„“ 4. PREDNÁŠKA 2020 F x W: rozdíl výslovnostní i pravopisný FA, FI, FE, FO 人　　　　　 ひと 花　　　　 はな 母　　　　　 はは 川　　　　　 かは 上　　　　　 うへ 　上着　　　 うはぎ　　ufa + gi 大きなり　　 おほきなり 多し、(till Heian also: ) 大し　 おほし 遠し　　　　 とほし 塩　　　　　 しほ 御　　　　　 おほみ 扇ぎ　　　　 あふぎ 近江　　　　 あふみ　　　　 思ふ　　　　 おもふ 思はず　　 おもはず 思ひき　　 おもひき 言ふ　　　　 いふ 言はず　　 いはず 言ひき　　 いひき　　= minulý čas　 WI, WE, WO 井　　 ゐ　Ｘ　い　（五、五十、寝） 居る　 ゐる = sit Ｘ　いる　（入る、煎る、射る） 居立ち　 ゐたち　sitting down and standing up, caring ardently/incessantly for s.o., 来居る　 きゐる　come and sit down 位　　　 くらゐ　（* ＜ 倉＋居） 絵　　 ゑ 会　　 ゑ 声　　 こゑ 居る　 をる　 Ｘ　おる　（織る、降りて、下りて） 小　 を　 Ｘ　お　（御 started to appear in Genji as an abbr. of ofomi: 御前） 小野　 をの　“nice little field”. surname. 幼し　 をさなし　young, small, immature 男　　 をとこ man 処女　 をとめ　 girl THE ATTRIBUTIVE FORM (“rentaikei”) used as a nominal form この殿（との）の面白きをほむる歌 Basic syntactical particles (wa, ga, wo, ni) often ommitted: この殿（との）の面白きをほむる歌、読む。 Local particle NI > NI + TE > NITE (> DE in modern Japanese) 天の浮橋の下にて、女神（めがみ）男神（をがみ）となり給へることを言へる歌 Direct object (“accusative”) particle WO with the topical WA > WO-BA 心をばかたはらに置きて、。。。 katafara = side, beside . . . . . . .. . . . . . . . . . = Putting aside what I felt, ... ARU for all subjects (both animate and inanimate) ある人々 . . . . . . . . . . .. . . = people who were there DEMO 天ざかる雛にある我 (雛 ひな countryside あまざかる ama-zakaru (or あまさがる) “heaven-distant”, “where the skies come down”, makurakotoba to 雛 “countryside”) . . . . . . = I who live (“am”) in this heaven-distant countryside The two separate forms for attribute (rentaikei) and predicate (= sentence-final form, shuushikei). Short vowel verbs: e. g. miru, keru (kick) – the same form for both uses rentaikei: 見るもの shuushikei: 物（を）見る。 Longer vowel verbs: the modern sugiru 過ぎる: rentaikei: むなしく過ぐることを惜しむ　(wosimu) shuushikei: むなしく過ぐ。 (gerund: 過ぎて) . . . . . . . = regret that it passes in vain = it passes (passed) in vain Adjectives: rentaikei: 長き旅 shuushikei: 旅長し。 The existencial ARI and its derivatives: a, rentaikei: 世の中にある人 shuushikei: その山に黄金あり。 (黄金　くがね > こがね gold) . . . . . . . . . . . . . = people living in this world = there is gold in those mountains b, the past (“recollective”) suffix –keri (< -ki + ari) rentaikei: 天地のひらけ初まりける時 shuushikei: 天地、ひらけ初まりけり。 Historical mode – the past tense often not expressed grammatically 翁、やうやう、ゆたかになり行く。　 この児（ちご）、すくすく、大きになりまさる。 . . . . . . . . . . . . . . . . . = The old man gradually grew rich. = This child grew quickly. Kakari-musubi ZO, NAMU, KA, YA – rentaikei KOSO – izenkei 一つ松いく世か経る？ . furu Mod Jap. Heru Gerund Hete Clas Jap Fete Sugite Fu Sugu Furu Suguru . . . . . . .. . . . . . . . . . . . . . = How many generations does one pine pass? 月やあらぬ？春や昔の春ならぬ？(KKS 747) Aru – arazu. Aranu - rentaikei . . . . . . . . . . . . . . . . . . . . . KOSO + izenkei (= 4. základ, napr. moderné “sure-ba”): 行く– yuke 見る– mire 過ぐる– sugure 高し – takakere なり(copula) – nare 梅こそ、ただ今はさかりなれ。 (盛り – full bloom) . . . . . . . . . . . . . . The subject in a genitive (possessive) construction In Old Japanese, the subject was usually expressed by a zero ending. There was no specific nominative (SUBJECT) particle. What we know as such in modern Japanese – GA – originally had genitive (possessive) function, seen in the modern phrases like 我が国 or in the Japanese national anthem 君が代 kimi-ga yo “the age/reign of the lord=the Emperor“. In Classical Japanese: 我が妹　（いも）my beloved 妹（いも）が家　the house of (my) beloved Also after a nominalized verb: 清き川瀬を見るがさやけさ　 (清し きよし clear 川瀬 かはせ plytčina, preřeje さやけし　 je průzračný, čirý, čistý) lit. “the transparency of looking (= of the time when I am looking) at the clear rapids” (oh!) the transparency, when I look at the clear rapids! 我が思ふ妹 wa-ga omofu imo “the girl about whom I think (= whom I love)” originally: omofu imo “the girl I love, beloved girl” > waga omofu-imo “MY beloved girl” later came to have the meaning of the subject: waga-omofu (I love) imo – the girl I love, i. e. synonymous with 我、思ふ妹　　ware omofu imo 君が言へば　kimi-ga ifeba -e-ba = když; protože (NB ne „kdyby“!!!) . . . . . . . . . . . . . . . . protože jste řekl 君が去なば　kimi-ga inaba inu = odejít. –a-ba = kdyby, jestli . . . . . . . . . . . . . . kdybyste odešel CHRONOLOGY: 1. semantics: utukusiki = (nara) mil(ovan)ý → rozkošný (heian) → krásný (moderná japonština)　 2. grammar: the modern Japanese TE IRU form KAITE IRU 　書いている 1. I am writing (continuous) 2. I have written, it is