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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Diego Collado's Grammar of the Japanese Language + +Author: Diego Collado + +Translator: Richard L. Spear + +Release Date: April 21, 2007 [EBook #21197] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK JAPANESE LANGUAGE *** + + + + +Produced by David Starner, Keith Edkins and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + +</pre> + + +<table border="0" cellpadding="10" style="background-color: #ccccff;" summary="Transcribers note" title="Transcribers note"> +<tr> +<td style="width:25%; vertical-align:top"> +Transcriber's note: +</td> +<td> +<p>A few typographical errors have been corrected. They +appear in the text <span class="correction" title="explanation will pop up">like this</span>, and the +explanation will appear when the mouse pointer is moved over the marked +passage.</p> +<p>The reproduction of the Latin original <i>Ars Grammaticae Iaponicae Linguae</i> +has been extracted as a separate Project Gutenberg text No. 17713.</p> +<p>Page numbers in the left margin [99] are those of Spear's edition and are referenced in the +Table of Contents and Index. Those in the right margin (99 relate to the Latin original +and are referenced in the Introduction and Footnotes.</p> +</td> +</tr> +</table> + +<h1>DIEGO COLLADO'S<br /> +GRAMMAR OF THE<br /> +JAPANESE<br /> +LANGUAGE</h1> + +<h2>Edited and Translated<br /> +by<br /> +Richard L. Spear</h2> + +<p class="cenhead"><span class="sc">International Studies, East Asian Series</span><br /> +<span class="sc">Research Publication, Number Nine</span></p> + +<p class="cenhead"><span class="sc">Center for East Asian Studies.</span><br /> +<span class="sc">The University of Kansas.</span></p> + +<hr class="short" > + +<p class="cenhead"><span class="sc">Dedicated</span><br /> +<span class="scac">TO</span><br /> +<span class="sc">The Memory of</span><br /> +<span class="sc">Joseph K. Yamagiwa</span></p> + +<hr class="full" > + +<h3>Table of Contents</h3> + + <div class="poem"> + <div class="stanza"> + <p><span class="sc">Preface</span></p> + </div> + + <div class="stanza"> + <p>I <span class="sc">Introduction</span> <a href="#page1">1</a></p> + <p class="i4">The Grammatical Framework <a href="#page3">3</a></p> + <p class="i4">The Phonological System <a href="#page6">6</a></p> + <p class="i4">The Morphological System <a href="#page8">8</a></p> + <p class="i4">The Structure of Collado's and Rodriguez' Descriptions</p> + <p> Contrasted <a href="#page11">11</a></p> + <p class="i4">Bibliography <a href="#page26">26</a></p> + <p class="i4">Editorial Conventions <a href="#page28">28</a></p> + <p>II <i>Ars Grammaticae Iaponicae Linguae</i></p> + <p>III <span class="sc">A Grammar of the Japanese Language</span> <a href="#page105">105</a></p> + <p class="i4">Prologue to the Reader <a href="#page107">107</a></p> + <p class="i4">The noun—Its Declension and its Gender <a href="#page111">111</a></p> + <p class="i4">Pronouns <a href="#page118">118</a></p> + <p class="i4">First Person Pronouns—Ego, etc. <a href="#page118">118</a></p> + <p class="i4">Second Person Pronouns—Tu, tui, tibi, etc. <a href="#page119">119</a></p> + <p class="i4">Third Person Pronouns—Ille, illa, illud. <a href="#page120">120</a></p> + <p class="i4">Relative Pronouns <a href="#page122">122</a></p> + <p class="i4">The Formation of the Verb and its Conjugation <a href="#page123">123</a></p> + <p class="i4">The Preterit, Perfect, Imperfect, and Pluperfect <a href="#page124">124</a></p> + <p class="i4">The Future of the First Conjugation <a href="#page125">125</a></p> + <p class="i4">The Imperative of the First Conjugation <a href="#page125">125</a></p> + <p class="i4">The Optative of the First Conjugation <a href="#page126">126</a></p> + <p class="i4">The Subjunctive of the First Affirmative Conjugation <a href="#page127">127</a></p> + <p class="i4">The Infinitive <a href="#page129">129</a></p> + <p class="i4">The First Negative Conjugation <a href="#page131">131</a></p> + <p class="i4">The Second Affirmative Conjugation <a href="#page134">134</a></p> + <p class="i4">The Second Negative Conjugation <a href="#page135">135</a></p> + <p class="i4">The Third Affirmative Conjugation <a href="#page135">135</a></p> + <p class="i4">The Third Negative Conjugation <a href="#page136">136</a></p> + <p class="i4">The Conjugation of the Negative Substantive Verb <a href="#page137">137</a></p> + <p class="i4">The Conditional Particles <a href="#page139">139</a></p> + <p class="i4">The Potential Verb <a href="#page140">140</a></p> + <p class="i4">The Conjugation of Irregular Verbs <a href="#page141">141</a></p> + <p class="i4">The Aforementioned Verbs—Their Formation and Diversity <a href="#page143">143</a></p> + <p class="i4">Certain Verbs Which of Themselves Indicate Honor <a href="#page147">147</a></p> + <p class="i4">Cautionary Remarks on the Conjugations of the Verb <a href="#page148">148</a></p> + <p class="i4">The Adverbs: First Section <a href="#page156">156</a></p> + <p class="i4">Adverbs of Place <a href="#page156">156</a></p> + <p class="i4">Adverbs of Interrogation and Response <a href="#page159">159</a></p> + <p class="i4">Adverbs of Time <a href="#page159">159</a></p> + <p class="i4">Adverbs of Negation <a href="#page160">160</a></p> + <p class="i4">Adverbs of Affirmation <a href="#page160">160</a></p> + <p class="i4">Comparative Adverbs <a href="#page161">161</a></p> + <p class="i4">Superlative Adverbs <a href="#page162">162</a></p> + <p class="i4">Adverbs of Intensity and Exaggeration <a href="#page162">162</a></p> + <p class="i4">Accumulative Adverbs <a href="#page162">162</a></p> + <p class="i4">Adverbs that Conclude and Claim Attention <a href="#page163">163</a></p> + <p class="i4">The Case Prepositions <a href="#page164">164</a></p> + <p class="i4">Conjugation and Separation <a href="#page166">166</a></p> + <p class="i4">Interjections <a href="#page167">167</a></p> + <p class="i4">The Syntax and the Cases that are Governed by the Verbs <a href="#page168">168</a></p> + <p class="i4">Japanese Arithmetic and Numerical Matters Concerning Which</p> + <p> Much Painful Labor Is Required <a href="#page174">174</a></p> + <p class="i4">Some Rules on the Conjugation of the Verb in the Written</p> + <p> Language <a href="#page182">182</a></p> + <p>IV <span class="sc">Works Consulted</span> <a href="#page185">185</a></p> + <p>V <span class="sc">Index to Grammatical Categories</span> <a href="#page187">187</a></p> + <p>VI <span class="sc">Index to Grammatical Elements</span> <a href="#page189">189</a></p> + </div> + </div> +<hr class="full" > + +<h3>Preface</h3> + + <p>The purpose of this translation of Collado's <i>Ars Grammaticae + Iaponicae Linguae</i> of 1632 is to make more readily available to the + scholarly community an annotated version of this significant document in + the history of both Japanese language study and grammatical description + in general.</p> + + <p>Collado's work, derived in all its significant features from the + <i>Arte da lingoa de Iapam</i> completed in 1608 by João Rodriguez, is in + a strict, scholarly sense less valuable than its precursor. However, if + used with the <i>Arte</i> as a simplified restatement of the basic + structure of the language, Collado's Grammar offers to the student of the + Japanese language an invaluable ancillary tool for the study of the + colloquial language of the early 17th Century.</p> + + <p>While less extensive and less carefully edited than the <i>Arte</i>, + Collado's Grammar has much to recommend it as a document in the history + of grammatical description. It is an orthodox description attempting to + fit simple Japanese sentences into the framework established for Latin by + the great Spanish humanist Antonio Lebrija. Thus, as an application of + pre-Cartecian grammatical theory to the structure of a non-Indo-European + language, the <i>Ars Grammaticae</i> is an important document worthy of + careful examination by those wishing insight into the origins of what + three centuries later was to become the purview of descriptive + linguistics.</p> + + <p>The present translation was begun with the able assistance of Ms. + Roberta Galli whose contribution to my understanding of the Latin text is + most gratefully acknowledged. For his continued encouragement in this + undertaking I am grateful to Professor Roy Andrew Miller. Thanks are also + due to the Graduate School of the University of Kansas for its support in + the preparation of the manuscript and to Ms. Sue Schumock whose capable + typing turned a scribbled, multi-lingual draft into a legible manuscript. + The imperfections are my own.</p> + + <p class="author">R.L.S. + + <div class="poem"> + <div class="stanza"> + <p>Lawrence, Kansas</p> + <p>May, 1975</p> + </div> + </div> +<p><!-- Page 1 --><span class="pagenum"><a name="page1"></a>[1]</span></p> + +<hr class="full" > + +<h3>Introduction</h3> + + <p>In 1632, as the Christian Century in Japan was drawing swiftly to a + close, three works pertaining to the Japanese language were being + published at Rome by the Congregation for the Propagation of the Faith. + These works were by the Spanish Dominican Father, Diego Collado (d. + 1638), who had spent the years from 1619 to 1622 in Japan. Their + publication clearly reflects the vitality of the missionary spirit in + that age as well as the important place reserved for language study in + the propagation of the faith.</p> + + <p>The first two works, whose manuscripts had been prepared in Madrid the + year before, were a grammar and a dictionary of Japanese. The third, + prepared in 1631, while the larger works were being seen through the + press, was a guide to the taking of confession written in both Latin and + Japanese.<a name="NtA_1" href="#Nt_1"><sup>[1]</sup></a> The grammar, + drafted in Spanish, was published in Latin in 1632 under the title <i>Ars + Grammaticae Iaponicae Linguae</i>. It is this work that is translated + here. The dictionary, only at the last moment supplied with Latin glosses + to supplement those in Spanish, was published in the same year with the + title <i>Dictionarium sive Thesauri Linguae Iaponicae Compendium</i>.<a + name="NtA_2" href="#Nt_2"><sup>[2]</sup></a> Taken together these three + works by Collado constitute the final extant efforts of those who studied + the Japanese language first hand during the Christian Century.<a + name="NtA_3" href="#Nt_3"><sup>[3]</sup></a></p> + + <p>Two other grammatical works must be mentioned here as central to the + proper assessment of Collado's Grammar. They are both by the great Jesuit + scholar, Father João Rodnguez (1561-1634);<a name="NtA_4" + href="#Nt_4"><sup>[4]</sup></a> the <i>Arte da Lingoa de Iapam</i> + (Nagasaki, 1604-8, hereafter the <i>Arte</i>), and the <i>Arte Breve da + Lingoa Iapoa</i> (Macao, 1620, hereafter <i>Arte Breve</i>). The first + <!-- Page 2 --><span class="pagenum"><a name="page2"></a>[2]</span>is by + any standards the greatest grammatical study of Japanese made during the + Christian Century. It is further, as we shall see, the primary source for + Collado's Grammar. The <i>Arte Breve</i>, on the other hand, is not + directly related to Collado's work. Indeed it is clear that Rodriguez' + 1620 Macao publication was unknown to Collado. Nevertheless, since the + <i>Arte Breve</i> is an abbreviated version of the <i>Arte</i> with a + purpose similar to the <i>Ars Grammaticae</i>, a comparison of these two + books with respect to the way they systematize the material from the + <i>Arte</i> is included in this introduction to contribute some insight + into the treatment of the Japanese language at the beginning of the + Tokugawa Period.</p> + + <p>In presenting this translation two potential audiences are envisioned. + The first, and more restricted, group is that having an interest in the + history of the Japanese language. It is hoped that an English version of + this work will make more readily available this significant material + pertaining to the Japanese language as spoken in the early modern period. + I use the word significant here to avoid granting excessive value to a + work which derives such a large portion of its material and insight from + Rodriguez' <i>Arte</i>.</p> + + <p>The second, and wider group for whom this translation is intended is + that which has a need for an edited edition of an important document in + the history of grammatical description. In this area of scholarship + Collado's work is of more than moderate significance. It was accepted for + publication by the prestigious Propaganda Press; and, even if those more + familiar with Japanese than the editorial board of that Press might have + had serious reservations concerning the linguistic accuracy of the text, + it is reasonable to assume that the Press judged it to be a good example + of grammatical description. It thus represents a grammar of a + non-European language which suited the requirements of the day for + publication at Rome.<a name="NtA_5" href="#Nt_5"><sup>[5]</sup></a></p> + +<p><!-- Page 3 --><span class="pagenum"><a name="page3"></a>[3]</span></p> + + <p>In order to permit this translation of the <i>Ars Grammaticae</i> to + be of use in both these areas of scholarship I have made an effort to + reduce to a minimum those places where a knowledge of either Japanese or + Latin is required for the comprehension of the translation. It is + sincerely hoped that the result is not an effort that is satisfying to + neither, and thus to no one.</p> + + <p>Because of the derivative nature of the text, this translation has put + aside a number of important philological problems as better dealt with + within the context of Rodriguez' grammars. This decision has its most + obvious consequences in the section on the arithmetic, where innumerable + data require exposition. However, since a basic purpose of this + translation is within the context of the history of descriptive grammar, + these tantalizing side roads have been left unexplored. It is, + nevertheless, hoped that this translation will serve as a convenient tool + for those wishing to make a more detailed investigation into the + philological questions raised by the text. But I must caution those who + would undertake such an inquiry that they had best begin with a careful + study of the works of Father Rodriguez.</p> + + <p>With its limitations acknowledged, the <i>Ars Grammaticae Iaponicae + Linguae</i> remains a document worthy of our interest, and I offer this + translation in order that Collado's work may more easily find its proper + place in the history of descriptive grammar.</p> + +<p class="cenhead"><i>The Grammatical Framework</i></p> + + <p>Collado perceived his task to be the presentation of a grammar of + Japanese which would have sufficient scope to equip those dedicated to + the propagation of the faith with a knowledge of the proper spoken + language of his time. While he concludes his grammar with a brief, and + rather presumptuous, statement concerning the written language, his + purpose is clearly to train his students in the fundamentals of + colloquial speech. His sensitivity to this point is demonstrated by his + carefully transforming those examples presented by Rodriguez in the + written language in the <i>Arte</i> into correct colloquial expressions + in his own grammar.</p> + + <p>The description is, of course, prescriptive. But given its age and its + purpose this ought not to be construed in the contemporary, pejorative + <!-- Page 4 --><span class="pagenum"><a name="page4"></a>[4]</span>sense. + Collado, as Rodriguez and indeed all the grammarians of the period, felt + obligated to train their students in those patterns of speech which were + appropriate to the most polite elements of society. Particularly as they + addressed themselves to missionaries, they wished to warn them away from + such illiteracies as might undermine their capacities to propagate the + faith.</p> + + <p>The description further reflects the traditional process + conceptualization of language. This is particularly obvious in the + treatment of the verb. Thus:</p> + +<blockquote class="b1n"> + + <p><i>Praesens subiunctiui fit ex praesenti indicatiui mutato</i> u <i>in + quo finitur in</i> eba.... (The present subjunctive is formed from the + present indicative by changing the <i>u</i> in which it ends to + <i>eba</i>....) [p. <a href="#lpage23">23</a>].</p> + +</blockquote> + + <p>In general each of the verbal forms is conceived to be the result of a + specified alteration of a basic form. Likewise the nouns are treated + within the framework of the declension of cases.</p> + + <p>The treatment of Japanese forms is based upon a semantic framework + within which the formal characteristics of the language are organized. + For example, given the construction <i>aguru coto aró</i> (p. <a + href="#lpage31">31</a>) and its gloss '<i>Erit hoc quod ist offere: idest + offeret</i> (It will be that he is to offer, or he will offer),' it is + clear that the <i>aguru coto</i> is classified as an infinitive because + of its semantic equivalence to <i>offere</i>. The same is true of the + latter supine. If the form in Latin is closely associated with such + constructions as 'easy to,' or 'difficult to,' the semantically similar + form which appears as the element <i>iomi</i> in <i>iominicui</i> + 'difficult to read,' must be classed as the latter supine. Rodriguez in + his <i>Arte Breve</i> of 1620—unknown to Collado—makes an + attempt to classify the structural units of Japanese along more formal + lines; but in Collado's treatment the semantic, and for him logical and + true, classes established by the formal structure of Latin constitute the + theoretical framework through which the Japanese language is to be + described.</p> + + <p>Collado makes reference to two specific sources of influence upon his + grammar. The first is included in the title to the first section of the + grammar, Antonius Nebrissensis. It is to this great Spanish humanist, + <!-- Page 5 --><span class="pagenum"><a name="page5"></a>[5]</span>better + known as Antonio Lebrija (1444-1522), that Collado turns for the model of + his description.</p> + + <p>An examination of Lebrija's grammar, the <i>Introductiones Latinae</i> + (Salamanca, 1481), shows that from the basic outline of his presentation, + to the organization of subsections and the selection of terminology, + there is little departure by Collado from his predecessor.</p> + + <p>Even in such stylistic devices as introducing the interrogatives by + giving the form, following it with "to which one responds," and then + listing a number of characteristic answers; Collado is faithful to the + <i>Introductiones</i>.</p> + + <p>But it is from his Jesuit colleague, Father João Rodriguez, that + Collado receives his most significant influence. There is no section of + his grammar that does not reflect Rodriguez' interpretation of the raw + linguistic data of Japanese. On the basis of the innumerable examples + taken from Rodriguez—most of the substantive sentences are directly + quoted from the <i>Arte</i>—as well as the parallel listing of + forms and identical descriptions of certain grammatical phenomena, it is + clear that the writing of the <i>Ars Grammaticae Iaponicae Linguae</i> + consisted to no small degree of abridging the exhaustive material + contained in Rodriguez' grammar and arranging it within the framework of + Lebrija's <i>Introductiones</i>.</p> + + <p>To say that Collado followed Lebrija in the general structure of his + description is not to imply that he fell heir to all of his precursor's + virtues. The Salamanca grammar of 1481 is a masterpiece of orderly + presentation. Printed in <i>lettera formata</i> with carefully indented + subdivisions, it offers the student a clear display of the conjugational + system as well as long columns of Latin examples of a given grammatical + structure, accompanied on the right side of the page with Spanish + equivalents. Collado makes little effort at copying this orderly display. + There are in his presentation no paradigms, but instead only loosely + connected sentences that talk the student through the various forms of + the conjugation; and there is no orderly array of examples. Add to this + the innumerable factual and typographical errors, and one is left with a + presentation that lacks most of the basic scholarly virtues of its + precursor.</p> + + <p>A similar criticism may be leveled against the work from the point + <!-- Page 6 --><span class="pagenum"><a name="page6"></a>[6]</span>of + view of Rodriguez' influence. Without matching the <i>Introductiones</i> + in orderliness, the <i>Arte</i> more than compensates for its casual + format by containing a mass of exhaustively collected and scrupulously + presented linguistic data.<a name="NtA_6" href="#Nt_6"><sup>[6]</sup></a> + There was available no better source than the <i>Arte</i> from which + Collado might have culled his examples of Japanese.</p> + + <p>One doubt that remains in assessing Collado's use of Rodriguez' + material is that perhaps his presentation of the most readily + understandable material in the <i>Arte</i> is not so much an effort on + his part to simplify the learning of Japanese for his students, as it is + a reflection of his lack of adequate familiarity with the language he was + teaching.</p> + +<p class="cenhead"><i>The Phonological System</i></p> + + <p>A study of the phonological data reveals the <i>Ars Grammaticae + Iaponicae Linguae</i> to be of minimal historical value. Any student of + the phonology of early modern Japanese should turn to the far more + reliable work of Father Rodriguez. Nevertheless, certain aspects of + Collado's transcription require our attention.</p> + + <p>The most obvious innovation in the representation of the language is + Collado's transcription with an <i>i</i> of the palatal consonant which + all his contemporaries record with a <i>y</i>. Thus in the text we find + <i>iomi</i> and <i>coie</i> (terms for native words and Chinese + borrowings) where Rodriguez writes <i>yomi</i> and <i>coye</i>. This + change was affected while the text was being translated from the Spanish + manuscript which uses <i>y</i>; and Collado himself must have felt the + innovation to be of dubious value since he retained <i>y</i> for the + spellings in the <i>Dictionarium</i>.<a name="NtA_7" + href="#Nt_7"><sup>[7]</sup></a></p> + + <p>Collado's handling of the nasal sounds is too inconsistent to be a + reliable source for phonological data. Given his rather awkward + specification that nasalization is predictable before what we must assume + he means to be the voiced stops and affricates,<a name="NtA_8" + href="#Nt_8"><sup>[8]</sup></a> his grammar presents an uncomfortably + irregular pattern in the transcription of the phenomena. Thus, on page <a + href="#lpage39">39</a> we find <i>vo mõdori aró ca?</i> as well as <!-- + Page 7 --><span class="pagenum"><a name="page7"></a>[7]</span><i>modori + aró ca?</i>. Again, what he presents as the ending <i>zũba</i> in + his description of the formation of the negative conditional (p. <a + href="#lpage34">34</a>) appears in <i>tovazunba</i> in its only + occurrence in a sample sentence (p. <a href="#lpage62">62</a>). To + further confound the issue such forms as <i>tovazunba</i> and + <i>qinpen</i> occur in contrast to <i>sambiacu</i>, <i>varambe</i>, and + <i>varãbe</i>.</p> + + <p>In Chart 1 the traditional pattern of the <i>gojūonzu</i> (chart + of 50 sounds) is followed as a convenient framework in which to display + the transcriptional system employed by Collado.</p> + +<h3>Chart 1</h3> + +<h3>COLLADO'S TRANSCRIPTION SYSTEM</h3> + + +<table width="60%" class="nobctr" summary="The Simple and Long Series" title="The Simple and Long Series"> + <tr> + <td style="text-align:center" colspan="16"> + <p><i>The Simple Series</i></p> + </td> + </tr> + + <tr> + <td style="text-align:center; width:6%"> + </td> + <td style="text-align:center; width:6%"> + <p>/#/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/k/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/g/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/s/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/z/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/t/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/d/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/n/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/<span class="grk">φ</span>/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/b/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/p/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/m/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/y/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/r/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/w/</p> + </td> + </tr> + + <tr> + <td style="text-align:center"> + <p>/a/</p> + </td> + <td style="text-align:center"> + <p><span class="under">a</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">ca</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">ga</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">sa</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">za</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">ta</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">da</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">na</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">fa</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">ba</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">pa</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">ma</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">ia</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">ra</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">va</span></p> + </td> + </tr> + + <tr> + <td style="text-align:center"> + <p>/i/</p> + </td> + <td style="text-align:center"> + <p><span class="under">i</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">qi</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">gui</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">xi</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">ji</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">chi</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">gi</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">ni</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">fi</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">bi</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">pi</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">mi</span></p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + <td style="text-align:center"> + <p><span class="under">ri</span></p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + </tr> + + <tr> + <td style="text-align:center"> + <p>/u/</p> + </td> + <td style="text-align:center"> + <p><span class="under">u</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">cu</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">gu</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">su</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">zu</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">tçu</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">zzu</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">nu</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">fu</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">bu</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">pu</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">mu</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">iu</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">ru</span></p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + </tr> + + <tr> + <td style="text-align:center"> + <p>/e/</p> + </td> + <td style="text-align:center"> + <p>[<span class="under">ie</span>]</p> + </td> + <td style="text-align:center"> + <p><span class="under">qe</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">gue</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">xe</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">je</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">te</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">de</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">ne</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">fe</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">be</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">pe</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">me</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">ie</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">re</span></p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + </tr> + + <tr> + <td style="text-align:center"> + <p>/o/</p> + </td> + <td style="text-align:center"> + <p>[<span class="under">vo</span>]</p> + </td> + <td style="text-align:center"> + <p><span class="under">co</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">go</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">so</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">zo</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">to</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">do</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">no</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">fo</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">bo</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">po</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">mo</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">io</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">ro</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">vo</span></p> + </td> + </tr> + + <tr> + <td style="text-align:center" colspan="16"> + <p><i>The Long Series</i></p> + </td> + </tr> + + <tr> + <td style="text-align:center"> + <p>/au/</p> + </td> + <td style="text-align:center"> + <p>[<span class="under">vó</span>]</p> + </td> + <td style="text-align:center"> + <p><span class="under">có</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">gó</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">só</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">zó</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">tó</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">dó</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">nó</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">fó</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">bó</span></p> + </td> + <td style="text-align:center"> + <p>(<span class="under">pó</span>)</p> + </td> + <td style="text-align:center"> + <p><span class="under">mó</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">ió</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">ró</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">vó</span></p> + </td> + </tr> + + <tr> + <td style="text-align:center"> + <p>/uu/</p> + </td> + <td style="text-align:center"> + <p><span class="under">ú</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">cú</span></p> + </td> + <td style="text-align:center"> + <p>(<span class="under">gú</span>)</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">sú</span>)</p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">tçú</span>)</p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + <td style="text-align:center"> + <p><span class="under">fú</span></p> + </td> + <td style="text-align:center"> + <p>(<span class="under">bú</span>)</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">pú</span>)</p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + <td style="text-align:center"> + <p><span class="under">iú</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">rú</span></p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + </tr> + + <tr> + <td style="text-align:center"> + <p>/ou/</p> + </td> + <td style="text-align:center"> + <p>[<span class="under">vô</span>]</p> + </td> + <td style="text-align:center"> + <p><span class="under">cô</span></p> + </td> + <td style="text-align:center"> + <p>(<span class="under">gô</span>)</p> + </td> + <td style="text-align:center"> + <p><span class="under">sô</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">zô</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">tô</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">dô</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">nô</span></p> + </td> + <td style="text-align:center"> + <p>(<span class="under">fô</span>)</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">bô</span>)</p> + </td> + <td style="text-align:center"> + <p><span class="under">pô</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">mô</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">iô</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">rô</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">vô</span></p> + </td> + </tr> +</table> + + +<table width="56%" class="nobctr" summary="The Palatal and Labial Series" title="The Palatal and Labial Series"> + <tr> + <td style="text-align:center" colspan="15"> + <p><i>The Palatal and Labial Series</i></p> + </td> + </tr> + + <tr> + <td style="text-align:center; width:6%"> + </td> + <td style="text-align:center; width:6%"> + <p>/ky/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/gy/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/sy/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/zy/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/ty/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/dy/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/ny/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/<span class="grk">φ</span>y/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/by/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/py/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/my/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/ry/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/kw/</p> + </td> + <td style="text-align:center; width:6%"> + <p>/gw/</p> + </td> + </tr> + + <tr> + <td style="text-align:center"> + <p>/a/</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">qua</span>)</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">guia</span>)</p> + </td> + <td style="text-align:center"> + <p><span class="under">xa</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">ja</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">cha</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">gia</span></p> + </td> + <td style="text-align:center"> + <p>(<span class="under">nha</span>)</p> + </td> + <td style="text-align:center"> + <p><span class="under">fia</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">bia</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">pia</span></p> + </td> + <td style="text-align:center"> + <p>(<span class="under">mia</span>)</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">ria</span>)</p> + </td> + <td style="text-align:center"> + <p><span class="under">qua</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">gua</span></p> + </td> + </tr> + + <tr> + <td style="text-align:center"> + <p>/u/</p> + </td> + <td style="text-align:center"> + <p><span class="under">qui</span></p> + </td> + <td style="text-align:center"> + <p>(<span class="under">guiu</span>)</p> + </td> + <td style="text-align:center"> + <p><span class="under">xu</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">ju</span></p> + </td> + <td style="text-align:center"> + <p>(<span class="under">chu</span>)</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">giu</span>)</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">nhu</span>)</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">fiu</span>)</p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">miu</span>)</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">riu</span>)</p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + </tr> + + <tr> + <td style="text-align:center"> + <p>/o/</p> + </td> + <td style="text-align:center"> + <p><span class="under">qio</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">guio</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">xo</span></p> + </td> + <td style="text-align:center"> + <p>(<span class="under">jo</span>)</p> + </td> + <td style="text-align:center"> + <p><span class="under">cho</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">gio</span></p> + </td> + <td style="text-align:center"> + <p>(<span class="under">nho</span>)</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">fio</span>)</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">bio</span>)</p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">mio</span>)</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">rio</span>)</p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + </tr> + + <tr> + <td style="text-align:center"> + <p>/au/</p> + </td> + <td style="text-align:center"> + <p><span class="under">qió</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">guió</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">xó</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">jó</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">chó</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">gió</span></p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">fió</span>)</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">bió</span>)</p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + <td style="text-align:center"> + <p><span class="under">mió</span></p> + </td> + <td style="text-align:center"> + <p>(<span class="under">rió</span>)</p> + </td> + <td style="text-align:center"> + <p><span class="under">quó</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">guó</span></p> + </td> + </tr> + + <tr> + <td style="text-align:center"> + <p>/uu/</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">qiú</span>)</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">guiú</span>)</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">xú</span>)</p> + </td> + <td style="text-align:center"> + <p><span class="under">jú</span></p> + </td> + <td style="text-align:center"> + <p>(<span class="under">chú</span>)</p> + </td> + <td style="text-align:center"> + <p><span class="under">giú</span></p> + </td> + <td style="text-align:center"> + <p><span class="under">nhú</span></p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + <td style="text-align:center"> + <p>(<span class="under">riú</span>)</p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + <td style="text-align:center"> + <p>-</p> + </td> + </tr> + + <tr> + <td style="vertical-align:top; text-align:center"> + <p>/ou/</p> + </td> + <td style="vertical-align:top; text-align:center"> + <p><span class="under">qiô</span></p> + </td> + <td style="vertical-align:top; text-align:center"> + <p>(<span class="under">guiô</span>)<br /><span + class="under">gueô</span></p> + </td> + <td style="vertical-align:top; text-align:center"> + <p><span class="under">xô</span></p> + </td> + <td style="vertical-align:top; text-align:center"> + <p><span class="under">jô</span></p> + </td> + <td style="vertical-align:top; text-align:center"> + <p><span class="under">chô</span></p> + </td> + <td style="vertical-align:top; text-align:center"> + <p><span class="under">giô</span><br /><span + class="under">geô</span></p> + </td> + <td style="vertical-align:top; text-align:center"> + <p><span class="under">nhô</span><br /><span + class="under">neô</span></p> + </td> + <td style="vertical-align:top; text-align:center"> + <p><span class="under">fiô</span></p> + </td> + <td style="vertical-align:top; text-align:center"> + <p>(<span class="under">biô</span>)<br /><span + class="under">beô</span></p> + </td> + <td style="vertical-align:top; text-align:center"> + <p><span class="under">piô</span></p> + </td> + <td style="vertical-align:top; text-align:center"> + <p>(<span class="under">miô</span>)</p> + </td> + <td style="vertical-align:top; text-align:center"> + <p>(<span class="under">riô</span>)<br /><span + class="under">reô</span></p> + </td> + <td style="vertical-align:top; text-align:center"> + <p>-</p> + </td> + <td style="vertical-align:top; text-align:center"> + <p>-</p> + </td> + </tr> +</table> + + <p>In this chart the phonemic grid is presented in a broad phonetic <!-- + Page 8 --><span class="pagenum"><a name="page8"></a>[8]</span>notation + while the underlined entries are in the form used by the text. Dashes + indicate sequences which do not occur in the Christian material; while + the forms in parentheses are sequences which do not occur in the text but + have been reconstructed on the basis of the overall system from sequences + attested to elsewhere. The forms <i>ie</i>, <i>vo</i>, <i>vó</i>, and + <i>vô</i> have been placed in brackets to indicate that neither /e/, /o/, + /oo/, or /au/ occur in the syllable initial position; and, where in the + modern language they do, the text regularly spells that with an initial + <i>i</i> or <i>v</i>. The forms in <i>eô</i> at the foot of the chart + represent sequences that are phonetically identical to the forms above + them, but which are transcribed differently to reflect morphological + considerations; e.g., the form <i>agueô</i> from the stem <i>ague</i>. + The phonetic values of /au/, /uu/, and /ou/ are [<span + class="IPA">ɔ</span>:], [u:], and [o:].</p> + + <p>Two aspects of the usage of <i>q</i> should be noticed. First, as in + the <i>Arte</i>, <i>c</i> is changed to <i>q</i> before <i>o</i> and + <i>u</i>, when the sequence occurs at a morphological juncture; e.g., + <i>ioqu</i> 'well,' and <i>iqó</i> 'I shall go.' (This rule does not + extend to <i>a</i> in such contexts; cf., <i>iocatta</i> 'was good.') + Second, in contrast to the system used by Rodriguez, Collado does not + feel compelled to follow <i>q</i> with <i>u</i> in all contexts. Thus + what Rodriguez spells as <i>queredomo</i> Collado spells as + <i>qeredomo</i>. Finally, the text records one usage of the letter + <i>h</i> in the exclamation <i>ha</i>.</p> + +<p class="cenhead"><i>The Morphological System</i></p> + + <p>Collado's treatment of the morphology contains one quite obvious + difference from those of his predecessors: he isolates the particles of + the language as separate elements of the structure. While his effort is + more or less carelessly maintained by the type setter, his attempt to + establish a division between the semantemes (<i>shi</i>) and the + morphemes (<i>ji</i>) of Japanese by establishing formal distance between + his <i>verba</i> and <i>particula</i>, reflects his consciousness that + the morphological elements in Japanese are of a different order than + those in Latin. At times, such as when he describes the preterit + subjunctive as <i>agueta raba</i>, his divisions fly in the face of + derivational history. But he can claim a reasonable justification for his + decision by citing Rodriguez' rule for the formation of this form; "add + <i>raba</i> to the preterit of the verb" (<i>Arte</i>, 18v). Perhaps it + is a prejudice founded upon familiarity with <!-- Page 9 --><span + class="pagenum"><a name="page9"></a>[9]</span>contemporary romanizations, + but I cannot help but consider this attempt to give greater independence + to the particles as an improvement in the representation of the + morphological system.</p> + + <p>In all other significant facets of the morphology Collado follows the + principles established by Rodriguez with the one exception that in the + over-all systematization of the verbal formation and conjugation he + follows the classifications established in Lebrija's + <i>Introductiones</i> rather than those which Rodriguez inherited from + the <i>Institutiones</i> of Alverez. The most significant difference + between the two systems is the use by Lebrija of the term subjunctive in + his description of the moods where Rodriguez gives independent status to + the conjunctive, conditional, concessive, and potential. As we shall see, + after presenting the conjugational system of the verb within the + framework of Lebrija, Collado breaks the expected sequence of his + description of the verb to interject a section on conditional + constructions and another on those of the potential.</p> + + <p>In the treatment of the tenses Collado breaks with Rodriguez in not + attempting to establish an imperfect for Japanese, but he does follow him + in the overall classification of the conjugations. Thus:<a name="NtA_9" + href="#Nt_9"><sup>[9]</sup></a></p> + + +<table width="71%" class="nobctr" summary="Conjugations" title="Conjugations"> + <tr> + <td style="vertical-align:top; text-align:left; width:21%"> + <p>1st Conjugation</p> + </td> + <td style="vertical-align:top; text-align:left; width:52%"> + <p>verbs ending in <i>e</i>, <i>gi</i>, and <i>ji</i> (<i>xi</i> and + <i>maraxi</i>)</p> + </td> + <td style="vertical-align:top; text-align:left; width:26%"> + <p>e.g., <i>ague, uru</i></p> + </td> + </tr> + + <tr> + <td style="vertical-align:top; text-align:left"> + <p>2nd Conjugation</p> + </td> + <td style="vertical-align:top; text-align:left"> + <p>verbs ending in <i>i</i></p> + </td> + <td style="vertical-align:top; text-align:left"> + <p>e.g., <i>iomi, u</i></p> + </td> + </tr> + + <tr> + <td style="vertical-align:top; text-align:left"> + <p>3rd Conjugation</p> + </td> + <td style="vertical-align:top; text-align:left"> + <p>verbs ending in <i>ai</i>, <i>oi</i>, and <i>ui</i></p> + </td> + <td style="vertical-align:top; text-align:left"> + <p>e.g., <i>narai, ó</i></p> + </td> + </tr> +</table> + + <p>To the description of this general system Collado adds the treatment + of the substantive verbs. This section in many respects is the weakest in + his grammar with a portion of his description lost in composing the final + text.</p> + + <p>Since Collado does not, as Rodriguez, present the conjugations in + paradigmatic form, I have extracted from his presentation the most + representative forms of the verb <i>ague, uru</i> for each of the + categories of the system, and presented them in Chart 2 for + reference.</p> + +<h3><span class="sc">Chart 2</span></h3> + +<h3>THE CONJUGATIONAL SYSTEM</h3> + + +<table class="nobctr" summary="Conjugations" title="Conjugations"> + <tr> + <td class="spac" style="text-align:left"> + </td> + <td class="spac" style="text-align:left"> + <p><i>Affirmative</i></p> + </td> + <td class="spac" style="text-align:left"> + <p><i>Negative</i></p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:center" colspan="3"> + <p>INDICATIVE MOOD</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Present</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguru</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguenu</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Perfect</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueta</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguenanda</p> +<p><!-- Page 10 --><span class="pagenum"><a name="page10"></a>[10]</span></p> + + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Pluperfect</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguete atta</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguenande atta</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Future</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueôzu</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguru mai</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Future perfect</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguete arǒzu</p> + </td> + <td class="spac" style="text-align:left"> + <p>——</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:center" colspan="3"> + <p>IMPERATIVE MOOD</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Present</p> + </td> + <td class="spac" style="text-align:left"> + <p>ague io</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguru na</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Future</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueôzu</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguru mai</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:center" colspan="3"> + <p>OPTATIVE MOOD</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Present</p> + </td> + <td class="spac" style="text-align:left"> + <p>avare ague io caxi</p> + </td> + <td class="spac" style="text-align:left"> + <p>avare aguru na caxi</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Preterit</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueôzu mono vo</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguru mai mono vo</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Future</p> + </td> + <td class="spac" style="text-align:left"> + <p>avare ague io caxi</p> + </td> + <td class="spac" style="text-align:left"> + <p>avare aguru na caxi</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:center" colspan="3"> + <p>SUBJUNCTIVE MOOD</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Present</p> + </td> + <td class="spac" style="text-align:left"> + <p>agureba</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueneba</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Perfect</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueta reba</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguenanda reba</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Pluperfect</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguete atta reba</p> + </td> + <td class="spac" style="text-align:left"> + <p>——</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Future</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueô toqi</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguru mai qereba</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:center" colspan="3"> + <p>PERMISSIVE SUBJUNCTIVE MOOD</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Present</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueredomo</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguenedomo</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Preterit</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueta redomo</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguenanda redomo</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Future</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueôzu redomo</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguru mai qeredomo</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:center" colspan="3"> + <p>INFINITIVE</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Present</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguru coto</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguenu coto</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Preterit</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueta coto</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguenanda coto</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Future</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueô coto</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguru mai coto</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:center" colspan="3"> + <p>GERUND IN <i>DI</i></p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Present</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguru [jibun]</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguenu [jibun]</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Future</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueô [jibun]</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguru mai [jibun]</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:center" colspan="3"> + <p>GERUND IN <i>DO</i></p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>——</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguete</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueĩde</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:center" colspan="3"> + <p>GERUND IN <i>DUM</i></p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Present</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguru tame</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguenu tame</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Future</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueô tame</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguru mai tame</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:center" colspan="3"> + <p>SUPINE IN <i>TUM</i></p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>——</p> + </td> + <td class="spac" style="text-align:left"> + <p>ague ni</p> + </td> + <td class="spac" style="text-align:left"> + <p>——</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:center" colspan="3"> + <p>SUPINE IN <i>TU</i></p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>——</p> + </td> + <td class="spac" style="text-align:left"> + <p>ague</p> + </td> + <td class="spac" style="text-align:left"> + <p>——</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:center" colspan="3"> + <p>PARTICIPLE</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Present</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguru fito</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguenu fito</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Preterit</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueta fito</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguenando fito</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Future</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueô fito</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguru mai fito</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:center" colspan="3"> + <p> <br /> The forms treated separately are:<br /> THE + CONDITIONAL</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Present</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueba</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguezũba</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Preterit</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueta raba</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguenanda raba</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Future</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueô naraba</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguru mai naraba</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:center" colspan="3"> + <p>THE POTENTIAL</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Present</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguru ró</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguenu coto mo arózu</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Preterit</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguetçu ró</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguenanzzu ró</p> + </td> + </tr> + + <tr> + <td class="spac" style="text-align:left"> + <p>Future</p> + </td> + <td class="spac" style="text-align:left"> + <p>agueôzu ró</p> + </td> + <td class="spac" style="text-align:left"> + <p>aguru mai coto mo arózu</p> + </td> + </tr> +</table> + +<p><!-- Page 11 --><span class="pagenum"><a name="page11"></a>[11]</span></p> + +<p class="cenhead"><i>The Structure of Collado's and Rodriguez' Descriptions Contrasted</i></p> + + <p>In every section of his description, Collado is indebted to the + material presented by Rodriguez in his <i>Arte da Lingoa de Iapam</i>. + The structure of the <i>Ars Grammaticae</i>, however, follows a much more + simplistic design than that of the <i>Arte</i>. As a consequence Collado + found it necessary to assemble his data from various sections of + Rodriguez' description. In the paragraphs which follow we will briefly + sketch the structural relation between these two grammars.