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The Japanese Writing System: A Brief Sketch Beginnings The first contact of the Japanese with writing was when items such as inscribed coins, swords, and bronze mirrors were brought over from China in the first few centuries AD. The writing that was brought over to Japan at that period was no different from the writing in China itself, i.e., Chinese characters, used to write the Chinese language. Initially, it would have been difficult for the Japanese even to understand the nature and function of writing, as this was something completely new. Over time, though, they started to become familiar with the concept of writing and subsequently learned—with the help of teachers and scribes from China and the ancient Korean kingdoms—to write in what for them was a foreign language. This, of course, was a formidable task, due partly to the very great differences between the Chinese and Japanese languages. In addition, there was the intricate nature of the Chinese script. Gradually, though, the Chinese script was adapted for Japanese. One relatively simple way of doing this was sometimes to use characters just for their sound value to write Japanese directly. So, for instance, we find the Japanese word yama ‘mountain’ represented in the eighth-century poetry anthology called Man’yōshū as , using not for its meaning ‘night’ but purely for its on reading ( i.e., Chinese-based sound value) YA, and not for its meaning ‘flax, hemp’ but similarly for its on reading MA. Many of the Man’yōshū poems are in fact written entirely in this way. Using Chinese characters in this way to write Japanese worked and was quite straightforward, but it was a rather longwinded method for texts of any length; we find this point noted in the preface to the Kojiki (Record of Ancient Matters) of 712 AD. Development of Kana (Japanese Syllabic Signs) Characters employed just for their sound value often came to be written quite rapidly for economy of effort, and this led to simpler shapes. This meant, for example, 27
that the word kuruma ‘vehicle’ might be written in a ninth century text simply as rather than more elaborately as (on readings: KU-RU-MA), and in the same way nusa ‘prayer strip’ could be written efficiently as instead of as (on readings: NU-SA). This, in fact, was the basic process by which the cursive-type syllabic signs called hiragana evolved. What later evolved as the other set of Japanese syllabic signs called katakana also came about for the same reason of writing efficiency, but by a substantially different process: shape simplification was achieved largely not by writing rapidly, but by omitting part of a Chinese character used for its sound value. For example, whereas the hiragana sign for ka, derived from (on reading: KA), represented the whole of that character (both left and right elements) in the shape , the katakana sign for the same syllable (ka) evolved from the same character () by omitting all of the right-hand side, resulting in . The katakana sign (ri) evolved in much the same way, in this case taking just the right-hand side of (on reading: RI) (for further information, see kana appendix). Although at the earliest stage signs of both the hiragana and katakana type were used together, gradually there developed a tendency to use them in different contexts. Hiragana script tended to acquire an association of aesthetic refinement, and was often used for native Japanese prose and poetry, while katakana were employed in a more utilitarian and auxiliary way to indicate verb endings, grammatical function words and the like. Beginnings of Mixed Kanji-Kana Text Examples of texts written mostly or entirely in kana can be found dating back to about the ninth century, though it should be noted that for many centuries—unlike today—there was considerable variation in the actual shapes. However, while kana script was easy to learn and a practical tool, it lacked the enormous prestige that was associated with the Chinese script and Chinese culture in most periods of premodern Japan. Also, there were many Chinese terms borrowed into Japanese, and it tended to be more straightforward to use the corresponding Chinese characters to write them. For reasons such as these, especially for documents of an official nature, the Japanese often wrote not in Japanese using kana (or a combination of characters and kana), but either in Chinese, which of course meant using only Chinese characters and in the way they would be used by native Chinese writers, or—probably more frequently—in an imitation of written Chinese which was influenced to some extent by the differing structure of the Japanese language. For the Japanese, writing in Chinese or attempting to do so was surely a daunting exercise, and so it was no doubt a natural development that at some point texts should appear that had a Chinese ‘look’ but included a small number of kana-like signs, commonly written 28 The Japanese Writing System: A Brief Sketch
- Page 2: THE COMPLETE GUIDE TO Japanese Kanj
- Page 5 and 6: Published by Tuttle Publishing, an
- Page 7 and 8: The 80 First-Grade Characters......
