{"id":3945,"date":"2023-05-12T13:25:11","date_gmt":"2023-05-12T04:25:11","guid":{"rendered":"https:\/\/www.hituzi.co.jp\/hituzigusa\/?p=3945"},"modified":"2023-05-12T13:25:13","modified_gmt":"2023-05-12T04:25:13","slug":"architecture-07","status":"publish","type":"post","link":"https:\/\/www.hituzi.co.jp\/hituzigusa\/2023\/05\/12\/architecture-07\/","title":{"rendered":"\u65e5\u672c\u8a9e\u8868\u8a18\u306e\u30a2\u30fc\u30ad\u30c6\u30af\u30c1\u30e3\uff1a\u7b2c7\u56de\uff1a\u632f\u4eee\u540d\uff081\uff09\u6c5f\u6238\u671f\u306e\u632f\u4eee\u540d \uff0fThe Architecture of Written Japanese: 07 The History of Furigana \uff5c\u4eca\u91ce\u771f\u4e8c\u30fbChris Lowy"},"content":{"rendered":"\n<h4 class=\"has-text-align-right 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u3002\u305d\u3082\u305d\u3082\u7279\u5225\u306a\u300c\u610f\u56f3\u300d\u304c\u3042\u3063\u305f\u304b\u3069\u3046\u304b\u3082\u308f\u304b\u3089\u306a\u3044\u3002\u3057\u304b\u3057\u3001\u3053\u306e\u5834\u5408\u306f\u3001\u3082\u3063\u3068\u3082\u81ea\u7136\u306a\u6f22\u5b57\u5217\u3092\u9078\u629e\u3057\u3066\u3044\u306a\u3044\u3068\u3044\u3046\u70b9\u306b\u304a\u3044\u3066\u610f\u56f3\u7684\u3067\u3042\u308b\u3053\u3068\u3060\u3051\u306f\u306f\u3063\u304d\u308a\u3057\u3066\u3044\u308b\u3002<\/p>\n\n\n\n<p>\u3000\u3053\u306e\u3053\u3068\u3092\u300c\u8aad\u307f\u624b\u300d\u306e\u7acb\u5834\u304b\u3089\u8aac\u660e\u3059\u308b\u3068\u3001\u6f22\u5b57\u5217\u300c\u6e96\u5099\u30fb\u51c6\u5099\u300d\u3092\u300c\u30e8\u30a6\u30a4\u300d\u3068\u8aad\u307e\u305b\u305f\u3001\u3068\u3044\u3046\u3053\u3068\u306b\u306a\u308b\u3002\u300c\u30e8\u30a6\u30a4\u300d\u3068\u8aad\u307e\u305b\u305f\u3044\u306a\u3089\u3070\u3001\u6f22\u5b57\u5217\u300c\u7528\u610f\u300d\u3092\u4f7f\u3048\u3070\u3044\u3044\u3053\u3068\u306b\u306a\u308b\u304c\u3001\u305d\u3046\u3067\u306f\u306a\u3044\u306e\u3067\u3001\u300c\u66f8\u304d\u624b\u300d\u306f\u6f22\u5b57\u5217\u300c\u6e96\u5099\u30fb\u51c6\u5099\u300d\u3092\u4f7f\u7528\u3057\u305f\u304b\u3063\u305f\u3068\u3044\u3046\u3053\u3068\u3060\u3051\u306f\u306f\u3063\u304d\u308a\u3057\u3066\u3044\u308b\u3002\u300c\u66f8\u304d\u624b\u300d\u5074\u304b\u3089\u307f\u3066\u3082\u300c\u8aad\u307f\u624b\u300d\u5074\u304b\u3089\u307f\u3066\u3082\u3001\u300c\u6e96\u5099\u30fb\u51c6\u5099\u300d\u3068\u3044\u3046\u6f22\u5b57\u5217\u3092\u4f7f\u3044\u305f\u304b\u3063\u305f\u3068\u3044\u3046\u3053\u3068\u306f\u4e00\u81f4\u3057\u3066\u304a\u308a\u3001\u305d\u306e\u3053\u3068\u306f\u52d5\u304b\u306a\u3044\u3068\u3044\u3063\u3066\u3088\u3044\u3060\u308d\u3046\u3002<\/p>\n\n\n\n<p>\u3000\u3053\u308c\u3092\u300c\u6587\u5b66\u8868\u73fe\u300d\u3068\u547c\u3076\u306e\u3067\u3042\u308c\u3070\u3001\u8a9e\u306e\u6587\u5b57\u5316\u306b\u3042\u305f\u3063\u3066\u3001\u3044\u304b\u306a\u308b\u5358\u6f22\u5b57\u3001\u3044\u304b\u306a\u308b\u6f22\u5b57\u5217\u3092\u9078\u629e\u3059\u308b\u304b\u3068\u3044\u3046\u3053\u3068\u306f\u300c\u8868\u73fe\u300d\u306e\u4e00\u90e8\u3092\u62c5\u3046\u3068\u3044\u3063\u3066\u3088\u3044\u3053\u3068\u306b\u306a\u308b\u3002\u3053\u306e\u5834\u5408\u3067\u3044\u3048\u3070\u3001\u300c\u30e8\u30a6\u30a4\u300d\u3068\u3044\u3046\u6f22\u8a9e\u306f\u300c\u7528\u610f\u300d\u3068\u6587\u5b57\u5316\u3059\u308b\u3053\u3068\u304c\u3082\u3063\u3068\u3082\u81ea\u7136\u3001\u3059\u306a\u308f\u3061\u6a19\u6e96\u7684\u3067\u3042\u308b\u3001\u3068\u3044\u3046\u3053\u3068\u304c\u660e\u767d\u3067\u3042\u308a\u3001\u305d\u306e\u300c\u6a19\u6e96\u7684\u306a\u6587\u5b57\u5316\u300d\u3092\u4e00\u65b9\u306b\u304a\u3044\u3066\u3001\u4f55\u3089\u304b\u306e\u300c\u610f\u56f3\u300d\u306e\u5b58\u5728\u3092\u78ba\u8a8d\u3057\u3001\u305d\u308c\u3092\u3082\u3063\u3066\u300c\u8868\u73fe\u300d\u3068\u307f\u306a\u3059\u3068\u3044\u3046\u624b\u9806\u304c\u3042\u308b\u306e\u3067\u3042\u3063\u3066\u3001\u305d\u3046\u3057\u305f\u691c\u8a3c\u306a\u3057\u306b\u3001\u73fe\u4ee3\u65e5\u672c\u8a9e\u6bcd\u8a9e\u8a71\u8005\u306e\u76ee\u306b\u7279\u6b8a\u306b\u307f\u3048\u308b\u6587\u5b57\u5316\u3092\u3001\u305d\u3046\u3057\u305f\u5185\u7701\u3060\u3051\u3092\u305f\u3088\u308a\u306b\u7279\u6b8a\u3067\u3042\u308b\u3068\u307f\u306a\u3059\u3053\u3068\u306f\u3067\u304d\u306a\u3044\u3002<\/p>\n\n\n\n<p>\u3000\u307e\u305f\u3001\u300c\u66f8\u304d\u624b\u300d\u306e\u300c\u8868\u73fe\u300d\u306e\u4e2d\u3067\u632f\u4eee\u540d\u3092