written (perfect) Old Japanese 2 + ari (contracted into > eri) KAKI + ARI > KAKERI　書けり 1. I am writing (continuous) 2. I have written, it is written (perfect) Classical Japanese besides 書けり, a new analytical form appears for the same grammatical category: TE + ari > TARI KAKITE ARI > KAKITARI　書きたり a přitom se 書けり stáva zastaralým tvarem Post-classical Japanese (until today) besides書きたり, a new analytical form appears for the same grammatical category: TE + (W)IRU KA(K)ITE IRU 書いている The original form書きたり gradually assumes new uses and phonetic form. In the simplified form 書いた it acquired the meaning of simple past tense. The original form in –ri remains “stuck” in the construction 書いたりする with a repetitive meaning. II. More pronunciation specifics of Old Japanese For Chinese, the kanji are logograms, letters for concrete words. In Japanese, they changed into semantograms, letters for meanings. Each of the semantograms records several words (called “the readings”). Polyphony of signs. Man’yougana 万葉仮名 is a mixed semantographic-phonetic script, sometimes the term also refers to the phonetic usage of Chinese characters. Sometimes the phonograms are written smaller than the semantograms, in which case it is called Senmyougaki　宣命書 after senmyou Imperial edicts in which they were used in (as well as in norito liturgies). According to which of the readings is used, the signs can be divided into ongana (predominant) and kungana (rare). 1. CONSONANTS Apart from the F and W sounds, a, [je] “j” sa vyskytovalo aj pred “-e”, ale písalo sa rovnako ako “e” (možno všetky “e” boli [je]) oboju – obojuru – obojete おぼゆ・おぼゆる・おぼえて b, [ng, ňdž, nd, mb] voiced counterparts of voiceless consonants were probably prenasalized (actually, all the paired voiced consonants might have developed from prenasalised voiceless ones, according to some scholars, eg Vovin p.36). oboyu < *omopoyu (original meaning “feels like, seems” - derrivation from OMOPU 思ふ c, palatalization “s” palatalized both before “-i” and “-e”: si, se, zi, ze “t” was probably not palatalized before the Nara period “di” and “zi” were different sounds and distinguished in writing 大路（おほぢ　）、氏（うぢ）、 “du” and “zu” also めづらし、いづれ、いづこ d, gemmination ([mm, nn, kk, tt, pp, ss...]) were often left unrecorded, only spelled as if there were a single consonant *aru-meri “apparently there is” > [ammeri] spelled あめり 2. Vowels a, starojaponština (do nary) kó-rui i: 比、必、卑 ocu-rui ï : 非、悲、彼、飛、妃 a i1 < *i, *ji i2 “ ï ” < *uj, *oj u (rounded) e1 < *e, *je e2 “ ë ” < *aj, *ej o1 < *uo, ua o2 “ ö ” < *o/ǝ there are only remnants of this state of things in the Nara period, and from the Heian period onwards, the 5-vowel system was firmly established (obě I splynuli do jedné hlásky I, obě E taky, a stejně tak obě O). b, Synizésis (or adjoining contraction) contraction of adjoining vowels into one syllable. ancient Greek, Latin, Italian philo-sophiā “philosophy” but *philo-anthrōpiā > phil’-anthrōpiā “philanthropy” Latin, Italian “Giorgio Armani” pronounced as 4 syllables only, not 5 “penso anchè” in poetry and opera librettos: “Parigi, o cara, noi lasceremo, la vita uniti trascorreremo...” (La Traviata, 3rd act) In Old Japanese, synizesis had an important role in compounds, as we will see later, but it is possible že přímo souvisela s rytmem poezie. V Kodžiki máme verš psaný sedmi znaky kö-kö-rö-pa’mö-pë-dö (Kodžiki kajó 51) tento verš, přenesen do moderní výslovnosti, by zněl: kokoro-wamoedo Both represent the 7syllable line, typical for the syllabic metre of ancient Japanese poetry: kö-kö-rö-pa-mö-pë-dö What this verse actually says is: kökörö-pa ömöpë(n)dö 　　　 心は思へど or: kokoro-wa omoedo = my heart feels, but... Also MAN 843: 　　　mi-ya-ko-si-zo-mo-pu 7 syllables synizesis for: 　　　miyako-si-zo omopu　都しぞ思ふ From these examples, it is obvious that, at least originally, synizesis was actually used to accommodate the syllable count to the syllabic rule of poetry – bez této kontrakce by verš byl o jednu slabiku delší. In later practice of classical poetry of the Heian period, cases like these were called “ji-amari”, yet whether they were really recited with synizesis or nebo jenom “brán jako” o jednu slabiku delší, přitom ale recitován naplno, není jisté. The man’yougana record of these lines at least provides a firm testimony that synizesis was used in the oldest times of the poetry. „“