TUTTLE
Learning Japanese
and
Learning Japanese
Hiragana
and
Katakana
Learning Japanese
Hiragana andKatakana (
WORKBOOK AND PRACTICE SHEETS
Takagaki
&
Henshall
TUTTLE PUBLISHING Tokyo Rutland, Vermont Singapore •
•
)
Published by Tuttle Publishing, an imprint of Periplus Editions (HK) Ltd., with editorial offices at 61 Tai Seng Avenue, #02-12 Singapore 534167 and 364 Innovation Drive, North Clarendon, Vermont 05759 U.S.A. Copyright © 1990 by Charles E. Tuttle Publishing Company, Inc. All rights reserved.
LCC Card No. 90-70374 ISBN-10: 0-8048-3815-1 ISBN-13: 978-0-8048-3815-3 Previously published in 2005 as
A Guide to Learning Hiragana
&
Katakana ISBN 0-8048-3391-5
First edition, 1990 Printed in Singapore
Distributed by:
North America, Latin America and Europe Tuttle Publishing 364 Innovation Drive, North Clarendon, VT 05759-9436, USA Tel: (802) 773 8930 Fax: (802) 773 6993 E-mail:
[email protected] www.tuttlepublishing.com
Japan Tuttle Publishing Yaekari Building, 3rd Floor, 5-4-12 Osaki, Shinagawa-ku, Tokyo 141-0032 Tel: (03) 5437 0171 Fax: (03) 5437 0755 E-mail:
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[email protected] www.periplus.com
II I0 09 08
I0 9 8 7 6 5 4 3
TUTTLE PUB Ll S H I N G ®
is a registered trademark of Tuttle Publishing, a division of Periplus Editions
(HK)
Ltd.
CONTENTS How to Use This Book An Explanation of Kana PART 1: HIRAGANA Practice a ko Mini Review a ko Practice sa to Mini Review sa to Practice na ho Mini Review na- ho Practice rna -yo Mini Review rna yo Practice ra n Mini Review ra n Voiced and Half-Voiced Sounds Review of Voiced and Half-Voiced Sounds Review of Double Vowels and Consonants Combined Sounds Review of Combined Sounds Review through Place Names and Period Names General Review -
-
-
-
-
-
-
-
PART II: KA TAKANA Practice a to Mini Review a - to Practice na -n Mini Review na-n Voiced and Half-Voiced Sounds Review of Voiced and Half-Voiced Sounds Combined Sounds Review of Combined Sounds and Double Consonants Review through International Place Names -
7 9 17 19 24 26 31 33 38
40 44 46
50 52 54 57 59 61 63 65 69 71 81 83 96
98 100 102 104 106
109 111 113 114 115 116 117 118 120
PART ITI: FINAL REVIEW About Japan Food Items Quiz Aora and Fauna Quiz Personal Names Quiz Kana Word Search Quiz Answers Do-It-Yourself Kana Charts The Iroha Verse
6
HOW TO USE T H IS BOOK The main aim of this book is to help students achieve competence in reading and writing
kana , the phonetic symbols that are fundamental to written Japanese. The book starts with a section entitled An Explanation of Kana , which contains everything the student will need to know about the two ka na systems of hiragana and kat aka na. Part I of the workbook sec tion then systematically introduces each hiragana symbol, voiced form, and combination, and provides ample practice and review. Part II does the same for katakana , while Part III provides an overall review. The Explanation of Kana outlines the function and origin of kana , the difference between the two kana systems, the various sounds, the combinations, and the conventions of usage. It attempts to be detailed and thorough so that it can be used for reference at any stage. Though all the information about kana is grouped together in this one section for ease of reference, it is not expected that the student will read it all before starting on the practice pages. In fact, to do so might give the impression that kana are perhaps rather formidable,
which is not really the case at all. (Just ask any Japanese child!) We recommend that the student start work on the hiragana practice pages after reading the first three subsections on the function, origin, and basic sounds of kana . After fmishing practice of the forty-six basic hiragana symbols the student should go back to the Explanation and read the subsec tion on additional sounds, then work through the rest of the hiragana practice pages before moving on to the katakana practice. The final subsection, on other points to note, is mostly concerned with special katakana combinations and can be left until the appropriate point in the katakana practice pages, just prior to the final review. Students may modify this order, but we recommend fmishing practice of one ka na system before moving on to the next. In the practice pages of Parts I and II each kana symbol is allotted half a page, permitting plenty of writing practice in the boxes given. We suggest working in pencil, rather than ink, as this will allow for erasing and repeated use. Stroke order and a pronunciation guide are also given for each symbol. In addition, for each symbol there is an illustration of its graphic evolution from its "parent" character (see Explanation of Kana) and a reference number for that character as it occurs in A Gui de to Remem bering Japanese Characters (Charles E. Tuttle Company,
1988), together with the character's pronunciation. This may
be of interest to readers wishing to continue their studies of written Japanese to an advanced level. (However, some of the original characters are no longer commonly used and there fore are not included in A Gui de to Remem bering Japanese Characters ).
7
After approximately every ten symbols there are "mini review" pages for further practice, this time using whole words. These are cumulative, containing symbols not only from the group just completed but from earlier groups. The mini reviews can be used purely for copying practice, or, by covering the cue kana on the left side of the page, as more chal lenging writing exercises. They can also be used as vocabulary exercises. Part Ill, the Final Review, contains exercises, quizzes, and "do-it-yourself' charts. Unlike the reviews in the first two parts it combines the two kana systems, as is natural in Japanese texts. And for a more natural effect the boxes used earlier in the book to help achieve even spacing and proper stroke lengths
are
dispensed with in this final part.
The words appearing in the reviews have been carefully chosen in keeping with an addi tional aim of this book, which is to expose readers to key words related to Japanese society and culture. The prime criterion for selecting review words was their suitability for practic ing the kana symbols, but we thought it would be helpful to students if in addition these words could, whenever possible, have particular relevance to Japanese culture. About half of the 450 or so vocabulary items in the book fall into this category. It is beyond the scope of the book to explain these in detail, but students who take the trouble to find out more about them will be rewarded with a broadened appreciation of Japan's society and culture. In short, we intend that these words should be used as a sort of checklist for an exploration of Japan, rather than simply memorized as isolated vocabulary items. Readers will occasionally encounter a semicolon between English equivalents given for a Japanese review word. This indicates that the Japanese word is a homophone, that is, a word having a different meaning but the same sound as another. Normally these homo phones would be written with different characters, but when expressed in phonetic kana script or romanization such differentiation is not possible. The English words separated by a semicolon thus refer to different Japanese words sharing the same kana form. (Commas between English words simply indicate nuances of the same word.) It should also be noted that there is sometimes a subtle difference in intonation between "homophones, II which can not be determined from the kana or romanization. Finally, readers are advised to seek specialist or native-speaker guidance on intonation and pronunciation. It should be appreciated that the pronunciation guides given in this book can only ever be approximate, owing to the variety in pronunciation of the same English word in different parts of the world. Also, some Japanese sounds cannot be precisely represented ll ll by English letters. The Japanese 11r,11 for example, actually falls between the English r and lid II But remember that, with both speaking and writing, practice makes perfect!
8
AN EX PL AN ATION OF KA NA
The Function of Kana Kana are purely phonetic symbols. That is, they are written representations of pronuncia tion. They can express the entire Japanese language in writing, though in practice the writ ten language uses a mixture of kana and kanji (characters taken from Chinese). There are two kana systems: katakana and hiragana . Katakana is now mainly used for words taken from languages other than Chinese. Hiragana is the more important of the two systems, and is used for everything not written in katakana or kanji. Kanji show meanings of words, though they also have pronunciations. Normally they are used for nouns and the the unchanging part (the stem) of verbs, adjectives, and adv�rbs, while hiragana symbols are used for the changing parts (notably endings). For example, the verb iku means "go," while ikanai means "not go." The stem is i -, and this is usually written with a kanji, while the variable endings -ku and k - anai are written in hiragana . Hiragana is also used to \\rite particles, and other words where kanji are not appropriate. To all intents and purposes the two kana systems are not interchangeable, and are rarely mixed within a given word. The rule is:
katakana
for non-Chinese loan words,
hiragana
and
kanji
for the rest.
The student of Japanese should ideally aim to learn all the two thousand kanji in common use. They play a very practical role in graphically and distinctively conveying the meaning of a written statement, unlike a purely phonetic script, and thereby aid rapid understanding. And naturally, no one can expect to read unedited Japanese texts without a knowledge of
kanji . However, learning the kanji is a time-consuming task. Many of them are structurally complex, and many have a wide range of meanings and pronunciations.
Kana , on the other hand, are much fewer in number, with only forty-six basic symbols in each of the two systems. They are simple to write, and, with very few exceptions, they have fixed pronunciations. If you don't know the kanji for a particular word, but know the pronunciation, you can just express that entire word in kana (hiragana ,that is; remember that katakana is for non-Chinese foreign words). In other words, while not ideal,
(hiragana)
can substitute for
kanji.
kana
This means that even beginners can express
themselves in functional written Japanese with relatively little effort.
9
The Origin of Kana The word kana derives from karina , meaning "borrowed name," for the kana symbols are simplified forms of certain borrowed Chinese characters used for their sound (though, con fusingly, the same characters lent their meaning in other contexts). The prefix hira- means "ordinary," with connotations of "informal" and "easy," and in this particular case "cursive." Thus hiragana means "ordinary (cursive) kana ," and indeed hiragana has tradi
� (pronounced like the "a" in "car") derives from a cursive rendition of the character �
tionally been the more commonly used of the two systems, and the more cursive. The hir a
gana symbols are simplifications of whole Chinese characters. For example, the kana
(pronounced "an"). Kata- means "one side" or "partial," pointing to the fact that katakana "ee" in "meet") is the left-hand part of the character
-'i
1f (also pronounced "ee").
symbols derive from one part of a Chinese character. For example,
(pronounced like
Both systems evolved around the end of the eighth century. In those early days hiragana was used mostly by women, while men preferred to use the more angular katakana . How ever, these associations have long since disappeared.
The Basic Sounds Represented by Kana Kana symbols basically represent syllables, and the kana systems are therefore syllabaries rather than alphabets. Generally the syllables are crisp and clear combinations of one con sonant and one following vowel, or one vowel by itself. There is only one consonant that exists as a syllable and kana symbol in its own right, n . The use of English letters to refer to Japanese sounds and symbols can produce a number of apparent irregularities. Among other things a combination of consonant and vowel in Japanese will not necessarily have the same pronunciation as in English. For example, while
...
�'
is found in the hgroup (see the table that follows), its pronunciation is actually
closer to the English sound "fu" than "hu." To facilitate pronunciation the romanization used in this boo k is a version of the Hepburn system, which transcribes
�'
....
asfu rather
than hu, but readers should appreciate that there is no direct equivalent in Japanese to an English "f." Similar cases of convenient but seemingly irregular romanization are found in the s group and t group. This may begin to seem complicated, but in fact correspondence in Japanese between kana spelling and pronunciation is much simpler than in the case of English and its alphabet. Attempts to express certain loan words in katakana can seem
10
awkward, but that is really a problem relating to the Japanization of non-Japanese words, rather than to the kana system itself. Each of the two kana systems contains the same basic forty-six syllables, arranged in the same order. The basic syllabaries are as follows (combined for convenience, with the kata
kana written slightly smaller).
