Category Archives: language

The Strength of Edo-period Culture

From Edo Culture: Daily Life and Diversions in Urban Japan, 1600–1868, by Nishiyama Matsunosuke, trans. and ed. by Gerald Groemer (U. Hawai‘i Press, 1997), pp. 8-9:

The strength of Edo-period culture is not to be found in extant artifacts of the era. Rather, its strength lies chiefly in its spectacular breadth and diversity. This was a period of unprecedented cultural prosperity. Even the general public took part in leisure pursuits and played an active role in the creation of new cultural forms. The average commoner read books or visited the theater; some even wrote haiku verses and senryū (seventeen-syllable comic verse) or performed musical genres such as gidayū, kato bushi, shinnai, or nagauta. Others went on pilgrimages sponsored by religious associations (kō) and toured distant places. The Edo period saw a rise in the quality of culinary fare that commoners consumed; clothing and housing too showed marked improvement. Even the poor managed occasionally to indulge in the luxury of purchasing a “custom-made” comb or an ornamental hairpin. The demand for such cultural items fostered the development of a highly refined handicraft industry. Never before had there been such an extraordinary variety of hand-made cultural artifacts in Japan.

Even in remote areas in the countryside or on distant, isolated islands, inhabitants cultivated rare varieties of flowers and trees and marketed unusual rocks or curiosities. As Suzuki Bokushi (1770-1842) noted in his Akiyama kikō (Autumn Mountain Travelogue, 1831), people in every corner of the land were busy manufacturing local specialties. Such articles were being produced, one by one, by thirty million people. By the late Edo period this activity had stimulated an unprecedented development of the transportation network. Mountain roads, waterways, and sea routes were extended in all directions to every nook and cranny of the country. Indeed, the construction of footpaths during the late Edo period can be seen as a kind of symbol of this golden age of handicraft culture.

No doubt, Japan today boasts a high level of culture. But the price has been high as well: severe environmental pollution and the wholesale destruction of nature. Until the end of the Edo period, red-crested cranes could still be seen soaring through the skies over the city; swans and geese flocked to Shinobazu Pond in Ueno Park. Foxes and badgers were found everywhere, and cuckoos (hototogisu) flourished in such numbers that their song was considered a nuisance. Even during the late Meiji period the water of the Sumida River was clean enough to be used for brewing tea while boating. Human activity imparted only minimal damage to nature. Viewed in this way, Edo-period culture seems almost ideal.

Certain elements of the Edo-period cultural heritage were vulgar, no doubt, but a more comprehensive view of the period reveals an almost infinite number of admirable qualities. Nevertheless, after the Meiji Restoration of 1868, governmental policies of modernization and westernization dictated a wholesale rejection of the preceding feudal era. Even the best elements of Edo-period culture were deemed outdated and vulgar and were thought to require prompt and thorough extirpation. That the true value of Edo-period culture could not yet be properly assessed had much to do with the lack of any inquiry into its origins and actual conditions. Recent research, however, has shown that Edo-period culture was outstanding in its own way and not at all inferior to the culture of earlier or later periods.

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Wordcatcher Tales: Birds for Trains

“So what is a shirasagi, anyway?” I asked the JR clerk in Nagoya Station who had initiated our rail passes and booked reservations on the Shirasagi Limited Express to Hida Takayama. “Could it be a white rabbit (shira- ‘white’ + usagi ‘rabbit’)?” She had no idea. But I should have known it would be a bird.

Before the advent of the Shinkansen bullet trains in 1964, the most famous limited express train along the Tokaido Main Line was the Tsubame ‘swallow’. In fact, the Japan National Railways (JNR, 国鉄) used a swallow logo on its bus system and called its professional baseball team the (Kokutetsu) Swallows. Two other notable limited express trains we rode in those days were the Hato ‘dove’ and the Kamome ‘seagull’.

Most express trains were named for destinations, like the Miyajima Express that I used to ride home to Hiroshima from boarding school in Kobe, but the fastest limited express trains tended to be named for birds. The first bullet trains went for even speedier names: Kodama ‘echo’ (speed of sound), Hikari ‘flash’ (speed of light), and the latest, postmodern-sounding Nozomi ‘desire’. But regional bullet trains have revived a lot of the old limited-express bird names: Hayabusa ‘peregrine falcon’, Kamome ‘seagull’, Toki ‘crested ibis’, Tsubame ‘swallow’.

On our latest trip, we were in the Hokuriku region, off the Shinkansen grid, where the fastest trains are traditional limited expresses, so we encountered several bird-named trains that were new to me. Shirasagi can be translated ‘snowy egret’ (Egretta thula), although sagi labels the whole family of herons (Ardeidae), as in aosagi (lit. ‘blue heron’) ‘gray heron’ (Ardeia cinerea).