</p> + + <p>As he clearly states in his title to the main portion of the grammar + Collado bases his description on the <i>Introductiones</i> of Antonio + Lebriya, and more specifically upon that portion of the great Latin + grammar which dealt with the parts of speech. Further, he limits himself + to the spoken language rather than attempting, as does Rodriguez, an + integrated treatment of both the spoken and written grammars.</p> + + <p>Under these influences Collado's grammar takes on the following + form:</p> + + <div class="poem"> + <div class="stanza"> + <p>A Prologue (including the phonology) ... 3-5</p> + <p>The Body of the Grammar (by parts of speech) ... 6-61</p> + <p>A Brief Syntax ... 61-66</p> + <p>A Treatment of the Arithmetic ... 66-74</p> + <p>A Note on the Written Language ... 74-75</p> + </div> + </div> + <p>In contrast Rodriguez' <i>Arte</i>, prepared under the influence of + Alvarez' <i>Institutiones</i>, develops its description over the span of + three books which treat both the spoken and written grammar in + progressively greater detail. Thus:</p> + + <div class="poem"> + <div class="stanza"> + <p>The Introduction ... iii-v</p> + </div> + + <div class="stanza"> + <p class="i8"><span class="sc">Book I</span></p> + </div> + + <div class="stanza"> + <p>The Declensions ... 1-2v</p> + <p>The Conjugations ... 2v-54</p> + <p>The Parts of Speech (<i>Rudimenta</i>) ... 55-80v</p> + </div> + + <div class="stanza"> + <p class="i8"><span class="sc">Book II</span></p> + </div> + + <div class="stanza"> + <p>The Syntax of the Parts of Speech ... 83-168</p> + <p>Styles, Pronunciation, Poetics, etc. ... 168-184</p> + </div> + + <div class="stanza"> + <p class="i8"><span class="sc">Book III</span></p> + </div> + + <div class="stanza"> + <p>The Written Language ... 184v-206v</p> + <p>Names, Titles, etc. ... 206v-212v</p> + <p>The Arithmetic ... 212v-239</p> + </div> + </div> +<p><!-- Page 12 --><span class="pagenum"><a name="page12"></a>[12]</span></p> + + <p>Given these differing formats<a name="NtA_10" + href="#Nt_10"><sup>[10]</sup></a> it is clear that Collado is unable to + cope adequately with the more complex aspects of the grammar, + specifically those syntactic constructions to which Rodriguez devotes + almost an entire book.</p> + + <p>An analysis of Collado's description and a listing of the portions of + Rodriguez' grammar from which material was taken yields the + following:</p> + + +<table class="nobctr" summary="Collado vs. Rodriguez" title="Collado vs. Rodriguez"> + <tr> + <td class="spac" style="text-align:center"> + <p><i>Collado</i></p> + </td> + <td class="spac" style="text-align:left"> + </td> + <td class="spac" style="text-align:center"> + <p><i>Rodriguez</i></p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Phonology (3-5)</p> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p><img src="images/$lbrace.png" style="height:4ex; width:0.8em" + alt="left brace" /></p> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Parts of Speech (55-58)<br /> Book III + (173-179v)</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Nouns (6-13)</p> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p><img src="images/$lbrace.png" style="height:4ex; width:0.8em" + alt="left brace" /></p> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Declensions (1-2v)<br /> Parts of Speech + (59-61)</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Adjectives (9-11, 32-33)</p> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p><img src="images/$lbrace.png" style="height:6ex; width:0.8em" + alt="left brace" /></p> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Declensions (2-2v)<br /> Conjugations (47-52)<br /> Parts of + Speech (61-67)</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Pronouns (13-18)</p> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p><img src="images/$lbrace.png" style="height:4ex; width:0.8em" + alt="left brace" /></p> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Declensions (2v)<br /> Parts of Speech + (67-68)</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Verbs (18-49)</p> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p><img src="images/$lbrace.png" style="height:6ex; width:0.8em" + alt="left brace" /></p> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Conjugations (6v-54v)<br /> Parts of Speech (69-73)<br /> Syntax + (83v-112v)</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Adverbs (49-57)</p> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p><img src="images/$lbrace.png" style="height:4ex; width:0.8em" + alt="left brace" /></p> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Parts of Speech (73v-77)<br /> Syntax + (113-125)</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Prepositions (57-59)</p> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p><img src="images/$lbrace.png" style="height:4ex; width:0.8em" + alt="left brace" /></p> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Parts of Speech (73-73v)<br /> Syntax + (140-148v)</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Conjunctions (59-60)</p> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p><img src="images/$lbrace.png" style="height:4ex; width:0.8em" + alt="left brace" /></p> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Parts of Speech (76-76v)<br /> Syntax + (130-137)</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Exclamations (60-61)</p> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p><img src="images/$lbrace.png" style="height:4ex; width:0.8em" + alt="left brace" /></p> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Parts of Speech (76-76v)<br /> Syntax + (125-130)</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Syntax (61-66)</p> + </td> + <td class="spac" style="text-align:left"> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Book II (83-168)</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Arithmetic (66-75)</p> + </td> + <td class="spac" style="text-align:left"> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Book III (212v-239)</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Written Language (74-75)</p> + </td> + <td class="spac" style="text-align:left"> + </td> + <td class="spac" style="vertical-align:middle; text-align:left"> + <p>Book III (184v-206v)</p> + </td> + </tr> +</table> + + <p>Two aspects of Japanese were not able to be described with any degree + of satisfaction by Collado; the adjectives (<i>adjectiva</i>) and the + prepositions (<i>praepositio</i>). His difficulties, attributable to the + basic structural difference between Latin and Japanese, were compounded + by the fact that Rodriguez too was unable to find a satisfactory solution + to their description.</p> + + <p>With respect to the adjectives, Collado attempts to deal with their + functions in the manner appropriate to Latin, that is as a sub-class of + <!-- Page 13 --><span class="pagenum"><a + name="page13"></a>[13]</span>nouns (pp. <a href="#lpage9">9</a>-11). He + also recognizes their formal similarity to the verb and treats them + briefly as a sub-class of the substantive verb (pp. <a + href="#lpage32">32</a>-33), but his heavy reliance upon the semantic + categories of Latin does not permit him to follow Rodriguez who is able + more clearly to recognize their formal as well as their functional + distinctiveness.</p> + + <p>Concerning prepositions, Collado was confronted with an all but + insurmountable taxonomic problem. Here too Rodriguez was unable to + develop a completely satisfactory descriptive framework. In the + <i>Arte</i> the term <i>posposição</i> is used for those particles which + function in a manner similar to the Latin prepositions; e.g., + <i>tameni</i>, <i>taixite</i>, and <i>tomoni</i> (cf. 73-73v and + 140-148v); the term <i>artigo</i> is used for those particles having the + functions of the inflectional endings of Latin; e.g., <i>ga</i>, + <i>ye</i>, and <i>ni</i> (cf. 1-2, 78, and 137-140); and the general term + <i>particula</i> is used to cover the broad spectrum of particles that + include adverbs, conjunctions, and exclamations, as well as those + otherwise unaccounted for elements which end phrases, clauses, and + sentences; e.g., <i>no</i>, <i>nite</i>, and <i>yo</i> (cf. 77-78 and + 144-154v).</p> + + <p>Collado, rather than attempting to refine the system suggested by + Rodriguez, follows the <i>Arte</i> in listing as <i>praepositio</i> those + elements which translate the Latin prepositions (pp. <a + href="#lpage57">57</a>-59) but uses the term <i>particula</i> to cover + all the other particles of the language.</p> + + <p>This tendency of Collado's to retreat from the challenging problems + left unresolved by Rodriguez constitutes the greatest weakness of his + description. Given concise grammatical descriptions on the one hand and + over-simplified versions of previous works on the other, the <i>Ars + Grammaticae Iaponicae Linguae</i> unfortunately falls among the + latter.</p> + + <p>In his shorter work, the <i>Arte Breve</i> of 1620, Rodriguez retains + the same general format, but makes every effort to reduce the description + to its barest essentials. Thus:</p> + + <div class="poem"> + <div class="stanza"> + <p class="i8"><span class="sc">Book I</span></p> + </div> + + <div class="stanza"> + <p>A General Note on the Language ... 1-2</p> + <p>An Essay on How to Learn the Language ... 2v-6</p> + <p>The Orthography ... 6-8</p> + <p>Composition of the Syllables ... 8v-9v</p> + <p>The Way to Write and Pronounce the Letters ... 10-12v</p> + <p>The Declension of Nouns ... 13-18</p> + <p>The Conjugation and Formation of Verbs ... 18-52</p> +<!-- Page 14 --><span class="pagenum"><a name="page14"></a>[14]</span> + </div> + + <div class="stanza"> + <p class="i8"><span class="sc">Book II</span></p> + </div> + + <div class="stanza"> + <p>The <span class="correction" title="text reads `Rudamenta'">Rudimenta</span> ... 52-59v</p> + <p>The Syntax ... 59v-66v</p> + </div> + + <div class="stanza"> + <p class="i8"><span class="sc">Book III</span></p> + </div> + + <div class="stanza"> + <p>The Written Language ... 67-75</p> + <p>The Various Kinds of Names ... 75v-98v</p> + </div> + </div> + <p>Of particular interest in the context of Collado's grammar is the + manner in which Rodriguez displays the verbal system. While the <i><span + class="correction" title="text reads `Arts'">Ars</span> Grammaticae</i> + presents the verbal system as a series of alterational rules to be + applied to the base forms, the <i>Arte Breve</i> goes even further than + the <i>Arte</i> to differentiate the formational rules from the + conjugational displays. Rodriguez tries several devices to elucidate his + material. For example, Charts A and B below represent very early attempts + to use a bordered format for linguistic description.</p> + + <p>In order to indicate the differences to be found between the + descriptions presented by Rodriguez and Collado, I have extracted the + formational rules from the <i>Arte Breve</i> and, setting aside only two + short appendices dealing with variant forms, present them here in their + entirety.</p> + +<p class="cenhead"><i>THE CONJUGATION AND FORMATION OF THE +TENSES AND MOODS OF THE VERBS</i></p> + + <p><i>All the verbs of this language may be reduced </i>(se reduzem)<i> + to four affirmative and three negative conjugations. This is because the + negative conjugation of the adjectival verb, which we discussed before,<a + name="NtA_11" href="#Nt_11"><sup>[11]</sup></a> agrees with the second of + the three conjugations; and the conjugation of the substantive verb + </i>Sǒrai<i>, </i>Sǒrǒ<i>, or </i>soro<i>, which is an + abbreviated form of </i>Samburai<i>, </i>samburǒ<i><a name="NtA_12" + href="#Nt_12"><sup>[12]</sup></a> both in the affirmative and the + negative is reduced to the third conjugation. At this point we will treat + the three affirmative and three negative ordinary conjugations of the + regular personal verbs.<a name="NtA_13" href="#Nt_13"><sup>[13]</sup></a> + Following this, and on account of its particular usage and formation, we + will discuss the conjugation of the adjectival verb.</i></p> + + <p><i>The verbs of this language do not change </i>(naõ fẽ + variedade)<i> to show person and number as do those of Latin; rather, one + form </i>(voz)<i> <!-- Page 15 --><span class="pagenum"><a + name="page15"></a>[15]</span>is used for all persons, singular and + plural. Number and person are understood according to the subject + </i>(Naminativo [<i>sic</i>])<i>, or pronoun, which is joined to the + verb. The moods of the verb, which in this language have distinct forms + for the tenses, are indicative, imperative, conjunctive, conditional, and + preterit participle. The remaining moods are made up of these forms + joined to certain particles. Each mood has but three tenses which have + distinct forms; these are preterit, present, and future. These forms are + signified by the Japanese terms </i>(vocabulos)<i> </i>Quaco<i>, + </i>ghenzai<i>, </i>mirai<i>. The preterit imperfect and pluperfect are + made up of the present, preterit, and preterit participle together with + the substantive verb, as will be seen below in the conjugations.</i></p> + + <p><i>Concerning the formation of the tenses and moods of the verbs in + general, one is reminded that to understand the actual root </i>(raiz)<i> + and the natural formation of all the tenses and moods, both affirmative + and negative, it is extremely important to take notice of the usage of + the </i>Goyn<i>,<a name="NtA_14" href="#Nt_14"><sup>[14]</sup></a> which + are the five vowels </i>(cinco letras vogaes)<i> in the syllables which + are below each aforementioned formation; and that it is also important to + understand </i>Canadzucai<i>,<a name="NtA_15" + href="#Nt_15"><sup>[15]</sup></a> which is the way to write with + </i>Firagana<i> as well as the way one joins together syllables, or + letters, to form other words </i>(palauras)<i>, while noticing which + syllable is changed by which, what constitutes long, short, or + diphthongal syllables, which combinations cause contraction + </i>(sincope)<i>, which cause augmentation </i>(incremento)<i> of the + verb, whether one makes a syllable liquid </i>(liquescit)<i><a + name="NtA_16" href="#Nt_16"><sup>[16]</sup></a> or not, and how the + tenses of the moods are written with the same </i>Cana<i>.<a + name="NtA_17" href="#Nt_17"><sup>[17]</sup></a> The term </i>Goyn<i>, not + only indicates the syllables, or </i>Cana<i>, which are transformed to + others, such as </i>Fa<i>, </i>Fe<i>, </i>Fi<i>, </i>Fo<i>, </i>Fu<i>, + which are changed to the closely related sounds </i>Ba<i>, </i>Be<i>, + </i>Bi<i>, </i>Bo<i>, </i>Bu<i> and </i>Pa<i>, </i>Pe<i>, </i>Pi<i>, + </i>Po<i>, </i>Pu<i>; but it also indicates another kind of change from + one sound to another in the same order </i>(ordem)<i>, as happens among + the syllables </i>Fa<i>, </i>Fe<i>, </i>Fi<i>, </i>Fo<i>, </i>Fu<i>. + </i>Ba<i>, </i>Be<i>, </i>Bi<i>, </i>Bo<i>, </i>Bu<i>. </i>Ma<i>, + </i>Me<i>, </i>Mi<i>, </i>Mo<i>, </i>Mu<i>, <!-- Page 16 --><span + class="pagenum"><a name="page16"></a>[16]</span>etc. where often by rule + </i>(regna)<i> </i>Ma<i> is changed to </i>Mi<i>; or to the contrary + </i>Bu<i> to </i>Ba<i> and </i>Bi<i> to </i>Ba<i>, and likewise for + others. The greater part of the formation of the tenses of each mood is + confined to such changes, as is clearly seen in the way one writes the + tense forms with </i>Cana<i>. It is to this that another change belongs. + That which exists among those syllables having a certain relationship and + rapport between them, as </i>Ma<i>, </i>Fa<i>, </i>Ba<i>, </i>Pa<i>; + </i>Me<i>, </i>Fe<i>, </i>Be<i>, </i>Pe<i>; </i>Mi<i>, </i>Fi<i>, + </i>Bi<i>, </i>Pi<i>; </i>Mo<i>, </i>Fo<i>, </i>Bo<i>, </i>Po<i>; + </i>Mu<i>, </i>Fu<i>, </i>Bu<i>, </i>Pu<i>; with </i>Mu<i> and </i>V<i>. + Thus, what is written </i>Vma<i> in </i>Cana<i> is written </i>Muma<i>, + and </i>Mume<i> written for </i>Vme<i> in order to conform more closely + to its pronunciation.<a name="NtA_18" href="#Nt_18"><sup>[18]</sup></a> + Also </i>Mu<i> is written for </i>Bu<i><a name="NtA_19" + href="#Nt_19"><sup>[19]</sup></a> so that all the harmony + </i>(armonia)<i> in the formations of this language are contained in the + rules for </i>Goyn<i> and </i>Canadzucai<i>. Those who are informed see, + as native speakers, how the tenses are formed for any mood, and which + letter, or syllable, must be changed to another to affect a formation. + Concerning this matter there is a booklet<a name="NtA_20" + href="#Nt_20"><sup>[20]</sup></a> which teaches </i><span + class="correction" title="text reads `Canaduzcai'">Canadzucai</span><i>, + and the general rules on the subject. Teachers should have this booklet + to teach more easily and advantageously those students who are learning + </i>Cana<i>. Lacking a knowledge of </i>Goyn<i> and </i>Canadzucai<i>, + some of the rules which until now have been used in the formation of + verbs (some of which I have let remain as they were), are not the + original and natural rules as are the </i>Goyn<i>.<a name="NtA_21" + href="#Nt_21"><sup>[21]</sup></a> They are rather devices, some forming + affirmative tenses and moods from negative forms and others forming them + from yet other more remote sources, which appear to correspond to + formational rules, but for which the proper rules are not known. The fact + is that the affirmative as well as negative are formed from the + affirmative, beginning with the root, as will be seen below.</i></p> + + <p><i>Speaking in general of the formation of the verb, the forms of the + indicative and imperative moods of all three conjugations are formed from + the root of the verb. The rest of the tenses in the other affirmative + moods are formed from either the indicative or imperative forms. In the + same way, the negative indicative present is formed from the root of the + verb and the other tenses of the indicative are formed from <!-- Page 17 + --><span class="pagenum"><a name="page17"></a>[17]</span>the present + form. The other negative moods are formed from the indicative + forms.</i></p> + +<p class="cenhead"><span class="sc">Formation of the Tenses for the Indicative and Imperative Moods of the Verbs of the First Affirmative Conjugation</span></p> + + <p><i>The final syllables of the roots of the first affirmative + conjugation, by which the verbs conjugated here are known, and from which + the tenses of the indicative will be formed, end in </i>E<i>, with the + exception of the verb "to do," </i>Xi<i>, or </i>Ii<i>, with its + compounds and certain other verbs which end in </i>I<i>. The verbs which + belong to the first conjugation, are as follows </i>[<i>in Charts A & + B</i>]<i>.</i></p> + + <p><i>The verb </i>Xi<i> "to do," with its compounds ending in </i>Xi<i> + or </i>Ii<i>, follows the formation of the verbs of the first + conjugation. </i>Ii<i> is </i>Xi<i> which has been changed + </i>(alterado)<i> to </i>Ii<i> because it follows the letter </i>N<i>. + </i>Xi<i> conforms to the rules for the syllables which are changed + </i>(se mudam)<i> to others. Thus:</i></p> + + +<table width="75%" class="nobctr" summary="First Conjugation Verbs ending in I" title="First Conjugation Verbs ending in I"> + <tr> + <td class="spac" style="vertical-align:top; text-align:left; width:16%"> + <p>Xi</p> + </td> + <td class="spac" style="vertical-align:top; text-align:left; width:41%" rowspan="4"> + <p><i>In the present change </i>Xi<i> to </i>Suru<i>. In the preterit + add </i>Ta<i> to the root. In the future change </i>Xi<i> to + </i>Xeô<i>. In the imperative change </i>Xi<i> to </i>Xe<i> and add + </i>Yo<i>, </i>i<i>, or </i>sai<i>. In the negative add </i>Nu<i>, or + </i>zu<i> to </i>Xe<i>.</i></p> + </td> + <td class="spac" style="vertical-align:top; text-align:left; width:41%"> + <p>Suru, xita, xeô, ôzu, ôzuru, xeyo, xenu, <i>or</i> zu.</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Faixi</p> + </td> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Faisuru, faixita, faixeô, faixeyo, faixenu.</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Tayxi<a name="NtA_22" href="#Nt_22"><sup>[22]</sup></a></p> + </td> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Tassuru, taxxita, <span class="correction" title="text reads `taxxeò'" + >taxxeô</span>, taxxeyo, taxxenu.</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Gaxxi</p> + </td> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Gassuru, gaxxita, gaxxeô, gaxxeyo, gaxxenu.</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Zonji</p> + </td> + <td class="spac" style="vertical-align:top; text-align:left" rowspan="8"> + <p><i>In the present </i>Ii<i> is changed to </i>Zuru<i>. In the + preterit </i>Ta<i> is added to the root. In the future </i>Ii<i> is + changed to </i>Ieô<i>, etc.</i></p> + </td> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Zonzuru, zonjita, zonjeô, ôzu, ôzuru, zonjeyo, zonjenu.</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Caronji</p> + </td> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Caronzuru, caronjita,<i>etc.</i></p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Vomonji</p> + </td> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Vomonzuru, vomonjita.</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Sanji</p> + </td> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Sanzuru, sanjita.</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Goranji</p> + </td> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Goranzuru, goranjita.</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Soranji</p> + </td> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Soranzuru, soranjita.</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Ganji</p> + </td> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Canzuru, canjita.</p> + </td> + </tr> + + <tr> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Manji</p> + </td> + <td class="spac" style="vertical-align:top; text-align:left"> + <p>Manzuru, manjita.</p> + </td> + </tr> +</table> + + <p><i>Many of these verbs have another, less used, form made by adding + </i>Ru<i> to the root; e.g., </i>Abi, abiru<i>; </i>Mochiy, mochiyru<i>; + </i>xiy, xiyru<i>. Among these are some that have only this second form + and lack the first; e.g., </i>Mi, miru<i>; </i>Ni, niru<i>; </i>Fi, + firu<i>; </i>Cagammi, cagammiru<i>; </i>Ki, kiru<i> "to dress," as + distinct from </i>Ki, kuru<i> "to come"; and </i>y, yru<i>.</i></p> + +<p><!-- Page 18 --><span class="pagenum"><a name="page18"></a>[18]</span></p> + +<p class="cenhead"><span class="sc">Chart A</span></p> + +<p class="cenhead">[The Formation of First Conjugation Verbs Ending in <i>E</i>]</p> + + +<table class="allb" summary="First Conjugation Verbs Ending in E Chart A" title="First Conjugation Verbs Ending in E Chart A"> + <tr> + <td class="allb" style="text-align:left"> + <p><i>Syllables</i></p> + </td> + <td class="allb" style="text-align:left"> + <p><i>Roots</i></p> + </td> + <td class="allb" style="text-align:left"> + <p><i>Formation</i></p> + </td> + <td class="allb" style="text-align:left"> + <p><i>Present</i></p> + </td> + <td class="allb" style="text-align:left"> + <p><i>Preterit</i></p> + </td> + <td class="allb" style="text-align:left"> + <p><i>Future</i></p> + </td> + <td class="allb" style="text-align:left"> + <p><i>Imperative</i></p> + </td> + <td class="allb" style="text-align:left"> + <p><i>Negative</i></p> + </td> + </tr> + + <tr> + <td class="vertb" style="vertical-align:middle; text-align:center" rowspan="2"> + <p>Te,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Tate,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left" rowspan="2"> + <p><i>In the present change </i>Te<i> to </i>Tçuru<i>. The remainder + are from the root. See above.</i></p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Tatçuru.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Tateta.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Tateô, ôzu, ôzuru.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Tateyo. Tatei, tatesay.<a name="NtA_23" + href="#Nt_23"><sup>[23]</sup></a></p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Tatenu, <i>or</i>, zu.</p> + </td> + </tr> + + <tr> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Fate,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Fatçuru.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Fateta.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Fateô, ôzu, ôzuru.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Fateyo, <i>etc.</i></p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Fatenu, <i>or</i>, zu.</p> + </td> + </tr> + + <tr> + <td class="vertb" style="vertical-align:top; text-align:center"> + <p>Ie,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Maje,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p><i>Change </i>Ie<i> to </i>Zuru<i> in the present. The remainder + are from the root. See above.</i></p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Mazuru.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Majeta.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Majeô.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Majeyo, <i>etc.</i></p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Majenu, <i>or</i>, zu.</p> + </td> + </tr> + + <tr> + <td class="vertb" style="vertical-align:middle; text-align:center" rowspan="2"> + <p>Xe,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Saxe,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left" rowspan="2"> + <p><i>In the present change </i>Xe<i> to </i>Suru<i>. The remainder + are from the root. See above.</i></p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Sasuru.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Saxeta.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Saxeô.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Saxeyo.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Saxenu, <i>or</i>, zu.</p> + </td> + </tr> + + <tr> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Mairaxe,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Mairasuru.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Mairaxeta.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Mairaxeô.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Mairaxeyo, <i>etc.</i></p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Mairaxenu, <i>or</i>, zu.</p> + </td> + </tr> +</table> + +<p><!-- Page 19 --><span class="pagenum"><a name="page19"></a>[19]</span></p> + +<p class="cenhead"><span class="sc">Chart B</span></p> + + +<table class="allb" summary="First Conjugation Verbs Ending in E Chart B" title="First Conjugation Verbs Ending in E Chart B"> + <tr> + <td class="allb" style="text-align:left"> + <p><i>Syllables</i></p> + </td> + <td class="allb" style="text-align:left"> + <p><i>Roots</i></p> + </td> + <td class="allb" style="text-align:left"> + <p><i>Formation</i></p> + </td> + <td class="allb" style="text-align:left"> + <p><i>Present</i></p> + </td> + <td class="allb" style="text-align:left"> + <p><i>Preterit</i></p> + </td> + <td class="allb" style="text-align:left"> + <p><i>Future</i></p> + </td> + <td class="allb" style="text-align:left"> + <p><i>Imperative</i></p> + </td> + <td class="allb" style="text-align:left"> + <p><i>Negative</i></p> + </td> + </tr> + + <tr> + <td class="vertb" style="vertical-align:top; text-align:center"> + <p>Be,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Curabe,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left" rowspan="8"> + <p><i>In the present tense of these eight forms, change </i>E<i> to + </i>Vru<i>. In the preterit add </i>Ta<i> to the root. In the future + </i>ô, ôzu, ôzuru<i> to the root. In the Negative present add + </i>Nu<i>, or </i>zu<i> to the root.</i></p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Curaburu.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Curabeta.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Curabeô, ôzu, ôzuru.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Curabeyo, ei, sai.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Curabenu, <i>or</i>, Curabezu.</p> + </td> + </tr> + + <tr> + <td class="vertb" style="vertical-align:top; text-align:center"> + <p>Fe,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Fe,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Furu, <i>or</i>, feru.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Feta.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Feô, ôzu, ôzuru.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Feyo, fei, fesai.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>fenu, fezu.</p> + </td> + </tr> + + <tr> + <td class="vertb" style="vertical-align:top; text-align:center"> + <p>Ghe,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Aghe,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Aghuru.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Agheta.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Agheô,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Agheyo, <i>etc.</i></p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Aghenu, <i>etc.</i></p> + </td> + </tr> + + <tr> + <td class="vertb" style="vertical-align:top; text-align:center"> + <p>Ke,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Tokoke,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Todokuru.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Todoketa.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Todokeô. <i>etc.</i></p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Todokenu, <i>etc.</i></p> + </td> + </tr> + + <tr> + <td class="vertb" style="vertical-align:top; text-align:center"> + <p>Me,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Motome,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Motomuru.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Motometa.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p><span class="correction" title="text reads `Motoneô'" + >Motomeô</span>.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Motomeyo, <i>etc.</i></p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Motomenu, <i>etc.</i></p> + </td> + </tr> + + <tr> + <td class="vertb" style="vertical-align:top; text-align:center"> + <p>Ne,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Fane,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Fanuru.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Faneta.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Faneô.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Faneyo.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Fanenu.</p> + </td> + </tr> + + <tr> + <td class="vertb" style="vertical-align:top; text-align:center"> + <p>Re,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Fanare,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Fanaruru.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Fanareta.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Fanareô.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Fanareyo.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Fanarenu.</p> + </td> + </tr> + + <tr> + <td class="vertb" style="vertical-align:top; text-align:center"> + <p>Ye,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Ataye,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Atayuru.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Atayeta.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Atayeô.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Atayeyo.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Atayenu.</p> + </td> + </tr> + + <tr> + <td class="verttopb" style="vertical-align:middle; text-align:center" rowspan="4"> + <p>[De,]</p> + </td> + <td class="verttopb" style="vertical-align:top; text-align:left"> + <p>De,</p> + </td> + <td class="verttopb" style="vertical-align:top; text-align:left" rowspan="4"> + <p><i>In the present change</i> De <i>to</i> Dzuru. <i>The other + tenses are formed, as above, from the root.</i></p> + </td> + <td class="verttopb" style="vertical-align:top; text-align:left"> + <p>Dzuru.</p> + </td> + <td class="verttopb" style="vertical-align:top; text-align:left"> + <p>Deta.</p> + </td> + <td class="verttopb" style="vertical-align:top; text-align:left"> + <p>Deô, ôzu, <i>etc.</i></p> + </td> + <td class="verttopb" style="vertical-align:top; text-align:left"> + <p>Deyo, <i>etc.</i></p> + </td> + <td class="verttopb" style="vertical-align:top; text-align:left"> + <p>Denu.</p> + </td> + </tr> + + <tr> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Ide,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Idzuru.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Ideta.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Ideô, ôzu.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Ideyo.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Idenu.</p> + </td> + </tr> + + <tr> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Mǒde,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Mǒdzuru.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Mǒdeta.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left" colspan="3"> + <p><i>This verb is defective and lacks other forms.</i></p> + </td> + </tr> + + <tr> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Mede,</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Medzuru.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left"> + <p>Medeta.</p> + </td> + <td class="vertb" style="vertical-align:top; text-align:left" colspan="3"> + <p><i>This verb is defective and has no other forms</i>.</p> + </td> + </tr> +</table> + +<p><!-- Page 20 --><span class="pagenum"><a name="page20"></a>[20]</span></p> + +<p class="cenhead"><span class="sc">Formation of the Optative, <span class="correction" title="text reads `Conjuctive'">Conjunctive</span>, and Conditional Moods, and the Participle</span><p class="cenhead"> + + <p><i>The optative mood does not have forms of its own but compensates + for this in part by adding to the imperative certain particles which + indicate desire, in part by adding to the future indicative particles + which show regret for not doing something, and in part by circumlocutions + with the conditional mood and certain particles, as will be seen in the + conjugations.</i></p> + + <p><i>The conjunctive mood has two sorts of proper forms. The first is + the common and ordinary form ending in </i>Eba<i>, corresponding to the + Latin </i>cum<i>. The other ends in </i>Domo<i>, corresponding to the + particle "although </i>(posto que)<i>." The other verbs of this mood do + not have their own forms, but are expressed by circumlocutions as we + shall see.<a name="NtA_24" href="#Nt_24"><sup>[24]</sup></a></i></p> + + <p><i>The present tense of the first conjunctive is formed from the + present indicative by changing the final </i>Ru<i> to </i>Reba<i>; e.g., + </i>Motomureba<i>. For the preterit </i>Reba<i> is added to the preterit + indicative; e.g., </i>Motometareba<i>. For the future the final </i>Ru<i> + of the third form of the future indicative is changed to </i>Reba<i>; + e.g., </i>Motomeôzureba<i>. For a second form of the future the syllable + </i>Rǒ<i> is added to the indicative preterit perfect; e.g., + </i>Motometarǒ<i>. This particle is </i>Ran<i> in the written + language; e.g., </i>Motometaran<i>.<a name="NtA_25" + href="#Nt_25"><sup>[25]</sup></a> An utterance </i>(oraçam)<i> does not + end in this form, but must be followed by a noun.<a name="NtA_26" + href="#Nt_26"><sup>[26]</sup></a></i></p> + + <p><i>The present tense of the second conjunctive is formed by changing + the final </i>Ru<i> of the present indicative to </i>Redomo<i>; e.g., + </i>Motomuredomo<i>. For the preterit </i>Redomo<i> is added to the + indicative preterit perfect; e.g., </i>Motometaredomo<i>. Strictly + speaking this form is </i>Motomete aredomo<i>, losing the </i>E<i> of the + participle. Furthermore, </i>Motometa<i>, together with the other + preterit forms in </i>Ta<i> is from </i>Motometearu<i> which is first + elided to </i>Motometaru<i> and then by common usage </i>(pratica)<i> to + </i>Motometa<i>. All of which is seen in its </i>Canadzucai<i>. For the + future, the final </i>Ru<i> of the future indicative is changed to + </i>Redomo<i>; e.g., </i>Motomeôzuredomo<i>.</i></p> + + <p><i>The conditional mood, for the present tense, is formed by adding + the syllable </i>Ba<i> to the root of the verb and </i>Naraba<i> or + </i>Ni voiteua<i> to the <!-- Page 21 --><span class="pagenum"><a + name="page21"></a>[21]</span>present tense form; e.g., </i>Motomeba<i>, + </i>motomuru naraba<i>, and </i>motomuruni voiteua<i>. For the preterit, + </i>Raba<i>, </i>Naraba<i>, or </i>Ni voiteua<i> are added to the + indicative preterit; e.g., </i>Motometaraba<i>, which is in reality + </i>Motomete araba<i>, </i>motometa naraba<i>, and </i>motometani + voiteua<i>. For the future </i>Naraba<i> or </i>Ni voiteua<i> are added + to the future forms; e.g., </i>Motomeô naraba<i> and </i>motomeôni + voiteua<i>. The present tense forms are also used for the future.</i></p> + +<p class="cenhead"><span class="sc">Verbs of the First Conjugation That End in <i>I</i></span></p> + + <p><i>There are some irregular verbs ending in </i>I<i> which follow the + formational rules of the first conjugation, both affirmative and + negative. There are a precise number of them. Those which have been found + to date are shown below. They are formed for the present indicative by + changing </i>I<i> to </i>Uru<i>, for the preterit by adding </i>Ta<i> to + the root of the verb, and for the future by adding long </i>û<i>, + </i>ûzu<i>, or </i>ûzuru<i> to the same root. For the present conditional + </i>Ba<i> is added to the root, for the preterit </i>Raba<i> is added to + the preterit indicative, and for the future </i>Naraba<i> is added to the + future indicative. For the present conjunctive the </i>Ru<i> of the + present indicative is changed to </i>Reba<i>, for the preterit + </i>Reba<i> is added to the same preterit indicative, and for the future + the final </i>Ru<i> of the future is changed to </i>Reba<i>. All the + other forms are formed as has been stated for the formation of the first + conjugation. Thus:<a name="NtA_27" + href="#Nt_27"><sup>[27]</sup></a></i></p> + + +<table class="nob" summary="Irregular verbs ending in I" title="Irregular verbs ending in I"> + <tr> + <td class="single" style="vertical-align:middle; text-align:left" rowspan="5"> + <p><span class="correction" title="text reads `A Bi'">Abi</span></p> + </td> + <td class="single" style="vertical-align:middle; text-align:left" rowspan="5"> + <p><img src="images/$lbrace.png" style="height:12ex; width:0.8em" + alt="left brace" /></p> + </td> + <td class="single" style="text-align:left"> + <p>Abi, aburu, abita, abiû, ûzu, ûzuru, abiyo, <i>or</i> sai, abiba, + taraba.</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>Cabi, caburu, cabita, cabiû, ûzu, ûzuru, biyo, sai, biba, + bitaraba.</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>Carabi, caraburu, bita, biû, ûzu, ûzuru, biyo, sai, biba, + taraba</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>Sabi, saburu, sabita, sabiû, ûzu, ûzuru, sabiyo, bisai, biba, + taraba</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>Vabi, vaburu, vabita, vabiû, ûzu, ûzuru, yo, sai, biba, + bitaraaba.</p> + </td> + </tr> + + <tr> + <td class="single" style="vertical-align:middle; text-align:left" rowspan="5"> + <p>Obi</p> + </td> + <td class="single" style="vertical-align:middle; text-align:left" rowspan="5"> + <p><img src="images/$lbrace.png" style="height:12ex; width:0.8em" + alt="left brace" /></p> + </td> + <td class="single" style="text-align:left"> + <p>Nobi, buru, bita, biû, ûzu, ûzuru, biyo, bisai, biba, + bitaraba.</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>Corobi, buru, bita, biû, biûzu, ûzuru, biyo, bisai, biba, + bitaraba.</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>Forobi, buru, bita, biû, ûzu, ûzuru, biyo, bisai, biba, + bitaraba.</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>Fitobi, bu, bita, biû, ûzu, ûzuru, biyo, bisai, biba, + bitaraba.</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>Fokorobi, bu, bita, biû, ûzu, ûzuru, biyo, bisai, biba, + bitaraba.</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>Ubi</p> + </td> + <td class="single" style="text-align:left"> + <p><img src="images/$lbrace.png" style="height:2ex; width:0.8em" + alt="left brace" /></p> + </td> + <td class="single" style="text-align:left"> + <p>Furubi, bu, bita, biû, ûzu, ûzuru, biyo, bisai, biba, + bitaraba.</p> + </td> + </tr> +</table> + +<p><!-- Page 22 --><span class="pagenum"><a name="page22"></a>[22]</span></p> + + +<table class="nob" summary="Irregular verbs ending in I, continued" title="Irregular verbs ending in I, continued"> + <tr> + <td class="single" style="text-align:left"> + <p>Vochi,</p> + </td> + <td class="single" style="vertical-align:middle; text-align:left" rowspan="2"> + <p><img src="images/$lbrace.png" style="height:4ex; width:0.8em" + alt="left brace" /></p> + </td> + <td class="single" style="vertical-align:middle; text-align:left" rowspan="2"> + <p>Chi <i>to</i> Tçuru</p> + </td> + <td class="single" style="vertical-align:middle; text-align:left" rowspan="2"> + <p><img src="images/$rbrace.png" style="height:4ex; width:0.8em" + alt="right brace" /></p> + </td> + <td class="single" style="text-align:left"> + <p>Votçuru, chita, chiû, chiyo, chiba, tçureba.</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>Cuchi,</p> + </td> + <td class="single" style="text-align:left"> + <p>Cutçuru, chita, chiû, chiyo, chiba, tçureba.</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>Fagi,</p> + </td> + <td class="single" style="vertical-align:middle; text-align:left" rowspan="3"> + <p><img src="images/$lbrace.png" style="height:7ex; width:0.8em" + alt="left brace" /></p> + </td> + <td class="single" style="vertical-align:middle; text-align:left" rowspan="3"> + <p><i>Change</i> Gi <i>to</i> Dzu</p> + </td> + <td class="single" style="vertical-align:middle; text-align:left" rowspan="3"> + <p><img src="images/$rbrace.png" style="height:7ex; width:0.8em" + alt="right brace" /></p> + </td> + <td class="single" style="text-align:left"> + <p>Fadzuru, fagita, giû, giyo, giba, gitaraba.</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>Vogi,</p> + </td> + <td class="single" style="text-align:left"> + <p> Vodzuru, gita, giû, giyo, giba, gitaraba.</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>Negi,</p> + </td> + <td class="single" style="text-align:left"> + <p>Nedzuru, gita, giû, giyo, giba, gitaraba.</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>Mochiy</p> + </td> + <td class="single" style="vertical-align:middle; text-align:left" rowspan="4"> + <p><img src="images/$rbrace.png" style="height:10ex; width:0.8em" + alt="right brace" /></p> + </td> + <td class="single" style="vertical-align:middle; text-align:left" rowspan="4"> + <p><i>the final</i> Y <i>to</i> Yuru</p> + </td> + <td class="single" style="vertical-align:middle; text-align:left" rowspan="4"> + <p><img src="images/$lbrace.png" style="height:10ex; width:0.8em" + alt="left brace" /></p> + </td> + <td class="single" style="text-align:left"> + <p>Mochiyuru, mochiyta, chiyû, yûzu, ûzuru, iyo, yba, yttaraba.</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>Xiy,</p> + </td> + <td class="single" style="text-align:left"> + <p>Xiyuru, xiyta, yû iyo, yba ytaraba.</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>Mimixiy,</p> + </td> + <td class="single" style="text-align:left"> + <p>Mimixiyta, mimixiyte, <i>Defective</i>.</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>Mexiy,</p> + </td> + <td class="single" style="text-align:left"> + <p>Mexiytaru, mexiyte, <i>Defective</i>.</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left" colspan="5"> + <p>Y, yru, yta, yû, ûzu, ûzuru, yyo, yba, yreba. <i>To be</i></p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left" colspan="5"> + <p>Ki, kiru, kita kiû, kiyo, <i>&c.</i> <i>To wear</i></p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left" colspan="5"> + <p>Ki, kuru, kita, kô, kôzu, kôzuru, koyo <i>or</i> koi. <i>To + Come</i></p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left" colspan="5"> + <p>Coru, coruru, corita, coriû, <i>&c.</i></p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left" colspan="5"> + <p>Furi, fururu, furita, furiû, <i>&c.</i></p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left" colspan="5"> + <p>Iki, ikuru, ikita, ikiû, <i>&c.</i></p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left" colspan="5"> + <p>Ideki, idekuru, idekita, idekiû, <i>&c.</i></p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left" colspan="5"> + <p>Deki, dekuru, dekita, dekiû, <i>&c.</i></p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left" colspan="5"> + <p>Voki, vokuru, vokita, vokiû, <i>&c.</i></p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left" colspan="5"> + <p>Tçuki, tçukuru, tçukita, tçukiû, <i>&c.</i></p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left" colspan="5"> + <p>Vori, voruru, vorita, voriû, <i>&c.</i></p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left" colspan="5"> + <p>Vrami, vramuru, vramita, vramiû, <i>&c.</i></p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left" colspan="5"> + <p>Cagammi, cagammiru, cagammita, cagammiû, <i>&c.</i></p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left" colspan="5"> + <p>Mi, miru, mita, miû, <i>&c.</i></p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left" colspan="5"> + <p>Ni, niru, nita, niû, <i>&c.</i></p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left" colspan="5"> + <p>Sughi, sughuru, sughita, sughiû, <i>&c.</i></p> + </td> + </tr> +</table> + +<p class="cenhead"><span class="sc">Formation of the Verbs of the Second Conjugation</span></p> + + <p><i>All the roots of second conjugation verbs end in</i> I. <i>There + are eight final syllables for these verbs; i.e.</i>, Bi, Chi, Ghi, Ki, + Mi, Ni, Ri, Xi. <i>It is by these syllables that the verbs of the second + conjugation (except for those mentioned above as being in the first + conjugation) are recognized, and from which the tenses are + formed.</i></p> + + <p><i>The roots ending in the syllables</i> Bi, Ghi, Ki, Mi, <i>and</i> + Ri <i>change the</i> I <i>to</i> V <i>for the present tense; e.g.</i>, + Tobi, tobu; Coghi, coghu; Caki, caku; Yomi, yomu; Kiri, kiru.</p> + + <p><i>Those ending in</i> Chi <i>change to</i> Tçu <i>for the present; + e.g.</i>, Mochi, motçu; Cachi, catçu; Tachi, tatçu.</p> + + <p><i>Those ending in</i> Ni <i>change to</i> Nuru <i>for the present; + e.g.</i>, Xini, xinuru; Yni, ynuru.<a name="NtA_28" + href="#Nt_28"><sup>[28]</sup></a></p> + +<p><!-- Page 23 --><span class="pagenum"><a name="page23"></a>[23]</span></p> + + <p><i>Those ending in </i>Xi<i> change to </i>Su<i> for the present; + e.g., </i>Fanaxi, fanasu<i>; </i>Cudaxi, cudasu<i>; </i>Taraxi, + tarasu<i>.</i></p> + + <p><i>For the preterit those ending </i>Obi<i> and </i>Omi<i> change to + </i>ôda<i>; e.g., </i>Yomi, yôda<i>; </i>Tobi, tôda<i>; </i>Yobi, + yôda<i>; </i>Yorocobi, yorocôda<i>. </i>Tomi<i> becomes + </i>tonda<i>.</i></p> + + <p><i>Those ending in </i>Abi<i> and </i>Ami<i> change to + </i>ǒda<i>; e.g., </i>Yerabi, yerǒda<i>; </i>Vogami, + vogǒda<i>; </i>Yami, yǒda<i>.</i></p> + + <p><i>Those ending in </i>Imi<i> change to </i>ûda<i>; e.g., </i>Najimi, + najǔda<i>; </i>Nijimi, nijǔda<i>; </i>Ximi, xûda<i>.<a + name="NtA_29" href="#Nt_29"><sup>[29]</sup></a></i></p> + + <p><i>Those ending in </i>Umi<i> and </i>Ubi<i> change their endings to + </i>Vnda<i> or in some instances </i>ûda<i>. While some have two forms + others have only one form which is seen in use, the more general is + </i>Vnda<i>; e.g., </i>Musubi, musunda<i>; </i>Susumi, susunda<i> or + </i>susûda<i>; </i>Nusumi, nusunda<i> or </i>nusûda<i>; </i>Sumi, + sunda<i> or </i>sûda<i>; </i>Cumi, cunda<i> only.</i></p> + + <p><i>Those ending in </i>Ebi<i> and </i>Emi<i> change to </i>Eôda<i>; + e.g., </i>Sakebi, sakeôda<i>; </i>Sonemi, soneôda<i>.</i></p> + + <p><i>Those ending in </i>Ghi<i> change to </i>Ida<i>; e.g., </i>Auoghi, + auoida<i>; </i>Voyoghi, voyoida<i>; </i>Coghi, coida<i>.</i></p> + + <p><i>Those ending in </i>Ni<i> change to </i>Inda<i>; e.g., </i>Xini, + xinda<i>; </i>Yni, ynda<i>.</i></p> + + <p><i>Those ending in </i>Chi<i> and </i>Ri<i> change to </i>Tta<i>; + e.g., </i>Machi, matta<i>; </i>Cachi, catta<i>; </i>Tachi, tatta<i>; + </i>Kiri, kitta<i>; </i>Chiri, chitta<i>; </i>Cari, catta<i>.</i></p> + + <p><i>Those ending in </i>Ki<i> and </i>Xi<i> change to </i>Ita<i>; e.g., + </i>Caki, caita<i>; </i>Faki, faita<i>; </i>Nuki, nuita<i>; </i>Todoki, + todoita<i>; </i>Sosoki, sosoita<i>; </i>Saxi, saita<i>; </i>Fataxi, + fataita<i>; </i>Maxi, maita<i> or </i>maxita<i>; </i>Coxi, coita<i> or + </i> oxita<i>. The following add </i>Ta<i> to the root; e.g., </i>Moxi, + moxita<i>; </i>Muxi, muxita<i>; </i>Fuxi, fuxita<i>; </i>Mexi, + mexita<i>.</i></p> + + <p><i>The future can be formed in two ways. The first and more common way + is to change </i>I<i> to </i>ǒ<i>, </i>ǒzu<i>, or + </i>ǒzuru<i>; e.g., </i>Yomi, yomǒ, yomǒzu, + yomǒzuru<i>; </i>Yerabi, yerabǒ<i>, etc.; </i>Kiri, + kirǒ<i>; </i>Xini, xinǒ<i>; </i>Auoghi, auogǒ<i>.<a + name="NtA_30" href="#Nt_30"><sup>[30]</sup></a> Those ending in + </i>Chi<i> change to </i>Tǒ<i>; e.g., </i>Cachi, catǒ<i>, + etc.; </i>machi, matǒ<i>. Those ending in </i>Xi<i> change to + </i>Sǒ<i>; e.g., </i>Mǒxi, mǒsǒ<i>; </i>Nagaxi, + nagasǒ<i>; </i>Mexi, mesǒ<i>; </i>Coxi, cosǒ<i>, etc. + The other way, which is easy too, is to change the final </i>V<i> of the + present indicative to </i>ǒ<i>; e.g., </i>Yomu, yomǒ<i>; + </i>Kiku, kikǒ<i>; </i>Mǒsu, mǒsǒ<i>; </i>Mesu, + mesǒ<i>. Those ending in <!-- Page 24 --><span class="pagenum"><a + name="page24"></a>[24]</span></i>çu<i> change <span class="correction" + title="text omits `to'">to</span> </i>Tǒ<i>; e.g., </i>Tatçu, + tatǒ<i>; </i>Catçu, catǒ<i>. Those ending in </i>Nuru<i> + change to </i>Nǒ<i>; e.g., </i>Xinuru, xinǒ<i>; </i>Ynuru, + ynǒ<i>. This second rule seems to be more naturally in accord with + the rules for the Japanese language.</i></p> + + <p><i>The imperative changes the final </i>I<i> of the root to </i>E<i>. + Those ending in </i>Chi<i> change to </i>Te<i>; e.g., </i>Yome<i>; + </i>Kike<i>; </i>Tamochi, tamote<i>; </i>Vchi, ute<i>; </i>Machi, + mate<i>.</i></p> + + <p><i>The present conjunctive is formed by adding </i>Ba<i> to the + imperative; e.g., </i>Yomeba<i>; </i>Tateba<i>.<a name="NtA_31" + href="#Nt_31"><sup>[31]</sup></a> For the preterit, </i>Reba<i> is added + to the preterit indicative; e.g., </i>Yôdarebe<i>.<a name="NtA_32" + href="#Nt_32"><sup>[32]</sup></a> For the future the final </i>Ru<i> of + the future indicative is changed to </i>Reba<i>; e.g., + </i>Yomǒzureba<i>. The conjunctive in </i>Domo<i> is formed in the + same manner; e.g., </i>Yomedomo, yôdaredomo, + yomǒzuredomo<i>.</i></p> + + <p><i>The conditional is formed from the future indicative by changing + the </i>ǒ<i> to </i>Aba<i>; e.g., </i>Yomaba<i>; </i>Tataba<i>.<a + name="NtA_33" href="#Nt_33"><sup>[33]</sup></a> The preterit is formed by + adding </i>Raba<i> to the indicative preterit; e.g., </i>Yôdaraba<i>; + </i>Tattaraba<i>.<a name="NtA_34" + href="#Nt_34"><sup>[34]</sup></a></i></p> + + <p><i>The preterit participle is formed from the preterit by changing the + </i>A<i> to </i>E<i>; e.g., </i>Yôde<i>; </i>Kite<i>; </i>Tatte<i>. The + present participle, in </i>Te<i>, is formed by adding </i>Te<i> + </i>[<i>'hand'</i>]<i> to the root of any verb. This is properly a + substantive and thus governs the <span class="correction" title="text reads `genative'" + >genitive</span> as do the other substantives. It does not indicate + tense; e.g., </i>Yomite<i>; </i>Cakite<i>; </i>Machite<i>, etc.</i></p> + + <p><i>The negative present can be formed in two ways. The first, and that + which accords with the rules for </i>Canadzucai<i>, is formed by changing + </i>I<i> of the root to </i>Anu<i> or </i>Azu<i>; e.g., </i>Corobi, + corobanu, corobazu<i>; </i>Yomi, yomanu<i>, etc.; </i>Coghi, coghanu<i>; + </i>Caki, cacanu<i>;<a name="NtA_35" href="#Nt_35"><sup>[35]</sup></a> + </i>Kiri, kiranu<i>; </i>ini, inanu<i>. Those ending in </i>Chi<i> change + to </i>Tanu<i>; e.g., </i>Tachi, tatanu<i>. Those ending in </i>Xi<i> + change to </i>Sanu<i>; e.g., </i>Fanasanu<i>. Another formation common to + all is made with the future indicative by changing </i>ǒ<i> to + </i>Anu<i> or </i>Azu<i>; e.g., </i>Corobǒ, corobanu, corobazu<i>; + </i>Yomǒ, yomanu<i>, etc.; </i>Coghǒ, coghanu<i>; + </i>Cakǒ, cakanu<i>; </i>Kirǒ, kiranu<i>; </i>Inǒ, + inanu<i>; </i>Tatǒ, tatanu<i>; </i>Matǒ, matanu<i>; + </i>Fanasǒ, fanasanu<i>. This rule is common to all three + conjugations by changing the affirmative future indicative </i>ǒ<i> + to </i>Anu<i> and the </i>ô<i> <!-- Page 25 --><span class="pagenum"><a + name="page25"></a>[25]</span>and </i>û<i> to </i>Nu<i> or </i>Zu<i>;<a + name="NtA_36" href="#Nt_36"><sup>[36]</sup></a> e.g., </i>Todomeô, + todomenu, todomezu<i>; </i>Saxeô, saxenu<i>, etc.; </i>Tateô, tatenu<i>; + </i>Miû, minu<i>; </i>Yomǒ, yomanu<i>; </i>Tatǒ, tatanu<i>; + </i>Fanasǒ, fanasanu<i>; </i>Narauǒ, narananu<i>; + </i>Vomouǒ, vomouanu<i>; </i>Furuuo, furuuanu<i>. For the second + conjugation preterit, those in </i>Nu<i> are changed to </i>Nanda<i>: + e.g., </i>Yomananda<i>. For the preterit participle </i>Da<i> is changed + to </i>De<i>; e.g., </i>Yomanande<i>. For the second form of the negative + participle, the </i>Nu<i> is changed to </i>Ide<i>; e.g., </i>Yomaide, + Corobaide<i>, </i>Tataide<i>, </i>Totonouaide<i>. For the future the + particle </i>majij<i><a name="NtA_37" href="#Nt_37"><sup>[37]</sup></a> + or </i>mai<i> is added to the affirmative present indicative; e.g., + </i>Yomumajij, yomumai<i>; </i>Matçumajij, matçumai<i>.</i></p> + +<p class="cenhead"><span class="sc">Formation of the Third Conjugation and the Roots from Which the Tenses Are Formed</span></p> + + <p><i>The final syllables of the third conjugation are the diphthongs + </i>Ai<i>, </i>Oi<i>, </i>Vi<i>. By these syllables the verbs are known + to belong to this conjugation, and from them the tenses are formed. The + present indicative is formed by changing </i>Ai<i> to </i>ǒ<i>, + </i>Oi<i> to </i>ô<i>, and </i>Vi<i> to </i>û<i>; e.g., </i>Narai, + narǒ<i>; </i>Vomoi, vomô<i>; </i>furui, furû<i>. The preterit is + formed by adding the syllable </i>Ta<i> to the present; e.g., + </i>Narǒta<i>, </i>Vomôta<i>, </i>Furûta<i>. The future is formed + by changing the final </i>I<i> of the root to </i>Vǒ, vǒzu, + vǒzuru<i>; e.g., </i>Narauǒ, narauǒzu<i>, etc.; + </i>Vomouǒ, vomouǒzu<i>, etc.; </i>Furuuǒ, + furuuǒzu<i>, etc. The present imperative is formed by changing the + final </i>I<i> to </i>Ye<i>; e.g., </i>Naraye<i>, </i>Vomoye<i>, + </i>Furuye<i>.