\u3068\u3089\u3048\u308b\u306e\u3067\u3042\u308c\u3070\u3001\u300c\u66f8\u304d\u624b\u300d\u304c\u3069\u306e\u3088\u3046\u306a\u8a9e\u5f59\u3092\u4f7f\u7528\u3057\u3066\uff08\u5c11\u306a\u304f\u3068\u3082\uff09\u5f53\u8a72\u30c6\u30ad\u30b9\u30c8\u3092\u304b\u305f\u3061\u3065\u304f\u3063\u3066\u3044\u308b\u304b\u3001\u3068\u3044\u3046\u3053\u3068\u306b\u3064\u3044\u3066\u306e\u76ee\u914d\u308a\u3082\u5fc5\u8981\u306b\u306a\u308b\u3002<\/p>\n\n\n\n<p>\u3000\u632f\u4eee\u540d\u306b\u3064\u3044\u3066\u8003\u3048\u308b\u305f\u3081\u306f\u3001\u632f\u4eee\u540d\u304c\u65bd\u3055\u308c\u3066\u3044\u308b\u6f22\u5b57\u5217\u3068\u632f\u4eee\u540d\u3068\u3057\u3066\u65bd\u3055\u308c\u3066\u3044\u308b\u8a9e\u3068\u306e\u95a2\u4fc2\u3001\u4e21\u8005\u306e\u7d50\u3073\u3064\u304d\u3092\u89b3\u5bdf\u3059\u308b\u5fc5\u8981\u304c\u3042\u308b\u3002\u4e21\u8005\u306e\u95a2\u4fc2\u3001\u7d50\u3073\u3064\u304d\u306f\u89b3\u5bdf\u3057\u3066\u3044\u308b\u30c6\u30ad\u30b9\u30c8\u304c\u6210\u3063\u305f\u5171\u6642\u614b\u53ca\u3073\u3001\u305d\u306e\u5171\u6642\u614b\u5185\u306e\u300c\u6587\u5b57\u793e\u4f1a\u300d\u3092\u8996\u91ce\u306b\u5165\u308c\u306a\u304c\u3089\u8003\u5bdf\u3059\u308b\u5fc5\u8981\u304c\u3042\u308b\u3068\u8003\u3048\u308b\u3002<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">\u53c2\u8003\u6587\u732e<\/h2>\n\n\n\n<p>\u4eca\u91ce\u771f\u4e8c&nbsp;&nbsp;&nbsp; 2005\u3000\u300c\u660e\u6cbb\u306e\u4e2d\u306e\u8fd1\u4e16\uff0d\u300c\u6e96\u5099\u300d\u3068\u300c\u7528\u610f\u300d\u3068\u3092\u3081\u3050\u3063\u3066\uff0d\u300d\uff08\u548c\u6cc9\u66f8\u9662\u300e\u56fd\u8a9e\u8a9e\u5f59\u53f2\u306e\u7814\u7a76\u300f24\uff09<\/p>\n\n\n\n<p>\u591a\u8cc0\u7cf8\u7d75\u7f8e\u30002012\u3000\u300c\u8349\u53cc\u7d19\u306e\u6f22\u8a9e\u8a9e\u5f59\uff0d\u5c64\u5225\u5316\u306e\u8a66\u307f\uff0d\u300d\uff08\u548c\u6cc9\u66f8\u9662\u300e\u56fd\u8a9e\u8a9e\u5f59\u53f2\u306e\u7814\u7a76\u300f31\uff09\u3000<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h4 class=\"has-text-align-right wp-block-heading\">Konno Shinji, trans. Chris Lowy<\/h4>\n\n\n\n<h3 class=\"wp-block-heading\">Translator\u2019s introduction<\/h3>\n\n\n\n<p>With this installment we enter the second half of our series on the architecture of written Japanese. Konno\u2019s contributions have provided historical context and textual proof for much of the broader claims I make. Together, our essays provide a three-dimensional view of how the architecture of written Japanese developed and how and why those working within it make use of its features to a variety of ends, from aesthetic experimentation to radical political claims. This installment introduces perhaps the most important \u2013 and most misunderstood \u2013 characteristic of the Japanese writing system: furigana.<\/p>\n\n\n\n<p>Furigana (\u632f\u4eee\u540d) are intertextual glosses attached to the characters of the base text. They usually appear centered and just above a character or character-string in horizontally oriented texts and to the right in vertically oriented texts.<\/p>\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><td>&nbsp;<\/td><td><strong>Without furigana<\/strong><\/td><td><strong>With furigana<\/strong><\/td><\/tr><tr><td><strong>Horizontal<\/strong><\/td><td>\u5148\u751f<\/td><td><ruby>\u5148\u751f<rp>(<\/rp><rt>\u305b\u3093\u305b\u3044<\/rt><rp>)<\/rp><\/ruby><\/td><\/tr><tr><td><strong>Vertical<\/strong><\/td><td>\u5148\u751f<\/td><td><ruby>\u5148\u751f<rp>(<\/rp><rt>\u305b\u3093\u305b\u3044<\/rt><rp>)<\/rp><\/ruby><\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<p>The characters of the base text are <em>usually <\/em>Sinographs, though not always; furigana are <em>usually <\/em>used to represent pronunciation, though not always. It is the space between <em>usually <\/em>and <em>always <\/em>that Konno and I are largely interested in. That is, if furigana were <em>always<\/em> used to indicate conventional pronunciations, we would describe them as simple reading tools. Anyone who has read literature written in Japanese, from the oldest texts to today, knows that simply isn\u2019t the case. The situation is further exacerbated when we realize it is precisely those working in a literary context that deploy furigana as a tool for expression in almost any conceivable fashion. But I\u2019m getting ahead of myself \u2013 this point will become obvious throughout the rest of the series.