Coming back to Kanazawa from Nanao on the Noto Peninsula, we rode the Sandābādo/Thunderbird, whose name left me a bit nonplussed until we paired it with Raichō ‘rock ptarmigan’ (Lagopus muta), a limited express that runs from Osaka through Kanazawa to Toyama. Thunderbird began operations as Super Raichō (Thunderbird), and Raichō (雷鳥) literally translates as ‘thunder bird’. The rock ptarmigan is a symbol of Toyama Prefecture’s Tateyama, one of Japan’s 三霊山 Sanreizan ‘Three Holy Mountains’, along with Fujisan and Hakusan. (Doesn’t the Rock Ptarmigan sound like a good name for a smaller version of Ford’s SVT Raptor?)

Another limited express we rode between Kanazawa and Toyama was the Hakutaka, whose name is always written in kana, not kanji, and whose train cars carry an emblem with the English words “White Wing.” The name evokes an old Tateyama legend about a white hawk (白鷹, which would normally be pronounced shirataka), but also evokes the name of a long-distance train, Hakuchō (‘white bird’ =) ‘swan’ that used to run all the way from Aomori (where the swan is the prefectural bird) via Ueno and Kanazawa to Osaka. The name Hakutaka was independently used for trains running on the leg between Ueno and Kanazawa until that leg was disrupted by the extension of the Shinkansen toward Nagano and Niigata in 1982. In 1997 it was revived for limited express trains running along the Japan Sea coast between Fukui and Niigata prefectures.

The first Japanese long-distance trains to receive names seem to have been the Fuji and Sakura, which began running between Tokyo and Shimonoseki in 1912, but were not named until 1929.

The first train named Hato ‘dove’ was an express on the South Manchuria Railway (満鉄 Mantetsu) running between Dalian and the new (in 1932) Manchukuo capital, 新京 Shinkyō (now Changchun). The limited express on that route was named あじあ Ajia ‘Asia’.

POSTSCRIPT: The first trains named Hikari and Nozomi were Mantetsu expresses running between Busan (釜山) and Shinkyō (新京). (Japanese Wikipedia offers very detailed coverage of Japanese train systems, past and present.)

And, speaking of Imperial Japan, many of the same bird names were used for Hayabusa-class torpedo boats built between 1900 and 1904 that served so well in the Battle of Tsushima in the Russo-Japanese War.

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Wordcatcher Tales: Two Lakes Ōmi, Near and Far

Japan’s largest freshwater lake, 琵琶湖 Biwa-ko ‘biwa lake’, got its current name from its elongated shape, which vaguely resembles that of the biwa, a Japanese lute, sharper at one end, rounder at the other. But the older name for the lake and the land around it (now Shiga Prefecture) was Ōmi 淡海 < awaumi ‘light (= freshwater) sea’. (Compare the native Japanese reading for 湖 ‘lake’ mizu-umi lit. ‘water-sea’ and the Sino-Japanese compound 淡水 tansui ‘freshwater’).

The older name, Ōmi, still shows up in a host of local place names—Ōmi-Hachiman (近江八幡), Ōmi-Imazu (近江今津), Ōmi-Maiko (近江舞子), Ōmi-Shiotsu (近江塩津), etc.—but nowadays it’s always written as 近江 lit. ‘near-bay/inlet/river’. (江 is the e of 江戸 Edo lit. ‘bay-door’.) What’s up with that?

Well, it turns out there was another notable freshwater lake near Hamamatsu in what is now Shizuoka Prefecture. To the Kinki hegemons of the Nara and Heian periods, it was the 遠つ淡海 Tōtu-ōmi ‘far freshwater sea’, later shortened to 遠江 Tōtōmi ‘far waters’, which was also the name of the surrounding province.

The lake closer to the capital was distinguished as the 近つ淡海 Tikatu-ōmi ‘near lake’, shortened in writing to 近江 ‘near waters’, but pronounced simply Ōmi, since it was, after all, The Lake (like ‘The City’).

Nowadays, the two lakes are no longer sibling rivals. A major earthquake in 1498 breached the narrow shoreline that separated Lake Tōtōmi from the ocean, leaving its waters brackish, though still very productive. It now goes by the rather prosaic name Lake Hamana (浜名湖 Hamana-ko ‘shorename-lake’), while Lake Ōmi sports a more poetic moniker, Lake Biwa: 琵琶湖 Biwa-ko ‘lute lake’.