</i></p> + + <p><i>For the present conjunctive </i>Ba<i> or </i>Domo<i> is added to + the imperative; e.g., </i>Narayeba, narayedomo<i>; </i>Vomoyeba, + vomoyedomo<i>; </i>Furuyeba, furuyedomo<i>. For the preterit </i>Reba<i> + or </i>Redamo<i><a name="NtA_38" href="#Nt_38"><sup>[38]</sup></a> is + added to the indicative preterit; e.g., </i>Narǒtareba, + narǒtaredomo<i>; </i>Vomôtareba, vomôtaredomo<i>; </i>Furûtareba, + furûtaredomo<i>.</i></p> + + <p><i>The present conditional is formed by changing </i>ǒ<i> of the + future to </i>Aba<i>; e.g., </i>Narauaba<i>, </i>Vomouaba<i>, + </i>Furuuaba<i>. The preterit is formed by adding </i>Raba<i> to the + indicative preterit; e.g., </i>Narǒtaraba<i>, </i>Vomôtaraba<i>, + </i>Furûtaraba<i>.</i></p> + +<p><!-- Page 26 --><span class="pagenum"><a name="page26"></a>[26]</span></p> + + <p><i>The negative present is formed by changing the </i>I<i> of the root + to </i>Vanu<i> or </i>vazu<i>; e.g., </i>Narai, narauanu, narauazu<i>; + </i>Vomoi, vomouanu<i>, etc.; </i>Furui, Furuuana<i>, etc. This form can + also be formed from the future by changing the </i>ǒ<i> to + </i>Anu<i> or </i>azu<i>; e.g., </i>Narauǒ, narananu<i>, etc. For + the preterit the </i>Nu<i> is changed to </i>Nanda<i>; e.g., + </i>Narauananda<i>. For the preterit participle the </i>Da<i> is changed + to </i>De<i>; e.g., </i>Narauanande<i>. For the second form the </i>Nu<i> + of the present is changed to </i>Ide<i>; e.g., </i>Narauaide<i>, + </i>Vomouaide<i>, </i>Furuuaide<i>. For the future the particle + </i>Majii<i>,<a name="NtA_39" href="#Nt_39"><sup>[39]</sup></a> + </i>maji<i>, or </i>mai<i> is added to the affirmative present + indicative; </i>e.g.<i>, </i>Narǒmajii, narǒmaji, + narǒmai<i>; </i>Vomômajii, ji<i>, or </i>mai<i>; </i>Furûmajii, + ji<i>, or </i>mai<i>.</i></p> + + <p><i>The verb </i>Yy<i> 'to speak' becomes </i>Yû, yûta, yuǒ, yye, + yuanu<i>. </i>Yei<i> or </i>yoi<i> 'to become sick' becomes </i>Yô, yôta, + youǒ, yoye, yonanu<i>. The substantive verb </i>Saburai<i>, which + also belongs to this conjugation, becomes </i>Saburǒ, + saburauanu<i>; and </i>Sǒrai<i> becomes </i>Sǒrǒ, soro, + sǒraite, sǒraye, sorouanu<i>.</i></p> + + <p>Rodriguez follows these formational rules with a full display of all + the forms of the three conjugations. In his display he, like Alvarez + before him, recapitulates the appropriate rules for each form. Collado + nowhere presents his conjugational system as a paradigm but does, as we + shall see, include a full complement of example sentences in his + description, something which Rodriguez does not do in the <i>Arte + Breve</i>.</p> + +<p class="cenhead"><i>Bibliography</i></p> + + <p>In the examination of any portion of the Christian materials certain + works are indispensable. Father Johannes Laures, S.J., <i>Kirishitan + Bunko</i> (Tokyo, 1957) remains the basic bibliographic source for the + study of all sources of the Christian Century, while Hashimoto Shinkichi, + <i>Kirishitan kyōgi no kenkyū</i> (Tokyo, 1929) and Doi + Tadao, <i>Kirishitan gogaku no kenkyū</i> (Tokyo, 1942) serve as + indespensible guides to our understanding of the linguistic aspects of + the field. A later contribution to the general bibliography has been made + by Fukushima Kunimichi, <i>Kirishitan shiryō to kokugo + kenkyū</i> (Tokyo, 1973).</p> + + <p>The basic grammatical study of the period, based upon the + <i>shōmono</i> materials, is Yuzawa Kōkichirō, + <i>Muromachi jidai gengo no kenkyū</i> <!-- Page 27 --><span + class="pagenum"><a name="page27"></a>[27]</span>(Tokyo, 1958). More + closely related to the language reflected in the text is his "Amakusabon + Heike monogatari no gohō," in <i>Kyōiku ronbunshū</i> + (no. 539, Jan. 1929). An English treatment of the grammatical system of + the period is to be found in R. L. Spear, "A Grammatical Study of + <i>Esopo no Fabulas</i>," an unpublished doctoral thesis (Michigan, + 1966). The phonology has been carefully analyzed by Ōtomo + Shin'ichi, <i>Muromachi jidai no kokugo onsei no kenkyū</i> (Tokyo, + 1963), with a valuable contribution made in English by J. F. Moran, "A + Commentary on the <i>Arte Breve da Lingoa Iapao</i> of João Rodriguez, + S.J., with Particular Reference to Pronunciation," an unpublished + doctoral thesis (Oxford, 1971). This latter work presents an exhaustive + examination of the phonological system reflected in the <i>Arte Breve</i> + of 1620 within the framework of Berhard Bloch's phonemic theory.</p> + + <p>Two lexical works have been used as basic references in this + translation. The <i>Vocabulario de Lingoa de Iapam</i> (hereafter the + <i>Vocabulario</i>) produced by the Jesuit Mission Press at Nagasaki in + the years 1603 and 04. In a carefully annotated version by Professor Doi, + under the title <i>Nippo jisho</i> (Tokyo, 1960), this work is the most + important single source for the vocabulary of the period. The second work + is the <i>Dictionarium sive Thesauri Linguae Iaponicae Compendium</i> + (hereafter the <i>Dictionarium</i>) which is the companion piece to the + present text. This dictionary has been carefully edited and + cross-referenced by Ōtsuka Mitsunobu, under the title <i>Koriyaado + Ra Su Nichi jiten</i> (Tokyo, 1966). In this form it has served as a + constant aid to the translator in the determination of the proper glosses + for the lexical items in the text.</p> + + <p>The aforementioned <i>Arte</i> of 1604-08 by Rodriguez, has been the + single most frequently used tool in the preparation of this + translation.<a name="NtA_40" href="#Nt_40"><sup>[40]</sup></a> As the + most significant influence upon Collado's work and the source for most of + his material, both theoretical and practical, I have related the two + works at every point in the translation. In its Japanese version by + Professor Doi, <i>Rodorigesu Nihon daibunten</i> (Tokyo, 1950), this work + has been invaluable in gaining a clearer understanding of many of the + passages which might have otherwise been obscure.</p> + + <p>Rodriguez' <i>Arte Breve</i> of 1620, while having no influence upon + the preparation of the <i>Ars Grammaticae</i>, is nevertheless of + fundamental <!-- Page 28 --><span class="pagenum"><a + name="page28"></a>[28]</span>importance as a work against which Collado's + treatment of Japanese grammar is to be judged. This shorter grammar is as + yet to be fully translated into English—Moran having limited his + study to the treatment of the phonology.</p> + + <p>With respect to the text itself I have made this translation on the + basis of the facsimile edition published by the Tenri Central Library in + 1972 as part of its <i>Classica Japonica</i> series. Ōtsuka + Takanobu, <i>Koiyaado-cho Nihongo bunten</i> (Tokyo, 1934) and its + revised edition under the title of <i>Koriyaado Nihon bunten</i> (Tokyo, + 1957) have served as invaluable aids at every step of the + translation.</p> + + <p>Ōtsuka's second edition is of invaluable scholarly importance + because it contains a cross-reference to the Spanish manuscript from + which Collado prepared the printed Latin edition as well as a concordance + to the Japanese vocabulary.<a name="NtA_41" + href="#Nt_41"><sup>[41]</sup></a> This translation attempts to supplement + Ōtsuka's invaluable contribution by relating the Latin text of this + grammar with Rodriguez' <i>Arte</i>.</p> + +<p class="cenhead"><i>Editorial Conventions</i></p> + + <p>The Latin matrix of the text is printed in italic letters while the + Japanese is in roman. For this translation I have reversed the + convention. (In footnotes where the text is quoted the style of the + original is followed.) In making editorial corrections in the Japanese + material the corrected version is presented in brackets with periods to + indicate the general location;</p> + +<blockquote class="b1n"> + + <p>e.g., <i>mairu mai queredomo</i> [... qeredomo]</p> + +</blockquote> + + <p>(The only exception to this rule is the correcting of a missing open + <i>o</i>, q.v.) Sentences that have been taken from the <i>Arte</i> are + indicated by the parenthetical recording of the leaf number of the + citation immediately after the sentence;</p> + +<blockquote class="b1n"> + + <p>e.g., <i>xô tame no chôqui gia</i> (22) 'it is....</p> + +</blockquote> + + <p>Shorter sentences and specific words that in all likelihood have been + taken from the <i>Arte</i> are not listed if they are to be found in the + section elsewhere noted as being the source of the material covered. Any + <!-- Page 29 --><span class="pagenum"><a + name="page29"></a>[29]</span>significant alteration in the form of the + source is noted. Since the <i>Arte</i> is numbered by the leaf, <i>v</i> + is added to the number to indicate the <i>verso</i>.</p> + + <p>All the corrections made by the <i>errata</i> (on page 75 of the text) + have been applied to the text without notation unless the correction is + itself in error.</p> + + <p>The punctuation follows the text with the following exceptions;</p> + + <p>1. In translating from Latin the English follows modern rules of + punctuation.</p> + + <p>2. Single quotes have been introduced into the text to mark glosses + and translations.</p> + + <p>3. In transcribing the Japanese citations any alteration of the + original punctuation is noted.</p> + + <p>4. The spacing of words in Japanese—a relatively casual matter + in the text—has been regularized on the basis of the predominant + pattern.</p> + + <p>5. Two specific rules, based upon Collado's more or less consistent + usage, are followed in the citing of verb forms:</p> + +<blockquote class="b1n"> + + <p>a. In the most frequent citation of verbs, where the root form is + followed by the present indicative ending, a comma is used;</p> + +</blockquote> + +<blockquote class="b2n"> + + <p>e.g., <i>ari,u</i>; <i>ague,uru</i>; <i>mochi,tçu</i></p> + +</blockquote> + +<blockquote class="b1n"> + + <p>b. In an alternate form of citation, where the two forms are given in + their entirety, a colon is used;</p> + +</blockquote> + +<blockquote class="b2n"> + + <p>e.g., <i>ari:aru</i>; <i>ague:aguru</i>; <i>mochi:motçu</i></p> + +</blockquote> + + <p>Spelling and accentuation are treated in the following manner:</p> + + <p>1. The <i>ſ</i> in all instances is represented by <i>s</i>.</p> + + <p>2. The usage of <i>v</i> and <i>u</i> has been regularized: the + <i>v</i> serves as the consonant; and <i>u</i> as the vowel, semi-vowel, + and orthographic symbol; e.g., <i>vaga</i>, <i>uie</i>, <i>quan</i>, and + <i>agueta</i>.</p> + + <p>3. The predictable nasalization—marked by a tilde in the + text—has not been included in the translation unless the presence + of nasalization is morphologically significant; e.g., <i>tobu:tõda</i>. + <!-- Page 30 --><span class="pagenum"><a + name="page30"></a>[30]</span></p> + + <p>4. The accent grave—which appears in no discernible + pattern—is not transcribed in the translation.</p> + + <p>5. The accent acute is used in the translation to mark the long + <i>ú</i> [u:] and the long, open <i>ó</i> [<span + class="IPA">ɔ</span>:], in those places where the length is marked + by Collado. Since the most frequent typographical error in the text is + the failure to mark the presence of these long syllables, I follow the + convention of correcting the absence of this feature in the Latin text by + using the inverted caret in the translation. Thus, the appearance in the + translation of <i>mósu</i> indicates that Collado recorded the length of + this word, either by an accent acute (e.g., <i>mósu</i>), or an inverted + caret (e.g., <i>mǒsu</i>). The appearance of <i>mǒsu</i> + indicates that he did not, and that its absence is being corrected. The + form <i>mǒsu</i> in the translation is therefore the shorthand + equivalent for what would more regularly be <i>mosu</i> + [<i>mósu</i>].</p> + + <p>6. The circumflex, which indicates the long, closed <i>ô</i> [o:], is + corrected as other errors by placing the corrected version of the item in + brackets; e.g., <i>roppio</i> [<i>roppiô</i>].</p> + +<hr class="full" > + +<h1> +ARS<br /> +GRAMMATICAE<br /> +IAPONICAE<br /> +LINGVAE +</h1> + +<h2>IN GRATIAM ET ADIVTORIVM<br /> +eorum, qui prædicandi Euangelij causa ad<br /> +Iaponiæ Regnum se voluerint conferre.</h2> + +<h3><i>Composita, & Sacræ de Propaganda Fide Congregationi<br /> +dicata à Fr. Didaco Collado Ordinis Prædicatorum<br /> +per aliquot annos in prædicto Regno<br /> +Fidei Catholicæ propagationis<br /> +Ministro.</i></h3> + + <div class="figcenter" style="width:50%;"> + <a href="images/vignette.png"><img style="width:100%" src="images/vignette.png" + alt="Vignette of Blessed Congregation for the Propagation of the Faith" title="Vignette of Blessed Congregation for the Propagation of the Faith" /></a> + </div> +<h2>ROMÆ,<br /> +Typis & impensis Sac. Congr. de Propag. Fide.<br /> +MDCXXXII.<br /> +<i>SVPERIORVM PERMISSV</i>.</h2> + +<p><!-- Page 105 --><span class="pagenum"><a name="page105"></a>[105]</span></p> + +<hr class="full" > + +<h1> +A<br /> +Grammar<br /> +of the Japanese<br /> +Language +</h1> + +<h2> +FOR THE SAKE AND HELP<br /> +of those who wish to go to the Kingdom of<br /> +Japan to preach the Gospel. +</h2> + +<h3> +Composed and dedicated to the Blessed Congregation for the<br /> +Propagation of the Faith by Brother Didico Collado,<br /> +O.P., who was for many years in that Kingdom<br /> +as a Minister for the Propagation of<br /> +the Catholic Faith. +</h3> + + <div class="figcenter" style="width:50%;"> + <a href="images/vignette.png"><img style="width:100%" src="images/vignette.png" + alt="Vignette of Blessed Congregation for the Propagation of the Faith" title="Vignette of Blessed Congregation for the Propagation of the Faith" /></a> + </div> +<p class="cenhead"> +Printed by the Blessed Congregation for the Propagation of the Faith.<br /> +1632<br /> +BY PERMISSION OF THE SUPERIORS. +</p> + +<p><!-- Page 106 --><span class="pagenum"><a name="page106"></a>[106]</span></p> + +<hr class="full" > + + <div class="poem"> + <div class="stanza"> + <p class="i4">It may be published if it please the Most Reverend Father,</p> + <p class="i8">Master of the Holy Apostolic Palace.</p> + <p class="i12">For the Archbishop of Umbria. The Vicar General.</p> + </div> + + <div class="stanza"> + <p>It may be published.</p> + </div> + + <div class="stanza"> + <p class="i4">Brother Nicolaus Riccardius, Master of the Holy Apostolic Palace,</p> + <p class="i8">Order of Preachers.</p> + </div> + </div> +<p><!-- Page 107 --><span class="pagenum"><a name="page107"></a>[107]</span></p> + +<hr class="full" > + +<h3>Prologue to the Reader</h3> + +<p class="cenhead"><i>With Some Advice on the Correct Pronunciation +of the Japanese Language</i></p> + + <p>Long ago, at the beginning of the establishment of our orthodox faith + in the Japanese kingdom, a grammar of this language was made by Father + Ioannus Rodriguez of the Society of Jesus.<a name="NtA_42" + href="#Nt_42"><sup>[42]</sup></a> However, since things rarely turn out + perfect at first attempt, and, because of the passing years that have + made it difficult to find a copy of this grammar; I thought that it would + honor God and the ministers who preach the faith (which cannot be taught + without the use of language) if I were to select examples (and there are + many) that are useful to this language, neglect those not accepted by the + experts of the language, add, with the help of God (who gives words to + the evangelists), the words that I have learned from experience, + practice, and continuous reading, and by such means offer up a handbook + of the Japanese language in which I would bring together in a brief span + these examples with those precepts which the preachers (for whom I began + this work) need to learn of the Japanese language. This is done because + examples are necessary with the rules and precepts so that it is possible + to demonstrate the rule which has just been explained. Not only have + these examples been selected for the greater help and enjoyment of the + students, but also their explanation has been added in Latin (which is + the language most common to theologians); thus the teacher will have very + little left to be desired. Even if all the elements included in this + grammar, as in the dictionary (which with the help of God I plan to + publish shortly),<a name="NtA_43" href="#Nt_43"><sup>[43]</sup></a> are + polished enough and sure enough to be used with trust; I would still want + them to be submitted to the judgement of the reader so that the preaching + of the faith, carried on with a more correct language, may become more + fruitful.</p> + + <p>When two vowels follow each other in any Japanese word, they are not + pronounced as in the Latin word <i>valeo</i> or in the Spanish, + <i>vaca</i>, but each is pronounced independently; <i>v</i>, <i>a</i>; + <i>v</i>, <i>o</i>; <i>v</i>, <i>i</i>.</p> + +<p><!-- Page 108 --><span class="pagenum"><a name="page108"></a>[108]</span></p> + + <p>The letter <i>s</i> is pronounced as <i>sç</i>; e.g., <i>susumuru</i>, + <i>sçusçumuru</i>.</p> + + <p>The letter <i>j</i> is pronounced smoothly (<i>blande</i>), as in the + Portuguese <i>joaõ</i> and <i>judeo</i>.</p> + + <p>The letter <i>x</i> is also pronounced smoothly, as in the Portuguese + <span class="leftpage"><a name="lpage4"></a>(4</span> + <i>queixumes</i>.</p> + + <p>When there is the sign ˆ over the letter <i>o</i> it is + pronounced <i>ou</i> with the lips almost closed and the mouth partly + closed; e.g., <i>buppô</i>.</p> + + <p>When there is the sign ˇ or ´ over the letter <i>o</i> it is + pronounced with the mouth open as if there were two letters, <i>oo</i>; + e.g., <i>tenxó</i> or <i>gacuxǒ</i>.<a name="NtA_44" + href="#Nt_44"><sup>[44]</sup></a></p> + + <p>If the signs we have just shown are over the letter <i>u</i>, it is + pronounced long as if there were two letters, <i>uu</i>; e.g., + <i>taifú</i> or <i>aiaǔ</i>.</p> + + <p>When the sign ˜ is over the vowel, the sign should be pronounced + like an <i>n</i>, not strongly but swiftly (<i>cursim</i>) and softly + (<i>leniter</i>); e.g., <i>vãga</i>.<a name="NtA_45" + href="#Nt_45"><sup>[45]</sup></a></p> + + <p><i>Qe</i> and <i>Qi</i> are written without <i>u</i>, because when + <i>u</i> follows <i>q</i> or <i>c</i> both letters are pronounced as a + <i>sinalepha</i>;<a name="NtA_46" href="#Nt_46"><sup>[46]</sup></a> e.g., + <i>quódai</i> or <i>quainin</i>.</p> + + <p>When <i>u</i> follows <i>g</i> and immediately after the <i>u</i> is + the letter <i>e</i> or <i>i</i>, it should be pronounced as in the + Spanish word <i>guenin</i>; but if the letter <i>e</i> or <i>i</i> + follows <i>g</i> immediately without the <i>u</i>, it should be + pronounced as in the Italian word <i>giorno</i>; e.g., <i>xitãgi</i>.</p> + + <p>The letter <i>z</i> is pronounced with the same strength as in the + Spanish word <i>zumbar</i>; e.g., <i>mizu</i>.</p> + + <p>But if there are two <i>zz</i> then they are pronounced more strongly; + <i>e.g.</i>, <i>mizzu</i>.</p> + + <p>When there are two <i>tt</i>, <i>xx</i>, <i>zz</i>, <i>qq</i>, + <i>cq</i>, <i>ij</i>, or <i>pp</i><a name="NtA_47" + href="#Nt_47"><sup>[47]</sup></a> it is important to persist in order to + obtain perfect pronunciation and the exact value of the word; for + <i>mizu</i> means 'honey' and <i>mizzu</i> means 'water.' Therefore, if + the words are said with the same strength or the same gentleness they can + mean either 'water' or 'honey.'</p> + + <p>When <i>ch</i> comes before a vowel it is pronounced as in the Spanish + <i>chimera</i>; e.g., <i>fochó</i>.</p> + +<p><!-- Page 109 --><span class="pagenum"><a name="page109"></a>[109]</span></p> + + <p>But if <i>nh</i> comes before a vowel it is pronounced as in the + Spanish <i>maña</i>; e.g., <i>nhuva</i>.</p> + + <p>The letter <i>f</i> is pronounced in various regions of Japan as it is + in Latin. In others it is pronounced as if it were an imperfect <i>h</i>. + For both pronunciations the lips and the mouth should be nearly, but not + completely, closed.</p> + + <p>When <i>tç</i> is in a word (and it appears quite frequently) the + student should pray that God have mercy on his pronunciation because the + word is very difficult, and its pronunciation is not to be found <span + class="leftpage"><a name="lpage5"></a>(5</span> in any other language. It + is not truly pronounced <i>tç</i>, nor as <i>s</i>, nor as <i>c</i> + alone, but rather by striking the tongue violently against the teeth in + order to pronounce both <i>t</i> and <i>ç</i>, but with more <i>ç</i> + than <i>t</i> seeming to be sounded; e.g., <i>tçutçumu</i>.</p> + + <p>The letter <i>r</i> is said smoothly and softly everywhere it is + found, either at the beginning or in the middle of a word; e.g., + <i>ranguió</i>, or <i>cutabiruru</i>.</p> + + <p><i>Ya</i>, <i>ye</i>, <i>yo</i>, and <i>yu</i> are pronounced as in + Spanish.<a name="NtA_48" href="#Nt_48"><sup>[48]</sup></a></p> + + <p>When words ending in <i>i</i> or <i>u</i> are pronounced by the + Japanese, the last letter is almost not heard by the student. For + instance, if he hears <i>gozaru</i> he will think he hears <i>gozar</i>, + if he hears <i>fitotçu</i> he will believe he hears only <i>fitotç</i>, + and when he hears <i>axi no fara</i> he will perceive only <i>ax no + fara</i>.</p> + + <p>When a word ending in a vowel is followed immediately by a consonant, + particularly <i>b</i> or <i>s</i>,<a name="NtA_49" + href="#Nt_49"><sup>[49]</sup></a> between that vowel and consonant is + pronounced the letter <i>n</i>, not perfectly, but softly; e.g., <i>sonõ + gotoqu.</i></p> + + <p>I have given special care to the accenting of words.<a name="NtA_50" + href="#Nt_50"><sup>[50]</sup></a> This has been done so that the signs + that have been placed correctly over the accented letter will allow the + listener to understand the meaning of the words and the sentences of the + speaker. For instance, <i>qèixèi</i> has the accent on both <i>èè</i>; + <i>fìbicàxi</i> has it on the first <i>i</i> and on the <i>a</i>.<a + name="NtA_51" href="#Nt_51"><sup>[51]</sup></a> This same <!-- Page 110 + --><span class="pagenum"><a name="page110"></a>[110]</span>arrangement + will be respected in the dictionary, with the accent being written with + the same degree of correctness as is able to be achieved with great + attention. If at times I have made mistakes, I am prepared to correct + them immediately. Concerning what has been explained too briefly or left + out of this grammar and the dictionary, learned people will be able to do + that when they add a third dictionary and a third grammar, since it is + easy to supply this material. Because I wish neither to be criticized by + the Head of our Order (<i>pater familias</i>) and the Lord our God, nor + do I wish this knowledge to be wrapped up in a handkerchief;<a + name="NtA_52" href="#Nt_52"><sup>[52]</sup></a> I want by these two works + to help and to cooperate in the salvation of the Japanese not only by + preaching but also by offering to the preachers, if I can, the tools of + the language and chiefly the method by which they might better learn the + Japanese language, a task made very difficult by the persecutions in + Japan. Farewell, Reader, and be of good cheer. Madrid, 30 August + 1631.</p> + +<hr class="full" > + +<p><!-- Page 111 --><span class="pagenum"><a name="page111"></a>[111]</span></p> + + <p><span class="leftpage"><a name="lpage6"></a>(6</span></p> + +<p class="cenhead"><span class="sc">In This Grammar We Have for the Most Part Observed the Arrangement Which Antonius Nebrissensis and Others Have Followed in Latin for the Treatment of Sentences, Namely Nouns, Pronouns, Etc.</span></p> + +<p class="cenhead"><i>The Noun—Its Declension and Its Gender</i></p> + + <p>In the Japanese language there are no case declensions as there are in + Latin; but there are certain particles, which when suffixed to nouns, + determine the differences between the cases for both common and proper + nouns. The particles which form the nominative are five; <i>va</i>, + <i>ga</i>, <i>cara</i>, <i>no</i>, and <i>iori</i>. The particle + <i>va</i> is used when we want to give a sort of reduplicative<a + name="NtA_53" href="#Nt_53"><sup>[53]</sup></a> and specific turn to the + person or thing that is signified by such a noun. It indicates either the + first, second, or third person; e.g., <i>Vatacuxi va mairanu</i> 'I, or + those related to me, will not come.' The particle <i>no</i> is suffixed + to the second and third person, especially if they are inferior in rank + or in a sentence where there is a relative construction which does not + indicate a transitive action; e.g., <i>sonata no móxita coto</i> 'that + which you said.' The particle <i>no</i> is also used when some indefinite + form is used; e.g., <i>iie no aru ca miió</i> [... <i>miio</i>] 'see if + there are houses.' The particle <i>ga</i> is used usually for the first + and third persons of inferior status as well as for the second person + when he is the most lowly or is to be humiliated; e.g., <i>Pedro ga + qita</i> 'Peter came.' This particle is also used to indicate something + indefinite, as has been said of the particle <i>no</i>; e.g., <i>coco ni + va iie ga nai ca?</i> 'aren't the houses here?' It is also used in + sentences that have a relative construction which does not indicate a + transitive action. If the reference is to something of inferior or humble + status the particle <i>ga</i> is also used; e.g., <i>soregaxi ga caita + fumi</i> 'the letter which I wrote,' <i>sochi ga iúta coto</i> 'what you + said.' The particles <i>cara</i> and <i>iori</i> are used to form the + <!-- Page 112 --><span class="pagenum"><a + name="page112"></a>[112]</span>nominative case when the sentence shows a + transitive action, especially if the sentence contains a relative + construction; e.g., <i>Deus iori cudasareta gracia</i> 'the mercy which + God gave,' <i>tono cara core vo vôxe tçuqerareta</i> 'the Lord taught + this.' Sometimes the words are in the nominative case without any + particle; e.g., <i>Pedro Ioaõ vo iobareta</i> 'Peter called <span + class="leftpage"><a name="lpage7"></a>(7</span> John.' There are two + particles for the genitive; i.e., <i>no</i> and <i>ga</i>. The particle + <i>no</i> is used for all persons of superior rank; e.g., <i>Padre no võ + qiru mono</i> 'the priest's clothes, or habit.' The particle <i>ga</i> is + used for people of inferior rank; e.g., <i>Pedro ga fumi</i> 'Peter's + letter,' <i>sochi ga mono</i> 'your thing,' <i>are ga cane</i> 'your + money,' <i>tono va iocu ga fucai fito gia</i> 'the Lord is of great + cupidity, that is to say he is very eager.' Sometimes the particle + <i>to</i> is suffixed to the genitive; e.g., <i>Pedro no to degozaru</i> + 'it belongs to Peter.' But since this is not a perfect way of speaking, + it is better not to use it. I have cited it so that if you hear it you + will understand. When two nouns are joined to form a single word, the one + which is like an adjective does not require the genitive particle; e.g., + <i>cocuxu</i> 'the Lord of the kingdom.' According to the ordinary rule + we should say <i>cocu no xu</i>. This way of forming the genitive is very + common in Japanese; e.g., <i>Maria coto</i> 'Mary's thing.'</p> + + <p>Two particles form the dative; i.e., <i>ni</i> and <i>ie</i>. For + example, <i>Pedro ni móxita</i> 'I told Peter,' <i>Padre ie ague + maraxita</i> 'I gave, or offered, it to the priest.'</p> + + <p>There are five particles which form the accusative case; i.e., + <i>vo</i>, <i>voba</i>, <i>va</i>, <i>ie</i>, and <i>ga</i>. The first, + <i>vo</i>, is the most used; e.g., <i>Pedro vo iobe</i> 'call Peter.' + <i>Va</i> is used when one wishes to express in particular a noun in the + accusative; e.g., <i>niffon guchi va xiranu</i><a name="NtA_54" + href="#Nt_54"><sup>[54]</sup></a> 'I don't know Japanese.' The ending + <i>voba</i> is the same as <i>vo va</i>, changing the second <i>v</i> to + <i>b</i> they use it as <i>va</i>; e.g., <i>fune voba nori sutete; cane + bacari tori maraxita</i> 'abandoning ship, I took only money, or gold, + with me.' <i>Ie</i> is used to indicate the place to which one goes; + e.g., <i>Roma ie mairó</i> 'I go to Rome.' <i>Ga</i> is used for nouns + which indicate non-living or humble things; e.g., <i>are ie gozare, mono + ga móxitai</i> 'go there! I have something to tell you.' The accusative + is also formed without any particle, as has <!-- Page 113 --><span + class="pagenum"><a name="page113"></a>[113]</span>been shown in the + example second before last, where the second accusative is without a + particle.</p> + + <p>The vocative is formed with the particle <i>icani</i>. It is not + suffixed to words as are the other particles but it is prefixed instead; + e.g., <i>icani qimi core vo goronjerarei</i> 'look at this, My Lord.'<a + name="NtA_55" href="#Nt_55"><sup>[55]</sup></a> Usually, however, the + vocative is formed without any particle; e.g., <i>Padre sama</i> <span + class="leftpage"><a name="lpage8"></a>(8</span> <i>qicaxerareio</i> + 'listen, Reverend Father.'</p> + + <p>There are three particles for the ablative; i.e., <i>iori</i>, + <i>cara</i>, and <i>ni</i>. The third indicates the place in which; e.g., + <i>iglesia ni gozaru</i> 'he is in church.' Sometimes <i>ni</i> is used + after <i>no</i>; e.g., <i>sonata no ni xi aru ca?</i> 'are you going to + make it yours, or take it for yours?' But this seems much more a dative + than an ablative. The particles <i>cara</i> and <i>iori</i> are more + common in the formation of the ablative; e.g., <i>Madrid cara maitta</i> + 'I came from Madrid,' <i>Pedro iori corosareta</i> 'he was killed by + Peter.'</p> + + <p>There are four particles used to form the plural. They are placed + immediately after the noun they pluralize and before the particles which + indicate case. These four particles are <i>tachi</i>, <i>xu</i>, + <i>domo</i>, and <i>ra</i>. The first, <i>tachi</i>, forms the plural of + those noble things which one wishes to honor; e.g., <i>tono tachi</i> + 'lords.' The particle <i>xu</i> forms the plural for noble things but not + those of the highest rank; e.g., <i>samurai xu</i> 'nobles + (<i>nobiles</i>), but not lords (<i>domini</i>).' The particle + <i>domo</i> is suffixed to words which indicate humble things, either + abstract, animate, or inanimate; e.g., <i>fiacuxó domo</i> 'farmer,' + <i>ixi domo</i> 'stones,' <i>mma domo</i> 'horses.' The particle + <i>ra</i> forms the plural of nouns which indicate very low things which + are to be despised; e.g., <i>Iudeo ra</i> 'Jews.'<a name="NtA_56" + href="#Nt_56"><sup>[56]</sup></a> The case particles which are required + by the sentence are placed after the pluralizing particles; e.g., <i>tono + tachi no coto domo vo varú iú na</i> 'don't speak badly about the Lords' + affairs.'</p> + + <p>There are some words that are plural in themselves; e.g., <i>tomo + gara</i> means 'men,' <i>Nan ban mono</i> 'European things,' <i>Nan ban + mono vo fomuru na</i> 'don't praise European things.'</p> + + <p>The particle <i>icani</i>, which as has been indicated above forms the + vocative, is not placed after but always before the pronouns which are + <!-- Page 114 --><span class="pagenum"><a + name="page114"></a>[114]</span>made plural, while the particles which + form the plural are placed after; e.g., <i>icani Padre tachi vo qiqi + nasare io</i> 'listen to the priests.'</p> + + <p>But two of the four particles which form the plural, <i>domo</i> and + <i>ra</i>, are with certain words singular. <i>Varera</i> and + <i>midomo</i> mean 'I.' Sometimes both are found together in the + singular; e.g., <i>midomora</i> 'I,' <i>midomora ga</i> 'my, or mine.' + The particles <i>domo</i> and <i>ra</i> are also <span + class="leftpage"><a name="lpage9"></a>(9</span> suffixed to the singular + when one wishes to humiliate the thing mentioned; e.g., <i>hara domo ga + itai</i> 'I have a stomach ache,' <i>asu domo va aru mai</i> 'tomorrow + will not come,' <i>asu ra va naró mode</i> 'tomorrow will perhaps not + come.'</p> + + <p>The particle <i>va</i> is suffixed to singular and plural nouns which + already have a particle; e.g., <i>coco ie va mairanu</i> 'he will not + come here,' <i>coco cara va denu</i> 'he did not go out from here,' + <i>coco ni va aru mai</i> 'he will not enter here.' Sometimes <i>va</i> + replaces the particles of the declension; e.g., <i>fune de saie ióió + tçuita ni, cachi va nacanaca naru mai</i> (119v) 'I arrived with such + difficulty by ship: I would undoubtedly never have arrived had I come by + foot, or on foot.'<a name="NtA_57" href="#Nt_57"><sup>[57]</sup></a> The + particle <i>va</i> here replaces <i>cara</i>.</p> + + <p>Japanese does not have the genders feminine, masculine, and neuter as + Latin does. There are, however, certain nouns which are feminine or + masculine because of their meaning. Other nouns are common to both these + genders. For things which do not have a proper gender <i>vo</i> is placed + before masculine nouns and <i>me</i> before feminine; e.g., <i>voivo</i> + means 'male fish' and <i>meivo</i> 'female fish,' <i>vojica</i> means + 'roe-buck,' <i>melica</i> [<i>mejica</i>] 'roe-doe,'<a name="NtA_58" + href="#Nt_58"><sup>[58]</sup></a> <i>coma</i> means 'horse,' + <i>zoiacu</i> 'mare,' <i>xô</i> means 'male hawk,' <i>dai</i> 'female + hawk,' <i>cotoi</i> means 'bull,' <i>meuxi</i> 'cow,' <i>votoco</i> means + 'man,' <i>vonago</i>, <i>nhóbó</i>, or <i>vonna</i> 'woman.' All these + words are placed in the dictionary as they come to mind.</p> + + <p>The nominal adjectives have no gender or declension but make use of + the same particles as the nouns. There are however many and diverse + adjectives. Certain ones end in <i>ai</i> others in <i>oi</i>, <i>ei</i>, + <i>ui</i> and <i>ij</i>. There are other, more proper adjectives, which + are formed by adding <i>no</i> to nouns. When the first five types of + adjectives are placed before nouns they are then properly adjectives and + do not in any way alter the composition of <!-- Page 115 --><span + class="pagenum"><a name="page115"></a>[115]</span>the sentence. But when + they are placed after nouns they become more like verbs and are in fact + conjugated like them; e.g., <i>tacai iama</i> 'a high mountain,' + <i>xiguei ideiri</i> 'frequent comings and goings,' <i>caxicoi</i> <span + class="leftpage"><a name="lpage10"></a>(10</span> <i>fito</i> 'a wise + man,' <i>cavaij mono</i> 'a wretched thing,' <i>aiaui coto</i> 'a + dangerous thing,' <i>umare tçuqi no cuchi</i> 'one's natural, or mother + tongue.' There are also adjectives ending in <i>na</i> which, when they + are placed before nouns, do not alter the construction; e.g., <i>qirei na + coto</i> 'a clean thing.' All the adjectives, except those ending in + <i>no</i>, change their form in some way when they occur before verbs. + Those that end in <i>ai</i> change to <i>ó</i>; e.g., <i>cono iama va + tacó gozaru</i> 'this mountain is lofty.' Those ending in <i>ei</i> + change to <i>eô</i>; e.g., <i>cono iama va xigueô gozaru</i> 'these + mountains are dense.' Those ending in <i>oi</i> change to <i>ô</i>; e.g., + <i>caxicô gozaru</i> 'he is wise.' Those ending in <i>ui</i> change to + <i>ú</i>; e.g., <i>xei no ficú gozaru</i> 'he is small in stature.' Those + ending in <i>ii</i> [<i>ij</i>] change to <i>iú</i>; e.g., <i>caiú + gozaru</i> 'it itches.'<a name="NtA_59" href="#Nt_59"><sup>[59]</sup></a> + Among those adjectives ending in <i>ij</i> there are many which come from + verbs; e.g., <i>nozomi,u</i> means 'to wish,' and from it comes + <i>nozomaxij</i> 'which is to be wished for.' Other adjectives come from + nouns; e.g., <i>varambe</i> means 'a child, or infant,' and from this + comes <i>varamberaxij</i> which means 'childish.' Other examples may be + found in the dictionary.</p> + + <p>Adjectives which end in <i>na</i> change the <i>na</i> to <i>ni</i> + when they are placed before verbs; e.g., <i>fuxin ni zonzuru</i> 'I think + it doubtful.' The adjectives that end in <i>no</i> sometimes change the + <i>no</i> to <i>na</i>; e.g., <i>bechi no fito</i> changes to <i>bechi na + fito</i> 'a different man.' Sometimes when it is followed by a verb the + <i>na</i> changes to a <i>ni</i>; e.g., <i>bechi ni gozaru</i> 'it is + different.' However, the meaning remains the same whether the word ends + in <i>na</i> or <i>no</i>; e.g., <i>bechi no fito no cuhi cara qiita</i> + [... <i>cuchi</i> ...] is the same as <i>bechi na fito no cuchi cara + qiita</i> 'I heard it from the mouth of a different person.'<a + name="NtA_60" href="#Nt_60"><sup>[60]</sup></a> The only difference in + these forms is that when the word ends in <i>no</i> no change occurs as a + consequence of what follows. But, as has been said, those adjectives that + end in <i>na</i> change to <i>ni</i> when they come before a verb. If a + substantive verb follows an adjective, it is an elegant statement; e.g., + <i>cono iami va tacó gozaru</i> 'this mountain is high.' But if this kind + of verb does not follow, the sense <!-- Page 116 --><span + class="pagenum"><a name="page116"></a>[116]</span>is not altered since + the adjective is used as a substantive verb. But this is not used before + superiors. To them we will not say <i>cono iama va tacai</i> but rather + <i>cono iama va tacó gozaru</i>. The same is true for the other + adjectives.</p> + + <p>Adjectives usually end in <i>i</i> but infrequently these adjectives + change to <i>xi</i> or to <i>qu</i>. <i>Ioi</i>, which means 'good,' + changes to <i>ioqu</i>, or <i>ioxi</i>; e.g., <i>ioqu dancó xite</i>, + which has the meaning of 'offering good <span class="leftpage"><a + name="lpage11"></a>(11</span> council.'<a name="NtA_61" + href="#Nt_61"><sup>[61]</sup></a> There are <span class="correction" + title="text reads `ennumerable'">innumerable</span> nouns which become + adjectives if <i>na</i> is suffixed to them; e.g., <i>afo</i> means + 'ignorance' and from it comes the word <i>afo na</i> which means + 'ignorant,' <i>jiiu</i> means 'liberty' and <i>jiiu na</i> means 'which + is free.' Other examples are offered by the dictionary.</p> + + <p>There are certain abstract nouns which become adjectives when they + precede a vocable (<i>vocabulis</i>) with the meaning of 'man'; e.g., + <i>jifi</i> means 'pity,' but when the word <i>jin</i> is placed after + it, it becomes <i>jifijin</i> 'a pitiable person.' <i>Fin</i> means + 'poverty,' but when the word <i>nin</i> is suffixed to it, it becomes + <i>finnin</i> 'a poor person.' In the same way, when one suffixes + <i>ja</i> to <i>fin</i>, it makes <i>finja</i>, which also means 'a poor + person.' The word <i>ban</i> means 'watch,' but if the word <i>ja</i> is + added to it, it becomes <i>banja</i> 'a careful person.' Many other + examples can be found in the dictionary.</p> + + <p>There are in Japanese certain words which are borrowed from Chinese, + called <i>cobita</i><a name="NtA_62" href="#Nt_62"><sup>[62]</sup></a> or + <i>coie</i>, and are written together to form by their union a noun and + an adjective. Thus, <i>ten</i> mean 'heaven,' <i>xu</i> means 'lord,' and + <i>tenxu</i> means 'lord of heaven.'</p> + + <p>The preterit of verbs (which will be taken up in their place) seem to + have the same strength and meaning as adjectives when they are used + before nouns; e.g., <i>iogoreta te</i> 'dirty hands,' where + <i>iogoreta</i> is the preterit of the verb <i>iogore,uru</i> 'I became + dirty.' <i>Caita qió</i> means 'a written book' and <i>caita</i> is the + preterit of the verb <i>caqi,u</i> I write.' The abstract + (<i>abstracta</i>), or root from which the verb is formed, is itself a + noun which signifies the action of the verb in the abstract; e.g., <!-- + Page 117 --><span class="pagenum"><a + name="page117"></a>[117]</span><i>facari</i> means 'measure,' and it + comes from the verb <i>facari,u</i> 'I measure' while <i>fajime</i> means + 'beginning,' and comes from the verb <i>fajime,uru</i> 'I begin.' Others + will be found in the dictionary. The prepositional particle <i>mono</i>, + when placed before an abstract or verbal noun, forms a noun which + indicates the subject who does the action; e.g., <i>mono</i> before + <i>caqi</i> makes <i>monocaqi</i> 'one who writes.' This same particle + when placed after a root forms a noun which indicates the effect of an + action; e.g., <i>caqimono</i> 'a writing.'</p> + + <p>The particle <i>goto</i> placed after these same roots forms a noun + <span class="leftpage"><a name="lpage12"></a>(12</span> which means a + thing which is worthy of the action indicated by the verb; e.g., + <i>mi</i> is the root of the verb <i>mi,uru</i> 'I see,' and + <i>migoto</i> is 'a <span class="correction" title="text reads `visable'" + >visible</span> thing, or a thing worthy of being seen'; while + <i>qiqi</i> is the root of the verb <i>qiqi,u</i> 'I hear,' and + <i>qiqigoto</i> means 'a thing which can be heard, or is worthy of being + heard.'</p> + + <p>If we place certain substantive nouns after certain of the verbal + nouns about which we have been speaking, there is formed a noun which has + the meaning of the action; e.g., <i>foxi</i> is the root of the verb + <i>foxi,u</i> 'to dry under the sun'; but, if <i>ivo</i> 'fish' is placed + after it, the meaning of the expression <i>foxiivo</i> becomes 'fish + dried in the sun.'</p> + + <p>When the particle <i>dógu</i> 'instrument' is placed after the root of + a verb it forms a noun meaning the cause or instrument of the action + indicated by the verb; e.g., <i>varaidógu</i> 'the cause, or instrument + of ridicule,' <i>caqidógu</i> 'a writing instrument, or an instrument for + writing.'</p> + + <p>The particle <i>me</i> when suffixed to a verb forms a noun which + indicates the terminus of the action; e.g., <i>avaxe</i> is the root of + the verb <i>avaxe,uru</i> 'to unite or join two things,' and + <i>avaxeme</i> means 'junction.' The same is true of other forms.</p> + + <p>An abstract noun can be formed from those adjectives ending in + <i>i</i> if the <i>i</i> is changed to <i>sa</i>; e.g., <i>nagai</i> + means 'is long,' and <i>nagasa</i> means 'length.' The adjectives ending + in <i>na</i> change the <i>na</i> to <i>sa</i> in order to form abstract + nouns; e.g., <i>aqiraca na</i> which means 'clear' will become + <i>aqiracasa</i> 'clarity.'</p> + + <p>Sometimes from two nouns taken together, often with a change in the + first or last letter, there is formed a third noun, which is + quasi-descriptive (<i>quasi connotativus</i>), almost like an adjective + or noun with a <!-- Page 118 --><span class="pagenum"><a + name="page118"></a>[118]</span>genitive; e.g., from <i>qi</i> 'wood' and + <i>fotoqe</i> 'idol' there results <i>qibotoqe</i> 'wooden idol,' with + the <i>f</i> changed to <i>p</i> [<i>b</i>]. But if the prefixed noun + ends in <i>e</i>, this <i>e</i> is changed to <i>a</i> in the attributive + of the compound; e.g., <i>tçumasaqi</i> 'the tip of the nail,' + <i>canacugui</i> 'iron nails.' A word which is placed second in these + compounds may change its first letter; if it is <i>f</i> it becomes + <i>b</i> or <i>p</i>, if it is <i>s</i> it becomes <i>z</i>, if it is + <i>c</i> it becomes <i>g</i>, if it is <i>tç</i> it becomes <i>zz</i>, if + it is <i>x</i> it becomes <i>j</i>; e.g., <i>caribune</i>, <i>buppô</i>, + <span class="leftpage"><a name="lpage13"></a>(13</span> + <i>nigorizaqe</i>, <i>soragoto</i>, <i>qizzumari</i>, and + <i>sorajeimon</i>. See the dictionary.</p> + +<p class="cenhead"><i>Pronouns</i></p> + + <p>In the Japanese language there are no derivative pronouns, such as + <i>meus,a,um</i>, etc.; but the <span class="correction" title="text reads `primative'" + >primitive</span> pronouns, such as <i>mei</i>, <i>tui</i>, etc., are + used. These primitive forms do not have declensions for case, but rather + use the particles which are common to both nouns and pronouns.</p> + + <p>Certain particles (about which we will speak later) when added to a + word indicate honor and thereby form a pronoun or substitute for it in + such circumstances as pronouns would normally be used. Thus, if I say + <i>von fumi</i>, when speaking to someone else, it is immediately + understood that I am speaking about his letter and not mine; for if I + were speaking about mine I would not say <i>von fumi</i> but only + <i>fumi</i>, since the particle <i>von</i>, which indicates honor, + signifies 'your letter.' This is also true for such particles as + <i>mi</i> which also attributes honor to the noun to which it is + joined.</p> + +<p class="cenhead"><i>First Person Pronouns—Ego, etc.</i><a name="NtA_63" href="#Nt_63"><sup>[63]</sup></a></p> + + <p>There are eight particles which signify 'I, mine, to me, etc.' They + are <i>vatacuxi</i>, <i>soregaxi</i>, <i>vare</i>, <i>mi</i>, + <i>varera</i>, <i>midomo</i>, <i>midomora</i>, <i>vare</i>.<a + name="NtA_64" href="#Nt_64"><sup>[64]</sup></a> The first four indicate a + degree of superiority on the part of those who use them. The others are + more humble. Women use three other particles <i>mizzucara</i>, + <i>varava</i>, and <i>vagami</i> which are not used by men. The people in + the countryside use two others, <i>vara</i> [<i>vora</i>] and + <i>vorara</i>, while priests <!-- Page 119 --><span class="pagenum"><a + name="page119"></a>[119]</span>when speaking of themselves use + <i>gusô</i>, that is to say 'I, a worthless man of the cloth,' and old + men when speaking of themselves use <i>guró</i>, 'I, a worthless and + despicable old man.' The king (<i>rex</i>) says <i>chin</i> or + <i>maru</i> which means 'I, the King.' <span class="leftpage"><a + name="lpage14"></a>(14</span></p> + + <p>To form the plural of these pronouns the pluralizing particles + <i>domo</i> or <i>ra</i> are added; e.g., <i>midomo ga maitta toqi</i> + 'when we went.' To indicate the difference between the cases, the endings + about which we have spoken are suffixed.</p> + +<p class="cenhead"><i>Second Person Pronouns—Tu, tui, tibi, etc.</i><a name="NtA_65" href="#Nt_65"><sup>[65]</sup></a></p> + + <p>There are many particles that form the second person pronoun. They are + differentiated to indicate those persons deserving no honor and respect, + those deserving some, moderate, great, or maximal honor and respect. In + speaking to inferiors there are three particles used for 'you'; + <i>vare</i>, <i>vonore</i>, and <i>sochi</i>. If <i>me</i> or <i>mega</i> + is added as in <i>vareme</i> or <i>varemega</i> it means we very much + despise the person being spoken to. If we speak to people who are on our + own level, or just a little inferior, we use one of the three particles + <i>sonata</i>, <i>sonofǒ</i>, or <i>varesama</i>. If we speak to a + superior person, or someone on an equal level but with whom we must speak + elegantly, we use one of the seven particles <i>conata</i>, <i>qixo</i>, + <i>qifó</i>, <i>gofen</i>, <i>qiden</i>, <i>conatasama</i>, and + <i>sonatasama</i>. When speaking to persons of high rank, if we place the + name of their office before <i>sama</i>, it serves as a pronoun; e.g., + <i>Padresama gozare</i> 'will the Father come.'</p> + + <p><i>Conata</i>, <i>cochi</i>, and <i>conofǒ</i> mean 'I, mine,' + but in the distributive sense of 'from me, or what concerns me.' In the + same way <i>sochi</i>, <i>sonofó</i>, and <i>sonata</i> mean 'you, from + you, or what concerns you.'</p> + + <p>The plurals are formed by adding the particles listed above to the + pronouns according to the different degrees of honor. <i>Vonore domo</i>, + <i>varera</i>, and <i>sochira</i> mean 'you' when speaking to inferiors. + <i>Vare tachi</i> and <i>sonata domo</i> mean 'you' with persons of the + same rank. <i>Qifó tachi</i>, <i>vocatagata</i>, and <i>vono vono</i> + mean 'you' to persons requiring honor. The declension of these honorable + expressions follows the declension <span class="leftpage"><a + name="lpage15"></a>(15</span> of common particles.</p> + +<p><!-- Page 120 --><span class="pagenum"><a name="page120"></a>[120]</span></p> + +<p class="cenhead"><i>Third Person Pronouns—Ille, illa, illud</i><a name="NtA_66" href="#Nt_66"><sup>[66]</sup></a></p> + + <p>The two particles <i>care care</i> and <i>are are</i> mean 'this + (<i>ille, illa, illud</i>)' when speaking of inferior things.<a + name="NtA_67" href="#Nt_67"><sup>[67]</sup></a> There are four particles; + <i>aitçu</i>, <i>aitçume</i>, <i>areme</i>, and <i>caitçume</i> which + mean 'this' when one wants to show disrespect for the things being spoken + about. This idea is emphasized if one adds <i>ga</i> to those forms that + end in <i>me</i>; e.g., <i>aitçuga</i> and <i>aitçumega</i> 'this humble + man.' <i>Cono</i> means 'this (<i>hic, haec, hoc</i>),' <i>sono</i> means + 'that (<i>iste, ista, istud</i>),' and <i>ano</i> means 'that (<i>ille, + illa, illud</i>).' These words require a noun after them; e.g., <i>cono + fito</i> 'this man' with <i>cono mono</i> having the same meaning but not + being an honorific expression. <i>Sono coto</i> means 'that thing,' + <i>ano fito</i> 'that person,' <i>conata</i> or <i>conofó</i> 'here,' + <i>sonata</i> or <i>sonofó</i> 'there,' and <i>anofó</i> 'there, yonder.' + <i>Core</i> means 'this (<i>hic</i>),' <i>sore</i> 'that (<i>istud</i>),' + and <i>are</i> 'that (<i>illud</i>).' These forms are in the neuter + gender and are not followed by nouns. Their plurals are <i>corera</i>, + <i>sorera</i>, and <i>arera</i>, while the others follow the common + rules. <i>Cano</i> means 'that which we have mentioned'; e.g., <i>cano + fito</i> 'that person.' The pronoun 'a certain (<i>quidam</i>)' is made + with the particle <i>aru</i>; e.g., <i>aru fito</i> 'a certain person,' + <i>aru tocoro ni</i> 'in a certain place.'</p> + + <p>The pronoun 'each (<i>unusquisque</i>)' is formed with the particles + <i>men men</i> and <i>sore sore</i>.</p> + + <p>The pronoun 'each and every (<i>universi & singuli</i>)' is formed + with <i>tare mo mina</i>.</p> + + <p>The pronoun 'anyone (<i>quicumque</i>)' is formed with <i>tare nite + mo</i>, <i>tare nite mo are</i>, and <i>tare nari tomo</i>.</p> + + <p>The particle <i>tare mo</i>, when placed before a negative, forms the + pronoun 'no one, or nobody'; e.g., <i>tare mo mairananda</i> 'nobody + went.' The particle <i>nani taru coto nari tomo</i> means 'whatever + happens, or whichever thing happens.' The particle <i>mei mei</i> means + 'to each, or everyone in particular.'</p> + + <p>The particle <i>goto</i> makes the distributive pronoun meaning + 'every.' This form is used after vocables which are proper to the + Japanese language; i.e., <i>iomi</i>. The same results are achieved by + placing the <span class="leftpage"><a name="lpage16"></a>(16</span> + particle <i>mai</i> before vocables which come from the Chinese language; + i.e., <!-- Page 121 --><span class="pagenum"><a + name="page121"></a>[121]</span><i>coie</i>. For example, <i>fi</i> means + 'day,' and <i>figoto ni</i> means 'daily.' <i>Nen</i> is a Japanese + borrowing from a Chinese word meaning 'year,' and <i>mainen</i> means + 'every year, or all year.' The same result is obtained by the repetition + of the noun; e.g., <i>fito</i> means 'person,' and <i>fitibito</i> means + 'all the people, or many people,' <i>fi</i> means 'day,' and <i>fibi + ni</i> means 'all of the days, or every day.'</p> + + <p>The indefinite pronoun 'some (<i>aliqui</i>)' is formed with + <i>niiotte</i>; e.g., <i>toqi niiotte</i> 'some times,' <i>fito + niiotte</i> 'some men.'</p> + + <p>The pronoun 'the same (<i>idem</i>)' is formed with <i>vonaji</i>; + e.g., <i>vonaji tocoro cara</i> 'from the same place.' The particle + <i>dôjen</i> means the same thing but in the neuter ; e.g., <i>dôjen + degozaru</i> 'it is the same.' This word is used in reply to some one who + has congratulated you, etc.</p> + + <p>The pronoun 'himself (<i>ipse</i>)' is formed with the particles + <i>nuxi</i>, <i>sono mi</i>, and <i>vaga</i>. The particle <i>vareto + mi</i> forms the pronoun 'himself (<i>ipsemet</i>)'; e.g., <i>vareto mi + ni ata vo nasu</i> (96) 'he brings harm to himself,' <i>mi vo vasurete; + ta vo tasuquru</i> 'he forgets himself and saves others.' The particle + <i>vatacuxi</i> means 'a thing which belongs to oneself (<i>re + propria</i>)'; e.g., <i>vatacuxi no coto</i> 'ones own thing,' + <i>vatacuxi ni ivareta</i> 'he spoke for himself.'</p> + + <p>The pronoun 'somebody (<i>aliquis</i>)' is made with the particles + <i>tare zo</i> and <i>taso</i>; e.g., <i>tare zo maittaraba</i> 'if + somebody were to come,' <i>taso sacana ga aru ca tói ni iqe</i> [... + <i>toi</i> ...] 'let someone go and ask if there is food.'</p> + + <p>The neuter pronoun 'something (<i>aliquid</i>)' is formed with the + particles <i>nan zo</i> and <i>nanica</i>; e.g., <i>nan zo ga araba + cuvózu</i> 'I would eat if there were something,' <i>ima faia te ga jiiú + ni gozaru fodo ni nanica caqi maraxô</i> 'I would write something if I + were to have my hands free, or untied.'</p> + + <p>The interrogative 'who (<i>quis</i>)' is translated with the three + particles <i>tare</i>, <i>taga</i>, and <i>taso</i>. The particles + <i>taga</i> or <i>tare no</i> form the genitive; e.g., <i>taga mono + ca</i> 'whose thing is this.' When someone comes to the door and knocks, + he says <i>mono mó</i>.<a name="NtA_68" href="#Nt_68"><sup>[68]</sup></a> + To this one responds <i>taso</i>, <i>taga</i>, or <i>tare</i> 'who is + it?' <i>Nani</i> means 'what (<i>quid</i>)'; e.g., <i>nani vo suru</i> + <span class="leftpage"><a name="lpage17"></a>(17</span> <i>ca</i> or + <i>nani goto vo suru ca?</i> 'what are you doing?' <i>nani ni sore vo + totte iqu ca?</i> 'for what reason do you bring this to me?'</p> + +<p><!-- Page 122 --><span class="pagenum"><a name="page122"></a>[122]</span></p> + +<p class="cenhead"><i>Relative Pronouns</i></p> + + <p>The relative pronoun is formed by placing the noun, in connection with + which there is a relative (<i>relativum</i>), after the verb; e.g., + <i>ten ni maximasu varera ga von voia</i> 'Our Father who is in Heaven,' + <i>deta tocoro va</i> 'the place from which he came out,' <i>te ni sumi + no tçuita fito</i> (88) 'a man to whose hands ink is adhering.' If the + sentence (<i>oratio</i>) requires a nominative before the verb it must be + formed with one of the particles which indicate the nominative; + <i>ga</i>, <i>no</i>, or <i>iori</i>. For example, <i>vatacuxi ga caita + fumi</i> 'the letter which I wrote,' <i>conata no vôxerareta coto</i> + 'the thing which Your Lordship says.' The third particle, <i>iori</i>, is + used when there is movement in the sentence; e.g., <i>Deus iori ataie + cudasareta gracia</i> 'the grace which God provided, or gave,' <i>ano + tocoro ni amata no qió atta vo torareta</i> (87v.) 'he brought what many + books there were in that place.' When two sentences containing a relation + come together the first is placed second by general rule,<a name="NtA_69" + href="#Nt_69"><sup>[69]</sup></a> and the second uses either a past, + present, or future particle according to what is required by the sense of + the sentence; e.g., <i>qesa Oracio vo móxita qió ga tçucuie no uie ni aru + vo motte coi</i> 'bring the book which is on the desk (<i>sedila</i>) at + which I said my prayers this morning.' In this sentence <i>qió ga</i>, + which is the first relative, comes after the verb <i>móxita</i>; and the + <i>vo</i> which stands for the second relative comes after the verb + <i>aru</i>. When we want to be more specific about that of which we are + speaking we place the particle <i>tocoro no</i> between the thing itself + and the verb; e.g., <i>vare to dôxin xita tocoro no mono domo va mina + buguen ni natta</i> 'all those who agreed with me became rich.' Sometimes + the relative, because of the difficulty in understanding it, is expressed + by expositions (<i>per exponentes</i>). Thus, in place of <i>ima + corosareta Pedro no co va sonata no chijn gia</i> which means 'the son of + Peter who has just been killed was your friend,' we say <i>ima Pedro + corosareta sono co va sonata no chijn de gozaru</i>.