- Page 9 and 10: Acknowledgments Thanks are due to O
- Page 11 and 12: writing brush, and then incised. Wr
- Page 13 and 14: 1.5 Cursive Script Forms While the
- Page 15 and 16: 5) ‘semantic-phonetic compounds
- Page 17 and 18: alternative etymologies for the sam
- Page 19 and 20: 集 韻 Jiyun (Collected Rhymes; J.
- Page 21 and 22: text in reverse, then the blocks we
- Page 23 and 24: eflects the reality that in this bo
- Page 25 and 26: compound characters, in the form ),
- Page 27: Limitations of This Book This book
- Page 31 and 32: Hiragana and Katakana and Their Sou
- Page 33 and 34: Hiragana Katakana HO from HO from
- Page 35 and 36: The 214 Determinatives (or ‘Radic
- Page 37 and 38: No. English Alternative forms/nickn
- Page 39 and 40: No. English Alternative forms/nickn
- Page 41 and 42: No. English Alternative forms/nickn
- Page 43 and 44: 4. However, in a few cases vertical
- Page 45 and 46: Editorial and Typographical Matters
- Page 48 and 49: THE KANJI
- Page 50 and 51: 6 L4 音 ON, IN, oto, ne sound 9
- Page 52 and 53: 14 休 KYŪ, yasumu rest(ing) L5 6
- Page 54 and 55: 23 L5 校 KŌ school, check 10 stro
- Page 56 and 57: 33 L5 車 SHA, kuruma vehicle 7
- Page 58 and 59: 43 L4 GAKUSEI student ISSH
- Page 60 and 61: 51 L5 52 L4 先 SEN, saki prior,
- Page 62 and 63: 59 L5 中 4 CHŪ, naka middle, insi
- Page 64 and 65: 68 年 NEN, toshi year L5 6 strokes
- Page 66 and 67: 76 L5 目 5 MOKU, me, ma eye, look,
- Page 68 and 69: 85 遠 EN, tōi distant L4 13 strok
- Page 70 and 71: 93 L5 会 KAI, E, au meet 6 stro
- Page 72 and 73: 101 L3 丸 3 GAN, maru, marui round
- Page 74 and 75: 110 L4 111 L4 京 KYŌ, KEI c
- Page 76 and 77: 118 L5 言 GEN, GON, koto, iu wo
The Japanese Writing System:<br />
A Brief Sketch<br />
Beginnings<br />
The first contact of the Japanese with writing was when items such as inscribed<br />
coins, swords, and bronze mirrors were brought over from China in the first few<br />
centuries AD. The writing that was brought over to Japan at that period was no<br />
different from the writing in China itself, i.e., Chinese characters, used to write the<br />
Chinese language. Initially, it would have been difficult for the Japanese even to understand<br />
the nature and function of writing, as this was something completely new.<br />
Over time, though, they started to become familiar with the concept of writing and<br />
subsequently learned—with the help of teachers and scribes from China and the<br />
ancient Korean kingdoms—to write in what for them was a foreign language. This,<br />
of course, was a formidable task, due partly to the very great differences between<br />
the Chinese and Japanese languages. In addition, there was the intricate nature of<br />
the Chinese script. Gradually, though, the Chinese script was adapted for Japanese.<br />
One relatively simple way of doing this was sometimes to use characters just for<br />
their sound value to write Japanese directly. So, for instance, we find the Japanese<br />
word yama ‘mountain’ represented in the eighth-century poetry anthology called<br />
Man’yōshū as , using not for its meaning ‘night’ but purely for its on reading<br />
( i.e., Chinese-based sound value) YA, and not for its meaning ‘flax, hemp’ but<br />
similarly for its on reading MA. Many of the Man’yōshū poems are in fact written<br />
entirely in this way. Using Chinese characters in this way to write Japanese worked<br />
and was quite straightforward, but it was a rather longwinded method for texts of<br />
any length; we find this point noted in the preface to the Kojiki (Record of Ancient<br />
Matters) of 712 AD.<br />
Development of Kana (Japanese Syllabic Signs)<br />
Characters employed just for their sound value often came to be written quite rapidly<br />
for economy of effort, and this led to simpler shapes. This meant, for example,<br />
27