開く

ja-verb

開(ひら)く • (hiraku) transitive or intransitive godan (stem 開(ひら)き (hiraki), past 開(ひら)いた (hiraita))

開く (canonical)
hiraku (romanization)
開き (stem)
開いた (past)
開か
ひらか
hiraka
開き
ひらき
hiraki
開く
ひらく
hiraku
開け
ひらけ
hirake
開かれる (passive)
ひらかれる (passive)
hirakareru (passive)
開かせる (causative)
開かす (causative)
ひらかせる (causative)
ひらかす (causative)
hirakaseru (causative)
hirakasu (causative)
開ける (potential)
ひらける (potential)
hirakeru (potential)
開こう (volitional)
ひらこう (volitional)
hirakō (volitional)
開かない (negative)
ひらかない (negative)
hirakanai (negative)
開かず (continuative negative)
ひらかず (continuative negative)
hirakazu (continuative negative)
開きます (formal)
ひらきます (formal)
hirakimasu (formal)
開いた (perfective)
ひらいた (perfective)
hiraita (perfective)
開いて (conjunctive)
ひらいて (conjunctive)
hiraite (conjunctive)
開けば (conditional hypothetical)
ひらけば (conditional hypothetical)
hirakeba (conditional hypothetical)
開か (irrealis stem)
ひらか (irrealis stem)
firaka (irrealis)
開き (continuative stem)
ひらき (continuative stem)
firaki (continuative)
開く (stem terminative)
ひらく (stem terminative)
firaku (terminative)
開く (attributive stem)
ひらく (attributive stem)
firaku (attributive)
開け (realis stem)
ひらけ (realis stem)
firake (realis)
開け (imperative stem)
ひらけ (imperative stem)
firake (imperative)
開かず (negative)
ひらかず (negative)
firakazu (negative)
開けど (contrastive)
ひらけど (contrastive)
firakedo (contrastive)
開けば (causative)
ひらけば (causative)
firakeba (causative)
開かば (conditional)
ひらかば (conditional)
firakaba (conditional)
開きき (past)
ひらきき (past)
firakiki (past)
開きけり (past)
ひらきけり (past)
firakikeri (past)
開きつ (perfect)
ひらきつ (perfect)
firakitu (perfect)
開きぬ (perfect)
ひらきぬ (perfect)
firakinu (perfect)
開けり (continuative perfect)
開きたり (continuative perfect)
ひらけり (continuative perfect)
ひらきたり (continuative perfect)
firakeri (continuative perfect)
firakitari (continuative perfect)
開かむ (volitional)
ひらかむ (volitional)
firakamu (volitional)

(proofreading, orthography) to write a Japanese word using hiragana


倍

(typography, newspapers) a unit in newspaper typesetting, equal to 88 mils, ⁸⁸⁄₁₀₀₀ in, 8 U (U) and ¹⁄₁₆ 段 (dan)


儘

Sound shift from 随(まにま) (manima, “state of following other's will or the way things develop”).

ja-r

北川さんの「見っけた写真」〔ママ〕


冠

(poetry) first (traditionally, five) morae of a haiku, etc.; specifically, the first verse or line of a poem


勒

(calligraphy) the horizontal stroke; the second of the Eight Principles of Yong


徒

徒花

blossom that bear no fruit; things which being gorgeous in the pretence but worthless in actuality

蕉風俳諧(しょうふうはいかい) 蕉風俳諧#Japanese

(historical, poetry) the term of the 蕉風俳諧(しょうふうはいかい) (shōfūhaikai, “Bashō style haikai”) to indicate innocent and humorous style


歌

From Old Japanese, from Proto-Japonic *ota.


段

(typography, newspapers) a unit in newspaper typesetting, equal to 1408 mils, ¹⁴⁰⁸⁄₁₀₀₀ in, 128 U (U) and 16 倍 (bai)


海

⟨umi₁⟩ → */umij/ → /umi/
From Old Japanese, theorized as descending from Proto-Japonic *omi.
Has been thought to have been derived from a compound. There are two leading theories regarding the ultimate derivation:
* Shift from 大 (ō-, “big, great”) + 水 (mi, “water”, combining form).
: This is problematic phonetically because there is no known term having a related shift from /opo/ → /oː/ → /o/ → /u/, and semantically as there already exists a compound 大水 (ōmizu, “flood”).
* From う (u-, stem indicating “ocean”) + 水 (mi, “water”, combining form). The u- stem is evident in 魚 (uo, “fish”) and 潮 (ushio, “salt water; tide”), and in the 海 (una) element in various ancient terms (see below).

海を渡る

cross over the ocean → go to a foreign country

(calligraphy) in a 硯 (suzuri, “inkstone”), a reservoir where water is stored


穂

From Old Japanese, from Proto-Japonic *po.


継

連(れん)用(よう)形(けい) (ren'yōkei, “stem or continuative form”) of the verb 継(つ)ぐ (tsugu, “to connect, to mend, to succeed”).

ja-etym-renyokei

(poetry) Short for 継歌 (tsugi-uta, “sequential poem composition on a theme”).


行

行 (canonical)
gyō (romanization)
gyau (romanization)
ぎやう (hiragana historical)

From Middle Chinese 行 (MC haeng). First cited in Buddhist texts of the early 600s.
The pronunciation is goon, so likely an earlier borrowing.
* For the "formations" definition, translation of Sanskrit संस्कार (saṃskāra)
* For "austerities", translation of Sanskrit चर्या (caryā)
* For "walking", translation of Sanskrit गमन (gamana)

(calligraphy) Abbreviation of 行書 (“semi-cursive script”).


U

(typography, newspapers) a unit in newspaper typesetting, equal to 11 mils, ¹¹⁄₁₀₀₀ in, ¹⁄₈ 倍 (bai) and ¹⁄₁₂₈ 段 (dan)


五十音

ja-noun

五(ご)十(じゅう)音(おん) • (gojūon) ^(←ごじふおん (gozifuon)?)

五十音 (canonical)
gojūon (romanization)
gozifuon (romanization)
ごじふおん (hiragana historical)

From 五十 (gojū, “fifty”) + 音 (on, “sound”).

(phonology, orthography, grammar) all Japanese morae that can be spelled with 45 single modern kana and 2 historical kana (ゐ/ヰ and ゑ/ヱ) customarily without diacritical marks (゛ and ゜), excluding っ and ん, arranged in a 5x10 table (五十音図 (gojūonzu, literally “table of the fifty sounds”)), used for phonological and grammatical analysis


五十音順

五(ご)十(じゅう)音(おん)順(じゅん) • (gojūonjun) ^(←ごじふおんじゅん (gozifuonzyun)?)