</p> + + <p>Sometimes they join two particles, as determined by the case, and form + a kind of relative pronoun which is placed before the relative; e.g., + <i>sono tocoro de no dancó</i> 'the consultation at that place,' <span + class="leftpage"><a name="lpage18"></a>(18</span> <i>Marsella ie no + fune</i> 'the ship to Marseille,' <i>maire to no móxi goto dearu</i> [ + ... <i>gia</i>] 'it is said that I should go.'</p> + +<p><!-- Page 123 --><span class="pagenum"><a name="page123"></a>[123]</span></p> + + <p><i>Mairu mai to no dancó ni qivamatta</i> 'it was resolved that he not + go,' <i>maitte nochi no dancó</i> 'the consultation he arrived after,' + <i>varambe cara no catagui</i> 'a custom from youth,' <i>xô tame no + chôgui gia</i> (22) 'this is the plan (<i>ars</i>) according to which it + will be done,' <i>anofito no vo toró</i> 'I shall take what belongs to + that man.' This ends the note on relative pronouns.</p> + +<p class="cenhead"><i>The Formation of the Verb and Its Conjugation</i><a name="NtA_70" href="#Nt_70"><sup>[70]</sup></a></p> + + <p>The verbs in Japanese have no number or person. These distinctions are + indicated instead by the particles used in the formation of the plurals + and in the declensions. There are three affirmative conjugations and the + same number of negative.</p> + + <p>The root (<i>radix</i>) of the verb does not by itself indicate tense. + For this reason it is necessary to conjugate the verb in order to show + the tenses.</p> + + <p>All the verbs of the first conjugation<a name="NtA_71" + href="#Nt_71"><sup>[71]</sup></a> end in <i>e</i>. Those ending in + <i>gi</i> or <i>ji</i>, together with <i>xi</i> and <i>maraxi</i>, + although they end in <i>i</i>, are also in the first conjugation. If the + root ends in <i>de</i> or <i>gi</i>, the present form is made by changing + them to <i>zzuru</i>; e.g., <i>fagi</i> forms its present in + <i>fazzuru</i> and means 'to blush,' <i>de</i> becomes <i>zzuru</i> and + means 'to leave.' If the root ends in <i>je</i> or <i>ji</i> it changes + in the present to <i>zuru</i>; e.g., <i>maje:mazuru</i> 'to mix,' + <i>anji:anzuru</i> 'to consider.' If they end in <i>xe</i> they change to + <i>suru</i>; e.g., <i>avaxe:avasuru</i> 'to join.' <i>Xi</i> and + <i>maraxi</i>, which (as we have said) are in the first conjugation,<a + name="NtA_72" href="#Nt_72"><sup>[72]</sup></a> change <i>xi</i> to + <i>suru</i>; e.g., <i>xi:suru</i> 'to do,' <i>maraxi:marasuru</i> which + also means 'to do.' If the root ends in <i>te</i> it changes to + <i>tçuru</i>; e.g., <i>sodate:sodatçuru</i> 'to nourish, or support.' The + remaining roots which end in <i>e</i> change, in their separate ways, the + <i>e</i> to <i>uru</i>; e.g., <i>ague:aguru</i> 'to offer,' + <i>nigue:niguru</i> 'to run away.'</p> + + <p>There are certain verbal preterits which have present tense meanings. + They are those which are passive in form but active in <span + class="leftpage"><a name="lpage19"></a>(19</span> meaning; e.g., + <i>cocoroieta</i> 'to understand,' <i>qicoieta</i> 'to hear,' + <i>voboieta</i> 'to remember,' <i>qiqiieta</i> 'to understand,' + <i>zonjita</i> 'to know,' and there may <!-- Page 124 --><span + class="pagenum"><a name="page124"></a>[124]</span>be many others. The + verbs which follow belong to the first conjugation even though their + roots do not end as previously stated.<a name="NtA_73" + href="#Nt_73"><sup>[73]</sup></a> If the present tense of these forms + does not change the <i>i</i> to <i>uru</i> they are exceptional; e.g., + <i>abi,uru</i> 'to wash oneself,' <i>fotobi,uru</i> 'to become soft,' + <i>focorobi,uru</i> 'to become unstitched,' <i>cabi</i> [<i>cabi,uru</i>] + 'to be moldy,'<a name="NtA_74" href="#Nt_74"><sup>[74]</sup></a> + <i>sabi</i> [<i>sabi,uru</i>] 'to rust,' <i>deqi</i> [<i>deqi,uru</i>] + 'to be finished, or ended,' <i>cuchi:cutçuru</i> 'to rot,' + <i>michi:mitçuru</i> 'to be filled in by the sea,' <i>ini,uru</i> 'to + leave,' <i>nobi:nobiru</i> or <i>noburu</i> 'to be spread out,' + <i>tçuqi,uru</i> 'to be used,' <i>vori:uru</i> 'to descend from above,' + <i>xij:xijru</i><a name="NtA_75" href="#Nt_75"><sup>[75]</sup></a> 'to + invite to dine, by compulsion,' <i>ni:niru</i> 'to resemble,' + <i>mochij:mochiiuru</i> 'to evaluate,' <i>ni:niru</i> 'to cook,' + <i>mi:miru</i> 'to look at,' <i>cori,uru</i> 'to correct,' + <i>vochi:votçuru</i> 'to fall,' <i>i:iru</i> 'to exist, or be present,' + <i>fugui,uru</i> 'to pass, as time passes,' <i>vabi,uru</i> 'to beg for + mercy,' <i>carabi,uru</i> 'to become dry,' <i>iqi:iquru</i> 'to live,' + <i>fi:firu</i> 'to become dry,' <i>qi:quru</i> 'to come,' <i>qi:qiru</i> + 'to dress oneself,' <i>voqi,uru</i> 'to get out of bed.' The following + four verbs have irregular, as well as regular, present tenses;<a + name="NtA_76" href="#Nt_76"><sup>[76]</sup></a> <i>ataie</i> has + <i>atóru</i> 'to give,' <i>vaqimaie</i> has <i>vaqimǒru</i> 'to + discriminate,' <i>tonaie</i> has <i>tonóru</i> 'to bless,' <i>sonaie</i> + has <i>sonóru</i> 'to place in a high position.'</p> + +<p class="cenhead"><i>The Preterit, Perfect, Imperfect, and Pluperfect</i></p> + + <p>In Japanese there is no imperfect. In its place the perfect is used. + The perfect is formed in two ways. The first is by suffixing <i>ta</i> to + the root of a verb ; e.g., <i>agueta</i> is the preterit of the verb + <i>ague,uru</i> 'to offer.' The second is by suffixing <i>te</i> to the + root and to that adding <i>gozari,u</i> or <i>ari,u</i> which is then + conjugated in the present or the preterit of the second conjugation; + e.g., <i>aguete gozaru</i> or <i>aguete gozatta</i>, or <i>aguete aru</i> + or <i>aguete atta</i> 'offered, or had offered.' If the particle + <i>fáia</i> [<i>faia</i>] is placed before the verb the expression is + strengthened; e.g., <span class="leftpage"><a + name="lpage20"></a>(20</span> <i>fáia aguete gozatta</i> [<i>faia</i> + ...] 'I had already offered it.' When the verb <i>ari,u</i> is suffixed + to the perfect it is not as elegant a way of speaking as <!-- Page 125 + --><span class="pagenum"><a name="page125"></a>[125]</span>when + <i>gozari,u</i> is used. Therefore when speaking one must be careful + about what one says, or in front of whom one speaks, so as to give each + person the honor he deserves.</p> + +<p class="cenhead"><i>The Future of the First Conjugation</i></p> + + <p>If the root of the verb ends in <i>te</i> this syllable is changed to + <i>teô</i> or <i>chô</i> to form the future; e.g., <i>tate,uru</i> will + become <i>tateô</i> or <i>tachô</i> 'I shall build.'<a name="NtA_77" + href="#Nt_77"><sup>[77]</sup></a> If the root ends in <i>ji</i> the + future is formed by changing <i>ji</i> to <i>jô</i>; e.g., <i>xenji</i> + becomes <i>xenjô</i> 'I shall prepare, or brew, the medicine.' If the + root ends in <i>xe</i> [<i>xi</i>] it changes to <i>xô</i>; e.g., + <i>xi</i> becomes <i>xô</i>, and <i>maraxi</i> becomes <i>maraxô</i> 'I + shall do.' If it ends in <i>ie</i> it is changed to <i>io</i> + [<i>iô</i>]; e.g., <i>voxiie</i> becomes <i>voxiio</i> [<i>vaxiiô</i>] 'I + shall teach.' The remaining roots ending in <i>e</i> suffix the particles + <i>ô</i>, <i>ôzu</i>, or <i>ôzuru</i>; e.g., <i>agueô</i>, + <i>agueôzu</i>, or <i>agueôzuru</i> 'I shall offer.' These endings are + used for the first conjugation<a name="NtA_78" + href="#Nt_78"><sup>[78]</sup></a> even when the roots end in <i>i</i>; + e.g., <i>deqiôzu</i> 'I shall be finished.'</p> + + <p>The future is also formed by taking the syllable <i>nu</i> from the + negative present (see below) and putting in its place the particle + <i>baia</i>. Thus, by taking <i>nu</i> away from <i>aguenu</i> and + putting in its place <i>baia</i>, we obtain <i>aguebaia</i> 'I will + offer.' For <i>minu</i> if you take away the <i>nu</i> and put in its + place <i>baia</i> it will become <i>mibaia</i> 'I will see, or + behold.'</p> + + <p>The future perfect is formed by suffixing the particles <i>te + arózu</i> or <i>tarózu</i> to the root; e.g., <i>aguete arózu</i> or + <i>aguetarózu</i> 'I shall already have offered.' The same results are + obtained if <i>faia</i> is placed before the simple future; e.g., <i>faia + agueôzu</i>.</p> + + <p><span class="leftpage"><a name="lpage21"></a>(21</span></p> + +<p class="cenhead"><i>The Imperative of the First Conjugation</i></p> + + <p>The imperative of the first conjugation is formed with the root of the + verb alone, or with the addition of the particle <i>io</i>; e.g., + <i>ague</i> or <i>ague io</i> 'offer!'<a name="NtA_79" + href="#Nt_79"><sup>[79]</sup></a> The future of the imperative is the + future absolute <i>agueô</i> or <i>agueôzu</i>. This is a more elegant + and polite way of speaking than giving a command with the regular + imperative. The imperative is also formed by taking the <i>nu</i> from + the negative present (see below) and <!-- Page 126 --><span + class="pagenum"><a name="page126"></a>[126]</span>putting in its place + the particle <i>sai</i>. Thus, if one takes the <i>nu</i> from + <i>aguenu</i> and replaces it with <i>sai</i> it becomes <i>ague sai</i> + which means 'offer!' If the particle <i>tai</i> is placed after the root + there is formed a kind of future or optative by which the wish of the + speaker is expressed. It is therefore an elegant imperative; thus + <i>mizzu fitotçu nomitai</i> 'I would like to have a drink of water' is + the same as 'give me some water to drink.' When a relative [clause] + concerns a precept, rule, admonition, or prohibition the imperative is + expressed word for word in whatever the conjugation, affirmative or + negative; e.g., <i>Christiani naru na to no xógun no fatto ga aru</i> + [<i>Christian ni</i> ...] 'it is the law of the Shōgan + (<i>imperator</i>) that no one should become a Christian,' <i>Padre core + vo coxiraie io to voxerareta niiotte</i> [... <i>vôxerareta</i> ...] + 'because the Priest told me to do it.'</p> + +<p class="cenhead"><i>The Optative of the First Conjugation</i></p> + + <p>The optative, both present and future, is the present tense of the + imperative with the particles <i>negavacu va</i> or <i>avare</i> placed + before it and the particles <i>gana</i> or <i>caxi</i> placed after it. + Sometimes it is formed by adding the particle <i>gana</i> without any + prefix; e.g., <i>negavacu va ague io caxi?</i> or <i>avare aguei + gana</i><a name="NtA_80" href="#Nt_80"><sup>[80]</sup></a> 'would that + you were to offer?' <i>avare icanaru tengu, bangue mono nari tomo vare vo + totte, fiie no iama ni noboxe io caxi!</i> (15v)<a name="NtA_81" + href="#Nt_81"><sup>[81]</sup></a> 'Oh! if there were some one, either + devil or soothsayer, who could make me ascend the mountain called Hie.' + The particle <i>gana</i> when it is placed after a noun indicates a wish + for the thing specified by the noun; e.g., <i>saqe gana</i> 'oh! sake'; + and if <span class="leftpage"><a name="lpage22"></a>(22</span> one is + asked if he would like something to drink, the answer is <i>nani gana</i> + 'would that I had some.'</p> + + <p>The perfect of the optative is the second form of the future followed + by the particle <i>mono vo!</i>; e.g., <i>niqueozu mono vo!</i> + [<i>nigueôzu</i> ...] 'would that I had fled!' The same is achieved by + <i>niguetaraba iocaró mono vo</i>. Sometimes they say only <i>niguetaró + va</i> or <i>niguete aró ni va iocaró mono vo</i>.</p> + +<p><!-- Page 127 --><span class="pagenum"><a name="page127"></a>[127]</span></p> + +<p class="cenhead"><i>The Subjunctive of the First Affirmative Conjugation</i></p> + + <p>The present tense of the subjunctive is formed by changing the + <i>u</i> in which the present indicative ends to <i>eba</i>; e.g., + <i>aguru</i> becomes <i>agureba</i> 'since I offer.' It is also formed + from the present by adding <i>ni</i>, <i>de</i>, <i>vo</i>, or <i>va</i> + to the particle <i>tocoro</i> according to the case requirements of the + verb that follows, with the first verb being controlled by the noun; + e.g., <i>aru toqi Pedro chinsui xite iraruru tocoro ie fito ga qite</i> + (16v)<a name="NtA_82" href="#Nt_82"><sup>[82]</sup></a> 'since a certain + man came to the place where Peter was when he was drunk,' <i>nhóbó ni + tachi vacarete iru tocoro ni</i> (16v)<a name="NtA_83" + href="#Nt_83"><sup>[83]</sup></a> 'since they were separated and + divorced,' <i>có aru tocoro ni</i> 'since things are this way,' <i>ioso + ie zzuru tocoro va fito ni corosareta</i> (16v)<a name="NtA_84" + href="#Nt_84"><sup>[84]</sup></a> 'when he went outside, he was killed by + someone,' <i>go misa vo asobaruru tocoro vo uchi coroita</i> (121)<a + name="NtA_85" href="#Nt_85"><sup>[85]</sup></a> 'he killed him while he + was celebrating mass.' This is a general rule which applies to all + conjugations.</p> + + <p>The perfect and the pluperfect of the subjunctive are formed from + these same tenses in the indicative with the addition of the particle + <i>reba</i>; e.g., <i>agueta reba</i> 'since he had offered.' It is also + formed by taking away <i>gozaru</i> from the preterit pluperfect and + putting in its place <i>atta reba</i> or <i>atta</i>; but, when + <i>atta</i> is used, the particles <i>ni</i>, <i>vo</i>, <i>va</i>, or + <i>ie</i> must be added according to the requirements of the following + verb, just as with <i>tocoro</i> in the present tenses; e.g., <i>aguete + atta reba</i> or <i>aguete atta ni</i>, <i>vo</i>, <i>va</i>, or + <i>ie</i> 'since I had already offered it.'</p> + + <p>The future of the subjunctive is formed by adding the particle + <i>toqi</i> to the future indicative; e.g., <i>agueô toqi</i> 'since he + would offer it later.'</p> + + <p>The pluperfect subjunctive, with all the expressions (<i>vox</i>) + which signify that which comes after a completed action, is formed by + <span class="leftpage"><a name="lpage23"></a>(23</span> placing + <i>cara</i>, <i>nochi</i>, or <i>igo</i> after the pluperfect indicative, + minus <i>gozaru</i>; <!-- Page 128 --><span class="pagenum"><a + name="page128"></a>[128]</span>e.g., <i>aguete cara, nochi</i>, or + <i>igo, mairó</i> 'I shall leave after he has offered it.' This is like + <i>aguetaró toki mairó</i> 'I shall leave after he has already offered + it.' <i>Agueôzuru ni</i> or <i>agueôzuru tocoro ni</i> means 'since he + was already prepared to offer it.' <i>Agueôzuru coto no saqi ni</i> means + 'a little while before he offered it.'</p> + + <p>The present tense of the permissive subjunctive is formed in two ways. + The first is by changing the <i>u</i> of the present indicative to + <i>edomo</i>; e.g., <i>aguredomo</i> 'although I could offer it.'</p> + + <p>The preterit of the permissive subjunctive is formed by adding + <i>redomo</i> to the preterit indicative; e.g., <i>agueta redomo</i> + 'although he had offered it.' The future permissive is formed by adding + <i>redomo</i> to the second form of the future indicative; e.g., + <i>agueôzu redomo</i> 'although he would be able to offer it.' The second + form of the permissive subjunctive is formed by adding the particle + <i>tomo</i> to the present indicative; e.g., <i>aguru tomo</i> 'although + he could offer it.' The particles <i>mamaio</i> or <i>madeio</i> may also + be added to the present tense; e.g., <i>sore vo voxiiuru mamaio</i> or + <i>sore vo voxiiuru madeio</i> 'although he could teach this.'</p> + + <p>The preterit of the second permissive is formed by suffixing + <i>ritomo</i> to the preterit indicative; e.g., <i>agueta ritomo</i> + 'although he had offered it.' The same meaning is achieved by adding the + particles <i>mamaio</i> or <i>madeio</i> to the preterit indicative; + e.g., <i>agueta mamaio</i> or <i>agueta madeio</i>; or by adding + <i>tote</i> to the preterit subjunctive; e.g., <i>aguetareba + tote</i>.</p> + + <p>The future permissive is formed by adding <i>tomo</i> to the second + form of the future indicative; e.g., <i>agueozu tomo</i> [<i>agueôzu + tomo</i> 'although he would offer it']. It is also formed by adding + <i>mamaio</i> or <i>madeio</i> to the same future form. If the particle + <i>tatoi</i> is placed before the forms of the permissive subjunctive + great strength is added to the sentence; e.g., <i>tatoi vôxeraruru + tomo</i> 'even though you may state this.' The same meaning is obtained + by removing the verbs <i>gozaru</i> or <i>aru</i> from the pluperfect + indicative and replacing it with the particle <i>mo</i>; e.g., <i>aguete + mo</i> 'although he may offer it.' The same <i>mo</i> when placed after + the present indicative gives the same meaning; e.g., <i>doco de qiqi + marasuru mo, sono sata va mósanu</i> 'although he hears that everywhere, + he does not pay any attention.' The same meaning is obtained by the + sentences <i>ague mo xeio caxi?</i>, <i>aguete mo xô madeio</i>, and + <i>nanto mo ague caxi?</i> <!-- Page 129 --><span class="pagenum"><a + name="page129"></a>[129]</span>[... <i>aguei caxi?</i>]<a name="NtA_86" + href="#Nt_86"><sup>[86]</sup></a> 'although he offers.' <i>Aguru ni + saxerarei</i>, <span class="leftpage"><a name="lpage24"></a>(24</span> + <i>agueta ni saxerarei</i>, or <i>agueo ni saxerarei</i> [<i>agueô</i> + ...] have the meanings of 'although he could have offered, although he + could offer, or although he would offer'; or one might say 'let us offer' + or 'let us give.'</p> + +<p class="cenhead"><i>The Infinitive</i></p> + + <p>The present infinitive is formed by adding <i>coto</i> or <i>to</i> to + the present indicative; e.g., <i>aguru coto</i> or <i>aguru to</i> 'to + offer.'</p> + + <p>The preterit infinitive is formed by adding the same particles to the + preterit indicative; e.g., <i>agueta coto</i> or <i>agueta to</i> 'to + have offered.' The future infinitive is formed by adding the same + particles to the future indicative; e.g., <i>agueô coto</i> or <i>agueô + to</i> 'to be about to offer.' The same meaning is obtained by adding + <i>ióni</i> to the present, preterit, or future indicative; e.g., <i>nai + nai guioi ni caqerareô ióni va vare mo zonzuru fitobito mo zonjita</i> + (22v) 'I think and others believed me to have been favored by you with + many benefits,' <i>qeccu vare ni voxiie marasuru ióni gozaru</i> (117v) + 'he is truly able to teach me,' <i>agueta ióni gozaru</i> 'he is said to + have offered it.'</p> + + <p>To ask or answer a question the infinitive is often subordinate to the + verb which follows; e.g., <i>nhóbógata ni vochita coto ga atta ca?</i> + 'did you fall into the sin of adultery with this woman? is this what + happened?' etc. All the tenses of the infinitive are used in the same + way.</p> + + <p>Sometimes the preterit infinitive is replaced by the pluperfect with + <i>gozaru</i> or <i>aru</i> removed; e.g., <i>Deus no minori vo firomete + iocaró</i> 'it is good to spread the Gospel.' Sometimes the present or + preterit indicative plus <i>ga</i> replaces the present or preterit of + the infinitive; e.g., <i>sore vo vôxeraruru ga varú gozaró</i> 'it will + be bad to say that,' <i>maitta ga maxi gia</i> (21) 'it is better to have + come, or it was better to come.'</p> + + <p>When the substantive verb follows the infinitive, the particle + <i>coto</i> is not required; e.g., <i>cosacazzuqi de va saqe vo nomu + devanai</i> (23) 'to drink sake from a small glass is not to drink sake,' + <i>core coso caqu de gozare</i> 'this we are able to say, or better, + write,' <i>caqu de gozatte coso</i> 'this is not the way for it to be + written,' <i>sore va aguru devanai</i> 'that is not to offer it.' Some of + these examples are taken from other <span class="leftpage"><a + name="lpage25"></a>(25</span> conjugations but the general rule applies + to all. The idea of the <!-- Page 130 --><span class="pagenum"><a + name="page130"></a>[130]</span>infinitive is also obtained by the + following means of expression; <i>ague va</i>, <i>aguredomo</i> 'although + I offered, or even if I made it so that it was offered.' Because this is + a general rule for all the conjugations, they also say <i>qiqi va + tçucamatçure domo gatten xenu</i> 'although I have listened, or done + everything necessary to hear; I still don't understand.' They also say + <i>aguru vo motte</i> 'by offering, or with the fact that he is to + offer,' <i>aguru iori</i> 'from the fact that he is to offer,' <i>aguru + nitçuite</i> 'about the fact that he is to offer.'</p> + + <p>The gerund in <i>Di</i> is the present or future indicative followed + by the particle <i>jibun</i>, or less frequently some other particle + meaning 'time'; e.g., <i>aguru jibun</i> 'the time for offering,' + <i>agueô ni qivamatta</i> 'he made the decision that it be offered,' + <i>niguru jibun gia</i> 'it is time to flee,' <i>corosareôzuru ni + aisadamatte arǒzu</i> (13) 'it will have been decided that he will + be killed, or will have to be killed.'</p> + + <p>The gerund in <i>Do</i> is formed in two ways. The first is by adding + the particles <i>ni</i> or <i>tote</i> to the present indicative; e.g., + <i>aguruni</i> or <i>agurutote iurusareta</i> 'I was freed by it being + offered.' The second way is by removing the verb <i>gozaru</i> from the + pluperfect; e.g., <i>aguete cutabireta</i> 'I became tired by offering, + or raising up,' that is to say, 'from the action of presenting, or + raising up, I suffered the result of becoming tired.' There is also + another elegant, and frequently used, way to form the gerund in + <i>Do</i>. It is done by placing the root of the verb in front of another + verb making a compound; e.g., <i>fiqi iosuru</i> 'to approach, pulling.' + The roots which are used in this way do not change with respect to their + function. The gerund in <i>Do</i> is also used to express purpose + <i>taixó to xite</i> 'since he was a commander (<i>dux</i>), or was + fulfilling the function of a commander,' <i>von rei to xite</i> 'giving + thanks,' <i>rǒtai nomi ni xite</i> 'since he was an old man,' + <i>tçucai xite ivaruru</i> 'he said it as a messenger.'</p> + + <p>The gerund in <i>Dum</i> is formed by adding the particles <i>tame</i> + or <i>tote</i> to the present or future indicative; e.g., <i>aguru + tame</i> or <i>agueo tote</i> [<i>agueô tote</i>] 'in order to offer.' + The same meaning is obtained by <i>aguru ni fatto ga aru</i> 'there is a + law about offering,' unless this should be considered a gerund in ni + [<i>Di</i>].</p> + + <p>The supine in <i>Tum</i> is formed in two ways. The first is by adding + <i>ni</i> to the root. The second is by adding <i>tameni</i> to the + present indicative; <!-- Page 131 --><span class="pagenum"><a + name="page131"></a>[131]</span>e.g., <i>tazzune ni maitta</i> or + <i>tazzunuru tameni maitta</i> 'I came in order to obtain it.'</p> + + <p>The supine in <i>Tu</i> is the root of the verb alone. To obtain the + same meaning they also use <i>mósu ni voiobanu</i> 'it is not necessary + to <span class="leftpage"><a name="lpage26"></a>(26</span> speak.'</p> + + <p>The present, preterit, and future participles are formed by adding the + particles <i>fito</i> or <i>mono</i> to the indicative. When <i>fito</i> + is used the result is a more honorable way of speaking; e.g., <i>aguru + fito</i> or <i>aguru mono</i> 'he who offers,' <i>agueta fito</i> 'he who + offered,' <i>agueô mono</i> 'he who will offer,' <i>Buppôgacu suru + tomogara ni voite va</i> (73v) 'as for those who devote themselves to the + study of the laws of idolatry,' <i>von vo xiru vo fito to va iúzo; von vo + xiranu voba chicuxó to coso iie</i> (96v). In this last sentence the + <i>vo</i> takes the place of the participle, and the sentence therefore + means 'those who know kindness (<i>beneficia</i>) are correctly called + men; those who do not know it are truly called beasts.' This is a general + rule for all the conjugations and therefore the example contains a verb + from the second conjugation. The participle is also made by adding + <i>te</i> ['hand'] to the root of the verb; e.g., <i>aguete</i> 'one who + offers.'</p> + +<p class="cenhead"><i>The First Negative Conjugation</i></p> + + <p>The negative root is formed by adding <i>zu</i> to the affirmative + root; e.g., <i>aguezu</i>.</p> + + <p>The present tense is formed with <i>nu</i> instead of <i>zu</i>; e.g., + <i>aguenu</i> 'I do not offer.' This is a general rule no matter how the + root ends. The only exceptions are <i>xi</i> and <i>maraxi</i> which form + the negative present in <i>xenu</i> and <i>maraxenu</i> 'I do not do.' + The roots that end in <i>ji</i> change the <i>ji</i> to <i>je</i> and + then suffix the particle <i>nu</i> to the present; e.g., <i>zonji</i> in + the negative present becomes <i>zonienu</i> [<i>zonjenu</i>] 'I do not + know.' In some areas of Japan they form the negative by removing the + final <i>u</i> from the negative root and adding <i>ari,u</i>, which is + then conjugated according to the required tense; e.g., <i>aguezaru</i> 'I + do not offer,' <i>aguezatta</i> 'I did not offer,' <i>aguezatta reba</i> + 'since I did not offer.' They also say <i>aguezu xite</i> 'by not + offering.'<a name="NtA_87" href="#Nt_87"><sup>[87]</sup></a></p> + +<p><!-- Page 132 --><span class="pagenum"><a name="page132"></a>[132]</span></p> + + <p>The negative of the preterit is formed in like manner by adding the + particle <i>nanda</i> instead of <i>nu</i>; e.g., <i>aguenanda</i> 'I did + not offer,' <i>zonjenanda</i> 'I did not know,' <i>vorinanda</i> 'I did + not <span class="correction" title="text reads `decend'" + >descend</span>.'</p> + + <p>The pluperfect is formed by changing the last <i>a</i> of the preterit + to <i>e</i> and adding the verb <i>gozaru</i> in the present and + <i>gozatta</i> in the preterit; e.g., <i>aguenande gozaru</i> or + <i>aguenande gozatta</i> 'I have not offered.' It is also formed by + adding <i>ide gozaru</i> or <i>ide gozatta</i> instead of <span + class="leftpage"><a name="lpage27"></a>(27</span> <i>nande gozaru</i>; + e.g., <i>agueide gozaru</i> or <i>agueide gozatta</i> 'I had not + offered,' <i>zonzeide gozaru</i> [<i>zonjeide</i> ... ]<a name="NtA_88" + href="#Nt_88"><sup>[88]</sup></a> 'I had not known,' <i>vochiide + gozatta</i> 'I had not fallen.'</p> + + <p>The negative future is formed by adding <i>mai</i> or <i>maji</i> to + the affirmative root or the affirmative present tense; e.g., <i>ague + mai</i> or <i>aguru maji</i> 'you will not offer.'</p> + + <p>The imperative is formed by placing <i>na</i> after the present + indicative; <i>aguru na</i> 'do not offer.'</p> + + <p>It is also formed by placing <i>na</i> before the root and <i>so</i> + after it; e.g., <i>na ague so</i> 'do not offer.'</p> + + <p>It is also formed by placing <i>na</i> after the root; e.g., <i>ague + na</i> 'do not offer,' <i>mixe na</i> 'do not show,' <i>mesare na</i> 'do + not do.' The roots which end in <i>xi</i> or <i>ji</i>, but are in the + first conjugation,<a name="NtA_89" href="#Nt_89"><sup>[89]</sup></a> + change the <i>i</i> to <i>e</i> to form the negative imperative; e.g., + <i>sǒ xe na</i> or <i>só maraxe na</i> 'do not do that,' + <i>sǒ zonze na</i> [<i>só zonje na</i>] 'do not think that.'</p> + + <p>The optative is formed by placing <i>negavacuva</i> or <i>avare</i> + before the negative imperative and placing <i>caxi</i> or <i>gana</i> + after it; e.g., <i>avare aguru na caxi</i> 'oh! if only you would not + offer,' and <i>negavacuva na ague so gana</i> with the same meaning.</p> + + <p>The preterit of the optative is formed by placing <i>mono vo</i> after + the negative future; e.g., <i>aguru mai mono vo</i> 'oh! if only you + would not have offered.'</p> + + <p>The negative subjunctive is formed by changing the <i>u</i> which ends + the negative present to <i>eba</i>; e.g., <i>agueneba</i> 'since he did + not offer.'</p> + + <p>The preterit of the subjunctive is formed by adding <i>reba</i> to the + negative preterit of the indicative; e.g., <i>aguenanda reba</i> 'since + he had not offered.'</p> + +<p><!-- Page 133 --><span class="pagenum"><a name="page133"></a>[133]</span></p> + + <p>The future of the subjunctive is formed by adding <i>qereba</i> to the + negative future; e.g., <i>niguru mai qereba</i> 'since he is not going to + escape.'</p> + + <p>The permissive subjunctive is formed by adding <i>domo</i> to the + negative present after changing the final <i>u</i> of the verb to + <i>e</i>; e.g., <i>aguenedomo</i> 'although he cannot offer.' They also + say, and this usage is preferred, <i>aguenaidemo</i> or <i>agueidemo</i> + 'even if he not offer.'<a name="NtA_90" + href="#Nt_90"><sup>[90]</sup></a></p> + + <p>The preterit of the permissive subjunctive is formed by placing + <i>redomo</i> after the negative preterit; e.g., <i>aguenanda redomo</i> + 'although he had not offered.' <i>Aguenaidemo</i> or <i>agueidemo</i> + 'although he would not be allowed to offer,' is also said.</p> + + <p>The permissive future is formed by adding <i>qeredomo</i> to the + negative future; e.g., <i>aguru mai qeredomo</i> 'although he is not + going to be allowed to offer.' <span class="leftpage"><a + name="lpage28"></a>(28</span></p> + + <p>Another way of forming the permissive subjunctive is to place the + particle <i>tomo</i> after the negative root; e.g., <i>aguezu tomo</i> + 'although he is not going to be able to offer.' It is also formed by + placing <i>tote</i> after the [negative] present subjunctive; e.g., + <i>agueneba tote</i>. A third way is to add <i>mamaio</i> or + <i>madeio</i> to the negative present; e.g., <i>aguenu mamaio</i> or + <i>aguenu madeio</i> 'although he cannot offer.'</p> + + <p>The preterit is formed by placing <i>ritomo</i> after the negative + preterit; e.g., <i>aguenanda ritomo</i> 'although he had not offered.' It + is also formed by placing <i>tote</i> after the negative preterit of the + subjunctive; e.g., <i>aguenanda reba tote</i>, or better, + <i>aguenaidemo</i> or <i>agueidemo</i> 'although he does not offer, or + had not offered.'</p> + + <p>The future is formed by placing <i>tomo</i> after the negative future; + e.g., <i>aguemai tomo</i> 'although he is not going to offer,' + <i>vochiidemo</i> 'although he will not fall.'</p> + + <p>The present, preterit, and future infinitives are the present, + preterit, and future negative indicative present tenses followed by + <i>coto</i> or <i>to</i>; e.g., <i>aguenu coto</i> 'not to offer,' + <i>aguenanda coto</i> 'not to have offered,' <i>aguru mai coto</i> 'not + to be going to offer.'</p> + + <p>Sometimes they use the negative present instead of the preterit in all + the conjugations; e.g., <i>mi maraxenu</i> 'I did not see.'</p> + +<p><!-- Page 134 --><span class="pagenum"><a name="page134"></a>[134]</span></p> + + <p>The negative gerund in <i>Di</i> is the same as the negative present + or future; e.g., <i>aguenu</i> or <i>aguru mai</i> 'of not offering.'</p> + + <p>The gerund in <i>Do</i> is formed by placing <i>ni</i> after the + negative root or the negative present tense; e.g., <i>aguezuni</i> or + <i>aguenuni</i> 'by not offering.' The same meaning is obtained with + <i>agueide</i>, <i>aguenaide</i> or <i>aguezu xite</i>.</p> + + <p>The gerund in <i>Dum</i> is formed by placing <i>tote</i> or + <i>tame</i> after the [negative] present or future of the indicative; + e.g., <i>aguenu tame</i> or <i>aguru mai tote</i> 'in order not to + offer.'</p> + + <p>The present, preterit, and future participles are formed by adding + <i>fito</i> or <i>mono</i> to the negative of the present, preterit, and + future indicatives; e.g., <i>aguenu fito</i> 'he who is not offering,' + <i>aguenanda mono</i> 'he who did not offer,' <i>aguru mai mono</i> 'he + who will not offer,' <i>aguenaide cara</i> or <i>agueide nochi</i> 'after + he had not offered, after they did not offer, or after it was not + offered.'</p> + + <p><span class="leftpage"><a name="lpage29"></a>(29</span></p> + +<p class="cenhead"><i>The Second Affirmative Conjugation</i><p class="cenhead"> + + <p>All the roots of the second conjugation end in <i>i</i> and form their + present tense by changing <i>i</i> to <i>u</i>; e.g., <i>iomi:iomu</i> 'I + read.' If the root ends in <i>chi</i> it changes its ending to <i>tçu</i> + e.g., <i>machi:matçu</i> 'I wait.' If the root ends in <i>xi</i> it + changes to <i>su</i>; e.g., <i>coroxi:corosu</i> 'I kill.'</p> + + <p>For the preterit, if the root ends in <i>ami</i> it changes to + <i>óda</i>; e.g., <i>cami:códa</i> 'I ate, or chewed.' If it ends in + <i>ebi</i> or <i>emi</i> it changes to <i>eôda</i>; e.g., + <i>saqebi:saqeôda</i> 'I am injured,' <i>sonemi:soneoda</i> + [<i>soneôda</i>] 'I envied, or I had envy.' If it ends in <i>obi</i> or + <i>omi</i> it changes to <i>ôda</i>; e.g., <i>corobi:corôda</i> 'he + fell,' <i>comi:côda</i> 'it enclosed itself.' If it ends in <i>umi</i> it + changes to <i>únda</i> [<i>unda</i>]; e.g., <i>casumi:casunda</i> 'it is + cloudy.' The same change is made for roots ending in <i>imi</i>; e.g., + <i>canaximi:canaxúnda</i> [<i>canaxunda</i>] 'he became sad.' If it ends + in <i>gui</i> it changes to <i>ida</i>; e.g., <i>fegui:feida</i> 'it is + divided.' <i>Xini,uru</i> has the preterit <i>xinda</i> 'he is dead,' and + <i>ini:uru</i> has the preterit <i>inda</i> 'he left.' While in this + respect they [<i>xini</i> and <i>ini</i>] are in the second conjugation, + in the other tenses they are in the first. A root ending in <i>chi</i> or + <i>ri</i> changes in the preterit to <i>tta</i>; e.g., <i>mochi:motçu</i> + in the preterit becomes <i>motta</i> 'he received,' <i>chiri,u:chitta</i> + 'it is scattered.' Those which end in <i>xi</i> or <i>qi</i> change to + <i>ita</i>; e.g., <i>coroxi,u:coroita</i> 'he killed,' + <i>qiqi,u:qiita</i> 'he heard,' <i>xiqi,u:xiita</i> 'he stretched it + out.' <!-- Page 135 --><span class="pagenum"><a + name="page135"></a>[135]</span></p> + + <p>The future is formed by changing the <i>i</i> in which the root ends + to <i>ó, ǒzu, ózuru</i>; e.g., <i>iomó</i>, <i>iomǒzu</i>, or + <i>iomózuru</i> 'you will read.' If the root ends in <i>chi</i> it + changes to <i>tó</i>; e.g., <i>machi:mató</i> 'I shall wait.' A root + ending in <i>xi</i> changes to <i>só</i>; e.g., <i>móxi,u:mósó</i> 'I + shall say, or speak.'</p> + + <p>The imperative is formed by changing the <i>i</i> in which the root + ends to <i>e</i>; e.g., <i>iomi:iome</i> 'read! or may you read.' If the + root ends in <i>chi</i> it changes to <i>te</i>; e.g., <i>machi:mate</i> + 'wait!' The imperative is also formed by changing the <i>nu</i> in which + the negative present ends to <i>ai</i>; if you remove the <i>nu</i> from + <i>iomanu</i> and replace it with <i>ai</i> it gives you <i>yomai</i> + 'read!'<a name="NtA_91" href="#Nt_91"><sup>[91]</sup></a> This is a + common rule for the third conjugation, but this imperative is used only + when addressing inferiors.</p> + + <p>The future of the imperative is the future absolute; e.g., <span + class="leftpage"><a name="lpage30"></a>(30</span> <i>iomó</i> 'you will + read.' This is used when addressing very low people.</p> + + <p>The remaining tenses of the optative, subjunctive, gerund, and + infinitive are formed in the same way and with the same particles as are + used for each in the first conjugation.</p> + +<p class="cenhead"><i>The Second Negative Conjugation</i></p> + + <p>The root of the negative second conjugation is made by changing + <i>i</i>, in which the affirmative root ends, to <i>azu</i>; e.g., + <i>iomi:iomazu</i> 'not reading.'</p> + + <p>If the root ends in <i>chi</i> the present tense is formed by changing + it to <i>tanu</i>; e.g., <i>machi:matanu</i> 'I do not wait.' If it ends + in <i>xi</i> it changes to <i>sanu</i>; e.g., <i>coroxi:corosanu</i> 'I + do not kill.' If they end in any other way change <i>i</i> to <i>anu</i>; + e.g., <i>corobi:corobanu</i> 'I do not fall.'</p> + + <p>The preterit is formed by changing the <i>nu</i> of the present tense + to <i>nanda</i>; e.g., <i>corobanu:corobananda</i> 'I did not fall,' + <i>iomananda</i> 'I did not read.' The other tenses are formed in the + same way as the negative first conjugation.</p> + +<p class="cenhead"><i>The Third Affirmative Conjugation</i></p> + + <p>The roots of the third conjugation end in <i>ai</i>, <i>oi</i>, or + <i>ui</i>. Those ending in <i>ai</i> change to <i>ó</i> to form the + present; e.g., <i>narai:naró</i> 'I learn.' Those <!-- Page 136 --><span + class="pagenum"><a name="page136"></a>[136]</span>ending in <i>oi</i> + change to <i>ô</i>; e.g., <i><span class="correction" title="text reads `vomi'" + >vomoi</span>:vomô</i> 'I think.' Those ending in <i>ui</i> change to + <i>ú</i>; e.g., <i>cui:cú</i> 'I eat.'</p> + + <p>The preterit is formed by adding <i>ta</i> to the present tense; e.g., + <i>naróta</i> 'I learned,' <i>vomôta</i> 'I thought,' <i>cúta</i> 'I + ate.'</p> + + <p>The pluperfect is formed by changing the final <i>a</i> of the + preterit to <i>e</i> and adding the verb <i>gozaru</i> in the present and + <i>gozatta</i> in the past, in the same way as we have described for the + first conjugation; e.g., <i>naróte gozaru</i> or <i>narǒte + gozatta</i> 'I have already learned.'</p> + + <p>The future is formed by changing the final <i>i</i> of the root to + <i>vó</i>, <i>vózu</i>, or <i>vózuru</i>; e.g., <i>naravó</i>, + <i>naravǒzu</i>, or <i>naravózuru</i> 'I shall learn.' If the root + ends in <i>oi</i> it is changed to <i>vô</i>, <i>vôzu</i>, or + <i>vôzuru</i> [<i>vǒ</i>, <i>vǒzu</i>, <span + class="leftpage"><a name="lpage31"></a>(31</span> or + <i>vǒzuru</i>]; e.g., <i>vomoi:vomouô</i>, <i>vomovozu</i>, or + <i>vomovôzuru</i> [<i>vomoi:vomovǒ</i>, <i>vomovǒzu</i>, or + <i>vomovǒzuru</i>] 'I shall think.'<a name="NtA_92" + href="#Nt_92"><sup>[92]</sup></a></p> + + <p>The imperative is formed by placing <i>e</i> after the root; e.g., + <i>naraie</i> 'learn!' <i>toie</i> 'ask!' <i>cuie</i> 'eat!'<a + name="NtA_93" href="#Nt_93"><sup>[93]</sup></a> It is also formed by + removing the syllable <i>nu</i> from the negative present tense and + replacing it with the letter <i>i</i>; e.g., <i>naravai</i> 'learn!' + <i>tovai</i> 'ask!' <i>cuvai</i> 'eat!' This form is used when addressing + inferiors, as are those of the other conjugations.</p> + +<p class="cenhead"><i>The Third Negative Conjugation</i></p> + + <p>The root of the third negative conjugation is formed by changing the + <i>i</i> of the affirmative root to <i>vazu</i>; e.g., <i>naravazu</i>, + <i>tovazu</i>, and <i>cuvazu</i>. The present tense is formed by changing + the <i>i</i> to <i>vanu</i>; e.g., <i>naravanu</i> 'I do not learn,' + <i>tovanu</i> 'I do not ask,' <i>cuvanu</i> 'I do not eat.'</p> + + <p>The preterit is formed by changing the <i>i</i> of the root to + <i>vananda</i>; e.g., <i>naravananda</i> 'I did not learn,' + <i>tovananda</i> 'I did not ask,' <i>cuvananda</i> 'I did not eat.'</p> + + <p>The pluperfect is formed by changing the final <i>a</i> of the + preterit to <i>e</i> and adding the verb <i>gozaru</i> or <i>gozatta</i>; + e.g., <i>cuvanande gozatta</i> 'I had <!-- Page 137 --><span + class="pagenum"><a name="page137"></a>[137]</span>not eaten,' or + <i>naravanande gozaru</i> 'I had not learned.' The remaining forms are + like the other conjugations.<a name="NtA_94" + href="#Nt_94"><sup>[94]</sup></a></p> + + <p>If the substantive verb is placed after the gerund in <i>Do</i> for + all the affirmative and negative conjugations, it means that the action + signified by the gerund is or is not done; e.g., <i>aguete aró</i> 'it + will already be offered,' <i>cono qió ga caite gozaranu</i> 'this book is + not written,' <i>agueide arózu</i> 'he will not yet have offered.' The + substantive verbs are <i>gozaru:gozaranu</i>, <i>voru:vori nai</i>, + <i>dea</i> or <i>gia:devanai</i>, <i>aru:aranu</i> or <i>gozaranu</i>, + <i>voru:voranu,</i> and each of these verbs follows the general rules for + its conjugation.<a name="NtA_95" href="#Nt_95"><sup>[95]</sup></a></p> + + <p>If the substantive verb from any of the conjugations is placed after + the infinitive form it means that whatever is signified by the infinitive + is, was, or will be; or the negative thereof; e.g., <i>aguru coto aró</i> + 'it will be that he offers,' that is to say 'he will offer,' <i>naróta + coto gozaru mai</i> 'he will not learn.' All these substantive verbs are + conjugated in the second conjugation to which they belong by virtue of + the fact that their <span class="leftpage"><a + name="lpage32"></a>(32</span> roots end in <i>i</i>; + <i>ari,u:gozari,u</i>.</p> + +<p class="cenhead"><i>The Conjugation of the Negative Substantive Verb</i></p> + + <p>The negative substantive verb is <i>nai</i>, <i>gozanai</i>, or + <i>vori nai</i> which means 'not to be.' Its root is <i>naqu</i>, + <i>gozanaqu</i>, or <i>vori naqu</i>.</p> + + <p>The preterit is formed by changing the <i>i</i> in which the present + tense ends to <i>c</i> and then adding the preterit of <i>ari,u</i> which + is <i>atta</i>; e.g., <i>nacatta</i> or <i>gozanacatta</i> 'he was not.' + The other tenses are conjugated, as is <i>ari,u</i>, in the second + conjugation.</p> + + <p>The imperative is <i>nacare</i>, <i>nanaiso</i>, or <i>nai na</i> 'be + not!'</p> + +<p><!-- Page 138 --><span class="pagenum"><a name="page138"></a>[138]</span></p> + + <p>The subjunctive is formed by changing the <i>i</i> of the present + tense to <i>qereba</i>; e.g., <i>naqereba</i> or <i>gozanaqereba</i> 'if + it be not.'</p> + + <p>The permissive subjunctive is formed by changing the <i>i</i> of the + present to <i>qeredomo</i>; e.g., <i>gozanaqeredomo</i> 'although he is + not.'</p> + + <p>The preterit of the subjunctive is formed by adding <i>redomo</i> to + the preterit of the indicative; e.g., <i>nacatta redomo</i> 'although he + was not.'</p> + + <p>The substantive [verb] with the particle <i>tomo</i> is formed with + the root; e.g., <i>naqu tomo</i> 'even if it were not.' The gerund is + <i>nó</i>, <i>nóte</i>, <i>naqu xite</i>, or <i>nacatte</i> 'since it is + not.' The remaining are formed as above, with the verb <i>ari,u</i> + added, and are conjugated in the second conjugation.</p> + + <p>Adjectives, when they do not precede verbs, are conjugated in the same + way as the negative substantive verb. The adjectives, which have been + said above to end in <i>ai</i>, <i>ei</i>, <i>oi</i>, <i>ui</i>, and + <i>ij</i>, form their roots by changing the final <i>i</i> to <i>qu</i>; + e.g., <i>fucaqu</i> is the root of 'deep,' <i>ioqu</i> the root of + 'good,' <i>xiguequ</i> the root of 'dense,' <i>varuqu</i> the root of + 'bad,' and <i>vonajiqu</i> the root of 'the same.'</p> + + <p>The present tense is the form (<i>vox</i>) of the adjective itself; + e.g., <i>ioi</i> 'good,' <i>fucai</i> 'deep,' <i>varui</i> 'bad,' + <i>vonaji</i> 'the same.'<a name="NtA_96" + href="#Nt_96"><sup>[96]</sup></a></p> + + <p>The preterit is formed by changing the <i>i</i> of the adjective to + <i>c</i> or <i>q</i> and adding <i>ari,u</i>. This form is then + conjugated according to <span class="leftpage"><a + name="lpage33"></a>(33</span> the tense required by the sentence.</p> + + <p>The permissive subjunctive with <i>tomo</i> is <i>fucaqu tomo</i> or + <i>fucai tomo</i> 'although deep.'</p> + + <p>The gerund in <i>Do</i> is <i>fucóte</i> 'since it was deep,' + <i>ióte</i> 'since it was good,' <i>canaxiúte</i> [<i>canaxúte</i>]<a + name="NtA_97" href="#Nt_97"><sup>[97]</sup></a> 'since it was sad,' + <i>xingueote</i> [<i>xigeôte</i>]<a name="NtA_98" + href="#Nt_98"><sup>[98]</sup></a> 'since it was dense.' It also takes the + form of <i>fucó xite</i>, <i>fucaqu xite</i>, or <i>fucacatte</i>, or + again <i>iô xite</i>, <i>ioqu xite</i>, or <i>iocatte</i>.</p> + + <p>The adjectives which end in <i>na</i> are not conjugated. There is, + however, a gerund in <i>Do</i>. For example, <i>aqiracana</i> has for its + gerund <i>aqiracani xite</i> 'since it was clear,' and with the same + meaning there is <i>aqiraca de</i>. <i>Arisóna</i> has <i>arisǒni + xite</i> 'since it became apparent, or easy to believe.' <i>Ióna</i> has + <i>ióni</i> as in <i>ióni xite</i> 'since it is in a good way, or since + it has a good manner.' <i>Cava ga fucóte vatarananda</i> 'because the + <!-- Page 139 --><span class="pagenum"><a + name="page139"></a>[139]</span>river was deep, I did not cross it,' + <i>xebǒte irarenu</i> 'since it was narrow, he was unable to + enter,' <i>varúte cuvarenu</i> 'it is inedible, or it cannot be eaten, + because it is bad.' The other tenses of the adjective, as has been said, + are formed with the verb <i>ari,u</i> and conjugated according to the + requirements of the sentence. The negative conjugation is also formed + with <i>ari,u</i>; e.g., if the root is <i>fucacarazu</i> the present + tense is <i>fucacaranu</i> 'it is not deep.' The preterit is + <i>fucacarananda</i> 'it was not, etc.'</p> + +<p class="cenhead"><i>The Conditional Particles</i><a name="NtA_99" href="#Nt_99"><sup>[99]</sup></a></p> + + <p>There are five particles which make an utterance (<i>oratio</i>) + conditional; <i>naraba</i>, <i>ni voite va</i>, <i>raba</i>, <i>va</i>, + and <i>ba</i>. When the first two are placed after any verb, affirmative + or negative, present, preterit, or future, the result is that the verb + becomes conditional. For example; <i>niguru naraba</i> 'if you flee,' + <i>iôda ni voite va</i> 'if you had read,' <i>naravó naraba</i> 'if you + will learn,' <i>cuvazu ni voite va</i><a name="NtA_100" + href="#Nt_100"><sup>[100]</sup></a> 'if you do not eat.' Sometimes + <i>voi</i> [<i>voite</i>] is removed from <i>ni voite va</i>; <i>agueô ni + va</i> 'if you would offer,' <i>aguetaró ni va</i> 'if you would have + offered.' Sometimes <i>voite</i> [<i>voite va</i>] is removed, leaving + only <i>ni</i>; e.g., <i>mairó ni coso, nen goro ni + mǒsǒzure</i> (19) 'if I go, or if I shall have gone, I will + tell him so in a friendly way,' <i>xitaró ni coso, saisocu tçuqu maji + qere</i> (19) 'if I <span class="leftpage"><a + name="lpage34"></a>(34</span> had done it, it would not have been done + with diligence and persuasion.'</p> + + <p>The particle <i>raba</i> is placed after the preterit;<a + name="NtA_101" href="#Nt_101"><sup>[101]</sup></a> e.g., <i>naróta + raba</i> 'if I would have learned,' <i>naravananda raba</i> 'if I would + not have learned.'</p> + + <p>The particle <i>va</i> is added to the negative roots of all three + conjugations; e.g., <i>aguezu va</i> 'if I not offer,' <i>iomazu va</i> + 'if I not read,' <i>naravazu va</i> 'if I not learn,' <i>naqu va</i> 'if + it not be,' <i>fucacarazu va</i> 'if it be not deep.'</p> + + <p>The particle <i>ba</i> has the same effect and is, like <i>va</i>, + joined to the root; <i>aguezũba</i>, <i>iomazũba</i>, + <i>naravazũba</i>.<a name="NtA_102" + href="#Nt_102"><sup>[102]</sup></a> If the particle <i>ba</i> replaces + the negative <i>zu</i>, an affirmative conditional is formed; e.g., + <i>agueba</i>, 'if I offer,' <i>iomaba</i> 'if I read,' <i>naravaba</i> + 'if I learn,' and <i>iocaraba</i> 'if it be good.' The particle <i>va</i> + is not only added to the negative roots of adjectives, but also to the + affirmative; e.g., <i>fucaqu va</i> 'if it be deep,' <i>vonajiqu va</i> + 'if it be the same.' Sometimes they use this expression to give the idea + 'if it be not <!-- Page 140 --><span class="pagenum"><a + name="page140"></a>[140]</span>too troublesome, will you do it.' They + also say <i>aguemajiqu va</i> 'if you would not offer.'</p> + + <p>The particle <i>ni voite va</i> is joined to nouns in such a way as to + substitute for the substantive verb; e.g., <i>jójó ni voite va uqe + toró</i> (121v)<a name="NtA_103" href="#Nt_103"><sup>[103]</sup></a> 'I + shall get it, if it be very good, or the best,' <i>curuxicarazaru gui ni + voite va</i> 'if it would not have been unpleasant, or if it had not been + an unpleasant thing.'</p> + + <p>If the particle <i>saie</i> is placed in a clause (<i>oratio</i>) in + which there is already a conditional particle, it adds strength to the + meaning; e.g., <i>fune saie mairu naraba</i> 'if only a ship were to + come,' <i>sonata saie vocutabire naku va</i> (118) 'if he be not tired,' + or it might be said 'as for me, or as far as it depends upon me, I am not + tired.'</p> + + <p>The particle <i>saie</i> alone sometimes forms a conditional; e.g., + <i>Niffon no xôcocu ni saie caióna coto gozaru fodo ni</i> [<i>Nifon</i> + ...] (118) 'if in the small kingdom of Japan things of this kind be + found, or exist,' that is to say 'how much more there will be in a large + one,' <i>coco moto no tocai ni saie meivacu itasu ióni gozaru fodoni, + etc.</i> (118) 'on the voyage here I suffered very much, and so ...,' + <i>fito saie côquai suru mono vo iurusu ni ivan ia, Deus ni voite + voia?</i> [... <i>va?</i>] (118v) 'if one forgives one who repents, how + much more will God,' <i>core fodo xei vo iruru saie coto naricanuru ni; + ucato xite va, incadeca banji canavǒzo?</i> [... <i>icadeca</i> + ...] (119) 'if gathering all one's strength this can be done only with + difficulty, how could it be done if it were done without any strength?,' + <i>core saie xinicui ni</i> 'if this be difficult to do,' <i>fune de saie + ioio tçuita</i> <span class="leftpage"><a name="lpage35"></a>(35</span> + <i>ni, cachi va nananaca naru mai</i> [... <i>nacanaca naru mai</i>] + (119v) 'if I arrived by ship with such difficulties, without doubt I + could not have done it on foot.'</p> + +<p class="cenhead"><i>The Potential Verb</i><a name="NtA_104" href="#Nt_104"><sup>[104]</sup></a></p> + + <p>The placing of the particle rǒ<a name="NtA_105" + href="#Nt_105"><sup>[105]</sup></a> after the present or future tense + makes a potential; e.g., <i>aguru rǒ</i> 'he perhaps offers,' + <i>nigueozurǒ</i> [<i>nigueôzurǒ</i>] 'he will perhaps + escape.'</p> + + <p>The preterit is made by changing <i>ta</i> to <i>tçu</i> and adding + rǒ; e.g., <!-- Page 141 --><span class="pagenum"><a + name="page141"></a>[141]</span><i>aguetçurǒ</i> 'he perhaps + offered.' But if it is added to the negative preterit, the <i>da</i> must + be changed to <i>zzu</i>; e.g., <i>aguenanzzurǒ</i> 'it has perhaps + not been offered, etc.'</p> + + <p>The present potential is also formed by adding <i>arǒzu</i> + [<i>mo arǒzu</i>] or other future verbs to the infinitive; e.g., + <i>aguru coto mo arǒzu</i> or <i>ague mo xôzu</i> 'he will perhaps + offer.'</p> + + <p>The preterit is formed by adding this same future to the preterit + infinitive; e.g., <i>agueta coto mo arǒzu</i> 'he perhaps + offered.'</p> + + <p>The future is <i>agueô coto mo arǒzu</i> 'he will perhaps + offer.' The negative is formed in the same way; e.g., <i>aguenu</i>, + <i>aguenanda</i>, or <i>aguru mai coto mo arǒzu</i> 'he perhaps + does not offer, he perhaps did not offer, or he will perhaps not offer.' + When we wish to say that something is perhaps the case we use <i>mono</i> + instead of <i>coto</i>; e.g., <i>noxenanda mono de arózu</i> 'they + perhaps did not place it aboard ship,' <i>iqi chigǒta mono de + arǒzu</i> 'they seem not to have met along the way,' + <i>moreqicoieta mono de gozarǒ ca to zonzuru</i> 'I believe it is + perhaps as it has been said.'</p> + + <p>To express the meaning 'become' the verb <i>nari,u</i> is added to the + adjective and then conjugated according to the requirements of the + adjective taken adverbally; e.g., <i>fucǒ naru</i> 'it becomes + deep,' <i>varǔ natta</i> 'it became bad.' Also they say + <i>fucǒ aru</i> 'it is deep,' and sometimes <i>fucǒ nai</i> + 'it is not deep.' They obtain this same meaning by conjugating <i>nai</i> + according to the tense required by the sentence. They also use + <i>fucǒ nai coto mo arǒzu</i> 'perhaps it will be that this + is not deep.' <span class="leftpage"><a name="lpage36"></a>(36</span></p> + +<p class="cenhead"><i>The Conjugation of Irregular Verbs</i><a name="NtA_106" href="#Nt_106"><sup>[106]</sup></a></p> + + <p>The verb <i>qi,uru</i> 'to come' has <i>quru</i> 'I come,' <i>qita</i> + 'I came,' <i>côzu</i> 'I shall come,' <i>coi</i> or <i>coio</i> 'come!' + <i>qitareba</i> 'since he will have come, or would have come,' + <i>qitaredomo</i> 'although he came.' The negative root is <i>côzu</i> + [<i>cozu</i>] and the negative present is <i>conu</i> 'I do not come.' + <i>Mede</i>, which is the root of the verb meaning 'to enjoy,' has a + present in <i>mezzuru</i> and its gerund in <i>Do</i> is <i>medete</i> + 'by enjoying.' <i>Cui</i>, which is the root of the verb meaning 'to be + mournful,' has its present in <i>cuiuru</i>. <!-- Page 142 --><span + class="pagenum"><a name="page142"></a>[142]</span>Its gerund in <i>Do</i> + is <i>cuite</i> 'by mourning,' its negative root is <i>cuizu</i>, and its + negative present is <i>cuinu</i>. <i>Araie</i>, which is the root of the + verb 'to be,'<a name="NtA_107" href="#Nt_107"><sup>[107]</sup></a> has a + present in <i>araiuru</i> or <i>arǒru</i> 'it is.' <i>Furi</i>, + which is the root of the verb 'to become old,' has a preterit in + <i>furita</i> 'he became old,' and a gerund in <i>Do</i> which is + <i>furite</i> 'by becoming old.' <i>Fe</i>, the root of the verb meaning + 'to cross over,' has a present in <i>furu</i> 'he crosses over,' and a + preterit in <i>feta</i> 'he crossed over.' <i>Tari,u</i> is a verb which + signifies that a thing is complete or entire. It has a present in + <i>taru</i> 'it is complete,' a preterit in <i>tatta</i> 'it was + complete,' and a future in <i>tari maraxo</i> [<i>maraxô</i>] 'it will be + complete.' Its negative root is <i>tarazu</i>, its negative present is + <i>taranu</i>, its preterit is <i>tarananda</i> 'it was not complete,' + its future is <i>taru mai</i> 'it will not be complete,' and its + imperfect subjunctive is <i>taraneba</i> 'since it has not been + completed.'</p> + + <p>The [negative] permissive is <i>taranedomo</i>, the infinitive is + <i>taranu coto</i>, and the gerund in <i>Do</i> is <i>taraide</i> or + <i>tarazu xite</i>. The verb <i>taxi:tasu</i>, which means 'to complete, + or finish,' has a future in <i>taxi maraxô</i> 'I shall finish.' + <i>Tasanu</i> is the negative present. <i>Tari</i> [<i>Tarai</i>] is the + root of the verb <i>tarǒ</i> which has the meaning 'to be + completed.' In the negative the preterit is <i>taravananda</i> 'it was + not completed,' the subjunctive is <i>taravaneba</i> 'since it is not + completed,' the permissive is <i>taravanedomo</i>, the infinitive is + <i>taravanu coto</i>, and the gerund in <i>Do</i> is <i>taravaide</i> or + <i>taravaxu xite</i> [<i>taravazu xite</i>]. <i>Vocotari</i> is the root + of the verb <i>vocotaru</i> 'to be negligent.' It has an infinitive in + <i>vocotaru coto</i>, a negative root in <i>vocotarazu</i>, and a + negative present in <i>voicotaranu</i> [<i>vocotaranu</i>]. <i>Voi</i> is + the root of a verb which has a preterit in <i>voita</i> 'he was old.' + <span class="leftpage"><a name="lpage37"></a>(37</span> <i>Voitaru</i> + has the same meaning. The negative present is <i>voinu</i> and the gerund + in <i>Do</i> is <i>voite</i>. <i>Urei</i> is the root of the verb 'to be + sad.' It has a present in <i>ureô</i>, an imperative in <i>ure io</i> + [<i>ureie io</i>]<a name="NtA_108" href="#Nt_108"><sup>[108]</sup></a> an + infinitive in <i>ureoru coto</i> [<i>ureôru</i> ...].