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:

Given these differing formats^[10] it is clear that Collado is unable to cope adequately with the more complex aspects of the grammar, specifically those syntactic constructions to which Rodriguez devotes almost an entire book.

An analysis of Collado's description and a listing of the portions of Rodriguez' grammar from which material was taken yields the following:

Two aspects of Japanese were not able to be described with any degree of satisfaction by Collado; the adjectives (adjectiva) and the prepositions (praepositio). His difficulties, attributable to the basic structural difference between Latin and Japanese, were compounded by the fact that Rodriguez too was unable to find a satisfactory solution to their description.

With respect to the adjectives, Collado attempts to deal with their functions in the manner appropriate to Latin, that is as a sub-class of nouns (pp. 9-11). He also recognizes their formal similarity to the verb and treats them briefly as a sub-class of the substantive verb (pp. 32-33), but his heavy reliance upon the semantic categories of Latin does not permit him to follow Rodriguez who is able more clearly to recognize their formal as well as their functional distinctiveness.

Concerning prepositions, Collado was confronted with an all but insurmountable taxonomic problem. Here too Rodriguez was unable to develop a completely satisfactory descriptive framework. In the Arte the term posposição is used for those particles which function in a manner similar to the Latin prepositions; e.g., tameni, taixite, and tomoni (cf. 73-73v and 140-148v); the term artigo is used for those particles having the functions of the inflectional endings of Latin; e.g., ga, ye, and ni (cf. 1-2, 78, and 137-140); and the general term particula is used to cover the broad spectrum of particles that include adverbs, conjunctions, and exclamations, as well as those otherwise unaccounted for elements which end phrases, clauses, and sentences; e.g., no, nite, and yo (cf. 77-78 and 144-154v).

Collado, rather than attempting to refine the system suggested by Rodriguez, follows the Arte in listing as praepositio those elements which translate the Latin prepositions (pp. 57-59) but uses the term particula to cover all the other particles of the language.

This tendency of Collado's to retreat from the challenging problems left unresolved by Rodriguez constitutes the greatest weakness of his description. Given concise grammatical descriptions on the one hand and over-simplified versions of previous works on the other, the Ars Grammaticae Iaponicae Linguae unfortunately falls among the latter.

In his shorter work, the Arte Breve of 1620, Rodriguez retains the same general format, but makes every effort to reduce the description to its barest essentials. Thus:

Of particular interest in the context of Collado's grammar is the manner in which Rodriguez displays the verbal system. While the Ars Grammaticae presents the verbal system as a series of alterational rules to be applied to the base forms, the Arte Breve goes even further than the Arte to differentiate the formational rules from the conjugational displays. Rodriguez tries several devices to elucidate his material. For example, Charts A and B below represent very early attempts to use a bordered format for linguistic description.

In order to indicate the differences to be found between the descriptions presented by Rodriguez and Collado, I have extracted the formational rules from the Arte Breve and, setting aside only two short appendices dealing with variant forms, present them here in their entirety.

THE CONJUGATION AND FORMATION OF THE TENSES AND MOODS OF THE VERBS

All the verbs of this language may be reduced (se reduzem) to four affirmative and three negative conjugations. This is because the negative conjugation of the adjectival verb, which we discussed before,^[11] agrees with the second of the three conjugations; and the conjugation of the substantive verb Sǒrai, Sǒrǒ, or soro, which is an abbreviated form of Samburai, samburǒ^[12] both in the affirmative and the negative is reduced to the third conjugation. At this point we will treat the three affirmative and three negative ordinary conjugations of the regular personal verbs.^[13] Following this, and on account of its particular usage and formation, we will discuss the conjugation of the adjectival verb.

