• JAPANESE POP CULTURE & LANGUAGE LEARNING $4.95
M A N G A J I N
JAPANESE HOTELS: the inns and BREAKFAST IN AMER1-----
Japanese st
No. 30
•• by Mark Schilling Newcomers to Japan often imagine the ryokan (tr<~l'i. "Japanese inn") as an earthly paradise where one's every whim is indulged in an atmosphere of Oriental grace, refinement and beauty. At this idealized ryokan, guests are greeted at the door by the smiling staff and escorted to a room that overlooks a Japanese garden (until recently a garde n was a legal requirement for classificatio n as a ryokan). Then after tea and cakes and a very hot bath, guests are treated to a banque t of local delicacies. Soothed a nd sated. they finally drift o ff to sleep in fluffy, fresh futon, as the cicadas chirp outside. By now a travel writing cliche, Jhis experience, o r something close to it, is still avai lable at better ryokan throughout Japan. lt is sometimes overlooked, however, that the experience comes at a price. A one-night stay at a first-class ryokan, including the banquet, can approach the $ 1,000 mark. A Iso, some of the more e xclusive ryo kan will nol accommodate a stranger, fore ign or Japanese, without a proper introduction. Finally, not all of J apan's 80,000 ryokan arc the paradises of the travel mag azines. Some are crowded with school or company g ro ups who party boisterously until the wee ho urs o f the mo rning. Othe rs are virtually indistinguishable fro m minshuku JX:W, inexpensive, often fa mily-run inns where the facilities are more spartan and the service less personal than at a first-class ryokan. (At a minshuku, the maid will usually not pour your tea or lay out your futon. She will, however, roust you out of bed at 7:00 in the morning so that she can put the futon away). Fortunately, the tradition of hospitality in Japan is still alive at a wide variety of other establishments. Though Ja-
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pan has its share of standard-brand in- on their way to battle. They may have ternational hotels, it offers v isitors a been as hospitable as they arc now, but range of accommodations and experi- accom modation s were usuall y more ences that they will find nowhere e lse. functional than fa ncy. Then, early in the 16th century, the Tokugawa Shogunate Ho w about a night in an Edo-era thatchroofed cottage, a te mple that has been o rdered thecountry 's daimya(};:~. feushe lte ring pil grims since the days or da l lords) to spend alternative years in Murasaki Shikibu, or a love hotel whose the capital , Edo, under the government's rooms a rc decorated in the sty le of watchful eye. By keeping 1he daimyo, Versailles Palace? along with hundreds o f their re tainers, o n Japanese inns once welcomed pil- the road for lengthy pe riods of time, the grims on the ir way to temples, trades- bakufu (liJ;Jff, shoguna l government) unme n on their way to marke t and samurai witting ly g ave rise to a new c lass of
A room In the first-class ryoksn Kagaya
Located in the famous Wa kura hot springs area on the Japan Sea side of Hons hu, the Kaga ya has been host to the Showa Emperor and Empress.
A room In a typical minshuku
The Hamayu is a small minshuku o n the lzu Peninsula; not as luxurious as the Kagaya (above), but much more affordable.
legal requirement= itW: "t')it &? Gh t.; ·.11:· ~:IR{!f: hiirit.fu de sadamerareta hitsuyo jclken • travel writing cliche= hiHr~ iAJ Q)'ii\':fr 1n) ryokii annai no jiitoku • without proper irttroduction = (~ll~h.~ 'f.t t•(J)) L. i)> 1.> -"' ~ *1:l fr-t:t ( (najimi kyakunado no) .1/Jikarubeki sh6kai naku • boisterously=§; 4 L. ( sozoshiku 1 • wee hours (of the morning)= IJl.(i)j socho • thatch-roofed= :b G~ ~ J.t,fRQ) warabuki yane 110 • pilgrims = :i!HL:lf junreislw • retainers=** kerai
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MANGAJIN
F e a t u r e • S t o r
luxury inn. called honjin ~MI. which evolved to accommodate the lords and their closest retainers. Lower-ranking retainers stayed in what were called wakihonjin ("side-honjin"), more like the inns that catered to regular travelers. When the Tokugawa -enforced policy of national isolation ended and Western visitors began arriving in the 1850s, inns had l ong been providing high-class service to well-heeled travelers. But foreigners had needs that Japanese-style inns could not easily satisfy (few, for example, could provide a roast beef dinner, after-dinner brandy or decent billiards table). The first Western-style hotel o r hoteru 7 Jlt, as they are called in Japanese, was the Edo, a I 02-room hotel built in Tsukiji, Tokyo in 1868. The bestknown is probably the Imperial Hotel, which was opened in 1890 as a government-sponsored hotel for forei gn dignitaries and rebui lt in 1923 by Frank Lloyd Wright, just in time to survi ve the Great Kanto Earthquake. Wright's Imperial did not survi vc progress, however; in I 968 it was removed to make way for the current structure. There are now nearly 400 Westernstyle hotels in Tokyo alone and 1,000 nationwide. Several. including the Imperial and Hotel Okura, are truly world cl ass, and the rooms resemble their counterparts in Paris or New York. Japanese traveling on business apparently favor Western-style lodgings and as a result, in downtown Tokyo and other major commercial centers, it is difficult to find
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Capsules In a capsule hotel The capsule hotel provides a cocoon-like space for late night revelers who missed the last train home, or tired salarymen who need a short snooze during the day. Photo courtesy of Kiyosuku In (-'\' 3 :7. ~ 1 / ), Tokyo.
deluxe Japanese-style inns. But for foreigners whose currencies have been plunging against the yen, the price o f W estern -style luxury comes high. At the Hotel Okura, where Bill and Hillary Clinton stayed during this year's Tokyo Summit, singles start at ¥28,000 and a night in the Presidential Suite costs a deJicit-ballooning ¥350,000. The President.ial Suite. however. is outranked by the Imperial Suite, which requires a royal outlay of¥500,000. Hit by endaka (I"J (.lj, "high yen"), hotel room occupancy rate · have fallen about I 0 percent compared with 1992. Also, the percentage of foreign guests is declining. " About 10 years ago, nearly 80 percent of our guests were foreign," said a spokeswoman for the Imperial H otel. "Now it is closer to 50 percent." T o Jure guests back, hotels are reducing
room rates and offering special package deals. But even with breakfast thrown in, a single room under the Okura's Business Plan costs ¥33,000 ($3 17). The budget-minded and the adventurous need not despair, however. Japan offers a wide variety of relativel y lowpriced accommodations. Among the most common are:
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• Business Hotels ( ~ :J ~,;;., 7 Jv, bijine.w hoteru). These are no-fri lis hotel s for the business traveler. The rooms arc often broom-closet smaJJ, the walls paper-thin and, instead of ringing for room service, the guest explores the contents of the tiny fridge or pads down the hall to the vending machine. Business hotels are cheap (about ¥5,000 for a single room) and are readi ly available (you usually don' t have worry about getting turned down for a room because of
A room in a "love hotel" (photo and verse from promotional brochure of the Aine Hotel ). Other rooms feature names such as "Jimmy Detective Office," "Sago Sago," "Lady White Story," "Wa Ha Ha," and "Sugar Sugar." The verse reads: Hoshi-tachi 110 sasayaki ga kikoete-kuru ko11na hi wa. sekai-jil no yozora o kimi ni agetai ...
~).IO)~~t'~t.J~
OOZ:X.c
, ...
"On a day like this when you can hear the whispering of the stars, I want to give you the night skies from all over the world ...
• well-heeled = 'IIHUl t.t. yiifuku-na • foreign dignitaries= jj.~O)i&lf.f~'H flllikokuno seifu kokan • plunging against the yen= fi1 ~.: H l.. "( fllli1r!i;I;{Ti7? L..l -:- ~' J.> en ni raishite kachi ga geraku shiteiru • deficit-ballooning $+a- ijl J.:. ~ -tt ¢ akaji o zifdai sauru • budget-minded =*I~ 7Jl)(. 1.: f.t J., (b*ff ___.!_ keihi !Ill ki ni naru (ryoki5slw) • no-frills =#<7} t.t. "t- ~.A 0) f.t ~' yobwz.~w sl!bisu no nai • Cllplores =~~-9 J.> ~ J.> tanken surul.wgum
=
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MANGAJIN
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F e a t u r e •
_Haiku Translated in the MANGAJIN Style 300 Poems by Seishi Yamaguchi, Japan's Master of Modern Haiku TJuS is rhe-fjrsr kcrgescale rranslarion of mooem Japanese haik11 w be published outside )afxm. 13reaking free from cenwries of fx>erry limited w nature chemes, Seishi has moderni~ed haiku while at the same rime retaining the elegant beaury of che cla.~sccs.
~
MODERN HAIKU
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h 1NJM J.,"'-~• .,.W \NT.J H \t,ull
i~ ,_~2:iiiiiil•l!! f~
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Translated by Kodaira ~~ Takashi and Alfred H. ~ Mtcrks_, The Essence of •~ t Modern Haiku is both a practical learning exfx'rience a.s urell as an ~ artistic mileswne, • - --
For Poetry lovers and students ofJapanese alike: fl.l.IJ t
T.suttl yonmo
.t!HIR.<; B.lllo8! IJir.QOiOOII
"j' Seisltl's origlnalfapnnese
HI«IICf'IOU
-
High~r lhan
tilt moon,
tht .,.,hiu .sw.ron t:onsttllotJo" f/ylng thrD• t h th< sky.
Romaji transliteration
--+ E11glislt lm11slatioll
mttimainins tltrfunciSf' 5-l·.'i
.1)'1/llble pattem <1[ tltr ori,~inul
·-·...... ..,._...""'.._.._.....,..., _.. _
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tllt_......,_ .......... .... ...,.,.... ... tllt,_..-..eo
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Seislti's ow11 110tes
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/trip rftttlers 5rf /tQII' II is cunl trlttiNI, enabliug the 11Spirl11g
I lwik11 writer to Sl'l' hull' 11 111odem mrt5tt'r creates.
Available from Mangajln-362 pages: $24.95 Hardcover/ $19.95 Paperback ¥3000 in Japan. Call 1-800-552-3206 in the U.S. or 03-3479-4434 in Japan.
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Coli to order your copy today!
M ANGAJIN
an upcoming summit or cardiologists' convention). • Capsule Hotels ( 1J -t-t Jv 7 Jv, kapuseru horeru ): The target of much tongue-in-cheek forei gn media coverage, capsule horels offer drunk or late-working salarymen a place to crash until the morning trains start running. They supply the usual amenities, including TV , yukata (cotton "bathrobe") and toothbrush, with a "capsule" that is the immobile equivalent of a sleeper berth. The lack of privacy, security and sound-proofing may be drawbacks (there is no barrier between you and the snoring of your sodden neighbor in the next capsule), but some regulars develop a sense of camaraderie (perhaps they arc nostalgic for dorm life). Often found near amusemcnr districts, capsule ho tels rates arc somewhat lower than husiness hotel rates. Some o ffer special mid-day rates for stressed-out businessmen in need of a snooze. • Love Hotels ( 7 7 7 Jv, rabu horeru): The hot bed hote ls of lubricous legend, these arc also found in or near amusement districts. The rates, and often pictures of the rooms, are displayed out front, making it easy to comparison shop (a lighted picture indicates that the room is available). Also, the hote ls arc di ·crcet: money and room keys arc usually passed through a slot that e liminates the chance o f eye contact between staff and guests. Given current mores, however, this discretion is becoming unnecessary; some yo ung couples come as double dates and chatter away with each other while waiting their turn. The fancier hotels go in for "theme" design (Cindere lla Castle exteriors, Po lynesian village decor in the rooms), but nearly all suppl y t.he basics: music console, bedside condoms, porn on the tube. Two-hour rates vary, de pending on the quality and type o f accommodations (S&M equipment or revolving beds tend to cost more), but average about ¥4,000 to ¥6.000. All-night rates are not much higher, making love hotels an option for the sing le budget traveler who is e ither desperate or in the mood for something different. • Minshuku (.h\!:~ii): As mentioned above, minshuku are considered a step down from ryokan. The orig inal minshuku were private homes that provided lodging and meals tO travele rs-something l ike " bed and breakfast" accommodations. Now, they arc more likely to be simply small, inexpensive ryokan. Self-service is the ru le and the menu can be monotono us (after seeing the same rubbery takuan pickle, raw egg and burnt fish morning after morning, some minshuku regulars have been known to c ry at the thought of an Egg Mc Muffin). At the better o nes, however, the service is friendly, the food exce llent and the accommodations more than adequate. At some you can become part of the family. sipping sake around the kotatsu with the master and getting an earful of local lore. Minshuku can be found in nearly a ll tourist areas. Like ryokan, some are reluctant to accommodate fore ign travelers, not because they are in any way exclusive, but because they are conce rned about language and behavior problems (soaping up in the bath, walking across the tatami in bathroom slippers). Four hundred or so
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JOO PoemA by Seishl YaorWJiuchl r....... J
S t o r y
r=-;;-ardiologists' con vention {·!iH~~ q)'f:4?< .1·/tinzobytJi no gakkai tongue-in-check foreign media cnvcrage &: iJ:Jf..: ~~ 11fq) --7 :A ::1 ,>. q),fK i!! lriniku-na gaikoku no masukomi no lrodii • sleeper bert h= (R[)~ylj ~i.q)) ~a (fime ya resslra no) shindai • camaraderie= I•I• IHJ.fi:~iiU/.zti'i nakama isltikilyfljO • lubricious legend f) It '-It-? t.: f_i;;;il. waiset.m·na de11S1!/su • discreet=C1' 7 11\:/ - "-..(I))Jl!~!lltl.ltv;)> !!< C: C:'l.' -:> ""Co'l.> (pttraiba.~ltii e 110) hniryo 110 yukitod_oiue-im • go in for;;;; - ~ Jt{ IJ )d1. 7.> - o IOriirertt •local lore= :11l!.;t.: C1) ilfijimoro 110 hanashi
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unreluctant ones can be found on a list compiled by the Japan Minshuk u Center (8 1-3-321 8-6558). Rates per person, including a Japanese-style breakfast and dinner, average about ¥5,000. • Pensions (~ / Y a / . Penshon): These might be described as Westernized minshuku . Found around ski slopes and other sporty resort areas. pensions are often run by urban escapees who try to provide their guests with a friendly, but trendier and more Westernized experience than th e typical minshuku. The arc hitecture muy be terminally c utesy Swiss c ha le t, but the food--often Western cuis ine using local ingredients with a pe rsonal flair-<:an be excelle nt and the jazz sounds coming over the Bose speakers, o f concert hall quality. Also, there is often more to do at pensions than soak in the tub; biking, hiking, tennis and skiing are some of the usual o ptions. Average per person rates arc s lightly higher than for minshuku. • cutesy = ;/)• ~?I.'&;
y
• Youth Hostels (..::z_ - .A;t-.A-T ill, yiisu hosuteru): With their mandatory meetings, institutional food , early lights out and separate sleeping quarters for the sexes, including married c;ouples, youth hostels were once places to experience the worst of the Japanese "group spirit.'' ln recent years, faced with a steady drop in visitors, some hostels from hell have
relaxed rules and improved service. Even so, the atmosphe re at many is sti ll reminiscent o f a YMCA camp o r Salvation Army flop. The main virtue of the hostels remains price- about ¥ 2,000 per person- a nd the opportunity to meet young Japanese (you can begin by trading hostel stories). (confilllled on page 53)
Pension Silverstone,
in fashionable Karuizawa, features a European exterior and mostly Westernstyle rooms. The wheels hanging outside reflect the owner's interest in motorcycles.
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L.. I. • kawairas!Jii • Bose speaker• = •l! - Xtl:l\ltQ) A t"- tJ - bO~u.tlw·sei 110 supiikii • mandatory meeting;. = ~1JU;/)f~rtliliiJ t5 tl.t.; ~ T 1 /' '/ sankago J.·ylJsPi sorera miiringu • institutional food = '{: ft 1'1'~ 1j: ft J!f. gokushoku-reki I Ill ,
MANGAJIN
1 3
BREAKFAST IN AMERICA Some American hotels make an effort, but a Japanese-style breakfast is more than just fish and rice. Even those people with the most adventuresome tastes can find exotic meals difficult to stomach early in the day. That's why breakfast often becomes the focus of c ulinary "homesickness" when traveling overseas. Since fammar foods on a hotel restaurant menu can make foreign visitors feel at home in their temporary surroundings, it's not surprising that so many American hotels now offer a special breakfast menu for their Japanese guests. Unfortunately, these good intentions do not always y ield the sought-after result. At the heart (or should I say, stomach?) of the matter is the issue of familiarity. In o rder for the food to be comforting to the culture-shocked, jet-lagged visitor, it must first be recognized as familiar: in other words, authentic. And, the food mu t be appealing: in others word , appropriate, which is not the same thing as elaborate o r fancy. This may sound obvious, but it's difficult to do. First, you must choose the right foods to serve. Then the taste, texture and temperature of the food must be what your foreign guests are accustomed to having in their own country. In addition, the way in which you present each dis h, the sequence in whkh you serve the courses, and the way in which you set the table must also follow the dictates of their culture, not yours. The complex et of rules governing
"correct" American eating habits may seem less enigmatic than those rules regarding Japanese cuisine, but that' s only because, as Americans, we share certain presumptions about our food. For example, we ex pect pumpkin pie on a Thanksgiving menu, but on the Fourth of July we think a n apple or blueberry pie would be a more patriotic cho ice. And, of course, we expect pie of any kind to be served for dessert, at the end of the meal. All Americans expect the table to be set with forks to the left, and spoons and knives to the right of the main plate. Indeed, we would find it very disconcerting to have these positions reversed or otherwise tampered with. Because these, and myriad other, " rules" concerning mealtime are part of our own upbring ing and daily experience, we tend to assume that they are self-evident to everyone. But culinary habits are a product of culture in the same way that dress. speech, and mannerisms are; they are learned behaviors with their own intrinsic, often intricate, logic. So, in order to provide a suitable Japanese menu in an American hotel setting, Japanese mealtime "rule "must be understood and accommodated. Often, problems begin with choosing the wrong food to serve. Although it's true that most Americans like hot dogs and ice c ream, I've never seen a breakfast menu in the United States with
by
Elizabeth Andoh
either item o n it. Choo ing popular foods, per se, is not always the best answer. So, what do most Japanese eat for breakfast? There are several prototypes: the traditional morning meal, with its mise-flavored soup, steamed rice, and pickles; the more contemporary version, with thick, pureed vegetable soup (potage), buttered toast, and tossed g reen salad; and a newly popular urban coffee shop menu, appropriately called "Morning Service," usually consisting of buttered toast, ha rd boiled egg, and coffee or tea. This last type is the Japanese equivalent of a continental breakfast. Comparing these Japanese prototypes to typical American breakfast patterns, there are several striking d ifferences. One such difference is that savory flavors predominate over sweet in the J apanese morning meal. Although Americans regularly eat sugar-coated cereals, sweet rolls, do ughnuts, and muffins in the morning, Japanese prefer salty and sour foods such as crisp heets of pressed seaweed and pickled plums for breakfast. While American breakfasts tend to favor fruit-orange juice, and !iced bananas or berries on cerealJapanese breakfast menus feature savo ry marine and terrestrial vegetables. Another notable difference is the importance of soup to a Japanese meal, even (or especially) at breakfast time. While Americans might welcome a corn
• enigmatic= ::f11.:1l/-1~0Tfl!¥ fushi&J!fukakai • presumption = iliHJt zemei • tamper wi th = }f. t!. I) ~=~!!IT 1.> midari ni henkO Sllrll • intrinsic = koyii no • intricate= .:. }f. I!' ':) t.:tfll.;i ~ komi-iualfukuwtsu-na • per sc = -t" ft. I':! if sore jiwi • pureed vegetable = !.i:~~;:: L.. L.. t:. ff~ nire uragoslri shiro yasai • sa vory = tjiP,;f;(J) t: ~' t:./tt ( ~ ~' slrio-aji 110 kiira/amakunai • terrestrial vegetable = ~1;:(J)ff ~ rikusei no yasai
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MANGAJtN
rm14 (})
Tast e •of•Cul t ur e
chowder or thick potato soup at mid or late day, most would think it strange to have first thing in the morning. To the J apanese, however, who expect every complete meal to include soup, it is entirely logical , and highly satisfying, to have a hearty vegetable soup or miso-flavored broth at daybreak. Rice is the staple grain in the traditional Japanese diet, and many modern househo lds still eat rice three times a day, However, the number o f Japane e who regula rl y eat bread instead of rice is steadily growing. When bread replaces rice o n the breakfast menu, it is usually in the fo rm o f thick (half inch or more) slices o f toast made from what the Japanese call shokupan (f,tl ~ /), a kind of white, pullman loaf. In Japan, a single portion usually consists of one s lice of toast cut in half in a rather distinctive manner (creating two pieces that are neither triangles nor rectangles, but unusual trapezoids instead ; see the illustration on the following page). Knowing what to serve is important, of course, but so is knowing how to erve it. "Comfort food" can reassure the visitor from abroad only when it is immediate ly familiar, a nd that means it has to look rig ht, too. Take the example of the toast mentio ned above: The thickness o f the bread, the sla nt at which it is cut, and the angle at which it is arranged on the plate all contribute to the sense of famil iarity Japanese will fee l when the order o f toast is brought to their table. But appearances extend well beyond how food is placed on a plate. The cho ice of garnishes, the selection of tableware, and the way in which the table is set, impa rt an important cultural context for the meal. Imag ine the unsettling effect of a Christmas color scheme in mid-summer, or an American flag motif decorating a Halloween party table. Think about pecan pie served as an appetizer instead of dessert, coffee being served in soup bowls and "eaten" with a spoon, or a do llop of whipped cream garnishing a plate of spanish olives and dill pickles. Pretty strange, eh? No more so than a washoku breakfast menu I was rece ntly served at a prominent New York hotel.