<\/p>\n\n\n\n<p>In lieu of an original essay I am presenting an excerpt from Konno\u2019s important book, <em>The History of Furigana <\/em>(\u632f\u4eee\u540d\u306e\u6b74\u53f2). Despite the critical role furigana plays within the architecture of written Japanese, this was the first examination of furigana in any language and indeed an inspiration for my own work. <em>The History of Furigana <\/em>was first published in 2009 by Sh\u016beisha and was revised and republished in 2020 as part of Iwanami\u2019s Gendai Bunko series, the version my translation follows. This partial translation will be split into three parts: Konno\u2019s introduction to the book, which follows this introduction, and parts one and two of the opening chapter. Konno\u2019s introduction presents his thoughts on how to approach the history of furigana and what methodologies might be useful in its pursuit. It also presents the larger scope of his text. Part One of Chapter One begins with a basic question: what is furigana? Konno grapples with this question by beginning from an unlikely spot: the furigana contained in the lyric sheets of legendary Japanese rock band Southern All Stars. Why should a lyric sheet, meant to record the spoken (sung) word, necessitate furigana, let alone irregular usages of it? Part Two of Chapter One moves to an examination of furigana in contemporary literature. The main texts discussed are Nakagami Kenji\u2019s <em>The Sea of Withered Tress <\/em>(Karekinada, 1977), \u041e\u0304e Kenzabur\u043e\u0304\u2019s <em>The Game of Contemporaneity<\/em> (D\u043e\u0304jidai geemu 1979), Murakami Ry\u016b\u2019s <em>Coin Locker Babies <\/em>(Koinrokk\u0101 beib\u012bzu,1980), Inoue Hisashi\u2019s <em>Kirikirijin <\/em>(1981), and Maruya Saiichi\u2019s <em>Kimigayo \u2013 Sing it in Falsetto!<\/em> (Uragoe de utae kimigayo, 1982). All texts except for Murakami\u2019s remain untranslated into English. I have made this claim elsewhere, but there seems to be a correlation between orthographical complexity and the likelihood of a text being translated into English. While my contributions will be translations, Konno has prepared three new essays on the topic of furigana: \u201cThe Furigana of the Edo Period,\u201d \u201cThe Furigana of the Meiji Period,\u201d and \u201cThe Potentiality of Furigana.\u201d These essays, appearing for the first time, are meant to be additions to content contained in <em>The History of Furigana<\/em>.<\/p>\n\n\n\n<p>I have also included a translation of the table of contents to Konno\u2019s book. It is my sincere hope that readers will find these excerpts interesting and that a full translation into English of <em>The History of Furigana <\/em>can be soon completed. A final note: I have, with Konno\u2019s blessing, conservatively altered some sections to make them more easily understandable for an English readership or otherwise match English conventions. I have decided to leave the term furigana untranslated. Footnotes in brackets are mine.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"699\" height=\"929\" src=\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/05\/PastedGraphic-1.png\" alt=\"\" class=\"wp-image-3958\" srcset=\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/05\/PastedGraphic-1.png 699w, https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/05\/PastedGraphic-1-226x300.png 226w\" sizes=\"auto, (max-width: 699px) 100vw, 699px\" \/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Introduction<\/strong><\/h3>\n\n\n\n<h2 class=\"wp-block-heading\">Do snowmen have a history?<\/h2>\n\n\n\n<p>In the title of this book, <em>The History of Furigana<\/em>, the preposition \u201cof\u201d establishes a relationship between <em>furigana <\/em>and <em>history<\/em>. I would like to begin this text with an explanation of my thoughts on both terms, a discussion which will doubly serve as an introduction to the rest of the book. Let\u2019s start by discussing the idea of <em>history<\/em>, a concept which brings with it at least four assumptions.