Chapter I: Preface

I INTRODUCTION 1
The Grammatical Framework 3
The Phonological System 6
The Morphological System 8
The Structure of Collado's and Rodriguez' Descriptions
Contrasted 11
Bibliography 26
Editorial Conventions 28
II _Ars Grammaticae Iaponicae Linguae_
III A GRAMMAR OF THE JAPANESE LANGUAGE 105
Prologue to the Reader 107
The noun--Its Declension and its Gender 111
Pronouns 118
First Person Pronouns--Ego, etc. 118
Second Person Pronouns--Tu, tui, tibi, etc. 119
Third Person Pronouns--Ille, illa, illud. 120
Relative Pronouns 122
The Formation of the Verb and its Conjugation 123
The Preterit, Perfect, Imperfect, and Pluperfect 124
The Future of the First Conjugation 125
The Imperative of the First Conjugation 125
The Optative of the First Conjugation 126
The Subjunctive of the First Affirmative Conjugation 127
The Infinitive 129
The First Negative Conjugation 131
The Second Affirmative Conjugation 134
The Second Negative Conjugation 135
The Third Affirmative Conjugation 135
The Third Negative Conjugation 136
The Conjugation of the Negative Substantive Verb 137
The Conditional Particles 139
The Potential Verb 140
The Conjugation of Irregular Verbs 141
The Aforementioned Verbs--Their Formation and Diversity 143
Certain Verbs Which of Themselves Indicate Honor 147
Cautionary Remarks on the Conjugations of the Verb 148
The Adverbs: First Section 156
Adverbs of Place 156
Adverbs of Interrogation and Response 159
Adverbs of Time 159
Adverbs of Negation 160
Adverbs of Affirmation 160
Comparative Adverbs 161
Superlative Adverbs 162
Adverbs of Intensity and Exaggeration 162
Accumulative Adverbs 162
Adverbs that Conclude and Claim Attention 163
The Case Prepositions 164
Conjugation and Separation 166
Interjections 167
The Syntax and the Cases that are Governed by the Verbs 168
Japanese Arithmetic and Numerical Matters Concerning Which
Much Painful Labor Is Required 174
Some Rules on the Conjugation of the Verb in the Written
Language 182
IV WORKS CONSULTED 185
V INDEX TO GRAMMATICAL CATEGORIES 187
VI INDEX TO GRAMMATICAL ELEMENTS 189

* * * * *

Preface

The purpose of this translation of Collado's _Ars Grammaticae Iaponicae Linguae_ 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.

Collado's work, derived in all its significant features from the _Arte da lingoa de Iapam_ completed in 1608 by João Rodriguez, is in a strict, scholarly sense less valuable than its precursor. However, if used with the _Arte_ 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.

While less extensive and less carefully edited than the _Arte_, 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 _Ars Grammaticae_ 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.

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.

R.L.S.

Lawrence, Kansas
May, 1975

{1}

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Introduction

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.

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.[1] The grammar, drafted in Spanish, was published in Latin in 1632 under the title _Ars Grammaticae Iaponicae Linguae_. 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 _Dictionarium sive Thesauri Linguae Iaponicae Compendium_.[2] 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.[3]

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);[4] the _Arte da Lingoa de Iapam_ (Nagasaki, 1604-8, hereafter the _Arte_), and the _Arte Breve da Lingoa Iapoa_ (Macao, 1620, hereafter _Arte Breve_). The first {2} 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 _Arte Breve_, 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 _Arte Breve_ is an abbreviated version of the _Arte_ with a purpose similar to the _Ars Grammaticae_, a comparison of these two books with respect to the way they systematize the material from the _Arte_ is included in this introduction to contribute some insight into the treatment of the Japanese language at the beginning of the Tokugawa Period.

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' _Arte_.

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.[5]

{3}

In order to permit this translation of the _Ars Grammaticae_ 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.

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.

With its limitations acknowledged, the _Ars Grammaticae Iaponicae Linguae_ 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.

_The Grammatical Framework_

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 _Arte_ into correct colloquial expressions in his own grammar.

The description is, of course, prescriptive. But given its age and its purpose this ought not to be construed in the contemporary, pejorative {4} 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.

The description further reflects the traditional process conceptualization of language. This is particularly obvious in the treatment of the verb. Thus:

_Praesens subiunctiui fit ex praesenti indicatiui mutato_ u _in quo
finitur in_ eba.... (The present subjunctive is formed from the present
indicative by changing the _u_ in which it ends to _eba_....) [p. 23].

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.

