Examples of Words Which Differ Only in Pitch
In standard Tokyo Japanese, non-compound native nouns are accented about 30% of the time. Most of the time the accent falls on the ante-penultimate mora, or on the first mora for shorter words. A smaller number of nouns are accented on other syllables. (I-adjectives, however, are usually accented, and always on the penultimate mora.) Phonemic pitch accent is indicated with the phonetic symbol for downstep, .
| Romanization | Accent on first syllable | Accent on second syllable | Accentless | ||||||
|---|---|---|---|---|---|---|---|---|---|
| hashi | /haꜜsi/ |
箸 | chopsticks | /hasiꜜ/ |
橋 | bridge | /hasi/ |
端 | edge |
| hashi-ni | /haꜜsini/ |
箸に | at the chopsticks | /hasiꜜni/ |
橋に | at the bridge | /hasini/ |
端に | at the edge |
| ima | /iꜜma/ |
今 | now | /imaꜜ/ |
居間 | living room | |||
| kaki | /kaꜜki/ |
牡蠣 | oyster | /kakiꜜ/ |
垣 | fence | /kaki/ |
柿 | persimmon |
| kaki-ni | /kaꜜkini/ |
牡蠣に | at the oyster | /kakiꜜni/ |
垣に | at the fence | /kakini/ |
柿に | at the persimmon |
| sake | /saꜜke/ |
鮭 | salmon | /sake/ |
酒 | alcohol, sake | |||
| nihon | /niꜜhoɴ/ |
二本 | two sticks of | /nihoꜜɴ/ |
日本 | Japan | |||
In isolation, the words hashi /hasiꜜ/ "bridge" and hashi /hasi/ "edge" are pronounced identically, starting low and rising to a high pitch. However, the difference becomes clear in context. With the simple addition of the particle ni "at", for example, /hasiꜜni/ "at the bridge" acquires a marked drop in pitch, while /hasini/ "at the edge" does not. However, because the downstep occurs after the first mora of the accented syllable, a word with a final long accented syllable would contrast all three patterns even in isolation: an accentless word nihon, for example, would be pronounced, differently than either of the words above.
This property of the Japanese language allows for a certain type of pun, called dajare (駄洒落, だじゃれ?), combining two words with the same or very similar sounds but different pitch accents and thus meanings. For example, kaeru-ga kaeru /kaeruɡa kaꜜeru/ (蛙が帰る?, lit. the frog will go home). These are considered quite corny, and are associated with oyaji gags (親父ギャグ, oyaji gyagu?, old man/uncle, terminally uncool).
Since any syllable, or none, may be accented, Tokyo-type dialects have N+1 possibilities, where N is the number of syllables (not moras) in a word, though this pattern only holds for a relatively small N.
| accented syllable | one-syllable word | two-syllable word | three-syllable word |
|---|---|---|---|
| 0 (no accent) |
/ki/ (気, mind?) | /kaze/ (風, wind?) | /yameru/ (止める, to stop?) |
| 1 | /kiꜜ/ (木, tree?) | /haꜜru/ (春, spring?) | /iꜜnoci/ (命, life?) |
| 2 | — | /kawaꜜ/ (川, river?) | /tamaꜜgo/ (卵, egg?) |
| 3 | — | /kotobaꜜ/ (言葉, word?) | |
Read more about this topic: Japanese Pitch Accent
Famous quotes containing the words examples of, examples, words, differ and/or pitch:
“It is hardly to be believed how spiritual reflections when mixed with a little physics can hold peoples attention and give them a livelier idea of God than do the often ill-applied examples of his wrath.”
—G.C. (Georg Christoph)
“It is hardly to be believed how spiritual reflections when mixed with a little physics can hold peoples attention and give them a livelier idea of God than do the often ill-applied examples of his wrath.”
—G.C. (Georg Christoph)
“Shall I tell you who will come
to Bethlehem on Christmas Morn,
Who will kneel them gently down
before the Lord, new-born?”
—Unknown. Words from an Old Spanish Carol (l. 14)
“Simile and Metaphor differ only in degree of stylistic refinement. The Simile, in which a comparison is made directly between two objects, belongs to an earlier stage of literary expression; it is the deliberate elaboration of a correspondence, often pursued for its own sake. But a Metaphor is the swift illumination of an equivalence. Two images, or an idea and an image, stand equal and opposite; clash together and respond significantly, surprising the reader with a sudden light.”
—Sir Herbert Read (18931968)
“He maintained that the case was lost or won by the time the final juror had been sworn in; his summation was set in his mind before the first witness was called. It was all in the orchestration, he claimed: in knowing how and where to pitch each and every particular argument; who to intimidate; who to trust, who to flatter and court; who to challenge; when to underplay and exactly when to let out all the stops.”
—Dorothy Uhnak (b. 1933)