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On Rewriting While Translating

From Edo Culture: Daily Life and Diversions in Urban Japan, 1600–1868, by Nishiyama Matsunosuke, trans. and ed. by Gerald Groemer (U. Hawai‘i Press, 1997), pp. 3-4:

In translating I have striven to remain faithful to the spirit rather than the letter of Nishiyama’s prose. Some therefore may wish to label this book an adaptation rather than a translation. Nishiyama writing style is stiff and often thrives more on a general tone of enthusiasm for the subject than on logical connections between sentences or paragraphs. Such a style, informed by the conviction that a good point bears repetition and that the relevance of an example need not be clarified until the very end of a section, entirely rules out literal translation. I have thus pruned judiciously, rewritten, rethought sentence and paragraph order, but refrained from adding anything substantially new to Nishiyama’s writing. The only exceptions to this rule are a few brief definitions of terms unlikely to be known to a nonspecialist Anglophone readership and, moreover, the endings of Chapters 7, 8, and 9. In the original, these chapters simply stop when Nishiyama has run out of things to say. Such a writing style, common enough in Japanese academic prose, often irritates Western readers, who tend to prefer more synthetic conclusions. In these chapters, therefore, I have added summaries of Nishiyama’s major points, thereby bringing the chapter to a smoother close while not adding anything new.

Since the studies translated here were not conceived by Nishiyama as forming one volume, much material is repeated. In some cases I have simply excised such duplication. The largest cut occurs in Chapter 6. Here I have eliminated or moved to other chapters most of the information that is presented in the first half of the original study, which repeats much of what has already been translated as Chapters 1 through 5. All major changes have been discussed with Professor Nishiyama, who himself occasionally suggested alterations and corrections.

Documentation in the original studies is often lacking and sometimes erroneous. In an effort to complete as many references as possible, I have started from scratch. Unless otherwise indicated, therefore, all notes are by the translator. Rechecking sources has allowed me to uncover several errors and misprints, which have been silently corrected after confirmation by the author.

The selection of illustrations and maps, the transcription of musical examples, and the production of the glossary are also my responsibility. Other editorial additions include dates and footnoted biographical information on individuals, details of geographical location of small towns and villages, variant names and performance dates of kabuki plays or musical works, and dates of publication of books. Names of individuals have presented a special problem, since Nishiyama endows the use of pseudonyms (geimei) with a special significance. Edo-period writers, actors, musicians, and artists often assumed a large variety of pseudonyms, forcing the translator to select one of several names for the sake of consistency. I have generally selected the name most likely to appear in biographical dictionaries.

Translating the titles of books or kabuki plays presents yet other obstacles. Titles of novels, plays, or collections of poetry are often the source of cryptic puns—and in cases where a work no longer exists, the exact reading and meaning of the title are anybody’s guess. For extant books I have usually followed the reading of titles found in the Kokusho sōmokuroku. Kabuki titles are given in the version most likely to appear in kabuki dictionaries; alternative titles are given in the notes. A rough translation of a title’s most obvious meaning follows the original in parentheses; when such a translation appears in italics, this indicates that the book has been published under this title in English. The reader should note that the names of Buddhist temples end with the syllables ji, in, tera, or dera; Shinto shrines often end with sha, gu, or miya.

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Wordcatcher Tales: Akasuri

At the end of a long day’s excursion last summer that included being caught in a downpour in Kyoto’s Arashiyama district, my friend and host suggested we visit her favorite local bathhouse back in Osaka. I hadn’t been to a Japanese public bathhouse in many years, and this was the fanciest one I have ever been to.

It had a noisy game room below but a large expanse of many different indoor and outdoor pools on the top floor. I sampled most of them during the hour I had until my appointment for a massage: the hot tub, the cold tub, the large outdoor pool under the dark sky, and the line of individual tubs, quickly retreating from the first one I tried, which greeted my entering leg with a mild but unexpected electrical charge. There weren’t many of us in the men’s side; I often had the tubs to myself. Finally, worried about missing my appointment, I sat marinating in the rosemary herbal pool, which had a clock on the wall big enough for me to read without my glasses.

垢擦り akasuri ‘cloth/pumice/loofah for rubbing body’ (lit. ‘scurf-chafing’) – My friend, who went in the women’s side, had chosen the basic akasuri exfoliating rubdown, rather than the Swedish or shiatsu or other massage. I had never tried that one, so I chose the same. She had told me that the masseuses on the women’s side were middle-aged ethnic Koreans. In fact, I would guess the bathhouse complex itself was owned by members of Osaka’s huge ethnic Korean population.