The verbs of this language do not change (naõ fẽ variedade) to show person and number as do those of Latin; rather, one form (voz) is used for all persons, singular and plural. Number and person are understood according to the subject (Naminativo [sic]), or pronoun, which is joined to the verb. The moods of the verb, which in this language have distinct forms for the tenses, are indicative, imperative, conjunctive, conditional, and preterit participle. The remaining moods are made up of these forms joined to certain particles. Each mood has but three tenses which have distinct forms; these are preterit, present, and future. These forms are signified by the Japanese terms (vocabulos) Quaco, ghenzai, mirai. The preterit imperfect and pluperfect are made up of the present, preterit, and preterit participle together with the substantive verb, as will be seen below in the conjugations.

Concerning the formation of the tenses and moods of the verbs in general, one is reminded that to understand the actual root (raiz) and the natural formation of all the tenses and moods, both affirmative and negative, it is extremely important to take notice of the usage of the Goyn,^[14] which are the five vowels (cinco letras vogaes) in the syllables which are below each aforementioned formation; and that it is also important to understand Canadzucai,^[15] which is the way to write with Firagana as well as the way one joins together syllables, or letters, to form other words (palauras), while noticing which syllable is changed by which, what constitutes long, short, or diphthongal syllables, which combinations cause contraction (sincope), which cause augmentation (incremento) of the verb, whether one makes a syllable liquid (liquescit)^[16] or not, and how the tenses of the moods are written with the same Cana.^[17] The term Goyn, not only indicates the syllables, or Cana, which are transformed to others, such as Fa, Fe, Fi, Fo, Fu, which are changed to the closely related sounds Ba, Be, Bi, Bo, Bu and Pa, Pe, Pi, Po, Pu; but it also indicates another kind of change from one sound to another in the same order (ordem), as happens among the syllables Fa, Fe, Fi, Fo, Fu. Ba, Be, Bi, Bo, Bu. Ma, Me, Mi, Mo, Mu, etc. where often by rule (regna) Ma is changed to Mi; or to the contrary Bu to Ba and Bi to Ba, and likewise for others. The greater part of the formation of the tenses of each mood is confined to such changes, as is clearly seen in the way one writes the tense forms with Cana. It is to this that another change belongs. That which exists among those syllables having a certain relationship and rapport between them, as Ma, Fa, Ba, Pa; Me, Fe, Be, Pe; Mi, Fi, Bi, Pi; Mo, Fo, Bo, Po; Mu, Fu, Bu, Pu; with Mu and V. Thus, what is written Vma in Cana is written Muma, and Mume written for Vme in order to conform more closely to its pronunciation.^[18] Also Mu is written for Bu^[19] so that all the harmony (armonia) in the formations of this language are contained in the rules for Goyn and Canadzucai. Those who are informed see, as native speakers, how the tenses are formed for any mood, and which letter, or syllable, must be changed to another to affect a formation. Concerning this matter there is a booklet^[20] which teaches Canadzucai, and the general rules on the subject. Teachers should have this booklet to teach more easily and advantageously those students who are learning Cana. Lacking a knowledge of Goyn and Canadzucai, some of the rules which until now have been used in the formation of verbs (some of which I have let remain as they were), are not the original and natural rules as are the Goyn.^[21] They are rather devices, some forming affirmative tenses and moods from negative forms and others forming them from yet other more remote sources, which appear to correspond to formational rules, but for which the proper rules are not known. The fact is that the affirmative as well as negative are formed from the affirmative, beginning with the root, as will be seen below.

Speaking in general of the formation of the verb, the forms of the indicative and imperative moods of all three conjugations are formed from the root of the verb. The rest of the tenses in the other affirmative moods are formed from either the indicative or imperative forms. In the same way, the negative indicative present is formed from the root of the verb and the other tenses of the indicative are formed from the present form. The other negative moods are formed from the indicative forms.

Formation of the Tenses for the Indicative and Imperative Moods of the Verbs of the First Affirmative Conjugation

The final syllables of the roots of the first affirmative conjugation, by which the verbs conjugated here are known, and from which the tenses of the indicative will be formed, end in E, with the exception of the verb "to do," Xi, or Ii, with its compounds and certain other verbs which end in I. The verbs which belong to the first conjugation, are as follows [in Charts A & B].