<a name="NtA_109" + href="#Nt_109"><sup>[109]</sup></a> Its gerund in <i>Do</i> is + <i>ureite</i>. <i>Tomi</i> is the root of the verb <i>tomu</i> or + <i>tomeru</i> 'to become rich.' Its preterit is <i>tonda</i>, its gerund + in <i>Do</i> is <i>tonde</i>, and its negative root is <i>tomazu</i>. + <i>Saiguiri,u</i> means 'to go before, or anticipate.' Its preterit is + <i>saiguitta</i> and its gerund in <i>Do</i> is <i>saiguitte</i>.</p> + +<p><!-- Page 143 --><span class="pagenum"><a name="page143"></a>[143]</span></p> + +<p class="cenhead"><i>The Aforementioned Verbs—Their Formation and Diversity</i><a name="NtA_110" href="#Nt_110"><sup>[110]</sup></a></p> + + <p>In this language there are simple active, causative active, passive, + neutral, and impersonal verbs.<a name="NtA_111" + href="#Nt_111"><sup>[111]</sup></a> All are conjugated by the three + conjugations according to the way in which their roots terminate.</p> + + <p>From certain adjectives come (<i>procedo</i>) certain verbs; e.g., + from <i>catai</i> 'hard' comes <i>catame,uru</i> 'I make hard' which is + active, <i>catamari,u</i> 'I become hard' which is neutral, + <i>catamerare,uru</i> 'I am made hard' which is passive. From the + adjective <i>canaxii</i> 'sad' comes <i>canaximi,u</i> which means 'to be + sad.'</p> + + <p>The causative verbs (<i>verba faciendi facere</i>) are formed with the + particles <i>saxe</i> or <i>xe</i>. The first is added to the roots of + verbs in the first conjugation,<a name="NtA_112" + href="#Nt_112"><sup>[112]</sup></a> while the second is [not] added to + the roots of the second and third conjugation, but rather to the negative + present after the <i>nu</i> has been removed; e.g., <i>aguesaxe,uru</i> + 'I make him offer,' <i>iomaxe,uru</i> 'I make him read,' + <i>naravaxe,uru</i> 'I make him learn.' All of these forms are in the + first conjugation because the particles end in <i>e</i>. Sometimes, but + rarely, <i>saxe</i> follows verbs of the second and third conjugation, + but this is to make the verbs more elegant. It is used with the particle + <i>rare</i> to honor someone; e.g., <i>iomasaxe rare,uru</i> ['he makes + him read']. <i>Padre va dojucu ni cathecismo vo naravasaxeraruru</i> 'the + priest orders his servant to learn his cathecism,'<a name="NtA_113" + href="#Nt_113"><sup>[113]</sup></a> <i>mono no fon vo fito ni</i> <span + class="leftpage"><a name="lpage38"></a>(38</span> <i>iomasaxeraruru</i> + (162v.) 'he makes him read his book.'</p> + + <p>The passive verbs (<i>verba passiva</i>) are made with the particles + <i>rare</i> and <i>re</i>. The particle <i>rare</i> is added to the + active verbs, according to the way explained before, after removing the + <i>nu</i> from the negative form; e.g., <i>aguerare,uru</i> 'I am offered + it,' <i>iomare,uru</i> 'I am read to,' <i>naravare,uru</i> 'I am taught.' + They use these passive forms to mean 'to be read to by someone,' or 'to + be, or not to be legible.' There are other passive forms which come from + neutral verbs or verbs which have neutral meanings. They are also formed + with the particles <i>rare</i> and <i>re</i>, but when they are so formed + they do not govern the cases common to <!-- Page 144 --><span + class="pagenum"><a name="page144"></a>[144]</span>the passive (for which + see below) but rather the cases of the verbs from which they come; e.g., + from <i>agari,u</i> comes <i>agarare,uru</i>; and, since <i>agari,u</i> + 'I ascend' requires the accusative, this verb also requires the + accusative. For example; <i>cono iama ie agararenu</i> (102) 'it is not + possible to climb this mountain, or this mountain is unable to be + climbed,' <i>xiro cara derarenu</i> (102) 'it is not possible to leave + the castle,' <i>xebóte irarenu</i> (102) 'it is not possible to penetrate + because it is too narrow, or confined,' <i>cono michi va arucarenu</i> + (102) 'it is not possible to walk this street,' <i>natçu va coco ni irare + mai</i> 'it will not be possible to live here during the summer,' <i>cono + fude de va cacarenu</i> (102) 'it cannot be written with this pen,' + <i>fima ga nóte cacarenanda</i> (102) 'it cannot be written because of + the lack of time,' <i>cono bun ni coso cacaruru mono de gozare</i> (69v) + 'it will indeed be well written in this way,' <i>axi ga itóte + arucarenu</i> (102) 'it is impossible to walk because of painful feet.' + All of these passive verbs are of the first conjugation.<a name="NtA_114" + href="#Nt_114"><sup>[114]</sup></a> The neutral verbs (<i>verba + neutra</i>) are those which have a neutral meaning; i.e., being initiated + by oneself, and not by others. For example; <i>ivo ga toruru</i> 'the + fish are caught,' <i>caje ga toruru</i> 'the wind ceases,' <i>ito ga + qiruru</i> 'the string is cut,' <i>ji ga iomuru</i> (100) 'the letter + [Chinese character] is well read,' <i>aqi,u</i> 'I am uncovered.' + <i>Qiri,u</i> 'I cut' is active, <i>qirare,uru</i> is passive, and + <i>qire,uru</i> 'I am cut' is neutral. This last form is used when a + sword cuts well because it is sharp. <i>Qiraxe,uru</i> is a causative + verb which means 'I make someone cut.' <i>Ague,uru</i> means 'I raise,' + <i>aguerare,uru</i> 'I am raised' passively, <i>aguesaxe,uru</i> 'I make + someone raise,' <i>agari,u</i> 'I am raised' neutrally, + <i>agarare,uru</i> 'to be ascendable,' <i>agaraxe,uru</i> 'I cause + something to be raised, or I cause him or it to raise himself or itself.' + If to these verbs are added the particles which indicate honor (see + below) other combinations are made. The adjectives when they are + conjugated have a neutral meaning; e.g., <i>fidarui</i> 'I am thirsty,' + <i>fucacatta</i> 'it was deep.'</p> + + <p>The impersonal verbs (<i>verba impersonalia</i>) do not name or refer + to a person; e.g., <i>mi vo fatasu tomo itçuvari vo ivanu mono gia</i> + <span class="leftpage"><a name="lpage39"></a>(39</span> (69v) 'even if + one were to die, one should not tell a lie,' <i>mono mo tabezu saqe mo + nomaide ichinichi fataraqu mono ca?</i> (69v) 'is it possible to work all + day without eating anything or drinking any wine?', <i>xujin no</i> <!-- + Page 145 --><span class="pagenum"><a + name="page145"></a>[145]</span><i>maie de sono ióna coto vo iú mono + ca?</i> 'is it possible to speak this way in front of ones lord?' + Concerning the conjugations for these verbs they follow the rules + according to their roots.</p> + + <p>The root of any verb of whatever conjugation can be taken from its + conjugation and changed to another conjugation by adding one of the + particles of honor (<i>honor</i>). The resulting form will belong to the + conjugation determined by the final letter of the particle. These + particles are: <i>maraxi,uru</i>, <i>ari,u</i>, <i>saxerare,uru</i>, + <i>xerare,uru</i>, <i>nasare,uru</i>, <i>saxemaxi,u</i>, <i>tamai,ó</i>, + <i>rare</i> and <i>re</i>.<a name="NtA_115" + href="#Nt_115"><sup>[115]</sup></a></p> + + <p>The particle <i>maraxi</i> does not add honor to that which is talked + about, but rather it is used to speak honorably to those in front of us. + For example; <i>cui,u</i> means 'I eat,'<a name="NtA_116" + href="#Nt_116"><sup>[116]</sup></a> but a servant in front of his master + will not say <i>nezumi ga cúta</i> 'the mice ate the cheese'; he will + rather say <i>nezumi ga cui maraxita</i>. By itself <i>cui,u</i> is in + the third conjugation because its root ends in <i>ui</i>, but if + <i>maraxi</i> is added it becomes a verb in the first conjugation. When + we refer to something about a people (<i>natio</i>) we do not show honor + to that word but only pay attention to the person we are speaking to by + adding <i>maraxi</i> or not. For example, if we are addressing an + inferior we say <i>Nan ban jin va core vo cuvanu</i>; but if we are + addressing a person of nobility we say <i>Nan ban jin va core vo cui + maraxenu</i> 'Europeans do not eat this.' When <i>ari,u</i> is added to + the root of any verb it attaches a middling (<i>mediocris</i>) degree of + honor; e.g., <i>modori aró ca?</i> 'are you going to come back?' If you + add <i>vo</i> in front of the verb it is honored moderately + (<i>satis</i>); e.g., <i>vomodori aró ca?</i> 'Your Lordship is going to + come back?' <i>Tono sama vo xini atta toqi</i> 'when the master died,' + <i>Deus cono xecai vo gosacu atta</i> 'God created the world.'<a + name="NtA_117" href="#Nt_117"><sup>[117]</sup></a> We use these particles + when we are speaking with honored persons whom we like and with whom we + are on friendly terms.</p> + + <p>The particle <i>nasare,uru</i> gives the highest (<i>supremus</i>), or + moderately great (<i>satis magnus</i>) honor and is placed after the root + of the verb; e.g., <i>Deus cono xecai vo gosacu nasareta</i> 'God created + the world.'</p> + + <p>The particles <i>rare</i> and <i>re</i> add a middling and not a great + amount <!-- Page 146 --><span class="pagenum"><a + name="page146"></a>[146]</span>of honor to the verbs to which they are + added. The particle <i>rare</i> is added mainly when we are talking about + someone who is absent. It is formed by taking the <i>nu</i> from the + negative present and replacing <span class="leftpage"><a + name="lpage40"></a>(40</span> it with this particle; e.g., + <i>aguerare,uru</i> means 'I offer' when the person to whom the offering + is made requires a middling degree of honor and respect + (<i>reverentia</i>). This verb coincides letter for letter with the + passive but is distinguished from it by the cases which it governs. The + particle <i>re</i> is placed after verbs of the second and third + conjugation only; e.g., <i>iomare,uru</i> 'to read' and + <i>naravare,uru</i> 'to learn,' said of a person having a good + reputation. We speak in this way when speaking of those who are equal to + us and the servants of our lord, but not of other servants, or + nobles.</p> + + <p>The particles <i>saxemaxi</i> and <i>xemaxi</i> give the same degree + of honor as <i>ari,u</i> and <i>rare</i> or <i>re</i>. These particles + are added to the root of a first conjugation verb,<a name="NtA_118" + href="#Nt_118"><sup>[118]</sup></a> or to the negative present from which + the <i>nu</i> has been removed; <i>aguesaxemasu</i> 'he offers.' + <i>Maxi,u</i> [<i>Xemaxi,u</i>] is added to the negative present of the + second and third conjugation verbs after taking away <i>nu</i>; e.g., + <i>iomaxemasu</i> 'he reads,' and <i>naravaxemasu</i> 'he learns.'</p> + + <p>The particles <i>saxerare,uru</i> and <i>xerare,uru</i> attribute + great honor. The first is added to the negative present of verbs in the + first conjugation<a name="NtA_119" href="#Nt_119"><sup>[119]</sup></a> + after the <i>nu</i> is removed, and the second is added to the [other] + negatives in the same way; e.g., <i>aguesaxeraruru</i> 'I offer,' + <i>iomaxeraruru</i> 'I read,' <i>naravaxeraruru</i> 'I learn.' Because + these forms coincide letter for letter with the honorific causative, the + particle <i>ari,u</i> may be placed after the verb and the particle + <i>vo</i> may be placed before to avoid confusion; e.g., <i>yomaxe + aru</i> [<i>vo iomaxe aru</i>] 'I read' and <i>naravaxe aru</i> [<i>vo + naravaxe aru</i>] 'I learn.'</p> + + <p>The passive verb, concerning which see below, also permits the + particle <i>saxerare,uru</i>; e.g., <i>viamavaresaxeraruru</i> (99v) 'I + am honored.'</p> + + <p>The particle <i>tamai,ó</i> bestows the highest honor. We use it when + speaking of God, saints, kings, or generals. It is added to the roots of + verbs and conjugated in the third conjugation. It is placed after the + root of the passive form when referring to God; e.g., <i>Deus filio, + umare</i> <!-- Page 147 --><span class="pagenum"><a + name="page147"></a>[147]</span><i>tamǒ toqi</i> 'when the son of + God was born,' <i>Deus agamerare tamǒ</i> 'God is honored.'</p> + + <p>The particle <i>tate matçuri,u</i> makes the meaning of the verb to + which it is added humble. It is placed after the root of affirmative + verbs; e.g., <i>Deus vo gotaixet ni zonji tate matçuru coto va ichi + sugureta jen gia</i> 'to love God is the supreme virtue.' This particle + permits some degree of honor if <i>re</i> is added to it after the final + <i>e</i> [<i>i</i>] has been changed to <i>a</i>. Thus, when speaking of + the saints in respect to God, one says, <span class="leftpage"><a + name="lpage41"></a>(41</span> <i>Sancto Domingo, Deus vo gotaixet ni + zonji tatematçurareta</i> 'St. Dominic loved God.'</p> + + <p>The particle <i>maraxi</i> [<i>mairaxi</i>]<a name="NtA_120" + href="#Nt_120"><sup>[120]</sup></a> is able to elevate to honor the + particle <i>rare</i>; e.g., <i>tono iori cono coto vo Padre ni + vataximairaxerareta</i> 'the lord gave it to the priest.'</p> + +<p class="cenhead"><i>Certain Verbs Which of Themselves Indicate Honor</i><a name="NtA_121" href="#Nt_121"><sup>[121]</sup></a></p> + + <p><i>Mesare,uru</i> indicates any act which can be done, or which is + properly done by a noble person (<i>persona nobilis</i>). This includes + such things as eating, drinking, sailing, riding a horse, etc. + <i>Vôxerare,uru</i> means that a noble person speaks. <i>Vomaraxi,uru</i> + and <i>vomaraxi ari,u</i> mean that a noble person gives. <i>Voxe,uru</i> + [<i>Vôxe,uru</i>] and <i>vôxe ari,u</i> mean that a middling person + (<i>persona mediocris</i>) says or declares.</p> + + <p>Verbs preceded by <i>vôxe</i> or <i>mexi</i> are given the same degree + of honor by either; e.g., <i>vôxe tçuqerare,uru</i> 'I declare,' <i>mexi + tçucavare,uru</i> 'I serve,' which have the same meanings as + <i>tçuqerare,uru</i> and <i>tçucavare,uru</i>. To call someone we use + <i>coi</i> with an inferior, with someone not quite as inferior we use + <i>iorai</i>, with someone a little better we use <i>vaxei</i>, while + <i>vogiare</i> is the superior way to call. <i>Gozare</i>, which means + that your Lordship should come, and <i>gozarǒ</i> in the future + tense are even more honorable ways to indicate the imperative. <i>Voide + nasarei</i>, <i>voide nasareô</i>, or <i>voide nasarei caxi</i> mean + 'might your Lordship come,' or 'Oh! would that your Lordship come.' + <i>Cudasare,uru</i> means that a noble person gives. <i>Tamavari,u</i> + means that a noble person gives to an inferior. <i>Tamóri,u</i> means + that a middling person gives. <i>Mizzu vo nomaxete tamǒre</i> 'Give + me a drink of water.' <i>Cudasare,uru</i> and <i>tamóri,u</i> mean <!-- + Page 148 --><span class="pagenum"><a name="page148"></a>[148]</span>that + a humble person eats honoring his food. <i>Coximexi,u</i> and + <i>qicoximexi,u</i> mean that a noble person eats and hears. + <i>Voboximexi,u</i> and <i>voboximesare,uru</i> mean that a noble person + thinks. <i>Saxerare,uru</i> means that a noble person does. + <i>Nasare,uru</i>, <i>asobaxi,u</i>, and <i>asobasare,iuru</i> + [<i>asobasare,uru</i>] mean that a noble person does what is proper to + him such as hunting, writing, reading, or reciting. <i>Ii,ú</i> is used + when the person addressed is humbler than the person or thing spoken to; + <span class="leftpage"><a name="lpage42"></a>(42</span> and <i>mexi,u</i> + [<i>móxi,u</i>] means the person or the thing spoken to is addressed with + honor. Therefore I would be incorrect were I to say <i>mi ni móxe</i> + 'tell me!' I should rather say <i>mi ni iie</i>. I should not say <i>tono + ni iie</i> 'tell it to the lord,' but rather <i>tono ni móxe</i>. + <i>Mairi,u</i> means to go to a place to which honor should be shown; + e.g., <i>iglesia ie maire</i> 'go to church!' <i>Cure,uru</i> and + <i>toraxe,uru</i> mean to give in a way that humbles the person to whom + the thing is given. <i>Cui,ú</i> means 'to eat' without showing respect + (<i>respectus</i>); <i>mexi,u</i> also means 'to eat' but it is + cultivated (<i>urbanum</i>); e.g., in addressing those deserving respect + I will not say <i>mexi vo cui maraxita</i> but rather <i>mexi vo tabe + maraxita</i> 'I ate.' <i>Mairi,u</i> or <i>vomairari,u</i> [<i>vomairi + ari,u</i>] means that a middling person eats, while + <i>agaraxerare,uru</i> and <i>voagari ari,u</i> are nobler ways to say + this. <i>Qiqi,u</i> means to hear and <i>uqetamavari,u</i> and + <i>uqetamóri,u</i> mean to hear in a way which honors the person heard; + e.g., <i>goiqen vo uqetamǒtta</i> 'I heard your advice.' <i>Móxi + ague,uru</i> means to speak in a way which humbles oneself while + bestowing honor on the person being addressed. <i>Móxi ire,uru</i> means + to speak between equals (<i>equales</i>). <i>Chómon xi,uru</i> means to + listen to the word of God. <i>Goranji,zuru</i> or <i>goranjerare,uru</i> + is to look at a noble thing. <i>Xi,uru</i> means to do in common way, + <i>itaxi,u</i> means to do in a cultivated way, and <i>tçucamatçuri,u</i> + means to do in a humble way.</p> + +<p class="cenhead"><i>Cautionary Remarks on the Conjugations of the Verb</i><a name="NtA_122" href="#Nt_122"><sup>[122]</sup></a></p> + + <p>The particle <i>nama</i> placed before any verb in any tense means + that the action has been done poorly or in an incomplete manner; e.g., + <i>nama aró</i> 'I wash poorly,' <i>nama iaqu</i> 'I am incompletely + broiled.'</p> + +<p><!-- Page 149 --><span class="pagenum"><a name="page149"></a>[149]</span></p> + + <p>If the particles <i>tçui</i>, <i>cai</i>, <i>uchi</i>, <i>faxe</i>, + <i>voi</i>, <i>ai</i>, and <i>tori</i><a name="NtA_123" + href="#Nt_123"><sup>[123]</sup></a> are placed in front of a verb they do + not change the meaning, but they add emphasis; e.g., <i>uchi cobosu</i> + has the same meaning as <i>cobosu</i> 'I pour,' <i>faxe noboru</i> is the + same as <i>noboru</i> 'I ascend,' <i>voxi comi,u</i> is the same as + <i>comi,u</i> 'I enclose,' <i>ai cavari,u</i> is the same as + <i>cavari,u</i> 'I am changed,' <i>tçui mavari,u</i> is the same as + <i>mavari,u</i> 'I go around,' and <i>tori firogue,uru</i> is the same as + <i>firogue,uru</i> 'I spread out.'</p> + + <p>The particle <i>qitte</i> is the gerund in <i>Do</i> for the verb + <i>qiri,u</i> and when it is placed after the roots of certain verbs it + gives them great emphasis; e.g., <i>tanomiqitte</i> 'imploring with great + prayers,' <i>vomoiqitte</i> <span class="leftpage"><a + name="lpage43"></a>(43</span> 'assuming a strong resolution.' The verbs + <i>tanomiqiri,u</i> and <i>vomoiqiri,u</i> are also used.</p> + + <p>The particle <i>ma</i>, when placed in front of certain verbs and + nouns, gives them a stronger meaning; e.g., <i>mamucai</i> 'quite + present,' <i>macuroi</i> 'completely black.'</p> + + <p>The particle, or better root of the verb, <i>macari,u</i>, when placed + before verbs of motion, makes the verbs modest and a bit more cultivated; + e.g., <i>macari noboru</i> 'I ascend,' <i>macari cudari,u</i> 'I + descend,' and <i>macari i,iru</i> 'I am present.'</p> + + <p>The particle <i>va</i> placed after a sentence confirms what has been + said before, as one might boast of making a prediction; e.g., <i>fune va + cuchinotçu ie iru va</i> 'the ship calls at Kuchinotsu; and, if he says + so or not, I say so,' <i>aru va</i> 'see if it is not as I have + said.'</p> + + <p>The particle <i>aidani</i> means 'between' in the sense of the time + consumed in performing an action; e.g., <i>agura aidani</i> [<i>aguru + aidani</i>] 'while offering,' <i>iôda aidani</i> 'while he read,' + <i>naravózuru aidani</i> 'while he will learn.'</p> + + <p>The particle <i>ga</i> means 'but;' <i>só iú ga; nanto aró ca?</i> + 'they say so, but will it be so?' or 'it may be so, but I don't know for + certain,' <i>furi va furu mai ga, fune no dasu coto naró ca xiranu</i> + 'it's not raining any more, but I still don't know if it will be possible + to launch the boat or not,' <i>sono qinpen ni va gozaru mai ga; doco cara + toraxeraruru zo?</i> (20)<a name="NtA_124" + href="#Nt_124"><sup>[124]</sup></a> 'there are probably none in the + neighborhood, or in the surroundings, so from where can they be + gotten?'</p> + +<p><!-- Page 150 --><span class="pagenum"><a name="page150"></a>[150]</span></p> + + <p>The particle <i>gotoqu</i> is added to the present, preterit, and + future tenses meaning 'in the same way'; e.g., <i>coxiraiuru gotoqu</i> + 'in the same way as you furnish or carry out,' <i>qiita gotoqu</i> 'as I + heard.' The form is sometimes <i>ga gotoqu</i>; e.g., <i>móxita ga + gotoqu</i> 'as he said,' <i>caracavózu ga gotoqu</i> 'as in jest I will + tease or laugh at.' This same meaning is obtained with <i>iǒni</i>; + <i>Nifon no catagui vo xirareta iǒni, vôxeraruru</i> (122v) 'he + speaks as one who knows the customs of Japan,'<a name="NtA_125" + href="#Nt_125"><sup>[125]</sup></a> <i>mósu ióni</i> 'as I say.' The + particle <i>furi</i> is also used for the same purpose; e.g., <i>toza no + chijocu vo nogareôzuru tameni catana vo saita furi vo mixerareta</i> + (123) 'he showed himself wearing his sword in order to avoid the danger + of infamy.' <i>minu furi vo saxerareta</i> (123) 'he made it known that + he did not see.'</p> + + <p>The particle <i>saie</i> is used [with the negative] to mean 'not at + all'; e.g., <i>mma saie nacatta</i> (118)<a name="NtA_126" + href="#Nt_126"><sup>[126]</sup></a> 'there are not any horses at all,' + <i>cotoba saie xiranu mono</i> (118) 'he does not know how to speak at + all,' <i>ji saie mixiranu mono</i> 'he does not know any letters at all.' + This same particle is used for emphasis; e.g., <i>qiden to saie + mǒxeba</i> (119) 'it would <span class="leftpage"><a + name="lpage44"></a>(44</span> suffice if you were to say that you are,' + <i>Padre no tçucavaruru to saie móxeba</i> 'if only he had said that this + was useful to the priest,' or one might say 'it would suffice if, + etc.'</p> + + <p>The particle <i>qere</i> is a confirmative particle which comes at the + end of a sentence with the meaning 'therefore'; e.g., <i>maitta qere</i> + 'therefore he came,' <i>sate só aru qere</i> 'finally this is the + situation.'<a name="NtA_127" href="#Nt_127"><sup>[127]</sup></a></p> + + <p>The particle <i>coso</i> is of great importance among the Japanese for + they use it first in an adversative sense (<i>in sensu adversativo</i>); + <i>core coso ió gozare</i> [... <i>iô</i> ...] 'he is truly good.'<a + name="NtA_128" href="#Nt_128"><sup>[128]</sup></a> If the sentence in + which this particle is found ends in a verb, that verb ends in <i>e</i>, + as in the example above. If the verb is in the preterit it ends in + <i>re</i>; e.g., <i>yô coso gazattare!</i> (117) 'you are welcome! + (<i>bene veneris!</i>).' The exceptions to this rule are when the + sentence does not end in a verb or an adjective; e.g., <i>core coso xixó + yô</i> [... <i>io</i>] (116) 'he is a true teacher,' when after the + particle <i>coso</i> there is in the sentence a gerund in <i>e</i>, a + permissive in <i>tomo</i>, or a <!-- Page 151 --><span class="pagenum"><a + name="page151"></a>[151]</span>potential preterit in <i>tçuró</i> or + <i>zzuró</i>;<a name="NtA_129" href="#Nt_129"><sup>[129]</sup></a> e.g., + <i>vare coso iro iro xinro tçucamatçutte cutatireba toxiiórini nari + maraxita</i> [... <i>cutabireba toxiiorini</i> ...] (117) 'suffering many + and various hardships, I became an old man,' <i>vare coso corosaruru + tomo</i> 'if I be killed,' <i>fara coso tattçurǒ</i> (117) 'he was + perchance quite angry,' <i>sato chicaqereba coso fi ga miiure</i> (116) + 'the fire is already seen because the village is so near.' This [last] + sentence ends in <i>e</i> because it does not contain an exception to the + rule. <i>Vóxerareta coto domo vo go côquai de coso gozarózure</i> (97) + 'without doubt you will do penance for what you have said,' <i>catajiqe + nǒ coso gozare</i> (97) 'I congratulate you very much and thank + you.' If someone says, 'Who did that?' the answer is <i>Patre coso</i> + [<i>Padre coso</i>] 'the Priest did.' If someone asks, 'is there anyone + who did that?' and if he does not hear, or does not understand the + answer, and asks again, the person who answered will say <i>Juan coso</i> + 'I have already said it was John.'</p> + + <p>When someone is careless about what was said, or when he has not heard + something and asks again, the answer is; e.g., <i>tovoru na to iieba</i> + 'I have already told you not to pass through,' <i>iome to iieba</i> 'I + have already told you to read,' <i>Padre coso to iieba</i> 'I have + already told you that it is the Priest.'</p> + + <p>Adding the particles <i>maieni</i> and <i>saqini</i> to the negative + present tense makes the construction affirmative; e.g., <i>iglesia ie + mairanu maieni</i> (141v) 'before he goes to church.' They are also added + to the affirmative future tense; e.g., <i>mairǒzuru tote no + saqini</i> 'a little before <span class="leftpage"><a + name="lpage45"></a>(45</span> I come.'</p> + + <p>The particle <i>tocoro</i> signifies the time during which the action + indicated by the verb is done. It is placed after the verb; <i>taburu + tocoro ni</i> 'when I was eating,' <i>tabeta tocoro ni</i> 'after + dinner,' <i>tabeôzuru tocoro ni</i> or <i>tabeôzuru ni</i> 'when I will + be eating.' It also serves as a reduplicative particle which denotes a + reduplication to the degree possible; e.g., <i>jesu christo humanidad no + von tocoro va</i> (121v)<a name="NtA_130" + href="#Nt_130"><sup>[130]</sup></a> 'Jesus Christ in so far as he was a + man,' <i>vonore ga foxxezaru tocoro vo fodocosu coto nacare</i> (121) 'as + you do not want done to you, do not do to others,' <i>fudai no tocoro vo + vo iurusu</i> [... <i>tocoro vo iurusu</i>] (120v) 'I gave him his + freedom,' <i>fito no acu no tocoro ni va dôxin xenu</i> (121v) 'I do <!-- + Page 152 --><span class="pagenum"><a name="page152"></a>[152]</span>not + consent to the sins of man,' <i>utagó tocoro mo nai</i> (120v) 'there + remains no place to doubt, or for doubt,' <i>nocoru tocoro mo nai</i> 'it + does not remain any more,' <i>tçuini, sono tocoro ie mairózu</i> (121v) + 'finally he will arrive at this place,' <i>fumbet ni voiobanu tocoro + gia</i> (121v) 'there are some things which are not understood, or to + which one's comprehension does not extend,' <i>nani mo nai tocoro vo iô + qicoximexe</i> (120v) 'will your Lordship kindly eat from this littleness + which is nothing.' From these examples it is possible to see the force of + this particle.</p> + + <p>The particles <i>tocoro</i>, <i>made</i>, and <i>made de gozaru</i> + are often added to an utterance (<i>cadentia</i>). They do not have any + special meaning and are the same as <i>coto de gozaru</i>; e.g., + <i>naranu made</i> or <i>naranu coto de gozaru</i> mean the same as + <i>naranu</i> 'it is not possible.' <i>Guijet tçucamatçurǒ to + zonzuru coto va cacugo itasanu coto gia</i> (10v) 'the breaking of this + friendship does not come to mind.' Here the <i>itasanu coto gia</i> is + the same as <i>itasanu</i> alone.</p> + + <p>The particle <i>madeio</i> is used to confirm what has been said; + e.g., <i>caita madeio</i> 'that which I wrote, I wrote.'</p> + + <p>The particle <i>toqi</i> when added to the present tense, forms a + preterit imperfect; e.g., <i>jennin tachi va saigo ni voiobi tamó toqi va + buji ni gozatta</i> 'when saints arrive at the time of their death, they + are peaceful and quiet.'</p> + + <p>Changing the <i>ta</i> of the preterit to <i>tçu</i> and the <i>da</i> + of the negative to <i>zzu</i><a name="NtA_131" + href="#Nt_131"><sup>[131]</sup></a> the meaning becomes 'I do it this way + and then that way'; e.g., <i>mono vo caitçu, iôzzu, nando xite curasu + bacari gia</i> 'I spend my life reading, writing and doing other things,' + <i>tattçu itçu vocu iori zaxiqi ie ide zaxiqi iori vocu ie iri xitten + battǒ xeraruru</i> (11v) 'standing and sitting, entering and + departing, he stands up and falls down.' The particle <i>ri</i> gives the + same meaning after the preterit; e.g., <i>xeqen no mono va netari + voqitari nǒdari curasu bacari gia</i> (11) 'men of the world spend + their lives sleeping, arising, and drinking,' <i>mazzu</i> <span + class="leftpage"><a name="lpage46"></a>(46</span> <i>ite niva vo mo + facaxetari, cusa vo mo ficaxetari iroiro no xigoto vo ategǒte cosó + mairǒzure</i> [... <i>coso</i> ...] (10v) 'I shall go and sweep out + the courtyard (<i>atrium</i>), pull up the weeds, and then having + dispensed with these things I shall go,' <i>ima cono io fuqe iuqeba nome + ia, utaie ia fito bito motçu, utǒtçu sacamori suru</i> (129) 'when + it already is late at <!-- Page 153 --><span class="pagenum"><a + name="page153"></a>[153]</span>night, urging themselves on to drink and + sing, the men enjoy themselves dancing and singing.'</p> + + <p>The particle <i>ie</i>, which is the root of the verb <i>ie iuru</i> + [<i>ie:uru</i>]<a name="NtA_132" href="#Nt_132"><sup>[132]</sup></a> 'I + can,' signifies, when placed before negative verbs, that the action + expressed by the verb cannot be done; e.g., <i>ie iomanu</i> 'I cannot + read.' This particle is also placed after the infinitive; e.g., <i>iomanu + coto vo ienu</i> 'I cannot read.' <i>Iomi va ieide</i>, or <i>iomi mo + ieide</i> 'since I could not read, or not being able to read' is also + said. The infinitive sometimes acts as a substitute verb (<i>suppositum + verbum</i>); e.g., <i>xinuru coto va vosoroxij</i> 'it is terrible to + die.'</p> + + <p>The particle <i>tai</i> 'I want' is added to the roots of verbs and + signifies the desire to do the thing indicated by the verb; e.g., + <i>mizzu vo nomi tai</i><a name="NtA_133" + href="#Nt_133"><sup>[133]</sup></a> 'I want to drink some water,' + <i>mizzu vo nomi tó gozaru</i> or <i>mizzu vo nomi tó zonzuru</i>, but + these last two forms are more noble. Here is an example of the noble form + in the negative, <i>tǒ mo nai</i>; e.g., <i>mizzu vo nomi tǒ + mo nai</i> 'I do not want to drink water,' and <i>mizzu vo nomi tǒ + mo gozaranu</i>. <i>Mairu tó mo zonjenu</i> means 'I do not want to go.' + When the particle <i>tai</i> is added to adjectives, or verbs indicating + a sensory act (<i>actionem sensitiuam</i>) in the first person,<a + name="NtA_134" href="#Nt_134"><sup>[134]</sup></a> the <i>i</i> is + changed to <i>c</i>; and the verb <i>ari,u</i> is added and conjugated in + the tense required by the sentence; e.g., <i>cuitacatta</i> 'I wanted to + eat.' If the verb is in the second or third person, the <i>i</i> is + changed to <i>g</i> and again the verb <i>ari,u</i> is added, or an + honorific particle depending upon what the person deserves, or without it + as an absolute form. But if the person is inferior, the <i>i</i> is + changed to <i>c</i> as said before.</p> + + <p>The particle <i>de</i> sometimes gives a subjunctive sense when it is + added to nouns; e.g., <i>varãbe de xinda</i> 'he died a child, or when he + was a child,' <i>vare ga buchófó de tofó mo gozanai</i> (163v)<a + name="NtA_135" href="#Nt_135"><sup>[135]</sup></a> [... <i>buchôfó</i> + ...] 'since I am clumsy and not careful, nothing will work out in a way + that will be harmonious.'</p> + + <p>The particle <i>ió</i> 'way' is added to the roots of verbs and also + to the <!-- Page 154 --><span class="pagenum"><a + name="page154"></a>[154]</span>verbs themselves. When the root governs + the genitive, the verb governs the same case; e.g., <i>cono qiǒ no + iomi ió va</i> 'the way of <span class="leftpage"><a + name="lpage47"></a>(47</span> reading this book,' or <i>cono qió vo iomu + iǒ va</i>. In the first sentence <i>qiǒ</i> is in the + genitive with the particle <i>no</i>; in the second sentence it is in the + accusative with <i>vo</i> because <i>yomu</i> governs this case. + <i>Tei</i> signifies an extraordinary and marvelous way of doing + something; e.g., <i>machicanuru tei vo goron jerarei</i> (122)<a + name="NtA_136" href="#Nt_136"><sup>[136]</sup></a> 'might your Lordship + observe the way that they are expectant.' Also, <i>arisama</i> means + 'way,' <i>me mo aterarenu arisama gia</i> 'it is a way, or a form + (<i>figura</i>), which is unable to be seen.'</p> + + <p><i>Sama</i> indicates the time of the action of the verb to which it + is added while governing the case required by the verb. It is added to + the root of the verb; e.g., <i>saqe vo nomi sama ni</i> (105) 'when he + actually drank the wine,' <i>iado ie caieri sama ni</i> (105) 'when he + returned home,' <i>fune iori agari sama ni</i> (105) 'when he actually + disembarked from the ship,' <i>fune ni nori sama ni</i> 'when he actually + boarded the ship.'</p> + + <p>When there are in a sentence two verbs whose actions form a single + action, the first verb is put into the form of the gerund in <i>Do</i>; + e.g., <i>mizzu vo motte coi</i> 'bring some water, or come bringing + water,' <i>fune vo voite coi</i> 'bring the boat here, or come poling the + boat,' <i>core vo totte iqe</i> 'take this, or carry this and go.'</p> + + <p>The gerund in <i>Do</i> when added to verbs of asking, giving, or + doing, means that one is asking to know or to acquire the thing which is + indicated by the verb to which it is added; e.g., <i>nifon guchi vo + voxiiete cure io</i> 'teach me Japanese,' <i>sǒ voxerarete + cudasaruru na</i> [<i>sǒ vôxerarete</i> ...] 'your Lordship ought + not say that,' <i>Deus no coto vo catatte tamǒre</i> 'do me the + favor of relating to me those things which pertain to God.'</p> + + <p>The particle <i>mo</i> placed after the gerund in <i>Do</i>, whether + it ends in <i>te</i> or <i>de</i>, means 'although'; e.g., <i>sǒ + mǒxite mo</i> 'although you say so,' <i>ica fodo susumete mo, + corobu mai</i> 'no matter how much you try to persuade me, I will not + deny the faith.' They also use <i>sǒ mǒxeba atte mo</i> 'even + if you say that,' <i>dǒxitemo cǒxitemo</i> (134v) 'what ever + you do.'</p> + + <p>If the particle <i>coso</i> (see above) is added to the affirmative + gerund in <i>Do</i>; and, if the sentence ends in this particle, the + sentence becomes <!-- Page 155 --><span class="pagenum"><a + name="page155"></a>[155]</span>negative; e.g., <i>mite coso</i> 'I did + not see anything,' <i>atte coso</i> 'there is no way.' But if the + sentence does not end in <i>coso</i>, it becomes affirmative <span + class="leftpage"><a name="lpage48"></a>(48</span> and emphatic; e.g., + <i>mite coso gozare</i> (116) 'I certainly saw.' The verb ends in + <i>e</i> according to the rule explained above when the particle + <i>coso</i> was being discussed.</p> + + <p>When the negative gerund in <i>Do</i>, which ends in <i>e</i>, is + followed by <i>va</i>, <i>naranu</i>, or <i>canavanu</i> it expresses + necessity or the impossibility of the contrary; e.g., <i>mairaide + canavanu</i> (106v)<a name="NtA_137" href="#Nt_137"><sup>[137]</sup></a> + 'it is necessary to go,' <i>ivaide va no coto naredomo, nanto xô ca?</i> + 'and if the thing which is said to be necessary happens, what shall I + do?' <i>xitagavaide naranu</i> 'it is necessary to obey.' The same + meaning, but with less strength, is obtained with the future of the + affirmative or negative infinitive and the permissive subjunctive in + <i>domo</i>; e.g., <i>mairǒ coto de gozatta redomo</i> (18)<a + name="NtA_138" href="#Nt_138"><sup>[138]</sup></a> 'although I should + have gone,' <i>mairu mai queredomo</i> [... <i>qeredomo</i>] (18)<a + name="NtA_139" href="#Nt_139"><sup>[139]</sup></a> 'although I should not + be going,' <i>mairǒ coto de gozanacatta redomo</i> (18) 'although I + did not have to go.' They also use the negative gerund in <i>Do</i> to + obtain the meaning of 'if not'; e.g., <i>òracio vo mǒsaide cú + na</i> 'do not eat unless you have said your prayers.'</p> + + <p>The gerund in <i>e</i> indicates an action already done; e.g., <i>mexi + cúte coi</i> 'come after eating!' <i>cono qió ga caite gozaru</i> 'this + book was written,' <i>chichi ni fumi vo cacaide cuiaxiú gozaru</i> [... + <i>cuiaxú</i> ...] 'I am ashamed that I did not send a letter to your + father,' <i>cono qió ga caite gozaranu</i> 'this book was not + written.'</p> + + <p>The particle <i>nagara</i>, when added to the root of a verb, forms a + gerund in <i>Do</i> if it is followed by a verb indicating a repugnant or + contrary action; e.g., <i>toganin Deus iori bacutai no go von, o + uqetatematçuri nagara; caietta somuqi tatematçuru</i> [... <i>go von vo + uqe</i> ...]<a name="NtA_140" href="#Nt_140"><sup>[140]</sup></a> + 'sinners receiving, or even if sinners receive, benefits from God, they + will offend him rather than be grateful,' <i>Jesu Cristo Deus de gozari + nagara, fito ni taixite cruz ni cacaraxerareta</i> 'while Jesus Christ + was a God, he was crucified for man.' <i>Nagara</i> is also added to + nouns; e.g., <i>quantai nagara</i> (136v) 'although there was some lack + of education,' <i>sannin nagara</i> (137) 'three at the same time, or + even if there are three' <i>aqiraca</i> <!-- Page 156 --><span + class="pagenum"><a name="page156"></a>[156]</span><i>nagara</i> (136v) + 'although he is famous.' In this instance <i>aqiraca na</i> loses its + <i>na</i> as do all the other adjectives that end in <i>na</i>.</p> + + <p>The particle <i>iasui</i> is added to the roots of active and passive + verbs to form the supine in <i>Tu</i>; e.g., <i>iomi iasui</i> 'easy to + read,' <i>corosare iasui</i> 'easy to be killed.' The same thing is + achieved by the following way of speaking; <i>iúte va vosoroxij</i> 'it + is terrible to say,' <i>mite va</i> <span class="leftpage"><a + name="lpage49"></a>(49</span> <i>fuxiguina</i> 'it is admirable to see,' + <i>iú vo mo vosoroxij</i> 'it is terrible to say.'</p> + +<h3>The Adverbs</h3> + +<p class="cenhead"><i>First Section</i><a name="NtA_141" href="#Nt_141"><sup>[141]</sup></a></p> + + <p>Adverbs are formed from adjectives ending in <i>ai</i> by changing the + <i>ai</i> to <i>ó</i>; e.g., <i>fucó</i> 'deeply,' for those ending in + <i>oi</i> by changing the <i>oi</i> to <i>ô</i>; e.g., <i>caxico</i> + [<i>caxicô</i>] 'wisely,' for those ending in <i>ei</i> by changing the + <i>ei</i> to <i>eô</i>; e.g., <i>xigueo</i> [<i>xigueô</i>] 'densely,' + for those ending in <i>ui</i> by changing the <i>ui</i> to <i>ú</i>; + e.g., <i>aiǔ</i> 'in danger,' and for those ending in <i>ij</i> by + changing the <i>ij</i> to <i>iú</i>; e.g., <i>cavaiú</i> 'unhappily.'</p> + +<p class="cenhead"><i>Adverbs of Place</i><a name="NtA_142" href="#Nt_142"><sup>[142]</sup></a></p> + + <p>The interrogative pronouns are eight in number; + <i>izzucu</i>[<i>?</i>], <i>izzucata</i>[<i>?</i>], + <i>donata</i>[<i>?</i>], <i>doco?</i>, <i>dochi?</i>, <i>dochira?</i>, + <i>dono tocoro</i>[<i>?</i>], and <i>dono fǒ?</i>, and they signify + 'which place?' To these adverbs are added the particles <i>va</i>, + <i>no</i>, <i>ni</i>, <i>ie</i>, <i>vo</i>, <i>cara</i>, and <i>iori</i> + according to the case required, such as 'from where,' 'whither,' 'through + which place,' 'in what place,' etc. <i>Made</i> can also be added to them + with the meaning of 'to the limit of which'; <i>doco made ie iqó + ca</i>[<i>?</i>] 'up to where will you go?' The interrogative particle, + <i>ca?</i> or <i>zo</i>[<i>?</i>], is added to these questions but it is + better to use <i>zo</i> rather than <i>ca</i> in sentences with an + interrogative particle; e.g., <i>izzuru ie maitta zo</i> 'where did you + go,' <i>dono tocoro vo tovotta zo</i> 'at which place did you cross,' + <i>doco iori itta zo</i> 'through where did he enter,' <i>dochi cara qita + zo?</i> 'from where did he come?', <!-- Page 157 --><span + class="pagenum"><a name="page157"></a>[157]</span><i>donata va Pedro no + iado zo</i>[<i>?</i>] 'which is Peter's house?', <i>doco ni voru + zo</i>[<i>?</i>] 'where, or in what place is he?' One may respond in many + ways; <i>cono tocoro</i>, <i>coto moto</i>, [<i>coco moto</i>], + <i>core</i>, <i>conata</i>, <i>cochi</i>, <i>cochira</i>, <i>coco</i>, + <i>cocora</i>, <i>cono cata</i>, <i>cono fǒ</i>, which mean 'here + (<i>hic</i>)'; <i>sono tocoro</i>, <i>soco moto</i>, <i>sore</i>, + <i>sonata</i>, <i>sochi</i>, <i>sochira</i>, <i>soco</i>, <i>socora</i>, + <i>sono cata</i>, <i>sono fǒ</i> <span class="leftpage"><a + name="lpage50"></a>(50</span> which mean 'there (<i>istic</i>)'; <i>ano + tocoro</i>, <i>asoco moto</i>, <i>are</i>, <i>anata</i>, <i>achi</i>, + <i>achira</i>, <i>asoco</i>, <i>asocora</i>, <i>ano cata</i>, + <i>anofó</i>, which mean 'there (<i>illic</i>).' To these particles are + added the case particles. The interrogative adverbs with the case + particles and <i>mo</i> added mean 'everywhere,' 'through every place,' + or 'to every place,' e.g., <i>dono tocoro ie mo tovorǒ</i> 'I shall + go everywhere,' <i>doco ni mo</i> 'everywhere,' <i>doco cara mo</i> 'from + everywhere.' However, if, instead of <i>mo</i>, <i>nari tomo</i> is added + the meaning becomes 'any place,' in a distributive sense; e.g., <i>doco + ie nari tomo mairǒ</i> 'I shall go to each place individually.' The + same meaning is obtained by <i>doco zo</i> with the case particles placed + between the <i>doco</i> and the <i>zo</i>; e.g., <i>doco ni zo aru fodo + ni</i> 'if someone is any place.' <i>Coco caxico</i> means 'here and + there.' <i>Doco mo caxico mo</i> means 'the whole place.' The case + particles are placed before <i>mo</i>; e.g., <i>doco ni mo caxico ni + mo</i> 'in the whole place,' but after the adverb; e.g., <i>coco caxico + ni</i> 'here and there,' <i>coco caxico ie doco</i>, <i>caxico iori</i> + [<i>coco caxico ie</i> 'to here and there,' <i>coco caxico iori</i> 'from + here and there'], etc.<a name="NtA_143" + href="#Nt_143"><sup>[143]</sup></a></p> + + <p>The particle <i>uie</i> means 'above.' The genitive case is placed + before it; e.g., <i>fandai no uie ni voqe</i> 'place it on the table,' + <i>cono uie va gozaru mai</i> 'it will not be above this,' that is to say + 'it will not be better than this,' <i>sono uie ni</i> 'about that,' + <i>sono uie no sata vo catari are</i> 'tell me about that,' <i>core va + izzure iori mo uie de gozaru</i> 'one will not discover anything better + than his,' that is to say 'this is the best.' <i>Xita</i> means 'below.' + It governs the genitive; e.g., <i>fandai no xita ni voqe</i> 'place it + under the table,' <i>micotoba no xita iori</i> (141v) 'when the king + finishes speaking,' <i>voxita vo cudasarei</i> (141v) 'would your + Lordship be so kind as to give to me that which remains of your + drink.'</p> + + <p>The particle <i>soba</i> means 'side' and governs the genitive; e.g., + <i>fito no soba vo fanaruru</i> 'he separates himself from the side of + another.'</p> + + <p>The particle <i>maie</i> means 'before' and governs the genitive; + e.g., <i>fito no maie vo tovoru</i> 'I pass in front of someone else,' + <i>cacugo no maie</i> <!-- Page 158 --><span class="pagenum"><a + name="page158"></a>[158]</span>(141v) 'according to ones disposition,' + <i>funbet no maie</i> (141v) 'as I believe, or think, or according to the + sense (<i>iuxta sensum</i>).'</p> + + <p>The particle <i>mavari</i> means 'around' and governs the genitive; + e.g., <i>iglesia no mavari ni tçuchi vo nague sutçuru na</i> 'do not put + earth around the church.'</p> + + <p>The particle <i>uchi</i> means 'within,' and the noun which precedes + it must be in the genitive; e.g., <i>iglesia no uchi</i> 'in the church,' + <i>ano fito va, fito no uchi de va nai</i> 'that man is not among men,' + that is <span class="leftpage"><a name="lpage51"></a>(51</span> to say + 'he is not a man,' <i>futacuchi cúta coto va, cúta uchi de va nai</i> + (142v)<a name="NtA_144" href="#Nt_144"><sup>[144]</sup></a> 'to eat two + mouthfuls is not to eat.'</p> + + <p>The particle <i>foca</i> means 'outside,' and the genitive is placed + before it; e.g., <i>igelsia no foca ni</i> 'outside the church,' <i>foca + ie iqe</i> 'go out, or go outside.' Sometimes the genitive particle is + replaced by <i>iori</i>; e.g., <i>Deus vonago ichinin iori foca tçucuri + tamavanu</i> (142v)<a name="NtA_145" href="#Nt_145"><sup>[145]</sup></a> + 'God did not create but one woman,' that is to say 'he created just one,' + <i>Tengu fito ni acu vo susumuru iori foca va, nai</i> (142v) 'the Devil + does nothing if he is not persuaded by man to sin,' <i>goxǒ vo + tasucaru tame baptismo vo sazzucaru iori foca bechi no michi ga nai</i> + 'there is no other way to save men than by baptism,' that is to say + 'without baptism we cannot be saved.' <i>Deus no gracia iori foca</i> + 'without the grace of God.'</p> + + <p>The particle <i>naca</i> means 'in the middle.' It is used when the + material is either dense or defuse; e.g., <i>qi no naca ni</i> 'in the + wood,' <i>fito no naca ni</i> 'among the men.'</p> + + <p>The particle <i>nacaba</i> means 'in the midst of things' when + referring to a sequence. It follows the genitive; e.g., <i>dangui no + nacaba ni</i> 'in the midst of the sermon,' <i>sore vo qijte, nacaba va + vosore; nacaba va aqirete ita</i> (145v) 'hearing that, he feared and was + afraid,' that is to say 'he spent most of his time being afraid.'</p> + + <p>The particle <i>ato</i> means 'behind' and governs the genitive; e.g., + <i>sonata no ato cara mairǒ</i> 'I shall come after you' that is to + say 'I shall follow you.'</p> + + <p>The particle <i>vaqi</i> means 'near' and governs the genitive; e.g., + <i>Pedro no vaqi</i> 'near Peter,' <i>misa no vaqi</i> 'the mass is + ended,' <i>cono vaqi</i> 'in the last few days.' All of these adverbs + require after them the cases that are required by the verb which + follows.</p> + +<p><!-- Page 159 --><span class="pagenum"><a name="page159"></a>[159]</span></p> + +<p class="cenhead"><i>Adverbs of Interrogation and Response</i><a name="NtA_146" href="#Nt_146"><sup>[146]</sup></a></p> + + <p>There are many ways to ask 'why?' or 'for what reason[?]'; e.g., + <i>najeni</i>[<i>?</i>], <i>najoni</i>[<i>?</i>], <i>nani xini?</i>, + <i>nani tote ca?</i>, <i>nani no iuie ni?</i>, <i>nanto xita coto + ni?</i>, <i>nani no xisai ni iotte?</i>. The question 'how?' is said; + <i>nanto xite?</i>, <i>nanto iǒ ni</i>[<i>?</i>], <i>icani to + xite?</i> The answer is 'because' or 'for the reason that'; e.g., <i>sono + iuie va</i>, <i>najeni to iúni</i>. 'Because' is also said; <i>tocoro + de</i>, <i>fodo ni</i>, <i>ni iotte</i>, or <i>sacai ni</i>. The first + expresses <span class="leftpage"><a name="lpage52"></a>(52</span> the + greatest degree of causality, the second not so much, and the third the + least.</p> + + <p><i>Uie va</i> means 'since (<i>cum</i> or <i>si quidem</i>)'; e.g., + <i>toganai uie va qizzucai ga nai</i> (40v)<a name="NtA_147" + href="#Nt_147"><sup>[147]</sup></a> 'I am not afraid because I have no + fault.' The same meaning is achieved by the particle <i>cara</i>; e.g., + <i>caiǒ ni iro vo misuru cara va; cacusu coto va iranu</i> 'since + you have thus shown your feelings (<i>iro</i>), you can't hide them.' + 'Since (<i>si quidem</i>)' means approximately the same as <i>toqi va</i> + and <i>xicaru toqi va</i>. <i>Sari nagara</i> means 'but,' <i>sari tote + va</i> means 'until,' <i>saru tote va</i> means 'since the thing is this + way,' <i>saru tote va, qicoienu coto gia</i> 'since it is so, it is + unbearable.'</p> + +<p class="cenhead"><i>Adverbs of Time</i><a name="NtA_148" href="#Nt_148"><sup>[148]</sup></a></p> + + <p>One asks 'when' with <i>itçu</i> or <i>itçugoro</i>. One asks 'from + what day' with <i>icca saqi</i> or <i>icca maie</i>, 'from what month' + with <i>icutçuqi saqi</i>, and 'from what year' with <i>nannen maie</i>. + Usually <i>ni</i> is added when it is required by the verb, and the + interrogatives <i>ca</i> or <i>zo</i> are always put at the end of the + sentence, with <i>zo</i> preferred.</p> + + <p>One answers 'now' with <i>ima</i> or <i>tada ima</i>, and 'already' + with <i>mǒ</i>, e.g., <i>mǒ iqe</i> 'be already gone!' + 'Sometimes' is said with <i>toqi ni iotte</i> or <i>jibun ni iotte</i>. + 'Afterwards' is <i>nochi</i>. <i>Sore cara</i> or <i>sore iori</i> means + 'after that,' <i>core cara</i> or <i>core iori</i> means 'after this,' + and <i>are iori</i> or <i>are cara</i> means 'after that.' 'Immediately' + is said with <i>iagate</i>. 'Afterwards' or 'again' is <i>ima iori + nochi</i>, <i>ima iori xite va</i>, or <i>ima iori igo</i>. 'This + morning' is said with <i>qesa</i>. <i>Connichi</i> or <i>qio</i> + [<i>qiô</i>] is 'today,' and <i>asu</i> or <i>miônichi</i> + [<i>miónichi</i>]<a name="NtA_149" href="#Nt_149"><sup>[149]</sup></a> is + 'tomorrow.' 'Tomorrow morning' is <i>asa</i>, <i>axitatô</i>, or <!-- + Page 160 --><span class="pagenum"><a + name="page160"></a>[160]</span><i>asatocu</i>, and 'tomorrow night' is + <i>mionia</i> [<i>miǒia</i>]. 'Before' is <i>ijen</i> or <i>saqi + ni</i>. 'Yesterday' is <i>qinô</i> or <i>sacujit</i>. 'The day before + yesterday' is <i>vototoi</i> or <i>futçuca saqi ni</i>. 'Several days in + the past' is <i>cono giǔ</i>. <i>Cono fodo</i> and <i>xenjit</i> + have the same meaning, as does <i>xendo</i>. <i>Condo</i> means 'several + days in the future.' 'The day after tomorrow' is <i>asatte</i> or + <i>miógonichi</i>. 'Three days hence' is <i>xiasatte</i> or + <i>miómiógonichi</i>. <i>Qiônen</i> [<i>Qionen</i>] or <i>cozo</i> means + 'last year.' 'This year' is <i>cotoxi</i>. 'Two years ago' is + <i>vototoxi</i> or <i>votodoxi</i>. 'Three years ago' is + <i>sanuruvotodoxi</i> [<i>sannuru votodoxi</i>].<a name="NtA_150" + href="#Nt_150"><sup>[150]</sup></a> 'Immediately' is <i>tachimaqi</i> + [<i>tachimachi</i>] <span class="leftpage"><a + name="lpage53"></a>(53</span> or <i>socuij ni</i> [<i>socuji ni</i>]. + <i>Sunavachi</i> is also 'immediately.' <i>Tanteqi</i> is 'in a + moment.'</p> + + <p><i>Itçumade?</i> means 'until when?' <i>Itçumademo</i> means 'always.' + <i>Itçu cara</i> means 'after what time.' <i>Itçu iori</i> means 'from + what time.'</p> + +<p class="cenhead"><i>Adverbs of Negation</i><a name="NtA_151" href="#Nt_151"><sup>[151]</sup></a></p> + + <p><i>Iia</i> or <i>iia</i> [<i>iia iia</i>]<a name="NtA_152" + href="#Nt_152"><sup>[152]</sup></a> means 'not.' <i>Só devanai</i> means + 'it is not so.' <i>Iccana</i> or <i>iccanagueni</i> means 'by no means,' + <i>iume iume</i> means 'not even in a dream,' <i>sarani</i>, + <i>ichiien</i>, <i>catçute</i>, or <i>catçute motte</i> means 'in no + way,' and <i>io</i>, <i>iomo</i>, or <i>iomo iomo</i> means 'without + thinking'; e.g., <i>catçute mairu mai</i> 'in no way shall I come,' + <i>iomo só va gozaru mai</i> (117v) 'it will in no way come to mind why + it will be so.' When affirmative verbs are added to these adverbs they + become negative; e.g., <i>iomo iomo to mǒxitareba vo mairi atta</i> + (117v) 'although you said you would not go, you went,' <i>io mairó</i> + 'in no way shall I go.'</p> + +<p class="cenhead"><i>Adverbs of Affirmation</i><a name="NtA_153" href="#Nt_153"><sup>[153]</sup></a></p> + + <p><i>Nacanaca</i> means 'it is so,' <i>vó</i> means 'so,' when one + agrees. <i>Gueni</i> or <i>gueni gueni</i> means 'it is thus'; e.g., + <i>gueni gueni só mo aró</i> 'without doubt the situation is thus.' + <i>Chódo</i> means 'at all.' <i>Saiǒni</i>, <i>sono bun</i>, + <i>sono gotoqu</i>, <i>sǒ de gozaru</i>, <i>sore sore</i>, + <i>massǒ gia</i>, or <i>xicato</i> means 'it is so.' <i>Mottomo</i> + means that something is reasonably said. <i>Guioi no gotoqu</i> means 'as + your Lordship believes, or says.' <i>Mochiron</i> indicates that a thing + does not come in to doubt or discussion. <i>Nacanaca naru</i> <!-- Page + 161 --><span class="pagenum"><a name="page161"></a>[161]</span><i>coto de + gozaranu</i> means 'truly it is not possible.' <i>Nacanaca no coto</i> + indicates a thing with which it is possible to agree. <i>Macotoni</i> + means 'truly,' as does <i>xinjit</i> or <i>xinjitni</i>. <i>Xeimon</i> + means 'I affirm by oath.' <i>Isasaca</i> or <i>isasaca motte</i> means + 'not even a little,' and <i>issai</i> or <i>ixxet</i> means 'in no way, + or by no means,' and when these particles are added to the affirmative + they mean 'truly.'</p> + + <p><span class="leftpage"><a name="lpage54"></a>(54</span></p> + +<p class="cenhead"><i>Comparative Adverbs</i><a name="NtA_154" href="#Nt_154"><sup>[154]</sup></a></p> + + <p><i>Iori</i>, <i>iori mo</i>, and <i>iori mo navo</i> mean 'more' in a + comparison. The person compared is in the nominative case and the person + to whom he is compared is in the ablative with one of the particles which + we have listed above; e.g., <i>Pedro va juan iori mo gacuxó de gozaru</i> + 'Peter is wiser than John,' <i>soco ie noboru iori va; mairanu ga maxi + gia</i> 'it is better not to go than to climb up there.' <i>Gotoqu</i>, + <i>mama</i>, and <i>iǒni</i> are adverbs of similitude (<i>adverbia + similitudinis</i>) and require the genitive for the thing with which the + comparison is made. If the particle is preceded by a verb, no genitive is + required; e.g., <i>no iama ie nari tomo qitai mama ni qite, nurureba, + nugui suteraruru</i> (124v) 'if they were to go to the mountains or the + plains wearing such clothes as they want to wear, they will have to take + them off when they become wet on account of the water.' <i>Vomô mama ni, + vomô gotoqu</i>, and <i>vomô iǒni</i>, mean 'as I think,' <i>cono + mi no mama ni</i> 'according to his desires, or his pleasure.' + <i>Fodo</i> means 'to such a degree as (<i>tantum</i>),' or 'just as + (<i>quasi</i>)'; e.g., <i>qifen ano fito fodo no gacuxó de gozaru</i><a + name="NtA_155" href="#Nt_155"><sup>[155]</sup></a> 'you are as wise as + he,' <i>fara ga cudaru fodo ioi</i> 'he will recover as soon as he has a + bowel movement,' <i>michi vo aruqu fodo cutabiruru</i> (123v) 'as I walk + so I get tired,' <i>acai fodo ioi</i> 'the redder the better,' <i>xinuru + fodo no vazzurai de va nai</i> 'this disease is not strong enough to + cause death,' <i>fune ni mesaruru fodo naraba vare mo norózu</i> (124) + 'if Your Lordship would take up the task of boarding the ship, so shall + I,' <i>tamexi mo nai fodo ni atta to mǒsu</i> (124v) 'they say it + was as if it had never been,' <i>voquru fodo araba sore ie + mairǒzu</i> (124) 'if I am able to arrive at the state where I can + get up from bed, I shall come to you,' <i>chicara no fodo vo mite</i> + 'seeing the degree of his strength,' <i>fodo nó tçuita</i> 'he arrived in + <!-- Page 162 --><span class="pagenum"><a + name="page162"></a>[162]</span>an instant,' <i>core fodo</i> 'as this,' + <i>sore fodo</i> 'as that,' <i>are fodo</i> 'as that,' <i>vovoi fodo</i> + 'while more,' <i>sucunai fodo</i> 'while less.'</p> + + <p><span class="leftpage"><a name="lpage55"></a>(55</span></p> + +<p class="cenhead"><i>Superlative Adverbs</i><a name="NtA_156" href="#Nt_156"><sup>[156]</sup></a></p> + + <p><i>Uie</i> means 'the highest'; e.g., <i>christian no voxiie va izzure + iori mo uie de gozaru</i> 'the doctrine and faith of Christianity are + supreme, or above all,' <i>cono saqe no uie va nai</i> 'there is no + better wine than that.' <i>Ichi</i> or <i>daiichi</i> means 'supreme, or + unique'; e.g., <i>gacuxǒ no uchi ni Sancto Thomas daiichi de + gozatta</i> 'among wise men Saint Thomas was the best,' <i>core va are + iori uie</i> 'this is superior to that.' The particle <i>xita</i> has the + opposite meaning of 'inferior, or the lowest'; e.g., <i>xiqitai va anima + iori xita de gozaru</i> (141) 'the body is inferior to the soul.'