The masseuses on the men’s side were also sturdy middle-aged ladies. I didn’t ask their age or ethnicity. In fact, I was far too relaxed to be as inquisitive as I often am in Japanese restaurants. There was only one other man on a massage table when I showed up, and a different one on another table by the time I finished. In the meantime, the masseuse abraded every inch of my skin—apart from face and genitals (always carefully covered by a washcloth)—first with an astringent, then with a light oil.

By the end my skin felt as smooth as it ever has in my adult life. Although I was a little bit too raw in a few places, I felt ‘grime-free’, that is, 垢抜け akanuke ‘elegant, urbane’. A proper chafing leaves one more refined, as in 人擦れ hitozure ‘(person-abrasion =) sophistication’, even too refined, as in 悪擦れ waruzure ‘(bad-abrasion =) oversophistication’. But improper chafing can leave a 擦り傷 surikizu ‘(scrape-wound =) abrasion, scratch’ or a 床擦れ tokozure ‘bedsore’.

The more generic term for traditional ‘massage’ or ‘masseuse, masseur’ in Japanese is 按摩 anma lit. ‘press-rub’. The two kanji for ‘rub’ and ‘scrape’ combine in the Sino-Japanese compound 摩擦 masatsu ‘friction’, as in 摩擦音 masatsuon ‘fricative sound’.

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Wordcatcher Tales: Noukanshi, Encoffiner

納棺師 noukanshi ‘encoffiner’ (lit. ‘closing-coffin-master’) – I learned both a new Japanese word and a new English gloss from watching the Japanese movie, Departures (おくりびと Okuribito lit. ‘sender, dispatcher’, 2008), about a cellist who became an encoffiner. I initially scoffed at its premise and was not overly impressed by its Academy Award for Best Foreign Language Film in 2009, but decided to give it a try, as much for its potential musicality as its morbidity.

It far exceeded my expectations on both counts. Although quintessentially Japanese in so many ways, it could be adapted to every other human culture on earth—even Neanderthals, who buried their dead with some indications of ritual. The original cello score by “Joe Hisaishi” (久石 譲 = Kuishi Joe < “Quincy Jones”) was an added bonus, as was the interview with the director, so full of surprises. Highly recommended, despite being recent and award-winning!

In Japan, the 納棺師 noukanshi ‘encoffiner’ is hired by the 葬儀屋 sougiyafuneral director’. Not so long ago (perhaps even nowadays), anyone who was hired to handle dead bodies, or even leather, would have been of outcast status, although until recently the family of the deceased would more likely have been responsible for preparing the body.

In fact, a more traditional, less exalted, and more sexist term for the same role appears in the 1996 novel by Aoki Shinmon that inspired the film, 納棺夫日記 Noukanfu nikki (‘encoffiner diary’). The 夫 fu on the end of 納棺夫 noukanfu literally means ‘man, husband’ (in the latter meaning usually pronounced otto or fuu) but implies a manual laborer, as in 田夫 denpu ‘peasant (field hand)’, 農夫 noufu ‘farmer (farm hand)’, 牧夫 bokufu ‘herder (ranch hand)’, 漁夫 gyofu ‘fisherman’, 工夫 koufu ‘coolie, workman’, or 車夫 shafu ‘rickshaw man’. As one might expect, the role of encoffiner is often performed by women.

In the film, the encoffiner—in full view of the assembled family—carefully exchanges the deceased’s bedclothes for a typical sleeping yukata without ever showing more than the corpse’s head, feet, and forearms; then reaches under the yukata to wipe down the body and plug its orifices; then carefully dresses the body in funeral garb, applies cosmetics, arranges the hair, crosses the feet, and clasps the hands to make it ready for placement and viewing in the coffin. After the wake and religious funeral, the body is cremated inside its wooden coffin.

The job title of the noukanshi is not easy to translate into English. Although he prepares the body for public viewing, he doesn’t embalm it (out of public view in a morgue), so ’embalmer’ is not a good gloss. Although he performs a comforting ritual in the family’s presence, he handles only one phase of the death ritual, unlike today’s multitasking morticians, undertakers, or funeral directors. Nor does he add any religious message, as would an imam, pastor, priest, or rabbi. So encoffiner seems as good a gloss as any. Even though most of its attestations in cyberspace seem to postdate this film—as does 納棺師 in Japanese Wikipedia—the related term encoffinment (especially premature encoffinment!) has a longer pedigree.

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McWhorter on McCrum’s “Globish” English

In The New Republic, John McWhorter reviews Robert McCrum’s bass ackwards book, Globish: How the English Language Became the World’s Language.

But the central problem is that McCrum’s sense that English is somehow uniquely “direct” and “universal” and therefore well-suited to bestride the world is false. In two ways.