五十音順 (canonical)
gojūonjun (romanization)
gozifuonzyun (romanization)
ごじふおんじゅん (hiragana historical)

[ɡo̞ʑɨːõ̞ɲ̟d͡ʑɨ̃ɴ]

五十音 (literally “fifty sounds”) + 順 (“order”)

suf

Coordinate term: 伊呂波順

(orthography) the sort order for kana (historically, mainly for katakana) as arranged in the 五十音図 (literally “table of the fifty sounds”)


促音

(Japanese orthography) the small kana っ/ッ used to spell a moraic obstruent


撥音

[ha̠t͡sɨõ̞ɴ]

From 撥(はつ) (hatsu, “pick”) + 音(おん) (on, “sound”).

ja-compound

(Japanese orthography) the kana ん/ン (n) used to spell a moraic nasal


払う

ja-verb

払(はら)う • (harau) ^(←はらふ (farafu)?)transitive godan (stem 払(はら)い (harai), past 払(はら)った (haratta))

払う (canonical)
harau (romanization)
farafu (romanization)
払い (stem)
払った (past)
払わ
はらわ
harawa
払い
はらい
harai
払う
はらう
harau
払え
はらえ
harae
払われる (passive)
はらわれる (passive)
harawareru (passive)
払わせる (causative)
払わす (causative)
はらわせる (causative)
はらわす (causative)
harawaseru (causative)
harawasu (causative)
払える (potential)
はらえる (potential)
haraeru (potential)
払おう (volitional)
はらおう (volitional)
haraō (volitional)
払わない (negative)
はらわない (negative)
harawanai (negative)
払わず (continuative negative)
はらわず (continuative negative)
harawazu (continuative negative)
払います (formal)
はらいます (formal)
haraimasu (formal)
払った (perfective)
はらった (perfective)
haratta (perfective)
払って (conjunctive)
はらって (conjunctive)
haratte (conjunctive)
払えば (conditional hypothetical)
はらえば (conditional hypothetical)
haraeba (conditional hypothetical)
払は (irrealis stem)
はらは (irrealis stem)
farafa (irrealis)
払ひ (continuative stem)
はらひ (continuative stem)
farafi (continuative)
払ふ (stem terminative)
はらふ (stem terminative)
farafu (terminative)
払ふ (attributive stem)
はらふ (attributive stem)
farafu (attributive)
払へ (realis stem)
はらへ (realis stem)
farafe (realis)
払へ (imperative stem)
はらへ (imperative stem)
farafe (imperative)
払はず (negative)
はらはず (negative)
farafazu (negative)
払へど (contrastive)
はらへど (contrastive)
farafedo (contrastive)
払へば (causative)
はらへば (causative)
farafeba (causative)
払はば (conditional)
はらはば (conditional)
farafaba (conditional)
払ひき (past)
はらひき (past)
farafiki (past)
払ひけり (past)
はらひけり (past)
farafikeri (past)
払ひつ (perfect)
はらひつ (perfect)
farafitu (perfect)
払ひぬ (perfect)
はらひぬ (perfect)
farafinu (perfect)
払へり (continuative perfect)
払ひたり (continuative perfect)
はらへり (continuative perfect)
はらひたり (continuative perfect)
faraferi (continuative perfect)
farafitari (continuative perfect)
払はむ (volitional)
はらはむ (volitional)
farafamu (volitional)

Nihon Kokugo Daijiten
Nihon Shoki
man'yōgana

From Old Japanese. First attested in the Nihon Shoki of 720 CE, with the phonetic man'yōgana spelling 波羅賦.

Coordinate term: 止める

(calligraphy) to write as a sweeping stroke to the bottom right (㇏)


拗音

拗音 (canonical)
yōon (romanization)
euon (romanization)
えうおん (hiragana historical)

→ Chinese: 拗音 (ǎoyīn)

(Japanese orthography and phonology) in 和語 (wago, “native words”) and 漢語 (kango, “Classical Chinese words”), a mora that is spelt with:

one of the full-sized kana, き (ki), ぎ (gi), し (shi), じ (ji), ち (chi), ぢ (ji), に (ni), ひ (hi), び (bi), ぴ (pi), み (mi) and り (ri), followed by one the small kana, ゃ, ゅ and ょ, to represent the palatalization of the mora

one of the full-sized kana, く (ku) and ぐ (gu), followed by the small kana ゎ, to represent the historical labialization of the mora


嫌い

/kiraɸi/ → /kirawi/ → /kirai/
The 連用形 (ren’yōkei, “stem or continuative form”) of verb 嫌う (kirau, “to detest, dislike, hate”).

(poetry) in 俳諧 (haikai) and 連歌 (renga), arrangement of verses that tend to be avoided or otherwise disliked


振る

振(ふ)る • (furu) transitive godan (stem 振(ふ)り (furi), past 振(ふ)った (futta))

振る (canonical)
furu (romanization)
振り (stem)
振った (past)
振ら
ふら
fura
振り
ふり
furi
振る
ふる
furu
振れ
ふれ
fure
振られる (passive)
ふられる (passive)
furareru (passive)
振らせる (causative)
振らす (causative)
ふらせる (causative)
ふらす (causative)
furaseru (causative)
furasu (causative)
振れる (potential)
ふれる (potential)
fureru (potential)
振ろう (volitional)
ふろう (volitional)
furō (volitional)
振らない (negative)
ふらない (negative)
furanai (negative)
振らず (continuative negative)
ふらず (continuative negative)
furazu (continuative negative)
振ります (formal)
ふります (formal)
furimasu (formal)
振った (perfective)
ふった (perfective)
futta (perfective)
振って (conjunctive)
ふって (conjunctive)
futte (conjunctive)
振れば (conditional hypothetical)
ふれば (conditional hypothetical)
fureba (conditional hypothetical)

ルビを振る


軟派

Compound of 軟(なん) (nan, “soft; gentle”) + 派(は) (ha, “faction, school”). Literally, “the soft school”. The ha changes to pa as an instance of rendaku (連濁).

ja-com

(journalism) journalist who writes articles on culture, entertainment, and social relations


川柳

ja-noun

川(せん)柳(りゅう) • (senryū) ^(←せんりう (senriu)?)

川柳 (canonical)
senryū (romanization)
senriu (romanization)
せんりう (hiragana historical)

/senriu/ → /senriʲuː/ → /senrjuː/
Named after Karai Senryū (1718-1790), its creator.


川柳

川(かわ)柳(やなぎ) or 川柳(カワヤナギ) • (kawayanagi) ^(←かはやなぎ (kafayanagi) or カハヤナギ (kafayanagi)?)

川柳 (canonical)
川柳 (canonical)
kawayanagi (romanization)
kafayanagi (romanization)
かはやなぎ (hiragana historical)
カハヤナギ (hiragana historical)

Compound of 川(かわ) (kawa, “river, stream, brook”) + 柳(やなぎ) (yanagi, “willow”).


四つ仮名

四つ仮名 (canonical)
yotsugana (romanization)

From 四(よ)つ (yotsu, “four”) + 仮名(かな) (kana, “kana”). The kana changes to gana as an instance of rendaku (連濁).

(orthography) the four kana pairs of じ/ジ, ず/ズ, ぢ/ヂ and づ/ヅ, the latter two of which represent historical morae that are now pronounced identically to the former two in most major dialects


小文字

(orthography, typography) a minuscule (lower-case letter)


詩歌

/ɕika/ → /ɕiːka/
Shift from older shika below.
Now the 慣用読み (kan'yōyomi, “common reading”) form, possibly to avoid confusion with homophones.