</p> + +<p class="cenhead"><i>Adverbs of Intensity and Exaggeration</i><a name="NtA_157" href="#Nt_157"><sup>[157]</sup></a></p> + + <p><i>Ichidan</i>, <i>chicagoro</i>, and <i>iccǒ</i> mean + 'intensely (<i>valde</i>)'; e.g., <i>chicagoro no vo cocoro gaqe de + gozaru</i> 'this is the greatest care and diligence,' <i>sore va icco + varui coto gia</i> 'this is extremely bad.' <i>Bexxite</i> means + 'chiefly,' <i>tori vaqe</i> means 'especially,' <i>coto no foca</i> means + 'rarely, or extraordinarily,' <i>icanimo</i> means 'intensely,' and + <i>amarini</i> means 'too much.' As has been said, adverbs are formed + from adjectives according to the rules above, and these adverbs mean + adverbially what the adjectives mean adjectivally; e.g., <i>fucai</i> + means 'deep,' and <i>fucó</i> means 'deeply.' <i>Icani mo xizzucani</i> + means 'extremely quietly,' <i>tani coto ni</i> means 'extraordinarily,' + and <i>xitatacani</i> or <i>guiósanni</i> means 'in a way that is to be + feared' that is to say 'too much.' See the dictionary.<a name="NtA_158" + href="#Nt_158"><sup>[158]</sup></a></p> + +<p class="cenhead"><i>Accumulative Adverbs</i><a name="NtA_159" href="#Nt_159"><sup>[159]</sup></a></p> + + <p><i>Voxinabete</i> means 'universally'; <i>sôbet</i> means 'generally,' + as do <i>tçuneni</i> and <i>sojite</i> [<i>sôjite</i>]; <i>feijeini</i> + means 'regularly'; and <i>voioso</i>, <i>tabun</i>, <i>vocata</i>, + <i>ioppodoni</i> mean 'for the most part,' and <i>qeccu</i> or + <i>caiette</i> <span class="leftpage"><a name="lpage56"></a>(56</span> + means 'after all.' <i>Tennen</i> means 'perhaps,' as do <i>xijen</i> and + <i>icasama</i>. <i>Sadamete</i> means 'probably,' <i>canarazu</i> means + 'without doubt,' <i>moxi xijien</i> [<i>moxi xijen</i>] means 'perhaps,' + <i>xǒtocu</i> means 'naturally,' <i>jinen</i> <!-- Page 163 + --><span class="pagenum"><a name="page163"></a>[163]</span>means 'by + chance,' <i>xidai vidai ni</i> or <i>jen jen ni</i> means 'gradually,' + and <i>vonozzucara</i> means 'by oneself.'</p> + +<p class="cenhead"><i>Adverbs that Conclude and Claim Attention</i><a name="NtA_160" href="#Nt_160"><sup>[160]</sup></a></p> + + <p><i>Ficqiǒ</i> and <i>tçuini</i> mean 'finally, or in + conclusion.' <i>Tçugǒ</i> means 'in summary.' <i>Nǒ + nǒ</i> means 'is it not so?' e.g., <i>nǒ nǒ icani + qicaxeruru ca?</i> 'do you hear me then?' <i>Moxi</i><a name="NtA_161" + href="#Nt_161"><sup>[161]</sup></a> means 'ho there (<i>heus</i>),' but + it is an elegant word; e.g., <i>moxi Padre sama</i> 'ho there, Reverend + Father.' <i>Iare</i> also means 'ho there,' but with inferiors; e.g., + <i>iare tarǒ quaja to iieba</i> 'saying "Ho there, + Tarōkaja."' <i>Iai</i> means 'ho there' with very low people; e.g., + <i>iai sochi ga motta mono va nani zo?</i> 'hey! what is it that you + bring?' <i>Ia</i> has the same meaning; e.g., <i>ia vo tono bara domo va + nani vo savagu zo?</i> (128) 'hey! you soldiers and good men, why do you + quarrel?' The particle <i>ai</i> has the same meaning but it is placed + after the sentence; e.g., <i>izzure mo mina qiqe ai</i> (129) 'hey! all + of you listen.'</p> + + <p>The particles <i>ca</i> and <i>zo</i>, as has been said above, are + used as interrogatives. The particles <i>ia</i> and <i>caia</i> have the + same function but they are more humble; e.g., <i>are va tare caia?</i> + 'who is he?', <i>core ia</i>[<i>?</i>] 'this?', <i>io fuqete tare ca va + tazzuneô zo?</i> (89v) 'when it becomes late at night, who will be able + to visit?', <i>sore de arǒ ca to iú coto gia</i> 'I said, "will it + be this?"'</p> + + <p><i>No?</i> asks for agreement; e.g., <i>gozarǒ ca no?</i> 'will + he come?'<a name="NtA_162" href="#Nt_162"><sup>[162]</sup></a> + <i>mairǒ to voxerareta no?</i> [... <i>vôxerareta no?</i>] 'did he + say that he will come?' <i>no Pedro dono?</i> 'isn't that so, Peter?' + <i>Na</i>[<i>?</i>] means the same thing, but it is used with inferiors; + e.g., <i>sǒ qiita na?</i> 'didn't you hear so?' Sometimes, in a + sentence containing <i>zo</i>, <i>baxi</i>, which is a dubitive particle + (<i>particula dubitandi</i>), is placed; e.g., <i>nanto xita xisai de + baxi gozaru zo?</i> (122v)<a name="NtA_163" + href="#Nt_163"><sup>[163]</sup></a> 'for what reason did this happen?', + <i>sate nanto iú voqiacu de baxi gozaru zo</i>[<i>?</i>] (123) 'what is + the name of your guest?', <i>goiô baxi gozaru ca?</i> 'isn't there + something of use to you?'</p> + + <p><i>Io</i> and <i>zo</i> strengthen or give cadence to the sentence; + e.g., <i>caita zo</i> <!-- Page 164 --><span class="pagenum"><a + name="page164"></a>[164]</span>'he truly wrote,' <i>maitta io</i> 'he + certainly came,' <i>sono toqi vare</i> <span class="leftpage"><a + name="lpage57"></a>(57</span> <i>va ichi dan varui tçucai vo xiraruite + gozaru io</i> [... <i>siaruite</i> ...] (95) 'at that time I was + following bad advice.' <i>Bacari</i> means 'only, or in only one way,' + <i>sore ni caguitte</i> means 'that only,' <i>core ni caguirazu</i> 'not + only this.' <i>Bacari</i> also means 'more or less'; e.g., <i>fiacu + bacari</i> 'there were a hundred,' <i>fiacunin bacari corosareta</i> + 'about one hundred men were killed.' <i>Nó</i>, <i>nóte</i>, <i>naqu + xite</i>, and <i>naqute</i> mean 'without'; e.g., <i>raxxi mo nó</i> + 'without reason or order,' <i>cacugo nó</i> 'without any + preparation.'</p> + + <p>The adverbs of sound (<i>adverbia sonus</i>) are many and vary in + accordance with the way that the Japanese perceive the sound. The + particle <i>to</i> is added to them; e.g., <i>va va to xite</i> + 'vociferously saying <i>wa wa</i>,' and if they add <i>meqi,u</i>, it + means to make even a louder noise; e.g., <i>va meqi,u</i> 'to shout + saying <i>wa</i>.'</p> + +<p class="cenhead"><i>The Case Prepositions</i><a name="NtA_164" href="#Nt_164"><sup>[164]</sup></a></p> + + <p><i>Tame</i> or <i>ni</i> means 'concerning';<a name="NtA_165" + href="#Nt_165"><sup>[165]</sup></a> e.g., <i>sonata no tame</i> 'for you + (<i>tibi</i>).' It governs the genitive which precedes it; <i>nan no + tame</i> 'for what,' <i>nani ni naru ca?</i> 'for what is it?', <i>nani + ni xô ca?</i> 'what do you do that for?', <i>nani no iô ni tatçu ca?</i> + (171v) 'for what is it needed, or useful?', <i>maitte no iô va?</i> (130) + 'what's the use of going?'</p> + + <p><i>Tai xite</i> means 'on account of' or 'against'; e.g., <i>tengu ni + tai xite teqito</i> 'to fight against the devil, or resist him,' <i>Deus + ni tai xite cuguio vo coraiuru</i> 'I endure the pain (<i>labor</i>) + because of God.' <i>Uie iori</i> also means 'because'; e.g., <i>von jifi + no uie iori</i> (167) 'because of his mercy.'</p> + + <p><i>Ni iotte</i> signifies the reason for which; e.g., <i>Deus iori + fito no jento acu ni iotte go fempô vo ataiesaxerareozu</i> [... + <i>ataiesaxerareôzu</i>] (146v) 'God gives to man according to his + virtues and vices.' This form is derived from the verb <i>iori,u</i>.</p> + + <p><i>Ni tçuite</i> means 'around, or about' and is derived from the verb + <i>tçuqi,u</i>; e.g., <i>core ni tçuite</i>, <i>core ni tçuqi</i>, or + <i>core ni tçuqete</i> means 'about that.' <i>Sono gui ni voite va + zonjenu</i> (120) 'I do not know anything about this matter,' <i>Vôxe va + mottomo naredomo vagami ni totte va canai gatai</i> (120) 'Your Lordship + speaks well but what concerns me is that <span class="leftpage"><a + name="lpage58"></a>(58</span> <!-- Page 165 --><span class="pagenum"><a + name="page165"></a>[165]</span>it is difficult to do.' <i>Dai quan ni + itatte va ichinin bacari sadame io</i> (120)<a name="NtA_166" + href="#Nt_166"><sup>[166]</sup></a> 'decide that which concerns the + steward only.' <i>Itatte</i> and <i>totte</i><a name="NtA_167" + href="#Nt_167"><sup>[167]</sup></a> are the gerunds of verbs just as the + preceding. They also say <i>Padre coto va</i> 'the things belonging to + the priest,' <i>varera coto va</i> 'about my things, or those things + which belong to me.' <i>Xitagatte</i> or <i>xitagǒte</i> means + 'near' and is the gerund of the verb <i>xitagari,u</i> or + <i>xitagai,ó</i>. As with the other verbs it governs the dative case; + e.g., <i>guioi ni xitagatte</i> or <i>xitagǒte</i> 'according to + Your Lordship's understanding.' <i>Xidai</i> has the same meaning; e.g., + <i>conata xidai</i> 'according to your wishes.' Sometimes it is added to + the roots of verbs; e.g., <i>mairi xidai</i> 'according to when he comes, + or according to his coming.'</p> + + <p><i>Ni</i> indicates the place in which. <i>Ni voite</i> has the same + meaning but indicates permanence; e.g., <i>fatto va fuximi ni voite + vôxeidasareta</i> 'he established the law while he was in Fushimi,' + <i>Bungo funai ni itatte</i> 'in the city of Funai in the kingdom of + Bungo,' <i>iglesia ni uoru</i> 'he is in church.'</p> + + <p><i>De</i> indicates the place of an action; e.g., <i>michi de Pedro ni + vǒta</i> 'I met Peter in the street.' The same particle <i>de</i>, + together with <i>vo motte</i>, indicate the instrument with which an + action is done; e.g., <i>bo vo motte Pedro vo uchi coroita</i> 'he killed + Peter with a stick,' <i>Padre sama catarareta de navo qicoieta</i> 'from + what the Reverend Father told me, it became easier to understand,' + <i>necqi de xinda</i> 'he died of a fever.'</p> + + <p><i>Cara</i> or <i>iori</i> indicate the place from which; e.g., + <i>iglesia cara</i> 'from church.' They also say <i>fune cara maitta</i> + 'he came by ship' and <i>cachi cara maitta</i> 'he came on foot.' <i>Fune + de maitta</i> is the same as <i>fune cara maitta</i> and <i>fune ni notte + maitta</i>. <i>Fana cara me cara miguruxij mono gia</i> 'it is unpleasant + to the nose and the eyes.' <i>Iori</i> indicates the place through which; + e.g., <i>sama iori faitta</i> 'he entered through the window.'</p> + + <p><i>Tomo ni</i> means 'at the same time'; e.g., <i>sonata to tomo ni + mairǒzu</i> I shall go at the same time as you,' <i>mǒsu to + tomo ni</i> 'at the same time as he spoke.'</p> + + <p><i>Ie</i> indicates the place to which; e.g., <i>achi ie + mairǒ</i> 'I shall go directly to court (<i>curia</i>),' <i>miiaco + no cata ie noboru</i> 'he went up to court' and also <i>miiaco no + fǒ ie noboru</i>. They also say <i>miiaco no iori</i>, <!-- Page + 166 --><span class="pagenum"><a name="page166"></a>[166]</span><i>miiaco + sama</i>, or <i>miiaco no gotoqu noboru</i>, but this is not a good way + of speaking and is more characteristic of a rustic (<i>rusticus</i>).</p> + + <p><i>De</i> indicates the material from which; e.g., <i>tçuchi de + cavara</i> <span class="leftpage"><a name="lpage59"></a>(59</span> <i>vo + tçuquru</i> 'to make bricks out of earth or mud,' <i>nande core vo + tçuquru ca?</i> 'from what is this made?'</p> + + <p><i>Uie</i> means 'concerning'; e.g., <i>zuibun codomo no uie vo fito + ni mo naxi marasuru iǒni to cocoro gaqe marasuru</i> 'with great + diligence I took care of my sons so as to make them men.' <i>Sonata no + fiquan no vo saiban mesare io</i> [... <i>no uie vo</i> ...] (141) 'take + care of your servants.'</p> + + <p><i>Made</i> means 'until'; <i>asu made</i> 'until morning,' <i>inochi + vo uxinǒ made aru mai</i> 'he will not lose his life, or he will + not arrive at the loss of his life,' <i>sore made vomoi mo ioranu gui + gia</i> 'it will not come to my mind,' <i>cocoro zaxi areba canavanu made + mo xei vo iruru</i> 'when something is wished for, one uses his strength + up to the point of impossibility,' <i>mǒsu made mo nai</i> 'it is + not necessary to say,' <i>cono tocoro made maitta</i> 'I came to this + place.'</p> + +<p class="cenhead"><i>Conjunction and Separation</i><a name="NtA_168" href="#Nt_168"><sup>[168]</sup></a></p> + + <p><i>To</i> means 'and'; e.g., <i>Pedro to juan to Nagasaqi ie ita</i> + 'Peter and John went to Nagasaki,' <i>core to, are to vo toru</i> 'I take + this and that.' <i>Mo</i> has the same meaning; e.g., <i>Pedro mo juan mo + Nagasaqi cara modotta</i> 'Peter and John returned from Nagasaki,' + <i>naqu mono mo ari, varó mono mo aru</i> 'there are those who cry and + those who laugh. <i>Mo</i> is often placed before negative verbs; e.g., + <i>nanigoto mo gazaranu ca?</i> 'is that not something new?'</p> + + <p><i>Mata</i> means 'and,' whether it is found between nouns or verbs. + <i>Ca</i> means 'or'; e.g., <i>Pedro ca; juan ca coi to iie</i> 'tell + Peter or John to come.' <i>Arui va</i> also means 'or'; e.g., <i>arui va + Pedro, arui va juan</i> 'either Peter or John,' <i>arui va iomu, arui va + caqu</i> 'I either read or write.' <i>Moxi va</i> means 'if in fact,' and + it is used in the middle of a sentence; e.g., <i>moxi va cane ga nai + naraba</i> 'if in fact you were to have no money.'</p> + + <p><i>Mata va</i> is used to bind the sentences more tightly together + (<i>ad orationem contexturam</i>). It means 'besides that, or besides'; + e.g., <span class="leftpage"><a name="lpage60"></a>(60</span> <i>arui va + iamai ga vocoru ca, mata va isogui no fumi qitaru ca etc.</i> [... + <i>ca</i>, etc.] (135) 'either some sickness occurs, or besides that some + urgent letter arrives.'</p> + +<p><!-- Page 167 --><span class="pagenum"><a name="page167"></a>[167]</span></p> + + <p><i>Xicareba</i> means 'since things are this way,' <i>sari nagara</i> + means 'but,' <i>sǒ aru tocoro de</i> means 'since it is thus,' + <i>saraba</i> means 'since it is so,' and <i>sareba sareba</i> means + 'since then.' <i>Ca?</i> means 'if'; e.g., <i>maitta ca mi io</i> 'see if + he came, or went,' <i>maitta ca xiranu</i> 'I don't know if he went.' + <i>Iara</i> means 'if,' but distributively (<i>divisive</i>); e.g., + <i>fito iara chicuxǒ iara xiranu</i> 'I don't know if it's man or + beast,' <i>nani iara to mǒxita</i> 'I wonder what he said.'</p> + + <p>Some disjunctive and emphatic particles are formed from <i>nanica</i> + and <i>tocacu</i> with the addition of other particles; e.g., <i>nani ia + ca ia?</i> 'which thing?' The same meaning is expressed by <i>nani iara + ca iara?</i> and <i>nanto iara cato iara?</i> <i>Nanto xite</i>, <i>cato + xite</i> means 'how,' <i>nanto mo cato mo</i> means 'in no way,' and + <i>nani mo ca mo</i> means 'nothing.' <i>Nanigoto mo cagoto mo, mina + içtuvari naru zo</i> [... <i>itçuvari</i> ...] 'when all is said and done + they are all lies.' <i>Nani no ca no</i>, and <i>nanto xite</i>, <i>cato + xite</i> are ways to excuse oneself. <i>Nani no ca no to iúte</i> means + 'saying this and that.' <i>Domo como</i> means 'in whatever way it is,' + as does <i>dǒ xite mo cǒ xite mo</i>. <i>Dǒ xite + cǒ xite</i> means 'doing this and that differently.' <i>Dǒ xô + cǒ xô</i> means 'I shall do this and that.'</p> + + <p><i>Tomo cacumo</i> means 'all the same,' as do <i>toni cacuni</i>, + <i>tonimo cacunimo</i>, and <i>totemo cacutemo</i>. <i>Core to ij; care + to ij</i> means 'saying this and that, or making excuses.' <i>Care + core</i> means 'this and that,' <i>coco caxico</i> means 'here and there + (<i>hic and illic</i>).' <i>Vomoxirô, vocaxu</i><a name="NtA_169" + href="#Nt_169"><sup>[169]</sup></a> [<i>vomoxirovocaxǔ</i>] is used + when accommodating oneself almost to flattery.</p> + + <p>If the particle <i>motte</i> is added to the particles <i>catçute</i>, + <i>isasaca</i>, <i>tomoni</i>, <i>nani</i>, and <i>nani nani iori</i> + [... and <i>nani iori</i>] it adds strength and force; e.g., <i>catçute + motte sǒ aru mai</i> 'the situation will not be this way at + all.'</p> + +<p class="cenhead"><i>Interjections</i><a name="NtA_170" href="#Nt_170"><sup>[170]</sup></a></p> + + <p><i>Sate</i>, <i>sate sate</i>, [<i>satemo</i>,] and <i>satemo + satemo</i> are interjections of admiration; e.g., <i>satemo Deus no + voqinaru vonjifi cana</i> 'oh! great mercy of God!'</p> + +<p><!-- Page 168 --><span class="pagenum"><a name="page168"></a>[168]</span></p> + + <p><i>Avare</i> is the interjection for pity; e.g., <i>avare mutçucaxij + io no naca cana</i> 'oh! world replete with misery!'</p> + + <p><i>Ha!</i><a name="NtA_171" href="#Nt_171"><sup>[171]</sup></a> is the + interjection of penetence; e.g., <i>ha faxi demo</i> <span + class="leftpage"><a name="lpage61"></a>(61</span> <i>vomoxiroi ga; tocoro + ni iote qicoie canuru</i> [... <i>ni iotte</i> ...] (127v) 'ah, the + workmanship of the sound and the harmony of the singing is most graceful, + but it is not able to be heard well.'</p> + + <p><i>Iara!</i> is the interjection for joy and pain; e.g., <i>iara iara + medeta ia</i> (128) 'oh! how much I rejoice.' <i>Ia</i> is also used; + e.g., <i>satemo iiaxii iatçubara ia</i> (129)<a name="NtA_172" + href="#Nt_172"><sup>[172]</sup></a> 'oh! how vile and despicable,' + <i>gongo dǒdan fuxigui na xisai cana</i> (128v) 'oh! how rare and + ridiculous a reason.' <i>Iei</i> is the interjection of wonder; e.g., + <i>iei Padre sama cochi gozaru io</i> 'oh! here is the Reverend + Father.'</p> + + <p><i>Hat</i> is the interjection that indicates that one is repentent; + e.g., <i>Benqei core vo mite hat coto naxi to zonjite, sono mama niva ni + bǒ vo voraxi,</i> etc. (127v) 'Benkei seeing this,' etc.<a + name="NtA_173" href="#Nt_173"><sup>[173]</sup></a></p> + +<p class="cenhead"><i>The Syntax and the Cases that are Governed by the Verbs</i><a name="NtA_174" href="#Nt_174"><sup>[174]</sup></a></p> + + <p>The nominative is placed at the beginning of the sentence and the verb + at the end: the remaining elements are placed according to the cadence + (<i>cadentia</i>) of the sentence; e.g., <i>Pedro va Nagasaqi de xutrai + xita iqi iqi ni tçuite juan vo coroita</i> 'Peter killed John because of + an argument that took place in Nagasaki.' In certain sentences of serious + import a substitute verb (<i>verbum suppositum</i>) is placed after the + verb, but this is rare; e.g., <i>tare mo canavanu futari no qimi ni + tçucǒru coto va</i> (84)<a name="NtA_175" + href="#Nt_175"><sup>[175]</sup></a> 'no one can serve two masters.' In + this sentence the substitute verb is <i>tçucǒru coto va</i>. + <i>Core ni iote tanomi tatematçuru itçumo virgen</i> [<i>Core ni + iotte</i> ...] (84) 'therefore I pray to the ever virgin [Mary].'</p> + + <p>Clauses (<i>orationes</i>) in the absolute or permissive subjunctive, + infinitive, conditional, and causative are always placed before clauses + that are in the indicative or imperative, even if it does not make sense + <!-- Page 169 --><span class="pagenum"><a + name="page169"></a>[169]</span>in Latin or any other European language; + e.g., <i>achi cara tomeraruru tomo; tomaru na</i> 'do not stay, even if + they want you to remain,' <i>sore vo qiitareba, fara vo tatete + modotta</i> 'when he heard that, he came back very angry,' <i>taxicani + uqetamotta ni iotte coso, móxi ague maraxitare</i> 'I listened carefully, + and then I spoke,' <i>faiǒ gozatta raba vo mexi vo xinjô mono + vo</i> 'if you had come earlier, I would have offered you food.'</p> + + <p>When there are two verbs in the same sentence, the first will <span + class="leftpage"><a name="lpage62"></a>(62</span> be in the gerund form + and the other will be in the tense that is required by the sense of the + sentence; e.g., <i>core vo totte giqi ni mi ga comono ni vataxe</i> 'take + this and give it to my servant at once.'</p> + + <p>When there are two or more clauses which have the same subject or + tense, only the last verb will be in the tense that is required by the + sense of the sentence. The other verbs will be in the root form, while + still others will be in the gerund in <i>e</i> form; e.g., <i>tovazunba + cotaiezu, voxe raba tçuxxinde qiqi</i> [<i>tovazũba</i> ... + <i>vôxe</i> ... <i>qiqe</i>] (85v)<a name="NtA_176" + href="#Nt_176"><sup>[176]</sup></a> 'if they don't ask don't answer: if + they speak listen carefully,' <i>Deus no vo coto vo macoto ni uqe, go + voqite mo camavaide, sono mama inferno ni vochita</i> 'he did not believe + in God, and he did not respect His precepts; therefore, he fell into + Hell.'</p> + + <p>Verbs are always placed in the third person to indicate honor. No one + honors himself except the king when he is speaking of himself; e.g., + <i>iorocobi ni voboximesu</i> 'I am enjoying it very much.'</p> + + <p>When there are many adjectives in a sentence, they will all be in the + adverbial form except the last; e.g., <i>qe nangǒ, iro curô, + icanimo utçucuxij mono</i> [<i>qe nagǒ</i> ...]<a name="NtA_177" + href="#Nt_177"><sup>[177]</sup></a> 'a very beautiful person with long, + black hair.'</p> + + <p>The particle <i>to</i> is placed before verbs of understanding, + believing, and hearing, takes the place of the verb 'to be,' and means + 'that'; <i>fito to zonjita</i> 'I thought, or believed that he was a + man,' <i>qixó vo jennin to vomovô ca?</i> [<i>qixo</i> ... + <i>vomovǒ ca?</i>] 'shall I believe that you are a saint?' <i>Amata + no fito xini no fonovo ni moiuru vo misaxerareô</i> (20)<a name="NtA_178" + href="#Nt_178"><sup>[178]</sup></a> 'you <!-- Page 170 --><span + class="pagenum"><a name="page170"></a>[170]</span>will see many men + burning in the flames of indignation.' Here one has replaced <i>to</i> + with <i>moiuru vo</i>, which is a substitute verb. When <i>mo</i> is + added to <i>to</i> it strongly affirms what is said; e.g., <i>mairó to + mo</i> 'I shall certainly go, or I will be going.'</p> + + <p>The particle <i>to</i>, in the first meaning, is sometimes replaced by + <i>iǒni</i>; e.g., <i>agueta iǒni gozaru</i> 'they say that + he offered it,' <i>ica iǒna fito to va xiranu</i> 'I did not know + what kind of a man he was.' Sometimes the substantive verb takes the + place of the particle <i>to</i>; e.g., <i>mairó de gozatta</i> 'he said + that he would come,' <i>xô de va naqeredomo</i> 'although I did not say + that I would do it.'</p> + + <p><i>Qiuzo core vo mite, ima vo saigo no coto de areba</i> (97)<a + name="NtA_179" href="#Nt_179"><sup>[179]</sup></a> 'seeing this, Kiso + believed that the hour of death was present, etc.' Here the substantive + verb replaces <i>to</i> and serves as an active verb governing the + accusative <i>ima vo</i>, which also replaces <i>to</i>. The particles + <i>sǒna</i> and <i>guena</i> mean 'it seems.' <i>Sǒna</i> is + added to the roots of verbs; e.g., <i>deqi</i> <span class="leftpage"><a + name="lpage63"></a>(63</span> <i>sǒna</i> 'it seems that it is + finished.' If a substantive verb is placed after this particle the + <i>a</i> is changed to <i>i</i>; e.g., <i>deqi sǒni gozaru</i> 'it + seems that he will finish,' <i>deqi sǒni mo zonjenu</i> 'I believe + that it will not be finished.'<a name="NtA_180" + href="#Nt_180"><sup>[180]</sup></a> <i>Sǒna</i> is also added to + adjectives in <i>i</i>, and when it is the <i>i</i> is lost; e.g., <i>io + sǒna</i> 'it seems good, or it seems that it is good,' <i>xigue + sǒna</i> 'it seems dense,' and <i>aiau sǒna</i> 'it seems + that I am in danger.' If this particle is added to adjectives in + <i>na</i>, the <i>na</i> is lost; e.g., <i>aqiraca sǒna</i> 'it + seems that it is clear.'</p> + + <p>The particle <i>guena</i> is added to the nouns and verbs previously + formed; e.g., <i>maitta guena</i> 'I believe that he has come.' If a + substantive verb is added to this particle the <i>a</i> changes to + <i>i</i>; e.g., <i>maitta gueni gozaru</i> 'I believe that he has come.' + <i>Sǒna</i> means 'it seems,' and <i>guena</i> means 'I believe,' + but either of these forms may occasionally be used in any of the examples + given.</p> + + <p>When a sentence has two preterits, the first may be in the preterit + and the second in the future; e.g., <i>qesa cara sǒ vôxerareta raba + mo faia de maraxô</i> 'If you would have said that this morning, I would + have already left.'</p> + + <p>When reporting what someone else has said, it is said this way; <!-- + Page 171 --><span class="pagenum"><a + name="page171"></a>[171]</span><i>Padre mósaruru va: iagate sonata ie + mairó to mǒsaruru</i> 'the priest said that he was going to come.' + Sometimes when one is excusing himself he will use <i>no</i> in place of + <i>to</i>; e.g., <i>asu no, raiguat no, nando to noburu na</i> 'don't + spread around that it is tomorrow, next month, or whenever.'</p> + + <p>When <i>vo</i> follows <i>n</i> it loses its <i>v</i>; e.g., <i>go von + o uqetatematçutta</i> 'I received benefits.'<a name="NtA_181" + href="#Nt_181"><sup>[181]</sup></a></p> + + <p>Adverbs are always placed before their verbs except for the adverbs of + time which are placed at the beginning of the sentence; e.g., <i>sore vo + qijte iccó xicari maraxita</i> 'hearing that he was very angry,' <i>qiô + nen espana cara vatatta toqi</i> [<i>qio nen</i> ...] 'when I sailed from + Spain last year.' Each verb requires before it a subject in the + nominative case, either expressed or understood; e.g., <i>vare iqe</i> or + <i>iqe</i> 'come!', where the <i>vare</i> is understood. In some + sentences this rule is not respected; e.g., <i>xisai voba core ni mósare + maraxozu</i> [... <i>maraxôzu</i>] 'he will explain, or give the reason + for this.' In the following case we do not see the nominative, but rather + <i>are ni va</i>, which is in the dative or ablative; <i>are ni va, navo + voixri atta</i> [... <i>voxiri atta</i>] 'he knows better.' In this + sentence the <i>are ni va</i> ought to be in the nominative. <i>Cacaru vo + ni va cogane no cusari vo icusugi mo tçuqeta dógu de gozaru</i> (138v) + 'for a necklace (<i>torques</i>) he had a chain of gold with many + links.'</p> + + <p><i>Core ni va gozonji aru mai</i> 'Your Lordship does not know <span + class="leftpage"><a name="lpage64"></a>(64</span> about this.' Here the + <i>core ni va</i> replaces the accusative which is governed by + <i>zonji,uru</i>.</p> + + <p>The impersonal verb or the infinitive requires a nominative before it; + e.g., <i>Pedro va maitta to mósu</i> 'they say that Peter came.'</p> + + <p>The verb <i>iri,u</i>, which means 'to need,' governs two nominatives, + one for the thing and the other for the person in need; e.g., <i>vatacuxi + va cono cane ga iru</i> 'I need, or I have a necessity for this money.' + It also governs the dative for the person; e.g., <i>sono tame ni va cane + ga iranu</i> 'he does not need any gold, or money.'</p> + + <p>The active verb requires the accusative before it; e.g., <i>cane vo + motanu</i> 'I have no money.'</p> + + <p>Certain <i>cobita</i> or <i>coie</i> nouns, as we have said above, are + borrowed from Chinese and govern the same cases as the Japanese verbs to + which <!-- Page 172 --><span class="pagenum"><a + name="page172"></a>[172]</span>they correspond; e.g., <i>niva vo qenbut + no aida ni mexi vo coxiraie io</i> 'prepare the food while we visit the + garden.' The noun <i>qenbut</i> requires the accusative <i>niva vo</i>. + The same is true with <i>fito ni guenzan suru</i> (97) which is like + <i>fito ni vó</i> 'I meet the man.' The <i>guenzan</i> governs the dative + just as does the verb <i>ai,ó</i>.</p> + + <p>When a borrowed word (<i>vocabulum cobitum</i>)<a name="NtA_182" + href="#Nt_182"><sup>[182]</sup></a> is a compound of two elements it is + possible to determine if it is a verb by seeing if the first part has the + meaning of a verb; e.g., <i>jóten</i> is a verb which means 'to ascend to + heaven' with the <i>jǒ</i> meaning to 'go up.' <i>Tenjǒ</i> + is a noun in which the <i>jǒ</i> is placed after the <i>ten</i> and + means 'heaven.'</p> + + <p>The passive verb has the ablative for its agent (<i>persona + agente</i>); e.g., <i>Pedro cara corosareta</i> 'he was killed by Peter,' + but it is better that it govern the dative; e.g., <i>Pedro ni + corosareta</i>, or <i>Pedro va nusubito ni cane vo torareta</i> 'Peter + had his money stolen by thieves.'</p> + + <p>There are also certain neutral verbs which govern the accusative as if + they were active verbs; e.g., <i>xiqitai vo fanaruru</i> 'to depart from + the body, or to die,' <i>axi vo vazzuró</i> 'to have a pain in the foot.' + This is also true for <i>nigue,uru</i> 'to escape,' <i>nogare,uru</i> 'to + evade,' <i>de,uru</i> 'to go out,' <i>noqe,uru</i> 'to retreat,' + <i>tovori,u</i> 'to go across,' <i>nori,u</i> 'to sail,' as in + <i>caixǒ vo noru</i> 'I sail the sea,' <i>iuqi,u</i> 'to walk,' as + in <i>michi vo iuqu</i> 'I walk the streets,' <i>vovari,u</i> 'to + finish,' <i>mairi,u</i> as in <i>xogui vo mairu</i> 'I play chess + (<i>tabula laterucularia</i>),' <i>iorocobi,u</i> as in <i>cocoro vo + iorocobu</i> 'I gladden the heart,' <i>abi,uru</i>, as in <i>mizzu vo + abiru</i><a name="NtA_183" href="#Nt_183"><sup>[183]</sup></a> 'I wash + myself with water, or I pour water on myself,' <i>avaremi,u</i> 'I am + sad,' <span class="leftpage"><a name="lpage65"></a>(65</span> + <i>canaximi,u</i> 'I am unhappy,' <i>coie,uru</i> 'to cross over,' + <i>fabacari,u</i> 'to be shy,' <i>facarai,ǒ</i> 'to take care of,' + <i>faxiri,u</i> 'to sail,' as in <i>caixǒ, vo, faxiru</i> + [<i>caixǒ vo faxiru</i>] 'I sail the sea,' <i>fagi,zzuru</i> 'to be + ashamed,' <i>fedate,tçuru</i> 'to separate,' <i>fe,uru</i> 'to spend,' as + in <i>ficazu vo furu</i> 'I spend many days,' [<i>fumaie,uru</i> 'to be + based on,' as in] <i>dori vo fumaiuru</i> 'to be based on reason, or to + have reason as a basis,' <i>itami,u</i> 'to be sick,' <i>mavari,u</i> 'to + go around,' as in <i>cono cotovari vo móxi mavatta</i> 'he goes around + and spreads the news here and there,' <i>meguri,u</i> has the same + meaning, <i>nagusami,u</i> 'to please,' as in <i>cocoro vo nagusamu</i> + 'I make the heart <!-- Page 173 --><span class="pagenum"><a + name="page173"></a>[173]</span>happy,' <i>naqi,u</i> 'to weep,' + <i>tasucari,u</i> 'to be saved,' as in <i>inochi vo tasucaru</i> 'I am + saved from the dangers of life,' or <i>goxǒ vo tasucaru</i> 'to be + saved for a future life,' <i>tachi,tçu</i> 'to go away from,' as in + <i>tocoro vo tatçu</i> 'I go away from this place,' <i>tomurai,ó</i> 'to + make a funeral for the dead,' <i>ucagai,ó</i> 'to inquire with + hesitation,' <i>voximi,u</i> 'to value,' <i>urami,u</i> 'to enquire,' + <i>xinobi,u</i> 'to wait in hiding, almost insidiously,' as in <i>fito no + me vo xinobu</i> 'I am careful lest someone see me.'<a name="NtA_184" + href="#Nt_184"><sup>[184]</sup></a> A few of these verbs which require + the accusative of location admit to the use of the ablative with the + particles <i>cara</i> or <i>iori</i>; e.g., <i>tocoro vo tatçu</i> is the + same as <i>tocoro iori tatçu</i> 'I leave the place.'</p> + + <p>There are some active verbs which require two accusative cases; e.g., + <i>fori,u</i>, <i>daxi,u</i>, <i>fanaxi,u</i>, <i>tate,tçuru</i>. For + example, <i>Pedro vo soco vo voi idaita</i> 'they led Peter away from + that place.' It is possible that it governs the ablative of location; + e.g., <i>Pedro vo soco cara voi daita</i> [... <i>voi idaita</i>]. Some + take either the dative or the accusative; e.g., <i>fito vo</i>, or + <i>fito ni fanare,uru</i> 'to go away from the men,' <i>Deus vo</i>, or + <i>Deus ni somuqi,u</i> 'to offend God.' Verbs of this kind are generally + verbs of fearing, offending, or going away.<a name="NtA_185" + href="#Nt_185"><sup>[185]</sup></a></p> + + <p>Many verbs of helping, harming, damning, obeying, recognizing as + superior or inferior, being subjugated, being victorious, and similar + verbs govern the dative; e.g., <i>chiie saicacu iǒni coieta</i> 'he + is superior to others in wisdom and industry.'<a name="NtA_186" + href="#Nt_186"><sup>[186]</sup></a></p> + + <p>Verbs of giving, promising, and the like, govern the accusative for + the thing and the dative for the person; e.g., <i>fito ni cane vo + cururu</i> 'to give money to someone.'<a name="NtA_187" + href="#Nt_187"><sup>[187]</sup></a></p> + + <p>There are many verbs which permit before themselves the roots of other + verbs without change, letting the roots take on the function of an + infinitive; e.g., <i>qiqi fajime,uru</i> 'to begin to hear.' Some of + these verbs are: <i>nare,uru</i> 'to become accustomed,' <i>tçuqe,uru</i> + with the same <span class="leftpage"><a name="lpage66"></a>(66</span> + meaning, <i>fate,tçuru</i> 'to finish,' <i>narai,ó</i> 'to learn,' + <i>some,uru</i> 'to begin,' <i>todoqe,uru</i> 'to continue,' + <i>ate,tçuru</i> 'to direct,' <i>atari,u</i> 'to find by chance,' + <i>vaqe,uru</i> 'to divide,' <i>cane,uru</i> 'to be able to do with + difficulty,' <i>soconai,ǒ</i> 'to be wrong,' <i>sumaxi,u</i> 'to + finish,' <i>sugoxi,u</i> 'to exceed,' <i>fague maxi,u</i> <!-- Page 174 + --><span class="pagenum"><a name="page174"></a>[174]</span>'to work much + and intensely,' <i>aqi,u</i> 'to become bored,' <i>tai</i> 'to want,' and + <i>tǒ mo nai</i> 'to not want.'<a name="NtA_188" + href="#Nt_188"><sup>[188]</sup></a> If the roots of verbs are placed + before certain adjectives ending in <i>i</i>, they form a kind of supine + in <i>Tu</i>; e.g., <i>iomi iasui</i> (92) 'easy to read (<i>facile + lectu</i>),' etc.</p> + + <p>A numeral, if a substantive noun is placed after it, must be in the + genitive case; e.g., <i>fitotçu no toga</i> 'one sin.' The same is true + with the particle <i>fodo</i> when it means 'all'; e.g., <i>aru fodo no + fito</i> 'how so ever many.' The same is true with <i>iori</i>; e.g., + <i>Nanban iori no mono</i> 'things from Europe.' But this is a relative + formation (<i>relatiuum</i>). The genitive is also required with nouns + that mean much or little; e.g., <i>amata no fito</i> 'many men.' These + nouns are; <i>bechi</i> 'other,' <i>fon</i> 'one's own,' <i>cazucazu</i> + 'many,' <i>sama zama</i> 'many ways.' <i>Iro iro</i> 'much' is the same + as <i>iorozzu</i> and <i>izzure</i>. <i>Issai</i> means 'all,' as does + <i>vono vono</i>, <i>cotogotoqu</i>, and <i>reqi reqi</i> for a noble + person, <i>igue</i> 'that which follows,' <i>nocori</i> 'that which + remains,' <i>itçumo</i> 'always,' <i>itçumo no coto</i> 'that which + always is,' <i>tçune</i> 'usual,' <i>ima</i> 'now.' <i>Isasaca</i> means + 'a little,' as does <i>soto</i> or <i>sucoxi</i>, <i>xotocu</i> + 'natural,' <i>sono foca</i> 'others.'<a name="NtA_189" + href="#Nt_189"><sup>[189]</sup></a> These nouns are in the genitive if + they are followed by a substantive noun, but when they are not followed + by a noun they must be taken as adjectives. If they are followed by a + verb rather than a noun, they do not require the genitive; e.g., + <i>iorozzu dancǒ xite iocarǒ</i> 'it will be good if you all + confer.'</p> + +<h2>Japanese Arithmetic and Numerical Matters<br /> +Concerning Which Much Painful<br /> +Labor Is Required</h2> + + <p>There are two ways to count in Japanese.<a name="NtA_190" + href="#Nt_190"><sup>[190]</sup></a> The first is with the ordinary + numerals which are called <i>iomi</i>. With these one is able to count to + ten; e.g., <i>fitotçu</i> means 'one,' which is also used to <span + class="leftpage"><a name="lpage67"></a>(67</span> say 'a little,' as in + <i>saqe fitotçu nomaxite tamǒre</i> 'give me a little sake to + drink.' <i>Futatçu</i> means 'two,' <i>mitçu</i> 'three,' <i>iotçu</i> + 'four,' <i>itçutçu</i> 'five,' <i>mutçu</i> 'six,' <i>nanatçu</i> + 'seven,' <i>iatçu</i> 'eight,' <i>coconotçu</i> 'nine,' and <i>tovo</i> + <!-- Page 175 --><span class="pagenum"><a + name="page175"></a>[175]</span>'ten.' <i>Icutçu</i> means 'what?' and is + used when one does not have the proper number.</p> + + <p>The second way of counting is with the <i>coie</i> vocables which are + borrowed from Chinese. These numbers are not used by themselves to count + to ten; but are rather used when counting things which are represented by + Chinese, and not Japanese vocables. These bound numerals (<i>termini + numerales</i>) are: <i>ichi</i> 'one,' <i>ni</i> 'two,' <i>san</i> + 'three,' <i>xi</i> 'four,' <i>go</i> 'five,' <i>rocu</i> 'six,' + <i>xichi</i> 'seven,' <i>fachi</i> 'eight,' <i>cu</i> 'nine,' <i>jú</i> + 'ten.' The numbers eleven and above are made by joining these numbers + together. Thus, 'eleven' is <i>jǔichi</i>; <i>júni</i> is 'twelve,' + <i>júsan</i> 'thirteen,' <i>júcu</i> 'ninteen.' The tens are obtained by + placing one of the numbers in front of ten; e.g., <i>nijú</i> 'twenty,' + <i>sanjú</i> 'thirty,' <i>sanjǔichi</i> 'thirty-one,' + <i>cujǔ</i> 'ninety.' <i>Fiacu</i> means 'hundred,' <i>fiacu + ichi</i> 'one hundred and one,' <i>fiacu jǔ</i> 'one hundred and + ten,' <i>fiacu sanjǔ</i> 'one hundred and thirty,' <i>ni fiacu</i> + 'two hundred,' <i>sambiacu</i> 'three hundred.' <i>Xen</i> means + 'thousand,' and <i>xen roppiacu sanjǔ ichi</i> is 'sixteen + thirty-one.'</p> + + <p>By placing the Japanese numerals in front of Japanese vocables, which + are called <i>iomi</i>, and by removing the <i>tçu</i> of the + aforementioned numbers before they are joined to nouns or verb stems, one + is able to enumerate those things which are indicated by the vocable; + e.g., <i>fito cotoba</i> 'one word,' <i>futa cotovari</i> 'two reasons,' + <i>mi ami</i> 'three nets, or three casts of the net,' <i>iocama</i> 'to + bake something four times in an oven,' <i>itçu caqe</i> 'five attacks,' + <i>mu casane</i> 'six robes, or covers,' <i>nana catana</i> 'seven wounds + by a sword,' <i>ia catague</i> 'eight loads,' <i>cu cavari</i><a + name="NtA_191" href="#Nt_191"><sup>[191]</sup></a> 'nine changes,' <i>to + cusa</i> 'ten varieties.' Above the number ten this way of counting is + not used, instead they say <i>iro júichi</i> or <i>júichi no iro</i> for + 'eleven colors.' The interrogative is <i>icutçu</i>. If the thing being + questioned is placed after the interrogative the particle <i>no</i> is + added; e.g., <i>itçucu no qi zo</i> [<i>icutçu</i> ...] 'how many trees + are there?' To such a question the answer is <i>futatçu</i> 'two,' + <i>mitçu</i> 'three,' etc. If the <i>tçu</i> is removed from + <i>icutçu</i>, one may place it in front of the thing being asked about; + e.g., <i>icu tocoro</i> 'how many places?' <i>icu toqi</i> 'how many + hours?'; also <i>fito fanaxi</i> 'one sermon, or conversation,' <i>futa + sugi</i> 'two treads,' <i>io te</i> 'four hands, as in a fight,' <i>itçu + tçubu</i> 'five grains,' <i>mu tocoro</i> 'six <span class="leftpage"><a + name="lpage68"></a>(68</span> places,' <i>ia mavari</i> 'six [eight] + circuits,' <i>cu ninai</i> 'nine loads, carried in <!-- Page 176 --><span + class="pagenum"><a name="page176"></a>[176]</span>the Japanese fashion on + a stick with the load in front,' <i>to vatari</i> 'ten crossings.' It is + possible to count the same thing in different ways. Thus, <i>mu + tocoro</i> is also <i>mutçu no tocoro</i> and <i>tocoro mutçu</i> 'six + places.' <i>Fito ie</i> means 'one plain thing,' <i>futa ie</i> 'doubled, + or duplicate,' <i>mi ie</i> 'triplicate,' etc. In the same way one may + add Chinese numerals to Chinese vocables, or <i>coie</i>. Usually in this + way of counting a [phonetic] change occurs in either the number or the + thing counted. Sometimes this change is in the first part, sometimes in + the second, and at other times in both. This is particularly true with + the first, second, third, sixth, tenth, and one hundredth numbers. With + the items below, if nothing is noted, it is an indication that nothing is + changed.</p> + + <p>When asking about men one says <i>icutari?</i> 'how many men?' The + response is made by adding <i>nin</i> to the Chinese numeral; e.g., + <i>ichi nin</i> 'one man,' <i>ni nin</i> 'two men,' <i>iottari</i> 'four + men'; this is because <i>xinin</i> means 'dead person.'</p> + + <p>When asking about days one says <i>icca</i> 'how many days?' The + response is <i>fi fitoi</i>,<a name="NtA_192" + href="#Nt_192"><sup>[192]</sup></a> because <i>ichi nichi</i> means 'one + entire solar day,' <i>futçuca</i> 'two days,' <i>micca</i> 'three days,' + <i>iocca</i> 'four days,' <i>itçuca</i> 'five days,' <i>muica</i> 'six + days,' <i>nanuca</i> 'seven days,' <i>iǒca</i> 'eight days,' + <i>coconoca</i> 'nine days,' <i>toca</i><a name="NtA_193" + href="#Nt_193"><sup>[193]</sup></a> 'ten days,' <i>fatçuca</i> 'twenty + days.' The remaining days are counted with <i>coie</i> numerals.</p> + + <p>When counting nights <i>ia</i> is added to the <i>coie</i> numerals; + e.g., <i>ichi ia</i> 'one night,' <i>ni ia</i> 'two nights,' etc. It is + also possible to add <i>io</i> which means 'night' in Japanese to the + <i>iomi</i> numeral; e.g., <i>icu io</i> 'how many nights?' <i>futa + io</i> 'two nights,' <i>nana io</i> 'seven nights,' etc.</p> + + <p>When enumerating the months of the year <i>guat</i> is added to the + <i>coie</i> numeral, with the exception that the first month is called + <i>xóguat</i>. The second is <i>niguat</i>, the third is <i>saguat</i>,<a + name="NtA_194" href="#Nt_194"><sup>[194]</sup></a> the fourth is + <i>xiguat</i>, the eleventh is <i>ximotçuqi</i>, and the twelfth and last + is <i>xi vasu</i>. When counting months the <i>tçu</i> is removed from + the <i>iomi</i> numeral and the word <i>tçuqi</i>, which means 'month,' + is added. <i>Icutçuqi?</i> means 'how many months.' In response one says + <i>fitotçuqi</i> 'one month,' up to ten which is <i>totçuqi</i>, and from + there on one counts with <i>coie</i> numerals; e.g., <i>júichiguat</i> + 'eleven months.' If one wants to ask what month it is, <!-- Page 177 + --><span class="pagenum"><a name="page177"></a>[177]</span>January, + February, one says <i>nanguat</i>. The first month of the <span + class="leftpage"><a name="lpage69"></a>(69</span> Japanese year is + March.</p> + + <p>In the enumeration of the years <i>nen</i> is placed after the + <i>coie</i> numeral. In asking how many, <i>nen</i> [<i>nan</i>] is + placed before <i>nen</i>; e.g., <i>nannen</i> 'how many years?' In + response one says <i>ichinen</i> 'one year,' <i>ionen</i> 'four years,' + <i>sanganen</i> 'three years,' <i>sǒ ionen</i><a name="NtA_195" + href="#Nt_195"><sup>[195]</sup></a> 'three or four years,' <i>sǒ + xijúnen</i> 'thirty or forty years,' <i>fatachi</i> means 'twenty years + of age,' as does <i>nijǔnen</i>, <i>nijǔ no toxi</i>, or + <i>toxi niju</i>. They ask with <i>icutoxi</i> or <i>toxi icutçu</i> 'how + old are you.' They count the age of men and animals such as cattle and + horses by adding <i>sai</i> to the <i>coie</i> numeral; e.g., + <i>issai</i> 'one,' <i>nisai</i> 'two,' <i>sanzai</i> 'three.'</p> + + <p>In counting turns (<i>visis</i>) <i>do</i> is added to the <i>coie</i> + numerals; e.g., <i>nando</i> 'how many times,' <i>ichido</i> 'once,' + <i>iodo</i> 'four times,' <i>godo</i> 'five times,' <i>sai san</i> 'twice + or thrice.'</p> + + <p>In the enumeration of ships <i>sô</i> is placed after the <i>coie</i> + numeral; e.g., <i>nanzo</i> [<i>nanzô</i>] 'how many ships,' to which one + answers <i>issô</i> 'one ship,' <i>niso</i> [<i>nisô</i>] 'two,' + <i>sanzô</i> 'three,' <i>fassô</i> 'eight,' <i>jússô</i> [<i>jissô</i>] + 'ten.'</p> + + <p><i>Ichiren</i> 'one string,' <i>niren</i> 'two,' <i>saren</i> 'three,' + as in figs or pearls.</p> + + <p>When enumerating sermons, homilies (<i>tractatus</i>), or repetitions + of things, <i>fen</i> is placed after the numeral; e.g., <i>ippen</i> + 'one sermon,' <i>nifen</i> 'two,' <i>sanben</i> 'three,' <i>ave maria + fiacu gojippen</i> 'one hundred and fifty Hail Mary's.'</p> + + <p>In counting gold currency <i>momme</i> is placed after the numeral; + e.g., <i>ichi momme</i> 'one <i>momme</i>,' <i>ni momme</i> 'two,' <i>san + mome</i> [<i>san momme</i>] 'three.' When a <i>momme</i> is divided into + tenths it is called an <i>ippun</i> [<i>fun</i>]. Thus, <i>ippun</i> + means one tenth part of a <i>momme</i>, <i>nifun</i> means 'two tenths,' + <i>gofun</i> means half the basic unit (<i>media dragma</i>), + <i>roppun</i> means 'six tenths of a <i>momme</i>.'</p> + + <p>When the tenth part of a <i>momme</i> is divided again into ten parts + it is counted as <i>ichirin</i>, <i>nirin</i>, <i>sarin</i>, + <i>iorin</i>, <i>gorin</i>, <i>rocurin</i>, <i>xichirin</i>, + <i>fachirin</i>, and <i>curin</i>. Then comes <i>ippun</i>, which is one + tenth of a <i>momme</i>. <i>Fiacu me</i> means 'one hundred + <i>momme</i>,' <i>fiacu ichi momme</i> 'one hundred and one,' <i>icquan + me</i> means 'one thousand <i>momme</i>,' <i>jicquanme</i> means 'ten + thousand.' There are other coins of silver which are counted by placing + <i>mai</i> or <i>mon</i> after the numeral; e.g., <i>ichi mon</i> means + one of <!-- Page 178 --><span class="pagenum"><a + name="page178"></a>[178]</span>that unit, <i>ni mon</i> is 'two,' <i>San + mai</i> is three hundred <i>mon</i>. They no longer produce a coin which + is one half of the gold coin, but one thousand of these coins make + <i>icquan</i>, while <i>jicquan</i> is 'ten <span class="leftpage"><a + name="lpage70"></a>(70</span> thousand <i>quan</i>.'<a name="NtA_196" + href="#Nt_196"><sup>[196]</sup></a></p> + + <p><i>Core va ica fodo ni suru</i> 'how much is this worth?' or <i>ica + fodo ni uru</i> 'at what price will you sell this?' <i>Ni momme suru</i> + 'I consider it worth two <i>momme</i>,' or <i>ni momme ni iasui</i> 'I + can sell this for more than two <i>momme</i>, or at two <i>momme</i> this + is cheap.'</p> + + <p>The enumeration of liquid measurements is done by placing the particle + <i>xô</i> in front of the liquid quantity; e.g., <i>ixxo</i> + [<i>ixxô</i>] 'one <i>xô</i>,' <i>nixo</i> [<i>nixô</i>] 'two,' + <i>sango</i> [<i>sanjô</i>] 'three.' Ten <i>xô</i> are <i>itto</i> which + is the particle <i>to</i> placed after the numeral; <i>nito</i> means + 'twenty <i>xô</i>,' <i>sando</i> 'thirty.' For one tenth of a <i>xô</i> + one places the particle <i>go</i> after the numeral; e.g., <i>Ichigo</i> + 'one <i>go</i>,' <i>nigo</i> 'two,' <i>sango</i> 'three,' <i>ixxô + gogo</i> 'one and one half <i>xô</i>.' <i>Fatto</i> is eighty <i>xô</i>. + One hundred <i>xô</i> make <i>ichi cocu</i>. By placing the <i>cocu</i> + after numerals one obtains <i>ni cocu</i> 'two hundred <i>xô</i>,' + <i>sangocu</i> 'three hundred,' <i>jiccocu</i> 'one thousand,' + <i>xencocu</i> 'ten thousand,' <i>ichi mangocu</i> 'one hundred + thousand.'</p> + + <p>The enumeration of the measurements of human height is achieved by + placing <i>fito</i> [<i>firo</i>] after the <i>iomi</i> numerals; e.g., + <i>fito firo</i> 'one <i>firo</i>,' <i>futa firo</i> 'two,' + <i>jippiro</i> 'ten.' The measurement of a span (<i>palmus</i>) is made + by adding <i>xacu</i> to the <i>coie</i> numerals; e.g., <i>ixxacu</i> + 'one span, or three spans by the Spanish measuring system,'<a + name="NtA_197" href="#Nt_197"><sup>[197]</sup></a> <i>sanjaku</i> + 'three.' <i>Goxacu</i> is the same as <i>fito firo</i> which is a + measurement we have referred to before. Six <i>xacu</i> make up a + measurement called <i>icqen</i> 'one <i>qen</i>,' <i>nicqen</i> + [<i>niqen</i>] 'two,' <i>jicqen</i> 'ten,' and <i>sanguen</i> 'three.' + From sixty of these measurements one makes a measurement called + <i>icchó</i>, that is 'one mountain path,' <i>nicchǒ</i> + [<i>nichǒ</i>] 'two,' <i>jichiǒ [jicchǒ]</i> 'ten,' + <i>sangiǒ</i> 'three.' From sixty-three [thirty-six] <i>chô</i>, as + measured in the northern part of Japan, one obtains <i>ichiri</i> which + is one league or one miliar. One enumerates by adding <i>ri</i> to the + <i>coie</i> numerals; e.g., <i>niri</i> 'two,' <i>sanri</i> 'three,' + <i>gori</i> 'five,' <i>júri</i> 'ten'; <i>iori</i> is 'four,' because + <i>xiri</i> means anus.<a name="NtA_198" + href="#Nt_198"><sup>[198]</sup></a> <i>Fan michi</i> <!-- Page 179 + --><span class="pagenum"><a name="page179"></a>[179]</span>means 'a half + of a league.' They say; <i>ioco fan miqi tate ichiri</i> [... + <i>michi</i> ...] 'a half a <i>ri</i> wide and one <i>ri</i> long,' + <i>faba icqen</i> 'the width is one <i>qen</i>,' <i>iofǒ futa + firo</i> 'two <i>hiro</i> on all sides.'</p> + + <p>The cardinal numbers first, second, etc. are made by adding <i>ban</i> + to the <i>coie</i> numerals; e.g., <i>ichi ban</i> 'first,' <i>ni ban</i> + 'second.' To these are also added <i>me</i>, as said before; e.g., <i>xi + ban me</i> '<span class="correction" title="text reads `forth'" + >fourth</span>.' One may also make the cardinal numbers by placing + <i>dai</i> in front of the <i>coie</i> <span class="leftpage"><a + name="lpage71"></a>(71</span> numerals; e.g., <i>daiichi</i> 'first,' + <i>daini</i> 'second,' etc.</p> + + <p>The enumeration of multiples is done by adding <i>bai</i> to the + numbers; e.g., <i>ichibai</i> 'double,' <i>nibai</i> 'triple,' + <i>sanbai</i> 'quadruple,'<a name="NtA_199" + href="#Nt_199"><sup>[199]</sup></a> <i>fiacu zobai</i> 'one hundred + fold.'</p> + + <p>The enumeration of the parts from the whole is done by placing + <i>buichi</i> after the numeral; e.g., <i>ni buichi</i> 'one from two + parts,' <i>san buichi</i> 'one from three parts.'</p> + + <p>To indicate one tenth <i>vari</i> is placed after the numeral; e.g., + <i>ichi vari</i> 'one from ten parts,' <i>xi vari gobu</i> 'four and one + half from ten parts.' <i>Jú buichi</i> is the same as <i>ichi + vari</i>.</p> + + <p>The enumeration of oars, muskets, and long things made of wood is done + by placing <i>chó</i> after the numerals; e.g., <i>icchó</i> 'one oar,' + <i>nichó</i> 'two,' <i>sangiǒ</i> 'three,' <i>jichó</i> + [<i>jicchó</i>] 'ten.'</p> + + <p>The enumeration of fish and fire wood is done by placing <i>con</i> + after the numerals;<a name="NtA_200" href="#Nt_200"><sup>[200]</sup></a> + e.g., <i>iccon</i>, 'one fish,' <i>sangon</i> 'three,' <i>jiccon</i> + 'ten,' <i>fiaccon</i> 'one hundred,' <i>fiacu gojǔ sangon</i> 'one + hundred and fifty-three.' This is the amount Saint Peter caught, and even + though he caught that number the net did not tear.</p> + + <p>The enumeration of leaves of paper and sheets of gold, etc. is done by + placing <i>mai</i> after the numeral; e.g., <i>ichimai</i> 'one leaf,' + <i>cami gomai</i> 'five leaves of paper.'</p> + + <p>The enumeration of the stories of a house is done by placing + <i>cai</i> after the numeral; e.g., <i>nicai</i> 'the first floor,' + <i>sangai</i> 'the second,' <i>xigai</i> 'the third,' <i>gocai</i> 'the + fourth,' when counted as in a house in Madrid.</p> + + <p>The enumeration of utensils and cups for drinking is done by placing + <i>fai</i> after the numeral; e.g., <i>ippai</i> 'one drink, or one + draught,' <i>nifai</i> 'two,' <i>sanbai</i> 'three,' <i>jippai</i> + 'ten.'</p> + +<p><!-- Page 180 --><span class="pagenum"><a name="page180"></a>[180]</span></p> + + <p>The enumeration of rolls of silk or the like is done by placing + <i>tan</i> after the numeral; e.g., <i>ittan</i> 'one roll,' <i>nitan</i> + 'two,' <i>sandan</i> 'three,' <i>jittan</i> 'ten.' <i>Xichitan bune</i> + is a ship with a sail seven <i>tan</i> wide.</p> + + <p>This is also said by adding <i>mai</i> to the numeral; e.g., + <i>gomai</i> 'five,' as in <i>gomai bune</i> 'a ship having a sail five + <i>mai</i> wide.'</p> + + <p>The enumeration of four-footed animals is done by placing <i>fiqi</i> + after the numeral; e.g., <i>ippiqi</i> 'one animal,' <i>nifiqi</i> 'two,' + <i>sanbiqi</i> 'three,' <i>roppiqi</i> 'six,' <i>jippiqi</i> 'ten,' + <i>fiappiqi</i> 'one hundred,' <i>xenbiqi</i> 'one thousand.'</p> + + <p>The enumeration of images, pictures, and medicines is done <span + class="leftpage"><a name="lpage72"></a>(72</span> by placing <i>fucu</i> + after the numeral; e.g., <i>ippucu</i> 'one item,' <i>nifucu</i> 'two,' + <i>sanbucu</i> 'three,' <i>roppucu</i> 'six,' <i>jippucu</i> 'ten.' + Needles are also counted this way.</p> + + <p>The enumeration of pounds (<i>libra</i>) is done by placing <i>qin</i> + after the numeral; e.g., <i>icqin</i> 'one pound,' <i>niqin</i> 'two,' + <i>sanguin</i> 'three,' <i>rocqin</i> 'six,' <i>jicqin</i> 'ten,' + <i>fiacqin</i> 'one hundred,' <i>xenqin</i> 'one thousand.'</p> + + <p>The enumeration of masses and congregations of men is done by placing + <i>za</i> after the numeral; e.g., <i>ichiza</i> 'one congregation,' + <i>niza</i> 'two,' <i>sanza</i> 'three,' <i>jǔza</i>, or better + <i>toza</i> 'ten.'</p> + + <p>The enumeration of sacks of rice, wheat, and the like, is done by + placing <i>fiô</i> after the numeral; e.g., <i>ippiô</i> 'one sack,' + <i>nifiô</i> 'two,' <i>sanbiô</i> 'three,' <i>xifio</i> [<i>xifiô</i>] + 'four,' <i>roppio</i> [<i>roppiô</i>] 'six,' <i>jippio</i> + [<i>jippiô</i>] 'ten,' <i>fiiappio</i> [<i>fiappiô</i>] 'one hundred,' + <i>xembiô</i> [<i>xenbiô</i>] 'one thousand.'</p> + + <p>The enumeration of pieces of wood, reeds, and needles is done by + placing <i>fon</i> after the numeral; e.g., <i>ippon</i> 'one item,' + <i>nifon</i> 'two,' <i>sanbon</i> 'three,' <i>roppon</i> 'six,' + <i>jippon</i> 'ten,' <i>fiappon</i> 'one hundred,' <i>xenbon</i> 'one + thousand.'</p> + + <p>The enumeration of bundles (<i>fasciculus</i>) is done by placing + <i>va</i> after the numeral; e.g., <i>ichiva</i> 'one bundle,' + <i>niva</i> 'two,' <i>sanba</i> 'three,' <i>jippa</i> 'ten,' + <i>júichiva</i> 'eleven,' <i>ni jippa</i> 'twenty.'</p> + + <p>The enumeration of burdens or the packs that horses carry is done by + placing <i>só</i> after the numeral; e.g., <i>issó</i> 'one burden,' + <i>nisǒ</i> 'two,' <i>sanzó</i> 'three,' <i>jissǒ</i> 'ten.' + In the same way one counts those furnishings called <i>biǒbu</i>; + two or a pair from a set is called <i>issó</i>, etc.</p> + + <p>The enumeration of that which in the vernacular is called a quire of + paper (<i>mano de papel</i>) is done by placing <i>giô</i> after the + numeral; e.g., <i>ichigio</i> [<i>ichigiô</i>] 'one quire,' <i>nigio</i> + [<i>nigiô</i>] 'two,' <i>sangiô</i> 'three,' so on <!-- Page 181 --><span + class="pagenum"><a name="page181"></a>[181]</span>to ten. Units of ten + are counted by adding <i>socu</i> to the numeral; e.g., <i>issocu</i> + 'ten quires, or what in the vernacular is called a half ream (<i>media + resma</i>),' <i>nisocu</i> 'twenty, or an entire ream.' With this + particle <i>socu</i> added to numerals one also counts pairs of shoes; + e.g., <i>issocu</i> 'a pair of shoes.'</p> + + <p>The enumeration of substance (<i>substantia</i>) is done by placing + <i>tai</i> after the numeral; e.g., <i>ittai</i> 'one substance,' + <i>nitai</i> 'two,' <i>sandai</i> 'three.' <i>Deus no von tocoro va + goittai de gozaru</i> 'God as God is of one substance and one + essence.'</p> + + <p>The enumeration of the divisions in a writing (<i>capitulum</i>) is + done by placing <i>cagiô</i> after the numeral; e.g., <i>iccagiô</i> 'one + chapter,' <span class="leftpage"><a name="lpage73"></a>(73</span> + <i>nicagio</i> [<i>nicagiô</i>] 'two,' <i>sangagio</i> [<i>sangagiô</i>] + 'three,' <i>roccagio</i> [<i>roccagiô</i>] 'six,' <i>fiaccagio</i> + [<i>fiaccagiô</i>] 'one hundred.'</p> + + <p>The enumeration of drops is done by placing <i>teqi</i> after the + numeral; e.g., <i>itteqi</i> 'one drop,' <i>jitteqi</i> 'ten.' The same + meaning is obtained by adding <i>xizzucu</i> to the <i>iomi</i> numeral; + e.g., <i>fito xizzucu</i> 'one drop,' etc. In this case the <i>tçu</i> + must be removed from the numeral.</p> + + <p>The enumeration of the pairs of small sticks (<i>paxillus</i>) with + which they eat is done by placing <i>tçui</i> after the numeral; e.g., + <i>itçui</i> [<i>ittçui</i>] 'one pair,' <i>jittçui</i> 'ten.'</p> + + <p>The enumeration of bundles is done by placing <i>ca</i> after the + numeral; e.g., <i>icca</i> 'one bundle,' <i>nica</i> 'two,' <i>sanga</i> + 'three.'