First of all, to the extent that McCrum is taking this from English being light on conjugation suffixes (in the present, just little third-person singular -s) and not having gender (no el sombrero for hat but la luna for moon as in Spanish), you can’t claim that this makes it easier for a language to be universal without looking at the fate of other languages. Russian started as a homely, unwritten Slavic dialect, but is currently spoken by 280 million people, speaking a vast array of indigenous languages natively. Yet Russian is murderously complex – three genders, verbs of pitiless complexity, assorted sounds that are tough to produce, squishy word order, unpredictable accent on words, and on and on. (Of those who have reviewed the book in big venues, I am aware of only TNR’s own Isaac Chotiner as touching on a comparison like the Russian one in his New Yorker review.)

Russians, too, are given to chauvinistic claims about their “great and mighty Russian language,” in which case one could posit that the complexity of the language makes it “mighty” as well as maximally clear. This would make, in the end, about as much sense as claiming that English has gotten around because it’s relatively easy to learn. Both English and Russian have spread the way they have because they were the languages that happened to be spoken by powers that happened to acquire vast amounts of territory.

There is a discussion to be had as to why England (plus America) and Russia have had such lasting influence – but the reasons are about sociohistory and geography, not conjugation. We know this because if there were any meaningful linguistic argument, England and Russia would neatly cancel one another out. Arabs, too, might be perplexed to hear that a language has to be easy – “direct,” as McCrum often has it – to be a vehicle of empire. As anyone who has tried to master it will attest, Arabic is a tough one for foreigners. Yet the region is unrecorded that scoffed “We shall not use this Arabic tongue, as it be too difficult on the tongue to serve as a language of conquest!”

Then McCrum errs in a second way. He misses that to the extent that geopolitical dominance and linguistic structure can be correlated, it’s in that the dominance causes the grammatical simplification, not the other way around. This was even part of English’s history – when Scandinavian Vikings occupied England starting in the eighth century, they produced Old English in a stripped-down fashion just as many of us have produced French and Spanish in classrooms. There were so many of the Vikings that kids heard as much English of this kind as “real” Old English, and in a culture with little schooling or media, this “funny” English became the only English.

McCrum knows this – but misses that it upends his paradigm. The Vikings didn’t pick up English because it was enticingly “universal” – they made it easier by picking it up. To the extent that McCrum may suppose that it was this that kicked off English’s “accessible” phase, we return to Arabic and Russian – universal in their ways despite being un-Vikinged. Sanskrit, Cree, Tagalog and other complex languages also seem to have gotten around – the whole construct McCrum builds just doesn’t work.

Meanwhile, the world over, languages are on the easy side because they happen to have been imposed on a lot of adult foreigners. The lingua franca in Papua New Guinea, for example, is Indonesian, which delights the learner in having no gender, no conjugation, and no Chinese-type tones.

Unfortunately, McWhorter confuses Papua New Guinea, where Tok Pisin is the lingua franca, with West Papua (formerly West Irian), where Indonesian is the lingua franca. Otherwise, he’s right on target.

via Rainy Day

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Wordcatcher Tales: Ittouhei, Haiboku

I learned my first two Japanese terms for military ranks from watching The Adventures of Rin Tin Tin on Japanese TV during the 1950s. In the dubbed Japanese dialogue, the lieutenant was addressed as 中尉 chuui and the sergeant as 軍曹 gunsou. But I never learned the terms for the lowest ranks until I recently watched an epic film trilogy from the same era, The Human Condition (人間の條件, Ningen no jouken) via Netflix. It is very long and often slow-paced, but fascinating for both historical and linguistic reasons. It starkly depicts both the brutality of Japan’s occupation of Manchuria and the deadly and chaotic aftermath of Japan’s defeat there. Based on a novel, it also reflects the personal experience of the director, Kobayashi Masaaki (小林 正樹), a university-educated pacifist who refused to become an officer when drafted to serve in Manchuria.

The film chronicles the gradual erosion of socialist ideals in the face of insurmountable realities. The lead character first fails to transform a Japanese mine employing Chinese slave labor into a more humane and efficient enterprise. After being drafted for insubordination and joining a labor battalion, where he takes many a beating without fighting back, he is eventually forced to fire his weapon and kill an enemy soldier when Soviet tanks overrun his hapless platoon. As a prisoner of war, he finds that life under communism falls far short of the egalitarian paradise that he had imagined when he had earlier considered defecting. The Soviets treat him just as brutally as the Japanese imperialists treated their slave laborers. After he escapes, he ends up becoming a leader despite his low rank, forced to make life or death decisions about the fate of starving Japanese soldiers and colonists straggling back toward their homeland.