VOWELS
k s
�
ell
z 0
5
ell
u
t n
h m
y r
lv
y n
w
n
J\
1
a
-p
1)\ tJ ka a
\, \
� � ....,.. l sa (2 �ta -1? -ttd. na t:
'-
��
� � ? '
h
I\ ha
:7
rna
�
v
J-J-
_:2_ v) ya ra
'J
A 1
�
ki
'l
� shi
-
chi
-
ni
t: hi �
_ ....:
ffil
I)
ri
e
u
t7
1 '
< t
-:J
t/J '
.... )
\
� YO �
wa
u
1
ku
/\ ''
su
I
tsu
)l.
;t
:I-
1:t
-1:2 se
( tJ ttJ
ru
e
�t'1
nu -; /"'-. fu � mu ..::z_ yu
)I/
0
t1
_q-_
;t te
ne
""""
I-
he me
)....
re
;h� ....,
"'-
Yc t
(f)
�1 t J: 7:;
R
;t 0
.::1
ko
'/
so
l-
to
)
no
,t-.. ho ;f;
mo
3 yo 0 ro
::j
wo
This order is known as the go jiion u j n , meaning "the fifty sounds order. " In fact, there are
Jo> I J/:-) and we ( }!.., I _:e.) were officially removed from the list in 1946 since the
now only forty-six basic symbols (sounds) officially in use. Yi , ye, and wu do not exist.
Wi (
sounds were considered sufficiently close to i and e to be represented by the symbols for these. However, the symbols for wi and we are still encountered on rare occasions. The go jiion jun is the standard order followed by dictionaries and other reference works. It
11
is therefore particularly important to remember it. To this end, the following mnemonic, which is a modified version of one taught by Professors Dunn and O'Neill of the Univer sity of London, may be helpful.
Ah,
kana signs! Take note how many you read well (n).
The reader will have taken note of the fact that the first letters of these words follow the
goj 'Uonj un consonant headings. With apologies to mathematicians, even the syllable n (/v)
is represented, by the mathematical symbol "n" indicating the utmost number (in this case
92, the sum of the two kana systems). The syllable n ( lv) is sometimes called the "independent n" but in fact it can never be used truly independently. Nor can it ever start a word. When working from romanization it is sometimes difficult to tell whether a non-initial n followed by a vowel is a syllable from the
n - group, or whether it is n ( /v) followed by an independent vowel. For example, tani
could be either
r-, t:::.(valley) or f::.lv" \(unit).
Context usually makes this clear. To avoid
ambiguity some romanization systems use an apostrophe after the n that represents lv.
Thus
f:, � \,- l can be romanized as tan i' .
Note also that in romanization lv is sometimes
written as mbefore a p, b, or m, as in shi mbun for shin bun (newspaper). This practice is
by no means universally followed (and is not followed in this book), but its existence does indicate one of the exceptional cases where the pronunciation of a kana symbol could be said to vary slightly according to context.
Additional Sounds Represented
by Kana
In addition to the forty-six basic symbols, there
are
sixty-one classified modifications and
combinations in each system, and a few further special combinations as well. This may sound alarming, but in fact it involves only a handful of new points to learn. The first is the dak uon , meaning "voiced sound" or "hardened sound." Sounds starting with the unvoiced consonants k , s , t , and hare voiced as g , z jl , d/z j/ , and brespectively if the diacritical marks '' are added to the upper right side of the basic kana symbol, as shown in the following table. (See also pp.
52-56.) The table also shows han dak uon ,
meaning "half-voiced sound," which applies only to sounds starting with h . The addition of a small circle
o
to the upper right side of the appropriate basic kana symbol changes the
pronunciation from h top (as opposed to changing it to bin the case of the full dak uon ).
12
VOWELS 1
a g
z/j d/'z/j b p
ti�'
fJ'' ga -tt''
�··
'-
za
9"
r-
..
Lt'' o Li
da
) \"
ba
0 J\
pa
· Ji and z uare written c and
�113:1)';
�..
-t-"'
gi ' ..
-......;..
l' '' ? :· v tJO
;./
ji
4-" ji
t:."
bi
t::•
pi
'J''
< ,,
gu
9''
"J...'' zu
,�··
..
� v� '
.....
..
)
zu
/"
..
\
bu 70
()
PU
'
0
e
u
it" 1t'
1"
�
�
'1''
ge '' 1Z
ze
:;- ..
de "'"' be � pe
· �·
:J' go
�··
'-
�� 2::''
'
zo
F'
do
;r-.:·
Ll.. bo o ;Ko l t O P
q-·; except when they clearly derive from chi ( -J?) and ts u(-:;)
in compounds or repeated symbols. For example, hanaji (nosebleed, from hana [nose] and '' chi [blood]) is and ts uz uk u(continue, from ts uts uk u) is-?'? <. A combination of a consonant andy- is known as a y oon , meaning "contracted sound." Any of the seven basic consonants k , s , t , n , h , m, orr, or voiced or half-voiced conso
l (shi ), is followed by a symbol from they- group- either ya , y u,
nants, can be used. The symbol that represents these consonants plus i , for example
(ki )or
� J:
�
or yo as appro
priate. This second symbol is written smaller, while the i sound is barely pronounced and is dropped in romanization. Thus kyo is expressed as tion systems) as
L'tP
and sh u (syuin some romaniza
. If the J: or .,.P of our examples were written the same size as the
preceding symbols, then they would be treated as uncombined symbols and read kiyo or
shiy urespectively. Full tables are given below. (See also pp. 59-62.)
ky sh ch ny hy my ry
1�
u
a
kva �� kvu �ci kvo _5/3 7k' L� sha L� .5/.:L. shu Let sho .4-9 k.v .4-.:L iJJ: ?� cha iJ.p chu cho ..::: ,1. :. ;:::_3 ..::-v �::� nva �=� nyu t:J: nvo l:::..¥ 1::::"3 1::.:1vij> hyu 7JJ. hv o 1h hya �3 �Jr! J+� mya Jj-� mvu J-t.;. mvo l) -t' rv,Ja"" L)� rvl bu.. l).t rv1}3o
��
a
0
�:1.
�3
gy J J
�..\1
gya
c:� 14-'-V -l?t ia 'i�
ia
�..
,!\f
c� �·�
�·;,_ �·· �·3 gyu -J: gyo
io c� 5'" :..f-'9 4-!'.J. ju -tj'� jo
'l�·.]... iu
-
3
by py
.....
�.:L
I
�·· ��
0
u
Note that
13
...}:'combinations rarely occur.
Some consonants- essentially k , s , t , and p- can be doubled by inserting a small ts u (.., or'�) in front of them. This combination is known as a sok uon (double consonant). Thus
gakki (school term) is expressed as fJ \'� �. The little but the consonant that follows it is given,
as
-?
or
'V
is not pronounced as such,
it were, a double amount of time for its pro
nunciation. It is important to apply this extra time to the consonant only, and not to the fol lowing vowel. Thus the word in our example should be pronounced ga kki and not ga kkii. These double consonants can never begin a word. (See also pp. 57-58 .) Students commonly make the mistake of trying to write a double n , as in words like annai
� /v � l-
(guide), with a small...,. The correct way is to use fv to represent the first n. Thus annai should be written
'·
The lengthening of vowels (including the vowel sound of syllables in which a consonant precedes the vowel) can also cause errors, especially in the case of the long o. In romaniza tion long vowels are usually indicated (if at all) either by writing the vowel twice or by a macron, as in uuor ufor a long u. For loan words in katakana , a barlike symbol
-·
(or I
with vertical script ) is used. Thus ra bli (rubber) is written =; J\._. In hiragana , the vow
";f,, � \ , ? , or ik, (mother) is written 1,·/J'a, � lv.
els a , i , u, and e are doubled by simply writing
respectively after the pre
ceding symbol. Thus ok iisan
(The doubling of a and e
actually occurs infrequently in hiragana. What sounds like a long e is usually e followed by
1±: /vi:tt.. l, sensei [teacher].) A long o can sometimes be formed by doubling in the same way as with other vowels, that is, by adding 1;', but it is more commonly formed by
i , as in
� ?.The long o that takes -;;·was once pro nounced slightly differently from the long o that takes 1, but that is no longer true, and it
adding
�
(u). Thus s o (so, thus) is written
'jJ' as opposed to � . These include 'tr>� \) ,t o(ten, t i>'), and t ori (way,
is necessary to learn each word with a long o sound case by case. Fortunately, there are only a few common words that require the addition of
okii (big, Jj· �-��.\) ,oi (many, 1>'"/J' \- l), t oi (far,
road,
t n. L J ). Students should take particular care not to be misled by the common romani
zation practice of writing a long o as oo , when in hiragana it is usually -;.,· (o )plus
� (u).
Caution is also needed when transcribing from kana to romanization. Always check that an apparent long vowel really is a long vowel, and not two unlinked vowels. A typical case of
':f 1, meaning (By contrast,� -? mean
the latter is a verb whose variable ending starts with the same vowel as the last vowel of the stem, or appears to combine with it to make a long o . For example, the verb "go with," should always be romanized as so uand not s oor soo.
"t? (suck), rather than s u, and kiite is the way to romanize the
ing "thus," being a genuine long vowel, is romanized as s oor soo .) Similarly, s uuis the
� � \ (. (listening), rather than k tTe .
romanization for the verb suspensive
14
Other Points to Note
There are three common cases where kana usage is distinctly irregular. They all involve
"t, and
particles, namely the topic particle wa, the object particle o, and the directional particle e
l
(meaning "to"). These words are written �'
/'\.
respectively, and not f?,
1-J',
as might be expected. The irregularities result from the failure of writing conven
tions to keep pace with pronunciation changes over the last century or so. Certain further usages need to be noted with regard to kat akana loan words only. These are
<.J.t etc.) seen earlier.
relatively recent attempts to express non-Japanese words with greater accuracy, and tend to be an extension of the y oon principle
That is, they combine two
kana symbols, the first one lending only its consonant sound and this fact being indicated by the small size of the second symbol. For example,
"f'
sounds can be approximated by
( 7) with a small vowel. Thusfa,fi,fe, andfo are written as
7-r,
7-f, 7r.,
7� respectively. Similarly, "q" can be represented by k u <'7) plus a small vowel, as in 7�-J-(quarter). A German-style "z" (as in "Mozart") can be shown by ts u (o/) plus a small followingfu
and
7'J:, *�and
:ls:..
vowel, i.e.,=E.- '/rJt.kMozart). "She" (as in "shepherd"), "che" (as in "check"), and the voiced version "je" are written as
Though not a consonant, u
(r7) is
sounds w iand we are still occasionally found expressed by .:f and _::e. respectively, but
used in a similar type of combination, to produce "w" sounds. As mentioned earlier, the nowadays are usually written as
as �-l
•-J1
and •1.x:. Thus "whisky" (uis uf[) is usually written
·
'A�-. Theoretically =J could be used for wo , but this has become so associated with the object particle o that •J;;r is used instead. ( Wa , however, is represented by 17 .) In similar fashion, i<1) can be followed by a small
1
j ./·Remarkably, an extension of the use of rJ has seen diacritical marks added to it in order to express "v." Thus "Venus" is r)�- -j-fi.. The English sounds "ty" or "ti" (as I-
to express "ye." Thus "Yemen" is
:t.-
f
::;-� .
in "party") and their voiced equivalents "dy" and "di," which were once expressed rather unfaithfully by
and
�·· respectively, are now written as =j-1 and
Thus "party"
is 1\0- 7{-. The "tu" of "tuba" and the "du" of "due " can be expressed by ::;-:l-and =j-':_,_, giving -1".:1-- ;\'(tuba) and ..:f� I.•/kduet), while the "Tou" of "Toulouse" can be s��wn by
� '1 (a voiced version is also possible).