源氏

From 源 (gen, on-reading of minamoto, literally “fountainhead, source”) + 氏 (-shi, “family”).

suffix

(poetry) Short for 源氏行 (Genji-kō, “a form of 連歌 (renga, “linked verse”) where sixty verses are written on a piece of paper folded in three”).


パッチム

二重パッチム


益荒男振り

ja-noun

益(ます)荒(ら)男(お)振(ぶ)り • (masuraoburi) ^(←ますらをぶり (masurawoburi)?)

益荒男振り (canonical)
masuraoburi (romanization)
masurawoburi (romanization)
ますらをぶり (hiragana historical)

[ma̠sɨɾa̠o̞bɯ̟ɾʲi]

Coined by Kamo no Mabuchi.
Compound of 益荒男 (masurao, “strong, brave man”) + 振り (-buri, “style”).

suffix

(poetry) a masculine poetic style exhibited in the 万葉集 (Man'yōshū)


まま

From 儘(まま) (mama, “the same, unchanged state”, noun).

ja-r

是非一度お目にかかりたきまま、御都合の程お聞かせ願えれば幸甚に存じます。

Zehi ichido o-me ni kakaritaki mama, o-tsugō no hodo o-kikase negaereba kōjin ni zon jimasu.

If it's not too much trouble, I would be greatly honored if we could meet in person once. [Therefore,] if you could let me know your availability, it would be much appreciated.

(literary, writing, usually in a letter) Expressing the intention of explaining a reason; because


清書

(calligraphy) rewriting in a cleaner hand


清書

ja-verb-suru

清(せい)書(しょ)する • (seisho suru) suru (stem 清(せい)書(しょ)し (seisho shi), past 清(せい)書(しょ)した (seisho shita))

清書する (canonical)
seisho suru (romanization)
清書し (stem)
清書した (past)
清書し
せいしょし
seisho shi
清書する
せいしょする
seisho suru
清書すれ
せいしょすれ
seisho sure
清書せよ (imperative literary)
清書しろ (colloquial imperative)
せいしょせよ (imperative literary)
せいしょしろ (colloquial imperative)
seisho seyo (imperative literary)
seisho shiro (colloquial imperative)
清書される (passive)
せいしょされる (passive)
seisho sareru (passive)
清書させる (causative)
清書さす (causative)
せいしょさせる (causative)
せいしょさす (causative)
seisho saseru (causative)
seisho sasu (causative)
清書できる (potential)
せいしょできる (potential)
seisho dekiru (potential)
清書しよう (volitional)
せいしょしよう (volitional)
seisho shiyō (volitional)
清書しない (negative)
せいしょしない (negative)
seisho shinai (negative)
清書せず (continuative negative)
せいしょせず (continuative negative)
seisho sezu (continuative negative)
清書します (formal)
せいしょします (formal)
seisho shimasu (formal)
清書した (perfective)
せいしょした (perfective)
seisho shita (perfective)
清書して (conjunctive)
せいしょして (conjunctive)
seisho shite (conjunctive)
清書すれば (conditional hypothetical)
せいしょすれば (conditional hypothetical)
seisho sureba (conditional hypothetical)


正体

(calligraphy, typography, of a Han character) the "standard", most recognized form


疑問符

[ɡʲimõ̞ɰ̃ɸɯ̟]


音節

[õ̞ɰ̃se̞t͡sɨ]

音 (“sound”) + 節 (“segment”) Not related to English onset despite similarity.

(loosely, phonology, poetry) Synonym of モーラ (mōra, “a mora”)


俳諧

→ English: haikai

→ Mandarin: 俳諧 /俳谐 (páixié)

(poetry) haikai (form of Japanese comic verse, featuring satire and puns)


跳ねる

ja-verb

跳(は)ねる • (haneru) intransitive ichidan (stem 跳(は)ね (hane), past 跳(は)ねた (haneta))

跳ねる (canonical)
haneru (romanization)
跳ね (stem)
跳ねた (past)
跳ね
はね
hane
跳ねる
はねる
haneru
跳ねれ
はねれ
hanere
跳ねよ (imperative literary)
跳ねろ (colloquial imperative)
はねよ (imperative literary)
はねろ (colloquial imperative)
haneyo (imperative literary)
hanero (colloquial imperative)
跳ねられる (passive)
はねられる (passive)
hanerareru (passive)
跳ねさせる (causative)
跳ねさす (causative)
はねさせる (causative)
はねさす (causative)
hanesaseru (causative)
hanesasu (causative)
跳ねられる (potential)
跳ねれる (colloquial potential)
はねられる (potential)
はねれる (colloquial potential)
hanerareru (potential)
hanereru (colloquial potential)
跳ねよう (volitional)
はねよう (volitional)
haneyō (volitional)
跳ねない (negative)
跳ねぬ (negative)
跳ねん (negative)
はねない (negative)
はねぬ (negative)
はねん (negative)
hanenai (negative)
hanenu (negative)
hanen (negative)
跳ねず (continuative negative)
はねず (continuative negative)
hanezu (continuative negative)
跳ねます (formal)
はねます (formal)
hanemasu (formal)
跳ねた (perfective)
はねた (perfective)
haneta (perfective)
跳ねて (conjunctive)
はねて (conjunctive)
hanete (conjunctive)
跳ねれば (conditional hypothetical)
はねれば (conditional hypothetical)
hanereba (conditional hypothetical)

(calligraphy) to write as a hooked stroke (亅)


止める

止(と)める • (tomeru) transitive ichidan (stem 止(と)め (tome), past 止(と)めた (tometa))

止める (canonical)
tomeru (romanization)
止め (stem)
止めた (past)
止め
とめ
tome
止める
とめる
tomeru
止めれ
とめれ
tomere
止めよ (imperative literary)
止めろ (colloquial imperative)
とめよ (imperative literary)
とめろ (colloquial imperative)
tomeyo (imperative literary)
tomero (colloquial imperative)
止められる (passive)
とめられる (passive)
tomerareru (passive)
止めさせる (causative)
止めさす (causative)
とめさせる (causative)
とめさす (causative)
tomesaseru (causative)
tomesasu (causative)
止められる (potential)
止めれる (colloquial potential)
とめられる (potential)
とめれる (colloquial potential)
tomerareru (potential)
tomereru (colloquial potential)
止めよう (volitional)
とめよう (volitional)
tomeyō (volitional)
止めない (negative)
止めぬ (negative)
止めん (negative)
とめない (negative)
とめぬ (negative)
とめん (negative)
tomenai (negative)
tomenu (negative)
tomen (negative)
止めず (continuative negative)
とめず (continuative negative)
tomezu (continuative negative)
止めます (formal)
とめます (formal)
tomemasu (formal)
止めた (perfective)
とめた (perfective)
tometa (perfective)
止めて (conjunctive)
とめて (conjunctive)
tomete (conjunctive)
止めれば (conditional hypothetical)
とめれば (conditional hypothetical)
tomereba (conditional hypothetical)

Coordinate term: 払う

(calligraphy) to write as a thrown stroke to the bottom right (㇔)


はてなマーク

はてな (hatena, “expression of doubt”) + マーク (māku, “mark”)