一等兵 ittouheiPrivate, PV2‘ – (Japanese Wikipedia offers the most thorough compilation of terms for military ranks in multiple languages that I have found so far.) The rank just below 一等兵 ittouhei (lit. ‘1st-level solider’) ‘PV2’ is 二等兵 nitouhei (lit. ‘2nd-level soldier’) ‘Private, PV1’ and the rank just above it is 上等兵 joutouhei (lit. ‘upper-level soldier’) ‘Private First Class, PFC’.

When I faced the draft after dropping out of college in 1969, I had rather pacifist tendencies, which were fortunately never tested in real conflict. I opted for language school rather than Officer Candidate School, and never even had to fire a weapon after basic training. As company clerk, I would just qualify myself on paper. By the time I got out in 1972, I had reached the rank of SP5, a rank abolished in 1985 that corresponds the lowest level of SGT.

敗北 haiboku (lit. ‘lose-north’) ‘defeat, rout’ – The Human Condition (人間の條件, Ningen no jouken) set of DVDs from Netflix contains 3 interviews: one not very remarkable one with the director, Kobayashi; a much more recent and interesting one with the star, Nakadai Tetsuya (仲代 達矢), who many years later starred in Kurosawa’s classic Ran; and a truly excellent retrospective with Shinoda Masahiro (篠田 正浩), who puts the trilogy in much broader context.

Shinoda uses a lot of contemporary gairai-go, but the word he uses for Japan’s defeat is 敗北 haiboku (lit. ‘lose-north’), a word that goes back to the Heike Monogatari, about the epic struggle for supremacy in 12th-century Japan between two clans, the Taira (or Heike) and Minamoto (Genji). One of its synonyms is 敗走 haisou (‘lose-run’).

So what does 北 ‘north’ have to do with fleeing a lost battlefield? Does it suggest retreating to the northern frontier of Heian Japan, that is, northern Honshu? Or does it suggest losing the north at your back, as the imperial palaces were oriented in Kyoto, Seoul, Beijing, Xian, and other capitals within the Sinosphere? In modern Mandarin, the term 败北 bàiběi (‘lose-north’) is literary, implying it goes back a long way and was not adopted from Japanese (as many modern coinages were). The more common way to write ‘defeat’ in Chinese is 打败 dǎbài (‘hit-lose’).

UPDATE: Matt of No-sword has a few observations about the Japanese association of 北 ‘north’ with flight from battle and with death.

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Wordcatcher Tales: Kamaboko heisha

While poking around looking for something else in my Spahn & Hadamitzky Japanese Character Dictionary: With Compound Lookup via Any Kanji (Nichigai Associates, 1989), I came across a wonderful, but sadly obsolescent compound, 蒲鉾兵舎 kamaboko heisha, which seems to be yielding to a katakanago loan from English: クォンセット kuonsetto ‘Quonset hut’. A Quonset hut is a Kamaboko(-shaped) barracks. Nice image.

The 舎 sha of 兵舎 heisha ‘barracks (lit. soldier-lodge)’ also occurs in 牛舎gyuusha ‘cowshed’, 鶏舎 keisha ‘chicken coop’, 犬舎 kensha ‘dog kennel’, 豚舎 tonsha ‘pigpen’, and 田舎 inaka ‘countryside (lit. paddy-lodge)’. It indicates a fairly rustic or rudimentary sort of accommodation.

The kanji components of 蒲鉾 kamaboko ‘boiled fish paste, fish cake’ are less straightforward. The 鉾 hoko is a kind of heavy pole weapon more commonly written 矛, which Spahn and Hadamitzky gloss rather loosely as ‘halberd‘, which has a much more complicated head on it. I suppose the fish paste is (or was) extruded into long spears before being cut and packaged into standard blocks.

The character 蒲 is usually pronounced gama and means ‘cattail, bulrush‘ (although many people seem to confuse it with 蝦蟇 gama ‘bullfrog’). A couple of summers ago in Japan, we met two of my wife’s former students who hailed from 蒲郡 Gamagōri on the coast below Nagoya. One tutored English and the other tutored Italian, and they both admitted to being mildly embarrassed to tell people they were from an outlying district whose name can be translated as ‘Cattail County’.

The principal Sino-Japanese reading of 蒲 is FU, as in 蒲団 (usu. 布団) futon, but it can also occur in a crazy kanji representation of tampopo ‘dandelion’, 蒲公英, which is usually written in kana.

Even though its use may be fading with regard to Quonset huts, the modifier かまぼこ型 or カマボコ型 kamaboko-gata ‘kamaboko-shape’ still thrives as a descriptor of all manner of semicylindrical objects, like some kamaboko-gata pataa ‘mallet putters’ in golf.