The verb Xi "to do," with its compounds ending in Xi or Ii, follows the formation of the verbs of the first conjugation. Ii is Xi which has been changed (alterado) to Ii because it follows the letter N. Xi conforms to the rules for the syllables which are changed (se mudam) to others. Thus:

Many of these verbs have another, less used, form made by adding Ru to the root; e.g., Abi, abiru; Mochiy, mochiyru; xiy, xiyru. Among these are some that have only this second form and lack the first; e.g., Mi, miru; Ni, niru; Fi, firu; Cagammi, cagammiru; Ki, kiru "to dress," as distinct from Ki, kuru "to come"; and y, yru.

Chart A

[The Formation of First Conjugation Verbs Ending in E]

Chart B

Formation of the Optative, Conjunctive, and Conditional Moods, and the Participle

The optative mood does not have forms of its own but compensates for this in part by adding to the imperative certain particles which indicate desire, in part by adding to the future indicative particles which show regret for not doing something, and in part by circumlocutions with the conditional mood and certain particles, as will be seen in the conjugations.

The conjunctive mood has two sorts of proper forms. The first is the common and ordinary form ending in Eba, corresponding to the Latin cum. The other ends in Domo, corresponding to the particle "although (posto que)." The other verbs of this mood do not have their own forms, but are expressed by circumlocutions as we shall see.^[24]

The present tense of the first conjunctive is formed from the present indicative by changing the final Ru to Reba; e.g., Motomureba. For the preterit Reba is added to the preterit indicative; e.g., Motometareba. For the future the final Ru of the third form of the future indicative is changed to Reba; e.g., Motomeôzureba. For a second form of the future the syllable Rǒ is added to the indicative preterit perfect; e.g., Motometarǒ. This particle is Ran in the written language; e.g., Motometaran.^[25] An utterance (oraçam) does not end in this form, but must be followed by a noun.^[26]

The present tense of the second conjunctive is formed by changing the final Ru of the present indicative to Redomo; e.g., Motomuredomo. For the preterit Redomo is added to the indicative preterit perfect; e.g., Motometaredomo. Strictly speaking this form is Motomete aredomo, losing the E of the participle. Furthermore, Motometa, together with the other preterit forms in Ta is from Motometearu which is first elided to Motometaru and then by common usage (pratica) to Motometa. All of which is seen in its Canadzucai. For the future, the final Ru of the future indicative is changed to Redomo; e.g., Motomeôzuredomo.

The conditional mood, for the present tense, is formed by adding the syllable Ba to the root of the verb and Naraba or Ni voiteua to the present tense form; e.g., Motomeba, motomuru naraba, and motomuruni voiteua. For the preterit, Raba, Naraba, or Ni voiteua are added to the indicative preterit; e.g., Motometaraba, which is in reality Motomete araba, motometa naraba, and motometani voiteua. For the future Naraba or Ni voiteua are added to the future forms; e.g., Motomeô naraba and motomeôni voiteua. The present tense forms are also used for the future.

Verbs of the First Conjugation That End in I

There are some irregular verbs ending in I which follow the formational rules of the first conjugation, both affirmative and negative. There are a precise number of them. Those which have been found to date are shown below. They are formed for the present indicative by changing I to Uru, for the preterit by adding Ta to the root of the verb, and for the future by adding long û, ûzu, or ûzuru to the same root. For the present conditional Ba is added to the root, for the preterit Raba is added to the preterit indicative, and for the future Naraba is added to the future indicative. For the present conjunctive the Ru of the present indicative is changed to Reba, for the preterit Reba is added to the same preterit indicative, and for the future the final Ru of the future is changed to Reba. All the other forms are formed as has been stated for the formation of the first conjugation. Thus:^[27]

Formation of the Verbs of the Second Conjugation

All the roots of second conjugation verbs end in I. There are eight final syllables for these verbs; i.e., Bi, Chi, Ghi, Ki, Mi, Ni, Ri, Xi. It is by these syllables that the verbs of the second conjugation (except for those mentioned above as being in the first conjugation) are recognized, and from which the tenses are formed.