Can you find 10 mistakes in this "Japanese breakfast"? (answers on page 17)
On the mo rning in questio n, my Japanese guest and I were served the follo wing mea l: In a shallow, wide soup bo wl , wakame (b1N6, a sea vegetable often used in Japane e soups and salads) drifted in a muddy broth (obviously, something went wrong with the miso and I suspect the cubes of tofu and chopped scallions were forgotte n a t the las t minute); this soup course was served first. Next came a large, round dinner plate. On it lay a mo und of long-grain rice, molded by an ice cream scooper, next to an enormous portion of grilled salmo n garnished with strips o f yellow squash that had been sauteed in olive oil. Fresh strawberries and grapes shared a bread-and-butter plate with pickled eggplant (shiba-zuke) and radish (takuan). A green tea bag dangled from an American coffee cup into which hot water had been po ured. When you add to this bizarre assortment and procession of foods the fact that the table was set incorrec tly (by Japanese standards, that is), the result has to be massive culinary confusion for a nyone brough t up in a J apanese household. It was certainly a bewildering s ight fo r my guest ! The problem is usually twofold: trying too hard, and working in a c ultural vacuum. In reality, the simplest menu is often the best. After all, think how wei-
come a make -it-yourself peanut butter and jelly andwich would be to an American traveler abroad who had eaten nothing but exotic local delicacies for severa l weeks. American notions of ho pitality are such that opportunities to "doit-yourself' are o ften more appreciated than the fawning attention of hotel staff (not so for the Japanese, who generally feel that as guests they should be served by their hosts -in this case, the staff of the hotel). Although consultants like myself and other professionals in the food -service and hospita lity industry are occasionally called upon by restaurants and hotels in the United States to develop menus, and train their staff to prepare and serve them, most establishments embark upon Japanese breakfast service in a more casual way. Often, some respected Japanese bus iness or community leader is asked to advise the local ho tel's executive c hef. Suc h was the case at the Cincinnatian Hotel, where Don La ny i, Director o f Food a nd Beverage, d escribed to me the valuable assistance of Dr. Tanaka Kinji o f the Japan Research Cente r in Cincinnati. This type of partnership works to everyone's advantage when the informant, typically a Japanese with no specific tra ining in the culinary arts, is ac utely aware of, and can easily
• hearty (vegetable soup)= # ') .:L- J...ti;%!.'*-1!) ~ ~ ljiJ~I!) .7. - 7 boryl7mu/eiyo 110 ant yasai 110 st7pu • trapezoid= h~ daikei • slant = MN keisha • garnish = -:::>It -3- :b-tt tsuke awase • scall ion = :bIt fl!-11 t.l. tf wakegilnaganegi • procession = .fi7"1J gylJretsu • was bewildered = ~ ~ 1.- t:. /Oivaku shita • delicacies ;;; J3 II' 1.- II' !j;J / .$~ oishii monolchinmi • fawning = .: T.!"--:::>I? 1 kobihersurau • embark upon = lf@ ~ l:l:li" noridasu
M ANGAJIN
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Ta s te•of•Cu l ture --------------~-------------------
articulate, the cultural details associated with Japanese meals. Another popular approach taken by many American resorts and hotels is to train their staff by video. One commercially successful venture, Chef-San, has sold its videotapes to a long list of American institutions including Disneyland Ho-
tels and Holiday Inn. Ms. Romi Adachi, President of Chef-San and Executive Producer of "The Japanese Breakfast" video, is passionate about the subject of authenticity. She i deeply distressed by many of the mistake made by untrained chef in America. So distressed, in fact, that with the purchase of her video comes a telephone hotline to call for further, free-ofcharge, consultation. As she pointed out to me in a telephone intervicw,just because feedback from Japanese guests is difficult to obtain and interpret does n't mean they haven't formed strong impressions and opinions that can affect your business. Unlike American customers who readily, and promptly, share their dissatisfaction with hotel or restaurant management, most Japanese guests will not make a fuss when omething goes wrong. When confronted, most Japanese will typically murmur some noncommittal statement. But among themselves, the Japanese will talk, and often stop patronizing the establishment in question. The mistakes in the breakfast on page 15 are listed on the facing page, along with orne general tips about serving a Japanese breakfast.
Correspondence to: Eli:.abeth Andoh, c/o M ANGAJIN, PO Box 7119, Marietla, GA 30065-1119 The " morning service" is an alternative Japanese breakfast that may be easier for American food-service people to handle.
Kanj ·woRDTM for Windows
• make a fuss= ? .0 ~ ( .it1•J ~ ET? umsakumonku o iu • murmur= "? ~~ ( tsubuyaktt • noncommittal (swterncnt) = ~ fJ t:/ll) Q) ~ v'.:. 1:: 1 atari sawari no nai koto _j
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M A N GAJIN
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T ast e• o f• C ul ture
Mistakes in the " Japanese breakfast" on page 15 (not necessarily in order of offensiveness). 1. Scoops of rice on plate. Rice should be served in a
tached, it should be pointed to the left.
separate bowl, gently mounded (not ice-cream scooped). Serve extra rice from the kitche n as needed, or provide a lidded rice "tub" on the table. 2. Chopsticks facing the wrong direction. Points should face left, and they should be aligned and parallel. If disposable woode n chopsticks in a paper sheath are used, a chopstick rest is not needed. 3. Whole block of tofu in miso soup. Tofu in soup should be cut into cubes approximately 1/4" square. Wakame (seaweed) in the soup should be c ut to I " lengths. 4. Fours are forbidden. The number four is bad luck and should always be avoided. Here the rule is violated twice, with the banana slices and the squash. 5. Inappropriate utensils. A Japanese breakfast requires Japanese-style utensils. Miso soup should be served in a rimless bowl with a lid-no under-plate or spoon needed. Rice should be in a rice bowl, tea in teacup with no handle, with separate small dishes or bowls for everything else. 6. Fish is grossly oversized. A smaller piece would be more appropriate for breakfast. If the head is still at-
7. Tea bag in coffee cup. Ocha should be served in teapot, then poured into Japanese-style teacup (no handle) with no saucer.
8. There is no yaki-nori (seaweed) or soy sauce. These are essentials for the rice-based breakfast. Yakinori should be served in a separate box or small, flat plate. Soy sauce should be in a small, slender pourer (shoyu sashi).
9. Pickles (takuan) should be sliced into half-moon shapes and should not be o n the same plate with liced banana. This is a tricky one since the takuan looks like peach in the photo. 10. Placement of dishes is wrong. Soup should be on lower right; rice (in separate bowl) should be on lower left. Other points: • An authentic Japanese breakfast would probably be served on a tray. • Japanese breakfasters would probably consider both the bananas and the squash to be odd breakfast choices. • There is a lac k of variety in colo r. A good Japanese meal ac hieves a pleasing array of color and texture.
IAL SPECIALISTS •
MARKETERS •
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BIOLOGISTS •
Where do Japan-related companies go to meet :a'" talented, qualified people to fill their needs? z ~
)
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The 4th Annual International Career Forum in San Francisco February 25-27, 1994
DOISCO 2-12 Shimomiyabi-cho Shinjuku-ku, Tokyo 162 Tel: 03-5228-0262 Fax: 03-5228-0324
M ANGAJIN
17
LEARNING TO GO TO SCHOOL IN JAPAN The Transition from Home to Preschool life Lois Peak. Berkeley: University of California Press, 1991 . 224 pages, $32.00 (hardcover). reviewed by Christopher Perri us
Japanese society is often described as group-centered, but how do J a pane e learn to get along in the group? By looking at the Japane e child's first encounter with sluldan seikatsu (~f'Il~m . "group life"), Lois Peak sheds considerable light on this que tion. Through several months of observations at a Buddhist preschool in agano and shorter observations at prechools in Nagano and Tokyo, interviews with teachers and parents, and reviews of both Japanese and US literature on the ubject. she shows how Japanese children make the transition from an "indulgent" home life to an obedient school life. Peak quickly refutes several stereotype of the "exam hell" variety before moving on to the larger misconception that home training prepares the child for good school behavior. In fact, the uchi, c ·in ide." or " home") where the child can indulge in amae, or childishly dependent behavior, is in constant tension with the soto. ("outside"), where properly disciplined group behavior is expected. Unlike mo t US parents, Japanese mothers do not feel responsible for training their children by requiring polite behavior at home; this training is undertaken by the schools. A revealing explication of this extremely ophisticated training process in the preschool is the achievement of this book. The family is not slu7dan seikatsu, although we conceive of it as a "group" in English. In the home (the uchi), amae is expected. There is no fear that"indulging'' the child at home will make him or her poi led outside the home. A lot of a mae at home is thought to be a good thing, if not
the whole point of the home. Jt is consciously considered to be an outlet for the frustrations of children and husbands who return from their stre sful schools and offices and demand to be served. However, amae is not at all acceptable in group life. The goal of the preschool training,
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lois Peak then, is to get the children to understand the distinction between the two spheres. The acti vities of the preschool are themselves grounded on a similar kind of stress/release tension. Again and again in the schools' statements of goals, in the words of the teachers, and in their trade magazines, it is asserted that the primary activity of the preschool is asobi (mV"
"play"). And do they play! Children like my younger brother, who was asked to leave his (US) preschool and "try again next year" because he liked to run o n the tables, are praised for their genki-ness. Screaming, dancing on tables, berserk games of tag are all accepted as normal, and teachers cheerfully raise their voices just above the din. They rarely direct the play, but subtle guidance does go on; for example, schools are often deliberately hort of toys so students wi II have to share, negotiate, and interact more. But interspersed bet ween these periods of uninhibited play are formal rituals marking the transitions from one activity to another. These rituals are like those that mark transitions all through the life of a Japane c. For each of these ritual situations, and every other group activity, such a changing clothes or arranging de k for meals, the teacher emphasizes that there is only one right way, and the ability to master these kata "set form/style") comprises much of the formal education. Slight attention is given to counting or reading and writing. Managing the threeyear-aids' transition from boisterous play to sitting with hands folded quietly and reciting "itadakinwsu" in uni on before a meal requires considerable skill from the teachers, the unfailingly cheerful and insightful heroes of this book. Japanese preschool teachers, 99 percent young, junior-college educated women, strive to inculcate a group awareness in students rather than obedience to the teacher as an authority figure. It is a common sense notion of Japanese pop p ychology that the child has to want to behave properly, or efforts at discipline will be futi le. Peak explores the various, mainly unconscious techniques that Japane e teachers use to minimize the need for direct discipline. One great difference here between the more authoritarian US style is that "good" behavior in Japanese schools is consistently referred to as jozu (J:. 'F, "skillful"). T he " bad" child is one who just hasn't mastered the skill yet, so even if he c learly won't, the teachers always say he can't. The child "behaves" so as not to be considered "unable" to do the ta k. The "problem child" (mondai-ji r:.~~ ~~) in the Japanese preschool, then, is one who doesn't take part in group activities, or relics too much on the teacher. When
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M ANGAJIN
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she asked about children who genuinely prefer quiet, solitary pursuits, Peak was told that such children don't exist, they just " don't yet understand the fun of being together with others." Independence (jishu § E ) and self-reliance (jiritsu § JL) are paradoxically listed in the statements of goals of most preschools as well as the Monbush5's official list. They do not signify autonomy or doing your own thing; rather, as the opposite of amae, they mean taking responsibility as a member of the group, not letting the group down. The teacher will make everyone wait until all the students arrange their lunch boxes correctly-the delay is presented as a conseque nce of students' inabilities, not of the teacher's will. With authority subtly transferred to the group which also consists of one's close playmates, Japanese children (and adults) who resist the norm find themselves surrounded by "an army offriendly shadows," an image that recalls Abe Kobo's play, Tomodachi. In line with the definition of "good"
(jozu), even the child who hits other children is not punished; in fact, his behavior is often ignored. Fig hts are tolerated as a way to learn social skills, and are often made a part of class discussion sometime later. Peak provides many compel!ing fie ld notes, and one especially memorable one illustrated her somewhat shocked realization that the child she thought was "bullying" her with constant kicks was in fact inviting her to play in his clumsy way. The teacher, who had not disciplined the kicker, had thought that the one with the behavioral problem was Peak for rudely not responding! When she did respond by chasing him, the kicking stopped. Finally, I found myself wanting to know more about the mothers. In the equations of performance outside and amae at ho me, she gets to play only one part. And while the schools encourage mothers' participation (by joining the PTA, regularly meeting with teachers, etc.), in practical terms this often translates into a lot of careful preparation of supplies and lunch
boxes which "when the child removes the lid ... his mother's love and feeling for him should pop out" (advice of Tokyo Preschool Director). Unfortunately, the mothers are reluctant to voice concerns, even when it is their child who is being hit daily, and they are not really encouraged to. Dialogue between parents and teachers is kept at a superficial level, and the feeling seems to be clearly one of"leave it to us." ljime (v' t ~. " bullying") can be a very serious problem in later years, but mothers seem to learn to stay out of "school matters" in these early years. It's a problem that asks for less newspaper sensationalism and more investigation of the kind Peak has carried out. Scholarly yet wriuen in smooth and often entertaining prose, the insights provided by this arresting book will intrigue not only educators and parents, but all students of Japan. Christopher Perrius is a free-lance writer/ translator now living in North Carol ina
• signify = ftll4Ct" 7.> imi suru • autonomy = Fl tit jirifSII • compelling = ?1 1-1 ':filii"" 7../i:J: I..J 1ti' 1: i> ;?'~ v' clulmoku ni arai surulchiimoku sezu 11i okanai • bully = 1.- ' l:. 16 .0 ijimeru • in the equations of= - Q)~~n 1: i> 1.-' "( -no roshiki ni oire • superficial = i
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MANGAJ IN
19
BABEL Translation Contest Winners The results of the Third BABEL Inte rnational Japanese/English Translation Award from issue #25 are in. Over 400 people vied for one first, one second, and five runner-up positions. The grand prize goes to Akiko Shimada, of West Hurley, New York. Below is the original Japanese essay and Akiko's winning En-
glish translation. On the following page are the judge's comments and the complete list of prize winners. We at MANGAJtN thank all of those who entered and congratulate the winners. We also encourage those who didn ' t win to study the judge's comme nts and keep honing their translation skills. Q) A Full-Time Hou e Husband
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24
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M ANGAJIN
by Yoko Mure from Machikado Kobashiri Nikki (Mainichi Shimbun)
The other day I was talking with an energetic businessman who had j ust turned thirty. "I don' t feel like working any more," he told me. I understand that a man from this age to forty is pressed to work very hard at his job. While taking care of younger subordinates who have not yet learned their jobs very well, he has to put up with his boss's demands one after the other. The bos will ay "you are still young," and order him off on a one-day business trip to some remote area. When he does manage to complete a difficult task, the company will lead him on with promises of promotional oppo rtunities waved in front of his nose. He says he has become fed up with such an environment. ® His ultimate wish is to quit working and become a fulltime house husband. He e nvies the female workers who leave his office to get married. "it's not fair that only women are congratulated for leaving the office for married life," he said angrily. After all, according to him, he keeps his room clean and cooks for himself. He also sews and irons his own clothes. No wonder he always looks so neat. @ " I am also good at machine sewing and stitching up the bottoms of my trousers. I can even do French embroidery," he boasts convincingly. He believes he is far more skilled at housekeeping than the spoiled young women who cannot do anything without their parent and he ambitiously looks forward to the challenge of raising children. The problem, however, is that he cannot find a mate. Most women are financ ially dependent o n men and, even though they spe nd most of their salary on clothing and traveling abroad, once they get married they think living expenses should be covered by their husbands' earnings. @ " Nobody would be interested in marrying me." he says with a sigh and some people have actually criticized him for not having a manly attitude. I do n·t know when his wish to be a full-time house husband will come true, but I like to picture him bashfully flushed with happiness as he receives flowers from his colleagues on his last day o f work. Privately, 1 am praying for his success in becomjng the first man who honorably leaves his job for the married life.