スクープ

[sɨ̥kɯ̟ːpɯ̟]


輪廻

輪廻 (canonical)
rinne (romanization)
rin'we (romanization)
りんゑ (hiragana historical)

貧は菩提の種富は輪廻の絆

hin wa bodai no tane tomi wa rinne no kizuna

/rinwe/ → /rinɰe/ → /rinːe/
From Middle Chinese 輪迴 (MC lwin hwoj, literally “wheel + revolve”), itself a translation of Sanskrit संसार (saṃsāra, literally “passing, wandering”).
The e reading for 廻 changes to ne as an instance of renjō (連声).

ja-renjo

(poetry) repeating of the same words and/or meanings in one volume of haikai or renga


枕詞

枕詞 (canonical)
makura kotoba (romanization)

→ English: pillow word (calque)

→ English: makurakotoba

Compound of 枕 (makura, “pillow”) + 詞 (kotoba, “word”). The pillow meaning is in reference to the way that makura kotoba in poetry are used as introductions to something else.

compound

711–712, Kojiki, poem 2:
… 爾波都登理 迦祁波那久 … [Man'yōgana]
… 庭つ鳥 鶏は鳴く … [Modern spelling]

Over time, certain makura kotoba may become full metonyms to replace the term they originally only alluded to, such as the Old Japanese phrase 庭つ鳥 (niwa tsu tori) or "garden bird" replacing the older term 鶏 (kake) to mean "chicken", as in the modern Japanese term 鶏 (niwatori). An example of such a makura kotoba

...the garden bird, the chicken clucks...

(poetry) a pillow word, an epithet, specifically a poetic device where a certain introductory phrase is commonly used to allude to something else, traditionally used in 和歌 (waka, “traditional Japanese poetry”)


閉じる

ja-verb

閉(と)じる • (tojiru) ^(←とぢる (todiru)?)transitive or intransitive ichidan (stem 閉(と)じ (toji), past 閉(と)じた (tojita))

閉じる (canonical)
tojiru (romanization)
todiru (romanization)
閉じ (stem)
閉じた (past)
閉じ
とじ
toji
閉じる
とじる
tojiru
閉じれ
とじれ
tojire
閉じよ (imperative literary)
閉じろ (colloquial imperative)
とじよ (imperative literary)
とじろ (colloquial imperative)
tojiyo (imperative literary)
tojiro (colloquial imperative)
閉じられる (passive)
とじられる (passive)
tojirareru (passive)
閉じさせる (causative)
閉じさす (causative)
とじさせる (causative)
とじさす (causative)
tojisaseru (causative)
tojisasu (causative)
閉じられる (potential)
閉じれる (colloquial potential)
とじられる (potential)
とじれる (colloquial potential)
tojirareru (potential)
tojireru (colloquial potential)
閉じよう (volitional)
とじよう (volitional)
tojiyō (volitional)
閉じない (negative)
閉じぬ (negative)
閉じん (negative)
とじない (negative)
とじぬ (negative)
とじん (negative)
tojinai (negative)
tojinu (negative)
tojin (negative)
閉じず (continuative negative)
とじず (continuative negative)
tojizu (continuative negative)
閉じます (formal)
とじます (formal)
tojimasu (formal)
閉じた (perfective)
とじた (perfective)
tojita (perfective)
閉じて (conjunctive)
とじて (conjunctive)
tojite (conjunctive)
閉じれば (conditional hypothetical)
とじれば (conditional hypothetical)
tojireba (conditional hypothetical)

From Old Japanese. Derived from older form 閉(と)づ (tozu) via regular historical processes in the shift to the 上一段活用 (kami ichidan katsuyō, “upper monograde conjugation”) pattern. Over time, the distinction between ぢ (dji) and じ (ji) was lost, leading to the modern spelling of とじる (tojiru).
Development
Natural progression from Old and Classical Japanese 上二段活用 (kami nidan katsuyō, “upper bigrade conjugation”) verbs ending in -u to modern Japanese 上一段活用 (kami ichidan katsuyō, “upper monograde conjugation”) verbs ending in -iru. For the Old / Classical form, see the 閉づ entry.

(proofreading, orthography) to write a Japanese word using kanji


水辺

1960, Kaneko Kinjirō, “Ryōki renga ron ni okeru ‘te ni wo ha’ no igi [Significance of grammatical particles in ryōki literary theory]”, in Kokubungaku kō, page 337:

Division by meaning. (This can be seen in the division of lyrics into yamarui [mountain words], suihen [water words] of constitution or use, or shiki [four seasons] and so on.)

意味の両。（山類・水辺、体・用、四季などの詞の分類に見られることき。）

Imi no ryō. (Yamarui suihen, karada yō, shiki nado no shi no bunrui ni mirareru koto ki.)

(poetry, haiku, renga) a word or phrase related to water


大文字

ja-noun

大(おお)文(も)字(じ) • (ōmoji) ^(←おほもじ (ofomozi)?)

大文字 (canonical)
ōmoji (romanization)
ofomozi (romanization)
おほもじ (hiragana historical)

(orthography, typography) a capital letter; a majuscule


大文字

大 (dai, “big”) + 文字 (monji, “character”)

af

(orthography, typography) the Chinese character 大


都都逸

Clipping of 都都逸節 (dodoitsu-bushi, “a specific form of poetry popular in the early 1800s, during the late Edo period”).

clipping

(poetry) dodoitsu: a specific form of Japanese poem without rhyme, having lines of 7-7-7-5 morae


綴り

連(れん)用(よう)形(けい) (ren'yōkei, “stem or continuative form”) of the verb 綴(つづ)る (tsuzuru).

ja-etym-renyokei

あなたの名前の綴りを教えてください。

Anata no namae no tsuzuri o oshiete kudasai.


圏点

圏 (“circle; enclosure”) + 点 (“dot; point”), specifically an unfilled circle (◦ or ○).

suf

1905 June, 黃山 片岡, “半濁音の符 [Noting Semi-Muddy Sounds]”, in 黃山著作集, Saitama: Suharaya, page 26:

A ‘semi-muddy sound’ is noted by attaching a circle (゜) to the right shoulder of a kana, as seen in the following examples,

半濁音は、假字の右肩に一箇の圈點（゜）を附して、半濁音の符となす、次ぎの例を見る可し、

Handakuon wa, kana no migikata ni ikko no kenten () o fushite, handakuon no fu to nasu, tsugi no rei o miru beshi,

(obsolete, orthography) Synonym of 半濁点 (handakuten)


山括弧

ja-noun

山括弧(やまがっこ) • (yamagakko) ^(←やまくわつこ (yamakwatuko)?)

山括弧 (canonical)
yamagakko (romanization)
yamakwatuko (romanization)
やまくわつこ (hiragana historical)

山 (yama, “mountain”) + 括弧 (kakko, “bracket”)


律詩

律詩 (canonical)
risshi (romanization)
ritusi (romanization)
りつし (hiragana historical)


韻律

[ĩn̺ɾʲit͡sɨ]


題詞

From Middle Chinese 題詞 (MC dej zi, “foreword”).