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 _aguru coto aró_ (p. 31) and its gloss '_Erit hoc quod ist offere: idest offeret_ (It will be that he is to offer, or he will offer),' it is clear that the _aguru coto_ is classified as an infinitive because of its semantic equivalence to _offere_. 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 _iomi_ in _iominicui_ 'difficult to read,' must be classed as the latter supine. Rodriguez in his _Arte Breve_ 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.

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, {5} better known as Antonio Lebrija (1444-1522), that Collado turns for the model of his description.

An examination of Lebrija's grammar, the _Introductiones Latinae_ (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.

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 _Introductiones_.

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 _Arte_--as well as the parallel listing of forms and identical descriptions of certain grammatical phenomena, it is clear that the writing of the _Ars Grammaticae Iaponicae Linguae_ consisted to no small degree of abridging the exhaustive material contained in Rodriguez' grammar and arranging it within the framework of Lebrija's _Introductiones_.

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 _lettera formata_ 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.

A similar criticism may be leveled against the work from the point {6} of view of Rodriguez' influence. Without matching the _Introductiones_ in orderliness, the _Arte_ more than compensates for its casual format by containing a mass of exhaustively collected and scrupulously presented linguistic data.[6] There was available no better source than the _Arte_ from which Collado might have culled his examples of Japanese.

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 _Arte_ 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.

_The Phonological System_

A study of the phonological data reveals the _Ars Grammaticae Iaponicae Linguae_ 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.

The most obvious innovation in the representation of the language is Collado's transcription with an _i_ of the palatal consonant which all his contemporaries record with a _y_. Thus in the text we find _iomi_ and _coie_ (terms for native words and Chinese borrowings) where Rodriguez writes _yomi_ and _coye_. This change was affected while the text was being translated from the Spanish manuscript which uses _y_; and Collado himself must have felt the innovation to be of dubious value since he retained _y_ for the spellings in the _Dictionarium_.[7]

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,[8] his grammar presents an uncomfortably irregular pattern in the transcription of the phenomena. Thus, on page 39 we find _vo mõdori aró ca?_ as well as {7} _modori aró ca?_. Again, what he presents as the ending _z[~u]ba_ in his description of the formation of the negative conditional (p. 34) appears in _tovazunba_ in its only occurrence in a sample sentence (p. 62). To further confound the issue such forms as _tovazunba_ and _qinpen_ occur in contrast to _sambiacu_, _varambe_, and _varãbe_.

In Chart 1 the traditional pattern of the _goj[=u]onzu_ (chart of 50 sounds) is followed as a convenient framework in which to display the transcriptional system employed by Collado.

Chart 1

COLLADO'S TRANSCRIPTION SYSTEM

_The Simple Series_

/#/ /k/ /g/ /s/ /z/ /t/ /d/ /n/ /[phi]/ /b/ /p/ /m/ /y/ /r/ /w/

/a/ a ca ga sa za ta da na fa ba pa ma ia ra va
/i/ i qi gui xi ji chi gi ni fi bi pi mi - ri -
/u/ u cu gu su zu tçu zzu nu fu bu pu mu iu ru -
/e/ [ie] qe gue xe je te de ne fe be pe me ie re -
/o/ [vo] co go so zo to do no fo bo po mo io ro vo

_The Long Series_

/au/ [vó] có gó só zó tó dó nó fó bó (pó) mó ió ró vó
/uu/ ú cú (gú)(sú) - (tçú) - - fú (bú)(pú) - iú rú -
/ou/ [vô] cô (gô) sô zô tô dô nô (fô) (bô) pô mô iô rô vô

_The Palatal and Labial Series_

/ky/ /sy/ /ty/ /ny/ /by/ /my/ /kw/
/gy/ /zy/ /dy/ /[phi]y/ /py/ /ry/ /gw/

/a/ (qua)(guia) xa ja cha gia (nha) fia bia pia (mia) (ria) qua gua
/u/ qui (guia) xu ju (chu)(giu)(nhu)(fiu) - - (miu) (riu) - -
/o/ qio guio xo (jo) cho gio (nho)(fio)(bio) - (mio) (rio) - -
-------------------------------------------------------------------------
/au/ qió guió xó jó chó gió - (fió)(bió) - mió (rió) quó guó
/uu/ (qiú)(guiú)(xú) jú (chú) giú nhú - - - - (riú) - -
/ou/ qiô (guiô) xô jô chô giô nhô fiô (biô) piô (miô) (riô) - -
gueô geô neô beô reô

In this chart the phonemic grid is presented in a broad phonetic {8} 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 _ie_, _vo_, _vó_, and _vô_ 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_ or _v_. The forms in _eô_ 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 _agueô_ from the stem _ague_. The phonetic values of /au/, /uu/, and /ou/ are [[IPA: Open-mid back rounded vowel]:], [u:], and [o:].