Judge~
Comments:
The art of translation forces the translator to d raw on every facet of his or her knowledge of two languages. Grammar and vocabulary are imponant, but so are style and tone, qualities that are elusive and less easily quantifiable. The Babel International Translation Award challenges would-be translators to how more than a grasp of the basics of translation from Japanese to English; the judges look for sophistication and skiU in converting the tone of the original into the target language. This year's essay fortranslation, Mure Yoko's "Sengyo shufu" (Househu band), drew over 400 entries from all over the United States and Japan. The winning entry, which appears on the preceding page, was judged to be the most successful of this large group of submissions in handling the difficulties, both grammatical and stylistic, that this e ay posed. We congratulate the Ist place winner and runners-up for their fine accomplishment, and we encourage others to persevere in their studies. We look forward to seeing improvement in next year's entries. Even the winning translation has imperfections; in the spirit of improvement, we will discuss them brieny here. The first
First prize winner Akiko Shimada now works part-time as a liasion between Japanese and American companies involved in the fashion industry.
possible improvement might be to the title. Since "housewife" (and , likewi se, " househusband") implies full-time engagement in the task, it might be be t to translate "sengyo shufu" as simply ·'hou ehusband.'' The translation reads well and is highly accurate until the third paragraph, where we read: " I am also good at machine sewing and stitching up the bottoms of my trousers." But the original says "skirts and trousers:· Perhaps the translator thought it odd that a man would have the opportunity to hem a kin, and decided to eliminate the word "skirt." but such deletions should be avoided except when necessary. In addition, the bottom of a tro user leg is usually called a cuff, so the entence would be improved by replacing "bottoms" with "cuffs." The next problem is in rendering "tanomoshii" as "boasts convincingly."The o riginal suggests how the writer of the essay responds to this list of the man's accomplishments: that he seems to her to be reliable and she is convinced of his suitability as a mate, simply by the persuasiveness of his words. This translation problem affects the next line, which begins " He believes ... " In fact, it is the writer who is commenting again on her response to the man; it is the writer who believe the man is more skilled than a spoiled young girl, not the man him elf who believes it. The e comment aside, the winning translation hows a subtle and masterful grasp of the tone of Mure Yoko's essay. The greate t pitfall in the other attempts was to inject irony into the writer's attitude toward her subject; but the original has no irony. Rather, it is a straightforward and heartfelt statement about changes the writer hopes to see in the way women and men function together in Japan's workaday world. The winning entry captures the deceptive simplicity of that statement with considerable subtlety and skill. Paul Gordon Schalow Associate Professor of Japanese Rutgers University
Prize Winners First Place: Akiko Shimada West Hurley, NY
Trip to Japan, $1,000, Brother 2600Q Word Processor, Hardcover copy of The Essence of Modem Haiku, 1-year subscription to Honyaku no Sekai, Dictionaries, 1-year subscription to MA!':GAJI •, Certificate and Plaque. Ms. Shimada will be asked to make a report in English on her trip to japan.
Second Place: Jon B. Bernard New York, NY
$700, Brother Fax 600, Softcover copy of The Essence of Modem Haiku, 6-month subscription to Honyaku noSekai, Half-year subscription to M ANGAJIN, Certificate and Plaque.
Honorable Mention: Fred Harris Honolulu, HI
Jason G. Karlin Champaign, IL Linda M . lau Honolulu, HI
Steven Myers Shiraoka, Saitama, japan Massato Otsuka NewYork, NY
$200, Brother P-Touch 10 Labeling System. Half-year subscription to MANGAJtN, Certificate and Plaque. Prize money funded by Japan Foundation (!@~~~mE£~)
MANGAJIN
25
Sound FX:
Ishii Hisaishi Senshii
J!.- / Jv / Jl-- /
Run run nm La Ia Ia (sound of humming as he packs his bag)
[i]
Secretar y: -t / -t
li wa
Sense
SELECTED WORKS of ISHII HISAICHI
* .:;-
tlJ K& Jl.- I: kokyii lrotent de
teacher/master as-for high class hotel
r :IJ /
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''ktmzume" "canned''
at
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da
so desu
ne.
is/will be (hearsay) (colloq.)
" I hear Mr. Hirooka is gQj_ng to be 'canned' in a luxury hotel." (PL3) Editor: X.? r :11 / :1) J ?
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"Kanzume?"
what?/huh? "canned"
"Huh? 'Canned?"' (PL2) • sense is a colloquial abbreviation of sensei, most familiar as the word for "teacher," but used also as a term of address/reference for other people considered worthy of respect, including doctors, politicians, and writers. As is often the case in Japanese, the secretary uses sensei in a situation where an English speaker would generally use a name, ''Mr. Hirooka." • kanzume literally means "packed in a can" (kan = "can," and zume is a suffix form of tswneru, " pack") and usually refers to canned food, but it has the figurative meaning of a person being "bottled up" in some confined place like food in cans. When Japanese writers have missed (or are about to miss) their deadlines, publishers sometimes "can" them inco mmunicado in a hotel room so they can work undisturbed until the manuscript is finished. • ... da so desu indicates she is repeating information she has heard from someone else, and ne shows she is seeking confirmation of that information.
Editor:
t:t.lv
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"Hakozume" nan
r~te~J
da
yo,
jit,w wa.
''boxed''
(explan.) is (emph.) actually
"Actuallv. it's (more like) ' boxed."' (PL2) Secretary: X.? £? what?lhuh?
" What (do vou mean~?" (PL2) • paralleling kanzume. lwkozume means "packed in a box." • usually jitsuwa (lit. "as for the truth" "actually'') comes at the beginning.
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'IJf o
Yosan
ga.
budget (subj.)
"fr_m sorrv we don't have} the bude:et (for a better hotel.)" (PL unclear) ti ~!1.) ;6'! Waslri wa lrako-otoka ka!
Hirooka: b L. 1/me
as-for
box-man
?
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Capsule Hotel Neie:hbor: ? .0 -tt- -t'o Umse w. noisy
(emph.)
''Be quiet." (PL2) • yosan ga implies yosan ga nai ("not have the budget") as an explanation for the nature of the accommodations, along with an apology. • in the 1970s, the "existentialist" Japanese author Abe Kobo had a bestseller called Hako-otoko ("The Box Man," available in English) about a man who li ves with a large cardboard box over his head. • uruse is a slang version of urusai, " noisy." The vowel combination ai changes to e or ei in certain dialects and masculine slang. © Ishii Hisaichi, All rights reserved. First published in Japan in 1991 by Futabasha, Tokyo. English translation rights arranged through Futabasha.
34
M ANGAJIN
Kurai desu ne, Murayama dark
Ishii Hisaishi Senshu
is,
isn'1 il
Sense.
(name) 1eacher/mas1er
"It's dark, isn't it, Mr. Murayama?" (PL3)
SELECTED WORKS of ISHII HISAICHI
ft?.f!Jl
~
Shomei
o
-:Jftlj:v' lv-<:TiJ'? tsukenai n desu ka?
lightsllighling (obj.) no11urn on
(explan.-?)
"Don' t you turn your lights on?" (PL3) • sense is a colloquial sensei, here used as a respectful title because Murayama is an author. • shomei is a more formal word for denki/akari ("light"). Shomei o tsukeru, like denki o Jsukeru, means "turn on a/the light(s)." Tsukenai is the negative form of tsukeru.
(2]
Murayama: .=f-51: Temoto
"/J{
~X. n ti i-n -co
J: '-'' o
ga
miereba sore de
yoi.
vicinily of hands (subj.) if can see with that is good/okay
"If I can see the vicinity of my hands, that is enough." "All I need to see is my hands." (PL2) Editor: i- I') ~ , i , i- -J -z--t "/J{o Sorya,
ma.
so
desu
ga.
is
bul
as for 1ha1 well 1ha1 way
"Well that's certainly true, but . . ." (PL3) • temoto refers to a fairly limited area " by one's hands/at one's fingertips" or " within easy reach." • miereba is a conditional ''if' form of mieru (''can see"). • sore de yoi is an al ternative form of sore de ii (lit. "it's fine with that"), an expression meaning "That's adequate/all one needs." • smya is a contraction of sore wa ("as for that"). Sore wa so desu (lit., "as for that, it is that way'') is essentially an emphatic "That's true"-+ "That is certainly/indeed true," and it's frequently followed by ga ("but") implying that, however true it may be, the speaker still wishes to differ somehow. • ma (or mli) is used as a kind of "verbal pause," like "welVyou know/1 mean/ let's see."
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Murayama: Dekita -r: t::.
zo.o -t"
is finished (emph.)
"It's done." (PL2) Editor: ::.: < 0 -J ~ i -<: l t::. o Gokuro-sama
deshita.
(hon.)-hardship-(hon.)
was
"Thank vou." (PL3) • dekita is the plain/abrupt past form of dekiru ("be finished/done/ready").
• zo is a rough masculine particle for emphasis. • gokuro-sama (desu/deshita) comes from the word kuro, meaning " trouble/ suffering/hard work," with the honorific prefix go- and ending -sama. It's a polite expression for thanking someone for their labors.
0
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Click (sound of switch for helmet light) Mura .illlli!: b l (J) WI -<: ~1t D 7j: o Washi no mae lime
of frotll
de
yomu na.
at/in
don't read
" Don' t read it in front of me." (PL2) Editor:
I\
1
Hai
"1 o hai.
yes/okay yes/okay
" Okav/Yes sir." (PL3) • washi is a word for "IIme" used mostly by middle-aged and older men. • one use of the particle de is to mark the location (in this case washi no mae, "in front of me") where an action (in this case yomu, "reading") takes place. • na directly following the "dictionary form" of a verb makes a fairly strong prohibition/negative command, "don't -/stop - ": yomu na = "don't read." © Ishii Hisaichi, All rights reserved. Firsl published in Japan in 1991 by Fulabasha, Tokyo. English 1ransla1ion righ1s arranged through Futabasha.
MANGA J IN
35
by tTl*.!~
T akeuchi Akira
~ IJ~ jC ~' ~ /1; ~ ~' tf /1; ~'
Q
It'> Takeuchi Akira. All rights reserved. First published in Japan in 1992 by Futabasha, TOkyO. English translation rights arranged through Futabasha. 36
MANGAJ I N
Man:
4:il:8
¥31:~
4:il:8
tfil' lJ 0
zangyo bakari. Mainichi mainichi everyday everyday work late/ovenime only/always " Day after day, I always h ave to work late." (PL2) {/) {/) A ~ 'j: lv 1: ¥fb-?-l?~-? ~lvt:t. il' t:t.
fl.
• zangyo (literally " remaining work") usually implies one has to work late on forced/unwanted overtime.
0
Boss: 1f Jv ~ 7~L :$-::>i.l'fl o Garushia-kun, o-tsukare. (hon.)-tiredness (name-hon.) " Thanks for your bel~, Garcia." (PL2)
Garcia: ~ J: t:t. t:> Sayonara. " Goodbye." (PL2)
• o-tsukare is short for otsukare-sama (deshita), which is from tsukareru, " become tired." The expression is a standard form used to thank a person for efforts that are presumed to have tired him out. Typically, though not necessarily, it also doubles as a "goodbye." Garcia: 77 ... Fii . . . (sigh of exhaustion)
':
Man:
0
0
t:t.lv-c it!. \,'\,, 1i t!. J: t:t. j;y fl. da. Watashi nante mada ii hi5 da yo nii. so/that way is Ume the likes of still good side am (emph.)(colloq.) " That's right. Someone like me is s till really on the good side/among the better off, I guess" " That's right. I s hould count m y blessings." (PL2)
-f-?
so
t!.
• name can mark the topic like wa, and implies that the thing/situation in question is in some sense insignificant or of lesser concern. Man:
* c
*Uchi ni':
EJJt{/) ifflhlf *n~ 7,)-f ffl:-?"Cl.> lv t!. b lv l:t. o II jibun no ie kaereba to kazoku ga matte-ru damon na. home to if/when go home own house and family (subj.) are waiting (ex plan.) because (colloq.) "(Because) after a ll, when I go home, I have a house and family waiting for me." (PL2)
Sound FX: 1!1- -'I' Cacha (rattle of gate latch)
*M
Nam eolate:
Kimura
. i!<:
can be read either ie or uchi, and can mean either "house/home" or "family." leis the preferred reading in sociological discussions of the family and legal references to a house as property. Otherwise the two are generally interchangeable, but in situations Like this where several kinds of references to a house/home are mixed, ie tends to be favored for referring to the building itself.
7C"-
-IJ>? Man: t.:. t!.v' i !! J.;.!vl;t. Tadaima! Minna genki ka? just now everyone healthy/well ? "I'm h ome. I s everyone doing OK?" (PL2) • tadaima literally means "right now/just now," but it's the standard greeting used when returning home, like " I' m home!" Wife:
t::~ ,
it::. j;y c 1: ;p o
Arrow:
Ja, mata atode ne. well then again later (colloq.) ''Bye. I'll talk to you later." (PL2)
i L-cJ.J ~ Furin 0 shite-ru tsuma immorality/affair (obj.) doing wife W ife who is h aving an affair
If' fall
m
(J) Arrow: 11'1[~ Son: 5t11\t:t. l:t.v' t!.l:J 0 .~.fdaro. Genki-na wake nai Futoko no musuko not go to school (=) son well/healthy reason/situation not exist probably/surely " How could I ~ssibly be doing OK?" (PL2) Son who stays home from school
Sound FX: ~ ::J ~::J Pika piko (sound of computer game) Man :
• furin ("immorality") commonly refers to extramarital affairs.
/\/\/\ -/){/v(f 1.> -t'. !l 0 Arrow: Y:.~lv Haha ha Ti5san ganbaru zo. (laugh) father/dad will strive hard (emph.) " Ha ha ha. Dad's gonna kee~ working hard." (PL2)
re~
i-z' 11.-?
0-/
{/)
*0
Shinu made harau ron 110 ie. die until pay loan/mongage (=) house House with mortgage h e w ill be ~ayinl;! till h e dies.
• ganbam means to be "dogged/persistent/unflagging" in working toward some goal. Zo is a strong masculine particle for emphasis. • shinu made harau ("pay until one dies") modifies ron ("loan/mortgage").
MANGA JIN
37
II
Q~ oD if ~@IT'@U'~-kun
by
Nishimura So
D a u h t e r 1:
-lf 8
li X:~ A, 1:
-1*~
~
tf)t.:;ti lJ: ?.
Kyo
wa Tosan ni
kyiiyo
o
ataemasho.
today as-for dad
to rest/relaxation (obj .) shall give/provide
' 'Toda le t 's give Dad a (day oO r est." (PL3) • within the family, the father is typically addressed or re ferred to as rosan or otosan (the o- is honorific, showing respect for his statu s within the family); when speaking to someone outside the family, one 's own father should be referred to as chichi and the other person's father as otosan (the honorific o- is obligatory in this case, out of respect for the other person). Papa is also widely used within the family, but should not be used with others. • one o f the most common uses of the particle ni is to rnark the target/destination/direction of an action - in this case the action o f giving/providing. • ataemashii is the PL3 equivalent of ataeyo, the volitionaJ (''let's/1 shall") form of ataeru ("give/present/provide").
Hon wa dame.
Atama
mo
I: l.t \ t.: t.!. ~ i -t 0 yasunde itadakimasu.
book as-for must not head/mind also
require to rest
" No books. W e n ee d to h ave ou r es t vour h ead too." (PL3)
• dame ("no good/useless/vain/unacceptable") is common ly used as a word of prohibition ("must not"). • yasrmde is the-re form of yaswnu (''rest/take time off'), and itadakimasu is the PL3 form of itadaku ("receive" - polite). lradaku after the -te form of a verb can be literally translated as "receive the favor o f (the action)," but the combination is often used by persons of authority to state what they require of the listener. In this case the family members are assuming authority over the father's day off.
Daughter 2 : § 1: t Me ni mo
l J:? kyr7yo
o
0
araemasho.
eyes to also rest/relaxation (obj.) shall gi velprovide
" L et's r est our eyes too." (PL3) Sound FX: 77- 7 Puchi!
Click (sound of TV on/off switch, here being turned off) • volitional forms (-mash5/-yi5/-ii, ''let's/1 shall") normal! y express what the speaker intends/plans to do, but they can be used to encourage/command the listener to do something instead- essentially like E nglish "Let's ... . shall we?" might be used to tell someone to do somethi ng.
off too." ( PL2)
• yasrmri is the noun form of yasumu ("rest/take time off'). © Nishimura So. All rights reserved. First published in Japan in 1992. English translation rights arranged through Nishimura So.
38
M ANG A J IN
...,
@~ 0 D fl
Sign:
-IT ~
·;;
~
Samiuo
~@[f@lf~-kun
~.ti
kaijii
summit meeting place
Summit HaJJ Flag: by
Nishimura So
A ~ 7 7' Swoppu
Sto__R • samiuo and sutoppu are both katakana renderings of the English words. • kaijo is literally "meeting place," and it can refer variously to a single room. several rooms, an entire building, an outdoor facility, etc., depending o n the nature of the meeting.
Guard:
~ 7 / 7 Q) s:jJ Toranku no naka
trunk
o
shirabesasete kudasai.
of inside (obj.) please allow to check/examine
" Please let me check the inside of our trunk." (PL3) • tora11k11 is a katakana rendering of English "trunk." • 110 can reflect a wide variety of relationships between two nouns, but basically makes the first noun into a modifier for the second. Here 110 can be thought of as pos essive (''lhe trunk' s inside") or as equivalent to "of' ("inside of the trunk"). • shirabesasete is the -te form of shirabesaseru, the causative ("make/let do" ) form of shiraberu ("check/examine/look into"). The -te form of a verb plus kudasai makes a polite request, so shirabesasete kudasai = "please allow (me) to examine."
I~";/
1J I} "/
o
bakkari!
(PL2) • bakkari! is a colloquial variation of bakari, " only/all."
Letters (continued from page 4)
© Nishimura So. All rights reserved. First published in Japan in 1992. English translati on rights arranged through Nishimura So.
worth noting, though, that your "trusty" Nelson 's (copyright 1962 and 1966) does give it as a second reading for~ after sagu(ru), and the character is listed in Nelson's on-kun index under sagasu as well as saguru. The same holds for every other kanji dictionary we've looked at. Basically, this reflects actual, long-standing usage, as does inclusion of this reading on the 1973 list we memioned above. Careful writers might still choose to make a distinction between rl"t and~ T, using the former when looking for something that is lost/has disappeared (e.g., a lost wallet, a fugitive) and the latter when seeking out! attempting to discover a particular object (e.g., an apartment, a specific book in a book store). In the latter use, sagasu has essentially the same meaning as ~J.,saguru ("search/explore/probe/sound our"), but the expressionfor looking for an apartment is apato o sagasu, not apato o saguru. Since the apartment was never lost, perhaps you can see why some people might have objected to using n!l T in such a phrase-though it does remain officially acceptable to do so. Standardization necessarily takes a toll on nuance, and writers still don't stick entirely to the Joyo Kanji chart, but if it's any consolation, things were much worse before the Ministry of Education moved to standardize
usage. We should all be grateful for what the chart has accomplished. M ANGAJIN
!~)
39
tllffl!N')
Narration: :t ~~ 7'
1 )
7 /
f;J:
Obatarian
OBATARIAN
wa kuchi kara
obatarians
demakase
o
iu.
as-for mouth ·from random speech (obj.) say
Obatarians run off at the mouth. Signs: -IT1 /~ Sain-kai sign/signature meeting/session
Autograph Session Obatarian: ih C, -::> , ih t:. l b Ara!
v' v'
fJ' l C,?
11
kashira?
arashi mo
(interj.)
Ume
also good/okay I wonder
" Oh! I wonder if I could have one, too?" (PL2) Celebrity: !::: 7 f''o Dozo. please
"Certainlv." (PL3) • demakase refers to something said without thinking or without any real knowledge, and kuchi kara demakase o iu is an idiomatic expression for "talk off the top of one's head/make irresponsible remarks." • sain is a katakana rendering of English "sign." Its verb form sain sum means "inscribe one's signature," so as a noun sain means "signature/autograph." Sa in can also refer to signboards or to signs of the kind given in baseball. • arashi is a colloquial watashi ("lime"), used almost exclusively by women. • dozo means " please" in the sense of granting permission or a favor ("please go ahead/please feel free to ...") rather than of asking a favor.
Obatarian:
~'(> - ,
~
Kyii,
h.t:.v'.4-B
yume mirai.
(squeal of delight) dream is like
~-cot'IJ' -::> t:.- -::>o
Kyo
kite
yokatta- !
today came-and am glad
" Wow! It's like a dream. I'm (so) glad I came today!" (PL2) Sound FX: -IT 7 -IT 7 Sara sara
(effect of writing s moothly)
• kite is the -te form of kuru ("come"), and yokatla is the plain/abrupt past form of the adjective iilyoi ("good/fine"). The expression .. . -te yokaua means " I'm glad I .. ./I'm happy to have ...