(waka, traditional poetry) a brief preface note on the theme or circumstances of a poem


永字八法

ja-noun

永(えい)字(じ)八(はっ)法(ぽう) • (eiji happō) ^(←えいじはつぱふ (eizifatupafu)?)

永字八法 (canonical)
eiji happō (romanization)
eizifatupafu (romanization)
えいじはつぱふ (hiragana historical)

From 永字 (eiji, “永 kanji”) + 八 (hachi, “eight”) + 法 (hō, “principle”).
The hō changes to pō as an instance of rendaku (連濁)..

com

(calligraphy) the Eight Principles of Yǒng

側 (soku) or 点 (ten, literally “point”), the first

the Eight Principles of Yǒng
勒 (roku), the second

the Eight Principles of Yǒng
努 (do), the third

趯 (teki) or 跳ね (hane, literally “jump”), the fourth

the Eight Principles of Yǒng
策 (saku), the fifth

掠 (ryaku) or 左払い (hidari harai, literally “left sweep”), the sixth

the Eight Principles of Yǒng
啄 (taku), the seventh

磔 (taku), 捺 (natsu), or 右払い (migi harai, literally “right sweep”), the eighth


リリック

[ɾʲiɾʲik̚kɯ̟]

(poetry) Synonym of 抒情詩 (jojōshi, “lyric poetry; lyric poem”)


レター

ja-noun

レター • (retā)

(orthography) a letter (letter of the alphabet)


デスク

(mass media, newspapers) a subeditor; a copy editor


真書

(Chinese calligraphy) Synonym of 楷書 (kaisho, “regular script”)


真書

(Chinese calligraphy) fine brush used for writing Chinese characters in the regular script


沖つ白波

沖つ白波 (canonical)
oki tsu shiranami (romanization)

From Old Japanese: 沖(おき) (oki, “open sea”) + つ (tsu, archaic possessive particle) + 白波(しらなみ) (shiranami, “whitecaps, white-crested waves”).

ja-compound

風吹けば沖つ白波たつた山夜半にや君がひとり越ゆらむ

905, Kokin Wakashū (book 18, poem 994; also Ise Monogatari, episode 23; Yamato Monogatari, episode 149)

as the howling winds keep white waves in the offing in the deep of night[,] is my lord crossing Tatsuta Mountain alone[?]

kaze fukeba oki tsu shiranami Tatsuta-yama yowa ni ya kimi ga hitori koyu ran

(poetry) a 序詞 (jokotoba), associated with the above meaning:

立田山 (Tatsuta-yama, “Mount Tatsuta”), pun on 立つ (tatsu, “to stand”)

淡海々奥白浪雖不知妹所云七日越来

Ōmi-no-umi oki tsu shiranami shirazu tomo imogari to iwaba nanuka koe kon

Even if I don't know (where you live), sounding like the white waves in the offing of the [Ōmi] sea, if you tell me (where) your house (is), (even if it would take me) seven days to cross (the hills), I will come!


くるわ

kuruwa (romanization)
kurwa (romanization)
くるわ (hiragana historical)

Daijisen#Online_search_engines
Edo period
Nihon Kokugo Daijiten

[kɯ̟ɾɯ̟β̞a̠]

Compound of くる (kuru, “going around”, consider adverbs くるくる (kurukuru), くるり (kururi, “spinningly; turningly”), verb 繰る (kuru, “to spin, to wind (a thread); to turn (a page)”)) + わ (wa, “loop? enclosure?”, the same element appearing in other words in kanji as 曲・回 (“sharp bend, loop, or bight, as in a river or coastline”), and as 輪・環 (“a ring, a loop; a hoop (as for a barrel); a circle, a round; a wheel”)), referring to a wall, palisade, moat (often dry), or natural waterway surrounding a castle or other fortification.
First appears in the late 1500s in reference to such a wall or moat. Later used to refer to the area bounded by such a feature, and then used periphrastically to refer to a red-light district, which was usually divided from the rest of a town by such a wall or fence.

郭通い

frequently visiting a red-light district

郭言葉

the argot of the red-light district during the Edo period

郭沙汰

the rumor and stories of the red-light district

郭三界

the area or neighborhood of a red-light district

郭住まい

residing in a red-light district; the lifestyle of a prostitute

郭勤め

working in a red-light district; someone working in a red-light district, more specifically as a prostitute

郭模様

the fashionable patterns of clothing popular in the red-light district

郭様

the manners and customs of the red-light district

(poetry, haiku) in 俳諧 (haikai, “vulgar haiku”), the general realm of subject matter used for the opening line


題知らず

題知らず (canonical)
dai shirazu (romanization)

Literally “topic unknown”.
Some scholars actually translate this as “circumstances unknown”.

(poetry) a 詞書 (kotobagaki, “explanatory note”) stating that the topic, theme, or occasion of a selected waka poem is unknown; also, the poem with the unknown topic, theme, or occasion


クエスチョンマーク

[kɯ̟e̞sɨt͡ɕo̞m ma̠ːkɯ̟]


江戸文字

江戸文字 (canonical)
Edo moji (romanization)

From 江戸(えど) (Edo, “Edo”) + 文字(もじ) (moji, “characters”).

ja-compound

(calligraphy and typography) "Edo characters", distinctive calligraphic (and later, typographic) styles that were born in the Edo period


漢文訓読

漢文訓読 (canonical)
kanbun kundoku (romanization)

[kã̠mbɯ̟ŋ kɯ̟̃ndo̞kɯ̟]

From 漢文 (kanbun, “Literary Chinese”) + 訓読 (kundoku, “native reading of kanji”).

com

(orthography) the Japanese reading of Literary Chinese by a literal translation


手弱女振り

ja-noun

手弱女振(たおやめぶ)り • (taoyameburi) ^(←たをやめぶり (tawoyameburi)?)

手弱女振り (canonical)
taoyameburi (romanization)
tawoyameburi (romanization)
たをやめぶり (hiragana historical)

Coined by Kamo no Mabuchi.
Compound of 手弱女 (taoyame, “virtuous, beautiful lady”) + 振り (-buri, “style”).

suffix

古今和歌集 古今和歌集#Japanese

(poetry) a feminine poetic style exhibited in poetry anthologies after the 古今和歌集 (Kokin Wakashū)


懐剣

ja-noun

懐(かい)剣(けん) • (kaiken) ^(←くわいけん (kwaiken)?)