<\/p>\n\n\n\n<p>If we search online for the history of some topic, for example, the history of whaling, basketball, the Olympics, wine, Arima hot springs, or sewer systems, we quickly find articles and websites detailing how it began at a certain time in the past and has either continued to the present day or ceased to exist at some time before. In other words, the first assumption we have about history is that a given object or matter, what we can call a topic, must have existed for a <em>duration of a certain length and continued for some time<\/em>; a temporal continuation of an appropriate amount is key. If a snowman I built from snow that fell yesterday melts away without a trace in today\u2019s clear skies, it is unlikely I would speak of that snowman\u2019s history. While it wouldn\u2019t be impossible, the reason I, and presumably you, too, would hesitate to do so is due to its temporal duration being too short. Some time ago a 14-year-old Olympic Gold medalist attracted media attention when she proclaimed, \u201cThis is the happiest I\u2019ve been in my entire life.\u201d The cause of this attention was likely the fact that the temporal duration of 14 years seemed incongruous with the image associated with an \u201centire life.\u201d This is like the way highschoolers talking about \u201cthe good old days\u201d rings unnatural to an adult\u2019s ears. A topic must possess an appropriate temporal condition for it to have a history.<\/p>\n\n\n\n<p>It is also important that a topic be <em>categorizable<\/em>: for example, basketball is just one game where balls are used and the Arima hot springs are just one hot spring among many. That is, though we can speak of the important Tone River\u2019s long history we would likely be met with raised eyebrows were we to discuss the history of rivers in general. The river, despite being a single topic, is too large to stand alone as a useful category. The third condition that must be present when speaking of history is <em>change<\/em>. We cannot speak of the history of a topic that lacks change and movement. The fourth condition is less of a condition than an unavoidable question: from what <em>perspective<\/em> are we speaking of a given topic\u2019s history? That is, if Team A is playing Team B in a sports match, do we talk about the game from the perspective of Team A, Team B, or the audience?<\/p>\n\n\n\n<p>In brief, then, to live up to the title of a book called <em>The History of Furigana<\/em>, there (i) must be something that can be categorized as furigana, (ii) there must exist somewhere a beginning and origin story of furigana, and (iii) since furigana are still used today there must have been (iv) some observable changes that occurred from their origins to the present day. Even if someone knows what furigana is, ask them its origins or the changes that have occurred in its usage, and they are likely to draw a blank. The goal of this book is to sketch a history of furigana that answers these questions to the extent possible. I say to the extent possible because my intention is to tackle head on and in a responsible manner the question of furigana without relying on embellishments or vague information of which there is no shortage of. With this in mind, let\u2019s take a closer look at furigana.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Readings and furigana<\/h2>\n\n\n\n<p><em>Directions: write the readings of the underlined Sinographs in hiragana.<\/em><\/p>\n\n\n\n<p>\u4e8b\u5b9f\u3092<span style=\"text-decoration: underline;\">\u6b6a\u66f2<\/span>\u3057\u3066\u5831\u544a\u3057\u3066\u3044\u308b\u3002<\/p>\n\n\n\n<p>\u53e4\u3044\u8cc7\u6599\u3092<span style=\"text-decoration: underline;\">\u5ec3\u68c4<\/span>\u3059\u308b\u3002<\/p>\n\n\n\n<p>Don\u2019t worry, this isn\u2019t a pop quiz. The correct answers are \u308f\u3044\u304d\u3087\u304f (<em>waikyoku<\/em>; to distort [something]) and \u306f\u3044\u304d (<em>haiki<\/em>; to dispose of [something]). If you\u2019ve studied in Japan, you likely have experience with similar questions on exams that are designed to test one\u2019s ability to correctly read (i.e., pronounce) Sinographs. The question asks one to provide the reading(<em>yomi<\/em>) in hiragana, a phrase that is roughly interchangeable with \u201cattach furigana to the Sinographs.\u201d So, is a readingthe same thing as furigana? You might think so: if the exam question were rephrased as \u201cattach furigana to the underlined Sinographs\u201dthe test takers wouldn\u2019t bat an eye and the correct answers would be the same. In this case, then, we can say that there is no sizable difference between a readingand furigana by someone else.