0
*~"P
-r:
7 7 /
"f:T
(J) o
Kazoku-jfi
de
fan
desu
no.
Obatarian: 7 h lv'--::> o Ureshii-!
delighted/happy entire family (scope) fans
is/are (explan.)
" I' m so hap..J!V! Our whole familv are fans." (PL3)
*:i:
~=
Kaho
l i 1' b --::> o
ni shimasu
wa- !
family treasure to will make (fem. colloq.)
" We'll make it a family treasure!" (PL3) Celebrity:
J\ J\ 1\ o
Ha ha ha. (pleased/gratified laugh) • -jil is a suffix meaning "throughout -," so kazoku-jii ="throughout the family"--> "our entire family." • desu no is a feminine equivalent of the e xplanatory form na no desu , which follows nouns to mean literally "the situation is that I am/we are/it is .. ." • shim(lsu is the PL3 form of suru ("do/make").
Obatarian: ::. h f.t !v "( Kore nan this
te
what (quote)
~h.
iT (J)?
yomimasu no? read
(explan.-?)
' 'How do you read this?" (PL3) • nan is a contraction of nani ("what") and te is a colloquial variation of quotative to. Nan te (yomu) = "(read) as what"--> " how (do you read)." • yomimasu is the PL3 form of yomu ("read"). Asking a question with explanatory no after a PL3 verb sounds distinctly feminine, though men frequently ask questions with no after plain/abrupt (PL2) verbs. • the fact that Obatarian can't read the celebrity's stylized signature shows that she doesn't even know who he is. © Hona Katsuhiko. All rights reserved. First publ ished in Japan in 1990 by Take Shobo, Tokyo. English 1ransla1ion rights arranged lhrough Take ShobO. 40
MANGA JI N
~UfdiN') OBATARIAN
by
fJHl EB tJ}-::> V Z:. I Hotta Katsuh iko Narration: ; <:.- 7
v ·:; r
Panfureuo
A pa mphlet
Sound FX: 1
Fla p fla p (effect of thin, light object fluttering/flapping in the air or slapping against something) • panfureuo is a katakana rendering of the English word " pamphlet."
Narration:
I\/
'h +
Hankachi
A handkerchief Sound FX: 1
:_0: '
I
I
Para para
I\
Fla p fl_w_ • hankachi is the most commo nly used katakana rendering of English "handkerchief," shon ened from the originallwnkachiifu, which is almost never heard today.
Narration: J. =.. .::1. Menrtl
A menu
S..ound FX: 1
l']ap_fla p
Narration: ;t 1\?
1)
Obararian
7 / I± lj: lv "t' 'b -? i? b t: T 1.> o wa rwndemo uchiwa ni suru.
obatarians
as-for anything
fan
into make
Obata rians will turn anythin!! into a fan. • menyl7 is a katakana rendering of English " menu." • uchiwa refers to a nat fan rather than a folding one, which is called sensu or 1.1J ogi. • ... ni sum is an expression meaning " make (something) into ..."
Sound FX: .--.:7- -t 7 Pecha
~,,J
f-
+ -t
kuclw
(effect of animated talk)
Arrows: .: Q) A
Q)
Kono hiro no this
1j!¥1J meishi
person ' s business card
This person's m eishi Sound FX: 1< ? ;<.? Para para
F la p flap • it is rude to treat meishi wi th anything other than the utmost care and respect.
il!> Hotta Kutsuhiko. All rights reserved. First published in Japan in 1990 by Take S hobO, Tokyo. English translation rights arranged through Take ShobO.
M ANGAJIN
41
A selection from the series
by
rmJ Ill~ = e!l) •
Okazaki Jiro
EPISODE 1
Chiisaku Utsukushii Kami The Little and Beautiful Spirit • chiisaku here is an abbreviated version (or literary form) of chiisakure, the -te form of chiisai ("small/little"). The -te form of an adjective is used when linking to another adjective to make a compound modifier: chiisakute utsukushii ="little and beautiful." • kami is usually translated as "god(s)," but in this story we see that it also refers to what would be called "spirits" in English. © Okazaki Jiro. All rights reserved. First published in Japan in !990 by Shogakukan, Tokyo. English translatio n rights arranged through Shogakukan.
42
MANG AJl N
,J, tl
--------------------------------------
C2J
Narrator: Mo, kono kai ni wa dare mo nokotte-nakatta so desu.
They say there wasn' t anyone (else) left on this floor at the time. (PL3) Sound FX: Kata kata kata kata kata
Click click click click click (sound of keys being pushed on electronic calculator)
• mo ("already") followed by a negative becomes " not ... anymore." • kai refers to the "floors/stories" of a building, both as an independent word and as a counter suffix: ikkai ="first floor" (from ichi ["one" ) + kai); gokai = "fifth floor" (from go ["five") + kai); kono kai = "this floor." • nokotte-(i)nakatta is the past form of nokotte-inai, negative of nokotteiru ("be remaining/remain"), from nokoru ("remain/be left over"). • so desu after the plain form of a verb indicates the information is hearsay.
0
Employee: Fa-.
''Whew." (sigh of fatigue)
0
Voice: Jarapachi ne ka? "No jarapachi'?" (PL2)
Employee: N? "Hunh?" • it's not clear at this point in the story whatjarapachi means, but . . . ne ka looks like a dialect/slang version of ... nai ka, which literally means "does - not exist?" and is used idiomatically to mean "Do(n't) you have - ?" The vowel combination ai frequently changes to e or ei in certain dialects and masculine slang.
0
Sound FX: Kata kata kata
Click click click (sound of calculator keys)
0Fx: Giku! (effect of stiffening in fright)
MANGAJIN
43
!]'~
<~ L..v>f$
• Chiisa ku Utsukushii Kam i
QJ SoundFX: Goooooo
Ro-o-o-o-ar Employee: Waaaaaa!!
"Yikes!" (exclamation/scream of fear)
0
Narrator: Mae o miru to, oki-na medama ga kochira o nirami, When he looked in front of him, huge
eyebaJis stared back at him, and ... sono shain wa hohi'J no tei de nigedashimashita.
the employee beat a hasty retreat. (PL3) • oki-na is an alternate form of the adjective okii ("big/large"). • medama Fl ::E is written with kanji that literally mean "eye" and "ball." • koch ira = " this direction," here meaning the direction of the worker in question. • nirami is a continuing form of niramu ("stare/glare [at]"); the past tense of the verb at the end of the sentence makes nirami past tense too --> "stared and .. .'' • shain U.Q is written with kanji meaning "company'' and "member" --> "employee." • hiiho no rei de is an expression for modifying llightlescapelretreat implying "as fast as possible/in utter frenzy." • nigedashimashita is the PL3 past form of nigedasu, from nigeru ="run away/escape." The verb suffix -dasu often has the meaning of "begin (doing)," so nigedasu = "take off running/get out of there."
0
Kacho: ... to iu hanashi da.
" •.. and that's the story." (PL2) • to iu is quotative, essentially making all the frames before this the content of hanashi ("story/situation"). • kacho is literally "section chief," roughly equivalent to " manager" in U.S. corporate structure.
0 capacity of ... ,"and mo = "even"--> "even as the general affairs section ..." (implying something [jke: " not merely personally/individually on the part of the workers involved, but even as a section, officially"). • hotte oku = " leave as is/ignore" • . .. wake ni wa ikanaku natta is from the expression ... wake ni wa ikanai, meaning " ... is out of the question" or "can't very well ... ," followed by the past form of naru ("become"), so it literally means " has become out of the question to ..." "is no longer possible to .. Jcan' t very well ... anymore." • ha is a very tentative sounding "yes/1 see."
44
MAN GAJIN
Kacho: Somu to shire mo hi'Jue oku wake ni wa ikanaku natta n da.
''It's gotten to the point where we in (the) general affairs (section) can't j ust ignore it anymore." (PL2) Okido:
Ha. "I see.'' (PL3) • somu refers to somu-ka, "the general affairs section" of the company. • ... to shire is an expression meaning "as/in the
!]' ~
QJ
<"». L. 1.- ·~$
• C h iis a k u U t s u kush i i K a m I
KachO: Okido-kun, Hanamura-kun, hi5hl5 wa makaseru kara fu tari de kangaete kuren ka. "Mr. Okido (and) Ms. Hanamura,
I will leave the method up to you, but I'd like you to think (about a solution) together." (PL2) Okido: Hai.
"Yes sir." (PL3)
Hanamura: Kono isogashii no ni, honto ni ml5-.
" When we' re so busy, really, (what a pain) already!" (PL2) • kuren kll = kurenai ka, which afler the -te fonn of a verb makes an infonnal request or gentle command .
• honto ni mo (literally "truly/indeed"+ "already/now") is an expression of exasperation.
0
Nar ator : Yiirei no hanashi de mochikiri no, koko Taiyl5 Denki wa,
T his company, Taiyo Electric, where the talk is of nothing but ghosts . .. gyl5kai demo goshi ni hairu hodo no daikigyo desu. is, in the industry, a large enterprise that fits within five fingers. -+ is an enterprise lar ge enough to be
counted among the top five in the industry. (PL3)
0
Narrator: lma made ni kiki-rashii kiki mo naku, hitasura seicho shi-tsuzuketa ch0-yt7ryl5 kigyo. An ultra-excellent enterprise that until now, without a crisis-like crisis, continued solely to grow.-+ A blue chip enterprise that until
now has continued its inexorable growth without encountering anything that couJd be called a crisis. Sign: (Dai) Rokujukkai Taiyo Denki Kabushikigaisha Kabunushi (Sakai)
The Sixtieth Taiyo Electric Shareholders' Meeting • X rashii X makes an expression for "a truly X-like X" or "an X worthy of the name."
0
Na rrator: Sore mo kaicho no Matsumura ShOzo-shi ga Iwate yori jokyo shi, taua ichidai de koko made kizukiageta no deshita.
And what's more, Chairman Matsumura Seizo came up to Tokyo from Iwate (prefecture) and built it up to this (its present size) in only a single generation. (PL2) • sore mo (lit. ·'that also") as a conjunction can have the meaning of ··and moreover:· • tatta emphasizes the smallness/minuteness of a number or amount.
[D
Narrator: Sono kaicho mo sakunen kyiisei shi,
The Chairman died suddenly last year, and . . . Sound FX: Kan kan kan ( ound of heels echoing hollowly through the hall)
Narrator : sono koro kara yiirei sl5dl5 ga okori-hajimeta no deshita.
it was from around that time that the ghost incidents began to occur. (PL3)
M ANGAJIN
45
!],~
• Chiisaku Utsukushii K ami
QJ Sound FX: Katchi.l Click (sound of elevator button)
Fa-. " Whew." (sigh of fatigue)
0 --------
,~~~~i~~~~~~\7~rll:§;;;=======-=:::;) ~ 0
Voice: Jarapachi ne ka?
''No jarapachi?" (PL2) SoundFX: Chi- n
88
Dinnng (sound of bell indicating elevator's arrival)
0
SoundFX: Goro goro goro (slight "rumble" of elevator doors opening)
0 oL: Kyaaaaa!
"Aaaaaack!" (scream)
12J Kacho:
A-, hai hai, wakatte-masu yo.
" Oh, yes, yes, I know." (PL3) Kacho: YL7rei desho. Chan-to re wa uchimasu kara.
" A ghost, right? We'll take appropriate action, so (don' t worry)." (PL3)
• it is standard custom for Japanese employees to refer to and address their superiors by title rather than by name. • 181 ro means "metropolis/capital" and I~ nai means " inside/within"; ronai is often the preferred way to refer to Tokyo, especially when actually in the city. • jinja ="(Shinto) shrines" and bukkaku ="(Buddhist) temples.'' • o-fuda (almost always with the honorific o- in th is usage) refers to rectangular slips of paper th at can be purchased at shrines and temples as "charms/ talismans·· to ward off evil or bring good fonune/health. They usually have the name of a deity wrinen on them. along with a word referring to their purpose, and they are most typically placed in family altars or on doorways. Essentially Lhe same thing imended for carrying o n one's person are called i.> ',}' IJ o-mamori. • atsumete is Lhe -te form of atsumeru ("gather/accumulate"). and kimaslzita is the PL3 past form of kum ("come"). The -te form of a verb followed by kuru literally means "(do Lhe action) and come," but its actual meaning often corresponds to English "go do (Lhe action)." • chimi refers to a "goblin," a spirit (sometime that of an animal) that takes on the guise o f a human and leads. people astray.
46
MAN GAJIN
• wakatte·(i)masu is the PL3 form of wakaue-iru ("know/be aware of'). • ytlrei can refer to a wide variety of ghosts/ apparitions/phantoms, but in strict use it refers to Lhe spirit of a dead person which appears in a form resembling that person. • chan-to = " properly/duly.'' • uchimasu is the PL3 form of wsu ("hit/ strike"). Te o w su (lit. "strike hands") is an idiom for " take action/steps (toward resolving a proble m)''; using wa instead of o adds emphasis.
ITJ Okido:
MiJ shinpai irimasen yo, KachiJ.
"There's no need to worry anymore, Chief." (PL3) Tonai yt7mei jinja bukkaku kara, o· judo o atsumete kimashita.
" We went and gathered talismans from famous shrines and temples all over Tokyo." (PL3) Talisman: Chimi Kofuku Goblin Surrender -+
Defeat to the Goblin
• irimasen is the PL3 form of iranai, negative of iru (''need").
'J'~
<.k LP~
• Chiisaku Utsukushii Kam i
----------------------------------
QJ
--------------------
Narrator: Tsugi 110 hi . . .
The next day .. . Talismanjn bac_k: Mamono Taisan
Demonic Presence Withdraw Sound FX: Wai wai wai (a standard FX word for lots of talking)
Man 1: Arya, sakasama da.
" Hey! It's upside down." (PL2) • arya is a variation of are!, an interjection of surprise, or a contraction of are wa ("that is").
[!] Okido: Sonna baka-11a. Chan -to hatta no nil! "That's impossible! I placed them right-side up!!" (PL2)
=
=
• baka " idiot/fool'' and baka-na ·'idiotic/ foolish/crazy," sosotma baka-na implies koro: "such a crazy thing." As an exclamation, sotma baka-na means "That's crazy/impossible!"
Hanamura: Hoka 110 kai mo zenbu sakasa 11i naneru wa!
"(The ones on) the other floors have all been turned upside down, too." (PL2) • sakasa is an alternate form of sakasama ("invened/upside down").
0
Hanamura: Marude kodomo no itazura ne.
"It's just like a kid's prank, isn ' t it." (PL2)
QJ
Okido: Kodomo?! " A kid?!" (PL2)
0
Man2: Kacho, korya shanai no mono no shiwaza ja 11ai desu ka?
[I)
" Chief, this must be the handiwork of someone inside the company, don' t you think?" (PL2) KachO: U- n. ' 'Hmmm." (PL2) Narrator: Konna koro mo atte, masu-masu sawagi wa hiromatte itta no deshira.
With incidents like this, the uproar spread wider and wider. (PL3) • IIUISU-masu = "more and more," and hiromatte itta is from hiromaru ("spread/ disperse over a wide area")
OL3:
OLJ : Hasegawa-san ga mira tte.
" Hasegawa-san said she saw it." (PL2) OL2: Uso-.
"Lie."
" You' re kidding!" (PL2)
Kowa- i wane- .
" It's so-o sca-a-ry." (PL2) Man3: Oro ga suru 11 da yo. " It ma kes noises." (PL2)
OIA: Hie!
" Yikes!" (PL2) OLS: Warashi, zangyo shinai wa!
"I'm not going to work any overtime!" (PL2) Man4: A none ...
"Now listen . •." (PL2)
MANGA JIN
47
_ __ _ __ __ _ _ _ _ _ _ _ _..:.. '1'__:~::......:<....::. 11 L P t$
• Chi is a k u U t s u kush i i K ami
~ Si n on Door: Shacho-shitsu
President • shacho literally means "company head" "president." The suffix -shitsu means "room/office." but in English. signs on office doors typically give just the occupant's title.
Shach.Q: Wakatte-ru n desu ka ?!
"Do you (reaiJy) understand?!" (PL3) Mo sugu kabunushi sokai desu. "The sha reholders' meeting is coming up
soon." (PL3) ShachO: Konna koto ga gaibuni hiromattara, mata sokai de IStttsukareru. " If word of something like this gets out, I'll
get picked apart at tbe shareholders' meeting again." (PL2) • kabtuw shi="shareholder," and sokai is "general assembly,'' referring to a meeting of the entire membership rather than of a representative group or executive board-+ "shareholders' meeting."
I2J Shachii: Taisaku wa dekite·nt n desha ne.
"I presume you have some kind of plan ready." (PL3) • taisaku, frequently translated as "counter-measure(s)," is the word most commonly used for referring to " plans/ planning" directed at resolving a problem of some Jdnd.
ITJ Kacho:
Ha, hail Jitsu wa somu ichido de yiirei taiji o keikaku shite-orimashite . ..
"Y-yes sir. In fact the entire general affairs section is planning a ghost hunt." (PL3) Shachii: li desha. Tonikaku so/...yii ni teo utte kudasai.
"All right then. In any case, please take action immediately." (PL3) • raiji ="subj ugation/eradication (campaign)''-+ "hunt."
0
Hanamura: Esa de warukatta wa ne.
~ Sound FX: Kata kata kata kata kata
"Well, excu-u-se me for being bait." (PL2)
Click click click click click (sound of computer keys)
Arrow: Esa
Bait Sound FX: Kata kata
Click click (computer keys) • ( . .. de) warukaua wane (for men.[. .. de jwarukaua na), spoken
sarcastically, is a common comeback to a derogatory/insulting remark, something like "So what if am?" or "Well excu-u-se me." Warukaua is the past form of warrti ("bad"). so the expression literally says "that was bad of me, wasn't it?" The leading ... de. which repeats a key word or phrase of the insult, is optional.
48
MAN GAJIN
0
Kachii: Hollfo ni arawareru ka ne?
''Do you really think it'll appear?" (PL2) _Qkido: Ee, kore dake joken o soroete yareba, esa ni tsurarete kanarazu kimasu.
"Yes, if to this extent we line up the conditions, it will be drawn by the bait and come for sure." -+"Yes, we' ve set up all the right conditions, and I'm positive it' ll take the bait." (PL3)
'J' ~ <'fJ. L" •:fill • Chi is a k u U t s u kush i i K ami
[D
0 QJ
0
Hanamura: Ha! (catching breath from being startled) Ghost: Jarapachi ne ka? "No jarapachi?" (PL2) Hanamura: De ... de de de ... de de ... de ... de ... de ... (terrified stuttering over the beginning of her cry in !he next frame) Hanamura: Deta-. " II appeared!" -+ "It's here!" (PL2) • deta is the plain/abrupt past fonn of dent. "emerge/come out/appear... It· s the standard exclamation/cry/scream when you think you see a ghost/apparition/etc.
0
Man: Matte-mashita! "We've been waiting!" " Let's do it!!" (PL2) Kacho: Kono yariJ! "You S.O.B.!" (PLI) • the exclamation matte-mashita! is essentially a contraction of matte-imashita, the PL3 form of matte-int ("am/is/are waiting") from matsu ("waif'). so it literally means "Uwe have been waiting (for this):· Its use as an exclamation really doesn't have a PL3 feeling in spite of the -mash ita ending. English equivalents range from "All right!/Let's go!/What're we waiting for?" when spoken as the speaker springs into action, to "All right!/Bravo!/Now we're talking!" when a star performer o r athlete makes his appearance. • yarii is an infonnal word for "guy/fellow,'' so kono yarii looks benign enough in its literal meaning of "this guy/fellow"; but it is in fact an insult.