These combinations have very recently received official approval, particularly when used in proper nouns such as place names and personal names. However, there is also official rec can be written in a number of ways. "Violin" can be either ry p .,.(If
1) :; or 1 \' 1 it 1) /. for
ognition of established usage, such as of bfor v. This means that in practice some words example.
In
� J vj -t- .:.f(mirukuseki) for
cases where a certain usage has become particularly firmly entrenched in the
Japanese language the old rendition is favored, such as
15
"milkshake" (but note that "Shakespeare" is
;;�-?A. t.0"f). At the same time, it is also
possible to make up new combinations as appropriate, such as to express the nye sound of the Russian nyet .
In
::=- (n
i)plus a small � (e )
short, the student should be prepared for
a range of creative and sometimes inconsistent usages. Kataka na is very occasionally used for words other than loan words. For example, it can
be used to emphasize or highlight words, such as entries in academic reference works, and is also used in telegrams and certain military and official documents. In such cases, when used for purely Japanese or Chinese-derived words, its conventions of usage are identical vowel and not by a bar. Thus gakk O (school) is tt/ :J 'l, rather than 1}':'/ :1 -.
to those of h ri agana. Long vowels, for instance, are formed by adding the appropriate
. This can also be used when the second symbol is a voiced version of the first, in which case it becomes . Where more than one syllable is repeated, in vertical script only, \ (or {'' if the first of the repeated
A kana symbol can be repeated by the special symbol
\
\ ··
sounds is voiced) can be used, with the symbol covering two spaces. These repetition sym bols are known collectively as o dor ji i (jump symbols). Students need to recognize them,
but should only use them, if at all, with caution. They are not compulsory, and have a num ber of restrictions on their usage. For example, they cannot be used where the first symbol
of one word is the same as the last symbol of the word that precedes it (as in k uro i si h i meaning "black stone"), or similarly in compound words where the first symbol of the sec ond word coincides with the last symbol of the first word (as in ta ma-matsuri meaning "festival of the dead"), or where the-first symbol of a variable word ending is the same as the last symbol of the word stem (as in ki-kimas umeaning "listen"). Some examples of correct usage:
/) ...
v '
�
� ..
Jr mimi
kaga mi
(ear)
(mirror)
<
iro ri o
(various)
�
j:
'-
<
s amaza ma
(various)
Finally, students should learn the basic Japanese punctuation marks, known as kut oten . Full stops are written are written
r
o
(mar u), and commas are written , (ten ). Quotation marks (kag i), , J in horizontal script and in vertical script L.
16
I HIRAGANA
IDRAGANA
(AN 223)
ORIGIN
a
STROKE ORDER
as "a" in "car," but shorter PRACTICE .
..
.. ·:·· :. :. .... . ..
.
.
...
'· ..
..
(I 4 19)
ORIGIN
IY� I 71 > ll I �
�
)
STROKE ORDER
1\;
ll
)
I I I
1
2
�'v
\
\ \ •
I as "ee " in "meet," but shorter
PRACTICE
•'
19
HIRAGANA
�
ORIGIN
u
8 11)
ltltl 7 I� I ,
1
j
(U
2/ '5
STROKE ORDER
I 11 I I I "
as "u" in "hula," but shorter
PRACTICE ..
.. ····:
ORIGIN
(F)I 420)
1
� STROKE ORDER
e as "e" in "get"
PRACTICE
...
. ..
� . ..
20
HIRAGANA
ORIGIN
(0)
11
���
STROKE ORDER
0 as "o" in "or," but shorter
PRACTICE · .. · •. ... , ,, ..... ' · : .� . ··� ,.
ORIGIN
(KA 4 3 1)
I no 11JV11 ;;') I fJ' I STROKE ORDER
ka as "ca" in "car," but shorter
PRACTICE . . ' .. : ... .. .. . .
..
.
21
HIRAGANA
ORIGIN
(KI 1 129)
1�·11 I� I� I STROKE ORDER
ki as "ki" in "keep, " but shorter
PRACTICE :,
� .-
"·!
. . .
ORIGIN
(KU 647)
I jz_l� I� I< I STROKE ORDER
ku
I< I I I I
as "Ku" in "Kuwait," but shorter
PRACTICE
·.
I
I 22
HIRAGANA
ORIGIN
(KEI 105)
��tlrJittiLtl STROKE ORDER
ke as "ke" in "keg"
PRACTICE
i
- -
-:�· .
:
. "'
ORIGIN
(KO 855)
lt::IG ILI21 STROKE ORDER
I 121 I I �
1
} 2�\_,
ko as "co" in "core," but shorter
PRACTICE :
. .. . .
�
.
�
� \..
.. ... ..
23
HIRAGANA
MINI REVIEW
l&>i l 'I
ai
ct-
: I : I :
ue
2
I A
-
love
KO
I : I above, top
: I : I
1-?: �I : I : I : I : I : I : I I ;n·: 11 \I : I : I : I : I : I : I hill
oka
kiku
I�!< I : I : 12 iLtl : I : ll ':ttl : I : ltJ'i -1 I : I : ko k e
ike
kau
eki
hear, ask; chrysanthemum
I : I : I : I : I I : I : I : I : I moss
pond
I : I : I : I : I I : I : I : I : I buy
station
I il �I : I : I : I : I : I : I I" ': < I : I : I : I : I : I : I iku
go
koko
here
au
mee t
121 :.I : I : I : I : I : I : I 1�!11 : I : I : I : I : I : I 24
HIRAGANA
vmce
koe
1-:: A. I : I
I : I : I :
11)\:
: I I : I : I I : I : I : I : I
write
kaku
: I
I
I I
oke
wooden bucket
face, honor
kao
ltJ'i.n-1 : I I : I : I : I : I I : I lt-\i;tl : I : I : I : I le
house, extended family
aki
autumn
iu
say
lcbi 11 : I : I : I : I : I : I I\,'i -71 : I I : I : I : I : I akai
IJJi't'i\, 'I : :
red
: : I : :
aoi
blue
kioku
memory
ekaki
painter
: I
IJ?i n:� ,I : : : : I : : : I I�: n·:
I
I I
I : : I : : I : : I 25
HIRAGANA
ORIGIN
(SA 22)
2
sa
as " sa" in " sarcasm," but shorter
·�
3
""
STROKE ORDER
'-
PRACTICE
........ . . ''
ORIGIN
�
(SHI, part of 1335)
1
STROKE ORDER
shi as "shee" in "sheep," but shorter
PRACTICE
.. ..
26
HIRAGANA
ORIGIN
(SUN 909)
1-tltltl-tl
2 .1-
STROKE ORDER
so as "Su" in "Susan," but shorter
PRACTICE . .,. .- ..� . .. . .,
·--:
ORIGIN
(SE 327)
J,
STROKE ORDER
2
se as "se" in "set"
PRACTICE
27
HIRAGANA
ORIGIN
(SO, part of zo 741)
STROKE ORDER
so as "so" in "sore," but shorter
PRACTICE . '·
. .
... •· . I , •" •
ORIGIN
(TA 164)
STROKE ORDER
ta
as "ta" in "tar," but shorter PRACTICE .;.•
: ....
.' ......
28
HIRAGANA
ORIGIN
(CHI 169)
STR OKE ORDER
chi as "chee" in "cheek," but shorter
PR ACTICE
ORIG IN
(SU 304)
I�
STROKE ORDER
tsu
I
as "tsu"
PRACTICE ... .,
'
.··
29
in "tsunami"
HIRAGANA
ORIGIN
(TEN 58)
STROKE ORDER
te as "te" in "ten"
PRACTICE
ORIGIN
STROKE ORDER
to as "to" in "tore," but shorter
PRACTICE '
�
·
o I o
........ � ..
(TO-maru 129)
30
HIRAGANA
MINI REVIEW sushi
I :ti ll i I
�
-
C
I SA
-
TO
sushi
I i I i I i
tsuchi
soil
solo
outside
sake
sake; sahnon
tetsu
iron, steel
seki
seat;
tatsu
stand, leave; dragon
tochi
llind
uta
song, poem
koto
thing; Japanese harp
suso
hem
l-=>i1?1 : I : I : I : I i l1i cl : I : I i I : I : I : I I � : tt I : I : I : I : I : I : I 1-r.:�l : I .: I : I : I : I i I cough
I-tt:� I : I : I : I : I : I : I lr::i�l : I : I i I i I i I : I lci�l i I i I i I i I i I l-7 i t�1 i I i I i I i I i I 12 i tl i I i I i I : I i I i I It: �I : I : I : I : I : I : I 31
HIRAGANA
�
�brerun
I r�: 'I :
: I
I : I : I
t
teld
enemy
shichi
seven
I ose
: I : I sweat
sasu
I� l
I l I l I thrust; indicate
I : I : I : I l I untruth
11: �I l I l I l I : I l I l I �e�u
�on
ashita
tomorrow
satoi
clever, sharp (of senses)
I� l-tt: �1 : l I l i I
i
: I l l I
I cVJ l L l r�l l : I l l I l l I l : I l�:c:��l : : I l l I l : I : : sekitei
rock garden (Japanese style)
chikatetsu
subway
1-ttl�:-r:�,l : i : I l : l I 32
HIRAGANA
ORIGIN
(NA)
STROKE ORDER
na
as "na" in "narcotic, " but shorter PRACTICE
ORIGIN
(NI 906)
11�1121 L2ll = I STROKE ORDER
II It- I t=-1 I
1
31 �
�'--
'-•
Dl as "nea" in "neat," but shorter
PRACTICE :
2
j
.....21. ..
........•
. . '..: ., ........
33
HIRAGANA
ORIGIN
1
(NU/00 1638)
_{t
STROKE ORDER
no as "noo" in "noon," but shorter PRACTICE
ORIGIN
(NE)
STROKE ORDER
ne as "ne" in "net" PRACTICE
34
lllRAGANA
OR IGIN
(NO/NAD
STROKE ORDER
no
I I
as "no" in "north," but shorter
PRACT ICE .
. · ·,' .. , '
: . . ' .. .
. ' '
·
.·
ORIGIN
(HA 367)
STROKE ORDER
ha as "ha" in "harm," but shorter
PRACT ICE .
... ... � .. ·
.
� ·
. .. ,
•'
.. .
35
HIRAGANA
ORIGIN
(HI 771)
I �L I Vt I L I v I "l
STROKE ORDER
hi
lvl I I I
as "hea" in "heat'" but shorter
PRACTICE
�
"�' fu
1
J�v
l7f I �IJ-JI��, I
�
:s �
as "foo" in "t00 1' " but with softer "f'
: ........ , '
.