<\/p>\n\n\n\n<p>However, when we say \u201creading\u201dwe are generally talking about the act of pronouncing a Sinograph that has already been written. When an exam asks for a Sinograph\u2019s reading, we (usually) do not know who wrote the character in question. The reading subject in this case is not the writer (<em>kakite<\/em>) of the Sinograph but its reader (<em>yomite<\/em>), an important distinction when considering written Japanese. Reading a particular character, then, means reading something that has already been written. We can, of course, read something that we ourselves wrote, but the general implication is that we are reading something written by someone else. In other words, the act of reading, and producing a reading,is associated with the role and perspective of the reader, something I mentioned earlier.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Are furigana used in diaries?<\/h2>\n\n\n\n<p>Though it\u2019s less common these days to keep handwritten journals, we can assume that, however few, some people still use them because stationery stores still carry them. In this section there are two things I would like to consider. The first is whether people use furigana in handwritten diaries they have absolutely no intention of showing to someone else. If one has no intention of sharing their diary with someone else then the writer is the writer and, at the same time, the reader. When the chance of someone else reading it is nonexistent there is no need to attach furigana for someone else\u2019s benefit. We would not expect furigana to show up in a diary that only the writer intends to read. The point here isn\u2019t the diary but the fact that only the writer will read it: at the end of the day, <em>the act of attaching furigana assumes the existence of a reader different from oneself<\/em>.<\/p>\n\n\n\n<p>How our understanding of attaching furigana changes when considered from the perspective of the writer is the second thing I will consider. We can imagine the order in which things happen: first, the writer of a text chooses a combination of words to combine in order to create sentences. The next thing they think about is whether to write those words in hiragana, katakana, or, if appropriate, Sinographs. Perhaps they want to use Sinographs but its reading is difficult for the imagined audience, or maybe they want to write in Sinographs but use them in non-conventional ways. It\u2019s at this stage a writer might attach furigana.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The handwritten manuscript of <em>No Longer Human<\/em><em><\/em><\/h2>\n\n\n\n<p>Let\u2019s imagine this order in concrete terms. Dazai Osamu\u2019s <em>No Longer Human <\/em>(Ningen shikkaku, 1948) contains the following line:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>\u81ea\u5206\u306f\u3001\u305d\u308c\u3092\u5800\u6728<span style=\"text-decoration: underline;\">\u3054\u3068<\/span>\u304d\u8005\u306b\u6307\u6458\u305b\u3089\u308c\u3001\u5c48\u8fb1\u306b\u4f3c\u305f<ruby>\u82e6<rp>(<\/rp><rt>\u306b\u304c<\/rt><rp>)<\/rp><\/ruby>\u3055\u3092\u611f\u305a\u308b\u3068\u5171\u306b\u3001\u2026\u2026 (68; 126)<a name=\"_ftnref1\" href=\"#_ftn1\">[1]<\/a><br>It caused me a bitterness akin to shame to have this pointed out by someone <span style=\"text-decoration: underline;\">like<\/span> [<em>gotoki<\/em>] Horiki[, \u2026].<a name=\"_ftnref2\" href=\"#_ftn2\">[2]<\/a><\/p><\/blockquote>\n\n\n\n<p>Looking at Dazai\u2019s handwritten manuscript we see this section was initially written as \u5800\u6728<span style=\"text-decoration: underline;\">\u5982\u304d<\/span>, with Dazai erasing \u5982 and replacing it with the hiragana \u3054\u3068 (<em>goto<\/em>). Since Dazai replaced \u5982\u304d with \u3054\u3068\u304d we can say there was a change at the orthographical level, not at the lexical one: the word <em>gotoki<\/em> was consistent throughout these changes. Dazai could have attached furigana to <ruby>\u5982<rp>(<\/rp><rt>\u3054\u3068<\/rt><rp>)<\/rp><\/ruby>\u304d but chose not to.