The roots ending in the syllables Bi, Ghi, Ki, Mi, and Ri change the I to V for the present tense; e.g., Tobi, tobu; Coghi, coghu; Caki, caku; Yomi, yomu; Kiri, kiru.

Those ending in Chi change to Tçu for the present; e.g., Mochi, motçu; Cachi, catçu; Tachi, tatçu.

Those ending in Ni change to Nuru for the present; e.g., Xini, xinuru; Yni, ynuru.^[28]

Those ending in Xi change to Su for the present; e.g., Fanaxi, fanasu; Cudaxi, cudasu; Taraxi, tarasu.

For the preterit those ending Obi and Omi change to ôda; e.g., Yomi, yôda; Tobi, tôda; Yobi, yôda; Yorocobi, yorocôda. Tomi becomes tonda.

Those ending in Abi and Ami change to ǒda; e.g., Yerabi, yerǒda; Vogami, vogǒda; Yami, yǒda.

Those ending in Imi change to ûda; e.g., Najimi, najǔda; Nijimi, nijǔda; Ximi, xûda.^[29]

Those ending in Umi and Ubi change their endings to Vnda or in some instances ûda. While some have two forms others have only one form which is seen in use, the more general is Vnda; e.g., Musubi, musunda; Susumi, susunda or susûda; Nusumi, nusunda or nusûda; Sumi, sunda or sûda; Cumi, cunda only.

Those ending in Ebi and Emi change to Eôda; e.g., Sakebi, sakeôda; Sonemi, soneôda.

Those ending in Ghi change to Ida; e.g., Auoghi, auoida; Voyoghi, voyoida; Coghi, coida.

Those ending in Ni change to Inda; e.g., Xini, xinda; Yni, ynda.

Those ending in Chi and Ri change to Tta; e.g., Machi, matta; Cachi, catta; Tachi, tatta; Kiri, kitta; Chiri, chitta; Cari, catta.

Those ending in Ki and Xi change to Ita; e.g., Caki, caita; Faki, faita; Nuki, nuita; Todoki, todoita; Sosoki, sosoita; Saxi, saita; Fataxi, fataita; Maxi, maita or maxita; Coxi, coita or oxita. The following add Ta to the root; e.g., Moxi, moxita; Muxi, muxita; Fuxi, fuxita; Mexi, mexita.

The future can be formed in two ways. The first and more common way is to change I to ǒ, ǒzu, or ǒzuru; e.g., Yomi, yomǒ, yomǒzu, yomǒzuru; Yerabi, yerabǒ, etc.; Kiri, kirǒ; Xini, xinǒ; Auoghi, auogǒ.^[30] Those ending in Chi change to Tǒ; e.g., Cachi, catǒ, etc.; machi, matǒ. Those ending in Xi change to Sǒ; e.g., Mǒxi, mǒsǒ; Nagaxi, nagasǒ; Mexi, mesǒ; Coxi, cosǒ, etc. The other way, which is easy too, is to change the final V of the present indicative to ǒ; e.g., Yomu, yomǒ; Kiku, kikǒ; Mǒsu, mǒsǒ; Mesu, mesǒ. Those ending in çu change to Tǒ; e.g., Tatçu, tatǒ; Catçu, catǒ. Those ending in Nuru change to Nǒ; e.g., Xinuru, xinǒ; Ynuru, ynǒ. This second rule seems to be more naturally in accord with the rules for the Japanese language.

The imperative changes the final I of the root to E. Those ending in Chi change to Te; e.g., Yome; Kike; Tamochi, tamote; Vchi, ute; Machi, mate.

The present conjunctive is formed by adding Ba to the imperative; e.g., Yomeba; Tateba.^[31] For the preterit, Reba is added to the preterit indicative; e.g., Yôdarebe.^[32] For the future the final Ru of the future indicative is changed to Reba; e.g., Yomǒzureba. The conjunctive in Domo is formed in the same manner; e.g., Yomedomo, yôdaredomo, yomǒzuredomo.