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“Indische” Indos and Theosophists in the Dutch East Indies

From: Being “Dutch” in the Indies: A History of Creolisation and Empire, 1500–1920, by Ulbe Bosma and Remco Raben, tr. by Wendie Shaffer (National U. Singapore Press, 2008), pp. 293-297:

The 20th century arrived in the Dutch East Indies accompanied by a chorus bewailing the growing number of children who had concubines as mothers. The prevailing tone was that many of these children did not merit the status of European. A commonly heard anecdote was that of the down-and-out soldier who, in exchange for a bottle of Dutch gin, acknowledged that he was the legitimate father of a child who had not a drop of Dutch blood. The newspaper Java-Bode reported the growing number of “degenerate Indos and complete hybrids” who were in fact natives but were entitled to call themselves European: “Without a doubt, such people must feel deeply dissatisfied with their lot.” These gloomy musings were, however, seldom based on more than anecdotal accounts and were certainly not founded upon systematic research. It was nothing new to hear of “immoral” goings-on in the army barracks, while concubinage and large families of pauperised (Indo-)Europeans were a familiar phenomenon. What was new were the growing complaints about the situation and the sombreness of their tone. Such attitudes became widespread at the end of the 19th century, when interest grew in matters such as genetic inheritance, Malthusian ideas about population control and the theme of ennobling the lower classes.

The fin de siècle Zeitgeist encouraged the notion of a moral decline of European society in the Indies. Colonial policy in the Indies had always tried to draw a clear distinction between European society and the natives. Until the close of the 19th century the emphasis had continually lain on reclaiming the stray sheep of the European flock and returning them to the fold of European culture and values. Bur now the idea arose that it might be better for them to remain in their native environment. This notion, born largely out of discussions on inheritance, race and degeneration, now buzzed on every side. The Java-Bode, which represented the conservative opinions of the more wealthy Batavian civil servants, used the word “hybrid” to highlight the problematic aspects of racial mixing. Understandably, this newspaper did not dispute the fact that there were large numbers of decent Indo-European families bringing up their children in a correct and seemly manner. But once the journalists got the bit between their teeth, they became carried away by polemics regarding degeneracy and childhood neglect. It only needed a tiny slip of the pen before they were fulminating about the stereotypical Indische family where the eternal ne’er-do-wells lazed around and never lifted a finger, convinced as they were from birth that to do manual work would debase them forever.

This caricature was not something new. A hundred years earlier, at the beginning of the 19th century, newcomers to the East Indies had written with shocked amazement about the lack of parental care, about the frequent beatings that children received, and about how their mothers carried on their peddling trades and spent their time playing cards instead of looking after their children. Around 1900 such commentaries became imbued with pseudo-scientific arguments on the topic of racial inferiority. Articles and reviews with scientific pretensions were published claiming to substantiate the stereotypical pictures of Indo-Europeans as people who were underhand, easily suspicious and quickly roused to anger. The widely held opinion in British colonies that when European populations became mixed with a native race they dissolved into native society also crept insidiously into Dutch (Indies) publications. Some suggested that several generations of mixed marriage resulted in infertility — although such an opinion would appear to be firmly disproved by the many large and flourishing Indo-European families. However, a conservative newspaper like Java-Bode could not be shaken from its conviction that social improvement — with all its biological connotations of crop or cattle improvement — was the same thing as opposing mixed marriages. In the Netherlands, newspapers were quite unabashed in stating that pauperism was the result of racial mixing. The word volbloed (pure-blood) began to appear in advertisements for domestic staff and personnel. Cynical remarks were heard to the effect that the elite corps of the Binnenlands Bestuur [Dept. of the Interior], in Dutch keurkorps, was turning into a coloured corps, Dutch kleurkorps. In short, with the arrival of the 20th century, the colonial discourse became strongly racialised.

It is tempting to think — although inaccurately — that Darwinism, then a fashionable ideology, was responsible for this racist thinking. Social Darwinism was widely accepted in Europe, but in the Indies it was the Spencerian theory of evolution that predominated. Herbert Spencer saw human ability as the product of social evolution, and not of biological selection. It proved a difficult task, however, to distinguish between inherited propensities and the effects of upbringing. The journalist Paul Daum, for instance, was a fervent Spencerian, yet in his novel published in 1890, titled “Ups” en “downs” in het Indische leven (“Ups” and “Downs” of Indische Life) — which recounts the downfall of the aristocratic planters’ family the Hoflands — he invokes heredity as a major element in the family’s decline. In his journalistic writing, however, he pleaded the cause of education as the driving force behind social advancement and the best possible cure for the ills assailing the European community in the Indies. City gardens, public parks, theatrical performances and concerts were surely more attractive ways of passing the time than cockfighting, tandakken (Javanese dancing) or Javanese wayang puppet theatres. Cultural paternalism of this nature encountered little opposition; indeed, it was applauded by the newspaper De Telefoon, which wrote in this context of “the improvement of destitute Europeans”.