<\/p>\n\n\n\n<p>In the same line of the handwritten manuscript we see \u5c48\u8fb1\u306b\u4f3c\u305f\u75db\u307f\u25a1\u25a1<ruby>\u82e6<rp>(<\/rp><rt>\u306b\u304c<\/rt><rp>)<\/rp><\/ruby>\u307f\u3092\u611f\u305a\u308b\u3068\u5171\u306b, where \u25a1\u25a1 indicates the existence of two characters in two separate squares that are unreadable from the facsimile. Here we see that Dazai erased \u75db\u307f\u25a1\u25a1 and changed <ruby>\u82e6<rp>(<\/rp><rt>\u306b\u304c<\/rt><rp>)<\/rp><\/ruby>\u307f (<em>nigami<\/em>) to <ruby>\u82e6<rp>(<\/rp><rt>\u306b\u304c<\/rt><rp>)<\/rp><\/ruby>\u3055 (<em>nigasa<\/em>), transforming his initial sentence into the published version cited above. While <em>nigasa<\/em> and <em>nigami<\/em>, both meaning bitterness, are etymologically and denotatively similar each other, they are nevertheless different enough for Dazai to switch from one to the other. Furigana are left on <ruby>\u82e6<rp>(<\/rp><rt>\u306b\u304c<\/rt><rp>)<\/rp><\/ruby>\u3055, but it is unclear if he attached these furigana when he initially wrote \u82e6\u307f&nbsp; or if he first wrote \u82e6\u307f &nbsp;and attached them to create <ruby>\u82e6<rp>(<\/rp><rt>\u306b\u304c<\/rt><rp>)<\/rp><\/ruby>\u3055 when changing vocabulary.<\/p>\n\n\n\n<p>The first installment of <em>No Longer Human <\/em>was published in the June 1948 issue of <em>Tenb\u014d<\/em>. Looking over Dazai\u2019s manuscript we see that furigana are used only sparingly. It is likely that furigana were attached to \u82e6\u3055 so as to avoid the Sinograph being misread as <em>kurushisa <\/em>[troubles; suffering]. Contemporary convention dictates <em>kurishisha <\/em>written with a Sinograph should be \u82e6\u3057\u3055 whereas <em>nigasa<\/em> becomes \u82e6\u3055. That is, the conventionalized use of hiragana (\u82e6<span style=\"text-decoration: underline;\">\u3057\u3055<\/span> \/ \u82e6<span style=\"text-decoration: underline;\">\u3055<\/span>) that trail a Sinograph, called <em>okurigana<\/em>, can differentiate between otherwise ambiguous readings. When these conventions were not well established it was at times difficult for the reader to differentiate between genuinely possible readings.<\/p>\n\n\n\n<p>Elsewhere in <em>No Longer Human <\/em>are the following lines.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>&nbsp;\u3069\u3053\u3092\u3069\u3046<span style=\"text-decoration: underline;\"><ruby>\u5f77\u5fa8<rp>(<\/rp><rt>\u3046\u308d\u3064\u304d<\/rt><rp>)<\/rp><\/ruby>\u307e\u308f\u3064\u3066<\/span>\u305f\u3093\u3060\u3044\u3000\uff08157; 297\uff09<br><em>Where have you <u>been wandering<\/u>, and what have you done?<\/em> *<\/p><\/blockquote>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>\u3055\u3046\u3057\u3066\u81ea\u5206\u305f\u3061\u306f\u3001\u3084\u304c\u3066\u7d50\u5a5a\u3057\u3066\u3001\u305d\u308c\u306b\u4f9d\u3064\u3066\u5f97\u305f<ruby><span style=\"text-decoration: underline;\">\u6b53\u697d<\/span><rp>(<\/rp><rt>\u3088\u308d\u3053\u3073<\/rt><rp>)<\/rp><\/ruby>\u306f\u3001\u5fc5\u305a\u3057\u3082\u5927\u304d\u304f\u306f\u3042\u308a\u307e\u305b\u3093\u3067\u3057\u305f\u304c\u3001\u305d\u306e\u5f8c\u306b\u6765\u305f<ruby>\u60b2\u54c0<rp>(<\/rp><rt>\u304b\u306a\u3057\u307f<\/rt><rp>)<\/rp><\/ruby>\u306f\u3001\u51c4\u60e8\u3068\u8a00\u3064\u3066\u3082\u8db3\u308a\u306a\u3044\u304f\u3089\u3090\u3001\u5b9f\u306b\u60f3\u50cf\u3092\u7d76\u3057\u3066\u3001\u5927\u304d\u304f\u3084\u3064\u3066\u6765\u307e\u3057\u305f\u3002\uff08164; 307-8\uff09<br>Not long afterwards we were married. The <span style=\"text-decoration: underline;\">joy<\/span> I obtained as a result of this action was not necessarily great or savage, but the suffering which ensued was staggering\u2014so far surpassing what I had imagined that even describing it as \u201chorrendous\u201d would not quite cover it.