The conditional is formed from the future indicative by changing the ǒ to Aba; e.g., Yomaba; Tataba.^[33] The preterit is formed by adding Raba to the indicative preterit; e.g., Yôdaraba; Tattaraba.^[34]

The preterit participle is formed from the preterit by changing the A to E; e.g., Yôde; Kite; Tatte. The present participle, in Te, is formed by adding Te ['hand'] to the root of any verb. This is properly a substantive and thus governs the genitive as do the other substantives. It does not indicate tense; e.g., Yomite; Cakite; Machite, etc.

The negative present can be formed in two ways. The first, and that which accords with the rules for Canadzucai, is formed by changing I of the root to Anu or Azu; e.g., Corobi, corobanu, corobazu; Yomi, yomanu, etc.; Coghi, coghanu; Caki, cacanu;^[35] Kiri, kiranu; ini, inanu. Those ending in Chi change to Tanu; e.g., Tachi, tatanu. Those ending in Xi change to Sanu; e.g., Fanasanu. Another formation common to all is made with the future indicative by changing ǒ to Anu or Azu; e.g., Corobǒ, corobanu, corobazu; Yomǒ, yomanu, etc.; Coghǒ, coghanu; Cakǒ, cakanu; Kirǒ, kiranu; Inǒ, inanu; Tatǒ, tatanu; Matǒ, matanu; Fanasǒ, fanasanu. This rule is common to all three conjugations by changing the affirmative future indicative ǒ to Anu and the ô and û to Nu or Zu;^[36] e.g., Todomeô, todomenu, todomezu; Saxeô, saxenu, etc.; Tateô, tatenu; Miû, minu; Yomǒ, yomanu; Tatǒ, tatanu; Fanasǒ, fanasanu; Narauǒ, narananu; Vomouǒ, vomouanu; Furuuo, furuuanu. For the second conjugation preterit, those in Nu are changed to Nanda: e.g., Yomananda. For the preterit participle Da is changed to De; e.g., Yomanande. For the second form of the negative participle, the Nu is changed to Ide; e.g., Yomaide, Corobaide, Tataide, Totonouaide. For the future the particle majij^[37] or mai is added to the affirmative present indicative; e.g., Yomumajij, yomumai; Matçumajij, matçumai.

Formation of the Third Conjugation and the Roots from Which the Tenses Are Formed

The final syllables of the third conjugation are the diphthongs Ai, Oi, Vi. By these syllables the verbs are known to belong to this conjugation, and from them the tenses are formed. The present indicative is formed by changing Ai to ǒ, Oi to ô, and Vi to û; e.g., Narai, narǒ; Vomoi, vomô; furui, furû. The preterit is formed by adding the syllable Ta to the present; e.g., Narǒta, Vomôta, Furûta. The future is formed by changing the final I of the root to Vǒ, vǒzu, vǒzuru; e.g., Narauǒ, narauǒzu, etc.; Vomouǒ, vomouǒzu, etc.; Furuuǒ, furuuǒzu, etc. The present imperative is formed by changing the final I to Ye; e.g., Naraye, Vomoye, Furuye.

For the present conjunctive Ba or Domo is added to the imperative; e.g., Narayeba, narayedomo; Vomoyeba, vomoyedomo; Furuyeba, furuyedomo. For the preterit Reba or Redamo^[38] is added to the indicative preterit; e.g., Narǒtareba, narǒtaredomo; Vomôtareba, vomôtaredomo; Furûtareba, furûtaredomo.

The present conditional is formed by changing ǒ of the future to Aba; e.g., Narauaba, Vomouaba, Furuuaba. The preterit is formed by adding Raba to the indicative preterit; e.g., Narǒtaraba, Vomôtaraba, Furûtaraba.