</p> + + <p>The enumeration of books is done by placing <i>quan</i> after the + numeral; e.g., <i>icquan</i> 'one book,' <i>niquan</i> 'two,' + <i>sanguan</i> 'three,' <i>roquan</i> [<i>rocquan</i>] 'six,' + <i>jiquan</i> [<i>jicquan</i>] 'ten.'</p> + + <p>With the interrogative <i>nan</i>, when it is placed before one of + these nouns, it changes it in the same way as does the number three; + e.g., <i>ano mmadomo va nanbiki zo?</i> 'how many horses are there?'</p> + + <p>The enumeration of kingdoms (<i>regnum</i>) is done by placing + <i>cacocu</i> after the numeral; e.g., <i>iccacocu</i> 'one kingdom,' + <i>nicacocu</i> 'two,' <i>sangacocu</i> 'three,' <i>jiccacocu</i> 'ten.' + Kingdoms are divided into provinces or districts called <i>gun</i>, and + this word also is placed after the numeral; e.g., <i>ichigun</i> 'one + province,' <i>nigun</i> 'two,' <i>sangun</i> 'three,' etc.</p> + + <p>Sermons and exhortations are enumerated by placing <i>dan</i> after + the numeral; <i>ichidan</i> 'one sermon, or assembly.' Words are + enumerated by <!-- Page 182 --><span class="pagenum"><a + name="page182"></a>[182]</span>placing <i>gon</i> or <i>guen</i> after + the numeral; e.g., <i>ichigon</i> 'one word,' <i>sanguen</i> 'three + words.'</p> + + <p>Placing the particle <i>zzutçu</i> after either <i>coie</i> or + <i>iomi</i> numerals gives the meaning of 'each'; e.g., <i>ichinin ni uxi + sanbiki zzutçu vo toraxeta</i> 'he let the men have three oxen each,' + <i>ichinin zzutçu saqe sanbai zzutçu vo nomareta</i> 'each man drank + three sake each.'</p> + + <p>In speaking of two or three things separately, they join the two + numbers; e.g., <i>xigonin</i> 'four or five men,' from which others may + be copied.</p> + + <p>The honorific particles are four; <i>vo</i>, <i>von</i>, <i>go</i>, + and <i>mi</i>.<a name="NtA_201" href="#Nt_201"><sup>[201]</sup></a> The + first two are joined to <i>iomi</i> vocables. The last two are joined to + <i>coie</i>, or Chinese vocables. The last is the most honorific and is + used when speaking of things divine; e.g., <i>midexi tachi</i> 'disciples + of Christ the Lord,' <i>goichinin vocoite cudasarei</i> 'please send one + from among the Lords.'</p> + + <p>The words which follow have honorific particles that have <span + class="leftpage"><a name="lpage74"></a>(74</span> been added by the + speaker. However, the honor is shown to the person addressed or to those + related to him; e.g., <i>go focô</i> [<i>go fôcô</i>] 'a duty,' <i>von + furu mai</i> 'a banquet,' <i>von cotoba</i> 'a word, or a sermon,' <i>von + mono gatari</i> 'a conversation,' <i>von natçucaxij</i> or <i>von nocori + vovoi</i> which mean the same as what the Portuguese call <i>saudades</i> + (nostalgia) and the Spanish call <i>carino</i> (affection), <i>von tori + avaxe</i> 'intercession,' <i>von mi mai</i> 'a visit,' <i>von cha</i> + 'that which one drinks when they invite you,' <i>go dancó</i> 'a + consultation or congregation for the purpose of obtaining advice,' <i>von + rei</i> 'an act of gratitude,' <i>von busata</i> 'a lapse of good + manners,' <i>vo motenaxi</i> 'to treat well and elegantly,' <i>go + chiso</i> [<i>go chisô</i>] 'esteem,' <i>go iqen</i> 'an opinion,' e.g., + <i>fabacari nagara go iqen vo mǒxitai</i> 'forgive me but I would + like to give you some advice,' etc.</p> + +<h2>Some Rules on the Conjugation of the Verb<br /> +in the Written Language</h2> + + <p>If the final <i>u</i> is removed from the negative present it becomes + an affirmative verb; e.g., <i>oracio vo tçutomen toqi va</i> 'when I say + my prayers,' <!-- Page 183 --><span class="pagenum"><a + name="page183"></a>[183]</span><i>xosa no tçutomen tame ni va</i> 'in + order to execute the work,' <i>michibiqi tamavan to voboximexi</i> + 'thinking of leading forth.'<a name="NtA_202" + href="#Nt_202"><sup>[202]</sup></a></p> + + <p>For the affirmative future <i>beqi</i> is added to the affirmative + form with the <i>ru</i> removed; for the future negative <i>becarazu</i> + is added to the affirmative form; e.g., <i>mǒsu beqi</i> 'you will + speak,' <i>mósu becarazu</i> 'you will not speak.' When the sentence ends + in the future, <i>beqi</i> is changed to <i>bexi</i>.</p> + + <p>The infinitive for the future is formed by adding <i>coto</i> to the + future tense; e.g., <i>iomu beqi coto</i>. The subjunctive is formed by + adding <i>qereba</i> to the root of the verb; e.g., <i>sugure + qereba</i>.</p> + + <p>The gerund in <i>Do</i> is formed by adding <i>te</i> to the root of + the verb; e.g., <i>qiqi tamaite</i>.</p> + + <p>The substantive verb in the written language is <i>nari,u</i> or + <i>qeri,u</i>. If it comes at the end of the sentence it takes the root + form;<a name="NtA_203" href="#Nt_203"><sup>[203]</sup></a> e.g., + <i>sadame naqi io no ixei nari</i> 'it is the dignity of a world without + stability.'</p> + + <p>The preterit is formed by adding <i>ari,u</i> [<i>tari,u</i>] to the + root; e.g., <i>suguretaru</i>. If the form comes at the end of a sentence + <i>ari,u</i> <span class="leftpage"><a name="lpage75"></a>(75</span> + [<i>tari,u</i>] is retained in the root form; e.g., + <i>suguretari</i>.</p> + + <p>The pluperfect is formed by placing <i>nari</i> after the present + tense; e.g., <i>ague tamǒ nari</i> 'they had shown respect.'</p> + + <p>Even though there are other rules for the written language, if the + reader knows Japanese well enough to read books, he will be able to + progress in the language without difficulty.</p> + +<h3><i>PRAISE BE TO GOD</i></h3> + +<hr class="full" > + +<p><!-- Page 185 --><span class="pagenum"><a name="page185"></a>[185]</span></p> + +<h2>Works Consulted</h2> + + <p>Alvarez, Manuel (Emmanuel Alvarus), <i>De Institutione Grammatica, + Libri III</i>, Lisbon, 1572. (Also Amakusa, 1594. Cf. <i>Laures</i> + #14.)</p> + + <p>Collado, Diego, O.P., <i>Ars Grammaticae Iaponicae Linguae</i>, Rome, + 1632. (Trans. by Ōtsuka Takanobu as <i>Koiyaado-chō Nippon + bunten</i>, 1934 and revised as <i>Koryaado Nihon bunten</i>, 1957. Cf. + <i>Laures</i> #54.)</p> + + <p>Collado, Diego, O.P., <i>Dictionarium sive Thesauri Linguae Iaponicae + Compendium</i>, Rome, 1632. (Edited by Ōtsuka Mitsunobu as + <i>Koryaado Ra-Su-Nichi jiten</i>, 1966. Cf. <i>Laures</i> #56.)</p> + + <p>Collado, Diego, O.P., <i>Niffon no cotõba ni yô confesion</i>, Rome, + 1632. (Transcribed by Ōtsuka Mitsunobu as <i>Koryaado + zangeroku</i>, 1957. Cf. <i>Laures</i> #56.)</p> + + <p>Doi Tadao <a href="images/kana1.png">[Japanese]</a>, <i>Kirishitan + gogaku no kenkyū</i> <a href="images/kana2.png">[Japanese]</a>, + Tokyo, 1971.</p> + + <p>Doi Tadao <a href="images/kana1.png">[Japanese]</a>, "Koryaado Nihon + bunten no seiritsu <a href="images/kana3.png">[Japanese]</a>," <i>Nihon + gogaku shinkō iinkai kenyū hōkoku</i>, #3, 1941.</p> + + <p>Doi Tadao <a href="images/kana1.png">[Japanese]</a>, ed., <i>Nippo + jisho</i> <a href="images/kana4.png">[Japanese]</a>, Tokyo, 1960. + (Japanese edition of the <i>Vocabulario</i>.)</p> + + <p>Doi Tadao <a href="images/kana1.png">[Japanese]</a>, trs., + <i>Rodorigesu Nihon daibunten</i> <a + href="images/kana5.png">[Japanese]</a> Tokyo, 1955. (Trans. of Rodriguez' + <i>Arte</i>.)</p> + + <p>Fukushima Kunimichi <a href="images/kana6.png">[Japanese]</a>, + <i>Kirishitan Shiryō to kokugo kenkyū</i> <a + href="images/kana7.png">[Japanese]</a>, Tokyo, 1973.</p> + + <p>Hashimoto Shinkichi <a href="images/kana8.png">[Japanese]</a>, + <i>Kirishitan kyōgi no kenkyū</i> <a + href="images/kana9.png">[Japanese]</a>, Tokyo, 1928.</p> + + <p>Iwai Yoshio <a href="images/kana10.png">[Japanese]</a>, + <i>Nihongohō-shi: Muromachi-jidai hen</i> <a + href="images/kana11.png">[Japanese]</a> Tokyo, 1973.</p> + + <p>Laures, Johannes, S.J., <i>Kirishitan Bunko</i>, Tokyo, 1957.</p> + + <p>Lebrija, Antonio (Antonius Nebrissensis), <i>Introductiones + Latinae</i>, Salamanca, 1481.</p> + + <p>Moran, Joseph F., <i>A Commentary on the Arte Breve da Lingoa Iapoa of + João Rodriguez, S.J.: With Particular Reference to Pronunciation</i>, + Unpublished doctoral thesis, Oxford, 1971.</p> + + <p>Ōtomo Shin'ichi <a href="images/kana12.png">[Japanese]</a>, + <i>Muromachi-jidai no kokugo-onsei no kenkyū</i> <a + href="images/kana13.png">[Japanese]</a>, Tokyo, 1963.</p> + + <p>Ōtsuka Mitsunobu <a href="images/kana14.png">[Japanese]</a>, + ed., <i>Koryaado Ra-Su-Nichi jiten</i> <a + href="images/kana15.png">[Japanese]</a>, Tokyo, 1966. (Japanese edition + of Collado's <i>Dictionarium</i>.)</p> + + <p>Ōtsuka Mitsunobu <a href="images/kana14.png">[Japanese]</a>, + ed., <i>Koryaado zangeroku</i> <a + href="images/kana16.png">[Japanese]</a>, Tokyo, 1957. (Japanese edition + of Collado's <i>Confesion</i>.)</p> + +<p><!-- Page 186 --><span class="pagenum"><a name="page186"></a>[186]</span></p> + + <p>Ōtsuka Takanobu <a href="images/kana17.png">[Japanese]</a>, tr., + <i>Koiyaado-chō Nihongo bunten</i> <a + href="images/kana18.png">[Japanese]</a>, Tokyo, 1934. (Revised as + <i>Koryaado Nihon bunten</i> <a href="images/kana19.png">[Japanese]</a>, + Tokyo, 1957. Translation of Collado's <i>Ars Grammaticae</i>.)</p> + + <p>Rodriguez, João, S.J., <i>Arte Breve da Lingoa Iapoa</i>, Macao, 1620. + (Cf. <i>Laures</i> #35.)</p> + + <p>Rodriguez, João, S.J., <i>Arte da Lingoa de Iapam</i>, Nagasaki, + 1604-1608. (Translated by Doi Tadao as <i>Rodorigesu Nihon daibunten</i>, + 1955. Cf. <i>Laures</i> #28.)</p> + + <p>Rodriguez, João, S.J., ed., <i>Vocabulario da Lingoa de Iapam</i>, + Nagasaki, 1603-1604. (Edited by Doi Tadao as <i>Nippo Jisho</i>, 1960. + Cf. <i>Laures</i> #27.)</p> + + <p>Thurot, Charles, <i>Extraits de divers manuscrits Latins pour servir a + l'historie des doctrines grammaticales au moyen-age</i>, Paris, 1869.</p> + + <p>Yuzawa Kōkichirō <a + href="images/kana20.png">[Japanese]</a>, <i>Muromachi-jidai gengo no + Kenkyū</i> <a href="images/kana21.png">[Japanese]</a>, Tokyo, + 1958.</p> + +<hr class="full" > + +<p><!-- Page 187 --><span class="pagenum"><a name="page187"></a>[187]</span></p> + +<h3>Index To Grammatical Categories</h3> + + <p>The list which follows refers to the location of the general + categories defined by Collado's description of Japanese. A broader + classification of the grammar will be found in the table of contents + while the specific grammatical elements are listed in the index which + follows.</p> + + <div class="poem"> + <div class="stanza"> + <p>ablative (<i>see</i> cases)</p> + <p>accusative (<i>see</i> cases)</p> + <p>adjectival roots <a href="#page114">114</a>, <a href="#page116">116</a>, <a href="#page138">138</a>, <a href="#page139">139</a></p> + <p>adjectives <a href="#page114">114</a>-<a href="#page117">117</a>, <a href="#page138">138</a>, <a href="#page139">139</a></p> + <p>adjectives, conditional <a href="#page139">139</a></p> + <p class="i2">gerund <a href="#page138">138</a></p> + <p class="i2">negative <a href="#page138">138</a>, <a href="#page139">139</a></p> + <p class="i2">permissive <a href="#page138">138</a></p> + <p>adverbial roots <a href="#page115">115</a>, <a href="#page139">139</a>, <a href="#page162">162</a></p> + <p>adverbs <a href="#page156">156</a>-<a href="#page164">164</a></p> + <p>adverbs, accumulative <a href="#page162">162</a></p> + <p class="i2">affirmative <a href="#page160">160</a></p> + <p class="i2">comparative <a href="#page161">161</a></p> + <p class="i2">conclusive <a href="#page163">163</a></p> + <p class="i2">exaggerative <a href="#page162">162</a></p> + <p class="i2">exclamatory <a href="#page163">163</a></p> + <p class="i2">intensifying <a href="#page162">162</a></p> + <p class="i2">interrogative <a href="#page159">159</a></p> + <p class="i2">locational <a href="#page156">156</a></p> + <p class="i2">negative <a href="#page160">160</a></p> + <p class="i2">superlative <a href="#page162">162</a></p> + <p class="i2">temporal <a href="#page159">159</a></p> + <p>adversitive (<i>see</i> particles)</p> + <p>alternative (<i>see</i> particles)</p> + <p>arithmetic <a href="#page174">174</a>-<a href="#page182">182</a></p> + <p>auxiliaries <a href="#page145">145</a>-<a href="#page147">147</a>, <a href="#page149">149</a></p> + <p>auxiliaries, emphatic <a href="#page149">149</a></p> + <p class="i2">humble <a href="#page147">147</a></p> + <p class="i2">honorific <a href="#page145">145</a>, <a href="#page146">146</a>, <a href="#page147">147</a></p> + </div> + + <div class="stanza"> + <p>cases <a href="#page111">111</a>-<a href="#page113">113</a></p> + <p>cases, ablative <a href="#page113">113</a></p> + <p class="i2">accusative <a href="#page112">112</a></p> + <p class="i2">dative <a href="#page112">112</a></p> + <p class="i2">genitive <a href="#page112">112</a>, <a href="#page174">174</a></p> + <p class="i2">nominative <a href="#page111">111</a></p> + <p class="i2">vocative <a href="#page113">113</a></p> + <p>causative (<i>see</i> verbs)</p> + <p>conditional (<i>see</i> moods)</p> + <p>confirmation (<i>see</i> particles)</p> + <p>conjugations <a href="#page166">166</a>, <a href="#page167">167</a></p> + <p>comparatives <a href="#page161">161</a></p> + <p>copulas <a href="#page137">137</a></p> + <p>copulas, negative <a href="#page137">137</a></p> + </div> + + <div class="stanza"> + <p>dative (<i>see</i> cases)</p> + <p>deciderative (<i>see</i> particles)</p> + <p>disjunctive (<i>see</i> particles)</p> + <p>disjunctive constructions <a href="#page167">167</a></p> + <p>distributive (<i>see</i> particles)</p> + <p>dubitive (<i>see</i> particles)</p> + </div> + + <div class="stanza"> + <p>emphatic (<i>see</i> particles)</p> + <p>exclamatory (<i>see</i> adverbs, particles)</p> + </div> + + <div class="stanza"> + <p>future tense (<i>see</i> verbs)</p> + </div> + + <div class="stanza"> + <p>genitive (<i>see</i> cases)</p> + <p>gerund (<i>see</i> verbs)</p> + </div> + + <div class="stanza"> + <p>honorific (<i>see</i> auxiliaries, particles, verbs)</p> + </div> + + <div class="stanza"> + <p>imperative (<i>see</i> moods)</p> + <p>imperfect aspect (<i>see</i> verbs)</p> + <p>infinitive (<i>see</i> verbs)</p> + <p>intensifier (<i>see</i> particles)</p> + <p>interjections <a href="#page126">126</a>, <a href="#page132">132</a>, <a href="#page167">167</a>, <a href="#page168">168</a></p> + <p>interrogative (<i>see</i> particles)</p> + <p>irregular verbs (<i>see</i> verbs)</p> + </div> + + <div class="stanza"> + <p>moods <a href="#page125">125</a>-<a href="#page142">142</a></p> + <p>moods, conditional <a href="#page139">139</a>, <a href="#page140">140</a></p> + <p class="i2">imperative <a href="#page125">125</a>, <a href="#page126">126</a>, <a href="#page132">132</a>, <a href="#page135">135</a>-<a href="#page137">137</a></p> + <p class="i2">optative <a href="#page126">126</a>, <a href="#page132">132</a></p> + <p class="i2">permissive <a href="#page127">127</a>-<a href="#page129">129</a>, <a href="#page133">133</a>, <a href="#page138">138</a>, <a href="#page139">139</a>, <a href="#page155">155</a></p> + <p class="i2">potential <a href="#page140">140</a>, <a href="#page141">141</a></p> + <p class="i2">subjunctive <a href="#page127">127</a>, <a href="#page128">128</a>, <a href="#page131">131</a>-<a href="#page133">133</a>, <a href="#page138">138</a>, <a href="#page153">153</a></p> + </div> + + <div class="stanza"> + <p>negative (<i>see</i> verbs)</p> + <p>neutral (<i>see</i> verbs)</p> + <p>nominalizers (<i>see</i> particles)</p> + <p>nominative (<i>see</i> cases)</p> + <p>nouns <a href="#page111">111</a>-<a href="#page118">118</a></p> + </div> + + <div class="stanza"> + <p>optative (<i>see</i> moods, particles)</p> + </div> + + <div class="stanza"> + <p>participle (<i>see</i> verbs)</p> + <p>particles <a href="#page113">113</a>-<a href="#page120">120</a>, <a href="#page148">148</a>-<a href="#page156">156</a>, <a href="#page164">164</a>-<a href="#page168">168</a>, <a href="#page182">182</a></p> + <p>particles, adversative <a href="#page150">150</a>, <a href="#page153">153</a>, <a href="#page154">154</a></p> + <p class="i2">alternative <a href="#page152">152</a></p> + <p class="i2">deciderative <a href="#page126">126</a>, <a href="#page153">153</a></p> +<!-- Page 188 --><span class="pagenum"><a name="page188"></a>[188]</span> + <p class="i2">disjunctive <a href="#page167">167</a></p> + <p class="i2">distributive <a href="#page120">120</a>, <a href="#page157">157</a></p> + <p class="i2">dubitive <a href="#page162">162</a>, <a href="#page163">163</a></p> + <p class="i2">emphatic <a href="#page124">124</a>, <a href="#page125">125</a>, <a href="#page149">149</a>, <a href="#page167">167</a>, <a href="#page150">150</a></p> + <p class="i2">exclamatory <a href="#page163">163</a></p> + <p class="i2">honorific <a href="#page118">118</a>, <a href="#page119">119</a>, <a href="#page146">146</a>, <a href="#page147">147</a>, <a href="#page182">182</a></p> + <p class="i2">intensive <a href="#page120">120</a>, <a href="#page148">148</a>, <a href="#page149">149</a>, <a href="#page162">162</a>, <a href="#page163">163</a>, <a href="#page164">164</a></p> + <p class="i2">interrogative <a href="#page156">156</a>, <a href="#page159">159</a>, <a href="#page163">163</a>, <a href="#page168">168</a></p> + <p class="i2">nominalizing <a href="#page117">117</a></p> + <p class="i2">optative <a href="#page126">126</a>, <a href="#page132">132</a></p> + <p class="i2">pejorative <a href="#page119">119</a>, <a href="#page120">120</a></p> + <p class="i2">permissive <a href="#page128">128</a>, <a href="#page133">133</a></p> + <p class="i2">pluralizing <a href="#page113">113</a>, <a href="#page114">114</a>, <a href="#page118">118</a>, <a href="#page119">119</a></p> + <p class="i2">presumptive <a href="#page170">170</a></p> + <p class="i2">quotative <a href="#page168">168</a>, <a href="#page170">170</a>, <a href="#page171">171</a></p> + <p class="i2">temporal <a href="#page149">149</a>, <a href="#page154">154</a>, <a href="#page159">159</a></p> + <p>particles of manner <a href="#page153">153</a>, <a href="#page154">154</a></p> + <p>particles of possibility <a href="#page153">153</a></p> + <p>particles of similarity <a href="#page149">149</a>, <a href="#page150">150</a>, <a href="#page161">161</a></p> + <p>passive (<i>see</i> verbs)</p> + <p>perfect aspect (<i>see</i> verbs)</p> + <p>pejorative (<i>see</i> particles)</p> + <p>permissive (<i>see</i> moods, particles)</p> + <p>pluralizers (<i>see</i> particles)</p> + <p>pluperfect tense (<i>see</i> verbs)</p> + <p>possibility (<i>see</i> particles)</p> + <p>potential (<i>see</i> moods, verbs)</p> + <p>prepositions <a href="#page164">164</a>, <a href="#page165">165</a>, <a href="#page166">166</a></p> + <p>present tense (<i>see</i> verbs)</p> + <p>presumptive (<i>see</i> particles)</p> + <p>preterit tense (<i>see</i> verbs)</p> + <p>pronouns <a href="#page118">118</a>-<a href="#page122">122</a></p> + <p>pronouns, first person <a href="#page118">118</a>, <a href="#page119">119</a></p> + <p class="i2">second person <a href="#page119">119</a></p> + <p class="i2">third person <a href="#page120">120</a>, <a href="#page121">121</a></p> + </div> + + <div class="stanza"> + <p>quotative (<i>see</i> particles)</p> + </div> + + <div class="stanza"> + <p>relative constructions <a href="#page122">122</a></p> + </div> + + <div class="stanza"> + <p>subjunctive (<i>see</i> moods, particles)</p> + <p>substantive verbs (<i>see</i> copulas)</p> + <p>superlatives <a href="#page162">162</a></p> + <p>supine (<i>see</i> verbs)</p> + <p>syntax <a href="#page168">168</a>-<a href="#page174">174</a></p> + </div> + + <div class="stanza"> + <p>temporal (<i>see</i> particles, adverbs)</p> + </div> + + <div class="stanza"> + <p>verbal roots <a href="#page123">123</a>, <a href="#page131">131</a>, <a href="#page134">134</a>-<a href="#page136">136</a></p> + <p>verbs <a href="#page123">123</a>-<a href="#page156">156</a></p> + <p>verbs, causative <a href="#page143">143</a></p> + <p class="i2">future <a href="#page125">125</a>, <a href="#page135">135</a>-<a href="#page137">137</a></p> + <p class="i2">gerund <a href="#page129">129</a>, <a href="#page130">130</a>, <a href="#page134">134</a>, <a href="#page138">138</a>, <a href="#page154">154</a>, <a href="#page155">155</a>, <a href="#page174">174</a>, <a href="#page183">183</a></p> + <p class="i2">honorific <a href="#page145">145</a>-<a href="#page147">147</a></p> + <p class="i2">imperfect <a href="#page152">152</a></p> + <p class="i2">infinitive <a href="#page128">128</a>-<a href="#page130">130</a>, <a href="#page133">133</a></p> + <p class="i2">irregular <a href="#page141">141</a>, <a href="#page142">142</a></p> + <p class="i2">negative, future <a href="#page132">132</a>, <a href="#page133">133</a>, <a href="#page141">141</a></p> + <p class="i4">pluperfect <a href="#page132">132</a>, <a href="#page136">136</a></p> + <p class="i4">present <a href="#page131">131</a>, <a href="#page136">136</a></p> + <p class="i4">preterit <a href="#page131">131</a></p> + <p class="i2">neutral <a href="#page172">172</a></p> + <p class="i2">participle <a href="#page131">131</a>, <a href="#page134">134</a></p> + <p class="i2">passive <a href="#page143">143</a>, <a href="#page172">172</a></p> + <p class="i2">perfect <a href="#page124">124</a>, <a href="#page137">137</a></p> + <p class="i2">pluperfect <a href="#page125">125</a></p> + <p class="i2">potential <a href="#page144">144</a></p> + <p class="i2">present <a href="#page123">123</a>, <a href="#page134">134</a>, <a href="#page135">135</a></p> + <p class="i2">preterit <a href="#page124">124</a>, <a href="#page134">134</a>-<a href="#page137">137</a></p> + <p class="i2">supine <a href="#page130">130</a>, <a href="#page131">131</a>, <a href="#page156">156</a></p> + </div> + + <div class="stanza"> + <p>vocative (<i>see</i> cases)</p> + </div> + + <div class="stanza"> + <p>written style <a href="#page182">182</a>, <a href="#page183">183</a></p> + </div> + </div> +<hr class="full" > + +<p><!-- Page 189 --><span class="pagenum"><a name="page189"></a>[189]</span></p> + +<h3>Index to Grammatical Elements</h3> + + <p>There follows a list of those elements which Collado describes in his + grammar. To a certain degree I have regularized his morphophonological + analysis. For example, the preterit permissive form, described by Collado + as <i>redomo</i> after a preterit verb, is cross-listed as <i>-ta + redomo</i> in order to bring together morphologically similar forms. All + forms occurring in the text with the honorific <i>gozaru</i>, etc. are + indexed as <i>aru</i>, etc. For example, the element found in + <i>aguenande gozaru</i> 'I have not offered' will be indexed under + <i>-nande aru</i>. As a general rule in this index items beginning with a + hyphen are classified as endings, while the remaining items are + particles.</p> + + <p>The spelling used in this index is that of the original. Those readers + more familiar with the modified Hepburn system of romanization, as + reflected in Kenkyūsha's Dictionary, will find the following + simplified chart of help. Syllables presented in <i>Kenkyūsha</i> + as beginning with the following initial letters will have the + corresponding spellings in Collado's grammar:</p> + + +<table class="allb" summary="Collado vs. Hepburn" title="Collado vs. Hepburn"> + <tr> + <td class="allb" style="vertical-align:middle; text-align:left"> + <p><i>e = ie</i></p> + <p><i>o = vo</i></p> + </td> + <td class="allb" style="vertical-align:middle; text-align:left" rowspan="2"> + <p><i>k = ca, qi, cu, qe, co</i></p> + <p><i>s = sa, xi, su, xe, so</i></p> + <p><i>z = za, ji, zu, je, zo</i></p> + <p><i>t = ta, chi, tçu, te, to</i></p> + <p><i>d = da, gi, zzu, de, do</i></p> + </td> + </tr> + + <tr> + <td class="allb" style="vertical-align:middle; text-align:left"> + <p><i>h = f</i></p> + <p><i>y = i</i></p> + <p><i>w = v</i></p> + </td> + </tr> +</table> + + <p>The citations are numbered according to their location in the + translation and are limited to those places where the element is + explained or used to demonstrate a grammatical point.</p> + + <p>The following abbreviations are used:</p> + + +<table width="60%" class="nob" summary="Abbreviations" title="Abbreviations"> + <tr> + <td class="single" style="vertical-align:middle; text-align:left; width:8%"> + <p>abl.</p> + <p>adj.</p> + <p>adv.</p> + <p>advers.</p> + <p>acc.</p> + <p>aff.</p> + <p>alt.</p> + <p>aux.</p> + <p>concl.</p> + <p>cond.</p> + <p>conj.</p> + <p>const.</p> + <p>cop.</p> + <p>dat.</p> + <p>disj.</p> + <p>dist.</p> + <p>dub.</p> + <p>emph.</p> + </td> + <td class="single" style="text-align:left; width:25%"> + <p>ablative</p> + <p>adjective</p> + <p>adverb</p> + <p>adversitive</p> + <p>accusative</p> + <p>affirmative</p> + <p>alternative</p> + <p>auxiliary verb</p> + <p>conclusive</p> + <p>conditional</p> + <p>conjunction</p> + <p>construction</p> + <p>copula</p> + <p>dative</p> + <p>disjunctive</p> + <p>distributive</p> + <p>dubitive</p> + <p>emphatic</p> + </td> + <td class="single" style="text-align:left; width:8%"> + <p>excl.</p> + <p>fut.</p> + <p>gen.</p> + <p>ger.</p> + <p>hon.</p> + <p>imp.</p> + <p>ind.</p> + <p>inf.</p> + <p>interj.</p> + <p>interr.</p> + <p>intens.</p> + <p>irr.</p> + <p>loc.</p> + <p>n.</p> + <p>neg.</p> + <p>nom.</p> + <p>opt.</p> + <p>p.</p> + </td> + <td class="single" style="text-align:left; width:25%"> + <p>exclamatory</p> + <p>future</p> + <p>genitive</p> + <p>gerund</p> + <p>honorific</p> + <p>imperative</p> + <p>indicative</p> + <p>infinitive</p> + <p>interjection</p> + <p>interrogative</p> + <p>intensive</p> + <p>irregular</p> + <p>locative</p> + <p>noun</p> + <p>negative</p> + <p>nominative</p> + <p>optative</p> + <p>particle</p> + </td> + <td class="single" style="text-align:left; width:8%"> + <p>part.</p> + <p>perf.</p> + <p>perm.</p> + <p>pot.</p> + <p>plup.</p> + <p>prep.</p> + <p>pres.</p> + <p>pret.</p> + <p>pron.</p> + <p>quot.</p> + <p>subj.</p> + <p>temp.</p> + <p>v.</p> + <p>voc.</p> + <p>writ.</p> + <p>1st</p> + <p>2nd</p> + <p>3rd</p> + </td> + <td class="single" style="text-align:left; width:25%"> + <p>participle</p> + <p>perfect</p> + <p>permissive</p> + <p>potential</p> + <p>pluperfect</p> + <p>preposition</p> + <p>present</p> + <p>preterit</p> + <p>pronoun</p> + <p>quotative</p> + <p>subjunctive</p> + <p>temporal</p> + <p>verb</p> + <p>vocative</p> + <p>written style</p> + <p>1st conjugation</p> + <p>2nd conjugation</p> + <p>3rd conjugation</p> + </td> + </tr> +</table> + +<p><!-- Page 190 --><span class="pagenum"><a name="page190"></a>[190]</span></p> + + <div class="poem"> + <div class="stanza"> + <p><i>-aba</i> (cond., 2nd) <a href="#page139">139</a></p> + <p><i>-ai</i> (adj.) <a href="#page114">114</a>, <a href="#page138">138</a></p> + <p><i>-ai</i> (imp.) <a href="#page135">135</a>, n. <a href="#Nt_91">91</a></p> + <p><i>-ai</i> (v. root, 3rd) <a href="#page135">135</a></p> + <p><i>ai</i> (emph.) <a href="#page149">149</a></p> + <p><i>ai</i> (hort.) <a href="#page163">163</a></p> + <p><i>aidani</i> (temp.) <a href="#page149">149</a></p> + <p><i>-ananda</i> (neg. pret., 2nd) <a href="#page135">135</a></p> + <p><i>-anu</i> (neg. pres., 2nd) <a href="#page135">135</a></p> + <p><i>arisama</i> (p. of manner) <a href="#page154">154</a></p> + <p><i>ari,u</i> (hon. aux.) <a href="#page145">145</a>, <a href="#page146">146</a></p> + <p><i>arui va</i> (conj.) <a href="#page166">166</a></p> + <p><i>avare</i> (interj.) <a href="#page168">168</a>;</p> + <p class="i2">(w. opt.) <a href="#page126">126</a>, <a href="#page132">132</a></p> + <p><i>-azu</i> (neg. root, 2nd) <a href="#page135">135</a></p> + </div> + + <div class="stanza"> + <p><i>-ba</i> (cond.) <a href="#page139">139</a></p> + <p><i>-ba atte mo</i> (advers.) <a href="#page153">153</a></p> + <p><i>bacari</i> (intens.) <a href="#page164">164</a></p> + <p><i>-baia</i> (w. fut.) <a href="#page125">125</a></p> + <p><i>-ba tote</i> (perm.) <a href="#page133">133</a></p> + <p><i>baxi</i> (dub.) <a href="#page163">163</a></p> + <p><i>becarazu</i> (neg. fut., writ.) <a href="#page183">183</a></p> + <p><i>beqi</i> (fut., writ.) <a href="#page183">183</a></p> + <p><i>beqi coto</i> (fut. inf., writ.) <a href="#page183">183</a></p> + <p><i>bexi</i> (fut., writ.) <a href="#page183">183</a></p> + </div> + + <div class="stanza"> + <p><i>ca</i> (interr.) <a href="#page156">156</a>, <a href="#page163">163</a>;</p> + <p class="i2">(temp.) <a href="#page159">159</a>;</p> + <p class="i2">(conj.) <a href="#page167">167</a></p> + <p><i>cai-</i> (intens.) <a href="#page149">149</a></p> + <p><i>caia</i> (interr.) <a href="#page163">163</a></p> + <p><i>cana</i> (interj.) <a href="#page168">168</a></p> + <p><i>canavanu</i> (w. const. showing necessity) <a href="#page155">155</a></p> + <p><i>cara</i> (nom.) <a href="#page111">111</a>;</p> + <p class="i2">(abl.) <a href="#page113">113</a>;</p> + <p class="i2">(w. subj.) <a href="#page127">127</a>;</p> + <p class="i2">(w. neutral v.) <a href="#page172">172</a>;</p> + <p class="i2">(w. passive v.) <a href="#page172">172</a></p> + <p><i>-carananda</i> (neg. pret. adj.) <a href="#page139">139</a></p> + <p><i>-caranu</i> (neg. pres. adj.) <a href="#page139">139</a></p> + <p><i>-carazu</i> (neg. adj. root) <a href="#page139">139</a></p> + <p><i>-catte</i> (neg. adj. ger.) <a href="#page138">138</a></p> + <p><i>caxi</i> (w. opt.) <a href="#page126">126</a>, <a href="#page132">132</a>;</p> + <p class="i2">(w. subj.) <a href="#page128">128</a></p> + <p><i>coso</i> (advers.) <a href="#page150">150</a>;</p> + <p class="i2">(w. ind. ending in <i>-e</i>) <a href="#page150">150</a>;</p> + <p class="i2">(neg. meaning w. aff. ger.) <a href="#page154">154</a></p> + <p><i>coto</i> (w. inf.) <a href="#page129">129</a>, <a href="#page133">133</a>;</p> + <p class="i2">(w. pot.) <a href="#page154">154</a></p> + <p><i>coto gia</i> (p. w. no special meaning) <a href="#page152">152</a></p> + <p><i>coto mo arózu</i> (w. pot.) <a href="#page141">141</a></p> + </div> + + <div class="stanza"> + <p><i>-da</i> (see <i>-ta</i>)</p> + <p><i>-dari</i> (see <i>-tari</i>)</p> + <p><i>-de</i> (see <i>-te</i>)</p> + <p><i>de</i> (prep.) <a href="#page165">165</a>, <a href="#page166">166</a>;</p> + <p class="i2">(w. subj.) <a href="#page127">127</a>, <a href="#page153">153</a></p> + <p><i>-demo</i> (see <i>-temo</i>)</p> + <p><i>dógu</i> (nominalizer) <a href="#page117">117</a></p> + <p><i>-domo</i> (perm.) <a href="#page127">127</a>, <a href="#page133">133</a>, <a href="#page138">138</a></p> + <p><i>domo</i> (p. of necessity) <a href="#page155">155</a></p> + <p><i>domo</i> (n. pluralizer) <a href="#page113">113</a>, <a href="#page114">114</a>, <a href="#page119">119</a></p> + </div> + + <div class="stanza"> + <p><i>-e</i> (ind. w. <i>coso</i>) <a href="#page150">150</a></p> + <p><i>-e</i> (see <i>-te</i>)</p> + <p><i>-e</i> (v. root, 1st) <a href="#page123">123</a></p> + <p><i>-e</i> (imp.) <a href="#page135">135</a>, <a href="#page136">136</a>, <a href="#page137">137</a></p> + <p><i>-eba</i> (pres. cond., 1st) <a href="#page139">139</a></p> + <p><i>-edomo</i> (see <i>redomo</i>)</p> + <p><i>-ei</i> (adj.) <a href="#page114">114</a>, <a href="#page138">138</a></p> + <p><i>-enu</i> (neg. pres., 1st) <a href="#page131">131</a></p> + <p><i>-eô</i> (adv.) <a href="#page115">115</a>, <a href="#page156">156</a></p> + <p><i>-eô</i> (fut., 1st) <a href="#page125">125</a></p> + <p><i>-eôda</i> (pret., 1st) <a href="#page135">135</a></p> + <p><i>-ezu</i> (neg. v. root, 1st) <a href="#page131">131</a></p> + </div> + + <div class="stanza"> + <p><i>faia</i> (emph.) <a href="#page124">124</a>, <a href="#page125">125</a></p> + <p><i>faxi-</i> (intens.) <a href="#page149">149</a></p> + <p><i>fito</i> (w. part.) <a href="#page131">131</a>, <a href="#page134">134</a></p> + <p><i>fodo</i> (w. gen.) <a href="#page174">174</a></p> + <p><i>furi-</i> (p. of similarity) <a href="#page150">150</a></p> + </div> + + <div class="stanza"> + <p><i>ga</i> (nom.) <a href="#page111">111</a>;</p> + <p class="i2">(gen.) <a href="#page112">112</a>;</p> + <p class="i2">(acc.) <a href="#page112">112</a>;</p> + <p class="i2">(w. inf.) <a href="#page129">129</a>;</p> + <p class="i2">(in relative const.) <a href="#page122">122</a></p> + <p><i>ga</i> (intens. w. pron.) <a href="#page120">120</a></p> + <p><i>ga</i> (conj.) <a href="#page148">148</a></p> + <p><i>ga gotoqu</i> (p. of similarity) <a href="#page149">149</a></p> + <p><i>gana</i> (w. opt.) <a href="#page126">126</a>, <a href="#page132">132</a></p> + <p><i>go</i> (hon.) <a href="#page182">182</a></p> + <p><i>goto</i> (dist.) <a href="#page120">120</a></p> + <p><i>goto</i> (nominalizer) <a href="#page117">117</a></p> + <p><i>gotoqu</i> (p. of similarity) <a href="#page150">150</a>, <a href="#page161">161</a></p> + <p><i>guena</i> (presumptive) <a href="#page170">170</a></p> + </div> + + <div class="stanza"> + <p><i>ha</i> (interj.) <a href="#page168">168</a></p> + <p><i>hat</i> (interj.) <a href="#page168">168</a></p> + </div> + + <div class="stanza"> + <p><i>-i</i> (adj.) <a href="#page116">116</a></p> + <p><i>-i</i> (imp.) <a href="#page135">135</a>, <a href="#page136">136</a></p> +<!-- Page 191 --><span class="pagenum"><a name="page191"></a>[191]</span> + <p><i>-i</i> (v. root, 2nd) <a href="#page134">134</a></p> + <p><i>-i</i> (irr. v. root, 1st) <a href="#page123">123</a></p> + <p><i>ia</i> (excl.) <a href="#page163">163</a></p> + <p><i>ia</i> (interj.) <a href="#page168">168</a></p> + <p><i>iai</i> (excl.) <a href="#page163">163</a></p> + <p><i>iara</i> (interj.) <a href="#page168">168</a>;</p> + <p class="i2">(w. disj. const.) <a href="#page167">167</a></p> + <p><i>iare</i> (excl.) <a href="#page163">163</a></p> + <p><i>-iasui</i> (w. supine) <a href="#page156">156</a></p> + <p><i>icani</i> (voc.) <a href="#page113">113</a>;</p> + <p class="i2">(w. plurals) <a href="#page113">113</a></p> + <p><i>-i caxi</i> (perm.) <a href="#page129">129</a></p> + <p><i>-ide</i> (neg. ger.) <a href="#page134">134</a></p> + <p><i>-ide arózu</i> (neg. plup. showing completed action) <a href="#page137">137</a></p> + <p><i>-ide aru</i> (neg. plup.) <a href="#page132">132</a></p> + <p><i>-ide atta</i> (neg. plup.) <a href="#page132">132</a></p> + <p><i>-ide canavanu</i> (ending showing necessity) <a href="#page155">155</a></p> + <p><i>-idemo</i> (neg. fut. perm.) <a href="#page133">133</a>, <a href="#page154">154</a></p> + <p><i>-ide naranu</i> (ending showing necessity) <a href="#page155">155</a></p> + <p><i>-ide nochi</i> (neg. ger.) <a href="#page134">134</a></p> + <p><i>-ide va</i> (ending showing necessity) <a href="#page155">155</a></p> + <p><i>ie</i> (acc.) <a href="#page112">112</a>;</p> + <p class="i2">(dat.) <a href="#page112">112</a>;</p> + <p class="i2">(prep.) <a href="#page165">165</a>;</p> + <p class="i2">(w. subj.) <a href="#page127">127</a></p> + <p><i>ie</i> (w. neg. possibility) <a href="#page153">153</a></p> + <p><i>ie,uru</i> (aux. of neg. possibility) <a href="#page152">152</a></p> + <p><i>iei</i> (interr.) <a href="#page168">168</a></p> + <p><i>igo</i> (w. subj.) <a href="#page127">127</a></p> + <p><i>-ij</i> (adj.) <a href="#page114">114</a>, <a href="#page138">138</a></p> + <p><i>io</i> (intens.) <a href="#page163">163</a></p> + <p><i>io</i> (imp.) <a href="#page125">125</a></p> + <p><i>ió</i> (p. of manner) <a href="#page153">153</a></p> + <p><i>io caxi</i> (w. opt.) <a href="#page126">126</a></p> + <p><i>ióni</i> (w. inf.) <a href="#page129">129</a>;</p> + <p class="i2">(w. quot.) <a href="#page170">170</a></p> + <p><i>iori</i> (nom.) <a href="#page111">111</a>;</p> + <p class="i2">(abl.) <a href="#page113">113</a>;</p> + <p class="i2">(w. inf.) <a href="#page130">130</a>;</p> + <p class="i2">(w. ger.) <a href="#page174">174</a>;</p> + <p class="i2">(w. comparative const.) <a href="#page161">161</a>;</p> + <p class="i2">(w. relative const.) <a href="#page122">122</a></p> + <p><i>iori mo</i> (w. comparative const.) <a href="#page161">161</a></p> + <p><i>iori mo nao</i> (w. comparative const.) <a href="#page161">161</a></p> + <p><i>-i tomo</i> (perm. adj.) <a href="#page138">138</a></p> + <p><i>-iú</i> (adv.) <a href="#page115">115</a>, <a href="#page156">156</a></p> + </div> + + <div class="stanza"> + <p><i>jibun</i> (w. ger.) <a href="#page130">130</a></p> + </div> + + <div class="stanza"> + <p><i>ma-</i> (v. intensifier) <a href="#page149">149</a></p> + <p><i>macari-</i> (p. showing modesty) <a href="#page149">149</a></p> + <p><i>made</i> (prep.) <a href="#page166">166</a></p> + <p><i>made gia</i> (p. w. no special meaning) <a href="#page152">152</a></p> + <p><i>madeio</i> (w. perm.) <a href="#page128">128</a>, <a href="#page133">133</a>;</p> + <p class="i2">(p. of confirmation) <a href="#page152">152</a></p> + <p><i>mai</i> (dist.) <a href="#page120">120</a></p> + <p><i>mai</i> (neg. fut.) <a href="#page132">132</a></p> + <p><i>mai coto</i> (neg. fut. inf.) <a href="#page133">133</a></p> + <p><i>mai coto mo arózu</i> (neg. fut. pot.) <a href="#page141">141</a></p> + <p><i>maieni</i> (w. neg. v.) <a href="#page133">133</a></p> + <p><i>mai mono</i> (neg. ger.) <a href="#page134">134</a></p> + <p><i>mai mono vo</i> (neg. opt.) <a href="#page132">132</a></p> + <p><i>mai qereba</i> (neg. subj.) <a href="#page133">133</a></p> + <p><i>mai qeredomo</i> (neg. perm.) <a href="#page133">133</a>, <a href="#page155">155</a></p> + <p><i>mairaxi,u</i> (hon. aux.) <a href="#page147">147</a></p> + <p><i>mai tomo</i> (neg. fut. perm.) <a href="#page133">133</a></p> + <p><i>mai tote</i> (neg. ger.) <a href="#page134">134</a></p> + <p><i>maji</i> (neg. fut., cf. <i>mai</i>) <a href="#page132">132</a></p> + <p><i>maji qere</i> (neg. cond.) <a href="#page139">139</a></p> + <p><i>majiqu va</i> (neg. cond.) <a href="#page140">140</a></p> + <p><i>mamaio</i> (w. perm.) <a href="#page128">128</a>, <a href="#page133">133</a></p> + <p><i>maraxi,u</i> (hon. aux.) <a href="#page145">145</a></p> + <p><i>mata</i> (conj.) <a href="#page166">166</a></p> + <p><i>mata va</i> (conj.) <a href="#page166">166</a></p> + <p><i>me</i> (pejorative, w. pron.) <a href="#page119">119</a>, <a href="#page120">120</a></p> + <p><i>me</i> (p. showing terminus of action) <a href="#page117">117</a></p> + <p><i>me-</i> (feminine) <a href="#page114">114</a></p> + <p><i>mega</i> (pejorative, w. pron.) <a href="#page119">119</a>, <a href="#page120">120</a></p> + <p><i>mexi-</i> (hon.) <a href="#page147">147</a></p> + <p><i>mi-</i> (hon.) <a href="#page118">118</a>, <a href="#page182">182</a></p> + <p><i>mo</i> (conj.) <a href="#page166">166</a>;</p> + <p class="i2">(dist.) <a href="#page157">157</a>;</p> + <p class="i2">(advers. w. ger.) <a href="#page154">154</a>;</p> + <p class="i2">(w. subj.) <a href="#page128">128</a></p> + <p><i>mono</i> (p. showing performer of action) <a href="#page117">117</a></p> + <p><i>mono</i> (w. part.) <a href="#page131">131</a>, <a href="#page134">134</a>;</p> + <p class="i2">(w. pot.) <a href="#page141">141</a></p> + <p><i>mono de arózu</i> (w. cond.) <a href="#page141">141</a></p> + <p><i>mono vo</i> (w. opt.) <a href="#page126">126</a>, <a href="#page132">132</a></p> + <p><i>motte</i> (emph.) <a href="#page167">167</a></p> + <p><i>moxi</i> (excl.) <a href="#page163">163</a></p> + <p><i>moxi va</i> (conj.) <a href="#page166">166</a></p> + </div> + + <div class="stanza"> + <p><i>-n</i> (pres., writ.) <a href="#page182">182</a></p> + <p><i>na</i> (concl.) <a href="#page163">163</a></p> + <p><i>na</i> (neg. imp.) <a href="#page132">132</a>, <a href="#page137">137</a></p> +<!-- Page 192 --><span class="pagenum"><a name="page192"></a>[192]</span> + <p><i>na</i> (adj.) <a href="#page115">115</a>, <a href="#page117">117</a>, <a href="#page138">138</a></p> + <p><i>na caxi</i> (neg. opt.) <a href="#page132">132</a></p> + <p><i>-nagara</i> (ger.) <a href="#page155">155</a></p> + <p><i>nal coto mo arózu</i> (neg. pot. w. adj.) <a href="#page141">141</a></p> + <p><i>-naide</i> (neg. ger.) <a href="#page134">134</a></p> + <p><i>-naide cara</i> (neg. ger.) <a href="#page134">134</a></p> + <p><i>-naidemo</i> (neg. perf. perm.) <a href="#page133">133</a></p> + <p><i>nama</i> (p. showing incomplete action) <a href="#page148">148</a></p> + <p><i>-nanda</i> (neg. pret.) <a href="#page132">132</a></p> + <p><i>-nanda coto</i> (neg. pret. inf.) <a href="#page133">133</a></p> + <p><i>-nanda mono</i> (neg. ger.) <a href="#page134">134</a></p> + <p><i>-nanda mono de arózu</i> (neg. perf. pot.) <a href="#page141">141</a></p> + <p><i>-nandaraba</i> (neg. perf. cond.) <a href="#page139">139</a></p> + <p><i>-nanda reba</i> (neg. perf. subj.) <a href="#page133">133</a></p> + <p><i>-nanda reba tote</i> (neg. perf. perm.) <a href="#page133">133</a></p> + <p><i>-nanda redomo</i> (neg. perf. subj.) <a href="#page133">133</a></p> + <p><i>-nanda ritomo</i> (neg. perf. perm.) <a href="#page133">133</a></p> + <p><i>-nanda to</i> (neg. perf. inf.) <a href="#page133">133</a></p> + <p><i>-nande aru</i> (neg. plup.) <a href="#page132">132</a></p> + <p><i>-nande atta</i> (neg. plup.) <a href="#page132">132</a></p> + <p><i>-nanzzu ró</i> (neg. perf. pot.) <a href="#page141">141</a></p> + <p><i>-naraba</i> (cond.) <a href="#page139">139</a></p> + <p><i>naranu</i> (w. const. showing necessity) <a href="#page155">155</a></p> + <p><i>nari,u</i> (pot. aux. w. adj.) <a href="#page141">141</a></p> + <p><i>nasare,uru</i> (hon. aux.) <a href="#page145">145</a></p> + <p><i>na ... so</i> (neg. imp.) <a href="#page132">132</a>, <a href="#page137">137</a></p> + <p><i>-neba</i> (neg. subj.) <a href="#page132">132</a></p> + <p><i>-neba tote</i> (neg. perm.) <a href="#page133">133</a></p> + <p><i>-nedomo</i> (neg. perm.) <a href="#page133">133</a></p> + <p><i>negavacu va</i> (w. opt.) <a href="#page126">126</a>, <a href="#page132">132</a></p> + <p><i>ni</i> (dat.) <a href="#page112">112</a>;</p> + <p class="i2">(abl.) <a href="#page113">113</a>;</p> + <p class="i2">(prep.) <a href="#page164">164</a>, <a href="#page165">165</a>;</p> + <p class="i2">(w. ger.) <a href="#page130">130</a>, <a href="#page134">134</a>;</p> + <p class="i2">(w. cond.) <a href="#page138">138</a>;</p> + <p class="i2">(w. subj.) <a href="#page127">127</a>;</p> + <p class="i2">(w. supine) <a href="#page130">130</a>, <a href="#page131">131</a>;</p> + <p class="i2">(w. passive v.) <a href="#page172">172</a>;</p> + <p class="i2">(adv. form of <i>na</i>) <a href="#page121">121</a></p> + <p><i>ni iotte</i> (prep.) <a href="#page164">164</a>;</p> + <p class="i2">(w. indefinite pron.) <a href="#page121">121</a></p> + <p><i>ni itatte</i> (prep.) <a href="#page165">165</a></p> + <p><i>ni tai xite</i> (prep.) <a href="#page164">164</a></p> + <p><i>ni tçuite</i> (prep.) <a href="#page164">164</a>;</p> + <p class="i2">(w. inf.) <a href="#page130">130</a></p> + <p><i>ni totte</i> (prep.) <a href="#page165">165</a></p> + <p><i>ni va</i> (w. cond.) <a href="#page139">139</a></p> + <p><i>ni voite va</i> (prep.) <a href="#page165">165</a>;</p> + <p class="i2">(w. cond.) <a href="#page139">139</a>, <a href="#page140">140</a></p> + <p><i>ni xitagatte</i> (prep.) <a href="#page165">165</a></p> + <p><i>ni xitagóte</i> (see <i>ni xitagatte</i>)</p> + <p><i>ni xite</i> (w. ger.) <a href="#page130">130</a>, <a href="#page138">138</a></p> + <p><i>no</i> (nom.) <a href="#page111">111</a>;</p> + <p class="i2">(gen.) <a href="#page112">112</a>;</p> + <p class="i2">(w. quote.) <a href="#page171">171</a>;</p> + <p class="i2">(to form adj.) <a href="#page114">114</a>;</p> + <p class="i2">(in relative const.) <a href="#page122">122</a></p> + <p><i>nó</i> (p. of confirmation) <a href="#page163">163</a></p> + <p><i>nochi</i> (w. subj.) <a href="#page127">127</a></p> + <p><i>no gotoqu</i> (prep., dialect) <a href="#page166">166</a></p> + <p><i>no iori</i> (prep.) <a href="#page165">165</a></p> + <p><i>-nu</i> (neg. pres., 1st) <a href="#page131">131</a></p> + <p><i>-nu madeio</i> (neg. pres. perm., 1st) <a href="#page133">133</a></p> + <p><i>-nu maie ni</i> (w. aff. meaning) <a href="#page151">151</a></p> + <p><i>-nu mamaio</i> (neg. pres. perm., 1st) <a href="#page133">133</a></p> + </div> + + <div class="stanza"> + <p><i>o</i> (form of <i>vo</i> after <i>n</i>) <a href="#page171">171</a></p> + <p><i>-ó</i> (pres., 3rd) <a href="#page135">135</a></p> + <p><i>-ó</i> (fut., 2nd) <a href="#page135">135</a>;</p> + <p class="i2">(fut. imp., 2nd) <a href="#page135">135</a></p> + <p><i>-ó</i> (adv.) <a href="#page115">115</a>, <a href="#page156">156</a></p> + <p><i>-ô</i> (pres., 3rd) <a href="#page136">136</a></p> + <p><i>-ô</i> (fut., 1st) <a href="#page125">125</a>;</p> + <p class="i2">(fut. imp., 1st) <a href="#page125">125</a></p> + <p><i>-ô</i> (adv.) <a href="#page115">115</a>, <a href="#page156">156</a></p> + <p><i>-ô coto</i> (fut. inf., 1st) <a href="#page129">129</a></p> + <p><i>-ô coto mo arózu</i> (fut. pot., 1st) <a href="#page141">141</a></p> + <p><i>-óda</i> (pret., 2nd) <a href="#page134">134</a></p> + <p><i>-ôda</i> (pret., 2nd) <a href="#page134">134</a></p> + <p><i>-ô fito</i> (fut. part., 1st) <a href="#page131">131</a></p> + <p><i>-oi</i> (adj.) <a href="#page114">114</a>, <a href="#page138">138</a></p> + <p><i>-oi</i> (v. root, 3rd) <a href="#page135">135</a></p> + <p><i>-ô mono</i> (fut. part., 1st) <a href="#page131">131</a></p> + <p><i>-ô ni</i> (ger., 1st) <a href="#page130">130</a></p> + <p><i>-ô tame</i> (ger., 1st) <a href="#page130">130</a></p> + <p><i>-óte</i> (adj. ger.) <a href="#page138">138</a></p> + <p><i>-ôte</i> (adj. ger.) <a href="#page138">138</a></p> + <p><i>-ô to</i> (fut. inf., 1st) <a href="#page129">129</a></p> + <p><i>-ô toqi</i> (fut. subj., 1st) <a href="#page127">127</a></p> + <p><i>-ô tote</i> (ger., 1st) <a href="#page130">130</a></p> + <p><i>-ó xite</i> (adj. ger.) <a href="#page138">138</a></p> + <p><i>-ôzu</i> (fut., 2nd) <a href="#page135">135</a></p> + <p><i>-ôzu</i> (imp., 1st) <a href="#page125">125</a></p> + <p><i>-ôzu mono vo</i> (perf. opt., 1st) <a href="#page126">126</a></p> + <p><i>-ôzure</i> (fut., 1st, w. <i>coso</i>) <a href="#page151">151</a></p> + <p><i>-ôzuru</i> (fut., 2nd) <a href="#page135">135</a></p> +<!-- Page 193 --><span class="pagenum"><a name="page193"></a>[193]</span> + <p><i>-ôzuru</i> (fut., 1st) <a href="#page125">125</a></p> + <p><i>-ôzuru coto no saqi ni</i> (plup. subj., 1st) <a href="#page128">128</a></p> + <p><i>-ôzuru ni</i> (plup. subj., 1st) <a href="#page128">128</a></p> + <p><i>-ôzuru tocoro ni</i> (plup. subj., 1st) <a href="#page128">128</a></p> + <p><i>-ôzu tomo</i> (fut. perm., 1st) <a href="#page128">128</a></p> + </div> + + <div class="stanza"> + <p><i>qere</i> (p. of confirmation) <a href="#page150">150</a></p> + <p><i>qereba</i> (w. subj.) <a href="#page133">133</a>, <a href="#page138">138</a></p> + <p><i>qeredomo</i> (w. perm.) <a href="#page133">133</a>, <a href="#page139">139</a></p> + <p><i>-qi</i> (adj.) <a href="#page116">116</a></p> + <p><i>qiri,u</i> (emph. aux.) <a href="#page149">149</a></p> + <p><i>-qu</i> (adj. root) <a href="#page138">138</a></p> + <p><i>-qu tomo</i> (adj. perm.) <a href="#page138">138</a></p> + <p><i>-qu va</i> (adj. cond.) <a href="#page139">139</a></p> + <p><i>-qu xite</i> (adj. ger.) <a href="#page138">138</a></p> + </div> + + <div class="stanza"> + <p><i>ra</i> (pluralizer) <a href="#page113">113</a>, <a href="#page114">114</a>, <a href="#page118">118</a>, <a href="#page119">119</a></p> + <p><i>-raba</i> (cond.) <a href="#page139">139</a></p> + <p><i>-rare,uru</i> (pot., 1st) <a href="#page144">144</a>;</p> + <p class="i2">(hon., 1st) <a href="#page145">145</a>;</p> + <p class="i2">(passive, 1st) <a href="#page143">143</a></p> + <p><i>-re,uru</i> (pot., w. 2nd & 3rd) <a href="#page144">144</a>;</p> + <p class="i2">(hon., w. 2nd & 3rd) <a href="#page145">145</a>, <a href="#page147">147</a>;</p> + <p class="i2">(passive, w. 2nd & 3rd) <a href="#page143">143</a></p> + <p><i>-re</i> (pret. ending after <i>coso</i>, see <i>-tare</i>) <a href="#page150">150</a></p> + <p><i>-reba</i> (subj., 1st) <a href="#page127">127</a></p> + <p><i>reba</i> (w. perf. subj.) <a href="#page132">132</a>;</p> + <p class="i2">(w. cop.) <a href="#page138">138</a></p> + <p><i>-redomo</i> (perm., 1st) <a href="#page128">128</a></p> + <p><i>redomo</i> (w. perf. perm.) <a href="#page133">133</a>;</p> + <p class="i2">(w. inf.) <a href="#page130">130</a>;</p> + <p class="i2">(w. cop.) <a href="#page138">138</a></p> + <p><i>-ri</i> (alt.) <a href="#page152">152</a></p> + <p><i>ritomo</i> (w. perf. perm.) <a href="#page128">128</a>, <a href="#page133">133</a></p> + <p><i>ró</i> (pot.) <a href="#page140">140</a></p> + <p><i>-ru</i> (see <i>-uru</i>)</p> + </div> + + <div class="stanza"> + <p><i>sa</i> (nominalizer for adj.) <a href="#page117">117</a></p> + <p><i>sai</i> (imp.) <a href="#page126">126</a></p> + <p><i>saie</i> (emph.) <a href="#page150">150</a>;</p> + <p class="i2">(w. cond.) <a href="#page140">140</a>;</p> + <p class="i2">(w. neg. const.) <a href="#page150">150</a></p> + <p><i>sama</i> (prep., dialect) <a href="#page166">166</a></p> + <p><i>sama</i> (temp.) <a href="#page154">154</a></p> + <p><i>sama</i> (hon.) <a href="#page119">119</a></p> + <p><i>saqini</i> (w. neg. v.) <a href="#page151">151</a></p> + <p><i>saraba</i> (conj.) <a href="#page167">167</a></p> + <p><i>sareba sareba</i> (conj.) <a href="#page167">167</a></p> + <p><i>sari nagara</i> (conj.) <a href="#page167">167</a></p> + <p><i>satemo</i> (interj.) <a href="#page167">167</a></p> + <p><i>satemo satemo</i> (interj.) <a href="#page167">167</a></p> + <p><i>sate sate</i> (interj.) <a href="#page167">167</a></p> + <p><i>-saxe,uru</i> (causative) <a href="#page143">143</a></p> + <p><i>saxemaxi,u</i> (hon. aux.) <a href="#page145">145</a></p> + <p><i>-saxerare,uru</i> (hon.) <a href="#page146">146</a></p> + <p><i>só aru tocoro de</i> (conj.) <a href="#page167">167</a></p> + <p><i>sóna</i> (p. of presumption) <a href="#page170">170</a></p> + </div> + + <div class="stanza"> + <p><i>-ta</i> (pret., 1st) <a href="#page124">124</a>, <a href="#page134">134</a>, <a href="#page136">136</a>;</p> + <p class="i2">(w. adj. function) <a href="#page116">116</a></p> + <p><i>-tacatta</i> (pret. of <i>-tai</i>) <a href="#page153">153</a></p> + <p><i>tachi</i> (pluralizer) <a href="#page113">113</a>, <a href="#page119">119</a></p> + <p><i>-ta coto</i> (pret. inf., 1st) <a href="#page129">129</a></p> + <p><i>-ta fito</i> (pret. part., 1st) <a href="#page131">131</a></p> + <p><i>-tagari,u</i> (2nd & 3rd person deciderative) <a href="#page153">153</a></p> + <p><i>-tai</i> (deciderative) <a href="#page153">153</a>;</p> + <p class="i2">(w. imp. meaning) <a href="#page126">126</a></p> + <p><i>-ta madeio</i> (per. perm., 1st) <a href="#page128">128</a></p> + <p><i>tamai,ó</i> (hon. aux.) <a href="#page145">145</a></p> + <p><i>-ta mamaio</i> (perf. perm., 1st) <a href="#page128">128</a></p> + <p><i>tame</i> (prep.) <a href="#page164">164</a>;</p> + <p class="i2">(w. ger.) <a href="#page130">130</a>, <a href="#page134">134</a></p> + <p><i>tameni</i> (w. supine) <a href="#page130">130</a></p> + <p><i>-ta mono</i> (pret. part., 1st) <a href="#page131">131</a></p> + <p><i>-ta mono de arózu</i> (perf. pot., 1st) <a href="#page141">141</a></p> + <p><i>-taraba</i> (perf. cond., 1st) <a href="#page139">139</a></p> + <p><i>-taraba iocaró mono va</i> (perf. opt., 1st) <a href="#page126">126</a></p> + <p><i>-tare</i> (pret. ending w. <i>coso</i>) <a href="#page150">150</a></p> + <p><i>-ta reba</i> (perf. subj., 1st) <a href="#page127">127</a></p> + <p><i>-ta reba tote</i> (perf. perm., 1st) <a href="#page128">128</a></p> + <p><i>-ta redomo</i> (perf. perm., 1st) <a href="#page128">128</a></p> + <p><i>-tari</i> (pret. writ.) <a href="#page183">183</a></p> + <p><i>-tari</i> (alt.) <a href="#page152">152</a></p> + <p><i>-ta ritomo</i> (perf. perm., 1st) <a href="#page128">128</a></p> + <p><i>-taró ni va</i> (perf. cond., 1st) <a href="#page139">139</a></p> + <p><i>-taró va</i> (perf. opt.) <a href="#page126">126</a></p> + <p><i>-tarózu</i> (plup., 1st) <a href="#page125">125</a></p> + <p><i>tate matçuri,u</i> (humble aux.) <a href="#page147">147</a></p> + <p><i>-ta to</i> (pret. inf., 1st) <a href="#page129">129</a></p> + <p><i>tatoi</i> (w. perm.) <a href="#page128">128</a></p> + <p><i>-tçu</i> (alt.) <a href="#page152">152</a></p> + <p><i>tçui-</i> (intens.) <a href="#page148">148</a></p> + <p><i>-tçu ró</i> (perf. pot., 1st) <a href="#page140">140</a>, <a href="#page151">151</a></p> + <p><i>-te</i> (ger.) <a href="#page129">129</a>, <a href="#page130">130</a>, <a href="#page155">155</a>, <a href="#page183">183</a>;</p> + <p class="i2">(inf.) <a href="#page129">129</a></p> + <p><i>-te</i> (part.) <a href="#page131">131</a></p> + <p><i>-te aranu</i> (neg. pret., completed action) <a href="#page137">137</a></p> + <p><i>-te aró</i> (fut., completed action) <a href="#page137">137</a></p> +<!