<\/p><\/blockquote>\n\n\n\n<p>In the first example, <em>urotsukimawatte <\/em>(the conjunctive form of the verb <em>urotsukimawaru<\/em>, \u201cto wander\u201d), has furigana attached to it. This is likely because Dazai deemed this reading difficult for his imagined reader \u2013 indeed, under the entry for <em>urotsukimawaru <\/em>in the <em>Nihongo kokogo daijiten <\/em>three out of four citations of the term are written in hiragana. The only one to use \u5f77\u5fa8, typically read <em>h<\/em><em>\u043e\u0304<\/em><em>k<\/em><em>\u043e\u0304<\/em>, is from a 1909 work by Morita S\u043e\u0304hei. In the second example, Dazai chose to write <em>yorokobi <\/em>(joy) and <em>kanashimi<\/em> (suffering) not in the conventional \u559c\u3073 or \u60b2\u3057\u307f but in two two-character Sinograph strings: \u6b53\u697d and \u60b2\u54c0. Were Dazai to simply leave these character-strings as is, there is a high likelihood the reader would read them in their conventional readings of <em>kanraku <\/em>and <em>hiai<\/em>, respectively. Dazai attached furigana here to indicate the marked reading of these Sinographs. The writer attached furigana to convey to the reader a desired reading, something needed given his irregular orthographical choices. This is one contribution of furigana. Understanding this allows us to discuss furigana from the perspectives of the reader and the writer. At the very least, it should now be clear that furigana can be more than simple pronunciation guides.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">A journey into the history of furigana<\/h2>\n\n\n\n<p>Each episode of a serial drama ends with a preview of the next episode. If it\u2019s too long there\u2019s no need to watch the actual episode, but if it\u2019s too short it\u2019s hard to get a sense of what it\u2019ll be about. These days there seem to be no shortage of offbeat previews that drag on and confuse the viewer. Don\u2019t worry, all I\u2019ll do in the rest of the Introduction is describe the book\u2019s structure.<\/p>\n\n\n\n<p>I wrote this book as a guide to what might be called a tour into the history of furigana. I wrote it with the intention of me serving as your guide. Tour guides provide us with concrete explanations of various kinds. I wanted furigana from various periods of history to come to life for the reader by using numerous visual examples. Tour guides, on the other hand, don\u2019t generally rattle off their opinions on things. In fact, my editor urged me to provide more of my own personal thoughts. It goes without saying that I have many opinions about this topic, and I\u2019ve written some of them, of course, but taking the text as a whole, it\u2019s fair to say I\u2019ve been reserved in my commentary. A nice view is best enjoyed in focused silence. Precisely because furigana is something I find interesting I want the reader to take their time and experience it for themselves. It\u2019s with this mindset I\u2019d like to start our journey deep into the history of furigana. To that end, it\u2019s important to recognize that the history of furigana is contained within the larger category of the history of the Japanese language. A journey into the history of furigana is also a journey into the history of Japanese. I will sometimes talk about how the Japanese language was at a certain point in history or discuss the cultural context of a given period. You can think of these necessary detours as optional tours and excursions along our journey.<\/p>\n\n\n\n<p>All this talk of history might lead you to assume our journey will begin with a discussion of the origins of furigana and continue chronologically to the present day. Chapter One, however, begins with a discussion of what furigana is and, citing numerous examples from the contemporary period, establishes guidelines for thinking about how to approach furigana. It is my hope that considering the varied usages of furigana today will serve as a warm-up of sorts. Chapter Two looks at furigana from the Heian (794 &#8211; 1185) to Muromachi Periods (1336 &#8211; 1573), Chapter Three focuses on the furigana of the Edo Period (1603 &#8211; 1868), and Chapter Four examines the furigana of the Meiji Period (1868 &#8211; 1912). Chapter Two onwards proceeds in chronological order.<\/p>\n\n\n\n<p>I have adjusted the orthography of the sources cited on our tour in the following ways: hiragana and katakana have been adjusted to conform to contemporary spelling conventions while Sinographs follow the form of the source text.<a name=\"_ftnref3\" href=\"#_ftn3\">[3]<\/a> If there were only small differences between the form of a Sinograph in the source text and those in contemporary use, and if I felt it would not alter its meaning, etc.,&nbsp; then I have occasionally replaced those Sinographs with their contemporary equivalents. For example, I replaced \u8005 with \u8005 and \u4f86 with \u6765 in the quotes from <em>No Longer Human<\/em>.