STROKE ORDER
I I ) I�� IVS' I )
�
PRACTICE
�
.
(FU 572)
ORIGIN
�
"
36
HIRAGANA
ORIGIN
(HFJBU 384)
STROKE ORDER
I�
I I
he as "he" in "hen"
PRACTICE .
.•""•. . ·.
ORIGIN
(HO 787)
STROKE ORDER
ho as "ho" in "hom," but shorter
PRACTICE ! . .. . !. : .. , :·. :, .··-=·. , . . ..
37
HIRAGANA
MINI REVIEW nani
-tJ,. - L� l NA
- HO
what
l �i t:::l : I : I : I : I : I : I I L� i tdl : I : I : I : I I : I I &'Ji (f) I : I : I : I : I : I : I hone
bone
I
I I
nww
cloth
hifu
skin
heta
clumsy
I v-:.�,1 : I : I : I : I : I : I I"": t::l : I : I : I : I I : I I
I I
luma
flower, blossom; nose
June
boat
kani
crab
hina
doll, fledgling
has hi
chopsticks; bridge; edge
kinu
silk
I �j:: �'"J I : I : I : I : I : I : I 1-�':nl : I : I : I : I : I : I 17)': l :::1 : I : I : I : I : I : I I ZAi tJI : I : I : I : I : I : I l �i: �1 : I : I : I : I : I : I 1 � :�1 : I : I : I : I : I : I 38
HIRAGANA
hoshi
star
hito
person
noki
eaves
nishi
west
I vi c l : I : I : I :
ldJ i � I : I : I i I i I I t::: L-1 : I : I : I : I I t�i l , i < I : : I : : I : : I i i I haiku
haiku
katana
curved sword
netsuke
carved figurine
tanuki
raccoon dog
seifu
government
I tJ\: �: �I i i I i i I i : I : : I I r�: &�Ji 1 I : : I : : I : : I : inoshishi
wild boar
heisotsu
soldier
ll \ id)i l1 ll : i : 39
I
: i i I
HIRAGANA
ORIGIN
(MATSU 587)
STROKE ORDER
rna
as "rna" in "mark," but shorter PRACT ICE .. . · ·:· . ·.· ::: ' • .. .
. .. ..
.
ORIGIN
1
�
STROKE ORDER
m1 •
as "mea" in "meat," but shorter PRACT ICE .. :. .. !
.� .
.· .· .. .
;
.
(BI 376)
..
.·
40
HIRAGANA
ORIG IN
(MU 781)
2
�
STROKE ORDER
3
'{
mu
as "moo" in "moon," but shorter PRACT ICE · . ,1
� . .. .. •
I
•
ORIGIN
( ME 35)
STROKE ORDER
me as "me" in "met"
PRACT ICE ;..• .... ... . . . . .. . . .
.
.
·. ·
.
.
41
HIRAGANA
(MO 210)
ORIGIN
STROKE ORDER
mo as "mo" in "more," but shorter
PRACTICE . .. , .
. ' .. .. . •
.
ORIGIN
(YA, part of CHI 167)
STROKE ORDER
ya as "ya" in "yard," but shorter
PRACTICE
··\.�.::::
42
HIRAGANA
ORIGIN
(YU 399)
1
STROKE ORDER
�
1
2 yo
I Y-JI YPI
as "you" in "youth," but shorter
PRACT ICE
ORIGIN
(YO 1873)
2
.i- 1
STROKE ORDER
�
yo as "Yo" in "York," but shorter
PRACfiCE . . ... . . .
· ::·. .:· ··.
43
HIRAGANA
MINI REVIEW yama
i_
-
� I MA
-
YO
mountain, hill
l�l i l : I : I : I : I : I : I IYPl�l : I : I : I : I : I : I l ct i ct l : I : I : I : I : I : I ywne
dream
yomu
read
nwnw
peach
miya
shrine
kome
uncooked rice
tsuyu
dew
mushi
insect
matsu
pine; wait
wne
Japanese plum
mune
chest, breast
: I : I : I : I : I : I IJt! �l : I : I : I : I : I : I
lt: tl
: I : I : I : I : I : I 1-:>lv?l : I : I : I : I : I : I l 2 l
I tDl Gl : I : I : I : I : I : I l i l -JI : I : I : I : I : I : I 11 l
HIRAGANA
l � i t i t> l
kinwno
kimono, clothing
sashimi
sliced raw fish
Yamato
old name for Japan
yukata
cotton kimono
sumie
India-ink drawing
: : I i i I i i I i i I
I � : l: Jtl : : I : : I : : I : : I i i I i i I i i I i i I i
I ��: �:�1
i I i i I : : I
e maki
picture scroll
hanami
blossom viewing
mikoshi
portable shrine
: : I : : I : i I ukiyoe
woodblock print
setomono
porcelain
sukiyaki
sukiyaki
11 : � :J: i itI : : i I : :
1-e:: c: t i d)l : : : I : : : I It: � :�: � I : : : I : : : I 45
:
I
HIRAGANA
ORIGIN
( RA/RYO 598)
STROKE ORDER
ra as "ra" in "mirage," but shorter
..
PRACTICE
\
:.·
·.
. ·
'
ORIGIN
r1
J
•
1
J�
STROKE OR DER
I
. ..
!•
L)
���J I n I � I I
2 �
as " ree" in "reek, " but shorter :
( RI 596)
�
� IJ
PRACTICE
-
46
I I I
HIRAGANA
ORIGIN
(RU 805)
STROKE ORDER
ru
I I
as " ru " in "rule," but shorter
PRACT ICE .. . . •.' .
. .. . · ·: : ' • . .. . .
ORIGIN
(REI 413)
STROKE ORDER
re
I I l :hl
as "re" in "red"
PRACTICE
47
HIRAGANA
ORIGIN
(RO 256)
1
STROKE ORDER
ro
as "ro" in "roar," but shorter PRACTICE
.
.
.
. . ' .
.. ' .
.
•'
ORIG IN
(WA 4 1 6)
1 -1,-
STROKE ORDER
wa
I I I tJ I
a s "wa" in "watt"
PRACT ICE · ·."., . . .. ,,:
.
� ...
:
48
lllRAGANA
ORIG IN
(ON/EN 79)
3
STR OKE ORDER
0 as "o" in "or," but shorter
PR ACTICE ·· .:··· .. · . .· ·�· . ...
: . ..
ORIGIN
(MU)
STROKE ORDER
n as "n" in "sin"
PR ACTICE .: ..
�
...
· .
�-... ·
49
HIRAGANA
!? '
MINI REVIEW wan
l:bi �vl
1 -z i sl
: I
tera
: I 1 -::> i {:,1 : I tsuru
kore
l2 ! fll : I 1-) ': bl : I furo
.
non
I tJi �J I : I IL�: �I : I haru
-
fv I
RA
-
N
bowl; bay
I : I : I : I : I I : I : I : I : I I : I : I : I : I temple
crane; to fish
this
I : I : I : I : I I : I : I : I : I bath
edible seaweed; paste
I : I : I : I : I I : I : I : I spring; to stretch
rei
politeness; soul; example
sh iro
castle; white
I fll \I : I I : I : I : I : I l l l 7:7l : I : I : I : I : I : I L
Nih on
Japan
sakura
cherry blossom
I L::i L�: A-1 : : I : : I : : I : : I 50
HIRAGANA
uchiwa
1 1 l S l t7l : :
matsuri
I
round fan
: : I : : I : : I festival
I j: : -=>i L) I : : I : : I : : I : : I I Llik ! � l : : I : : I : : I : : I lwtaru
fuefly
futon
futon
1- �': c :�vi : : I : : I : : I : : I lfli � : ll : : I : : I : : I : : I rekishi
history
wafuku
Japanese clothing
: : I : : I : I : : I I � : � :�vi : : I : : I : : I : I
I Pi-�,: < I
I I
.
nron
theory
furoshiki
cloth wrapper for parcels
1-�': � : L : � I : : : harakiri
l lj:: � : � i !J I :
!
I harakiri
: : : I
: I : : i I
Hinomaru
Rising Sun Flag
samurai
samurai
l vl (J)l 1i {;>l l l l I l l l I
51
HIRAGANA
VOICED AND HALF-VOICED SOUNDS
ga
as "ga" in "garden" but shorter
I JJ�·1 I I I I I I gi
I I I I I
as "gee". in "geese" but shorter
I�1 I I I I I I I ..
I I I I I
as "goo" in "goose" but shorter
gu
I I
1 <"· 1 I I I I I I I I ge
as "ge" in "get"
I go
I
as "go" in "gore" but shorter
I� 1 I I I I I I I I I I I I I ..
za
as "za" in "bizarre" but shorter
I I I I I ji
as "jee" in "jeep" but shorter
I I
I Ll I I I I I zu
as "zoo" but shorter
ze
as
ltl I I I I I I "
ze
"
in "zest"
1-tt.l I I I I . I I I zo
as "zo" in "Azores" but shorter
1 �1 I I I I ..
I I I 52
HIRAGANA
da
as "da" in "dark" but shorter
ji
as "jee" in "jeep" but shorter
zu
as "zoo" but shorter
I I
Ir::l I I I I I I
I I
I t··1 I I I I I I 1-? 1 I I I I I I I I ..
de
as "de" in "desk"
do
as "doo" in "door" but shorter
ba
as "ba" in "bark" but shorter
bi
as "bea" in "beak" but shorter pi
as "pea" in "peak" but shorter
bu
as "boo" in "boot" but shorter p u
as "poo" in "pool" but shorter
be
as "be" in "beg"
bo
as "bo" in "bore" but shorter po
1-tl I I I I I I I I I c· ·1 I I I I I I I I pa
as "pa" in "park" but shorter
I L£1 I I I I I I � tl I I I I I I Itil I I I I I I �·1 I I I I I I lvq I I I I I 1.q I I I I I I pe
as
"
pe
"
in "peg "
1'"'1 I I I I I 1�1 I I I I I I as "po"
�
"pork" but shorter
Iufl I I I I I I t ;i"l I I I I I I 53
HIRAGANA
REVIEW OF VOICED AND HALF-VOICED SOUNDS obi
waist sash for kimono
I l I
Jude
:
I
writing brush
:
I i I
Zen
Zen
soba
buckwheat noodles; side
biwa
lute; loquat
geta
wooden clogs
I : I : I i I
Obon
B uddhist festival
: I : : I
Kabuki
Kabuki drama
ojigi
bow (head)
I n i c- i :1 "I i i I
i I i i I
I :: i 1vi t�rl i i I i
:
sanpo
monpe
i
walk, stroll
I : : I i : I
old-style work pants
I t : �vi �1 : i I i : I i i I i i I 54
HIRAGANA
keigo
polite language
mikado
old wor d for emperor
manga
cartoon
mikuji
written oracle
yakuza
gangster
n ig iri
r ice bal l
l li : : ::"1 : : I : : I : : I : : IJt-i O'i t"l : : I : : I : : I : : I � i �vi 1J'· ·1 : : I : : I : : I : : IJt i < i c·l : : I : : I : : I : : 1�: < : � 1 : : I : : I : : I : � \
I I I I
..