The negative present is formed by changing the I of the root to Vanu or vazu; e.g., Narai, narauanu, narauazu; Vomoi, vomouanu, etc.; Furui, Furuuana, etc. This form can also be formed from the future by changing the ǒ to Anu or azu; e.g., Narauǒ, narananu, etc. For the preterit the Nu is changed to Nanda; e.g., Narauananda. For the preterit participle the Da is changed to De; e.g., Narauanande. For the second form the Nu of the present is changed to Ide; e.g., Narauaide, Vomouaide, Furuuaide. For the future the particle Majii,^[39] maji, or mai is added to the affirmative present indicative; e.g., Narǒmajii, narǒmaji, narǒmai; Vomômajii, ji, or mai; Furûmajii, ji, or mai.

The verb Yy 'to speak' becomes Yû, yûta, yuǒ, yye, yuanu. Yei or yoi 'to become sick' becomes Yô, yôta, youǒ, yoye, yonanu. The substantive verb Saburai, which also belongs to this conjugation, becomes Saburǒ, saburauanu; and Sǒrai becomes Sǒrǒ, soro, sǒraite, sǒraye, sorouanu.

Rodriguez follows these formational rules with a full display of all the forms of the three conjugations. In his display he, like Alvarez before him, recapitulates the appropriate rules for each form. Collado nowhere presents his conjugational system as a paradigm but does, as we shall see, include a full complement of example sentences in his description, something which Rodriguez does not do in the Arte Breve.

Bibliography

In the examination of any portion of the Christian materials certain works are indispensable. Father Johannes Laures, S.J., Kirishitan Bunko (Tokyo, 1957) remains the basic bibliographic source for the study of all sources of the Christian Century, while Hashimoto Shinkichi, Kirishitan kyōgi no kenkyū (Tokyo, 1929) and Doi Tadao, Kirishitan gogaku no kenkyū (Tokyo, 1942) serve as indespensible guides to our understanding of the linguistic aspects of the field. A later contribution to the general bibliography has been made by Fukushima Kunimichi, Kirishitan shiryō to kokugo kenkyū (Tokyo, 1973).

The basic grammatical study of the period, based upon the shōmono materials, is Yuzawa Kōkichirō, Muromachi jidai gengo no kenkyū (Tokyo, 1958). More closely related to the language reflected in the text is his "Amakusabon Heike monogatari no gohō," in Kyōiku ronbunshū (no. 539, Jan. 1929). An English treatment of the grammatical system of the period is to be found in R. L. Spear, "A Grammatical Study of Esopo no Fabulas," an unpublished doctoral thesis (Michigan, 1966). The phonology has been carefully analyzed by Ōtomo Shin'ichi, Muromachi jidai no kokugo onsei no kenkyū (Tokyo, 1963), with a valuable contribution made in English by J. F. Moran, "A Commentary on the Arte Breve da Lingoa Iapao of João Rodriguez, S.J., with Particular Reference to Pronunciation," an unpublished doctoral thesis (Oxford, 1971). This latter work presents an exhaustive examination of the phonological system reflected in the Arte Breve of 1620 within the framework of Berhard Bloch's phonemic theory.

Two lexical works have been used as basic references in this translation. The Vocabulario de Lingoa de Iapam (hereafter the Vocabulario) produced by the Jesuit Mission Press at Nagasaki in the years 1603 and 04. In a carefully annotated version by Professor Doi, under the title Nippo jisho (Tokyo, 1960), this work is the most important single source for the vocabulary of the period. The second work is the Dictionarium sive Thesauri Linguae Iaponicae Compendium (hereafter the Dictionarium) which is the companion piece to the present text. This dictionary has been carefully edited and cross-referenced by Ōtsuka Mitsunobu, under the title Koriyaado Ra Su Nichi jiten (Tokyo, 1966). In this form it has served as a constant aid to the translator in the determination of the proper glosses for the lexical items in the text.

The aforementioned Arte of 1604-08 by Rodriguez, has been the single most frequently used tool in the preparation of this translation.^[40] As the most significant influence upon Collado's work and the source for most of his material, both theoretical and practical, I have related the two works at every point in the translation. In its Japanese version by Professor Doi, Rodorigesu Nihon daibunten (Tokyo, 1950), this work has been invaluable in gaining a clearer understanding of many of the passages which might have otherwise been obscure.