<\/p>\n\n\n\n<p>It is my belief that furigana originated as <em>readings <\/em>before also coming to be used as forms of <em>expression<\/em>. The function of furigana has expanded. Within this expansion of furigana\u2019s functions lies the borrowing of Sinographs that resulted from continuous interactions between the Japanese language and the Chinese language. This is a complicated topic that I hope I\u2019ve done justice to.<\/p>\n\n\n\n<p>Talk of history conjures images of the past, present, and future. One reason is because the present serves as a point of connection between the past and the future. The present also allows us to enjoy the past and to pass it on to the future. A journey into the history of furigana, however, isn\u2019t about appreciating furigana as some forgotten antique of the past. Rather, I want this to be a voyage that enables free passage between the present and the past \u2013 isn\u2019t that one of the true joys of traveling anyway?<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"669\" height=\"545\" src=\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/05\/PastedGraphic-2.png\" alt=\"\" class=\"wp-image-3959\" srcset=\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/05\/PastedGraphic-2.png 669w, https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/05\/PastedGraphic-2-300x244.png 300w\" sizes=\"auto, (max-width: 669px) 100vw, 669px\" \/><\/figure><\/div>\n\n\n\n<p><\/p>\n\n\n\n<p>The Japanese translation words appearing below the English sentences appear with numerals 1-4 to indicate the correct reading order. We can consider these to be forerunners of the <em>translation furigana<\/em> discussed in Section Four.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p><a name=\"_ftn1\" href=\"#_ftnref1\">[1]<\/a> [The page numbers in parentheses refer to the 1948 paperback edition of Dazai\u2019s <em>Ningen shikkaku<\/em> published by Tsukuma shob\u043e\u0304 less than one month after the author\u2019s suicide; the second refers to an annotated facsimile of Dazai\u2019s handwritten manuscript, <em>Chokuhitsu de yomu <\/em>Ningen shikkaku, 2008, Sh\u016beisha shinsho visual-ban.]<\/p>\n\n\n\n<p><a name=\"_ftn2\" href=\"#_ftnref2\">[2]<\/a> [I have relied on Donald Keene\u2019s translation of <em>No Longer Human <\/em>whenever possible. Selections followed with an asterisk indicate my own translation.]<\/p>\n\n\n\n<p><a name=\"_ftn3\" href=\"#_ftnref3\">[3]<\/a> [As seen in the Dazai quotes, I have on occasion left source texts in the prewar orthography if those are the most readily available to me.]<\/p>\n","protected":false},"excerpt":{"rendered":"\u4eca\u91ce\u771f\u4e8c \u3000\u7b2c7\u56de\u306f\u632f\u4eee\u540d\u3092\u8a71\u984c\u306b\u3059\u308b\u304c\u3001\u6c5f\u6238\u671f\u306e\u632f\u4eee\u540d\u3068\u660e\u6cbb\u671f\u306e\u632f\u4eee\u540d\u3068\u306e2\u56de\u306b\u5206\u3051\u3066\u8ff0\u3079\u308b\u3053\u3068\u306b\u3059\u308b\u3002\u4e21\u6642\u671f\u306e\u632f\u4eee\u540d\u3092\u3001\u305d\u308c\u305e\u308c\u306e\u6642\u671f\u306e\u8868\u8a18\u30b7\u30b9\u30c6\u30e0\u306b\u304a\u3044\u3066\u3001\u3069\u306e\u3088\u3046\u306b\u4f4d\u7f6e\u3065\u3051\u308b\u304b\u3068\u3044\u3046\u3053\u3068\u306f\u4eca\u5f8c\u660e\u3089\u304b\u306b\u3059\u308b\u5fc5\u8981\u304c\u3042 [&hellip;]","protected":false},"author":6,"featured_media":3405,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15,16,395,396,411],"tags":[],"class_list":["post-3945","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rensai","category-chosha","category-395","category-chris-lowy","category-architecture"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts\/3945","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/comments?post=3945"}],"version-history":[{"count":5,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts\/3945\/revisions"}],"predecessor-version":[{"id":3960,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts\/3945\/revisions\/3960"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/media\/3405"}],"wp:attachment":[{"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/media?parent=3945"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/categories?post=3945"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/tags?post=3945"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}