I �=: .!··: lJ I : : I : : I : I : I t : A--l <"I : : I : : I : : I : : I l tJi �: :t;''l : : I : : I : : I : IJtitt··: hi �J I : : I : : : I I I
I
tengu
long -nosed goblin
hanaji
nosebleed
.
.
mzzuwan I
whisky and water
I I
ZOn.JlTU
know, believe
daibutsu
large statue of Buddha
..
l :r·· : �v: L : � I : : :
I
: : : I
I r�· : :.� �:-?I : : : I : : : I v '
55
HIRAGANA
kamikaze
kamikaze
1 1J' :;If-: 1] , : it"I i i i I i i i .
.
.
.
onganu
orzgamz
.
senpaz
sentor
bonsai
bonsai
ikebana
ikebana
enpitsu
pencil
yokozuna
sumo grand champion
tenp ura
tempura
senbei
rice cracker
hanafuda
flower cards (game)
I" 'i vr! ��r: � I i i i I i i i I JL: A-i ZA"i "'?I : : : I : : :
1 1 : �v i v)�i s I i ! i I : : : I� i �vi �: I : : : I : i i l '
I L � i fJ i v) i r::· I i i i I i i i ,
j
Mt. Fuji
Fujisan
56
HIRAGANA
REVIEW OF DOUBLE VOWELS a (aa)
ii
AND
CONSONANTS
like that; Oh!
I : I : I : I : good
e (ee)
kii
yes ·
I : I : I : I : I sky, void, nothingness
I < : -7 1 : I to
I : I : I i I : I I : I : I i I : I eat
ten
tower, pagoda
to
I : I : I : I : I
rou
�k
I c: 1 1 : I : I : I : I : I : I l tJ i : ' �rl : i I i I : i I i i I \
kappa
mythical creature
shikki
lacquerware
swniJ
sumo
-:>
I L i '? i � l : i I i l I · i i I i l I
I r: t : 1 1 : : I : : I : : I : : I 57
HIRAGANA
zlJri
sandals
I ::z·: 1 : tJ I : : I :
: I
suji
1 1 : -1 : l' l
: : I : : I
numeral
: i I i i I i i I i : I y ilgen
tranquil beauty
gakkiJ
school
kiJyo
red leaves
okii
big
kendo
kendo
jingii
shrine
I n i tJi � i ' I i i i I i i i v
I L:. : �v: <.: -? I : i : I·)·: 1 : �J :"'-I : : :
wind chime
furin
I :
Shinto
shinto
I L : lvi c : 21 :
I : :
: : I ailport
kuko
58
:
: :
I
HIRAGANA
COMBINED SOUNDS KYA - R YO I kya
� �� I
I
I
sha
L
I
��
I I
cha
s:� I
I
nya
" 1 Jt" l '-' I
I
I
I
hya
v� � I
I
I
mya
J-ti Jt I
I
I
rya
�) ; � I
1
I
I
I
kyu
� � yp I
I I
I
I I I
I
I
I
I
shu
I
I
I
I
I
I
I
I
ll� I
I
I
I
I
1
1
�:.p
I
chu
I
I I
I
I
nyu
I
I
I
I
I
I
t : l *' I
I
I
I
I
I
I
I
I
v � �.p
I
I
I
I
I
1 I
I
I
I
df 1 �
myu
I
I
I
I
I
I
I
I
I
I
I
kyo
I
I
ryu
'1 ; � I
I
59
I
I I
I
L)_�
� l et I
I
I
sho
L � ct
I
I
I
I
I I
I
I
I I
I I
�:
I
cho
I
J:
I
I
hyu I
�� -
nyo
I
I
I
v�
I
J:
I
I
myo
I
I
""' ll et t-
hyo
I
I
d-t i J:.
I
I
I
I
I I
I
I
1
I
I
I
I
I
I
I
�) ; �
I
ryo
I
I
I I
I
lllRAGANA
VOICED COMBINED SOUNDS GYA
gya
�·· ; � I I
}Q
I I
I
I
}Q .
-;··:I � I
,I
Z.A" � � I I
· � I I
; L. ; * I
JU .
I L!� I i I bya
�·
gyu
I
I I
ju
I I
byu
I
I
I I I
I
�··:I Y' I
lA i vP I
I I
I
I I
I
� ··
gyo
I I
I I
I
I I
I
I
I
olI � V I
pya
I
I I
I
I
py u
vtI � I I
60
I I
I
I
_l
c·
I I
;�
I
I
I
I
.
�· :I J: I
vI I ,,
I
J:.
l
HALF-VOICED COMBINED SOUNDS PYA - PYO
I I
_l
.
by o
7):� I
JO
JO
-
I
- :J I
I
I
I � ·�
BYO
I
I
,,
-
I I
I
I
I
I I
I
1
I ZJ� - 1J.-0.I.
o lI J: V I
pyo
I
I I
I
_l
HIRAGANA
REVIEW OF COMBINED SOUNDS kyaku
guest, visitor
I : : I : : I : :
1 � : �: < 1 i :
shoji
I L i J- i 1 i L' I
sliding screen
: : : I : : :
byobu
folding screen
I V"i J- i -? ivq i i i I i i i jinja
shrine
chanoy u
tea ceremony
geisha
geisha
shodO
calligraphy
yakyu
baseball
enryo
reserve, restraint
myoji
family name
kingyo
goldfish
c·: I l l l I l l : 1 2ik !(J)hPI i i i I i i
I c : �:
�
I Lf1 : L : � I l : : I : : t, \
I�: 1 i � i 1 1 i ! i I i i I ;ti A-i L) : J: I : : : I : : : I Jti ct : -? : l' l ; ; : I : i i 61
HIRAGANA
entrance examination
nyii:shi
l I l i l I
Jukyo
Confucianism
chiJchin
paper lantern
: I i i i i I : : I : : : : I i I i i I : i
i
iceberg
hyozan
ryugaku
overseas study
kiJjiJ
factory
: : I : : i i I i
jiidO
judo
B ukkyo
Buddhism
: : I
: I : I : I
shogun
shOgun
: : I i wife
ny0bo
I L : i i 1 i Lfi -? I i i i i I i i J:
happyij
announcement
62
i
I
HIRAGANA
REVIEW THROUGH PLACE NAMES
AND
PERIOD NAMES
Nara
place, period 7 1 0 - 794
E do
place, period 1 603 - 1 868
l �i s l i I i I i I i I l I i I I �: c··1 : I : I : I : I : I : I I ::: 1 :�1 l i I i i I i i I i i I l �··: �vi :tl
Kobe
place
Yayoi
period c. 250 B.C. - c. A.D. 250
Ginza
place
i
i
I : i I i i I l
Hakone
place
Meiji
period 1 868 - 1 9 1 2
i
I
I tJ: : : n I : : I : : I : l I : : I I�: ' l t I : i I l : I i : I : : I "
·
Nagoya
place
l td:i :·· : �1 : l I i : I : l I i 11:
"':)
Matsushima
place
Heian
period 794 - 1 1 85
ShOwa
period 1 926 - 1 989
: L: 1 1 : : : I : :
:
1-"'il 'i�!tvl i i i I i i i I 63
HIRAGANA
place
Nikkii
l t::i : : : 0 1 i i i -?
I
i
i i
Sapporo
place
Osaka
place
1\yoto
place
Muromachi
period 1392 - 1573
Heisei
period 1989 -
1\amakura
period 1185 - 1333
l �·i hi � iv'l i i i I i i i I� : J: :-? : t l : : : I : : : I �: � i 1 i -s I ; ; i I i i i I tJ'i 1 i < i s I
i i i I i i
i I
Honshu
place
Taisho
period 1912 - 1926
Jomon
period c. 8000 - c. 250 B.C.
Tokyo
place
: : : I : i : : I 64
HIRAGANA
GENERAL REVIEW No
Noh
I i I
:
I : I i I
sabi
elegant simplicity; rust
semi
cicada
I -ttl Jt I l I giri
I
l I l I l I l I duty, honor
I .r: lJ I : I I : I : I : I : I I r:: l : I l I : I : I : I i I l I liiko
kite; octopus
hakama
divided skirt
urushi
lacquer
honne
one's real intent
I �1: tJ'i ;r. I : : I : : I : : I : ltilklf.}l : : I : : I : : I : 1 -=: lttl ll : : I : : I : : I : kokeshi
stylized wooden doll
haniwa
clay figurine
udon
wheat noodles
l t1l�=lvl : : I : : I : : I : : I I -7 : t··: �vl : : I : : I : : I : : I 65
lllRAGANA
kotatsu
brazier, footwarmer
l 2 i� i -:>l : : i i I i i I l.h: 1 : it l : : I : : I : : I I ili V"i
amae
childlike dependence
Ebisu
name of god of wealth
miai
interview for marriage
tofu
tofu
seibo
It
: : I : : I i i I : : I
year-end gift
I
l
I I
shibumi
astringency
aware
pathos
l;hi nirtl i i I gohan
I �·: t1-i!vl i i
i I i i I meal, cooked rice
I
i I
gagaku
i i
I
ancient court music
i I : I i I
i I
i i I i : I 1 tJ) : n:�v1 : : I : : I : : I : : I I tFi IJI:'i < I
i
i
i I i
TWren
I
shop curtain
66
HIRAGANA
haori
short coat
me�hi
nrune aud
odori
dance
1 �%: ;n·i �; I : : I i i I i i I i i I I MJ: : �I : : I : : I l l I l l I I B! t''! L) I ! ! I ! ! I ! ! I ! ! v
'
kaisha
company
menboku
reputation, "face"
shinju
pearl
mugicha
barley tea
tenno
emperor
shOgi
Japanese chess
onsen
hot spring
.
I L : �v: c : � I : : : I : : : 1 -z ! �v! t1) ! 2 1 ! ! ! I i ! I L ! J: ! � : �''I ! : : I : : I t,·! �v!-!!: ! �vi ! ! ! misoshiru
67
I
! ! !
mtso soup
HIRAGANA
ninja
.
.
ninJ a
l l::: ;J, C' : I :
: I :
: l ti :: i d)i 1 1 : : : I : : : 1-¥ i _, i �-ti 1vI i i i I i i i �
tokonoma
:
decorative alcove
soroban
abacus
bunraku
puppet theater
bento
box lunch
dantai
group
I�: �vi c i -? I
i i :
I i i i
I t==· :�v: r� : " 'I i i : I : : i shamisen
sanusen
Shogatsu
New Year
shakuhachi
flute
koinobori
carp streamer
1 2-: : 11) : tf'i LJ I : �\
: : : I
janken
: : : : I
"scissors-paper-stone" game
68
II KATAKANA
KATAKANA
ORIGIN
(A)
I �orI � I r lr l
2}
1 � �
STROKE ORDER
1 � 1 r1 I I
7 a as "a" in "car," but shorter
PRACTICE ,. . .. .. �·:: . 1
·
!
I
ORIGIN
l1fl 1 1
(I)
STROKE ORDER •
I as "ee" in "meet," but shorter PRACTICE .,
. ·· .. .
..
71
KATAKANA
ORIGIN
(U 811)
STROKE ORDER
u
as "u" in "hula," but shorter PRACTICE . . . ! . ..
.
. .
.
.
.
.