0
Man: Uwa-! " Yow!" Sound FX: Baki Beki Crack! Crunch! (sound of bats/clubs hitting home) Man: Hiee! "Yikes!"
Sound FX: Gashan Crash (sound of glass or office machinery being smashed)
OL: Kyii! " Aaack!" (scream) Sound FX: Doshin Thud (sound of ome!hing heavy hitting the floor/ground)
To be continued . ..
M ANGAJIN
49
The series: HOTEL is an ongoing feature in the bi-weekly magazine !::' ·;; 7' ::J ~ 7 7 (Biggu Kommikku = Big Comic), from Shogakukan. As is the case with most popular manga series, collections of the stories are also published in separate volumes called !f!fi;.f;: (rankobon). The story we present here is fro m Vol. 21 of the tankObon series, publi hed in 1993.
The artist: lshinomori Shotaro is one of the top manga artists in Japan. He is known in the US for his economics text-manga Japan, Inc., an English translation of B ;.$:*£~.Ar~. Nihon Keizai NyLimon, " An Introduction to Japanese Economics" (Japan Inc. is available through MANGAJJN, see page 85). Ishinomori was a "disciple" of the late T ezuka Osamu, the man generally credited with developing the format of the modern J apanese story-comic. Many consider Ishinomori to be T ezuka's successor. Arrangements have been made for a MANGAJIN interview with lshinomori, but it was not quite in time for this issue. Look for it in No. 3 1, along with Part II of this story.
by
ii88~1B lshinomori Shotaro
The stories are set in the fictional - i!rL (ichi-1yii, "first class") Tokyo hotel 7'7 1- / (Puraton, "Platon"), and revolve around the hotel staff (as regular characters) and the guests. The main character in this particular story is Dr. Jinbo, a promi ing physician who left the staff of a prestigious university hospital to take charge of the clinic at the Platon. She made that career change partly because she had doubts about the way patients were treated in a big hospital-at the hotel she can take a more personal, human approach. ow, some of her former associates and teachers think her talents are being wasted at a hotel clinic, and are trying to lure her back to the university.
Dr. Jinbo
The video: HOTEL has been made into a " TV drama," miniseries, and rental videotapes are available through some Japanese markets. Ask for Hoteru no terebi dorama. © lshinomori Shi'ilaro, All rights reserved. First published in Japan in 1992 by Shogakukan, Tokyo. English translation rights arranged through Shogakukan.
M ANGAJIN
51
~~~~
7
1)
=- '/ 7
·· ·c· ;~ ~ ~. ,
: L-t.:···?
52
M A N GAJIN
*7Jv • Hotel
-----------------------------------------[Q
Title:
~
s~
186
Dai Hyaku Hachijiiroku Wa: No.
186
story
7
1)::.. '/
7
Kurinikku clinic
Story 186: The Clinic Doctor:
t •? t.t ~ v' i Do
L t:.? nasaimashita?
what/how
did
"What seems to be the problem?" (PlA) • nasaimashita is the polite past form of nasaru, a PiA verb meaning "do." Do nasaimashita is the PiA version of do shita ("how/what" + plain/abrupt past of suru, "do"), which has the idiomatic meaning of "What's wrong?/What's the maner?/What happened?"
- - - -- - - - - - -- - - - - - -- F_e_ a _t_u r e • S t o r y (cominued from page 13)
• Shukubo cmm, temple lodgings): Staying at a 1,000-year-old temple can be a wonderful only-in-Japan experience, but the traveler ought to realize that the accommodations will probably be bare-bones (a spot on a tatami mat in a common room) and the wake-up call, early (temple bells have a way of going off at the crack of dawn). Temples and shrines have long provided lodging for pilgrims, and even today, you may share your tatami with elderly pilgrims, dressed in white, who are on the traditional tour of the 88 temples of Shikoku. Some temples offer outsiders a chance to experience a bit of the religious life in the form a mediation session or retreat. But even the non-religious traveler, who quails at the thought of the evening "getacquainted" meeting, might cons ider temples simply because the prices are, at ¥1,500 and up, among the lowest around. • Saunas (olf? -t-, Sauna): Though not usually considered all-night accommodations, saunas offer visitors "quiet rooms" where they can stretch out for a few hours (or a night) on mats or lounge chairs. On weekends they are often crowded with salarymen trying to sweat out or sleep off the excesses of the evening. In addition to the quiet room and an "authentic" Scandinavian sauna room (birch switches optional), many saunas provide whirlpool baths, showers, Japanese-style ofuro, coffee shops, restau-
rants, bars, and the services of trained masseurs. The laid-back atmosphere will be a revelation to the newcomer whose image of the average Japanese is workwork, rush-rush. They may also be a disappointment to women; for some reason, women's saunas tend to be smaller and less luxuriously appointed than men's. The price of the whole package, not counting the post-sauna beer, is about ¥5,000 to ¥7,000. • Gaijin Houses (~i-A''? .A, gaijin hausu): Another only-in-Japan phenomenon is the gaijin house. Essentially rooming houses or apartments that specialize in accommodating foreigners, dozens of gaijin houses have sprung up over the last decade in Tokyo. Their residents are mainly world traveler types who want to stay in Japan longer than the average tourist, but don' t want (or can' t afford) the aplito or manshon of the average resident. Usually located at the fringes of the central city, they offer the advantages of a short commute, reasonable rent, no key money and no encounters with the real estate agents who suck wind through their teeth every time a foreigner walks in the door. Some even offer dirt-cheap accommodations by the day or week, usually in dorm-sty le rooms. The disadvantages include living conditions that sometimes give a new, unpl easant s pin to the term "gaijin ghetto." "If all you want is cheap rent,
fine, but at some of these places you'll have to live with cockroaches and rats-the level of cleanliness is really low," says Togo Ken'ichi, the owner of the Tokyo English Center, a pioneer gaijin house in Fujimigaoka. Perhaps because of the recession, o r perhaps because they got tired of setting out Gokiburi Hoihoi (a popular brand of roach trap), more gaijin have been moving out than moving in. "We've had a 10 to 20 percent drop in the last year alone," said the manager of several gaijin houses in the Tokyo area. "We've even had to close one down recently. It's a bad situation." Foreigners interested in staying in a gaijin house can begin by checking the listings in English-language city magazines or listening to the gaijin grapevine. Some gaijin houses. like Tokyo English Center, also welcome Japanese. " By staying here, Japanese students can improve their English--and by roo ming with them foreigners can improve their Japanese," says Togo. Travel may be broadening, but internationalism can also begin at home. (If you would like more specific information about lodging in Japan, contact JNTO [Japan National Tourist Organization] inN. Y. at 212-757-5640.) Mark Schilling is a free-lance writer living in Tokyo.
• quail = L IJ :::: ~ T .Q shirigomi suru • sleep off the excesses of the evening = ~ '( f' Q:>i'XfiX~ i' ~ t..: jjllj Q) M:v' ~ ~ i "t 11ete sor10 yoru 110misugira sake 110 yoi o samas11 • authentic= :<$:~(7)/: t..: J:? 1:) 00c7Jillln' ;,Q, ~ipk v'.::. tr (komalla yiJ 11i) ha no aida kara iki o suikom11 • grapevine= 7 1-::3 ::. kuchikomi
--------------------------------------------~
MANGA J IN
53
* -r Jv •
.. .... B*"-l;t
iifr."t'i"b•?
54
M A N GAJ I N
H o te I
;f;-T Jv
(2]
Patient: t;,
J:.
-=> c
Chouo a linlc
• Hote l
\'I
(J)
~ f-
nt
i:> n' l "'
i
no
chrishi
go
okoshii
lv n
-z:-t.., ~
a-
'b t.J ~i-tt lv
n''!
desu. Kusuri
o
moraemosen
ka ?
stomach 's condition/state (sub.) strangc/ubnormal (explan .)
i;
medic ine (obj.) couldn't I receive
'!
"My stomach is_feeling a bit strange. Could I have some medicine?" (PL3) i:> ft ·J~ "t" T n'? o-shigoro desu ka ?
Doctor: R ...fi: "' li Nihon e Japan
wa
?
to a'- for (hon.)-work is it
"Did ~orne) to ~pan on business?" (PL3) • moraemasen i~ the PL3 negative of morau ("receive'"). M aking a request with a negative que~tion make~ it more polite. • the particle e is used to mark a destination, so ··come (to)" is understood. • the horizontal lettering. called yokomoji fiYi)c(: (literally " horizontal letters/writing." an idiom for "European languages"). in ~orne of the dialogue here presumably implies they are speaking in English or another Western language.
0
Patient: ~ ~, fJJ ~ '"(
!::" :; 7" !::" :J ;f, A ~ lv "t"T o
(J)
£e,
hajimere no biggu
bijinesu
ye~
first time (=)
businc.,., (cxplan.)
big
no 11 desu. i~
' 'Yes, it's my first big business venture (in Japa!l}." (PL3) • hojimere ="for the first time" and hojimere no= " the first - ."
0
Doctor: ~
li
Kusuri
ll'o
£·~
~-=>c
c M~-c
-z: ~1~~Lt.:
j?fJ i-ttlv o l{:Mt (J) ft$ -tt"' hirsuyo arimasen. Kiuo nagarabi ro lwjimere no shigoro de kinclui shiro sei
medicine as-for necessity
Surely long trip and first time (=) work (cau~c) ten>cd up
not exist
result
"t"lt.-? desha. is probably
" You don' t need any medicine. You' re probably just tense from the long trip and (your concern abotill_y_our new venture." (PL3) • hirsuyo arimasen is the PL3 form of hirsuyii (walga) nai ("the necessity doesn't exist'' "i~ not necessary"), negative form of hirsuyo (ga) oru ("the necessity exists"). Hirsuyo can also be used wi th da/desu ('"is/arc") in which case the negative form is hirsuyo de (wa) nai or hirsu_vii ja nai (lit.. "is not a necessity''). • kiuo can range in meaning from a wishful/ not very confident "maybe/perhaps." to a "probably/surely/certainly/undoubtedly" spoken with a high degree of confidence. but it stops short of absolute ~ureness. It's often echoed by a conj ectural form at the end of the sentence, like desha ("is probably") here. • nagarabi to hajimere no shigoto de kincho shira is a complete thoughtl~cntcnce ("[you] got tense from the long trip and your first-time venture'") modifying sei. which is a noun meaning "con~equence/re~ultleffect" • "the result/effect of getting tense from .....
Doctor:
- 1~ !1>0 {~;,.~: ~h.li, Konban hiroban yukkuri o-yaswni ni nareba.
A,l~
tonight
one night
if (hon.)-take re~t
leisurely
-t<·
;c~
~:~
sugu
genki
ni narimasu
fJ iT \'O!
soon/immediately stro ng/healthy will become (en1ph.)
" If y_otLget a good night's sleep tonigllh_you'll feel better in no time." (PL3-4)
Patient:
* '1 '"(' T n' 1
!?
Honro desu ka!?
truth
is it?
" Reali ?" (PL3) • yukkuri is litera lly "slowly/leisurely/without haste."' but in idiomatic usc it's often closer to the English meanings. "quietly/gently/peacefully/at one·:. case."
• o-yasumi ni nareba i a conditional "if' form of o-yasumi ni naru, a PLA form of yasumu ("'rest/sleep"). • genki is a noun referring to good spirits or a vigorous state of health/energy. and genki ni narimasu is the PL3 form of genki ni naru. lit. " become genkt'-> "become well/ return to heal th."
Kiuo
shiidan
mo umaku
surely business 1alks also
well
iku
koro
desha.
will go thing i!, probably will go w~ too, l'llLsure."
"And our business talks Patient: j? IJ -/){ c -? o i? ~ t.:. (J) .l -?
~
~· 7
1-
1Jf ::.. (J)
Arigarii.
Anara
no yo-na
dokurii
ga
th:m k you
you
like
doctor
(~ubj.)
;t- T
(PL3)
Jv 1:
ko no haleru ni this
hotel
at
~' "( Cit"(
liJJ n'-:> t.:!
iTe kurere
rasukaua!
cx i~ts
for me was saved/helped
"Thank you. Because there is a doctor like you for me at this hotel, I have been saved!"
"Thank you. What a relief it is that the:y have a doctor like you at this hotel!" (PL3) • umaku is from runai ("good/skillfu l"), and umaku iku ="(will) go well." • koro is l iterally "thing.'' but here refers more abstractly to "situation/outcome.'' and desho = "is probably.'' T he expression ... koro desho literally means ''the situation/outcome will probably be that ..." • ire is the -re form of iru ("be/exist [in a place]" for people and animate things). and kurere is the -re form of /..ureru ("'give [to me]"'). A form of kureru after another verb implic'> the action of that verb benefits the speaker (or someone he identifies with) in some way. T he -re form of kureru indicates he is giving the cause/reason for stating tasukolla ("I have been saved " ).
M ANGAJ I N
55
*7" Jv • tt .........:
fil
$
$\; ~
!!
56
M ANGAJIN
-~ il "; ~ 1.> '/)' ~ tl
: •< .c·' A, (J)
H o te I
~I
-~ 1: 1¥
T $\; 0 ~
:t-rJv •
Jinbo Sensei.
okraku-sama
Hotel
-----------------------------------------
desu.
(hon.)-g~estlvi\itor-(hon.) is
(name-title)
' 'Dr. Jinbo, you have a visitor." (PL3) Dr. Okabe: ~ ~ (i c.', .: .: 1J< ~~
koko
ga
Jinbo-kun no shigotoba ka.
here/this place (subj.) (name-hon.) · s workplace
?
" Aha, so this is Jinbo's workplace, is it?"
"Ahlh.SO this is where y_ou work." (PL2) Dr. .Jinbo: IM!lm:1t1:. !! Okabe Sensei! (name-title)
" Dr. Okabe!" (PL3) • kyaku is here used for "visitor." but it can also be used for referring to hotel "guests" in general. or to "customers/clients" of almost any kind of business. 0- and -sama are honorific. • narulwdo expresses one's understanding of what one has heard/observed/experienced: ''aha/1 see/indeed/really." • in Japanese it is quite common to refer to one's listener by name when an English speaker would say ··you," so Jinbokun ="you" in this case. -Kun is typically used with the names of young males, but it can also be used with women by their superio rs. Especially when used by a superior. it feels quite a bit less formal than -san. so in most cases it seems better not to tran~late it as "Mr./Ms." • the question indicated by ka is strictly rhetorical. The question form is often used like this as a kind of self-confirmation when the speaker has just observed/figured out something, with the feeling of "So it's .... is it?/1 guess/it seems."
(!]
Sign: B ;;$: Nihon
f~~i!i~
~tl;
lshikai
Kaijo
Japan doctor's association meeting place
Japan Medical Association Conference Room • kaijo is literally " meeting place." and it can refer variously to a single room, several rooms, an entire building, an outdoor facility. etc., depending on the nature of the meeting.
Dr. Jinbo: B.-$: Nihon
~ili!i~
(f)
~fr
iJf ..if B t!. -::> '"C ']I. ,
lshikai
no
kaigo
ga
kyo da
tte
·ttL< '"C T -::> iJ' ~ ~tL '"C v' i Lt.:!
koto, isogashikute sukkari wasurete-imashita!
Japan Medical Association ' s mcetinglconfcrcnce (subj.) today is (quote) thing because busy completely
had forgonen
" I was so bus that I completely forgot that the Japan Medical Association Conference was todaY." (PL3) • tte koto is a colloquial version of to iu koto, a quotative form like "the fact that ... ,"which essentially turns the preceding complete thought/sentence ("The Japan Medical Association conference is today'') into a noun. The particle o, to mark that noun as a direct object. has been omitted after koto. • isogashikute is the -te form of isogashii ("be busy"): again, the -te form is used to indicate the cause/reason for what follows. • wasurete-imashita is the PL3 form o f wasurete-ita ("had forgotten''), past of wasurete-iru, from wasureru ("forget").
Dr. Okabe:
1~1~1'
Ha ha ha (laugh)
Hisasltiburi ni
nakoma ya
onslti
ni
au
hi
o wasureru name . ..
for lirst time in long time friends and teachersfmentors with meet day (obj.)
forget
(quote)
"(Laugh) To forget the day of meeting your friends and former teachers for the fi rst time in a long time (is ridiculous/silly).
" Ha ha ha. How can vou forget the dav when vou' re to see the friends and former teachers y_ou haven 't seen in so long?" (PL2) • onshi refers to a respected teacher under whom one has studied. Tho ugh a person could refer to any of his teachers as his onslti Uust as he might call them sensei) more typically the term is used for those most central to his training in his " major professor/mentor." chosen field of specialization • hisashiburi ni nakama ya onshi ni au is a complete thought/sentence ("meet friends and former teachers for the first time in a long time'') modifying hi ("day"). 0 marks this as the direct object of wasurem ("forget"). • nante is a quotative form that implies the action described is somehow inappropriate - i.e.. ridiculous/astonishing/etc.
M ANGAJIN
57
--------------~*:!_7Jv • Hotel
58
MANGAJIN
;J;f" Jv • Hotel
[8
Dr. Okabe:
t!. J: ! .s., .s., ...
L. IJ' 'b Sllikamo kimi no lzoreru de yaru funhcrmore your
hotel
at
da yo! Fufu .. .
11
do (cxplan.) (cmph.) (chuc kle)
"Especially when it's being he ld at your hotel! (chuckle)" (PL2)
fL.
fl~lj: f..<;{.(- t;r ytlslul-na oshiego ga
li
Warashi wa Vme
C::lvlj: donna
tf:$
~
l...'tv'¢ IJ'
.(.,!ft'_f!?f..:
1Jf
bo
shigoro
o
shite-iru ka
shinpai datto
ga
ne.
as-for superior/best student (subj.) what kind of work (obj.) is doing
? was worried/concerned but (colloq.)
''I was worried about what kind of work one of m y best stude n ts was doine:.'' ( PL2) 1tlli*9c~
Akagawa: "'--,
He.
? 't -flvlj:l: fl~ f!?t.:. lv-r:t'IJ'?
Jinbo Sensei
tte
(cxclam.) (name-title)
sonna ni
ytlslul datta
(quote) that much superior
was
11
desu ka?
(explan.-?)
" Wow! Were you really that good, Dr• .Jinbo?" (PL3) Dr• .Jinbo: -f/vlj: Sonna
$koto
~"' nai
:b
J: o
wa
yo.
that kind of thing not exist (fern. colloq.) (emph .)
" Not a t all." -+ " He's exaggerating.'' (PL2) • kimi is an informal "you:· generally used only by males to address equals or subordinates. Kimi no= ''your." • oshiego, from oshieru ("teach") and ko ("child'') is a term used by teachers and professors for somewhat endearingly referring to their "students/disciples/academic proteges ... • slrire-irtt is the progressive ("is - ing") form of surtt ("do"). • ytlslul-na oslriego ga donna slrigoro o slrite-iru ka is a complete question (''What kind of work is [one of my) best students doing?"), and slrinpai daua is the past form of slrinpai da ("am/is/are worried"). Shinpai datta after a question makes a semence like "I was worried whallwho/when/how/etc... :· • Ire is a light exclamation, like "Gee!/Wow!" givi ng the feeling that the speaker is at least mildly impressed. • tte here is a colloquial equivalent of to iu no wa, which is often just a fancy wa ("As for ..."). • ytlslu7 dana is the past form of ytlshtl da ("is superior"). • sonna koto nai is an idiom for denying the accuracy of somethi ng that has been said, especially for modestly playing down compliments.