懐剣 (canonical)
kaiken (romanization)
kwaiken (romanization)
くわいけん (hiragana historical)

/kwaiken/ → /kaiken/
Appears to be a coinage in Japanese of Middle Chinese-derived roots, as a compound of 懐 (kai, “bosom; the chest area of a kimono above the 帯 (obi, “sash”) and inside the collar”) + 剣 (ken, “sword”). Appears in texts from the 1300s.

compound

bosom; the chest area of a kimono above the <i class="Jpan mention" lang="ja">帯</i> (obi, “sash”) and inside the collar

(poetry) working on possible response lines for a 連歌 (renga, “linked poem”), 俳諧 (haikai, “amusing style of waka Japanese poetry”), or similar call and response style of performed poetry, prior to a performance; any lines prepared before such a performance


ピリオド

(orthography, in languages using European writing systems) full stop; period


長歌

長歌 (canonical)
chōka (romanization)
tyauka (romanization)
ちやうか (hiragana historical)

/tɨau ka/ → /t͡ɕauka/ → /t͡ɕɔːka/ → /t͡ɕoːka/
Compound of Middle Chinese-derived elements 長 (chō, “long”) + 歌 (ka, “poem, song”).

lang

夜知富許能迦微能美許登波夜斯麻久爾都麻麻岐迦泥弖登富登富斯故志能久邇邇佐加志賣遠阿理登岐加志弖久波志賣遠阿理登伎許志弖佐用婆比爾阿理多多斯用婆比邇阿理加用婆勢多知賀遠母伊麻陀登迦受弖淤須比遠母伊麻陀登加泥婆遠登賣能那須夜伊多斗遠淤曾夫良比和何多多勢禮婆比許豆良比和何多多勢禮婆阿遠夜麻邇奴延波那伎奴佐怒都登理岐芸斯波登與牟爾波都登理迦祁波那久宇禮多久母那久那留登理加許能登理母宇知夜米許世泥　伊斯多布夜阿麻波勢豆加比許登能加多理其登母許遠婆

八千矛の神の命は八島国妻まきかねて遠遠し高志の国に賢し女を有りと聞かして麗し女を有りと聞こしてさ婚ひに有り立たし婚ひに有り通はせ大刀が緒もいまだ解かずて襲をもいまだ解かねば乙女の寝すや板戸を押そぶらひ我が立たせれば引こづらひ我が立たせれば青山にぬえは鳴きぬさ野つ鳥雉はとよむ庭つ鳥鶏は鳴く心痛くも鳴くなる鳥かこの鳥も打ち止めこせね　いしたふや天馳使ひ事の語り言もこをば

逢ふことの稀なる色に思ひそめわが身は常に天雲の晴るる時なく富士の嶺の燃えつつとはに思へども逢ふことかたし何しかも人をうら見むわたつ海の沖を深めて思ひてし思ひは今はいたづらになりぬべらなり行く水の絶ゆる時なくかくなわに思ひ乱れて降る雪の消なば消ぬべく思へども閻浮の身なればなほやまず思ひは深しあしひきの山下水の木隠れてたぎつこころを誰にかも相語らはむ色にいでば人知りぬべみすみぞめの夕べになればひとりゐてあはれあはれと嘆きあまりせむすべなみに庭にいでて立ちやすらへば白妙の衣のそでに置く露の消なば消ぬべく思へどもなほ嘆かれぬ春霞よそにもひとに逢はむと思えへば

(poetry) a long waka that follows the rule of alternating 5-7 morae and ending in 7-7 morae

(poetry) a tanka poem that is, for unknown circumstances, erroneously labeled a chōka


長歌

From 長 (naga-, “long”) + 歌 (uta, “poem, song”).

prefix

(poetry, archaic) a long waka that follows the rule of alternating 5-7 morae and ending in 7-7 morae

(poetry, archaic) a mijikauta poem that is, for unknown circumstances, erroneously labeled a nagauta


露鋒

(calligraphy) to expose the tip of the brush when writing a stroke


反歌

From Middle Chinese-derived elements 反 (han, “reflect, return”) + 歌 (ka, “poem”).

com

(poetry) a 短歌 (tanka, “short poem”) following a 長歌 (chōka, “long poem”) as a reflection or reply to the latter; compare English envoi


東歌

ja-noun

東(あずま)歌(うた) • (azuma uta) ^(←あづまうた (adumauta)?)

東歌 (canonical)
azuma uta (romanization)
adumauta (romanization)
あづまうた (hiragana historical)

From 東 (azuma, “east, lands east of the imperial capital”) + 歌 (uta, “poem, song”).

com

古今和歌集 古今和歌集#Japanese

(poetry, historical) poems from the eastern regions of Japan, especially those in the titular fourteenth volume of the 万葉集 (Man'yōshū) or the twentieth volume of the 古今和歌集 (Kokin Wakashū)

(poetry) a Kantō-style 狂歌 (kyōka, “comical tanka”)


鋭アクセント

鋭アクセント (canonical)
ei akusento (romanization)

[e̞ː a̠kɯ̟̊sẽ̞nto̞]

Compound of 鋭 (ei, “sharp”, likely a gloss or calque of Ancient Greek οξεία (oxeía, “sharp; acute”)) + アクセント (akusento, “accent”).

compound

likely a gloss or calque of Ancient Greek <i class="Polyt mention" lang="grc">οξεία</i> (oxeía, “sharp; acute”)

(orthography, uncommon) an acute accent ( ´ )


アクサンテギュ

[a̠kɯ̟̊sã̠nte̞ɡʲɨ]

揚音符号

揚音符号 ようおんふごう


揚音符

揚音符号

揚音符号 ようおんふごう


揚音符号

揚音符号 (canonical)
yōonfugō (romanization)


五体

Meronyms: 行書 (gyōsho, “semicursive”), 真書 (shinsho, “regular”), 草書 (sōsho, “cursive”), 篆書 (tensho, “seal”), 隷書 (reisho, “clerical”)

Meronyms: 古文 (kobun, “ancient”), 小篆 (shōten, “small seal”), 大篆 (daiten, “large seal”), 八分 (happun, “bafen”), 隷書

(calligraphy, typography) the five principal East Asian calligraphic/typographic styles of Chinese origin


まぜがき

mazegaki (romanization)
まぜがき (hiragana historical)

From 交(ま)ぜ (maze, “mixing, 連(れん)用(よう)形(けい) (ren'yōkei, “stem or continuative form”) of the verb 交(ま)ぜる (mazeru, “to mix”).”) + 書(か)き (kaki, “writing, 連(れん)用(よう)形(けい) (ren'yōkei, “stem or continuative form”) of the verb 書(か)く (kaku, “to write”).”).

ja-compound

(orthography) Writing certain kanji of a Sino-Japanese word in kana instead. This may be motivated by reasons such as a kanji being excluded from the list of 常用漢字 (jōyō kanji).


まぜがき

ja-verb-suru

まぜがきする • (mazegaki suru) ^(←まぜがき (mazegaki)?)suru (stem まぜがきし (mazegaki shi), past まぜがきした (mazegaki shita))

まぜがきする (canonical)
mazegaki suru (romanization)
mazegaki (romanization)
まぜがきし (stem)
まぜがきした (past)
まぜがきし
mazegaki shi
まぜがきする
mazegaki suru
まぜがきすれ
mazegaki sure
まぜがきせよ (imperative literary)
まぜがきしろ (colloquial imperative)
mazegaki seyo (imperative literary)
mazegaki shiro (colloquial imperative)
まぜがきされる (passive)
mazegaki sareru (passive)
まぜがきさせる (causative)
まぜがきさす (causative)
mazegaki saseru (causative)
mazegaki sasu (causative)
まぜがきできる (potential)
mazegaki dekiru (potential)
まぜがきしよう (volitional)
mazegaki shiyō (volitional)
まぜがきしない (negative)
mazegaki shinai (negative)
まぜがきせず (continuative negative)
mazegaki sezu (continuative negative)
まぜがきします (formal)
mazegaki shimasu (formal)
まぜがきした (perfective)
mazegaki shita (perfective)
まぜがきして (conjunctive)
mazegaki shite (conjunctive)
まぜがきすれば (conditional hypothetical)
mazegaki sureba (conditional hypothetical)

(orthography) to write certain kanji of a Sino-Japanese word in kana instead


自由律

ja-noun

自(じ)由(ゆう)律(りつ) • (jiyūritsu) ^(←じいうりつ (ziiuritu)?)