Rodriguez' Arte Breve of 1620, while having no influence upon the preparation of the Ars Grammaticae, is nevertheless of fundamental importance as a work against which Collado's treatment of Japanese grammar is to be judged. This shorter grammar is as yet to be fully translated into English—Moran having limited his study to the treatment of the phonology.

With respect to the text itself I have made this translation on the basis of the facsimile edition published by the Tenri Central Library in 1972 as part of its Classica Japonica series. Ōtsuka Takanobu, Koiyaado-cho Nihongo bunten (Tokyo, 1934) and its revised edition under the title of Koriyaado Nihon bunten (Tokyo, 1957) have served as invaluable aids at every step of the translation.

Ōtsuka's second edition is of invaluable scholarly importance because it contains a cross-reference to the Spanish manuscript from which Collado prepared the printed Latin edition as well as a concordance to the Japanese vocabulary.^[41] This translation attempts to supplement Ōtsuka's invaluable contribution by relating the Latin text of this grammar with Rodriguez' Arte.

Editorial Conventions

The Latin matrix of the text is printed in italic letters while the Japanese is in roman. For this translation I have reversed the convention. (In footnotes where the text is quoted the style of the original is followed.) In making editorial corrections in the Japanese material the corrected version is presented in brackets with periods to indicate the general location;

e.g., mairu mai queredomo [... qeredomo]

(The only exception to this rule is the correcting of a missing open o, q.v.) Sentences that have been taken from the Arte are indicated by the parenthetical recording of the leaf number of the citation immediately after the sentence;

e.g., xô tame no chôqui gia (22) 'it is....

Shorter sentences and specific words that in all likelihood have been taken from the Arte are not listed if they are to be found in the section elsewhere noted as being the source of the material covered. Any significant alteration in the form of the source is noted. Since the Arte is numbered by the leaf, v is added to the number to indicate the verso.

All the corrections made by the errata (on page 75 of the text) have been applied to the text without notation unless the correction is itself in error.

The punctuation follows the text with the following exceptions;

1. In translating from Latin the English follows modern rules of punctuation.

2. Single quotes have been introduced into the text to mark glosses and translations.

3. In transcribing the Japanese citations any alteration of the original punctuation is noted.

4. The spacing of words in Japanese—a relatively casual matter in the text—has been regularized on the basis of the predominant pattern.

5. Two specific rules, based upon Collado's more or less consistent usage, are followed in the citing of verb forms:

a. In the most frequent citation of verbs, where the root form is followed by the present indicative ending, a comma is used;

e.g., ari,u; ague,uru; mochi,tçu

b. In an alternate form of citation, where the two forms are given in their entirety, a colon is used;

e.g., ari:aru; ague:aguru; mochi:motçu

Spelling and accentuation are treated in the following manner:

1. The ſ in all instances is represented by s.

2. The usage of v and u has been regularized: the v serves as the consonant; and u as the vowel, semi-vowel, and orthographic symbol; e.g., vaga, uie, quan, and agueta.

3. The predictable nasalization—marked by a tilde in the text—has not been included in the translation unless the presence of nasalization is morphologically significant; e.g., tobu:tõda.

4. The accent grave—which appears in no discernible pattern—is not transcribed in the translation.

5. The accent acute is used in the translation to mark the long ú [u:] and the long, open ó [ɔ:], in those places where the length is marked by Collado. Since the most frequent typographical error in the text is the failure to mark the presence of these long syllables, I follow the convention of correcting the absence of this feature in the Latin text by using the inverted caret in the translation. Thus, the appearance in the translation of mósu indicates that Collado recorded the length of this word, either by an accent acute (e.g., mósu), or an inverted caret (e.g., mǒsu). The appearance of mǒsu indicates that he did not, and that its absence is being corrected. The form mǒsu in the translation is therefore the shorthand equivalent for what would more regularly be mosu [mósu].

6. The circumflex, which indicates the long, closed ô [o:], is corrected as other errors by placing the corrected version of the item in brackets; e.g., roppio [roppiô].