Two aspects of the usage of _q_ should be noticed. First, as in the _Arte_, _c_ is changed to _q_ before _o_ and _u_, when the sequence occurs at a morphological juncture; e.g., _ioqu_ 'well,' and _iqó_ 'I shall go.' (This rule does not extend to _a_ in such contexts; cf., _iocatta_ 'was good.') Second, in contrast to the system used by Rodriguez, Collado does not feel compelled to follow _q_ with _u_ in all contexts. Thus what Rodriguez spells as _queredomo_ Collado spells as _qeredomo_. Finally, the text records one usage of the letter _h_ in the exclamation _ha_.

_The Morphological System_

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 (_shi_) and the morphemes (_ji_) of Japanese by establishing formal distance between his _verba_ and _particula_, 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 _agueta raba_, 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 _raba_ to the preterit of the verb" (_Arte_, 18v). Perhaps it is a prejudice founded upon familiarity with {9} 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.

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 _Introductiones_ rather than those which Rodriguez inherited from the _Institutiones_ 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.

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:[9]

1st Conjugation verbs ending in _e_, _gi_, and e.g., _ague, uru_
_ji_ (_xi_ and _maraxi_)
2nd Conjugation verbs ending in _i_ e.g., _iomi, u_
3rd Conjugation verbs ending in _ai_, _oi_, and e.g., _narai, ó_
_ui_

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.

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 _ague, uru_ for each of the categories of the system, and presented them in Chart 2 for reference.

CHART 2

THE CONJUGATIONAL SYSTEM

_Affirmative_ _Negative_

INDICATIVE MOOD

Present aguru aguenu
Perfect agueta aguenanda
{10}
Pluperfect aguete atta aguenande atta
Future agueôzu aguru mai
Future perfect aguete ar[vo]zu ----

IMPERATIVE MOOD

Present ague io aguru na
Future agueôzu aguru mai

OPTATIVE MOOD

Present avare ague io caxi avare aguru na caxi
Preterit agueôzu mono vo aguru mai mono vo
Future avare ague io caxi avare aguru na caxi

SUBJUNCTIVE MOOD

Present agureba agueneba
Perfect agueta reba aguenanda reba
Pluperfect aguete atta reba ----
Future agueô toqi aguru mai qereba

PERMISSIVE SUBJUNCTIVE MOOD

Present agueredomo aguenedomo
Preterit agueta redomo aguenanda redomo
Future agueôzu redomo aguru mai qeredomo

INFINITIVE

Present aguru coto aguenu coto
Preterit agueta coto aguenanda coto
Future agueô coto aguru mai coto

GERUND IN _DI_

Present aguru [jibun] aguenu [jibun]
Future agueô [jibun] aguru mai [jibun]

GERUND IN _DO_

---- aguete ague[~i]de

GERUND IN _DUM_

Present aguru tame aguenu tame
Future agueô tame aguru mai tame

SUPINE IN _TUM_

---- ague ni ----

SUPINE IN _TU_

---- ague ----

PARTICIPLE

Present aguru fito aguenu fito
Preterit agueta fito aguenando fito
Future agueô fito aguru mai fito

The forms treated separately are:

THE CONDITIONAL

Present agueba aguez[~u]ba
Preterit agueta raba aguenanda raba
Future agueô naraba aguru mai naraba

THE POTENTIAL

Present aguru ró aguenu coto mo arózu
Preterit aguetçu ró aguenanzzu ró
Future agueôzu ró aguru mail coto mo arózu

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_The Structure of Collado's and Rodriguez' Descriptions Contrasted_

In every section of his description, Collado is indebted to the material presented by Rodriguez in his _Arte da Lingoa de Iapam_. The structure of the _Ars Grammaticae_, however, follows a much more simplistic design than that of the _Arte_. 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.

As he clearly states in his title to the main portion of the grammar Collado bases his description on the _Introductiones_ 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.

Under these influences Collado's grammar takes on the following form:

A Prologue (including the phonology) 3-5
The Body of the Grammar (by parts of speech) 6-61
A Brief Syntax 61-66
A Treatment of the Arithmetic 66-74
A Note on the Written Language 74-75

In contrast Rodriguez' _Arte_, prepared under the influence of Alvarez' _Institutiones_, develops its description over the span of three books which treat both the spoken and written grammar in progressively greater detail. Thus:

The Introduction iii-v

BOOK I

The Declensions 1-2v
The Conjugations 2v-54
The Parts of Speech (_Rudimenta_) 55-80v

BOOK II

The Syntax of the Parts of Speech 83-168
Styles, Pronunciation, Poetics, etc. 168-184