~
Dr. Okabe:
t$~ < lv, Jinbo-kun, (namc-hon.)
"' "' t;~,
1 (!) 7 ) =-"I 7 b hoteru no kurinikku mo
;J; 7" Jv hmel
s
clinic
ii
ga.
also good/fine but
m:?-c*.o
-? f::>(l) *~ 1: uchi no daigaku ni modotte kuru
9<\
li
ki
wa
~"' IJ' nai ka
b? ne?
my/our university to return/come back desire/interest as-for not exist ? (colloq.)
" J inbo workil'lg at)a hotel clinic is fine too but wouldn' t_y_ou like to com e back to our universitrl" (PL2) Dr. inbo: .;{. };:''f:. Wi AA: 1:?! £ Daigaku byoin ni? huh university hospital
to
" What? To the univers itl'.J!.Qwital?" (PL2) • modotte is from modoru ("go/come back''), and kuru= "come.'' A form of kum after the-re form is often used when speaking o f actions that move toward the speaker in some sense (in this case toward the speaker's workplace), especially with words like modom where the direction is otherwise ambiguous. • uchi no daigakuni modotte kum is a complete thougbllsentence ("come back to our university'') modifying ki ("desire/interest"). • ki wa nai is the negative form of the expression ki ga am, literally "have a desire/wiiVintent." The expression ... ki wa nai ka (lit. ·'don't [you] have the desire to .. . ?") is equivalent to "Wouldn't you like to .. . ?" • asking questions with kane is mostly reserved for superiors speaking to subordinates. Using only the abrupt ka can sound quite rough, so ne softe ns the question.
~
Dr. Okabe:
.fL. Waraslri ro shire wa kimi 110 yo-na Umc
as-for
you
<
.::. (!) i i t: L. "l !:3 (!) ko110 mama ni shire oku 110
lca'e as is
like
ytlslul-na
isha
o,
superior/excellent doctor (obj.)
li
¥:1l::t
wa
;:{mnen
l:t.lv f! nan da
J: 0 yo.
(nom.) as-for disappointmenllregret (explan.-is) (emph.)
" From m y point of view, it's a disappoinonent to leave a n excellent doctor like you as you are." " I hate to see an exceiJent doctor likeJOU just keep going as ~ou are n ow.'' (PL2) • warashi to sltite IJ'a is literally like saying "as for on the part of my e lf," but here you can think of it as just a formal/ wordy wa, to set up the topic (watashi wa = ''As for myself, ...") • "If you ask me/from my point of view, ..." • kimi 110 yo-na ("like you") modifies the combination yt1slul-11a ("superior/excellent") + isha ("doctor"). • slrite is the -re form of suru ("do") and oku means ··set down/leave," so the combination literally means "do and leave." Kono mama ni shire oku is an expression meaning "leave as is.'' No is a "nominalizer" that turns this action into a noun and wa makes it the topic: ''Leaving you a you are (is a disappointment)."
M ANGAJtN
59
*7Jv • Hote l
60
MANGAJIN
*7 Jv • Hotel
G
Dr. Okabe: t.J:
7 ,
Na,
~EB
right?
(name-hon.)
" Don't vou a2ree Shibata?" (PL2) li &? ~: i L-< ilt ~li:' v 'o lv t!.! wa mezamashiku shi11po shite-ir11 11 da!
~~ igaku
Dr.Shibata: ;t ;t , Ee.
yes medical science as-for very rapidly
is advancing
(explan.)
"Yes medical science is advancim! verv ra~" (PL2) ~ li ~-:> c ~~i LJ.:v' c .%!.bf.J:v' (J) iJ'v'?! Kimi wa
motto benk)•iJ shitai
you as-for more
to
omowanai
110
kai?
want to study (quote) not chink (explan.)
?
"Don't vou think vou'd like to studv some more?" (PL2) Dr..Jinbo: ~ 1;,-? lv ~~m li l t.: v' It c' .. . Mochiro11 benkyo wa of course
shitai
kedo . . .
study as-for wane to do but
" f course I'd like to studv. but . . ." (PL2) • na is a masculine ne. which can be used all by itself to seek agreement/confirmation from a third party other than the person you are directly addressing. • mezamashiku is the adverb form of mezamashii ("striking/spectacular/splendid/brilliant"). • shinpo shite-iru is from shinpo sum ("to progress/advance"). • n da is a contraction of the explanatory 110 da, here used simply for emphasis. • benkyii shitai is the "want to" form of be11k)'iJ sum ("to study"). • omowanai is the negative form of omou ("think"). • 110 is the explanatory 110, essentially asking for her to explain her thoughts/views on the matter. and kai is an informal equivalent of the question particle ka, with a "softer"/friendlier tone. • the wa ( li) after benkyo(~ ~m) in Dr. Jinbo· s response implies that there is something else she'd like to do besides or in addition to studying.
Dr.Okabe:
~
L-
~
Moshi kimi if
~:
.f (J)
~
7,){
~ J.>tj:£? ,
ni
sono
ki
ga
aru nara,
you within that desire/interest (subj.)
if exists
~B
ashita
lm'*
~
fl- (J)
$~"' *tj:~lt' o
yoji goro watashi no heya e
tomorrow 4:00 about
my
kinasai.
room to
come
" If you' re interested, come to my room around 4:00 tomorrow." (PL2) l*ln (J) tl~JX. no ~~tf a-- *l:l1l--t '-> r)' Go Naika
110 ken 'i, Kaga KyiJju
o
slu5kai suru
kara.
internal medicine of authority (name-tille) (obj.) will introduce because/so
"(Because)_I'll introduce vou to Professor Ka2a the l2reat) authoritv on internal medicine." (PL2) • moshi is almost always echoed later in the sentence by a conditional ("if') form - in this case an1 nara ("if [it] exists/if [you] have"). • goro (or koro) follows words indicating a point in time to give the meaning "about (the stated time)." For amounts of time (as well as other things) the word for "about" is gurai (or kurai). • kinasai is a relatively gentle command form of kuru ("come''). • naika combines R nai (also read uchi, "inside/within") with the suffix H -ka, which designates departments/specializations of study and medical practice__. "internal medicine.'' Naika no ken 'i ("authority of internal medicine") could also be translated "the famous internist."
~
li
*~1:
*~ml!ft:
(thinking) Jinbo Sensei wa
hoflliJ ni
daigaku byiJin
Akagawa:
1*1*7t~ (name-title)
?~IJ
f.J: (J)
i.l'IJ:?!
ni modoru tsumori na no
kana?
1: .Q!; J.>
as-for cruly/really university hospital to
return
intent (explan.) I wonder
"As for Dr. Jinbo, is she really of the intent to rerum to the university hospital, I wonder?" " I wonder if Dr. Jinbo really intends to 20 back to the universitv hosoital." (PL2)
Sign:
~ft
Uketsuke
Registration • • • •
daigaku byiJin ni modoru is a complete thought/sentence modifying tsumori ("intent"). na no is the form explantory no takes after nouns. kana asks a conjectural question, "I wonder if .. Jls it perhaps that ... ?" uketsuke can refer to a "receptionist/reception desk" or to the act of "checking in/registering" for an event.
MA NGAJIN
61
;f-;7" Jv • Hotel
62
MA NGAJIN
:a-
Kurata: X. - ·:; ? "17 1- / £!
~ ¥> 7.> ?! o l'ameru?
Puraton
what'?
(hotel name) (obj.) ·
quit
" Wha-a-at? Quit the Platon?!" (PL2) 1 1. t!. !i -:>
Akagawa: -f h. !i Sore IVa
I
that a•-for
~
tt C:' .. .
rJ C: !i ;b iP I? :>j: ~'
mada
ilakkiri to
still/yet
clearly
IVa
wakaranai kedo . . .
as-for don't know
but
" I don' t know that for sure, yet_, but . .." (PL2) • mada followed later by a negative means "not yet." • wakaranai is the negative of wakaru ("come to know") as well as of wakaue-iru ("know").
Kurata: t!. ·:; -r, Daile.
trlrj¥jt~
li
Jinbo Sensei wa
but
t' -:> C: .: (J) zu11o
Jv 1: "' 7.>
;J-: 7
kono iloteru ni
(name-title) as-for all along this
hotel
at
-r ... !!
-:>
iru
lie ... !!
be
(quote)
" But Dr. Jinbo will stay on indefinitely at this hotel, she said/1 thought." " But I expe_cjj!d Dr. Jinbo to s tay at this hotel forever." (PL2)
Matsuda:
1..-
n' 1..- lft 1lt ~ lv
Shikas/1i but
(J)
Todo-san no
.,fi
1.::: J: 7.> C: ,
lwnashi
ni rom ro.
(name-hon.) 's storyl:tccount according to
1'$1.!t!:J'i/l:.
)( !!:f:~.Ai lli£
li
Jinbo Sensei wa (name-title)
daigaku byiJin
n':>j: I'J
~
<:
de mo
Mf:if~
kanari
n -r t.:
J: -J t!.o
kitai sarete·W
yiJ da. as-for university hospital at also considerably be eltpected/anticipatcd seems to be
" But according to what Mr. Todo said, it seems Dr. Jinbo was regarded with great expectations at the university hospital. too." " But according to Mr. lodii.1 it seems the university hospitaJ had great expectations for Dr. Jinbo as well." (PL2) • da11e has several uses as a conjunction, including the meaning of "but." • zu11o means ·'all through/throughout (a period of time)," and when no period of time is specified it means ''all along/ indefinitely/for the foreseeable future/forever."
• 11e is a colloquial equivalent of the quotative panicle to, implying to ilia (''said [that)") or to omo11a (''thought [that]") or another equivalent. She could mean that Dr. Jinbo herself told her so. or that she has some other reason to think so.
• yoru ="be based/founded/grounded (on);· and to after a verb can have a conditional"if/when·· meaning. so ... ni yoruto is literally ·•if (my conclusion) is based/founded on'' -+ "based on/according to .. :· • kitai sarete·(i)ta is a passive past form of kitai suru, "to expect/anticipate" • "was regarded with anticipation/expectations." Preceding this with kwwri (''considerably") makes it literally "was considerably regarded w ith expectations" - • "was regarded with considerable/great expectations."
c 1..- -r ~ 141 L. t.:. ~.o'
(J)
:>j:
I?
I
M 7.> n' 'b L. h.lv
Mosili isha to shire benkl'iJ shitai
no
nara
I
modoru kamo shiren
Matsuda: 'b
1..-
ir
I~ .X· doctor
wani to ~tudy (cxplan.)
as
if
return
might
~o
na. (colloq.)
" If he wants to siUdy as a doctor, she might go back." " If she wants to studv medicine some more she just might go back." (PL2) • ... to shire is an eJtpression meaning "as/in the capacity of .. :· • kama shiren is a comraction of kamo shirenai ("might/maybe'').
Kurata: -f lv :>j: Sonna
koto
ni
that kind or thing/situation to
nallara
Purmon
iCbecame (hotel name)
no
kurinikku
's
clinic
wa
do
naru
11 desu
ka?
as-ror what/how will become (ex plan.· '?)
" If that happens, what's going to_become of the Platon's clinic?" (PL2)
Matsuda: .:. , 1& 11:
a-
11< -t
Ko. k()llill o sagasu su- succcs,or (obj.) look for
. . . '- n' 1j: ",
t.:. 7-J 1
... s!Jika nai
dan)
1j: o 11a.
have no choice but to probably (colloq.)
" We'll have no choice but to find a successor, I imagine." (PL2) • koro i~ literally "thing:· but is often used more abstractly to mean "situation/circumstance:· • na11ara i'> a conditional form of 1Umt ("become"); the preceding ni marks the result or "destination" of the "becoming:·
• shika +a negative (-nai) basically means "only"; shika nai after a verb (sagasu ="search for'') implies that doing that •
action is the only option: "have no choice but to (do the action).'' /::"- is a non-standard spelling of/::' -'J do; writers may use the katakana long mark with hiragana for any number of reason~. but here it's perhaps to indicate the sharpness of her tOne, which is also reflected in the final small tsu.
(cominued onfollowin~ pa~e} M ANGAJtN
63
*7-Jv • Hote l
64
MAN GAJ IN
*7 Jv •
Hotel
-----------------------------------------
(cominuedfrom previous p(lge)
So
kantan-ni mitsukaru
that much/so easily
"·ake
nai
ja nai desu ka.'
be found reason/situation nOt ex 1st
is it not that?
"There's no reason (a succes or) will be so easily found. is there?" "And that's Ml.gQing to be so easy, is it?!" (PL2) ~~ FB ~ lv , t:t !v c 1J' ':! I ~ .11: b6 -r:
nantoka
hikitomete
kudasai!
(name-hon.)
somehow
stop/restrain
please
"Mr. Matsuda, please stop her somehow!" ''You 've I!Ot to do something to sto~Mr. Matsuda!" (PL2) Matsuda: !v t:t $ ~· -:> t.:. -:> -r: ... koto
ittaue ...
that kind of thing
N-11a
even if say
"Even if you say that kind of thing ... " - "That's easv for vou to say, but ..•" (PL2) Akagawa: fllli~%~
c.·-? -r.o
- 1*
Jinbo Se11sei ittai (name-title)
do
-:::> b I') t:t lv suru tsumori na 11
(emph.) what/how do
t:.l:>-? '! daro.'
intent (cxplun.) I wonder
' '1 wonder what in the world Dr. Jinbo_jntends to do." (PL2) • wake means "reason/cause," so a verb followed by the expression ... wake (ll'a/ga) nai literally says "there's no reason that action will take place"- i.e.. makes a strong denial that that action could occur. • ja 11ai desu ka is often a rhetorical question that in fact serves as a strong assertion - ·'Isn't it so? Of course it is!'' -especially when spoken as forcefully as it is here. • hikitomeru combines hiku ("pull/draw'') and wmeru (''stop/bring to a halt"), so it conjures the image of pulling/ hangi ng onto a person to prevent him/her from goi ng. • -le kudasai usually makes a fairly polite request. but her sharp tone here makes it more of an insistent demand. • n-11a is a contraction of son11a. "that kind of," and iuaue is a colloquial equivalent of the conditional iue mo, "even if (you) say. • wa to mark the topic has been omitted after Jinbo Sensei. • iuai is an emphasizer for que~tion words: "(What) in the world?/( How) on earth?/etc ...
Sign: :tJ:I·tl i~A
B
Shadcm Hojin
*
~ffili~ /shikai
Nihon
"{:fi. '92 Gakkai Kyiijiini.
non-profit corporation Japan Medical Association Conference Ja~an Medical Association Conference~2
'92
• slwdan hojin is one of quite a few classifications of lrOjin ('juristic persons" incorporated bodies) under the Japanese Civil Code. Hojin classifications indicate the legal "personal ities'' of organizations, such as whether they are for profit or nonprofit, private or public, charitable. religious. cultural, professional, etc.
~
Dr. .Iinbo:
~rn < 1v tJ~ Sllibata-kw1 ga
llM!
(name-hon.) (subj.) assistanllassociate professor
" You' re an associate orofessor?!" (PL2) Dr. Shibata: "'~~. ~ t:.-:>-r: ~(7);£ i lyli,
*~ 1.: §.\hl:~t'IHf, kimi datte ano mama daigaku ni nokotte-ireba,
no
you
also
a.~
you were university at
if had stayed
~It~
.ltJJ~t~
<' 1?\t'
t:t-:>1:\t't.:.
~!
imagoro
jokyoju
gurai
naue ita
sa.'
about now associate professor about wou ld have become (colloq.)
"It's nothinl!. If vou had staved at the university,_you' d easily be an associate professor b_y_now too." (PL2) • her use of -k1m in addressing Or. Shibata shows she regards him as a peer rather than a superior: from that and from what he says, we can surmi e they were in the same "class" of Dr. Okabe's proteges. • jokyoju (written with the kanji for "assist" and "professor") come under kyoju ("full professors") in the Japanese system for ranking university faculty, but beyond that it is difficult to establish a clear correspondence with American faculty rank. Sinc.e ·'assistant professor" is an entry level rank in America, though, "associate professor" is clearly the more appropriate translation for jokyiJju in this context. • iyli (lit. "no") here serves as a self-deprecatory "it's nothing" in response to her surprise and implied praise. • daue is a colloquial equivalent of mo, "also/too." • mama= "as is/unchanged." so ano mama= "unchanged from that" or "as you were:· • nokoue-ireba is a conditional ("if ') form of nokoue-iru (''has remained/stayed"). from nokoru ("remain/stay"). • gurai (or kurai) literally means "about/approximately... but it can be used idiomatically to downplay the significance of the thing/action mentioned just before it, so jokyiJju gurai feels a linle like "a mere jokyoju"- implying she would easily have reached that rank by now. too. • twlle-ita is the past form of 11011e-im ("has become") • "would have become." • sa is often used to authoritatively/assertively empha~i1.e something you think your listener doesn' t know.
M ANGAJIN
65
;f;"TJv • Hotel
.f~
A.-tf ~
ifi
':
!?
66
MAN GAJIN
;t;j- Jv • Hotel
Dr. Jinbo:
i ~ IJ'o Masaka. "Come n ow." (PL2)
. serve as indicates disbelief/incredulity, and can either stand alone as an exclamation ("No!/lmpossible!/Hardly!") or emphasis within a more specific statement of disbelief ("it can't possibly be that .. ./you surely don't mean masaka
to tell me that ..."). Dr. S h ibata: ~0)~, Ano toki . .. ' 'That time, •••" Dr. Shibata:
0-r a-0
(j: !T.C~ mv>t:. -?31':>1.:. t:. ~ J: o ~ .... , :tl' 1;'> ?:: *~Wi~ itta roki wa odoroita yo. yameru 1/e 0 kimi ga torsuzen. daigaku byi5in you (subj.) suddenly university hospital (obj.) will quit/resign (quote) said time as-for was surprised (emph.) " when you sudden ly told m e you were guitting the univer sity hos(!ital, I was r ea lly sur(!rised." (PL2)
~0) II;\' (j: ... b., Dr•.Jin bo: -f-? ne, ano toki wa ... Si5 that way (colloq.-is) that time as-for " Yes, at that t ime •••" (PL2)
.
.. Dr. S h ibata:
Dr. Jinbo:
.. .
Dr. S h ibata:
ue is quotative and iua is the plain/abrupt past form of iu ("say"). Kimi ga rotsuzen daigaku byoin o yamerutte ilia is a complete lhoughtlsentence ("you suddenly said you were quitting the university hospital") modifying toki ("time/the time when"). odoroita is the plain/abrupt past form of odoroku ("be surprised'') . ne by itself often replaces desu ne ("is, isn't it?") or deshita ne ("was, wasn't it?"), especially in feminine speech, so si5 ne here literally means "it was that way, wasn' t it." She's not confirming the fact that he was surprised, but that he had good cause to be.
.z './ '
~ ¥:> 1.:. ?! yameru? £! " What? Quitting?!" (PL 2)
..: c
;j'; T )V 0) 7 1) =- ") 7 "'(:' 1: L- t:. 0)! fk!J< Ee, hoteru no kurinikku de hararaku koto ni shita no! work decided to (explan.) clinic at yes hotel s " Yes, I've decided to work at a c linic in a hotel." (PL2)
.z .z'
one use of the panicle de is to mark the location where an action takes place. . .. koto ni shira is the plain/abrupt past form of ... koro ni sum, an idiomatic expression for "decide to . . .''(literally " thing/situation··+ "to"+ ''do/make" - • ·' make it the situation that ..." ). no indicates she is offering an explanation. Omitting desu after 110 is common in colloquial speech, especially among females.
