢​鮎​髦​驟​飩​穎​鞘​靂​雕​陟​閭
​鼬黐​鸞鴦​鰹鯰​鮒髭​驥馥​飭頸 ​鞠 ​靄 ​雫 ​陵
​虀​黛​麁​鴨​鱒​鰈​魽​鬘​驢​馮​飴​頷​瑎​雰​陬 ​闌
​齟​黜​麋​鴒​繪​鰌​鮑​鬚​骼​駟​餒​頣 ​鞫 ​啡 ​雹 ​陲​闇
​齦​黠​麒​鵠​鰐​鮮​鬢​骸​駁​餞​顆​鞣​靠​霆​隗​闍
​齪​黥​闠​鵲​鱧​魴​鮪​鬣​髀​駑​鰛​顕​鞴​靡​霑​隋
​齬​黯​麝​鵑​鱸​鱯​鮭​鬨​髏​駛​餽​顬​韃​靦​霏​隕​闖
​ADDENDA ET CORRIGENDA. .
P. 60, middle.-For KO, read ko.
P. 68, line 5.-For en, yen, read EN, YEN.
P. 133, line 15.—After "changing," add " 輪
​P. 141, line 7.-For RYO, read nyō.
RIN or wu, circle, wheel.”
alone is read HI, "strong," "able to bear great weights ;
P. 142, line 2. alone is read HI,
贔
​負 ​alone is read FU or ou, "to carry on the back,” also makeru, “to be
defeated."
P. 142, line 14.—Though the character
it has been assigned the Chinese
P. 164, line 7 of text.-For yu, read ga.
P. 164, line 9.-For macri, read mairi.
hataraku is a Japanese invention,
ON" DŌ.
P. 165, line 22.—For KINODOKU, read KinoDOKU.
P. 204, middle.—For the character, omitted in the "List of New Charac-
ters (p. 232 et seq.), see end of p. 474.
P. 244, line 5 from bottom. For the character, omitted in the "List of
New Characters" (p. 256 et seq.), see end of p. 474.
P. 250, line 2 from bottom.-For Otsuka, read Ōtsuka.
P. 254, 2ud. ¶, line 5.-For Oyama, read Öyama.
P. 254, line 4 from bottom.-For, read .
P. 256, line 3.-For Oishi, read Õishi.
P. 259, character 1338,
-For Dō, read tō.
P. 290, line 7 from bottom.-For JU, read JU.
P. 295, Roman text, line 1.-For NI, read SAN.
P. 296, line 11 from bottom.-For wa, read wo.
P. 303, character 1470, -For KAKU, read KWAKU.
P. 310, line 5.—No. 1670 is better written.
P. 351, line 10.—For To ni KAKU, read to ni kaku.
P. 371.—Character 1711,, should come between Nos. 1826 and 1827. For
, which should be printed as No. 1711, see No. 2162.
P. 372, character 1745,
P. 375, character 1839,
-For KATSU, read KWATSU.
.—For Dō, read Tō.
P. 464, character 2100.-For, read.

明
​治 ​三 ​十 ​二 ​年​四月​五 ​五 ​日 ​印刷
​明 ​治 ​三十 ​二 ​年 ​四 ​月
​明治​三十​八年​六月​十五​日​訂正​再版​印刷
​明治​三十​八年​六月​十八​日​訂正​再版​發
​行​刷​行
​所​版
​有權
​發
​行
​所
​印
​印
​發​著
​刷
​刷
​行​作
​者
​者​兼
​所
​英
​定價​金​拾​五
​神奈川​縣​相模​國​溫泉​村​宮ノ下​富士屋​ホテル
​東京​帝國​大學​名譽​教師
​ジ ​ホ
​チヤムプレ
​東京​市​牛込​區​市谷加賀​町​一​丁目​十​二​番地
​靑
​木
​東京​市​牛込​區​市谷加賀​町​一​丁​日​十​二​番地
​會​株
​社​式
​雠​試​秀英​舍​第一​工​塲
​橫濱​市​山下​町​六十​番地
​ケ
​リ
​多番
​シ​商​會
​弘
​1
BY THE SAME AUTHOR.
A Handbook of Colloquial Japanese, 1 Vol., crown 8vo., 3rd Edit.
Essay in Aid of a Grammar and Dictionary of the Luchuan Language. (Published
as Supplement to Vol. XXIII of the "Transactions of the Asiatic Society
of Japan.")
The Language, Mythology, and Geographical Nomenclature of Japan, Viewed in the
Light of Aino Studies, 1 Vol. 4to., (Published as a "Memoir of the
Literature College of the Imperial University of Japan.”)
Things Japanese (being Notes on Various Subjects connected with Japan for the
Use of Travellers and Others), 1 Vol., crown 8vo., 5th Edit.
A Translation of the "Kojiki," or "Records of Ancient Matters," with Introduction
and Commentary, 1 Vol. (Published as Supplement to Vol. X of the
"Transactions of the Asiatic Society of Japan.")
In Collaboration with W. B. Mason, Esq.
Murray's Handbook for Japan, 1 Vol., crown 8vo., 7th Edit.
Printed by the Shueisha, Tökyō.
THE UNIVERSITY OF MICHIGAN
AUG 10
GRADUATE LIBRARY
-OFA 31773
DATE DUE

DEO
DEC 09 1974
ACT - 9-1976
DLC) 5 1974

UNIVERSITY OF MICHIGAN
3 9015 02835 8656
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