ORIGIN
(E 1244)
STROKE ORDER
e as "e" in "get" PRACTICE . .
. .
. . . ..
72
KATAKANA
ORIGIN
(0)
STROKE ORDER
0 as "o" in "or," but shorter
PRACTICE :: · · .. . . · .'
� ..
ORIGIN
(KA 431)
STROKE ORDER
ka as "ca" in "car, " but shorter
PRACTICE . . . .
. . . .
73
KATAKANA
ORIGIN
( KI
1 1 29)
STROKE ORDER
ki as "ki" in "keep," but shorter
PRACTICE · · ·.· ·
. ·: · .
�
ORIGIN
STROKE ORDER
ku
as "Ku" in "Kuwait," but shorter PRACTICE . ..
.. .:
. , ,. �
.
(KU 647)
.··
74
KATAKANA
ORIGIN
(KAI 1059)
l11'1 1'1 'r l rr l STROKE ORDER
1
7
ke as "ke" in "keg"
PRACTICE ..: .. . ; . . .
ORIGIN
(KO 855)
1 Gi t: I 2 I :J I STROKE ORDER
l:J 2-'7
ko as "co" in "core," but shorter
PRACTICE . .. . . .. ... . ... .
75
KATAKANA
ORIGIN
i
(SAN 492)
3
STROKE ORDER
sa as " sa" in " sarcasm," but shorter
PRACTICE
. .!
·:· .. .
.
.
.
I
.
ORIGIN
(SHI, part of 1335)
STROKE ORDER
shi as "shee" in "sheep," but shorter
PRACTICE ... .. . .·
· -·
76
KATAKANA
ORIGIN
( SU)
STROKE ORDER
so as "Su" in "Susan," but shorter
PRACTICE
. : ··-.. .·
ORIGIN
(SE 327)
l t!t l � l t l � l STROKE ORDER
1 -J i t l I I PRACTICE .. . .� . . . .. · . .. .. .
. ··:
I
2
1{: "
as se
se
" · m
"set"
I
-
-
77
KATAKANA
ORIGIN
(SO, part of
z5 741)
I kfl 1 I ,? I ') I so as "so" in "sore, but shorter
STROKE ORDER
II
PRACTICE
. . .
...
�
ORIGIN
(TA 163)
1� 1 ; I I I
IS�OT7i7 1
ta
as ta tn "tar, " but shorter "
..
"
·
. ...
PRACTICE
,\. .. ,
.·':...
I 78
I
KATAKANA
ORIGIN
(CHI 47)
1 + 1+1 chi
II II II II as chee in cheek ' but shorter
PRACfiCE ..
.. .. . .. .. .
..
:
ORIGIN
(SU 304)
I '} ·/ ·I I � I � } 1 ' / 1 STROKE ORDER
tsu II as l i tsu
PRACfiCE '\,
.
·. .
,. ...
. .·
79
•
m
II
tsunami II
KATAKANA
ORIGIN
te
2
;�3·
(TEN 58)
STROKE ORDER
a s " te " in "ten" PRACTICE .. ..
. . ..
.. . . · = · - -
....._
t
ORIGIN
�
to
ILI � I r l � l
1
'�
4
(TO-maro 129)
2
�
STROKE ORDER
II
as "to" in "tore," but shorter
I�I I I
PRACTICE : .. . .. :
80
KATAKANA
MINI REVIEW
-p -
katsu
r
I A - TO
cutlet
1 11 i /I i I : I : I i I i I i I aisu
Ice
esu
ace
l.r..l -! AI : :
I
: : I : :
I
keki
cake
auto
out (baseball)
siichi
search
koto
coat; court (sports)
tsuii
tour
: : I
I 'T: -: :t-1 : : I : : I : : I : : I I T l rJ l r I : : I : : I : : I : : I 1-tt : -:-tl : : I : : I : : I : : I I :J l - l r l : : I : : I : : I I 'Yi rl -I : : I li:J Ai 1- l : : I
: I : :
tesuto
sliltsu
I ;/l -l '/1 : :
sekuto
I
: : :
test
I
: :
sheet (bed)
I sect
: :
I
: l I
l-tzi :7i 1-1 : : I : : I : : I : : I 81
KATAKANA
/Wchi
coach (sports)
:
I :J i - i+l i i I i i I i sosu
sauce
sukl
ski, skiing
I i i
I
I 'J i - i � I i i I i i I i i I i i I IA: � : - 1 : : I : : I : : I : : takushl
taxi
suteki
steak
I Airi - i t l se�
: : : I : svveater
1-tt i - i n i /ZI i i i l t i - iJri - 1 i ekli
i
okay
i acre
I i i i
I
i
l_:r:_i -1 11 i- l 1 i i I i i akashia
I T! 1J i 5-i 71 : suketo
:
ClfCUS
slikasu
oke
:
acac1a
i
: : I : : : skate, skating
82
KATAKANA
ORIGIN
(NA)
STROKE ORDER
na
1- ltl
as "na" in "narcotic, " but shorter
PRACTICE • • • l" l • • • •
.,.
(Nl 61)
ORIGIN
I _::_J I I I ;::_
STROKE ORDER
I I .::- I I I .--
1
2
_,
.._.
_.;:.,
_..
.,.,.,.
......_
•
01 as "nea" in "neat," but shorter
PRACTICE . . . ... . .. .. . . . .
83
KATAKANA
ORIGIN
(NU/DO 1638)
I4A I oz l x I _x I STROKE ORDER
no as "noo" in "noon," but shorter
PRACTICE
ORIGIN
2:f
(NE)
1
�
ne
3
"4
STROKE ORDER
as "ne" in "net"
PRACTICE .'· . . .. . . ·· : .. .
.
.
.
I
84
KATAKANA
ORIGIN
(NO/NAI)
1
�
STROKE ORDER
no
I I
as "no" in "north " but shorter '
PRACTICE
.·
ORIGIN
(HAClli 66)
I "-I \I I I J
J
STROKE ORDER
1/ I \I I I ...
1
J
J
2
�
~ ' ha
as "ha" in "harm," but shorter
PRACTICE
85
KATAKANA
ORIGIN
(Ill 771)
ltt l u l c I t l STROKE ORDER
hi
as "hea" in "heat " but shorter '
PRACTICE ·· · · ·
.
..
.
.
..
ORIGIN
(FU 572)
STROKE ORDER
fu
as "foo" in "fool," but with softer "f'
PRACTICE .. .. .. . .. ·; .·
86
KATAKANA
ORIGIN
(HEIBU 384)
l%�1 s 1�1�1 STROKE ORDER
1�
he as "he" in "hen"
PRACTICE
ORIGIN
(HO 787)
11�1 �r, I t, l I STROKE ORDER
3
1
ho
as "ho" in "hom," but shorter
PRACTICE . .. . � . . . . . .
. .
:
..
.
.
87
KATAKANA
(MATSU 587)
ORIGIN
rna
1� �'(
2
STROKE ORDER
as "rna" in "mark," but shorter
PRACTICE . .. . . .. :: . \::
'
�
' m1 •
(MI 23)
ORIGIN
1
2
3
1�1 � 1 � I I
'-.. '
STROKE ORDER
'
I �I I I I ....... .......
as "mea" in "meat," but shorter
PRACTICE . . .. .
.
88
.......
-
-...
KATAKANA
ORIGIN
(MU)
1
STROKE ORDER
~
mu
a s "moo" in "moon," but shorter
PRACTICE . .
.
.
.·. . . . . . .
ORIGIN
( ME 35)
1� 1->c l ><-- I ; I STROKE ORDER
me
as "me" in "met"
PRACTICE . . ·.· .
·.
89
KATAKANA
(MO 210)
ORIGIN
mo
2 -�JS L
STROKE ORDER
as "mo" in "more," but shorter
PRACTICE . . .. . . . . .
.
. .
. .
.
. .. .
ORIGIN
(YA, part of CHI 167)
STROKE ORDER
ya
as "ya" in "yard," but shorter
PRACTICE ·... . . . . · ·.
:·
..
90
KATAKANA
ORIGIN
(YU 399)
I w I ]_ I _J__I I STROKE ORDER
I
I
2:2
yo
as "you" in "you th , " but shorter
PRACTICE �·
.. ·:
. . . .. . . . .
ORIGIN
(YO 1 873)
1�1 -=rl =j 1 3 1 STROKE ORDER
:�
3 ;:]
yo
as "Yo" in "York , " but shorter
PRACTICE 0 o L • •
.. . . . ....
-
91
KATAKANA
ORIGIN
(RAIRYO 598)
1� STROKE ORDER
ra
as "ra" in "mirage, " but shorter
PRACTICE .. - . · · ·:
I
ORIGIN
j
r1 •
1
Jl
1
STROKE ORDER
I
l
I �J I I I
PRACTICE :
596)
l t 'J I 'J l l J I I
2
as "ree" in "reek," but shorter , , '
(RI
. . ,
;
92
KATAKANA (RU 409)
ORIGIN
I Jittl
}/L
I I J �I !L
STROKE ORDER
2
JV
ru
as " ru " in ru le but shorter "
,
PRACTICE .
.
: .
. .
'
,·
ORIGIN
(REI 4 1 3)
I�L I Ll L I L, I STROKE ORDER
re
I vi I I I
"
"
·
as re In "red"
PRACTICE
93
"
KATAKANA
ORIGIN
( RO 256)
STROKE ORDER
ro
as "ro" in "roar," but shorter
PRACTICE .. ... . . . . : . . . . . . .. .. ...
ORIGIN
STROKE ORDER
wa
as "wa" in "watt"
PRACTICE .
'..·
. . .. :
(WA 4 1 6)
>
.
94
KATAKANA
ORIGIN
(KO, part of 856)
J STROKE ORDER
3
0 as "o" in "or," but shorter
PRACTICE ... . .. . � . � .. .
·:
ORIGIN
(NI)
STROKE ORDER
n
as "n" in "sin" PRACfiCE .. .
. .
.·· ...
95
KATAKANA
MINI REVIEW
I -"i I ) I
heri
: I :
-j- -
I i
menw
Y I NA
-N
helicopter
I : I i
: I
memo
I ; : 1:: 1 : I i I i I i I i hire
I t.i vi i I i I miruku
i I i I i I i I : I fillet
milk
I � i 1�: 7 1 i : I : i I : i I i : I l tJ i � : - 1 : i I : : I : : I : : I lumii
canoe
wanisu
varnish
: I : : I : : I : : I : : : i I : : I i I :
ron
loan
naifu
knife
I :ti -1 i 7 1 i i juri
l 7 i �i - l i : I
i I i i I Hooray!