-- Page 194 --><span class="pagenum"><a name="page194"></a>[194]</span> + <p><i>-te aró ni va iocaró mono vo</i> (perf. opt.) <a href="#page126">126</a></p> + <p><i>-te arózu</i> (perf.) <a href="#page124">124</a>, <a href="#page137">137</a></p> + <p><i>-te atta</i> (perf.) <a href="#page124">124</a>, <a href="#page137">137</a>;</p> + <p class="i2">(w. perf. subj.) <a href="#page127">127</a></p> + <p><i>-te atta reba</i> (plup. subj.) <a href="#page127">127</a></p> + <p><i>-te cara</i> (plup. subj.) <a href="#page127">127</a></p> + <p><i>-te coso</i> (w. neg. meaning) <a href="#page154">154</a></p> + <p><i>tei</i> (p. of manner) <a href="#page154">154</a></p> + <p><i>-te igo</i> (plup. subj.) <a href="#page127">127</a></p> + <p><i>-te mo</i> (subj.) <a href="#page128">128</a>;</p> + <p class="i2">(w. advers.) <a href="#page154">154</a></p> + <p><i>-te nochi</i> (plup. subj.) <a href="#page127">127</a></p> + <p><i>to</i> (gen.) <a href="#page112">112</a></p> + <p><i>to</i> (conj.) <a href="#page166">166</a></p> + <p><i>to</i> (w. inf.) <a href="#page129">129</a>, <a href="#page133">133</a></p> + <p><i>to</i> (quot.) <a href="#page168">168</a>;</p> + <p class="i2">(w. adv. of sound) <a href="#page163">163</a></p> + <p><i>tocacu</i> (disj.) <a href="#page167">167</a></p> + <p><i>tocoro</i> (w. subj.) <a href="#page127">127</a>;</p> + <p class="i2">(p. of completed action) <a href="#page151">151</a></p> + <p><i>tocoro gia</i> (p. w. no special meaning) <a href="#page151">151</a></p> + <p><i>tocoro no</i> (w. relative const.) <a href="#page122">122</a></p> + <p><i>-tomo</i> (w. perm.) <a href="#page128">128</a>, <a href="#page133">133</a>, <a href="#page138">138</a>, <a href="#page150">150</a></p> + <p><i>to mo</i> (quot.) <a href="#page170">170</a></p> + <p><i>-tó mo nai</i> (neg. of <i>-tai</i>) <a href="#page153">153</a></p> + <p><i>toqi</i> (w. subj.) <a href="#page127">127</a>;</p> + <p class="i2">(w. pret. imperfect) <a href="#page152">152</a></p> + <p><i>tori-</i> (intens.) <a href="#page149">149</a></p> + <p><i>tote</i> (w. perm.) <a href="#page128">128</a>, <a href="#page133">133</a>;</p> + <p class="i2">(w. ger.) <a href="#page134">134</a></p> + <p><i>to tomo ni</i> (prep.) <a href="#page165">165</a></p> + <p><i>to xite</i> (w. ger.) <a href="#page130">130</a></p> + <p><i>-tta</i> (pret., 2nd) <a href="#page134">134</a></p> + </div> + + <div class="stanza"> + <p><i>-u</i> (pres., 2nd) <a href="#page134">134</a></p> + <p><i>-ú</i> (adv.) <a href="#page115">115</a>, <a href="#page156">156</a></p> + <p><i>-ú</i> (pres., 3rd) <a href="#page136">136</a></p> + <p><i>uchi-</i> (intens.) <a href="#page149">149</a></p> + <p><i>-ui</i> (adj.) <a href="#page115">115</a>, <a href="#page138">138</a></p> + <p><i>-ui</i> (v. root, 3rd) <a href="#page135">135</a></p> + <p><i>uie</i> (prep.) <a href="#page166">166</a></p> + <p><i>uie iori</i> (prep.) <a href="#page164">164</a></p> + <p><i>-unda</i> (pret., 2nd) <a href="#page134">134</a></p> + <p><i>-ureba</i> (pres. cond.) <a href="#page139">139</a></p> + <p><i>-uru</i> (pres., 1st) <a href="#page123">123</a></p> + <p><i>-uru fito</i> (pres. part., 1st) <a href="#page131">131</a></p> + <p><i>-uru iori</i> (pres. inf., 1st) <a href="#page130">130</a></p> + <p><i>-uru jibun</i> (ger., 1st) <a href="#page130">130</a></p> + <p><i>-uru madeio</i> (pres. perm., 1st) <a href="#page128">128</a></p> + <p><i>-uru mamaio</i> (pres. perm., 1st) <a href="#page128">128</a></p> + <p><i>-uru mo</i> (fut. perm., 1st) <a href="#page128">128</a></p> + <p><i>-uru mono</i> (pres. part., 1st) <a href="#page131">131</a></p> + <p><i>-uru ni</i> (ger., 1st) <a href="#page130">130</a></p> + <p><i>-uru ni tçuite</i> (pres. inf., 1st) <a href="#page130">130</a></p> + <p><i>-uru tame</i> (ger., 1st) <a href="#page130">130</a></p> + <p><i>-uru tameni</i> (supine, 1st) <a href="#page130">130</a></p> + <p><i>-uru tomo</i> (fut. perm., 1st) <a href="#page128">128</a></p> + <p><i>-uru tote</i> (ger., 1st) <a href="#page130">130</a></p> + <p><i>-uru vo motte</i> (pres. inf., 1st) <a href="#page128">128</a></p> + </div> + + <div class="stanza"> + <p><i>va</i> (nom.) <a href="#page111">111</a>;</p> + <p class="i2">(acc.) <a href="#page112">112</a>;</p> + <p class="i2">(w. subj.) <a href="#page127">127</a>;</p> + <p class="i2">(w. inf.) <a href="#page130">130</a>;</p> + <p class="i2">(w. cond.) <a href="#page139">139</a>;</p> + <p class="i2">(w. other p.) <a href="#page114">114</a>;</p> + <p class="i2">(replacing other p.) <a href="#page114">114</a>;</p> + <p class="i2">(w. const. showing necessity) <a href="#page155">155</a></p> + <p><i>va</i> (p. of confirmation) <a href="#page149">149</a></p> + <p><i>-vaba</i> (cond., 3rd) <a href="#page139">139</a></p> + <p><i>-vananda</i> (neg. pret., 3rd) <a href="#page136">136</a></p> + <p><i>-vanande aru</i> (neg. pret., 3rd) <a href="#page136">136</a></p> + <p><i>-vanande atta</i> (neg. pret., 3rd) <a href="#page136">136</a></p> + <p><i>-vanu</i> (neg. pres., 3rd) <a href="#page136">136</a></p> + <p><i>-vazu</i> (neg. root, 3rd) <a href="#page136">136</a></p> + <p><i>vo</i> (acc.) <a href="#page113">113</a>;</p> + <p class="i2">(w. subj.) <a href="#page127">127</a>;</p> + <p class="i2">(w. neutral v.) <a href="#page172">172</a>;</p> + <p class="i2">(becomes <i>o</i> after <i>n</i>) <a href="#page171">171</a></p> + <p><i>vo-</i> (hon.) <a href="#page146">146</a>, <a href="#page182">182</a></p> + <p><i>vo-</i> (masculine) <a href="#page114">114</a></p> + <p><i>-vó</i> (fut., 3rd) <a href="#page136">136</a></p> + <p><i>voba</i> (acc.) <a href="#page112">112</a></p> + <p><i>voi-</i> (intens.) <a href="#page149">149</a></p> + <p><i>vo motte</i> (prep.) <a href="#page165">165</a>;</p> + <p class="i2">(w. inf.) <a href="#page130">130</a></p> + <p><i>von-</i> (hon.) <a href="#page118">118</a>, <a href="#page182">182</a></p> + <p><i>vôxe-</i> (hon.) <a href="#page147">147</a></p> + <p><i>-vózu</i> (fut., 3rd) <a href="#page136">136</a></p> + <p><i>-vózuru</i> (fut., 3rd) <a href="#page136">136</a></p> + </div> + + <div class="stanza"> + <p><i>-xe,uru</i> (causative) <a href="#page143">143</a></p> + <p><i>xemaxi,u</i> (hon. aux.) <a href="#page145">145</a></p> + <p><i>-xerare,uru</i> (hon.) <a href="#page146">146</a></p> + <p><i>-xi</i> (adj.) <a href="#page116">116</a></p> + <p><i>xicareba</i> (conj.) <a href="#page167">167</a></p> + <p><i>xidai</i> (prep.) <a href="#page165">165</a></p> + <p><i>xite</i> (w. neg. ger.) <a href="#page131">131</a>, <a href="#page134">134</a></p> + <p><i>xu</i> (n. pluralizer) <a href="#page113">113</a></p> + </div> + + <div class="stanza"> + <p><i>-zaru</i> (neg. pres., dialect) <a href="#page131">131</a></p> +<!-- Page 195 --><span class="pagenum"><a name="page195"></a>[195]</span> + <p><i>-zatta</i> (neg. pret., dialect) <a href="#page131">131</a></p> + <p><i>-zatta reba</i> (neg. perf. subj. dialect) <a href="#page131">131</a></p> + <p><i>zo</i> (interr.) <a href="#page156">156</a>, <a href="#page159">159</a>, <a href="#page163">163</a>;</p> + <p class="i2">(temp.) <a href="#page159">159</a>;</p> + <p class="i2">(dub.) <a href="#page162">162</a>;</p> + <p class="i2">(intens.) <a href="#page162">162</a></p> + <p><i>-zu</i> (neg. v. root, 1st) <a href="#page131">131</a></p> + <p><i>-zũba</i> (neg. cond.) <a href="#page139">139</a></p> + <p><i>-zumba</i> (see <i>zũba</i>)</p> + <p><i>-zu tomo</i> (neg. perf. perm., 1st) <a href="#page133">133</a></p> + <p><i>-zu va</i> (neg. cond.) <a href="#page139">139</a></p> + <p><i>-zu xite</i> (neg. ger., 1st) <a href="#page131">131</a>, <a href="#page134">134</a></p> + <p><i>-zzu</i> (alt.) <a href="#page152">152</a></p> + <p><i>-zzu ró</i> (perf. pot.) <a href="#page140">140</a>, <a href="#page151">151</a></p> + </div> + </div> +<hr class="full" > + +<h3>Notes</h3> + +<div class="note"> + <p><a name="Nt_1" href="#NtA_1">[1]</a> Diego Collado, O.P., <i>Niffon no + Cotoba no Yô Confesion</i>, etc. (Rome, 1632). For further bibliographic + data cf. Johannes Laures, <i>Kirishitan Bunko</i> (Tokyo, 1957). Cf. also + Ōtsuka Mitsunobu, <i>Koriyaado zangeroku</i> (Tokyo, 1967), for a + Japanese transliteration and concordance. It should be noted that the + material in this work had no direct influence upon the concurrently + written grammar. The only example in the <i>Ars Grammaticae</i> which + might have been borrowed from the <i>Confesion</i> is on p. 23 where we + find <i>doco de qiqi marasuru mo, sono sata va mósanu</i> 'although this + is heard everywhere, I have heard nothing of it.' which parallels the + <i>Confesion</i>, p. 6, l. 18; <i>docu </i>[<i>sic</i>]<i> de qiqi + marasuru mo; sono sata ga gozaranu</i> 'one hears about this everywhere; + but, it doesn't seem to be so.'</p> + + <p><a name="Nt_2" href="#NtA_2">[2]</a> The bibliographical data on these + and other works directly related to the study of Collado's Grammar will + be found in the section on bibliography which follows.</p> + + <p><a name="Nt_3" href="#NtA_3">[3]</a> Other works by Collado have come + down to us; cf. a memorial by him published in 1633 (Laures, + <i>Kirishitan Bunko</i>, item 411). Such material is, however, only + peripherally related to the study of language.</p> + + <p><a name="Nt_4" href="#NtA_4">[4]</a> For a brilliantly written + biography see Michael Cooper, S.J., <i>Rodrigues the Interpreter: An + Early Jesuit in Japan and China</i> (Tokyo, 1974).</p> + + <p><a name="Nt_5" href="#NtA_5">[5]</a> The Press of the Congregation for + the Propagation of the Faith was founded in 1626 when the Congregation + was at the height of its activity. Grammars of the major non-European + languages published during this period are:</p> + + +<table width="37%" class="nob" summary="Grammars" title="Grammars"> + <tr> + <td class="single" style="text-align:left; width:16%"> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>1628</p> + </td> + <td class="single" style="text-align:left; width:33%"> + <p>Syrian</p> + </td> + <td class="single" style="text-align:left; width:50%"> + <p>Abraham Ecchell</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>1630</p> + </td> + <td class="single" style="text-align:left"> + <p>Ethiopian</p> + </td> + <td class="single" style="text-align:left"> + <p>V. M. Rearino</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>1631</p> + </td> + <td class="single" style="text-align:left"> + <p>Arabic</p> + </td> + <td class="single" style="text-align:left"> + <p>Thomas Obicini</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>1632</p> + </td> + <td class="single" style="text-align:left"> + <p>Japanese</p> + </td> + <td class="single" style="text-align:left"> + <p>Diego Collado</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>1636</p> + </td> + <td class="single" style="text-align:left"> + <p>Coptic</p> + </td> + <td class="single" style="text-align:left"> + <p>A. Kircher</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>1637</p> + </td> + <td class="single" style="text-align:left"> + <p>Arabic</p> + </td> + <td class="single" style="text-align:left"> + <p>Germano de Silesia</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>1642</p> + </td> + <td class="single" style="text-align:left"> + <p>Arabic</p> + </td> + <td class="single" style="text-align:left"> + <p>P. Guadagnoli</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>1643</p> + </td> + <td class="single" style="text-align:left"> + <p>Georgian</p> + </td> + <td class="single" style="text-align:left"> + <p>F. M. Maggio</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>1645</p> + </td> + <td class="single" style="text-align:left"> + <p>Armenian</p> + </td> + <td class="single" style="text-align:left"> + <p>Clemente Galano</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>1647</p> + </td> + <td class="single" style="text-align:left"> + <p>Syrian</p> + </td> + <td class="single" style="text-align:left"> + <p>J. Acurense</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>1650</p> + </td> + <td class="single" style="text-align:left"> + <p>Arabic</p> + </td> + <td class="single" style="text-align:left"> + <p>Antonio de Aguila</p> + </td> + </tr> + + <tr> + <td class="single" style="text-align:left"> + <p>1661</p> + </td> + <td class="single" style="text-align:left"> + <p>Persian</p> + </td> + <td class="single" style="text-align:left"> + <p>Ignazio de Jesu</p> + </td> + </tr> +</table> + + <p><a name="Nt_6" href="#NtA_6">[6]</a> Rodriguez' own work is strongly + influenced by the format found in Manuel Alvarez (1526-1582), <i>De + Institutione Grammatica, Libri III</i> (Lisbon, 1572). So much a part of + the training in the Society of Jesus was this work that an edition was + printed in 1594 as one of the earliest products of the Mission Press at + Amakusa.</p> + + <p><a name="Nt_7" href="#NtA_7">[7]</a> The palatal semi-vowel is + represented, as in most the Christian materials, by a number of + transcriptional devices such as <i>i</i>, <i>e</i>, <i>h</i>, and palatal + consonants; e.g., <i>fiacu</i>, <i>agueô</i>, <i>cha</i>, and + <i>xô</i>.</p> + + <p><a name="Nt_8" href="#NtA_8">[8]</a> See the translation, p. [82], n. + 8.</p> + + <p><a name="Nt_9" href="#NtA_9">[9]</a> Collado's and Rodriguez' analyses + agree in classifying the <i>ni-dan</i> verbs and <i>suru</i> into one + conjunction, the <i>yo-dan</i> verbs into a second, and the + <i>ha-gyō</i> of the <i>yo-dan</i> into a third.</p> + + <p><a name="Nt_10" href="#NtA_10">[10]</a> It should be recalled that the + <i>Ars Grammaticae</i> is numbered by the page and the <i>Arte</i> by the + leaf.</p> + + <p><a name="Nt_11" href="#NtA_11">[11]</a> See p. 14, under <i>Dos nomes + adiectivos</i>, where the initial distinction is drawn between nominal + and verbal adjectives.</p> + + <p><a name="Nt_12" href="#NtA_12">[12]</a> Rodriguez does not treat the + substantive verb in <i>Arte Breve</i>, but refers the reader to his + earlier work for its description.</p> + + <p><a name="Nt_13" href="#NtA_13">[13]</a> <i>Verbo pessoal</i> as + contrasted with <i>verbo substantivo</i> and <i>verbo adjectivo</i>.</p> + + <p><a name="Nt_14" href="#NtA_14">[14]</a> Rodriguez defines this term + elsewhere (<i>Arte</i>, 56) as the vowels, <i>A</i>, <i>I</i>, <i>V</i>, + <i>Ye</i>, <i>Vo</i>, in that order. See also the introduction to the + <i>Vocabulario</i>.</p> + + <p><a name="Nt_15" href="#NtA_15">[15]</a> This term, not found in the + <i>Arte</i>, is applied to the entire complex of "spelling" rules which + Rodriguez introduces into his description. While no clear-cut influences + can be established, it is generally held by Doi and others that these + rules are based upon <i>Kanazukai no chikamichi</i> or some similar work. + See <i>Kokugogaku taikei</i>, Vol. 9 (Tokyo, 1964), pp. 69-77.</p> + + <p><a name="Nt_16" href="#NtA_16">[16]</a> Latin <i>liquesco</i>, "to + become fluid, or melt." Used here as a term to describe the palatal and + labial series.</p> + + <p><a name="Nt_17" href="#NtA_17">[17]</a> This last phrase is to be + understood in the context of the following passages which deal with + euphonic change in the absence of a devise, <i>nigori ten</i>, to show + voicing.</p> + + <p><a name="Nt_18" href="#NtA_18">[18]</a> Rodriguez used <i>Vma</i> + regularly in the <i>Arte</i>, but notes the variant <i>Muma</i> on + 178v.</p> + + <p><a name="Nt_19" href="#NtA_19">[19]</a> Presumably a reference to such + variants as <i>Samurô</i> for <i>Saburô</i>.</p> + + <p><a name="Nt_20" href="#NtA_20">[20]</a> <i>Liurinho</i>, presumably a + treatise such as the <i>Kanazukai no chikamichi</i>, by Ichijō + Kanera.</p> + + <p><a name="Nt_21" href="#NtA_21">[21]</a> In this passage Rodriguez is + suggesting that certain European grammarians, out of ignorance of native + grammatical theory, have misinterpreted the formational rules; and that, + perhaps for pedogogical convenience, he has retained some of these + "unnatural" rules in his description.</p> + + <p><a name="Nt_22" href="#NtA_22">[22]</a> Read <i>Taxxi</i>.</p> + + <p><a name="Nt_23" href="#NtA_23">[23]</a> Read <i>tatesai</i>. The + punctuation <i>Tateyo</i>. <i>Tatei</i>, <i>tatesai</i>, is in all + likelihood a typesetter's error for <i>Tateyo</i>, <i>tatei</i>, + <i>tatesai</i>.</p> + + <p><a name="Nt_24" href="#NtA_24">[24]</a> The conjugational display + (27v) lists <i>motomuruni</i> and <i>motomurutocoroni</i>.</p> + + <p><a name="Nt_25" href="#NtA_25">[25]</a> Rodriguez is here confusing + the usage of the classical particle <i>ran, ramu</i> with the + construction <i>te + ara + mu</i>.</p> + + <p><a name="Nt_26" href="#NtA_26">[26]</a> In the conjugational charts we + find:</p> + + +<table width="16%" class="nob" summary="Future Conjunctive" title="Future Conjunctive"> + <tr> + <td class="single" style="vertical-align:middle; text-align:left; width:61%"> + <p><i>motomeô</i><br /> <i>motometarǒ</i><br /> + <i>motomeôzuru</i></p> + </td> + <td class="single" style="vertical-align:middle; text-align:left; width:7%"> + <p><img src="images/$rbrace.png" style="height:6ex; width:0.8em" + alt="right brace" /></p> + </td> + <td class="single" style="vertical-align:middle; text-align:left; width:30%"> + <p><i>toki</i></p> + </td> + </tr> +</table> + + <p><a name="Nt_27" href="#NtA_27">[27]</a> The following notes are + necessary to correct the printer's errors that occur in this listing:</p> + + <p>a. In the perfect conditional of <span class="correction" title="text reads `Nobi'" + ><i>Vabi</i></span> read <i>bitaraba</i> for <i>bitaraaba</i>.</p> + + <p>b. The form <i>Fitobi</i> should in all likelihood read <i>Fotobi</i> + 'to be wet.'</p> + + <p>c. The forms <i>Fotobi</i>, <i>Fokorobi</i>, and <i>Fusabi</i> are all + given present indicatives in <i>bu</i>. There seems to be no reason for + the ending appropriate to the classical <i>shūshikei</i> to be used + for these particular verbs and the <i>bu</i> is taken as a misprint of + <i>buru</i>. The <i>Arte</i> (28) lists these forms as regular.</p> + + <p>d. In the perfect conditional of <i>Mochiy</i> read <i>ytaraba</i> for + <i>yttaraba</i>.</p> + + <p>e. The form <i>Coru</i> should read <i>Cori</i>.</p> + + <p>f. It will be noticed in the final segment of this listing, beginning + with Y, Rodriguez makes no effort to distinguish among + <i>Kami-ichidan</i>, <i>kami-nidan</i>, and the irregular verb <i>Ki</i> + 'to come.'</p> + + <p><a name="Nt_28" href="#NtA_28">[28]</a> By this single rule Rodriguez + brings the two <i>na-hen</i> verbs into the second conjugation.</p> + + <p><a name="Nt_29" href="#NtA_29">[29]</a> Read <i>najûda</i> and + <i>nijûda</i>.</p> + + <p><a name="Nt_30" href="#NtA_30">[30]</a> Although the spelling + <i>auoghǒ</i> would contain a redundancy it would agree with such + forms as <i>aghuru</i>, <i>coghanu</i> and <i>coghǒ</i> found + elsewhere.</p> + + <p><a name="Nt_31" href="#NtA_31">[31]</a> This use of the imperative + reflects a purely formal solution to the morphological problem.</p> + + <p><a name="Nt_32" href="#NtA_32">[32]</a> Read <i>Yôdareba</i>.</p> + + <p><a name="Nt_33" href="#NtA_33">[33]</a> This rule, which consciously + or unconsciously associates the future and the conditional, is also + applied to the third conjugation, while the first conjugation uses the + root.</p> + + <p><a name="Nt_34" href="#NtA_34">[34]</a> The future is the same as the + present.</p> + + <p><a name="Nt_35" href="#NtA_35">[35]</a> This spelling of the final + root consonant with a <i>c</i> is irregular for verbs. Cf. <i>cakanu</i> + just below.</p> + + <p><a name="Nt_36" href="#NtA_36">[36]</a> The association of the + negative with the future, and by extension with the conditional, suggests + a keen awareness of the underlying system, particularly since the + <i>Canadzucai</i> rules to which he refers require the formation be made + from the present. It should be noted that this rule is significantly more + elegant than that which derives the negative from the root.</p> + + <p><a name="Nt_37" href="#NtA_37">[37]</a> The <i>ij</i> in the original + is the digraph <i>ij</i>, as elsewhere.</p> + + <p><a name="Nt_38" href="#NtA_38">[38]</a> Read <i>Redomo</i>.</p> + + <p><a name="Nt_39" href="#NtA_39">[39]</a> <i>Majij</i> with the digraph + would be more regular.</p> + + <p><a name="Nt_40" href="#NtA_40">[40]</a> A photostatic copy of the + entire text has been made available by Shima Shōzō, + <i>Rodorigesu Nihon daibunten</i> (Tokyo, Bunka Shobō, 1969).</p> + + <p><a name="Nt_41" href="#NtA_41">[41]</a> Ōtsuka's comparison of + the Spanish manuscript with the printed version of the text suggests that + many of the typographical errors found in our text are the result of + material being too hastily transcribed from a more correct original while + the work was being translated from Latin.</p> + + <p><a name="Nt_42" href="#NtA_42">[42]</a> This Reference is to + <i>Arte</i> of 1604-8. The <i>Arte Breve</i>, printed in 1620 in Macao, + was not available to Collado.</p> + + <p><a name="Nt_43" href="#NtA_43">[43]</a> The <i>Dictionarium sive + Thesauri Linguae Iaponicae</i>, which was in fact published at the same + time.</p> + + <p><a name="Nt_44" href="#NtA_44">[44]</a> See the Introduction for the + regularized usage of these symbols in the translation. (The transcription + of <i>gacuxǒ</i>, and the <i>aiaǔ</i> below, are at variance + with the rule for the translation and are here transcribed as + printed.)</p> + + <p><a name="Nt_45" href="#NtA_45">[45]</a> This convention is not + transcribed in the translation (cf. Introduction).</p> + + <p><a name="Nt_46" href="#NtA_46">[46]</a> More regularly + <i>synaloephy</i>—the contraction of two syllables into one.</p> + + <p><a name="Nt_47" href="#NtA_47">[47]</a> The geminates that actually + appear in the text are; <i>tt</i>, <i>xx</i>, <i>zz</i>, <i>cq</i>, + <i>ij</i> & <i>pp</i>, as well as <i>cc</i> (<i>cch</i>), <i>mm</i>, + <i>nn</i>, and <i>ss</i>. Two appear initially <i>mm</i>, as in + <i>mma</i> 'horse,' and <i>zz</i>, as in <i>zzuru</i> 'to leave.' The + form <i>qq</i> which would be phonetically equivalent to <i>cq</i> is not + recorded.</p> + + <p><a name="Nt_48" href="#NtA_48">[48]</a> This sequence is not used in + the body of the grammar, rather the less phonetically accurate <i>ia</i>, + <i>ie</i>, etc. It should be noted that the <i>Dictionarium</i>, which + was written contemporaniously, does use <i>y</i> for the semivowel.</p> + + <p><a name="Nt_49" href="#NtA_49">[49]</a> For <i>s</i> read <i>g</i>. + The <i>Arte</i> (177v) discusses this phenomenon as being characteristic + of vowels before <i>d</i>, <i>dz</i>, and <i>g</i>.</p> + + <p><a name="Nt_50" href="#NtA_50">[50]</a> Since in fact the accent has + been carelessly recorded in the text—in places added in an almost + random fashion by either the author, his helpers, or the printer—we + have not included its marking in the translation. (Cf. Introduction.)</p> + + <p><a name="Nt_51" href="#NtA_51">[51]</a> The <i>Dictionarium</i> has + the spelling <i>fibicàxi</i> in one entry and in the only other it is + transcribed as above.</p> + + <p><a name="Nt_52" href="#NtA_52">[52]</a> Acts, 19:20. Referring to the + servant in the parable of the pounds who is condemned for keeping his + money "laid away in a napkin."</p> + + <p><a name="Nt_53" href="#NtA_53">[53]</a> The text uses + <i>reduplicatiuus</i>, with the grammatical meaning of plural singular; + e.g., the singular I with the meaning of myself and those around me.</p> + + <p><a name="Nt_54" href="#NtA_54">[54]</a> Both the <i>Dictionarium</i> + and the <i>Vocabulario</i> have either <i>Nifon</i> or <i>Nippon</i>, but + do not record this form. It seems not to be a simple typographical error + since the spelling is used in the title of the companion piece to this + work, the <i>Confesion</i>, and since the text itself has <i>niffion</i> + and it is changed to <i>niffon</i> in the <i>errata</i>. <i>Nifon</i> + appears on page 43.</p> + + <p><a name="Nt_55" href="#NtA_55">[55]</a> The <i>Arte</i> and the + <i>Vocabulario</i> use the forms <i>goran</i> and <i>gorǒ</i> in + free variation. Collado here and in the <i>Dictionarium</i> uses what + appears to be the less phonetically accurate transcription. The Spanish + manuscript has <i>goranjerarei</i>.</p> + + <p><a name="Nt_56" href="#NtA_56">[56]</a> May I submit this as a + candidate for the most exotic bit of anti-semitism in Christendom.</p> + + <p><a name="Nt_57" href="#NtA_57">[57]</a> The text reads <i>funè-de</i>, + and apparently Collado is attempting to indicate both accent and + nasalization at the same time. He does not continue this practice.</p> + + <p><a name="Nt_58" href="#NtA_58">[58]</a> The text has <i>caper + silvester</i> 'the wild he-goat' presumably the <i>capreolus + capreolus</i> which is similar in appearance to the Japanese deer, + <i>cervus sika</i>.</p> + + <p><a name="Nt_59" href="#NtA_59">[59]</a> While this rule is operative + for <i>caij</i>, it creates difficulties after <i>x</i>. Rodriguez' rule + is <i>ij</i> becomes <i>ǔ</i> with the example of + <i>ataraxǔ</i>. Collado's rule would create <i>ataraxiú</i>. (Cf. + p. 33.)</p> + + <p><a name="Nt_60" href="#NtA_60">[60]</a> Neither Collado nor Rodriguez + make a clear distinction between the quantitative function of <i>no</i> + and the qualitative function of <i>na</i>.</p> + + <p><a name="Nt_61" href="#NtA_61">[61]</a> Collado usually make a clear + distinction between colloquial and literary forms. He apparently is + suggesting that these non-colloquial forms are heard in the spoken + language. Here, not only is the style left unexplained, but the + translation <i>faciendo bonam consultationem</i> is less than + ellucidating. Here the <i>ioqu</i> is in fact adverbial.</p> + + <p><a name="Nt_62" href="#NtA_62">[62]</a> From <i>kobu</i> 'to flatter.' + An abbreviation of <i>kobita kotoba</i>, and used to indicate refined + speech; i.e., that speech containing Chinese borrowings. See Doi Tadao, + <i>Kirishitan gogaku no kenkyū</i> (Tokyo, 1942, pp. 67-70). The + term is also found in the introduction to the <i><span class="correction" + title="text reads `Vorabulario'">Vocabulario</span></i> in the expression + <i>palauras Cobitas</i>.</p> + + <p><a name="Nt_63" href="#NtA_63">[63]</a> The text reads <i>De pronomine + secundae personae</i>....</p> + + <p><a name="Nt_64" href="#NtA_64">[64]</a> This list, unquestionably + derived from the <i>Arte</i> (67v), has been in several ways confounded. + The <i>mi</i> is out of order and the second <i>vare</i> is clearly in + error. If we put aside the genitive forms from Rodriguez' list, the first + four forms should be <i>vare</i>, <i>varera</i>, <i>vatacuxi</i>, and + <i>soregaxi</i>. Rodriguez' second set consists of <i>mi</i>, + <i>midomo</i>, and <i>midomora</i>. We would suggest that Collado meant + to include <i>ura</i>, which is listed by Rodriguez as the genitive form + <i>vraga</i>. I offer <i>vatacuxi</i>, <i>soregaxi</i>, <i>vare</i>, + <i>varera</i>, <i>mi</i>, <i>midomo</i>, <i>midomora</i>, and <i>ura</i> + as the intended list, with the order of <i>mi</i> and <i>varera</i> + reversed to accommodate the sentence which follows.</p> + + <p><a name="Nt_65" href="#NtA_65">[65]</a> The forms for the second + person are derived from the <i>Arte</i> (68). Throughout this section the + accent marks are quite erratic. In several places, for example, Collado + has <i>sónata</i> and even <i>sónatá</i>.</p> + + <p><a name="Nt_66" href="#NtA_66">[66]</a> In the material which follows + Collado has brought together items from several sections of the + <i>Arte</i>; for the interrogatives see (65-65v), the indefinites (66), + and the demonstratives (68).</p> + + <p><a name="Nt_67" href="#NtA_67">[67]</a> These reduplicated forms are + not derived from Rodriguez' description and are apparently misstatements + of the forms <i>care</i> and <i>are</i> which would otherwise be + missing.</p> + + <p><a name="Nt_68" href="#NtA_68">[68]</a> An abbreviated form of + <i>monomósu</i>; cf. <i>Arte</i> (139v).</p> + + <p><a name="Nt_69" href="#NtA_69">[69]</a> Collado is here speaking with + reference to the normal order in Latin.</p> + + <p><a name="Nt_70" href="#NtA_70">[70]</a> The treatment of the verbal + system by Collado follows in a general way the <i>Arte</i> (6v-54v). In + the material that follows specific references will be made when a + comparison of the two works is suggested.</p> + + <p><a name="Nt_71" href="#NtA_71">[71]</a> The text has <i>secundae + coniugationis</i>. This error, which is repeated throughout the text, is + not present in the Spanish manuscript.</p> + + <p><a name="Nt_72" href="#NtA_72">[72]</a> The text again has <i>secundae + coniugationis</i>.</p> + + <p><a name="Nt_73" href="#NtA_73">[73]</a> This list covering the + <i>Kami-ichidan</i> and <i>Kami-nidan</i> verbs is derived from a + similarly defined sub-group of the first conjugation in the <i>Arte</i> + (28). Since the verbs <i>cabi</i>, <i>sabi</i>, and <i>deqi</i> are in no + way indicated as extraordinary in Rodriguez' presentation, I have amended + the text to include their present tense form.</p> + + <p><a name="Nt_74" href="#NtA_74">[74]</a> The text reads for this gloss + <i>fucore afficior</i>. The proper word is <i>mucore</i> 'mould,' with + the literal translation being 'I am affected by mould.'</p> + + <p><a name="Nt_75" href="#NtA_75">[75]</a> The <i>Dictionarium</i> has + this verb listed as <i>kami-nidan</i>, <i>xij</i>, <i>uru</i>, and + therefore not exceptional.</p> + + <p><a name="Nt_76" href="#NtA_76">[76]</a> Cf. <i>Arte</i> (7) where a + similar list is presented.</p> + + <p><a name="Nt_77" href="#NtA_77">[77]</a> For the source of Collado's + description of the future tense cf. <i>Arte</i> (7v).</p> + + <p><a name="Nt_78" href="#NtA_78">[78]</a> The text reads <i>secundae + coniugationis</i>.</p> + + <p><a name="Nt_79" href="#NtA_79">[79]</a> Rodriguez more correctly has + this rule as the root plus <i>i</i> or <i>yo</i>; e.g., <i>aguei</i> or + <i>agueyo</i>. The form <i>aguei</i> is used by Collado in the + construction of the optative below.</p> + + <p><a name="Nt_80" href="#NtA_80">[80]</a> This form is correct but does + not follow his rule for the formation of the imperative (see note + 79).</p> + + <p><a name="Nt_81" href="#NtA_81">[81]</a> Rodriguez has <i>baquemono</i> + 'evil spirit' and the Spanish manuscript <i>baqemono</i>, rather than + <i>banguemono</i> 'soothsayer.'</p> + + <p><a name="Nt_82" href="#NtA_82">[82]</a> Extracted from Rodriguez' + version of a sentence in the Amakusa edition of Esop's Fables (p. 417). + The original reads, <i>Arutoqi Xantho chinsui xite yraruru tocoroye, + fitoga qite daicaino vxiuouo fitocuchino nomi tçucusaruru michiga + arǒcato tôni</i>,... 'One time when Xantho [Esop's master] was + drunk, a man came and asked if there was a way to drink all the waters of + the ocean in one swallow....' it is abbreviated by Collado in such a way + as to obscure the construction.</p> + + <p><a name="Nt_83" href="#NtA_83">[83]</a> Also apparently extracted from + the <i>Esopo</i> (p. 477). The original has, ... <i>riǒbǒni + tachiuacarete yru tocoroni qitçunega yosocara coreuo mite, futatçuno + nacani vocareta fittçu jiuo totte curǒta</i>, 'when they [two + lions] had gone their separate ways, the fox, seeing this from afar, took + the sheep which had been between the two of them and ate it.' By changing + <i>riǒbǒ</i> to <i>nhóbó</i> Collado created a less than + satisfactory example.</p> + + <p><a name="Nt_84" href="#NtA_84">[84]</a> Modeled on <i>Iyeuo idzuru + tocorouo cubiuo quiri votoita</i> 'when he went outside his head was cut + off.'</p> + + <p><a name="Nt_85" href="#NtA_85">[85]</a> Modeled on <i>Missauo + asobasaruru tocoroye vôjei faxe atçumatta</i> 'when mass was being + celebrated, many came running and gathered around.'</p> + + <p><a name="Nt_86" href="#NtA_86">[86]</a> Apparently modelled after + <i>Arte</i> (20v) <i>nantomo voxiare caxi</i> 'whatever you say,' with + the imperative formation again confounded.</p> + + <p><a name="Nt_87" href="#NtA_87">[87]</a> Rodriguez (25v) specifies the + location of this usage as Chūgoku, Bungo, Hakata, and other + <i>Ximo</i> districts.</p> + + <p><a name="Nt_88" href="#NtA_88">[88]</a> This example, together with + <i>so zonze na</i> below, reflects the loss of a distinction between + <i>z</i> and <i>j</i> which was taking place during this period.</p> + + <p><a name="Nt_89" href="#NtA_89">[89]</a> The text has <i>secundae + coniugationis</i>.</p> + + <p><a name="Nt_90" href="#NtA_90">[90]</a> The <i>Arte</i> (27) records + here <i>aguenedomo</i>, <i>aguenuto mǒxedomo</i>, + <i>aguezutomo</i>, <i>aguenebatote</i>, and <i>agueidemo</i>. Neither + <i>aguenaidemo</i> nor the participle <i>aguenaide</i>, below, are found + in the <i>Arte</i>, though they are attested to elsewhere. Cf. Yuzawa + Kōkichirō, <i>Edo kotoba no kenkyū</i> (Tokyo, 1954), + p. 626.</p> + + <p><a name="Nt_91" href="#NtA_91">[91]</a> This rule, derived from + Rodriguez (<i>Arte</i>, 29), is misformulated by Collado. Rodriguez' rule + is correct; change the <i>nu</i> of the negative present to <i>i</i>. It + is formulated correctly for the third conjugation, below.</p> + + <p><a name="Nt_92" href="#NtA_92">[92]</a> Collado's rule clearly + confuses the formulation of the present with that of the future. + Significantly in the <i>Arte</i> Rodriguez never refers to the future + forms of any verb other than his model <i>narai</i>. If Collado had had + access to the <i>Arte Breve</i> he would have found (41) the following + principal parts for <i>vomoi</i>; <i> vomoi</i>, <i>vomô</i>, + <i>vomôta</i>, <i>vomovǒ</i>, <i>vomoye</i>. The only other use in + the <i>Ars Grammaticae</i> of this form is on page <a + href="#lpage62">62</a> where Collado has the incorrect form + <i>vomovô</i>. The manuscript does not record this form.</p> + + <p><a name="Nt_93" href="#NtA_93">[93]</a> Although Collado's + transcription permits this rule to yield the appropriate forms, it + obscures the fact that the final <i>i</i> of the root is a vowel, while + the <i>i</i> of the imperative is a semivowel. Rodriguez' transcription + better reflects the phonological facts; <i>naraye</i>, <i>vomoye</i>, and + <i>cuye</i>.</p> + + <p><a name="Nt_94" href="#NtA_94">[94]</a> This completes Collado's + treatment of the third negative conjugation. The two paragraphs which + follow are part of his treatment of the substantive verb. There is no + section heading for the affirmative substantive verb; and clearly a + portion of the text has been deleted. The Spanish manuscript (cf. + Ōtsuka's 1957 edition, p. 45) includes a new section which begins + by recording the following substantive verb forms; <i>ari:aru</i>, + <i>gozari:gozaru</i>, <i>i:iru</i>, and <i>vori:voru</i>.</p> + + <p><a name="Nt_95" href="#NtA_95">[95]</a> Collado's presentation of the + substantive verbs is obscure. The text reads: <i>Verba verò substantiua + sunt</i>, gozaru, gozaranu, voru, uori nai, dea <i>vel</i> gia: deuanai, + aru:aranu, <i>vel</i>, gozaranu uoru ùôrinai, <i>&</i> .... The + translation attempts to punctuate the list to reflect the contrast + between affirmative and negative forms. The main confusion is the + apparent effort to contrast <i>voru</i> and <i>vorinai</i>. <i>Voru</i> + (glossed by the supplement of the <i>Vocabulario</i> as <i>estar</i>, and + used in the <i>Dictionarium</i> as the gloss for <i>existo</i>, + <i>etc.</i>) is not used by Rodriguez in the <i>Arte</i>. <i>Vorinai</i> + (unglossed in the dictionaries) is clearly defined by Rodriguez as the + negative of the polite verb <i>voriaru</i>, which is derived by him from + <i>von iri+aru</i> (<i>Arte</i>, 165v). Possibly Collado had intended to + contrast <i>voru</i> with <i>voranu</i> and <i>voriaru</i> with + <i>vorinai</i> but confounded the two pairs and then repeated his error + at the end of the list; or again he may, in the absence of Rodriguez' + guidance, have simply misunderstood the matter. Putting the alternative + forms aside, the list should read <i>gozaru:gozaranu</i>, <i>vori + aru:vori nai</i>, <i>gia:devanai</i>, <i>aru:aranu</i>, and + <i>voru:voranu</i>. Collado's treatment is patterned only loosely after + the <i>Arte</i> (2v-6v).</p> + + <p><a name="Nt_96" href="#NtA_96">[96]</a> Collado seems to be unaware of + the irregularity of <i>vonaji</i>.</p> + + <p><a name="Nt_97" href="#NtA_97">[97]</a> Collado is following the + general rule established on p. <a href="#lpage10">10</a> for such forms + as <i>caij</i>. He might better have followed Rodriguez who would + transcribe <i>canaxǔte</i>, as do we.</p> + + <p><a name="Nt_98" href="#NtA_98">[98]</a> The missing 'closed o' aside, + Collado's transcription of this form with an <i>n</i> is indicative of + the clarity with which he perceived the nasalization in this context.</p> + + <p><a name="Nt_99" href="#NtA_99">[99]</a> Cf. <i>Arte</i> (18v-19v).</p> + + <p><a name="Nt_100" href="#NtA_100">[100]</a> The text reads <i>cú vaau + ni voite va</i>, with the errata changing the verb to <i>cuvazu</i>.</p> + + <p><a name="Nt_101" href="#NtA_101">[101]</a> This historically + inaccurate rule is derived from the <i>Arte</i> (18v).</p> + + <p><a name="Nt_102" href="#NtA_102">[102]</a> In the one example of this + construction, on page 62, Collado has the form <i>tovazunba</i>.</p> + + <p><a name="Nt_103" href="#NtA_103">[103]</a> The original is in the + <i>soro</i> style; <i>Iǒjǒni voiteua uquetori mǒsubequ + soro.</i></p> + + <p><a name="Nt_104" href="#NtA_104">[104]</a> Cf. <i>Arte</i> (19v).</p> + + <p><a name="Nt_105" href="#NtA_105">[105]</a> Here and throughout the + section Collado transcribes as <i>ro</i> the potential particle which + should correctly be written <i>ró</i> (cf. <i>Arte</i>, 11v). It will be + noticed that all but one instance of the 'open o' on p. <a + href="#lpage35">35</a> of the text has been left unmarked.</p> + + <p><a name="Nt_106" href="#NtA_106">[106]</a> Collado has derived this + list from the <i>Arte</i> (45-47). His terminology is, however, rather + misleading. What he classifies as <i>verba irregularia</i> are those + which Rodriguez considers deponent, that is <i>verbo <span + class="correction" title="text reads `defectino'">defectiuo</span></i>, + with the term <i>verbo irregular</i> being used by Rodriguez for the + adjective. Given this misunderstanding Collado begins his list with an + explanation of the irregularities of <i>qi,uru</i>. This verb is on + Rodriguez' list only because "it lacks certain forms in the affirmative" + (45v). Rodriguez has a list of 43 deponent verbs, beginning with + <i>tari</i>, from which Collado has selected the first 14 and then a few + from the remainder.</p> + + <p><a name="Nt_107" href="#NtA_107">[107]</a> In the restricted context + of an adjectival; cf. modern <i>arayuru koto</i>.</p> + + <p><a name="Nt_108" href="#NtA_108">[108]</a> Cf. <i>Arte</i> (45v) where + Rodriguez transcribes <i>vreyeyo</i>.</p> + + <p><a name="Nt_109" href="#NtA_109">[109]</a> Loc. cit. Rodriguez + presents <i>vreôru</i> as an alternative form for <i>vreô</i> in the + present tense and then selects that <span class="correction" title="text reads `varient'" + >variant</span> for the infinitive.</p> + + <p><a name="Nt_110" href="#NtA_110">[110]</a> Formation (<i>formatio</i>) + is to be understood here in the sense of derivation, and diversity + (<i>differentia</i>) in the sense of class membership.</p> + + <p><a name="Nt_111" href="#NtA_111">[111]</a> The opening paragraphs of + this section follow the <i>Arte</i> (68-70 and 96-108v). The list of + particles, beginning with <i>maraxi</i>, follows 160-168.</p> + + <p><a name="Nt_112" href="#NtA_112">[112]</a> The text, here and in the + next sentence, reads <i>secundae coningationis</i>.</p> + + <p><a name="Nt_113" href="#NtA_113">[113]</a> The form <i>dojucu</i> is + incorrect. It is taken by Ōtsuka to be <i>dōshuku</i> 'a + person living in the same house.' The <i>Vocabulario</i> records the item + <i>dôjucu</i> 'a young boy who serves a priest.' <i>Dôjucu</i> best fits + Collado's translation.</p> + + <p><a name="Nt_114" href="#NtA_114">[114]</a> The text again reads + <i>secundae coniugationis</i>.</p> + + <p><a name="Nt_115" href="#NtA_115">[115]</a> Cf. <i>Arte</i> (160-164) + from which this list and the following material have been derived.</p> + + <p><a name="Nt_116" href="#NtA_116">[116]</a> Throughout his treatment of + the respect language Collado glosses his verb forms in the first person, + even though that translation might be inappropriate to any context.</p> + + <p><a name="Nt_117" href="#NtA_117">[117]</a> Rodriguez (<i>Arte</i>, + 162v) specifies the distribution of <i>vo</i> and <i>go</i>, using + <i>gosacu atta</i> as his example of the construction in context of a + Chinese vocabulary item. Collado does not refer to this distinction.</p> + + <p><a name="Nt_118" href="#NtA_118">[118]</a> The text reads <i>secundae + coniugationis</i>.</p> + + <p><a name="Nt_119" href="#NtA_119">[119]</a> The text reads <i>secundae + coniugationis</i>.</p> + + <p><a name="Nt_120" href="#NtA_120">[120]</a> Ōtsuka (1957) + suggests <i>maraxi</i> is correct and alters the example. Since the list + begins with <i>maraxi</i>, I assume the error to be in the citation.</p> + + <p><a name="Nt_121" href="#NtA_121">[121]</a> The material for this + section is derived from the <i>Arte</i> (164v-168).</p> + + <p><a name="Nt_122" href="#NtA_122">[122]</a> While the material for this + section is drawn from various sections of the <i>Arte</i>, the bulk of + the particles and their descriptions are derived from Rodriguez' + treatment of postpositional (73-77) and adverbial constructions + (112v-125).</p> + + <p><a name="Nt_123" href="#NtA_123">[123]</a> Rodriguez' list (77v) runs + as follows; <i>vchi</i>, <i>voi</i>, <i>faxe</i>, <i>ai</i>, <i>tori</i>, + <i>mexi</i>, <i>tçui</i>, and <i>voxi</i>. On the basis of Collado's + examples <i>voxi</i> should have been included in his list.</p> + + <p><a name="Nt_124" href="#NtA_124">[124]</a> Collado's transcription + <i>qinpen</i> is phonemically correct while being phonetically less + accurate than Rodriguez' <i>quimpen</i>.</p> + + <p><a name="Nt_125" href="#NtA_125">[125]</a> Collado has altered + Rodriguez' version from <i>Nippon</i>, even though the + <i>Dictionarium</i> glosses <i>consuetudo japonica</i> as <i>Nippon + catagui</i>.</p> + + <p><a name="Nt_126" href="#NtA_126">[126]</a> Collado, in the + <i>Dictionarium</i> and here, prefers <i>mmu</i> to <i>uma</i>.</p> + + <p><a name="Nt_127" href="#NtA_127">[127]</a> This particle is not + described in the <i>Arte</i>.</p> + + <p><a name="Nt_128" href="#NtA_128">[128]</a> Rodriguez (<i>Arte</i>, + 116) records <i>Core coso yocarǒzure</i> and states that in this + context <i>coso</i> has the same meaning as <i>Queccu</i> and + <i>Cayette</i>.</p> + + <p><a name="Nt_129" href="#NtA_129">[129]</a> Cf. the <i>Arte</i> (117) + where the list is given as <i>Reba</i>, <i>Ni</i>, <i>Tomo</i>, the + potential, and <i>Te</i>.</p> + + <p><a name="Nt_130" href="#NtA_130">[130]</a> Rodriguez' version runs + <i>Iesu Christo fitono vontocoroua</i>. (For Collado's use of + <i>reduplicatiuus</i> see note <a href="#Nt_53">53</a>.)</p> + + <p><a name="Nt_131" href="#NtA_131">[131]</a> As the first example + indicates, the <i>zzu</i> <span class="correction" title="text reads `varient'" + >variant</span> is not restricted to the negative preterit, but is the + form which appears for <i>da</i> in all contexts, as here with the + preterit of <i>iomu</i>.</p> + + <p><a name="Nt_132" href="#NtA_132">[132]</a> In the absence of other + examples it is not possible to determine if Collado assumed the present + tense form to be <i>iuru</i> or <i>uru</i>. The correction here follows + the spelling used consistently in the <i>Arte</i>.</p> + + <p><a name="Nt_133" href="#NtA_133">[133]</a> Both Collado and Rodriguez + agree that verbs ending in <i>tai</i> govern the accusative case; cf. + <i>Nanigaxiuo yobitai</i> (<i>Arte</i>, 14v).</p> + + <p><a name="Nt_134" href="#NtA_134">[134]</a> The text reads <i>secunda + persona</i>.</p> + + <p><a name="Nt_135" href="#NtA_135">[135]</a> Rodriguez has <i>Vatacuxiua + nantomo buchôfôde tofǒ ga gozanai</i> [... <i>buchôfǒde</i> + ...].</p> + + <p><a name="Nt_136" href="#NtA_136">[136]</a> Rodriguez uses the + transcription <i>gorǒjerarei</i> in the example from which this + sentence is derived. (The ten other occurrences in the <i>Arte</i> have + <i>goran</i>.) The <i>Dictionarium</i> uses only <i>goron</i>, while the + <i>Vocabulario</i> lists both <i>goran</i> and <i>goron</i>. The Spanish + manuscript has <i>goran</i>.</p> + + <p><a name="Nt_137" href="#NtA_137">[137]</a> Rodriguez has <i>mairade + canauanu</i>.</p> + + <p><a name="Nt_138" href="#NtA_138">[138]</a> The <i>Arte</i> has the + plain form <i>mairǒcotode attaredomo</i>.</p> + + <p><a name="Nt_139" href="#NtA_139">[139]</a> The <i>Arte</i> has + <i>mairumajiqueredomo</i>.</p> + + <p><a name="Nt_140" href="#NtA_140">[140]</a> Perhaps an attempt to + follow the rule, established in the syntax below, that states the + <i>v</i> of the accusative particle is lost after <i>n</i>. If this is + the intent, the comma is in error.</p> + + <p><a name="Nt_141" href="#NtA_141">[141]</a> Rodriguez treats adverbs in + two sections of the <i>Arte</i>; under the parts of speech (73v-77), and + under the syntax (113-125). As has been observed in the introduction, + there is little consistancy of classification between Rodriguez and + Collado in this area of grammatical description.</p> + + <p><a name="Nt_142" href="#NtA_142">[142]</a> The interrogatives are + derived from the <i>Arte</i> (110v) and are presented in substantially + the same order. The adverbial particles which begin with <i>uie</i> are + taken from (140-148v) and classified by Rodriguez as + <i>posposiçao</i>.</p> + + <p><a name="Nt_143" href="#NtA_143">[143]</a> The errata has; page 50, + line 10, <i>doco</i> read <i>coco</i>. This would require the <i>doco + zo</i> above to read <i>coco zo</i>. It seems that the errata should have + read; page 50, line 16, which would have corrected this error. The + punctuation is not corrected by the errata.</p> + + <p><a name="Nt_144" href="#NtA_144">[144]</a> Rodriguez has the complete + version; <i>Fitocuchi futacuchi cǔ cotoua cǔta vchideua + nai</i>.</p> + + <p><a name="Nt_145" href="#NtA_145">[145]</a> Rodriguez uses <i>vonna</i> + for <i>vonago</i>.</p> + + <p><a name="Nt_146" href="#NtA_146">[146]</a> The material for this + section is derived from the <i>Arte</i> (74v and 76v).</p> + + <p><a name="Nt_147" href="#NtA_147">[147]</a> Rodriguez has <i>Ayamari + nai vyeua</i>, ...</p> + + <p><a name="Nt_148" href="#NtA_148">[148]</a> For the temporal + interrogatives cf. <i>Arte</i> (89v-90v) and for the remaining forms + 107-107v.</p> + + <p><a name="Nt_149" href="#NtA_149">[149]</a> Cf. the <i>Dictionarium</i> + under <i>cras</i>.</p> + + <p><a name="Nt_150" href="#NtA_150">[150]</a> The <i>Vocabulario</i> has + <i>sãnuru</i> and <i>sannuru</i> as the <i>ombin</i> form of the + attributive perfective <i>sarinuru</i>.</p> + + <p><a name="Nt_151" href="#NtA_151">[151]</a> Cf. <i>Arte</i> (74v).</p> + + <p><a name="Nt_152" href="#NtA_152">[152]</a> The Spanish manuscript has + <i>iya iya</i>.</p> + + <p><a name="Nt_153" href="#NtA_153">[153]</a> Cf. <i>Arte</i> (74v).</p> + + <p><a name="Nt_154" href="#NtA_154">[154]</a> Cf. <i>Arte</i> (75, 94v, + and 123v-124v).</p> + + <p><a name="Nt_155" href="#NtA_155">[155]</a> Cf. <i>Arte</i> (94v) + <i>Quixoua ano fito fodono gacuxǒdeua nai.</i></p> + + <p><a name="Nt_156" href="#NtA_156">[156]</a> Cf. <i>Arte</i> (95 and + 141).</p> + + <p><a name="Nt_157" href="#NtA_157">[157]</a> Cf. <i>Arte</i> (75).</p> + + <p><a name="Nt_158" href="#NtA_158">[158]</a> The <i>Dictionarium</i> has + a selection of a dozen intensifying adverbs listed under + <i>valde</i>.</p> + + <p><a name="Nt_159" href="#NtA_159">[159]</a> Cf. <i>Arte</i> (74v, 75, + and 76).</p> + + <p><a name="Nt_160" href="#NtA_160">[160]</a> Cf. <i>Arte</i> (74, 75, + and 75v).</p> + + <p><a name="Nt_161" href="#NtA_161">[161]</a> The <i>Dictionarium</i> + also has the spelling <i>moxi</i> which suggests that Collado perceived a + different vowel quantity than Rodriguez who has <i>mǒxi</i>, as + does the <i>Vocabulario</i>.</p> + + <p><a name="Nt_162" href="#NtA_162">[162]</a> The Latin particle is + <i>nonne</i>, which expects an affirmative answer.</p> + + <p><a name="Nt_163" href="#NtA_163">[163]</a> Rodriguez, and consequently + Doi (<i>Nihon daibunten</i>, p. 449), have <i>xidai</i> for <i>xisai</i>. + The original source is the <i>Esopo no Fabulas</i> where on p. 493 the + form is <i>xisai</i>.</p> + + <p><a name="Nt_164" href="#NtA_164">[164]</a> While the material for this + section has been drawn from various portions of the <i>Arte</i>, + Rodriguez handles the bulk of the matters dealt with here on 106v-108v + and 140-148v.</p> + + <p><a name="Nt_165" href="#NtA_165">[165]</a> The text is not clear at + this point. It reads: Tame, <i>significat ni vel erga: v.g.</i> ... where + one would expect: Tame <i>vel</i> ni <i>significat erga: v.g.</i> ... + Ōtsuka translates this passage as if it were the later, as do + I.</p> + + <p><a name="Nt_166" href="#NtA_166">[166]</a> Collado has recast into the + colloquial a quote from the <i>Shikimoku</i>. Rodriguez records: <i>Mata + daiquanni itatteua ichininnomi sadamubequi nari</i>.</p> + + <p><a name="Nt_167" href="#NtA_167">[167]</a> The text reads: itatte + <i>v.g.</i> totte.... where the <i>v.g.</i> is clearly a misprint of + <i>vel</i>.</p> + + <p><a name="Nt_168" href="#NtA_168">[168]</a> Cf. <i>Arte</i> + (130-137).</p> + + <p><a name="Nt_169" href="#NtA_169">[169]</a> This item is the only one + in this paragraph which Rodriguez does not list as a <i>casane cotoba</i> + on 134v of the <i>Arte</i>. Collado is apparently interpreting this + construction as a repetition of two adverbs, as for example <i>coco + caxico</i>. If so, the form should be spelled <i>vomoxirô</i>, + <i>vocaxiú</i> (if we follow his rule for the formation of adverbs from + <i>ij</i> ending adjectives). However, the form which he seems to be + recording is more likely the compound adverb which is listed in the + <i>Vocabulario</i> as <i>vomoxirovocaxǔ</i> and glossed as + <i>contemporizando de boa maneira</i> '<span class="correction" + title="text reads `temperizing'">temporizing</span> in a carefree + manner.' The spelling that we suggest is derived from the attested + lexical item without the application of Collado's formational rules.</p> + + <p><a name="Nt_170" href="#NtA_170">[170]</a> Cf. <i>Arte</i> + (125-130v).</p> + + <p><a name="Nt_171" href="#NtA_171">[171]</a> This interjection, together + with <i>hat</i> below, are the only uses of initial <i>h</i> found in the + description. Rodriguez transcribes the latter item as <i>at</i> or + <i>vat</i> (<i>Arte</i>, 127) which suggests a close relationship between + the labial and glottal aspirates.</p> + + <p><a name="Nt_172" href="#NtA_172">[172]</a> Rodriguez has <i>Benquei + satemo yasaxij yatçubaraya</i>.</p> + + <p><a name="Nt_173" href="#NtA_173">[173]</a> Rodriguez has: ... + <i>nituaye bǒno saxivorosu</i>. The entire passage would be, + 'Benkei, seeing this, thought, "Oh, this isn't very important," and + dropped the stick into the garden.' which Rodriguez explains to mean + being sorry for not paying sufficient attention to a matter.</p> + + <p><a name="Nt_174" href="#NtA_174">[174]</a> The material for this + section is derived from various sections in Book II of the + <i>Arte</i>.</p> + + <p><a name="Nt_175" href="#NtA_175">[175]</a> Matthew, 6:24.</p> + + <p><a name="Nt_176" href="#NtA_176">[176]</a> Rodriguez has the spelling + <i>touazumba</i>. In transcribing the form Collado failed to follow the + rule he established in his treatment of conditional constructions.</p> + + <p><a name="Nt_177" href="#NtA_177">[177]</a> The model for this sentence + appears to be <i>Arte</i> (62): <i>Ichidan medzuraxij yenoco, que + nagǒ, uquino gotoqu xirǒ</i> [<i>sic</i>], <i>me curô, cauo + icanimo airaxijuo cureta.</i> If this is the source of Collado's example, + he is clearly demonstrating his sensitivity to the nasalization of such + items such as <i>nagǒ</i>. The <i>Dictionarium</i> under + <i>longus</i> has <i>nagai</i>.</p> + + <p><a name="Nt_178" href="#NtA_178">[178]</a> Collado's transcription is + unable accurately to express the proper phonological, or morphological, + form of <i>shin'i</i> 'indignation.' He would have been well advised to + follow Rodriguez' model and transcribe this item as <i>xiny</i> with the + specification that consonant plus <i>y</i> indicates a morphological + juncture.</p> + + <p><a name="Nt_179" href="#NtA_179">[179]</a> Rodriguez has the spelling + <i>Quiso</i>, which agrees with the <i>Amakusaban Heike</i> (p. 239), the + ultimate source of the sentence. Collado's spelling in the translation is + <i>quiuzo</i>. The Spanish manuscript has <i>Kiso</i>.</p> + + <p><a name="Nt_180" href="#NtA_180">[180]</a> One might expect the more + literal 'I do not believe that it will be finished,' but Collado has + <i>credo quod non finietur</i>.</p> + + <p><a name="Nt_181" href="#NtA_181">[181]</a> This rule, which might more + appropriately have been included with the phonology, is not followed in + Collado's description, with the possible exception of p. <a + href="#lpage48">48</a> where the same construction is apparently + used.</p> + + <p><a name="Nt_182" href="#NtA_182">[182]</a> Collado here demonstrates + the absorbitive capacity of Latin as he creates an accusative singular + adjective from the past attributive of the verb <i>kobu</i>.</p> + + <p><a name="Nt_183" href="#NtA_183">[183]</a> The use of <i>abiru</i>, + where one would expect <i>aburu</i>, may be a simple typographical error + or evidence that Collado accepted the shift from <i>ni-dan</i> to + <i>ichi-dan katsuyō</i> as unworthy of notice. Rodriguez + (<i>Arte</i>, 101v) has <i>midzuuo aburu</i>.</p> + + <p><a name="Nt_184" href="#NtA_184">[184]</a> This list is derived from + the <i>Arte</i> (101v-102v). From <i>abi,uru</i> on, the list is in the + same order as that made by Rodriguez. <i>Fanaruru</i>, <i>zzuru</i>, + <i>nosquru</i>, <i>noru</i>, <i>vovaru</i>, and <i>mairu</i> are + Collado's contributions.</p> + + <p><a name="Nt_185" href="#NtA_185">[185]</a> Cf. <i>Arte</i> (101v).</p> + + <p><a name="Nt_186" href="#NtA_186">[186]</a> Cf. <i>Arte</i> (100).</p> + + <p><a name="Nt_187" href="#NtA_187">[187]</a> Cf. <i>Arte</i> (98).</p> + + <p><a name="Nt_188" href="#NtA_188">[188]</a> Cf. <i>Arte</i> (104).</p> + + <p><a name="Nt_189" href="#NtA_189">[189]</a> Cf. <i>Arte</i> (64 and + 79).</p> + + <p><a name="Nt_190" href="#NtA_190">[190]</a> The material presented in + this section is gleaned from the exhaustive treatment of the numerical + system which makes up the last 20 leaves of Rodriguez' grammar.</p> + + <p><a name="Nt_191" href="#NtA_191">[191]</a> This compound does not + follow the rule, since <i>cu</i> is not a <i>iomi</i> numeral. See also + <i>cu ninai</i> below.</p> + + <p><a name="Nt_192" href="#NtA_192">[192]</a> Rodriguez has <i>fitoi</i> + or <i>fifitoi</i> (Arte, 228v).</p> + + <p><a name="Nt_193" href="#NtA_193">[193]</a> While this form fits the + general rule for combining counters and days, Rodriguez (<i>Arte</i>, + 228v) has <i>tǒca</i>, which is a misprint for <i>tôca</i>, cf. + Doi, <i>Daibunten</i>, p. 818.</p> + + <p><a name="Nt_194" href="#NtA_194">[194]</a> Spelled with a <span + class="correction" title="text reads `tilda'">tilde</span>, + <i>sãguat</i>, as are all the other forms before <i>guat</i>.</p> + + <p><a name="Nt_195" href="#NtA_195">[195]</a> For the <i>sǒ</i> and + <i>sa</i> allomorph of <i>san</i> cf. <i>Arte</i> (173v).</p> + + <p><a name="Nt_196" href="#NtA_196">[196]</a> Rodriguez gives the + following equivalents in the monetary system on 217-217v of the + <i>Arte</i>: ... ten <i>Rin</i> in one <i>Fun</i>, ten <i>Fun</i> in one + <i>Momme</i>, one thousand <i>Momme</i> in one <i>Quamme</i>.</p> + + <p><a name="Nt_197" href="#NtA_197">[197]</a> The text is confused at + this point. It runs: Ixxacu, <i>unus palmus seu tertia quam Hispania + vocant</i> sanjacu. <i>tres</i>, ...</p> + + <p><a name="Nt_198" href="#NtA_198">[198]</a> The text has <i>culus</i> + 'posterior,' but the errata changes the word to <i>anus</i>. The original + seems closer to the Japanese.</p> + + <p><a name="Nt_199" href="#NtA_199">[199]</a> The examples here lag one + behind the glosses.</p> + + <p><a name="Nt_200" href="#NtA_200">[200]</a> Here and elsewhere Collado + combines homophonous enumerators which Rodriguez keeps distinct. Cf. + <i>Arte</i> (220-223v) for an extensive list of enumerators.</p> + + <p><a name="Nt_201" href="#NtA_201">[201]</a> Cf. <i>Arte</i> + (159-159v).</p> + + <p><a name="Nt_202" href="#NtA_202">[202]</a> This rule, apparently an + invention of Collado's, has no precedent in Rodriguez or in linguistic + derivation. The <i>n</i> in this construction is the contracted form of + the classical <i>mu</i>, the source for what Collado calls the + future.</p> + + <p><a name="Nt_203" href="#NtA_203">[203]</a> These forms might better + have been presented as <i>nari,i</i> and <i>qeri,i</i> to indicate that + the sentence-ending forms are <i>nari</i> and <i>qeri</i>.</p> + +</div> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Diego Collado's Grammar of the +Japanese Language, by Diego Collado + +*** END OF THIS PROJECT GUTENBERG EBOOK JAPANESE LANGUAGE *** + +***** This file should be named 21197-h.htm or 21197-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/1/1/9/21197/ + +Produced by David Starner, Keith Edkins and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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