The interests of this blog are quite specialized, & furthermore I’m erratic with posting. To avoid the feeling of writing in a vacuum, I sometimes like to peruse the list of search queries that brought people here; it always warms my heart to find that some lone soul was questing for “clouds word japanese” or “writing with upward slant” or “鹳 stork” and found something about that exact topic.
However, there are the times when search engines will suggest your site to a query that it can’t, in fact, satisfy. Carl Pyrdum’s super cool blog, Got Medieval, introduced the concept of “Google penance”: the spiritual exercise of completing the information that people came looking for – even though, alas!, it’s already too late. I loved the idea and decided to try my hand at it. So let’s do “penance”!! pleasantly.
The other day Matt posted on the Classical particles traditionally described as “past” (though many seem to be about aspect rather than time): namely ki, keri, nu, tsu, tari, ri. I commented on some unusual points of Fujii Sadakazu’s analysis, which I’m more than a little skeptical about. Then it struck me that I should take a closer look at what a linguist has to say; so I read more carefully the relevant sections of Frellesvig’s A History of the Japanese Language, and summarized them below. For contrastive illustration, I’ve used my photocopy of a grammar table from some handbook or another as a typical representative of traditional (school) grammar.
After last post’s enormous wall of text, here’s a plain link just because I was happy to find out about Capt. Francis Stewart Gilderoy Piggott’s The Elements of Sosho, a 1913 manual on Sino-Japanese cursive writing – freely available in glorious facsimile at archive.org!
For the next few paragraphs, I’d like you to picture yourself as a 21st-century Japanese Studies scholar. Perhaps one day you’d be taking a class about the 10th-century Tosa Diary when the Professor asks for an essay, & for its theme you may choose any aspect of the Tosa which draws your interest. You write her an email: I realize it’s a bit unusual but could I work on the manuscript tradition? I mean, what manuscripts do we have left, where are they, which ones are used to make modern editions, what were they exactly like – what material, what form of writing, what hand, what orthography, how do they differ from the annotated text we’re currently reading, et cetera? The Professor never replies, which you take to be acquiescence (but: could she be wary of this proposal? Isn’t the topic too far away from Literature, isn’t this already History, palæography, mere technicalities far below the lofty aspirations of Spirit? Shouldn’t you try to, you know, read the entire original text first, before worrying about scriptural minutiæ?) Anyway; once possessed by the task, there’s no going back; you know your own telos, & you must go on.
An egret is basically a white heron (Jap.: shirasagi), especially those who develop fine plumes during mating season. The heron/egret distinction is cultural, not biological. The word “egret” is from Fr. aigrette, from aigron = heron.
It’s not easy to distinguish cranes, herons, and storks by appearance alone, since each category (more…)
One thing that always bothered me in Japanese language pedagogy is the way that they teach quantifier words, like dareka = “who-ka” or daremo = “who-mo”: They’re just translated atomically, e.g. in this case as “someone” and “everyone”, with no further discussion. However, it’s clear that those -ka and -mo particles perform a set role when added to question words:
some, a few
What’s more, there was something less obvious that kept nagging me in the back of my mind: I felt like these uses of ka and mo somehow aren’t so different from their usual roles – ka as the question particle, and mo as the “too” particle. I thought “who + too = everyone” made sense, somehow, but I couldn’t quite put my finger on why.
Shigesato Itoi is known in the West as the author of the cult videogame series, Earthbound (in Japan, Mother 2 – the sequel Mother 3 wasn’t released overseas, but there’s a pro-level fan translation available). Itoi is know in Japan for a whole lot of things, a small sample of which include being a renowed copywriter (he came up with “Gameboy” and “oishii seikatsu”), a celebrity tarento, an Iron Chef judge, a music afficionado and lyricist, the co-author of a short-story collection with Haruki Murakami, a radio host who presented a talk show aimed at middle-aged men “to listen during bathtime”, the developer of a celebrated paper planner/notebook, the voice artist of Daddy in My Neighbor Totoro, and so on and so forth. Itoi’s Japanese Wikipedia page has more than a hundred bullet points, and doesn’t even mention videogames in the summary paragraph.
R.A. Miller is better known for The Japanese Language, an indisputable classic of the field, and for his work on the Altaic hypothesis. However, I’ve never seen anyone draw attention to his academic reviews, the style and rhetoric of which I find to be highly entertaining (probably because I’m not the one being reviewed…). Consider the following representative lines of his comments on Bentley’s A Descriptive Grammar of Early Old Japanese Prose and on Vovin’s A Reference Grammar of Classical Japanese Prose:
The problems with Bentley’s book begin with his title. The texts with which he is concerned are in the main not prose, at least not in the usual understanding of the term; nor can the bulk of them be described as “Old Japanese”, let alone “Early”; nor is what he has published a “descriptive grammar”.
A friend pointed me to James Somer’s article praising the older editions of the Webster’s dictionary. The main points that he raises include the facts that:
The original Webster carefully distinguishes between nuances of near-synonyms: Flashing differs from exploding or disploding in not being accompanied with a loud report. To glisten, or glister, is to shine with a soft and fitful luster, as eyes suffused with tears, or flowers wet with dew.
Compared with modern dictionaries, its language is more pleasant, charming, and also precise and evocative in its imagery (again: “to shine with a soft and fitful luster, as eyes suffused with tears, or flowers wet with dew”!)
I sent him a message about a modern dictionary that I like a lot (more…)
An apple –
The only one left
Unpicked – petitely
Tried to stand true.
Though a single apple
May stand true,
What good could it do?
Though pondering thus,
The apple was so very timid
And so very helpless, that it nonetheless
Decided to stand truer still
And turned about
And went rolling
Up to the hem of the mat and
As if it hadn’t done enough
It stood proud, petitely and
Ishihara Yoshirō, Inaori Ringo. We saw this poem in the morphosyntax class and I liked it. Transcription:
Hitotsu dake Ato e
Ringo wa chiisaku
Ringo ga ikko de
Dō naru Mono ka to
Sore-hodo Ringo wa
Ki ga yowakute
Sore-hodo Kokoro-hosokatta kara
Yappari inaoru Koto ni shite
Atari wo gurutto
Tatami no Heri made
Kore demo ka to chiisaku
Thanks to /u/Hyperwyrm and /u/GrammarNinja64 for corrections and insight. Inaoru, lit. “to fix your sitting” i.e. “to sit up straight”, also means “to assume a combative attitude” (especially when facing adversity). I chose “stand true” because I don’t think English has many idioms about combative sitting… Also I can’t for the life of me come up with a good Portuguese equivalent, standing or sitting.
I’m missing some nuance of bravado on that final kore demo ka… -te yatta…
Os textos de língua clássica japonesa (古語 kogo / 文語 bungo) possuem todo um aparato de apoio para compreensão: dicionários, tabelas de referência, notas, edições comentadas e analisadas gramaticalmente… Esse material de apoio pressupõe domínio da chamada “gramática escolar japonesa”, 学校文法 gakkō bunpō.
Recentemente montamos na USP uma aulinha de reforço de gramática escolar da língua moderna, planejada como apoio a estudantes que estão começando a clássica agora mas nunca viram essa gramática nem para a moderna. O handout que preparei serve de introdução a alguns pontos-chave, e está disponível aqui (referências). O material é de língua moderna, mas procurei me ater aos conceitos e terminologia que serão mais úteis na hora de partir para a clássica.