: : I : : I
nnto
note, notebook
taiya
tire
: I I
I J i - i r- 1 i : I : : I : i I : : I (car)
l � i 1 : -vi : : I : : I : : I : : I 96
KATAKANA
l ni; i 7 1
kamera
camera
nemu
name, reputation
:
: I i i I i i I i i I
1� ! - !LAI : : I : : I : : I : : I I�: i -t: i r I i i i I i i i yur.noa
humor
mainasu
mmus
saran
salary
-
I -tt i =1 i IJ i -l i i i
I i
hanmii
hammer
yoyo
yoyo
hankachi
handkerchief
1, ,: /: ;7: -1 : : : I : : : l ' 'i /i h i+ l i yuniku
i i
I i i
un1que
I _:z_i : -i 1 1 i i i I : i .::.
nekutai
necktie
I* i 7 i 9 i>1' I i i i l i i i I hom uran
home
97
run
KATAKANA
VOICED
ga
AND
HALF-VOICED SOUNDS
as "ga" in "garden" but shorter
I I I I I I I I I I I I I
ltrl gi
as "gee" in "geese" but shorter
I I I I I I I I I 11 ""1 I I I I I I I I I I I I I
l =fl I I I I gu
as "goo" in "goose" but shorter
ge
as "ge" in "get"
I I I I I I I I I I :J I I I I I I I I I I I I I I
IT"I I I I I go
as "go" in "gore" but shorter
..
za
as "za" in "bizarre" but shorter
1-lfl I I I I I I I I I I I I I
Jl
as "jee" in "jeep" but shorter
zu
as "zoo" but shorter
. .
1 v·1 I I I 1;(1 ze
I I I I I I I I I I
I I I I I I I I I I I I I
as "ze" in "zest"
1-t(l I I I I I I I I I I zo
as "zo" in "Azores" but shorter
I I I
I �/I I I I I I I I I I I I I I 98
KATAKANA
da
as "da" in "dark" but shorter
I I I
IY'"I I I I I I I I I ji
as "jee" in "jeep" but shorter
zu
as "zoo" but shorter
I
I I I I
1+·1 I I I I I I I I
I ��/I I I I I I I I I de
as "de" in "desk"
do
as "doo" in "door" but shorter
ba
as "ba" in "bark" but shorter
bi
as "bea" in "beak" but shorter pi
1-f l I I I I I I I I I �· 1 I I I I I I I I pa
as "pa" in "park" but shorter
I' "·1 I I I I I 11 \·1 I I I I I I as "pea" in "peak" but shorter
I t·· 1 I I I I I
I t: I
l fl
I
1�1
I I I I I
17°1 l-"'1
bu
be
bo
as "boo" in "boot" but shorter p u
I
I I I
as "be" in "beg"
pe
as "bo" in "bore" but shorter po
I I I I I I as "poo" in "pool" but shorter
as
"
I I I I I I
pe
"
in "peg "
I I I I I I as "po" in "pork" but shorter
I jKI I I I I I I t�l I I I I I I 99
KATAKANA
REVIEW OF VOICED AND HALF-VOICED SOUNDS biru
office building
I t:"i ' t--1 : I 1-c·: o l : I
I : I : I : I : I zero
zero
: I : I : I : I I : I : I I
basu
1 1 \i J-.1
bus, bath
: I
giya
gear
� �·: -vi : I
:
: I : I : : I : : I
17·: -: �1 : : l 1ii 1 : }-: I : :
: : I : : I : : I : : I
I
dansu
1 9··: Yi AI
I I I
gemu
gaido
gorufu
dance
game
guide, guidebook
: I : I : I
golf
I :J : JL-i 7 1 : : : I : l-"'i -: xi : : I : : I : ..
besu
base
zubon
trousers
gonra
gorilla
:
lA·: �·: >'I : : I : : I : : I : : I .
I :J"[ 'J : 7 1 : : I : : I : : I : : I 100
KATAKANA
daburu
double
: I I y·: : Yl : : I : : I : : I : : I
l1"i 7"i Jt--l
: : I
i i I i i I i
%On
zone
-
jiguZilgu
ztgzag
repoto
report
jinzu
Jeans
I �: : Yl 1-:'l : -
: : I :
: :
wapuro
word processor
pachinko
Japanese pinball
deziito
dessert
l ? i -i7i o l i i i I i i i : l l
1-f'i "'fi - i H
: : l
I t:·: l < l /I
i i i I i i i
piman
-
I
green pepper
mai pesu
at one's own speed ("my pace")
arubaito
part-time job
1"'! 1 : �: -: AI : : : : I : : : : 101
KATAKANA
COMBINED SOUNDS KYA - RYO kya
kyu
I�:� I : I sha
,::/" I � I -
I
I
cha
1 -f- : � I
I
I
I ---: 1"' I
nya -
I
hya
t: l � I
I I I
I
I I I I
I
I I
I
I
I I
I
I
..... I
� � �
I
I
I
I
rya
1) : ,lf I
I
1
shu
I
� 1 .::1-
I
I
I -r : .:lI
chu /.
I
-I --1 I
nyu
I
::L
I
t:_ : ;lI I
I I
myu
I I
ryu
I
I
.::: l ..:tI ......
I
I
I 1) I I
I
I
I I I
I
I
I I I
I
I
I I I
I
I
I
hyu
I
mya
=\ ; ;J.... I
I I I
::Z...
1
I I I
I
I I
I
I
I I I
I
1 02
I � � - l) 3 I �1 3 I
kyo
I
I �13 I
sho
I
cho
+!I
3
I
I
I I
I
I
I
I I I
l
_l
_l
-I
nyo
-- 1 3
I
I I
I
_l
_l
I
I
I �I I
hyo
:3
I
myo
....., I I .....
I I I
I
, _.._
I I
I
3
I I
_l_
I
') �
I
ryo
I
_l_
3
I I
I
�"� -
VOICED COMBINED SOUNDS GYA - B YO I
gya
-\� ; � I I
ja
I I
I
gyu
I
I I
�·· :I
.
/I I
- ,I
I
I
j_
I
-1- I .J( I
I I
ju
I I
by u
.:;; � �
.
}Q
?.
I ..
I
l::' !
bya
I
�
1
I
I
I I
;1..
I
JU
-.
,•
I
I
;1.
I I
I
I
I
1 ,,
I
-r ! I /.
I I
I
;L
I
t.•·:
I
l
I
:l.
I
I
I I
I
I I
I I
I
tQ I -t I
I I
I
I
I
1
l:::o
py u
I I
I
I
I
I
1 ::1-
I
1 03
t: '':�
I !3 1 i I gyo
�
.
.
jo
:/ 1 I
- ...
.
}0
/.
:l
I
1-T! 3 I I
' lI ' t I
by o
I
I
I I
I
1
. .�
HALF-VOICED COMBINED SOUNDS PYA - PYO I
pya
KATAKANA
=I -
I I
I
I
I I
I I
I
t011 - t"3
I t:·i 3 1 i I pyo
KATAKANA
REVIEW OF COMBINED SOUNDS AND DOUBLE CONSONANTS
I �: i - I :1
shii
show
i i I i i I i i I netto
net
fan
fan (sports)
i i I
. I t : : 1-- I : : I : : I : : I : i I ·;;
l 7 i r i :;1 i i I i i I i i I i i yeti
yeti
nyiisu
news
foku
fork; folk
chekku
check
jeri
jelly
chliku
chalk
wotchi
watch
1 -1 i :t- i :r i I : : : I : : : I 1.::- i :x.! -i AI : : : I : : : 1
I'/ i i ·;; it I i i i if
disuku
disk
1 04
I i
i i
KATAKANA
fairu
ftle
w eb u lwev u wave (hair)
b ide o/vide o video
I,7 · : 1 : fi t I i i i manshon
I i
l i I
apartment house
: : : I : : : : I i I I '7 : i / : }-:. i - I i : i i I :
1 �: > : �: , : /1 :
windO
window
majan
mahjong
weta
waiter
kyasshu
cash
hyilman
human
pitchii
pitcher (sports)
1
I � : : :;; i :;I : : : : I : -
)(1
l ci -:J i±i )(1 i- l i i i : I i i duetto
duet
1 05
: I
i
I
KATAKANA REVIEW
1-r'l v·: r I
THROUGH INTERNATIONAL PLACE NAMES
Ajia
Asia
Suisu
Switzerland
Roma
Rome
Kanada
Canada
Doitsu
Germany
Atene
Athens
Puraha
Prague
: : I : : I : : I : : I I Al 1 l A I : : I : : I : : I : : I la l -l -< 1 : : I : : I : : I : : I l 11 ltirl : : I : : I : : I : : I : I I Fi 1 i '>'l : : I : : I : : : I : : I : 1 7°: 7 :I \I : : I : : I :
1 1'li:l lf l
Amerika
America
Oranda
Holland
lgirisu
England
Mekishiko
Mexico
: I
: I : : I
I ;( : �·: t) : A I : : : I : : l I I 1 : =\ : �: :1 I : : : I : l l I 1 06
KATAKANA
Mosukuwa
Moscow
Betonamu
Vietnam
Shidoni
Sydney
��� � �t ��l i � � I � � � I � : �· l .::-1 -I :
: : I : :
Kyuba
Cuba
Win
Vienna
Furansu
France
:
1'7 : 1 : - � >I : : � I : : Yoroppa
Europe
Firipin
·
� I
Philippines
Bagudaddo
Baghdad
Echiopia
Ethiopia
Noruwe
Norway
l.:r.l+l tl tol rl l l l l J l l l l 1 07
I
KATAKANA
Ii'i -( : _:r_i
'Y
Jakaruta
Jakarta
Sanchiago
Santiago
Potsumasu
Portsmouth
Hariuddo
Hollywood
Myunhen
Munich
Guatemara
Guatemala
Maruseyu
Marseilles
Betsurehemu
Bethlehem
Dieppu
Dieppe
: : : I : : : I
: 7"1 : : : : I
Benechia/Venechia
I7'Lx:-i :fi+i rl
Venice
: i : : I : :
Chunijia/Tunijia
Tunisia
1 08
: I : I : I : I : I I i I
Ill
FINAL REVIEW
FINAL
REVIEW
ABOUT JAPAN
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Copy each line in the space provided.
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FINAL REVIEW
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1 12
v'
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FINAL REVIEW
FOOD ITEMS QUIZ Fill in the blanks with appropriate romanization. 1. 2. 3. 4. 5.
t-:- * J \0
.:. · ·
/
� .:t:. /
11. 12 . 13. 14. 15 . 16. 17 . 18 . 19 . 20. 21. 22 . 23. 24. 25.
confectionery
..:; �· f;;_ t :: <
7.
10.
coffee
f)' �
e:·· - l l-t
9.
bread
:J - t:. -
6.
8.
egg
pork beer
f--( -
lemon tea
< r::· t t1) L � ); rF> ,f- - -;1.."
j \'' )' ;tb.. V '/ >(? � v \ lJ lv : ·· 7 - f :/ 3 - J''!v ' � c '1 ..._
fruit soy sauce cheese butter omelette vegetable apple Chinese noodles
�
yoghurt sugar
t:' A 'T·'/ }� -? t :, /' ::::z- - "A
biscuit fermented soybean
-b'
··
JUICe herring roe
7 0 ') /
custard pudding
Jt IJ'/v ; '0 J v _7�
mikan orange parfait
\1� :;,;; /
vemson
113
FINAL REVIEW
FLORA
AND
FAUNA QUIZ
Fill in the blanks with hiragana (H) or katakana (K) as appropriate.