自由律 (canonical)
jiyūritsu (romanization)
ziiuritu (romanization)
じいうりつ (hiragana historical)

[d͡ʑijɯ̟ːɾʲit͡sɨ]


余白

余白 (canonical)
yohaku (romanization)
yofaku (romanization)
よはく (hiragana historical)


具足

From Old Japanese 具足 (gusoku). First cited to a portion of the 続日本紀 (Shoku Nihongi) dated to 722.
In turn, borrowed from Middle Chinese compound 具足 (MC gjuH tsjowk, “to suffice; sufficient”, literally “provide, furnish + enough, abundant”), in evidence since at least the Lunheng of the first century CE.
Within Japanese, also analyzable as a compound of 具 (gu, “gear, equipment, furnishings”) + 足 (soku, “adding, making adequate”).

ltc-l

(poetry) the subject matter alluded to by a 連歌 (renga, “linked poem”)


うらとり

uratori (romanization)
うらとり (hiragana historical)

[ɯ̟ɾa̠to̞ɾʲi]


詩経

(literature, poetry) the Classic of Poetry


筆脈

筆脈 (canonical)
hitsumyaku (romanization)

(calligraphy) the flow between two disconnected strokes


書写体

書写体 (canonical)
shoshatai (romanization)

(calligraphy) non-standard character forms (旧字体, 異体字, 変体仮名, etc.) used in calligraphy


副題

ja-noun

副(ふく)題(だい) • (fukudai) ^(←ふくだい (fukudai)?)

副題 (canonical)
fukudai (romanization)
ふくだい (hiragana historical)

[ɸɯ̟kɯ̟da̠i]

(authorship) subtitle (heading below or after a title)


五十音図

五(ご)十(じゅう)音(おん)図(ず) • (gojūonzu) ^(←ごじふおんづ (gozifuondu)?)

五十音図 (canonical)
gojūonzu (romanization)
gozifuondu (romanization)
ごじふおんづ (hiragana historical)

[ɡo̞ʑɨːõ̞nd͡zɨ]

五十音 (literally “fifty sounds”) + 図 (“diagram”)

suf

(phonology, orthography, grammar) the 5x10 table used for arranging all the 47 kana used for the 五十音 (literally “fifty sounds”), whose 列 (“columns”) are arranged by the vowels (/a/, /i/, /ɯ/, /e/, /o/) and 行 (“rows”) are arranged by the consonants (Ø, /k/, /s/, /t/, /n/, /h/, /m/, /j/, /ɾ/, /w/; voiced obstruents and /p/ are customarily not included because they were rarely distinguished in writing); columns are ranked by 段 (“grade”), with the vowel /a/ being the highest grade and the vowel /o/ being the lowest; the missing cells of the や行 (“ya-row”) and わ行 (“wa-row”) are filled with い/イ (i), え/エ (e) and う/ウ (u) taken from the あ行 (“a-row”), in order to represent classical grammatical inflection with modern text (or alternatively, artificially filled with rare kana such as 𛀆/𛄠 (yi), 𛀁/𛄡 (ye) and 𛄟 (𛄟)/𛄢 (wu))


あ行

あ行 (canonical)
agyō (romanization)
agyau (romanization)
あぎゃう (hiragana historical)

ア行上一段/下一段/下二段活用

(phonology, orthography, grammar) the first row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana あ/ア (a), い/イ (i), う/ウ (u), え/エ (e) and お/オ (o)


あ段

(phonology, orthography, grammar) the first and highest-graded column of the 五十音図 (literally “table of the fifty sounds”), consisting of the ten kana あ/ア (a), か/カ (ka), さ/サ (sa), た/タ (ta), な/ナ (na), は/ハ (ha), ま/マ (ma), や/ヤ (ya), ら/ラ (ra) and わ/ワ (wa)


は行

は行 (canonical)
hagyō (romanization)
fagyau (romanization)
はぎゃう (hiragana historical)

ハ行下一段/上二段/下二段/四段活用

(phonology, orthography, grammar) the sixth row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana は/ハ (ha), ひ/ヒ (hi), ふ/フ (fu), へ/ヘ (he) and ほ/ホ (ho)


ば行

ば行 (canonical)
bagyō (romanization)
bagyau (romanization)
ばぎゃう (hiragana historical)

バ行上一段/下一段/上二段/四段/五段活用

(phonology, orthography, grammar) a row derived from the は行 (“ha-row”) of the 五十音図 (literally “table of the fifty sounds”) (but not included in the table) by adding the diacritical mark ゛, consisting of the five kana ば/バ (ba), び/ビ (bi), ぶ/ブ (bu), べ/ベ (be) and ぼ/ボ (bo)


ぱ行

ぱ行 (canonical)
pagyō (romanization)
pagyau (romanization)
ぱぎゃう (hiragana historical)

(phonology, orthography) a row derived from the は行 (“ha-row”) of the 五十音図 (literally “table of the fifty sounds”) (but not included in the table) by adding the diacritical mark ゜, consisting of the five kana ぱ/パ (pa), ぴ/ピ (pi), ぷ/プ (pu), ぺ/ペ (pe) and ぽ/ポ (po)


や行

や行 (canonical)
yagyō (romanization)
yagyau (romanization)
やぎゃう (hiragana historical)

ヤ行上一段/上二段/下二段活用

(phonology, orthography, grammar) the eighth row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana や/ヤ (ya), い/イ (i) (alternatively, 𛀆/𛄠 (yi)), ゆ/ユ (yu), え/エ (e) (alternatively, 𛀁/𛄡 (ye)) and よ/ヨ (yo), two of which are taken from the あ行 (“a-row”) to represent classical grammatical inflection in modern text


わ行

わ行 (canonical)
wagyō (romanization)
wagyau (romanization)
わぎゃう (hiragana historical)

ワ行上一段 / 下二段 / 五段活用

wagyō kamīchidan / shimonidan / godan katsuyō

wa-row upper-bigrade / lower-bigrade / quintigrade inflection

(phonology, orthography, grammar) the tenth and last row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana わ/ワ (wa), ゐ/ヰ (wi), う/ウ (u) (alternatively, 𛄟 (𛄟)/𛄢 (wu)), ゑ/ヱ (we) and を/ヲ (wo), one of which is taken from the あ行 (“a-row”) to represent classical grammatical inflection in modern text


体用

ja-noun

体(たい)用(ゆう) or 体(たい)用(よう) • (taiyū or taiyō)

体用 (canonical)
体用 (canonical)
taiyū (romanization)
taiyō (romanization)

体 (“body”) + 用 (“use”), from Middle Chinese 體用. Also blend of 体言 + 用言.