P.lf 1: ?! *7 !v? I lj:-lf -flvlj: Hoteru ? I Naze sonna rokoro ni? why that kind of place at hotel " A hotel? Why a t a (!lace like that?" (PL2)
0
fJ{ I 0) "'(:' 12$~ 1: lj: t:. ~ mc~t 1.:. ~ n' L- G b.o ~ Dr. Jinbo: *~Wi~ kashira ne. iya ni /1{//tQ /10 I koro ga 0 tsuzukeru Daigaku byi5in de isha university hospital at doctor (obj.) continue thing/act (subj.) disagreeable to became (explan.) is it perhaps? (colloq.) "Continuing as a doctor at the university hospital has become disagreeable (to me), perhaps." " I 1mess the idea of continuing a s a doctor at the university hos (!ital no longer a(!(!eals to m e." (PL2)
. ..
koto, literally "thing," is here being used as a " nominalizer," to make the preceding clause into a noun: daigaku byi5in de isha o rsuzukeru koto ="(the act of) continuing as a doctor at the university hospital." iya ni nalla is the past form of iyani naru, "grow tired of/come to dis like/get fed up with." klJshira makes a (mostly feminine) conjectural question, "Is it perhaps/1 wonder if ... ?" Ne is often used at the end of a sentence to seek agreement/confirmation from the listener, but here it just adds light emphasis.
MAN GAJ I N
67
*7 Jv •
68
M ANGAJIN
Hotel
*7 Jv • H o t e I - - "C.'
Dr. Shibata: t.!.-:> "( tt li -r-:>t Datte kimi wa zutto koko but you as-for all along here " But weren't vou savinl! vou ~
~
(§~
(J)
~H~
~
Lt.:~'
-;>"'[
"B-:> -r:: t.: 1.: ~
~ ~'1.1'?!
de igaku no benl..-yo 0 shirai 1/e iue-ra ja nai ka! at medicine of study (obj.) want to do (quote) were saying were you not? wanted to studv medicine here indefinitely?" (PL2)
(j: -f-) ,'[!, -:> "( "' t.: b o Dr• .Jinbo: t.: L iPt: lltr Tashika 11i mae wa so omoue-ira wa. cenainly before as-for that way was thinking (fem. colloq.) " It's certainlv true I thoueht that wav before." (PL2)
. .
Dr•.Tinbo:
. . .
-/){ (J) ~t)jj r:.~.~ -r ~ t.: (J) .l:! 't't ::_(J) ~~ (J) iti!fi ~r.li chiryii 110 arikara ga gimo11 ni omoere kira 110 Demo kono byiiin flO yo! but this hospital 's patient treatment 's state/manner (subj.) questionable came to think (explan.) (emph.) ''But I've come to have doubts about the wav patients are treated in this hosoital." (PL2)
chiryii refers to "medical treament" rendered to patients, and arikara is literally "way/manner of being,'' so chiryii 110 arikara ="the manner/state of treatment"-+ "the way patients are treated." gimon is a noun for "question(s)/doubt(s)," and omoere kira is from omou ("think"). Gimon11i omou is an expression for "think questionable/have doubts," and adding -re kira (from kuru, "come") makes it "have come to think (it) questionable/have come to have doubts."
*""
(j: iJ..'t'~Jvr:::J::..- ~7- 't' ~ ~fj~ t~l!."to.!: -J 1: .:).: il' t;, C: itilfi L -r:: " '
(J) n' L I? !? 7- I ;.$:~1: -fit "C.' ~\~\ Fli ii I Honroni sore de 110 kashira? (sigh) truly/really with that good/fine (explan.) I wonder "illgh) I really wonder if that's the way it should be." (PL2)
marude .. . yo ni makes an expression meaning "just/much/almost like ..." Yo11i essentially turns the preceding into an adverb for clriryo shire iku (from chiryo suru ["treat patients"] + iku ("go," implying a progressive or repeated action]). rsugi = "next," and rsugi kara rsugi e (lit. ''from next to next") is an expression for "one after another." The ro makes this also an adverb modifying clriryo shire iku. sore de ii, literally "is good/fine with that,'" can mean either "that is enough'' or ""that is the way it should be.""
$ (j: ' I 12$~ C: L -r:: ~ t.: IJ lliJ(J) Dr. Shibata: *~(J) .~.~ ~ ifif!.t "to $ 1.: ~ ~ ~'n'o kanja 0 chiryo S liT!/ koro wa, I ish a ro shire Ozei 110 ararimae no koro ja 11ai ka. many (people] patients (obj.) treatment doing/giving thing as-for doctor as naturaVmatter of course thing isn't it? "T reating many patients is a matter of course for a doctor, isn' t it?" "But it's onlv natural that a doctor should treat lots of oatients." (PL2) • ja nai ka can be a rhetorical question that feels more like an assenion, and his expression indicates such a case here.
-f-) n' b L h ~ "' It t·, #. (j: 13 5t~ ~ t: t-J - It ;-~ 1: I±\"( ~ ~ "( (h. t.: "\ (J) o So kamo slrirenai kedo, waraslri 11'0 j ibu11 11ari 11i mii iclrido SOlO ni dete kangaere mirai 110. that way might be but Ume as-for in my own way one more time outside to go out-and want to try thinking (ex plan.) ''That may be so, but I want to go outside again and try thinking about it in my own way." ''That may be true, but I want to 2et away (from the university) and think it throueh al!ain for m vself. " (PL2) • kangaere mirai is the "want to" form of kangaere miru, from ka11gaeru ("think about") and miru (j: .,s... Dr. ,Iinbo: ~(J)~ b ;a: il' "? t.: 0 I #. ("see"). Miru after another verb can mean either Fu Ano koro wa warashi mo wakakalla. I "try/attempt (the action)" or "do (the action) and in those days as-for Vme also was young (single chuckle) see what results"- here the latter. "I was vounl! then. (chuckle)" (PL2) Dr. Jinbo:
-r\,\51-
~:f:~ ~
$
~ 'Ei'-:>'l:>~-?t.:
Po
koro 0 irclra//a wa. Zuibtm namaiki-na vel)/qu•te audacious/brazen things (obj.) said-(regret) (fem. colloq.) " I said some reallv audacious thinl!s." (PL2)
li Dr. Okabe: iT, '15 Jt> ~II;} t "'0\..'0 ~? t.: /..., t.!. 0 -) 0 flit~ t!.? t.: L, ~~1'191: roji wa rikon chokugo dana shi, seislri11-teki 11i mo Ma. krmi mo iroiro aua daro. well )OU also at the time as-for divorce right after was and psychologically also various things existed (explan.) probably " W ell that was iust after vour divorce and vou orobably_had all kinds oftbines weighin(: on your mind." (PL2)
-~
.
,
irclraua is a contraction of irte slrimaua, from iu ("'say"); shimaua after another verb implies the action was undesirable/ regrettable.
M ANGAJIN
69
;J";f" Jv • Hotel
70
M ANGAJIN
;f;f- Jv • Hotel
Dr. Shibata: ~ -:> 1! I)
• yappari implies this is what he has
suspected all along.
Yappari daigak11 brrJin o yameta lw11tii 110 rirt7 11·a afler all/a~ ,u,pcclcd uni\ersity ho\pilal (obj.) quil true reason as-for ~~
-nr
riko11
RO
1!1. fT.l
f~-:> f.:. ())
gen 'i11 dallll
divorce (\ubj.) cause
tJ• ~ •? kai?
110
was
• daigaku byiJi11 o yameta (''[you] quit the university hospital") and l10nto 110 both modify riy tl ("reason"). • riytl and ge11'i11 both mean "cause/
(cxplan.-?)
reason," so combining them makes something like the English colloquialism "the reason was because . . :·
"So was the real reason you quit_tbJ!_Univer sity hospital because of the divorce after all?" (PL2)
@]
Dr. Jinbo:
ll
iJ. o
I "'('{,
-:17~/
"'(' ff'l~·-cJ.J..-c ,
Suk().llli wn
ne.
I Demo
Puraton
de hataraite mite,
~-L
a lillie IX~·
a1
lca<;l (colloq.)
t L -c t!!t"t:'~
bu1 (holcl name) al
<'
islw 10 sltite dake de naku.
doctor
as
not only
having "orkcd
t L-c t.:.
A/Ill 11ingen
lo shite
human being
as
<~fv())
~~
~
'I~ 1v t!
Po
o
lll(lllattda
wa.
taku.wn no ko10
many
lhings (obj.) learned (fem. colloq.)
" To some extent. But working a t Platon, I 've learned many things not_9!1!~ a doctor._ but also as a huma n being." (PL2) • the panicle 11·a after a number/quantity often has the emphatic meaning of "al least... so sukoslti II'G literally means "at least a liule:· but it's abo u~ed idiomatically to mean "to some extent." • hataraite i., the -te form of ltataraku ("to work/labor !at a job!"). Unlike Engli~h "work,'' hmaraku cannot be used to refer to "working" at a hobby or other pastime. • mite is the -te form of miru, and since it follows another verb i1 implies "try (the action)" or "do (the action) and see what happens." Here. though. the past-tense verb at the end of the sentence makes it past tense, so it becomes "did (the action) and found that .. :·or "having done (the action) I found that ..... • ... dake de naku is an expre~~ion for "not only ... but also ..." • 1/l(//1{11/dll i~ lhe plain/abrupt pa\t fom1 or 1/1(/1/{lblt ("learn").
Dr. Oka be: f!-? f.:. I?
• da11ara is an abbreviation of sii da11ara.
Da11ara
mo
"if it is/was so,"
daigaku ,; 11wdo11e kitamae.
in 1ha1 c:1'c already/now univcr>ily 10
come back
"Then come on back to the university." (PL2) .fl.. li. .IJ-"t't .H ~ r0i< ~HdfiL"t~· ~ lvf.!. o Wma.11ti H'a ima demo kimi o taJwku ln·oka sltite-iru 11 da.
countered earlier. • wkaku is the adverb form of takai ("high"). and hyoka ~hite-iru is from hyr)ka suru, literally "make an assess-
a,..for C\cn now you (obj.) highly ~valualclrcgard (explan.)
lime
" I still think very highly of you." (PL2) Dr. .linbo: t·-'J
l_f.:. shim
Dii
::..1-v~
()), 110.
k0111W
m'T-<
1J•I?,
a.m lwraku kara.
whal/how did (cxptan.-?) thi; much/~o early morning from
"in that case."
• modo11e kitamae is a command form of modo11e kuru ("come back"), en-
~Ul
Sllibaw-ku11 ?
(name-hon.)
ment/evaluation" but idiomatially used takaku to mean "look upon/regard" hyiika suru = "regard highly/think highly or:·
"Shibata, wha t 's up, so early in the morning?" (PL2) • dii shiw a\b for an explanation of ~omething that ~eems out of the ordinary: "what happened?/what's wrong?/ what·, going on?" Asking a que\tion with no is common in colloquial speech. more among females than males. • komw i' an abbreviation of ~o11na ni ("this much/to this extent") here. Am ltayaku means "early in the morning." Since ltayaJ.u i'> the adverb form of lwyai ("early"). it implies an action is being done/taking place early. • her ~> nta;~. is inverted: normal order would place do shiwno after konna asa hayaku kara. The name of the person being addressed can come e ither at the beginning or the end or the sentence.
~
Dr. Shibata:
II'Ff~
I.J:
Sakuya
ll'a
filiJ$¥Xt.C
1Jt
v•t.:.
fJ'"'
ita
kara
Okabe KyiJ)u ga
§(;~_ld:1!• -:>t.:.1Jt ienakalla
ga
la.'l nigh! a,..for (name-lillc) (\uhj.) cAi\ledlwas prc!.cnl becauay bUI ~ (;t j?O)H_f, 15 1..: 7 o ;f-- ;( ~ t' J., ....:> t f) f! 0 f.:. lvf! boku
11'0
a110 toki, kimi ni
lime a>-for lhat lime
you 10
pumpiJ::.u
proposal
o
sum tsumori
(obj.) do/make imcnt
dalla
wm,
11
da.
(cxplan.)
"1 couldn 't say this last night because Professor Okabe was there but I intended to propose to you then [before you guit the hospital]." (PL2) Dr. Jinbo: 7 ' o ;J! - ;( ?! Pumpii::.u?
propo,al
" Pro pose?" (PL2) • • • •
.mkuya i~ a \Omewhat formal word for ··Jast nighl" (cf. yiibe, kino 110 ba11). ita i~ 1he plain/abrupt past form of iru ('"be/exist[in a placer· for people and other animate things). ienaka11a is from iu ("say'') • ieru ("can say") ie11ai ("cannot say") ienaka11a ("could not say"). puropiJ::.u. from English "propose," means ··marriage proposal" in Japanese. The verb form is puropiJzu (o) suru (lit.
"do/make a proposal"; the o is optional).
M ANGAJIN
71
;f; 7 Jv • H o t e I
?m: I}
T fi
.::.-;tq) '"' B:l { ? A. ' li
'ltHm:t t
L.o-r~ q)
~ , ~ ,~--~~
c~~ "?
"'C Q 0
72
M ANGAJIN
' :f
,'(\', Q A. .: q) tJ• I;t "f:
A.
c
L.
t:t "'C
q)
,.
~of "f:q) ~ ~
~M 0~
~ l;t.
t:t. ~' 0
;f;'TJv • Hotel
@J
Dr. Shibata: -f {f) Sono
kimochi
wa ima demo kawaranai.
that/those fecling(s) as-for even now
not change
"Those feeline:s remain unchane:ed even now." (PL2) t!.il'~ , -fn .12U:.I.:: I ;g(J) IE~ t 1..-'l(J) :::t'li~ Daga, sore but
ijif 111
that
I
kimi no isha to shire no
more than
your
;t; 7 Jv tj: lv iJ' l'" *~ :b
:::.. lv tj: konna
doctor
as
this kind of hote l
(belinle) at
o,
talents/gifts (obj.)
{f)
!;l:
·ti 1..- 1t'
no
wa
oshii
G -tt J.>
hoteru nanka de owaraseru
~,
samif
to
omone-ru.
let end/finish (nom.) as-for rcgrenable/wasteful (quote) think/believe
' 'But even more than that I think it would be a waste to let vour !rifts as a doctor reach their end in a mere hotel (clinic) like this." (PL2) Dr. Jinbo:
~ E8
* 7 Jv
< lv,
Shibata-kun, hoteru (name -hon.)
hotel
{f)
7 ') .::. "J 7
li .. .
110
kurinikku
wa . . .
's
clinic
as-for
"Shibata a hotel clinic • . •" (PL2) Sound FX: R R R R .. . (sound of phone ringing)
• kawara11ai is the negative form of kawaru (''change"), and it can mean either "doesn't change" or " hasn' t changed." • kimi 110 ("your") modifies the combination, isha to shire 110 ("as a doctor") + sainif ("abilities/talents/gifts"). • nanka is a colloquial nado ("a thing/things like"), and is often used to belittle/put down/deride the item mentioned. Here he is not deriding the Platon as a hotel, but rather belittling the place of hotel c linics among medical institutions. • owaraseru is a causative ("make/let do") form of owaru ("end/finish"). • 110 is a " nominaUzer" that turns the entire preceding clause into a noun ("(the act of] letting your gifts as a doctor end in a mere hotel [cli nic] like this"), and wa makes that noun the topic of the rest of the sentence ("I think is wasteful"). • omotte-ru is a contraction of omorte-iru ("think/believe") from omou ("think/believe/feel"); when speaking of a belie f or opinion, omotte-iru usually does not take the progressive "am/is/are -ing'' form in English.
@]
Dr. Jinbo:
337-%~
b.o
Sanbyaku sanjilnana-giishitsu ne. room 337
T
<·
Sugu
1T Et iT o ikimasu.
right? immediately will go
" You said Room 337? I'll be there right a way." (PL3) • -go = ;
Dr.Jinbo:
:::..·~/v"/;t~lt' o
-t<·
~J.>
Gomennasai.
Sugu
modoru
(apology)
ii'G i?.t-::>Cf.;f-::>'l'l<:h.J.>? kara
chotto
immediately return because/so a little
matte-te kureru? wi ll you wail for me?
"I'm son·v. I'll be ri2ht back so would v~Iease) wait for me?" (PL2) • matte-te is a contraction of malte-ite, the -te form of malte-iru ("be waiting"), frommatsu ("waif'). Kureru after the -te form of a verb makes a gentle, informal request, "would you (please) ... ?"
8
~ W Jt;~
Akagawa: X. -? £-? what?
"' tj: "' lv l'" Til'?
Jinbo Sensei
inai
11
desu ka?
1!1--:>t..:
tj: o
Komatta
na.
(name-title) nol present (explan.- ?) be lroubledldislressed (colloq. )
" Wha-a-t? Dr. .Jinbo isn' t here? Oh, no." (PL2) Sound FX: ::K Zt7 (sound of sniffli ng)
• komatta is the plain/abrupt past form of komaru, "to be faced with a problem/caught in a tight spot," and 1w adds light emphasis. Komalta na serves as an exclamation of distress/uncertainty when faced with a problem you' re not immediately sure how to solve: "Oh no!/What a fix!/Now what?/Bummer!"
@J
Akagawa: T h. i-tt lv o T Sumimasen. (apology)
<"
Sugu
:St~ ~ sensei
o
ilf-lv l'"* iT yonde kimasu
il' Go kara.
immediatel y doctor (obj.) wi ll go ca!Usummon because/so
" I'm sorry. I'll go get the doctor right awav. so (olease wait here)." (PL3) • sumimasen is a more formal apology than gomennasai. which is most often heard from children- though adults may use it in informal situations when speaking to someone of equal or lower status. • yonde is the -te form of yobu ("call/summon"), and kimasu is the PL3 form of kuru ("come"). -Tel-de kuru has a variety of meanings, including "go to do the action and come back."
M ANGAJIN
73
:t-7 Jv • Hotel
~T "? ( "
"( l:
•• t,: ~
\,• 0
l:
t;; t;; t:: \,•
fi . l.> t: l:t 0 0 1:t fJ; \,' 0
74
MAN GAJIN
I
0)(...'-Pt • t;; fJ;
~ \,•
I
~fi$
t,
1:t
;f; T Jt.- • H o t e I
Dr. Shibata: f!f"f? l;t ~ v' o I
iJ{
f.t..
~-r ili;df J:
-)
• machinasai is a relatively gentle command form of marsu ("wait"). • mite is the -te form of miru, which when written with the kanji ilt J., means "see/examine" in the sense of a doctor examining and attending to a patient's complaint. • ageyo is the volitional ("let's/1 shall") form of ageru ("g ive"). Ageyo after the -te form of another verb implies the speaker intends/is offering to do the action for someone else's benefit.
0
I Watashi ga mire ageyo. I (subj.) shall see/examine
Machinasai. wait
"Wait. I' ll examine him." (PL2) ' ? Akagawa: A..
-c: b
...
£ ? Demo ...