All the complaints about the effects of mixing and the negative influences of an Indische lifestyle might almost make one forget that ever-growing numbers of Europeans in the Indies were now speaking Dutch, reading the paper, and writing letters to the editor on touchy topics. It was a recent development, for until well into the 19th century — even in wealthy families in the Indies — the lingua franca was not necessarily Dutch, but Malay. This appears, for instance, from a complaint made in 1887 by the education inspector about the poor level of Dutch among students at the HBS School, which was intended for children from the better circles. It was only in the closing years of the 19th century that Dutch began to be more widely used among Europeans. It first became the standard language at work and then moved into informal areas. In contrast to the much-quoted opinion of the education inspectors that in 1900 the majority of Indies-born European children at elementary school had a very poor command of Dutch, we find that at that time already 40 per cent of Europeans used Dutch in their everyday affairs.

The early 20th century also witnessed an alternative wave against the assumption that “Indische” meant “inferior”. While the terms “hybridity” and “Indische” when used in the colonial context both had negative overtones, the cultural avant-garde in the Netherlands and elsewhere in the Western world embraced the exotic. The artistic style of Jugendstil (art nouveau) made use of exotic shapes and designs. The artist Jan Toorop, born in Java in 1858, who was greatly celebrated in the Netherlands, exploited heavy symbolism borrowed from Javanese art and even transported this into his painted posters advertising salad dressing. For the colonial newcomers, belief in animism was superstitious, possibly even dangerous, nonsense, but in the Netherlands it was all the fashion to hold séances and make contact with the spirits of the dead. What might be described as an organic way of thinking, most powerfully expressed through the eclectic and unrestrained images of Jugendstil, flourished among the elite of the Netherlands. The urge to reconcile opposites also reached the colonies and was to have an influential role in the rejection of conventional European tastes and values One manifestation was the growth of the Theosophical Society (founded in 1875) which acquired a considerable following in the first decades ot the 20th century. Before this, the Freemasons had been the chief instigators of dialogue between the various cultures and faiths in the colony. In about 1908 the Theosophists took over. In the Indies their champion was Dirk van Hinloopen Labberton, who taught Javanese at the training institute for the Binnenlands Bestuur in Batavia, the Willem III School. This eloquent, indeed loquacious, man was inspired by the great British Theosophist Annie Besant (1847–1938), who had left England for British India in 1893, declared the Indians to be her brothers and sisters, and become a tireless advocate of home rule for India. Theosophy also appealed to nationalist intellectuals in the East Indies, who applauded its approach of an Eastern counter-current against the materialism of the West.

Thus the world of the East Indies became aware of two contrasting, indeed opposing, voices. Since the rise of the Soeria Soemirat movement, the Indo-Europeans had spoken out as a separate group, although their plea was to be accepted as Europeans. In contrast, the notion ot an Indische domain as a space where European and Asian cultural influences were equally valid steadily gained ground. The politically tense period linked with the growth of nationalism served to reveal the tensions between the concept of “Indo-Europeans” — people who constituted a category of class and race within the wider group of “Europeans — and “Indische”, a term that could be applied to everything connected with the Dutch East Indies. On the one hand, the expression “Indo-European (or Indo) was used to apply to Europeans who had a part-Asian ancestry as opposed to pure-blood white. At the same time, the word Indische was used in contrast to Hollands (Netherlandish) but never to demarcate Europeans from Indonesian, Chinese or other population groups living in the East Indies. The “closed” character of the term “Indo-European” and its opposite, the boundless connotations of the word “Indische”, have dominated the political evolution of the Indies. During those years of budding nationalism the political pendulum swung continually between the struggle to establish a movement representing the more general Indische interests, and a Union of Indo-Europeans. Two Dutch words crystallised the differences: beweging (movement) stood for new and open, while bond (union) implied the formation of a group to defend one’s own interests. Everything born out of the Indische movement was to be absorbed almost unnoticed into Indonesian nationalism, while the notion of a union or brotherhood gained definitive form in 1919 in the Indo-Europeesch Verbond (IEV) — the Indo-European Union.

This final excerpt from this book touches on most of the major themes raised in this fascinating look at the history of the Dutch and their local allies in their East Indian colonies.

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