(philosophy, Buddhism, poetry) Essence-Function; Substance and Function; Form and Attribute; that which is absolutely inherent and that which relatively manifests


直音

[t͡ɕo̞kɯ̟õ̞ɴ]

(Japanese orthography and phonology) a mora that consists of either (1) one vowel or (2) one consonant and one vowel, and is spelt with only one full-sized kana, such as あ (a), き (ki) or ぶ (bu)


モーラ

モーラ • (mōra)

Learned borrowing from Latin mora, via English mora.

Meronyms: 子音 (shiin, “consonant”), 母音 (boin, “vowel”)


か行

か行 (canonical)
kagyō (romanization)
kagyau (romanization)
かぎゃう (hiragana historical)

カ行上一段/上二段/下一段/下二段/四段/五段/変格活用

(phonology, orthography, grammar) the second row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana か/カ (ka), き/キ (ki), く/ク (ku), け/ケ (ke) and こ/コ (ko)


さ行

さ行 (canonical)
sagyō (romanization)
sagyau (romanization)
さぎゃう (hiragana historical)

サ行下一段/下二段/四段/五段/変格活用

(phonology, orthography, grammar) the third row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana さ/サ (sa), し/シ (shi), す/ス (su), せ/セ (se) and そ/ソ (so)


た行

た行 (canonical)
tagyō (romanization)
tagyau (romanization)
たぎゃう (hiragana historical)

タ行上一段/上二段/下一段/下二段/四段/五段活用

(phonology, orthography, grammar) the fourth row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana た/タ (ta), ち/チ (chi), つ/ツ (tsu), て/テ (te) and と/ト (to)


な行

な行 (canonical)
nagyō (romanization)
nagyau (romanization)
なぎゃう (hiragana historical)

ナ行上一段/下一段/下二段/四段/五段/変格活用

(phonology, orthography, grammar) the fifth row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana な/ナ (na), に/ニ (ni), ぬ/ヌ (nu), ね/ネ (ne) and の/ノ (no)


ま行

ま行 (canonical)
magyō (romanization)
magyau (romanization)
まぎゃう (hiragana historical)

マ行上一段/上二段/下一段/下二段/四段/五段活用

(phonology, orthography, grammar) the sixth row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana ま/マ (ma), み/ミ (mi), む/ム (mu), め/メ (me) and も/モ (mo)


ら行

ら行 (canonical)
ragyō (romanization)
ragyau (romanization)
らぎゃう (hiragana historical)

ラ行上一段/上二段/下一段/下二段/四段/五段/変格活用

(phonology, orthography, grammar) the ninth row of the 五十音図 (literally “table of the fifty sounds”), consisting of the five kana ら/ラ (ra), り/リ (ri), る/ル (ru), れ/レ (re) and ろ/ロ (ro)


い段

(phonology, orthography, grammar) the second and second-highest-graded column of the 五十音図 (literally “table of the fifty sounds”), consisting of the nine kana い/イ (i), き/キ (ki), し/シ (shi), ち/チ (chi), に/ニ (ni), ひ/ヒ (hi), み/ミ (mi), り/リ (ri) and ゐ/ヰ (wi), and sometimes additionally 𛀆/𛄠 (yi)


う段

(phonology, orthography, grammar) the third and middle-graded column of the 五十音図 (literally “table of the fifty sounds”), consisting of the nine kana う/ウ (u), く/ク (ku), す/ス (su), つ/ツ (tsu), ぬ/ヌ (nu), ふ/フ (fu), む/ム (mu), ゆ/ユ (yu) and る/ル (ru), and sometimes additionally 𛄟 (𛄟)/𛄢 (wu)


え段

(phonology, orthography, grammar) the fourth and second-lowest-graded column of the 五十音図 (literally “table of the fifty sounds”), consisting of the nine kana え/エ (e), け/ケ (ke), せ/セ (se), て/テ (te), ね/ネ (ne), へ/ヘ (he), め/メ (me), れ/レ (re) and ゑ/ヱ (we), and sometimes additionally 𛀁/𛄡 (ye)


お段

(phonology, orthography, grammar) the fifth and lowest-graded column of the 五十音図 (literally “table of the fifty sounds”), consisting of the ten kana お/オ (o), こ/コ (ko), そ/ソ (so), と/ト (to), の/ノ (no), ほ/ホ (ho), も/モ (mo), よ/ヨ (yo), ろ/ロ (ro) and を/ヲ (wo)


踊り字

踊り (“dancing; bouncing”, 連用形 (ren'yōkei) of 踊る (odoru, “to dance; to bounce”)) + 字 (“character; letter”), alluding to how an iteration mark looks like a hastily written character with a "bouncy" or "jumpy" pattern

af

(writing) chicken scratch (cramped or illegible handwriting)


ぶら下がり

ぶら下がり (canonical)
burasagari (romanization)

(journalism) an impromptu press conference formed by a group of reporters surrounding the interviewee while standing or walking


連綿体

ja-noun

連(れん)綿(めん)体(たい) • (renmentai) ^(←れんめんたい (renmentai)?)

連綿体 (canonical)
renmentai (romanization)
れんめんたい (hiragana historical)

[ɾẽ̞mːẽ̞nta̠i]

en:Cursive script (East Asia)#Styles
ja:連綿体


当用漢字

当用漢字 (canonical)
tōyō kanji (romanization)

[to̞ːjo̞ːkã̠ɲ̟d͡ʑi]

From 当用 (“general use, daily use”) + 漢字 (“kanji”).

compound

(orthography, historical) tōyō kanji (kanji that were declared official by the Ministry of Education of Japan on November 16, 1946, later replaced by 常用漢字 (jōyō kanji))


コメンテーター

ja-noun

コメンテーター • (komentētā)


衣毛

(calligraphy) white decorative bristles on a brush surrounding the main bristles


制詞

(poetry) a word that is forbidden due to scansion, rarity, or unfamiliarity


植え物

植(う)え物(もの) • (uemono) ^(←うゑもの (uwemono)?)

植え物 (canonical)
uemono (romanization)
uwemono (romanization)
うゑもの (hiragana historical)

Compound of 植え (ue, “planting”, the 連用形 (ren'yōkei, “stem or continuative form”) of 植える (ueru, “to plant”)) + 物 (mono, “thing”).

com

(poetry) types of plants used as subjects in renga and haikai


半臂

(poetry) Short for 半臂の句 (hanpi no ku, “(poetry) an adorned third line in a tanka”).


裏白

裏白 (canonical)
裏白 (canonical)
urajiro (romanization)

[ɯ̟ɾa̠ʑiɾo̞]

Literally, “back white”, 裏(うら) (ura, “back, reverse”) + 白(しろ) (shiro, “white”)

ja-compound

(poetry) Clipping of 裏白連歌 (urajiro renga).


蔵鋒

蔵鋒 (canonical)
zōhō (romanization)
zaufou (romanization)
ざうほう (hiragana historical)

(calligraphy) to hide the tip of the brush when writing a stroke