"What? But ..." iJt
Dr. Shibata: AA
a;~
iJt' t:.v' t...t..:
~
{j:
t:t v'o
t..: t! 0) iii.$ t!. 0
• rada no before a noun means "a plain/ordinary/common - ." • kaette is the -re form of kaeru, "go/ "You have a fever but it's nothin2 serious. Just an ordinary cold." come home," and the -te form here (PL2) functions like "and." • nenasai is a relatively gentle comi" 1l\h"t :BI:/:t~v' o mand form of neru ("go to bed/ Sugu ni uchi ni kaerte nenasai. sleep"). immediately home to return-and go to bed • ka7.e is usuall y translated as ''(a) "Go home right away and go to bed." (PL2) cold," but also includes influenza, iJ{ j(ij~ a;~ /v-c"T o Patient: l.... il' t... 1i~ tr t;, *WI:t which is probably why the doctor's Shikashi goji kara raisersu-na shodan ga aru n desu. advice seems a bit drastic. but 5 o'clock from important business talks (subj.) have/exist (ex plan.) • goji kara is literally "from 5:00"-+ "But I have some im~ortant business talks at 5:00." (PL3) "(begi nning) at 5:00." Nersu ga aru ga, fever (subj.) exists but
<·1:
Dr. Shibata: i"lvt:t
*
nai. Tadano kaze da. taishita kote wa serious thing as-for not exist plain cold/flu is
::
tO) li
B
~
~dl)h.'i'
\,\\,\ 0
e: 1: n' <
!f!.<
iifl"~/;t~v' o
hi ii. Sonna mono wa 0 aratamereba Tonikaku hayaku that kind of thing as-for day/date (obj.) if reschedu le is good/fine anyhow/at any rate quickly
kaerinasai. go home
"Somethin2Iike that you can just reschedule for another day. Anyhow you must hurry up and 20 home (todav)." (PL2) fJ..O) ~f± (i (j: -c."~ i it /v o Patient: i"lvt:t $ l L)'ii t:t lv -c:-t 0 wa Ky!ish!l Sonna koro \ VQ dekimasen. Warashi no kai.5ha nan desu. that kind of thing as-for cannot do my company as-for (place name)(explan.) is
"I can't do that. Mv com~any is in Kyiishii." (PL3) t!. '/)> I? 4- B >P :: fj?,j:~ ~ itT i -tt t:t 't h. !i' t:t I? t:t '-'' !v -c: i" o kyOjii ni keiyaku 0 sumasenakereba naranai Dakara so/therefore within today contract (obj.) must finish/complete
. .. .. . Dr. Shibata:
n desu. (explan.)
"So I have to get the contract signed today." (PL3) aratamereba is a conditional form of aratameru ("modify/revise") and the expression hi o ararameru means to "reschedule (an event/appointment)." ii means "good/fine," and -ba ii makes an expression meaning " it is enough to do -/all you have to do is-." hayaku is the adverb form of hayai ("quick/early"), and kaerinasai is a command form of kaeru ("go/come ho me"). dekimasen is the PL3 negative fom1 of dekiru ("can do"). • dakara = "because it is so" "so/therefore" -jii ni suffixed to a time word means "within (that time frame)." sumasenakerebanaranai is a " must/have to" form of sumasu ("finish/bring to a close").
<
!i ~~ 0) ~-? $ ~ itfl b lv t!. ! Kanja wa isha no iu koro 0 kiku mon da! patient as-for doctor (subj.) says thing (obj.) should listen .\P.~
• iu koro o kiku is literally " listen to what (someone) says," but it has the idiomatic meaning o f "obey/do as (someone) says." • mon da (or mono da) after a non-past verb implies " A ~atient should do as his doctor savs." (PL2) that the action or situation indicated by the verb is -f'! +-? ~ 1t 't ~.- , "? i t..: -:> -r t is G 1v "common/standard/the way things are or should be." So de nakereba irsu made ratte mo naoran zo! forever won't get better (emph.) • irsu made tarte mo is followed by a negative to mean that way if is not "(something won' t happen) no matter how much " If you don' t, you' ll never 2et better!" (PL2) time passes" --> "will never happen."
-c:
Patient: t!.-:> t:. I? '
n.
-c:
t?
itL.-rt Gbt:t <-rt ,j:fiti'lt -c"T !
Dauara, 1110 naoshire morawanakure mo kekkO desu! if don' t fix me in that case already/anymore fine/okay is " Then it's fine ifl don' t have you give me treatment anymore."
. •
"In that case vou don't have to treat me anvmore." (PL2)
• mo("already") followed by a negati ve becomes " no longer .. ./not ... anymore." • naoshire is the -re form of naosu ("to fix"), which when written with the kanji ifiT refers to giving medical treatment/a cure.
morawanakure mo is a negative condition al form of morau, which after another verb means "have (the action) done (for/to me)" "even if ( J) don 't have (the action) done for me." Naoshite morawanakute mo = "even if (I) don ' t have you give me treatment." kekki5 often replaces ii ("good/fine/okay") in the expression ... -te mo ii (desu), (lit. '' it is fine/okay if ...").
MAN GAJ IN
7~
>t-7-Jv • Hote l
76
MANGAJIN
;f;'TJv • Hotel
Akaeawa:
--
,_ ' li ;f; 7" Jv ~j: !v i:i" o Koko wa hotem nan desu. here/this place as-for hotel (ex plan.) is "This is a hotel." (PL3) i>~~lv
b-?c
~ ~~"(~If"( ( f!_ ~ \..-'!!
lJf
(J)
Motto okyaku-san no koto 0 kangaete agete more (hon.)-guest-(hon.) of thing/situation (obj.) think for them " Please think more about our guests!" "Please be more considerate of our 2uestsl" (PL3)
Dr. Shibata:
kudasai! please
i>~~lv?
Okyaku-san?
"Guests?" (PL2) Dr. Shibata:
Jj: 1: ~.
Jl1,~
t!. '?
• ... no koto is literally "things of/ about" (in this context "things"= "situation"), or simply ·'about."' • kangaete is the -te fonn of kangaeru ("think about/consider''). and agete is the -te form of ageru. After another verb, ageru means "do for (someone else)."' • kudasai after the -te form of another verb makes a fairly polite request.
-? !
• nani o, which often occurs in fights, is an expression that reflects a tlaring temper. Here it could also be taken as the beginning of a sentence " What in ... (Don't be} ridiculous! You mean gatients don' t like Nani o baka-na koto itte-irun you?" (PL2) da ("What kind of ridiculous thing li ~~c. l "( ~ t.: I') WJ(J) Dr. Shibata: ;fl . ~-g-?1:\..-'.:b /v f!.o are you saying?"). Watashi wa isha to slrite ata rimae no koto 0 itte-iru nda. • ararimae = "natural/proper/matter of lime as-for doctor as naturallmaller of course thing (obj.) am saying (explan.) course" and ararimae no koro = ''I'm saying what is o nly natural a s a doctor." "what is natural/a matter of course:· " I'm onlv savine: what anv doctor would sav." (PL2) • the explanatory n da in this case also provides emphasis. Akae:awa: t!.' t!. -/)' I? .::. -f ~~l:(i L"' !vi:T! • koso is an emphatic particle, and Da, dakara koso kongaete lroslrii ndesu! dakara koso is like "all the more beso/therefore all the more want you to think/consider (explan.) ''That's the verv reason whv I ask vou to be considerate !" (PL3) cause that is so·• ''that's the very reason why .. :· • ltoslrii after the -te fonn of a verb means " (I) want (you/someone) to Dr..Jinbo: -f? "'t:T~'o -ftl t:~ ffl}l')t.:("t'b ~tt."i-tt"!v P o do (the action)."' desu ko. Soreja So kaeritakme mo kaeremasen ne. that way is it? in that case even if want to go home cannot go home can you? ''I see. In that case vou can't e:o home even if_you want to can vou?" (PL3) J{-}Jlj:-:; 0
Nani 0, baka na! Kanja daro! what (obj.) foolish/ridiculous patients surely
m
l
Patient:
..
. .. .
~:-t -/J{ .::.lvt.t ~~ 0 W!A (J) IJj'j 1: ~"'f.:< li't.tv' Lo byonin no kao de Ee. Desu ga konna aitaku wa nai shi. that 's right is so but this kind of sick person ·s face with don't want to meet and
" No. But I really don' t want to meet (my clients} with such a sickly face either." (PL3) so desu ka literally asks "Is it so?" but it has the idiomatic meaning of " I see." soreja is a contraction of sore de wa, literally, " if it is that" --+ "in that case." kaeritakwe mo is a conditional form of kaeritai, the "want to" form of kaeru ("come/go home'')-+ "even if (you) want to go home." Kaeremasen is the PL3 negative form of kaereru ("can go home"), the potential form of kaeru. ne here doesn ' t so much seek agreement/confirmation as it offers sympathy . ee indicates agreement, usually "yes," but since Dr. Jinbo asked a negative question, agreement becomes "no." aitakunai is the negati ve of aitai, the "want to" fonn of GLI ("meet"); inserting wa adds emphasis.
Dr. Jinbo: b -IJ' I'J "i L f.: o Wakarimashita. understood
¢
-/){
-t- tt. t: ~ lmlli'f "i 1:1:
ffil~T¢
J: -J 1: ?flt/i l t L J: -? o
karada ga kaifuku sum yo ni body (subj.) will recover so that
. .. .
1-' L 1: b
Soreja yoji made ni sukoslri demo in that case 4 :00 by even a lillie clriryo shimas ho. let's treat
''I understand. In that case let's treat (vou) so that vour bod_y will at least recover a little bv 4 o' clock." (P L3) wakarimashita is the PL3 past fonn of wakaru. Since wakaru means "come to know/understand," its past fonn is often equivalent to English "understand" rather than " understood." made = "until," but made ni ="by" yo ni after a verb can mean "so that (the action takes place)": kaifuku suru yo ni ="so that (you) recover.'' shimashO is the PL3 volitional ("let's/1 shall") fonn of suru ("do").
Patient: -flvt.t
$-
-/){ \:~.:b lvi:T-IJ'?!
Somra koto ga dekiru that kind of thing (subj.) can do
n desu ka? (cxplan.-?) "Can r ou do something like that?" (P L 3)
M ANGAJIN
77
*7-Jv • Hote l
•* Q* ~-.
~~
t:.•"' !!
~t:i
.:
~
1t
1:t IJC:
~
'/}•
Sn t.:: ~ O) ;t-l;t ~ .t:r~ - "C
!
78
M ANGAJIN
IV 0)
0 1. ' OQ
*r Jv • ~
Dr.Jinbo:
-f<7)1J'~?f'),
fl.
Sono kawari,
s 1 ·JJ
<7)
wataslzi no
in exchange for 1ha1
I
iu
>;:
koto
o
Hotel
ett.:>lvt kichin·to
':t -:>"C
mamolle
kudasai.
(subj .) say lhings (obj.) exaclly/fully obey/adhere 10 please
" But please adhere exactlyjo what I say." (PL3) i ~ >;: ~ lv 1.'" fl;y i 1.'" $11~ 1.'" f,f.; lv 1.'"'
-r
Mazu kusuri
=
o
nonde sanji made heya de
medicine (obj.) drink-and 3:00 unlil
firsl
*"(
:=11.f 'f. 1: b 1 - Jl .:. .:. ......,
yaswzde,
room in rest/sleep-and
,$fll.
>;: ~~t J.> o
sanjilw n ni mii iclzido koko e kite shinryo o ukeru. 3:30 al more once here 10 come-and examina1ion (obj.) receive
"First of all., ta ke that medicine and rest in vour room until 3:00 then at 3:30 come back here for another examination." (PL2) 1\fi ·:d.; C:> f&: 1.'" £· tJ' tJ' f'J "'? It <7) l2i ~· 1.'" ~ "C ~ C:> 1 'IT-o Kaeuara
aro de
-r
kanarazu kakaritsuke no isha de
when go home aflerward withoul fai l
family doc10r
mite morau
koro.
al receive exa minalion lhing
" When you g_et back home be sure to have vour familv doctor examine-YQ..u.'' (PL2) Patient tt '-',
~ t)
Hai.
1Jt t
1 .:.· ~-.,_,iT o
a riga to gozaimasu.
yes/okay
thank you
" Oka y, thank_you ver much." (PL3) • sono kowari is an expression meaning ''in reiUrn/in exchange for that.'" She is essentially saying that she will do • • • •
•
~
Dr.Shibata:
what she can to improve his condition (e.g.• by giving him some medicine), but. ·'in exchange," he must do his pan - i.e., it will only work if he docs his pan. mamou e is the ·te form of mamoru ("obey/abide by [rules/instructions!"). Kudasai makes a relatively polite request - though the firmness with which she speaks here makes it close to a command. nonde is the-re form of nomu ("drink,'' or in the case of medicine, "take''); yaszmde is the -te form of yasumu ("resll sleep"); and kite is the ·le form of kuru (' 'come''). Each of these -te forms indicates an action that precedes the next mentioned action in chronological sequence. kaeuara is a conditional "when·· form o f kaeru ("go home"). kakt1ritsuke is used in speaking of doctors (and other health care professionals). referring to those one goes to regu· larly - • "(one's) regular/family doctor." Kakari is from the verb kakaru. which is used in the expression islza ni kakaru for the meaning ·'put oneself under the care of a doctor." and tsuke is fro m the verb rsuku ("stick/be auached to"). koro (lit. "thing") added to the end of a non-past declarative sentence can make a gentle command/admonition.
i'v'~t .[!.~·
>;:
tt~1J,L"C'-''-' t.~ Jj:v'tJ'!
Zuibun
o
amayakashite-iru
ktmja
ja nai ka.'
very/quite paticnl (obj.) are pampering/spoiling are you not?
" You certainly_pamper your patients, don ' t you?" (PL2) Dr. Jinbo:
IJ~1J' l-"C v'l.>
ltR
Amayakaslzire-iru
1.:~/j:v'
*rJv
rfii'Jl
ho
.:tl
wa.
Kore ga hoteru no clziryii
wake ja nai
1J~
am pampering/spoiling situation is not (fern. cmph.) 1his (subj.) h01el
<7)
lj:<7)
J: o
na no
yo.
' 1reaunent (explan.) (emph.-is)
" It's not pampering. That's the way you do treatment at a hotel." (PL2) • amayakaslzire-iru is from amayakasu ("pamper/coddle/spoil"). lanai ka is literally a question, but as his scowl suggests. he is saying it more as an accusation.
~
Dr. Shibata: 'l5
tJ<
.:. lv 1j:
Kimi ga
komza
/W 1.'" .:. lv 1j: roko ro de
komw
.'J.1• .(!1· kanja
<7) 110
lv lj: ko1ma
.:.
itH/i clziryo
t 1.- "( v' "( liv-tt lj: H o
you (subj.) I his kind of place at this kind of pmiems of/for this kind of treatment (obj .)
shire-ire wa ikenai! mus1 n01 go on doing
" You must n«!tgo on doing this kind of treatment for this kind of patient at this kind of place!" (PL2) Yalzari
tlaigaku byoin e modoru beki da.
after aiUrcally universily hospital to should/must reiUm
" You really_must return to the university hospital!" (PL2) • konna ("this kind of") can be quite neutral. but it can also be spoken in a derogatorylbeliuling tone, which is the case here.
• slzite is the -te fom1 of suru, and -ire wa ikenai after the-re form of a verb means "must not continue (doing the action)." • heki da/desu follows verbs to give the meaning "should/ought to/must."
§J
Dr. Jinbo: .:. lv lj: .'J.I•.fl· ?! Konna kanja ?
" This kind of..natient?" (PL2)
To be continued . . . M A N GAJI N
79
V ocabul ary • S umm a r y
From A[Jer Zero, 12· 42
From Calvin and Hobbes, 12· 26 oi=1J Mit
boryoku ejiki hakai kudaku kyoryfi satsuriku surudoi
lit~
li¥: < ~'ll ;f;:~
i.li.v'
violence prey/victim destruction crush (v.) dinosaur massacre/slaughter (n.) sharp
From Basic Japanese, 12· 28
rn
awa hitohada honki jidai kanjo natsukashii onaji sugata tsumetai ushiro yoru
A JilL
*~
~ft WJ~ tj:-:::> iJ• l Iff]
"'
I.:
~ ff;'t.: "' {&_.?
w:
bubble human skin serious( ness) time/era account/bill fondly remembered/longed for the same figure/s hape cold/cool back/behind night
From Selected Works , 12· 34 ~
71/X.J. 7J 7'-t Jv ag~,.
*
~~I¥)
~tr -T~
box hako packed in a can kan zume 7 Jv kapuseru hoteru capsule hotel dark/dim kurai lights/lighting shomei read yomu budget (n.) yosan
From Garcia-kun, 12· 36 /f-1~
furin harau jinsei ka zoku mainichi rodosha uwasa wake zangyo
1L-?
A~
*»* ~8
1jjj)j~
~ ~
7l~
immorality/affair pay (v.) (human) life fam il y every day laborer gossip/common talk reason/situation overtime work
From Sarari-kun, 12· 38 ~Ji:
atama kaijo kanzo kyayo samitto seihin shiraberu yasumu
~ tJ}j
ijf J!l
it*
-lT ~ ·;;
~
~0 DD
ir.JA::.J.>
ittr
head/mind meeting place liver rest/relaxation summit (meeting) product(s) check/examine/look into rest/take time off
From Obatarian, 12· 40 )'\ / 7J 7-
*:i: ~ilitl
J~/7v·;;
-tt-1/~
~
hankachi kaho meishi panfuretto sain-kai
handkerchief family treasure business card pamphlet autograph session
~clt)J.>
fl.llfl .:r..-tt-
IB!: -::> -ct.><
1$r± l*.:E II!
fill
~~
EI:E
:iMfJ.> 7!tJ.> ~~i M~·
l!tllf&
atsumeru bukkaku esa hotte oku jinja kabunushi kai kami kiki medama nigeru nokoru sakasama sawagi y firei
gather/accumulate ( Buddhist) temple bait/(animal) feed leave as is/ignore (Shinto) shrine shareholder(s) floors/stories god(s)/spirit(s) crisis eyeball(s) run away/escape remain/be left over upside down uproar ghost/apparition/phantom
From HOTEL, 12· 51 i:t~iJ'i"
:fri.JA jf}J
<
iJI~.tl::.cl6~
""Fl
~~ WJ~t~
IEHi!i" 1.>
.~.~
~\$ ~BiT 1.>
M~i"J.> ~ <;1=1.>
cl6 ~'i 1..-v• iW:J.>
*:I* l*lt-+ fljlfill ~~1n,tj:
iiii" ~<
.~Jjji
~;Z::r-
•It\' l "' ~~ ~i"
:tfiE *jlj1$B':J'.::. jjg~i"~
~~
jflj~ ii~Jj\T 1.> ~iT
WJ't J.> ~tl!i
-:::>{>~
;i':l'HtJ.> fl!%'-lj: 7~~
amayakasu byonin hataraku hikitomeru i ish a jokyoju kaifuku suru kanja kaze kincho su ru kitai suru kusuri mamoru mezamashii modoru nagatabi naika nakama namaiki-na naosu odoroku onshi oshiego oshii rikon sagasu saino seishin -teki ni shinpo suru shi111·yo shodan s hfiri suru sumasu tasukeru totsuze n tsumori tsuzukeru yiislzfi-na zan.nen
pamper/coddle/spoil sick person work (v.) stop/restrain stomach doctor associate professo r recover patients coldlflu tense up/become nervous expect/anticipate medicine obey/abide by/adhere to s tri ki ng/spectacu Iar/bri II iant return/come (go) back long trip internal medicine friends/associates audacious/brazen cure/fix (v.) be surprised teacher( s)/mentor(s) student (of a teacher) regrettable/wasteful divorce (n.) look for talents/gifts psychologically progress/advance (doctor's) examination business talks repair (v.) finish/bring to a close save/help suddenly intent continue superior/excellent disappointment/regret
The Vocabulary Summary is taken from material appearing in this issue of M ANGAJtN. It's not always possible to give the complete range of meanings for a word in this limited space, so our "definitions" are based on the usage of the word in a particular story.
80
M ANGAJIN