1.
inu (H)
dog
2.
sakana (H)
fish
3.
raion (K)
lion
4.
take (H)
bamboo
5.
kaede (H)
maple
6.
yiikari (K)
eucalyptus
7.
tsubaki (H)
camellia
8.
chiirippu (K)
tulip
9.
maguro (H)
tuna
1 0. koara (K)
koala bear
1 1 . nihonzaru (H)
Japanese monkey
1 2. kangarii (K)
kangaroo
1 3 . nezumi (H)
mouse, rat
1 4. ajisai (H)
hydrangea
1 5 . haibisukasu (K)
hibiscus
1 6. hy6 (H)
leopard
1 7 . kaneshon (K)
carnation
1 8 . kabutomushi (H)
Goliath beetle
1 9. hebi (H)
snake
20. pengin (K)
pengum
2 1 . hirame (H)
flatfish
22. botan (H)
peony
23 . mahoganT (K)
mahogany
24 . suisen (H)
narCISSUS
25 . ich6 (H)
gingko
1 14
FINAL REVIEW
PERSONAL NAMES QUIZ Underline the kana error in each name and write the correct version in the blank.
1. 2. 3. 4. 5.
6. 7.
c: J:, ;h'
� � O Jv
.fd. \; \
'-
1 0. 11. 1 2. 1 3. 14. 15 .
1 6. 17. 1 8.
Carole (Kyaroru)
2
Reiko
)-A / t ld n' '7-£ 'J f"A l
Norman (No man) Teruo
••
Wendy (Wend!)
;1: -tt J:. L--
' "-r 8 . '7
9.
Jiro (Jiro)
Masayoshi
� -tt"
Vanessa (Vanesa)
h' [ 1 ,J-t }.:' '7 - rtt f.- �v ' G
Akemi Dwight (Dowaito) Kenichi (Ken'ichi)
;/:r- - ) vP � \t ' +"� ') 1,· ( ) � 'J \7 71 ""? l: c6
'J1
Shane (Shen ) Yukiko Julie (Ju n) Orie Sophie (Sofi) Tsutomu
) -< L..l. ,,
'
William (Wiriamu)
.....
1 9. tA l. �
Hidemi
20.
Jack (Jakku)
21 .
;;·� '�! J �..fl ?.. � r:· _
22. -r 23 . 24. 25 .
Sawako
/( ?
David (Deviddo)
d) -'i
Nozomu Elizabeth (Erizabesu) Russell (Rasseru)
1 15
FINAL REVIEW
� tJ 1 ..._... /) 7 L} t1J {: -tt' 1j / � l icl l i h � _? � l � ' :f � ' t7 -') );() A.'' -r ;n· fL :J_ 1..' ' j J; 'v ' �: L � ' h �1.'' lv 1}-.:· ' .._� t Jt j 1'' 70 1t ') <· · !) .. "} � v �lo vp +r ( ;n· �· · -1::. 1 r� -t' vp / � A. / < � '
......
'
Jv
' 0
'
o.l
.....
'
'
'
'
.....
.......
-
KANA WORD SEARCH
;!: ;L I +r .. tfd. � :/ 1 \7 ;t �t t b * �: ;z �·· � -tt A t•' - J 1 1? £ J v c1 t �" r:. J v '7 � ;f � L : J v r r�: t- 1J ' ''/ 1 l L -; \1 ) \ ;t �-J JKo / 1 1J�· 9 -� lv }.,-- � :J ;h• / lt / ' ) )-.. ltd. :!- J Jr ......
......
......
�
�
'-
'
'-
..
./
'
I
'
70
< tl � -? :t·· (/) '(] ¥;). .. ,h t) � L1.. ) � 7 t'' t L t � t 1 J\ .. ' � -".. tJ' t:'' v <·· - � 1) '\ lv / r '/'' c· · � ' n
"'
'
'
'-
.,
'
'--
..
·'
......
--
...,
Find the fifty words below in the square above, moving in a straight line in any direction including diagonals. The first thirty words are in h ri agana , the rest katakana. (We found over 200 other h iragana words, most of two symbols and not found elsewhere in this book. How many can you find? Fifty or more means you have a good vocabulary.) *
*
*
*
*
madog w i azok u(staff passed over for promotion), ts ur dO i g u(fishing gear), harage i(nonverbal communication), sh tis ure i (rudeness), kanj i(character), fugu (blowfish), h ni ok i (cypress), kane moch i(rich person), gan bar u(try your best), dar uma (Buddha doll), y uk i (snow), tate (verticality), oya (parent), uch i(home, inner group), sewa (care), ongaesh i (repayment of favor), ts uk imi (moon viewing), ume bosh i (pickled plum), ne mawash i (behind-the-scenes maneuvering), mus ubu(bind), nuker u(be mi ssing), f urusato (home town), arne (rain), hoso i(slender), ka ko i (silkworm), heta (unskilled), tan n i (stranger), yoro i(armor), na ma (raw), miz u(water); na ri on , k o i s uk u, g uraf u, deza n i , tere bi, hos u ter u, war uts u, gasor n i ,f uronto , p uropera , p urezento , ka unto , pasokon , misa ri u, tarento, raj o i , go mu, mas uto, den imu, yoga. (Look up the katakana words you don't know.)
1 16
FINAL REVIEW
QUIZ ANSWERS Food items
1. 2. 3. 4. 5. 6. 7. 8. 9. 1 0. 11. 1 2. 13. 1 4. 1 5. 1 6. 17. 1 8. 1 9. 20. 21 . 22. 23. 24. 25 .
tamago pan kohl kashi butaniku biru remon ti ku damono shoyu chizu bata omuretsu yasm nngo ramen yo guru to sato bisuketto natto
J USU ·-
kazunoko punn mikan parufe benison/venison
Flora/fauna ) dG. )( h' ,cJ.. ... .....,.
l,
7 1 ;1' /
t-=. tt 1)'
:::L
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� "'? I �.. -
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Names
L:' 6
-7
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? ",1 � J v
ENGLISH VERSION OF "ABOUT JAPAN" Let's look at an atlas. Japan is a long, thin country lying on a north-south axis to the east of the Asian mainland. It's about the same size as the state of California in America. It consists of four main islands. The largest is Honshu, with Tokyo at its midpoint. The beautiful Mount Fuji is also found on this island. The next largest is Hokkaido, the northernmost island. Summer here is cool, and in winter heavy snow makes skiing and skating possible. Kyushu, the third largest island, lies to the south, so it's warm here even in winter. The fourth largest, Shikoku, is noted for mikan oranges from its northern half and fish from the south.
1 17
FINAL REVIEW
DO-IT-YOURSELF KANA CHARTS Fill in the following charts, writing hiragana in the left part of each box and katakana in the right. Then check your entries against the charts in the Explanation of Kana.
Basic Kana Sy mbols VOWELS
k
a
1
u
e
a
1
u
e
0
ka
ki
ku
ke
ko
sa
shi
su
se
so
ta
chi
tsu
te
to
na
m
nu
ne
no
ha
hi
fu
he
ho
rna
nn
mu
me
mo
s t n
h m
ya
y r
ra
n
ru
wa
re
ro wo
w
n
yo
yu
-·
n
1 18
FINAL REVIEW
Basic Voiced Sounds 1
a
'P/z/j b
e
0
ga
gi
gu
ge
go
za
ji
zu
ze
zo
da
ji
zu
de
do
ba
bi
bu
be
bo
pa
pt
pu
pe
po
g
zJj
u
p Voiced Combinations
Basic Combin ations
ky
a
u
k'a
k u
ny hy my
k
0
sha
shu
sho
cha
chu
cho
nvu
nyo
sh ch
0
l
nya "
hya
··- -
hyu
gy J J
by
hyo
mya
myu
myo
rya
ryu
ryo
py
ry
1 19
a
u
0
g� a
g� u
g) O
ja
ju
Ijo
ja
ju
jo
bya
byu
byo
pya
pyu
pyo
FINAL REVIEW
THE IROHA VERSE
The iroha verse was written about a thousand years ago. Though based upon a teaching of Buddhism its main use is for writing practice, for it includes all of the kana symbols with the exception of the final n ().J. In ancient times mu ( (:) was used where ,V is used today. The order of symbols in the verse - partic ularly the first half dozen - is important because it is still sometimes followed in listings, in similar fashion to the English order " a, b, c." Try copying out the verse in the space at the foot of the page.
h t"i l 2. �i � e:·· b 1)�' J: -r- fl �··
vl
/; h 0) 1J < � 1 iJ � � YP )i; Jt t
�J C1d � E / t;l (J: � � tt � S.� 2. � l � tA t 1t r·· 1?
The modem romanized version is: fro wa nioedo chirinuru o I Waga yo tare zo tsune naran I Ui no okuyama kyo koete I Asaki yume miji ei mo sezu.
A literal paraphrase is: "Colors are fragrant, but they fade away. In this world of ours none lasts forever. Today cross the high mountain of life's illusions [i.e., rise above this physical world], and there will be no more shallow dream ing, no more drunkenness [i.e., there will be no more uneasiness, no more temptations] ." The above translation is given in the appendices of the Japanese - English Char acter Dictionary (edited by A. Nelson, published by Charles E. Tuttle Company, 1 962). Readers who wish to learn more about the historical use of kana, such as �t�� , for the modem � � 1 are recommended to consult this work. ,
1 20
121
1 22
1 23
1 24
1 25
1 26
1 27
1 28
1 29
1 30
131
1 32
1 33
1 34
1 35
1 36
1 37
138
1 39
1 40
141
1 42
1 43
1 44
I ncludes the fol lowing useful features:
•
Systematic and com pre h e n sive cove rag e of the two ka n a systems needed to read a n d write J a pa nese
•
A m p l e provision for p racti ce, review, and self-test i n g at severa l levels
•
Deta i l ed refe rence sect ion exp l a i n i n g t h e o r i g i n a n d function of ka n a , a n d the va rious ka na combinations
•
H e l pfu l a d d i t i o n a l i nformat i o n for l a n g u a g e stu d ents a cc u stomed to rom a n ized J a pa nese
•
Pro n u nciation g u i d a nce for a l l basic s o u n d s
•
Vocabu l a ry sel ected f o r usefu l ness a n d c u l t u ra l re leva nce
K E N N ET H G. H E N S H A L L is a g rad uate o f t h e u n iversities of L o n d o n ( B.A. Hon s), Syd ney ( Ph.D), a n d Adelaide ( D i p. Ed.). a n d is now a professor of J a panese at t h e U n iversity of Cante r b u ry in New Zea l a n d . He h a s a l so t a u g ht at t h e u n iversities of A u c k l a n d , Western Austra l i a , C a l ifornia and Wa i kato. H e is wel l - k nown for his t ra n s l at i o n s of l itera t u re a n d his h istory books, a n d i s t h e author of A Guide to Remembering Japanese Characters.
TETSUO TA KAGA K I i s a g ra d u ate of t h e u niversities of Wa kaya ma ( B.A.) a n d San Fra n c i sco State (M.A.) and u n t i l recent ly was senior lect u re r in J a pa nese at the U niversity of A u c k l a n d . H e has a l so taught at t h e u n iversities of H a w a i i a nd M a ry l a n d , a n d at Tsu d a C o l l e g e i n To kyo. He is t h e author of a n u m be r of p u b l ications on J a panese l a nguage a n d l i n g u istics.
ISBN-13: 978-0-8048-381 5-3 ISBN-10: 0-8048-381 5-1
I 'Ill
9 780804 838 1 53 US $16.95
